Lines In Wax

TWELVE YEARS OF UNWANTED OPINION

Month: July 2014

Vaginal Penetration Of An Amelus With A Musty Carrot / Teen Pussy Fucker – Split CD (2014)

Vaginal Penetration Of An Amelus With A Musty Carrot / Teen Pussy Fucker – Split CD (2014)

Wow! Now isn’t the name of this band a mouthful? It’s almost as thick and penetrating (that’s what she said!) as their ultra-chunky death metal / goregrind crossover sound. Austria’s VxPxOxAxAxWxAxMxC pack one hell of a groovy punch, something that is completely evident on this sick little split CD. Boasting one of the nastiest programmed snare sounds ever, the band chug and groove through 4 apotemnophiliac hymns of gargling gore destruction, my favourites being “Baptized In Clammy Scat” and the gorgeously-titled “Mucus Of A Giant Anal Papilla”. Sexy. Sharing this disc with the Amelus Boys are long-running cyber/gore/porngrind maniac(s) Teen Pussy Fucker. This questionably offensive outfit, along with sister band Pigtails, have been around since the early Myspace days, maybe even sooner, and have been spreading the groovy porno vibe all of this time. Unfortunately, alongside VxPxOxAxAxWxAxMxC’s polished and enormously heavy studio sound, Teen Pussy Fucker’s bedroom-grind sound initially sounds a bit flat. I’m under no illusion that a lot of this stuff is produced this way, it’s just alongside top quality studio quality tracks, it can take a while for your ears to adjust. Teen Pussy Fucker’s material here comes on a bit like GUT vocals meeting CBT’s grooves, and a drum machine. Dodgy song titles are the order of the day (“I Like Your Pussy Shaved ‘Cause That Makes You Look Underage”, “Paedophilic Love”) but it comes part and parcel with these genres so what can you do… (2020 edit: this shit is absolutely not cool at all, fuckin’ weirdos) All in all a pretty good fuckin’ split, finally glad to own some TxPxF / Pigtails material after all these years, but the Amelus Boys definitely take the crown here! This CD was released earlier this year on Kaotoxin Records.

DJ Senator – The Bassline / Roll Down Bass (1993)

DJ Senator – The Bassline / Roll Down Bass (1993)

This is a sticky-labelled 12″ that I bought 2nd hand when I was experimenting with scratching back in the day (lol). I’d gotten a Ministry of Sound deck for Christmas and I needed some 90s-to-the-max shit to scratch and test pitch correction / matching on. As expected, I failed triumphantly at this shit and gave it up pretty quickly, although I did find it fun to scratch random records now and then, something which I have given up entirely since I’ve gained a serious respect for the vinyl medium. The music on this 12″ isn’t particularly challenging or interesting in any way (both songs are based around THAT d’n’b beat – you know what I’m talking about), and if it wasn’t for the school disco female vocals, the tracks could be ambiguously played at either 33 or 45 for a myriad of different atmospheres and effects. At 33, and devoid of vocals, it isn’t a million miles away from Gyral / Stairway era Scorn. For some reason I can’t bring myself to throw this away, although it has absolutely no value whatsoever. There is no Youtube available for this, so instead I’ll offer you this useless tidbit of information: this was released on a Earache sub-label called Sub Bass Records in the early 90s when Earache was trying desperately to break into the d’n’b and rave scenes. Drastic.

Mortiis – The Grudge (2004)

Mortiis – The Grudge (2004)

