There’s no other way of putting it, but this album from Coffin Torture is absolutely brutal. By blending sludge metal production values with doom laden riffs, a swathe of death metal and several retching vocals that convey an almost demonic presence, the South Carolina noise makers have reached an early peak on this set of songs. Following a string of self-released EP’s, this longer workout really allows them to wield their sledgehammer sound with a much greater power, but it’s entirely likely that a lot of people won’t actually make it past the third track…
Described as Motley Crue meets Fall Out Boy, Ne’er Do Well is a project helmed by singer/songwriter Bryan Rolli. This debut EP is a superb showcase of a versatile one man band, dropping massive chorus hooks against a variety of equally massive riffs, on a short rollercoaster journey that never sells the listener short when it comes to excitement. Granted, a lot of Rolli’s influences are laid on with a trowel, but it’s what he does with those that counts, and this release makes a lot of familiar sounds feel really sparky. What’s more, it’s always clear that the performer really believes in the material.
OFF!’s self titled debut album is a punk essential. On that record, the hardcore supergroup – then featuring ex-Black Flag/Circle Jerks vocalist Keith Morris, Redd Kross bassist Steven McDonald and Burning Brides guitarist Dimitri Coates – captured a pure sound that served up the energy of Circle Jerks’ ‘Group Sex’ LP mixed with a mounting anger, packing seventeen songs into as many minutes. Hardcore was alive and well in 2012, and Morris, especially, showed how he’d lost absolutely none of the fury that powered his formative years, despite later Circle Jerks albums suggesting otherwise. That album’s follow up, 2014’s ‘Wasted Years’ stretched the formula to allow for a few extended instrumental sections without sacrificing any of the band’s genuine fire, further proving that OFF! were one of the greatest hardcore bands of their era, before they seemed to disappear. It’s unsurprising, really; a band honestly can’t present themselves so intensely for long without reaching burnout.
Nick Shane is one of those musicians who deserves to be better known. The Dundee based singer songwriter has been giving the world some rather solid mod-inflected pop/rock since the release of his ‘An Introspection of Now Here’ album in 2014, but hasn’t really reached household name status – at least outside of Scotland. Even 2019’s ‘Come Under Cover’ – with Nick falling back on the time honoured covers album to attract new ears – didn’t really gain the kind of traction it so warranted, and at the point where 2022 seemed ready to pull to a close, his Discogs page remained strangely incomplete. Nevertheless, the hard working musician isn’t without his share of fans, and at Scotland’s very first Rainbow Awards in 2015, Nick received an award for “Outstanding Contribution to Music & LGBT Rights”. For most, the road to stardom isn’t taken overnight, but quite why Nick isn’t thought of with the same reverence as Miles Kane is a mystery.
Last week, Swedish noisemakers Industrial Puke released their debut EP. Its mix of sludgy riffs and extreme hardcore created an uncompromising sound, and yet, deep within its four tracks, a concession to doomier sounds gave the material an unexpectedly accessible edge.