May I infest you, sir?

This falls with ease in the bizarre one section. Traumatico Desmame is a three piece from Portugal, described as sludge noise. This tape is a 44 minutes outburst made of wild stream of consciousness and rapid firing loose nut attitude. The cover art featuring a man paying homage with a fedora in his hand gets you sidetracked and adds powder to the brain-melting cauldron. The music can be split up in two separate moments. Slow, heavy and dirging sludge parts and total fucked up shitnoise sections. The delirium and craziness always fit well when slow music and this makes no exception. Hades Mining Co. mixed up with Kilslug is a good recipe, but Black Mayonnaise having sexual intercourse with Vomir is even better. Throw in some vocalize hatred and totally over the top mindlessness a-la Pile Of Eggs and the tape is ready. The overall feeling is simple : UNEASE. There’s a costant feeling of being watched and an unsettling pranoid vibe. This reminds me the Viel Giraffe tape with the girl creeping at your inner self from the cover. A hidden gem for sure and something that can really fit a lot of collections.

DISTORTIO “Sotaa”

One of the great modern age landmarks is the relatively easy access to everything, including lost or forgotten recordings. Sometimes these findings are just for the hype and, once the mysteryous aura is dissolved, it’s pretty easy to understand why some stuff wasn’t published before, BUT, there surely are a lot of hidden treasures buried by time and dust. This tape is one of those, hands down. It’s been released by the amazing Finnish Hardcore and consists of a rehearsal recording on side A (from 1994) and a live session on side B (from 1995) by the really obscure band Distortio. Prior to this release there was no testimony of the band and even Discogs does not carry evidence of its existence. These two sessions capture the band in a pretty intense shape, delivering a great blend of classic raging Finnish hardcore of the 90’s (think abut Katastrofialue, Wind Of Pain and a not so fast version of Uutuus) and d-beat crust (I get some State Of Fear and Consume here, as anachrostic it would sound). The harsh, coarse vocals are a absolutely great and put everything in a Disrupt/Extreme Noise Terror realm that really enhanches everything. The studio stuff is great and even if it’s very raw and brutal comes out really crisp and with a sharp, cutting sound. The live side is a bit sloppier and noisier, with an AMAZING bass sound that reminds the guitars from Underage or “Perdition” era Disorder. I really like when this kind of music gets thick and crunchy and Distortio really caught the spirit of it. I don’t usually talk a lot about this kind of music here, but hey, it’s noisy, distorted and hard-hitting, so, check it out!

Doom and delirium

Isn’t it great when you find something really obscure? I’m a big fan of Spanish hardcore, I consider it one of the best expressions of the genre in its European emanation, along with the Italian, Swedish and Finnish ones. I had my fair slice of it, from the big ones like H.H.H. or Eskorbuto, to the lesser known acts, but Delirium Tremens really eluded me. These guys were from the Basque country, sharing ground with legends like Eskorbuto, R.I.P. and Kortatu. The main difference with those bands is that Delirium Tremens are way more on the ultra-hardcore side of things, often leaning to the almost-noise approach, feeling they achieved mixing a very raw recording with a rabid execution. Eleven tracks of pure fierce old school hardcore, easy to but beside Kuolema, early Wrecthed, Kangrena or Ruido De Rabia. This was a great surprise and a little but really really satisfying tile in the wide and always interesting mosaic that is the Spanish scene as a whole. The main drag is that Delirium Tremens seems like a ghost band. This is their only record, originally released in 1984 as a tape called “Que se vajan ya!!!”. No compilation tracks, no other demos, no live recordings, nothing. I’m very curious to discover if these guys went on in some other forms or playing in other bands, because this record really RIPS. There’s an absolutely non-expensive limited edition on green vinyl with obi strip, otherwise the regular black one (which I own) is super cheap and easy to find, a classic amazing bargain.

