One of my all time favorite bands is the cinema-grind act Graf Orlock. They’re music is wild, chaotic and fucking insane. The band will be releasing their new EP Crime Traveler next year and if you want a dose of it right now, then I’ve got amazing news for you. Graf has unleashed a new track titled “A Descent Proposal In A Shitty Alley” and you want/need this in your life. Check it out below, via Noisey. Continue reading
Cinemagrind executioners Graf Orlock are back with “A Decent Proposal In A Shitty Alley”, the second cut of three (of which the third features actor Kevin Gage in some manner) off of their Trailer EP, the prelude and teaser to the group’s upcoming Fall LP Crime Traveller. Among the longer of the group’s tracks and possibly its longest, the over four minute track appeals more to the group’s hardcore direction as explored in their Los Angeles EP with the lingering progression of southern-tinged hard rock, not far off of Every Time I Die’s trajectory. Stream the track exclusively via Noisey here, pre-order Trailer via Vitriol Records here or pick it up live on one of the band’s dates on their upcoming East Coast tour with Holy and Dangers, full dates and details below. Continue reading
Revamped and ready for more sequels, cinemagrind act Graf Orlock are currently streaming a new track off of their upcoming EP, Trailer, entitled “Nursing A Hangover”, the group’s latest material since 2012’s Heat-themed Los Angeles EP. Intended to provide a glimpse into the group’s direction for their Fall-expected LP, Crime Traveller, the aptly titled Trailer EP will screen three new tracks (“Nursing A Hangover”, “A Decent Proposal in a Shitty Alley” as well as the title track “Trailer”, which is helmed by actor Kevin Gage) and will be available to upcoming tour attendees to the group’s upcoming East Coast run with Dangers and Holy as well as internet denizens now through pre-order on Vitriol Records. Stream “Nursing A Hangover” below, pre-order Trailer via Vitriol Records here and peep the tour dates below (courtesy of BrooklynVegan), the first three of which will see Ceremony, subbing in for Graf Orlock and Holy.
A few weeks back I posted about Holy, one of the most vicious Italian bands on the market right now. I’ve adored this band for some time and now a site that I not only love but go to first for my news, CVLT Nation are streaming the new EP from this amazing band. The album is four tracks of pure filth and madness and if you don’t have this somewhere near you right now, you’re day is going to suck. Check out the Seclusion MMXIV EP right now after the jump. Continue reading
Milano crusty hardcore band Holy are a force to be reckoned with and I have loved their music for a while now. Theirs is that brand of hardcore that I adore with all of my blackened heart and I can’t get enough. The band has unleashed a new track over on CVLT Nation titled “Blank Stares” and you need to check this shit out. Seriously. When have the CVLT folks steered you wrong? Right. Never. Check out “Blank Stares” below. Continue reading
That’s right, the great Ghostlimb are streaming not one, but FOUR new tracks over on Brooklyn Vegan. Why the fuck are you still reading this? Go listen. Go now. Confluence will be released on July 10th via Vitriol Records.
Seriously. Stop reading.
When I first started listening to Ghostlimb, I wasn’t feeling it, really. It wasn’t until I gave it a good, down right listen that I really started to comprehend what these dudes were doing. It was at that point that I really started to love the band’s material. Ghostlimb is preparing to release a new album, their forth overall and second in their current trilogy, titled Confluence. The band has recently released their first track off of the album titled “Margins” and it is fucking fantastic.
Crushing brutality combined with sludgy passages and execution to rival any hardcore band of the era, I am seriously stoked to get my filthy paws on this album. You can stream the new track below and check out the track list after the jump. This album will feature a cover of Hot Water Music‘s “Southeast First,” which should be interesting. Check it out and get pumped.
I have finally gotten a chance to speak to the man behind acts such as Graf Orlock, Dangers and the amazing label Vitriol Records. This man goes by many names, some of which are Jusan Smirdt and Jason Schmidt. What’s his real name? Who fucking cares, the dude shreds like a beast. Check out the interview below.
Okay, as you may have noticed, the Album of The Week hasn’t been updated in a while. The main reason for this is… Well, we just forget about it. So, the cure for this is simple: We up it to Album of The Month.
The first entry for Album Of The Month is the fantastic new release by Graf Orlock. This album is due out in April and ever since I got my copy of the album I haven’t been able to stop listening to it. The album, Los Angeles, is based on the Robert DiNero movie Heat and it’s a crushing, filthy, grinding experience. This is definitely one of the best releases this year so far and it is definitely year-end material. Ten minutes of pissed off aggression that must not be missed.
Day has been made. It was announced that Graf Orlock have released their follow-up to last years Doombox EP. The new release will be titled Los Angeles after the band’s hometown. As with all of Graf Orlock‘s releases, this EP will be driven by the cinema, more specifically the film Heat (staring Robert DiNero and Al Pacino). Also, in keeping with Graf Orlock‘s unmistakable artwork, guitarist Jason Schmidt reports that Los Angeles will sport three different collectible covers, each a “shooting range target” depicting a scene from Heat and riddled with actual bullet holes.
Sounds good, huh? Now, enjoy one of my favorite Orlock tracks and get stoked. Los Angeles is set for release this Spring via Vitriol Records.
This time last year I posted about Birds In Row, a French hardcore band who had released an album through the free label Throatruiner Records. Well, I didn’t hear anything about the band until a short time ago when I learned that Birds In Row had signed to Deathwish, Inc., which was pretty fucking cool. I think this band will fit in very well alongside Deathwish bands like Touche Amore, Rise And Fall and New Lows. Now it has been announced that Birds In Row has entered the studio to record their Deathwish debut. Here is what frontman Bart Hirigoyen had to say:
“We’ve been taking a month and a half to compose these twelve songs. It should sound a bit more aggressive, yet more melodic too. The lyrics are centered around the concept of feeling old and jaded when this is only the beginning of life.”
