The name "Sepsis" means decay, blood poisoning, is not chosen by chance, it reflects our vision of modern society and the world, public relations in major industrial cities generate an imbalance in the human soul. Despite the crowds of people, many people feel lonely and worthless, some themselves tiring of the endless hustle and withdraws into himself, grows and becomes more frequent the number of suicides.
In the villages and provinces, and indeed in parts of the world neurbanizirovannyh parasite idleness and alcoholism, all tend to zasasyvyuschuyu cesspool of urban slums in search of happiness, but often they become even more problems, loneliness, hopelessness and lack of assistance from society, where everyone cannibal. Serial killers grow up in families where they were ridiculed as a child's parents, unable to cope with its internal problems: alcoholism, cruelty due to poor economic conditions of existence, and even pedophilia simply, cases which progressively become more frequent every year.
Society eats itself gradually in the throes of a biting coughing blood of his illness, which destroys nature and the entire Earth. The disease is progressive, and while most of the sites on our planet suffocates in poverty, some pyshut abundance, sucking the last of the first nutritional juices, all are reminiscent of the tumor, leading humanity to an inevitable end Labels: neocrust. Labels: crust , dark hardcore , ukraine.
Very interesting. Labels: crust , dark hardcore , grind , peru , punk , russia. Boulevard Architects - [st][ep] - Labels: crust , post sludge. Labels: anarchopunk , crust , disscore , hardcore , melodic , punk. Labels: neocrust , russia. Well, straightforward by way of the aforementioned punk.
As I previously stated, the roots under this house are based in mohawks, studs and music from the who's who of early 's street punk and bands from the 80's British punk explosion. Mindcollapse's sound on this release is a collision of these worlds. The guitar work is simple power chords of vacuum cleaner distortion reminiscent of the UK82 European style repurposed into a modern grind delivery of speed and weight.
No solos. No black metal leads. No avant-garde synthetic noise interludes. Just stop-n-go riffing commanding through a song structure that falls somewhere between power violence and crust punk. Mixing catchy punk strumming with strident grindcore shiftiness.
The bass guitar has that classic earthy hollow twang of a cleaner used tone that really helps deliver that old school sound during the many instances of bass centric lead-ins. But that is where most of the vintage motif ends. A hefty majority of the vocals are the deep low, cinder block meets asphalt roars. The kind of vocals you'd likely expect to hear on something more goregrind or death-grind in nature.
The other half of the vocals being caustic, straggly screams mirrored into symmetrical barks. Likewise, and thankfully, production did not adopt the 80's trashcan lid snares and cardboard box kick drums from the days of yore.
Instead opting for a more contemporary sound with a clear and impactful kit that brings us well into the 21st century. My only real criticism is that the snare is a little buried in the mix. Especially when compared to the band's previous recordings.
Mindcollapse isn't continual blast beats, but when they do lean into them it can be more difficult to decipher exactly what's going on amongst the frenzied bashings. Meanwhile you can hear every cymbal tap and head strike when things are more straightforward.
While doing little in the way of changing their writing style, the band offers more in the way of branching out this time around. Architecturally the band likes to use a systematic approach in writing that often includes introducing and concluding songs with bursting build-ups of staggered solos and cymbal catches. Akin to the revving up of a bull as it drags its horns and kicks up dirt before a charge.
This staple tactic is used by the band as a tool to usher the listener from song to song or to change the pace and style seamlessly within a song. Then finally the last track, "Punker Than Grind," very blatantly culminates into the thesis of all of the abovementioned. It's a relatively oversimplified, tongue-in-cheek punk song complete with repetitive riffs and Disrupt -esque strained vocals. The song comes as a huge departure from the rest of the record. Proof that both bands apparently don't take themselves too seriously in the end.
I find myself liking Do The Wall a little more due to the drums in the mix and the songs being a little leaner. But Mindcollapse's self-titled 7 inch, in its brevity, acts as basically a full length for the band as it is more polished and allows the Spanish three-piece to explore more of their influences and tap into them at their discretion. This, alongside the brute speed and brash song structure, destroys any notions that the band is purely a throwback.
But instead are descendants of where Disrupt left off and where Napalm Death failed. Much like many European cities, Helsinki is a modern capital founded atop the ashes of war, great fires and the bones of over a thousand victims of the Black Death during the plague of that decimated some two-thirds of the then population. Today the world finds itself weathering its own modern plague and putting life into an eerie parallel. Finnish death-grinders, Fading Trail , have taken it upon themselves to channel those themes of pestilence, death, abhorrence and ruination into their new debut full-length, Count The Days; set to be released on EveryDayHate Records this November.
