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Forty Winters and Friends Return to Orlando Tomorrow Night! by orlandooom407

Wednesday heaviness continues on into February of 2012 tomorrow night with Forty Winters, A Fight For Life, In Reference to A Sinking  Ship, Abdomen Canvas and Wavedash Through the Onslaught.

Most of our regular readers know exactly why I have my hands in this show despite that it’s populated by a genre of music I ardently loathe in most cases. To those who don’t, I FUCKING LOVE FORTY WINTERS. Hate if you will, but I’ll retort any hatred with my review of their 2011 LP.

Still not convinced? Check it:

These dudes are pissed, and they aren’t afraid to convey this anger with a half time riff or two. Fans of The Red Chord, Thick as Blood and Despised Icon will feel right at home mid-pulverization by the FW.

In Reference To A Sinking Ship doesn’t fuck around:

I again will omit my thoughts pertaining to this band’s agenda and lyricism, but musically they’re a tenacious metallic hardcore wrecking crew. Vocalist John Crowder reminds me of the singer from Harm’s Way for multiple different reasons; definitely a plus. The rest of the band performing together provides a buffet of neck fracturing half times, and enough irate focus to take down a pack of rabid elephants. Bare handed.

Local support consists of Abdomen Canvas and Wavedash Through the Super Smash Brothers Allusion. AC is a galloping brutal centric quintet from Orlando, and if you like The Black Dahlia Murder you’ll want to partake in their flavor of modernized deathcore:

Finally we’ve got the Wavedash ballers. These chaps are relatively green, but have been taking some serious dedicated steps into their band’s success:

See you dudes and dude ladies tomorrow. Wednesday’s aren’t dead here in O-town!

– Jared Oates Haggard



Mountain Folk – My friend. My enemy. We are all beast. by orlandooom407

Happy Doom’s Day to everyone! This afternoon I spent a little time soaking up the debut EP by Orlando post-hardcorers Mountain Folk. Right away I felt familiar with the presentation of such a short stinted piece of auditory fiction. Lyrically a dialogue is established between narrator and an anonymous entity personified by his eyes. Other details include the man beast’s claws, but also pays special notice that this “fallen angel” puts our narrator “back on his feet”. A solid homage to the primal application of man in the modern world. I really enjoy when bands post their lyrics having had several credit hours of literary analysis on my resume.

My Friend. My Enemy. We are all beast. consists of four roughly two and a half minute songs, but also contains three brief thirty second spoken word tracks accompanied by choral backing vocals. Think Sikth‘s spoken word poetry tracks, but significantly more brief, with a southern American dialect rather than a deranged elderly English man.

Musically I immediately drew parallels to early era Thursday. The guitar tracks are exceptionally sharpened, clever, and provide appropriate counter rhythms with the snare centralized percussion. Time changes occur seamlessly from half-time, to brief chaotic fills from the toms, and with a crisp organization of chords and individuated staccatos.  Verb saturated guitar solos provide the beef to climaxes, but most songs have a summoned a prominent leading vocal presence no matter what’s occurring in the song itself. I feel the bass guitar tones could stand out a bit more, but like I said before I enjoy the major vocal presence despite whether it was intentional. That leaves tons of room for experimentation though, because I feel Mntn Flk could transform to emphasize instruments in differing ways. It would still procure a head nod from me. Definitely warrants a hand full of listens to build an attention to each instrument.

It’s difficult for me to say much more on the musicianship with just under ten minutes of music to evaluate. I would however, encourage one to take a gander at their lyrics on their Bandcamp page while you take your first listen. It’s better than an audio book, it’s an auditory journey complete with polished musicianship and enough passion to end a war.

Summative Sentence: An encompassing ten minute pilgrimage into thought provoking first person lyricism, succinct post-hardcore guitar attacks and convergent lymphatic percussion.

Favorite Track: Clever Smile

Click here to download the debut Mountain Folk EP for [NAME YOUR PRICE].

Click here to get in touch with Mountain Folk on Facebook.

And remember. Believe.

– Jared Oates Haggard



Sunday Doom’s Day. January 29th /w Jucifer, Sons of Tonatiuh, and FOUR MORE! by orlandooom407

SUNDAY. SUNDAY. DOOMSDAY.

