On “Caustic Attack” Terrorizer at times sound positively apocalyptic.
“Caustic Attack” CD//DD//LP track listing:
1. Turbulence 2. Invasion 3. Conflict And Despair 4. Devastate
5. Crisis 6. Infiltration 7. The Downtrodden 8. Trench Of Corruption 9. Sharp Knives 10. Failed Assassin 11. Caustic Attack 12. Poison Gas Tsunami 13. Terror Cycles 14. Wasteland
The Review:
There are few bands in the history of grindcore as significant as Terrorizer, and yet they remain unsung heroes. Napalm Death lay the foundations, alongside contemporaries such as Extreme Noise Terror and Repulsion, but one could argue Terrorizer’swork has seen more of a direct influence.
The band is perhaps most acclaimed for their wildly savage debut, 1989’s “World Downfall”, which famously featured extreme metal demigods, David Vincent of Morbid Angel and Jesse Pintado, who would later join Napalm Death. With the incorporation of a more guttural vocal style as well as more technically accomplished riff work, while still maintaining the necessary socio-political aspect, this interpretation of the style has shown longevity, present in bands such as Wormrot, Nasum, and Insect Warfare. The album was more arcane and menacing than any grindcore album that had come before, and tragically, for 17 years it appeared to be the sole, defiant statement this band would make.
The band has since reformed twice. Firstly, in 2005 to release the so-so “Darker Days Ahead”, which displayed the band performing in a more linear fashion, instead of performing more of the straight-forward death metal Sandoval had been producing with his long-time day-job, Morbid Angel. The album would prove to be the final release featuring Jesse Pintado to be released in his lifetime, and while many look back on it as a fairly unimpressive swansong for an extraordinary character, the album still had moments which would please any fan anticipating their return. The 2012 follow-up
“Hordes of Zombies” proved to be a further disappointment, virtually disregarding the savage hardcore that is so vital to impressive grindcore, and instead striving for a sluggish take on death metal. All hopes appeared dashed in relation to Terrorizer, as many began to forgivably disregard interest in their future.
When a long-standing band releases an album, fans often struggle to resist comparing it to their classic works, for better or for worse. In most cases, it is a valid comparison to make.However, in the case of Terrorizer, it is important to make such a distinction; on “Caustic Attack”, they are down to just a single original member. With the exception of Sandoval, everyone on this album is making a debut performance. This could lead one to question the chemistry of this group; a band with a 30-year legacy ought to have remarkable chemistry, and this could prove difficult when 2/3rds of the band joined in 2013. However, it immediately becomes clear this is not an issue for Terrorizer, as “Caustic Attack” proves to be their most artistically successful album since their 2005 reformation.
It appears Terrorizer(or perhaps just Sandoval) have acknowledged they are a far more impressive grindcore band than they are a death metal band, and for the first time since coming back, they are leaning on that crutch. This provides an immediate refreshing quality to the album; gone is the continuous dirge of low-energy death metal the band have been pedalling for years, and present instead is a more violent, splintered attack. While still not as savage as the band's contemporaries, with Napalm Death and Pig Destroyer still proving they can be more menacing and grotesque than ever, there is an obvious improvement here. The band is clearly superior when they focus on 1-minute displays of brutality, highlights of the album including “Turbulence”, “Invasion”, “Poison Gas Tsunami”, and the intoxicating title-track.
The album is by no means flawless; firstly, some of the tracks are still overly long. Numerous tracks approach 5 minutes, and all of them prove to be the most tiresome moments on the record. The attacks feel dulled when they’re stretched out in this nature and these longer songs are simply not warranted.The production is also a curiosity; it sounds more sharp and well-shaped than any of their past albums, and yet it feels lacking in the low-end and, in some moments, almost sparse. Were this given a production job courtesy of Kurt Ballou, Will Yip or Arthur Risk, this album would see an immediate improvement, and perhaps the tiresome ‘long songs’ would feel more digestible.
