Category Archives: EP Reviews

Wrong – Wrong

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I always enjoy getting to review a début release from a band, and the recently formed noise rock group, Wrong, from Miami is no exception. Getting my hands and ears on the self-titled EP (Relapse), even if only at the 31 minute mark, has proven to be a valuable addition into my music library. Doing some further research on the group, I discovered that guitarist/vocalist, Eric Hernandez, is actually a former two-time drummer for sludge titans, Kylesa. As for the overall groove in the record, it is headbang worthy but also peppers in some aggression that is sure to please a large variety of fans. Each track does a good job in being its own entity but also sticks true to the theme.

While most of the tracks were less than 3 minutes long, there were a handful that certainly stuck out in my mind. One of the more aggressive tracks, ‘Mucilage’ has a very hardcore background to it with a great outro that has the feel of a breakdown without actually being one. One of the “longer” tracks, ‘Fake Brain’, does the best job at mixing both main influences of the aggressive side of hardcore and the noise rock side. The rhythm has heavily distortion in the guitar tone while the leads are higher pitched, tremolo picking riffs. At points, it sounds like the song wants to be powerviolence in the crescendos but stays clear of that type of chaos. Lastly, what would a self-titled record be without a self-titled song. Yes, the second to last track is entitled ‘Wrong’. This one just breaks the three-minute mark and is also a great example of the hardcore rhythm meets noise rock leads. The solo in the song is absolute scorcher as well so make sure to put on sunscreen before getting to the later stages of this release.

Going in to the first playthrough, I was not so sure of what to expect from this new group. However, I am happy to say that this EP is going to be up there with some other EPs I have listened to that will certainly be vying for a spot in many end of year lists. This is only the beginning of Wrong as I am sure they will continue to create and record music that just sounds oh so right.

7.0/10

TIM LEDIN

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Primitive Man/Northless – Split

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It is not often that I ever get the chance to listen to split albums, let alone review one. Fortunately, the powers that be here at Ghost Cult have awarded me such a chance with the bleak, yet satisfying, Split (Halo of Flies) from Primitive Man and Northless. Primitive Man punches out a fifteen minute track while Northless made three tracks for the recording (receiving about fifteen minutes of total play time). Comparing the tracks was an adventure to say the least especially where both bands dabble in the world of sludge metal, yet have such differing overall sounds.

Primitive Man’s sole track on the split, ‘Empty Husk’, is a fifteen minute descent into absolute hatred and depression. For a quarter of an hour, the Denver natives beat the unholy Hell out of your ears and very soul. A steady tempo is kept throughout the track until its sudden ending. Northless then gets up to bat with three tracks, ‘Deleted Heartstrings’ , ‘The 10,000 Year Wound’ , and ‘Wasted Breath’. The Milwaukee residents of sludge and post-metal really bring the same intensity their partners did on the split, but bring it with even more chaos. Thunderous drum work mixed in with what seems like schizophrenic guitar riffs really give off an eerie vibe on all of three tracks. The second track hits the breaks a little in terms of tempo but the overall attitude remains the same as it picks up in the second half. The last track has a much more post-metal and melancholy feel compared to the first two. The final two minutes or so brings in a crescendo that speeds you up until slamming into a wall to end the album.

The hardest part about this split and reviewing it was trying to determine how to grade it. Most often I receive full lengths and the occasional EP. I found this split to be enjoyable from both artists involved and each of the four total tracks stand out and I found were memorable. Clearly I need to invest more time in both of these bands since both are clearly good at their craft.

8.0/10

TIM LEDIN

 

https://haloofflies.bandcamp.com/album/primitive-man-northless-split-lp


Caricature- Stampede

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Considering their cathartic ability to bring not only happiness, but comfort and even purpose to people’s lives, it is perhaps surprising that musicians have not really composed songs on the subject of pets. Especially considering musicians’ desire to write about personal subjects, and not to mention how the likes of metal and prog especially like to tackle subjects like mental stability that may prove almost taboo in other genres.

Such is the subject of Stampede(Self Released), the latest stand alone single by New England Progressive metallers Caricature between album releases. Written by mainman Joseph Spiller about his cat Parmesan and the unique and life affirming bond which saw them both fight through severe health issues (Parmesan being abandoned and found with infestations, whilst Spiller fought Crohn’s Disease), and shows a heartfelt nature on a very human subject of which most should relate to.

At nearly 30 minutes duration, Stampede certainly has room to move musically, and shows significant growth throughout, from the serene ambience of its opening to a wider sound with more extreme roots, which is a very familiar formula but one that still works well to build anticipation and emphasize its different sides. The real flaw here is perhaps the vocals which, once again, lack originality, but more importantly concerning the clean vocals, sound limp and fail to stand out, especially compared to much more impactful harsh growls alongside.

