Poetry Of Torch/Gil Cerrone - Split

Labels: Zegema Beach Records

Formats: CD/Digital

Release Date: 16 Jun 2025

Tracklist:

1. Poetry Of Torch - 業 (Karma)

2. Poetry Of Torch - 一本花 (Lone Flower)

3. Gil Cerrone - Boardroom

4. Gil Cerrone - Chuck Steak

Zegema Beach Records continues the campaign for cd releases shocker! If I was only interested in posting clickbait, that would be the headline; however, I'm not and cd sales are actually increasing again. They take up less space than vinyl (wish I had figured that out before I got in too deep!).

This split features two tracks from Japanese emoviolence band Poetry Of Torch and two from Australian genre mates Gil Cerrone. Poetry Of Torch previously released a split with Agak via ZBR, while Gil Cerrone have an affinity with Tomb Tree, which is where the union between two of the newest additions to this generation of emoviolence was (possibly) formed.

After writing two intro sentences and then deleting them, I’m just going to focus on what’s in front of me. Poetry Of Torch start with ‘業 (Karma)’, which is an explosively raw yet endearing version of emoviolence with added Japanese flair and enthusiasm. I have always been in awe of Japanese bands and their philosophy when it comes to writing, and performing music. Their second song ‘一本花 (Lone Flower)’ is one filled with much more immediate violence. The screams are filled with more rage even though the instrumentation still has groove and subtle melody. Emotion is genuinely what you feel as these two songs come to a close.

Gil Cerrone hit hard almost instantly with ‘Boardroom’ and their much more aggresive take on the genre. Save for the odd occasion where they elope into a more introspective passage, their sound is ultimately more aggressive and attention-grabbing. Their second song ‘Chuck Steak’ makes me think of American hicks for some reason but that thought is quickly (and thankfully) banished by Gil Cerrone’s almost-blackened post-hardcore approach. It’s impossible to overlook how much it moves you and I can attest to that, especially after the day (or week) I’ve had.

Two fantastic bands coming together like this, releasing a split this good must be lauded. Obviously, releasing it with Zegema Beach Records helps a little bit too (or maybe a lot!). The Far East and the Southern Hemisphere are both coming to the forefront of emoviolence/screamo right now. It’s not a new thing but it’s still great to see and hear. Grab this split while you can.

You can stream and purchase the split digitally from both bands, below:-

 

 

CD copies are also available from Gil Cerrone's bandcamp page above, while also being available directly from Zegema Beach Records here:-

ZBR CAN/INTL - http://www.zegemabeachrecords.com/zegema-beach-releases/gilpot

ZBR USA - https://zbrusa.com/collections/zbr-releases/products/gilpot

Poetry Of Torch - https://www.facebook.com/poetryoftorch

Gil Cerrone - https://www.facebook.com/gilcerrone

Zegema Beach Records - https://bsky.app/profile/zegemabeachrecords.bsky.social

Canary Bones - Demo

Labels: Self-Released

Formats: Digital

Release Date: 03 Jan 2025

Tracklist:

1. I Heard You Die at the End

2. Pearls Before Swine

3. Hard Year

4. Service Delivery Failure

Later this year I'll be able to celebrate fifteen years of writing and building this blog. Even after all that time I still love receiving messages/e-mails from bands who have discovered This Noise Is Ours through other reviews I've written. In January I wrote about the recent 7" release from Australian post-hardcore/screamo band Keratin, which led to David from fellow Australian noise rock/post-hardcore band Canary Bones reaching out about the band's debut demo.

The Naarm (Melbourne, Aus) sextet released their four-track debut demo early last month. Their sound is recommended for fans of everything from the grunge rock of Helmet and Sonic Youth, to the alt/noise of Jesu and Swans, right through to the early punk/post-hardcore of Fugazi and Hüsker Dü, as well as the likes of At The Drive-In, Botch, Coalesce, Deftones and Poison The Well. Those influences are both varied and music (sorry!) to my ears. Let's dive in...

I couldn’t wait to get home from work today. Aside from being able to order the debut tape from a new UK death metal band (featuring members of bands I’ve been a fan of for years), I wanted to also delve into some new music by a band that reminds me of why I started writing in the first place. Enter stage right Canary Bones. Starting with ‘I Heard You Die at the End’, the sextet provides a groovy/danceable take on noise rock. It’s predominantly mid-paced, which is a nice change of pace given what I’ve been listening to of late and is catchy too.

