Saturday, February 28, 2009

Albany Sonic Arts Collective – Experimental New Music (C)

Featuring Century Plants, Grab Ass Cowboys, Ghoul Poon, Bad Costume, and Bone Parade

After nearly a year of watching good shows pass me up at the Upstate Artists Guild down the street from my apartment in the lovely lands of Albany, I decided to brave the unseasonably warm February weather to see Century Plants for the second time. To seal the deal, I perused the myspaces of the other acts playing and started getting pretty psyched for Bone Parade and Bad Costume, as well. So, I headed down to the fabled UAG to see what all the fuss was about, grabbed myself a seat, and waited. For a long time. Apparently Grab Ass Cowboys were supposed to be the opening act and one of their members was running late, so the show was delayed for about an hour. Eventually Century Plants offered to go first, and first they did go.

I had high hopes for Century Plants, of course, after their smashing success with Sunburned Hand of the Man last year. Unsurprisingly, their set was entirely different than the one I had experienced before. Where the “Sunburned” set trafficked in drones and beauty, this one began in stark contrast. The drones from before were still there, but this time they were pierced, interrupted, and ushered by the furious and percussive abuse of the second guitar. The set’s steady progression from beginning to end, eventually switching from bowed soundscapes to more chaotic tremolo picking, was gorgeous. The set was a highlight of the night, and ended up being a fantastic starting place.

Grab Ass Cowboys were up next. They had a cool noise set with a decent drummer backing them. Unfortunately, the drums were mostly inaudible, but what I could hear was a cool addition. The most memorable aspect of the set was seeing a rather tall dude climb on top of a precarious stack of amps, lay his guitar down, and then climb on top of that as well - all to have what I can only describe as a personal adventure with his head up between the rafters of the gallery. The music that ensued was a good mix of noise and face-ripping guitar solos that would do Matt Pike proud. The only proper way to wind down music of this proportion was the unorthodox, and fun-to-watch method picked by our gallery-astronaut… And that would be to get off his guitar, and use it as a tool to unplug everything in sight one by one until there were no sounds left but the backing ambience and drums.

Ghoul Poon. Apparently they played too long, but I didn’t notice until somebody turned the lights on. I’ll admit I never really understood Ghoul Poon on record, I don’t know whether it’s just not my thing or if it’s because I’ve never heard anything like it before, but it just strikes me as kind of confusing… Their set was good, though. Much more centered and slow than I was expecting. It ended up being sort of drones with pulsing bass underneath. It did run a bit long, long enough for the pre-recorded projections to run once and a half, and there wasn’t much to watch, but the projections were well done and provided a good companion to the music.

Bad Costume were easily the highlight of the night. Their improvised set, half electronics and half drums, was nearly flawless. Hella-mad-dumb-wicked-stupid props go out to the drummer for being able to play so intensely for so long. Until that night, Sunburned’s drummer was my hero… And now I have two. His playing style was innovative, full of unique fills great rhythm changes, and musicality. The electronics aspect was various samples mixed with lots and lots of heavy synthesizer to create a whirlwind of sound that could be compared with noise, but in no way similar. The combination of such a powerful sonic experience with easily the best projector piece of the evening was mind-blowing.

Bone Parade were a great cap for the evening. Right before their set I picked up a t-shirt and an album (Along with some Century plants, and a free Ghoul Poon album since nobody else was selling merch… If only I could get my hands on something bad-costume-related!), and hunkered in for some great dark-ambient-ish-industrial-whatever. Bone Parade offered a great, if a little repetitive, set full of material that would fit right on Einsturzende Neubauten’s Silence is Sexy right between “Alles” and “Redukt”. The very full bass and drum machine sounds created a fantastically desolate atmosphere as a platform for some great operatic vocals. To top it off, they made the excellent selection of a largely high-contrast black and white video that added some excellent light play t the atmosphere. A+, I say. Very enjoyable in all respects.

The Albany Sonic Arts collective managed to gather a great and diverse group of artists for a fantastic show. I really do look forward to seeing many more in the future, and encourage those that have the opportunity to attend shows by any of these artists to do so without fail!