The cassette tape consisted of seven minutes of the tried and true Nordic grind traditions: overly ferocious vocals, drilling lead guitars and pummeling fast drum work. A majority of the tracks on that release hovered around the one minute mark and were straight up blasting death-grind lightning; save for the last track, "Chorus Of Vultures. In Count The Days , Fading Trail's evolution sees not only a healthier internalization of the harsh noise, but also displays more shades of black metal.
The chimera of grindcore, death metal, black metal and noise is a trending concoction that seems to be the budding face of grindcore modernity. But as Full Of Hell's sound seems to have become bogged down in genre bending mystic incantations and ritual experimentation, Fading Trail have opted for violent malevolence. If there has been some kind of extreme metal magic manifested gateway opened, then Fading Trail is the beast that clawed its way out of it.
Like the vocals, the guitar work evolved into a more formidable force. The riffing is noticeably sped up and has chords changing and shifting as soon as they land. Layer these with the breakneck speed of the blast beat drumming and it's an absolute melee.
We hear more depth in tonality and technique from the guitars. The needling, black metal tremolo leads that were the bulk of Ground are still present and are finely sharpened. We're also witness to some of the crunchiest palm muted riffing and trudging distorted doom knells that you're not likely to hear on just any grindcore record.
But the most obvious addition to Count The Days are the searingly fast, micro-short guitar solos that appear as if from nowhere. These sudden boiling scales flash up with an intensity that would have Eddie Van Halen spontaneously combust in his grave.
The bass is widely utilized in fast asides that snap open and closed in tandem with the guitars to redirect songs from tempo to tempo. Its mean and distorted growls of negative shine can be heard throughout the album with both boom and bite. Not too dissimilar, the drumming is present in impact and weight. The crack of the snare resounds in the protracted metal segments as it does in the unbridled sections of blasting. You can feel the footfalls of the kick drum as well as hear the mechanical contact.
The biggest accomplishment I can give to this release is the songwriting itself. Fading Trail knows exactly what they're doing.
The hybridisation of so many elements is done flawlessly. The band never over stays their welcome at any point in the structure. Headbanging, mid-tempo trots are used effectively without dragging down the songs. Same with the doom. Same with the intricately haunting moments of guitar that trickle in from time to time. Same with the newly added harsh noise that eventually crescendos the album with transcendent hideous sprawl.
But the mainstay principals of grindcore are always priority. Holding back the guitars as they edge to an almost melodic turn, only to instead, hastily draw in the reins and unleash an onslaught of savage movement.
Not mincing words, this album sounds so fucking good. Each instrument is present and accounted for and given their time in the sun. Adding more clarity to the above mentioned comparisons and collations. The results being a crisp, gloom-torn assault of death-grind devastation.
If you're not blowing out your speakers while listening to this, then I don't know what the fuck you're doing. Tuesday, October 5, A Good Death? In the spring of , year-old Shannon Gilbert went missing in the secluded oceanfront neighborhood of Oak Beach, Long Island.
A well-to-do Atlantic island expanse in the cold Northeastern coast of the United States. Evidence shows that at am she made a call to emergency services in which she was frantic and screaming for her life while running hopelessly through the dark streets.
Less than an hour later she would vanish. During the police's widely criticized search investigation they would inadvertently uncover the bodies of ten other sex workers buried on Oak Beach and nearby Gilgo Beach. Shannon Gilbert's body would be found the following year in the tangled reeds and marshes over a quarter of a mile away from where she was last seen. Police would go on to publicly say that they thought her death was unrelated to the now obvious body dump developing on the coast.
This, despite her occupation, lack of clothing and the proximity of her skeletal remains to the others. Only to accidently drown in the swamp after an exhaustive excursion into the wall of razor sharp reeds and thicket.
Her cause of death was undetermined and contested. What later ensued was deep-rooted corruption, scandal, cover-up, social prejudices, family tragedy, more bodies and no definitive answers. A total shit show.
That breathless desperation of scrambling for your life through the mud and the mire. That panicked, crushing necessity for violent escape. That nightmarish struggle of slow motion horror.
Only to be clawed back down into the bramble to meet a cruel, choked, black end. Whether murder or misfortune, it has nothing to do with music. But that taste that I hopefully put in your mouth was put there in mine by Polish "bramble-grind" outfit, Euthanasia M! The drum and guitar two-piece recorded and mixed a DIY demo and released it this past summer in August on the band's modest Bandcamp page.
An eight track, self-titled release that blends chaotic hardcore and screamo tinged grindcore. Euthanasia M! So where does Euthanasia M! The eater-swamp or the swamp-eaten? This year gives us the first release from a band that I had previously never heard of before; and upon looking noticed that there are no other releases listed on the band's Bandcamp page. Thus I know little of the band or its members. But judging from the technique on this recording, I doubt that this is the boys' first outing.
