Please forgive me, for though I did see a modern dance performance last night—putting me in the running for "Most Cultured Knuckledragger" on this here internet (Though, sadly, not on that other internet.)—I've otherwise been a lazy and a boring person. However, I'm pleased to report two upcoming shows that are probably gonna rock like that ancient Yucutan metor that killed everything. Go to them.
Tonight, June 17
Cake Shop, 152 Ludlow St.
8:00 pm
$7
Animal — Do they write that? Is that improv? Are you...you're dancing again. Well I'll be...
Upsilon Acrux — groovin' spastic LA robotparty rock'n'roll
Multitudes — I don't know anything about these guys, but I'm intrigued.
(i think that's the correct order, with Animal headlining.)
Tomorrow, June 18
Death By Audio, 49 S.2nd St Williamsburg (btw Kent & Wythe)
8:00 pm
$ ?cheap, though
STATS — one of my personal favorites, they've got a new ep out.
Upsilon Acrux — see above. go see them twice, it'll be worth it.
Clan of the Cave Bear — i wish this would have been the soundtrack to that awful old movie
(again, pretty sure STATS is headlining this one)
So now you have no excuse to stay indoors; even I am going outside. And then back inside for rad music. Oooh, this is exciting! You know what else is exciting? Good modern dance. Yeah, and I'm not just saying that because I have a vested personal interest in the matter. I'm actually looking forward to going to another one. I'll leave it at that lest some fanatic assail me for shattering his/her illusions of my crapulent twit-dom.
Showing posts with label grind. Show all posts
Showing posts with label grind. Show all posts
17 June 2009
28 March 2009
Converge, Genghis Tron @ Europa, 3/27/09
Last night, as most nights at this Polish dance club-cum-hardcore venue, was an odd one. Six bands on a lineup that featured three who hold their own as headliners. According to the bill there were to be three bands (Ceremony, Rise & Fall, Pulling Teeth) before even Genghis Tron took to the stage. Coliseum was to follow GT and then Converge would top it all off.
A rather large cohort of us pregamed while the openers did their thing. None of us had heard of any of them (not that that means much), but we figured with limited energy to use, we'd rather spend it all on the big fellas. We got word that GT was playing at 11, so we headed over just before that. When we arrived some medicore hardcore-ish band was playing and nobody could tell us who they were (which should say something I think).
Tron set up their lights and keyboards then proceeded to rock. I went to college with these guys and even played with Hamilton (in a band called Storm the Bastille, hence the name of this blog). Though I supported these guys early on, I wasn't a huge fan of their early material and it really took me until last year's Board Up the House to enjoy their work. That album is pretty brilliant and now I'm getting more into Dead Mountain Mouth though I think their latest is a much more coherent, enjoyable listen. It's still challenging and disparate, but the elements all congeal perfectly whereas the earlier stuff was a bit jagged and awkward.
Anyway, I'm super stoked that GT have done so well for themselves and made a record that a lot of folks pegged for best of '08. They are awesome live and if anyone is on the fence about them, take a listen to Board Up the House. Oh, and they threw in a Big Black cover for good measure. I can't remember the title, though, because I'm lazy and stupid. But it was awesome.
When GT's set was done, they shocked the whole lot of us by announcing that the mighty Converge was on next. What happened to Coliseum? The shitty band we entered to, though they were using Coliseum's equipment, was emphatically not Coliseum. This was a huge letdown, as a bunch of us really wanted to see them. The last time I tried to catch them—at the old NorthSix—I got booted for immaturely bodyslamming a guy who kicked me in the back during the set. I don't really engage in pit antics, especially now, so I figured I'd last the whole bout this time. So it sucked that we missed them. The end.