Knock knock

So, here we are, ready for another imminent lockdown. As for now we can all agree that 2020 has been a pretty unique year, but somehow I find it inspiring. The lack of concerts does not only means missing concerts I would like to go, but also losing all those that usually happens when you’re having a drink a in a pub. And, damn, I hated those. So, excluding the radio at work, I’ve been the sole manager of what my ears are listening during the last weeks and that’s a pretty good thing. With more time in my hands I started to go back to a lot of classic records (mainly old death metal) that I somewhat overlooked or simply got chunked in other stuff. I think that I’m growing older, since my taste sticks more to what it used to be than what everything is now. The only exception is hardcore, in which I still find a lot of new bands that I like. There will probably be some more posts in the following days, since winter nights stuck at home are long and dull. Take care.

A knife under the bed makes you think about your past mistakes

For the last decade I had a sort of unspeakable repulsion for Italian records. Probably some personal issues led to a gossip driven disaffection that compromised my disposition to enjoy a record out of Italy. Things went out quite well but there was something that I missed. Anyway, life goes on even if you deliberately put in the ignore session a whole country. The absolutely rotting non-extreme scene of my country made my will to be excluded even stronger, mostly for an over exposure of stinky songwriters and fake fashion-driven bands playing in my little boring city. Of course I stuck with the classics, Cripple Bastards, 80’s / 90’s hardcore and some bands were not included in my embargo. But once you enjoyed something, sooner or later it comes back. I have to say sorry to my best friend who tried to make me enjoy some bands, but I think sometimes you have to find out things by yourself. At first I got into the local noise / P.E. ring and it started to grow on me. So much great projects around me I wasn’t even aware of. Then I had a dinner with some very good friends of mine during the last fall and something snapped in my mind. My best friend has always been my musical companion and a great partner in exchanging music, but I got overwhelmed by a monolithic lack of taste and, mostly, will to find new sounds by those around me. I felt stuck. After that dinner with similar souls I kinda opened my mind while narrowing my approach. I stopped suggesting things to those who were clearly not interested in experimenting, I stopped feeling compelled to appreciate or give a good word about everything. If it sucks, it sucks. And stopped being influenced by some people’s beahviour or some gossip I don’t even give a fuck about. That really unlocked the Italian bands. One of the first band I decided to give a real good first listen was Hate & Merda. The two albums were great and I immediately got my hands on them but I got punished by my lack of attention and missed all the very cool limited editions of the then freshly released new EP. For my luck, sometimes fate works in favor of those who admit their mistakes and it got repressed on CD in December. My epiphany marked my return to attend live shows out of my city (promptly interrupted by COVID-19, of course) and at my first night out in Turin after a long time I took that CD with me as a return trip soundtrack.

“Un coltello sotto il letto divide il dolore in due” is housed in a pretty little digipack and features two songs. The title track (which translates to “A knife under the bed cuts pain in half”) and “Tutti i diavoli muoiono soli” (“All devils die alone”). The former is a classic Hate & Merda song. Everything is perfectly mounted over a series of addicting riffs that stick in your mind in an istant, pounding drums and desperate vocal approach that is not really dirty or growling, is like a clean, organic bark of despair. I think that their music falls something between sludgecore, post-something and a bit of drone here and there. Is just like forcing the heaviest incarnation of Integrity obsessively playing Hard To Swallow in a dark basement with a photo hangin on the wall featuring Pasolini putting a Gummo DVD in his player. Sounds weird but, well, try to figure it out. The second track is more into a low noise / ambient / droning vein, really setting the mood as the coda of the title track which is the main treat of this EP, hands down. It’s a really cathartic record, something that even if it’s quite predictable for those familiar with the band really stands out like a drop of blood in white milk. I got the chance to see them live years ago, but I was in full rejection and I don’t even remember how they played. The lesson here is simple. It’s absolutely wrong that you HAVE TO appreciate everything that comes out of your country, that’s pathetic. But it’s also pathetic to despise everything that comes out of your country. Don’t be stupid, listen, try to enjoy and than decide. This sounds obvious, but my story says it’s not.