Also on January 17th Vitriol Records will release Collected, a retrospective on all of Birds In Row‘s material to date. Check out their album Cottbus streaming below.
Earth Control, formerly known as Owen Hart made their mark when they were a part of the This Comp Kills Fascist Vol. 2. before that the band had only released two demos and a two song EP. After they were featured on This Comp Kills…, the band finally released their debut full-length, Earth Control. A few months after the release of Earth Control, the band announced that they had changed their name to Earth Control. I got in touch with guitarist Tony Wolfe to ask him a few questions about the band, the full-length record and the reason for the band’s sudden name change. Read on to learn these things and more. Enjoy.//Dig It or Die.
~R. Gnarly//Grave Det Eller Dø.
The sound of a violin and a snare drum open up “Nameless.” This is odd. The electric guitar fades in slowly and the song begins to take shape. There are a lot of different things working together on this track. Blasting drum beats, one chugging guitar, one setting off a killer lead. It’s all amazing. This is a great way to open an album. “44 Black” fades straight in from “Nameless” and starts with a fury of melodic riffing and machine gun drumming. Time changes and that amazing lead guitar really set this track off. The vocalist has an unbelievable range. Gut wrenching high pitch screams to low, guttural growls. I love the guitar work on this track. I’m not quite sure what I would call this. It’s grind, but it contains a lot of elements that coincide with death metal and hardcore at the same time. This is unlike anything I’ve heard before. That’s for sure. And I fucking love it so far. “Poor Straight White Guy” opens with a face pounding drum intro that breaks into a full on assault. It’s great to see a band like this take two guitarists and use them to their full advantages. They pull off an amazing sound that is unique and unmatched. Nice chugging section beginning a 25 seconds. I also like that this band utilizes spoken word parts in their songs. And on top of the out of control music being laid down, they maintain so much melody it is extraordinary. This drummer is off the chain. Seriously, he is amazing. Damn, this is a great band. “Welcome to Worthlessville” is a shredding motherfucker. Both guitars come out blazing and the drums keep an insane pace right behind them. I am still loving these vocals. They remind me of someone, I just cannot place who at the moment. But they are amazing. This band is breaking all kinds of barriers. They got the blast beat drumming mixed with the dual guitar leads which is un-fucking-believable. This band is seriously rendering me speechless. I want to do nothing but listen. This track goes out on a nice, acoustic note. Very calming, which is odd seeing as how the rest of the track was full of melodic chaos. “I Hate Myself and I Want to Die” begins like any track on this album should, a fucking melodic mess of masterful grind! This band is one of the first that I can honestly call straight up melodic grindcore. This is also some of the best grind I’ve heard in a while. I love the riffing on this track. Almost sounds like Dillinger Escape. At 1:54 the track takes a turn for the doom. Everything slows down and feedback takes over. Wow. Fucking killer! “Bombay Beach” opens with a very doom-y tone. Downtuned slow chugging guitars and a steady (yet amazing) drum beat. The vocals are spoken at the beginning and they sound fucking creepy. At 1:20 Owen Hart shows its true colors and the monster is unleashed. Insane chugging guitars turn into beautiful lead lines topped with mounds of killer drumming. The vocals sit nicely in the mix, tortured and powerful. This is one of my favorite tracks so far. “The Letter” begins with a vengeance. The entire band rushes in to bash you in the face with a melodic hammer. The drumming on this track is out of this world. Constant tempo changes and drum rolls prove that this guy is no noob behind the kit. Owen Hart is slowly becoming one of my favorite grind bands of all time. This track is… Yeah. You know. “Fuck Morrisey, Fuck The Smiths, Fuck The Cure” is not only an amazing title, the song that comes with it is fucking insane. Catchy riffing, demonic drumming patterns, hellbent vocals. Holy shit. I am officially a Owen Hart fanboy. I love the chugging riff that sets in right around the 1:00 mark. This song is utter chaotic beauty set forth by an amazingly talented band. “Methlahem.” Another great title. Another superbly catchy track. This track, as all those before it, contains complex and amazingly executed riffing with technical drumming and all out otherworldly vocal ability. I love the lead guitar work around 1:30. This is fucking unbelievable. “The Vertigo of Murray Morgan” picks up the feedback from the previous track and opens with a nice melodic guitar intro. The drums come in slowly, creating a melancholic atmosphere. It is unusual for me to find a band like this who can produce, not only an instrumental track, but two good, catchy instrumental tracks. The vibe being represented by this track is gloomy. The drums progress throughout the track, constantly changing up timing and speed. The guitar remains producing the same melodic riff from start to finish. “Evolution’s a Fact, Jack” signals the end of this album, which makes me sad. I want this to keep going. Oh, well. The riffing is a mixture of complex lead guitar work and melodic chuggings. Both of which are fucking great. The drumming, again, varies. The vocal variation is perhaps the most evident, as he is constantly switching between his high shrieks and low gurgles. The doom-y lead guitar part beginning at 2:26 is beautiful. Yes. I have used this word to describe this band. Another extraordinary lead close to the end of the track. I can honestly say Owen Hart always have something new up their sleeve on every track of this album. This was nothing like I was expecting to hear. I have only heard a select few Owen Hart songs in the past, but I can say they have now made a life long fan of me. Their musicianship is outstanding, their sound is fantastic. All around, I love this band, this album is amazing. Owen Hart have a definitely unique sound. Fucking killer.