Weak Sisters - Final 7" (V)

Weak Sisters is fucking noise. Harsh, like it's supposed to be. It's not a "rhythmic noise" thing or "noise rock" or any of this other shit, it's noise. Loud. Hard to endure. Dark. Unimpeded by guitars and blather about genocide and genitalia. He does wall noise, he does cut-up chaos. Aside from the usual chaos of pedals and electronics, he makes noise through violence. Don't ask me how it's wired, but he uses people as contact mics and fucking attacks them. It's like BDSM - consensual abuse. And it makes harsh blasts of sound. This is what hateful music should be - a direct expression of emotion through action. Pretty much amazing.

Weak Sisters recordings aren't exactly common, but many are still publicly available. I have here a clear 7" - first vinyl I've purchased for myself in a while, since Weak Sisters seems to mostly release vinyl and tape - called Final. As of this writing, it's still available at Hanson Records ( for $5 plus $2 shipping in the US.

The first side begins with a pulsing drone for a moment before Weak Sisters screams and switches into a blast of wild changes . . . before repeating the process with a longer, changing drone, screaming, and blasting into a wall of noise. Noises blast and loop and scream like a dying electronic animal. Glitches break and clip and flex their muscles and growl bloodlust. Then, silenced, the disc trails into the rhythmic sound of the needle on uncut vinyl.

The second side starts out with a fucking howl of hate and feedback. Weak Sisters blasts this into disorienting, uncomfortable shrieking soundscapes. The electronics are moaning, wailing, cursing their pain. The initial wails turn into blasts of hatred that freely wander between wildly shifting noises. And stop. And start. And redouble themselves. And change. And end.

This is one of 300 copies, released last August as the first release of "Secret/Wasting." I haven't been able to find out anything about Secret/Wasting - much like Weak Sisters, the label seems to have no presence online - but if this is the direction they're going to continue with, I'm going to keep buying.

This is some of the best noise I've heard to date.

Vision Éternel - An Anthology of Past Misfortunes (V)

Vision Éternel is the soft, instrumental work of Quebecois artist Virkelix, previously operating under the name Triskalyon. Virkelix calls his music "ethereal," and this is certainly an apt label. The music consists at least primarily of smoothly ambient clean guitar work, and the minimalism of his composition leads one to drift along in the soft mourning he's left on tape without noticing the time pass. "An Anthology of Past Misfortunes" has been playing on repeat for most of an hour now, and it still feels like I've just put it on. "Love Within Isolation" is pulling me to stop writing and weep softly instead.

I will unquestionably be listening to this record a great deal. The only thing missing from this release is a soft, wistful vocal, and even that would only give me words to whisper to myself in the dark of night. Sometimes, when artists ask that we give their music a listen, we sit as a group and wonder what possessed these people to waste their time and ours with their music. Vision Éternel, however, is a real treasure. His first two EPs combined here, both stories, combine for a listening experience that is somehow compelling and timeless.

This is the sort of music that becomes a sympathetic friend and an embrace through pain and misfortune. Looking forward to hearing the upcoming split with Ethereal Beauty on Abridged Pause Records. In the meantime, pick up a copy of this from Frozen Veins at

Mount Eerie – Lost Wisdom (J)

"10 songs recorded quickly and quietly during a surprise visit by Julie Doiron, keeper of the world’s greatest and saddest voice, and Fred Squire, hidden guitarist of the floating riff, in a small wooden room in Anacortes, Washington before they returned home to eastern Canada. Songs with the expression of the face of a baby in a burning world, in the swirling dust. They hang on a theme of impermanence and destroying forces. The river is revealed to be going right through the house, the river of inevitable chaos, sorrow and love." (Taken from Phil Elverum’s site

Yes. Oh my god, yes. Sweet, merciful Jesus, yes. This album is…astoundingly good. But not just good…it’s great. It’s wonderful. It’s tear-jerkingly beautiful. I sat on the train today with this playing, watching the lights whir by as snow fell and it just…made sense.

Coming from my black metal roots, I couldn’t help but chuckle the first time I saw this album’s title (yes, this is a Burzum reference), but take heed, black metal fans, for this will not tickle your Varg/Grishnackh fancy.

“Lost Wisdom” fills every category needed on the good non-metal/rock album checklist:
Is it folk? Yes, yes it is. Check
Is it sad? Oh god, yes. Check
Are there male/female vocal harmonies? Yes. Yes. Yes. Check
Are the female vocals done by Julie Doiron? YES! Check
And last, but probably most important and relevant to this analysis: Was it recorded in a cabin in rural Washington? YES. YES. YES. YES. Check.

