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| Horns up. |
New Horizons
When Ireland’s finest purveyors of dark, heavy electronica and Salford’s leading musical ensemble team up for a 12’ single, things are well in the world. Although WHOK’s side is the better one due to the emphasis on atmosphere and mood presenting a journey (a characteristic of WHOK), Gnod don’t disappoint, with ‘Let’s Get Numb’ coming across like ‘Confusion’ era New Order if they’d worked with John Carpenter. One to play before and after your night out clubbing.
The split can be streamed and purchased here.
Point Blank – Eyes Wide Open
Featuring Johnny Doom (Rainbow Grave, Police Bastard) on vocals and Andrea Pisu (Il Disagio, Declaration of War) performing instrumental duties, this demo is exactly what you’d expect from two veterans of the hardcore world: lyrics about the futility of war, the thin line between national pride and hatred, the modern grind and the world going to hell in a hand basket. Musically, it feels like Johnny singing with Disgust (no bad thing at all).
The demo can be streamed and purchased here.
Wolfbastard – Hammer the Bastards
Pithily describing themselves as “D-beat black metal tossers from Manchester”, Wolfbastard are a ferocious proposition on record, existing in the primordial swamp that links hardcore and black metal, without ever leaning more towards one side or the other. Songs like ‘Buckfast Blasphemies’ and ‘Graveyard Slag’ demonstrate a sense of humour lacking in most bands of this ilk. Production is clear as a bell, and the riffing is mighty. Highly, highly recommended.
The album can be streamed and purchased here.
Shit and Shine – Phase Corrected
Essentially noise merchants USA/Mexico under a different name, this album sees them channelling the likes of Nomadic Rituals and ‘Gluey Porch Treatment’ era Melvins to create something doomy, sludgy and mammoth sounding. Even King Coffey’s hi-hat work puts the listener in mind of Dale Crover (no bad thing) and tracks like ‘Burnet Road’ really do highlight the overwhelming ugliness on display here, which overpowers the listener into submission.
The album can be streamed and purchased here.
Current 93 – If a City is Set Upon a Hill
With the cover a ceramic painting of Cain killing Abel, and the title referring to Jesus’ Sermon on the Mountain (and maybe a sly commentary on the shape of the United States in the last few years), this is another exquisite collection of songs from David Tibet and his regular collaborators. ‘There is No Zodiac’ is the undoubted highlight, with a rumbling piano line and controlled power chords hinting at the fall of a once great civilisation. Apocalyptic folk at its finest.
The title track can be streamed here.
Golden Oldie
Diamanda Galas – You Must Be Certain of the Devil
The final part of her trilogy dealing with AIDS, this record also sees her begin to move away from the vocal gymnastics of her earlier work (while still keeping her voice the main focus) and into something a little more palatable for the average listener. Some tracks mine the electro/industrial craze of the mid 80’s, while others see her cover hymns and prayers, subverting them in protest over the (at best) indifference religious organisations had about AIDS.
The final part of her trilogy dealing with AIDS, this record also sees her begin to move away from the vocal gymnastics of her earlier work (while still keeping her voice the main focus) and into something a little more palatable for the average listener. Some tracks mine the electro/industrial craze of the mid 80’s, while others see her cover hymns and prayers, subverting them in protest over the (at best) indifference religious organisations had about AIDS.
Lard – Pure Chewing Satisfaction
When Jello Biafta (Dead Kennedys) teamed up with industrial thrash juggernaut Ministry, the results were astonishing. The second (and, to date last) record carries on in this vein, with some tracks tapping into the psychedelic doom of ‘Filth Pig’ era Ministry, meaning tracks like ‘Generation Execute’ (depicting the narrator getting lost in the violence of cable TV) and ‘Peeling Back…’ (about a nutty gun advocate) have an added edge of derangement.
