Diarrhea Anointment- Not For Polite Company2016

                                                                                                              Released August 4th, 2016

Diarrhea Anointment

Not For Polite Company


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Notes I took:

• This is busy. There are a lot of energies being utilized in this material. This album is like a chef went into the kitchen and decided to experiment with all the peculiar herbs and spices they found interesting. By that I mean it touches upon a broad spectrum of genres such as but not limited to industrial, hip hop, mathcore, and even some lounge. There were cultural stints like South East Asian singing and an acid rock guitar solo that caught my attention.  

• Balanced like fine wine. This material is a flaming example of real substantial Avant Grade. It is complex without taking itself too seriously. The highly artistic element is not only preserved but exalted by this wacky or tangy tone that rides throughout the whole album. The dynamic factor of this album derives from the experimental blending of several different energy levels, thus what made it most impressive about this was that the merging of all the sounds didn’t become intangible at any point; avoiding self-defeat.

Referring back to the kitchen metaphor, it is really easy to ruin a dish by doing something as simple as adding a little too much salt. The same could be said about over saturating your sound with too much of one instrumental component. Noise bands specialize is being experimental in general so it’s important to have an uninterrupted balance and a smooth contrast; which this material delivered both.   

• Drums and strums. First and foremost, I personally loved the drums. There were double bass kicks that were not disappointing. There were also some blast beats that showed a little spunk too. As I mentioned before there was a particular mini guitar solo that struck me as very acid rock like which I found to obtrude, even in the midst of all the manic energy. Ultimately, I thought the choice of instruments was interesting and certainly turned out well for the listener. It was obscure without being unapproachable.   

• The vocals + special guests. One of the variables I liked most about this material was the vocals and samples. There was an extreme range of things happening in terms of vocals from what felt like just excited yelling to downright slam gutturals. The samples also came in unexpected waves that brought the whole piece together. The unpredictability of the vocals and samples is what made this album inherently interactive. The incalculable yet comfortable nature of the vocals and samples is ultimately what makes this noise band stand very far out from its counterparts in that neck of the woods.There was a highly experimental factor coming from the vocals that reinforced the ambiguity of what genre one would be comfortable calling this. 

• Transition Fluid.  This material really rose above and beyond with its sense of transition. The album only grew more dynamic with its successful switch ups between all the different energies, instruments, and samples. It was as graceful as someone juggling flaming chainsaws while smiling.  What I found truly impressive about all the shifting is that it wasn’t stressful to the ear. Despite all the commotion, the clean etiquette of passage movement made this album sincerely outstanding; especially in terms of noise bands.

• Rhythm. This material is very percussion oriented; there is special attention paid to the detail of timing, which was wise when managing an arsenal of distinctive energies. I personally felt like the meticulous sense of rhythm was a strong point in the album; it was a contributing factor to the overall balance. There was extraordinary off beat timing throughout the whole album. It really portrayed a primal and sporadic “stop and go” signature.  Aside from that, I wanted to make note that the dedication to pattern in this material speaks incredible volumes toward the notion that this material is a conscious decision; this album was no accident. 

•  Production. Off the bat I wanted to remark upon the fact that this is well mixed and mastered. The vocals and samples in particular sat perfectly in the mix, and that alone made me take the material more seriously. There was especially wise use of layering, not only the vocals and samples, but of the instruments themselves that really made this material shine; it resulted in well-proportioned madness.  The way the material was arranged made easy for the listener to agreeably ingest, which is rather important in this case since we are talking about a noise band after all. The sheer mindfulness of assembly placed in this material is easily recognizable from start to finish; this is high fashion.

Ultimately: I was really into this, the album left me with a feeling of euphoria. It was personally an adventure through my own musical tastes that was only address because of the fickle direction of flow. In the end the material resembled a powerful contemporary art sculpture that had everyone in the room thinking “I don’t know what it is, but I really like this". 

