I haven’t touched on many bands from the US, but today I have a split EP from two bands bringing you some pretty beefy noise. Neither band seem to be particularly big in size, but by volume is a different story.
Every so often I only crave louder and filthier music, and then a band will come along utilising big structures in such a way that the heavy use of distortion isn’t missed in the slightest. Enter Tabatha Crash.
In all honesty, one reason why Cauteriser went a bit quiet is because I got bored of the constant samey doom/sludge/metally albums that just offered the same qualities for me to write about. Now this… although not too far apart by sound, is a whole other level at the same time.
There are a few labels who have quite a number of releases that I have reviewed now, and Inverted Grim-Mill Records are becoming another. This time, I had the pleasure of checking out another localish noise fest.
It’s inevitable that when you review one band, similar bands will find your post and send you their music. Somehow I have a slew of this weird indie-fuzz headed my way. I don’t know how, but it always sounds surprisingly fresh and interesting.
Regular readers will know that we like Lovely Wife and have written about their live EP, Live & Contrived, that was released earlier this year. It was great to have the essence of their live performances captured, as in the studio their sound isn’t the easiest to re-create. Problem Rock has certainly tackled that problem head on with a Sledgesaw (Dead Rising reference right there).
I would have never put Fat Mike and Dinosaur Jr together, but that’s the kind of thing Von Stache sent my head running to with their latest EP, Quiet, Brain.
I didn’t think any bands had identified with the “Screamo” genre since it became an embarrassing tag about a decade ago, but Dooie Mus are using it to describe themselves. Needless to say, I was immediately drawn in.
This is the first time since the first few months of The Cauteriser that I have written a review on something that wasn’t sent to me (the last being the almighty Mutation record.) I came across Seraph Sin purely because they were played on a radio show that my own music was featured on. I was immediately sold and this EP was something that I felt was a must-share.
Acoustic tracks don’t always do it for me. When I was younger, I didn’t enjoy them at all and retained that idea of “the heavier, the better”. Since bands like Rage Against The Machine and The Mars Volta opened me up through my teenage years, I can appreciate them more, but still, they usually have to be spot on and worked well into an album for me. Hefty introduction aside, Forest Pooky have somehow created an acoustic EP that I can’t help but enjoy.