Artist: Nails Album: Abandon All Life Genre(s): Rock Subgenres(s): Grindcore Released: 2013 Length: 17 minutes Language(s): English Label(s): Southern Lord
01. In Exodus
03. Absolute Control
04. God’s Cold Hands
05. Wide Open Wound
06. Abandon All Life
07. No Surrender
09. Cry Wolf
10. Suum Cuique
Nails Abandon All Life Cover
Nails Abandon All Life Review
Abandon All Life is the second album by American grindcore band Nails. Three years on from their debut and Nails show no signs of slowing down as they ferociously hammer through another uncompromising batch of micro-songs.
There’s barely a moment to breathe and at 17 minutes long Abandon All Life is somehow as long as it needs to be. To demonstrate the direct and uncompromising mission statement from Nail you need not look any further than the 23 second vignette that is Cry Wolf. It is nothing but sheer auditory terror that also leads to the crux of the problem with this kind of song writing: it’s almost entirely forgettable because it is over before it starts.
This isn’t to say that there isn’t any talent here; it’s simply a case of beyond the raw intensity of their performance you will be hard-pressed to find much else.
With their intense anger, short blasts of chaos and lack of anything even remotely nuanced Nails are squarely on the caveman side of extreme music which will make Abandon All Life a welcome addition to any grindcore collection but for anyone anticipating an expansion on their foundation will be left to look elsewhere.
Todd Jones: Vocals, guitars John Gianelli : Bass guitar Taylor Young: Drums Andy Saba: Lead guitar
Artist: Nails Album: Unsilent Death Genre(s): Rock Subgenres(s): Grindcore Released: 2010 Length: 14 minutes Language(s): English Label(s): Six Feet Under Records, Southern Lord
02. Scum Will Rise
03. Your God
04. Suffering Soul
05. Unsilent Death
07. I Will Not Follow
08. No Servant
Nails Unsilent Death Cover
Nails Unsilent Death Review
Unsilent Death is the debut album of American grindcore outfit Nails. At only 3 minutes longer than their 2009 EP, Obscene Humanity, this brings the total running time to approximately 14 minutes. For a debut album this is a meagre introduction on the surface because it doesn’t give the impression that you can fit much into such a short span of time.
Nails are quick on the draw to prove the listener wrong and throw you into the middle of their sonic fray with Conform, a 31 second blast straight from the bowels of hell that leads right into Scum Will Rise through feedback noises to continue their sensory assault. This serves as the base-line for Unsilent Death and there’s rarely a moment to remember because of the utter chaos compacted into these micro-songs, of which many are under a minute long, since it’s next to impossible to digest what you hear when most tracks almost start before the last one ends.
Suffering Soul and the title track do manage to slow down and retain some sense of melody, mainly due to the fact that there is a heavier focus on hardcore punk. At best it proves that Nails don’t have an entirely one-track mind and at worst were included for the sake of variety but in either scenario their inclusion works to the advantage of the album. The title track is especially well crafted and includes some of the bands noise elements.
For the listeners who manage to wade their way through Unsilent Death will also pick up on the knack that Nails possesses to do sudden, sharp tempo shifts in a seemingly effortless manner without ever sounding disjointed as demonstrated in the 28 second long track Traitor.
Every musical element from the blasting grindcore sounds to feedback noise and even sludge metal are used on the closing track, Depths, which proves that Nails are capable of far more dynamic compositions when they put their minds to it and they achieve far better results on the few longer tracks on Unsilent Death.
Nails are catering to the furthest ends of the extreme music community and if you happen to have a penchant for short blasts of unrelenting chaos and/or lack anything that resembles an attention span then you will feel right at home with Unsilent Death. For everyone else there isn’t going to be much in the way of replay value bar a few shining moments.
Todd Jones: Vocals, guitars John Gianelli : Bass guitar Taylor Young: Drums
Artist: Dope Stars Inc. Album: Neuromance Genre(s): Electronic Rock Subgenres(s): Dance Rock Released: 2005 Length: 59 minutes Language(s): English, German Label(s): Metropolis Records, Trisol Music Group
01. 10,000 Watts
02. Infection 13
03. Platinum Girl
04. Mark a Star
06. Generation Plastic
07. Rebel Riot
08. Theta Titanium
09. Self Destructive Corp.
10. Plug ‘n’ Die
11. Defcon 5
Dope Stars Inc Neuromance Cover
Dope Stars Inc. Neuromance Review
Neuromance is the first album by Italian electronic rock band Dope Stars Inc. Naming the album after the cyberpunk novel Neuromancer by author William Gibson, Dope Stars Inc frequently reference dystopian and technological themes in their lyrics which are spliced in with their dance rock hybrid sound.
Right off the bat the listener will find that Dope Stars Inc. lean heavily to the dance side of their influences with the rock side being secondary in most cases. The first song, 10,000 Watts, begins with a stadium crowd shouting and chanting before a garbled robotic voice queues the band to start with a steady rhythm composed of a simple drum machine loop and overlying synthesisers. The guitar doesn’t come into full swing until the chorus and the heavily distorted tone contrasts with the upbeat synthesiser sounds but at the same time it compliments singer Victor Love’s throaty voice.
