Lmst

Pointlessly got up at 5am to go make some money this morning, only to sit around and waste time that I could’ve been sleeping.

Came home, took a nap and just watched #USA take gold in #hockey against #Canada.

I think I’ll spend the rest of the day watching some alternate cuts of some of my #Italian/ #Giallo #4KUHD films, starting with the US cut of #Phenomena, titled #Creepers and following it with #Unsane, the US cut of #Tenebre!

Not sure what will follow those yet!

New post: Unsane release massive extended reissue of ‘Occupational Hazard’ – tour dates in April https://moshville.co.uk/news/2026/02/unsane-release-massive-extended-reissue-of-occupational-hazard-tour-dates-in-april/ #Unsane

Unsane
17.04.2026 E?lingen / Komma

#Esslingen #Komma #Unsane #SteelFeed

Unsane
17.04.2026 E?lingen / Komma

#Esslingen #Komma #Unsane #SteelFeed

Erdling und Aeverium
31.01.2026 Hameln / Sumpfblume

Unsane
20.03.2026 Hannover / Caf? Glocksee

#CafeGlocksee #Erdling #Hameln #Hannover #Sumpfblume #Unsane #SteelFeed

Erdling und Aeverium
29.01.2026 Berlin

Unsane
18.04.2026 Berlin / Maschinenhaus

#Berlin #Erdling #Maschinenhaus #Unsane #SteelFeed

Need for attention No room for the hate that I have It's time for dissection Cut open the chest while you planned #Commited Apropos #Unsane! #music #noise #rock #hardcore #punk #metal youtu.be/v07O8VhTzlQ

Committed

Does anyone remember #Unsane, the living embodiment of #noise #rock madness? This iconic American band will be visiting tranquil #Esslingen on 17 April 2026. I anticipate that it will be another spectacular #live event. #music #hardcore #punk #metal #komma #esslingen #Stuttgart #concert

What can I say, maybe I have a #MetalHeart beating inside me? #ChatPile are conquering their place there—alongside #JesusLizard, #Unsane, #MrBungle, #helmet and that great #noise band I can't remember right now. #music #noise #hardcore #posthardcore #metal chatpile.bandcamp.com/track/dallas...

Dallas Beltway, by Chat Pile

https://youtube.com/watch?v=tLE8CPRFx4o&si=Xlu_HuFH5ifdNKj_
#unsane
#90'ties noiserock

Blessings – Blodsträngen Review

By Owlswald

Originating from the same vibrant scene that has spawned acts ranging from At the Gates to Ace of Base, Gothenburg experimental noise quartet Blessings have been forging their own path within the borders of Sweden’s olde harbor city for thirteen years. Comprised of long-standing veterans of the Swedish scene, Blessings have been worshipping at the altar of turmoil since its 2012 debut, Bittervaten came out waving a Black Flag of loud, Unsanely harsh, in-your-face noise rock. Subsequent years of relentless touring and creative experimentation culminated in the follow-up, Biskopskniven1 which leaned more heavily into rhythmic anchoring, trance-inducing moods, and riffing. With Blodsträngen,2 Blessings is poised to take listeners on an intense, genre-bending journey, venturing into increasingly experimental and unconventional sonic territory.

Blodsträngen blends the grit of punk, the expansiveness of post-rock, and hardcore’s raw aggression into an intensely juxtaposed sound that is dark, abrasive, and dramatic. Guitarist Johan G Winther lays down chunky Mastodon-style motifs (“Copper + Dirt,” “Raised on Graves”), shoegaze melodies (“No Good Things,” “Strings of Red”) and bursts of dissonant chords (“Clean”). Mattias Rasmusson’s booming rock grooves drive moments of Old Man Gloom-like explosiveness, while Erik Skytt’s percussive accents and expressive modular tones—featuring everything from organs, cowbells, and woodblocks to a xylophone—strategically guide listeners through Blodsträngen. Fredrik Karlsson’s powerful voice commands excellent projection, especially during Blodsträngen’s darker verses, alternating between spoken-sung punk vocals reminiscent of The Jesus Lizard or early Killing Joke (“No Good Things,” “Clean”) and throaty, abrasive howls (“Allt Vi Kan Ge Är Upp,” “Strings of Red”). Overall, Blodsträngen sounds massive and confrontational, the instrumentation hitting well above its weight, piercing a bright master that belies its DR score.

