Review: Infest - The Next Will Be Yours (2013)

In the world of extreme music, one of the most relevant genres in the beginning was Grindcore. With its’ radical fury bursts, along  with Death Metal they took the extreme sound to a new level. Bands like Assück, Napalm Death, Carcass, Old Lady Drivers, Agathocles and many others created fulminant blasts that rarely surpassed a span of one minute. After the fall of the Death/Grind scene in 1995, things looked bad for the genre, a group to reinvent the wheel was needed. And that group was Nasum (amongst others like Misery Index). The Swedish brought fresh air to the genre, combining the ferocity of the filthiest Crust with the energy of Death Metal. That sound revitalized the genre, and along with Pig Destroyer, Phobia and several others, they became “leaders” of the new pack of grinders.



And why do I bring this little snapshot to the topic? Because I’ll talk about Infest, grindcore band native from the Basque Country, which holds Nasum as a primary influence. In their two first works (released in 2007 and 2009 respectively) the most notorious display of their sound can be found.

Starting from that base,  we face their latest release under the title “The Next Will Be Yours”. There’s something interesting here, 4 years passed since the release of “Moshroom” and this album. It is like if took their time to prepare the album, with that thought in mind, I play the album, and the storm doesn’t take long to appear.

We’ve got 21 tracks that give us a round 28 minutes of chaos.  Because if you were expecting a lot of concessions from this band, you’re going to have to rethink your expectations. The aforementioned  Nasum still has presence (the last track on the album is a cover of the Swedish band, seems to be from another recording),  but this time the individualities shine bright like a diamond for a more personal sound. Infest strikes without boundaries against our ears, the riffs are dirty and very raw, which adds an extra touch of ferocity to the music. Except for some samples and cuts for the inclusion of some drum fills, there is no stop here. Few sections in mid tempo,  where we can only highlight the intro of "I Don't Give A Damn" and "Doom Suicide", here the guys let us take a break for almost 4 minutes with lethargic riffs, slow and enigmatic, which amaze the listener after the unstoppable attack from the past 13 tracks. Actually, “Back to Basics” with its’ 36 seconds span takes the crown for the best song on the album, for such power demonstration. And of course, the calm wouldn’t last long. The only thing that the desperate breath of air they offer to us does is intensify the strength of the following tracks, which take a path similar to those from the middle of the album, but  with absolutely enjoyable brief explosions of fury.

One of the biggest highlights in this record is the mix, because it manages to put all instruments under a perfect balance without losing strength. Then we meet those sharp and aggressive riffs, which sound “dirty” but are distinguishable, they never get to create a mass of noise. The drums seem to have been recorded  without the use/abuse of triggers, which helps a lot in providing an organic sound to the album, where the cymbals keep their natural sound without covering or clustering the rest of the band’s work. The bass is listenable and basically plays the same as the guitarist, something that generates an amalgamation that adds strength to the overall sound. The vocal work switch between high pitch screams, occasional choruses and some not  very well done pig squeals.  Like every good grindcore vocalist must do, he rips his throat apart on each track with a strong presence in the mix. For brief moments you get the sensation that this work was recorded live with all the members playing like if it was a rehearsal, which for me is excellent, gives a little bit of extra spice to the album itself.

Definitely, we have here one of the most solid grindcore albums from last year, along with Blockheads, Mumakil and Teething. Infest has matured a lot in this last 4 years, showing not only a high level to present fresh material in such a saturated genre like this, but also showing awareness to present a well produced and perfectly executed work. This guys are serious, and they let us know in this 21 tracks.

Score: 88/100

Review: Random - Pidanoma (2014)

There are some records that you expect, almost anxiously, because you know the quality of the members of the band, and their capacity to deliver something fresh with each delivery. One of those bands is Random, from Tucuman, Argentina, that after a promising debut with their EP "Prrimo, The" where they showed a progressive metal of the odds of Mastodon, Tool and The Mars Volta, that would graze the experimental for its longevity. In "Todo.s los Colores Del", the trio would start to use stranger structures, alternating moments of sonic devastation and others of unusual calm. It's one of those works which are hard to find in the argentinian scene.

