Archive for the ‘Sounds Like Hell’ Category

Sounds Like Hell: Volunteer

Friday, October 31st, 2014

Sounds Like Hell is an irregular feature on noise rock.

When Robert Christgau pioneered the term pigfuck to describe the harsh sounds of Sonic Youth and their peers, he probably had no idea he’d inadvertedly coined the name of a subgenre based around plodding, subterranean and frankly ugly guitar-driven noise rock that was far more offensive than anything the no wave scene ever produced.

Midwestern pigfuckers Volunteer don’t cite Christgau’s colourful term on their Bandcamp page. They do list the usual suspects in their sonic goals – The Jesus Lizard, Unsane, Helmet – but they don’t need to. Most bands who say they sound like The Jesus Lizard sound like they’re covering lost demo tapes of The Jesus Lizard, but on Goner, Volunteer’s four-track EP released earlier this month, the Milwaukee trio bear little resemblance to the David Yow-fronted outfit, instead dealing a punishing 15 minute collection of defiant, unsubtle and powerful noise rock anthems.

It’s not all angry machismo though; closing out the collection is a cover of Jawbreaker’s confessional ‘I Love You So Much It’s Killing Us Both.’ Volunteer’s version is slowed down and the half-sung, half-spoken lyrics are mired in almost as much distortion as the guitars add an even more strained dimension to an already emotionally strained song. When Jawbreaker’s Blake Schwarzenbach sings “This lullably is blue/Lie and say we’re through,” he sounds mournful, but Volunteer vocalist Francisco Ramirez slurs those words like he’s speaking with the stomach full of a Vicodin and the barrel of a shotgun placed firmly in the his mouth.

Sounds Like Hell: Helms Alee

Friday, September 19th, 2014

Between Southern Lord, Profound Lore, Neurot Recordings and Relapse Records, there’s an awesome wave forward-thinking heavy music, but few boast the variety of Sargent House. The LA-based label and management company currently play host to post-rock giants (Russian Circles, And So I Watch You From Afar), metalgaze pariahs (Deafheaven) and apocalyptic ambience (Chelsea Wolfe, Emma Ruth Rundle), alongside a slew of genre-bending, mind-blowing and generally weird rock fare.

Helms Alee fall into that latter category, and on their third record Sleepwalking Sailors, the Seattle trio offer a masterclass in the art of diversity with a sound that straddles the lines between sludge metal, noise and math rock. Vocal duties are split between all three members, resulting in songs like ‘Tumescence’ that shift in tone from boisterous to vulnerable to pensive over the course of a single verse. Guitarist Ben Verellen takes on the majority of the vocal load, oscillating between a heavily-reverbed clean delivery that hangs in the air and an animalistic howl that resembles a call-to-arms.

But it’s the riffs, rhythms and unexpected turns where Sleepwalking Sailors really shines. As good as this year has been for metal and its various offspring with standout releases from YOB, Earth, Pallbearer, Tombs and so many more, I challenge anyone to find a moment in heavy music this year more compelling than the closing 60 seconds of ‘Heavy Worm Burden,’ a song that transforms from a sludge jam into heart-wrenching transcendence as the low end drops out in favour of wailing, bent guitar strings and sublime sermonizing. For fans of Torche and Big Business.

Sounds Like Hell: Hotel Wrecking City Traders

Saturday, September 6th, 2014

Sounds Like Hell is an irregular feature on old and new noise rock.

This two-man power trip doesn’t fuck around. Even on a 20 minute song like ‘Ode to Chunn’ – the sole track from their latest EP of the same name – the Melbourne duo is adept at making every note and beat mean something. There are flourishes of doom metal, stoner rock and desert jams throughout, as well as a lot of moments that recall the excellent Cicada from defunct Perth drone duo Cease.

HWCT work hard to ensure every sonic gap is field with low, droning guitars to compensate for the absence of a bass, and ‘Ode to Chunn’ progresses slowly and smartly enough to avoid the trap of boring transitional passages; every time you stop to notice what’s going on, they’re in the midst of a killer riff or a bombastic drum fill. For fans of Kyuss and spacing out.

