Lines In Wax

TWELVE YEARS OF UNWANTED OPINION

Month: May 2013

To Die – Jiwa Jiwa Yang Terkumpul (2013)

To Die – Jiwa Jiwa Yang Terkumpul (2013)

Now this is what I’m talking about! Trading pays off when you get gems like this! Starting off sounding like demo-quality Converge with Iron Monkey’s Johnny Morrow on vocals, it doesn’t take long for To Die to burst into mental grindcore and body-slamming breakdowns. Most of the songs are notoriously short, but they are mental as fuck and really really rabid. The guitar has a really mournful undertone to it, almost like black metal riffing in a way. The record is dubbed on a c10 and it’s shorter than the tapes capacity, but it is well worth a listen. At the end there is a couple of live blasts, and then it’s all over. I’ve never considered Indonesia to have any semblance of a grind scene before, other than Wormrot, but I got some research to do. To Die are definitely ones to keep an eye on, and I’ll be treasuring this tape for a long while. As of the time of writing I have a few copies for sale / trade over at Pointless Records, so get a hold on that shit! Alternatively, get on Japan’s new (and off to a great start) label Fuck The Industry, which is all totally DIY and awesome as fuck. Get in! PS: Please excuse the recent lack of updates…been a busy few weeks. Normal posting schedule should be back within the next few days.

Jig-Ai – Jig-Ai (2006)

Jig-Ai – Jig-Ai (2006)

Jig-Ai play goregrind; pulsating, menacing, phat as fuck, groovy goregrind. Oh boy! The overall production is heavy and fairly downtuned but sprightly enough to not get bogged down. The vocals are an endless mix of styles, defaulting unusually on pig squeals (not entirely typical of goregrind, one must point out) but also throwing in a whole spectrum of weird noises in too. It’s like farmyard grindcore here! This album was out for four years on CD before Grind System Music came along and pressed the bastard on vinyl. Bloody good show, old bean(s)! I picked this up off the Earache stall at Bloodstock 2010 (AKA Rainfest 6000), which was a nice find, as at the time I didn’t know a vinyl version of this album existed. All that’s left now is for someone to press Jig-Ai’s excellent follow-up album Katana Orgy on vinyl as well.

Bizarre – Hannicap Circus (2005)

Bizarre – Hannicap Circus (2005)

In my many years of D12 / Eminem fandom it never occurred to me that other members of the group might have solo projects. After giving myself the ultimate facepalm, I began hunting down those records. I started with Bizarre, who is by far my favourite member of D12. He’s like the Frankie Boyle of rap music. A lot of rappers say shit that gets them shot; Bizarre is so offensive he goes beyond that and just confuses everyone so much that they don’t know whether to laugh at him or pop a cap in his ass. (I mean this all in good humour guys…rappers please don’t shoot me!) Despite it’s rather inviting title, Hannicap Circus is as nowhere near as offensive as I thought it would be. Sure, the underlying themes of worshipping ganja, taking pills, raping down syndrome girls and having HIV remain, but as a whole Hannicap Circus really didn’t offend me. It seems to open up a bit harsh, but then it falls into all the usual ruts and themes of a solo rap record. There the song (or six) about weed, a song about fucking, about love, about someone close who has died, a parody (“Today Was A Bad Day”, which is much better than the original-opposite Ice Cube idea) and one or two bangers to finish off with. There is even a song about missing his kids on tour, which for all the arse-rape and sexual innuendo that usually comes with Bizarre, is downright worrying. To be fair, this is a good hip hop CD. I just know that Bizarre can do a whole lot better than telling me how fat and disgusting his bitch’s ass is. Step it up a level, man!

