Category Archives: Splits/Singles

Mortals / Repellers – Mortals / Repellers

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Brooklyn trio Mortals garnered much-deserved attention with the visceral Sludge of last year’s second full-length Cursed to See the Future (Relapse Records), and hot on its heels comes the dark horror of their single-track contribution to this ‘split’ with Philly nasties Repellers (Broken Limbs). Led in by the sound of a rabid werewolf coming in for the kill and terrifying the shit out of the listener, ’10 Years of Filth’ is nevertheless a cleaner sound than one would imagine, but that and the quickened, Occult Doom-style pace still fails to lift the omen of the terrifying vocal scour.

There’s a melodic, NWOBHM sound to the riff at times, yet, when the defiling power of Caryn Havlik’s drums kicks in at the two-third mark, the resonance is electrifying. With leadwork and closing riffs possessing elements of Blackened Punk, this is a pulverising yet complex and occasionally emotional rollercoaster which further enhances the ladies’ collective reputation.

Every aspect of the Low End seems present in the sound of Crusty trio Repellers: from the morose, ‘spaghetti western’ feel of the intro to opener ‘Descend’, through the rampaging Stoner-Death intensity of its riff and rhythms, to the downright filthy croak which is as evil as it gets and the most hoarse rasp you’ll hear this side of hell’s frozen wastes. At times the speed of ‘Descend’ clean rips by, the band right on the edge of keeping time, the scything riff and pounding drums of the coda vicious and seething. A sinister opening to ‘From Jericho to Ai’ sees a terrifying, ponderous pace given a fulminating power by flashing, savage breaks and the expiring roars of the track’s second half. The initial melancholy of ‘False Solace’, rising to the band’s more familiar Blackened Thrash crush, closes an intriguing, mauling set with a paradoxical twist of emotion.

An interesting tussle then, full of twists and turns. Overall the spoils must go to Mortals, but their lesser-known partners offer up plenty of atmospheric brutality and many talking points.

 

7.0/10

Mortals on Facebook

Repellers on Facebook

 

PAUL QUINN


Publicist UK – Original Demo Recordings 7”

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Publicist UK are an intriguing combo which see Dave Witte (Discordance Axis, Municipal Waste drummer) joining forces with Revocation bassist Brett Bamberger and team up with Distant Correspondent’s David Obuchowski and former Fresh Kills mouthpiece Zachary Lipez.

It would be natural to expect pounding rhythms and adrenaline fuelled blasts, especially considering the rhythm section. Only that couldn’t be further from the agenda. Instead gothic post-punk is the order of the day, with the spectre of the late 70s looming largely over the two tracks present here. The sound of the band is decidedly British in its choice of influences, reeking of decaying Chameleons and Fields Of The Nephilim records. “I love it when you talk real politics!” Lipez pines like Andrew Eldritch reciting the works of Fredrik Engels.

Original Demo Recordings (Static Tension) is the kind of effort fans of recent death rock troubadours such as Beastmilk may lap up, although Publicist UK are more retrospective in their style and the reverb and treble heavy production; Spiralling melodies are interwoven amongst the effortless performance of Witte, who provides a solid backbone, largely sitting back to support the song. His pulsing sixteenths accenting every nuance of ‘Slow Dancing To This Bitter Earth’ while Lipez repeats the hypnotic mantra of a chorus over jangling riffs to great effect.

They also use the music as a platform to hit out at faux social rebellion. “Wave a red flag and decorate your handbag” snarls Lipez on the latter number, clearly using it to take a swipe at insincere political campaigners who do much complaining but little to change the systems in which they live.

Since this tempting morsel has been delivered, the group have taken up residence on Relapse Records and are working on a full length. Given the murky depths this release mines, it will be interesting to see if they can progress as strongly as they have started.

 

7.0/10

Publicist UK on Facebook

 

ROSS BAKER

 


Tijuana Bibles – Sun Chaser (Single)

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Despite not having even released a full length album, and thus far one EP and single, Glasgow’s Tijuana Bibles have already accomplished quite the feats, most notably several small festival appearances and one at T In The Park; not something that every band you will find in these pages can claim. In anticipation of their upcoming release, these youngsters unveil latest single, the very catchy Sun Chaser (Pling).

On evidence of this single, it seems Tijuana Bibles have their ears to several phases of British influence. The main bulk sits strongly with indie rock and even a little Britpop, but doesn’t have quite the over-sanitized sheen or overly pop air of such mainstream radio fodder. Coupled with the hints of psychedelic and even blues hiding away and what we have here is signs of something special. On this single alone it seems that these guys’ future is very bright and should see acclaim from both the mainstream audiences and to those looking for something a little different.

 

7.0/10

Tijuana Bibles on Facebook

 

CHRIS TIPPELL


Keeper / Sea Bastard – 12″ split

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Sea Bastard, Brighton’s kings of monstrous doom, have made a huge impression in 2014 with their  sophomore full-length Scabrous (Mosh Tuneage / Dry Cough), and here they set out to reinforce their place in the murky backwaters of the psyche with the more than able assistance of Californian duo Keeper.

