A split release from The Ghost is Clear Records, Mayfly Records, and Melotov Records, this LP sees Canyons (Kansas City), Tigon (San Francisco), and Foreign Theaters (Kansas City) teaming up for a total of 12 tracks/33 minutes broken up into chunks of two songs per band. Canyons explores an aggressive "noise rock" style with surging rhythms and angular riffing aplenty. A really interesting recording that adds an extra layer of discordance to their already warped-sounding delivery adds to the experience. It sounds like maybe the guitars and bass are just a hint out of tune with one another, and the additional distance created by the mix throws in some peculiar textures that actually work really well for this approach. Tigon has a similar overall impact but definitely focuses more on blending in frantic tempos, hammering basslines, and ultra heavy dirges – not to mention a wider vocal attack that combines harsh, low-end shouts with higher screams/yells and some partially spoken passages. Their tighter and more controlled sense of dissonance makes for a much darker atmosphere that really stands out, too. It's also worth pointing out that their compositions tend to run about twice as long as those of the other bands. If I was trying to write a concise one-liner to describe Tigon I'd probably go with "Neurosis-influenced noise rock with sparse hints of powerviolence." And again similar yet different, Foreign Theaters is the most stripped down and to the point of all three acts, capping most of their tracks at less than two minutes each and possessing more of a hardcore/punk type of energy. The staples of solid "noise rock" are all firmly in place, though: Killer bass runs; spacious rhythms that follow a driving, midpaced throb; dissonant riffing that occasionally flirts with a chaotic edge; and so on. All three bands are a great match for one another, and that makes for an enjoyable split LP that's absolutely worth a listen – especially for existing fans of this niche. Stream the whole thing below via Bandcamp:

Each copy of the vinyl comes with a digital download, but you can also purchase the split digitally from The Ghost is Clear for a mere $3!? You can't beat that…

Purchase:

@ The Ghost is Clear Records (LP)
@ The Ghost is Clear Records (mp3)
@ Mayfly Records (LP)
@ Melotov Records (LP)

Released back in 2008 by Iron Pig Records, "Channels" is the first CD from Macedonian act Potop, and contains tracks from their split with Burmese, the "Freak Power" compilation, and a few otherwise unreleased numbers, I believe. This is a curious release right off the bat, as the running times range from a mere 40-second burst of mangled chaos to 11+ minutes, and three of the five songs are completely untitled. The core of the band's approach, though, is vicious doom/sludge with absolutely sick, scathing vocal sneers and a perfectly raw recording that keeps things simple and to the point: Warm, natural percussion; a unified wall of dense, effortlessly heavy guitars and bass; the crazy vocals pushing their way to the front; etc. Expect some slow, decaying chord strikes with droning feedback, an excellent sense of dissonance that creeps in around the edges of a number of riffs, and of course loads of pounding rhythms and maniacal vocals. Potop is definitely one of those bands that knows what's up as far as keeping things interesting with this particular niche of metal. They don't let things drag on and on or take forever to get anywhere, you don't get the impression that they're trying too hard to be slow or heavy, and the quality of their riffs and songwriting create a powerful atmosphere that definitely leaves a mark. I can't imagine any diehard fan of this style not being into these guys. Good stuff. They're working on a split 12" with Apartment 213, too, which should be an awesome combination of styles, so… keep an eye out for that as well!

Potop "Untitled"

Purchase:

@ Iron Pig Records
@ Interpunk

Dephosphorus formed in Greece back in 2008, and I believe "Axiom" is their first recorded output. Included are seven songs/20 minutes of what the band has dubbed "astrogrind", which to my ears basically consists of absolutely raging, top-notch grindcore that fluidly blends in elements of black metal, crust, etc. If we're playing the outlandish-yet-strangely-accurate comparisons game, imagine Catharsis circa "Samsara" practicing in the room next to Burst circa "In Coveting Ways". If you stood outside and recorded both bands practicing at the same time, the listenable elements of that recording would probably sound pretty damn close to Dephosphorus. Expect loads of blasting speed; intense tremolo picking; surging midpaced rhythms; awesome fits of dark, winding dissonance; and occasional bouts of weird, spacey effects that certainly play into the "astral" nature of the band's self-proclaimed niche. They're also working with one of the most uniquely raw recordings I've ever encountered. It's really rugged and in your face, but without coming across as grating. And despite this raw aesthetic, the end result is neither thin nor muddy, so it really adds to their overall atmosphere. This really is some powerful shit, too. It's rare that bands focusing so heavily on blistering tempos and explosive, chaotic arrangements can land on something that's both tangible and forceful, but Dephosphorus makes it look easy. Well done…