Back to the roots, a lifetime special

As the world struggles to fight the pandemia, most of us are isolated in their houses. As for me this is the fifteenth day in and since the first moment I thought that this would be a great chance to look back on my life and start working on my spirit and my mindset. Nothing comes easy, but pumping up our spirit muscles is something we can’t always do and even if this situation is a worldwide tank full of shit, it’s worthy to swim in it to find some rusty diamonds at the bottom. As all record nerds I’ve browsed through my collection, sorted it, cleaned it and did all those antiques that make us such a weird kind of animals. I wanted to write something about new releases but, before that, I came out with the idea of drawing a line. A line between yesterday and today and in these situations a recap is always a good idea. So here they are. My mind-defining records. They are not in a particular number and this is gonna be very long, but all these releases shaped my spirit in a strong and powerful way. This is not a list of my favorite records. This is a list of records that originated something in me. The seeds of my intricated forest of tastes. Of course not all of them are extreme music ones, but I know for sure that everybody can forgive me about that. So, well, let’s start.

CRIPPLE BASTARDS “Misantropo a senso unico”

This is quite a predictable one. They are from Asti and I’m from Asti and this album is something you fell being born with. I’ve stumbled upon this record ages ago and, since then, it’s my GPS in a lot of situations in life. The powerful feelings that ooze from its grooves are all in the realm of negativity and anger. The city itself is a strong presence throughout the whole album, like a terrible hex you can’t dispel. And it’s not a made up feeling at all. I fleed from Asti many years ago, without being capable of cutting the chord from it and eventually winded back up here again. “Misantropo a senso unico” is a desperate cry against a condition you can’t change. Asti is just like our existence, something you can’t run away from, but just learn to live with it.

MAYHEM “Deathcrush”

Since the first pound of drums of “Silvester anfang” I knew this was going to be something different. As a kid I’ve listened to some black metal around and was expecting the classic tremolo guitars and the whole set of cliches from the genre. The barbaric, raw, chainsaw sounding music of “Deathcrush” punched me in the face like a cinder block. When the title song kicks in is a festival of exhalted feelings. Many years passed and I can’t stop a happy grin to pup up on my face and the urge to air drum all the passages of it. Even if “Reign in blood” is always “Reign in blood” and I can listen to it for days without getting tired of it, “Deathcrush” was the real trigger for all the extreme to me….

SODOM “Persecution mania”

The local record shop owner forced me to buy this record when I was just a kid. “Nuclear winter” was an epiphany. What was that? The German accent of Tom Angelripper sounded so weird yet so great. This has an unique charm in it, a killer song after another. I’ve always considered this the bridge between the proto-black early days of the band and the more classic Teutonic thrash future records, with all the Motorhead love of the trio channeled into it. The wide range of styles here perfectly fits and it’s a pinnacle for the band and for all the German thrash.

THE GRINDCORE BIG 4

Repulsion, Napalm Death, Terrorizer and Carcass. I’ve bought “Horrified”, “Scum”, “World downfall” and “Reek of putrefaction” in the same month. They are all like a gigantic single album for me. Nothing compares to the early days of those bands. Nothing. And nothing was the same after those 4 records for me. The brutality, speed, alienation. Being the sheer aggression of Repulsion, the punk-drenched violence of Napalm Death, the droning riffs of Terrorizer or the sensation of morbidity of early Carcass, all those bands planted their tents in my heart and never left.

BRUCE SPRINGSTEEN “Born to run”

As the love for extreme went on, I did not forget the love for genuinely pompous and heartfelt rock. I never loved the lysergic turn of the 60s and 70s and mainly focused on the classic working class heartland rock of Tom Petty, Jackson Browne and, of course, The Boss. “Born to run” features my longtime favorite song of all times, “Thunder road”, plus “Born to run” and “Jungleland”, my favorite songs to sing at a bar counter with a glass of whiskey in my hand and a torn in my heart. Perfectly written songs, played by one of the best masters of the game.

