Featuring current/ex-members of Converge, The Red Chord, Cave In, Hatebreed, and Trap Them, don’t let these band names fool you – this might not be what you are expecting. Rust on the Gates of Heaven is not a hardcore supergroup. Rather, it’s a 53-minute journey into reflective post-rock waters, and has more in common with bands like Crippled Black Phoenix, Mogwai, Angels of Light, Russian Circles, and, yes, hints of Cave In, than any of the other bands listed. Continue reading
Sometimes all you need is death metal. Sometimes, brutal chaos and insane extremity is all that it takes to get you through the day. This debut album is one such release that hits the spot perfectly; 33 minutes of what can only be described as previously – brutal chaos. Continue reading
Now this is the stuff for those days when you just can’t seem to get going and you need a huge kick up the arse to get you moving. Seeker are the steel-toe capped boot. Continue reading
Described in the press blurb as a mix of deathgrind and mathcore, Mūto is pretty much exactly that. It’s good stuff. Very good stuff, in fact. Continue reading
Here we have over 40 minutes of well-written deathgrind. The band take the brief, energetic bursts of punk and grindcore, and entwine them with the staying power of death metal, making for an album that exists on both worlds. Continue reading
This is the follow up to 2013’s album Meteor, and I can’t quite believe it’s been 2 years since that album first made its presence felt.
I always enjoy Antigama’s work. Their Grindcore is definitely a mature and individual take on the genre and they always manage to throw in a few surprises.
Opening with a blood-curdling scream, the band proceed to become savagery incarnate and rip through 33 minutes of weapons-grade Grind like their lives depend on it.
This is no mindless Grindcore beast though. This may be utterly savage and vicious but there’s a keen intellect at play behind the scenes, arranging and organising the carnage.
Atypical riffs and brutal melodies abound, hidden within the chaos of the songs. It’s relentlessly harsh and utterly compelling. The album flows well from beginning to end and the entire thing is impressively delivered.
They can also be surprisingly atmospheric when they put their minds to it. Out Beyond is a good example of this and also features the most experimentation on the album. The final track The Land of Monotony is also notable in this regard; a longer song featuring rougher semi-clean vocals at the start and a more Doom-oriented approach.
Antigama’s music mixes an intelligent and unusual approach to the genre, from the Punk-passion of Napalm Death to the kind of modern Grinding assault that The Red Chord do so expertly.
Rather than mellowing with age, The Insolent, if anything, seems that bit faster and more angry than normal, and this is from a band who are already pretty fast and angry as it is. These tracks have more of a dangerous edge to them than normal, as if the band are seriously near the point of breaking and channelling their collective rage into their music is the only thing keeping them in check.
This is a focused rage, however, and a highly controlled one. Antigama know when to let loose but are more than capable of showing composure and discipline, albeit in a controlled-fury kind of way that the average person would still find intimidating.
This is complex brutality for a refined palate. You’ve gotta love music that’s made with real passion and skill. Antigama are still at the top of their game and show, once again, how Grindcore can be more than just speed and aggression.
Coming from the UK, Human Cull play Grindcore and Stillborn Nation is 23 tracks in 25 minutes, which should tell you something, (especially as 5 minutes of the playing time is taken up with final track Echoing Silence).
This is ultra-brutal Grind with short songs and maximum aggression. The vast majority of the tracks are on, around or under the 1:00 mark so the entire album is essentially short episodes of shocking violence and mayhem.
But is it any good? Why, yes! Primitive riffs that don’t last for long tear out over rigorous drums and stringy bass. The band’s sound is rough and ready and perfect for the delivery. Each song wants to rip your face off and stomp on your skull.
For such short songs they do mix in a bit of variety in the sense that it’s not full on blasting all the time; a hardcore influence can be felt on occasion, as well as a debt to the more restrained and inventive, (relatively speaking), approach taken by Nasum. The tracks may be short but the songwriting doesn’t suffer due to this.
The vocals are impressively gruff and deep, accentuated with much higher screams here and there. The growling works really well for the band, with the singer having the same kind of characterful voice and delivery as the singer of The Red Chord which elevates the vocals above those of most bands of this ilk.
Top quality Grindcore. Get it while it’s hot!