ALBUM REVIEW: Orange Goblin, "Science, Not Fiction"

By: Richard Maw
 
Album Type: Full Length
Date Released: July 17^th, 2024
Label: Peaceville Records

“Science, Not Fiction” CD//DD//LP track listing:

1. The Fire At The Centre Of The Earth Is Mine
2. (not) Rocket Science
3. Ascend The Negative
4. False Hope Diet
5. Cemetary Rats
6. The Fury Of A Patient Man
7. Gemini (Twins Of Evil)
8. The Justice Knife
9. End Of Transmission
10. Eye Of The Minotaur (Bonus Track)
 
The Review:

Orange Goblin return, after a lengthy few years between albums and once again prove why they have become- effectively- the Motorhead of their chosen genre. Each album delivers what you want, but, unlike the mighty ‘Head the breaks between records make each Orange Goblin album an “EVENT” and not just ‘another’ album.
 
Founding bassist Martyn Millard has departed- some years ago- and has been replaced by Harry Armstrong (Blind River), elsewhere Joe Hoare, Chris Turner and Ben Ward are as solid, dependable and recognisable as ever. The band sounds so strong here and the enthusiasm and care put into this album really comes through in the songs.
 
From the opening bass riff of “The Fire at The Centre Of The Earth Is Mine” to the closing “End of Transmission”, the band is rocket propelled, jet fuelled, firing on all cylinders and burnin’ up the atmosphere. It’s an assured set of performances and songs.
 
In between the opener and closer, the band don’t put a foot wrong. This is a very strong record from front to back, advance track “(Not) Rocket Science” is brilliant, “Ascend The Negative” is superb, “Cemetery Rats” is speedy and shows the punk side of the band, The Justice Knife is dark and harrowing and the aforementioned “End of Transmission” is as good an epitaph for the band as any they have ever written.
 
Throughout, Joe Hoare puts in a man of the match performance (again) with tasteful and song-serving playing. Ben Ward, a man reborn, is on gruff and powerful form. Ben’s battles with alcohol, depression and his health have been documented by the big man himself on social media, but now he is lean and mean, counting his calories and training hard. Truly, he has become a man remade and his muscled appearance matches the strength of his vocals here.
 
The band’s recent performance at the Brudenell Social Club in Leeds for the album launch was one of the best times I’ve seen the band; they were on top form and dealt out a set of new and old tracks which displayed their experience. It showed that the band are at the top of their game.
 
The mix of stoner, heavy rock, punk, Motorhead infused swagger and darker influences from more extreme genres on this album works beautifully. Hopefully, the band won’t wait so long until the next album- but if this is to be the last one, or even the last one for a few years, the band can and should be very proud of what they’ve achieved here. It’s a rare band that has no bad albums in their catalogue, but Orange Goblin join Motorhead, Overkill, Death, Bolt Thrower and a handful of others who can make that claim.  A must listen.
 
“Science, Not Fiction” is available HERE

Band info: facebook 

ALBUM REVIEW: Black Tusk, "The Way Forward"

 By: Richard Maw
 
Album Type: Full Length
Date Released: 26^th April 2024
Label: Season of Mist

“The Way Forward” CD//DD//LP track listing:
 
1). Out Of Grasp
2). Brushfire
3). Harness (The Alchemist)
4). Lessons Through Deception
5). Breath Of Life
6). Dance On Your Grave
7). Against The Undertow
8). Lift Yourself
9). Ocean Of Obsidian
10). Flee From Dawn
11). The Way Forward
 
 
The Review:

Black Tusk are back with another very noisy 35 minutes of punky, sludgy, speedy goodness. These Savannah veterans have been around for some time now and have even survived the tragic death of original bassist/vocalist Jonathan Athon.
 
Since Athon’s last appearance on the “Pillars of Ash” record, we have had a new line-up put forth “Taking Care of Business”, a b-sides comp and now “The Way Forward”. Black Tusk are best compared to an early Mastodon with prevalent punk influences or a punk Baroness without dynamics or texture. If that sounds like your thing- and you’ve never heard the band- you’ll love this.
 
