Mammoths on Giants – Passcode of a Perfect Mother
Turkish trio Mammoths on Giants return nearly three years after the release of their debut three-track Desolated EP with another short, but sweet, EP offering. Passcode of a Perfect Mother, the newest creative output from the band, features three new tracks and a slightly revamped sound. While Desolated held ties to modern groove-based metalcore and polished deathcore, Passcode of a Perfect Mother aims to be darker and sludgier than its predecessor. The sound on this release is a doomed blend of sludge/post-metal and post-hardcore, with some mathcore sensibilities thrown in for good measure. “Basel Bath” starts of the record with brooding metallic riffs that bleed into menacing sludgy crawls, all of which are propelled by a concussive rhythm section and harsh, acidic vocals. The song sounds like the bastard child between The Ocean and older Norma Jean material as it churns out emotive sludge instrumentation that always looks for a reason to break out an angular, semi-mathy riff. “King Marmot” starts off with a bouncing, darkened metalcore-tinged riff that flows directly into dissonant, writhing, groove-laden riffs that are marred by noise and sinister melodies. This is the only track that reminds one of the material on Desolated, albeit more bloodthirsty and antisocial. “Preacher (You’re Alive)” closes out the EP with a series of marching, monolithic chords. This procession of sludge sets the stage for a blitzkrieg of grinding death metal riffs and somber melodic post-hardcore sections to finish what the intro riff started. Passcode of a Perfect Mother shows this Istanbul act really coming into their own. Mammoths on Giants have grown a lot in just over two years and have refined their sound to the point that it puts them miles ahead of a lot of similar acts. This is definitely a band to keep an eye on in the years to come.
Release Date: May 7, 2016
Favorite Track: “Preacher (You’re Alive)”
For Fans Of: Norma Jean, Black Sheep Wall and Armed for Apocalypse
Giant Gutter From Outer Space – Black Bile
Brazilian bass and drum duo Giant Gutter From Outer Space offer six tracks of off-kilter sludge on their third official release, Black Bile. The band’s sound is derived from sludge metal and noise rock and keeps an eye toward the avant-garde and experimental side of things. These six songs revolve around the discombobulating interplay between lurching, angular bass lines and erratic percussion and its abstract rhythms. The eight-minute “Circles of Interference” opens up the record with a repetitive, malformed bass riff that presents itself like a doped up Unsane riff. The bass writhes and contorts throughout the song, morphing back and forth between stoner-adjacent stomps and rhythm-displacing dirges. The drumming is chaotic and complex, aiding the bass in its dizzying warfare. “Joy and Misery” begins its seven-minute sprawl with phaser-effect laden dissonant chords that slowly lead into highly distorted bass apocalypse. The track then unleashes burst after burst of skull-caving, Primus-esque grooves and noise rock harshness. Though the band’s drug-induced Primus-meets Amphetamine Reptile sound is a unique and bludgeoning force, some of the songs tend to become formulaic and long-winded. After the first few songs the record loses its element of surprise and the listener will know what to expect from there on out. Though Black Bile possesses a very distinct sound, there is not a whole of variety in construction and methods used between songs, which causes the release to drag in some areas. All of that being said there is still something worthwhile to listen to. Giant Gutter From Outer Space are an interesting entity and, hopefully, they continue to progress because there is something special there.
Release Date: March 16, 2016
Favorite Tracks: “Circles of Interference”, “Joy and Misery” and “Memory, the Enemy”
For Fans Of: Bangladeafy, A Fucking Elephant, Hella and Greber