The taglines of cat based prog will of course be highlighted with mentions of Stampede, and rightly so as it’s a bold tactic to highlight such a subject which shows humanity and fragility that many will know and empathise with. What this also highlights however is that Caricature are a band that have a bold vision and show signs of real potential. It isn’t perfect, and sonically it’s far from innovative, but there is still plenty to take from. Plus, we all know that cats are really as synonymous with metal as the devil himself.

6.5/10

CHRIS TIPPELL


Gorguts- Pleiade’s Dust

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It is truly hard to believe that it has actually been around 3 years since death metal pioneers Gorguts returned to action. Still seeming like such a short time ago, but it really was back in 2013 when they ended their hiatus with the brilliantly received Colored Sands (Season Of Mist) and reminded the world how mind-bogglingly exciting and innovating they can be. Now would be the time for many to begin resting on their laurels and maybe relying on nostalgia. Or you could release a single, 33-minute track EP. Apparently this is the Gorguts way.

Following on from Colored Sands’ unpredictable and ever-changing nature, Pleiade’s Dust (Season of Mist) similarly proves as sprawling, veering from blast beat laden fury to more hypnotic atmospheric passages. Despite its frenetic nature however, rather than appearing messy and jarring, it proves a typically thoughtful composition that feels complete and still maintains enough common ground and regularity to feel warrant its duration.

Never one to choose the easy route of convention, Pleiade’s Dust once again proves a head scratching affair at first which may seem daunting, but once delved into proves captivating and, against the odds, not only understandable but essential. Very few bands can take so many directions and do so much with their music as Gorguts and still make it as wholesome, and Pleiade’s Dust is further proof as to why they were so missed.

8.0/10

CHRIS TIPPELL

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Davie Allan/Joel Grind – Split EP

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Davie Allan Joel Grind - Split EP cover ghostcultmag

For those of you who are unaware (and I dare say there will be a few), Davie Allan is a Californian guitarist probably best known for his work on a variety of biker movies in the 1960s. Taking the traditional surf guitar sound, he twisted it into something entirely different using the newly invented Fuzzbox. Allan’s fuzzed up guitar tracks have been used in many films over the years, most recently in Quentin Tarantino‘s Inglourious Basterds.

Joel Grind, on the other hand, comes from a completely different arena. His band Toxic Holocaust have been tearing up the Thrash scene since their inception in 1999. Their (or rather his, as Grind played all the instruments on the band’s first few releases himself) brand of Punk/Thrash relying more on creating sweaty, violent carnage in the moshpit rather than any kind of bizzaro Surf Rock atmosphere. Grind is no stranger to his music being used on soundtracks either though, having ‘Bitch’ from ‘Conjure and Command’ (Relapse) blasting out during a car chase in a Season 5 episode of Sons of Anarchy.

An entirely instrumental affair, this split four track EP (Relapse) consists of some seriously dirty hard rockin’ surf music with a greasy ’60s/early ’70s vibe. From the moment the motorbikes cease their revving at the beginning of Allan’s opening track ‘Recycled Too’ you are immediately thrust into a world of psychedelic, violent biker movies like Devil’s Angels, The Wild Angels or even Werewolves on Wheels where Hell’s Angels smoke weed, drop acid, have hairy, leathery sex, and beat up anyone who looks at them in a funny way. And all this happily continues with his second track ‘Buzz Saw Effect’.

Unsurprisingly, Grind’s contribution is somewhat heavier than Allan’s. ‘Peacekeeper’ kicks off his side of the disc enthusiastically, while second cut ‘The Invisible Landscape’ is driven by a more traditional clean surf guitar tone. Also, being instrumental tracks only, people who aren’t familiar with, or don’t usually care for, Grind’s Dalek-receiving-a-proctological-exam vocals don’t have to worry here.

If Rob Zombie directed a movie about Hell’s Angels on acid fighting a gang of machine gun wielding Go-Go dancers on the back roads of Hell, then this would absolutely be the soundtrack.

8.0/10

GARY ALCOCK

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Castle Freak – Human Hive

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Castle Freak – Human Hive album cover ghostcultmag

Castle Freak are a simple death metal group, but they do a nice job setting themselves apart from the rest of the genre with their Human Hive EP (Self Released). While fun is a word you normally wouldn’t associate with a genre like death metal, this EP has an undeniable sense of enjoyment. From the sampling, which includes horror quotes and scattered Extreme Champion Wrestling commentary, to the breakneck pace of the music, it’s just a great time.

