No Beer in Heaven

With such a shit week, it's great being a hardcore fan, where any record I put on brings instant commiseration, or at least makes me feel grateful I live in a place that hasn't been annihilated by some kind of holocaust, or been completely raped of basic human rights, like the right to drink beer. Staying with the theme of Profane Existence related bands and/or Midwest crusties, this post concerns Path of Destruction and Provoked, but is a little heavy on the Provoked side. These lager-quaffers shared one hell of a priceless split, which I'm linking below along with both of Provoked's LPs. POD is a brilliant blend of Portland and Minneapolis ingredients with Japanese icing, while Provoked venture into darker terrain like their predecessors Unhinged, or their contemporaries, Schifosi (but maybe a little snottier, like their antecedents, Detonate).

Path of Destruction/Provoked Split 7" (Self-Released, 2002?)

Provoked- "Infant in the Womb of Warfare" LP (Profane Existence, 2003)

Provoked- "Prepare for the Cold" LP (Profane Existence, 2005)

Cast Aside Your Chains and Dance

It appears that another crime against humanity has been committed: the Kakistocracy LP remains out of print. When I picked up my copy around 2006, it was a revelation. A hardcore band could in fact be politically charged, devastating, intelligent, moody, modern, even a bit polished in their production, without succumbing to the pitfalls of pretense or stigma of categories. While these well-read anarchists raise the hairs on your neck, they simultaneously raze the rickety foundations of our masters' illusions-- at once with the wrenching dissonance of their chords, taken together with their words inspired, and at times directly lifted, from Goldman and Berkman. The outpouring of idealism, aggression, frustration, and perseverance is almost too much to take in one listening, but it can be worked up to one side at a time. The band has several other smaller releases, my favorites of which are their last 7" and their split with Nux Vomica. There have been a couple of rumors bandied about as well, one involving a split LP with Chronicle A/D, the other promising a second LP. I've given up on the first, and eagerly await the second. For now, the first LP should be easy to find is such places as this.

Kakistocracy LP (@ 320 kbps)

Minimum Wage Slave Tirade

I've got another handful of random requests to fill, starting with Default's "Die With Honor" one sided 7" (sorry, I don't yet have the other EP requested). There was a time when Default 7"s were being sold for a dollar, and in one instance, I received one free with an order. What a travesty. Maybe it was because they were from Wisconsin and didn't release an LP (I don't think), but they never received their due respect. The "Complacency" comp was my first exposure, and those 44 seconds of gonzo crustcore made them standouts even among the honorable company they were in. "Die With Honor" thankfully continues along these lines, burning with such intense fervor that the tracks disintegrate shortly after starting. The impression is lasting, though, due in part to some flourishes in the songwriting, but mostly due to the tornado-like ass-kicking they deliver.

I got a request a while back for the first Scorned 7", and why not? Scorned is one surly political hardcore ensemble with a scary guitar sound. Being a pretty raw and rough outing, I would maybe not recommend this EP for the uninitiated. After listening to either their LP, split 7", or more recent 7", the first one can be a lot of fun, if fun includes the hardcore equivalent of a jackhammer and a chainsaw trying to drown out the shouts of an angry neighbor. Scorned is another in probably a long line of mid western bands that deserve way more attention, so give 'em a shot.

I was going to post the "Double Crossed" 7" by feisty Texans, Manchurian Candidates, but then I remembered that Mike included it in his post of the LP. For now, we'll just have to settle for some comp tracks until I track down their other 7" and split 7" (which I thought I still had...). Two tracks were re-ripped from the "El Guapo" comp ("Blind Lives" is still my favorite) and the other comes from "Reality Part 4" (a much more metal manifestation of the band).

Default, Scorned, Manchurian Candidates

Amber Are These Days

Institute first blipped on my radar a few years ago during a random search for Damad, but this post can be credited to eastcobb for finally getting me to upload the goods. Institute materialized from the same vapors as Damad, Kylesa, Karst, etc., but opted for a more expansive sound. The same dark universe is seen tinted through colder, slightly industrial eyes, kindred spirits of which might include early Counterblast, In Nomine Christi, and Christdriver. The voice samples and noise effects add a nice layer to the mix, but for me it's the hypnotic rhythms and driving metal riffs that are the real flesh. I'm posting my own rips of the one vinyl piece I own by the band ("Two Shadows") and tracks from "The Piano Player" which I downloaded from the band back when they made available both records to the public.

Institute

"Two Shadows" LP (Yellow Dog Records, 2001?) ripped @ 320.

"The Piano Player" (@ 192)

War- is the new Dis-

All request week begins, and although I have three posts planned, feel free to try and get one more in (the catch being that I have to actually own the thing already). This and the next post are requests from way back, so the guys who asked for them may very well not be around to enjoy them. We are though, and like all requests made from commenters thus far, they turned out to be splendid choices for anyone with ears for the good noise. The first is from a couple of Portland bands from the late nineties, War Machine and Yankee Wuss. The first starts off on side A and then continues leveling and blasting its way through part of side B. These guys had something to say and weren't gonna stop until it got said (except for the track "Yuppies out of Punk" which I can't locate on any of the grooves). Portland, 1990's pretty much sums up what to expect musically: D-beats until tomorrow, and simple yet catchy riffs. My knee-jerk comparison was to Excrement of War, but there are probably a ton of local references that would do just as well. In fact, members probably played in those bands too (Detestation is one I know for sure).
Yankee Wuss have overlapping political sentiments with War Machine, but the similarities end there. Their lyrics are less broad and more snide, and musically they tend to flee frantically from the cliches of their time and place. The tempos range from fast to faster, and the shouting and screaming matches this; but then there are the melodic vocals and the light guitar distortion. This might throw people off, or it might suck them in. I find it refreshing myself, like all the best aspects of Ottawa, Manchurian Candidates, and The Hated congealed into eight tracks. The light distortion is even more perplexing considering the members' connections to Atrocious Madness, Midnight, Detestation, and (to a lesser degree) Harum Scarum, but fuck type casting. This thing rages raw and pissed in its own kind of way.

War Machine/Yankee Wuss split LP (self-released (?), 1999, 300 pressed)

Peace, Love, and Soy

I'm not sure where the last two weeks went. It was like a time warp brought on by my over-scheduled life, or perhaps my head was stuck in a wormhole or some other hole. This problem and an incident involving these three EPs here, a hyper-active dog's tail, and a glass of homebrewed IPA delayed the end of my random Japanese 7" week. After some cursing and cleaning, I'm ready to finish this thing. Let's start with Breed. I've been waiting for their 7" to go out of print from TVG Records for some time, because it rocks hard and I wanted to post it. These guys played fast hardcore and, as the artwork might suggest, some occasional rock'n roll and metal inspired rhythms and riffs. All the tracks are solid as fuck, including the Minor Threat cover.

The second 7" in the folder is from Isolation and was released on the UK's Destroy Records. This band is more of a peace punk/crust core band, complete with noisy guitars and dual-gender vocal trade offs. The simple riffage is catchy and a bit thrashy on the first track. Definitely a good band to know if you're a fan of Nausea, Mankind?, etc.

Finally, we have Claysea whom I imagine have been blogged about before. The band pumps out an abusive cacophony of grinding and crusty noise punk. The deep bass offsets the over the top distortion, while the grunting vocals and galloping d-beats try to push their way through the miasma. Eternal Agony, indeed.

Get all 3 7"s here.

Scream

Himei marks the smoldering nexus of several traditions and a touch of originality. The punked-out riffs can't decide if they want to be sharply angular or endlessly danceable, and for me they don't need to. All eight of the tracks on their two EPs meet so many of my musical needs with such pleasing efficiency, not least of which is the need to hear a possessed woman recently released from her straight jacket shrieking inhibition into a cowering little mass. Or a reasonable approximation thereof. Somehow Himei make good old hardcore punk sound fresh and new again, and their vocals rival some of my all time favorites.

Both Himei 7"s (H:G Fact, 2010)... here

Turn Up Your Wick

The FE 7" archives are getting pretty chaotic, so order must be imposed with another series. This week will be Japanese 7" week-- each band featured will be as obscure as they are raging in that traditional Japanese way so many of us crave. Next week, maybe I'll head toward more a-traditional territory. Anyway, today's pick is Flux Cored Wire, and I first came to know them through the comp I'm throwing in below as a bonus. Descriptions are redundant-- listening is mandatory. That is, if high-energy hardcore with gang vocals in the manner of Deride or Assfort suits your fancy. The comp even features an Assfort "remix" and a track by Freak, who end up winning the three way split.

Flux Cored Wire 7" (MCR, 2000) & "No Way" Comp (Mangrove, 1998)

Moselle As Fuck

Coexist is another French band whose 7" I didn't quite get a chance to post last week. Rather than savoring the screamotive excellence this country exported during the nineties, you may find yourself adjusting your palate to something more like what the UK bands were doing at the time (ie. Disaffect, Sedition, One By One). As the zeitgeist dictated, bands like Coexist were proud to eschew polish and precision in favor of heart-felt idealism and a dash of free-spirited creativity. Their rollicking, hard-edged peace punk is often garnished with more ambient build-ups that have now become mainstays in many a crust band's repertoire. The rather involved packaging of the first press of the 7" also stings me with pangs of nostalgia for the DIY days of yore: not only are there multiple inserts and a nice looking booklet, but the sleeve is made from a screen printed piece of sweatshirt fleece. While this is a far from perfect little EP, its spirit somehow leaves me with a warm glow, which its flaws only seem to enhance.

Coexist 7" (Ape Records/Brassica Rapa, 1995) Link includes scans of first press booklet and covers.

A Burning Black Teardrop

Unpersons is perhaps best known for their collaboration with Baroness; but don't let that prejudice you. I first came to know this ensemble from Savannah from their Life is Abuse outing, and their noise rock meets hardcore is just the shit. I believe the 7" posted here is their first vinyl contribution, but don't let that fool you either. The four tracks on this beast are every bit as accomplished as their future releases, if not more so if you ask this warped blogger. The intersection of drugs and southern life never sounded so... satisfying. Members apparently also play in Pig Heart Transplant, Kylesa, and Black Tusk among other bands.

Unpersons 7" (I) (Fish Fur Records, 2000)

The Goal Posts of Life

As you can probably tell from the cover, in "Punk In Drublic" we see a Word Salad in its burgeoning and most immature form. In fact, it predates the band's first Prank Records 7" by about five years. Not yet the metallic leviathan that baffled us with its ability to be both manic and incredibly controlled, the band's unhinged disregard for predictability is still ever apparent on this debut. It warms my heart to know how our Word Salad turned out, and hearing them in their embryonic stage is tons of fun.

Word Salad "Punk in Drublic" 7" (Dog Shit Recurdz, 1993)

We all die in the end...

Installment number two this week is the first No Statik 7". Being that it's on Iron Lung Records, I assume it was posted on a bunch of blogs, but I'm not one to gamble on such things, so here it is. These two tracks comprise the prologue to the band's 12" that was soon after released on Prank Records; one is an exclusive-- the other is an edited version of "We All Die in the End." Members were previously in Look Back and Laugh, Destroy!, and Scrotum Grinder, so you should be able to anticipate the fury that awaits you...

Here.

New No Statik 7" is available here.

Pleasure Inflicted Suffering

This week, every post will be a random seven inch by a band I like, a couple of which have had other releases posted on this blog before. Most of the bands will be fairly obscure, like today's selection, "Human Ruins" by Running For Cover. The first time I experienced their LP, the term thinking-person's power violence came to mind. All of the cathartic punishment that keeps us coming back to this genre is present and accounted for on both of their releases; but the lyrics, which deal mainly with the meaninglessness of life, are tinged with existentialist musings, and on a couple there's even a bit of an Eastern element. PV songs about Kung Fu movies and enchiladas are fun and all, but it's kind of nice to see a band taking things a bit further.

Running For Cover - "Human Ruins" 7" (625 Thrashcore/Out of Limits, 2004)

Haldol

I'm forced to ignore many band submissions due to scarcity of free time, but I couldn't ignore Haldol. The first impression was that of a hazy deja vu-- not that I had heard it before, but that at some point I imagined a band with this sound; perhaps it was more of a hopeful premonition. Haldol is hardcore, certainly, but in between the fits of frantic riffs and raspy snarling, the band enters musical space evoking what I can only fathom to be the inner demonic cage match induced by the drug for which they are named. The jarring tempo changes could be a liberation from this, or the victory of those inner demons. Either way you look at it, the outcome for the listener is more like the majority of other drug experiences-- ups, downs, fatigue, cravings, and, finally, addiction.

According to Geoff, Haldol is engaging on a tour soon or now, so get in touch. The demo is available on a sliding scale for download at their bandcamp page, and will perhaps be released on cassette one day. Songwriting for an LP is in the works, so keep checking with them and over here for updates on that. For the next few days I'll have the demo available, as long as you send the band some dough as soon as you become hooked.

Haldol Demo

Once again... Bandcamp

Les Voix du Silence

This French series is hereby bookended with this post of odds and ends held loosely together by hardcore innovators, Ivich, and the force that was their music. The first link you see below is for a compilation, and what a monstrosity it is! I won't lie to you; much of "An Insult to Our Freedom" sounds like ass. Between the low volume and the bad demo/live quality of many of the tracks, digital sound files are the way to go on this one (skipping around being so much easier). As with all comps, it is only as worthy as the line-up, and with bands like Disaffect, Unhinged, Disrupt, Agathocles, Battle of Disarm, Active Minds, and a slew of others, you can probably guess why I'm posting it. Ivich contribute a raw and loose rendition of "Si J' Etais Libre," which would later be re-recorded for their split with E-150.
In the other link, you'll find three little gems, not least of which is Ivich's only 7". The always fabulous Fab sent me these tracks a while back, but I decided to rip my copy which I hunted down recently. As an early offering, the band is a bit less melancholic, but the raw emotion that would come to fruition on their LP glimmers noticeably below the surface.
The "Autonomie Volume 1" comp. makes me wish more comps were like it. With only four bands and four tracks, there's no room for turds or boredom. Ivich once again bring us an early version, this time of "Les Voix du Silence" from their 10". Alcatraz is arguably the weakest band, but their meandering and plodding screamo is interesting enough, especially with the random trumpet flurries (something I would expect from Ivich, actually). Headway and Coche Bomba finish it off, the first with a slow take on the Bremen style, and the last with their characteristic Larm-influenced grind attack. A little variety never hurts.
Finally, and for the hell of it, I'm tacking on this Vanilla/El Vidal Sonido split 7". As some of you know, some Ivich personnel formed Vanilla, and if you've heard the Ivich 10" and early Vanilla recordings, the confluence is easy to recognize. "The Ink" is a mid-period track, not fast like the early material-- not as indie rock as the later stuff. It is anguished and atmospheric, so if that's your mood, Vanilla deliver. El Vidal Sonido is a different animal, and a mysterious one. Reading the insert I got the impression that they were a little pretentious, but the goods are delivered in the form of some very well done indie rock instrumentalism, so I forgive the posturing. Atmosphere is the key word again with these guys, the gloomy kind, so maybe they aren't so different from Vanilla after all.

All Ivich Records:
Here and here... "Insult to Our Freedom..." here

"An Insult to Our Freedom" Comp LP

The Ivich 7", "Autonomie Vol. 1" Comp, & the Vanilla split

667- Sign of the Beast's Neighbor

Well, it was back to school for me for these past ten months, and man is it great to be done! The experience only reinforced one of the many ironies central to my life: that I am jaded and suspicious of institutionalized education, even as I continue my career in this very field. It's good to be back though, and I'll try not to neglect the blog so much in the future...

I still haven't gotten the Francophilia out of my system properly, so today we have another French band, Algolagnie, whose only full length was released in 2000 on the great Nabat label. French as they may have been, the music Algolagnie produced draws from the whole array of nineties (mostly) European hardcore, both the metallic and emotive varieties. At different intervals, they tickle a wide spectrum my own aural nostalgia of the preceding decade from bands as diverse as Undone, Lost World, Kimusawea, Grievance, Age, Spitboy, Farcical, Ivich, the list goes on. Regardless of the treble-heavy production, the tracks on the LP afford the band an honorable place alongside those listed above-- they are smart and challenging, without sacrificing the raw emotion and aggression prerequisite to our beloved genre. The French have a firm handle on this meshing of ugliness and beauty, and I can't help but think that the implications of this union stretch far beyond the music.