Blodsträngen is best experienced as an immersive, uninterrupted ride. Its seven tracks flow seamlessly, shifting moods and textures while progressively intensifying. The record immediately kicks off with its strongest material, showcasing Blessings’ dynamic songwriting and unique sound. “Raised on Graves” quickly establishes its edgy, ominous feel, creating foreboding through Winther’s haunting notes, Karlsson’s growling bass, and Skytt’s tribal accents. Eschewing a predictable crescendo, it cleverly loops back to another verse before diving headfirst into full-blown punk with an insistent tambourine. An isolated cowbell punctuates the track, serving as a stark prelude to “Strings of Red,” which explodes into a hardcore frenzy after spells of tense breaths. Skytt’s suspenseful synth leads and Winther’s aggressive riffing drive the song, which serves as a definitive statement of Blessings’ ability to produce hard-hitting material with intriguing textural elements, despite its meandering finish. Rounding out the album’s robust first third is the ambitious and lengthy “Clean,” one of Blodsträngen’s longest tracks. Highlighted by what might be one of the gnarliest bass tones I’ve heard in ages, Karlsson’s hefty bass line and somber vocal delivery channels a Filter-esque vibe before a devastating breakdown tears through the mix. The song works beautifully once it gains momentum, though its dragging intro and overlong build partially weigh it down.

Blodsträngen starts with incredible momentum and promise, making Blessings’ subsequent struggles to maintain its energy all the more disappointing. While “Allt Vi Kan Ge Är Upp” injects much-needed vigor back into Blodsträngen with its dominant rhythms and exhilarating crescendo, “No Good Things” marks a noticeable dip in energy. The track lacks the compositional ambition of the album’s earlier material, consequently feeling plain as it relies too much on Skytt’s quirky samples and Karlsson’s vocals. “Copper + Dirt” is a short burst of aggressive, riff-driven material that abruptly ends after less than two minutes, a confusing result that feels wholly out of place. Finally, the terrific, harmonized melodies from Winther and Skytt within the first half of “Through Veils of Glass and Silica” suffer, unfortunately, from its excessive length and meandering post-rock sections, which leave Blodsträngen ending on a drawn-out note.

Blessings is a good band, but Blodsträngen is a front-loaded album that left me wishing these Swedes had maintained their peak energy for the entire forty-one minutes. When they’re firing on all cylinders, Blessings crafts unique, powerful, and atmospherically heavy music. Their future success hinges on maintaining their intensity and sharpening their songwriting, steering clear of unnecessary repetition or padding. A great album is potentially waiting in the wings, and Blessings certainly has the talent to deliver. The question is, will they?

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Pelagic Records
Websites: blessingsgbg.bandcamp.com | facebook.com/Blessingsgbg
Releases Worldwide: August 1st, 2025

#25 #2025 #Aug25 #BlackFlag #Blessings #Blodsträngen #ExperimentalMetal #Filter #KillingJoke #Mastodon #Noise #NoiseRock #OldManGloom #PelagicRecords #PostRock #postPunk #Review #Reviews #SwedishMetal #TheJesusLizard #Unsane

#BandShirtFriday #Unsane
This one’s only about 25 years old

Row of Ashes – Tide into Ruin Review

By Owlswald

Bristol post-hardcore group, Row of Ashes, likes to make noise—and they’re good at it. Known for their untamed live energy and drawing heavily from revered acts like Unsane, Will Haven, and Kowloon Walled City, Row of Ashes crafts an unyielding and suffocating wall of sound; one that fuses post-hardcore and sludge together with the experimental, dissonant fringes of noise rock. After releasing two EPs, their raw, physical force exploded onto the scene with 2022’s Bleaching Heat, a ruthless debut that earned them a tour with Will Haven. Now standing on the brink of broader recognition, Row of Ashes is ready to unleash Tide into Ruin, their second post-hardcore punch designed to be as overpowering and instinctual as their live performances.

Row of Ashes delivers raw, suffocating intensity through guitarist Will Duffin’s low, harsh distortion, Dan Arrowsmith’s bruising rhythms and bassist/vocalist Chris Wilson’s striking shouts. The threesome excels at crafting intense crowd-movers with stomping, crushing finales like “Immortalist” and “Icon,” while also evidencing their aptitude for tension and release with ominous, somber post-hardcore interludes such as “Coda” and “Wake.” Wilson’s and Duffin’s guitar and bass seamlessly meld into a thick, impervious wall of hard-hitting riffs, often creating an oppressive, gnarly buzz that rattles in unison, driving Tide into Ruin’s grim atmosphere. Wilson’s delivery is fierce and confrontational—his versatile range jumping effortlessly between British punk (“Fracture”), Mike Patton-like shrieks (“Leveller”) and blood-curdling hardcore screams (“Icon,” “Tide”), tearing through Row of Ashes’ heavy instrumental underbelly. Despite some mixed songwriting, Row of Ashes lets loose a surprisingly immense and pulverizing sound that defies their lean lineup.