Whilst this is entirely on the other end of the industrial metal spectrum that I prefer not to get too close to, The Grudge was one of favourite records as a teenager. Over the last few years I have learned that there is a lot more to industrial than crappy guitars layered with crappy dance music and ripping off old Nine Inch Nails tracks, but that’s another story. Mortiis’ first Era 3 release was a puzzling mix of awkward techno and fuzzy metal, not a hundred million miles away from The Smell Of Rain, but so far removed from any of his Era 1 music you’d swear it was a totally different musical genius at the helm. Nope. Mortiis is one of those artists that has evolved in sheer leaps over the last 20 years. I like The Grudge, don’t get me wrong, but compared to The Smell Of Rain before it, it pales in comparison. The Smell Of Rain had such a distinct and wonderful sound, but The Grudge, whilst it has it’s moments of sheer brilliance, is for the most part clumsy, badly mixed and lacking direction. It is equal parts amazing and awful. The over-all vibe is much more angsty and rougher around the edges (it’s almost like this album should have been made first, and The Smell Of Rain should be it’s more focused and chilled-out follow up) but some of my favourite Mortiis songs are on here. Opener “Broken Skin” sounds like it’s been mixed by a 4 year old, but that doesn’t stop it being one of the greatest Mortiis songs, writing wise. “The Grudge” is the song that got me hooked into this album with it’s constant rotation on Scuzz TV; a clanking dancey nightmare that unfolds into some serious industrial metal heaviness. The longest track here, “The Worst In Me” is a brooding nightmare of riffs and synths, and the first few minutes of “The Loneliest Thing” is by far the best shit on this record; it starts with a cool, semi-acoustic opening with resonant chords fighting over fluttering hi-hats, leading into some heavy drumming and haunting vocal performances. Sheer, sheer brilliance. Closing track “Asthma”, is a quick nod back to the days of old, fading the record out with a couple of minutes of nothing more than meandering, hollow ambience. Bliss. I originally bought this on CD with my first ever paycheck back in 2005 (who can forget what they bought with their first paycheck?). I got the “Mortiis pack” off Earache Records, which was the entire Mortiis-on-Earache discography and a crappy Earache t-shirt, but they made a mistake and sent me two copies of The Grudge (one being the special edition) instead of a copy of The Stargate, and I had to send it back for a swap. In hindsight, I probably should have said it was missing, flogged it, and got a free copy of The Stargate. Oh well. Recently the label have been selling these old vinyl copies of The Grudge off for £7 including postage, so I couldn’t resist picking one up. I was hoping for the bright purple but I got the clear.

The Misfits – Earth A.D. / Wolfs Blood (1983)

The Misfits – Earth A.D. / Wolfs Blood (1983)

This is one of the more ‘brutal’ Misfits releases. If anything, it is the fastest, grimiest (studio) recording the band have done. Even the cover art alone is something more crust/grind-looking, although it was released a while before those genres really came into their own. This spins at 33rpm, which is surprising considering how short it is, I was expecting it to be a 45. Still though, Earth A.D. / Wolfs Blood is a short and sweet rampage through some fast-paced, horror-themed hardcore punk. The speed of this record doesn’t stop the few (obligatory) massive Misfits-patent choruses sneaking into a couple of tracks (“Death Comes Ripping”, or “Queen Wasp”), with plenty of “whoaaaaaa”s for good measure, but tracks like “Wolfs Blood”, “Devilock” and the massively grind-before-grind-existed “Demonomania” (at an impressive 45 seconds in length) are in territory that The Misfits would never stray into again. I have this, and a couple of other Misfits things, on CD already, but I had to get it again, cuz y’know, old punk belongs on vinyl. The CD version however, combines this LP with the Die, Die My Darling 12″ single (which I also have separately), and also adds the bonus track “Mommy Can I Go Out And Kill Tonight?”, which is recorded live. The CD sounds a bit flat though, as with a lot of old shit turned into a digital format, so I (perhaps predictably) recommend purchasing the vinyl version. 

Death Grips – NØ LØV∑ D∑∑P W∏B (2012)

Death Grips – NØ LØV∑ D∑∑P W∏B (2012)

I already did a review of this record over on Gonzo Karaoke (something I need to do again, that shit is awesome), a wicked website ‘portal’ to a world full of freely downloadable audible awesomeness, but seeing as I also now have the physical edition here in my hands, I guess I have to do another, proper review. It would be a bit cheapskate to just copy the review over, so I’m gonna do a second one, albiet it’ll be a bit brief because I’ve already written about it once before. The first thing you’ll notice about the vinyl version of Death Grips’ rather cocky 3rd full length* (2nd if you count Exmilitary as a mixtape and not an LP), is that the enormously phallic cover art is nicely censored in an almost PVC-feel sleeve. I’m not particularly offended by the cover art, but I don’t make it my business to be staring at enormously blown up images of cocks either.  *see what I did there? As is probably expected of me in this post, I will confirm that the sound quality on this pressing is lightyears ahead of the downloadable version, even at 320kbps. I’m not sure if it’s available in .FLAC or something, but it might be worth a look if your more of an audiophile. The depth that the bass hits sounds so much better coming from the vinyl than it does running at 320kbps through my iMac and the same speakers / hi-fi system as my deck plays through. I also notice a lot more going on; little subtle differences are easier on the ear due to the warmer all-over sound. I also have a feeling that if I took this over to my mate’s house and played it on his professionally amped system it’d blow a fucking hole in the wall. This LP, along with the album before it – The Money Store, are both available at fairly reasonable prices still, which is something of a miracle, as silly hipsters seem to fucking adore this band with their unique and ‘alternative’ approach to hip hop. I know most Death Grips stuff is free, and I’m sure that has contributed somewhat largely to their current popularity, but if you actually enjoy listening to their stuff on a regular basis, I emplore you to buy up some physical records. You won’t regret it.

