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.
“Lux Tenebris” is absolutely terrifying in its delivery and atmosphere, by the time the slower riff of “Cupio Dissolvi’ cascades into the ether, you’ll begin to wonder whether you’ve listened to an EP or been sacrificed to a dark entity.
“Lux Tenebris” DD//LP track listing:
1). Vertigo
2). The Sorrowful Void
3). Cupio Dissolvi
The Review:
Italians The Secretare a band that are difficult to pigeonhole. Equal parts blackened hardcore, sludgy crust and nihilistic grind, with a pinch of apocalyptic doom for good measure, they seem to get heavier...and indeed better, with each new release. So it comes as no surprise that ‘Lux Tenebris’ the new 3 track EP is a maelstrom of hell fire and fury.
From the slow build of 'Vertigo' with its evil melodies penetrating the methodical black magic ceremony within, it switches gears as it struggles to contain the raging beast that is 'The Sorrowful Void'. Absolutely terrifying in its delivery and atmosphere, the track takes no prisoners and the blastbeat halfway through is almost a respite from the oppressive nature of the music.
Closer ‘Cupio Dissolvi’ is probably the blackest and nastiest the band have ever sounded; the tremolo riffs, blasts and d-beats create a magnanimous and utterly filthy piece of music that stands out among this year’s releases. By the time the slower riff cascades into the ether, you’ll begin to wonder whether you’ve listened to an EP or been sacrificed to a dark entity.
In May and June of this year, Singapore’s Wormrot embarked on their first US tour in years, culminating on June 3rd at the Meatlocker in Montclair, NJ. The set was once in a lifetime spectacular, enervating a wall to wall crowd from start to finish. Though the show wrapped up after 1 AM, I was wide awake for hours afterward, trying to put into words the emotionally transcendent moment the few of us lucky to be there had witnessed. This show, and this tour, were the result of years of planning, frustration, and hard work by bookers, tour managers, local musicians, and the band themselves. I was honored to sit and speak for a few moments that evening with founding member, vocalist and lyricist Arif. He went in depth about a number of topics: just how tumultuous it can be for foreign visitors to the United States, especially musicians; the frustration of creating art in a colonized society; the experience of playing a heralded set at this year’s Maryland Deathfest; and the relentless struggle of being separated from his wife (Wormrotmanager Azean) and their son in order to perform around the world.
SL: First off, can you explain what happened when the tour booked for 2017 fell through?
Arif: So we were supposed to tour the US last year but we weren’t prepared visa-wise. It was a little bit of last minute preparation and due to the political climate we didn’t want to risk it. We were a little more prepared this year. Visas are expensive and we had to go through interviews with the US embassy in Singapore. Thankfully things went smoothly and we’re here now.
SL: On top of that, you had some issues around your equipment this time – apparently some things were held up in customs?
Arif: It’s not a tour if shit doesn’t happen. One of our friends was supposed to come with us and mentioned the wrong fucking thing and was deported. We were being interviewed and he was asked, “What do you do in the band?” And he probably mentioned he sells stuff. And if you mention money, they’re going to interrogate you. And on top of that, our luggage was all in his name. That was the start of the complications. It took us about a week to get our luggage back, but we borrowed equipment from bands, used our same clothes for a week – no toiletries or whatever. So it was a little rough. But thankfully everything is with us now.
SL: So with these hurdles and headaches – is that particular to US touring or is it anytime your travel internationally to play that you’ll encounter these frustrations?
Arif: I think it’s probably our luck is not that great. I’m sure it’s easy to travel. Our luggage was supposed to be under our names but someone in Singapore customs put it all under one name. I guess… better luck next time!
SL: What was your preparation for Maryland Deathfest?
Arif: It’s good NOT to prep yourself. Be yourself. We’re not trying to impress anyone or show off or say we’re better than other bands. If people like it, fucking great. Try not to pressure yourself every show. Stay calm and have fun.
SL: Are you working towards any new material or a new release?
Arif: Afer this tour we’re heading out again – not another tour but the Obscene Extreme Festival in the Czech Republic. It’s the 20th anniversary so we’re really honored to be there. After that we’ll probably start writing the new album. But we’re going to take our time – we do not like to rush albums. Usually what we do is Rasyid, our guitarist, will come up with a riff and a few drum beats and we’ll jam it out in a studio. And I’ll just blurt our something to go alone with the music and write the lyrics during the recording process. On “Voices”, after they recorded the guitar and drums so I had fixed, concrete music, I started writing the lyrics.
