There’s a poetic beauty in the fact that the inventor of the blastbeat — that blazing, ridiculously aggressive machine gun drum style that came to spur entire genres of extreme metal — later went on to create some of the most chill beats known to man. In addition to Harris’ essential heavy dub Scorn project, which pretty much was dubstep before dubstep became a one dimensional punchline of IDM culture, his solo work explores spacious, minimal expanses tied together with massive beats in an even more reductive way. This double CD release collects a series of 12″ singles he did for Canada’s Hed Nod label, offering an appropriately expansive runtime that allows a deep slide into the zone at nearly 2 and a half hours long. No matter where you stand on Harris’ work, from the inhumanly fast, dense blurs of sound in Napalm Death, to the wide open spaces propelled by relentless, sickened beats of Scorn and these solo recordings, you’ve got to give the guy props for being at the forefront of both the grindcore and dubstep genres.
Posts Tagged ‘UK’
How We Learned to Live Like A Bomb LP
Our Voltage, 2014
Scan through the reviews section of any recent issue of MRR and you’re likely to see gallons of ink touting a substantial percentage of vinyl being pressed of 10+ year-old punk. Many of these reissues pimp bands that continue to sell to an established fanbase, while others give light to some bands unknown and underrated during their day. This reissue from the German label Our Voltage is a record you’ll want to take note of as it gathers some of the most essential tracks from one of the late ’90s most underrated bands. If you haven’t familiarized yourself with Red Monkey yet, check out this previous post about their first 7″, then find yourself a copy of this vital collection before it disappears as quickly as the original pressings of these killer slabs of angular post-punk. 18 remastered tracks (16 on red vinyl, plus an additional 2 with album download) collecting all their 7″ releases and compilation tracks, plus a 20-page zine style booklet featuring anecdotes and art from the band members make this an essential release for those new to the razor-sharp sounds of Red Monkey as well as longtime fans.
Do What You Feel (Feel What You Do) 7″
Back in 1997 there weren’t a ton of groups doing angular, Gang of Four-style postpunk, so you gotta give Red Monkey credit for not only being ahead of the curve, but for doing it really really well. Along with their classic releases on NJ’s Troubleman label, this debut 7″ EP on their Slampt label has remained one of the better examples of tightly-wound, tension-filled punk with a sharp political edge. With male/female vocals sparing back and forth ala The Ex and a stripped down, herky-jerk rhythm section, songs like “Not Only” and “18+” absolutely grab you by the throat and demand your attention. Ain’t that what punk’s all about?
Complete Discography CD
Sacred Bones Records, 2010
One of the amazing things about music fandom is that no matter how far you explore a music genre there’s always a hidden gem that comes out of nowhere and instantly gives you a fresh perspective on a scene that you thought you knew so well. Granted, you always pay your dues snatching up lesser records that don’t quite have the magic of albums that pull you into a scene, satisfied to just find something that approaches the greatness of landmark records in your collection. But every once and a while a band will come along and make you wonder how the fuck you’d never heard of ‘em. Such is the case of UK postpunk band 13th Chime who apparently had a bit of success during the early 1980s, touring with groups like The Addicts, The Meteors, Spear of Destiny, and The Enid, getting some airplay from John Peel, and releasing a few solid 7-inches and recording an unreleased LP. The quality level of 13th Chime’s recorded output exceeds many of their peers, with a gnashing style of darkwave postpunk that exists somewhere between the pounding throb of Killing Joke and the stark histrionics of Christian Death, tempered with the synthetic whine of Siouxsie, Tubeway Army, and Bauhaus. Yet those are just reference points, as 13th Chime had a harrowing sound that was distinctly their own. Huge props to Sacred Bones for bringing their unreleased LP to light decades later and packaging it up with their solid singles collection, demanding that this unheard band get its due.