[engl] The perfect noiserock soundtrack for the 2020 world downfall.. For fans of Brainbombs and Touch & Go noiserock classics.

[engl] From the same misty mountain top tape spool as August’s “A Weird Exits”, Thee Oh Sees bring us a companion LP titled “An Odd Entrances". Delving more towards the contemplative side than the face-skinning aspects of "A Weird Exits", "An Odd Entrances" is a cosmic exercise en plein aire with Dwyer and co double drum shuffling, lounging with cellos, following a flute around the groove, and spooling a few Grimm-dark lullabies along the way. Lurking in the grass are a snake or two, like the celestial facing instrumental buzz of Unwrap The Fiend Pt. 1…but for the most part this is a relatively hushed affair, a morning rather than evening listen perhaps. Those that are quick on the uptake will find a flexi with a bonus song on it in the colored vinyl, too. The band plans on donating half of their profits from the first pressing to Elizabeth House, a local charity here in Pasadena that specifically helps homeless women with children from the San Gabriel Valley get back on their feet.

[engl] When a band from far flung Finland drops a recording like this on us, we’re all ears, especially when we know damn well the hearing in those ears will be ruined that much further by the recording itself. Throat is a four-piece from the land that held back Russian encroachment for thousands of years, and that same diehard, winter war room mentality is at work on Short Circuit, recorded by James Vuohi, Throat’s debut for Reptilian. It’s easy and a bit cheap to liken any and all modern noise rock to the Amrep catalog, and even though Throat tips the fur-brimmed hat in that direction, other important short-circuited touchstones include Trance Syndicate, and the early, raw nastiness churned out by both Blast First and Sub Pop, but with more groove, and more loud/quiet/loud/weird/loud dynamics. The lumberjack thud of early Tad, and the spatial bleakness of mid period Neurosis come to mind. Even the strangling abrasion of Big Black and Einsturzende Neubauten. But Finland is Finland. Finland is not Washington State, Berlin, New York or Minnesota. It’s even stranger. Full days of light. Full days of darkness. Midnight sun. Noon blackness. A nation and scene at the far edge of the world. It’s no wonder Short Circuit is as bizarre and hardcore as it is. With European tours in the works, Throat has already shared stages with Brainbombs, Unsane, Big Business, Church of Misery, Brant Bjork, and any and all Finnish bands worth mentioning. Now it’s America’s turn.

[engl] Italian noise-rockers embrace prog and psych on new album "Unsavory Impurities" Italy's The Turin Horse announce the March 24th release of new album Unsavory Impurities. The album will be released on the legendary Reptilian Records in the US and Italian label Invisible Order in Europe. Named for the historic city in the north of Italy where they formed, The Turin Horse consists of guitarist/vocalist Enrico Tauraso, formerly of Dead Elephant, and drummer Alain Lapaglia, ex-MoRkObOt. With one untitled EP under their belts, Tauraso and Lapaglia come tearing out of the gate on Unsavory Impurities. Eyes wild and teeth gnashing, the two operate in a zone of pure abandon, bashing out caustic noise rock then drop-kicking it into other dimensions. First single "Blissed Out" serves as a perfect introduction. Ear-scraping guitar tones carry a somber melody, as frenetic drumming and a whirr of psychedelia pull the song forward. Injecting freedom and chaos into a genre known for its austerity, The Turin Horse play with prog-level exuberance and lace their raw, blown-out songs with left-field sounds, including saxophone (courtesy of baritone sax player Alessandro Cartolari of Anatrofobia and Extrema Ratio) and an arsenal of samples: "Synths, classical music, field recordings, pocket fans, data-bending files, circuit-bent machines, vegetables, anything we deem useful for our purposes," states Tauraso. The band's liberated approach to abrasive music brings to mind the maniacal sludge-punk of Karp, by way of the unchained experimentalism of Today Is The Day. Tauraso states: "If we had to make a list of influences I think it would be endless... Personally I would include Today Is The Day. I've been a fan for many years and have always enjoyed their uncompromising vision of music. I've always found it cathartic." While honoring those who have inspired them, The Turin Horse really march to their own beat and no one else's. As Tauraso puts it, "The thing that has conditioned us the most is the need to try to express ourselves freely. We already have to mediate with society for a good part of our daily lives and we like to think that music is our hour of fresh air." The band's singular sound is thanks in part to Tauraso's homemade rig: "We couldn't find a bass player and I chose to see this lack as a creative opportunity to customize my guitar sound by building a large part of my gear." Unsavory Impurities was recorded by Massimiliano Moccia and Enrico Tauraso at Nomad Studio in Turin and mixed by Tauraso at his home studio. It was mastered by Arik Victor at Creep Studio in Philadelphia. The cover art was created by Mow Skwoz.

[engl] Founded by long time friends and co-combatants Chris Spencer from New York noise stalwarts Unsane, and Steve Austin, Today is the Day’s human guided missile system, UXO are decorated survivors, veterans of countless insurgent noise rock tours and wars, campaigns waged from the early nineties through the approaching collapse of the western world. In the summer of 2013, Spencer flew out to Austin’s compound in wooded Downeast Maine, where the two wrote songs and cut demos for what would eventually become UXO’s debut album. The duo recruited Ironboss drummer Patrick Kennedy (who’d previously played with Steve Austin in Taipan), picked up Boston bassist Aarne Victorine (Whitey), and recorded a proper album. After sifting through a laundry list of names, they settled on UXO, a military acronym short for Unexploded Ordnance. It seemed fitting. The results are as loud, heavy and abrasive as the band’s pedigree might suggest. Austin and Spencer split vocal duties, and both lay down heavyweight guitar riffage – Austin’s forced death march through Fripp-ian fret heroics over Spencer’s malevolent, neckbent twang. But as much as UXO delivers exactly what the listener might hope for and expect, there are sonic surprises, too, from the Joy Division styled synth blip in “Everything’s A Mistake”, to song passages that blend the uphill trudge of Neurosis with the churning rhythms of the Jesus Lizard. From the slow burning torque and traction of “Bitter” through the hammered-skull frenzy of “User”, UXO’s debut serves as a stark blast of intent: this is not a side project, this is a band for now and a band for the future. Recorded by Austin, Spencer and Drew Mazurek, across four time zones, the album was then trucked to Northern California, where it was mixed and mastered by engineer Tim Green (Melvins, The Fucking Champs, Cutthroats 9). The cover painting comes courtesy of acclaimed tattoo artist Thomas Hooper.

