Oh broken pencil
Like top album lists in June
Oh broken pencil
Like top album lists in June
The last time we featured Scouse noisemongers The Bendal Interlude on our Visions segment, it was for their nasty video for ‘Odourama’, which was full of all kinds of insides and visceral visuals. This time, they’ve put out a video for another track from that EP, entitled ‘Ron Salmon’, which sees the presumably titular man (wearing some sort of mask) annoying the blue hell out of presumably willing participants in steadily more and more disgusting fashion, eventually getting in on the band’s jam session and trashing their kit.
I say disgusting fashion, although it doesn’t compare to the repulsivity of ‘Odourama’s vid. Still, it’s a great vid, created by Tom Lee Rutter of Carnie Film Production and for a meagre £8 within a week, according to the band, and continues what is proving to be a great year for the band. Enjoy.
March of Despair
Japan’s death/doom metallers Coffins have been around the block for a fair old while now and aside from a couple of line-up changes, their latest EP ‘March of Despair‘ is largely more of the same elephantine sluggery as they’ve pedalled for most of their career. If you’re not familiar with them, what you can expect is a blend of the best bits of Celtic Frost, Winter, Hellhammer, etc. -.basically, if you like your old school thrills, you’ll probably love Coffins.
For the initiated of course, there’s nothing greatly spectacular about this release, but it does tick all the right boxes, with new vocalist (and former drummer) Ryo getting in some Tom G. Warrior-inspired ‘ugh!‘s in at the beginning of a couple of the tracks. ‘Till Dawn of the Dooms Day’ and ‘Grotesque Messiah’ are both riff-heavy, with thick motoring grooves that’ll bring about the urge to hold your finest proverbial oranges in the sky if you’re in the mood. The doomier elements of their sound take hold on the later tracks, blending in nicely as ever with the deathier elements, before an obligatory cover, this time Death’s ‘Corpsegrinder’ rounds off proceedings in reliable fashion – although said cover isn’t a patch on the original.
Still, better now than ever to get into Coffins, who remain true to the adage of not fixing what isn’t broken. This is solid stuff and new and old fans should enjoy this, despite lacking any surprise.
Coffins – Till Dawn of the Dooms Day
Tree of Sores
A Cry of Despair
There is something immensely satisfying about stumbling upon that album that really hits the spot. That gets everything just right, that leaves you think ‘hot damn’, leaving you with nothing more than a positive feeling upon the closure of that record. It happened last year with YOB’s ‘Atma’, courtesy of a fantastic five-track set that concluded with ‘Adrift in the Ocean’. Its albums like ‘Atma’ that can simply carry you away and almost get you complete lost in its tumultuous journey. I truly believe that Leeds trio Tree of Sores capture the essence of this paragraph on their second album, the singular, twenty-eight minute track, ‘A Cry of Despair’.
Tree of Sores certainly wowed critics and fans alike on their debut album, capturing their chief influences of Neurosis, Wolves in the Throne Room, etc., blending into a sonic post-metal mass that got the band some worthy recognition, having dutifully pulverized the Leeds scene for some time. They have taken that one step further this time with this solo track, unashamed to display their influences but still creating an identity of their own. This time they called in Joe Hall (Wiht) to handle bass duties, no stranger to long meandering songs himself, and right from the off there’s an air of something rapturous from this triumvirate.
The band describe ‘A Cry of Despair’ as six or seven riffs or ‘movements’, ranging from the bleak and quiet to the powerful and unrelenting. Vocals aren’t the most important aspect of Tree of Sores music, notable as the track wears on, but where guitarist/vocalist Matt Faragher does yell, he does so with both ferocity and forlorn, helping to drive the song forward after nearly three minutes of foreboding build-up. A third of the way in, things take a turn for the elegant and the previous drive subsides for a moment of graceful sparsity. Before long, the song powers back up and you’re being pummelled into submission by Ben Hague’s relentless pounding. The band continue to ease between moments of sorrowful echoes and further crunching drive for the continuation of the song, finally ringing out at the end with one final movement.
Huge songs aren’t everyone’s bag but Tree of Sores haven’t just mastered it with ‘A Cry of Despair’, they’ve made it look easy. The shift between atmospheric reflections and power surges ensure the song doesn’t have any time to become stagnant, dragging you along in its undertow instead. The US has been chock full of bands of this ilk lately, including the likes of Tombs and the aforementioned WitTR. Tree of Sores can certainly match these and judging from the reaction they’re getting from the blogosphere at the other side of the pond, they’re not doing a bad job of it. Put simply, this is essential listening, and if this review or any other positive review doesn’t convince you this band is the real deal, then I guess Tree of Sores isn’t your thing. That, or you’re a clown.