Swans – Can’t Find My Way Home (1989)

Swans – Can’t Find My Way Home (1989)

Unfortunately, Can’t Find My Way Home is one of the weaker tracks off the somewhat-hated The Burning World album (and a cover song to boot), so this single doesn’t really do anything for me in that respect. It is merely a completists item for me, as I go on to collect at least one version of every release Swans have put out. I have the 7″ version here, although there is a 12″ version of this single in existence, which I believe possesses yet another extra track. The b-side here though, is a cripplingly-weak acoustic re-working of “(She’s A) Universal Emptiness”, which is one of my favourite tracks off The Burning World. This version, is for some godforsaken reason, sped up in tempo, and not only sounds rushed, but loses it’s depressive and brooding feeling. To briefly conclude; this release offers nothing to the Swans discography in any way, and is entirely a completists item. I do not recommend purchasing it to anyone, anywhere.

Archagathus / No Thought – Split 7″ (2013)

Archagathus / No Thought – Split 7″ (2013)

I’ve never encountered No Thought before, but I really enjoyed their mix of styles. Many bands do the whole doom-into-grind thing, but No Thought seem to pull it off rather seamlessly here, which is fuckin’ great. The production is thick and crunchy (mmmmm yummy) and based more in the low-end of the spectrum, and reminds me rather poetically of Rotten Sound mixed with early Brutal Truth. Well worth a listen, I’d wager, if you’re into both the fast and slow aspects of heavy music. Archagathus seem to have a bigger line up here than usual? (2021 edit: you may have been confusing them with Six Brew Bantha who are a 3 piece) The over-all sound is much more polished as well, which is a first for me. I need to check the dates on these 7”s that I have; perhaps most of the Archagathus stuff I’ve heard is the older material, as this sounds fairly different to what I’ve gotten used to. Things are most definitely much tighter around the edges, and the production is not as harsh. The super-growly vokills are still evident, as is the group’s punky playing style, but everything seems to have been tidied up a bit. Still sounds fuckin’ cool though!

Intestinal Disgorge – Dripping In Quiet Places (2011)

Intestinal Disgorge – Dripping In Quiet Places (2011)

I always welcome more Intestinal Disgorge. I should make a crappy Sean Bean meme with the text “One does not simply have enough Intestinal Disgorge”. So, when I got the sexcellent Hyperemesis / Pulsating Cerebral Slime 7″ lathe from Goatgrind Records I had to pick up their release of Dripping… at the same time; it would have been criminal not to! I have three Intestinal Disgorge records now (at the time of writing), so I might as well get serious and get locked into collecting the fucking lot. Holy shit, Dripping… is one polished motherfucking record! The sound here is absolutely monumental. The production values just get better and better with each record, but ID have also tidied up their sound here. Gone are the funny/worrying samples, as are, for the most part, the trademark bitch squeals. The Depravity record showcased a much more stream-lined approach for the band, replacing silliness with outright fucking brutality, and Dripping… takes the band even further in that direction. There are 25 songs here instead of the usual 50/60 you’d expect from an ID full length. The trademark frenzied-shredding is still evident in many of the songs, but I find that the tracks overall are much longer and structured, resembling a very interesting brand of brutal death metal rather than anything more grind-related. On the other hand though, things get really experimental with the inclusion of what sounds like a fucking saxophone popping up in the mix. The album credits “J” to “vocals, clarinet, violin, trombone”, but all I hear is something sax-sounding, but I’m not really educated in classical instruments and the sounds that they make. At times it sounds like a death metal Dead Neanderthals, which is very unusual to say the least. All in all, this is a fucking epic and absolutely tight as a duck’s arse record. The lack of samples / worryingly misogynistic content and crazy-weird goregrind may initially baffle some old ID fans, but the more-focused and heavier than heavy sound more than makes up for it.