Burzum – Hvis Lyset Tar Oss (1993)

Burzum – Hvis Lyset Tar Oss (1993)

Burzum is a tricky subject, but I am not going to try and navigate it here. As I’m sure I mentioned in my last Burzum post many moons ago, I try to keep politics out of music. If politics happen to be the driving force behind music, then that is fine by me, but I don’t let it get in the way of my enjoyment of it. I’m no more a racist for wanting to own Vaginal Jesus CDs than I am a left wing, vegetarian anarchist for owning Agathocles stuff (2020 edit: I am now the left wing veggie snowflake incarnate!- Ed). Hvis Lyset… is probably my favourite Burzum stuff. The opening track, “Det Som En Gang Var” is a 15 minute journey of absolute epic proportions which pretty much sums up everything that I love about this project; the wasp-like guitars, the simple yet effective backbone of thick bass and sparse drumming, the chilling synths, and those horrendous vocal screeches. Production wise, Hvis… has more in common with Aske than say, Filosofem, but still sounds pretty necro. With releases as near perfect as this, one has to wonder what road Burzum would have gone down if Varg hadn’t gone to prison. Would Burzum have continued to unfurl into the greatest (if maybe not so over-rated due to the murder controversy) black metal project ever alongside Darkthrone? Or would he have fizzled out early and lost all favour with the majority of the community through his ramblings about racial purity?  I guess it’s pretty pointless of me to speculate, but it does make you wonder. As with every other Burzum album, this has been fantastically re-issued on the Back on Black label in a lovely gatefold sleeve and is brilliantly easy to find. However, if you are after the original, you might wanna start saving up.

Ostie – Ostie (2012)

Ostie – Ostie (2012)

I bet you’ve all always wondered what happens when you apply the noisecore ethic to bedroom black metal? Well, if you have or not, Ostie are here to either brighten or ruin your day, depending on your outlook on life.  Combining the production values and attitude associated with noisecore into the elitist and grimm as fvck black metal sound, Ostie create one hell of a disorientated, erm…racket. The major let down for me is the vocals, which just don’t work for me. The pitchshifted cleans (yes!) are pretty interesting, but the general voice-over is fairly lacklustre. Limited to 100 copies on Ukraine’s Depressive Illusions Records, and also available on a limited CDr run in jet black DVD cases. Grimm as fukk. I don’t really know who this music appeals to…and it’s not really my cup of tea but it’s cool as fuck and the package is really nice.

Godflesh – Pure (1992)

Godflesh – Pure (1992)

It’s that time again; another Godflesh post! How long will this one be? How far up Justin Broadrick’s arse can I get this time? Ha ha! All jokes aside, my love for Godflesh is seemingly never-ending, although I do have lapses in listening time these days as there is so much other stuff out there I’m currently wrapping my lugholes around. At the moment I’ve been on a tremendous (and possibly worrying) hip hop / Bjork kick, so switching back to something as punishing as early Godflesh for the purpose of this review has really juxtaposed my listening ability. I guess it makes Pure seem twenty thousand times heavier. That can only be a good thing. I’m not sure if Pure was the logical progression from something as sprawling and nauseatingly epic as Streetcleaner. I can totally see how the band got from A to B, so to speak, but Godflesh could have just as easily wandered off into the wailing, droning, clanking territory instead. Regardless of what could have happened, history dictates that Godflesh tightened and disciplined their sound for their second record. Pure is clinical and more machine-like than before. Both Streetcleaner and Godflesh are mechanical as fuck, but they also both presented a harrowing sense of depth and that weird sense of claustrophobia (or is that agoraphobia?). Pure just gets in, fucks you up, and leaves. It is an absolute riff machine. I’m surprised this isn’t more popular in “regular” metal circles; the riffs on display here are tight and mosh pit inducing. If this record didn’t exist, neither would Fear Factory (or maybe they would have just stayed as a death metal band). The production is something that is very similar to the later, metal-to-the-core Pantera, and I don’t suppose that it’s a coincidence that Justin ended up remixing on the “Walk” single. Even Metallica’s Kirk Hammet claimed that Godflesh were the heaviest band on the planet, before he stole a bunch of artwork ideas and was a general all-round dick. To top it all off, Metallica went on to release Load and Reload at this point, so karma is a bitch. This LP can be rather difficult to find at a decent price. If you keep scoping and peeping that shit on various websites you will eventually be very lucky and can score a copy for a pretty good price. I got mine for the absolute steal of £10, because the seller insisted that the copy wasn’t in good shape, despite sending me pictures that seemed to show otherwise. My copy is a bit crackly, but that just lends to it’s charm. It looks just like any well-played record would look like after 20 years of storage. Out on Earache Records, and has also been re-issued on CD a gazillion times so you can probably get a copy for 5p or something.

