Its a pretty solid piece of grind with all its grind sensibilities in check, operating on a thick congeal sound that mopes around in bass clef territory, beckoned by equally sleazy drums and coarse tar and whiskey strained vocal hues; bonded together through common musical criminality and stringently aligned for transmitting a punk turned grind bar brawl.
Overall the release prefers marching along the mid-paced rate of bpm, frequently subsiding to drastically lower strides to create a glaring respite of tension as strings squeek, thum and generally meander around a stalled musical moment of teeth grinding, absorbing the listener into a moment similar to that just before a wild west shoot out, each party armed, time slowed to a crippling adrenaline raising, heart pounding and sweat bearing automatism as each waits for the other anxiously for the other to make the first move. The slow parts are done just right, but infrequently the mid paced moments which make up the rest of the run time can feel somewhat apathetic, casually strolling from one passage to the next forgetting the cantankerous friction that previous sections did so well to build up. All things considered this minor hiccups are negligible and short lived.
Mitch is the Bastard isn't likely to win any medals on the grind front, but it serves its purpose dutifully and with an astute professionalism, making it one solid and dependable release.
split w Sarka:Bam! Bodicker are in! Mitch is the Bastard was the groundwork and now the split with Kata Sarka leaps from that platform landing on a more engaging and meatier course of pulverizing force. In all fairness it didn't need much for Boddicker to break free from the upper echelons of mediocrity, but they are out now and here to punish. Ultimately the source of this upgrade is this new level of energy the band are playing at, giving more clout to their grind grappling and a consistent exertion of muscle that gets the listeners blood pumping. If bandcamp is to be believed there was a month difference between this release and their prior, a staggering level of development which likely suggests that the band had sobered up by the time they had to play these tracks assuming they were recorded in the same session, considering few bands have the resources and time to justify two seperate recording sessions in one month. Doesn't matter though, whatever it is that is responsible for this extra punch of theirs, I insist they continue it, regardless of its legality or not. The Kata Sarka half is a haggardly gaunt black metal frenzy, entrenched in a clandestine grim repertoire of howls and exsecting riffs and drowned drums. How it stands up to black metal is beyond me, but despite my personal tastes I did find myself enjoying this half also, atmospherically being transposed to some dark cold cavernous bastion of sin, listening to some blasphemous spews and tales of grotesquery, the reality of which I don't know since I don't have the lyrics, but imagination is a powerful tool and one easily aided by the corrupting spews of Kata Sarka. There are two songs present, each built as monuments of anguish and despair, intricately forged and stylized with deep cuts of horror and mystical intrigue. The string work is the main web weaver, spinning a vast web of black metal for the listener to get themselves tangled amongst, whilst vocals and drums fixate on invoking an unholy black sacrament to the dark forces in play. I don't usually find myself listening to black metal, so I don't know what else to say really, but a fair indicator to my sentiments towards Kata Sarka is that upon hearing their half I was eager to check out more of their material.
Mitch is the Bastard
split w Kata Sarka
No comments:
Post a Comment