Tag Archives: grind

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PICK OF THE WEEK: Noisem grind heavily, light death and thrash on fire with ‘Blossoming Decay’

(Photo by Gene Smirnov)

(Photo by Gene Smirnov)

Hype is a curious thing. We talked about that a couple weeks back with the new Tribulation album (this site was the only one on the planet not to roll over in mud for it, I think), and we are scratching that topic again today. It really can work both ways, that heavy-flowing stream of praise, as it can get people curious to hear what’s going on, or it can make cynical folks boil over like a kettle.

Crossover thrashers Noisem have been met with a tidal wave of talk ever since their 2013 debut record “Agony Defined,” and the band took those waves and turned them into an opening slot on Decibel Magazine’s 2014 tour featuring Carcass, as well developing a sterling reputation for their raucous live shows. Yeah, their age always comes up in discussions, as these guys are in and/or barely out of their teens, but let’s instead concentrate on how they are as a unit instead of how many birthdays they’ve celebrated. These guys have destroyed since day one, and they’re back to proving their mettle again on their excellent second record “Blossoming Decay.” If there ever was any doubt this band deserved the hype they receive, this bastard will shut a ton of mouths.

Noisem coverAt nine tracks and 24 minutes, “Blossoming Decay” (available digitally right now) is perfectly served. The songs rage by and crush in an instant, and you barely have a chance to catch your breath from one crusher to the next. The dudes in the band—vocalist Tyler Carnes, guitarists Yago Ventura and Sebastian Phillips, bassist Billy Carnes, and drummer Harley Phillips—show a growing musical maturity, but they still keep things brutal and raw. In fact, their intensity level has increased, as these guys mash through you with force and malice, bringing to my mind what I felt when I was in high school listening to the early thrash and crossover bands that helped meld my tastes. Oh, and perhaps some of that elbow-rubbing with Carcass wore off on these guys, because they can grind like monsters on sections of this record.

It’s not an immediate burst from the guys, as opener “Trail of Perturbation” starts with eerie soundscapes and a scraping cello, but when the shit hits the fan, it splatters everywhere. The band pushes forward with a burst of power, while the vocals are maniacally spat out and a little grimier than they were on the debut. It’s on to “Burning,” which crushes right away and is speedy as hell. Again, the vocals are laced with menace, with strong lead guitar working burning a path, some steely thick basslines bruising, and the back end of chaos spilling right into “1132.” There, a damn great riff greets you, with the band settling into a thrashy groove and taking their time dealing the punishment. But before all is said and done, the cover is torn off, and the band slips back into full rage. “Replant and Repress” is pure demolition, with rapid-fire vocals, complete blazing by the band, and a meaty overall personality that rewards with violence. “Hostile End/Hollow Life” is an interesting one as the first half keeps up the momentum built on the first half of the record, with parts particularly unhinged and having a hardcore feel. But the second half settles and parks into an embankment of noise that coats the brain and carries into what awaits next.

That would be “Cascade of Stars” that opens with noise and cellos but shortly breaks into doomy clubbing that shows a sludgier side and then a total assault complete with terrifying growls, more clobbering riffs, and guitar soloing that boils over near the end of the track. “Another Night Sleeping in the Cold” had a more traditional thrash feel to it, with guitars grinding, fists pounding, and its relatively short life making its impact and getting out on top. “Graining Enamel” not only sounds painful, but it’ll leave you clutching at your jaw. The band chugs hard, with the drums getting absolutely pummeled and the guitars taking on a classic death metal essence, which should make your skin crawl. The song just guts you. The closer “Blossoming of the Web” begins with muddy bass, guitars shrieking out, and another tasty riff that helps set the path for the gruff, commanding vocals. Guitars rush all over the place, with the band feeding into a final outlet of fury and the guitars rising up to kill one more time. Then it all settles into a dark murk, with black strings calling woozily, almost as if they’ve endured the onslaught right along with you and need to bleed out. Killer finish to a great record.

It’s terrifying how quickly this band has gotten this good, and they have so many miles in front of them, who knows where they’ll be five years from now? Hell, album three should be one interesting milestone for them. “Blossoming Decay” more than lives up to its hype and certainly surpasses the wild expectations people like me had for this album. This is one of metal’s great young hopes, and there’s no reason they shouldn’t be dominating for the next decade or two.

For more on the band, go here: https://www.facebook.com/NoisemBaltimore

To buy the album digitally (available now), go here: https://a389recordings.bandcamp.com/album/a389-162-noisem-blossoming-decay-12

To buy the album on CD or LP, go here: http://shop.a389records.com/

For more on the label, go here: http://www.a389records.com/site/

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PICK OF THE WEEK: Cretin’s sick grind, repulsive storytelling make ‘Stranger’ disgusting fun

CretinHere, on this day, when we run the final review of the calendar year before we get into a few weeks’ worth of 2014 in review, we bring you the most disgusting, perverted, disturbing of records. This one should put a smile on your face, and if it doesn’t you may have no capability to feeling the sheer glee of a band rolling in filth and chaos. Yeah, we saved the sickest for last.