Vocalist Andrew Gigan manages to not sound generic, with a hardcore punk styled delivery spicing up his vocals. Combined with absolutely insane drumming done by former Noisem member Sebastian Phillips and shredding guitars courtesy of both Gigan and Zak Carter, this EP has plenty to appreciate from a technical standpoint.

However, there are sore spots on this EP. The first is the overuse of samples on the release. Every single track uses them, often right at the start of the song. Samples aren’t a bad thing, but some just seemed unnecessary. I can understand them starting the release as it set the chaotic mood, or the use of air raid sirens in the middle of ‘Toxic Winds’ to build atmosphere, but there is just too many samples on this EP and it overall soils the experience. Another gripe about this EP is the lack of much new material. Two tracks are rerecorded versions of songs off the bands previous two releases, and another is a cover of a classic death metal track from Impetigo. This leaves only two new songs on the EP. Admittedly the redone tracks sound miles ahead of the previous versions, but it still is kind of a bummer that only two of the five tracks on this release are new.

Overall, despite my complaints with this release, I can’t help but recommend this band to all death metal fans. The overuse of samples is more than worth sitting through for the insane talent on showcase, as this really is some of the most memorable death metal I’ve heard in a while. If nothing else, everyone should just give ‘Toxic Winds’ a listen as it’s 3 minutes of metal excellence, and the only time on the EP where bassist Ben Anft really gets a chance to shine and isn’t simply lost in the madness. It is the standout track on this release, and shows exactly how good this band can be.

7.0/10

MATTHEW BLANCHARD


Boris with Merzbow – Gensho

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Boris with Merzbow – Gensho ghostcultmag

The dizzying heights of pretentiousness. Oh, that’s what I decided to rename this split EP between legendary Japanese artists Boris and Merzbow. Some who may read this review will probably consider me an asshole for not caring about this collaboration. Fine by me. See this whole affair lasts just shy of 150 minutes. Two hours, 29 minutes and 25 seconds to be exact. So I had a fair amount of time to daydream and check e-mails during Gensho’s (Relapse) running time.

And I can already hear some of you dismounting from the high horse to let me know that both the Boris and Merzbow LPs are meant to be played simultaneously. Well thanks for enlightening me. That only makes this slog last 74 minutes, which is about 20 minutes longer than it should be.

Maybe I should be commending both acts for deciding to take the path less traveled on. But the more I think about Gensho’s gimmick, the more annoyed I get. By sticking with the simultaneous premise you limit how fans can consume the music. I can’t truly listen to it in the car, or through my headphones while at work, now can I? And if I cue it up at home I better have two sets of turntables.

There are some non-drowsy moments. During ‘Rainbow’ I was digging the fuzzed waves of guitar distortion that accompanied the whispery vocals. Boris’ ‘Sometimes’ also plays around with this soft/harsh dynamic with results that are sort of like a drum less Radiohead B-Side.

From what I gather the concept for Gensho was born after a joint gig between Boris and Merzbow. See, that wouldn’t be as frustrating as it’s a one off event that most in attendance likely enjoyed, but don’t ask of me to pay for as an experience that doesn’t translate to listening at home. You remember Metallica and Lou Reed’s Lulu? Gensho doesn’t stray far from that level of self-indulgence.

4.0/10

HANSEL LOPEZ

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Coffins/Ilsa – Split EP

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You can file Coffins and Ilsa’s Split EP (Relapse Records) under heaviest thing you’ll jam out to for a while. No time to waste here with pretentious orchestral arrangements or cliché samples; Coffins and Ilsa immediately start their brutal eardrum massage with relentless riffs and grooves.

Case in point? You only get roughly 12 minutes of music on this EP. Maximum effort and distortion crammed into two songs.

Japan’s Coffins gets first crack at it with ‘Tyrant’ and they somehow make it sound more demonic than on last year’s Craving to Eternal Slumber. The guitar tone remains Coffins gnarly, but the production has dialed up the grit and smoke inhalation. Jun Tokita’s grunts sound like the product of a lifelong sand and gravel diet and are perfectly paired to Uchino’s skilsaw on asphalt guitar tone.

Tempo-wise, Ilsa aren’t as jackhammer intense as Coffins, but they certainly bring the decibels on ‘Cult of the Throne.’ But what they lack in speed, they make up for with an even grimier atmosphere and steady double bass stomp. Orion Peter’s pained howling and the crawling breakdown at around the 4:15 mark conjure up images of prime Eyehategod.

You may not get much in the way of running time, but Coffins and Ilsa satisfy if heaviness is what you crave. Can we get a tour now?