There’s a track each on this nefarious ‘split’, issued by Dry Cough in Europe and soon by Medusa Crush in the US and both are of the nastiest, most monumental evil imaginable, running to 35 minutes in total. Keeper’s contribution, ‘777’, is a mere bagatelle at fourteen minutes, but is the kind of blackened doom immediately evoking comparison with Indian and Lord Mantis, Penny Keats‘ hateful scream coating claustrophobic atmospheres and rhythms veering from sparing and slow to an oppressive swell. The pace of the verse structure is torturous, dictated by tolling riffs and Keats’ resonant percussion, really allowing the harrowing horror to wind freely around the gut. It’s gloriously uncomfortable and twitch-inducing, with the squalling lead feedback of the last few moments utterly nerve-shredding.

The ‘Bastard’s twenty-minute stroll through the swamps, ‘Astral Rebirth’, is a lumbering, jurassic behemoth stalking its prey. The intake of breath prior to Ian ‘Monty’ Montgomery‘s vocal commencement is as effective and portentous as the ensuing delivery, a murderously deep and slow growl which suits Oli Irongiant’s funereal riffs, Steve Patton’s bass prowl and George Leaver‘s fearful, summoning drums. The central riff section is about as downturned as it’s possible to get, with a wailing lead undercurrent, and when that voice kicks back in to introduce a tribal quickening it is both brutal and terrifying – that lead showing brief periods of frenetic explosion which add to the slow, chopping destruction in the latter stages.

There’s a controlled brutality here, heavier yet just as ominous, this is from a dark place which no soul should inhabit but thank God for us listeners they do. Nod majestically at the front, ye worshippers, this is a mighty, frightening split highlighting the best aspects of two bands whose diseased outlook is matched by their deliberate, tolling power.

 

8.5/10

Keeper on Facebook

Sea Bastard on Facebook

 

PAUL QUINN

 


Slomatics / Holly Hunt – Split 7″ single

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A 7-inch ‘split’ release (Black Bow), with one track each… the ways of ‘putting yourself out there’ shrink by the minute. The track from Belfast sludge-doom trio Slomatics, ‘Ulysses, My Father’, is Conan incarnate: all colossal riffs dropped from the skies, Marty Harvey‘s vocals echoing from atop Olympus, until some subtle and welcome sequencing introduces a slight quickening of pace and some pulverising stickwork from Harvey.

‘Bill Ward’, the track from Miami instrumental monstrosity Holly Hunt, is something of a powerhouse. Buzzing, crunching guitars fade in and out as if bouncing on the surface of a ‘woofer’, sucked back then spat forth with venom whilst drums reminiscent of the man the track is named after fling the riff around like a toy. The resonant power is stunning and dulls the senses in a hypnotic fashion, but in truth one four-minute track each is not the sort of advert that makes me want to further investigate, especially with the Belfast unit having four albums under their belt.

A multi-track EP could have pushed this intriguing sound further into the psyche.

 

6.5/10

Slomatics on Facebook

Holly Hunt on Facebook

 

PAUL QUINN


Jess and the Ancient Ones – Castaneda

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The heady, seedy sound of Finnish psych occulters Jess and the Ancient Ones garnered much praise with their debut long-player, and that’s sure to be repeated with this sinister yet nice, speedy yet languid 10″.

Castaneda (Svart) marries a murky production and an occult organ feel with a spooky rhythm reminiscent of the 50s shock ‘n’ roll of The Munsters; an eerie lead twang finalised with backward masking and some serious drums booting the track up the arse, with Jess’s honeyed pipes flickering over the whole. Flipside ‘As To Be With Him’ has a similar feel but with an easier, more lazy rhythm, bubbling synths and that powerful voice graced with All About Eve-esque backing harmonies, the whole further sunken by that deliciously nebulous production. It’s so relaxed there’s something of a ‘lounge rock’ air until a strange amalgam of 90s indie and 70s ambience closes the track.

This is a taster for a new album and reminds us what a refreshing departure this lot are from the glut of female-fronted occult rock bands out there at present.

 

7.5/10

 

PAUL QUINN


Inter Arma – The Cavern

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The epic single-track issue isn’t quite unique, but an uncommon level of creativity and musicianship is required to make the product entertaining and involving. Virginian quintet Inter Arma possesses an outrageous level of inventiveness and aptitude, and 45-minute opus The Cavern (Relapse) is certainly not shy of it.

The sheer gravity and fulminating power of much of the music here is oppressive yet it carries the weight easily, positively gambolling through more intricate moments whilst retaining intensity. A journey through the galaxies begins with eerie then soothing atmospherics, sparing acoustic and strings before the titanic, savage yet occasionally complex riff fires home and gradually introduces the plaintive hollers of Mike Paparo, delivered from atop Kilimanjaro. It’s a powerful flexing of muscle, the soundtrack to Atlas stirring after a deep sleep. That riff deals crushing blows, aided by TJ Childers’ mammoth drums, his sticks pulverising with the power of Thor’s hammer.