Centered around Wilson and Duffin’s deep, sludgy distortion, Row of Ashes skillfully imbues Tide into Ruin with dynamic contrast, shifting between pummeling riffs and dissonant bursts, punctuated by softer, mournful interludes. The peaks and valleys of “Immortalist” and “Tide” demonstrate this with tender, forlorn passages squeezed between mammoth, plodding breakdowns. “Leveller’s” and “Icon’s” swarming guitar lines, sprayed with shoegaze-tinged high dissonance ebb and flow effortlessly, opposing crushing heaviness with momentary breaths that fuel the album’s brooding mood. Showcasing Row of Ashes’ more experimental side, “Imber’s” quirky beginning—featuring frantic guitar rises and feedback squeals—aptly conveys its anxiety through chaos before an eventual bone-crushingly heavy close. While the payoff takes a bit too long to arrive—even though Tide into Ruin’s stronger tracks feel too brief at times—this experimental flavor helps prevent the album from becoming a repetitive sludge-fest, pushing Row of Ashes’ sound beyond Bleaching Heat’s more straightforward style.

At the same time, this more experimental side also leads Row of Ashes astray. Interlude “Lille’s” ambient serenity and French spoken word is just short enough to work after the record’s strong first half, but “Wake” fares less successfully. Its length, repetition and close to forty-five seconds of nothing but feedback thwart its attempt to build pressure—alternating between quiet, eerie arpeggiated sections and heavier, distorted parts (including “Lille’s” spoken word). This same issue reappears later with “Coda.” The track’s somber, clean guitar notes and harmonics, coupled with Arrowsmith’s delicate cymbal work, create a foreboding and somber atmosphere that would have made for a much better closer if not for three minutes of cavernous ambient noises and static, rendering that portion of the song skippable. While interludes like these can be beneficial in a live setting, their inclusion here detracts from Tide into Ruin’s strength and cohesion, leading to more frustration than anything else.

Though the songwriting occasionally detracts from an otherwise solid effort, Tide into Ruin still contains some of Row of Ashes’ most potent material to date. And its relentless intensity—fueled by crushing riffs, fierce vocals, and raw energy—is amplified by a lively, organic mix that conveys the band’s vision. Row of Ashes’ affinity for crafting dynamic, atmospheric post-hardcore is sure to appeal to a wide range of fans, and the stage is set for them to realize their considerable potential. With continued refinement, Row of Ashes is poised to fully break through—building on their momentum and paving the way for a future brimming with possibility.

Rating: Mixed
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Road to Masochist
Websites: rowofashes.bandcamp.com | facebook.com/RowofAshesband | instagram.com/rowofashesband
Releases Worldwide: June 13th, 2025

#25 #2025 #BritishMetal #Jun25 #KowloonWalledCity #NoiseRock #PostHardcore #Review #Reviews #RoadToMasochist #RowOfAshes #Sludge #TideIntoRuin #Unsane #WillHaven

Tonguecutter – Minnow Review

By Dolphin Whisperer

Are the ’90s played out yet? If you ask the metal world,1 or rather, the metal-leaning world of -cored and rocky sounds, we’re just getting started in the retro movement of three-decades past explorations. From the dreamy prog-leaning radioscapes of Lizzard to The Jesus Lizard-drenched grinding lurch of Full of Hell to the nostalgic Deftones-alt-castings of Bleed, the ’90s finds itself emblazoned in cut-n-scanned posters across guitar-led machinations in our current age. In a guise more Hole-y and riot grrrl, Michigan’s Tonguecutter wears close that AmRep, early Melvins, Unsane-y aesthetic with their quick-n-dirty debut Minnow. But is Minnow enough in the pond of competition growing deeper by the day?

With short-form, snakey Quicksand grooves and a ‘tude set to Courtney Love covering Facelift,2 Tonguecutter certainly thinks their debut splash serves more than just an upstart homage. Though not quite the polyrhythmic doom-lurch of Confessor or the demented grunge-sludge of Acid Bath, Minnow stirs in waters informed by the same ideas of stuttering low-end grooves and sassy, alt-coded diatribes. With punky odes to bodily autonomy (“Big Ol’ Tree”) and tongue-out anthems to perseverance (“Do You Play Leads, “Bitch Ass Energy”), it’s clear that Tonguecutter prizes the clarity of a sneering message over a technically indulgent plot. And though a little time signature trickery adds a jaunty bounce to many a number, Minnow never feels caught in the weeds of calculus-minded sleights of riff.

However, Tonguecutter holds tight the importance of narrative without searching for diversity in play, ringing stale in a tale as old as punk. For most of the intros, at least, Tonguecutter finds a strong enough footing to churn a wanting pit, with fervent d-beat runs (“Dust Collector,” “Big Ol’ Tree”) and bellowing floor tom struts (“Do You Play Leads,” “Antipode”) following a hefty bass pulse to curled and cawing choruses. But in many scenarios, these repetition-anchored refrains die on the vine of a bridge that does little to flip the riff in an interesting way. Neither embracing the brutality of a hardcore breakdown nor wankery of a metallic shredfest,3 just about every track comes to a tepid—if fun in spirit—cross of the finish that leaves Minnow feeling brief in an unfulfilling manner.

