Originally appearing on the scene under a different name with debut Suffrage in 2018, metallic hardcore collective Filth Is Eternal marked their first release under their new moniker drawing from the name of their 2021 release Love Is a Lie, Filth Is Eternal; a twenty-minute, twelve song firecracker of unbridled aggression. Channeling influences from US hardcore veterans The Distillers and Tragedy, to noisier outputs such as Converge and Trap Them, the band carved a dedicated niche within the hardcore scene and a reputation for chaotic live performances. Now with producer Paul Fig (Slipknot, AFI and Alice In Chains) on board and recording at Dave Grohl’s Studio 606, the band have tightened the screws, oiled the gears and given everything a fresh coat of paint for new album Find Out.
Kicking things off in abrasive fashion, opening track “Half Wrong” immediately proves that the new sheen in the production hasn’t taken away from the band’s underlying savagery. A dazzling variance of dissonant melodies, nauseating crust-punk hooks and turbulent drumming are on display in just under two minutes. Immediately following is lead single “Crawl Space”, speedy hi-hat playing breaks straight into in-your-face, no nonsense d-beat hardcore with a touch of Converge, vocalist Lis Di Angelo seeing fit to approach the song with a more traditional hardcore vocal delivery with a touch of reverb and delay for good measure, the ninety-one second whirlwind of a lead single coming to a close with a furious flanged soaked guitar solo courtesy of guitarist Brian McClelland.
Find Out follows the standard set by the short-form style of the opening two tracks; which is to say of the fourteen-tracks on offer, only four significantly break the two-minute mark. This is where some contention comes in to play depending on the listener; whilst there are a lot of incredibly catchy hooks, whether drum fills, particular guitar riffs or vocal passages strewn throughout the track list, some feel a little undercooked and at points a little repetitious. For example, “Magnetic Point” and “Roll Critical” almost feel like two halves of the same whole, or with “All Mother” and “Last Exit” starting with virtually the same tom-led drum pattern, leading you to think the songs are repeating for a brief second.
Bad Bet have been one of Ontario’s most talked about bands as of late, and there’s no surprise as to why that is. A handful of shows under their belts as a collective, but as individual members these four have been taking over Ontario hardcore for years. Hailing from the province’s Steel City of Hamilton; with members who seem to be loved across the province (Kyle Paterson of Gavel and Kohle Bird of Built on Blood/Scum Collective for example), there was absolutely no doubt this EP was going to be great. With tons of punk, hardcore and metal influence to go around, their Promo 2023 is everything a hardcore kid is going to love and more all in two songs. Bad Bet can also be added to the ever growing list of amazing albums done by Andy Dmytryshyn (School House Studios/Reality Denied). A cheeky little guest feature from Fight On Sight‘s Kenedi Clarysse also sneaks its way into listeners hearts, giving this EP the perfect recipe for success.
Opening up the record is Depiction of Doubt. It’s raw, crunchy, and outright heavy. Listeners are welcomed with slow, anxiety inducing drums while guitar feedback fades into the track perfectly. This will go on for the first twenty-five seconds of the track before vocalist Kyle Paterson lets listeners know really know who they are. Once graced with Patersons signature vocal sound, the song instantly speeds up into what can be best described as a Canadian Turnstile track. Executed perfectly, this track could easily fit onto any Turnstile record pre-Glow On. Ending the track on a strong note, the group drop into a breakdown to close out the song. Nothing complex by any means, but the way it’ll sneak up on listeners will leave them spin-kicking in the middle of their rooms for those final fifteen seconds.
Second and final track of the EP is Perpetual Bliss. This track happens to feature the likes of Kenedi Clarysse of fellow Hamilton act Fight On Sight. Another track that feels like it could fit perfectly on Turnstile‘s amazing discography; it’s obvious where the influence is pulled from on this record. Powerful and rhythmic guitar parts coupled with some pounding bass guitar while catchy drum parts give listeners the perfect track for a quick little two-step. But no need to worry because this entire EP is for all moshers alike. By the time Kenedi makes her presence known, the track slows down a hair for probably the hardest chunk of music out the entire five minute promo. This will be absolute chaos at every show guaranteed. All the while, while barking out some ignorantly heavy lyrics in their signature tone and sounding tight as always, Kenedi leads into the closing breakdown of the track and record perfectly. Not only is this song one to be left on repeat but it is also going to make a perfect addition to any live show Bad Bet plays. You can bet your bottom dollar Bad Bet are going to make quite the name for themselves moving forward.
