Regress to a polyp.
A (mostly) retrospective review of the Aussie pub thrashers’ 2018 ripper, Piss~Up.
In this album review cluster, we plunge into the musty auras permeating from Disentomb, we make effort to settle the debate between the better of the two Batushka’s, Bartushka and Krzysztof’s solo record, and we capstone the episode with the harrowing psychedelic incantation invoked by Skáphe and Wormlust.
Grab your makeshift wrenches and welding torches to keep this disheveled crew’s craft afloat as we strike murderous warp speed.
A ferocious concoction of mathcore and hardcore infused with shots of progressive inclinations and black metal animosity.
There is a candid sense of liveliness and joviality that pierces Tempel’s compositions. Much of the record leaves an impression of a hard/classic rock aesthetic, however, the way they dig their heels into metallic qualities, carried by vociferous rasps, makes the album feel retro and simultaneously progressive.
When I first watched a video of Idle Hands that was recommended me on Youtube my first impressions were average. The video looked pretty cheesy
Adam speaks in-depth about his sludgy, blues-imbued hardcore project named Crowfeeder. He then expands upon this endeavor to illuminate the genesis of his chaos-teeming record label, Constant Disappointment Records.
Death metal with thrash, slam, and hardcore influences, Samsara harbors an affinity for progressive writing that is both technical while also being engaging.
Crux is an undeniably unique album. Compositionally, it is exceptionally crafted and a breath of fresh air within modern rock music. However, I find myself simultaneously loving and hating parts of the album and generally that feeling happens at the same time.
This sense of being pounded with a brick in your face does not end until you either put off the album or manage to make it to the final track.