Review of Sowing The Seeds Of A Worthless Tomorrow by Wake

Band: Wake
Album: Sowing the Seeds of a Worthless Tomorrow
Release Date: 26 February 2016
Record Label: Sentient Ruin Laboratories
Buy as CD ($8) or cassette ($7) or digital ($5) from: Bandcamp
Buy on vinyl (€13) from: Bandcamp

Cover of Sowing the Seeds of a Worthless Tomorrow by Wake

As 2016 comes to a close you’ve probably seen countless end of year lists of albums, often listing many of the same popular releases. We don’t like ranking music here at DCHM (our album reviews aren’t given a score for this reason as well) so at the end of the year I always give my album review writers the chance to pick an album of their choice from the year that they feel deserves more attention than it received. It doesn’t have to be a local band, and in fact this year they have both chosen bands from outside the US. DCHM reviewer Buzzo Jr. chose to review the latest release by Calgary based Wake. Be sure to stream the tracks at the end of the post to give it a listen while you read and be sure to check out Tal’s review of Chinese black metal band Demogorgon’s debut here if you haven’t already.

2016 has been another great year for heavy underground music, and like the previous year, there are a good amount of hidden gems that went unheard by a majority of people. One of the many records I saw missing from far too many album of the year lists was Wake’s Sowing the Seeds of a Worthless Tomorrow. Formed in Alberta, Canada, in 2009, the band’s third full length album is a furious onslaught of grindcore mixed with crust punk, sludge, and black metal.

The album’s opening track “Burn Well” begins with a short, yet foreboding ambient style intro that soon erupts into a full on assault of blast beats and frenzied riffage. The opening track soon fades into silence, but the chaos almost immediately resumes with “Wretched Tongues;” a track that comes rushing out at top speed and then slows down in the middle section for a heavy sludge style breakdown. Kyle Ball (also of Canadian tech death band Kataplexis) showcases his insane vocals on this track in particular; punctuating the breaks in the instrumentation with ear piercing shrieks and gut churning growls. “Wretched Tongues” picks up the tempo once again near the end and terminates with a droning, industrial style outro. The album continues on with “Drones” and my personal favorite track “Better Living Through Apathy.” These third and fourth tracks are rife with dissonant black metal style guitar passages that flow brilliantly with Brian Serzynski frantic d-beat style drumming; creating a fantastic fusion of the band’s influences.

The second half of the record is kicked off by “Low,” and at over three and a half minutes, it’s certainly an epic in the context of a genre with songs barely averaging two minutes in length. It opens with a clean guitar melody that lasts just long enough to lull the listener into a false sense of security, only to explode once more into a barrage of sludge tinged riffs and hyper-speed blast beats. The usage of violent vocal overlays on this track makes it a definite standout and creates an atmosphere of total pandemonium. As one may have already guessed from the album’s title, this is a nihilistic album; both in sound and in message. “Unrelenting Hate” sums up the misanthropic tone of the album perfectly during the song’s breakdown; “We don’t deserve this, we are all hypocrites, we are all arrogant, we are all worthless. We are all scum.” No artsy metaphors, no beating around the bush. Wake’s message is plain and simple: humanity sucks. The album soon comes to a close with the final two tracks. “Vultures” is definitely the fastest track on here, zooming through with hardly any changes in speed and before the listener knows what hit them, it’s already flowed seamlessly into the final track of the album, “Endless Decay.” The final track starts off with a dark vocal sample accompanied by slow, heavy riffs and tribal drum beats. The band once more goes into full on overdrive at the halfway point, putting everything they have left into the final minute before the album comes to a final, screeching halt.

Finally, the production on the album also deserves a mention. Recorded and engineered by Joel Grind of Toxic Holocaust fame, the production manages to land right at that perfect spot in between raw and overly polished. Rob Lachance and Arjun Gill’s guitar tones are phenomenal, being both grime-ridden and filthy while also being perfectly clear. This goes for the vocals as well, with Kyle’s screams being extremely harsh while still having a large amount of clarity to them. A large amount of grindcore acts tend to go all the way to one side or the other when choosing between super raw or super polished album prosecution, so it’s great to see a band that manages to find a good compromise between the two. The main, and possibly only gripe I can manage to think of concerning this record is that it’s relatively short running time of 20 minutes will definitely leave you wanting more. But apart from that, there isn’t a bad song on here and it’s an album practically begging for multiple listenings in one sitting.