The sound is raw, loud, fast and in your face. The songs are short and to the point; eleven tracks and the first three blaze by with “Harness (The Alchemist)” being my pick of the opening trio with its Motorhead pacing and attitude. Having solidified as a four piece line up, the guitars do more- more interplay and more weight. The drums and bass rumble and thrash very convincingly and the whole effect is gnarly, noisy and absolutely over the top.
 
As the album goes on, the band is taking care of business in the way they know best: as usual. There are no great surprises, no huge changes of direction. While the riffage of “Breath of Life” may reference Fu Manchu, Black Tusk are a much more frenetic kind of beast; revved up and turbo charged.
 
There’s nothing weak here, nothing wasted either. It is exactly what you expect it to be and it is what it is when you first hear it. Perhaps the highest compliment I can pay here is that “The Way Forward” is real! What you hear is what was played. It sounds live and reckless and full of energy. No sound replacements or overproduction- just a tight band playing as hard as they can- kind of like a modern spin on Black Flag mixed up with any of the bands previously mentioned.
 
Truthfully, you can press play on any track here and know EXACTLY what the band is about. “Dance On Your Grave” is great and full on, but I could say that about “Against The Undertow” or “Lift Yourself” or.. any song.
 
Yep, Black Tusk have done it again- they continue to produce noisy and totally committed music in the most unfussy and direct fashion. With the way things are going, we need Black Tusk more than ever. Essential.
 
“The Way Forward” is available HERE

Band info: bandcamp || facebook

PREMIERE: Check out Freedom Fist's self titled incendiary debut

 

With song titles like “14 Million Cunts”, “Sectarian Centurian” and “Not Ma Queen”, Freedom Fist’s incendiary self-titled debut release is somewhat of a call to arms to the Scottish population, to put aside your fears, take a leap of faith and cut the umbilical cord of Westminster, The Crown and become a sovereign nation and truly independent.

Whilst it could be said, this release is 7 years late, (The Scottish independence referendum was in 2014), given the fractious state of the world, there has perhaps never been a better time to push for independence once more (just look at the damage Brexit has caused).

Set against a backdrop of D-beats, blasts, wretched and tormented vocals, scummy guitars and blown out bass, I sense that Freedom Fist seek to educate the listener, dealing with themes of a heroin epidemic, a culture of violence, and sectarian servitude of the Glasgow football, with the underling message being, these issues won’t  resolve themselves unless a nation pulls together and addresses the societal imbalance.

Harnessing the rage, anger and frustration of a nation, Freedom Fist have created something preposterously filthy indeed and today you can check it out in full below.  “Freedom Fist” is issued tomorrow 30/04/2021 via Ripcord Records (order HERE)

 Band info: facebook

ALBUM REVIEW: Medium, "Medium"

By: Thomas Gonzales

Album Type: Full Length

Date Released: 06/03/2020

Label: Transcending Obscurity Records

“Medium” CD//DD track listing:

1). Skullcomet Sorcery

2). Maximum Rampage

3). El Gigante

4). Black Future Patrol

5). Gargola

6). Night Vision

7). Radiation Huntress

The Review: 

Argentinian newcomers, Medium, bring a tumultuous and crashing cacophony of Grindcore and crust punk that feels as at home in the death metal subgenre as it does in the punk and hardcore scene. At first listen it's easy to miss some of the subtle nuance that makes Medium stand out amongst their peers, however, upon a re-listen, you'll find that there is a lot of interesting and complex songwriting often lacking from other bands in the same category. Each time you play it, there is one more layer you missed, and each play through is better than the last. 

“Medium”, the debut self-titled album from Medium, is a one two punch of fury; raging blast beats, death growls, and speedy tremolo picking elevates the pulse, and immediately energizes the listener. This is the kind of music that makes you put your foot down a little heavier on the accelerator. 