CRYPTIC SLAUGHTER “Convicted”

Who know how many times I’ve played this record? From the start to the end there’s no time to catch a breath, a real speedfest of young angst and rabid ferocity. Having the chance to know Les and Scotty is absolutely one of the most important things in my life and there is NO WAY someone’s gonna beat the drum intro of “Lowlife”. Saw Scotty playing with Wehrmacht at OEF some years ago and when that drum pattern kicked in I was emotionally on the verge of breaking down.

NEGAZIONE “Lo spirito continua”

Italian hardcore is absolutely one of the best scenes in hardcore history. Torino hardcore was hands down the best scene in Italy and Negazione were probably the best band in the best local scene in one of the best scenes worldwide. This is a strong curriculum and “Lo spirito continua” is one of those records you just can’t make slip away. Heartfelt, powerful, strong, unique, emotional. I think it’s really hard to find such an awesomely crafted hardcore record with lyrics so strong and that goes straight to the heart. There’s a before and an after “Lo spirito continua”.

MEAT LOAF “Bat out of Hell”

I was like, 12 years old. Quite chubby and with growing hair. One of my father’s friends told me “Hey, I’ll make you a tape of a chubby singer with long hair!”. That tape was “Bat out of Hell” by Meat Loaf. Epic, powerful, sassy. This is hands down one of my top 10 favorite records EVER. Each song here is a true masterpiece, a hymn to drive-in movies love and Cadillac-driving heartbreakers. The idea of going through Hell on a motorcycle for love perfectly sums up the whole album.

EYEHATEGOD “Dopesick”

Even if probably my favorite one is “Take as needed for pain”, “Dopesick” is what really triggered me. The bleak heavyness of it, the mind-numbing songwriting and the lurking sensation of sickness and drug-induced paranoia makes this record what you need during hard times. These songs were what I had in mind the first of the many times I saw them live. That night, by the way, they were AWESOME.

RUPTURE “Lust and hate”

As for EHG, probably my favorite one from Rupture is not this but “Sex, drugs and Rupture”, but “Lust and hate” was my introduction to them and this is also one of their fastest and most aggressive albums to date. The anti P.C. approach, the snotty punch to conformity, everything is a roller coaster ride to Hell, you filthy punk!

ATARI TEENAGE RIOT “Delete yourself”

Got this one from an used record shop ages ago, after a review of “Redefine the enemy” in which I didn’t understand what kind of music they were playing. At first I was disappointed reading from the booklet that they were in fact an electronic combo, but as soon as “Start the riot!” hit my eardrums, all my bad feelings disappeared. A corner block of my love for hard sounds.

7 MINUTES OF NAUSEA / ANAL CUNT “We’ll just have to acclimatize ourselves to the post-nuclear area”

Here it is, the blueprint of my love for noisecore. 7MON just shaped my passion for blurring, pounding noisecore, while Anal Cunt is so aggressive on this record that put to shame a lot of people that think they were just a funny band. Nothing to laugh on this record, absolutely nothing.

ROCKY VOTOLATO “Suicide medicine”

Some records pop up in the right moment of your life and this is one of those. When everything I created became a trainwreck, Rocky appeared. This is one of my all times favorite records and a real adventure into deep, cutting feelings. With just his voice and an acoustic guitar, Rocky managed to enter in my life like few ever did. A punch in the face that makes you feel better.

THE GET UP KIDS “Something to write home about”

As Rocky, this one got me when I was down. From the first time I saw the “Action & action” video everything in my life needed to include the Kids. I started catching up on their whole discography and they added a layer over everything I listened since then. Matt Pryor still holds as one of my all-time heroes.

DEATH SIDE “Wasted dream”

I gues this is one of those record you just HAVE to love. The general feeling that Japanese have a different pace on hardcore for me came from this. Along with Bastards’s “Wind of pain” and the early efforts of Nightmare and Warhead, this is one of those outputs that made me sure that catching something labelled as Japanese hardcore is never wrong. Top notch riffing, incredible vocals and THOSE SOLOS, WOAH.