I normally don’t write about shows that I perform in. I had to make an exception here. This lineup is bursting at the seams with crucial heavy hitters that you may or may not have seen. Let’s start with the originators of onslaught in Sons of Tonatiuh:

This trio hails from Hotlanta, GA, and this isn’t their first rodeo here in Orlando. Formerly the Sons have slain alongside local favorites Khann, Junior Bruce and Hollow Leg on two separate occasions. These four dudes domineer an intrusive sonic battering ram that catches repeated bursts of grimy odd tempo grooves, smothering southern fried riffing, and anxiously cauterized vocals.

This date originally began with the Sons who are currently embarking on a southern tour through Florida, Louisiana, Arkansas and Tennessee. Here are the other Floridian dates:

01/27 Jacksonville, FL ~ Shantytown w/ Vomikaust and Church Whip
01/28 Miami, FL ~ The Cave w/ House of Lightning, Holly Hunt, & Shroud Eater
01/30 Gainesville, FL ~ 1982 Bar w/ Army of Ponch & Gaul
01/31 Fort Walton Beach, FL ~ Coasters w/ Slowpoke Rodriguez

If you haven’t already I’d suggest you crank up the Sons self-titled LP. Click here for a complimentary streaming copy.

Other high lights include the devastating duo in House of Lightning. Those familiar with long time Floridian favorites Floor and Dove will recognize veteran singer/guitarist Henry Wilson. He’s joined by drummer John Ostberg. From what I can remember the one time I saw HoL back in 2008 it was an interesting mix-up of blazing speed parted with a gargantuan guitar based adhesive. Due to the underwhelming amount of public description I’ll let one of their most recent videos do the talking:

That brings me to the third guest of honor, seeing as Octopoid, Swamp Ruins and by band are locals, and of course I’m talking about Jucifer (Relapse Records):

Jucifer is the demonic RV propelled duo from fucking hell. Having arguably been named one of the loudest bands in the south, and probably the whole planet, Jucifer has consequently also been named the third leading cause of tinnitus in metal fans. They came in just behind Neurosis and alcohol related amateur self ear removal. Bring some ear plugs, and gun range headphones to wear over those.

$10. Tomorrow night. 7pm. Be there, get deaf. Click here for more info.

– Jared Oates Haggard



Dodecahedron – S/T by orlandooom407

Thumbing through new releases today I caught wind to this blackened geometrical homage. I’m talking about the demonized Dutch denizens in Dodecahedron who just released their debut self-titled LP on Season of Mist today! Congratulations to them. As a quick note I do like their  current name way more than their former title: Order Of The Source Below.

Right off the bat you can tell this record has suffered burns worse than Satan’s blasphemous breakfast toast. Vomit stained vocals, fervent blasting, and hectic guitar harmonies are apparent less than two minutes in. No introduction, just buckle those boots up and get to windmilling. Initially the dexterous expectations are set relatively high by eliciting rank string organizations to counter chronological symmetry coexisting with the Olympic tier percussion. These dodeca dudes would fit splendidly on a bill with Behold the Arctopus or The Crinn if only to retain that caliber of vulgar technicality. The inception of technicality is not the main focus here. Well practiced musicianship culls a focus to what’s really at hand here: Dodecahedron wants you to perspire. They want your heart to bounce off your ribcage several times per minute and it won’t ever matter how fast or slow a song is going. Maintenance of palpable anxiety stands until the record’s final moments, never letting one quiver to freedom. Out of it’s liquifying grip.

I could spend time trying to draw a conclusion as to where the blackened tone takes from. However, due to the overload of black metal in my brain recently I’ve found it difficult to point out the captivating qualities in traditional black metal methods in language. Mainly because I’m stubborn, so I’ll just point out the obvious relation to their Dutch cousins Melechesh.

Their first track, entitled “Allfather”, captures a full range of control between sacrilegious slaying and lulling moments of obscurity. These lulling moments are by no means comforting and are littered with dissonant, and mostly unidentifiable, electronics. But then, alas! Silencing seconds. Full juxtaposition carves into the return from noise fringed kvlted commandeering into a full speed leap back into the unforgiving tectonic bludgeoning. Variations in tempo allow the percussion to wheeze violently around the toms with pinpoint striking. Bear in mind that all of this is led by security shattering shrieks and bellows from vocalist M. Eikenaar. He should get MVP if such an award were appropriate in musical criticism. But it’s not, because the gargantuan emotionally disconcerting chemistry these five gentleman conjure remains far more pivotal than some arbitrary individual award.