The Algolagnie LP (Nabat, 2000)

Kissing the Revolution of What We Are

The Finger Print discography is getting harder to find, so I did some digging. With a little window cleaner my old scratchy copy of the CD made for some good ripping. As far as my personal canon goes, Finger Print were one of the delectable treats that lured me into the rabbit hole of nineties hardcore. Things would never again be the same for me, and I rather like it that way. Claw your way through the tangle of FP's jack-hammering drums, metallic dissonance, winding melodies, and curdling screams, and you'll find four regular guys, hacking their own rambling and fugitive path to the same vague place you hope to one day end up too. Like many acts of the decade, their path went somewhere inward, exploring the place of the individual among the shape-shifting and ghoulish menagerie of the political realm. Whether or not they ever found what they were looking for, I cannot say, but this 19 track document suggests to me that the journey was well worth it. There's nary a single throw-away (other than the awfully recorded live tracks at the end), and unlike many hardcore discographies, I am always riveted by this one from beginning to end. Speaking of the end, the final three studio tracks revealed a slightly new direction for the band, smoothing the jagged metallic edges to more elegant contours. Members would continue in this direction in the band Jasemine, who sadly only released four songs.

Finger Print discography (@320 Kbps)

Q: Mankind? A: Dirt.

I won't get into all the reasons for this blog's dormancy; it's the usual case of taking on too much and having too little left to give by the end of the day. I'll slowly get the cogs moving again, and by the end of November, it should be back to clacking and clanking at its old pace. But what really matters is the music, so I'll continue on the therapeutic simplicity of the last post with a couple of splits by Connecticut's Mankind?. This short-lived peace punk/hardcore ensemble channeled all the best aspects of the 80's and 90's, albeit through only a handful of songs...

The first split represents arguably the best material from both bands present, the other being UK veterans, Dirt. Dirt's flickering presence throughout the 80's had exceptionally luminescent moments, but their brief return in the 90's was for me their most focused appearance. Maybe you'll enjoy their more raw material better, but the stylized direction of Deno's vocals just do it for me on this one.

While disappointing by comparison, Mankind?'s two offerings on their split with Final Warning are still solid efforts. The disappointment for me lies in the poor production and in the decision to not make Stacey the lead vocalist. Other than that, "Utopian Nightmare" is a more than passable contribution to American political hardcore, and their cover of "Electrodes" is a boiling, frothing brewpot of angst and loathing.

The original idea for this post was to gather a bunch of Final Warning tracks, including the Warning 7". Both Warning and Final Warning were New York-based bands featuring Neil, Nausea's original vocals-man. Mike of Twisted Tracks must have been eating the same thing this week or been tuned to the same frequency as me because he beat me to it. To complete your Final Warning collection, the track "Wasteland" on the split above is one of the finer examples of FW's post-Discharge bleakness, complete with Neil's burliest angry-sailor vocals. You can get FW's "Eyes of a Child" 7" here, some compilation tracks from both FW and Mankind? here, and FW's live LP here. In an interesting twist, on the LP Final Warning takes their stab at an "Electrodes" duet between Neil and Stacey (Mankind?).

Mankind?'s splits with Dirt and Final Warning

Powerless with a Guitar

When the clutter of life becomes so entangled as to become a hindrance to living it, I look to bands built on a framework of simplicity. The last month has been one of those times, and Disaffect has been one of the remedies. By now the band is infamous as part of the Scottish division of the more hardcore branch of peace punk produced in the late eighties/early nineties in parallel with Nausea, Disrupt and the like. "Powerless With A Guitar" is a posthumous live document that proves to me at least that Disaffect only gets more classic as the years pass. Side "Punk" is a superior recording of a set in Glasgow in '92, and side "As Fuck" is perhaps one of the band's last sets (1994), and was recorded in Dijon. The 23 tracks hereon make a great bookend to their studio discography, the main contents of which can be found on the resurrected Stay Female Fronted blog.