CATHEDRAL “Endtyme”

When I was very young I used to borrow and lend records with a friend of mine. Among those that he gave to me, there was “Endtyme” by Cathedral. Back then I didn’t know that Lee Dorrian used to sing in Napalm Death and when I discovered it, Cathedral even grew in my heart. The love for groove, great riffing and ability to create deep atmospheres was born here, amongst “Alchemist of sorrow” and my favorite, “Sea serpent”.

RATOS DE PORAO “Brasil”

When Ratos De Porao are in a festival line-up, you already know who’s gonna be the best band of the festival. I LOVE them. They were the first band I saw at a real gig, the one I’ve collected since my day one of collecting and I’m proud to call them friends. “Amazonia nunca mais”, “Plano furado II”, “AIDS, pop, regressao”, “Beber até morrer”, “Porcos sanguinarios”. Every song is a hit on this.

LAGWAGON “Let’s talk about feelings”

For me punk rock equals to Fat Wreck. And the Fat Wreck sound for me equals to Lagwagon’s “Let’s talk about feelings”. One hit after another, perfect songwriting, perfect lyrics and the godlike voice of Joey Cape as the icing on the cake. I can sing every note of this from the beginning to the end without even blinking. All my obsession for No Use For A Name, NOFX, Less Than Jake, Millencolin and many others comes from this single album. But this album came from another passion of mine, which is :

DESCENDENTS “Everything sucks”

Here it is, my favorite punk rock record of all time. Even if as a whole I prefer ALL (mainly thanks to Chad Price), Descendents made the perfect one. Loser-friendly, angry nerd punk rock with ABOVE PERFECT music and lyrics that can hit the right spot EVERY. SINGLE. TIME. This is what punk rock is all about, for me. Politics and social issues are important, of course, but since everything comes from within us, this record talks about what goes on inside us, before what’s going on outside. Top notch stuff.

SPAZZ “Crush, kill, destroy”

The last band’s record is the best one? For me, yes. “Crush, kill, destroy” is not what the title suggest, because the constant funny feeling typical of Spazz is probably at full throttle here, making this one the comedy gold assault of a band that never failed in delivering the goods. “Let’s fucking go” is just what powerviolence should be all about, and you know it.

LATTERMAN “No matter where we go…!”

The record that spearheaded my renewed love for punk rock and made me explore the underground for new stuff is hands down this banger from Latterman. The somehow amateurish (well it was an amatorial one…) vibe of it makes this record even better. My deep, deep, deep love for RVIVR, Iron chic, Spraynard, Joyce Manor, Mixtapes and dozens of other bands comes straight from here.

DYSTOPIA “Human=garbage”

“Stress builds character” alone defines everything. Whenever I felt frustrated, weak, beaten up, this song was the perfect soundtrack. A real lifestyle, period.

Cyjan, an eulogy.

My first approach with Dead Infection was -ironically- with them covering “Total dismemberment of a female corpse” by Regurgitate on the OEF compilation. It was 2003. That year I started digging in the underground and Dead Infection was hands down one of the main names of my trip. I bought the “The lethal collection” CD and I still remember the feeling that I had unpacking it on the bus on my way back home. I was used to ultra-professional band photos and the mosaic of them playing live in the picture of the tray card was so different that stuck in my mind forever. Nothing special, of course, just the feeling of listening to someone you could hit up for a beer or two without problems. I didn’t know it back then, but that was my first taste in what underground music really means. During the years I started to get a lot of their releases and it probably sounds too predictable, but “A chapter of accidents” really stood out, as a perfect diamond among amazing jewels. I really loved all the incarnations of the band, even if I started to feel they were getting lame in choosing concepts in the later part of their career. I never got the chance to see Dead Infection live and it really hurts me, but I think that life goes like this. Before starting this blog I used to write for an Italian webzine and I interviewed Cyjan. It was amazing having the chance to chat with someone that I felt like an old friend. Dead Infection MUST be considered in the top tier of great goregrind bands and I hope that this terrible loss gives the chance to a lot of us to spin some of their amazing records one more time. See you on the other side, Cyjan.

