Stench Price - Stench Price (2016)

Considered a “grind revolution” on their official Bandcamp page, this mostly Russian lineup contains several guests in order to make a sort of grind that is pretty much unparalleled to anything that I've ever heard in my life. Considering that I'm really picky with grind, that's a great thing. Featuring members of Escapethecult, Kamlath, Nebesbiesnami, Necrophagist and others, this three-piece is bound for some sort of unknown and bizarre glory that you'll never understand until you've gotten this record in your hands. It's quite short at just a litte under twenty minutes, but considering “The Vitality Slip” manages to play for an entire five minutes, that's a Nobel Prize moment for the genre. The best way to describe an album like this is to take it song by song, and we'll start out with “Living Fumes” which features Danny Lilker of Brutal Truth. The track starts out like black metal, before it teases us with hints of lounge music. Lilker's vocals sound absolutely scathing here and the track pummels before it goes right into elevator music. Guitars are played furiously, almost in a thrashy atmosphere which leads into machine-gun drum explosions, right before bringing us back to an elevator. It makes me think that there's a war inside of a shopping mall, and though people in the mall are fighting off and being devoured by ravenous monsters, there's still one group of people who are just patiently waiting to get to the floor where all the hell is taking place. Hints of solos appear, as well as one massive breakdown. Next we have “Furnaces Burn” which features “Revolting” Rogga Johansson of Paganizer (and several other bands, like the one in quotations.) This one is a little short, but it delivers a fast and heavy approach regardless of a hint of elevator music. They could have done a little better on this one I feel, Rogga deserved a much stronger track. I'm not really familiar with Karin Utomo of High Tension, but she appears on “Pressure” by which there's a video for. Being female, we actually get a little bit of a clean feminine vocal approach in sections, but when she's not doing that, she's tearing your fucking head off. This woman is simply ravenous, but at least she has the good nature to apologize for it. Next we have “4.27.15” which features Matt Phelps of Cynic who is proving his age here, unfortunately. It sounds like Phelps is trying his best Schuldiner impression, with the days of monumental debut Focus long behind him. It almost feels like a punk performance and more or less a common grind track. You wouldn't even know it was a member of Cynic if you hadn't looked on the Bandcamp page.

“The Genocide Machine” features Dave Ingram of Hail Of Bullets, and it more or less seems to back the death metal frontman rather well. His heavy growls give the drudging track just what it needs. There's some definite experimentation within the riffs, but then it flows right into blistering death metal where the performance just feels right. The album ends with what I think is it's best track, featuring an unexpected merit in Child Bite frontman Shawn Knight. I saw Child Bite back in '14 and they didn't really catch me, but I absolutely love this performance. I'm reminded of a cross between Mike Patton and Dave Brockie, which sounds as mind-blowing as you'd expect. The elevator music (ahem) bossa-nova that is featured here, actually works very well too. I'd love for project mastermind Peter Shallmin to make a bossa-nove album as well, as I quite like that kind of music and it's relaxing. I love the fact that he can create complete and total chaos, a veritable shitstorm of unruly fucking hell – but I can really get into these cheery tunes as well. Also, the ending of this one is pretty masterful. I almost feel like Brockie's there and it means a lot. Knight almost channels him right towards the end of this one, and I love it. I'm pretty sure that the former GWAR frontman would have given his blessed flatulence on this project and that makes it well worth checking out. Unless you've got a time machine, you'll have to wait until the end of November for this one. But don't fret folks, as it's definitely worth it for the most part. “The Vitality Slip” is worth the price of admission alone.

(6 Tracks, 18:00)

8/10

TMHM - Stage Names (2016)

Canada's TMHM (The Man and His Machine) have been around for five years now and have self released three EP's as well as two live discs throughout their lengthy tenure. This recording marks the act's first full-length and official debut, which as of this writing is also a self-released recording. The only difference here, is that that album was recorded in Rain City Studios, where acts like Misery Signals, Japandroids and Baptists were also put through the three-step process of recording, mixing and mastering.

Although this is the act's first debut release, it still feels like an EP due to length, but I guess that is to be expected from a band who is most likely (and I'm just taking a guess – not even an educated one) used to writing and recording smaller albums in an EP format. It merely graces over twenty-two minutes of overall playtime. The sound I can describe as a mix of Nu-Metal, post, punk and core, which certainly doesn't turn me away due to the Nu-Metal elements alone. Those of you who've been with us a long time will know that I grew up in the age of Nu-Metal and first cut my teeth on this music. Though I've reviewed and enjoy more extreme approaches as well, I've always had a soft spot for this kind of music.

We start right with the very Nu-Metal style of “Bad Luck In Belleville” which seems to echo some of the heavier moments of acts like Primer 55. The vocal end of things is definitely a bit loud and even somewhat obnoxious in the mix, but I think that adds some real heart and feeling to the music. When we get into “Toxic Mix” we're listening to a post-metal piece which almost carries a bit of punk with it. The punk and groove elements punch up with “18 Oz” which might not be for everyone, but it's got a hell of a lot of piss and vinegar. “Threadcounts” changes the style of the band to a punk influenced core or powerviolence if you will. I guess I'm a bit reminded of Gallows without the sing-along parts. The powerviolence seems to carry right on over into the title cut, which is quite raucous, but I'm almost afraid that the frontman is about to blow a blood vessel.

“Better Half” changes the style a bit to aloow for more down-tuned bass, but the Nu-Metal influence has been removed almost completely in favor of something that sounds like more of what we've just heard. It's not a bad approach, but it makes me feel that the beginning of the disc might be a bit misleading to listeners. TMHM certainly have a lot of fight in them though, I can say that. The rest of the record doesn't offer much more than we've heard at this point, so you should already be aware of what you're getting now. Saying little more about the album, if you like incredibly noisy approaches that combine punk along with various metal elements, you'll certainly find something in what I can consider a rather solid and outspoken release.

It sounds like the voice of a generation, in which a cacophony of words amount to distress and frustration towards society and it's machinations as a whole. I believe this is the sound of the rebellion, though I'm not quite sure what the rebellion is against these days. The wealthy capitalist machine cannot be beaten in a physical manner, one will merely have to wait until it finishes it's tenure and goes kaput all on it's own. 

People obviously seem a bit disrupted by the current system of economics and government, which of course will bring about some sort of change in paradigm. Though that change in paradigm, I believe; had already been planned from the get-go. It is much easier to get people to rebel against and remove something themselves, than to just completely have it removed altogether – especially when they'll find that the next system probably won't work as well as this one. But what can I say? Progress has a price. Give this one a listen if you're full of rage and angst against the infernal machine.

(8 Tracks, 22:00)

7/10