Chokin' On Bones

Another Haggus split 7" post today. I've been trying to slowly catch up on all these new records that keep coming out this year. This split 7" with Heinous, an awesome gory grind band from Phoenix, AZ. was put out by a whole crew of labels (Suicide of A Species, Grindfather Productions, Fuck Your Life Records, Morbid Reality Records, and Not Kvlt Records). This is the standard black vinyl press, I couldn't find a clear vinyl copy, 33 RPM.

I'll start off with the Heinous side, which was released a little earlier than this split as an EP called "Four Under The Floor". This definitely stands as my favorite material the band has done so far. The five songs on here just straight up slap. Starting off with the devastatingly heavy track, "Chokehold", which is about as good as a first song gets. That slam part in the middle gets me every time. Heinous are an interesting band for sure; rooted in goregrind but with some war metal riffs and heavy as hell slower, more groovy moments. This is probably the recording that best conveys how great the drumming is live as well, fast and tight as hell. I also really dig the guest vocals on the 3rd track, "Dissected". At first I thought that they were trying out more non-pitch shifted, low and high vocals until I realized that it was Payson from Gimp and another person who I don't recognize. Great, great stuff, I come back to this side often.

On the flip side is Haggus, who give three tracks of fun, bouncy, gory mincecore. More songs with that earlier sound and style. Coming in hot on the opener "Septic Aroma" with a pit starting mid-paced beat and guitar leads. There's not as many blast beats as I would like overall, lots of metal-ish riffs and d-beat passages that kinda just do the job but have a little too much of a bland flavor too keep eating. But it still is hard to deny that good ol' Haggus energy every time.

Got a nice, and tidy packaging job split with both bands different art styles. That Heinous art is so great. Gimme those big, bold, high contrast B/W illustrations all day!

This split should be pretty easy to find still. Again like with all of these Haggus splits, it would rule to have the cassette version as we'll.

~VII

Premature Necropsy

I feel like I keep saying this, but I was very excited for this split to come out and to finally get a hold of it. I missed out on the pre-vinyl cassette release, which would be sick to have since I kinda listen to tapes more than records these days. However, this 7" record is definitely a very much coveted purchase. I actually bought two copies of this record because I thought the first copy I bought got lost in the mail. Here's the Haggus/Acid Feast split, released by Suicide of A Species, Fuck Your Life Records, Grindfather Productions, and Bloody Scythe Records. This tri-color pressing is limited to 66 copies.

I was so excited to hear the Acid Feast side, and it was very well worth the wait. Acid Feast is straight up awesome, I don't think they have a dud release in their whole catalog, this split included. Four new songs and an groovy Ulcerous Phlegm cover to close it out. As usual, the recording is as gnarly as the stench from the putrefying insides of a crypt. Powerful, fast blast beats and crushing riffs with a smart use of groove, and catchy mincecore breaks. The songwriting is just top notch, "Parasitic Infestation (In The Coffin)" for example is just one amazing riff after another, just stomping your brains out. A real stand out track. It's just a pretty dang perfect slab of ugly, gross grind, I love this shit to death. However, very sadly Acid Feast broke up almost a year ago. Word is they have one more posthumous release coming out, fingers crossed! Jim, their guitarist plays drums for a ripping band called Disease now.

This is some of the riffiest Haggus material I've ever heard, with two lengthy tracks filling in their whole half of the record. I don't listen to crust punk at all, but I'm just gonna say that the first track, "Picnic At The Morgue"sometimes sounds like Wolfbrigade. But it has these horror/surf/death metal riffs in the first big verse. Kinda reminds me of Ghoul. It's a fun song I gotta say. Kinda silly, but I'd totally dance to this live. The closer, "Marinating In Coagulated Pus" is more of mincecore stomper, with lots of stops, and a totally rabid closer. Twin guitar leads are included. Awesome stuff, lots of variety and a jump-kick energy.

The front cover is pretty gnarly. 

I was SO happy I found the tri-colored split. It's a thing of beauty, I'm very impressed with how they look.

HIGHLY RECOMMENDE SPLIT! All the distro's I linked above should have this is stock. Please buy it.

