Homicide – Annihilation Pit (2013)

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The South Asian extreme music circuit has been growing as of late, with new bands coming up with actual releases and further expanding the kind of styles that can be found here. Within the context of the Bangladeshi Metal scene, where most acts are either of an old school death or thrash style, Homicide bring to the table a much-needed fresh perspective. This is their debut EP “Annihilation Pit” which saw a release by an Aussie label Infinite Regress Records last year.

 

Hailing from Dhaka, Bangladesh, Homicide play a variant of technical death metal that proliferated most during the middle and latter parts of the 2000s – the Willowtip Records style, if you will – but for some reason trailed off by the time the 2010’s rolled around. Never shy to show the listener their mastery over the instruments, the songwriting is dictated by one hard-hitting brutal section after the other – perpetually numbing the senses by the end of the EP’s 13 minute duration. Whether that is a good thing or bad thing should be judged by people who are well-acquainted with the nuances of this style of death metal, rather than elitists and naysayers. Personally I loved the battering onslaught of the percussion in harmony with the exploits of the four and six string instruments – though the band’s relative immaturity does rear its head on a few occasions. All the tracks here start off with immense promise, though trail off with forgettable endings, like a warrior exhausted at the end of a battle. This is by no means a jab at the band – they appear to be incredibly talented and I cannot find a mediocre riff here, but some stronger direction and a bit more intelligent song-structuring is needed for this warrior to roar triumphantly.

 

The production here is not the kind of glossy over-produced stuff that we are used to hearing from the main propagators of technical death metal in this day and age. Though that is by no means a flaw here. Me being a part of a school of thought that preaches that a little bit of imperfection is needed to have a unique identity, found the production a joy to listen to. The guitar tone is scathing and rawer than what Origin or Psycroptic listeners may be accustomed to, the vocals maintain a raspy sound that was once a hallmark of several mid-90s Canadian tech-death, and the drum tone isn’t your overproduced American studio product… but it all fits well in the overall context of the EP. In conclusion,  it goes without saying that these boys are talented and understand their genre well – I certainly enjoyed it. The EP demands at least a few listens, and the band can logically only improve further.

 

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Multinational Corporations – Jamat-al-Maut (2014)

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South Asia has a surprisingly small punk scene, considering the social and political condition of the countries in this side of the world. Multinational Corporations – a duo comprised of Hassan and Sheraz, who also happen to be members of several metal bands in Pakistan – are among the handful of grindcore bands in South Asia who understand the roots and the original intention of this genre of music.

 
On their debut EP, Jamat-al-Maut, MxCx play the most unadulterated form of grindcore, drenched with undeniable crust punk riffs along with deathgrind tendencies, akin to Terrorizer. Even though grindcore is known for its spontaneous style of songwriting, with bands mostly being content with rather mindless, simplistic style of playing as long as it serves the purpose, this is not the case here. The songs are espcially crafted to be catchy and memorable which makes Jamat-al-Maut less isotropic than From Enslavement to Obliteration. Musically, this is very competent crust punk/grindcore, however, the duo never intended Multinational Corporations to merely be a “grindcore band that plays brutal and catchy riffs”. The theme and content here are of utmost importance, as with any punk release. The lyrical content of the songs deal with several social and political issues plaguing the country including but not limited to the acts committed by taliban, the endless race for more money, naivity and hypocrisy of so called upper class “communists” and general hatred and misanthropy. The aforementioned is vocalized in a growled fashion, very similar to that of Assuck and Brutal Truth.

 
Unfortunately, Jamat-al-Maut is only 13 minutes long, which is short even for a crust/grind release. This is not a complaint, however, since even in the short span of 14 minutes, the EP is very satisfying, especially with the closing track which is similar to some of the darker neocrust/hardcore songs from the 90s. A very competent and enjoyable release which any fan of the genre will enjoy.

 

 

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– Rohit Chaoji

Absolut – Punk Survival (2014)

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Nice to see absolutely crazy, rancid and noisy d-beat laden Hardcore Punk make a little return to people’s play-lists in the last 2 years. May be the new “flavor of the month” or become the next “trend” but let’s face it – as long as the music is hard hitting and awesome, who gives a fuck if a shitload of new bands start doing the same thing?

