Well into a decade now, Seattle, Washington’s Great Falls have perhaps been an underrated entity, but they certainly are a special one. Their sound embraces the arena around noise rock and post-hardcore, and they have proven to be a strongly emotive force. Some changes in personnel and a previous EP release in Funny What Survives created high expectations about a long-awaited follow-up album, if not quite preparing anyone for how quite distressing it would prove to be.
Amphetamine Reptile, remember them? The legendary Noise-Rock label home to countless legends such as Helmet, Melvins, The Jesus Lizard, Tar, etc etc. In later years a newer generation of bands emerged that includes Gay Witch Abortion, White Drugs, Hepa-Titus, and of course Mr Phylzzz.
Since their debut album in 2019, Chamber have made a formidable name for themselves on the hardcore scene and live circuit, featuring all the stand-out features any band wants to showcase to become one of the upcoming bands of the genre. “No-one needs us to be the pretty band.” states guitarist, Gabe Manuel, talking about the influences for the latest release.
Will Haven are a band who have diligently been plugging away since 1995, and with VII (MinusHead Records), the cult Californian’s have provided a brash, noisy slice of post-hardcore, which has a raw and relentlessly abrasive sound throughout.
Songs Of Abundance, Psalms Of Grief (La Rubia Producciones) is the debut album from Edinburgh-based healthyliving, who comprise of singer Amaya Lopez-Carromero (Maud The Moth), guitarist/bassist Scott McLean (Ashenspire / Falloch) and drummer Stefan Potzsch. The project is the culmination of the three working together under various different guises over the years and follows on from their EP release Until/Below (2021).
The concepts and the all too real, bleak experiences of mental hardships and loss of loved ones will be well known to many people and additionally to many people we know. For Stake, these have been the fuel for the band since their inception (previously under the Steak Number Eight moniker), a vehicle for vocalist/guitarist Brent Vanneste’s grief and anxiety.
Altered Pasts (Pure Noise) is the debut album from the Long Island based five-piece featuring ex-Dillinger Escape Plan drummer Billy Rymer, who also plays guitar on the record alongside his long-time friend Brian Sullivan. Rymer was inspired to pick his guitar back up and jam with Sullivan during his off time with Dillinger, dabbling once again with the instrument he had to put to one side to focus on his drumming during the height of their fame. Continue reading →
While Red Fang’s fourth album immediately stands out as their first full-length since 2016’s Only Ghosts, it seems to hearken back to the Sludgy aspects of their earliest ventures. Tracks like ‘Unreal Estate’ and the title track reflect strong Melvins circa (A) Senile Animal vibes with their trudging riff patterns and eccentrically howled vocal lines. ‘Fonzi Scheme’ and ‘Days Collide’ elaborate further the former putting in a particularly potent stomp and the latter benefitting the most from the disorienting atmosphere.
2R0I2P0 (Twenty Twenty RIP, Relapse Records) is a collaboration album from two luminaries of the Japanese experimental music scene, Boris and Merzbow. Boris has released a vast number of albums over the past 25 years, and their sound ranges from psychedelic post-rock to crushing metallic doom riffery. Noise artist Merzbow (the brainchild of Masami Akita) has been even more prolific, having released hundreds of records over a 40-year career.
Ghost Cult is proud to share the full album stream from Italian Noise rock band ELM! The Waitreleases this Friday, June 12 via Bronson Recordings. Crunching riffs, fuzzed-out bass, and beats smash each other and then recede, while have sung half snarled vocals act as a warning to the listener. Tread lightly, and you’ll still get your proverbial teeth knocked back in your throat. The angular, aggro music the band puts out will find a common ground with fans of Helmet, classic Melvins, the weirder moments of Clutch and Jesus Lizard for starters.
Quote: “We wrote The Wait one year ago. It’s kind of a statement and kind of a warning: something’s coming, better prepare yourself. Now that the storm has come, you could take it as some sort of prophecy but you’d be wrong: prophecies are crap. Nothing has changed. The Wait finds ELM in a shinier, heat-fueled and darker landscape, adding tension to aggression and stripping it down to the basics.”
The eleven-track analog recording was captured by Paride Lanciani (Kash, Instrumental Quarter, Maniac Du Jour) and assisted by Alberto Costa, at Oxygen Recording Studios in Verzuolo, Cuneo, Italy in a week of retreat during the hottest summer to date. The state-of-the-art analog environment on the hills overlooking the flat land surroundings of Cuneo served as the ideal place for ELM to channel the mood of the songs into the tracks.
The eleven track analog recording was captured by Paride Lanciani (Kash, Instrumental Quarter, Maniac Du Jour) and assisted by Alberto Costa, at Oxygen Recording Studios in Verzuolo, Cuneo, Italy in a week of retreat during the hottest summer to date. The state-of-the-art analog environment on the hills overlooking the flat land surroundings of Cuneo served as the ideal place for ELM to channel the mood of the songs into the tracks.