Industrial

concrete sustain

Batillus Sustain their Concrete Morrissey

concrete sustainLike Godflesh playing Sonic Youth, or Helmet covering the Pixies. Very cool.

I hated this at first; I was expecting them to sound like they always did, what with their previous Kowloon Walled City-ish industrial sludgy doom sound and all…

But once I heard this as if it were from another, new band, it really grew on me.

Concrete Sustain is a big departure for Batillus, but one very well done:

It takes certain aspects of signature sounds from previous releases (i.e., they still sound like they’re playing the same instruments and recording at the same place as before), but they switch up the songwriting in two ways:

One, there are actually some conventional “songs,” in that there are recognizably distinct sections, but two, the type of song has even changed– and of all things more toward an alternative rock bent.

It’s still crushingly heavy, it’s not a softening particularly, but there is definitely some Morrissey or some shit way in the background, influencing this thing.

[Concrete Sustain is released 3/19/13 on Seventh Rule.]
Rage Nucleaire, Unrelenting Fucking Hatred

Micro: Rage Nucléaire, Unrelenting Fucking Hatred

Rage Nucleaire, Unrelenting Fucking HatredCryptopsy‘s Lord Worm’s death-ish, very slightly symphonic industrial black metal band:  Anaal Nathrakh covering Marduk with Regan McNeil occasionally guest-singing.

Ridiculously ferocious, foaming-at-the-mouth psychotically manically furious, and, if you’re reading this site, Great: and This Much More So Than One Would Think.

Exemplary Numbers: “Violence is Golden,” and “Hunt with Murderworms, sculpt with Flies,” the latter of which also wins 2012 Title of the Year.

MIN_Relapse_72dpi

Ministry, Relapse

I’m a Ministry enjoyer (not quite “fan”) from 1986– through the genuinely great albums (The Mind is a Terrible Thing to Taste, Just in Case You Didn’t Feel Like Showing Up (live), Psalm 69), and the self-indulgent crap (most everything else, with a few exceptions).

Way back in said 80s, in French III (shut up!), a guy beside me, Kevin, told me that some band called Ministry was on “Miami Vice.” They played “The Land of Rape and Honey” in the background of a drug-dealing scene (couldn’t find it on YouTube; if you can, hit me up in the comments and I will speak well of you in the future).

We intro with a self-indulgent spoken word intro for two minutes before “Ghouldiggers” kicks in– but it’s pretty cool once it does. All automated, slightly-too-fast-to-dance-or-workout-to tempo with an “I’m not dead yet!” refrain….

There is noticeably more mordant humor on this release, compared to previous releases, when the dominant emotion was outrage or anger…. which is kind of funny, considering tracks like “Double Tap” are noticeably more aggressive than previous tunes… maybe it’s like Clarice Starling’s (in the book) observation of Dr. Lecter– “It was as if committing multiple murders had robbed him of lesser rudenesses….” It’s as if the increased energy and aggression on Relapse gave Al some semblance of a sense of humor, however flimsy….

And yeah: there’s tons of fucking samples from movies and God knows what else, but once the songs start… mmmmmm, they’re usually pretty cool. Case in point: “Freefall,” which, after a minute or so of samples, kicks off with blast beats, and this industrially, sounding not unlike Anaal Nathrakh (somehow inspiring to see that even in middle age one can become even more aggressive)….

“Kleptocracy” starts with sludgy riffs and becomes an earworm of a tune during the chorus– easily the most memorable one here so far….

The next track, “United Forces” is a freaking SOD cover…!! And this even heavier than the 1985 original from Scott Ian, Danny Lilker and company, and with a brief nod to the “March of the SOD” riff at the tail end of the song….

“99 Percenters” is the single from Relapse, and is pretty memorable, nay: catchy, and easily danceable… the subject matter and lyrics are fairly trite and obvious, in a preaching-to-the-choir way, but it’s still an interesting tune overall, in a heavy-Depeche-Mode fashion… “Relapse, “”Weekend Warrior” and “Get Up, Get Out n’ Vote” are forgettable filler, loaded with generic industrial riffs and expected samples… “Bloodlust” sounds like a southern-fried sludge tune, à la Eyehategod-via-computer, and is pretty freakin’ cool in its swangin’ rhythm….

All in all, often forgettable, phoned-in industrial filler– but when Al and Co. hit (as referenced in the above singles), they totally hit it.

You know– as in pretty much all Ministry in the last 15 years.

Come on, Al– write a full album of your best. Lean and mean, a 2% bodyfat UFC badass of an album. Show these 20-year-old dipshits how it’s done.

In the meantime:

 

2011

In 2011: Top 10 new Albums (to me) NOT released this year of your Lord

So. As 2011 winds to a close, here’s the top albums I got this year, that were totally new to me, yet that were NOT released in 2011. Maybe this should read, “Top albums heard this year not released in 2011…”?

1. Pig Destroyer, Phantom Limb

2. Witchery, Witchkrieg

3. Trap Them, Seizures in Barren Praise

4. The Devil’s Blood, The Thousandfold Epicentre (technically released in 2012)

5. Acid Mother’s Temple, Absolutely Freak Out (Zap Your Mind!)

6. Bongripper, Satan Worshiping Doom

7. Warhorse, As Heaven Turns to Ash

8. Melt-Banana, Cell-Scape

9. The Wounded Kings/ Cough: An Introduction to the Black Arts

10. Withered, Momento Mori

Honorable Mention:  Church of Misery, Master of Brutality
blackwolfgoat, dronolith, cover

blackwolfgoat, Dronolith

Screw your assumed preamble!

IS track one, “Building buildings,” a reference to seminal German industrial band, Einstürzende Neubauten, whose name roughly translates to “collapsing new buildings?” The track, with its spiraling, elaborating, layering on layers instrumental riffs, could be a lost track of theirs….

Track two, “Ruane” shows up as very similar to something Selaah might write, a single guitar riff (generally acoustic) that gets progressively more complicated and layered over with secondary and tertiary riffs and/or melodies….

It’s ridiculously soothing, late at night.

“Tyche” sounds like either a lost Sunn O))) track or the intro to Pelican’s “The Creeper” (both written by Greg Anderson), and “Fear of Stars” intro with solo bass guitar followed closely by the same acoustics we’ve come to love/like… “Event Radius” opens with feedback and never really evolves beyond a mildly-interesting soundscape (though in terms of “aggressive ambient” music, i.e., what you can listen to when you’re falling asleep yet also mildly pissed-off, it totally works), and final track “Dronolith” is about 10 minutes too long (it’s nearly 16).

It’s good, it’s not great. It’s nothing you haven’t heard before, but it’s worth hearing.

Microreview: Nadja, Guilted by the Sun

Elliptical tape hiss… a tinnitus ring in 4/4 time… echolalic reverberation through subwoofers and seismographs… squirrels know this album is coming hours before their human counterparts…

lurches then sits… an infinitely patient and absolutely ravenous force, a coercive willed VEHEMENCE in the sub-Hertz… the ground shuddering as Panzers arrive….

the rasp of the demonic Electronic Voice Phenomenon explicating its intent… Sunn O))) more specifically articulated in C standard tuning while strings drip from fretboards….

 

go get: amazon/ cd universe