More noise. I commend the distribution of sensory overload elicited in those aforementioned moments of textural torment. “Descending Jacob’s Ladder” best exemplifies this technique. Combined with the beeps, fuzz, wails and the sound of chains dragging across the floor are creepy lines of poetry read through a vocal distortion. Both of these sounds simultaneously encompass the audience, but I could see where the fine line of cheesy could end up drawn here to certain listeners. Personally I feel it adds a refreshing integration that black metal bands seldom utilize as elaborately at Dodecahedron.

This is definitely my favorite release for January 2012 even with huge competitors like Loincloth, Nails and Black Pyramid fighting for my attention.

Summative Sentence: Smothering technically sophisticated black metal one minute, and torturous noise saturated drone the next!

Favorite Track: Descending Jacob’s Ladder

Click here to order the self-titled release from Dodecahedron available from Season of Mist Records.

Click here to check out Dodecahedron on Facebook.

– Jared Oates Haggard



Kayo Dot – Gamma Knife by orlandooom407

This one is the surprise that isn’t. Learning to expect the unexpected can be  elusive. With Kayo Dot‘s compositional habits, while ever changing, it’s typical to feel comfortable expecting some tightly knit, suspenseful, yet heartily full compositional maze with something left over to listen to for another day. Toby and Mia, being the two remaining original members, have been building Kayo Dot since 2003. Each new release has shown consistent innovation and growth leading up to Gamma Knife which released on January 4th. Their vision is another fresh mix of songs that exhibit great contrast and still maintain a well rounded out, while quirky, entirety. The first and last songs bring plenty more calm than those in between, and it paints a quiet and innocent scene with an insidious beast snoring in its belly. Dark, eternal and necessary as Yang is to Ying. Kind of like a backwards Oreo.

Listening to Gamma Knife back and forth over the past few days has certainly given itself its own life. Encased between underwater creeping galleries there are brutal mixtures of droned strings, horns and synthesizers beside hurricane percussion and throaty growling. A peculiar clarity and tension holds the listener until you think it will just lead on forever, before suddenly swirling into an entirely new tide of ripping currents. The timeline of Kayo Dot reveals their incessant changing nature, yet any fan can point them out of a crowd like Waldo at a Necrophagist show. Dredging horns and strings accompanied by grizzly vocals and blasting drums will confuse you as to whether the songs would fit better at a progressive show or a metal show. That is, until you find out how loud and entirely encompassing they are with their coordination in a live setting. By the same strange token its simple to feel confident expecting a newer direction in vision with new releases by them. A chord was struck that lead into a new whirlpool of rhythms, dynamics and meticulous notation that tell the story. Since fans already know to expect something different it shouldn’t really come as a surprise to need to disconnect in order to explicate what they have done with their new release, Gamma Knife.

It was never meant to be an effortless approach, there have been many times in which it has taken many times of listening to the album on and off until one day it finally clicks. “Mirror Water, Lightning Night” is a perfect example of the robust, dynamic quality that Kayo Dot likes to spin at you. While the blast beats and double bass are a relatively new development for them it is certainly making itself well known as it carries nearly the entirety of the 5 minute and a half minute song.

Click here to stream/download Gamma Knife by Kayo Dot in their Bandcamp.

– Elliot Smiggen



[Unheavy Herring] Observer Drift – Corridors by orlandooom407
January 23, 2012, 6:02 pm
Filed under: Shoegaze | Tags: , , , , , , , ,

May your Monday remain chill blogonauts! I spent a couple of hours this morning searching for a recording appealing to my ears. I decided to search diligently through the newest contributors to Bandcamp categorized underneath the lo-fi tag. I discovered this engaging subtly titled piece of artwork shown above. It depicts a young man hanging his dirty bed sheets  in a haunted underbrush. Can’t imagine in what century this would qualify as efficient, but the young man stands confident by his decision it seems. I’m alluding to the debut full length release from Minneapolis based solo artist Colin Ward. He’s self described as “indie…or something like that”, but I think he’s educing some modesty with that explication.

