"check your grind"
Year: 2016
Country: Sweden
City: Falun
Label: Every Day Hate
Format: CD, LP
Tracks: 24
Time: 26 min.
Genre: rock
Style: Grindcore
7.30.2021
7.26.2021
GADGET
"the great destroyer"
Year: 2016
Country: Sweden
City: Stockholm
Label: Relapse
Format: CD, LP
Tracks: 17
Time: 24 min.
Genre: rock
Style: Grindcore
Though the band has generally flown under the radar, Gavle, Sweden's GADGET has roots that trace back to 1997. The band have always included influences from every genre they've been fond of, like doom, sludge, hardcore, punk, death metal and more, never letting genre boundaries stand in their way. GADGET have proven themselves to be a relentless force live as well as on record.
"the funeral march"
Year: 2006
Label: Relapse
Format: CD
Tracks: 17
Time: 25 min.
Genre: rock
Style: Grindcore
"remote"
Year: 2003
Label: Relapse
Format: CD
Tracks: 21
Time: 28 min.
Genre: rock
Style: Grindcore
7.21.2021
HAEMORRHAGE
"the forensic files"
Year: 2020
Label: Bizarre Leprous
Format: CD
Tracks: 22
Time: 46 min.
Genre: rock
Style: Grindcore
"we are the gore"
Year: 2017
Country: Spain
City: Madrid
Label: Relapse
Format: CD, LP
Tracks: 15
Time: 38 min.
Genre: rock
Style: Grindcore
Iconic and timeless, Spanish gore grind heroes Heamorrhage are back with a new, long-anticipated full-length. The title, “We are the Gore,” might automatically put some listeners in mind of the iconic Trailer Park Boys line, “I am the liquor,” uttered by Mr. Lahey during one of his binges. But it’s a fitting title, considering the fact that Haemmorhage have lived and breathed the same theme during the entire span of their career.
Throughout the album, it appears that the band is relying on the same tropes they always did with previous records. Although the sound is blistering and raw, definitely straightforward grind, their is a clear sense of melody throughout, not surprisingly. Ana Lopez is quite the proficient guitarist, and not shy about working playful riffs and melody into their otherwise-brutal songs. And with titles like “Gore Gormet,” “Bathed in Bile” and “Organ Trader,” you can count on the same old classic themes throughout.
Although adoring fans will no-doubt love hearing familiar material recreated on this recording, it seems a little underdeveloped for a 2017 release and reboot. It would have been nice to hear a bit more experimentation, or a slightly more updated sound, from the gore grind legends. However, they are legends, and as such, can do what they want, and still have a rabid and dedicated fan base. If you’ve enjoyed past Haemorrhage records, you’ll enjoy adding this one to your bloody collection (*Review by Addison Herron-Wheeler).
"hospital carnage"
Year: 2011
Label: Relapse
Format: CD, LP
Tracks: 16
Time: 38
Genre: rock
Style: Grindcore
Hmmm… all right, writing something about new adventures in hospital is always nice. So I take my lab coat, stethoscope and wad of prescriptions (of course with NO “refundacja leku do decyzji NFZ” stamp), and start my hard work…
Yes, five long years have passed, but it doesn’t mean that Haemorrhage was bathing in luxury and prosperity after releasing “Apology In Pathology”. No yachts, no private aeroplanes, no plastic surgeries… Being deeply rooted in metal underground they released some split, live and demo performances. Comparing to the previous album, the only change was a deal with Relapse Records, and I think it is very good move, maybe it is a chance to conquer America. So the first thing I would like to notice is production. Maybe it hasn’t such a merciless and smashing feeling like predecessor, but drums have new life here, they sound superbly, even they are audible during bestial surgical blasts. In general realization of sound is very clear yet it has no modern sterility. Before writing about musical content I have to distinguish the front cover made by Luisma himself, it refers perfectly to the band’s image. The line-up is still the same, so what about the music (or de-compositions)??? Here I’d like to assure everybody: no fuckin’ surprises!!!