Overall, Terrorizerand their fans can call “Caustic Attack” a success; the band has cured some of the glaring ills present on their post-reunion works, as well as writing some songs that fans can genuinely look forward to hearing live and have earnt a place in their set list on merit alone. Grindcore is at its best when it feels like a disaster and on “Caustic Attack”, even if only for brief moments, Terrorizersound positively apocalyptic.
On “The Inextricable Wandering”, Ultha have shown both potential for the future and a mastery of what they have already achieved.
“The Inextricable Wandering” CD//DD//LP track listing:
1. The Avarist (Eyes Of A Tragedy) 2. With Knives To The Throat And Hell In Your Heart
3. There Is No Love, High Up In The Gallows 4. Cyanide Lips 5. We Only Speak In Darkness 6. I’m Afraid To Follow You There
The Review:
While having a well-renowned pedigree for producing exceptional heavy metal, Germanyhas scarcely produced a black metal outfit who can compete with their Scandinavian and North American competition. It’s a curious blemish; thrash metal, power metal, classic heavy metal and even death metal all have Teutonic titans. Yet, there isn’t a German black metal band who can be held in the same regard as Wolves In The Throne Room or Altar Of Plagues, much less Burzum, Bathoryand Emperor. However, while Ulthaare still in what is, comparably, the embryonic of their career (having only formed in 2014), the potential displayed on their 3rd studio effort “The Inextricable Wandering” more than makes them worthy of attention.
It is vocally where the album stands out in its more defiant form. The stereotypical vocal employed in black-metal has, over the decades, developed into a fairly limiting art form. With seemingly either a banshee-wail or a demonic rasp being the two options one can employ, it is wildly refreshing when bands strive into unexplored territory. The vocals present on this album, while sparse, provide a more guttural, avant-garde counterpart to the chilling instrumentation. With a duelling vocal dynamic that owes more to both Douglas Pearce and Nick Holmes than to Ihsahn and Cronos, the band explore peculiar frontiers, and makes for a welcome, refreshing listen. Black metal, to those who care less for it, is often described as a limiting art form. While it is true that there are key tropes commonly adopted by countless black metal outfits, this can also be part of the charm. Like fans of slasher films, those who worship this style of music often enjoy the rules and boundaries, seeing them as guidance rather than restrictions. While there is something to be said about tunnel-vision allegiance to the rules of a bygone era, it is far more refreshing to hear deviation, especially of such a high standard.
Musically, admittedly, there isn’t a great deal to report; Ultha play atmospheric black metal, a genre which has suffered from overpopulation, but it is performed to a standard of brilliance. While the genre has indeed grown saturated and many dedicated black-metal fans have accused it of expiration, it is performed with quality and conviction that it is impossible to resist. It provides a stark, monochrome backdrop to the superb vocal performances, and allows the songs to breathe in the way they warrant.
The production job on this album is also something to behold. In the last decade, it has become more acceptable for black metal artists to opt for more professional production. Both major-label players like Dimmu Borgir or Cradle of Filthas well as cult icons such as Forteresse and Agalloch have encouraged the presence of clean, lavish instrumentation, and that effect can be felt on this album. “The Inextricable Wandering” would not be half the album it is if the material was quashed with a sub-par production, and this is the finest Ulthahave sounded so far. On past albums, they’ve shown ambition in this regard but failed to do justice to their capabilities but now, perhaps with the backing of Century Media, they have the tools available and the know-how needed to improve their art and it’s made all the more tremendous for it.
Ultha are still new to the world; they’ve not even been a band for five years. Yet, on “The Inextricable Wandering”, they have shown both potential for the future and a mastery of what they have already achieved. With three albums now under their belt, it is clear that they have progressed at an extraordinary rate, and they’ve finally released an album that justifies their talents. It’s exciting to ponder at where this band may go next. All we know for sure is that we can trust them.
The savagery does not dilute in the presence of melody, and instead, it complements the moments of pure mayhem that are indeed present throughout.