‘Pearls Before Swine’ is much more riff-laden, especially thanks to the melodic/metallic delivery while the overall feel of the song is heavier. That owes a lot to the organic and raw mix on the demo, which nails down the sextet’s sound even though it’s surprisingly brief. We all get to a point in life where every year is considered a ‘Hard Year’ but Canary Bones condense post-pandemic life into less than four minutes of punk-fuelled noise that describes the tiredness both they and we all feel now. Being careful how I word this next sentence; there’s a similarity between the snotty old-school punk of the UK and the sound crafted by Canary Bones here.

The demo ends with the excellent ‘Service Delivery Failure’, which is something we can all relate to here in the UK. The slightly harrowing sample at the beginning leads to lone guitar lead-work and ambient distortion, as things build slowly. This is where the band’s post-punk influence grows and takes center stage. It’s simplistic and almost primitive but at the same time it’s cleansing too, showing the many layers this band has.

Ultimately, any band worth their salt has worked their way up from the bottom. I don’t use the word “bottom” in a derogatory way, just as a term to differentiate those bands from others that were born with silver spoons in their mouths. Canary Bones are just starting their journey and their demo is a snapshot in time, a strong one at that. It’s always hard to tell where a band is headed after just one release, but the only way is up if this is anything to go by.

You can stream and grab a digital download of the Demo from Canary Bones via bandcamp below:-

Canary Bones - https://www.facebook.com/profile.php?id=61565754681613

Keratin - Death & Rebirth 7"

Labels: Zegema Beach Records

Formats: Vinyl/Digital

Release Date: 03 Jan 2025

Tracklist:

1. Left Early

2. S.N.K.

3. Kindred Blue

4. Before the Salt, Taste the Wound

My short-lived streak of reviewing 2025 records before their release date comes to an end tonight, though two out of three ain't too bad. I got in there first when it came to the Vertex album yesterday, so that's a win! Aussie screamo band Keratin released their new EP on January 3rd via Zegema Beach Records, having previously released an EP called Only Eye through ZBR’s sister label Tomb Tree in 2022 and a 4-way split that also featured Atameo, Letterbombs and Coma Regalia in 2023 via Middle-Man Records. Digitally, there are four tracks on this EP but I believe only three made it onto the physical vinyl copies. 

Australia is building a very decent reputation for itself when it comes to screamo/post-hardcore bands. Blind Girls are the name on everybody’s tongue right now, but let’s not forget Gil Cerrone and Raccoon City (and I’m sure I’m missing many others). Keratin’s name can be added to that list, having already released two stellar EPs prior to this one. 

Opener ‘Left Early’ is a mix of usually chaotic emo-violence and instrumentally engrossing post-hardcore, with vocals sitting deeper in the mix. If this is the first ever song you’ve heard by Keratin then you’re starting in a good place. It’s atmosphere and song-writing is top notch.

’S.N.K.’ continues where that opener left off but with more of a black/post-metal influence this time. In it’s own right it’s strong, impressively so. I know it’s very early in the year to be saying this but on the strength of what I’ve already reviewed (including this EP), 2025 is going to be an absolute banger of a year musically.

‘Kindred Blue’ has that repetitive noise element going on at the beginning that works so well in a live setting (I hope you know what I mean!) and as it’s an instrumental piece, I’m guessing that on the vinyl pressing it’s tagged onto the end of ’S.N.K.’ (please correct me if my guess isn’t correct here). Either way, it’s lovely.

Closing with ‘Before the Salt, Taste the Wound’, which I immediately thought was a nod to Salt The Wound (the US deathcore band), Keratin deliver their longest song of the EP and also their heaviest one to boot. It’s actually pretty fierce during it’s first half, which does make me wonder about my initial hunch but that aside, Keratin smash it once again with their masterful delivery.

I arrived home this evening to five LPs that I ordered recently. I set them aside so I could take in this EP and it didn’t disappoint. I’m also experimenting with newer social media platforms too, so maybe eventually I’ll get the confidence to record some shorts or vlogs. Who knows.

You can stream and purchase Death & Rebirth digitally from Keratin below:-

Keratin - https://www.facebook.com/keratinband

If you're in Australia you can also grab the 7" from them and save on shipping.