Good job Diarrhea Anointment, you're doing good

Infectology- Innards of Misanthropic Embodiment

                                                                                                                              August 12, 2016

Infectology

Innards of Misanthropic Embodiment

Gore house Productions

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Notes I took:

• The sample. There was a sample of a man in a sort of panic then screaming in fear that I figure is from a movie, I just didn’t know which one. I like the fact that it was a man screaming; the lady is rather common, almost expected. So, the switch up was nice.

• High Tension. This album is a live wire. It’s stuffed the gills with indiscriminate aggression. The best part is it remains high energy from beginning to finish. The nonstop high energy makes the material prime mosh music; one couldn’t ask for better mosh weather. I would see this band live any chance I was given just for the pit. 10/10 would mosh. 

• The Vox. The vocalist gave the album a sort of “classic” brutal death metal vibe from his general tone and solid delivery. There was a certain presence about the album that gave it a “time-honored” vibe. Putting the spot light back on him, he did have impressive depth range. There were also times he let out notable high notes that swirled well with the chaotic chanting that made up most of his vocal delivery.

• The guitars crunched. The guitars definitely made their mark in the material. They ranged from thrash to grind, sometimes in a matter of moment. There was a lot of energy coming from the guitars especially in tone and tempo. In addition to the vocals, the guitars were really shred oriented and that is one other reason I kept picking up on this “classic” brutal death metal feel.

• Well, hello snare. The drums were all over the place and I loved it. There were clear things that stuck out to me like special trade marks. The snare was the most distinctive part of the drumming alongside the symbol. Both attributes made waves and kept the party going strong. In terms of style, this is very blast beat oriented. There was not of a lot of slow points or breakdowns in the material as a whole but that is one thing that certainly sets this apart from the rest.

• Crisp but not clear. The production over all was quite pure however I did want to express that I felt like the vocals sat weirdly in the mix, giving the material a disproportionate vibe. It felt like the vocals were sitting behind the rest of the band, resulting in the listener being mercilessly overloaded with just straight guitar and drums.  I felt like if the vocals would have sat more in the foreground it would have made everything else pop like your favorite stripper’s purple lipstick.  

Ultimately This album was enjoyable on all fronts. It was well written and well recorded. One last warm thing I did want to mention was that I could tell that the band members play well together. There was an unmistakable harmony in the material that revealed that the mates are tight knit. All in all, for being a little short of a half hour this album’s perpetual high energy makes it a loud work of art. 

XavlegbmaofffassssitimiwoamndutroabcwapwaeiippohfffX- Gore 2016

                                                                                                   Released July 31st, 2016

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Full Band Name:  Acidic Vaginal Liquid Explosion Generated By Mass Amounts Of Filthy Fecal Fisting And Sadistic Septic Syphilic Sodomy Inside The Infected Maggot Infested Womb Of A Molested Nun Dying Under The Roof Of A Burning Church While A Priest Watches And Ejaculates In Immense Perverse Pleasure Over His First Fresh Fetus

Gore

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Notes I had taken:

• My first impression of the material in general was “this is fun”, and I mean it. When the albums starts it feels like you just stumbled upon a secret underground party. It’s an energy mine field.

It was impossible to ignore that there was a lot going on in this EP. To be forward about it, it displayed aspects of several different genres ranging from metalcore shouting, thrashy guitar riffs, and deathcore composed drumming. It was a fucking trip. It felt like time travel with all the grind and slam, but the high quality production made it feel like you were in a high tech state of the art space craft.

• The vocals were a spectacle. They touched upon many different styles of vocalization in this little EP that was nothing short of impressive. There was everything from rugged metalcore shouting to well refined slam gutturals.  It was apparent that this vocalist knew their way around a mic booth. The entire EP was sopping with raw rhetoric but what really stuck out to me was how long homeboy could hold a note.

• The guitars were restless. They were sweeping and shredding every chance they saw, however they weren’t shy about heavy chill grooves. There were obvious elements about the album and it was clear that was meditated by the guitar.

• The drums were having a blast, pun intended. The musician really has stamina. It was striking how long he could hold a blast beat and a solid double bass kick. Personally, the drums were so free flowing and tight knot that it gave the EP a killer jam session vibe.