Thankfully unlike other Grindcore bands, this is the type of album that you can use to introduce your friends and family to the genre; it's quite an easy listen and given some of the more melodic sensibilities present, there's a little something for everybody across the metal spectrum. In particular, the solos and break downs are a real treat, featuring excellent fret work, and speedy riffs over pummeling rhythm sections. Medium could easily become the next "must see live” band, as it's just such a spirited release. Being able to translate so much energy into an album is impressive, and one can only imagine how much more they would offer in the flesh.

Unlike other reviewers, I find it’s short runtime to be a virtue; often bands work so hard to stretch out the content of their releases, that they lose focus, allowing the track quality to vary in consistency. That’s not the case with Medium; because the album is so short, it feels like every song is precision crafted to offer only the best possible listening experience. Quality tracking, tight composition, and diversity makes Medium a gem amongst the rubble of big-name releases, and a premier 

worthy of all it’s accolades.  

“Medium” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Fange, "Punir"

By: Charlie Butler


Album Type: Full Length
Date Released: 01/03/2019
Label: Throatruiner

The spite of Fange's aural barrage is both terrifying and exhilarating, enhanced by an oppressive, ominous atmosphere and is highly recommended for anyone who wants to hear crusty sludge being twisted into weird new forms.

“Punir” CD//DD//LP track listing:

1. Ceinturon
2. Chien De Sang
3. Les Boyaux De La Princesse
4. Opinel
5. Il Reconnaîtra Les Siens
6. Maintien De L'Ordre
7. Second Soleil

The Review:

Fange are setting the bar high for filthy heaviness in 2019 with new LP “Punir”. Familiar elements can be detected within the Rennes quartet’s sonic onslaught but they bring them together to create their own unique brand of horrible noise. 

“Ceinturon” rips into life with a cloud of buzzing evil riffage that sets expectations for a no-nonsense crusty death metal hellride. While a lot of “Punir” delivers on these expectations, there is a whole lot of other unexpected nastiness going on too. The previously mentioned opener and “Les Boyaux De La Princesse” take the listener on intense journeys into the heart of darkness, melding punk metal filth with lumbering weighty sludge. The spite of Fange's aural barrage is both terrifying and exhilarating, enhanced by an oppressive, ominous atmosphere. The ever-present cloud of reverb that cloaks proceedings and the heavy use of chorus-laden lead guitar creates an awkward, uneasy feel that sits somewhere between gothy post-punk, black metal and noise rock. This strangeness serves to intensify and amplify the surrounding carnage and lends “Punir” a very distinctive sound.

“Opinel” and “Maintien De L'Ordre” offer two brief left turns into pure noise, agonised howls and programmed beats. Although short, these tracks demonstrate the full breadth of Fange's sonic arsenal and could easily support an album of their own. The pay-off of “Opinel” in particular begs for more material like this, coming across like Death Grips being played through a stereo that has been thrown down a flight of stairs, then set on fire. The climax of closer “Second Soleil” utilises these noisy electronic elements within the context of their more metallic material to great effect. The unexpectedly subdued finale creates a hypnotic air of dread by opting for a slow floor tom heavy thud which soon becomes swamped by distorted beats and rising tides of hissing static. 

“Punir” is a punishing release from Fange, highly recommended for anyone who wants to hear crusty sludge being twisted into weird new forms.

“Punir” is available HERE

Band info: bandcamp || facebook

ALBUM PREMIERE: Philadelphia thrash punks Roadkiller deliver sneering self titled EP

By: Mark Brandt

The Philly punk scene is a powerful thing. It has always been defined by house shows, heavy riffs and a dedication to the layer of crustiness that makes the city so wonderfully twisted. It should come as no surprise that this bastion of hard hitting punk rock would be a lodestone for some of the best punk rock talent in the world. Such was the case for the mysterious Australian born guitarist of California Motorhead tribute band Motorbabe, and now frontwoman of hard hitting punk thrash heavyweights, Roadkiller. When she (who shall remain nameless) flew out to visit a friend she couldn’t get enough of the punk scene and when she met a drummer who was down to jam, she realized destiny was calling.