For everyone else, Zegema Beach Records have them up for purchase now (there are only fifty copies though!):-

ZBR CAN/INTL - http://www.zegemabeachrecords.com/zegema-beach-releases/keratin-7

ZBR U.S.A. - https://zbrusa.com/collections/zbr-releases/products/keratin-7

Zegema Beach Records - https://www.facebook.com/zegemabeachrecords

Child - Child

Labels: Self-Released/Heavy Psych Sounds

Formats: Vinyl/CD/Digital

Release Date: 19-Feb-2014/26-Apr-2024

Tracklist:

1. Trees

2. Stone By Stone

3. All Dried Up

4. Mean Square

5. Blue Overtone Storm/Yellow Planetary Sun

Earlier this year Italian purveyors of all things doom 'n' groove Heavy Psych Sounds set about reissuing   the entire back catalogue of Australian blues/stoner rock band Child, starting with their debut self-titled record from 2014, almost ten years after it's original release. This power trio are a new name to me but thanks to the HPS PR wheel that's forever turning, I have the chance to get acquainted with them. I hope you'll join me for what promises to be a wild ride.

On an evening when I’ve been given the annual reminder about noise levels within the block that I reside, a chilled out interlude is much needed. Child deliver a hefty dose of blues-rock with minimal urgency. Easy going percussion, sumptuous melodic guitar work and vocals oozing with that classy Desert Sessions-style drawl work in unison to deliver fantastic music on opener ‘Trees’.

‘Stone By Stone’ starts of with more immediacy, albeit not necessarily due to tempo. It has a more traditional song structure from the off but it later descends into a heavily-instrumental blues number, showing off just how impressive Child are musically. Where I live in the UK, there’s a bar that specialises in blues and to be honest, it has never appealed to me as a venue because it has an obvious clique; however, if it were to one day book Child (unlikely I know), I’d be there like a shot just to see them.

The screeching solo mid-section of ‘All Dried Up’ is upon me before I know it, alongside the warming Moog/organ and the whisky-drenched vocals that sound even more powerful now. Child’s momentum seems to grow with each song on this record and while this one is their shortest, it’s by no means forgettable.

From this point on Child go back down a fuzz-laden road on penultimate song ‘Mean Square’, thanks to the rumbling bass tone that kicks it off. That bass is the heaviest thing about it and the trio’s sound throughout this record, but there’s no need for anything louder to be honest. It’s not often now that I venture to this end of the slow/low musical spectrum but it’s something I should really do more often. Less dissonance, more resonance.

Ending their first record with the ten+ minute freak out ‘Blue Overtone Storm/Yellow Planetary Sun’ is (was?) a masterstroke. Kinda like if Kyuss, Oneida and Nebula formed one hell of a supergroup. I guess they would sound like Child do here. It’s an absolute joy to behold. Almost fourteen years after this blog’s conception, discovering bands that are new to me is the best thing. Child are excellent and well worth diving down the rabbit hole for.

You can stream and purchase Child directly from Child below:-

Physical vinyl and cd copies can be purchased from Heavy Psych Sounds here - https://heavypsychsoundsrecords.bandcamp.com/album/child-child

Child - https://www.facebook.com/childtheband

Heavy Psych Sounds - https://www.facebook.com/HEAVYPSYCHSOUNDS

Blind Girls - Residue

Labels: Self-Released/Zegema Beach Records/Left Hand Label

Formats: Vinyl/Tape/Digital

Release Date: 13 Nov 2018

Tracklist:

1. Breaths

2. 3AM

3. Loss Forms A Sequence

4. Exertion

5. Visitant

6. The Ghost In My Eye

7. Dormant

8. Cherish

9. Discarded Pictures

10. Nightshade

11. Burial

A few more days of 2023 remain and while I'm looking ahead to what 2024 has in store musically, I'm trying to press on with a bit more consistency. One thing that's been (fairly) consistent throughout the year has been my Zegema Beach Records roster review series. The series brings me to Australian power-violence/screamo royalty Blind Girls and their 2018 debut album. It was self-released on vinyl and digital platforms by Blind Girls with help from Zegema Beach Records in 2018 (whom also released it as a limited tape run), while a second vinyl pressing by both ZBR and Left Hand Label followed in 2020 (I'm basing all of this info on what's available on Discogs so I hope it's accurate). 

Blind Girls have never wasted time or breath on their releases, with Residue hitting it’s marks straight away thanks to ‘Breaths’. I’ve owned a copy of the 2020 re-press since it’s release but it never gets old. The screeching feedback, high-pitched piercing screams and oft indecipherable instrumentation beneath make for an exhilarating start. Things don’t change on ‘3AM’, as the band continues to deliver super abrasive noise that’s big enough to exfoliate your inner ears. 

You’d think that things would settle down during the near three-minute song ‘Loss Forms A Sequence’, but they don’t. Instead, the noisy chaos is joined by subtle off-kilter/mathy guitar work and percussion. It’s not long before things return to normal thanks to ‘Exertion’, which benefits from the best of both side of BG’s sound so far, with added introspection/post-ness.