~VII

Roses Are Red, Grinders Are Cool

Bruised Ego are a band that are very near and dear to my heart. One of my favorite bands to come out in the past few years for sure, and some of the raddest dudes. Their first demo tape really knocked me out when I first heard it a couple years ago, and their very active progression has been insane. This, their first full length LP "Roman Numeral One", was recently released on a variety of labels. I was lucky enough to be able to pay for a handful of copies before it went to press, and Brad was generous enough to put my lil' ol labels logo on the back. So yes this review is pretty biased, but fuck it cause y'all really need to check out Bruised Ego (and buy this LP from the band and other labels please).

Bruised Ego are a fastcore band through and through, exemplifying all the traits I love about the genre and its over the top sonic nature. Passionate, opinionated, the right amount of tongue in cheek, plus they can push the tempo's to mach 5. "Roman Numeral One" is the product of many hours spent refining their craft and they gave it the treatment it so deserves. I was so stoked when I heard that super metal producer/engineer Colin Marston was going to be recording the LP, and he definitely put a large roomy, thick sound to everything. A very raw, aggressive and energetic sound and performance comes through. It's warp speed shit, I gotta catch my breath a lot when I listen to this, and I've heard it quite a lot at this point.

Every song from the first demo is re-recorded here, but the remaining 15 tracks are all new and in your face. Bruised Ego always been really terrific song writers. Brad is a riff machine, incorporating a ton of influence from different styles of heavy music besides the tried and true fastcore bands. Adam's drumming is perfectly able to add the right amount of accents and tricks to make the riffing come alive in a new way. One of the craziest drummers to watch live. The track "Dundalk" for instance, has so many sharp stops and changes, it sounds like a track from No Comment's "Downsided", but on fast forward. Or the strange and staggering snare hit break in "Old Guy In The Pit". "Human Garbage" has a fantastically structured intro that weaves and morphs so tastily, then explodes into full on war mode. Mike is also sounding as aggressive as ever. Insane praise for being able to keep up vocals towards this music.

The packaging and layout of this record is total eye candy to me. It came out so good! The absolutely amazing cover art (done by Lobo Ramirez) is full of wonderful little easter eggs that were a lot of fun to pick out.

You can pick this LP up from the Bruised Ego link up above. Also from To Live A Lie and Craniophagus Parasiticus Records (can). Tru Freak doesn't seem to have a webstore. Fastcore is alive and well in 2018!

~VII

Fortress of Solid 'Tude

Two American fastcore bands unleashed full lengths on to the world last year. Both of them have an output that I consider to be something special. One more modern (I'll get to them in April), and the other a band of veterans. The Almighty Hummingbird of Death gave us their 3rd full length LP, "Forbidden Techniques", released by To Live A Lie records in a run of 500 copies. 100 on this orange vinyl color.

The 'Bird was actually the first band I've ever made a conscious effort to collect all their records. I fell off over the past couple years since my online buying days are past me, but getting this record was essential. HoD are always a band that push themselves and seems to strive to make every record they do stand apart from each other. Every one maintaining the signature style and grace of the band: from the 5" EP classic, "Goatmeal", to the 13+ minute long track on the Downsided split. "Forbidden Techniques" is the band at their peak right now, they've made what I consider to be their best record so far.

Everything about this record is just the best; it's the best recording the band has ever had. The drums sound full and punchy, same with the guitar and bass tones. The performances, the compositions, pshtt forgetaboutit. Not a dud in the whole line-up here, everything sounds so inspired and finely tuned. But not in a proggy, annoying way, they've just crafted amazing songs. Tons of fun little moments, like the solid decreasing tempo on the outro to the first song, "Fresh Hell". Which goes immediately into one of the most hard hitting tracks on the album, "Thicken". I can't not help but trash a few fists in the air every time that song kicks in. Or the fantastic gang shouts on "Fuck An Apology", one of my favorite tracks on the album and surely a future anthem for the band.

Always a band to have topical lyrics, "Forbidden Techniques" is not without it's fair share of social commentary. From our obsession with technology, the current political climate, to social media, the 'Bird have a lot on their minds. But still keeping a general fun attitude, more like poking and prodding instead of just preaching.