C-Beams is instrumental aside from some small film samples and it closes Neuromance as one of the more pure electronic songs in that it concentrates on synth driven melodies and the drum machine until the bridge which introduces a low rumbling guitar riff and a stomping drumbeat that changes the tone of the song entirely. On the other hand Theta Titanium is as strong as the name suggests and concentrates almost exclusively on the abrasive guitar. Victor Love almost shouts some of his lyrics here but the real anomaly is that at near 3 minutes into the song everything cuts out and is replaced exclusively with a dance section that slowly builds up for 2 minutes and makes you forget about the punishing nature of the first part of the song before throwing you right back into it.
Platinum Girl is a love song that alternates between a rock verse that is also somewhat reflected in the percussion and a frantic yet brief electronic chorus. This, along with Make a Star, are of a slower tempo than many other songs on Neuromance but the latter seems to have been on the receiving end of a severe brick wall production job that makes it particularly difficult to listen to despite making uncharacteristic use of an acoustic guitar and a melodic guitar solo on one of the songs that focuses on the rock side of their sound.
Despite being Italian all of the lyrics are sung in English with the exception of a verse that is repeated in 10,000 Watts which, as curve ball, is in German. Vyperpunk seems to be about expressing self-loathing and dehumanisation through a virtual reality (“just giving me a VR-place/and kill me every time you want/keep loading shit into my head/it makes me feel like an empty drone”) and digital democracy is referenced in Rebel Riot (“all the networks are casting their own votes/that’s an auction/choosing for election/sweat is running over and over”). Theta Titanium is an apocalyptic song about the destruction and subsequent evacuation of Earth during a war which the protagonist returns to sometime in the future (“I see my Earth again yeah/but I can see just through/the windows of my ship/I see my Earth again yeah/unrecognizable, destroyed by human race”).
While Neuromance does have some short comings, particularly in terms of the overall quality of the lyrics, these can be put down to the fact that Dope Stars Inc. are not native speakers of English and this will improve over time as they progress in their career. Dope Stars Inc. has a unique sound and a lot of potential so it will be interesting to hear how they bridge the gap between rock and electronic music, which is quiet a task in its own right, on their future output.
Victor Love: Lead vocals, guitar, synthesizers, drum machine Alex Vega: Guitar Darin Yevonde: Bass guitar
Artist: Mortiis Album: The Grudge Genre(s): Industrial Rock Subgenres(s): N/A Released: 2004 Length: 47 minutes Language(s): English Label(s): Earache Records
01. Broken Skin
02. Way Too Wicked
03. The Grudge
04. Decadent & Desperate
05. The Worst in Me
07. Twist the Knife
08. The Loneliest Thing
09. Le Petit Cochon Sordide
Mortiis The Grudge Cover
Mortiis The Grudge Review
The Grudge is the 7th studio album by Norwegian artist Mortiis. It is the first album in the “Era 3” period of his career and is notable for being the album on which Mortiis evolved from a solo project to a full band as well as continuing the aggressive musical trajectory, which started out as long dark ambient songs before turning into angst-ridden synthpop and now industrial rock for the latest incarnation.
For a few seconds at the start of Broken Skin, the first song on The Grudge, you could easily be fooled into thinking that the use of synthesisers indicates a continuation of the synthpop sound found on The Smell of Rain. This is until short and sharp static bursts are injected to the mix and after a brief lull in the build-up Mortiis releases a long digitised scream with an assortment of synthesised noise before arriving at the first angst-ridden verse. This contrasts heavily with the chorus which softens up to ambient soundscaping with even-tempered singing over layered. While making use of the typical loud/quiet dynamic in rapid succession is certainly nothing new, what makes it impressive is how the two seemingly contradictory genres are woven together without making the listener think that they’re out of place.
Decadent & Desperate blends dance rhythms with heavily distorted guitars that explode into life with Mortiis shouting grotty lyrics that echo the songs title to make it one of the most intense moments on The Grudge. On the other hand The Loneliest Thing is almost a sort of industrial rock ballad that describes a woman stealing Gods light “to make her dark night turn in to day” before going into more antitheistic lyrics that touch on the absence of God when her refers to the light at the end of the song and says “and now she throws it away/when God has nothing to say/her God, she threw him away/he never had much to say.”
Fans of “Era 1” Mortiis will be pleased to know that The Grudge does in fact feature a short 2 and a half minute ambient song called Asthma at the end of the album that will entrance the listener quickly. It rounds off the experience in an unexpected but welcome way but it doesn’t necessarily have the same scope as the old dark ambient material Mortiis produced (mostly due to the short length which will leave you wanting more or playing it on repeat) and the more keen listeners will hear distorted voices and noises subtly planted in the background but it is easy to overlook them if you’re not paying attention.
The compositions cut out the excessive moments found on The Smell of Rain which makes The Grudge a more concise experience and Mortiis comes across as a much more confident singer and has expanded his range and style by quite a margin in 3 years. He also no longer relies on backing singers nearly as much although Louise Marie Degnzman Pedersen shares the bridge on The Grudge and has a much calmer presence when put next to Mortiis.
With The Grudge Mortiis will once again catch long-time fans off guard as his musical path progresses through different genres. He will have undoubtedly worked his way into a new niche audience of industrial rock fans at the same time and this album will certainly whet the appetite for future releases.
Mortiis: Vocals, keyboards, synthesizers, programming Levi Gawron: Guitars Asmund Sveinunggard: Guitars Leo Troy: Drums, percussion
Vegard Blomberg: Acoustic guitars, keyboards, programming Endre Tonnesen: Bass on 1, 5, 7, 8 and 10 Magnus Abelsen: Bass on 9 Joe Gibber: Keyboards, programming Louise Marie Degnzman Pedersen, Stephan Groth: Backing vocals