After an initial burst of shows, Roadkiller quickly recorded their self titled debut EP, a record fated to make your ears bleed in all the right ways. This is guitar driven high energy riffage. Clearly inspired by the eighties but capable of tapping into so much more, these songs will make you want to tear shit up as you scream along to powerful choruses and nightmarish verses. Created with the goal of fusing punk, hard rock and crossover thrash whilst still remaining uniquely Roadkiller the band is on a mission to write quality heavy music and play out as much as possible.

With dreams of constant touring and a dedication to quality songwriting, Roadkiller are more than just another punk band. We are witnessing the birth of a well oiled machine, a group who represent the magic of all the underground has been and will be.

Blending classic vibes with a modern tinge, Roadkiller are exactly the sort of band we need in 2018. Constantly punching above their weight class and sneering their way to the top of the notorious Philadelphia scene, any way you slice it, Roadkiller are out for blood.  Their self-titled debut EP will be released on November 16th 2018 and the five blistering tracks are the perfect combination of thrash, metal and punk attitude. The EP is highly recommended for fans of Megadeth, Motorhead and Exhorder.  Check it out in all its thrashing glory below

Band info: bandcamp || facebook

ALBUM REVIEW: Black Tusk, "T.C.B.T."

By: Richard Maw

Album Type: Full Length

Date Released: 17/08/2018

Label: Season of Mist

Black Tusk, as the title of the album suggests, are taking care of business in the most direct and ferocious way. No fat, no let up- just pure high energy rock n roll.

“T.C.B.T.” CS//CD//DD//LP track listing:

1). A Perfect View of Absolutely Nothing
2). Closed Eye
3). Agali
4). Lab Rat
5). Scalped
6). Ghosts Roam
7). Ill At Ease
8). Rest With the Dead
9). Never Ending Daymare
10). Orange Red Dead
11). Whispers
12). Burn the Stars

The Review:

Punk rock fury. That's what Black Tusk are bringing with them to this particular party. Corey Barhorst of Kylesa fame has taken over from Athon (having seen the band live with both line ups, no one could replace Athon, per se) and he holds down the low end and his portion of the vocals impressively and never without anything less than 100% conviction.

Through their previous records, the band has channelled stoner, sludge, metal and rock n roll to go with the punk element, but it is the band's punk tendencies which shine here. The album is raw and angry and the first three tracks after the intro clip by at an astonishing intensity. The sound expands with “Scalped” and “Ghosts Roam”, but the band really are taking care of business in the most direct and ferocious way. No fat, no let up- just pure high energy rock n roll. To say that if you crossed Sick of It All with Mastodon you might get Black Tusk... well, it's not wide of the mark.

I confess to being a big fan of the band and this album was never going to disappoint. Their finishing statement with Athon, “Pillars of Ash”, was reviewed by me for THE SLUDGELORD a couple of years ago and that still stands as a vicious and rocking slab of primal screams- “T.C.B.T.” is different but no less good. Through releases such as “Tend No Wounds” and “Taste The Sin”, Black Tusk have always put their own personal stamp on their approach and sound and have never really sounded like the other Savannah bands (Kylesa, Baroness et al) by virtue of their directness and energy. They remain a different proposition here and perhaps can be viewed as the Motorhead of the Savannah scene: cool, uncompromising and having a good time, all the time- even through the worst times.

Through the twelve tracks here the band are intense and on fire. Sure, not every riff is memorable and not every hook is golden, but the band make up for this with shear commitment and will. Equally, picking stand outs is tricky here as every track has something to offer and every track is bursting with energy. “Never Ending Daymare” is a fine example of what the trio do best; and the energy with which they do it, but I couldn't argue with any listener picking out “Closed Eye” or “Ill At Ease” or... pretty much any song here.

