Review: Code Orange – Forever


Band: Code Orange
Album: Forever
Genre: Hardcore punk, sludge, metalcore
Social Media: Official site/Facebook/Twitter

Almost done with January and I’ve already got a favourite album for the year. At least, I’ve got a favourite loud/mean sounding album.

Code Orange, formerly known as Code Orange Kids, are a hardcore, experimental, punkish band from Pittsburgh, Pennsylvania and this album is their third, full-length album, Forever.

Forever is, from the beginning, a vicious and aggressive ride that allows a listener few chances to catch their breath, besides maybe one or two points. One such break comes with the third song fourth song on the album, Bleeding In The Blur, which has clean vocals provided by the band’s bassist, Reba Meyers.

This song honestly caught me off guard with it sounding more like an alternative rock song than anything else present on the album. I love the way the song sounds and it offers up a surprising amount of versatility.

The band also brings these strange little editing flourishes into some songs, like stutters and sudden audio stops, and while it is interesting to see the band going for something different, it doesn’t feel necessary. Thankfully, they don’t happen often and when they do, they are brief.

The band also brings these strange little editing flourishes into some songs, like stutters and sudden audio stops, and while it is interesting to see the band going for something different, it doesn’t feel necessary. Thankfully, they don’t happen often and when they do, they are brief.

Speaking of things that may be unnecessary, the last song, dream2, doesn’t really do it for me as a closer. As a stand-alone track, it’s fine, but as a closer, it just shouldn’t be there. Maybe try it as an interlude somewhere in the middle of the track listing.

However, the rest of the album, aside from maybe two other tracks (dream2 and Hurt Goes On), is a complete onslaught of abrasive and girthy punk that proves, the scene still has massive balls. You just need to look for it and looking at Code Orange shows you why this is the band that’s making waves.

The title track, Forever, is brutal,  Just have to know where to finds it. Ugly feels like a grunge throwback until the vocals come in, it’s Code Orange playing with our expectations and it is a blast. You can also hear these expectations challenged in Hurt Goes On.

This album is just a delight, in a sick, twisted way that’ll have you head banging and deciding to just say ‘fuck you to authority, expectations and your dreams.’

Listen to it if you like anything mean, gross, punk, industrial, or sludge sounding.


New Jamie Lenman single , ‘Mississippi’

I'm sorry, I don't know who took the OG picture. I think it's  Chris Baker.

I’m sorry, I don’t know who took the OG picture. I think it’s Chris Baker.

Just a quick one to let you all know you should listen to Jamie Lenman’s new song, Mississippi.

I would embed it here, but it won’t let me, so I’ll just link you here.

“I’m super excited for people to hear the new material,” he says, “and I’m looking forward to seeing folks in person throughout the year.” Thoughts? Absolutely, yes. And there’s potential tour dates coming up? Get in.

Listen to the song if you want something from Jamie that feels… sludgy? Let’s not label it and just say it’s a fun listen if you like rock music.

New Music Review – Kooba Tercu – S/T


Band: Kooba Tercu
Album: Self-titled
Genre: Noise-rock, sludge
Social-media: Facebook/Bandcamp



Today we’re looking at the latest self-titled album from Athens noise-rockers, Kooba Tercu, and it must be said, this is rather late, but I got sent this around about the time I went on my hiatus. So yeah, this has been a few months coming now and I’m hoping to get through my backlog of emails as fast as I can.

Kooba Tercu, are loud five piece noise-rock, sometimes sludgy metal band that’s fronted by lead maniac Johnny Tercu. These guys have played with some big names, such as the ritual rockers GOAT and it must be said that Kooba Tercu’s brand of heavy, eclectic and abrasive music fits this scene. This is their debut album and, well, how is it?

It’s somewhat of a grower, but also very instantaneous in its delivery to you. What I mean is the way these lot set up their songs is full of variety and life, but the sound can be abrasive, maybe too abrasive for some listeners, but even then, there’s probably something here for you to enjoy. There are some sludge tracks here, some more straight forward rock songs and even some proggy stuff. It’s this life that gives their self-titled an edge in the noise-rock scene. Let’s take the song, Squirting Squid, it’s a slow builder that predictably builds into a sudden barrage of heavy, but there’s this playful little interlude at the one and a half minute mark that knocks you off your feet for a few and if you’re not paying attention to how far into the song you are, you’d assume it’s over. Wrong.

Variety is the flavour of music and despite having one clear cut dish here, that tastes oscillates, depending on how far into the meal you are. Pebble is one of the few moments you’re allowed to catch your breath with some more reserved drumming and clean guitars, but even then, you’re still left on the edge of your seats awaiting the dip into distortion. It builds in an exciting manner and eventually crashes into these epic chords and mini guitar line, but then lapses back into the reserved flavour again. Elephant also flirts with flavoursome structure with its ever changing wall of noise and subtle but sinister outro.

The more punkish songs on this album are catchy and while they feel much less measured, I don’t doubt that they’re still incredibly measured and well thought out. Chika is one such punk – it starts with a phat bass and some peculiar guitar line with full on fuzz. The drums near the outro here are also nice and unconventional which brings some interesting sounds to the stage.