Dephosphorus "On the Verge of an Occurrence"

The EP is not available for purchase at this time, as the band is exploring options for a potential "official" release. They're already working on their debut full-length album, "Night Sky Transform", as well, so… definitely keep your eyes out for more from these guys in the near future!

Released by Take it Back Records and Cobra Records (with the band self-releasing a limited run of CD's), "Abwärts" is the debut full-length outing from Swiss act Beggars and Gentry. For whatever reason, I'm typically not at all interested in hardcore/punk that heads in that raw, stripped down, rock 'n' roll influenced direction, but Beggars and Gentry totally nails it. I do think the recording could use a little added punch (the guitar tone utilizes only light distortion), but the energy of the riffs and the quality of the songwriting are right on the mark. And all that being said, the simplicity of the guitar tone does make sense in the context of the warm, natural mix – as well as leaving more room for the basslines to fall into place, so… there are some benefits. In some ways this stuff sort of reminds me of The Hellacopters or Jed Whitey, but with vocals that have more of a straightforward hardcore kind of aggression, which carries over to influence the vibe of the music. While most of the material falls into a pretty midpaced groove, they do mix up the tempos enough to keep things interesting, and there are some killer little bits and pieces of melody spicing things up, too. When the band really gels the results are quite powerful, and there are a handful of incredible songs on this thing, so I'll look forward to seeing how they develop this approach down the road…

Beggars and Gentry "Sour (Good Morning Wasteland)"

As is (thankfully) becoming the standard these days, every LP comes with a download code, so… you'll be all set!

Purchase:

@ Beggars and Gentry (CD)
@ Beggars and Gentry (black vinyl)
@ Cobra Records (green vinyl)
@ Cobra Records (purple vinyl)
@ Take it Back Records (colored vinyl)

Another new untitled release from Gods and Queens (once more through Sons of Vesta) sees the band cranking out three more tracks of their noisy indie rock (or whatever you want to call it, it doesn't matter) plus a cover of "Which Way to Go" by the Big Boys. Expect the usual doses of angular riffing, fuzzy distortion, and really unique vocals that definitely help to give the band their own sound. Interestingly enough these tracks take a little more time to grow on you, but they're actually a little catchier and more memorable once they finally sink in, which is an unusual combination. The throbbing basslines seem to stand out more this time around as well, which is a great touch. I hate to keep it so brief, but what more needs to be said? It's four songs in just eight minutes, and I'm a fan. You can stream the bulk of the EP below via Bandcamp and make up your own mind:

The vinyl is limited to 500 copies on three different colors, and each 7" comes with a download code. Though it's not listed, digital purchases from Bandcamp supposedly include the cover song…

Purchase:

@ Sons of Vesta (7")
@ Bandcamp (mp3)

And if you enjoy watching dudes on bikes endure brutal mishaps, BMX videographer Ryan Navazio has put together a video for one of the tracks on the EP, too.

Without question the best release of 2011, and quite frankly one of the finest releases in the history of all living things, Polish label Get By Records has achieved maximum excellence with the release of this almost complete discography from what I view as the absolute greatest European hardcore band of all time: Norway's Lash Out. For my money, these guys are the single most underrated hardcore band of the 90's. Period. Lash Out is right up there at the top with Integrity, Mayday, Starkweather, etc. in terms of inventive, one-of-a-kind metallic hardcore bands that honestly never sounded like anything else out there. So it's no coincidence that they're also among the incredibly small number of acts whose music stirs me with such intensity that it makes me smile, brings tears to my eyes, and urges me to absolutely demolish everything in sight – all within the span of a song. I'm seriously restraining myself from typing in all caps and an enormous font right now, I'm that enthusiastic about this band.