Wake’s Sowing the Seeds of a Worthless Tomorrow is a furious vortex of crust soaked grindcore, and is an absolute must have for fans of the genre. Happy New Year to everyone, and once again, here’s to 2017 being yet another year of great music!

Burn Well:

Better Living Through Apathy:

Pig Destroyer ticket give away

Pig Destroyer at the Rock & Roll Hotel

Pig Destroyer is playing the Rock & Roll Hotel this Saturday, December 3rd with Deceased! That’s a couple of pretty big bands in a pretty small room and you know it’s going to be a wild night. Since we love giving stuff away at DCHeavyMetal.com and since today is Giving Tuesday, we’re going to give one of you lucky readers a free pair of tickets to this show. But wait, there’s more! The winner will also get a copy of the show poster (seen above) by artist Craig Horky that is signed by all of the members of Pig Destroyer. To enter just leave a comment on this post telling me what your favorite metal album of 2016 has been. At 5pm EST this Thursday, December 1st, a winner will be chosen at random (using Random.org) from all valid entries to win the tickets and signed poster. Be sure to use a valid email you check regularly so I can contact you if you win. Don’t worry, I won’t add you to any spam lists or sell your info or anything sleazy like that. If I haven’t heard back from the winner in 24 hours another winner will be chosen at random. If you can’t wait to see if you win or the contest is already over when you read this, then you can get tickets from Ticket Fly for $18 here.

Pig Destroyer is a twisted grind band from the DMV area and they’re known for putting on intense shows! This show at the Rock & Roll Hotel is sure to be a blast in front of their home town crowd. And let’s not forget Deceased, one of the area’s oldest underground metal bands. They have been cranking out their metal of death with a strong focus on horror movies since the mid-80s. Also on the bill is “The Grindfather” Richard Johnson’s band Drugs Of Faith. When he isn’t screaming into the mic for Agoraphobic Nosebleed he leads DoF with their pioneering of the Grind ‘n Roll style. The opener is Cemetery Piss, a Baltimore based band that lies somewhere between crust, black metal and sludge. This is one hell of a line up that is much more than your average “locals” show! Now check out these awesome videos of the bands playing below and leave a comment telling me what your favorite metal album of 2016 has been!

Pig Destroyer – The Diplomat

Deceased – It’s Alive

Drugs Of Faith – Insanity

Cemetery Piss – Rest In Piss

Brujeria ticket give away

Brujeria at Baltimore Soundstage

September marks the seven year anniversary for DCHeavyMetal.com so we’ve been giving away tickets to tons of shows. We’ve still got one more give away this month and that is for a pair of tickets to see the Mexican gangsters in Brujeria at the Baltimore Soundstage this Saturday, October 1st of 2016! To enter: leave a comment on this post telling me what your favorite metal band that originates from any country outside of the US. Then at 12pm EST this Friday, September 30th, the contest will close and I’ll pick a winner at random (using Random.org) from all valid entries to win the tickets. Please don’t enter if you can’t go, there’s not a lot of time between the end of the contest and the show. Be sure to use a valid email you check regularly so I can contact you if you win. Don’t worry, I won’t add you to any spam lists or sell your info or anything sleazy like that. If you can’t wait to see if you win or the contest is already over when you read this, then you can get tickets from Ticket Fly for $22 here.

Brujeria is the Spanish word for witchcraft and the band keeps the identities of its members a secret. There have been members of Fear Factory, Faith No More, Carcass, Napalm Death and many others all rumored to be members though, and if you’re at the show you can try to peek under their bandanas and figure out their identities, at your own risk of course! Brujeria isn’t a band to be fucked with! Also on the bill is the vegetarian death metal band Cattle Decapitation, a band who keeps putting out solid death metal albums regularly. The tour opener is Piñata Protest, a punk band from San Antonio, Texas and local support is provided by the grind band Ampallang Infection. Now check out these videos by the bands playing and let me know what your favorite metal band is that comes from another country!

