Fans will inevitably complain that Clutch’s 13th full-length, and first in almost 4 years, also happens to be their shortest to date. But in the case of Sunrise Of Slaughter Beach, the Maryland natives forego what’s expected and lean into a “quality over quantity” approach to bring listeners nine tracks of some of the best, and easily most diverse, Clutch music of their 30+ year career.
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There’s one every year for us, isn’t there? One unexpected/unknown artist with a record that completely knocks our socks off. In recent years, bands like Corlyx, Forming The Void, and SPICE have just come completely out of left field with these albums that absolutely slay from start to finish. And in 2022, we’re blessed with Denver’s Abrams and their magnum opus entitled In The Dark.
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If you’re not having fun while listening to new KMFDM music then you’re doing it wrong. That said, the 22nd (!!!) full-length from the legendary Industrial outfit might be their most fun outing yet. Filled with the kinds of blistering anthems you’d come to expect from Kap’n K and the gang, HYENA still manages to both enthrall and excite, surprise and stimulate this far into KMFDM’s career.
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With all the hype surrounding The Callous Daoboys lately there’s many a watchful eye (And ear!) tuned into their upcoming new record Celebrity Therapist. We admit we were pretty skeptical ourselves diving into the eight song effort after being intrigued when “A Brief Article Regarding Time Loops” but are here to tell you that Celebrity Therapist does, in fact, deliver on all fronts and truly lives up to the hype. It could even be said that the latest from The Callous Daoboys is all that. AND a bag of chips.
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The ballad of Pist.On according to RNRF:
Everything old is new again, right? I first stumbled upon Brooklyn’s Pist.On while going to college in Boston. I was ending my first year in the Spring of 1996 which produced some mighty fine albums which, in turn, was cause for an especially busy time (for me) in the vibrant rawk club scene down on Landsdowne St. Having fallen in love with Life Of Agony after hearing “Through And Through” on Headbanger’s Ball, I jumped at the chance to see them at Axis on a headlining run in support of sophomore album, Ugly. Supporting them was Clutch, whom I’d already seen and loved, and some band called “pist.on”. Being a broke, underage college kid not interested in drinking at the time and too poor to linger at the merch booth, I made my way up to the front and was treated to the sonic soliloquies of Brooklyn’s Pist.On who kinda blew me away. As a HUGE Type O Negative fan, I was enthralled by both the heaviness and the harmonies displayed live and later, on record, when I eventually tracked down their debut album Number One (Coincidentally, produced by TON’s own Josh Silver).
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Post-whatever is our jam, okay? Sure, we tend to lean toward the heavier here but the music that made us who we are will forever be that mid-’80’s/early ’90’s Industrial and Post-Rock noise. So it always causes our black heart to flutter whenever we discover a current artist that’s proudly flying the freak flag of old in the here and now. Like Death Bells who have a stunning new record out soon on Dais Records.
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This one has been sitting in ye olde inbox for quite some time and we have to apologize for not bringing attention to the sounds of Roseneath sooner. But we’re here now along with Shine, the newest from Virginia’s own Roseneath.
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Dang, not to shit on “Bystander” (Which rules!) but that lead single in no way prepares the uninitiated for what’s to come on the rest of Spiralized, dropbear’s powerfully emotive debut EP. At all. Loud and luscious, the first collection of songs from the Boston quintet who feature in their ranks a potpourri of artists representing an eclectic array of the local music scene is, quite simply, divine.
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Imagine Godflesh and Helmet collided in the early ’90’s (Streetcleaner meets Menatime) and recorded the greatest Noise Metal record evah then subsequently forgot about it. Until now. In our minds, that’s kind of an apt round up of what you’ll hear when you dive into the debut from Oklahoma City’s Chat Pile who not only throw back, but also throw forward and, unavoidably throw down on God’s Country.
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Diving into a record that’s virtually incomparable to current trends and artists is a refreshing yet tedious task because how will the people know what to expect? Will words be enough to entice when you can’t compare the record to something already readily known? The answer to all those conundrums in the case of Boston’s Motel Black is yes, for sure. Because great music shouldn’t need that kind of crutch, right?
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