Uddercock is a Noisecore project from Janus and Martin, also of the excellent Kusari Gama Kill. Uddercock is basically the xenith of what Martin and Janus do in Kusari; take a million weird samples, lots of angry Grindcore vocal and programmed blast beats, throw them into a cement mixer and you have a track. However, whereas Kusari will often experiment with Dance beats and other tropes of electronic music, Uddercock basically give the briefer, noisier(is that even possible?) and sillier version. All of these tracks are 2 seconds long. 25 tracks in less than a minute. Yeah, it flies by really quick, but I just can’t get enough of these mad Danes’ brand of electronic Noisecore. Harsh, ridiculous and good fun!
Single track Grindcore Karaoke release from Jon Engman’s Harsh Noise unit Custodian. White hot chunks of molten electronics, heaps of colliding cut up, blistering volume surges and unbearably sharp pitch eruptions make up Custodian’s output. The super short moments of silence between constructs adds a great deal of dynamics and intensity to these sounds. This stuff is genuinely suffocating, bleak and soul crushing. Recommended if you like Harsh Noise, but maybe find HNW a little too endurance based, and want to taste this stuff in shorter bursts. Custodian never, ever lets you down.
More Pop/Ambient/Synthwave/Vaporwave from the excellent Fortune 500 imprint. Vector Graphics delivers 10 short tracks of cut up cornball 80’s futurism, laden with silky ambiance, looped beats, reviled samples from crappy chintz sources, and a weird introverted/drugged out vibe. Foggy, hazy, nocturnal. Cuts from 80’s car commercials, re purposed into low rent, chill-out drug music. Debonair, strange and pretentious in concept but very listenable, ambient and relaxing. If you enjoy any of the previous ‘Wave’ records I’ve reviewed, this one won’t disappoint.
11 track demo of bonehead Mincecore from Canada, featuring Andy of Hyperemesis etc. and others. Stomping, blown-out mid paced Mince with blasting Grind sections, D beats, gnarled Guitar walls, terrible sounding Bass and heinous super low vocal dirge mixed with crusted-over roar. Sloppy as hell, tooth chippin’ and unbelievably loud and badly recorded. There’s a thick, gross streak of Crust influence here too, with some of this stuff sounding a bit like Shitlickers or Global Holocaust but noisier, and occasional Doomed out slow parts to grind it all to a halt. It’s a shame this project was so short lived, because ‘Play Fast, Mince Hard’ rules.
The self titled album from Canadian three piece Six Brew Bantha, a record dropped in 2012 to lots of well-deserved hype. Six Brew Bantha’s furious, raging Grind is augmented with a comparatively clean, loud production, and ends up sounding a little like a Grindcore Haymaker, if that makes any sense. These songs flail wildly from out and out Grindcore into swingin’, stompin’ Hardcore sections, Death Metal(ish) serpentine riffs and the occasional un-distorted Math/Jazz part, all written expertly into cohesive, memorable Grindcore songs. The Guitar combines grimy Punk riffs with massive, toxic production, the Drumming is extremely tight and fast, with a really awesome rimshot Snare sound, and the three headed vocal attack offers a lot of variation, unifying the combination of sounds Six Brew kick out. This band well defines why Canada is a total hot bed for Grindcore and Noise of all shapes and sizes, combining different elements of UG sounds into this absolute beast of a record. Whether you like the metallic side of Grind like Nasum or Rotten Sound, or whether you like your Grind gritty and raw like Agathocles or Warsore, there’s gonna be something here for you. I may be more of a fan of their demos and splits, but this record is still fantastic. Go get it!
A pairing of US giants. Two of the best underground bands from the 90’s. An impossibly brief collision of Doom, Noise, Grindcore, of abject misery and innate fury. Two of my favourite bands. A Grindcore Karaoke release, from a long forgotten Heart Plug release attempt, also released on 5″ wax on Fuck Yoga and Blow The Reactors. Noothgrush deliver crawling, Punk-inflected Doom full of hate, hardship and RIFF. Thick crushing Guitars, minimalist, hard hitting Drumming and throaty vocal torment. Sludgy and raging, yet inert, ponderous and melancholic. Noothgrush balance the rage and sorrow like no other; easily one of the best at what they do. Suppression, on the other hand, sound like the reptilian core of the human brain gone completely haywire. Their track opens with a caustic blast of scraping Power Electronics, before ripping into a wild, frenzied burst of 90’s Hardcore/Grindcore unparalleled in left-field, arty aggression and intent. Rumbling, repetitive Bass lines wobble over hammering nearly blast beats and Jason Hodge’s signature vocal howl. Suppression are again a band that totally define a sound and aesthetic for me. They blow nearly all the Power Violence they were associated with out of the water in terms of pure, unadulterated speed and intensity, and their bugged out, paranoid vibe is uniquely defined through Hodge’s excellent lyrics. If you’re reading this review and haven’t downloaded this record yet, please do, and also drop some credits on a physical copy if you can. The special edition version comes with a puzzle!
Never before have I felt so stupid ignoring a record because of the terrible album artwork. Don’t get me wrong, the art for Russian two piece Inopexia’s ‘Myocardical Biopsy Had a Lethal Outcome’ is as rubbish as they come; highlighting the infantile fecal obsession of many of the Goregrind underground’s artists past and present. Rubbish enough that I ignored this record for a very long time, despite a glowing review from the always reliable Free To Grind blog, in which Evan actually highlighted the bad artwork. But I was so, so wrong to ignore this record. This is one of the most punishing, gnarly and downright disgusting Goregrind records I’ve come across in recent years. The Drums are basically the most accurate LDOH worship ever. There is a literal ton of blast beats on these songs, with the most ringy ringin’ Snare you could want, but there’s also lots of quick fast tempo changes, and technically there’s some seriously impressive patterns in the lightning fast fills and Punked out Thrash parts. The Guitars are thick and putrid, noxious and crushing, with a fair amount of hooks and groove for a record so noisy. And the vocal is some of the most foetid, vomiting roaring puke this side of Gorenoise. The best thing about the vocal is that he manages to sound actually pissed of and raging, something many Gore Gurglers lack. This record basically walks a very thin line between older, groovier Goregrind, out and out Gorenoise wall and Crusty Grindcore, with a sense of dynamics often lacking from such sounds. Completely essential.