Cretin are a long-standing death-splashed grindcore band. But even though they’ve been together for more than two decades, we only have two full-length records from the band—2002’s splattering “Freakery” and their brand-new opus “Stranger.” It’s not that the band hasn’t had inspiration or plenty of horrific stories to tell, but its members have been plenty busy with other ventures. Plus, the story of guitarist/vocalist Marissa Martinez-Hoadley’s coming out as a transgender woman and continuing to defy anyone who stands in her way not only was a major step for the closeted, macho, often unaccepting world of metal, but for her personally. She has been an inspiration to so many. Maybe some meathead out there wondered if Cretin would retain their savagery and sick sense of humor after all of this—and if you’re one of those people, perhaps consider wallowing in embarrassment—but that was pure silliness. This is Cretin. This is a grindcore force, and on “Stranger,” they’re more than willing to rip a hole in your chest and piss in it.

Cretin coverWe’ve covered Martinez-Hoadley, whose vocals are even deadlier and full of bloody character than they were on “Freakery.” She’s an absolute joy to hear rage on these tracks, and I can only imagine how great they’re going to sound live. Along with her are longtime bandmates Matt Widener, who plays bass and also pens the horrific words you hear barrel out of Martinez-Hoadley’s mouth; destructive drummer Col Jones; and new secret weapon Elizabeth Schall, one of the most impressive and dynamic lead guitarists in all of metal, who fronts the scathing Dreaming Dead. This formation of Cretin is a monster, with each member contributing to the muck, and “Stranger” is a record that will haunt and taunt you long after it’s done.

A nice thing about Cretin’s work is their songs are longer and more realized than most grind acts. There are very few 30-seconds-and-done cuts, and that begins with “It,” complete with dizzying playing, Martinez-Hoadley’s grunt-like growls, and maniacal thrashing that wastes no time getting you into the bruising. “Ghost of Teeth and Hair,” a pretty gross title, opens with dazzling soloing from Schall that lets things burn before the track hits its guttural, deathly glory. The track is muddy and ugly, and when that weird bicycle bell rings at the end, you’ll feel a little uneasy inside. “The Beast and the Drowning Bucket” absolutely mauls, with mucky vocals crawling out and drums being obliterated. It’s hard to keep your head above water on this one (fitting, right?), and the fierce shrieks that erupt toward the end should rip your skin apart. “Knights of the Rail” is another nasty one that starts with a hefty assault but then hits another gear part of the way through, like they’re blasting into hyperspeed. “We Live in a Cave” rampages from the gate, with total heaviness, spat-out growls, and a lightning-fast chorus that blows by so fast, you won’t know what hit you. “Sandwich for the Attic Angel” is one of the most memorable, creepy songs on the record, with Martinez-Hoadley blasting through a volcanic chorus that puts a knife right in the heart of this ghost story. The title cut is speedy, raspy, and violent, with Martinez-Hoadley howling, “Stranger!” over and over, while the rest of the band plows through frightening power. Schall stabs her way in with another stellar solo, adding a sense of classic metal to this mangy crusher.

“Mr. Frey the Janitor Guy” is uncomfortable, bursting with rage, and pretty damn disgusting, and surely the band would have it no other way. The track is grossly fast, with Martinez-Hoadley howling the story about the underappreciated, sadly mocked mop man who gets his comeuppance in the most self-destructive manner possible. Seriously, don’t be eating while reading the words. “Mary Is Coming” is gory and mangling, just crushing everything in front of it, leading into “Honey and Venom,” a track that makes me a little uncomfortable due to my bee sting allergy. The drumming is rapid-fire killing, and the band hits a thrashy groove that might be designed to get you maimed live. Who’s to say? Or complain? “Freakery” follows, which also is the title of their debut record, and it is mashing, smashing chaos. The story is forced out of Martinez-Hoadley’s mouth, and Schall’s guitar work tears through like a sword looking to draw blood as quickly as possible. This thing’s just mean. “They Buried the Lunchbox” has a vicious tempo, with speedy vocals that rage out of Martinez-Hoadley’s jaws, and the bulk of this assault is soaked in rotting meat. “Husband?” is the shortest and one of the most disturbing cuts on the album, a blast of total carnage that gets an extra hint of creepiness with the closing whistling. Yikes! Closer “How to Wreck Your Life in Three Days” actually starts with a calculated pace, making it seem like Cretin might let you down a little easier. You should know better than that. This sucker rips apart, with more guttural growls that destroy, an awesome dose of thrash goodness, one final razor-sharp solo, and everyone chanting, “Fire!” as the record reaches its end. As does the main character’s existence.

Hopefully Cretin’s studio output will become as little more common after this head-ripping second album “Stranger.” This is a deadly, vicious lineup, and this record is the best grind album that came out in 2014 by a long shot. Remember to keep the buckets nearby in case the stories get to be too much and some analgesics for your pain, because you’re going to need both once you spend a trip letting Cretin destroy your body and psyche.

For more on the band, go here: https://www.facebook.com/Cretanic

To buy the album, go here: http://www.relapse.com/store.html

For more on the label, go here: http://www.relapse.com/