• The timing of this album was comparable to that of a free form jazz album. I have to confess that the timing was one of the most noticeable things about this material. The switch ups really made the whole thing interactive, like a chaotic pop-up book.

• The production of this little EP is clean. This was mixed and mastered with the love and care of a full length album. For only being a handful of songs it had some crystal clear clarity that was to die for.

Good job whomever you are, you’re doing good

• This is a very very short EP. There are only 4 songs but each one is prosperously uppity. It’s a strong opener for being a debut, despite only being a good 12 minutes and some change. It’s sure to leave a lasting impression on listeners of all musical inclination.

Overall: This is a goliath of an EP. It hit all the walls for me. It really did feel like I was at a twilight zone party with all these different metal energies from between the years 2007-2015. Thanks for the trip guys. I look forward to a full length album if you ever feel so inclined. Just please don't pull your dick out. 

Myconith Enviroglutton 2015

                                                                                            Released September 26th, 2015

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Notes I took:

• Diminutive production.  I couldn’t get past the production to fully ingest the album. Specifically, the overall sound was fuzzy or muddy; one could even call it “garage” like. However, that did give the album a sort of “classic” brutal death metal aura.  I could have easily have mistaken this material for any death metal album from 1989; respectively.

• Hoarse vocals. The vocals were throaty, like a mean dry growl. He was not only limited to just the guttural however; he had a really nice throaty high that was a complimentary contrast to his lows. Although, I would have been able to appreciate them better if the vocals themselves didn’t sit weirdly in the mix; it was occasionally drowned out by the other instruments from time to time.

• Out of sync. The beat was hard to pick up on at times. Apart of me felt like perhaps the musicians weren’t all on the same page or something. No matter the case, they did keep the gig going strong and did commit to some grooves and did coincide well during breakdowns.

  

• Simple slams. The guitars wisely played it safe while having fun with it. I want to note that I thought the mini solos were great. The drums on the other hand were rather tame. I wouldn’t call them absent but they certainly weren’t the center piece of the album. I would like to make an endearing generalization that the guitar and drum were of equal precision and aptitude. It was clear the musicians forged this album with sentiment and taste.

In the end: For being a pint-sized debut EP weighing in at around 13 minutes, I personally thought it was a work of pride and passion. It was full of sincere craftsmanship and constructed with outspoken effort. I do look forward to the next chapter from these guys. I'm in your corner. 

Infant Annihilator- The Elysian Grandeval Galèriarch 2016

                                                                                                  Released July 29th, 2016



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Notes I took:

• Panic. One of my first impressions of this album off the bat was that it has a strong deathcore outfit. The material encompassed a lot of characteristics that predominantly define deathcore when it came to general feel. It held a perfect balance between this “fight or flight” anxiety sensation and slow angry crashing waves.

• The violins. As the album began I was greeted by a soft gust of violins. I found it quite an artistic touch and a wise use of ambiance; especially, in comparison to the unnerving sobbing baby that seamlessly faded into rabid grunting. This album embodied a lot ominous orchestra undertones from start to finish.

Deathcore as a genre is no stranger to the likes of such things as violins and pianos. It’s my personal observation that since the rise of deathcore in the early 2000’s that bands have always been open to experimenting with obscure directions (for the genre, I mean) like orchestra and even choir. This album here featured incredible lady choir during a breakdown that I thought was brilliant.

• The samples were well placed. I couldn’t make out where any of the lines were sampled from and I almost like it that way. They were as interesting as they were intoxicating. I wanted to make special note that they used both male and female dialogue samples, in separate tracks, on this album and that stuck out to me for some reason; both were equally as haunting.

• The vocals. RIP Me. The front man is wildly talented on several levels. I was blown away by his broad pitch range. His versatility further extended beyond just his highs and his lows, his line delivery spoke volumes toward his confidence on the microphone and with his own abilities. I loved that he played around with different singing patterns and really contributed his own flavor. I even sensed subtle influences of slam/beatdown in some of his choruses.