SL: This will be the second album with drummer Vijesh on drums. Does he take an active part in songwriting or is it jammed out in studio? What’s the musical approach?
Arif: Raysid is the main songwriter of the band. He has all the riffs built out already. Vijesh and I will have some tweaks or modify things.
SL: As you work towards new material, what are some topics that have been on your mind? A lot of bands, especially in grindcore, are focused on the immediately political, but with a record like “Voices”it seemed a lot more personally focused with some crossover to broader issues.
Arif: A zillion grindcore bands start talking about politics – and this is just my opinion – it’s pretty redundant. They are talking about changing the world but the world is still fucked! So there is no point in my point of view. I’ll take every single album of ours as a diary. I think its way more meaningful so we can look back at the lyrics and go “oh shit we went through all that shit!” So we try not to be as political… It depends on what we experience through the year. If it was a depressing year, it’s probably a depressing album. With “Voices”that ended up being a really depressing album. We lost our drummer [Fitri] that year and we almost quit the band. But we pulled it through.
SL: Do you feel in a more positive mode now?
Arif: So far it’s been very positive. I’m a little concerned about the next album – it’s probably going to be a very positive album! But at the same time, we’re still going through social issues. We’ll mix it up.
SL: Is there much you’re taking in, as far as music or culture, that’s locally produced?
Arif: Singapore is basically a Westernized country. The majority of our shows or TV is US stuff. Locally we have cuisine and stuff like that. Culture-wise – it’s basically fading off. We don’t have much forested area – its high rises. A lot of the old buildings have been demolished. So, I have no idea – we are a westernized island.
SL: What do you dig into to get centered or relaxed?
Arif: Really, spending time with my wife and son. Family comes first. Living in Singapore you can become a robot. It’s all about work. There’s no time for leisure. You have to make the best out of it. Touring is sort of like a holiday, but a tiring fucking holiday. It’s always about work. Actually, I work in a warehouse doing a twelve-hour shift every day. When we get back from tour, the next day will be back to work. Living in Singapore is really fucking expensive, too. I’m sorry to depress you!
SL: Well with the amount of energy and money people expend to really keep a band going, it’s pretty remarkable that you guys can still work, and do these tough tours, and maintain a job, and keep making, frankly, amazing records!
Arif: You know, we have friends back home who used to be in bands and had to quit to make money or keep a job or have a family and at the time I would say, “Oh you’re a fucking pussy!” But you have to pay your rent. Now that I’m at that stage, having a child, I can see that quitting a band is probably a good move. But I’m not going to be a robot. I need a break from that reality and Wormrot is a big deal in my life. Wormrot is bigger than the three of us now and I’m not going to put it to rest.
SL: Last question: What are some bands you were able to take in and enjoy this tour?
Arif: Oh man – we have seen so many great fucking bands. We’re touring with Escuelaand they’re just killing it every night. I loved Sarlacc – a Star Wars inspired band that is fucking groovy. Organ Dealer. Chepang. I didn’t get to watch Pig Destroyer but they probably killed it. I managed to watch Godflesh for five minutes and it was amazing. There are a lot of underground bands that kicked our asses every night that I can’t remember the name of right now!
Following up last year's “Vol. 2: Rural Banishment”, Herd Mover return with Vol. 3: Section 59, a polished take on their rough around the edges noise-rock/doom. Merging the grindcore of Pig Destroyer and Faminewith the noise rock of acts such as Shellac and The Jesus Lizard, Herd Mover'sunrelenting flurry is intentionally demanding yet direct and very much to the point. Adding a further layer of grit, Zak Duffield's primal vocalisations add a complimentary mid-tone to the low end of Jake Burgess and Sam Evans, rounding off the trio's bastardised sound.
No nonsense and to the point, “Vol. 3: Section 59's”5 tracks sit at just over 10 minutes, with riffs scattered throughout in handfuls, either in developed sections or at 90mph – nothing is done in half measures. Herd Mover's take on genre bending doesn't waste any time. Set for release on Friday 6th July 2018 via Astral Noize Records, the label that brought us the stunning debut from new SLUDGELORD favourites Aerosol Jesus, now we can add Herd Moverthat list and today we’re debuting their gnarly a fuck new EP in full. You can check it out below.