Converge came on and took maybe three breaths between songs their whole set. It was one into the next which made for a pummeling, energy-filled performance. I've been lucky enough to have seen these guys for quite a few years now, but this was one of their best shows. The pit wasn't overwhelming to the point of ruinous, so that was a major plus, but they also pulled out the usual crowd faves like "The Saddest Day", "Locust Reign" (a particular favorite of mine), a couple from Jane Doe ("Concubine", "The Broken Vow"), a few from You Fail Me ("Last Light", "Eagles Become Vultures", and a bunch of new ones from No Heroes ("Heartache", "No Heroes"). I know I'm forgetting a couple at this point, but they also managed to squeeze in two brand new as-yet-untitled songs from the album they'll be recording in May. Both were fucking rippers, so there's no sign of letup from these guys. As long as Jacob refrains from singing on the upcoming record it should be all gravy.
~ ~ ~ ~ ~
It would be remiss of me to mention the origins of this blog and not post the actual song. Sure, I'm totally exposing Hamilton's pre-GT life (sorry dude), but I can also lay my claim to being GT's 4th member, as I'm 87% positive that my (lack of) drum skillz led directly to Ham's use of programmed drums. (No, I no longer play drums, as a few years ago I returned to the guitar, which I am much, much better at.) If anyone likes this Storm the Bastille (not to be confused with the PA screamo band) track, get in touch.
Storm the Bastille - "Spaceship Bastille"
A rather large cohort of us pregamed while the openers did their thing. None of us had heard of any of them (not that that means much), but we figured with limited energy to use, we'd rather spend it all on the big fellas. We got word that GT was playing at 11, so we headed over just before that. When we arrived some medicore hardcore-ish band was playing and nobody could tell us who they were (which should say something I think).
Tron set up their lights and keyboards then proceeded to rock. I went to college with these guys and even played with Hamilton (in a band called Storm the Bastille, hence the name of this blog). Though I supported these guys early on, I wasn't a huge fan of their early material and it really took me until last year's Board Up the House to enjoy their work. That album is pretty brilliant and now I'm getting more into Dead Mountain Mouth though I think their latest is a much more coherent, enjoyable listen. It's still challenging and disparate, but the elements all congeal perfectly whereas the earlier stuff was a bit jagged and awkward.
Anyway, I'm super stoked that GT have done so well for themselves and made a record that a lot of folks pegged for best of '08. They are awesome live and if anyone is on the fence about them, take a listen to Board Up the House. Oh, and they threw in a Big Black cover for good measure. I can't remember the title, though, because I'm lazy and stupid. But it was awesome.
When GT's set was done, they shocked the whole lot of us by announcing that the mighty Converge was on next. What happened to Coliseum? The shitty band we entered to, though they were using Coliseum's equipment, was emphatically not Coliseum. This was a huge letdown, as a bunch of us really wanted to see them. The last time I tried to catch them—at the old NorthSix—I got booted for immaturely bodyslamming a guy who kicked me in the back during the set. I don't really engage in pit antics, especially now, so I figured I'd last the whole bout this time. So it sucked that we missed them. The end.
Converge came on and took maybe three breaths between songs their whole set. It was one into the next which made for a pummeling, energy-filled performance. I've been lucky enough to have seen these guys for quite a few years now, but this was one of their best shows. The pit wasn't overwhelming to the point of ruinous, so that was a major plus, but they also pulled out the usual crowd faves like "The Saddest Day", "Locust Reign" (a particular favorite of mine), a couple from Jane Doe ("Concubine", "The Broken Vow"), a few from You Fail Me ("Last Light", "Eagles Become Vultures", and a bunch of new ones from No Heroes ("Heartache", "No Heroes"). I know I'm forgetting a couple at this point, but they also managed to squeeze in two brand new as-yet-untitled songs from the album they'll be recording in May. Both were fucking rippers, so there's no sign of letup from these guys. As long as Jacob refrains from singing on the upcoming record it should be all gravy.
~ ~ ~ ~ ~
It would be remiss of me to mention the origins of this blog and not post the actual song. Sure, I'm totally exposing Hamilton's pre-GT life (sorry dude), but I can also lay my claim to being GT's 4th member, as I'm 87% positive that my (lack of) drum skillz led directly to Ham's use of programmed drums. (No, I no longer play drums, as a few years ago I returned to the guitar, which I am much, much better at.) If anyone likes this Storm the Bastille (not to be confused with the PA screamo band) track, get in touch.