Some time later, I got the chance to interview Raúl García Posse, guitarist and main singer of the band, and even though "Pidanoma" wasn't under gestation yet, some comments showed detachment of their original sound, expressing the need to explore other paths, maybe more weird and complicated. Some months later I had the pleasure of seeing them live, with their performance being one of the most interesting I've seen (technical issues included)

And we arrive to the present. A time where after many listenings, I'm writing about this work. I play it again, "Corto Normal" starts. The bass of Pablo Bianchi welcomes us, with an elaborate but catchy riff, which then is followed by the whole band. Without a doubt the beginning is very powerful, and it doesn't lose the intensity with which it began. Probably this is the most digestible song of the album, with a rather kind beginning before the real trip begins. Prog Rock, Metal and a bit of Noise Rock salute as the minutes go by. A beginning that smells like a preamble for what's comming. To warm engines.

After "Ojota y Media", a weird interlude that includes what seems like a radio recording, a drum track in the background and other noises, starts "Me Chango". A 17 minute track, aand since the firs song it's delicious. The way the make such a long song without losing the compass is amaizing, because even repeating sections, none of them sound like the other. The little details make it dynamic, putting a little surprise hidden in every bar and making us attentive. The premise is clear: Random wants the listeners to pay careful attention, to be immersed into the music and be aware of details, and of every sound that comes from the instruments. That idea is vital to enjoy this record in every dimension. With a special guest on sax (Adrián Terrazas Gonzales, former saxophonist of The Mars Volta and actual T.R.A.M.), the 20 minute improvisation, experimenting with timbres, intensities and many other sounds become pure delight to the ears, making a cataract of feelings that exceed you at times.

Fourth song, "Mia Gato Esta Solo en la Oscuridad". Following the crescendo with which the previous song ended, the thrack begins attacking our nervous system from the beginning. With the neverending ghost notes and the great energy of Marckos Crosa, madness is assured. He has to be the most riddled drummer I have ever seen live, and on studio he does the same. The work of this guy is just demolishing. If we add the the impecable production of this record, that makes everything clear and distinguishable, but with the fair amount of "dirty" to unleash a true sonic chaos on the right moment, everything becomes stronger, turning memorable but over all, hypnotic. At certain moments it's inevitable to feel off the ground, getting into it so much that you feel part of a journey, an unusual and uncontrolled journey, of which we enjoy every second. Something remarkable are the Noise influences (probably brought by Raúl, who has proven to be really skillful to make good noise on his project "Seda que fue Baba"), which adds very interesting textures to each of the songs of "Pidanoma", going from increasing tension to stabilizing motives.

“Gurí Gurí Tres Piñas”. Unlike it's name may suggest, the song starts with parsimony, like giving the listener a breef break of the rollercoaster of feelings he's in; but without forgetting to add some samples that warn us that it may blow up at any time. The vocal work on "Pidanoma" is bounded, even more than in their previous record. Raúl preferred to let the instruments talk by themselves, and reduced the vocals practically to harmonize or intensify specific moments of the song. In this last track, Raúl and his voice uplift certain sections of the song, which in its 20 minutes tastes like glory. From that peace and tranquilty that are transmitted on the beginning, it rises progressively, almost without noticing, for being so calm... and in minute 10, it all blows up. Calm starts to fade away slowly and it reaches its algid point, entering a void where tranquility and decontrol are fused, intensity is fired and the listener is caught in the middle, with his ears as the sole witness of the overwhelming and nerve-racking duality these 3 men are offering. A truly unique duality.

The album ends, the beatings lower. It's ridiculous to get into technical aspects about each member and the used resources. The reason is simple: "Pidanoma" is a record of feelings, that ask the listener to intrude on it to get taken away. Without a doubt, the best work of probably the most peculiar and interesting band of the argentinian and latin-american ongoing musical scene.

Score: 95/100

Download "Pidanoma"

Review: Serocs - The Next (2013)

Serocs is a pretty known band for me and for this little space's followers (is there any?), this is because its leader, Antonio Freyre, was interviewed months before the launch which had me expecting for a while and that's today's matter.