Brujeria – Plata O Plomo

Cattle Decapitation – Forced Gender Reassignment

Piñata Protest – Vato Perron

Ampallang Infection – Colostomy Bag Piñata / Breaking Character With Shotguns

Review of Desolate by Musket Hawk

Band: Musket Hawk
Album: Desolate
Release Date: 6 May 2016
Record Label: Unholy Anarchy Records
Buy on CD ($9.99) from: Unholy Anarchy
Buy as mp3 ($9.99) from: iTunes

Desolate by Musket Hawk

Baltimore’s Musket Hawk put out a a full length in May titled Desolate, despite the quite vibrant colors in cover art. DCHM reviewer Buzzo Jr spent some time with the album and wrote the following review of it. Be sure to stream a few songs at the end of the post as well!

Baltimore’s own sludge/grind trio Musket Hawk are back with Desolate; their second full length album since their self released debut, The Form of Disgust, from three years prior. On their newest release, the dudes in Musket Hawk go full throttle with an intense mixture of sludge, grindcore, and stoner metal.

Sludge and grindcore are two of my favorite subgenres of metal, so it’s always great when more bands successfully merge the two together. Musket Hawk’s Desolate is a perfect example of this fusion of genres done right. The album starts off at a speedy pace with the first two tracks “Pollute Your Throat” and “Reluctant Punk;” both filled with fast, heavy riffs and rapid blast beats interspersed with slower sludge based sections. The next two tracks “Jeweler” and “The Grove” are more mid paced tracks, with “Jeweler” being centered around a grooving breakdown while “The Grove” opens up with a great deal of black metal influence in its riffing structure. Marty Spiro’s guitar work on here is superb, laying down thick riffs that intertwine with Gary Fry’s fuzzy basslines. One of the standout elements of this album are the dual vocals of Gary and Marty; interchanging between deep low gutturals and sharp high pitched screeches. While more grind oriented in nature, the vocals also lend themselves to the more sludge based sections of the albums as well. At times they almost sounded like the frantic cries of a wounded animal; perfectly adding to the grimy atmosphere that the riffs already provide.

While the first four tracks on the album were much more crusty and murky, the second half of Desolate begins to flirt a bit more with melody and stoner rock influences. The B-side begins with “Connois Sewer,” a track that opens with some melodic guitar lines before exploding back into the heavy riffs of previous tracks, although a good deal of melodic undertone is layered into the remainder of the song. “Space Ray Houska” soon comes up next, a track that showcases some post rock elements at its mid way point. Jason Goodman’s drumming on this track is great, transitioning between mid paced d-beats, to slow primal thuds, to all out blast beats. While the drumming is great from a technical standpoint, they did seem to sound a tad wooden when it came to the bass pedal’s sound, but other than that I can’t find any issue with them. My favorite track on Desolate is the seventh track, “Tweed After Dark;” another faster paced track that has an epic melodic line coursing through the song along with the pummeling riffs, giving it an almost Iron Maiden meets High On Fire type vibe. The album comes to a close with the six minute “Candidate For a Knife”; a massive slab of sludgy riffage that goes from a slow doomy dirge, to hyperspeed grind and back again.

Musket Hawk’s newest album is a brilliant fusion of some of the most abrasive genres in modern metal, and at the same time is an album that has a great deal of amazing melody at its forefront. Definitely give this album a listen if you are a fan of grimey, dark sludge and grindcore, and be sure to catch Musket Hawk on the 22nd of July when they play with the legendary Belgian band Agathocles at the Windup Space in Baltimore (details here).