 
Absolut’s “Punk Survival” is an aptly named release as it primarily serves to keep the core values of the original Hardcore Punk template alive. While they are not the first band to do so – hundreds of d-beat laden old school hardcore bands have existed all over the world since the 90’s, especially in Sweden and Japan – Absolut manage to carve out an identity of their own. They do that by not only following the set-in-stone codes of what proper raw crust/hardcore punk should contain but by upping the ante in several regards. The riffs hit harder and deadlier than most of the bands I’ve heard trying to revive this style, armed with a dangerous guitar tone that would make even a weak riff sound heavy. Thankfully every riff here is some badass shit and the occasional noisy guitar lead makes you want to peel away at your skin – now THAT’S some sensation I don’t get much from ‘old school revival’ acts. Screechy, ear-piercing vocals are bellowed over one catchy riff after another with wild abandon. Not a line can be understood due to the insane amount of incoherency and reverb/echo but the vocal patterns themselves are catchy enough for them to hang around in your ear like unwanted wax. You don’t need to be a rocket scientist to figure out that these guys are just here to make some noise and have a good time doing it – simultaneously worshiping and burning their idols one riff at a time. Credit must be given to the producer for crafting a sound that’s unbearable yet easy on the ears at the same time – a nice little balance to have for these sort of records. You want the mix to sound as chaotic as possible, but the master shouldn’t hurt your listening senses either. Along with a warm production value that would sound absolutely gorgeous on vinyl/tape make this a very vintage sounding little release.

 
The filthy, primitive essence of the likes of GISM, Anti-Cimex, Terveet Kadet is tapped into but taken a step further while remaining confined within their self-imposed boundaries. A little Proto-Black Metal influence can also be spotted here with the Hellhammer-esque vocals and the early Bathory style lead-work. If I was to make a comparison I’d say they have a bit of a Dishammer kind of thing going for them, but strictly Punk (with a few metal concessions) rather than a clear metal/punk hybrid. I really dig their style and if you at all are into extreme music you will love this. Get it from Electric Assault Records on the 19th of April.

 

 

absolut

 

 

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– Hassan Dozakhi

HospitalxBomber – Demo (2013)

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One thing I am always on the look-out for is music that is hard-as-fucking-concrete, while also being faster than a hijabi running away from loud music on a Friday evening. Pissed off fucken hardcore is my jam at the end of the day, and if you suffer from the same addiction to angry and heavy shit then you might want to check this shit out.

 

To put it simple, HospitalxBomber basically straddle the line between dirty high speed punk, and crunchy fucking beatdown hardcore. It’s 5 songs and under 8 minutes of straight up hatred and negativity, with the vocal attack not hesitating to even throw in some Black Metal touches. The slight vocal influence aside, this is pure fast and angry hardcore with some mean ass breakdowns. If I was to compare to any bands, this is the bastard child of Iron Lung and Harness, and that becomes quite clear to the unsuspecting listener the second he/she puts it on. Instinctively abrasive riffs,  and a kit-destroying drum performance coalesce to create a wall-of-sound that absolutely drips with venom and oozes hatred – reviewing stuff like this is basically why I called this blog “Eternal Abhorrence” in the first place. The mix is put together nicely to, giving the demo a very fuzzed out and absolutely vile sound that makes you want to stab the first person you see. Through both the fast and slower parts, the general aural violence never lets up, and though the fast parts are fun to run around to, it’s the gargantuan breakdowns where HospitalxBomber live up to their equally vicious name. The tracks “Faux News” and “Blackwater” are obvious highlights here for that particular reason. Purists who don’t like chuggy breakdowns better stay clear, but people who like to get down to some heavy shit will love the fuck outta this.

 

These guys should seriously drop some new stuff soon – 8 minutes ain’t nearly enough, considering the riffs these guys have on the table, and the maniac performance on the drumkit. More often than once I wondered if one of the cymbals fell over (then I realized that kits in America are obviously better than the crap we have in Pakistan hahah). Lots of replay value on this, get it if you’re looking for heavy hardcore that isn’t afraid to jump into powerviolence territory.

 

 

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Zombie X Incest – Live Demo (2014)

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Holy Powerviolence! Who would have thought that this style of extremely fast, loud, obnoxious and raging punk music would infiltrate the Himalayas? Well, not most people in the world but this particular reviewer isn’t very surprised at the recent emergence of Zombie X Incest from Nepal. The country is already home to metallic hardcore titans Jugaa and it was only a matter of time their influence spread out to younger acts.