After what had been "Oneirology", its last year's edited debut disc (it also has some EP's), future seemed promising for the project. With programmed drum and a riff arsenal made of granite, Oneirology" left the impression of being a good job that still needed to "harmonize" a little, get out of the permanent stuck to attain a stronger focus on the songs properly said,  without leaving any pile of unrecognizable rhythmical sessions.

The question is: was Antonio able to set the pieces to "The Next"? that's what we'll find out song per song.

In "The Variable", we notice the proposal has changed a bit in comparison to “Oneirology”.  It's possible to detect an increase in the songs' structure, having recognizably improved rhythmic and melodic aspects. everything is in perfect order in a very well-crafted song, which remains in the memory without having to lose any inch of power, two songs, two songs, both right.

Third track. "Urban Terror" shows "serocs" in an entangled half time,  where Antonio unhurriedly guides us to the minute and twenty, when Hakkinen speeds up at the time of  the inextricable wall made by Poggione (bass) and Freyre's riffs. Solid, destructive and enjoyable at the same time. An entertaining song that becomes very attractive thanks to the inventive and constant variety that, when not exaggerated, results really pleasant to hear.

For "Weakness Fed The Fear", the most... sticky (?) face of the band is eager to show itself.  Without losing their characteristically energy, some chorus appear, boosted by Jason Hohenstein's vocal stream, fitting very well. However, the song develops too quickly,  in a sort of vertiginous speed which ends up playing against the song itself, especially  at the end. It's not a bad song, but all the entangling ends up lying it one step below the previous songs.

The most remarkable thing from Serocs is the rhythmic treatment given to the songs, because unlike the other bands of its same sub-gender, they don’t need to incur into  blast beats abuse and exaggerated speeds to show strength or brutality, the endless riffs  and the complex rhythmical patterns are more than enough to overwhelm the hearer. "The Hellgramite Method" is a cabal proof of that, with its diversity and flawless execution, which put all back in order after the last song.

We've arrived to the sixth song. "The Shining One" represents four minutes of good moves, where each strike, each note fits perfectly, leaving very clear the technical capacities of their executioners. An enjoyable song, where the middle range of gutturals which Hohenstein uses fits very well with what the song requests, revalidating its scrolls based on potency.

We find ourselves at the verge of the end, where "ChernoVile" explodes like a bomb. Without many differences with the previous songs, Freyre and company don't spare in details to leave a good taste on this speed and texture roller coaster. Poggione's bass lines, always steady, take some more protagonism in this piece through subtle amends.

For this disc's closure "Alienus Gignesthai" becomes present, a song that's a bit different to the rest of the album. Why do I say this? Because the song has a very clear order, distinguishing the beginning, the middle and the end through the intensity with which it develops. from the sinuous intro, followed by a slow march, which would keep this lethargic step for a little longer than a minute, until the pounding owns the composition, leading us to the apparition of a very special character as ins the legendary Demilich's singer, Antti Boman, which unhurriedly guides us to the exit.

These eight songs compose "The Next" a solid record that shows a mature band which has polished its virtues and considerably reduced its defects, securing its sound and its proposal, giving it a proper, recognizable style that places them as one of the names to notice in the Technical Brutal Death Metal scene.

Grade: 88/100

Review: Extol - Extol (2013)

There are discs which you can be craving for long. Ever since Extol announced its comeback and the release of a new album, my expectations gradually grew, as anyone who’s listened their previous records should have.  It’s just that this Norwegian Christian band has had many changes and mutations along its career, which consists of four full-length albums (not counting this year’s of course) which I’ll review right away.

So we find ourselves with “Burial”, the band’s debut album from 1998, which offered a great quality Technical/Death Black Metal with 12 precise, memorable tracks, handled with a subtle melody management which ends up being the band’s trademark. “Undeceived” arrived in 2000, and presented a movement towards MeloDeath-touched progressive Death Metal, thus without losing neither strength nor quality, conceiving an album that is both, solid and enjoyable. However, three years later arrives "Synergy", a thrash-like work that, in my opinion was very irregular, having many low spots and just a few high ones. By 2005 “The Blueprint Dives” would arrive to see them mutate again, but this time to an Alt rock/metal progressive that is as astounding as impressive. Unfortunately, they would break right after this one.