[engl] RIP100 "From Nowhere" 9x7" Boxset limited to 100 copies (76 red print, 24 green print) clear vinyl records are housed in an handmade wooden box (with 4 screws) release date: dec. 3rd pre-order NOW with Bronco Jedson & My???tyria Spring and the Land The Striggles Waikiki Star Destroyer Muscle Tomcat Machine Macaque Revue (Cow Udderx & Andreas Heller w/ Cooky) Wolf Lehmann (aka Wolfgang Möstl) Fugu (Raumschiff Engelmayr & Heimo Wallner) Hella Comet each 7" is 1-sided with 1 song from each band with a 14 sided booklet + 4 sided inlay + dl-code everything is screenprinted!!!

[engl] After releasing a string of tapes with rotating personal of the industrial scene this reincarnation of the WALKING KORPSES offers a nearly classic orchestration with members whose bands and projects could fill easily two pages of this review. Only it wouldn‘t make you any smarter concerning the sound of the band. Alright mentioning DIÄTS drummer Christian Iffland might give you a hint, just because he‘s a damn good drummer. This is a throbbing post-punk/industrial massacre made by people who know how to butcher. The group around vocalist Jason Honea (SOCIAL UNREST BLABLA) can without hestitation be measured with FLIPPER, BUTTHOLE SURFERS, CHROME, THE BIRTHDAY PARTY and BRAINBOMBS. They sound catchy and plausible just before they put the drill against your head. Like a fat yellow zit, sickening and fascinating at the same time finally leaving you at ease and relieved after it popped with a bang. Highly recommend for anyone who‘s fond of any of the mentioned Bands above craving fresh fodder. ( KH Stille, OX Magazine )

[engl] The paranoia and unease of one man is hard to measure physically. WALLS has done this sonically so that the more timid people out there don't have to get their hands quite so dirty. They will still have to do the work though. There is always the work. 'The Future Is Wide Open' is a sarcastic bite out of society's apple. And what a rotten apple indeed. Bursting with angst and tension, this album is a relentless hardcore punk/noise rock demon-sound. There is no release from the future. The gates are shut.

[engl] New York City’s Wilful Boys is hard rock the way it once was -- and should always be -- for now and forever, amen. You know Wilful Boys are old-school from the start, as mainman and singer Steven Fisher isn’t out front of the band, prancing and preening. The man is behind the drumkit, his heavy-as-a-sack-of-bricks pounding driving these songs forward with a bruising, methodical force. Fisher is an Aussie -- as is bassist Mikey Watkins -- and the hardscrabble nature of his native land sweats heaps of grit and power all over Wilful Boys’ debut release, a 7” single on NYC’s Ever/Never Records. Alongside Degreaser and Ballroom, Wilful Boys are another face-blasting ensemble in Ever/Never’s stellar stable of New York/Australian combo units.

[engl] New York City's The Wilful Boys is hard rock the way it once was -- and should always be -- now and forever, amen. You know The Wilful Boys are old-school from the get-go as you won’t find main man and singer Steven Fisher out in front of the band, prancing and preening. The man is behind the drumkit, driving these songs forward with a bruising, methodical force. Fisher is an Aussie -- as is bassist Mikey Watkins -- and the hardscrabble nature of his native land sweats heaps of grit and power all over Rough As Guts, The Wilful Boys' 12-song debut full-length on NYC's Ever/Never Records. If you thought their single was a fine example of brutal rock n' roll, you ain't heard nothin' yet. Rough As Guts lives up to its title -- it's a shit-kicking no-shit-giving hard-ass of a record. The album even lives up to its splatterpunk cover art courtesy of Musk's Rob Fletcher. The members of The Wilful Boys have spent years plying their trade in all manner of punk, hardcore and noise rock bands, so they waste no time getting down to business with "Poor Old Mate," a road-burner that spews riffs and attitude. This cut could turn oxygen back into carbon dioxide. On the title track, the band settles into a lowdown groove as Fisher talks out his blues. "The Pinch" seems like a warning, which is echoed by the guitars cleaving through it. Johnny Provenzano and Nicholas Isles are a fierce team, peeling off all kinds of naggingly catchy riffs and not afraid to throw down the pyrotechnics when necessary. "Flat Out" is reprised from their debut single and it’s even more of a bruiser than that first take. "Take It Easy" is three minutes of what The Wilful Boys do best -- completely pummeling rock n' roll that builds up momentum and then collapses on you like an avalanche. "Hatchet" buries the lede and then hits you like a ton of bricks. "Your Place" alternates disquieting, dissonant passages with a classic punk chorus. Closing out the album is one of Rough As Guts' standout tracks -- "Say It Again" sounds like an army marching towards their objective with single-minded intent as Fisher shouts to be heard over the melee -- "I'll tell ya somethin'/and it's better than nothin!" What I can tell you is that The Wilful Boys intend on punching 2016 in the face, so wear that black eye with pride. -e/n