‘Visitant’ promises something more ambient and rhythmic, which it delivers. At times it threatens to overspill back into powerviolence territory but it remains an instrumental breather that’s in a class all of it’s own. The feedback that closes it out leads straight into ‘The Ghost In My Eye’, which features some gloriously cinematic guitar as an intro before being shattered by another bout of intensity. 

The latter half of Residue picks up in momentum as ‘Dormant’ takes up it’s brief residency. Another song that isn’t shy in coming forward. ‘Cherish’ makes you think it’s going to be more melodic in the riff department, which actually is the case for a large part of it, yet there’s no escaping BG’s emotive, all-encompassing performance where their emotion is front and centre.

We’re now nearing the album’s conclusion and ‘Discarded Pictures’ gives the impression of a band playing two different songs at once (at times) as it builds, plateaus and descends, all in the space of two minutes. Penultimate song ‘Nightshade’ once again provides a glimpse into the more technical side of BG’s music and in doing so, it also lays a path for the most heavily layered/engrossing song on the album so far.

Closer ‘Burial’  follows that same path in glorious fashion without any hesitation. The more expansive sound created by Blind Girls during these two final songs is the highlight of Residue for me. For some reason it just hits harder. Living with albums like this before writing about them is a privilege but writing this review makes me realise that I need to spend more time with them. Everything is so fast paced nowadays and I sometimes struggle to focus on individual details/elements of life. Maybe that’s something to work on next year.

You can stream and purchase Residue digitally below:-

Blind Girls - https://www.facebook.com/blindgirls

Physical vinyl copies are still available via Left Hand Label below:-

https://dogknightsproductions.com/collections/12-lhl/products/lhl018-blind-girls-residue-12-lp

Zegema Beach Records - https://www.facebook.com/zegemabeachrecords

Left Hand Label - https://www.facebook.com/lefthandlabel

Plini - Mirage EP

Labels: Self-Released

Formats: Vinyl/CD/Tape/Digital

Release Date: 01 Dec 2023

Tracklist:

1. The Red Fox

2. Five Days Of Rain

3. Still Life

4. Aqua Vista

5. Ember

I couldn't pass this up when it appeared in my inbox last week. Over the last few years I've grown to love technical music (much like I've obsessed over the technical elements of Formula 1 motor racing) and I've found instrumental music to be the highest point of it all. Plini is a name I know thanks to my brother and one I'm glad to have been introduced to. Much like Nyos (Pelagic Records) and their album Waterfall Cave Fantasy, Forever, this brand new EP from the Australian guitar virtuoso will surely make a mark on 2023'a musical landscape, even if it's a very late one. The many instrument playing guests will surely help too, including one Tosin Abasi (Animals As Leaders).

I’m still recovering from a pre-Christmas pub crawl that took place on Saturday, so this evening’s all about rest and relaxation. Plini’s brand new EP works well in that department as ‘The Red Fox’ opens proceedings in dreamy musical fashion. Plini as always plays guitar and composes so there’s a myriad of other musicians to credit/give thanks to here; including Chris Allison (drums, percussion, mystery vocals), Simon Grove (bass, stunt guitar as well as engineering, mixing and co-production), A.J. Minette (piano as well as string arrangement and production), Misha Vayman (violin) and Yoshika Masuda (Cello). ’The Red Fox’ is a great opener to be fair, especially if you’re hearing Plini for the first time. Progressive guitar work coupled with equally artistic musicianship that pulls it beyond the notion that Mirage is just another opulent solo album.

After what seemed like a sprawling journey, ‘Five Days Of Rain’ is a much more succinct number and one that truly plays to Plini’s strengths as it allows his guitar playing to sit on top of the recording for the majority of the song. A very tangible snapshot of a master at work coupled with the additional piano of Dave Mackay and production from Devesh Dayal make it something else. If you’re at all familiar with Plini’s previous works then ’Still Life’ will sound very familiar to you with it’s bluesy leads that draw influence from the like of Steve Vai and Joe Satriani, while still sounding completely unique and genuinely engrossing. The addition of an epic guitar solo from Tosin Abasi seals the deal.

‘Aqua Vista’ comes across as a more straightforward song initially, mainly thanks to it’s shorter running time, but don’t let that fool you into thinking it’s simple. It’s not and nor should it be. Plini and the wider musical collective herein remind you that it’s a progressive masterpiece all of it’s own. Closing with ‘Ember’, Plini truly leaves the absolute best till last. The sheer skill and musical artistry on show here is plain to see (or hear). By now, this shouldn’t come as a surprise given how established Plini is at this point. Some people may say that artists or bands peak at certain points in their musical careers and in some cases that is true; however, I believe that there is still much more to come from Plini. Only time will tell.