As guitarist and vocalist, Osker's playing is incessant and dizzying. A collection of grimy, shakily distorted chugs and high dissonant scribbles that bellow and snap over drummer Greg's perpetual locomotion. Greg snare rolls from blast beats to hardcore gallops and back again in machine gun-like stutters.
Some how still managing to keep things spastic and interesting during the band's slower "breakdowns. You will find no argument in me concerning the band's musical prowess. Despite existing in a genre saturated with skilled musicians, Euthanasia M!
Although not wholly original or unique, the band does present an interesting combination of genre, delivery and structure that caught my attention. Markedly, the hardcore punk influence. I'd say the band is just as much a hardcore band as a grindcore band. You can clearly hear the influences ranging from bands like Converge all the way to acts like Modern Life Is War.
Maybe not as melodic, but definitely as emotive. Osker's vocal delivery is a screechy, nearly pubescent, distortion that has an almost No Comment youthfulness to it. It carries a breathless angst that ties back to the screamo of Closet Witch and Cloud Rat. Structurally, what came to mind was, of all bands, Guyana Punch Line.
Which would probably put their hardcore predilections in the Prank Records camp of hardcore. And after probably totally negating my point of remarkability by name dropping a lot of bands, let's not lose sight of that fact that Euthanasia M!
Which means they are blasting over this whole comparative section, for sure. Remembering that this is a self-released demo and over criticizing the production of such would be redundant, if not borderline dickish given how good this release actually is, I'm going to do it anyways. And granted the production here is better than any demo that any of my bands have ever put out.
That said, the guitar work comes off as thin and stringy without a bass. The lack of a bottom end leaves things a bit one sided. There are ways around this for guitar-only bands. Likewise, the drums sound distanced in the mix, but at the same time remain very clear and accounted for.
Just not as ballsy and in-your-face as they should be. It sounds good. It just could be heavier. This band could really explore their depths with a release under the likings of a Kurt Ballou at God City Studios or another engineer of his ilk. His patented slathering of static dirt could be the proper mud hole for Euthanasia M!
The second half the album features longer songs that venture into distorted, atmospheric, slightly noisier boundaries. Especially in the song "[untitled]. Indulging in this type of darkness might help fill out what is lacking from the whole.
Although the key for Euthanasia M! Or maybe just having the mixing in more experienced hands or access to more equipment could beef up the tracks in the future. Again, all that probably goes without saying and I don't want to disparage anything these men accomplished because I do enjoy this demo and highly recommend it to grindcore fans and fans of all the aforementioned bands and genres.
Postface: Quickly, I want to mention the album artwork. A dismembered anatomical quag of a piece created by Osker. This undoubtedly had major sway over my prologue and themed metaphorical stabbings.
It brought to mind not only the L. But I really think that it stands out over many covers, not to mention it being on a mere demo. Hungarian blog specializing in hardcore, crossover and thrash. Grindcore and noise blog from France.
The bands on this blog will make your ears bleed the darkest blood! A collective effort to present anything exciting in the field of modern emo and screamo. Not very active lately but hopefully still not dead. French hardcore punk blog by David of Kawaii Records.
There are a lot of bands that probably you might never heard of. Definitely a nice one. I remember this guy from old xCatalystx message board and started following his blog back in the day. Great collection of interviews and writings from Gajo. He is a zinester and musician from Croatia who used to play in xVaseline Childrenx and publish International Old School Conspiracy zine among many other cool things.
Most of the blogs in the list have their names taken from a song, a line in the lyrics or a record name of some band or the other. Cosmic Hearse comes from one of my favorite bands Rudimentary Peni.
Blog about rare and hard to find punk records. The name is self-explanatory. Hardcore, grindcore, noise, powerviolence, post-punk, avant-garde, goth, industrial, power electronics, etc. Dedicated to the old school hardcore punk in Finland, a priceless archive of bands and discographies. Hardcore punk, d-beat, crust and noise blogger from NYC, although there are almost no US bands on the blog.
Great selection of rare stuff and things that are considered classics in the their countries of origin. No longer active but interesting archive of crust, grind and punk records and reviews.
Some cool findings on this blog. This blog is really awesome. An insight into the Greek post-punk and new-wave scene of the 80s, these bands are real gems.
Awesome blog about screamo and emo-related bands. RIP — ! D-beat crust and hardcore punk blog from Bordeaux. Nice archive of obscure French bands and Japanese classics. Which are your favorites ones? Let me know in the comments. If you have something else in mind, I might expand the list to feature even more. If you see value in the content we produce, please consider donating to help us keep the site running. Donate PayPal.
DIY Conspiracy founder and editor-in-chief. Outplaying the Jocks: Punk and Sports. DIY Conspiracy Vol.
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