2 Minuta Dreka – Let’s Start A Porn In The Name Of Gore (2006)

2 Minuta Dreka – Let’s Start A Porn In The Name Of Gore (2006)

An instant porngrind classic. 2006’s debut from Italian noisecore-cum-grinders 2 Minuta Dreka really made it’s mark in a time where pure groovy grind had gone a bit stagnant (GUT’s Cumback, anyone?). For me it holds the perfect production; that excellent fine line between studio quality and rehearsal room feel. I guess it is the very organic drum sound (count-ins and all) that helps keep this record’s garage vibe locked down. Let’s Start A Porn… was released on the seemingly now defunct (?) American label Half-Life Records. I believe also that the record is out of print. Perhaps it should be re-released on vinyl! There are a few rather long songs here, but that’s cool because they are all fairly groovy and don’t get boring at all. The samples are just priceless, and if you go on the official 2 Minuta Dreka website, vocalist Brandy has been kind enough to list what films they are all from. Mixed in with the longer tracks are a plethora of silly grindcore 1-seconders and a couple of cover songs from the likes of GUT, Meat Shits and Fear of God. It is clear where this band gained their influences! It’s hard to believe it’s been 7 fucking years since this album came out! I for one literally cannot wait for a new 2 Minuta Dreka record. Blllllllerrrrrrrrrrrrrrrrrrrrghhhh. <div class=”footer”><img src=”https://linesinwax.com/LIW2020footer.jpeg” alt=”Logo” height=”63″ width=”568″></div> </body> </html>

10,000 Cadillacs – Be My Guide (2000)

10,000 Cadillacs – Be My Guide (2000)

This is solo hip hop effort by Mushroomhead’s drummer Skinny and ex-vocalist J Mann. Being a fan of all things Mushroomhead in my early teens, I naturally began hunting down physical copies of side-project albums when I found out about the existence of Discogs a few years back. I started with 10,000 Cadillacs because I love J Mann and also have quite the penchant for rap music, as I’m sure some of you are aware. What I actually make of this record however, I’m not sure. Be My Guide is 90s hip hop to the max. The production is all bass and treble with no middle, and the gospel-esque female vocals are nothing short of terrifyingly awful. The record starts off on a bum note; “Ruggish n’ Raw” is useless, and I can’t for the life of me make out a goddamn word J Mann is saying. It doesn’t get much better, but I think you gotta take a lot of rap music with a pinch of salt, and with that thinking, Be My Guide becomes one of those albums that is so bad that it is just brilliant. “Exercize In True Love” first comes on as a cringe-worthy serious-fest amongst all the other tracks, but when you actually pick the track apart and see what Mann is on about, it’s a goddamn good song. This was self-released by the group back in the day. After many years of inactivity, 10,000 Cadillacs is once again active today. I just hope they bring out another record! (Oh, and by the way, rap belongs on vinyl folks!) Get Gone!!! – 07/05/2013

Splatter Whore / Bowel Stew – Split 7″ (2007)

Splatter Whore / Bowel Stew – Split 7″ (2007)