Moon Duo – Escape
A side project of San Francisco’s Wooden Shjips (once described as the Status Quo of the underground), this debut record is a combination of keyboard driven psychedelic rock, motorik beats and Suicide, with the first song ‘Motorcycle, I Love You’ making the connection abundantly clear. Although somewhat overshadowed by their later (and, to my ears, lesser) work, this is still a record of immense groove and moodiness which is well worth your time.
Ho99o9 – United States of Horror
Melding trap, hip-hop, punk and industrial metal into one quagmire of darkness and noisiness, this debut LP from Newark’s finest is still a thrilling listen so many years on, tapping into the abrasiveness and snottiness that the best punk and hip-hop records have. Although it could lose a few tracks, it’s still a head pounding listen that wipes the floor with so many acts that call themselves ‘industrial’ these days. Just listen to ‘Street Power’ and tell me otherwise.
Brutal Truth – For Drug Crazed Grindfreaks Only!
Circulating as a bootleg for years, this radio performance during the Sounds of the Animal Kingdom World Tour is a perfect demonstration of just how astonishing Brutal Truth were live. Leaning more towards the chaotic and noisier end of grind, the band forever sound like they’re about to go off the rails at any moment, but yet they hold themselves together with aplomb. Drummer Rich Hoak is the undisputed hero, managing to be playful and inventive while remaining precise.
Myrkur – Mareridt
Long a subject of controversy regarding her authenticity in the world of black metal, the second album from Denmark’s Myrkur saw her build upon the sound of her debut record (which melded black metal with goth and post-metal) by emphasing the more ethereal influences, leading to comparisons with Chelsea Wolfe (who appears on album highlight ‘Funeral’) and creating a record that is equal parts Enya and Burzum.
When Jello Biafta (Dead Kennedys) teamed up with industrial thrash juggernaut Ministry, the results were astonishing. The second (and, to date last) record carries on in this vein, with some tracks tapping into the psychedelic doom of ‘Filth Pig’ era Ministry, meaning tracks like ‘Generation Execute’ (depicting the narrator getting lost in the violence of cable TV) and ‘Peeling Back…’ (about a nutty gun advocate) have an added edge of derangement.
Moon Duo – Escape
A side project of San Francisco’s Wooden Shjips (once described as the Status Quo of the underground), this debut record is a combination of keyboard driven psychedelic rock, motorik beats and Suicide, with the first song ‘Motorcycle, I Love You’ making the connection abundantly clear. Although somewhat overshadowed by their later (and, to my ears, lesser) work, this is still a record of immense groove and moodiness which is well worth your time.
Ho99o9 – United States of Horror
Melding trap, hip-hop, punk and industrial metal into one quagmire of darkness and noisiness, this debut LP from Newark’s finest is still a thrilling listen so many years on, tapping into the abrasiveness and snottiness that the best punk and hip-hop records have. Although it could lose a few tracks, it’s still a head pounding listen that wipes the floor with so many acts that call themselves ‘industrial’ these days. Just listen to ‘Street Power’ and tell me otherwise.
Brutal Truth – For Drug Crazed Grindfreaks Only!
Circulating as a bootleg for years, this radio performance during the Sounds of the Animal Kingdom World Tour is a perfect demonstration of just how astonishing Brutal Truth were live. Leaning more towards the chaotic and noisier end of grind, the band forever sound like they’re about to go off the rails at any moment, but yet they hold themselves together with aplomb. Drummer Rich Hoak is the undisputed hero, managing to be playful and inventive while remaining precise.
Myrkur – Mareridt
Long a subject of controversy regarding her authenticity in the world of black metal, the second album from Denmark’s Myrkur saw her build upon the sound of her debut record (which melded black metal with goth and post-metal) by emphasing the more ethereal influences, leading to comparisons with Chelsea Wolfe (who appears on album highlight ‘Funeral’) and creating a record that is equal parts Enya and Burzum.
⏩ Christopher Owens was a reviewer for Metal Ireland and finds time to study the history and inherent contradictions of Ireland. He is currently the TPQ Friday columnist.
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