Seasons Are Going And Going

Final Exit are without question one of the most highly praised noisecore/grindcore bands from Japan, maybe even the world. Their progression from the days of making simple grindcore rooted noise, to nowadays making, man I don't even know how to describe it. The sheer unhinged, chaotic catharsis of a musically proficient maniac? All I know is that their mastery and technical performance floors me. It's the perfect blend of shitcore noise and great musical talent. What many consider their magnum opus, the mini-album "Seasons Are Going And Going...And Lives Go On", was reissued last year on a lavish gatefold single-sided 12", by the outstanding SPHC. A label that has become quite a common face on this blog.  All copies were pressed on black vinyl, 33RPM.

I played this record at my job the day I got it, my manager was the only one working who got to hear it, along with any customer lucky enough. My manager turned to me when it was done and said he didn't quite like it, amazingly. In his paraphrased words, they sounded too goofy and there wasn't enough serious craftsmanship to latch onto. It took me back, in my own perspective, as someone who does love this bands music. Eventually it did make me realize that to many, unfortunately, they will undoubtably come off as nothing but a joke. It's hard to not empathize with it, and in some respects that opinion holds true. This is truly off the wall music, it's batshit, bonkers. It'a a grinderized smatering of literally a million different genres. Changing keys, tones, riffs, tempos, genres, everything and anything seamlessly at the drop of a hat. The over the topness can easily lend itself to parody, but this is also what makes "Seasons Are Going And Going..." and Final Exit, so brilliant. They embrace this complete ridiculousness, wink at you just enough, but lay it down so well that it does a 180 and becomes truly exceptional again. 

On top of that, this is a band that is comprised of musicians of real musical talent! These song are so tight and perfectly performed, it's astonishing. You could make ties to bands like John Zorn's Naked City. Another band that created noisy, frantic compositions played with by musicians of expert skill levels. Yet Final Exit remains in a league all of their own, especially in the grindcore/noise world. The duo line-up most likely helps with the tightness. Both Ryohei and Hisao are locked into each others movements and shifts, honed from years of playing. Also unlike most other noisecore, "Seasons..." is recorded very, very well. Every little bit of detail shines through purposely and effectively. It's noisecore done unlike any other.

A noisecore concept album in the loosest sense, "Seasons..." is made up of 12 tracks, named unsurprisingly after each month of the year. It definitely stands as some of Final Exit's strongest material. The attack on your musical senses is incredible. Lasting just short of 11 minutes, and using every valuable second of that time to cram in as much shit as possible. "January" opens with the familiar no-riff guitar noise and crazed drumming, before veering off into straight up Van Halen double tapping. Then more noise, then OSDM riffs, then everything you can imagine. Surf guitar, hand claps, Iron Maiden riffs, metal slams, clean guitar, power pop, it's utter chaos. In the case of the titular "May" track, the band couldn't resist and made a sugary pop-rock instrumental (I wonder why people think this band is silly?). The track "September (Be My Baby)" is a masterpiece shitcore anthem that I hope to see live some day. It's so good, it's so tight, so impressive. It's wonderful. 

SPHC painstakingly recreated the colorful and lavish artwork from the original digipack 3" CD this was originally released on in 2008. Credit is certainly due to Derek/Rage For All Records for originally releasing this monster to the world. Everything has been replicated on the gatefold jacket, even the center label looks like the original CD label. The only thing that changed is the spine, which now includes the full album title and the SPHC brand. And the new thank you's for the vinyl reissue in the gatefold.

You can pick this up from SPHC obviously. Get it!

~VII

The ABC's of Noisecore

If I ever posted an official "best of 2016" list on any blog platform last year, you were bound to see this record placed firmly near the top spot. A brilliant noisecore split released by the always reliable SPHC, one that is a sure fire way to make most newcomers take a moment of pause. Two bands, Anal Butt and Cunts, both with monikers that are bound to spark reflex chuckling, or disgust. The latter only used drums and vocals. Sounds like something that only a basement dweller would vibe to. Me personally, I'm in love with it. One of the best slabs of wax I've heard in a few years. The newly released official pressing (I'll get to that later) is pressed in a run of 250, all black vinyl. 33 RPM.

Anal Butt not only have one of the best bad band names ever, but they're also a band that pulls of brutal, knuckle dragging noisecore with a tweaked sound perfectly. Spearheaded by SPHC label owner Dan McGregor and Co., I've heard him say that this is the best thing he's done. And while I haven't heard the bulk of his discography, I'd have to say this would be hard to beat. The sonic assault that Anal Butt bring on their side is crushing, warp speed, kaleidoscopic, and embraces the best of the genre's unapologetic stupid qualities. Standard instruments are used; drums, bass, guitar and vocals, and the general sound is nothing that groundbreaking. However, the editing and attention to detail in the recording, dare I say the arrangements of it, are just excellent! The session starts with a good chunk of short, crudely edited song bursts that begin with stick clicks. Eventually everything gets noisier and noisier, growing and getting more claustrophobic. Vocals are doubled on top of each other and the bass sounds like it's literally frying from the distortion. Simply brilliant editing and cutting out certain instruments at certain times, or letting everything die out for a split second to just explode again with more blasts and noise! Next thing you know there's a generic hardcore breakdown riff with Patrick the Starfish vocal grunts. It's such a joy to listen to every time, I always notice something different.

