Death Mother (Church Road Records) is the debut full-length from Sweden’s Blodet, and it arrives after the tragic death of their guitarist Rickie Paleski-Östland, who contributed to the writing of the album. In spite of the inevitably difficult process of getting the record finished, it is nevertheless described as “cathartic”, “mesmerising”, and “alluring” by the press release which also draws comparisons to Chelsea Wolfe, Cult of Luna, and Sonic Youth.
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.
Coming off the buzzed about ‘Nowherer’, it was interesting to speculate where Portland’s Victory Over the Sun would go next. Vivian Tylinska may have just “a girl who makes noise” on her Bandcamp bio, but that deeply undersells the scope of her enthralling work as a composer, thinker, and multi-instrumentalist.
Over the last few years, we have been lucky to see so many collaboration albums between two bands/artists that absolutely knock it out of the park. The latest mashup comes in the form of Boris and Uniform putting together what they call, Bright New Disease (Sacred Bones). Through nine tracks at just over thirty-two minutes, each track has its own footprint for the greater collection. Punk, industrial, thrash, doom, and noise pop up throughout the record but not one influence really ever takes the spotlight more than another.
Ah, the age-old balance between the jagged, dirty edges of rock and the polish, apparently, required to make a commercial success of this left of mainstream universe we all inhabit. Get it right, and radio and playlists and such stardom-related “things” await… yet, to play that game too much and for too long is to risk losing the soul and joy that is at the heart of the art that got you there in the first place. So, seemingly as a response to the more contrived, collaborative, and involved process that led to their predecessor Fuck Art, alternative rockers The Dirty Nil have given themselves over to their natural instincts, indulging a Free Rein To Passions (Dine Alone) on their fourth album.
One of the many things to appreciate about Sunrot’s second full-length is the opener, ‘Descent.’
Not only is the title extremely indicative of the track – and the record, The Unfailing Rope (Prosthetic Records), as a whole – it also gets right to the point of what the New Jersey-based sludge metal/noise band is trying to achieve: uneasiness and mind play.
Over the years, the ever-talented J Mascis has been creating powerful impacts on the underground music scene by being involved in a myriad of projects. He is best known for being the frontman of the legendary three-piece alternative rock act Dinosaur Jr., but there are also plenty of other projects that he has left marks on. Some of them being the short-lived hardcore punk quartet Deep Wound, the Sabbath-influenced stoner/doom act Witch, and the rather underrated sludge/doom act Upsidedown Cross, to name some.
If you’re unfamiliar with Sunrot, you need to change that! Holy shit! This in-your-face, power sludge\crust band filled the stage and kicked off the three-band bill right with immediate and intense energy and the best kind of noise.
Petbrick are the brain-melting collaboration between metal legend Iggor Cavalera (Absent In Body / Cavalera Conspiracy / ex-Sepultura) and electronic noise maker Wayne Adams (Big Lad / Wasted Death). The unique collaboration has been perfected over the last few years in Adam’s London-based Bearbiteshorse Studio, so far yielding their debut album I in 2019, and a handful of EPs and split releases.