The EP’s six tracks showcase Fuck the Facts’s brutal approach, incorporating a spectrum of everything grinding, deadly, and black. The songs are shockingly tight, and surprising at every turn.
A tasty little 7″ slab o’ wax hot off the presses over at Chez Relapse, this split release features (what I assume to be) three new songs from Virginia grinders Agoraphobic Nosebleed and a handful of tracks from Toronto’s The Endless Blockade (perhaps that city’s best kept secret this side of Moe Panzer’s Deli up at Bathurst and Wilson – nah, actually way better than that).
Oak’s debut 12” rumbles and crumbles like Paul Bunyon piloting a city-sized backhoe. Vocalist Jo Gonzalez mixes and mashes his vocal chords to the tune of skidding tires and large men falling down jagged canyons while the humid oppression of the guitar, bass and drums acts like the soundtrack to slow suffocation and violent digestion.
Recorded as demos this past April with Scott Ecklein, the four new songs and two covers aren’t just rough around the edges; they’re positively filthy, that barely-produced sound hearkening back to the glory days of tape-trading, the bare-bones mix enhancing the fierce performances. Simply put, as solid as they were before, Saviours has never sounded this great.
Adrien Begrand reviews three brand new, limited edition 7″ singles by Bay Area metal quartet Saviours.
The first of a planned series of five seven-inches dedicated to the amalgamation of crusty punk and thrash metal, this installment features bands from opposite sides of the USA
There are three indisputable facts of life: death, taxes and that Graf Orlock is the greatest cinema-grind band of all. Granted, they may be the only cinema-grind band, but if there is such a micro-genre, they top it based on merit, not by default.
Fifty-one song compilation.
Fifty-seven minutes of intensity.
You absolutely need this one.