You can stream and purchase Mirage digitally below:-

Physical copies can be purchased directly from Plini here (wherever you are in the world):-

https://www.plini.co

Plini - https://www.facebook.com/Plini

Bolt Gun - The Warren 7"

Labels: Avantgarde Music/Starved Light

Formats: Vinyl/Digital

Release Date: 14 Jul 2023

Tracklist:

1. The Warren Part I

2. The Warren Part II

It's the first day of a new month. The month that will also see us into a new year. It's a chance to gain fresh momentum, at least for me anyway. That's why I'm dedicating this day to writing and listening, and first up is the two-song 7" called The Warren by Australian ambient/black/doom metal band Bolt Gun. It was released in July via Avantgarde Music and Starved Light. It was billed as the precursor to Bolt Gun's newest album The Tower, which was released in October and it features the percussive might of Iggor Cavalera on drums.

Bolt Gun is made up of guitarist/synth/orchestral arranger Jon Vayla, vocalist A.T., bassist Val Macukat and saxophonist Claire Keet on this release.

The Warren is split into two parts, both being the same length. ‘The Warren Part I’ is immediately bleak but also bold thanks to the atmospheric instrumentation performed by Bolt Gun. Iggor Cavalera’s drumming compliments the sound perfectly, adding a slightly industrial tinge to the doom-laden tempo used. On hearing the synths and saxophone, I can understand how this came to be released under the Avantgarde Records banner. It’s heavy but also intelligent at the same time.

‘The Warren Part II’ begins with synthesised strings and subtle ambience that draws you away from Bolt Gun’s heaviness. Beyond that initial opening section, the song’s first half is a mix of improv noise and off-kilter guitar. The latter half sees that band’s more structured black/doom metal appearing again, as if out of thick fog. Their cinematic post-metal influences become more prominent and temper the piercing vocals, which sit deeper in the mix.

7” EPs like this are used to build suspense and excitement, both of which Bolt Gun successfully achieve here. As the music falls aways to silence, the calm it leaves behind gives a sense of euphoria. It forms part of a larger musical journey for the band yet as a singular entity, The Warren deserves a place of it’s own. Great release.

You can stream and purchase The Warren digitally from Bolt Gun below:-

Bolt Gun - https://www.facebook.com/BoltGun

Physical 7" copies can be purchased via the links below:-

Avantgarde Music - https://avantgardemusic.bandcamp.com/album/the-warren

Starved Light - https://starved-light.com/products/bolt-gun-the-warren

Avantgarde Music - https://www.facebook.com/avantgardemusiclabel

Starved Light - https://www.facebook.com/starvedlight

Arkheth - Clarity Came With A Cool Summer's Breeze

Labels: I, Voidhanger Records

Formats: Vinyl/CD/Digital

Release Date: 30 See 2022

Tracklist:

1. In The Cradle Of The Crescent Moon

2. Kundalini

3. Psychonautica

4. Neptune Beaches

5. Patience In The Garden Of Fire

6. Where The Ocean Meets The Sky

I've found myself in a rare spot, where I can pick a random release to talk about. This particular release forms part of the ever growing I, Voidhanger Records stable, which is a label that's known for it's love of progressive and avant-garde metal, with bands who constantly up the cover-art level. One such band is Australia's Arkheth. I previously wrote about their 2018 album 12 Winter Moons Comes The Witches Brew. I really enjoyed that album and knowing that they've now found a suitable home for their latest work, I'm excited to hear how they've progressed over the past four years and if that cover is anything to go by, there's gonna be psychedelia aplenty.

I’ve said before that it’s always great to revisit bands that I’ve reviewed before and Arkheth left a really good impression with their previous album. Fast-forward to now and Clarity Came With A Cool Summer’s Breeze promises to be as good, if not better. Album opener ‘In The Cradle Of The Crescent Moon’ is an instrumental that hides Arkheth’s extreme influences behind acoustic guitar, saxophone, clarinet and birdsong. It’s an auspicious start.

‘Kundalini’ follows quickly on with something that’s a little more extreme, but only because it contains guitar riffs. They’re joined by both spoken/whispered and cleanly sung vocals, keyboard tones that sound like a Moog and almost shoegaze-like textures. There’s a lot going on and the creativity levels are very high indeed. Even the electronic flourishes during the song’s mid-section don’t sound out of place. Black metal makes more of an appearance later on, along with some Shining-like black jazz.

