The Minnesota trio Not from Here puts a twist on the regular mathcore formula: the expected bass guitar is here replaced by a cello. This alternative lineup gives way to an interesting contemporary classical facet to the band’s music, most strikingly on their kétjegyű szók, “Ab”, “De”, and “Ex”, while being underlying in all the other tracks. Speaking of which, the songs on their self-titled sophomore release range from caustic mathcore to post-hardcore, with drafts of polyrhythmic sludge – the ending of “Should Certain Conditions Arise” –, drone metal, and progressive metal. It’s all instrumental, giving the music ample … Read more
Kurws are a peculiar entity. Alarm is their most recent release, and is almost embarrassingly good. “Nagonka” readily baffles you with its odd polyrhythmic bouncing groove accompanied by saxophone and recording artefacts left in. It’s composition aimed at emulating free improvisation, or is it? It doesn’t matter, the result is the same: Alarm is disconcerting and wild! The Polish quartet certainly continues to experiment with music and push themselves on the brink of cohesion. Thanks to analog tape recording, the texture of the sound is at times very grainy, giving even more consistency to the aural soup we’re served, which, … Read more
Australia has become one of my favourite places in the world to look out for new and exciting bands. From alien overlords such as Portal to fresh faces of progressive metal like Caligula’s Horse, there is a pallet of sounds to be found on the Lucky Country. However, there is a special label that has gained recognition for finding and delivering some of the most unique albums I’ve heard in recent years: Art as Catharsis.
Psychedelic drone music with eastern influences (Ḥashshāshīn), John Zorn worship jazzgrind (Kurushimi (苦しみ)) or experimental hardcore madness (Tired Minds), Art as Catharsis has … Read more
I’ve written a line or two about Toronto’s Art the Band, last year, when I found out about their full-length, Boost Unavailable. I was impressed and awed by it, so it’s with great anticipation and matching expectations that I’ve approached their most recent release, the Snacks EP. I wasn’t aware that it was coming, so I was surprised, and, upon listening to it, was once again surprised. I have to say that I didn’t exactly recall what Art the Band was about, but Snacks quickly corrected this. The first and “Big Track” is a pretty standard jazz … Read more
Leeds-based mathcore one-man band [reference needed] II II II (read “two two two”) released their debut album, A Conundrum on My Coffee Table, which we adored, back in 2012. Fast forward four or five years, and they share some work-in-progress demos on their facebook page, stating that they were looking for a new vocalist. Without it being announced officially, they found one! The name hasn’t leaked yet, but the voice remains in the same vein as before. Well, here we are now: we received an advanced digital copy of Frequency Illusion, coming out on September 22. What is … Read more
Most of my exposure to Japanese rock (j-rock) has been through Anime theme songs, but it’s a genre I’ve dipped further into from time to time when an Anime theme has really grabbed me, especially with bands like The Pillows, Flow, Nico Touches The Walls, Veltpunch, and Maximum The Hormone. So when I saw this promo for fulusu’s debut American release Old House 1, it totally piqued my interest. This album starts out with some ambient noise on ‘Ra’ that continues into second track ‘Consideration: Rain’ and abruptly ends to reveal the melodic j-rock … Read more
Australia’s experimental rock band Porcus vs. Equus just released a single, or short EP, under the name Music out of Shit. With merely three tracks and a runtime of just eight minutes, M.O.O.S. is very short, but also very sweet. First of all, ‘Wet Sugar (Player vs. Environment)’ is a magnificent song to begin with. Reminiscent of the Spaghetti Western aura of Robotmonkeyarm, with their reverb-laden, aggressively-plucked overdriven guitar notes, Porcus vs. Equus bring in some rhythmic and structural surprises into this complex ear-worm of a song. At over three minutes long, it’s the least concise of the triptych, … Read more