Sounds Like Hell: The Wednesday Society

Saturday, August 30th, 2014

Sounds Like Hell is an irregular feature on old and new noise rock.

The Wednesday Society’s Anxiety and Neurotic Disorders is an exercise in the art of the album, where the whole is much greater than the sum of its songs. From the opening moments of instrumental prelude ‘.’ to the closing section of the otherworldly ‘Drub (Aum)’, every riff, every beat, every tectonic thud of the bass and every reverb-drenched rallying cry is perfectly placed to evoke the sensations that the album’s title hints at – neuroses, paranoia and despair.

Which is not to say The Wednesday Society dealt only in hopelessness; instrumental numbers like the interlude ‘Twlg’ and ‘Non’ boast sophisticated progressions, infectious riffing and stirring crescendos. But the quartet were at their best when they tapped into that deep frustration like on ‘All We Do Is Butcher Everything’, where vocalist Brendan Jay repeats a series of platitudes that grow more menacing with each utterance. In the mid-section he spits: “let us find a future/to beat it down” over the off-kilter thud of James Sher’s bass, before musing a minute later: “processed to perfection, artificilially enhanced/versus hippie shit, organic/manufactured for the use of every common man” over an increasingly frenetic rhythm section.

It’s a shame The Wednesday Society never produced a follow-up to this record; after frequent gigging following its 2009 release, their shows tapered off before they quietly announced their break-up in 2012. Until the reunion (fingers crossed), In the meantime, the album lives on (for free) on Bandcamp.

Sounds Like Hell: The Powder Room

Monday, August 18th, 2014

Sounds Like Hell is an irregular feature on old and new noise rock.

Noise rock favours the higher frequencies — think of the trebly drum machine throughout Big Black’s catalogue or Roland S. Howard’s shrill guitar on early Birthday Party records. The point seems to be less about creating a confluence of different musical elements than a constant friction between warring instruments. What’s lost in a lot of that translation is the groove; rhythm is traded in for chaos when the two need not be mutually exclusive.

Georgia trio The Powder Room take that lesson to heart on their debut LP Curtains. Like most good power trios, they over-compensate – and I mean that in the best possible way – producing flurries of controlled rage that are meticulously crafted and far larger than the sum of three men in a room making noise. Frontman Gene Woolfolk sermonizes with tremendous gusto as he screams “I am just as terrified as you” on ‘Dead Pet’ over cacophonous riffs and barks like a deranged drill instructor on the frenetic ‘Alcoholics and Meth Addicts’, but it’s on the almost radio-friendly ‘Frayed’ where the trio truly shine with punishing riffs, a killer bassline and surgically precise rhythms. For fans of The Jesus Lizard and pigfuck.

Sounds Like Hell: SSWAMPZZ

Friday, August 8th, 2014

Sounds Like Hell is an irregular feature on old and new noise rock.

A few weeks ago I wrote about Shoppers, the precursor of sorts to Perfect Pussy and the former band of Meredith Graves. But there’s another band in the origin story of Perfect Pussy in SSWAMPZZ.

Formed in late 2011 in the industrial upstate New York town of Syracuse, SSWAMPZZ embody everything that makes noise rock what it is: abrasive, lo-fi, discordant and sardonic. Their first EP ‚Sleeper – which you can get for free on Bandcamp – is a beautiful mess of no wave glory awash in feedback and chaos. Every track’s a killer. For fans of Fugazi and Big Black.

Check out SSWAMPZZ on:

Facebook
Bandcamp

Sounds Like Hell: Big Business

Friday, August 1st, 2014

Sounds Like Hell is an irregular feature on old and new noise rock.

Big Business sound like a band named Big Business should, which is to say that Big Business sound gargantuan and don’t fuck around. There’s no meandering in their music, no space for solos or build-ups or crescendos or riffs that go nowhere. Whether they’re playing a 1 minute or a 10 minute song, every second is a nonstop onslaught of stoner metal mired in sludge, like the soundtrack to an acid trip in the middle of a Vietnam flashback.