This is the first Melvins album since 2004 to not feature the Big Business rhythm section of Jared Warren and Coady Willis. Instead, joining stalwarts Buzz Osborne and Dale Crover is returning member Trevor Dunn, performing on this album with an upright bass. And without disparaging recent Melvins’ efforts – cos they’ve generally been pretty good – the combination the band themselves have dubbed ‘Melvins-Lite’ is Melvins’ freshest-sounding for years, thanks in part to the chunky sounds of that bass and a slightly stripped back sound all round.
Unfortunately, it does feel like ‘Freak Puke‘ takes a little while to get going, owing a lot to the experimentation that seems to be going on during parts of this album. Its easy to get lost in the avant-garde of ‘Inner Ear Rupture’, and the jam session feel that overruns ‘Baby Won’t You Weird Me Out?’ Yet despite this ‘Freak Puke‘ does have some welcome moments on it. The opening track ‘Mr. Rip Off’ is certainly a grower, brooding in its lurking presence with Dunn plucking the thick bass strings to mysterious effect, and the riff fest of ‘Leon vs. The Revolution’ is thoroughly righteous too.
Melvins – Leon vs The Revolution
It perhaps speaks something to me though, when the track I enjoyed the most was their cover of ‘Let Me Roll It’, originally a Paul McCartney & Wings track. It becomes a smouldering blues-rock slow jam and if I heard this version of the song in a bar I would drunkenly sing along to every word. Sure, McCartney and Wings deserve credit for their genius in writing such a song that the Melvins can turn into a dive bar singalong. I can’t say I’d have done this for the original, given all I hear about as a non-fan of Wings is ‘Band on the Run’ or ‘Mull of Kintyre’. Whatever, ‘Let Me Roll It’ is a massively overlooked song, a quality one at that, and the Melvins did a fantastic job of this cover.
All in all, Melvins-Lite is a combination of the Melvins I certainly wouldn’t mind hearing more from in future, given the added groove provided by Dunn’s upright bass. That said, ‘Freak Puke‘ is almost like an unfinished article – not an unfinished work, because that would denote half a job. It’s not their greatest work and I’m still unsure about bits of it, but the Melvins have at least made an intriguing album, which, thirty years on, is no mean feat.
Hello again one and all to the brand new home of We Must Obey. Due to some issue with Blogger that ultimately erased our patience, we decided to up sticks and transfer the site over to WordPress, which, we’ll be honest, we’ve had our eye on for a while.
You can be assured that coverage here will be no different to that which was available on the original site. We’ll still be providing reviews, videos, streams, features, rants and more, surrounding the usual topics of rock, punk, hardcore, sludge, doom, grind, heavy fucking metal, beer, and whatever else takes our fancy.
We have transferred all content from the original site across, although some of the links may not work. We will keep the original site open, which you can find here, should you wish to locate any streams or fully functional content, until we finally update all linkage here. Which could take a looooong time.
Without further ado, we here at We Must Obey welcome you once again. Stay heavy!
Peter Clegg & Michael Collins
Deathwank/Wheelchair Wheelchair Wheelchair Wheelchair
Your Scene Means Fuck All
Deathwank emerged from the grind cesspool last year as Scotland’s answer to Anal Cunt. Their songs were so ridiculously titled you couldn’t help but thinking they were perhaps aping them a little too closely, especially given that their songs struggled to even reach 30 seconds a time. Here, they play the title track, their only track, at precisely six minutes. It’s here they prove they can be more than pure imitators. It could well be the case that this is several songs rolled into one track, given the high number of time changes, stick clicks and paces on show, all nailed in one take. Whatever, its fucking genius. It’s insane. It’s sounds like the bloated offspring of Melt Banana and The Afternoon Gentlemen, getting bounced from wall to wall, with only the briefest of respites before getting submerged back into its torture cell with no true means of escape. Put simply, this is one of the grind highlights of the year so far.
Conversely, Wheelchair Wheelchair Wheelchair Wheelchair contribute tracks, and in comparison to last year’a fantastic ‘Contraception‘, is altogether more concerned with brevity than concept. This despite an intro and outro track, both sounding suspiciously like a TV theme tune in structure bookending their side of the split. It’s rampant and chaotic, only truly letting up with a truly phlegm-wretching snarl during ‘A Film That No One Ever Watches’, the only post-minute track they post.
It’s two very different approaches to grind, though the end product is still the same. If it were a boxing match, I’d perhaps hand it to Deathwank on this occasion, simply for breaking out of their micro-shackles in favour of a singular take rollercoaster of insanity. Still, ‘Your Scene Means Fuck All‘ is ridiculously great stuff all the way through, and has left me greatly anticipating each band’s next move, particularly the new Wheelchair x4 album, which promises a sexual concept. Nice.
Stream each side of ‘Your Scene Means Fuck All’ below: