ANCIENT SHORES x CYNARAE

ANCIENT SHORES showcases their ability to defy genres on their six tracks, moving from slow dirges to moments of dirty punk n' roll. "SSDD" starts things off immediately with a mixture of catchy hooks and some great vocals. "Omen" follows up with a much more lengthy approach and a different tone. Opting for a slower and experimental sound that isn't confined to hardcore. Don't get me wrong, this isn't an ambient piece by any means and when "Omen" erupts just shy of the four-minute mark, ANCIENT SHORES brings the house down. Chris Colohan provides back-up vocals as well, adding another layer into their violent gestalt. The aspect I like is that his recognizable voice doesn't take over (Much like when he did the ROT IN HELL track a while back) yet it's definitely noticeable.

The next couple tracks ("Forget The Sinking Ships" and "Unapologetically") shows the band speed back up and pummel the listener. The vocals, especially on "Forget The Sinking Ships", sound utterly desperate and full of frustration. Combined with the frantic paced guitar playing, there's a level of chaos that it is very refreshing. Something that really stands out on this side of the split is how ANCIENT SHORES knows how to maintain energy. They know how to build up tension very well.

"Not On The Ground" - which is probably my favorite track on the split - shows the band play with noise, crafting it into an instrument for their own purposes. The screams that follow are beyond ominous (And certainly give Orion of ILSA a run for his money) and blood chilling. I also like the fact that the vocals aren't guttural or too harsh. For the most part the words are easily heard, which gives the track a much more interesting dynamic. Clocking in at four-minutes long, "Not On The Ground" has a varied sound that never grows repetitious.

Closing out ANCIENT SHORES' side of the split is "Destroyer" which sees the band reincorporate that rock n' roll swagger from the opening track. The only thing I wish on this track is that it was longer.

On the opposite side is Seattle's CYNARAE, who have a much more dense sound than ANCIENT SHORES. Admittedly I couldn't get into their self-titled record, but found their contributions here much better. "Bereft" attacks the listener without warning, pummeling them with brain-crushingly savage drumming and riffs. Following up is "Suicide Seeds" which despite its heaviness, contains an underlying groove a la SEVEN SISTERS OF SLEEP. Whilst the other side benefited from cleaner vocals, the deep and gruff style that CYNARAE uses adds in a level of anger and vitriol.

The track that really stands out to me on this side was "An Elegy." As the song progresses there's an interesting Scandi/Japanese crusty d-beat vibe that gels well with their more metalcore (In the vein of Unruh, Enewetak, and Morser) leanings. The ending however brings the mood down with a somber and mournful passage.

Continuing with that tone, CYNARAE's closer "Attrition" continues that melancholy drenched sound. Soft whispers replace the usual caustic shouts as the track builds and builds. The drums enter the picture and just when you think everything is going to unravel into a chaotic whirlwind, that moment never comes. There certainly is a transition into a much heavier sound, but that transition is gradual not sudden. However, I found that "Attrition" started losing steam and wasn't as engaging as the rest of their material.

Each band shows a definite progress in their sound from their previous records, especially in the case of ANCIENT SHORES. I'm really looking forward to their split with Mourner to see where they go with their sound. Whilst CYNARAE didn't blow me away on this recording, I did enjoy them in a live setting. Their music had a much more urgent and vicious sound that just didn't translate on the split (Except for perhaps "Suicide Seeds").

Like all A389 releases, this is available on the label's bandcamp page in both stream and digital form. If you want a hard copy, this is still up in the web-store.

IRON REAGAN - WORSE THAN DEAD

Coming in at nineteen tracks, IRON REAGAN's Worse Than Dead is a thrashy treat. With tracks rarely reaching a minute and a half, the record is over before you know it. In that time, IRON REAGAN tackles subjects such as corruption and society in a fast and pissed off fashion - with some great solos and mosh parts thrown in for good measure.

It took a few listens for Worse Than Dead to finally click. Something just didn't grab me until one day when I had iTunes on shuffle and "I Ripped That Testament A New Asshole" came on. While being an instrumental track, I found myself nodding my head and really digging the beat so I went back and revisited the album. After that I couldn't get enough. Combining 80's cross-over thrash a la D.R.I. and CRO-MAGS with a distinct, powerful no-bullshit political edge Worse Than Dead is a force to be reckoned with. As many other reviewers have noted, hearing more serious lyrics from singer Tony Foresta is refreshing. The blunt lyrics remind me of another A389 band, PICK YOUR SIDE (As does some of the music for that matter).

"Drop The Gun" starts the album, wasting no time in launching a furious and rabid assault. There's no respite in sight. There's no overly long track to kill momentum. In their violent whirlwind, IRON REAGAN manages to be really catchy (Especially in tracks like "Cycle Of Violence") with some really well done hooks. Despite a few casual listens to the demo, I was curious if they could keep up the intensity on a proper full-length; I'm glad to say that not only did they maintain that energy, Worse Than Dead is a record so good that I've found myself putting it on repeat. As the album starts wrapping up there's even an appearance by Tomas Lindberg, who provides guest vocals on the track "Snake Chopper."