This utterly amazing double-CD set includes everything Lash Out ever recorded sans 1996's "What Absence Yields" full-length (more on that at the end of the post). The first disc is dubbed "Vol. I: 1992 – 1995" and covers the band's early EP's and splits: "Worn Path" (1994), the split with Ambition (1996), "The Darkest Hour" (1993), the split with Contention (1994), "Under Every Depth" (1996), and the 1992 demo. "Worn Path" is probably my personal favorite from the band's discography, and kicking things off with this EP is the perfect choice, because there's simply no better opener than "Evening Shade". That chilling bass intro buildup annihilates me every god damn time, man. Love it. The word "progressive" is not the first that pops into my head when I think about Lash Out, but that's exactly what they were. They really hit their stride with the intricate, powerful songwriting and inimitable riffing textures first introduced on this EP (which carried on through their mid-90's output, including "What Absence Yields"). At this point they had everything from crushing, in your face chugging and surging, truly indescribable melodic characteristics to gorgeous acoustic passages and incredible basslines that never simply mirrored what the guitars were doing. It's pretty damn technical, but in a surprisingly subtle manner. The band's development over the years is immediately obvious once "The Darkest Hour" rolls around. You could certainly argue that there was more of a "catchy" element to its songwriting, which boasted more of a stripped down hardcore/punk influence, but at the same time the tracks were absolutely loaded with high-energy picking patterns (some of which have that zippy, pop-punk kind of vibe to 'em, though the tone of the compositions doesn't head in that direction at all) and badass roaming basslines. This type of style was present to a less obvious degree on the demo, which tended to follow a slightly slower, crunchier approach. Oh, and there's a great cover of Breakdown's legendary "Sick People" in the midst of this disc, too!

Disc 2, "Vol. II: 1996 – 1998" is centered around the band's second full-length, "The Judas Breed" (recorded in 1998, but unreleased until now), with tracks from the split with Burst (1998) and "The Unloved & Hated" EP (1997) added on to complete the set. Also worth mentioning is that some previously unreleased tracks from "The Unloved & Hated" sessions are thrown in as yet another bonus! This phase of the band's existence marked an unexpected shift towards raw simplicity, in part due to a gruffer vocalist, but also – with "The Judas Breed" especially – a dryer recording and some furious little lead flurries loosely reminiscent of the Cleveland type of sound. Make no mistake, though, there are still a lot of emphatic melodies (not to mention "Cubical", the band's darkest and most "experimental" track, complete with a little bit of full-on singing, piano, and dark ambient background textures), and the quality of the songwriting remained all about fucking force. It's incredibly hard to believe that it took more than a decade for this should-be classic to finally see an official release. There's not a weak tune in the bunch, just 12 songs/30 minutes of perfectly focused aggression. And on top of a grand total of 38 tracks/nearly two hours of astoundingly awesome music between the two CD's, the discs are housed in a slick, glossy digipack with a massive 24-page booklet that includes all of the lyrics and some killer photos from back in the day.

I cannot even begin to properly express how much I love Lash Out. From now until I finally decide to stop writing about music, I will never be this excited about another "new" release…

Lash Out "Evening Shade"
Lash Out "Caress of Solitude"
Lash Out "Below Zero"

A lot of people might not realize it, but this release is a FUCKING BIG DEAL. It really drives me insane when such incredible work goes underappreciated, so if you agree with me, please help spread the word, and let's try to move Lash Out into the "aptly appreciated" category, alright?

And if you disagree with me? Get the fuck off my website.

Thanks.

If you or anyone you know can help the label secure additional distribution for this gem, please do the world a favor and get in touch with them!

Purchase:

@ Get By Records
@ Reflections Records
@ Stuck in the Past
@ Tiger

To complete your Lash Out collection, you can thankfully score the equally mandatory "What Absence Yields" from eMusic, iTunes, and probably a handful of other digital outlets, too. Everything that I've said above also holds true for that album. Crucial.