Three small records with great music. 90’s TOHC special.

I’m deeply tied with the 90’s Turin hardcore scene and it’s hands down one of my favorite bunch of bands/records/situations. This is just a small selection, my three favorite EP’s released by a bunch of guys in a city that struggled with drugs, industrial domination and trends. This is something I really love.

CRUNCH “Ran-core” 7″ (1994)

(Self-released)

The first scream of this record is the perfect embodiment of a whole movement. The furious years were gone, but they stood like an elephant in the room, a really heavy heritage to deal with, a constant source of comparison, even if the 90’s were a totally different story. “Ran-core” by Crunch is a manifesto of a new generation of bands that took the torch of a decayed scene and created a whole new one over the ashes of the previous one. Fast, aggressive, a somewhat melodic version of D.R.I., this is pure fastcore that should have been on labels like 625 or Sound Pollution. A stellar rhytmn section keeps everything on an incredible level of tension and the guitar work is sharp and on point. Vocals are great and the lyrics are absolutely amazing. The first song, “Subito” says “Voglio il mio destino / concentrato in un istante / Tutto subito, tutto ora.” (I want my destiny condensed into a moment, everything, now) and perfectly describes the whole record.

ARTURO “Topo volante” 7″ (1998)

(Co-production between Arturo and E.U.91 Produzioni)

Arturo was a weird creature. Born as a VERY melodic punk hardcore band they exploded with two EP’s (“Isterico” and “Topo volante”) delivering some of the most blistering fast and scorching hardcore in the city, then changed singer and focused on a more experimental approach, kinda finding a match with Gigio’s (Church Of Violence) way of singing. “Topo volante” is my favorite record of their first incarnation and I’m deeply tied with this little slab of vinyl, being one of the very first that I ever bought. The main feature of the band has always been the bass sound, the whole band is on fire, with a top notch technical approach and super-funny songs. Two of them (Stefano, bass and Paolo, drums) were in Cripple Bastards for a short period of time and Giulio The Bastard even makes guest vocals on a song. This has to be in every hardcore collection, because it’ss as well played as it’s enjoyable. A real treasure.

DISTRUZIONE vs CHURCH OF VIOLENCE split double 7″ (1997)

(Smartz Records / Mida Recortz / Sborra Records / Vinyl Crew)

The first song of this double 7″ set is “Blatera” by Distruzione and it should be enough to put this release at the top of its game. Not to be confused with the metalheads from Parma, Distruzione were from the outskirts of Turin and released only a demo, this split and a split tour tape with Belli Cosi. Melodic yet bleak, aggressive hardcore in the classic TOHC style, strongly influenced by the late years of Negazione (there’s a “Little dreamer” hint here and there). Their whole contribution is solid, but “Blatera” is the real highlight here, so good that it got quoted by Belli Cosi in “Millennio”, on their masterpiece “Torino Rock’n’Roll starz”. A very rare example of an underground band paying homage to another contemporay underground band. Church Of Violence are totally in their dub/reggae phase here and, after “The Hertzie prophets” and “Prophets meet the bongo”, this is their last output before breaking up. I’m not much into reggae (in fact, i quite can’t stand it), but C.O.V. always managed to make me love their fusion. Their songs are funny, addicting and the fact that they’re alternating with the Distruzione ones makes everything more enjoyable. This is a funny ride and an absolute hidden gem that must be discovered.