8.0/10

HANSEL LOPEZ

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Hush – Nihil Unbound

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Hush Nihil Unbound EP cover ghostcultmag

Not that they can be easily discerned of course; but the lyrics within Nihil Unbound (Independent Release), the second EP from New York State terrorizers Hush are graphic, harrowing and affecting, yet possess a haunting beauty. The enveloping, suffocating music is difficult but immensely rewarding: initially a seeping torture yet, as with opener ‘…Gazes into You’, often given a tribal quickening and the slightest lift with a low-pitched chord sequence.

The employment of two basses will surprise no-one daring to venture inside, the oppressive riff of ‘Oror’ as deep and dark as the Marianas Trench yet moved forward by Mark O’Brien’s controlled but brutal drums. The portentous centrepiece and three-quarter section of this hideous track send shivers down the spine but it’s the guttural roars and screams of Charles Cure and Jeff Andrews that tear the soul apart.

The tension here is not merely physical, but a diseased parasite sucking life from the listener in a delicious fashion. The crawling pace of ‘Shinda nu No Shashin’ is given feverish attitude by the leashes restraining each instrument: the sound of the strain almost detectable, the sparing chords and murderous roars placing every nerve-end on edge with the aid of a quickened, buzzing riff. Even the tuneful, Post-like air moving through the intro of ‘A Permanent Echo Through the Dream’ carries a sense of foreboding, the lead flurries lightening the sound and tempo but not the feeling of disgusting horror: this is only heightened by the pauses and ensuing dulled explosions as the track slows to its awful coda.

The verbalised pain emanating from closer ‘Shattering the Great Chain of Being’ reaches horrific proportions; whilst the relentless pounding, carrying the maleficent weight of Roman galleon ‘pacers’, is accompanied by more spiking leadplay and howling, whistling bass notes which reverberate through the mind and don’t release their grip. Those who have not yet experienced Hush must prepare themselves for an extremely uncomfortable journey, one that at times verges on the unbearable. For those of us who like music to take us to the very edge of sanity, however, this is a phenomenal experience.

8.5/10.0

PAUL QUINN

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Wolvserpent – Aporia:Kāla:Ananta

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12 Jacket (3mm Spine) [GDOB-30H3-007}

We’re only at the beginning of March and thanks to Boise, Idaho’s Wolvserpent, we may already have one of the more unique and interesting metal releases this year. The list of adjectives that could be used to describe Aporia:Kāla:Ananta (Relapse Records) is absolutely endless. Ranging from haunting, beautiful, destructive, the list goes on. This album can only be described as an album that looks to fill you with utter darkness. The first emotion it will evoke however will be of curiosity. Aporia:Kāla:Ananta clocks in at just over forty minutes long, and at first glance you‘ll notice it is just one track. Yes, Aporia:Kāla:Ananta is just a forty minute song. Can we expect to see Aporia:Kāla:Ananta performed in it’s entirety on the road fairly soon?


Aporia:Kāla:Ananta starts with a build up of a looming atmospheric tension eventually being paired with a dreary violin. You feel as you’re floating through an inescapable bleakness that slowly surrounds and engulfs you. Taking the trash out late at night while enjoying Aporia:Kāla:Ananta on my iPod, I felt like I could have been on a movie set with the monster in the woods stalking it’s prey. Once Aporia:Kāla:Ananta reaches the seven minute mark, we hit a change of pace. A constant snare keeping pace, the atmosphere is building to what feels like the climax of a blockbuster. A subtle recitation of growls flowing with the marching snare and rhythmic violin leaving you mesmerized.

Like any climax all there is left after is the decent. The next few minutes have an ambience that feel like you’re falling into pure darkness. Further down the rabbit hole backing drones with light percussion and a haunting violin drag you straight down until the composition of your inner demons comes to an end. You’re then grabbed by the throat by pure despair. Funeral Doom metal at it’s finest. Dreary droning, echoing shrieks, dark ambience, this is clearly the soundtrack of your demise. The last twenty minutes continue with a droning doom. At times it feels like moments are drawn out too long but never in a negative way. Aporia:Kāla:Ananta has clearly been drawing out all emotion.

Wolvserpent Aporia Kala Ananta album band promo ghostcultmag
Aporia:Kāla:Ananta to me seems like an interesting album to recommend to others. You definitely need to be open-minded to appreciate the composition before you reach the Funeral / Drone / Doom Metal. The album as a whole is quite a bleak listen. Wolvserpent has essentially perfected the art of what being buried alive and eventually realizing you are doomed must sound like.

7.5/10

DEREK RIX

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