“Beastland” CD//DD//LP track listing:
1. Pharmacide 2. Nihil Strength 3. Ode to Bedlam 4. The Speaker is Systematically Blown
5. Nazarene 6. Apparition 7. Night Terror 8. Beastland
The Review:
There is no artist in the world quite likeAuthor & Punisher. One may accuse such a statement of hyperbole or ignorance, but when one analyses the character of the man and the nature of his work, it is clear such art is being made without relevant precedent. Aesthetically there is influence fromGodflesh, Nine Inch NailsandThrobbing Gristle, but even those bands feel entirely distant from what Stone is producing. While the project can be loosely defined as a ‘one-man industrial doom metal band’, when one discovers the story behind it and the music being produced, this feels woefully lacking.
Tristan Stone, the brainchild ofA&P, is not just a musician, but also a mechanical engineer. This may sound like unnecessary trivia, but it is important to bear in mind when listening to this album. The majority of the instrumentation and controllers he uses, affectionally labeled "Dub Machines" and "Drone Machines", are designed and constructed by Shone from raw materials and electronic circuitry. This level of individualism scares off pretenders, who are simply incapable of recreating it. His live performances employ the same tools, and visually it barelen resembles a musical recital.
“Beastland” is his 6th studio album, but it was only on his album “Melk En Honing” when the music world at large appeared to finally take notice. While it is evident that the metal community has been far more welcoming ofAuthor & Punisherthan experimental music circles, he is just at home in both. A guest appearance onCattle Decapitation’s 2015 effort “The Anthropocene Extinction” endeared him and signing to Phil Anselmo’sHousecore Recordsendeared him further to metal fans, to the point whereRelapse Recordstook notice and employed him on their roster 2 years ago. Following up “Melk En Honing” was no easy task, and many feared that A&P, like their influences, was doomed to fall into repetition and not explore the necessary frontiers
However, on this album, perhaps with the confidence that comes with the backing of a cult fanbase, Author & Punisherhas strode into even more experimental territory. This is the most wildly diverse album he’s released thus far, and for that reason, it is also his finest achievement. Music of this nature can wear on one’s psyche upon repeated, unrelenting listens. However, “Beastland”, with its refreshing experimentation and unwillingness to compromise, cures this ill. While there are plenty of ‘home comforts’ (for lack of a better term) present here, with such songs as “Pharmacide”, “Nihil Strength” and “Night Terror”providing the unrelenting, atonal bludgeoning fans have grown so dependent on, A&P remains unafraid to explore new horizons. “Apparition” and “The System Has Systematically Blown”sees Stone channelling his inner Trent Reznor, as his will for arcane melody bleeds through to the surface. This is the closest they have come to replicating the style of another band, and it would possibly prove problematic to fans, was it not done to such a marvellous standard. The savagery does not dilute in the presence of melody, and instead, it complements the moments of pure mayhem that are indeed present throughout.
This album is also the most complete work in his discography: never before has he released a collection as all-encompassing with as an impressive a scope as here. From the opening crushing moments of “Pharmacide”, likely to liquidize your teeth if listened to at too unforgiving a volume, to the closing moments of the title track, an angular and alluring finale, the album drags you through a merciless nightmare, meticulously engineered by Stone. In the past, he has shown promise of such accomplished creativity, but all his past works pale in comparison to what has been done here.
Author & Punisherremain one of the most exciting acts in underground music, and it is only a matter of time before the world at large acknowledges the importance of his work. Whether it be in our lifetime or simply in the coming years, let it be known that Tristan Stone will receive the praise he deserves beyond his existing community, and “Beastland” is all the proof necessary.
“Maximum Suffering” is a blistering portrayal of tunnel vision brutality and is far more hateful and savage than you could have ever assumed
“Maximum Suffering” DD//LP track listing:
1) Maximum Suffering 2) Everything Is Fucked 3) Need For Death 4) Human Error 5) Serpent Lust 6) The Crone 7) Deep In Hell 8) We Have Failed Us 9) Scorched Earth 10) Black Waves 11) Storm Of Steel 12) Dusted 13) Consumed
The Review:
In 2012, it was reported that Hydra Head would be closing their doors. Founded in 1993 by Aaron Turner, who would eventually go on to form Isis(or Celestial, for all intents and purposes), the label would be home to such heavyweights as Cave In, Xasthur, Jesu and Botch. It was a stamp of approval you could trust; they scarcely put out anything which was less than tremendous, and they provided a haven for those who had fallen out of love with the major-label metal being pedalled at the time – Limp Bizkit were topping the charts and Xasthurwas a glorious antidote.
