Japan’s Endon continue to deliver polarizing, “catastrophic noise metal” on their intense, unpredictable and all-around insane sophomore LP, Through the Mirror.
Through the Mirror follows 2014’s Mama; an unyielding barrage of nightmarish, avant-garde noise that drags listeners down into the depths of insanity and tortures them for all eternity. The six-track debut featured walls of harsh noise and earsplitting sound effects that collide head-on with battering percussion, corrosive guitars and an array of hellish, unhinged vocals. The entire record, even with its numerous peaks and valleys, was 40-minute cacophony that the most masochistic of extreme music fans would lap up with a smile.
The fifth and final full-length record from Swedish band Burst is a bit of a Metalcore anomaly. More on that in a second. When a couple of the folks from Svbterranean mentioned the idea of doing a Metalcore column series my initial reaction was that I very much wanted to participate, but then it dawned on me: I’m not exactly up to speed with the genre these days. I think the last Metalcore release I actually listened to was Hot Damn by Buffalo legends Everytime I Die. So I did what any middle aged music nerd would do, I started googling “classic Metalcore records.” Much to my surprise, Lazarus Bird made many appearances in best of lists. It’s surprising because Burst to my ears heavily leans towards the progressive rock/metal sphere with their “song within a song” aesthetic (one that very much reminds me of Norwegian masters Enslaved.) Be that as it may, trying to dispute genres and pigeonhole music is a generally futile endeavor and Lazarus Bird is a bloody gem of a record. Complex, varied, and completely memorable.
Iranian progressive rock 5 piece Mavara have a long and storied history. Formed in 2001 by keyboardist/producer Farhood Ghadiri, the band quickly solidified themselves as a premier act of their ilk in their homeland. The band received accolades in their native land and played the prestigious progressive rock festival “Teheran Avenue.” The band’s first English language album Forgotten Inside was released in 2009 with the band subsequently relocating to the United States. There they released 2013’s Season of Salvation.
The Body and Full of Hell return with another dark and abrasive collaborative effort with Ascending a Mountain of Heavy Light.
Throughout their careers, The Body and Full of Hell have thrived in the underground extreme music scenes by being prolific workhorses, and by purveying a sound and image in their respective genres that is dark, misanthropic and nihilistic, which seems to strike a chord with the more “disenfranchised” heavy music listener. Because of their commendable work ethics and shared love for all things polarizing and noisy, its not surprising that their paths would eventually cross, resulting in 2016’s One Day You Will Ache Like I Ache.
Post rock outfit WATTER have detailed their forthcoming record History of the Future. The greatly anticipated follow up to 2014’s stunning This World will be released October 20th by Temporary Residence Ltd.
Vancouver, BC, Canada 2 piece stoner thrashers HEDKS are just fine with musically dismantling audiences whether it be at an impromptu protest, theater, booze can, parade, or basement. Claire Carreras (guitar/vocals, also known as Twitch) and Taya Fraser (drums, also known as Taser) are long-standing fixtures of the Pacific north west’ prolific punk rock enclave. HEDKS has spent much of 2017 touring and playing festivals and is crossing the pond for a European Tour in late September/early October. Fellow local rain forest punk rock outfit BRASS will be joining them. For Twitch this equates to two shows an evening as she plays bass in BRASS as well. Svbterranean got an opportunity to catch up with Twitch before she leaves for Europe in the fall.
Photo by Liz Ciavarella-Brenner
One-man experimental outfit Gridfailure
creates soundtracks to nightmares you hope you never have. Helmed by New York musician David Brenner, the ever-prolific project creates abstract, often haunting soundscapes that envelop listeners in their pervasive malevolence and offers no escape. With each new release, Brenner seems to pull more and more from the darkest recesses of his psyche, resulting in a project that rarely repeats itself.
With What Passes for Survival, New York’s Pyrrhon inches further and further into alienating obscurity.
Since the release of their 2014, head-turning sophomore full-length, The Mother of Virtues, Pyrrhon have been on a steady path towards something truly unique and truly outré. Though the band have purveyed a weird take on “technical death metal” since 2009’s Fever Kingdoms, it wasn’t until the aforementioned full-length and the two EPs that followed, Growth Without End and Running Out of Skin, that the band’s true intent became clear; to create music so bizarre and frightening that only the morbidly curious, masochistic and mad would truly appreciate.
A nice blend of black metal, hard rock, doom/sludge and what appears to be a nu-metal/metalcore mashup is in store for you today with these albums. Continue Reading
Photo by Jason Larkin
Noise is a polarizing genre of music made with the most masochistic of individuals. Those who gravitate towards its unyielding abrasiveness are enthralled by its loose construction and walls of foreboding sound; things that could be torturous to others. It can truly be an assault on the senses, an assault that only the strong can withstand.
Twin Cities noise outfit The Blight‘s forthcoming LP, Meditations on Insignificance, is one of those aforementioned sensory assaults. Featuring five tracks of sprawling, improvised noise soundscapes, Meditations on Insignificance is not for the weak-willed. We at Svbterranean are excited to bring you an exclusive stream of this monstrous effort to help make your Tuesday a bit more eventful, and terrifying. Check out the record after the break.
Meditations on Insignificance will be released on July 28 via Tridroid Records. Pre-order here.