I absolutely love Splatter Whore. It’s a bit sad they have gone rather quiet these days, but their first album remains one of my favourite goregrind (or grind’n’roll!) releases ever. I wasn’t as fussed on the second album (with an almost completely different line up, I believe) but this split 7″ with Bowel Stew showcases material that displays openly the transition between records. The sound is fantastic and extremely well produced. The band are tighter than a virgin’s pootang and the vocals are an absolutely insane watery hell. If you love stuff like Rompeprop you need to check out this band. Long-running gore legends Bowel Stew don’t quite reach the heights of awesomeness of Splatter Whore, but it’s still a good effort. Pairing the filth of goregrind up with something altogether more brutal death metal, Bowel Stew blast and gurgle through seemingly endless amounts of untitled songs (or is that just one long song?). The vocals are nuts, just like Splatter Whore, but the main put-off for me here is the snare sound, which is quite possibly the most annoying thing on the planet. I’ve not heard a more irritating and puzzling snare drum sound since The Berzerker’s rather flaccid The Reawakening album. As far as I know this isn’t too difficult to obtain on black vinyl, although the brown vinyl is only limited to 100 copies and is long sold out, obviously. This was put out a good few years ago now on Rotten Roll Rex from Spermany. Check out the online store!

Swans – Soundtracks For The Blind (1996)

Swans – Soundtracks For The Blind (1996)

Soundtracks for the Blind is often hailed as something incredibly special in the original Swans catalogue. After spending the majority of the 90s focusing on much more softer material, Swans’ issued a perplexing final death rattle with this double album. Listening to it, even from the first few opening seconds, evokes deep feelings of sadness for me, even though I never got into the band until they reformed three years ago. This record was literally everything the band had left before they quit. There are a few full-band songs in here, but the majority of the two discs is made up of sound collages by Gira and Jarboe. Some of them are tests of patience, sure, but for the most part they are extremely efficient and poignant passages of noise, ambience or atmosphere to rival any long-term artists in this field. As a whole, Soundtracks for the Blind is an absolute mammoth task to try and conquer in one go. You really do get your money’s worth here. Both discs are crammed full, and the total running length for the entire album is nearly two and a half hours long. Even with the recent release of The Seer, I believe that Soundtracks is by far the most “out-there” thing that Swans have ever done. It’s creepy, moving and downright edgy, and leaves you with that sinking feeling you get in your chest after looking at old photographs or something. Due to the sheer volume of ambient tracks here, when the full band finally kicks in it is infinitely more impressive. Most of the band tracks last easily between 10 and 15 minutes, a scary decade-plus long ago look at what was to come in the future, and also a downright perplexing move for a band that had spend the previous seven years or so peddling acoustic-driven four-minuters like it was nobody’s business. I mean, just compare this record to the album before it (The Great Annihilator); such startling change continues to puzzle me to this very day. Couple that with the fact that a few of the songs here scarily pre-date the stylings of the post rock explosion (“Helpless Child” and “The Sound” as examples) and you really have an absolute relic of a record that must be cherished until the end of time. Its length makes it almost impossible to market commercially, its content relating to neither the brutal Swans of old or the soft Swans of the 90s, and it was released at a time when it would be seen as a statement along the lines of “This is all we have left of any worth. This should have been the future, but it is all you are getting”. If I had been a Swans fanatic in the 90s then I would have torn this record apart and analysed every single second of it. I’m so fucking glad Swans reformed. So. Fucking. Glad. Out on Young God Records. If you have a spare 2 hours and 22 minutes why not give the entire album a listen right here. What do you have to gain except complete and total enlightenment? 

Venetian Snares – Fool The Detector (2012)

Venetian Snares – Fool The Detector (2012)

I got this nice little EP when HMV still sold vinyl at decent, affordable prices. I think it was fiver, so you can’t argue with that (April 2013 Edit: I actually got this from Spillers Records on my birthday last year. Sometimes it’s hard keeping track of where I get all this crap). As far as Venetian Snares goes this record is pretty tame, there is a lot more ambient and nice synth sounds than usual. The spazz-happy beats are still here, but seem a lot more laid back than the usual brain-melting fair of snare rushes and irregular bass drum palpitations. It reminds me a lot of The Aphex Twin in parts. I know this will get Snares purists’ panties all twisted but it really, really does sound rather similar. The way this was put out is also a bit weird. It seems that Aaron Funk has started his own label (on which this is released) called Timesig, but Planet Mu controls it behind the scenes. It seems a similar set up to the deal Bill Steer and Jeff Walker had with Earache Records.