When news spread of the label’s closure in 2012, it was a day of mourning for all fans of underground metal. However, it would eventually prove to have been a slight exaggeration. Turner announced that the label would continue to release and reissue their past releases, and eventually it was decided they would continue to release music on a case-by-case basis. While not quite what we had all hoped for, it was a compromise we could accept.
In this case, the band is Erosion. A ‘supergroup’ of sorts, formed by 3 members of Vancouver’s favourite unsung crusty-hardcore heroes Baptists, with vocals provided by Jamie Hooper, perhaps most famous for at one time providing the harsh-vocals in the sadly-defunct heavy metal revivalists 3 Inches of Blood. On paper, this is a peculiar and curious combination – Baptists are famed for their unforgiving meld of d-beat, crust and hardcore with a black metal bleaching, whereas 3 Inches Of Blood were a triumphant tribute to old-school heavy metal, unflinching in their willingness to recreate the tropes which many mock the genre for adopting.. One would be forgiven for assuming “Maximum Suffering” could limp out of the speakers as a crude mess which lacks emulsion.
The resulting album, however, is a blistering portrayal of tunnel vision brutality and is far more hateful and savage than you could have ever assumed. One glimpse at the track-list and one is confronted with a mission statement: “Everything Is Fucked”, “Need For Death”, “Human Error”, “Deep In Hell”, “We Have Failed Us”. It is abundantly clear what the socio-political outlook of this band is, and they remain unapologetic of this stance throughout the 13 tracks.
Musically, the album is more than simply an amalgam of 3 Inches of Bloodand Baptists. A wretched combination of Trap Them, Entombed, Brutal Truth, Darkthroneand Infest, the sheer sound of what they produce is totally arresting. The performances on this album are all superb, with Hooper’s vocals finally able to tear in the way they threatened to while in 3 Inches of Blood, now more untamed than ever before. In his old-band, he was sharing vocal duties with Cam Pipes, whose Halford-esque wail providing a startling offset to Hooper’s shriek. Here, he is the sole vocalist, and the pressure is on to capture the audience’s attention and man the mission solo,and it is a joy to announce he has more than stepped up to the plate and given what is perhaps the most accomplished performance of his career.
The band is on similarity savage form, with the apocalyptic rhythm section underpinning the chaotic guitar-work. The production accents the attack, the songs aren’t written with a gentle touch, nor are they strokes of genius, but when performed with such conviction, this hardly matters at all.
The only shame of this album is timing, and that’s hardly the band’s fault. 2018, as a year, has proven the most difficult time for hardcore bands, solely due to competition and the ensuing struggle to stand out. Code Orange have popularized the genre and achieved Grammy nods by incorporating elements of IDM, industrial music and 90s alternative metal like that of Type O Negative and Pantera.
Turnstile have become the hottest commodity in the scene with their absolutely astounding sophomore effort “Time & Space”, a joyous amalgam of Trapped Under Ice, Metallica, Helmet and Jane’s Addiction. Outfits such as Employed To Serve, Palm Reader, Jesus Pieceand Harm’s Way have all released diverse and critically-acclaimed albums in the last two years and so for many people, the no-frills hardcore presented on “Maximum Suffering” may fall short of the mark.
Those people are doing themselves a disservice, as this album is one of the finest examples of pure blistering hardcore to be released in some time. By no means are Erosionreinventing the wheel, they are instead fashioning it into a buzz-saw.
If Hydra Headare going to continue being highly selective in their releases, fans are only going to remain loyal to the label if the quality is maintained. With “Maximum Suffering”, it is clear that Turner maintains his keen ear for outstanding, uncompromising music and Erosion ought to be very proud of what they have accomplished here.
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