There seems to be a growing trend (if you can even call it that!) of bands becoming less extreme, heaviness-wise and Arkheth make their point clearly on ‘Psychoanutica’ (not that they’re following any trends). Part black metal, part cheesy 80’s game show music and part bizarrely beautiful sound collage. If this band ever makes it onto Jools Holland’s Hootenanny, I’ll be bloody happy!

The reason I mentioned Jools Holland is because the brass section of ‘Neptune Beaches’ could easily have come from his rhythm and blues orchestra. It’s that good and underlines just how impressive this album is. I’ve honestly never heard anything like this in the twelve years I’ve been writing about music. Everything flows so well and before you know it you’re listening to the 70’s inspired penultimate song ‘Patience In The Garden Of Fire’. More like a folk, psych, Beatles-esque pop song than anything remotely close to metal, yet it works so well in the context of Arkheth’s music. 

‘Where The Ocean Meets The Sky’ epitomises the musical quality of this album best and it’s the final song of a record that’s over too quickly, It’s very atmospheric and it builds in a gentle way, making full use of every element at Arkheth’s disposal. Led by the band’s sole permanent member Tyrone Kostitch, with additional and no-less significant contributions from Glen Wholohan (alto sax, tenor sax and bass clarinet), Tarquin Halls-Corbett (bass, backing and additional lead vocals, along with added acoustic and electric guitar on track 6), Prophanant (additional lead guitar on track 3) and Hunter McDonald Gerrand Rogers (string orchestration on track 5), it’s unlikely that you’ll find a collective as inspiring as this.

All that’s left now is for you to go on your own journey of musical exploration, starting with this record. It fully justifies why Arkheth should be held in much higher regard and why I, Voidhanger Records should be revered amongst lovers of challenging, stimulating music devoid of traditional labels. Fantastic!

You can stream and purchase Clarity Came With A Cool Summer's Breeze on all formats below:-

Arkheth - https://www.facebook.com/arkheth

I, Voidhanger Records - https://www.facebook.com/i.voidhanger.records

Robust Split Series 1: #4 - Keepleer 18/Yanomamo

Labels: Robustfellow Productions

Formats: Tape/Digital

Release Date: 24 Dec 2021

Tracklist:

1. Keepleer 18 - Giffrotaa

2. Keepleer 18 - Viitiir

3. Keepleer 18 - Dol-Hilia

4. Keepleer 18 - Aatiica

5. Yanomamo - No Sympathy For A Rat

6. Yanomamo - The Offering

7. Yanomamo - Miasma

8. Yanomamo - Iron Crown

I did not realise that it's been over a month since I last wrote about the Robust Split Series from Robustfellow Productions. This, the fourth split tape, features Keepleer 18 (Ukraine) and Yanomamo (Australia). Keepleer 18 began life in 2012 and have released a demo, a single and two full-lengths of sludge prior to appearing as part of this split series. Similarly, Yanomamo have been playing their own brand of sludge since 2012 and so far have four EPs, two singles, a couple splits and a full-length to their name before this one (all previous release info taken from Metal Archives). So both bands have a decent amount of material to their name so far, with four tracks from each appearing here.

For those who are not aware of this series; it focuses on the five split tapes that Ukrainian label Robustfellow Productions released towards the end of 2021, where they brought together five Ukrainian bands and five international bands in the name of all things slow. Given all that's going on in Ukraine at the moment, it's important to share music from the region and also the stories of those who are living though it (more on that later).

Opening the split with ‘Giffrotaa’, Keepleer 18 (possibly named after the star Kepler 18) launch into life with some extremely groovy yet vocally harsh sludge. Said vocals are barked with a level of ferocity and tone that some may find uncomfortable, but they fit the music perfectly. The band behind are equally as strong. The whole production stands out for me this early on in the split. This is the sort of music you need at the midweek point. ‘Viitiir’ is an upbeat and chunky riff-filled beast initially. If you’ve got this far then you’ve probably also got used to those vocals. I’m not being disrespectful here though, I’m just giving fair warning to those who don’t like things too extreme. I personally love them.

Surprisingly ‘Dol-Hilia’ is a sub-sixty second piece of what could ultimately be described as art-grind. I know that sounds pretentious but the raging passages that make way for off-kilter guitar and upbeat(!?) singing, shine a whole different light on Keepleer 18. Their closing song ‘Aatiica’ is filled with the sounds of experimental electronics, more inline with their cosmic influences (maybe?). It’s a far cry from what started their side of this split but it’s more than suited to being the longest song of the four that they contribute here. As ambient, electronic songs go it’s a fun listen, especially when presented alongside such harsh music.

