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.
My first exposure to Sewer Goddess came back in 2013 in the form of Mutilation Process, a thoroughly unsettling live recording released on cassette by the always great Graceless Recordings. Ever since that initial taste of their harsh electronic depravity, I’ve longed to hear more from the band, but tracking down their releases is no easy task. Fortunately, they’ve opted to release Painlust, their most recent studio assault, through high profile noise/electronic/industrial label Malignant Records, making it much easier for schmucks like me to track down this half-hour long exercise in mechanized malevolence.
Beginning life as a traditional-sounding Norwegian black metal outfit, Oslo’s Dodheimsgard have evolved drastically with every release, to the point that if you were to play each of their full-length recordings to someone who was completely unfamiliar, they’d likely attribute them to several different bands. This near-constant state of progression and reinvention has made DHG into one of the most exciting groups to emerge from the Scandinavian second wave, the lengthy periods of inactivity between albums doing nothing whatsoever to dull my anticipation of their next move.
Sacramento was positively drenched with rain last weekend. The meteorologists called it an “atmospheric river;” I called it a great time to wallow in some seriously depressing music to match the shitty weather. As far as I’m concerned, there’s no better band in 2015 to accompany overcast skies and sheets of (probably toxic) precipitation than Australia’s Weeping Rat. The band is set to drop their debut album Tar via the mighty Handmade Birds, and it’s a deliciously dismal listen, to say the very least.
Darkness comes in many forms. A band doesn’t necessarily have to scream about Satan or pile on the distortion in order to take listeners to pitch-black places. Subtle Cruelties, the debut album from West Coast duo Barren Harvest, is an exquisite example of this. A collaboration between Jessica Way of Worm Ouroboros and Atriarch’s Lenny Smith, Barren Harvest’s sound is rooted in the subtle tones and textures of ambient and neofolk, yet somehow manages to be darker and more sorrowful than even the most depressive of black metal bands.
Of all the trends that have to come to prominence within the metal underground over the last several years, the murky/cavernous death metal thing is surely the least interesting (pro tip: if you really want to piss some people off, refer to this junk as “caverncore”). In fact, I’d say my interest in bands shitting out non-riffs from underneath a pile of wet blankets is exactly zero. But there are exceptions to every rule, and the mysterious Canadians known as Malsanctum have proven that there is something to be said for this sub sub genre with Metamorbid Fetishization, their debut(?) release on Germany’s ever-prolific Iron Bonehead Productions.