SIDE A: AGORAPHOBIC NOSEBLEED
ASSAULT RIFLE: This is my favourite ANb track ever!!! Annihilate fucking everyone!! Annihilate everything! The toms in the intro drumroll… All about this track rules fucking hard! 10/10.
MOCK EXECUTION: Again a quick and dirty ditty from Hull and Co. Not an outstanding song, but wild and crazy vocals keep it interesting.
ANTI-CHRISTIAN: Love this song forever! Double bass drums and groovy shit all over makes this a total winner. And with a song title that is emotional comfort food for a christianity hating pig as me, it doesn’t get any better….
SIDE B: KILL THE CLIENT
SPARTACUS: “Things will continue to get worse…” Massive and noisy and tight as my ass used to be! All is descriptive of KTC on this split. Spartacus is a great song. Love the vox and the blasts!
99% TURNOVER RATE: Another steady banger. The muffled mix/production rules. Groovy bridge too.
RETALIATE: Retaliate takes off where 99% Turnover Rate left, almost as a second part of the same song – dunno if it’s intentional, but op i røven med det. Det virker!!
My relationship with Wadge goes back about 10-12 years, I was (and am) very much into drum-machine-driven grindcore, and as you might be aware, Wadge is exactly that.
At one point, I contacted Wadge via their MySpace, and was very excited to actually get an answer from Paul Wadge. We agreed to make a split between Wadge and my band Kusari Gama Kill, and Jay Randall of Agoraphobic Nosebleed fame agreed to release it on a new label he was planning, namely Grindcore Karaoke. The split was never made, but Paul and I kept in touch. He is a very nice man, and I still hope to shake hands with him one day.
Wadge has had a Tiki-theme going on for quite some time now, and it has been good fun, and great grind. But on this new album called The End of Ethnology, and is 100% Tiki-Free. As the liner notes go:
“This album is for those who value the ability to freely speak your mind over the modern worry of tiptoeing through the misguided muck of feelings. The anti-fascists have become the fascists. Modern day witch hunters trampling through life with stakes in their eyes. Redefining language and soothsaying thought. No one is immune from their delusional social arson, but only you can decide whether or not you burn. Stop, drop and roll, motherfuckers.
This album is for our comrades around the world. Oceans and miles separate us, but the affinity for this wretched filth keeps us close.”
Musically this is Wadge in top-shape. The songs are lean and hungry snippets of grind. I love the production too, the best sounding Wadge record I know of.
I urge you to acquire this slap of plastic before it is sold out. Mortville has released it, and you can get it at the link below.
All there’s left to say, is: Take it sleazy, all the breast.
Catchy dirty grindcore from Sissy Spacek, I know very little of this band, which serves to prove my ignorance of all things worth knowing. I know I like this record though, and that’s something I guess. Musically I’m reminded of Gridlink, but this is a bit darker and dirtier. The lp comes with a fat wad of xeroxed concert posters and postcards.
As always I have been eagerly awaiting the new Napalm Death lp for months. As you might have noticed, Napalm Death is my all time favourite band. And yet again they deliver as expected. I have been continuously satisfied by their releases for the past 15 years (DON’T mention their records from the 1990’s).
I have been through my intense love for Napalm Death in earlier posts, but as the big fat fanboy I am, I’ll try to expand my earlier outpourings:
Why I love Napalm Death
By Janus W. aged 44.
First and foremost; they have such a massive sound, I’m no stranger to listening to frail sounding music, but nothing pleases me as a true wall of sound (no offence, Phil Spector, but you didn’t have a clue as to what WOS is…).
Second; they play FAST – and I love speed.
Third: Barney’s and Mitch’s trade off vocals makes me sincerely happy
Fourth; they aren’t afraid to voice their opinions, in an intelligent manner too. Their lyrics have always been thought provoking and interesting.
Fifth; they are still evolving. I have a deep respect for their constant mutations, soundwise.
Sixth; c’mon, it’s motherfucking NAPALM DEATH!!!!
I shall say no more.
Well, one last thing, I’m proud (in a non nationalistic way, of course) that they have chosen Danish artists for both the cover – Frode Sylthe, and the video for Smash A Single Digit – Elf Shot Lame Witch.
As Shane told 17 year old me back in 1988, when I asked him how he got his bass sound: “If you wanna grind, you have to have distortion on the bass…”
I have eagerly awaited this lp since Freakery came out in 2006. And this baby was worth the long wait. This lp has deservedly been featured on many top of the grind 2014-lists despite its late arrival. Good funny and catchy old school no fuss grindcore!!