Storm the Bastille - "Spaceship Bastille"
16 March 2007
Out of hibernation?
It appears that I haven't posted anything here since early January. My own fault as I got bored with writing about music and have been heavily concentrating on playing it. I'm also employed again--not that it means I have any money to speak of, but that my time is much more precious than it had been for months.
So I have a few things to get to and I'm gonna change up how I've been doing this (that is, if anybody is still paying attention). Whereas previously I was only posting about new albums being birthed, I'm now going to broaden this to include old stuff that I stumble upon in my search through musical family trees and through suggestions of friends.
I figure the best place to restart this whole deal is with a bunch of friends from the beautiful Mid-Hudson Valley (there's my full disclosure) who've just recorded a completely sick debut full length:
Rising Up Rising Down
Monster Crusher
Maple Leaf Underground Records
Poughkeepsie, NY-based RISING UP RISING DOWN lead off their debut with an "Anthem" for a sludgy new tomorrow. Impressive as this winding instrumental piece may be, it only signals half of what this band is capable of, because everything quickly turns to full-speed mathemadness! This is grind like all the others don't grind: incredibly low-end heavy, these three gentlemen don't like their mud to flow so slowly. They also write riffs to amuse and confuse whilst retaining memorability. You can (and you will) move to this, but only in short bursts because they've already moved on and you've gotta catch up. It takes fucking talent to write songs that turn from punishing to playful and back without losing bite. So no standing there and just bobbing yr skull, I don't care how high you are, you still gotta pay attention.
Monster Crusher was recorded a couple months back with Will Dandy at Dead Air Studios. He did a hell of a job, 'cos when these guys play live it's fucking loud and destructive (I think the album title is representative of the work as a whole), so to be able to capture it for the record is impressive. The album is short because the songs are short, but they've made every second of it count. Anyone who is bummed that Nasum is no more (and really, who isn't?), should get a hold of this, as RURD is legitimately a younger American cousin. I can't comment on their artwork or lyrics really (although I know there's a lot of relevant social commentary in there), because I got a special advance copy from them because we love each other, but if it's half as awesome as the music, then it will still be rad. Whatever, go check out their myspace page and see what the fuck I'm talking about.
So I have a few things to get to and I'm gonna change up how I've been doing this (that is, if anybody is still paying attention). Whereas previously I was only posting about new albums being birthed, I'm now going to broaden this to include old stuff that I stumble upon in my search through musical family trees and through suggestions of friends.
I figure the best place to restart this whole deal is with a bunch of friends from the beautiful Mid-Hudson Valley (there's my full disclosure) who've just recorded a completely sick debut full length:
Rising Up Rising Down
Monster Crusher
Maple Leaf Underground Records
Poughkeepsie, NY-based RISING UP RISING DOWN lead off their debut with an "Anthem" for a sludgy new tomorrow. Impressive as this winding instrumental piece may be, it only signals half of what this band is capable of, because everything quickly turns to full-speed mathemadness! This is grind like all the others don't grind: incredibly low-end heavy, these three gentlemen don't like their mud to flow so slowly. They also write riffs to amuse and confuse whilst retaining memorability. You can (and you will) move to this, but only in short bursts because they've already moved on and you've gotta catch up. It takes fucking talent to write songs that turn from punishing to playful and back without losing bite. So no standing there and just bobbing yr skull, I don't care how high you are, you still gotta pay attention.
Monster Crusher was recorded a couple months back with Will Dandy at Dead Air Studios. He did a hell of a job, 'cos when these guys play live it's fucking loud and destructive (I think the album title is representative of the work as a whole), so to be able to capture it for the record is impressive. The album is short because the songs are short, but they've made every second of it count. Anyone who is bummed that Nasum is no more (and really, who isn't?), should get a hold of this, as RURD is legitimately a younger American cousin. I can't comment on their artwork or lyrics really (although I know there's a lot of relevant social commentary in there), because I got a special advance copy from them because we love each other, but if it's half as awesome as the music, then it will still be rad. Whatever, go check out their myspace page and see what the fuck I'm talking about.
