DRIVE Sountrack

I'm not sure of the merit in doing a soundtrack review, but the accompaniment to Nicolas Winding Refn's  film Drive has had me hooked since I saw it. Maybe my attraction to the soundtrack is based more in the film and my associations with the songs featured, or maybe because it's a realm of music I'm not too familiar with. Regardless of whether my enjoyment of the soundtrack is based in nostalgia or not, I've found myself unable to avoid it.

What's included in the soundtrack are five songs songs done by various groups and the score composed by Cliff Martinez (drummer for Red Hot Chili Pepper, Captain Beefheart. Composer  of Traffic, Solaris (2002), The Lincoln Lawyer, amongst many others). The cream of the crop for me are the first three tracks, which are simple, bobbing pseudo disco pop that's a mix between 80's dance music and new wave with a modern feel relying heavily on synthesizer and vocals.

Composed pieces by Martinez are stark, minimalist electronic pieces that ebb and flow with building intensity and subsiding emotion. These tracks are in contrast to the previously mentioned three which feature vocals and have a  driving pulse to them as well as the black sheep of the bunch, a track by Italian composer Riz Ortolani featuring the harrowly powerful vocals of Katyna Ranieri. Martinez's efforts don't fare as well as the rest of the tracks simply because they're meant to have a visual accompaniment.

Overall this is probably the only soundtrack I've ever sought out and listened to in its entirety. I'm almost positive that my enjoyment of the movie plays a large roll in my enjoyment of the music as many tracks are in tune with powerful and enthralling scenes of the film.

The soundtrack, when hand in hand with the actual film is a perfect match and does nothing but highlight what Refn and company are pushing for you to feel.




1. Nightcall - Kavinsky & Lovefoxxx
2. Under Your Spell - Desire
3. A Real Hero (feat. Electric Youth) - College
4. Oh My Love (feat. Katyna Ranieri) - Riz Ortolani
5. Tick of the Clock - Chromatics
6. Rubber Head - Cliff Martinez
7. I Drive - Cliff Martinez
8. He Had a Good Time - Cliff Martinez
9. They Broke His Pelvis - Cliff Martinez
10. Kick Your Teeth - Cliff Martinez
11. Where's the Deluxe Version? - Cliff Martinez
12. See You in Four - Cliff Martinez
13. After The Chase - Cliff Martinez
14. Hammer - Cliff Martinez
15. Wrong Floor - Cliff Martinez
16. Skull Crushing - Cliff Martinez
17. My Name on a Car - Cliff Martinez
18. On The Beach - Cliff Martinez
19. Bride of Deluxe - Cliff Martinez

Ruin Lust- Unittled

Ruin Lust's set at The Brooklyn Union Pool Hall last Saturday was one of the most driven and intense performances I've seen in awhile.This artillery barrage of a show forced me to pick up what I can only assume to be their only release, a titleless demo cassette.

Usually a band has either its recorded experience to live up to, or vice versa; here, Ruin Lust had the latter. What you get with this cassette is 5 tracks of uncompromising black metal that is as heavy as it is fast. Nothing atmospheric, nothing artsy or progressive, instead, it's a vehement, laconic curbstomping that starts as quickly as it ends.

Critics often make the mistake of using absolutes when they're ignorant of what else exists, I myself have probably made the mistake. I say this because I remember reading ages ago a copy of Revolver which stated Nirvana was the 19th heaviest band of all time (Obituary was 45th, just for comparison's sake). So I keep that in mind when people say "heavy" as it's lost its meaning, just like "epic." Well, for what it's worth, I can assure you that Ruin Lust is one of the heaviest bands I've heard in recent memory. The ferocity of Conqueror's s War Cult Supremacy meets a more level headed production and an uncompromising desire to offer something that countless Blasphemy clones can't; decent song writing and varied song structure. Dramatic build ups and primal grunts fly right into Blasphemy pounds (all drums are hit at the same time as fast as possible) as the most perfect guitar tone saws meaty, wet riffs in rapid fire succession. Much like successful grindcore bands, the emphasis on rhythm and structure propels Ruin Lust through dirge like build ups into razor walls of sound and brooding intensity.

While I talked with their drummer briefly about an upcoming Fell Voices release (one of his many projects), I'll be honest in saying I'm much more excited to see what happens with Ruin Lust and hopefully we can see a full length down the road.