It would be simple to dismiss the early stages as the product of adventurous Conan wannabes but the magic of unfettered imagination shines through, not least with some staggering lead guitar play. Some fabulous intricacies at seventeen minutes lift the track to the heavens with the assistance of some SubRosa-like mournful strings, while Thin Lizzy-esque dual leads introduce the final third; a mournful howling pattern accompanying lush orchestration, the soaring beauty of Paparo’s clean vocals aided by Windhand‘s Dorthia Cottrell, all the while retaining the tracks unearthly power and superiority. It’s this blend of raw animal force, aching melody and immeasurable creativity which marks out this fantastic band. More duels bring a gloriously overblown 70s heavy prog passage to a pounding, crushing coda, a gradually slowing yet swelling reprise of the opening structures which is close to orgasmic.

This is an ambitious effort but Inter Arma haven’t merely managed to navigate it, they’ve ridden it into the skies upon Apollo’s chariot. Euphoric, moving and gut-wrenching, quite simply this is a piece of monumental greatness, a game-changer, and essential for all fans of low-end prog.

We should all pack up and go home now. Anything else will seem average after this.

10.0/10

Inter Arma on Facebook

 

PAUL QUINN


Amenra/VVounds – The Abyss Stares Back 12” Split

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Hypertension Records’ intriguing plan of releasing split 12” records with some of today’s most intense and serious artists began back in the spring with this little beauty which your humble scribe completely missed. After being sent to the naughty step, yours truly finally got around to listening to the damn thing the other day and (you probably know this already) is happy to report that it is gripping and compelling, often in equal measure.

On this stripped back but emotion-filled enterprise we get a dark and brooding Amenra, the clean vocal approach of ‘Wear My Crown’ underpinning, rather than lightening the sense of unease and disjointedness. There is definitely a sense of less is more here with the gaps between the notes having their own sense of impending doom. I know this is not technically possible but just take a listen. Likewise, ‘To Go On and Live Without’ is a subdued exercise in grace and elegance; heart-breaking, but in a gentle way.

By staggering contrast, the pummelling you get from VVounds is splenetic and full of bile and venom. You get the idea that VVounds are not an act to be messed about with: their heist like approach to song delivery (if song is the right word here) is without any sort of artifice or presumption; the energy is relentless and brutal; at their core is a sense of anger and injustice which leaps out of the speakers at you.

Both acts here are not for the faint-hearted, nor the casual listener. Both are intense albeit in aurally diverse ways; both though are very worthy of your time and undivided attention. My melancholy heart is with Amenra but that’s just me. Well worth investigating.

 

7.0/10

Amenra on Facebook

VVounds on Facebook

 

MAT DAVIES


Death Penalty – Sign of Times

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There’s plenty of hype surrounding UK / Belgian quartet Death Penalty, the new outfit of former Cathedral multi-instrumentalist Gaz Jennings, and it’s not too hard to see why. While female fronted units with hippo-felling riffs and pounding drums are de rigeur at present, here, the sound is less about the occult and more about heavy blues rock, those rhythms fair flashing along with a seductive groove and some wild, intricate lead play decorating Sign of Times (Rise Above), the title track of this seven-inch release. There are interesting tones and melodies here, not least from the voice of Michelle Nocon, but despite the undoubted power in her voice it’s only on the flip-side ‘Seven Flames’ where she really lets rip and gives us more than two octaves, which is somewhat disappointing especially if compared against other female performances of 2014.

It’s an energetic sound but also a touch dated, coming across as a pub-standard Christian Mistress in parts. This is obviously a taster for the self-titled debut album and as such it’s a decent listen, but one would hope the full-length has more invention to fulfil the promise.

6.5/10

Death Penalty on Facebook

 

PAUL QUINN


Hessian / Primitive Man – The Abyss Stares Back #2

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Denver purveyors of animosity Primitive Man seem to have a thing for ‘splits’ – this latest share, The Abyss Stares Back #2 with  Ghent sludge/drone kings Hessian (Hypertension) being their third this year. The Belgians’ effort, Inward Dawn, is by turns both evil, shimmering with the lead tones of post-black, then soporific; veering and twisting riffs ploughed through the heart by pounding drums and an unholy, tar-seeping roar from vocalist Bram which, despite the terrifying sound, is unusually intelligible. A clear production enhances the nefarious effect and the hypnotic, slightly quickened drone style of the tracks’ second half is both eerie yet suffocatingly horny.

Primitive Man’s contribution, Unable, begins with the squalling feedback reminiscent of last year’s nauseating free download album, but soon descends into a tolling slab of enmity. Ethan McCarthy‘s voice barks like a bear who has just ingested the heart of evil, and the bass in the faster sections slicing flesh whilst breakdowns to funereal pace is positively monolithic. No-one can accuse these guys of being an easy listen but, for those of us who ‘get it’, their vile sludge possesses a raw emotion rarely found, the demons powering it are even harder to exorcise. Some intricate stickwork and emotive, hysteric lead-play from the centre section leads to rampant slaughter, and shows the invention marking these guys as one of the genre’s most powerful outfits right now.

Despite that godawful free download…

8.0/10

Hessian on Facebook

Primitive Man on Facebook

 

PAUL QUINN