Everything in Canada is supposed to be nice, right? That Trudeau bloke’s boyish grin; the clean, crisp air; the way the natives go ‘Eh’ at the end of a sentence in a wonderfully endearing way. Tell that to Resent. The 2018 demo from the Victoria, British Columbia based quartet was one of the most frightening exercises in putrid Sludge I’d ever encountered, and new album Crosshairs (Dry Cough Records / Nerve Altar / Rope Or Guillotine) promises only to extend the suffering…
If ever two bands were put together in order to aurally depict the turgid, depressing slog that is Life In Northern England Under An Elitist Bunch Of Fascists, it’s Liverpool’s Bodies on Everest and their Newcastle-based touring chums Lump Hammer. As joint release Whelmed (Inverted Grim-Mill Recordings) is a “split”, one would expect around half-an-hour of bile and Sludgy hostility: but as if to ram home the belief that There Is No Hope, this thing grinds along morbidly, relentlessly, for a full hour and forty minutes.Continue reading
Ask a proud American to identify the EoB and they’ll gaze, either wistfully or with revolution in mind, toward a grand old building not far from Pennsylvania Avenue. 2018, however, has given birth to another EoB – the Evolution of Boom, a kind of cultural reworking of the Low-End chords which brought all manner of sounds into the realm of enjoyment for the average music listener.Continue reading
In 2015, Liverpool-Manchester hybrid Bodies on Everest produced The Burning (self-release), a ferocious slab of ultra-heavy, underproduced despair which its creators christened ‘Dungeon Wave’ and which tragically glided under the radar. Three years later that Blackened Doom crash has been reinvented on follow-up A National Day of Mourning (Cruel Nature Records / Third I Rex): the minimalist production accompanied by a more pensive, Drone-led violence, offering up a suffocating dystopian nightmare.Continue reading