Cunts is a noisecore duo from Japan that have been around for over a decade, and have been a band that have been a treasure to fans of the underground. Their releases are sought after, and I'm fortunate enough to own only a couple items. The drill here is only vocals choking with high gain feedback, and drums. Bada bing. Cunts is a band that takes noisecore to almost it's most bare bones and neanderthal. Their recordings however always showcase the sheer brutality a duo like this can bring, and their half of this record is no exception. It's mastered so fucking loud, the feedback almost makes you feel like your ear drums are getting stabbed. The drums supply all the punch and force they need, they're performed absolutely perfectly. Blasting, grooving, polka beating and stopping all at just the right times. Ucchys non-stop screams and yells are so relentless they almost have a hypnotic quality. I'd say they're the best band doing this style of noisecore since World, easily. Definitely not as heady or conceptual as World, but they certainly are no chumps. It's so damn good, I cannot recommend it enough.

The record is packaged in a single-sided fold-over sleeve with this small insert inside. All of the regular press have large hole in the center.

Now back in the summer of 2016, I got to perform with Anal Butt and Sedem Minut Strachu, and I was able to pick up what was unbeknownst to me at the time, a test press! A run of 50 TP's were made for the tour, and I feel very lucky to own it. The test press version is virtually identical except it has a small center hole and no insert.

You can pickup this record at SPHC, what are you waiting for?

~VII

Sedem Minut Samurai

The noisecore lordships themselves, my favorite band, Sedem Minut Strachu graced the USA this year on their first tour over the Pacific. Playing alongside fellow sound crushers like Final Exit, Six Brew Bantha, Space Grinder and Deche-Charge. Echoing their incredibly prolific year before this, 7MS have cemented their status as contemporary titans of noisecore. One of their strongest releases to date comes to us from American weirdo/punk label SPHC, which is a label I definitely trust when it comes to insanely bizarre noise and punk releases.  A full EP of new studio recordings, recorded on their Japan tour at Ryohei's (Final Exit) home studio. This is actually a test press version they sold on their portion of the American tour with Anal Butt. Limited to 45 copies, 33 RPM.

I'd say that this is one of 7MS's most punishing recordings to date. Ryohei did an excellent job of capturing and engineering their signature assault and boosting it tenfold. Both Rado and Richard are hard-panned into their respective channels, surrounding you in churning walls of bass distortion and free form, neanderthal vocals. Richard (right channel) seems to have a pitch shifter on his voice and his grunts never sounded more barbaric. Jan's drumming is one of the real highlights on this record. The snare is compressed perfectly and the hits are so bright and pangy, the kick drums sound monstrous, and the cymbals sound like a bunch of chains being wailed on. It's a challenging mix, but I can't get enough of it lately, it's been on repeat all week. The last 30 seconds or so actually feature Ryohei on drums, which is a fun little add on at the end. Seriously, "Sedem Minut Samurai" is a brutal, brutal EP. It's one of the best recordings I think 7MS has ever done.

The test press is packaged in a simple fold-over sleeve with no inner art. White labels, and a double sided insert with the Japan and American tour dates. According to the SPHC website, this test press was actually rejected. Hopefully the pressing plant will make this incredible EP a priority soon and it will be available to the masses.

I actually got to perform on the Rochester, NY date of the tour. One of the real highlights of the year for me.

Until this EP is released officially, you can listen to the recordings HERE.

~VII

Imitation Which Looks Real

I've had this record around for a few months now, and for some reason, I never decided to spin it until very recently. No real reason why it's been left on the bench for so long. Just lost in the shuffle I guess. Goddamn it was so good to finally give this piece of wax a play though. I picked this up when I saw SSS in Syracuse a little while back. I had heard they were selling test press's of their split 7" with God's America on this tour so of course I had to grip it. I'm not sure exactly how many of these were made, but the numbers have to be well below 100. Here is the excellent live split between Sete Star Sept and God's America, 33 RPM.

On paper this isn't a 7" I would immediately go and purchase, even though I do like both bands quite a lot. Live recordings have never really been a huge turn-on for me, and both sides on this record were done on the radio sometime in 2014, when they were touring together. SPHC being the awesome weirdo's that they are teamed up with Subruckus Collective (a label I've never heard of) and put both sets onto a 7". Both sides really are great though, and sound superbly raw thanks to the great mix. SSS are of course a complete masterful live band, really one to check out if you ever get the chance. As usual their set is vicious and non-stop, both members expertly synched up with one another. 17 "songs" make up their side.

God's America's side is just ridiculous. 15 songs done in about 6 minutes. It's completely unrelenting, but still very tight. Songs start and stop in the blink of in eye, only short snare or cymbal hits offering any break. I honestly didn't know G'sA had this many microsongs, but goddamn this is one of their most chaotic recordings to date.

Given the overflow of vinyl records needing to be pressed, of course the band didn't have legit copies of this record in time for the tour. Honestly it's a miracle they even got the test presses! The cover's just a simple photocopied sleeve, with the tour dates printed on the inside. I caught them on the Syracuse date.

This record is actually out now on SPHC, which can be picked up HERE

~VII