This time around, Phil Elverum meant business. After the spring release of the extraordinarily fuzzy, dense, almost metallic “Black Wooden Ceiling Opening” EP, he’s dropped the distortion, keyboards, and drums for a much more organic, desolate sound, and presents ten songs of love, loss, confusion, angst, existential confusion, and loneliness written alone in a cabin in the farthest reaches of Scandinavia. Songs written alone about being alone (how existential *chuckles*); I think this guy’s lyrical credibility went up a few notches in my book.

As mentioned earlier, Elverum enlisted the help of Julie Doiron, holder of the saddest voice on Earth, to harmonize with his quiet, distant yet familiar voice. When I first listened to this album (I feel so bad…I downloaded it off of a blog…), I heard the folky guitar enter with Phil’s voice and was pleased as is, but my eyes widened and my jaw dropped when Julie’s voice came in to complement his. In a romantic sense, their voices were almost meant to be together. Their voices waltz together, trade verses, build a choir behind a lead vocal track…they allow the other to grow their roots in the audience’s ears. This album is built around their voices; without these voices joining hands, the underlying theme of love lost and shared loneliness would be lost.
Elverum puts the acoustic guitar in the background, playing simple droning folky melodies as a backbone to the rest of the music. In this simplicity lies vast beauty and emotional complexity. Would the introduction of the first track be the same without the single note guitar beneath it? Would “Who?” lose its dark, nostalgic tone without the one-chord base? This simple style hearkens back to a more primitive time where music was a vessel to tell stories and express; not to prove technical prowess.

Fred Squire’s electric guitar work beneath Elverum’s adds a new layer of depth to these songs. A light fuzzy-yet-clean guitar flutters behind everything (“hidden” guitarist… “floating” riff…get it?), contributing to dynamics (note the louder strumming during the louder vocal parts in the title track, “Lost Wisdom”). The electric work of Squire gives “Lost Wisdom” the right amount of space to accentuate the loneliness felt by the narrator.

Speaking of loneliness and desolation, these dang lyrics are so bleak and excruciatingly sad, once you understand them, it’s pretty hard to “keep your cool” whilst giving this album a spin. My personal favorite lyrics are those to “O My Heart,” especially the second verse, starting with, “Oh, what’s this?” (following a very tasteful guitar solo):

“Oh what’s this? Is this my heart? Is it thumping? O my heart, there you are; I’ve stopped hunting. I thought you would be as big as a whale. My nets were knit, my heart moves on; I’ve had my ships sailed.”

These surreal lyrics that rely on a very nifty extended simile, surreal in the fact that his heart would be as big as a whale, though if his heart was that engorged he would probably die, but a cool image is seen in the mind’s eye, and the extended simile thus explaining that since the narrator thought that his heart was to be as big as a whale, he knit his net too large and his heart simply fell through the holes in the net, lost in the sea. Of course, his heart is lost in a sea of depression and turmoil; he wasn’t able to save love in time and thus it can’t be saved. Every song on this full-length demonstrates Elverum’s very strong grasp of prose; everything has an alternate, profound second meaning.

Mount Eerie’s “Lost Wisdom” is a wonderful work of deep, honest music. Every song is perfect the way it is, and is put in its logical place in the track progression. Needless to say this is probably my favorite release of this past year. It will accompany me on many coffee-drenched lonely nights and long drives. Let’s hope that Mount Eerie and Julie Doiron’s paths cross again.
Recommended for fans of: Low, Songs: Ohia, Bonnie ‘Prince’ Billy, Syndicate X, Thanksgiving, Charalambides, Nick Drake, Birch Book, Leonard Cohen, Ida, and the like.

Locrian - Drenched Lands (V)

I've been a fan of Locrian since I first saw them - probably not a surprise for a veteran pair whose performance consists of incredibly building passion, raw volume, and sound ritually and emotionally evocative throughout their work.

I've often found that a vantage point at the top of a PA speaker is often a perfect way of experiencing Locrian, but last night at the Mopery in Chicago I couldn't help but add a semi-prone form of self-reflection and blind, thoughtless emotion. It comes through in the recordings on Drenched Lands.

This recorded material spends a great deal of time away from the walls of sound that I'm accustomed to seeing Hannum and Foisy create live, but perfectly captures the atmosphere of their rituals and tells a story that resonates perfectly with the almost colorless images of human loss and civilisational decay in the oddly black metal case. And when Hannum first cuts through the ache of their soft sounds with passionate screams in "Barren Temple Obscured By Contaminated Fogs," the images of "stagnant pools [infinite depths]/among the pylons" come through as a painful, tearful memory of an empty, lonely dream.