Things don’t change much between records, but that’s not a problem. Big Business have found a formula that works and they’re sticking with it. Think Torche meets Melvin. In fact, the two main forces of this band – Jared Warren and Coady Willis – have been Melvins’ rhythm section since 2006. But rather than King Buzzo’s familiar wail, Big Business’s sound is punctuated by Warren’s mammoth howl, like a raging Poseidon.

After a lacklustre third record, Big Business released Battlefields Forever late last year, a larger-than-life 9-song collection that marks a return to form, packed with bombast and titanic riffs. For fans of Mastodon and cheesy fight scenes.

Sounds Like Hell: Volcano Suns

Friday, July 25th, 2014

Sounds Like Hell is an irregular feature on old and new noise rock.

When Volcano Suns re-issued their first two records in 2009, the announcement was accompanied by the following statement:

“People can’t seem to help themselves when describing either a little known band they used to love, or more commonly, a band they were more likely in … as “seminal”. E.G. “The Blake Babies were a seminal early independant group” ect and blah blah blah…any band described as seminal were filled, more than likely, with seminal fluid…
How about a new definition for “seminal”: a musical group that is vastly overrated because of their well deserved underrated-ness…”

It’s hard to disagree, and I’m not going to tell you that Volcano Suns were the most under-appreciated band of the indie rock explosion, but they were pretty fucking good.

After the dissolution of indie rock pioneers Mission of Burma, drummer Peter Prescott poached the members of fellow Boston band Disneyland to form Volcano Suns: a sardonic, proto-grunge outfit with a love of chunky bass lines and guitar fuzz.

There are plenty of aesthetic similarities with Mission of Burma – Prescott performs vocal duties in both bands and his deadpan wail stands out more than most anything, as well as his penchant for anthemic choruses. But whereas Mission of Burma favoured crisp guitars and rapid-fire rhythms, Volcano Suns’ sound is rooted in a kind of contained chaos and bombast, and almost drunken in its delivery.

Bob Weston – who’d later join Shellac in 1993 and follow Prescott into a reunited Mission of Burma in 2004 – jumped on board in 1987 for album number three, the excellent Bumper Crop. In 1988 they jumped to SST for a couple of records before releasing their final album – the Albini-engineered Career in Rock – on Chicago label Quarterstick in 1991.

Despite resurfacing briefly for a reunion in 2005 and the reissues in 2009, Volcano Suns remain largely unknown. (“Even with two lauded reissues, Volcano Suns ducks fame, escaping a certain fate” reads an Indyweek headline.) Some more signs of life came earlier this month, though, as Merge Records just put out a lo-fi live recording from 1986. It’s primitive and messy, but that’s half the fun and I’ll take what I can get.

Sounds Like Hell: Shoppers

Thursday, July 17th, 2014

Sounds Like Hell is an irregular feature on old and new noise rock.

Before every taste-maker and alternative-leaning promoter had Perfect Pussy on their lips, there was Shoppers: a DIY, heavily politicized feminist noise rock trio from Syracuse, NY, who buried sophisticated melodies in a sea of feedback, dissonance and straining, half-shouted vocals. In a little over two years, Shoppers released three records and a split 7? and toured the US relentlessly before breaking up ahead of an east coast tour.

Since then, evidence of Shoppers’ existence has been expunged – their website and Facebook were deleted, along with their frequently updated Tumblr, the platform through which vocalist Meredith Graves achieved minor internet celebrity as an alternative style icon.

Thankfully their Bandcamp remains, and those three records serve as a prototype for the raw hardcore aesthetic that birthed Perfect Pussy’s sound. Graves insists that the bands are entirely different entities – and they are, in the sense that she is the only member of both – but there are more similarities than differences between Shoppers and Perfect Pussy, from the naming convention that carried over to the latter’s first demo release (Roman numerals in place of titles) to the vocal delivery to the continuity-via-feedback between songs.

On Silver Year, Shoppers’ final release, Graves delivers her vocals with an unbridled intensity that’s matched by the rhythmic paranoia and squealing distortion of the music that she screams over. It’s a raw document of what was to come, but one that stands on its own with pride and ease.