On “Savagery” Skinless are very clearly still Skinless, they’re just a better and more imaginative version of what they’ve always been and in the process they’ve come up with an album that stands up to their legacy albums and then some.
‘Savagery’ CD//DD//LP track listing:
1. Savagery
2. Siege Engine
3. Skull Session
4. Reversal of Fortune
5. Exacting Revenge
6. Medieval
7. Line of Dissent
8. Cruel Blade of the Guillotine
9. The Hordes
Bonus Track:
10. High Rate Extinction (Crowbar Cover)
The Review:
You generally know what you’re getting into when a new Skinless album finds its way to the masses. It’s going to be brutal, ugly death metal, just as they’ve done for more than 20 years now. But it’s also true that even the most diehard death metal devotees are likely to feel a need to toy with their own formula eventually. To a reserved degree; that’s the case on Skinless’ new album ‘Savagery’. The changes the band have undergone with this album are not the sort of abrupt sharp turns in direction of bands like Katatonia or Ulver or even Carcass. Instead, Skinless have gone with a more subtle tact to freshening things up.
One such change, which is obvious from the get-go is that the band has opted for a much warmer, dirtier production this time around. In the past, Skinless has tended to go with a more “brutal death metal standard” production approach, where everything sounds sharp, crisp, to the point of feeling clinical. On ‘Savagery’, a lot of that sharpness is replaced by a grimier guitar tone, and by going with a much more natural, roomy sound over all. The production works exceedingly well at setting this album apart from the rest of the band’s discography without even looking at their compositional choices.
The songs themselves feel different than anything the band have done too. There’s less of a focus on speed. You’ll still find plenty of intricate, hacking riffs, if that’s your thing, but you’ll also find a greater variety to what you’re hearing than Skinlesshave ever offered. “Siege Engine” tries its hand at bigger, catchier riffs to great success, which should make the track a live staple. Balancing those larger riffs with some blast n’ trem keeps the song from feeling too self-awarely anthemic, but the song’s a self-contained riff machine in either case.
Meanwhile songs like “Exacting Revenge” and “Medieval” have something of a moodier disposition, where the riffs have an almost sludgy texture to them, the pace sometimes slowed to a near crawl. With that in mind, “Medieval” might be the best song on the album. It’s absolutely rotten with ugly harmonizing and apocalyptic chord work. It harkens back to some of the slower moments on Suffocation’s‘Pierced From Within’, but tackles that sound in a very different way, and the slower breakdowns in the songs second half are absolutely crushing.
It’s not that Skinlesshave reinvented their own wheel on ‘Savagery’, so much as that they’ve just found new ways to work within their established sound. They’re very clearly still Skinless, they’re just a better and more imaginative version of what they’ve always been. It’s a hard thing, trying to compete with nostalgia and legacy, but Skinlesshas come up with an album that stands up to their legacy albums and then some. No mean feat for a band twenty years on from their full length debut.
“Savagery”is available digitally, on CD and LP here
This is a modern grind record that doesn’t overstay its welcome, and is a step forward in an often stagnant metal subgenre.
“Cult of Extermination” DD track listing:
1). Bootlicker (1:03)
2). Tomb of Disgust (1:56)
3). Bile Overdose (0:34)
4). End Terror (0:45)
5). Infinite Knife (0:26)
6). Secret Scum (1:14)
7). Violent Death (0:39)
8). Grave Dog (0:29)
9). Noise V (0:42)
10). Cult of Extermination (2:52)
11). False Grinder (2:26)
The Review:
Holy Grinder’s debut record, “Cult of Extermination”, is a welcome addition into the world of grindcore. With its incorporation of death metal, industrial music and noise, “Cult of Extermination” is a new classic in the canon of grindcore.
The album wastes no time in getting into the blasts beats with “Tomb of Disgust” and “Bile Overdose”. From there, the record jumps element to element, and employs something new once the listener gets comfortable in a particular sound. Whether it is the technical bass leads of “Infinite Knife”and “Grave Dog”, to the strangled noise of “Noise V” and “Secret Scum”, or the industrial hardcore vibes on “Cult of Extermination”, the listener is never quite sure what to expect from Holy Grinder.