Od Vratot Nadolu is a two-piece act from Macedonia that consists of bass, drums, and vocals, and I believe "Ziva" is their debut EP (which I was hooked up with by Fuck Yoga Records, who released it in cooperation with SuperFi Records and Insulin Addicted Records). As would be expected of most any bass-centric, powerviolence-leaning band, these guys have and will continue to draw comparisons to Man is the Bastard (which is obviously not a bad thing) with these eight tracks in about 18 minutes of winding, distorted bass runs, hammering percussion, and a dual vocal attack of assorted shouts and growls. Don't expect a lot of explosive, chaotic speed, though. In fact, what works so well about this material is that there are a lot of pounding, midpaced tempos that benefit from the breathing room that a two-piece band offers. The recording is also rugged but clear, and suits their stripped down approach quite well. Every now and then it sounds like they might be throwing in some keyboard textures, but maybe they're just applying weird, atmospheric effects to some of the basslines? That being said, they keep things pretty straightforward for the most part, and that's perfectly fine. I actually prefer generally tried and true approaches to this particular niche, and Od Vratot Nadolu totally nails it.

Od Vratot Nadolu "Videodrom"

The EP (which is also referred to as "Mercury", so don't get confused when trying to order a copy) is limited to 500 CD's and 500 12"s (400 on black and 100 on clear), and if it had been released by Slap a Ham Records in the early- to mid-90's it probably would've sold out last week, so… get moving!

Purchase:

@ Fuck Yoga Records (CD/12")
@ SuperFi Records (CD/12")
@ Robotic Empire (12")
@ Vinyl Rites (12")

"Загадка (Zagadka)", which I believe is self-released, marks my first exposure to New Jersey's Gholas, and it offers up an hour's worth of music spread across nine tracks (a few of which top 10 minutes with ease). This is another one that's sort of rooted in that "Neur-Isis" type of sound, with loads of thick, plodding rhythms and gruff vocals, but despite a number of lengthy instrumental passages there's definitely something immediately darker and "doomier" about the overall tone of this work. The riffs themselves have a little more going on than most bands of this nature, which I quite like. I can't exactly put my finger on what it is, but all of the little dissonant textures and additional flourishes just seem somehow more involved or interesting here. They also well avoid any irritating "post-rock" influences (you know, all those shimmery effects and slow, drawn-out builds from soft to loud that never pay off), which is always a plus at this point. In fact, the melodic aspects of this album are much more fluidly integrated, and not only carry more weight but also communicate a greater sense of emotion within the overall context. All of this is boosted forth with damn solid production values that keep all of the elements tightly knit without obscuring the subtleties. I love the bass presence, for example. And at least to my ears, it wasn't until midway through the album that more and more raw, gritty textural details started to surface. Great cover art, too. For some reason it really stands apart from stylistically similar pieces and grabs the eye. This is a massive release with a hell of a lot going on, so I know I should have more to say, but… I tend to prefer letting the music speak for itself. It's an intriguingly puzzling album in that there are a lot of immediately recognizable elements, and the general tone feels familiar, but the band has the talent and vision to twist and turn their influences in a manner that can't be pigeonholed into one firm categorization or another, which is awesome. The more you listen, the more you'll find, so you can stream the entire album below via Bandcamp and draw your own conclusions!

In addition to physical copies, the album is also available as a name your price download, and you can't beat that!

Purchase:

@ Gholas (CD)
@ Communitas Media (mp3)

Yet another crazy, unexpected outing from A389 Recordings is a two-song 7" EP of new material from Phoenix, AZ's Mighty Sphincter. Predominantly known for their 80's output, Mighty Sphincter is probably one of the more obscure cult acts associated with the goth/new wave/"death rock" scene – which is another style that I enjoy, but am not particularly educated about. That being said, if you listen back to the band's early classics, their style was always unique in that it was noticeably heavier and more directly hardcore/punk oriented than most bands linked to these sounds, and there were even little tinges of metal in much of the riffing. I have to say, though, more than three decades since the band was formed, this EP could be some of Mighty Sphincter's darkest material to date. "Resurrection" kicks things off with distant, monotone vocals over thick, winding riffs that are basically dark, uncategorizable metal complete with atmospheric reverb, surging bends, and pinch harmonics; while "Inferno of Joy" takes a different turn on side B: Driven by eerie acoustic guitars and accordion with hushed, gravelly guest vocals from Integrity frontman Dwid Hellion. Great cover art, fitting production… yeah, this is a definite keeper. Here's a quick taste of what to expect:

Mighty Sphincter "Resurrection" (excerpt)

I'm not sure what the pressing numbers are for this one, but collectors will be interested in the fact that there's still some purple vinyl leftover from the pre-order phase. Every 7" comes with a download code, but mp3 fans can also buy the tracks digitally for a mere $2.50, which is always a plus!

Purchase:

@ A389 Recordings (purple vinyl)
@ A389 Recordings (black vinyl)
@ A389 Recordings (mp3)

Also still available (though I doubt for very long) is this limited edition 7" that was included with the "Resurrection" pre-orders as a bonus, hence the similarly awesome cover art. The first track is Pulling Teeth with Dwid on vocals (dubbed "Integriteeth") covering Mighty Sphincter's "New Manson Family", which comes across as even more chaotic than the original. Expect rumbling percussion, frantic wails of lead bursts drenched in wild effects, and Dwid's patented screams. The overall vibe reminds me of Integrity's "Septic Death Karaoke" EP, but heavier and more unhinged since this is a true cover song. Then you have Mighty Sphincter re-working "Holy Unholy" with Nick Fiction from Pale Creation on vocals (dubbed "Pale Sphincter"), which would've fit in well with the "Resurrection" track since Nick's slightly more melodic take on monotone singing is a good fit for the band's peculiar riffs and droning effects. I never made the connection before, but perhaps those elements of Pale Creation's own approach were partially inspired by Mighty Sphincter in the first place? The excerpts below are very brief, as this is such a special, one-off release, so… get a quick taste and then make the grab while you still can if you like what you hear:

Integriteeth "New Manson Family" (excerpt)
Pale Sphincter "Holy Unholy" (excerpt)

As mentioned, this 7" is limited to a one-time pressing of 300 copies, and while it comes with a download code, you can't purchase the tracks digitally. Very few copies remain, and based on what happened when I posted about Integrity's "Harder They Fall" flexi awhile back, these remaining copies could very well sell out today, so… don't sleep on it if you'd like to get your hands on one.

Purchase:

@ A389 Recordings

Another recent release from the always excellent A389 Recordings that's on the "doomier" side of things is this two-song, self-titled 7" from New Jersey's Pharaoh. I guess you could say they've got that "Neur-Isis" type of sound (before all the "post-rock" bullshit started taking it over): Densely churning rhythms, eerie dissonance and feedback, just the right amount of subdued melody, harshly shouted vocals placed right in there with the instruments, etc. My favorite aspects of the music are probably the badass roaming basslines, though – which are surprisingly audible considering the oppressive thickness of the mix (it's heavy). This is a band that would also certainly be at home on top-notch French labels such as Radar Swarm and Basement Apes, who tend to deal with a number of European bands that lean in this direction, if you're familiar with any of that stuff. It's just a little over 11 minutes of music when all's said and done, so I'm not sure what more to say!? Check out the excerpt below to get an idea of what to expect from this gloriously crushing slab of vinyl:

Pharaoh "I, Murderer, I" (excerpt)

The 7" is limited to 666 copies on "mixed" colored vinyl (mine is a marbled blend that has a purple-ish gray thing goin' on), and each copy comes with a download code…

Purchase:

@ A389 Recordings
@ Deathwish Inc.
@ RevHQ

I make no secret of the fact that I'm a huge sucker for catchy songs, and the self-titled debut EP from Connecticut's Kids Icarus is packed full of 'em. An email asking me if I'd be interested in reviewing this EP sat in my inbox for about a month before I finally got off my ass and checked it out, at which time I kicked myself for procrastinating and then bought it immediately 'cause I fuckin' loved it! Four songs/13 minutes of absolutely perfect pop-punk/emo fusion (or whatever you want to call it, I don't care) with super crisp production and flawless songwriting that combines chunky rhythms, zippy picking patterns, technical melodies, and ridiculously catchy choruses. I know most of the people who read this site are probably not into this stuff, but I'm all over it, and will never stop enthusiastically recommending shit this good! Especially when it's loaded with high-energy tempos, a heavy guitar tone, tight musicianship, and lyrical themes that avoid humorous/lighthearted topics. Man, I just totally flip out for stuff like this. I seriously can't wait to hear more from this band. You can stream the entire EP below via Bandcamp (where you can also download one song for free):

The EP's only available digitally, for a measly $2.50, so there's no excuse not to grab it if you like what you hear!

Purchase:

@ Bandcamp

Another one that I've written about a number of times now is the debut full-length outing from unpredictable international hardcore-and-then-some act Vegas: First released in 2004 as "Wake" by Superhero Records, then again in 2008 as "Never" by Frequency Deleted Records, and now as "Never to Wake" – an expanded, limited edition LP – by Hellfish Family. Everything I've said about the material over the years still stands, though I must say that somehow its raw ferocity seems to gain momentum with age!? For those who may continue to remain uninitiated, the core of the band's attack is heavily influenced by Integrity's brand of metallic hardcore, complete with short, intense bursts of raging shouts/screams and explosive solos; while their darker, more experimental side was likely a key factor in vocalist T's later excursions with the Roses Never Fade project I covered (again) last week.

In addition to striking, all-new artwork, this reissue grows to 19 tracks/45 minutes, shuffling the tracklist and converting the bulk of the song titles to German. Other alterations include dropping "Final Incision" and the dark ambient outro from the original tracklist in favor of the comparable "Slithering Closer", an unexpected cover of Depeche Mode's "Photographic", and five live tracks recorded at Antiknock in Tokyo (significant as the location where the legendary G.I.S.M. – a key influence on Vegas – played their final show). I'm typically not a fan of live recordings, but I must say that these tracks sound surprisingly killer, and make a fine addendum to the studio material. As with most live situations there's a certain degree of rugged density to be expected from the sound quality, but you can make out a significant amount of detail, from the scorching leads to the samples, and the basslines actually become more prominent, which is awesome.

In keeping with the band's mysterious nature, they've requested that no audio files be posted alongside the write-up, so… if you require further evidence, do some legwork on your own. And be aware that this LP is a one-time pressing of just 300 copies, which will likely be gone sooner than later, so curious parties should take action while the opportunity still exists.

Purchase:

@ Hellfish Family
@ Deathwish Inc.
@ Goodlife Recordings
@ RevHQ

If the idea of crushing doom/sludge delivered with the concise, to-the-point energy of hardcore/punk sounds promising to you, then this self-titled 12" EP from Seven Sisters of Sleep (via A389 Recordings) should hit the spot quite nicely. Whereas many bands of this nature routinely hit on tracks that run seven minutes apiece (if not more), Seven Sisters of Sleep here unload eight tracks in just under 20 minutes, with not a single song topping three-and-a-half minutes. And yet there's still plenty of the surging feedback, gritty riffing, and dense, dingy rhythms you'd expect from top-notch sludge – not to mention some unexpected bursts of hammering speed that kind of take on a grinding D-beat sort of style. Toss in ruthlessly yelled vocals and production values that balance just the right amount of muddy, in your face intensity with dirty textures and a raw, natural warmth, and you're good to go. Oh, and it's also packaged in a sweet gatefold sleeve with killer artwork. What's not to love!?

Seven Sisters of Sleep "Swamp"

As should always be the case, each copy of the vinyl includes a digital download code, but if you only want the mp3's you can score those straight from the label for a mere $5 as well…

Purchase:

@ A389 Recordings (black vinyl)
@ A389 Recordings (green vinyl)
@ A389 Recordings (red vinyl)
@ A389 Recordings (mp3)