As you can see, Extol has been a restless band that has explored many faces, trying to pull the best out of each and getting a victorious result almost all the time. This 2013, the band got together again and a new record came along. Will they surprise us again? Will they reinvent themselves again? The answer is yes, but not n the way that one should expect. And you’ll see what I mean through every song.

We start with “Betrayal”, which easily traps us with its complicated riffs. The song develops with strength and a chorus worthy of songs like Gloriana (“The Blueprint Drives” first song), which complements excellently with the continuous irregular sections offered by Ole Børud, in charge of the six cords. In this disc’s first encounter both the strength and the melodic delicacies fit in, leaving a very good impression.

“Open the gates” starts with quite some attraction, which is vital when it comes to speaking about this album. Each and every song has its solo, riff or distinctive and memorable base, which allows each song to be engraved in our brains. And the double guitar-drum gets the best of itself in a formidable combination which manages to squeeze the juice of each song out, showing all of its skills without falling into a mere, unmeasured pretention, but all the contrary, each and every element is exposed to focus on the enrichment of the piece. A good example of this is given by David Husbik in the section 01:50 – 02:10.

“Wastelands” takes us to a darker spectrum, where the “thrashigs” are privileged and Peter Espevoll’s mighty voice happens to be more than adequate, even reminding us for some moments of the fury displayed by the band on their first full lengths. An intense song that has its moment of peace during the solo, but rapidly gets us on guard again all due to the dynamism and richness of elements given by each member on the service of the work. 

Fourth movement. With “A gift beyond human reach” we retreat to Extol’s most melodic side, where each riff is extremely hypnotic, noticing that this song practically lacks of any clean voice that helps to add sensibility or to “relax the hearing”. Everything sounds compact, balanced, in a mixture which can remind us of previous works, but keeping a unique style. And that is the key of this disc: it’s the result of all prior discs; it has a bit of each and takes the best out of them, onward to an absolutely own sound.

After the sort-of happy song, “Faltering Moves” appears, which develops as the last’s antithesis, filled with surliness melancholy and feeling, even though it seems a little weird. Without losing their progressive nature, the Norwegian deliver dense sections , alternating them with others filled with feelings, all this with an impressive sensitivity, for them to merge with the necessary cohesion for it to be fluid during the almost six minutes long. Espevoll makes an enviable performance to complement himself with the harmonies and accomplish the desired effect, the alternation between rough and soft.

The second half of the song starts with “Behold The Sun”, where a very technical and elaborated work is shown, filled with complex riffs, changes of time and character, with a very pleasant exchange between clean and guttural voices. Probably this is the most complete song in the sense of having a bit of everything in a very demanding composition. Which doesn’t become boring, but lures us to continue on the four intense minutes that compose this song.

In my opinion, “Dawn of redemption” is something different. A brief reflecting period through Børud’s chords, which calmly leads us to a point in which we notice that each note and pluck is touching our soul. It’s right there when you open your eyes and realize that this is a different disc. It’s a very special disc, not only for the hearer, but for the band itself. “extol” is the pure reflection of their fifteen year old career, it’s the climax of a whole stage, and above all else, it’s the start of a new beginning . However, we still have some songs left…

Eight song, “Ministers”, after the “reflexive” moment brought by the last song, the three-piece band decides to make a strong attack with a song that lyrically is a declaration of principles, therefore, it must show those principles musically as well. Without many melodic down pours (just the necessary) Extol smoothly develops a song that reminds me to the highs of “synergy”, where the aggression was well aimed and administered, so it wouldn’t fall into boredom.

And for the grand finale, two songs in a row. “Extol” (homonymous song) and “Unveiling The Obscure” are connected in an spectacular combination. The first, for having the disc’s most memorable riff, filled with fury and melody at the same time, an absolute wink at “Burial” which added to the use of the clean voices becomes unforgettable. Vicious blast beats at first to move later on to perfectly executed ghastly notes which amaze due to the band’s fluidity to combine such elements without even sounding abrupt, everything enveloped by this melodic treatment which is the house’s trademark.