This effort, under the performance name Observer Drift, characterizes unfamiliar territory for me personally since I’m not really sure what to compare Corridors to. Corridors is fourteen tracks averaging between three and four minutes each. It sounds unique to my ears, but that’s doesn’t dignify any universal applicability. My indie prowess dead ends somewhere around over compensating car sales jingles. Colin’s music conjures quite the contrary.  engineers a superb consistency in it’s euphoric tone. Guitar pedal wizardry affixes a potent shoe starey quality and it gives compliment to the harmoniously selected synthesizers. Synthesis serves a supplementary rhythm replacement throughout. Bass guitar embodies  accentuation here, but the drums and electronics, percussive or otherwise, bare shape to most of the songs. Low end personifies within the latter breaths of the composition; highlighted for it’s brief delicious warmth rather than traditional skeletal implementation.

Colin’s broad synthesized palette gives a delectable touch through his amorphous transitions. Think of a bubble that slowly grows and changes, but over the span of five to ten minutes has changed to mimic a different shape. His electronic variations take time, but there are plenty of cozy acoustic guitar diddles fringing the edges to keep a listener thoroughly anticipatory. There a vocal patterns scattered throughout and mostly rendered unintelligible due to effects. Their textural quality seems obligatory, but welcomed regardless of intent.

Summative Sentence: A serenely eclectic one man buffet of electronic and organic instrumentation.

Favorite Track: Home Video

Click here to acquire Corridors for a NAME YOUR PRICE download via Bandcamp.

Click here to check out Observer Drift on Facebook.

– Jared Oates Haggard



Prog or Steaming Log? Carnivores At Grace Mine Letter EP by orlandooom407

This band definitely snuck up on me. Vocalist/bassist of Carnivores at Grace, Brandon Jessee, had approached me late last year asking to assist him with booking a show. Unfortunately during that time I was unable to assist because I had already started the process to remove myself from booking local shows here in Orlando. BUT, due to the band’s uncanny dedication they managed to jump on to another bill for tonight at The Haven Lololounge. The rest of the lineup has proved to appear painfully comical, so I’ll be sure to fill everyone in with my next article. Tallahassee has recently experienced an unexpected surge of stoney metal. This pleases me it does.

Now, to the EP. Carnivores do an excellent job eradicating the barrier between attention deficit hardcore and rippin’ arid style stoner rock. The EP opens up with a deja-vu provoking segment of guitar hurling Dillinger Escape Plan brand turmoil. Coincidentally, I realized why Brandon’s particular vocal tone sounds exactly like Greg Pucciato when he’s screaming his fucking brain off. I mean that in the most complimentary way, because for a moment there I thought I’d pressed play on Option Paralysis rather than Mine Letter. Adequately brutal vocal contrasts, hateful guitar dissonance and enveloping, yet chronologically detracted percussion, cultivate a fertile forray when all are assimilated harmoniously. Furthermore, the vocal contrast piqued a similarity to The Informant the more I listened.

The ingenious methodology behind CaG’s progressivenessosity is that they’ll segue into their stoney sections by retaining consummate intensity similar to Promethean era Every Time I Die. With aforementioned continuity in place the hallway into a gregarious smile granting caravan ride opens up a entire new galaxy worth of progressive potential. Use of spacial tangents, equipped with a completely unexpected clean vocal tone, clinches the coupling of the cohesive triangular assault of mathcore, stoner rock and progressive metal. Mind = Blown. Trotting from insurmountable madness sounds so much better when the exiting riff leads you to what sounds like it should belong in a Spirit Caravan or Astroqueen song. Elation erupted a monolithic grin across my face all throughout the second track, “Combaticus vs Specimen 7”, due to it’s expert execution of each dimension that CaG soars between.

In a sense, CaG is significantly more progressive than a vast majority of bands claiming to be “prog” today; just by their inherent advocacy for breaking down stylistic regularities. The result: transition patterns and a ” progressive stonercore”, complete with fluid framework, I’ve never heard before. That combined with precision equivocal to bands like DeP places them in a rare well practiced and genuinely forward thinking reality.

I don’t even want to say anything more about this EP, because you should’ve already scrolled to the bottom and clicked the part about DOWNLOADING it FOR NAME YOUR PRICE.

FINAL RULING: Most Definitely Prog.

Click here to check out the Mine Letter EP for a NAME YOUR PRICE DOWNLOAD at the CaG Bandcamp page.

Click here to check out Carnivores At Grace on Facebook!

– Jared Oates Haggard