The final three tracks on the record burn just as brightly as the first three and with that, the record is over. If there is any criticism to be levelled here, it is not at the band themselves but the cover art leaves a little to be desired. To go from the beautifully haunting imagery of John Baizley's art work on previous releases to the stark black and white dullness of the cover here, well, it should have been better.

That said, Black Tusk, as the title of the album suggests, are taking care of Black Tusk (“T.C.B.T.”) in the only way they know how: with full on enthusiasm. The album is a joy to hear and shows that triumph can come from tragedy and can happen without compromise. I for one am very glad that the band are still around. We are lucky to have them.

“T.C.B.T.” is available here

Band info: bandcamp || facebook

REVIEW: Acid Priest, "Drop Out" [EP]

By: Mark Ambrose

Album Type: EP

Date Released: 05/06/2018

Label: Independent

Like the best psychedelic art they explore the bizarre, the beautiful, the sinister and the sensual all at once and leave your mind reeling.  Strap in, drop out, and follow the Acid Priest to stoner salvation.

“Drop Out” DD track listing

1. Initiation

2. WarWagon

3. The King Tide

4. Let Go

5. EYEZZ

The Review:

My media libraries seem to be inundated with odes to psychedelic explorations – the complete Zap Comix line my shelves next to the midnight movies of Alejandro Jodorowsky abutting mind melting genre writers and the discographies of prolific drug takers too numerous to mention.  But I have to admit up front that for all my rhapsodizing about stoner riffs and psychedelic freakouts, and a less than saintly life in 33 years, I’ve never taken the plunge into LSD.  I’m cripplingly neurotic on my best days and convinced I’ll step into a nightmare vision out of a Beksinski painting the moment I drop acid.  But after listening to the warped, fuzzy, oddly beautiful tunes on “Drop Out”, the church of the Acid Priest may find new lysergic converts.

It’s all about the riffs for these punky metal rockers.  There’s a warm current of Thin Lizzy running through all five tracks of their debut EP, but intro track “Initiation” is like a harmonic blast of golden 70s hard rock.  Guitarist Zakk Mild’s riff is so finely crafted, in fact, that it feels a bit wasted on an intro.  No matter, since there are stellar riffs to spare in the four remaining bangers.  “WarWagon” hinges on a gallop that recalls the early days of NWOHBM – when it still retained a strong crossover appeal to punkers and heshers alike.  Bassist and lead vocalist Spliff Burton doesn’t reinvent the wheel of classic metal bass playing – he lays it out solid and thick, with few frills.  His unique cadence as a vocalist is really something – belting out some snarling lines on this one and sliding into a gothy croon on “Let Go” and “EYEZZ” that feels like some desert rock cranked to 11.  The doomy, stoner outro of “WarWagon” manages to pull of pyrotechnic shreds and ignorant riffs – not an easy feat for seasoned veterans, let alone guys cranking out a debut.  The “King Tide” is steeped in Cali hardcore but way more headbanging than half that shit could aspire to.  Loaded with hooks and equipped with a memorable, shouted chorus, it’s no wonder that this was the band’s first single.

“Let Go” shifts gears from sheer aggression to weirder, sinister tones.  Between Burton’s smoothed out vocals and the reverb-laden guitar lines of the verses make recalls the golden era of stoner metal.  The shuffling rhythms here are key; Steve Kunzel’s drumming is jazzy punked out metal precision that would make Bill Ward proud, and make plenty of modern metal drummers blush from embarrassment at their own double kick monotony.  When the mellow sheen drops, the chaos lurks beneath, and it’s largely because of this percussive dynamic.  The eerie, spacey ending, complete with spoken word poetry, makes it a memorable and oddly affecting track.  The closer “EYEZZ” is another total left field freakout.  Layered with sinister organ playing, monastic chanting, and gothy whispers, I found myself recalling the bizarre Euro-metal outliers of 80s metal, especially Italian creep-doomsters Black Hole, before a hardcore break, followed by some evil prog like the bastard spawn of Deep Purple and “Red” era King Crimson.