Yes I have to bring up Blasphemy, no Ruin Lust isn't some trite clone. Catch the band if you can and look around for their demo, I'm sure it's out there somewhere to buy.

Show Saga Pat III: Urfaust, Black Anvil, Krallice, and Ruin Lust @ The Union Pool Hall

If my ear drums weren't already aching, last Saturday brought another session of top class metal that I was fortunate enough to catch.

Ruin Lust. Courtesy of Brooklyn Vegan.

The night kicked off with the unassuming three piece Ruin Lust. Comprised of members of Fell Voices, Ruin Lust are a far cry from the lengthy and spectral sound of the adforemntioned band. Instead, drummer Mike, pounded his tiny drumset like some frenized berzerker, grunting and screaming all the way. Accurate to call "war metal" but unfairly pigeon-holing the band, Ruin Lust were 100% that night and showed a level of aggression, power and sheer force that no other band matched up to. Well excuted, Ruin Lust set the bar high for the night.

I skipped out on Krallice and hit the bar as I know their shtick, but I overheard they were spot on and the same goes for Black Anvil. The latter interests me far more than the former, but corn on the cob got in the way of seeing the band (the venue has a taco truck situated in its outside portion).

Urfaust

Urfaust came to the stage, humble and on point, rocking right off the bat. The slow, droning chords matched with the unmistakable and truly ethereal vocals of singer/guitarist IX were held together by the rudimentary backbeat of drummer VRDRBR and successfully recreated the trance like quality that the band has perfected after nearly seven years.The crowd moshed as slowly and drunkenly as they could, much to the dismay of some, and to the delight of others. Faint attempts to recreate the German lyrics echoed in the tightly packed venue and people even bought drinks for the guys. The night was topped with a bunch of songs I can't pronounce and pinpoint as many bleed together. Much of the set seemed to be from their latest full length, Der freiwillige Bettler. No ego kept the band from the crowd and they, to much applause, dedicated a track to the late Peter Steele (of Type O Negative fame; Brooklyn's pride and joy) and even haggled the crowd for requests (to which someone called out a tune already played, and silence as the bands titles were intimidating enough to read let alone shout).

I was suspiscious of Urfaust's ability to recreate some of the most absorbing and atmospheric music in the extreme music scene, but they succeeded without the help of keyboards or addiontal members. An impressive show and a fortunate occurrence as the band rarely makes it to this side of the Atlantic.

Look for a review of the Ruin Lust cassette I snagged at the show sometime in the future.

Show Saga Part II: Wolves in the Throne Room, Thou, and Krallice @ The Bell House

The day after I lost a third of my weight in sweat from the Despise You show I made my way over to The Bell House primarily to catch Thou. For starters, the Bell House was a lot larger than I thought it'd be. Complete with a full size barroom and a whole seperate concernt venue with lodge-like roofing and a full stage, the venue seemed a bit out of place for the night's show. Needless to say this wasn't my ideal venue, but I was still excited to see one of my favorite bands.

Krallice kicked things off with an older song ("Dimensional Bleedthrough" I think) which was surprisingly good. I've seen the band 3 (or 4? I can't recall) times now and they've done an excellent job in sounding tighter and more energetic since I caught them two years ago with A Storm of Light and Wolves in the Throne Room. Unfortunately, the rest of the set suffered as their newer songs showcase more attention to vocals (deeper, less interesting ones), heavier and more technical riffs and structures that really detract from the hypnotic melodies that were so absorbing from their s/t. They got a good response from the crowd and I heard mixed things while waiting at the bar.

Thou

Thou, as I expected, dominated the show, putting Krallice in their place as openers, and distracting me from the headliner as they couldn't be lived up to. Beyond the cohesion between the band, their spot on execution and excellent sound, their set-list was worth it alone. Starting with my favorite song "They Stretch out Their hands,"  and eventually "Burning Black Coals And Dark Memories," "Here I Stand Head In Hand" (possibly my third favorite of theirs) and ending with a very honest and energetic cover of Black Sabbath's "Into the Void." While the stage was too big for them (they're the kind of band that thrives in small settings) they lived up to my expectations and easily stole the show.


Thou - Burning Black Coals And Dark Memories from (((unartig))) on Vimeo.