Australia’s Yanomamo start their side with the song ‘No Sympathy For A Rat’, which you may be familiar with if you own their 10” of the same name from 2020. Their sound is a lot more down-tuned, though there are grooves aplenty as well. It’s hard to get around the fact that this type of dirty sludge could reside in Australia, but it does. ‘The Offering’ provide a greater glimpse into the musical mind of Yanomamo. Like Keepleer 18, they’re less straightforward than you might expect sound-wise. Yes they’re heavy and downbeat, but they’re not afraid to dabble in different sounds at the same time.  

Those different sounds and elements are more obvious on ‘Miasma’, which is instantly more urgent thanks to it’s tempo. Maybe more akin to the approach of Sacrament-era Lamb Of God here, they show that sludge can still be fast and that’s no bad thing at all. Closer ‘Iron Crown’ is the best of both worlds in terms of it’s approach. Maybe it accentuates what they’re going for musically, but whatever, it’s definitely a solid way to end a split of this sonic magnitude. 

Both Keepleer 18 and Yanomamo are brilliant ambassadors for the sheer breadth and personality that exists in the global sludge community. If you haven’t taken some time out to listen to both bands, or indeed the bands that make up this split series in it’s entirety, you’re doing yourself a disservice. I have one more split to review and I can’t wait!

For Fans Of: Deadsmoke, Watchtower, Loinen, Outlaw Order, Pod People and Lamb Of God

You can stream this split and the songs from all the rest via Robustfellow's bandcamp page below, where you can also purchase the series digitally and on tape while stocks last:-

Keepleer 18 - https://www.facebook.com/Keepleer18

Yanomamo - https://www.facebook.com/yanomamoband

As I alluded to in the second paragraph of this review, Robustfellow Productions are using their platform to allow Ukranian artists the space to talk about their experiences of living through a war via a new video interview series. The pilot episode is available here - www.youtube.com/watch?v=RfbPRrKazSs.

Robustfellow Productions - https://www.facebook.com/RobustfellowProds

Dr. Colossus – I’m a Stupid Moron with an Ugly Face and a Big Butt and My Butt Smells and I Like to Kiss My Own Butt (by Mikey Ortega)

Label: Self-Released

Format: Vinyl/CD/Tape/Digital

Release Date: 21 May, 2021

 

Tracklist:

1. Sex Cauldron

2. Pickabar

3. Lard Lad

4. So Long Stinktown

5. Get Mendoza

6. Hummingbird of Bengal

7. Space Coyote

 

Australia’s Dr. Colossus is a band that I feel in love with a while back, when Doomed & Stoned reported about a Stoner/Doom band, that sang about The Simpsons. Like, how can you not be a fan of that. As a 90’s kid, The Simpsons was a huge part of my life. Hell, in college, quoting Simpsons lines was a sport. Their impact on pop culture could not be denied. When Dr. Colossus put out their 2017 release, THE DANK, it brought back great memories with some heavy riffage. After releasing two singles, the Springfield worshiping Aussies have entered 2021 with a brand new album (probably the greatest album title), I’M A STUPID MORON WITH AN UGLY FACE AND A BIG BUTT AND MY BUTT SMELLS AND I LIKE TO KISS MY OWN BUTT. So how does this hold up against THE DANK?  Well, let’s go and find out.

 

“Sex Cauldron” gets things started, and boy, does it come out charging at you, like Drederick Tatum. It’s a song that goes full-throttle, like High On Fire. It will definitely get you banging along and flipping the goat. “Lard Lad” is a catchy tune that will have you singing along with your pals, while driving down Springfield. By the 3:30 mark, things pick up and we get a nice guitar solo, with an organ in the background. Excellent placement.  We then go into the heavy-blues of “So Long Stinktown”. The perfect track when leaving your shithole town. The riffs are killer and I’m sure any fan of Doom and Stoner Rock will appreciate it. If there’s a song that defines Dr. Colossus’ musicianship, it will be “Get Mendoza”. Love how it has a Mastodon influence with a touch of Alice In Chains/Jerry Cantrell. Not sure if that’s what they were going for, but it sure as hell would be interesting to be there during the writing process. The album closes out with “Space Coyote”, who is probably the coolest character that The Simpsons have ever created (and voiced by Johnny Cash). The song really captures the feel of the “El Viaje Misterioso de Nuestro Jomer (The Mysterious Voyage of Homer)” episode. You feel a bit lost traveling through a cosmic desert. But no worries, Space Coyote is here to guide us. The track does take you on a journey with the way the instrumentation is built up. From the acoustic intro to those killer grungy-stoner riffs, the solo and back to the acoustic, “Space Coyote” may be one of the best songs Dr. Colossus has ever written. Probably rivals “Holy Driver” from THE DANK. It’s definitely a track that you can crank up at a family BBQ.