“Hospital Carnage” is opened by the slowest “Open Heart Butchery”, a real mid tempo track, but do not consider this as a ballad, the fast parts are present also. With the first words of Lugubrious (maligna vox) “Rushed into butchery…” I have an impression that this opener is like a calm before the storm. And the next “Traumageddon” is a storm of gore grind indeed. Some birdcalls on the beginning may lead you into error. After few seconds a real ‘surgerygeddon’ became effective crusher of your mind. This decomposition is completely in the vein of Haemorrhage style: furious blasts and some slowdowns in the chorus. I think it will be the next highlight on the live shows. But what is interesting, I can write such words about many songs from the album. As compared with “Apology For Pathology”, the band shows incredible catchy guitar works, of course in gore grind meaning. Many songs are easily recognized by the first meeting (the first two songs, “Fomite Fetish”, “911”, Hospital Thieves”, Ingreso Cadaver” with lyrics written in Spanish, “Necronatology”…). The next thing, Ana took a lead guitar and decorated songs with quite melodic solos, just take a listen to “Flesh-devouring Pandemia”, “Hospital Thieves”, “Hypochondriac” and “Necronatology”. And to be honest, “Necronatology” seems to be the best decomposition in this deranged hospital. It is also the longest one (4:46), but do not expect doom undertones here. The first part of this track is maintained in mid-paced tempo, with Lugubrious words “… born on the mortuary slab” my brain cells are attacked by really great group of riffs. The second part is a real hurricane: pure gore grind with melodic (???) solo lead on the end. The last track: “Intravenous Molestation Of Obstructionist Arteries (O-Pus VI)” is in turn the shortest song lasting almost one minute. And here I have to raise an objection: it rather disturbs the overall atmosphere, the similar situation is in the perception of “Morgue Sweet Home”, so better is to put this track in the middle of the album. All right, the last words belong to the ‘singer’ called Lugubrious and his beautiful maligna vox. To be honest with myself I have to declare: forget about any surprises. His vocal cords are just classic in the genre, his is still on the vocal top, just listen and stay in full admiration…
Haemorrhage, over twenty years on the metal stage, still in the same savage medical gore grind… Respect? Yes, it is good word here to describe from my point of view the ‘career’ of these musical surgeons. Maybe this record didn’t beat “Anatomical Inferno”, but belongs for sure to one of the best performances of the Spaniards. Once again there are gore hymns which will be dissected on live shows. Once again they bring into my world metal fury and devastating energy, lyrics concerning medical themes and fascinating guitar riffs (sometimes really catchy…). One thing is also important: these sick musicians do not use long (read: needless) intros/outros to lengthen the running time, simply it is well-thought-out, just like all the music sounds. I hope that waiting on the next album won’t be so long, the band has a new (better, I think) deal, so the future looks very fruitfully for them and supporters. Listening to “Hospital Carnage” is like a drip with nutritious stuff, so check this immediately out. You will be cured... (*Review by Tlacaxipehualiztli ).
"apology for pathology"
Year: 2006
Label: Morbid
Format: CD
Tracks: 15
Time: 32 min.
Genre: rock
Style: Grindcore
"morgue sweet home"
Year: 2002
Label: Morbid
Format: CD, LP
Tracks: 14
Time: 36 min.
Genre: rock
Style: Grindcore
"grume"
Year: 1997
Label: Morbid
Format: CD
Tracks: 15
Time: 32 min.
Genre: rock
Style: Grindcore
"emetic cult"
Year: 1995
Label: Morbid
Format: CD
Tracks: 14
Time: 32 min.
Genre: rock
Style: Grindcore
7.13.2021
7.05.2021
AT THE GATES
Year: 2021
Country: Sweden
City: Gothenburg
Label: Century Media
Format: CD, LP
Tracks: 10
Times: 40 min.
Genre: rock
Style: Death Metal
Swedish death metal and I have a bloody history. The Stockholm sound has always been my preferred space, while I’ve often butted heads with the Gothenburg bands. At The Gates are the only true exception. Their ability to mix melody without compromising creative riffing has ensured their reputation doesn’t go down in flames. However, when they reformed for 2014’s At War With Reality, I was unimpressed. Here was an album that attempted to forge new ground by plundering their own war chest. And the results were underwhelming. With the departure of guitarist and key songwriter Anders Björler, To Drink From the Night Itself continued down a similar, albeit more atmospheric path. Now, one of the most maligned yet mimicked bands in death metal are preparing to release seventh album The Nightmare of Being. And I have opinions...
After some time, I can safely say this is the best At The Gates album since Slaughter of the Soul. I spent most of At War With Reality pining for the band’s earlier albums, and the same again on To Drink From the Night Itself. I can’t in all honestly claim to feel any differently with The Nightmare of Being. But for the first time since 1995, I feel At The Gates are actively trying to experiment and even progress. Their riff-palette remains the same but the slight experimentation found in their modern output is much less of an afterthought, which bestows a certain quality on this new work.