Anathema – A Natural Disaster (2003)

Anathema – A Natural Disaster (2003)

I’ve recently been playing catch up with Anathema. They are a band I have now known about for years, but I only own a very small amount of their albums. Thank Zombie Jesus then, for the Amazon marketplace with it’s sometimes insanely cheap prices. A used copy of A Natural Disaster ended up costing me almost next to nothing. And to be honest, I’m really glad. The first thing that surprised me about this record – often regarded I think as one of Anathema’s best – is that it’s an absolute disjointed mess. For the first few songs, I don’t think anybody really has any idea about what is going on; the band just drift from one song to the other with what seems like no real drive at all. It’s like it’s acoustic and floaty for the sake of being acoustic and floaty, and it goes nowhere until the start of track 3, “Closer”, just cuts in clumsily. Here at least, the album starts properly. “Closer” is a hell of bloody good tune, making (for once) good use of a vocoder or harmonizer, that builds and builds until it explodes in a post-rock-esque orgasm of sound. Good stuff! “Are You There?” on the other hand is probably one of the worst things I have ever heard. “Childhood Dream” is almost as pointless, and then bam – another rocking track just cuts in rudely, the thankfully excellent “Pulled Under At 2000 Metres A Second”, which isn’t dissimilar in writing style to “Panic” from the previous Anathema record, A Fine Day To Exit. This album reminds me of Swans’ Soundtracks For The Blind, in the way that dreamlike ambiances and floaty acoustic passages mesh awkwardly with heavy-hitting, full-band pieces. It just doesn’t flow at all, in my opinion. Thankfully though, things are a-okay from here on out; every track is a belter. “Flying” is an Anathema favourite of mine, with a chorus that has a through-the-roof sing-a-long factor. “Electricity” is a lesson in post-rock swelling and building done far better than by many of the restrictive genre’s current participants. All in all, there are some brilliant songs here, it’s just this album suffers from a whole bunch of filler crap as well. Couple that with the “flow” issues and you really have one disappointing record, which is really inexcusable for a band with such passion, integrity, and musical dexterity as Anathema, especially on an album that is only 10 tracks long. I’m glad I bought this, as I can now move on with finishing my collection, but unless you really love this type of music, I’d look for my Anathema kicks elsewhere. That’s exactly what I’ll be doing, at least.

Dead Infection – Brain Corrosion (2004)

Dead Infection – Brain Corrosion (2004)

Dead Infection were one of the first goregrind bands I ever heard alongside Last Days of Humanity. Together they made up the dankest sound I had ever heard at 16 years of age, previously having only experienced grind with Napalm Death’s Scum and a cross section of Anal Cunt stuff. When I downloaded Brain Corrosion shortly after, I was blown away by the crisp, heavy sound and high quality production that was the total opposite of the dirgy, muddy tracks I had heard alongside Last Days of Humanity. Early Dead Infection might be vital to the development of the goregrind genre (in Europe, at least) but 2004’s return saw the band blasting out ridiculously heavy and lightening fast grindcore in lieu of their sludgy, gurgley goregrind of old. The song titles show a band that are not afraid to indulge in their silly side. Opening track “It’s Over” possesses some of the greatest blastbeats ever, whilst “You Broke My T-Shirt” takes the prize for stupidest song on the album. Both “Crankshaft” and “Rich Zombie” are enormous, with the former sounding like the angry bastard child of the title track of From Enslavement to Obliteration. With the gore themes scaled back, and growls and vomited vocals used instead of pitchshifted blurs, Brain Corrosion is a modern-sounding exercise in true European blasting grindcore, and it should be heard by any fan of the genre. Originally released on CD by Obliteration Records in 2004, it has since been repressed in 2005 again on CD by Moral Insanity Records, and finally on 12″ LP in 2006 thanks to Selfmadegod Records. In hindsight I would have bought the vinyl version, but I had the CD first. Gutted. Maybe one day I’ll get the vinyl version and I’ll update this post.