Tweed After Dark:

Space-Ray Houska:

Something new planned on DCHM

I’m always looking for ways to use new forms of social media on DCHeavyMetal.com and this weekend I’ll be doing my first live streaming video interview on Periscope, a free video streaming app for both iOS and Android. On Saturday, May 13th (that’s tomorrow!) some time around 7:30 or 8pm I’ll be at DC Brau with Richard Johnson of Agoraphobic Nosebleed and Drugs Of Faith talking about the upcoming ANb show at the Black Cat on May 21st, beer, music and anything else that comes to mind. I’ll also have a free pair of tickets to give to the person with the best question for Richard!

Periscope is owned by Twitter so if you have a Twitter account you’ve already got a Periscope account. The cool thing about Periscope is that it will let people watching ask their own questions that we can answer in real time. And on Saturday I’ll have a pair of tickets to give away to whoever has the best question for Richard. All you need to watch or join in is a smart phone (with the Periscope app) or a computer with a browser and the link to my account conveniently posted right here: www.periscope.tv/metalchris

If you can’t watch live don’t worry, I plan on saving the stream and posting it to YouTube and on the main site for people to watch later. If this goes well then I hope to do more interviews with metal musicians at local breweries and bars around town in the future. I hope you enjoy the first in a series of interviews I’d like to call “Have A Beer With…” so join us Saturday evening and have a beer with Richard Johnson of Agoraphobic Nosebleed!

Agoraphobic Nosebleed at the Black Cat

Napalm Death and Melvins ticket give away

Napalm Death and the Melvins at the 9:30 Club

Since we had so many entries in our DC Brau 5th Anniversary concert contest last week, and we really wanted everyone to win, this week we’re doubling down on ticket give aways. First up we’ve got tickets to see Napalm Death and the Melvins at the 9:30 Club on Tuesday, April 12th, 2016! If you want tickets to this epic show (and I know you do) then you need to enter by leaving a comment on this post telling me which band on the bill you’re the most excited to see (and don’t forget Melt-Banana is playing too!). At 5pm EST on Monday, April 4th, 2016, the contest will end I’ll pick a winner at random (using Random.org) from all valid entries to win the tickets. Be sure to use a valid email you check regularly so I can contact you if you win. Don’t worry, I won’t add you to any spam lists or sell your info or anything sleazy like that. If I haven’t heard back from the winner in 24 hours another winner will be chosen at random. If you can’t wait to see if you win or the contest is already over when you read this, then you can get tickets from Ticket Fly for just $30 here.

Napalm Death is one of the fathers of grind but what is most amazing about their career is that they keep putting out incredible records after 30+ years! Seriously, try to think of another band that has putting out that high quality of material after that much time, it’s not easy! Oh wait, I just thought of one, the Melvins! The genre defying masters of the bizarre and experimental seem to be able to change their style at will while still keeping that “Melvins” sound. Melt-Banana is an experimental Japanese band that rides the line somewhere between grind, noise, rock, electronica and pop. Every band on this bill is truly unique and it should make for a night to remember! Plus, when the hell else are you going to see Napalm Death play on a stage that is as big (and sounds as good) as at the 9:30 Club? Now check out these videos by all three bands on the bill and tell me in the comments which one you want to see the most!

Napalm Death – How The Years Condemn

Melvins – Honey Bucket

Melt-Banana – The Hive

Review of Arc by Agoraphobic Nosebleed

Band: Agoraphobic Nosebleed
Album: Arc
Release Date: 22 January 2016
Record Label: Relapse Records
Buy on CD ($11) or digital ($6) or vinyl ($19) from: Bandcamp

Arc by Agoraphobic Nosebleed

Locals Agoraphobic Nosebleed have been very active lately. They recently started performing their first live shows at various festivals around the world (including their first ever live performance at last year’s Maryland Deathfest). Now they’re working on putting out a series of EPs that each feature a different band member’s musical tastes. When I heard the first of these was going to be a slower, more sludgey album I knew that DCHM writer Buzzo Jr would be perfect to review it since he is a fan of both grind and sludge metal. What follows is his take on the first studio recording of this new era for Agoraphobic Nosebleed. And don’t forget to stream a track from it at the end of this post!