Locrian has no problem carrying their emotions and visions through this masterful work and through all 30 minutes of the closing track, "Greyfield Shrines." Locrian explores new and intense sounds and images throughout this work, and I'm still reeling in the experience.

Liam - Two Years and a Fragment (J)

Behold the bastard son of post-rock, black metal, and doom metal. Think of it as a more uniform Caina (first full-length), slowed down, and with HUGE production; not to mention desperate, fantastic vocals (both harsh and clean).

Starting off as a regular post-rock/post-metal band a la Mono/EITS, the folks in Líam released the "My Journey to the Sky" EP in 2007. Realizing that this rehashed post-rock sound that hundreds (if not thousands) of bands use is getting old, these guys take a massive black/doom approach to post-rock. This change in style gives us "Two Years and a Fragment, " released in late 2008.

Though this EP has only three songs, it will not disappoint. Long have I waited for a band other than Agalloch to meld these genres together in such a tasteful, beautiful, and crushing manner.

Recommended for fans of Wolves in the Throne Room (they’re playing with them soon), Agalloch, Shining, Esoteric, Caina, Panopticon, ISIS, jesu, Trist, Parabstruse, Lantlos, and so on.

Heat from a Deadstar - Seven Rays of the Sun (V)

Seven Rays of the Sun is the latest in a slow but steady trickle of releases from Boston label Ace of Hearts - possibly best known for Mission of Burma records in the early 80s.

I reviewed Heat from a Deadstar's Lighthouse EP in our July/August issue last year, and this full-length is unquestionably continuing to fuck with my mind. The only familiar track is "Elusive Ways." The version on this record is a lot cleaner-sounding and catches the ear with a sort of despairing Nirvana vocal melody. I have a feeling that within a few more listens I'll be mumbling half-remembered words under my breath and staring into space.

This album runs all over the place - from some sort of twisted punk to light almost relaxing music with ample pieces of dissonance, yelling, strange guitar sounds, and slowly developing minimalist structures. I can only imagine that this trio writes in a horrible mood in a basement somewhere most of the time. On the plus side, it's hard to ever pin Deadstar down to a genre or set of influences - they're always shifting, and something about them always focuses on a groove and a downward gaze. Deadstar is a repository for all the emotions we don't know how to put into words while they fester inside.

The Exciting Trio - In Chicago there is Willy (C)

This album was a birthday gift from my father and I had no idea what to expect from it. I decided to give ‘em a check out on their label website, where they received the eloquent description of “touching equally on jazz and post-rock” which immediately piqued my interest. From the get go, this album goes somewhere magical. It opens in a serene landscape full of bowed bass and quick arpeggiation on the guitar that bring to mind some cross of the orchestration on Venetian Snare’s Rossz Csillag Allat Született and Agalloch in their more tender moments. Of course, this isn’t good enough for the Exciting Trio, who are determined to break new and, of course, exciting grounds. Every carefully crafted piece is punctuated by a bit of classic jazz instrumentation, and free jazz dissonance that may seem unnecessary at a first glance. I think the highlights of this album are tracks like “Remembering Tokyo / The Last Alaskan” and “You’ve Got a Moustache and Everything” that feel as though Boris have re-composed Flood and accidentally left the manuscripts at the practice space of a jazz trio made up of members of Pelican who are making full use of Wes Montgomery’s spirit. The players on this album are phenomenal, making full use of their instruments as well as excellent use of effects to add many dimensions to the album. The composition is incredibly strong as well, though at times there are elements that seem unnecessary or out-of-place, and really packs a wallop. I highly recommend this album for anyone who is a fan of jazz, post-rock, experimental, or “new” music.

Century Plants - Circular Spaces Volume 1 (C)

There’s a sort of chaotic beauty to this album that defies characterization. It starts off as a sort of psychedelic, earthy, tonal painting full of lively and bright colors. Aptly titled “Back Into the Bloom” the piece feels very warm, filled with cascading guitar licks. The following track is very similar, but instead takes on a more somber stance. The guitars trade thoughts throughout the track in a way that brings memories of the beach before a storm. Calm, a persistent breeze, waves crashing against the rocks. The final piece is very different from the other two. This piece is nearly indecipherable as far as any given instrument involved, and boiled down to various dissonances, some mysterious noises, and a very uncomfortable buzzing sound. The juxtaposition with the previous two pieces really makes it quite unnerving, and adds a lot to the emotion of the piece which only manages to climb and fall in an abstract way that forces you to sit and think. As the album roars to a near-deafening close, you finally start to realize the breadth of what you’ve just listened to. I, even after having seen Century Plants twice, am astounded by their flexibility. Each time I saw them live, they played something entirely new, and this proves that on record they can remain incredibly innovative and keep the magic and energy alive – a feat hard for most bands.

