Resent – Crosshairs (2020)

ResentCrosshairs (Dry Cough Records (UK) / Nerve Altar (US) / Rope or Guillotine (NL), 01 May 2020)

 

Things are looking pretty bleak right now — every day the news being reported sounds worse than the day before, and nobody can agree on how we can fix anything or when we’ll ever get back to a state resembling normalcy.

So with that in mind, perhaps you are looking for something cheery and uplifting to distract you and take your mind off the misery of your daily existence. If so, you’ve come to the wrong place, buddy.

Here is Crosshairs, debut LP by British Columbia’s Resent.

 

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Desertfest Berlin #7 (May 2018)

by Charles Degeyter

 

Desertfest Berlin #7

4-6 May 2018 at Arena Berlin

 
The seventh annual Desertfest is happening THIS WEEKEND in Berlin! The complete line-up and schedule is out now, including the headliners for each day, Monster Magnet, Graveyard, and High on Fire! There are plenty of other names to get excited about as well, which we’ll list for you below. And as an added bonus, a preview of information about albums coming later this month from two of these bands…

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Sila Slona – Self-Titled; Montezuma’s Revenge – Them (2017)

Sila SlonaSila Slona (Zero Hero Recordings, 27 January 2017)

 

Montezuma’s RevengeThem (Zero Hero Recordings, 03 March 2017)

 

Anyone who has read or watched any sort of news in the United States over the past few months may have noticed that Russia is being mentioned in connection with nearly every story that’s being reported these days. That country is currently discussed more often in this country, than any other time in the past several decades — at least since August 1991. Not even during the Sochi Olympics do I recall having heard about Russia nearly this often.

But I’m not here to talk about political matters, and you certainly aren’t here to read about such nonsense either. So it seemed like a much more fitting idea would be to discuss some Russian music. Specifically, here are albums by two different bands from Moscow, which were both released earlier this year by Moscow-based Zero Hero Recordings. Enjoy!

 

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Video News: He Whose Ox is Gored, Cultura Tres, Eyehategod

 

Video News Update for 24 May 2017

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Grizzlor – Cycloptic (2015), Rhin – Passenger (2016)

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GrizzlorCycloptic (Hex Records, 28 October 2015)

 

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RhinPassenger (Grimoire Records, 06 May 2016)

 

Hey — remember a few weeks ago when I wrote about a split record by Barren Womb from Norway and New Haven’s Grizzlor? Maybe you missed it because it was only a couple short paragraphs, buried among reviews of two Bardus albums. Whatever the case, in that article (which you can find right here), I pointed out how the two songs contributed by the Connecticutian band were nasty and punky but also just catchy enough to make one want to check out more of their stuff. Well I didn’t realize it at the time, but there wouldn’t be a long wait to be able to do just that — in fact, technically it was a negative amount of time, since that article was published almost a year after the split with Barren Womb was released, and in the meantime — about seven months later, but still a few months before I wrote the article — Grizzlor had already put out another 7″ record.

Today I’m going to discuss that record with you, and I’ll also throw in some words about a brand-new album — due out next Friday from Grimoire Records — by Rhin from Shepherdstown (a small town at the easternmost tip of West Virginia, near the border with Maryland and Virginia). As an added bonus for those readers who live near Philly, Brooklyn, or New Haven, these two bands will be performing in your city this weekend! Further details on those shows will be found at the end of the article. But first, let’s talk about some music …

 

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Corrections House – Last City Zero, Lumbar – The First and Last Days of Unwelcome (2013)

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Corrections HouseLast City Zero (Neurot Recordings, 29 October 2013)

 

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LumbarThe First and Last Days of Unwelcome (Southern Lord Records, 11 November 2013)

 

Salutations. It’s Monday, and I just don’t have the energy for any of the wisecracks or silliness these things often start with, so instead I’ll just jump right into introducing today’s topic of conversation. It’s been a long time coming, but finally I’m getting around to writing about these two albums which were each released in late 2013, and which each subsequently found their way into the top ten of my Top 13 of 2013 list. Yes, that particular list did contain a total of twenty-seven albums, technically speaking, but still that’s no excuse for a delay of more than two years before getting some of these reviews done — particularly considering the exceptionally high quality of the material found here.

The two albums in question were the first to be released by two different groups of musicians, all veterans of fairly well-known bands: first, Corrections House is a conglomoration of Mike IX Williams (Eyehategod), Scott Kelly (Neurosis), Bruce Lamont (Yakuza), and Sanford Parker (Minsk), with some of the lyrics contributed by the phantasmatic “minister of propaganda,” Seward Fairbury; and Lumbar is a project led by Aaron Edge (well-known as a graphic designer, who worked for Southern Lord Records for several years, but also a guitarist and drummer who has been part of literally dozens of groups, including Brothers of the Sonic Cloth), with the addition of Mike Scheidt (YOB) and Tad Doyle (Brothers of the Sonic Cloth, formerly Tad).

In each case, I think you’ll find — as they say — that the finished product shows each collective to be more than simply a sum of its parts. But even if that wasn’t the case, looking at the particular parts involved, those would still be pretty lofty sums, no?

 

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Agoraphobic Nosebleed – Arc (2016)

arc

Agoraphobic NosebleedArc (Relapse Records, 22 January 2016)

 

As far back as last November, Relapse Records has been teasing the news that this year would witness a series of four EPs filled with new material from grindcore stalwarts Agoraphobic Nosebleed, the first of which was scheduled to come out in late January. This EP, titled Arc, would run about twenty-five minutes over the course of just three songs.

Surely those of you familiar with the drum-machine-based band’s past output — which includes an album of 100 tracks whose total length doesn’t quite reach twenty-five minutes — will have done a double-take at learning this information, just as I did when I first read the announcement. And surely you’re as curious and eager to hear what they’ve come up with, just as I was. Well Arc has been out a few weeks by now, so step right this way and let’s explore.

 

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