Five days, five… well, actually four records and one song (but what a song!), this week took in grinding powerviolence; atmospheric folk/black metal; forward-thinking, technical black/death metal; and the return of heavy metal legends. Enjoy!
The selections for Album of the Day for the past week have been some of my favourites thus far. I want to give particular attention to the self-titled album by No Anti, which is one of the most extreme things I’ve ever heard. Elsewhere, we’ve pummelling hardcore, atmospheric black metal, and all-consuming blackened death. Enjoy!
Another week, and another selection of five records to help get you through the day. Here is the recap of this week’s Albums of the Day:
Label: Deathwish Inc
The final album from Punch was the band’s best, and a highlight for modern powerviolence / fastcore. They Don’t Have to Believe is a short (less than twenty minutes!) blast of righteous feminist rage, that circumvents many of the conventions of powerviolence by actually having intelligent, mature lyrics, as well as songs that are actual songs rather than 5 second blasts (aside from, erm, the 5 second long title track). It’s an album that has lost none of its power since release, and that the band is no more is a real shame – though at least they went on to form other great bands.
Looking for something fast, loud, and ugly? Then you’ll want this split between FilthxCollins and Skinlover. Grind, powerviolence, and fast punk is the order of the day, racing ahead at absurd speeds, with riffs (and songs!) over before you barely know they’ve started. No song on here lasts longer than 95 seconds, yet both bands still manage to pack in a bunch of killer riffs and movements. If you’re having a tough time getting going before work, then this’ll help get you out of back – or consider packing the whole “employment” thing in and staying home to play grind instead.
The Liar and The Saint, the debut album of grind three-piece Let It Die, does not fuck around. Sure, they might have a few moments of slower, feedback-drenched build-up in amongst the hardcore/grind fury, but even then, The Liar and The Saint is a full-throttle, teeth-bared onslaught of an album. The slower moments help provide that all-important contrast, making the fast bits hit all the harder; and there’s some killer riffs and breakdowns thrown in to the mix, too. All of this makes The Liar and The Saint one of the hardest hitting records from the UK underground in recent years.
Pig Destroyer may have helped make it seem normal for grind bands to do away with bassists completely, but bands such as Water Torture have demonstrated that the opposite route can be successful, making grind with no guitars. Italians Repulsione feature two bassist within their line-up, making Desecrating a record that’s full of low-end weight, that works incredibly well with their powerviolence-esque energy, bursts of speed, and old-school grind feel. This is a record that sounds like an infected blade, with a dirty fuzz to the production, and an aura of festering decay. It’s nasty, it’s fast, and it’s pretty great.