JOHN, formed of, of course, two men named John, John Newton (drums, lead vocals) and John Healey (guitar, backing vocals) to be exact, have never been a band that fits neatly into any one box. They certainly take inspiration from the post-punk revival, leaning more on the Idles or Fontaines D.C. style of spiky, energetic post-punk than the whiney, pretentious post-punk boy bands of the genre’s recent resurgence, yet there’s always been an abrasive, noise rock edge to JOHN that sets them apart from the crowd. On their new album A Life Diagrammatic, JOHN delve deeper than ever before into their heavier side as well as some more experimental sounds than we’ve heard on their previous releases.
To avoid the cliché of saying that JOHN sound massive “for a two piece”, JOHN simply sound massive. Throughout A Life Diagrammatic expect to be pummelled by punchy, well mixed drums, deep, meaty riffs and John Newton’s signature raspy shout. Album opener “At Peacehaven” flies out of the gate with tight grooves and hench distorted guitar riffs before transitioning into a wide, reverb drenched soundscape hinting at more depth than expected from these two loud, shouty men. Fans of the aforementioned Idles style of post-punk will immediately fall in love with JOHN’s caustic, animated energy but, with their more complex, ambient sections, JOHN may even appeal to fans of more niche artists like And So I Watch You From Afar or fellow London based duo Cassels
‘We’re Not OK’ stands as a mesh of moody classic rock, with undertones of Stevie Nicks-esque blues intertwined with choral transcendence, which divulges the difficulties surrounding addiction and acute illness. ‘If You Need It’ provides some cinematic 80s electro-rock and synthwave tinged lulls while wrapped in industrial rock catharsis, exploring the torture of sitting on a powder keg in relation to the troubles of a loved one, while ‘Say You Will’ is reminiscent of a curious concoction of ‘Bloody Mary’ era Lady Gaga, Snow Patrol’s ‘Run’ and In This Moment’s ‘Bloody Creature Poster Girl’, with a satisfying blend of witchy industrialism, differing drastically from the sensibilities of all previous tracks. Though Take Back the Night is generally solid, this latest excursion from the Atlanta glam rockers, it’s impossible to ignore the less savoury elements that plague the album.
The latest LP from the Norwegian post-rock sextet Spruv, Brefjære is a record that documents the occupants of Tromsø, the homestead of primary songwriter Gustav Jørgen Pedersen and a city situated well within the circumference of the Arctic Circle. However, this is not an album about humans or our feeble endeavours. Rather, it’s a record that aims to capture the conversations between the original inhabitants of the region; the butterfly, the birch-tree, the wind and the imposing mountains that reach upwards towards the aurora above. Tall tales yes, and for some, this could be a subject too fantastical or dare say pretentious. However, with its Scandinavian mysticism and vivid atmosphere, Brefjære is record that articulates such conversations in a manner that’s decadent and operatic.
In an age where many a post-rock band of this act’s kin are either too impatient or too meandering – their attempts at creating ambience dissipating into the ether – this body of work truly sees Spruv delivering a masterclass on conjuring atmosphere. As opener ‘Kronkete, Rettskafen’ begins with sombre strings and a 14 piece choir presenting the overture of the lamenting birch swaying lonesomely against the steel sky with Norwegian poetry, we are immediately placed into the wilds of the frozen north, its environments unconquered and untamed. From here onwards, the post metal density of ‘En Brennende Vogn Over Jordet’ is a guide through the wilds and mountain trails of the environment it lives within, its Russian Circles-esque riffs, brass flourishes and violin amplifying the unforgiving beauty and ruggedness present.
Smashing together black metal, experimental folk and doom rock, Hexvessel, led by vocalist/guitarist Mat McNerney, match the sound of their arctic log cabin based recording setup perfectly. Polar Veil represents a new chapter in Hexvessel’s history, one dripping with eerie atmosphere and filled with dark, primal exploration.
From the opening track “The Tundra Is Awake”, Hexvessel’s statement of intent is clear with gloomy, gothic rock undertones bubbling up through the black metal guitars and ancient folk chanting. Unlike so many black metal bands who seem content in running their guitars through a maxed out Boss Metalzone and screeching vocals into a beaten up tape recorder, Hexvessel err on the more maximalist side of the genre with real attention paid to the production. With booming, balanced drums and clear, distinct guitars standing out against the ethereal, atmospheric backdrop alongside commanding vocals, Polar Veil is an island of clarity that stands out among a sea of lo-fi black metal.
A chilling tribute to the ghosts of the band’s native Finland, Polar Veil takes its time creating an oppressive, alluringly immersive environment for its songs, with many tracks building up slowly over their extended runtime. Tracks like lead single “Older Than The Gods” build layer upon layer of instrumentation, blending doom and black metal with McNerney’s confidently creepy vocal delivery, here joined by Bölzer frontman Okoi Thierry Jones with some appropriately intense backing vocals. The over six minute runtime of some of the tracks may seem extravagant at first but are often entirely necessary to convey the bitter, creeping emptiness of the arctic tundra.