 

In fact, this young Powerviolence/Hardcore Punk act chooses to begin this live set off with a Jugaa cover, the booming mosh riffs being heard alongside the chatter of some crowd that gives the perfect ‘small club’ setting to this live demo. After the cover is done with, they move onto their own original tracks “Revolt” and “Purnibiram” which exhibit the band’s contemporary style of PV indebted to the likes of Magnum Force and Sex Prisoner. I use the word contemporary, because they don’t play the spastic, unpredictable kind of PV of the 90’s that was exhibited best by Spazz and Man Is The Bastard. Zombie X Incest’s style of fast, loud punk music would better be described as Fastcore/Thrashcore (people prefer the former because some metal nerds confuse Thrashcore with Crossover Thrash) but that style seems to have just blended into powerviolence over the last few years with the proliferation of groups such as ACxDC. Indeed, the band even cover one of their tracks “Leech” on this live demo, before delivering their fan favorite “Why So Serious” which sounds like it would be real fun to mosh out to – especially with that Batman/Joker line, haha.

 

Considering the nature of this band, and the fact that they’re the first powerviolence act in Nepal, I think that the choice of a demo recorded live at a gig is the best way to showcase themselves to punk and hardcore fans outside their home country. There is a sense of urgency, and more importantly – a real FUN vibe going on here that makes me want to just run around and throw myself on the wall for no good reason. Looking forward to the Nepali scene growing as well and inspiring other South Asian countries to make some fast fucking punk to let out their aggression.

 

 

ZXI

 

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The Grim Mage – Worshipper (2014)

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The weed must be really good in Bangalore, India, because the city keeps churning out one quality doom band after the other. Following in the footsteps of the likes of Djinn & Miskatonic and Shepherd, the aptly named The Grim Mage is the latest in a line of Bangalore based doom bands… and boy, these lads do kick up quite a fucking gust of smoke with their first demo entitled “Worshipper.”

 

On the surface, The Grim Mage fall prey to, or rather consciously adhere to all the obvious stereotypes of Stoner and Sludge doom of the modern era. It’s there in the band name, it’s there in the choice of the demo title, even there in the artwork and rears its stoned, misanthropic head once again when you look at the tracklist and spot the Electric Wizard / Eyehategod covers. You can’t avoid those blatant homages to the stoner cult even when you start the demo – movie samples dominate the music between the heavy riffing and psychopathic screams. It’s safe to say that this band wears its influences on its sleeves – depending on which side of the divide you lay on, that could be either a massive turn on or a colossal turn off.

 

The choice of cover tracks is interesting, because the music appears to be primarily indebted to “Dopesick” (and onwards) era Eyehategod and “Dopethrone” (and onwards) era Electric Wizard – a mixture that is by no means uncommon in the doom world of today, but the way in which this ensemble blends those two primary markers together is of more interest to this reviewer. In terms of the riffs and vocals, the Sludge element remains more prominent than the Stoner element. The vocals especially seem to bow at the altar of Mike Williams, save for the final track – where he should have continued prostrating at the same altar, rather than attempting the singing style. However, key proponents of sludge style riffing – the crushing, percussive stops and the faster hardcore-influenced sections – are never triggered, and the band ends up relying on stoner grooves to keep the music going – and keep the joints rolling. Their original songs “Sweet Demon Sugar,” “Worshipper” and “I Am Not Dead” are very well composed, from the bass-breaks coming in at the right time too to amp up the psychedelia, to the vocalist’s vocal delivery, and the group ends up concocting three very memorable tracks – even if the craving of a little tempo upcharge in the vein of Melvins, Iron Monkey or even “Holy Mountain” era Sleep lingers on til’ the end.

 

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Though many may be put off by the production, I personally love it. Frankly, there is nothing more suiting to this kind of Sludge/Stoner Doom than basement level production. The heaviness of the riffs is not at all downplayed or relegated, it just takes on an altogether different form. A mundane wall-of-sound style heavy doom tone would have stripped all identity from this demo, to be honest. Instead, the in-your-face sound here, highlighted well by the garage vibe of the drums, makes the music even more nefarious and evil – as if a satanic ritual were occurring as you light your afghan hashish blunt. Not too dissimilar to the effect conjured up by most of Ramesses’ material.