If you're a fan of MUNICIPAL WASTE, REPROACH, and thrash in general, IRON REAGAN won't disappoint. While not exactly party music, they still bring energy and a perfected pissed-off attitude to the table. Worse Than Dead will make you want to head-bang yourself into a coma. It's that good.

With a release date in late March, you can pre-order a copy over at the A389 web-store. And if you have the ability, IRON REAGAN is currently on tour and I highly suggest checking them out.

IRON REAGAN TOUR

Tues. 2/26 Montclaire Nj @The Meatlocker w/ 96, Ides
Weds. 2/27 Baltimore @Golden West Café w/ War on Women, WarxGames
Sat 3/2 Chesapeake Va @Rogers Sports Pub w/ Black Tusk, U.S. Brass, Occultist
Fri 3/8 Frederick, Md @Club 611 w/ Cro Mags, Ringworm
Sat 3/9 Richmond Va @Strange Matter w/ Hot Graves, Occultist, Humungus

BAPTISTS - BUSHCRAFT

About 95% of the time, promo emails are a waste of time but every now and then you'll find something truly remarkable. In this case it was BAPTISTS' debut full-length Bushcraft, one of the newest releases on the always dependable Southern Lord. Hailing from Vancouver, BAPTISTS create a sound that lazily described sounds like a hybrid between CURSED and CONVERGE. I say lazily because in the span of the eleven tracks on Bushcraft, the band weaves together a very interesting sound that at times is chaotically beautiful. Whilst Kurt Ballou had a hand in the recording - and the album does have that God City sound - this isn't an imitation of those aforementioned bands.

"Betterment" starts off the record with a thirty plus second build-up until finally exploding into a frantic frenzy around the minute-a-half mark. The pace doesn't let up, leading into "Think Tank Breed" which is a juggernaut of a track. The combination of urgent vocals, riffs, and some lightning quick drumming creates a highly memorable track. The drumming is something that really stands out throughout Bushcraft. There's never a moment where they feel flat or muted. BAPTISTS maintain this ferocity for the majority of the album and then they give us "Soiled Roots," which slows things down. The repetitious groove becomes hypnotic (And how filthy does that bass sound? Goddamn) as the vocals truly stand out. "Soiled Roots" is different than many of the previous tracks, but it doesn't sound out of place. Much to the opposite, actually. It helps take sounds explored in songs like "Mortar Head" and "Bushcraft" and expand upon them to create a fluid album instead of a bunch of singles.

The guitar work really shines on Bushcraft, going from frantic and chaotic to more slowed down jams. It has a great sound that is super clear production wise without being too clean. Same with the drumming. The variations and overall power found in the opening track is amazing. The one knock I had on the album was that the vocals started blending together by the time "Abandon" started. That being said, even that doesn't have a major negative effect.

While I'd be lying if I said the band's influences weren't evident, at the end of the day BAPTISTS take them and add in their own flavor for a refreshing - albeit malevolent - record. Now I just have to track down a copy of their first EP.

You can pick this up over at Southern Lord right now as well as stream the complete album over at exclaim.ca .

PICK YOUR SIDE - SNAKES & LADDERS

This record originally came out in October 2012 while the band was in the midst of their first European tour, but I wanted to wait until I finally had the actual vinyl before giving it a proper review since digital files don't do the music justice.

Snakes & Ladders starts off with "Thru Veins", building until finally Jeff's signature vocals take over. As the listener is being bludgeoned, something that really stands out is the drumming. It grows more breakneck paced as the track progresses, but never does it seem overwhelming. "Bleeding Out" reminds me of LEFT FOR DEAD, combining the right amount of metal and hardcore. The lyrics paint a bleak and unforgiving picture. There's no poetry, but sheer frustration that's in your face - for example "Picture your life as a knife fight and you just got stabbed in the guts."

"This Is Not A Test" takes a hold of the listener and doesn't let go for the full eighty seconds. Tackling the subject of annihilation - like they did on Let Me Show You How Democracy Works - again the lyrics stand out. Coupled with the savage speed, "This Is Not A Test" is relentless. "Throne Of Privilege" deals with another subject often found in PYS (And HAYMAKER for that matter), the poor and the rich. PYS tackles the subject without coming off as preachy, but completely pissed off.

"But Wait!!!" has a much slower feel with an almost sludgy feel (Bringing to mind "Ham Sandwich" off the debut LP). The vocals are tortured, adding an interesting dynamic into the music. Whilst it doesn't reinvent the genre, "But Wait!!!" is a track that surprised me on first listen. That being said, the track that follows definitely was the biggest surprise.

Usually when you see a cover song, it's something stylistically similar. PYS switches things up and goes in the opposite direction choosing Neil Young. "Don't Cry" is seven-minutes of repetitious slow grind and thematically ties very well with the previous track "But Wait!!!" Needless to say it's a very interesting choice and shows that whilst their bread and butter may be hardcore, PICK YOUR SIDE isn't afraid to step outside the box and show us something strange.