If the genre shifts, tempo changeups, and mashup of clean and shouted vocals sound overwhelming… well that’s because it is!  But in a remarkably cohesive, rocking way.  There’s no gimmick at the heart of this trio, just strait up headbanging rock indebted to the classics while not playing the boring game of nostalgia-fueled pastiche.  Like the best psychedelic art they explore the bizarre, the beautiful, the sinister and the sensual all at once and leave your mind reeling.  Strap in, drop out, and follow the Acid Priest to stoner salvation.

“Drop Out” is available here

Band info: bandcamp || facebook

VIDEO PREMIERE: Piss River deliver kick-ass riffing, kick-ass vocals and a party time vibe on "Thor Is Strong"

On the 24th of April 2018, Piss River released their self-titled debut album via The Sign Records. The album combines a variety of influences and results in a sound that can only be described as a cross between Girlschool, L7, The Gits and Annihilation Time. 

The album contains tracks such as”Speed Machine”,”Take Me To Rusk” and ”Thor Is Strong” that shows the band's NWOBHM background. While "Sparks” is a tribute to L7s Donita Spark. Other stand out tracks includes ”Bad Reptution” that have that has a driving punk rock attitude that will turn any party upside down. A cover of Larry Wallis’ song”Police Car” ties together the albums many and mixed influences into this infectious rock n roll nightmare.  Today coming 4 weeks after the album’s release, we have been given the chance premiere the band’s kick ass new video for “Thor Is Strong”, which you can check out below.  You can purchase the album here

Band info: facebook

REVIEW: Iron Reagan & Gatecreeper, "Split"

By: Mark Ambrose

Album Type: EP

Date Released: 02/03/2018

Label: Relapse Records

“Split” CD//DD//LP track listing

1. Iron Reagan, “Warning”

2. Iron Reagan, “Paper Shredder”

3. Iron Reagan, “Take the Fall”

4. Iron Reagan, “Proudly Unaccountable”

5. Iron Reagan, “Burn for This”

6. Gatecreeper, “Daybreak” (Intro)

7. Gatecreeper, “Dead Inside”

8. Gatecreeper, “War Has Begun”

The Review:

               

Splits are regularly some of my favorite releases – so much so that in my yearly rundown I tried to highlight some of the real standouts in a growing field of collaborative metal albums.  With grind splits, you can end up with several bands spitting out double digit tracks and not break the twenty minute mark, or, in the case of Fister & CHRCH, you can have two sludge powerhouses spewing out 15-20 minute odes to suffering.  Maybe my favorites are those cross-subgenre cage matches, like the latest split between punky crossover thrashers Iron Reagan and decrepit death conjurers Gatecreeper.  Aside from rock solid production and rugged intensity, these two metal standouts have little in common.  But like a particularly memorable basement show, the disparity actually makes this brief hunk of aggression amount to more than its scant eighteen minutes would suggest.

               

Iron Reagan need no real introduction at this point – the members have been responsible for some of the best death, crossover, thrash and hardcore of the last few years.  The five cuts they contribute are like a little tour through classic hardcore punk and 80s thrash – opener “Warning” has a bright, SoCal hardcore tone that, at first listen, almost sounds like a massive Hammond organ.  Paper Shredder ups the LAxHC antics, with a tapped out intro lead, Anthrax indebted gang vocals, and palm muted builds to full on mosh breaks.  “Take the Fall” swaps coasts as the most classically Bay Area thrash metal cut on the record – the chugging rhythm work is the real standout, while the lead flourishes are pure Hammett worship.  “Proudly Unaccountable” is the briefest outing on the record (at a pummeling 45 seconds), but the strange rhythm changeups had me thinking of midperiod Black Flag with blast beats.  “Burn for This” may be my favorite cut on the record, a brutal little number that practically sounds like skatepunk.  I could certainly imagine it blasting behind a Bones Brigade tape.  The whammy bar work walks a thin line between Slayer divebombs and East Bay Ray surfer leads.  As a closer, it’s a rad sendoff that speaks volumes to how Iron Reagan is far more than a nostalgia act – these guys whip up a punky metal cocktail with their own signature on every riff, every breakdown, and every shouted lyric.