The songs are honed to perfection, and the lyrics ore over the top.
And then there is the cover… I was a bit disappointed when I saw the cover online, but with the lp in my hands I’m utterly stoked. BEAUTIFUL!!
My crappy photos doesn’t do it justice, so I guess you’ll have to purchase this beast to enjoy it.
Did I mention that the lp grooves and grinds like it was 1989?
This is the best thing that happened to my record collection since Disgrace To The Corpse Of Sid.
7,5 minutes of total whirlwind holocaust mayhem grindnoise.
A plethora of blast beats, screams and weird samples…
If you’re into truly demented chaotic shit, with a cruel production, feedback and drill noise, then this is for you.
This kind of noise is what I have always wanted to make. Fuck it, I can’t think of anything to say to convey my deep love for this kind of grind.
It was recommended to me by my Swedish friend Wilhelm Valencia (of Tacomaniacx fame)
This is a record I have been having dirty thoughts about since I heard of it. Unfortunately it was sold only on the Sete Star Sept 2014 North American tour, (comes with tour poster), and I am kinda living in Denmark, with no funds for going to a noisecore show on another continent.
Luckily my good friend Josh of Limbs Bin had the privilege of being the opening act for Sete Star Sept and Lotus Fucker in NYC, and he was kind enough to purchase this marvelous split for me. And slap my ass and call me Charlie if obtaining this isn’t well worth the trouble. Both bands deliver top work. An interesting detail is that 7S7 emulate Lotus Fucker’s hardcore, and Lotus Fucker in turn emulate the trademark 7S7 noisegrind. Also they have swapped artwork style.
I’m too stoked to write more, I’ll have yet another listen instead.
I couldn’t find a vid from this particular split, and I have chosen to link to a Lotus Fucker video instead, as I love the band a lot, and want to share the joy. And let’s face it, everybody knows how Sete Star Sept sounds…
At first I bought this as mp3’s, then I bought the cd, and now I have bought the lp. That’s how good this album is. From the opening song Deindividualized though the next 23 perfect grindcore songs to doom-ish closer Trail of the Dead, this is a solid album. Shame on me, but I had never heard of Blockheads before this was released, which serves to prove that I really am in the know about grindcore… That aside, it is always great to learn of new music. And I have a vain hope that this blog sometimes give my readers the urge to listen to unknown stuff. That way I try to give back all the good experiences other bloggers have given me throughout the years.
As a new thing on Vinyllistener, I’ll try to embed a video from the record.
This is pure grind, not many traces of metal, and plenty of sexy breaks. The vocals are varied, and the playing is super tight. I’m crazy about the cover too, very disturbing image – much more so than the usual grim shit.
I was hugely disappointed when this lp came out. It put me off Agoraphobic Nosebleed for quite a while. But time mellows all feelings, and in recent months I have come to embrace the re-invented thrashy ANb.
The addition of Katherine Katz to the line-up, is a good thing. She sounds all sorts of pissed off, and easily matches the venom of Richard Johnson and James Randall. Scott Hull plays and programs like an evil genius.
I’d really like to go to Maryland Death Fest 2015 and see them live, but I fear my meager funds won’t get me there.
About Agoraphobic Nosebleed; I got into them quite late, I read about them in Albert Mudrian’s excellent book Choosing Death in 2004, and was intrigued by the notion of drum machine grind. Especially since I had plans of my own to make some machine-grind of my own.
The first ANb record I bought was Frozen Corpse Stuffed With Dope, then Honky Reduction, and then I began collecting their 7”s. Currently I have 26 Agoraphobic Nosebleed releases in my collection, but that includes multiples of their albums (cd/vinyl) and compilations.
I have a huge love for 7S7. And especially Gero Me. But I never got around to buy it. I know I’m going to at some point, but for now, I have to make do with the digital version. Bus as I’m deeply addicted to it, I thought I’d make a new sub-blog about records I’d like to own.
This is an intense motherfucker of a record. Short spastic noisy songs, all in Sete Star Sept’s trademark bass/drum/vocal-assault style. It was the first thing I ever heard from them, and that listen spawned an expensive habit of collecting their records, no easy task! Discogs currently have 70(!) releases listed, and I have 13 of these… I have had a little communication with the band about a possible split with my own band, but they politely declined. I haven’t given up hope yet though. They have been a huge revitalizing factor in the shaping of the sound of my band, especially the songs on Gero Me and Visceral Tavern (discussed elsewhere on this blog).
Not much more to say, but
This is a record I want…