In a rebellious subversion of AMG instruction, I’m going to get the bitching out of the way first. This album is too long. Or rather, it feels too long despite its 45-minute sweet spot. This seems to be endemic to metal in general at the moment but I’d have hoped a band as seasoned as At The Gates might be able to circumvent this. The songs just spend too much time trying to build gravitas to facilitate the album’s subject matter. The writing deals with the nature of mortality. To this end, a somber mood pervades. Sadly, the airy build-ups and introductory tremolo work often bloat the material. “The White Hands of Death” appears to end just as it finds itself, where as “Cult of Salvation” seems to hit the gothic mood in perfect pace. Cuts like the title-track cement the introspective nature early on but it’s all a little too self-indulgent. The worst part is, it’s nothing a little editing wouldn’t fix. There’s a depth to the construction that the band have been toying with for a decade and The Nightmare of Being finally acknowledges it in full. Jonas Björler’s writing remains highly-recognizable. “Spectre of Extinction’s” pristine melodies are born aloft on thrash-infused riffing. It never over-stays its welcome while “The Paradox is a tailor-made single. There’s a lot to like here. But a machine as well-established as At The Gates command’s high-expectations. And standards demand scrutiny.
I have long resented At The Gates‘ attempts to move forward by revisiting their own tropes. The Nightmare of Being thankfully keeps the self-referential moments to a minimum and consciously tries to advance. The samples and key-work go a long way, but my absolute favorite track is “Garden of Cyrus.” This pseudo-instrumental clarifies the mission-statement with post-metal structures, elegiac riffs and plenty of sax in the bridge. This is the song that quantifies the sound At The Gates were aiming for. It’s also the only time the album ever truly defines it. Thankfully the entire record benefits from a much-improved production. To Drink From The Night Itself sounded thin and dull. The Nightmare of Being keeps Gothenburg’s infamous bombast alive with a rich master and generous mix. Unfortunately, there’s still nothing that can compensate for the clear lack of venom in Thomas Lindberg’s famous cadence and an indistinct second half.
It’s impossible to divorce a band from their classic works when reviewing new material. And nor should we. After all, such seminal records influence their creators as much as their admirers. At The Gates have always tried to test themselves. Atmosphere and riffing have long been a part of their arsenal and The Nightmare of Being illustrates that just as much as With Fear I Kiss The Burning Darkness or Slaughter of the Soul ever did. This seventh outing is a definitive grower. Only time will reveal the true weight of its contents. The only question is, will you give it said time or relapse into that terminal spirit disease and fall back on old, safer glories.
"to drink from the night itself"
Year: 2018
Label: Century Media
Format: CD, LP
Tracks: 12
Times: 40 min.
Genre: rock
Style: Death Metal
Year: 2014
Label: Century Media
Format: CD, LP
Tracks: 13
Time: 40 min.
Genre: rock
Style: Death Metal
"slaughter of the soul"
Year: 1995
Label: Earache
Format: CD, LP
Tracks: 11
Time: 34 min.
Genre: rock
Style: Death Metal
5.30.2021
MDC
"millions of dead cops"
Year: 1982
Country: US
City: San Francisco
Label: R Radical
Format: CD, LP
Tracks: 14
Time: 20 min.
Genre: rock
Style: Hardcore Punk
Year: 1982
Country: US
City: San Francisco
Label: R Radical
Format: CD, LP
Tracks: 14
Time: 20 min.
Genre: rock
Style: Hardcore Punk
MDC is a punk rock band formed in 1979 in Austin, Texas, subsequently based in San Francisco, and currently Portland, Oregon. Among the first wave of bands to define the sound and style of American hardcore punk, MDC originally formed as The Stains; they have periodically changed the meaning of "MDC", the most frequent being Millions of Dead Cops. The band's lyrical content expresses radical left political views and has proven influential within the punk counter-culture.
MDC released material through ex-Dead Kennedys singer Jello Biafra's independent label Alternative Tentacles. In the 1990s, vocalist Dave Dictor published editorials for the internationally distributed fanzine Maximumrocknroll. MDC's initial run ended in 1995, and the band spent five years on hiatus, before returning in 2000 with some new band members.
"multi death corporations"
Year: 1984
Label: R Radical
Format: CD, LP
Tracks: 14
Time: 20 min.
Genre: rock
Style: Hardcore Punk
Discogs , Download
Year: 1984
Label: R Radical
Format: CD, LP
Tracks: 14
Time: 20 min.