And the ARTWORK! Man, this is some of the coolest artwork I've seen on a grindy/fastcore album in a while. I love everything about this, the colors, the detail, it's glorious. Huge shout out to Lucan Korte for this masterpiece.

This release is still available, you absolutely need this in your life. Now a surprise kitty photobomb!

~VII

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

15 Years Later

One of the must own/gotta have it noisecore recordings to come out on vinyl this year, is this here split between OPS-PSF and Snajper. Released by Rage For All Records, a label run by a man named Derek who is more dedicated to releasing freaky, esoteric noise garbage (all with very professional care and work put into them!!!) than almost any cult label I know. Every time we've ran into each other at a show he will bafflingly gift me a handful of free records he's released. Simply because I don't own them yet. Such appreciation for crazy noise has to be talked about, and if anyone was going to release a vinyl record of these amazing, seldomly brought up noisecore bands, it would be Rage For All. This release came out in a run of 300 copies, 200 on black and 100 on purple, 33 RPM.

OPS-PSF, masters of their craft in cut-up/sound collage noisecore, do what they do best on their side and of course it fucking rules. Flashes of garbage guitar, low-pitched growls, clean guitar, movie samples, cymbal hits and loose blast beats; edited and put together so fast that it seems to be designed for a listener with the shortest attention span possible. There's this one clean guitar chord that keeps popping up all over the recording that gives the piece some sort of repetition, but that's about it. Completely nuts and really damn good.

Snajper came into my mental encyclopedia thanks to this record, because literally no one I've ever known who's into noisecore talked about them. Like a long forgotten, deeply buried artifact, new knowledge of this little duo from Slovenia's existence came into the world. This is fucked up shit of the highest caliber, perplexing noise garbage that is done with literally the smallest of means. The very handy little essay on the band tells bits of the story of this group, who existed in the late nineties and released a hefty batch of split tapes. Basically, you got a cardboard box for percussion, a microphone, a shitty computer, aaaaaand you get Snajper. I'll say that out of all the stuff I've heard from them, this is the "best sounding" their recordings have been, but the aesthetics remain completely in tact. It's magical to say the least, I can't believe this got pressed to vinyl. This is some weird, gonzo, messed up noise, no bullshit at all.

Nice deadwax etching from OPS-PSF, I'm happy I could get it to show. I recommend this record a lot if you can't tell already.

~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

Mutilated Regurgitator

Anyone who collects grindcore should have at least 1-5 Agathocles records somewhere in their stacks. I myself have about 30, mainly sticking to their 7" split releases. Reviewing their records seems pretty superfluous in 2016 though doesn't it? Their best material has been re-re-re-recorded over countless releases and bootlegged records. Is Agathocles even a real band anymore? It's hard to tell how serious the members take the band now, at least in regards of writing new material. Regardless, their releases are usually always fun and I try to pick one up whenever I can. Agromosh Records recently repressed a great double 7" collection they released years ago entitled "Keep Mincing"! 2nd press on purple/dark blue vinyl 33 RPM.

These recordings were originally released on their first press of this record back in 2002. Half studio and half live recordings all done in 1988 (arguably around their best era). The A-side is all studio tracks recorded around the same time as classic recordings like "Cabbalic Gnosticism". It's a brutal recording, loud and violent. One of the best recordings I've heard from the mincecore legends. All the classics are here, like "Christianity Means Tyranny", "Lay Me Off", "Mutilated Regurgitator", and "Introtyle". The live recording has it's charm, but like too many Agathocles recordings, it's pretty painful to listen to. The (awesome) vocals bellow over everything else in the mix, the drummer can barely keep time, the riffs are buried in fuzz. I wouldn't be surprised if it was all recorded with one microphone 50 feet away from the stage. It has charm, of course, but I'll stick with record A more often then not.

Both records come packaged in a fold over, double-sided sleeve with all the info you would want to know about this record. Class.

You can probably find this in any good distro anywhere. FFO staying true to your roots.

~VII