Highlights: “Back Into the Bloom"

Bon Iver – For Emma, Forever Ago (J)

So I’m back in an indie folk rut again, and the best way to summarize my current taste (other than Mount Eerie) is definitely Bon Iver. Yes, sad bearded-man folk music, but a lot more.
Justin Vernon recorded this album alone in a cabin in Northwestern Wisconsin (notice a trend here?) after an extreme breakup and a liver problem. While sitting alone in his cabin, Vernon watched a documentary concerning the Inuit. These people had a tradition of wishing each other a “bon hiver,” or “good winter” in French. Of course, “hiver” reminded Vernon too much of “liver,” which was causing him a good deal of pain, so he removed the H, making the name Bon Iver, which stuck.

Bon Iver is characterized by simple “strummy” folk guitar, occasionally masking a light glitch bass drum track, giving it a more upbeat sound, and, of course, Justin Vernon’s strong R&B-style falsetto vocals. No, not power metal falsettos; I’m talking big black guy-sounding falsettos. Of course, this one track of vocals doesn’t cut it; there needs to be over twenty tracks of Justin Vernon singing various harmonies, countermelodies, and bass tracks. Think of it as a choir of Justin Vernons; a big room of beardy-folk fellows that isn’t a coffee shop or record store (har dee har).

I had the opportunity to miss Bon Iver in concert (with The Tallest Man On Earth, a previously reviewed band), but from bootlegs and videos of live shows, Justin Vernon is accompanied by a live drummer and electric guitarist (does a lot of folk/post-rock/noise stuff O_o), but normally Vernon stands alone vocally, with occasional harmonies from everyone else. This more bleak sound is very pleasing, but a huge diversion from the more lush sound found on the album. Either way, it looks like Justin Vernon aims to please.

An interesting tidbit about Bon Iver live: Justin Vernon doesn’t want to be a one-guy-singing-with-a-guitar artist, so he has been known to hand out lyrics to the audience so they can sing along.

Overall, I like this album. A lot. It’s definitely up there with Mount Eerie’s “Lost Wisdom” for best album of the year, even though it was officially (self-) released last year.

Recommended for fans of: Low, Mount Eerie, Julie Doiron, Chuck Ragan, Neil Young, Steve von Till, and so on.

Bone Parade - Bone Parade (C)

First, I’d like to throw a shout-out to some pretty sweet cover art on this album. I can’t explain what it is that I like so much about it, it’s just well-done and fitting to the CD inside. Bone Parade’s self-titled EP contains four tracks, two studio recordings, and two live recordings. The music is very minimal - steady drum beats overtop a grimy sounding bass, piano, and some chilling vocals. The intended impact of the music is very effective, conjuring images of a sort of a post-siege Rome through its lamentation. When I had first heard Bone Parade’s music I had been a bit skeptical of the vocals in combination with the music, but I almost immediately realized that this is how it had to be. Both singers bring equal amounts of depth to each song, committing themselves fully to the performance and energy needed. I love every piece on this album individually, but I also feel that the the major failing in this album is too much similarity in the structure at the core of most of the songs. With a bit more variation in the steady, war-drum-like bass & percussion combo (A great tool once, but it becomes gimmicky after a while), Bone parade could go from another interesting band to doing something really spectacular.

Highlight tracks: Harvester’s Hymn (Live)

Benighted in Sodom - Plague Overlord (V)

Benighted in Sodom is a raw mess of dissonant chords and crushing harmonies . . . the slow, deathly motion, however, is continuous and compelling as the rays of light shining down from the maw of oncoming destruction. This is one of those lights-out, candles-burning stare-into-space and cry records. Which probably explains why Benighted in Sodom's Thorn is completely covered in scars. The album manages to make transitions between atmospheres of guitar and blast beats and raw-black-metal cymbal pulses sound effortless and perfect. Emotion drifts from aching, beautiful, and hateful and back again, wrapping us in everything at once so that the eventual suicide is a work of beauty rather than despair.