 

You can say that the whole Simpsons theme is a total gimmick, but I’M A STUPID MORON WITH AN UGLY FACE AND A BIG BUTT AND MY BUTT SMELLS AND I LIKE TO KISS MY OWN BUTT proves that Dr. Colossus is more than that. From the musicianship to the song writing and vocals, Dr. Colossus have really stepped it up and have left their mark in the Doom/Stoner scene. They were able to have fun and be silly, but at the same time, back it up with killer riffs and with the whole Simpsons theme, I’m sure there are plenty of ideas in the works, that will last them for many years (I hope to see a Halloween album dedicated to Treehouse of Horrors). There’s a reason why the band won “BEST HEAVY METAL ACT” in the 2021 Music Victoria Award and if you can’t hear that on I’M A STUPID MORON WITH AN UGLY FACE AND A BIG BUTT AND MY BUTT SMELLS AND I LIKE TO KISS MY OWN BUTT, then EAT MY SHORTS.

 

You can stream and purchase I’M A STUPID MORON WITH AN UGLY FACE AND A BIG BUTT AND MY BUTT SMELLS AND I LIKE TO KISS MY OWN BUTT on the links below.  and be sure to follow them on social media:-

Website - https://www.drcolossustheband.com/

Facebook - https://www.facebook.com/drcolossustheband

Instagram - @drcolossustheband

Descent - Order Of Chaos

Labels: Brilliant Emperor Records/Redefining Darkness Records/Caligari Records

Formats: Vinyl/CD/Tape/Digital

Release Date: 14 Jan 2022

Tracklist:

1. Tempest

2. Dragged

3. Resolve

4. Gathering

5. Fester

6. Filth

7. Safe

8. Despotic

It looks like 2022's gonna be a heavy one, beginning with the newest album from Australia's Descent. The HM2 inspired quintet started life in 2015 with their demo before releasing their first album, Towers Of Grandiosity is 2018. Descent's newest full-length Order Of Chaos now gets a multi-format release, as a means of trying to contain the thirty minutes of death metal madness therein. With members of Descent also lining up in some of Australia's nastiest bands, including Resin Tomb, Necroseptic and Feculent, this should be a ripper!

Descent’s approach to death metal on Order Of Chaos is a heady mix of old-school murkiness and grinding intensity, wrapped up in a blackened veil. Technically it’s very strong, unsurprisingly, with the quintet wasting no time with intros or meandering performances. They go straight for the jugular as demonstrated on opening duo ‘Tempest’ and ‘Dragged’. There’s a hardcore backbone to their sound as well, though breakdowns are hidden away in favour of Cursed-like destruction. 

The low-end provides a bass hit that’s hard to ignore and Descent has an ear for melody, although it’s enshrined in a metallic coffin for the majority of the album. The vocals are made up of raspy shrieks and low register growls, somewhat akin to those of Lorna Shore, especially on ‘Gathering’. As eluded to earlier on in this review, there isn’t too much time to ponder as the album rages from start to finish. The songs rarely go over the four-minute mark during the album’s first half, ‘Fester’ leads you into the second-half by doing just that. It’s filled with atmosphere, with the instrumentation given more space.

There’s a greater attempt at variation towards the end of Order Of Chaos, with the utterly blistering ‘Safe’ leaving you battered and bruised. The band’s instrumental virtuosity is obvious, especially in the guitar work with it’s screeching leads and pinch harmonics. Concluding with the hauntingly disturbing ‘Despotic’, Descent have proven beyond any doubt that Australia’s extreme metal community will be leading the way in 2022.

In summary then, Order Of Chaos is uncomplicated and to the point. Descent don’t just copy what influences them, they weave their own rich version of death metal.

The album will be officially released on January 14th, but until then you can stream three of it's tracks below:-

Descent - https://www.facebook.com/descentmetalbrisbane

You can pre-order it digitally from Descent's bandcamp page above, as well as physically from the labels below:-

Brilliant Emperor Records - https://brilliantemperor.bigcartel.com/category/brilliant-emperor-releases

Redefining Darkness Records - https://shop.redefiningdarkness.com

Caligari Records - https://caligarirecords.storenvy.com/collections/278925-caligari-records-releases

Brilliant Emperor Records - https://www.facebook.com/BrilliantEmperorRecords

Redefining Darkness Records - https://www.facebook.com/redefiningdarkness

Caligari Records - https://www.facebook.com/CaligariRecords