18 September 2006
Oh, the humanity! He's so bulgy, like a moose!
...and one for the doctor...
Exitium - Outsourcing Morality
Deepsend Records
21 March 2006
4 stars
Do you constantly wake up hating the world, feeling stiff-necked, bloated and constipated? Well, five researchers in Oklahoma have developed a temporary cure for this condition. Called Exitium, it is an American take on Scandinavian-style grind featuring lyrics that reflect an existential dis-ease within modern technological society. Veined by elements of death metal and thrash, this material races through blast beats and riff torrents to get you banging your head and shitting yourself again. The production is clean for a grind record, so it goes down with the deathy smoothness of Arsis while it retains the punishing power of Nasum.
Exitium is quite potent material. However, with twelve tracks coming in at just over 26 minutes, it is a bit brief. Despite this those who take Exitium report that the sensation that one has just been pulverized to a fine dust tends to linger. While study participants have revealed feeling a bit muddled at first, they report that it starts to catch quickly and you realize you're incontinently rocking out within minutes.
If this sounds right to you, ask your doctor about Exitium.
Warning: Extended exposure to Exitium can result in dizziness, dry mouth, headaches, bloody diarrhea, and the distinct feeling that you have been lied to since birth by institutions dedicated to the enslavement of humanity.
Exitium - Outsourcing Morality
Deepsend Records
21 March 2006
4 stars
Do you constantly wake up hating the world, feeling stiff-necked, bloated and constipated? Well, five researchers in Oklahoma have developed a temporary cure for this condition. Called Exitium, it is an American take on Scandinavian-style grind featuring lyrics that reflect an existential dis-ease within modern technological society. Veined by elements of death metal and thrash, this material races through blast beats and riff torrents to get you banging your head and shitting yourself again. The production is clean for a grind record, so it goes down with the deathy smoothness of Arsis while it retains the punishing power of Nasum.
Exitium is quite potent material. However, with twelve tracks coming in at just over 26 minutes, it is a bit brief. Despite this those who take Exitium report that the sensation that one has just been pulverized to a fine dust tends to linger. While study participants have revealed feeling a bit muddled at first, they report that it starts to catch quickly and you realize you're incontinently rocking out within minutes.
If this sounds right to you, ask your doctor about Exitium.
Warning: Extended exposure to Exitium can result in dizziness, dry mouth, headaches, bloody diarrhea, and the distinct feeling that you have been lied to since birth by institutions dedicated to the enslavement of humanity.
12 July 2006
Movies + Music =
Graf Orlock - Destination Time Yesterday
Level Plane Records
13 June 2006
4 stars
LA's Graf Orlock—fittingly named for the vampire in the film Nosferatu—specialize in what they've dubbed "cinema grind." This is infectious grindcore that, while not absurdly technical, is advanced in its production and presentation. The "cinema" aspect? Well, leave it to a bunch of Angeleños to gain inspiration from late 80s and early 90s action flicks. Each track on Destination Time Yesterday begins with a sample to introduce chaos. Surprisingly this tactic doesn't get old and this can probably be attributed, actually, to each song containing a sample. In that manner the samples seem to be more integrated into the overall album structure.
Now, the question should be raised, "Do you know which films each of the samples comes from?" And I must answer, "Certainly not." I've never been much for action movies, but I will say that I completely understand the use of the motif. Most of the films from this era were apocalyptic, dystopian and "Futuristic" (as in technologically-engaged). Graf Orlock has taken these themes and run with them to create an album that is brutal (there's that word again!) and totally unsentimental from the lyrical content through the instrumental attack. The fantastic album art is also similarly in"spy"red (hint, hint). Overall another great release from level-Plane that adds diversity to their label lineup.
Level Plane Records
13 June 2006
4 stars
LA's Graf Orlock—fittingly named for the vampire in the film Nosferatu—specialize in what they've dubbed "cinema grind." This is infectious grindcore that, while not absurdly technical, is advanced in its production and presentation. The "cinema" aspect? Well, leave it to a bunch of Angeleños to gain inspiration from late 80s and early 90s action flicks. Each track on Destination Time Yesterday begins with a sample to introduce chaos. Surprisingly this tactic doesn't get old and this can probably be attributed, actually, to each song containing a sample. In that manner the samples seem to be more integrated into the overall album structure.