The second, despite slowing down a bit, doesn’t stand too far thanks to the riffs’ magic brought to us by Børud, who at the end, is the band’s soul, the one in charge of making each song different and unique, having an special touch. And he shows us again this last song with that inventive made to create and recreate himself constantly. A memorable ending indeed.

And thus “Extol” went on, an album that not only puts the Norwegian among the best this year, but also becomes the highest point on their career, and it might probably be very difficult to overcome for the band itself. Although, thinking on the band we are talking about, they can surprise us again. For now, we have a great disc to keep enjoying and analyzing.

Rate: 98/100

Review: Derlich - Arachnophobia (2012)

Most of the time, you find interesting stuff by chance. It's normal to look for specific material from a band or individual artist, and finding related artists or simply an interesting name, to find new experiences. Well, in one of my frequent bandcamp searches, I found Derlich. 

Derlich it's a techno project, oriented the more dense and dark spectrum of the genre. Taking Throbbing Gristle as a main influence, we can describe the basic essence of their proposal. A hypnotic and hard to swallow techno. After listening to some of their songs, I found Arachnophobia, a one hour mix. Just by seeing that, I wanted to make a commentary of it. It promised to be an ambitious and quite interesting experience. 

In fact, that affects my own style to analyze an album (in this case, a Dj mix), because I'm used to analyze it song by song, to capture the essence of the band, but a single track is a personal challenge. So, as I write these words, the introduction advances with parsimony, but with certain "electricity", with little details that make me stay alert and pay attention. The intensity arises slowly, as we get into that net of samples and noises, until minute 6, where the actual song begins

The first question I think of is: can you dance to this? There's a clear invitation to it, but the atmosphere printed in every second of the song makes me doubt. I mean, there's rhythm, everything's there, but Derlich manages to fill every nook with important doses of "evil", that crushes, oppresses, but at the same time it's wonderful. When you get carried away by that dark sound, you get hypnotized, and the hearing acquires another taste, in fact you can analyze the composition from another point of view, which is applicable to other jewels like God, Casual Violence or Young Gods.

The great trick to maintain that kind of hypnosis over the listener is, without a doubt the ability to add little and almost insignificant details that make the listener interested despite the rhythmical repetition being frequent. With those details, the song still has something to give, finding and developing microforms that happen one after the other until the elaboration of a new section, with different characteristics. 

Something that's remarkable is the subtle use of elements related to Noise, that don't take protagonism, but are there, being the main "disturbing" factor in this huge piece. It never takes a completely chaotic nature, but it's an element that's used under the rhythmic base, making the sound dirty and harsh. Clearly, the idea of Derlich it's not destined to a massive public, but to a "trained" audience, prepared to resist (and enjoy) their attacks

There are certain differences between the aggressive and faster passages, with a raised tempo, and other introspective and ominous sections, almost playing with an Ambient of a purely electronic base. This kind of come and go develops naturally, exploiting time, vital factor in such a long piece, because you need to know how to manage every section without exaggerating, either changing the rhythm and losing the base of the song; or adding some very long parts to densify the material. 

I must remark one of the sections, which starts in minute 43 and goes on until minute 53. In this part of the song there's everything that encompasses Derlich at the same time. First of all, it has an almost-danceable and catchy start, which begins to fade while samples and noises become protagonists. You get into a highly oppressive zone, which chokes and attracts at the same time, showing the most disturbing side of the mix, to then raise the pace with lots of aggressiveness. It's the most remarkable section, covering 10 minutes. 

The song continues, taking us to an outcome in a very good way, allowing us to focus on the conclusions. And the only conclusion is approval. An ambitious project like this has been perfectly achieved, reflecting without a doubt its essence and objective.

Maybe it can result complex at first hearing, but as one adapts and "trains" as a listener of this kind of projects, it becomes a great experience to enjoy. Recommended.

Score: 91/100

Review: Azure Emote - Chronicles Of An Aging Mammal (2006)

Probably, when you hear 'Industrial Metal', you think of bands like Rammstein or Nine Inch Nails, or, if you are more into this Industrial thing, GodFlesh, Fear Factory, or PitchShifter. Well, what I'm reviewing today it's not like any of those bands, but its industrial influences were well known in the underground scene a few years back.