               

Gatecreeper somehow slipped under my radar until this split and, boy, am I ready to delve into their surprisingly large catalogue (especially for a band only formed in 2013!).  Vomiting out filthy, nihilistic death, the Arizona five-piece inserts the right amount of punk rhythm into their crushing metal riffs.  Drummer Matt Arrebollo slides just enough punk fury into his galloping double-kick attacks to keep things from ever getting repetitive.   Intro track “Daybreak” is a neat instrumental pummeling, but one-two punch of the abysmally downbeat “Dead Inside” and the apocalyptic “War Has Begun” made me crave a lot more of what Gatecreeper has to offer.  Wagner and Garrett’s occasional harmonic flourishes really had me hooked into their old school death metal, while the rhythm is gut churning in all the right ways.  If I had any complaints about the release, it’s that Gatecreeper didn’t have five tracks of death to counter the five bursts of enervating crossover thrash from Iron Reagan.  Like the best splits, this left me craving more… I suppose for now another spin of this excellent record will have to suffice.

“Split” is available here

Band info: Iron Reagan|| Gatecreeper

ALBUM REVIEW: Coliguns, "Millennials"

By: Charlie Butler

Album Type: Full Length

Date Released: 23/03/2018

Label: Hummus Records

“Millennials” is a whirlwind of chaos interspersed with periods of hypnotic heaviness. Coilguns have crafted a killer record played with a hunger and venom that leaves all competitors eating their dust.

“Millennials” CD//DD//LP track listing:

1). Anchorite
2).  Deletionism
3).  Millennials
4).  Spectrogram
5).  Music Circus Clown Care
6).  Ménière’s
7).  Wind Machines For Company
8).  Self Employment Scheme
9).  Blackboxing
10).  The Screening

The Review:

Fans of the chaotic heaviness of classic Hydra Head bands like Keelhaul and Knut need Coilguns new LP “Millennials” in their lives. The unpredictable Swiss quartet have taken that powerful early 2000s sound, imbued it with their distinct brand of mayhem and dragged it screaming into the present.

“Anchorite” opens proceedings with a slowly unfurling locked groove that sounds like Mastodon’s “Remission” being dragged into a pit of sludge. The uncomfortable, dark atmosphere cast by this track persists throughout this mesmerising record that flits between simmering controlled carnage as demonstrated on “Self Employment Scheme” and brief bursts of head-scratching math-metal like “Music Circus Clown Care”.

The title track demonstrates Coilguns ability to temper their complexity with raw, paint-stripping punk rock intensity. Few bands can deliver this kind of raging adrenaline rush, hurtling into oblivion like their sadly missed Swiss comrades Kruger on a collision course with the sun. A looming doom riff appears to signal a snail-paced climax before the drums thunder back in at full speed to maintain the rapid velocity.

This is just one example that highlights the importance of Luc Hess’ drumming. More often than not, the drumming on these tracks will pursue an unexpected path for a band of this style to great effect. “Spectrogram” is based on an ominous, tom-heavy pattern that has more in common with post-punk than metal or hardcore. Its ominous repetition provides the perfect backdrop for the bands lumbering riffs and slowly building wall of sound. The restrained menace and eerie twinkly keyboard sounds conjure up a claustrophobic mood that brings to mind the underrated Breach. When the band lock into a punishing, Shellac style riff on “Deletionism”, the drums shuffle in and around the riff instead of providing the expected punishing groove. This makes it all the more powerful when the beat returns to more traditional heavy territory.

“Millennials” is a whirlwind of chaos interspersed with periods of hypnotic heaviness. Coilguns have crafted a killer record played with a hunger and venom that leaves all competitors eating their dust.

“Millennial” is available here

Band info: bandcamp || facebook