Genre: rock
Style: Hardcore Punk
Discogs , Download
"smoke signals"
Year: 1986
Label: R Radical
Format: CD, LP
Tracks: 13
Time: 30 min.
Genre: rock
Style: Hardcore Punk
"millions of damn christians"
Year: 1987
Label: R Radical
Format: CD, LP
Tracks: 14
Time: 30 min.
Genre: rock
Style: Punk Blues
The band's 1987 album, "this blood's for you", is indistinguishable from their previous one. Radical music change from old hardcore punk to songs slowier, melodic and closer to blues rock. In fact even "politician" is a cover of band Cream.
Metal Devil Cokes
Year: 1989
Label: R Radical
Format: CD, LP
Tracks: 16
Time: 34 min.
Genre: rock
Style: Hardcore Punk
a lot of people back in 1989 where not happy with this record like they where not happy 3 years earlier in 1986 w/ smoke signals as many hardcore kids at this time felt mdc where going in a very fluff direction but for me?? i really enjoyed the lp when it came out in autumn 1989, some fantastic songs are on here like deep in the heart of fascist amerikkka, i was a dupe for the rcp, acid reighndeer was quite odd but it fit this record well at this time, i remember i did not like that song knucklhead i felt that was a bit silly at the time so yes i had to pick and choose wich songs i liked best of this album, the title track was very good to, i saw mdc at gillman st in berkley ca about 2 months before this record came out and the songs went over live very well, before this came out dave had played me a couple of songs from this in the summer of 89 when i was out in frisco and i crashed at the legendary rat house a night or two it was great and nice of dave to give me a little glimpse of what metal devil cokes was going to be like, anyway i really enjoy the humor and the way this album just goes great vibe but i also understand the die hard 80s hardcore crowd at that time that did not care for this release, once again i loved it and still do, i also own it on cd as well as viynl i bought back in 89 when this hit the then record shop shelves, ive been a big mdc fan for 31 years now since 1984 so even some of the records fans did not care for in the later 80s i always found something i really liked on them as i did with this one, like i said not every song is great BUT the ones that are here are worth it to buy this on lp or cd... great memories from these days ps it was at this time in the late 80s some where calling mdc a heavy metal wanna be band like dri turned into sorry i did not agree with that then and still dont, they just got a bit tripped out that is all they where guilty of (*Review by Edward Mccarthy ).
here below the iconic image from Iwo Jima battle:
"hey cop! if had a face like yours"
Year: 1991
Label: R Radical
Format: CD, LP
Tracks: 14
Time: 28 min.
Genre: rock
Style: Hardcore Punk
"shades of brown"
Year: 1994
Label: Red Archives
Format: CD, LP
Tracks: 14
Time: 29 min.
Genre: rock
Style: Hardcore Punk
"magnus dominus corpus"
Year: 2004
Label: Sudden Death
Format: CD, LP
Tracks: 18
Time: 40 min.
Genre: rock
Style: Hardcore Punk
Year: 2017
Label: Primordial
Format: CD, LP
Tracks: 12
Time: 34 min.
Genre: rock
Style: Hardcore Punk
"millions of dead cowboys"
Year: 2020
Label: Twisted Chords
Format: CD, LP
Tracks: 12
Time: 40 min.
Genre: acoustic
Style: Folk Punk
Year: 2023
Label: Cleopatra
Format: LP
Tracks: 14
Time: 28 min.
Genre: rock
Style: Hardcore Punk
"war is a racket" was a book published in 1935 and also the new MDC album.
5.21.2021
CHOKEHOLD
"with this thread I hold on"
Year: 2020
Country: Canada
City: Hamilton, ON
Label: Good Fight
Format: CD, LP
Tracks: 10
Time: 26 min.
Genre: rock
Style: Metalcore
Chokehold is a Canadian straight edge and political hardcore punk band from Hamilton, Ontario, Canada. They were active from 1990 to 1996, and came together again for a reunion tour in 2015, and five dates in Japan in September 2016. They released their third album in 2019. Songs like “Profit Over People” are the natural evolution of the cultural criticism Chokehold perfected in the early 90s, from sarcastically sampling an old Young Republicans Youth Choir record on Content with Dying to critiquing a vapid TV culture obsessed with tawdry misdeeds, even as political prisoners (like Mumia Abu-Jamal and Leonard Peltier) languish outside the spotlight of the tabloid circus.
Year: 1995
Label: Bloodlink
Format: CD, LP
Tracks: 10
Time: 24 min.
Genre: rock
Style: Hardcore
Subscribe to:
Posts (Atom)