 

Individual performances are great here, but the vocal performance drops as the tracks go on, perhaps the vocalist should give his throat a little rest before assuming control of the microphone. The samples are a little overdone here, and there are moments such as in “I Am Not Dead” where the sample just drags on and distracts from the crushing weight of the music on display. Overall this is a nice little demo, with some amazing original tracks showcasing the potential of these lads to go on and do some nice things in the scope of Indian Doom Metal. Less focus on covers and more focus on honing their own craft would help take them a level higher and really stomp some ears.

 

supercven

 

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Catch them LIVE in 5 days!

Tabahi – Tabahi (2014)

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Tabahi is a Thrash Metal band from Karachi, Pakistan. A city known as the most violent in Pakistan, and among the world’s most dangerous. A perfect breeding ground for quality thrash metal. After all, dangerous places have always spawned deadly metal bands. However, it hasn’t been the case for this city, especially in the last few years when the scene was plagued with groove and modern metal acts propagating themselves as thrash. No worries though, Tabahi set everyone straight with their debut album and their classic thrash sound.

 

After the crushing intro track “Hidden Voices,” Tabahi get straight to business with their pummeling, percussive brutality with the songs “Abomination” and “Fatwa,” setting the tone for an hour of non-stop headbanging. It does not take long for the influence of German thrash-mongering barbarians Tankard and Destruction to become apparent to the well-trained ears.  Pretty much every riff here can be aligned in some way or the other to the 84-88 era of German thrash metal, when the Teutonic horde was focusing on primitive barbarism – before the era of more technical thrash songs began. The songs here, like that of their influences, move at generally blistering pace – Faiq’s disciplined strokes and Daniyal’s war chants being the main ammunition for Tabahi’s artillery. As all good thrash acts, Tabahi know that short term tempo-changes benefit the long-term assault, like soldiers reloading their rifles on the battle-field. Moments of mosh-inducing grooves hit in at just the right moment, showing that while the Germans are undoubtedly a big influence, Tabahi is equally indebted to US Thrash bands like Overkill and Whiplash. In fact, tracks like “Hona Hai” and “Democrazy” would not sound out of place on Overkill’s “Under the Influence” while “Virgin Bomber” has Slayer’s “Hell Awaits” album written all over it. There’s even an Iron Maiden esque section on “Escape From Reality” whereas “Thrashbandi” is a homage to local South Asian sufi music titans Junoon. The myriad of influences here maintains that every song is a little different from the other. Individual songs may be predictable, but not the entire album as an entity. Speed, intensity, groove and memorability is the key purpose here… and there are plenty of sing-along moments as well!

 

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Nearly every vocal line is completely decipherable, including the Urdu songs. This only adds to Daniyal’s often sarcastic-sounding delivery – not too different from Kreator’s Mille. The gang shouts are a nice addition, though at times one wishes they were slightly more intense. The production is noticeably raw, but by raw I do not mean badly mixed or mastered. Every instrument including the bass lives independently in its own domain, which shows that the band has devoted some hard work to the mix – normally in Pakistan, mixes come off sounding very muddy (a problem we’ve had with my bands too). The guitar tone gives the music a very lethal edge, hammering down the riffs into your ears –  though the computer drum sound comes off a little thin a times, thus lowering the intensity of the riff attack.

 

Originality is not the main purpose here. If you are looking for some avant-garde, highly original thrash metal, you’d best take out your Vektor LP and give it a spin. However, if you’re looking for some authentic third world thrash to make you bang your head as well as injecting your mind with a fresh perspective on South Asian politics – you’re at the right place. In fact, instead of wasting your money on the 45th album from an old school thrash band (who have no original members left), spend them on this group of guys instead. Not to say that Tabahi are a complete 80’s homage. They seem to be leaning towards a sound of their own, and songs like “Thrashbandi” show the band’s dedication to being different from the pack of thrash bands out there trying to make a mark. With all said and done, this is a solid debut album and if the work ethic continues to be this strong, they can go far. Guitarist Faiq has a very distinct guitar style already, and so does vocalist Daniyal, and it’s only a matter of time before these Karachi lads come into their own as a regional force in Asia.

