Those of you that read IG on the regular or follow me on social media know that I’m always up for some good noise rock. As such, White Spot’s Father Songs proved to be one of 2015’s most pleasant surprises so far, a noise rock album that showcased mainman/madman Marcus Lemoine’s knack for concise yet devastating songwriting and an attention to craftsmanship not often seen within the genre.
It’s been a few weeks since I saw Melt-Banana at Harlow’s, and for some reason I just can’t get their set out of my mind. Part of this is no doubt due to the fact that I actually got to see Melt-Banana; sure, they’ve toured the states many times, but keep in mind that I was living in the middle of Iowa up until a year ago, not exactly a hotbed for extreme and/or experimental music. Since we’ve moved to Sacramento, I’ve already had the pleasure of seeing a handful of bands I never imagined I’d get the opportunity to see without traveling great distances (Sargeist and Ufomammut immediately spring to mind), and the Japanese duo are probably number one on the “holy shit, I can’t believe they’re actually playing where I live” list so far.
If there’s one thing I’ve learned about Sacramento in the ten months I’ve lived here, it’s that this city loves its doom and sludge. I’m sure as hell not complaining, especially when we get shows of this caliber; long-running LA sludge godfathers -(16)- descending upon the Starlite Lounge along with Oakland sludge/punk legends Brainoil, SF noise rockers Kowloon Walled City and hometown doom-lords-in-the-making Church was indeed a dream show for fans of all things slow ‘n’ low.
I admit it, I fucked up. When Irk contacted me during the summer of last year about reviewing their Bread and Honey EP, I was thoroughly impressed with their noise rock assault and told the band that I’d be all about giving it a write-up. But as I continued to drown in a never-ending flood of new music in the ensuing weeks and months, I got in over my head, and as a result the promised review never materialized. So when the band graciously contacted me again regarding their split with fellow UK noise-makers Wren, I immediately felt like total crap when I realized I had allowed their previous release to slip through my fingers.
I’ve been listening to various forms of heavy music for a long time, and as the years go on, my attention span gets shorter and shorter, especially when it comes to choosing bands to write about. Basically, if your band can’t pique my interest within the first thirty seconds of the first song (excluding intros), consider yourselves SOL. This has made it increasingly difficult to discover new acts to cover, as it seems that much of the scene is currently plagued by a complete and total lack of ability to self-edit.
In early December, I decided I wasn’t going to do a year end list. It isn’t that I’m all of the sudden anti-list; I still love lists, but this year I just wasn’t feeling it. I gotta be honest, after five years of doing THKD I’m fucking weary, and laboring over a list just felt like yet another metal writing chore. Besides, if you read the blog regularly and follow me on social media, you already know what I liked this year.
Brooklyn, New York’s Spü is a multi-headed beast; part molten sludge, part scuzzy black metal and part even scuzzier noise rock. The trio recently self-released Deluge, a genre-blending maelstrom of filth that’s one of the most intriguing debut albums I’ve heard in 2014. It’s rare that a young band emerges with their sound fully formed, but Spü appear to have done just that with this killer tape.