From the opening salvo "dick cutter dick cutter razor blade pussy....I don't care what your dick is like, I don't care if it's black or white, my pussy's like a genital blender, dick and balls smoothie forever..." you know WONDERCAT are something special. Delivered with MOLDY PEACHES' endearing innocence, this New York duo adds SOCKEYE's irreverence to the mix...and a penchant for singing songs about dicks and pussies. A cute, rambling, shit-fi indie pop duo that channels every whispered teenage dirty inside joke and turns them into embarrassingly addictive alternate universe hits that make you hum the melody from a song about being born with seven clitorises. You've been warned.
19 February 2019
Every time I revisit SORE THROAT I find myself spending most of a day with them. After I ripped Never Mind The Napalm... over the weekend, I cranked Unhindered By Talent and Death To Capitalist Hardcore in rapid succession and marveled at their shameless approach to grinding anarcho-stench. I've heard them dismissed as noise (we can discuss the illogical reasoning that leads a person to "dismiss" something because it is "noise" some other time), but I would classify SORE THROAT as fukkn visionaries. Their approach to music, and the destruction thereof, is admirable in its simplicity and in its brutality and the tongue in cheek assault on our grim reality is manifested in those one riff, sub-30 second bursts of in(s)anity. 1989's Never Mind The Napalm.... is perhaps SORE THROAT at their most together, though both the US and UK cassette versions only include the decidedly more musical B-side of the LP's 43 tracks (compared to the 100+ track Disgrace To The Corpse Of Sid LP released the same year), just an assault of guttural grind and ramshackle UK stenchcore. It's ugly and it's fierce, and it's very very desperate sounding...a sign of past and present times, perhaps.
18 February 2019
It's almost as if INDIGNARI are struggling to reign themselves in. It doesn't always work, and when they lose control it's pretty damn beautiful....I mean that in a very ugly way. Breakdown at the end of "Hollow Man" is simply deadly, while "Rise And Fall" is deadly in its entirety.
17 February 2019
Ferocious, under the radar San Diego hardcore circa 2003. This is like when i heard NEIGHBORS for the first time in '95 - like, "who the fukk is this and how is it so tuff?" Turn of the century fastcore with one foot stuck in DC and one ear glued to the stereo that cranks '80s SoCal hardcore on repeat, I feel like if this had dropped in 1999 we all would have been crawling over each other to get on the S.B.V. bandwagon, just fast fast straightforward hardcore with little flourishes like the tiny timing break in "Colored Vinyl Fetish" and when they drop into a midtempo groove ("Posi-Core Anthem For The Negative Youth" - and that scream at the end....for real) this outfit is deadly. This one should be mentioned in the same breath as the big dawgs of the era.
16 February 2019
A marriage of sparse solo guitar and subdued acoustic industrial improvisation, the sole release from Italian experimental duo MISE EN ABYME listens like a deconstructed SIR RICHARD BISHOP treated by BLIXA BARGELD. It's a challenging journey at times but one well worth embarking upon, as these two invite the listener to evolve and discover with them, in real time. The journey should be, after all, just as important as the destination.
15 February 2019
Angry, mean, desperate....weird. Modern hardcore put through a filter that I can only describe as "Oklahoman" sentenced to do time on tiny magnetic tape with '90s US basement 'core and West Coast Powerviolence greats. I wish I could say that everyone gets along here, but the clash of frustrations from all side results in an incredibly tense release, and you feel kinda dirty after you listen to it. Whether that's the point or not, it's the effect. And it's honest.
Maybe presenting cassettes in their physical form is rather assholish behavior (on my part) when it means that you get a mutated, hiss-filled tweak to what the band likely intended, but I still believe that that's a part of the joy, and the excitement, of sub-par media. Life is a crapshoot, punk, and sometimes you get what you fukkn get even when you try real hard...and besides, you're on the damn internet. So if you want to hear a version more suited for driving to the mall in your mom's '14 Acura instead of getting shithoused on a country backroad north of Guthrie in that shitty '87 Ford pickup you keep limping around town, then CROSSBREAKER still has you covered.
14 February 2019
The second demo from these Toronto mutants (the first, posted last year, was titled II) is full of even more noisy stomping ferocity that teeters along mad-as-in-angry and mad-as-in-insane. The aural chaos is intentional, calculated, and it still feels like JOCKSTRAP is about to careen off the cliff at any moment - even though you know that's how they want you to feel. The weird future feedback in "End It" is my personal highlight, but at seven whopping minutes you surely have the time to listen intently to find your own.
13 February 2019
I must be doing something right. A few weeks ago, a fellow who I work with very occasionally but don't really know at all (he appears to be a rocker, but we are essentially on a "nod of acknowledgement" basis) walked up to me and asked it I liked black metal. Sure, I said, though it's far from my field of expertise. Cool, he replied, and said he was going to make me a tape. A few days later, I had this in my hand. It only takes a few googles to see that Sweden's WULKANAZ are well established in the kvlt world, and a few tracks into 2018's self titled Wulkanaz to realize why. A solo project from Kumulonimbus from TOMHET (I didn't know that), WULKANAZ has been cranking out dark and weird black metal for a decade and it's the emphasis on weird that makes them as compelling as they are. You can get away with things when there's no one else in your band that would be really hard to pull off as a collective, and WULKANAZ's use of ambient noise and primitive recordings that careen wildly through various metal and industrial subgenres is compelling to say the least - take the double shot of "Det Svultna Gap" into "Stiärnväv" as an initial example. So yeah....this more or less random dude just walked up to me and gave me a tape because he thought I would like it. That's cool. And I do like it.
It's worth noting that the official cover art to Wulkanaz is decidedly more evil that the images shown here. Dude cut and pasted this shit like a true tape monger, and for that I offer even more appreciation. I have a hope that we never become friends, but continue to exchange tapes. Though I'm really going to have to up my cut and paste game:
12 February 2019
This is the sound of a truck hitting you in the face. Intentionally. Eleven blasts of rage and frustration in eight terrifying minutes, this 2015 demo is a beating that simply doesn't stop...until they close with a FLOORPUNCH cover that makes it clear that they could be the Kings of Hardcore if they weren't so addicted to grinding. This tape is power realized, and it's exactly what I need today.
This was released in a criminally limited edition of 30 by Knochen Tapes from Germany. If you like to grind, then you should already know who they are.
11 February 2019
"Fields Of Destruction" is, straight up, one of the best noiz/DBeat tracks I have ever heard. Four damn chords delivered with just the right combination of starts and stops and hiccups and relentless fukkn noise, plus the requisite desperate howls presented as vokills. 13 minutes of unhinged DBeat noise, this demo is is at once "by the books" and groundbreaking - perhaps just because they execute with such deadly precision. Check the first 15 seconds of "Feigning Life," and then try to have a normal day.