 

Highlights: Fatwa, Twisted Minds, Art of War, Virgin Bomber, Hona Hai, Escape From Reality, Thrashbandi, Televised End

 

 

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Systemhouse 33 – Depths of Despair (2013)

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Pounding riffs. Pummeling grooves. A hoarse, gravel-throat vocal attack. Mosh-inducing song structures. Album art and production that wouldn’t seem out of place on a Helmet, Meshuggah or Pantera album. Once the senses-lulling intro subsides, Systemhouse33 pull me into their world of pure 90s metal worship. For a second I feel like I’m at a gig from 1994, surrounded by kids wearing Prong and Pro-Pain shirts, moshing it out to unconsciously second-hand hardcore punk riffs played through a thrash/groove metal processor. The odd melody seeps in, then makes way for another headbang inducing groove aided with some crushing drum work. The aggression never subsides. Songwriting, however, seemingly serves a purpose higher than just invoking neanderthal fist-fights. Songs like “Resistance” contrast well with more direct numbers such as “Death Wish” in their layered approach of building up angst through slower tempos then unleashing it with violent intent.

If you’re much of a stage-diver, do take a second out of your busy mosh-life to stand up on stage with the vocalist and shout along the lyrics – or air-guitar to the deliciously tasty solos. It’s a travesty that songs this good are ignored by the metal community, because they don’t cater to the typical thrash audience whose music sensibility has a narrowed periphery not unlike a mule. Listen if you enjoy the materials of say, Fear Factory. Don’t expect tuetonic thrash riffs stolen from a 1984 demo to come up.

Upon asking the guitarist I realized that the production is all home-based and DIY. An obvious advantage can be immediately heard – the band sounds like this sort of industrial tinged groove/thrash should ideally sound. Clear despite the distortion, fluid despite the mechanical sound. The sound of robotic structures smashing through human architectural constructs never sounded more adequate.

The album begins as it ends – with a serene instrumental, displaying the band’s post-rock sensibilities. These guys apparently have an indie band too. Though I can’t imagine these blokes transitioning from such aggressive drunk-drive anthems to playing mellow indie – I willingly indulge in suspension of disbelief when the intro/outro sequence plays with my brain. I haven’t heard their past work and I don’t know what their future material will sound like but this is a solid fucking slab of 90’s style metal made in India, that outdoes all its American counterparts with relative ease. No vulgar display necessary in outdoing the ‘yanks.’

SH33

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 – Hassan Dozakhi

Bauhaus – In The Flat Field (1980) [CLASSIC REVIEWS]

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One of the strongest debut albums ever released? Me votes! I want to start by telling how I first heard this band and bla bla bla but what does it matter how or when I came across these masterminds. What IS important though is that after reading to this 2 or 3 pages of junk (junk is attractive believe it or not) I might be successful in bending you to listen to this record.

Although Bauhaus is popularly believed to be a proto-goth band, I personally think they have a lot common with experimental music and art rock. Having said that, this album is their most gothic release to date and one which I adore the most.

“Dark Entries” as the opening track could not have been an accident. In many ways, it does set the tone for the rest of the album: Murphy’s weird, flat chants and yelps set against the unsettling backdrop of guitar feedback and squeals, heavy bass, and marching band drumbeats. Say what you want about Bauhaus and their frequent pretentiousness: they were fucking COOL.

After the pummeling beats of “Dark Entries,” the next song, “Double Dare” almost seems leaden, like some ridiculous version of an old Black Sabbath tune. It all sounds atonal and unhinged; something that would certainly drive parents crazy. Murphy ramps up the crazy vocal acrobatics and there’s scarcely a chorus in sight. (This style would later reach its apex in the almost-unlistenable “Swing the Heartache” from 1982′s The Sky’s Gone Out.)

Both David J’s bass and Kevin Haskins’ drumming are just fantastic on “In the Flat Field,” like some kind of controlled, bubbling cauldron. (Although I didn’t consciously realize it at first, Haskins’ style is awfully similar to the “Burundi Beat” drumming of Adam and the Ants, who I genuinely adore). Here we are also introduced to Murphy’s terrifically ludicrous, nonsensical lyrics: Yin and Yang lumber punch/Go taste a tart, then eat my lunch. What the eff, dude. Still, it sounds really good.

It puzzles me that “God In An Alcove” didn’t make it onto 1979 – 1983 as it’s definitely one of Bauhaus’s best songs, both lyrically and in terms of Daniel Ash’s guitar playing. (Okay, maybe the “Now I am silly” bit is a bit . . . silly.)