Grindcore legends Agoraphobic Nosebleed have been delivering hyperspeed audio assaults fueled by manic riffs and machine gun tempo drum machines since the early 90’s. The band have since experimented with harsh noise, power electronics, and crossover thrash. Their experimentation continues with Arc, the first in the series of EPs the band is releasing that will each have a separate style representing a different member’s musical taste. Driven by vocalist Kat Katz, Arc is definitely a major departure from the ultra fast grind/crossover style Agoraphobic Nosebleed is infamous for, and instead is a slow, heavy, 3 song slab of sludge metal. If this was your first time listening to them, I’m pretty sure you would be quite surprised to learn that this is the same band that released Altered States of America; a frantic 100 song EP clocking in at only 20 minutes.

Arc gets the ball rolling with “Not a Daughter,” a relentlessly groovy track that at some points sounds almost upbeat with its swaying, southern feel. I don’t think anyone has ever dared to use the term “catchy” to describe an Agoraphobic Nosebleed song, but I’ll be damned if I can find a better description for the bluesy, pulsating riffs that guitarist Scott Hull unleashes here. Hull, also of local grindcore band Pig Destroyer, has flirted with slower, doomy material in the past on some Agoraphobic Nosebleed tracks and with Pig Destroyer’s Mass & Volume EP, but on this album it seems as if he’s actually been in at least 3 secret sludge bands. The riffs here are something I would expect from seasoned sludge veterans like Jimmy Bower of Eyehategod or Buzz Osbourne of the Melvins. The mid paced grooves of “Not a Daughter” soon give way to the next track, “Deathbed.” Any sense of slight optimism that may have been heard in the first track are now all but gone, with the pace coming to a slow dirge that creeps along with a spiteful sonic intensity. Agoraphobic Nosebleed has always been instantly recognizable for their use of incredibly fast drum machine blast beats, giving their early releases an almost machine like feel to them. Scott Hull’s programming skills have vastly improved throughout the years however, and on Arc the pounding drumbeats feel completely organic; at times I almost completely forgot that Agoraphobic Nosebleed didn’t have a drummer. The methodical pace of the drums on this album show that Hull definitely knows what he’s doing. Hull also handles the basswork on all of the tracks, and while not as exceptional as his guitar work, the flowing basslines on all of the tracks provide a great backbone to the rest of the music. The EP soon comes to a close with “Gnaw”, a mammothly crushing track filled to the brim with slow, sinister riffs and tormented screams. Vocalist Kat Katz is front and center on this album, with her howling screams and low growls echoing along with Scott Hull’s brilliant guitar and drum work. Kat is no stranger to doom and sludge, as many will remember her amazing vocals from her time in local doom band Salome. While not exactly a replication of past work, it’s great to hear Kat’s amazing vocals alongside slower material once again. Apart from the major change in tempo and number of songs, another huge change that listeners will notice about Arc is the subject matter of the tracks. You won’t find any songs like “Dick to Mouth Resuscitation” or “Druggernaut Jug Fuck” on here. The morbid comedy of past Agoraphobic Nosebleed tracks are instead replaced with much more personal tone. The lyrics on Arc are all written by Kat Katz, and revolve around her dealing with the death of her mother who suffered from schizophrenia. The intense personal meaning in the songs gives even more weight to them; with the emotional severity adding to the bleak tone the album already conveys.

The band is planning to release the rest of the EPs later this year, and I’m pretty psyched to hear how they differ from this and all of the previous Agoraphobic releases. Those of you who were expecting just another hyperspeed offering of grindcore may be disappointed, but if you’re open to a band experimenting with vastly different musical influences, and are a fan of slow, Black Sabbath worshipping tunes, then this is for you. Agoraphobic Nosebleed’s Arc is a major departure from the sound we know them for, but it’s proof that experimentation can bring forth great results. For those still sad about Salome breaking up (myself included) this is a great way to appease your need for more local sludge driven by Kat’s peircing howls. Definitely give this album a listen and don’t miss Agoraphobic Nosebleed when they play their first ever local headline show at the Black Cat in May!