For those uninitiated, Kyiv’s Death Pill are a direct product of resistance. Formed as a kickback against not just the toxic masculinity in their local scene but society and culture as a whole, the Ukrainian trio’s mission statement is one of pure defiance. Granted, whilst this sense of bold and violent rebellion was originally against male domination, as the years shifted from plague to now war, their sense of resistance has only compounded. Now after garnering their place in their Ukrainian scene – one that is still rallying strong in the face of war itself – the trio have channeled this profound sense of resistance and contempt into their debut body of work; their righteously violent and dynamically energetic self-titled full length.
From the get go, this record emits a sense of ironclad resilience that’s delivered with all the subtle grace of a key-lined fist to the nose. With their Riot Grrl and thrash influences not only proudly on show and fully weaponised with force, the opening barrage ‘Dirty Rotten Youth’, ‘Miss Revolt’ and ‘Die For Vietnam’ knocks one down with the kind of force that once propelled the likes of Exodus and Overkill into the eye of prominence back in the 80’s. It’s unrelenting, especially with Mariana Navrotskaya’s screeches and riffs driving these tracks forward. But whilst volatile trash is certainly the crux of the band’s output – something that’s especially evident in the lacerating solos and riffs of the aforementioned ‘Die For Vietnam’ – it’s the foundation of Riot Grrl sensibilities that counteract the obnoxiousness and add vital substance to the band’s output.
British hardcore and punk has been seeing all new highs in recent years. The British raw, gritty, grim outlook alongside the generally confrontational attitude seems to have engrained itself beautifully with chunky riffs and raucous punk. Hailing from the great northern city of Manchester, Going Off join the long list of UKHC bands currently tearing up venues up and down the country with an abrasive hardcore punk sound that channels the primordial, visceral anger that sits in the hearts of the majority of the British populace. With an intense and relentlessly energetic live show and two EPs under their belt, Going Off’s debut album What Makes You Tick? continues their blistering run of form with twenty-one minutes of exquisite hardcore.
There is something exuberantly fresh about Going Off, firstly they waste absolutely not time in getting to the point, in true punk fashion with all of the tracks being under three minutes. With lyrical themes worth “going off” about (pun intended), Going Off have something to say, and instead of slowly building with preamble they aim for the jugular every time. In a time where there is a lot of pointless conflations over trivial matters, this directness and ruthless aggression is something that will appeal to everyone.
An underground rail system is noisy, dirty, and chilly. Trains roar by feet away, announcements shrill words you can never quite understand, and trucks rattle by overhead. The atmosphere is tense and slightly manic. The perfect soundtrack for this is the grimy clatter of Anatomy of Habit’s new release Black Openings.
The post-punk/doom outfit creates a brilliant atmosphere of controlled chaos and relief in equal measures throughout their new LP. ‘Black Openings’ opens the group’s fourth album in interesting fashion. In this twenty-minute track there are three distinct sections: a slow, calmer opening; an instrumental passage; and an escalating mass of pure heaviness. Alex Latus’ repeated riffing supports Mark Solotroff’s Ian Curtis-esque droning vocals during the first minutes. Once the vocals drop away, the instruments take over the post-punk desperation and swell into chaos before they also disappear into doomy, industrial noises. Sanford Parker’s production is pristine; each instrument voices its own version of doom and gloom.
A cup of coffee is good at every coffeeshop: hot water brewed over ground coffee. It’s simple, tasty, and effective. The best cafes have perfected their brew, grind setting, and roast to get the perfect cup. It’s not a specialized latte or secret menu item, but a good cup of coffee will always start your morning right. Triagone, a new brutal technical death metal outfit from Brussels, offer death metal like a hot cup of java. Sem Papyrvs does not break new ground in extreme metal, but this six-song EP is a great debut from a promising new artist.
‘Novvs Ordo Seclorvm’ starts at the zero-second mark with all engines running at five thousand RPM. While it feels ragged at points, it has two ripping guitar solos. It introduces the exciting dual-vocalist aspect of Triagone that features Lorena Moraes and Lou-Indigo Caspar, described as “female beast vs. male beast.”
By the second track, Triagone have trimmed their ragged ends. Their drummer takes the spotlight early on in ‘Abyssvs Abyssvm Inovcat,’ because from here on out Lorenzo Vissol rarely lets up from their tight blast beats for the rest of the EP. The vocalists pause their duel to team up against the guitar, but the guitar’s melodic solo gives them a run for their money. Not yet beaten, Moraes and Caspar combine forces with rhythm guitarist Lucas Lembert’s opening chugs on ‘Ad Mortem Sem Papyrvs.’ This song houses the EP’s weakest point with a jarring spoken-word break. While Triagone’s lyrics typically are a unique mix of ancient Greek and Latin and modern Latin and Germanic languages, during the breakdown in this track, modern English (not the band) makes an appearance in an awkwardly clipped, spoken-word break about COVID-19, complete with sirens. The bass and drum solo, courtesy of Leonard Invanciu and Vissol though, buoy the breakdown enough to keep it from dragging.
Two decades ago ‘nu-metal’ captured the hearts and minds of a disenfranchised youth the world over. A Mind Waiting to Die sees Graphic Nature not so much redrawing that blueprint, but rather pulling it apart with gritted teeth, setting fire to it and laughing manically.
Nu-metal has always been synonymous with the marriage of rap elements and distorted guitars and though it spoke to many, it always felt a little bit American if not a little Korn-y (ed: sigh). Based in London and Kent, Graphic Nature stir drum n’ bass samples into their mix, in turn adding greater depth to their sound. This is so much more than your average re-brand of UK whatever-core. A Mind Waiting to Die is jaw-droppingly heavy and should come with a flashing images warning.
Album opener ‘404’ fails to prepare us for what lies ahead. ‘Sour’ instantaneously explodes into a cacophony of vicious, feral screams, down-tuned guitars and air raid sirens, a frantic energy that’s maintained throughout the record. Citing a string of themes including mental health, isolation, depression, ADHD, neurodivergence, mania and suicide, this plunge into chaos is only the beginning. ‘Killing Floor’ – a tale of a serial killer – even boasts a didgeridoo sample.
Weaving its way through topics close to vocalist Harvey Freeman’s heart one thing becomes apparent, not a single word or phrase lacks meaning. Wearing his heart on his sleeve, his diction and delivery are jaw-dropping; every pained scream, whisper and ad-lib crystal clear. One would be hard-pressed to find a more emotive performance immortalised on record.
If you’re looking for new, buzzworthy guitar bands in the alternative scene, you’d be wise to turn towards Ireland. From post-punk and indie to deafening noise rock, there’s something special in the water. The latest thrilling release comes from Belfast’s New Pagans and their sophomore album Making Circles of Our Own. With a seal of approval from tourmates Skunk Anansie and Frank Tuner, New Pagans are on the rise with their confident new album.
Making Circles of Our Own hones the band’s sound, the sharp-edged indie comparable to both Paramore’s self-titled era and The Menzingers alibiet with a bit more DIY edge. The likes of ‘Fresh Young Overlook’ take their time to build up before exploding into guitar-driven anthems. The album is marked with riffs that are straightforward but that always make you pay attention, particularly on their recent single ‘Find Fault With Me’ and later on ‘There We Are John’. Ending on a slower-paced note, ‘The State of My Love’s Desires’ completes the album, and as a whole Making Circles of Our Own is an impressive outing for the band.