Benighted in Sodom does, in fact, tour with session members (previously including members of Chaosmoon), and the next time you have a chance to see the ketamine molecule on Thorn's shirts (and Thorn without a shirt) live, go. And don't take any form of blade with you, you'll be tempted to use it. As great as the record is, it has nothing on the show.

For people who want emotion to eclipse thought. And don't mind feeling horrible about everything.

Aube - Purification to Numbness (V)

Aube - Akifumi Nakajima, I should say - is by all appearances not quite your average noise artist. He started releasing noise - which he describes as sound design rather than music - under the name Aube in 1991 - around when Masami Akita started using digital recording and within a few years of the genesis of Masonna. But Aube has curious self-imposed restrictions.

Each Aube release is created entirely with one sound source - glass, the human voice, water, lamps, you name it. Purification to Numbness is one of a number made with a single voltage controlled oscillator, his third such and his seventeenth overall release in 1995. The release is a set of three soundscapes from this source. The first, "Elementary Particle," is a twisting seventeen-minute drone that sounds plausibly like an extremely effected guitar - all layered, distorted pitches and repeating sounds and sound loud, uncontrolled rock. The title track seems more meditative and features more noisy sounds, less of the midrangey Marshall amp attack. Sounds wander in and out, tending more to bathe the listener in an experience - a trip inside a machine-mind. The track spends twenty minutes building intensity before giving way (stopping as suddenly as the first track) to Aube-meets-Khlyst noisy glitches buried in the Aube wall of compressed sound. This all sounds very much like a chance-based live noise improvisation more than anything. Structure is linear and . . . unstructured. Every sound simply is.

Thanks to RRRecords for selecting this piece. I'm more than anything curious to hear more of Aube's work - it seems like a way of bringing home experimentation with sound sources and approaches, like surrounding yourself with electronics and creative minds. Certainly worth further study.

Agoraphobic Nosebleed - PCP Torpedo/ANbRX (V)

As of this record - Agoraphobic Nosebleed is direct and brutal. They take advantage of the punishing power of the drum machines and build fast, effective tracks that are over as soon as the point is made. And better yet, this release is half remixes. Excellent remixes.

Admittedly, most of the time it's nigh impossible to make any connection between the remixes and the original tracks, but a mix of hardcore/speedcore and noise makes an effective combination with the so-called cybergrind Agoraphobic Nosebleed makes. The original tracks blast through and leave a mark, then the remixes keep the energy up and build interest through their varied distinct styles and artistic voices. Ah, the advantage of having Relapse on your side.

And this makes me want to give speedcore another chance. I was disappointed on my first attempt with a Neophyte best-of, but I see some actual potential here. And the glitchy chaos James Plotkin inserts - I might prefer an album of this to Khlyst. Might. Jansky Noise's remix is fucking brutal. And Justin Broadrick seems to have made Agoraphobic Nosebleed into a slow, crushing industrial band. I didn't know that was possible. And Masami Akita made a Merzbow track out of Agoraphobic Nosebleed samples - unmistakably Merzbow.

This CD, this CD I would recommend picking up.

Agoraphobic Nosebleed - Altered States of America (V)

Agoraphobic Nosebleed is obnoxious and irreverent. While this mini-CD is something of a classic grind record with its 100 tracks, a lot of it is, frankly, shit. A lot of it is really enjoyable inhuman-speed drum machine grind, quick blips of songs like they should be. But it seems like Agoraphobic Nosebleed spends half the time on pure filler - not a problem on most 20-minute CDs. Dozens of tracks consist of random rants about drugs and Japanese terrorists and how much the band hates homosexuals and black metal.

We won't go into the irony of homophobia in a band and genre so amazingly obsessed with the anus and anal sex. But seriously, I don't buy records for a dozen tracks in sequence of some guy yelling over soft noise. Unless it actually sounds good. Which this doesn't.

I don't really like it, but I might if their lyrics didn't show them to be fucking shitty human beings, or at the very least if they didn't waste my time (it seems absurd to start getting bored around the 50th track on something so short) with bland filler tracks. I'll try something else (maybe that PCP Torpedo/ANbRX remix album), and maybe it'll be worth the second chance. But please, if you ever consider challenging this blast of sound, leave out the crap and stick to grind.