Damn it if “Dive” doesn’t full on rock, as much as a band like Bauhaus could rock, with cacophonous saxophone courtesy of Daniel Ash (and lyrics not unlike Duran Duran’s “Late Bar” from their own debut album). I’m also particularly enamored of “Spy in the Cab” with its squelchy, squirt-y keyboard flourishes and flair for espionage. Here Murphy actually sings instead of screaming. The ending vocalizations must have influenced a very young Brian Warner a.k.a. Marilyn Manson.

“Small Talk Stinks” is next, and the title says it all. You can also hear David J. on vocals. To me, this is an archetypal Bauhaus song, the kind that separates the casual fan from the hardcore one.

I must have listened to the radio broadcast of “St. Vitus Dance” dozens of times a year before I heard the record, desperately trying to discern what the hell Peter Murphy was singing. The Jew’s-harp-style keyboards fascinated me to no end, as did Murphy’s ability to shriek like a crazed banshee at the end. (The TeamRock radio RJ who played this called it “St. Vitrus Dance,” which still makes me laugh.)

Still, in terms of sheer self-indulgent lunacy, nothing can top “Stigmata Martyr.” David J’s low, insistent bass, which would later come to comprise most of the post-Bauhaus project Tones on Tail, is omnipresent. As a recovering Catholic and someone who simultaneously adored and was terrified of The Exorcist (I had to search this trivia though), it was impossible not to be totally enthralled by Daniel Ash’s outlandish guitar feedback and Murphy’s Latin chanting.

The album ends with the seven-minute-plus “Nerves,” featuring more of that rolling Haskins drumbeat offset by plinky, out of place piano. There is also something completely satisfying about Peter Murphy’s voice here.

Although I had more than one argument with people back in the day over whether or not Bauhaus sucked or was truly awesome, I like them, even though in retrospect, I admit that the arguments of pretentiousness are not without some merit.

 

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– Shams Uz Zuha

Sleep Disorder – Sleep Disorder (2013)

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Sleep Disorder are a fairly new band based out of Baltimore, Maryland and share members with thrashing death metal act Noisem. Despite the vague connection, there is little death, thrash or any kind of metal on display here, with this crazy quartet preferring to play some fast, noisy, and dissonant-as-fuck powerviolence. This is their first demo, a self-titled release, which was initially put up for free download on Bandcamp before eventually being re-touched and turned into a vinyl release. The version I’m reviewing is the vinyl version – which I actually find a bit superior to the original.

 

The basic sound of Sleep Disorder is a contemporary noise/pv/grind style that nods in the direction of classics like Man Is The Bastard on occasion, but hums to the tune of more recent acts such as Water Torture, Full of Hell, and the like. In what appears to be a clear attempt to stand out and stamp their own individual mark, a lot of emphasis is given to how the tracks are presented. The material contained within this self-titled debut release is fuzzed out to the max, with distortion, feedback, noisy guitar leads, and vocal effects all adding to the chaotic dissonant nature of the music. Like any good release in this genre, the tracks are spontaneous and unpredictable.. however, in this bands case, the unpredictability is a bit more. Even within the short track lengths, all sorts of stuff transpires; the whole noise factor is very well played through both the fast and slow sections. Indeed, it’s that fuzzed out noise aspect that pulls me into their music and interests me the most. Though the emphasis on that end means that the production is not particularly ‘heavy’ but that doesn’t hold the music back from crushing you and causing you to pull your hair apart from your skull. Credit needs to be given to the band for making me feel like a miserable cunt. Solid vocals round off the sum of the parts, but its the vocal effects that are very well done. They aid in creating a nihilistic, drugged out and utterly dreadful atmosphere. There is a substantial amount of grit and negativity here – this is no positive goofy powerviolence for you to pogo to. Songs like “Shallow,” “The Web” and “Pray” (all of which come in quick succession, one after another) in particular almost had me self-flagellating myself like Shia Muslims do on the day of Ashura.

 

The name of the band is interesting indeed, in the sense that they actually try to live up to it. At its most hideous moments, they certainly do sound like a collection of voices haunting a neurotic insomniac mind, though there are moments you’d want to stagedive/circle pit to as well. Personally, it’s their more ugly and noisy moments that draws me, rather than the more typical ones, and I’d like to see more fucked up compositions from these lads in the future. Solid debut, recommended.

 

Sleepdis

 

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– Hassan Dozakhi