The final track comes in the form of "Snakes And Ladders", which was originally on a compilation put out by Schizophrenic Records. Bringing back the speed from the earlier tracks, "Snakes And Ladders" is a ripper. This is a bonus track on the accompanying flexi, which was a very cool idea.

PICK YOUR SIDE has a handful of records in the works including splits with BLIND TO FAITH(!!!) and TO THE POINT as well as possibly working on a follow up to last year's full-length. Favorite band is something that gets tossed around too often, but without a doubt PICK YOUR SIDE is without a doubt one of my favorite bands going and I cannot wait for new material.

Snakes & Ladders is still available from RSR and if you live in the States, A389 did have copies left over from the weekend bash. PICK YOUR SIDE also has the record up on their bandcamp page if you'd like to listen to it before purchasing.

Bandcamp
RSR
A389 (Sold Out)

SEVEN SISTERS OF SLEEP - OPIUM MORALS

While the word heavy is used to describe a host of bands, I feel that it truly is the best word to try and discuss California’s SEVEN SISTERS OF SLEEP. Their thunderous blend of sludgy hardcore and never-ending riffs are on full display during tracks like “Ghost Plains” and “Sunday Mass Graves.” Opium Morals is a vicious ten-track full-length, one that sees SSOS utilize a melting pot of genres all while keeping the urgent speed and ferocity that made their previous material so interesting.

The aforementioned “Ghost Plains” kicks the album off right with a blood curdling build-up and then an onslaught of brusque vocals and deafening drums. There’s no respite for the next thirty plus minutes. The riffs are a work of beauty that will make you just want to quite simply thrash. Everything gels together to create this cohesive beast and before you know it the album transitions into the second track, “Moths.” Despite a calmer opening, there is an ominous feel that dominates the start. You’re almost just waiting for the pace to pick up and when it does nearly two minutes in, SSOS delivers.

Without wanting to completely spoil the album, “Grindstone” is an absolute ripper of a track that harkens back to the band’s early work - a short and crippling sludgy masterpiece - as is “Orphans.” While the style may have evolved, SSOS still knows how to put together a good fast song.

One aspect I enjoyed - aside from the constant barrage of riffs - was the continuation of varying vocals. Back on the band’s self-titled EP (2011), they introduced a more guttural style - a la THE ARM AND SWORD OF A BASTARD GOD - and once again they use it to great effect on Opium Morals. It doesn’t come off as unneeded or even out of place, but fits the accompanying music perfectly. It’s much like with label mates ILSA where the vocals are integral in the band’s sound (And also just one reason why I cannot wait for that split to come out in April).

There’s always an underlying groove (“White Braid” especially) that gives SSOS a distinct sound, much like EYEHATEGOD. The important thing is that while the band’s influences may be clear, the music isn’t a copy of Take As Needed For Pain or Dopesick. As comparisons to previous releases always happen, I would say that Opium Morals sees SSOS progress in a more exploratory direction than the more simple bludgeoning on their first 12” (2010) or the sludgy violence that decimated listeners on the CHILDREN OF GOD split. If you liked those releases, chances are that you will love this record.

Scheduled for a late March release, Opium Morals showcases why SEVEN SISTERS OF SLEEP are one of the most exciting bands around.

GEHENNA - NEGOTIUM PERAMBULANS IN TENEBRIS

Despite being released thirteen years ago, Negotium Perambulans In Tenebris is an album that sounds timeless. Recently A389 Records have re-issued a deluxe - and remastered - version that features a more menacing sound and the original artwork. The noticeable change comes in the form of switching out the “Bite It You Scum” cover with a ripping rendition of “Yes Ma’am.”

Gehenna’s debut full-length saw the band shift from lengthy tracks like “83%” and “Cave In” in favor of barbaric thrash that barely saw song lengths past two minutes. Negotium Perambulans In Tenebris also introduced some of their most memorable material and staples of live performances such as “Crush Opposition”, “First Blood”, and “One Way To Die.”

Brad Boatright - Audiosiege and guitarist for From Ashes Rise - did a great job in the remastering stage. The aggression and vitriol isn’t lost but enhanced ten-fold to create something much more meaner and vicious. Mike’s vocals jump out of the record like a howling, blood-lusting demon; the guitars sound filthy in all the right ways and the drums are deafening. All together an unforgettable crescendo of annihilation, misanthropy, and sheer violence is forged.

This deluxe reissue also features the original artwork instead of the plain black cover the Crawlspace press had. The Army Of The Seven Crowns is shown in its full glory, covered in fallout ash, against a dark background and blood-red banners. Themes explored in the thirteen tracks such as pestilence, the 7 Crowns, and warfare are prominently displayed, perfectly complimenting the music.

Gehenna is the sound of endless warfare.There are no frills or bullshit when it comes to the music. Every moment is raw, calculated, and most of all malevolent. While many bands try to be 'evil' and 'brutal', very few come off as genuine. Gehenna is one of those few.

Be on the look-out for DEATHCAMPOFTHESKULL, the band’s third full-length, which be out later this year on A389 Records.