Disaffect - "Powerless With A Guitar" Live LP

Rock-Out Without Your Cop-Out

For your sake, I hope you already have Ebola's "Imprecation" 7", as it is quite the classic of nineties fast/grindcore. I thought I had convinced myself of the superiority of the band's more hardcore material, but hearing these nine tracks and their split with Servitude has me constantly swaying and reassessing. The band however, could always be counted on to pinch our self-righteous nerves with the forceps of their scathing honesty, and at times to slam our hypocritical ideals headlong into the meat grinder of their sour chords and unforgiving blast-beats. These musicians and people rank way up there in my personal cannon of UK hardcore, so as with the last post, the honor is all mine in presenting this to you...

The "Imprecation" 7" by Ebola (UK)

Studiocidal Transmissions from Planet Fascista

With this other oddball 7", we keep kindled the One by One fire with the waning hope that one day the former members will catch our signal and release the mythical discography CD. In the meantime, click the One by One label below for a bunch of their vinyl efforts, and the link below for the "Atrapad@s en el Fascista Planeta Tierra" 7". This one features a "studiocide" ("Silent Consent" and "Virtual Reality '93") and a "live evil" side ("The Monsters Almost Look Human Now," "Making Bacon," and "Nazi Raus"). Regardless of how you feel about live recordings, this is One by One, so it doesn't matter, but I do have to apologize for the abused condition of the vinyl being ripped here. By now you know the drill: One by One played passionate and unique political hardcore, members of which would go on to play in Ebola, Jinn, etc. Always a joy to hear, and an honor to post...

"Atrapad@s en el Fascista Planeta Tierra" 7" by One by One (Flat Earth & Victimas del Progresso- Crimines de Estado)

Calling the Waffle House Home

Mr. Nuclearpowergrind requested anything by pre-Assfactor 4 bands Unherd and Tonka. Mike at Twisted Tracks stepped up and posted the Unherd LP, and after some searching, I managed to track down some odds and ends. We start with the Tonka 7", a collection of four high-energy, youthful tracks bathed in DC post-hardcore, but hung to dry in a more southern clime. The cover design indicates either the band's affinity for early Jawbreaker, or a mere coincidental resemblance to a certain album of theirs. Tonka wasn't as fast or hardcore as Assfactor, but they nailed this style damn well, as did Unherd.
Both bands contribute solid offerings on the "Stupid by the Grace of God" comp, which showcases four South Carolina bands. In addition to Tonka and Unherd, we're "treated" to some syrupy pop-punk by way of Toast, and a helping of "cereal-core" compliments of Bedlam Hour. I thought "Frankenberry Mosh" might be a silly fluke in their discography, but the photo on the back depicts one member wearing a Cheerios box on his head. Good thing this never became a trend.
Finally we arrive at another Unite and Fight Records release, the "Please Stop" comp., relevant here for its two solid Tonka tracks, and curious for its inclusion of Orange County peace punkers, Media Children! Demise play decent old-school hardcore, but I'm not too fond of Officer Friendly's track.

Get all three records HERE

Hardliners is Hippies

Yet another badass compilation, the Homeless Benefit comp EP is an amazing and aggro glimpse at the end of the nineties-- excellent intentions and voraciously violent music. Read the band list below to understand why I had to post this even though The Pope did the honors years ago, then go to his blog while you listen and read his dressing-down of Jeanxseberg's naive lyrics.

Homeless Benefit EP

Starving The Starving

So maybe we won't be leaving Canada alone just yet. I got bitten by the summer bug since the last post and thus the delay; but in the meantime I secured a cheap copy of the Wisigoth/Jobbykrust split LP which I'm happy to share with you today. Wisigoth continue with their raw and ugly doom/crust/metal, and Jobbykrust compile some early demo material for 12 tracks of charged-up political hardcore done right. Both bands are so distinct, yet the pairing seems just perfect and both match each other in intensity and sincerity, making the 47 minutes of music seem all too short. Get more Jobbykrust music and info here, here, and here, and get the Wisigoth 7" here.