Wolves in the Throne Room are a far cry from the band I obsessed over with their first release. Whether it's the relative stardom they've accomplished, or maybe my own shifts in taste, the band bored me this time around. I fondly recall them playing Brooklyn nearly 4 years ago (right around the release of Two Hunters) and thought they were one of the best acts I had ever seen. That show was such a clash compared to this one as they practically played in the crowd and let their music speak for itself that time. However, in recent years, the band's employed incense, smoke, banners, candles, and other gimmicks that feed into this "natural aesthetic" that just seems a bit silly in such a big venue like The Bell House. Rumored to be a possible fairwell tour, I'm happy I was able to catch them, but I'm happier to think of a time when they were a small outfit with only two releases and no gimmicks.


Wolves in the Throne Room | NYC @ The Bell House | 12 Sep 2011 from (((unartig))) on Vimeo.

Thou and WITTR continued on two days later to Death By Audio (this time with support by the excellent Mutilation Rites). Unfortunately I missed the show, but I assume Thou really shined in the small death trap that is Death By Audio.

Monday Night Violence: Backslider

Two man fastcore act Backslider hail from my most hated sports city in the world and were one of the high points of the Despise You show I caught last week. One part one part stop and one part go, Backslider prove to be as mosh oriented as they are confusing. Songs abruptly shift from slow jams to breakneck blasts to precision stops then a jumble of the previous formula.

Formed in 2009 and with only a handful of splits, demos, and eps under their belt, Backslider stay strong with the promise of three new eps from trusted labels Deep Six, To live a Lie (it's imperative you check their front page as it's one of the most glorious pieces of art I've ever seen), and Cowabunga Records.





As I mentioned earlier, more so than the Infest vocals, the riffs, or the drum work, it's the song structure and the band's tendency to play in salvos, correct themselves, rearm, and start it all over again. This lead to newcomers to the band, as well as regulars, awkwardly head banging or moshing to silence or a complete different tempo than they expected throughout the aforementioned show. 

Where the band rarely stays at one tempo or rhythm, the music isn't anything too jarring or annoying, instead it's an ammusing approach that not too many bands employ. "Amusing" might sound belittling, but it isn't meant to be. Rather, it's a way of making the music itself enjoyable and playful, something few (if any) hardcore bands do.

They're the kind of band that will be out of place with a full length, but right at home on any split possible. Definitely worth checking out, and more fun live as this band's built for the pit (if only their average song was longer than 30 seconds).

Show Saga Part I: 9/11 Despise You, Magrudergrind, Blackslider, The Communion, and Defeatist

Photo courtesy of Brooklyn Vegan

The past week has been a blur for me. I haven't seen his many bands since I went to maryland Deathfest two years ago.We'll start with last Sunday as Despise You and company completely ripped Shea Stadium (what passes for a venue) apart.

Now with 30% more china cymbal

An homage to New York's favorite losers, Shea Stadium is situated in the unhip part of Williamsburg that's still just old warehouses. Up a narrow stair case and you're inside what looks like a squat, complete with old, torn furniture, crusties, and absolutely no ventilation. First I saw Defeatist who has a new album out soon that you can hear here. I've done the band a favor and renamed them "China Cymbal" as that's all that band seems to do. Their brand of technical stop n' go grindcore came through somewhat clearly as the crowd stood still through their china filled set.This is my third time seeing them and they still haven't clicked with me; oh well.

The Communion were a nice change of pace playing a style of sludge similar to Dystopia (while no where as good of course). Awkward 9/11 references and singer aside, the band poured themselves out to what seemed to be an indifferent crowd.

Philly's Backslider got people moving and did quite a lot for just two guys. Maybe the sleeper of the show, I really enjoyed this two man act's penchant for moshy hardcore-tinged grindcore that provided plenty of breaks to pick up change and hammer punch your way through the crowd.

Magrudergrind were themselves, I don't really know what to say after I've seen this band five times now.They play fast, they play loud, they've got more energy than half the bands out there and they're pros at what they do/ This wasn't there best, and from what I could tell there was a lack of older jams which means it was much more grindy: bring back the Spazz vocals and mosh parts!

Guess which dude is me. Photo courtesy of Brooklyn Vegan

Despise You however, boy oh boy, this is what I was waiting for; everything their recorded material promised to be and more. Despise You had a few slip ups but proved to be one of the best bands I've ever seen. They played thrity two songs covering old classics like "No More...Feelings," "Bullshit Reflections," "I End Me" as well as newer tracks like "Roll Call," "Fear's Song," and "All the Regimes you Hold Most Dear" from their recent split with Agorphobic Nosebleed.

Wildly energetic, complete with mics to the crowd and what seemed like a genuinely fun time between the old band mates, Despise You were without fault and any signs of slowing down. Needless to say I was blown away, everything came together with their cover of D.R.I.'s "Couch Slouch" which had Magrudergrind drummer in the pit and the whole floor singing along.

Part II and III to come shortly, Thou, Wolves in The Throne Room, Ruin Lust, Urfaust, etc.

New LEVIATHAN Album Announced: True Traitor, True Whore

True Traitor, True Whore

Just announced via Profound Lore, the turbulent and mysterious  one man act Leviathan will have a new album out soon, titled "True Traitor, True Whore." Instantly, people might think the title refers to charges brought against main man Wrest (Jef Whitehead) for sexually assaulting his girlfriend with a tattoo gun. Regardless of whether that's the case or not, the title isn't all too inspiring as it lacks his old knack for bizarrely unsettling titles like Tentacles of Whorror or A Silhouette in Splinters.

To further my pessimism, Sanford Parker is credited with Engineering duties. You might know him from his awful band Minsk, his help in derailing Nachtmystium, as well as his handful of other instances of mediocre and slick production (Krieg's lackluster comeback, Twilight's awful new incarnation, etc).

Now

So, with all that negativity you'd think I just have some bone to pick, but I have proof; lo and behold "Her Circle is the Noose." What does this tell us? Well, for one, my allegations against Sanford Parker stand true and two; Wrest seems to be continuing his creepy meandering style that really came through in Massive Conspiracy Against All Life. I guess this is a logical continuation from Wrest's last recorded work (I think Sic Luceat Lux was recorded before Massive Conspiracy Against All Life).

Then

The track is good, don't get me wrong, but it's no return to form and no trailblazing. For anyone who's listened to  Leviathan's split with Sapthuran, otherwise known as The Blind Wound or even the split with Xasthur, you'd know Wrest has it in him to create some extremely potent, moving, and darkly melodic stuff. With this leaked track, he seems to be straying further from the melodic nuisances that made me such a fan and rather building upon the creepiness explored in ambient works A Silhouette in Splinters  and the last full length.


Of course I'll be buying this, but my hope is that there's something more potent than this, something that grabs at you and suffocates you in a dismal and etheral breech like what we've seen in the past.

Here's the track listing...

1.    True Whorror
2.    Her Circle Is The Noose
3.    Brought Up To The Bottom
4.    Contrary Pulse
5.    Shed This Skin
6.    Every Orifice Yawning Her Price
7.    Harlot Rises
8.    Blood Red And True

Two tracks are oldies, "Shed this Skin" which is similar to "Her Circle is the Noose" as it's a midpace meandering track that was plagued with his silly bedroom production from years prior and "Blood Red and True" which could be a perfect fit here on this album (and due for a touch up).

Due out Novemeber 8th, this promises to be a big fuggin' deal.

Lifelover's Jonas Berqvist aka "B" is dead

Taken from Phropecy Productions

"On the night of the 9th September, Jonas Bergqvist a.k.a. 'B', founding member, main composer, and guitarist of Lifelover, died unexpectedly. The cause of his death is still unclear and has yet to be established.

The message of Jonas's passing came as a surprise to the Prophecy team. Hence, we lack the appropriate words for this tragic event. To us, Jonas wasn't just a very creative artist, but also a pleasant and enthusiastic person. It is for certain that we won't be the only ones missing his character, his passion, and his unique musical language.
In the face of this tragic loss, we would very much like to extend our heartfelt condolence towards Jonas's family, his friends, and the remaining musicians of Lifelover."

I'll skip sentiments, as I don't know what I could really say beyond that this is awful and my wishes go out to his family and friends. I guess in a time like this it's only proper to celebrate their life rather than mourn their death. 

Lifelover was a band that I came to enjoy greatly, and while I times they're brand of melodramatic popesque black metal seemed a bit too over the top, the band created a truly unique sound that merged catchy melodic hooks of post-punk/pop music, with the absolutely dismal aesthetic and production of black metal. And yet, at times, whether in jest or not, the band could sound up-beat and true to their name. A must for fans of Alcest, Amesoeurs, Lantos, etc.
 
Hopefully Lifelover will remain a relevant band beyond this tragic loss.

Ash Borer - MMIX - MMXI

"‘I love humanity,’ he said, ‘but I wonder at myself. The more I love humanity in general, the less I love man in particular[...]yet I am incapable of living in the same room with any one for two days together, as I know by experience. As soon as any one is near me, his personality disturbs my self-complacency and restricts my freedom. In twenty-four hours I begin to hate the best of men: one because he's too long over his dinner; another because he has a cold and keeps on blowing his nose. I become hostile to people the moment they come close to me. But it has always happened that the more I detest men individually the more ardent becomes my love for humanity.’ ”

Perhaps, just perhaps, more than any other style of music, black metal contains this similar paradox as outlined by Dostoevsky in The Brothers Karamazov. Now, we're not talking the highfalutin crap that Liturgy claims with its brand of "transcendental black metal" (don't click the link if you actually enjoy their music; it's devastating) but more so the eventual paradox of being a misanthrope yet keeping friends. A celebration of life is obvious in black metal's very Romantic tropes revolving around nature as well as its disdain for life revolving around, well, death. Does this mean Shelley would of liked black metal? I don't know, but what I do know is in its infancy, black metal never strove to make something "beautiful," "enthralling," or "somber." Instead, early acts (first and most second wave) looked to the morbid, the occult and sinister nature of things, mostly for shock value, but eventually in some sort of pseudo post-teenage angst as we saw with bands like Burzum. To avoid a history lesson I'll sum it up by saying, like anything that's given time to develop, evolve, or mature, black metal has explored such a wide variety of emotions and topics that bands like  Ash Borer fully embody in a  multifaceted sound in terms of emotion. On the surface, to be so ugly because of its hollow production, craggy/fuzzy guitars, cacophonous drums and distant screams, Ash Borer ultimately create something sublime in the face of what some might call "harsh."

The whole west coast of the States seems to be a hotbed for brilliant black metal. Some will go on for ages about the absolutely mediocre Weakling, while others overlook the genius of acts like Leviathan and Ceremonial Castings and the current groups like Fell Voices, Leech, and of course Ash Borer. And while I like all the bands mentioned , it's Ash Borer's recent collection done by Land of Decay that's got me absolutely hooked.

von Trier's Antichrist is a nice visual companion to Ash Borer

The sound of celebration and loss come together as one with Ash Borer's collected works. At times triumphant and harmonious, other times somber and bleak, Ash Borer are able to explore and conceptualize the sounds of the human heart, both in strife and in joy. The beauty the band possess is much in the same vein that Eliot's The Waste Land is hauntingly beautiful. Melodic nuisances surge back and forth, to crumble and decay, then to build up once again to momentous breaks. Invoking damp soil beneath your feet, fluttering wings in the distance and decayed timber; Ash Borer create long, winding songs that are completely absorbing and mysterious.

I probably sound like I've been drinking Chai tea all day and reading poetry, but I'm dead serious about all that Ash Borer invoke and achieve. The band is on the cusp at the most fruitful time for black metal in America and I can only hope they continue to elaborate on their sound and approach.

Short Walk- Don't Be One

Who knew good 'ol Bill Shakesbeer was actually referring to power violence when he famously said "brevity is the soul of wit?" Fortunately for us, Short Walk sticks to Bill's words by keeping things short and sweet with their new tape Don't be One which is twelve tracks of blistering hardcore that's just under seven minutes.

Now, I'm not saying Short Walk are ready to sew leather elbow patches on their tweed jackets, I'm just saying they're heading in the right direction. While each song may only be around thirty seconds long, they cover a myriad of tempos and riffs which are mostly smushed in between balls to the wall blast beats. Take "Dude Machine" which starts with the music equivalent of "keep away" and then goes right into a flurry of blast beats and shouts.