Now, the question should be raised, "Do you know which films each of the samples comes from?" And I must answer, "Certainly not." I've never been much for action movies, but I will say that I completely understand the use of the motif. Most of the films from this era were apocalyptic, dystopian and "Futuristic" (as in technologically-engaged). Graf Orlock has taken these themes and run with them to create an album that is brutal (there's that word again!) and totally unsentimental from the lyrical content through the instrumental attack. The fantastic album art is also similarly in"spy"red (hint, hint). Overall another great release from level-Plane that adds diversity to their label lineup.
08 March 2006
Straddlerod & The Capital City Fuckups
To really get this thing started right, I'm gonna repost a few of my recent BurningAngel reviews, so that just in case anybody stumbles onto this right away, they'll get something decent to read.
Watchmaker - Erased From the Memory of Man
Willowtip Records
25 October 2005
5 Stars
Erased From the Memory of Man, by Boston's Watchmaker, is a complete 26 minute aural evisceration. Building on their last effort, Kill.Fucking.Everyone., this album reveals increased focus on structure and songwriting. I don't think there's ever been a doubt as to their talent, but some of their earlier material sounded thrown together. Here, Watchmaker has channeled their energy so that instead of just being left with lacerated eardrums, you'll have body parts shorn clean off. From the guitar tones, to the explosive and unrelenting rhythm section, to the terrifying screams from the depths of living hell, Watchmaker will overload your synapses.
Quite fitting, then, that vocalist Brian Livoti is the proud owner of a sawblade microphone. Probably one of the only fortunate aspects of them seldom playing live is that nobody will die by his hand. Brian didn't have it with him at their recent NYC show, which is good, because he probably would have maimed the venue staff (which shall remain nameless) for the way things were run that night. But back to the point...
A good deal of Erased... reminds me of another band I love, Bucket Full of Teeth. Watchmaker follows a more narrow path, eschewing the forays into stoner groove and ambient noise that made BFOT stand out. This is not a bad thing, though, as Watchmaker have become so adept at what they do, they don't need to experiment. Grindcore, power violence, thrash? I don't know what the hell to call it, which is nice because they definitely defy any normal categorization. So go pick this up, get your fists ready to pound on something (yeah, I know this is a porn site, but I don't mean that...) and please, for the love of everything good, stay away from the knives.
Watchmaker - Erased From the Memory of Man
Willowtip Records
25 October 2005
5 Stars
Erased From the Memory of Man, by Boston's Watchmaker, is a complete 26 minute aural evisceration. Building on their last effort, Kill.Fucking.Everyone., this album reveals increased focus on structure and songwriting. I don't think there's ever been a doubt as to their talent, but some of their earlier material sounded thrown together. Here, Watchmaker has channeled their energy so that instead of just being left with lacerated eardrums, you'll have body parts shorn clean off. From the guitar tones, to the explosive and unrelenting rhythm section, to the terrifying screams from the depths of living hell, Watchmaker will overload your synapses.
Quite fitting, then, that vocalist Brian Livoti is the proud owner of a sawblade microphone. Probably one of the only fortunate aspects of them seldom playing live is that nobody will die by his hand. Brian didn't have it with him at their recent NYC show, which is good, because he probably would have maimed the venue staff (which shall remain nameless) for the way things were run that night. But back to the point...
A good deal of Erased... reminds me of another band I love, Bucket Full of Teeth. Watchmaker follows a more narrow path, eschewing the forays into stoner groove and ambient noise that made BFOT stand out. This is not a bad thing, though, as Watchmaker have become so adept at what they do, they don't need to experiment. Grindcore, power violence, thrash? I don't know what the hell to call it, which is nice because they definitely defy any normal categorization. So go pick this up, get your fists ready to pound on something (yeah, I know this is a porn site, but I don't mean that...) and please, for the love of everything good, stay away from the knives.
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