Wisigoth/Jobbykrust split LP (Funai Records)

Hybride

I'll go ahead and leave Canada alone for while, but not without first dropping a double regiment of Hybride. I can't find much information about these guys, but on the 10" depicted above, prepare yourself for a seriously fucked up guitar sound and some noise rock/sludge/hardcore that leaves me with the same sickened satisfaction as the Gasp demo or the Insuiciety 10". There's a looseness of structure and direction that the band would shed a bit on their...
...7" a year or two later. On this, their final (?), outing the band stripped their sound down almost to the bones and opted for a mean, almost unencumbered sludge-metal approach. They also kept only Mélanie on vocals, and in isolation she reminds me a lot of the Daymare singer (maybe it's just because her screams are high-pitched and in French). I can't pick a favorite between the two records as it really depends if you're in the mood for some psychedelic chaos or more measured heaviosity. Both are in the folder below.

Hybride 10" & 7" (Spineless and Bad Card Records respectively)

In the Wake of an Ethereal Nightmare

In collaboration with 15 Counts of Arson, Ire week comes to an early terminus. Head over there to download Ire's first LP and scroll down a little for the second and some early tracks. I predict some disagreement as to which of the band's releases showcases their best material; since I have the floor, I'll say that "What Seed, What Root?" is my favorite. It really is a matter of taste, but on "WSWR?" I love the way the band exchanged some of the emotive sentimentality and cold mathematics of their previous two phases for warmer, riff-centered song-writing, along with some crushingly repetitive, hypnotic sequences. The song lengths are a bit shorter than their first LP, but the entire project retains an expansive feel as each song flows into the next with a narrative fluidity. To allocate Ire to a genre at the end of their career is not easy, but they might have found a comfortable spot near Token Tantrum or Lost, yet I can see logically how some of the members would be involved in The Black Hand demo as their next project. For full enjoyment, play it loud, and play it when you're not too antsy or distracted.

"What Seed, What Root?" by Ire (Scorched Earth Policy Records, 1999)

Appreciating Darkness

Our exploration of Canada's contribution to nineties hardcore and metal continues with a fairly unique split LP between Seized and Ire. For most of its life on my turn table, I had only listened to the Seized side-- their sound being unlike anything else I was listening to at the time, yet the tracks were powerful and engaging. Perhaps I was seduced by each track's serene opening, each following an idyllic trail that slowly darkens into a forest of mysterious and sinister goings-on. To say that the tracks are bass-driven is a redundancy after we see in the notes that there are three bass players and no guitarist in the lineup. Seized also employed a violinist who knows her limitations and adds great ambiance, and a vocalist who might have listened to some Cathedral records at some point. If all of this sounds strange, it's because it is; but not in a bad way. Seized is a case where oddness enhances greatness. These would be the last tracks the band would record (and the best), but they also left behind two split 7"s and I believe a 7".
My avoidance of Ire would end with time and the inevitable opening-up of my musical tastes. I still have reservations over the "PC" spoken word portion at the end of "She," (not over its validity, but over its necessity/delivery) but now I just dismiss it as a product of the zeitgeist. At this point, the backbone of Ire's metal was ossified of the same stuff as Rorschach, but tending in the more "sentimental" direction (read: "EMOtive") of bands like Groundwork or Grievance. As the band worked out its ideas, it's easy to see that these guys were endowed with considerable skill and conviction which would continue...

... on their follow-up 7" also posted below. These three tracks see the band giving into their aggressive tendencies and abandoning some of the dissonant flourishes present in past tracks. As is perhaps predictable with musicians like these, the band would experiment a little more with their style on their ensuing two LPs, which I hope to post later this week.

Seized/Ire Split LP (Spineless/Fetus Records)

Ire 7" (Schema Records)

The Slaughter of Immortals

I was looking for more Wisigoth material in order to compliment this excellent 7" and offer a more extensive post. Unfortunately, this didn't happen before the urge to post it took over. Wisigoth was a Canadian band that sliced and trampled its way into the secret society of bands ruled over by Dystopia-- bands with a definite metal base, but with leanings toward crust, a DIY hardcore ethic, and tempos that earn them sludge honors. If you're into other French-Canadien metal/crust/grind/sludge, you either already dig these guys or will have no problem doing so. Since I'm on this whole kick of doing series, look out for more Canadian stuff this week.

Wisigoth- "Une Hécatombe Pour Les Immortels..." 7" (Spineless Records, 1997)