Decomposing party with longtime friends

VOMI NOIR “Les myasmes de la deliquescence”

Almost twenty years ago my journey into the realm of extreme music started. I was just a kid back then and tried to figure out by myself (small village, no big brothers…) the map of the vast kingdom of the music for the cast aways. One of the main resources in the first years of my travel was Braindead zine, held by the almighty Pierre. A lot of things that are obvious to me now draw back to that website and even this blog started inspired by it. I had the chance to finally meet Pierre this year at Obscene Extreme, after almost two decades of being in touch . Little did I know that he was going to unleash this beast. Pierre’s classic band to be associated with is Blue Holocaust, which has a really spread around discography and got a new album this winter too. Vomi Noir is a totally new beast. First of all it’s a full band. It got the chance to sharpen its teeth on various EP’s and a demo tape but, like a lightning bolt in a sunny day, unleashed this album without warning. Delivered by the great Marc’s Bringer Of Gore and featuring Pierre, this first album is like sitting at a table and chatting with a cold beer in my hand with old time friends from far away. Luckly, this is not the only good vibe coming out of these grooves. After “Apology for pathology” from Haemorrhage, the Last Days Of Humanity breakup, Regurgitate losing it and Dead Infection starting singing about furniture, I started losing my interest in goregrind. It kinda slipped away from my listening range and made me go full into noisecore. The rise of pornogrind and the mid tempo bands made the subject even more bitter to me. The Violent Gorge / Archagathus spawn focusing on a mix between goregrind and mincecore bored me quite fast and even if the recent trend of hyper-speed blastbeat-filled gore made my senses tingle but a lot of bands ended sounding just all the same. This record puts goregrind back in MY map. It’s the perfect way to describe a work done by guys that studied a lot. I know Pierre enough to know that he spent countless hours on the classics and always kept an eye open on the new tigers. With such knowledge the result is a perfectly crafted and balanced album with all the right influences. Dead Infection “A chapter of accidents”? Sure. The split between Malignant Tumour and Squash Bowels. Damn right. “Effortless regurgitation of bright red blood” by Regurgitate? Of course. “The sound of rancid juices sloshing around your coffin”, the Last Days Of Humanity debut album? Are you joking? A bit of Cabal, Crematory, old Bizarre Leprous catalogue and some Mexican freaks thrown in? You can bet on it. Everything is in the right place, not a bad note, a wrong beat. Each song is so focused and carefully crafted that you can’t push stop on this one. Vomi Noir is a force you can’t ignore. This is the past of goregrind, dissected, re-organized and rebuilt, ready for the future. This is not THE perfect goregrind record, but, surely, is a perfect one.

10 SECONDS ARE MORE THAN ENOUGH

NAPALM DEATH IS DEAD / HAKES split tape

Do you remember the good old “Death metal fuck off!!” tape by Deche-Charge? Those were simpler times and delivering a 3 seconds tape was an awesome noisecore joke to everyone. I really loved that concept, a tape so short that will end before you are able to read its title, but sadly its legacy was quite scarce, i recall a Disleksick one few years ago but not much more. Finally someone decided to go for it again and here it is! This time this is not a single band effort but a split one. The program repeats on both sides, just switching the order of the bands. Napalm Death Is Dead open the party with their full gig in Dom Studio in Koenji, no date provided. This bass/drums duo has been terrorizing unarmed ears for fifteen years now and goes in the same directory of World / New World and Cunts. Primitive and ultra brutal noisecore the way it should be. Well, this whole gig lasts like 3 seconds, so you can’t quite grasp all the shades of NDID but hey, this is noisecore, not a jazz suite. Hakes is a band by legendary Rado (Sedem Minut Strachu and K.A.Z. Records) and it sounds like GG Allin or Rancid Vat playing noisecore. This is absolutely not a proper noise project, but it’s so primitive and lacking of tangible songs structure that sounds like a modern version of Z or Confuse, all dipped in cider and paint thinner. Their song is a handful of seconds burst and, well, it’s cool.

This is obviously not a tape to have for its musical content, even if listening to noisecore trains you to appreciate even the littlest crumble of smashed notes you can get your hands on. This is a concept, this is a struggle for pushing the art of punching music in the face on a next level. Buy it, you scum.