This band is Azure Emote, project that started as a personal idea, and eventually became a band filled with reputable elements and members. The mind behind the beast is Mike Hrubovcak, actually in Monstrosity and Vile, and designer of album covers to bands like Sinister, Cephalotripsy, Pathology, Aurora Borealis, and many others. In 'Chambers of an Aging Mammal', his debut album, Mike practically does everything but to play guitars and drums, in a pretty ambitious experimental project.

The disc starts very promising with 'Clarity Thru Apathy', a song which, from its beginning has a sound that alternates with a not-too-abrasive Death Metal, some progressive passages and a lot of atmospheric elements. The first thing we notice is that, even not having a remarkable production, every instrument is audible and well balanced, letting us easily appreciate the different nuances. Riffs are finely crafted, not taking much protagonism, but standing out as the main rhythmical guide and adding the necessary aggressiveness.

In 'Complex 25', harder electronic elements start appearing, that make the song dynamic very interesting. In fact, what makes it interesting is the way they use the electronic elements, it's not aggressive, and it keeps the harmony and timing flowing through the song. Also, there are little melodic lapses, such as the inclusion of acoustic guitars, which change the dynamic of the song, to later brake between the synthesized passages. A very pleasant song, but it requires the listener to be open minded.

Samples are a constant variant in the general sound, serving as a bridge into the song, or increasing the oppressive feeling and serving as introduction to the next song. That's how 'Joy on the Face of Extinction' and 'Justified End' work, the first being the introduction and the second being the actual song. Fairly, 'Justified End' has a less intricate structure, with very enjoyable riffs. After the prior song this sounds like a rest, a concession to all those samples and 'weird noises'

But 'Cosmic Tear' is a 360º turn. After the 'catchy tune', this puts us back to the introspective and atmospheric state, in a song that stands out for its soft rhythm, taking us through dark passages even when the intensity rises. The different sound layers shift us through this ritualistic 5 minutes, filled with an amazing mysticism. It's a song that stands out for being homogeneous, if any of its element were missing, the final result would not be the same. To this point, the album is wonderful, constantly surprising and delighting

And with “Procreation Abnegation” we reach the maybe algid point of the album, where structures become more complex and link between riffs, and there's an impressive, and a bit fuzzy use of synthetized components, giving a schizophrenic touch to the song. Curiously, despite being a much more eclectic song, keeps the cadence and dark aura of the prior song, mainly because of that great cut that sounds malevolent and attractive.

'Behind These Speechless Eyes' works as a disquieting introduction to 'Submerged', a song where schizophrenia becomes the band best ally, submerging the listener into a whirlwind of impressive brutality and "mechanization". Azure Emote transforms to a pitiless, with the sole objective of crushing the listener. Again, the electronic elements magnify those feelings, raises them to their highest level, and enhancing the final results.

After a calm introduction that leads to an imminent destructive attack, turns out that 'March of the Chemical Pessimism' looks the other way. It's a march, ergo, it will be calm and balanced. However, the operatic voices, the soft timing which Hruvobcak has decided to use in this song keeps us from boredom, and, just like in 'Cosmic Tear', we get carried away into the diverse layers and nuances. Something I haven't mentioned yet is the guitar work. They never overuse technique; it's just a sole basis, the basic support on which every other element will work. This is something that a lot of people don't understand about Azure Emote, they don't want to have the riff as the whole thing, but to use the junction of various elements to get a final result.

'Misanthropic Disgust' brings us the most piercing version of the band; lots of blast beat and strength. Maybe at this point a certain downward in composition becomes noticeable, due to some sections which don't seem to fit in the general idea. This is from 1:20 to 2:10. The problem in this section is that the melodies seem to be out of place, sounding a bit forced into the song. When that period ends, the song goes on a good way again.

In the final song, 'Dementia', we find a series of samples framed by the already mentioned feeling of melancholy and introspection. This introspection doesn't brake throughout the whole 5 minutes of the song, while the samples keep flowing, predictions of the nigh end.

Despite some minor stumbles, Azure Emote has presented a unique disc, with an identity of its own and a sound that very few have explored in these times.

Score: 86/100