On the surface, this is a raw as hell grindcore record that references many of the genre’s forefathers, but has so many nuances to it after multiple listens. This is a modern grind record that doesn’t overstay its welcome, and is a step forward in an often stagnant metal subgenre.
“Misery Rites” is a standout contemporary extreme metal record one of the most punishing heavy music albums of the year so far.
“Misery Rites” CD//DD//LP track listing:
1). Exhumation
2). Misery Rites
3). Embers
4). Rot
5). Paradigm Rot
6). Exile
7). Rumination
8). Bitter Winter
9). Burial Ground
The Review:
Canada’s most complex grindcore band returns with “Misery Rites”. Taking a lot of what the band had previously done on “Sowing the Seeds of a Worthless Tomorrow”, and further pushing elements of black and death metal. The album is one of the most punishing heavy music albums of the year so far.
From the very start, the record opens on a different path. The sludge riffs on “Exhumation” would make Primitive Man proud. In true grind fashion, however, the album is still full of blast-beats. They are interspersed with moments of dissonant death metal riffage; “Paradigm Lost” and “Exile” utilize this structure in a way that make the heaviest moments stand out. This band really excels at building peaks and valleys in its music for the listener.
Drummer Josh Bueckert really stands out on this record. The drum patterns create a lot of surprising twists and turns. The continual motion on tracks like “Burial Ground” showcase a variety in drum patterns rarely heard in heavy music. “Misery Rites” is a standout contemporary extreme metal record that sees this band moving further into other forms of heavy music, and finding their unique sound
SATAN’S DOZEN is THE SLUDGELORD’s attempt to present the very best music the underground scene has to offer and whilst we’d love to review every band submission we receive, not to mention the countless recommendations you send our way, in practical terms that is just not possible. Therefore because we don’t want killer music to pass you by, each and every month our member of the Russian chapeter Andrei Moose painstakingly sifts through the music labelled killer riffs” and chooses 13 of the best new albums released via bandcamp and bundles them together into the mightiest riff sandwich.
Whilst all the albums we have included below are top tier stuff, we have compiled them into a chart on a sliding scale of 13-1. So we hope you dig our selections for January 2018 and enjoy 13 Unearthly Hymns Unearthed.
These bands need more exposure, so go “like” “share” and “follow” their pages, but most of all enjoy some of the best music the underground has to offer. THE SLUDGELORD most sincerely approves. Now, go heavy or go home.
13) Sons Of Nibiru – “Hellspirit” (Rzeszow, Poland), Released December 16, 2017
Psychedelic / Stoner-Doom
12) Borgonaut – “Borgonaut”EP (Trieste, Italy), Released January 31, 2018
Stoner-doom / Sludge
11) FILTHxCOLLINS / SKINLOVER – “Split 7” (Cardiff, UK), Released January 21, 2018
Sludge / Grindcore / Powerviolence
10) Taser – “Social Exclusion Blues” (Lahti, Finland), Released January 19, 2018
Sludge
9) Dowager – “Hymns for the Dead” (Los Angeles, California), Released January 1, 2018
Stoner-Doom
8) Nerveshatter – “Madhouse”(New York(, Released January 9, 2018
Noise / Hardcore / Sludge
7) Troll Teeth – “Boiled Alive” (New Jersey), Released January 1, 2018
Psychedelic / Stoner-Rock / Stoner-Metal
6) Psychic Lemon – “Frequency Rhythm Distortion Delay”(London, UK), Released January 12, 2018
Instrumental / Psychedelic / Kraut / Prog / Rock
5) Floaters – “WAITING FOR AMNESTY” (Tokyo, Japan), Released December 29, 2017
Stoner-Doom / Sludge
4) Smoke – “Stoned To Death” (Houma, Louisiana), Released January 12, 2018
Stoner-Doom / Sludge
3) The Mothercraft – “Pillars” (Edmonton, Alberta), Released January 5, 2018
Stoner-Rock
2) Legalize Crime – “Beat The Law” (Wroclaw, Poland), Released March 30, 2017
Sludge / Hardcore / Stoner-Metal
1) Orphans Of Doom – “Strange Worlds/Fierce Gods” (Kansas City, Missouri), Released January 26, 2018
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