The band seamlessly manipulates rhythm and momentum to create energetic and attention grabbing songs. In a song I can only assume to pertain to everyone's least favorite footwear (up there with Crocs) "Uggs (Kill Yourself" shines through as the highlight of the tape with it's continually shifting rhythms and sheer moshability.  The band kinda reminds me a bit of Ceremony if they were a little more interesting and higher octane and Insect Warfare's deceptive ability to play something familiar sounding but better (well in their case, perfect). The songs seem to contain the sense of humor and criticism we usually see in hardcore (taking shots as clothing styles and their scenes, songs about moshing, and some fuck yous) which isn't a bad thing at all, just more to solidify the band as being completely amenable to any fans of the style.




Perfect music for people with attention issues, Short Walk's fluidity and excellent execution doesn't break any new ground but simply rocks. And while six minutes might be too little to judge a band on, Short Walk clearly demonstrate a style of hardcore that is best suited for the pit and begs to be expanded upon.

I like this band, and I like a lot of other good things, so you should do what I say and listen to their tracks via their facecamp, or bookband, or whatever.

If you need further proof of my good taste here's a quick list of things I like that everyone should agree is good.

The Simpsons
Maker's Mark
Friday the 13th
Reign in Blood
Louis C.K.
Ice cream sandwiches

Enough?

Check the band out, WALK don't run for this one, yuck yuck yuck yuck (I don't even know how that makes sense, I just needed to put one pun in about their name to make me feel good about myself).

Monday Night Violence: Spazz

Up there with the rest of the guys, Spazz made their name known through the 90's as one of the best, most endearing and important power violence bands. If Infest, Capitalist Causalities, and Dropdead were a bit too serious for you and all you wanted to do was skate and talk about kung-fun movies, Spazz was, and still is, there for you.

Started in 1992, Spazz quickly set out to record numerous splits and EPs as well as a handful of LPs in the short span of a few years.Beyond the actual band, drummer Max Ward's 625 Thrash as well as bassist Chris Dodge's Slap-a-Ham record labels became two of the best, and most important labels for the burgeoning hardcore/power violence scene (and very relevant today as harboring some of the best and rarest releases around). Beyond the history, the band never slacked on quality and consistently released energetic, fun, and spontaneous music.

Like the previously mentioned bands Spazz were an act that helped define the genre and scene that had come about. Beyond that, Spazz developed their sound to embody the up-beat nature of the 80's Californian skate punks that became lost as power violence moved towards the heavier and more serious realms of things. This isn't to impose absolutes, or define quality, but rather to say, in the end, that Spazz found a special place in my heart (and no doubt others) with their goofy brand of skate punk influenced power violence.

Of course Assholeparade comes to mind, as does Charles Bronson when Spazz's style is called into analysis, but no band nailed it as perfectly as our favorite movie quoting West Coasters whose penchant for hip-hop and skate culture mixed with kung-fu movies and an unending sense of humor and aggression made the band perfect for all occasions. Crush, Kill, Destroy is infallible as it has the perfect mixture of inane 90's anti-gangster PSAs, one of my favorite vocal ensembles and some completely ripping music that is as brief as it is attention grabbing and fun. "Let's fucking go" is an inside joke of sorts as it sample's Man is the Fatherless Son's song "H.S.M.P," and goes on to be better than anything the band without a father has done.  And while sometimes innumerable amounts of samples becomes a distraction from the music, Spazz never fell prey to this as they had you laughing right into a severe case of whiplash only to find yourself still smiling and excited for more.

The employment of random instruments, whether sampled or not, offers a complete curve ball in the silly mess that is Spazz. "Turnbuckle Trechary" has big bandeqsue horn, bob up and down out of no where.


The humor isn't just limited to the nonsensical song titles, boss samples from anything from The Simpsons and Airplane!, to obscure black metal bands, melodramatic public service announcements and nearly everything in between, but also the Barneyesque bellowing yells and the playful compositions and dramatic shifts in individual songs that can be found throughout their discography. Few bands possessed the ability to instill a sense of invigorating energy and humor without getting tired and trite.

For a band that's not so serious, I shouldn't be either. I fucking love this band for their consistency and movie taste.

"Billy... have you ever been in a Turkish prison?" 

My goal in life is to write an accompaniment to Spazz's discography that highlights the material sampled. One day...


Essential Listening

Crush, Kill, Destroy
Possessed to Skate Compilation
La Revancha
Sweatin' to Oldies Compilation