Composition is more than apparent in this album and the vocals are a shining example. It’s clear to me that the vocalist really took the time to construct each verse, and largely, each track; this is no casual weekend jam session. Aside from homeboy’s obviously gifted growls and shrieks, you can tell he used every ounce of poetic license in his bone marrow for this album. I was taken back a few steps by his capability to fully express a story. The whole album felt like a giant evil folklore and each track he was telling us more and more of this dark chronicle. The story telling style fit well with the general atmosphere, I thought it was rather to intriguing and fresh. Personally, I also couldn't help but notice that all the biblical folklore gave the album a slight black metal tone.  

I also loved that he kept using nasty words such as clitoris, cunt, and cock. However, these words are considered gentle when held up against the subject matter happening in the rest of the material.  In deeper remarks of the lyricism, they were certainly driving home a singular point. The album entirely consisted of a sole theme addressing the disturbing horrors of pedophiliac traditions practiced by religious figures in our society since the very beginning of organized theology. In addition, with a band name like “Infant Annihilator”, you bet your sweet fucking ass there is baby murder, baby cutting, baby castrating, and all sorts of baby rape saturating this album.

• Guest vocals. I was extremely happy they had four guest vocalists roll through on the album. I heavily endorse the idea of artists collaborating with each other as much as they can. I would love to see where death metal can really go when people put their creative energy together. I really enjoyed the contribution these dudes individually made to the material they were working with. It was a legitimate pleasure to feel them come on and really show out their best for this Infant Annihilator, I felt like it brought the whole thing together in its own way. I also enjoyed getting to hear the distinctive differences in each vocalist, it really shed light on the defining factor vocalists have in their bands.   

*Special Guest Vocalists:

 Chris Whited- Lost Fortune

 Bryan Long- Dealey Plaza

 Dillon Becker- AnimalFarm

 Tyler Shelton- Traitors

• The guitars are so technical it hurt. I was seriously impressed by the guitars in this album for their attention to precision. The riffs were mindfully structured and decisive at all times. They left no stone untouched between all the frantic gallops, fine point solos, and merciless breakdowns. I took personal note that they did not skip out on the breakdowns one bit in this album. It also stuck out to me that they were not afraid to play around with odd timing, which I think certainly worked in their favor.

I’ve observed that in the last five or so years that deathcore bands have been really experimenting with this off timing and using it to channel this sort of suspenseful vibe to supplement the already present panic/anxiety vibe that the genre naturally takes on. Personally, I can dig it.

• The drums meant fucking business. Each beat was set in stone from the moment it was struck. The whole album derived its defining hyper technical demeanor primarily from the drums. The incredible speeds the drums were hitting were absolutely mind blowing. On the opposite end of that spectrum I couldn’t help but notice that the drums did attribute to the undertones of slam and beatdown I was sensing throughout the album, especially around breakdowns and bridges. I personally loved the slow influence in this material because it really added to the unholy ominous thing they were going for.

• The bass was more than present. In this album, the bass made a statement too. The bass was just as technical as the rest of the dudes. Something I noticed within the first few minutes of the album was that the bass was no whisper. It came in crashing like beautiful black waves. I must also remark upon the observation that the bass did have a “slap” element to it in places, further contributing to that slam/beatdown feel I kept sensing.  There were neatly placed long deep notes that added this dismal factor to the complimented precision of the rest of the bass tracks.

I give a real shout out to the producer for how well the bass sat in the mix. It was apparent that there was special attention paid to the bass tracks. From the clarity of the bass tracks I could just tell they mixed them to sit in the foreground of the sound and I think that was a smart decision. I feel like giving the bass more of a voice in the album only reinforced that sludgy beatdown presence.

Jesse Kirkbride of Kirkbride Recordings, you're doing good. 

Overall: This album was nothing sort of a masterpiece and don't let anyone tell you otherwise, kid. The attention to detail and the bleeding heart dedication to the music is just breath taking. The album was a glowing spectacle of harmonious duality on all fronts from the collective vibe to each musician’s individual performance. When I finished the initial listen of the material, I genuinely had a “proud parent moment” for them. Then I wiped the blood from my eyes.

Good job Infant Annihilator. You’re doing good.