I love the instrumentation on this album has its visceral – the guitar chords and harmonics all sound vicious and the bass is cheeky. What really stands out here to me right now, is the drums and how much variety is thrown out, the intro to some of these tracks (Ukunta and Sonique) make use of chill drumming in the intros. The drumming is in no way typical of this genre and that goes down a treat when coupled with the instrumentation and the vocals from Kooba Tercu.

Final thoughts:

I’m not sure when Kooba Tercu are at their best, which is good, because they dabble in the punk, the sludge, the metal and some maths, but no matter what these guys are doing on the album, I seem to be enjoying it. Hell, loving it. This is an excellent album and you should hear it in all of its splendour -aggressive and precise the punk will keep you encapsulated, but you’ll slave away under the heavy sludge. The highlights are the proggy moments that you get from the likes of Squirting Squid, so give that one a whirl and I hope you love this album as much as I did.

Debut ‘Death Engine’ Record Out Next Year

French noisers release debut album on March 2nd

Death Engine are a French noise/hardcore band that are set to release their debut full length, Mud, on March 2nd next year. These guys released an EP, Amen, last year, which sounded incredibly horrific and sludgey , so I’m expecting good things from this album. Hopefully, there’ll be some concepts expanded on – even Amen was quite ambitious and large sounding.

To keep the fans at bay until release, they’ve released a video for a song off of Mud called, Still. Listen and watch above. It’s also available to stream through their Bandcamp.

I recommend you keep an eye on Death Engine if you’re into noise, crust-punk, sludge, or anything remotely heavy, they’ve got a lot to offer us and I’m looking forward to a full release next year. Stay tuned in, with the following social-medias:

Official Site

Okkultokrati Stream New Album

Norwegian upcoming black-metalers stream new album through Noisey Vice

Okkultokrati have recently released their newest stab at the music universe with their third (?) studio release, Night Jerks. This release is heavy, unforgiving, sketchy and loud; you wouldn’t want to meet it in a dark alley, that’s for true!

These guys are renowned for their choke-hold style of black-metal, sludge, crust and d-beat music. They do try their hand at some more atmospheric tracks, but their talent lies in their ruthless nature.

You can buy the LP from Fsisk now.

Approach with caution and maybe some pepper spray.

New Music Review – The Great Sabatini – Dog Years

a3498775656_10Band: The Great Sabatini
Album: Dog Years
Genre: Sludge
Social Media: Facebook/Bandcamp/Official Website

The Great Sabatini are a Canadian sludge metal outfit that have recently released their third full length album, titled, Dog Years. With this album, they’ve stuck with the same tricks that have aided them through the years and releases: slow, brutal and thick playing, with four shouters working overtime while they play.

That isn’t to say that you can’t this dog and his years a few new tricks though. In my opinion, Dog Years feels much more carefully planned, better produced and much more head-strong than their previous release, Sunday School.

Their mixes on the songs seem to be more proficient this time around as well, The Royal We and Munera sound incredible. Speaking of incredible, the breakdown in The Royal We feels like a real tease and I adore that; it’s sludgey, messy and sounds like Godzilla during a hangover. I feel like songs like Pitchfork Pete also show off a different kind of creative side as the band work in a very well placed sample with the beats and rhythms that they’re playing

The Great Sabatini seem to be very talented at teasing listeners with those long, drawn out bits of feedback during songs, well done use of silence and spacious drumming. It’s these moments that really make this album worth a listen. However, I felt like the track Nursing Home, was unsatisfying; the playful riff was there that grooved nicely with the guitar, the build-up was great, but it just needed something extra to finish it.

That being said, these guys have shown that they can indeed, satisfy my desires for smelly sludge metal. The song Munera, brings in these prehistoric sounds and riffs that are amazing and catchy in their heaviness. It’s also another one of their songs that has an insane breakdown.

Although said breakdowns are insane, it never feels like the lads are showing off. There are solos on this album that all feel very down to earth, very laid back, as opposed to an over-the-top lightning solo, for example. Both Reach and Periwinkle War Hammer use these minimal solos that sound great, without the worry of alienating someone that doesn’t like sweep picking, for example.

The vocals are also typically sludge-like although sometimes, they turn from screams to the shouts of insane noise-rockers and that’s fine. The vocal styling fits the music extremely well and I never found the vocals jarring at all. Although, I thought they really stood out as particularly demonic on Periwinkle War Hammer.

With all this talk of sludge and noise, now might be a great time to talk about the oddball on the album: Akela. They released a video with this song back on the 28th of June and I’ve gotta say, it’s a strange one; I’m not entirely sure how to feel about it. The slide guitar is sloppy and sounds as such, but at the same time, it feels obvious that that’s the point. The very bluesy sound of this track takes me back to the quiet moments of other sludge metal bands, like Acid Bath.

Dog Years is a killer third album from these, already well established sludge monsters. There’s lots of heavy breakdowns, harsh vocals, drumming that sounds like your arms would be tired after playing it; it’s just all great and worth a listen.

Especially if you have a vinyl player. If you buy it and live in the Canada, you get a yellow pressing, while Europe and the USA get a black and clear red pressing. Awesome.