When musical minds of various ilks come together, one can only assume that the byproduct of their union is one that is equally varied and experimental in scope. Anatomy of Habit is just that. The Chicago-based quintet is comprised of members who have shared their time in acts like Tortoise, Indian, Bloodyminded, Joan of Arc and Radar Eyes. With each member coming from a completely different musical background, what could their collective compositions sound like? The answer(s) is epic, dark, sprawling, traumatic and multifaceted. Ciphers + Axioms, the band’s proper sophomore full length is all of the adjectives previously listed and more. The 42 minute behemoth of an album effectively avoids being pigeonholed into one specific genre and provides enough twists and turns to keep the listener on the edge of their feet and interested despite the lengthy durations of the tracks.
Formed in 2009 initially under a far more familiar Crowbar-ian banner, Ocean City, MD audio terrorists Full Of Hell have since grown into one of the most innovative acts in contemporary extreme music, bearing name to a consistent assault of constant reinvention bred from a seemingly unending wealth of existential woe and genre-weaving knowhow. On the live circuit, the quartet have fared similarly, holding their vile live exorcisms to the acclaim of endless punk houses and festival audiences the world over, slaying equally audiences Backtrack to The Body. While 2013’s Rudiments Of Mutilation seemed to serve as the band’s magnum opus and a comfortable defining point for the band’s shifting sound, this year’s Full Of Hell & Merzbow, a chance collaboration with the long-standing noise legend, marks the beginnings of yet another new trajectory into alienation for the initially hardcore-rooted band that proves that there is much hell left to explore. Continue reading →
When it comes to the New York punk scene, there are a thousand bands you could turn to and say “I love that band.” Well, over the last week I have fallen in love with one band who has emerged from that scene and they have made such an impact on me that I felt obligated to post about them. The band is called Perfect Pussy and I was introduced to them while listening to NPR’s All Songs Considered. This particular episode dealt with the best albums from the first half of 2014 and one of the personalities brought up Perfect Pussy. After playing the first track off of the bands new album Say Yes To Love, I knew I was going to fall for this noisy, female-fronted beast of a band. Continue reading →
Seven full length albums in and Every Time I Die show no intention of slowing down and mellowing out. The band’s has changed their sound in small increments throughout the course of their existence, but have never once sacrificed their heavy and creative edge. The band were once more chaotic and unhinged than they are now, as heard on the The Burial Plot Bidding War and their first full length, Last Night in Town. The chaos carried over a little bit into their second and breakout album, Hot Damn! Songs like “I Been Gone A Long Time” showcased a more hard rock inspired sound that would start to appear more in subsequent albums. Gutter Phenomenon took that hard rock style, injected it with some southern swagger, and poured all over the band’s already unique sound. The Big Dirty continued along this path but showed the band experimenting with more “traditional” rock structures, as seen in songs like “Buffalo Gals” and “INRIhab”. The band continued to experiment with different styles and structures while simultaneously returning to the more violent aggression of their earlier albums on New Junk Aesthetic and more so on Ex-Lives. From Parts Unknown, their most recent effort, is the culmination of what the band has been inspiring to do on their past two records. It’s a solid 30 minute aural assault that may be one of the finest records that they have crafted in their roughly 15 year career.