In part, and with some success, Tonguecutter does look to create a rich tonal tapestry to accentuate their low-frills attack. In sludgey and noisy waters, like those you might hear in a driving Thou or swinging Couch Slut piece, leaning on amp booming or mic frying tone hammers sits integral to the music’s intensity. Minnow may not stir quite in that stream, humming about more of a Petrol Girls lean fighting aura, but a rattling bass (“Urgency,” “Do You Play Leads) and a bluesy guitar crush (“Bitch Ass Energy,” “Yarn Horse”) take center stage alongside Chantal Roeske’s defiant tirades at the album’s finest bursts. Again, though, an adherence to the simple groove of each number keeps any one track from escaping the “now playing” screen into my wanting memory. Well, except for the guest flute solo on “RATAP,” anyway—you can take the boy out of prog but not the prog out of the boy.4

When I encounter acts like Tonguecutter, acts who promise brutal brevity and math-timed malediction, I hope to be tossed around with frightening and enlightening precision. The world can be a deeply frustrating place, and I want to get close to feeling the passion stowed away in vocalist Roeske’s pen—this gal’s got heart and riffs. Yet, Minnow, for as exacting as its efforts ring, skirts around these mission statements with a timid toeing about their extreme nature. And while it’s true that Tonguecutter hasn’t set out to become a new darling of dissobros lurking about the niche realms of inaccessible metal strongholds, whatever comes after Minnow will have to swim a little bigger with abrasiveness or catchiness to find where it does belong in the modern scene.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Learning Curve Records
Websites: tonguecutter.com | tonguecutter.bandcamp.com
Releases Worldwide: May 8th, 2025

#25 #2025 #AliceInChains #AlternativeRock #AmericanMetal #CouchSlut #Hardcore #Hole #LearningCurveRecords #May25 #Melvins #Minnow #NoiseRock #PetrolGirls #Punk #Quicksand #Review #Reviews #SludgeMetal #Tonguecutter #Unsane

Meatwound – Macho Review

By Tyme

I was shocked when my helmet light sputtered out while spelunking some of the sump pit’s darker, less-traveled caverns recently. As I waited for my eyes to adjust to the gloom, I noticed something bright and pink glimmering in a recess of mossy rock. That ‘something’ was Macho, the fourth album from Tampa, Florida’s hardcore sludge noise-mongers Meatwound, and I used its luminescent shimmer to help guide me back to headquarters. Outside of the great band name and cover art giving me strong Warhol meets Boris vibes, I wasn’t familiar with Meatwound and their wares, so I researched. I read a few interviews, dug into the back catalog, and worked my way up from Meatwound‘s 2015 debut, Addio, to 2017’s Largo and then 2019’s Culero, replete with cool Vincent Locke cover art. I learned that Meatwound, aside from churning through drummers like Spinal Tap,1 like to expand their sound on each release without betraying their roots. I sat down, explorations complete, to give Macho a spin, wondering what wrinkle of the Meatwound sound had evolved this time.

Meatwound generally plays a form of hardcore-tinged, boisterously dissonant noise-rock that, on Macho specifically, is combined with some electronic industrialism. Once best described as a mix of The Jesus Lizard and Sepultura, Meatwound themselves aren’t sure what they sound like these days and are content, even amused, to hear what bands the critics and fans compare them to. For my money, think what a collaboration between Unsane, Whores., and Godflesh might sound like, and you’d be in the ballpark here. The core of Meatwound‘s sound remains rooted in Mariano Iglesias’ driving, punky bass lines coalescing with the dissonantly noisy chords and riffs of Ari Barros’ garage-band-on-GHB guitar work, and there’s plenty of both on Macho (“Mount Vermin,” “Europa”). But there are also pulse-pounding synth beats, percussive samples, and some power electronics (“Barking Dogs As Plot Device”) at play that, when added to the mighty, hardcore-esque roars of Daniel Wallace and the steady-handed pounding of new drummer Dimitri Stoyanov, make it tough to beat Meatwound for blunt-force trauma. Interestingly, the hybrid tracks on Macho, molding the old ways with the new approach, are most compelling.

Building off Culero‘s experimental track “Elders,” Macho‘s expansion into the industrial reflects a Meatwound that’s doing what they want, listeners be damned. Album opener “Compressed Hell” introduces us to Meatwound‘s hybrid experiment right out of the gate, as it builds off of pulsing synths with layers of stick-snapping tom beats and Dan’s screaming snarls before transitioning into full Meatwound mode, a cacophonous swirl of noisy riffs, drums, and punchy bass. Similarly constructed and even more effective is the album highlight “Frank Stallone.” A most Godfleshic track that starts with deeply ominous synth tones, delicately percussive samples, and Dan’s aggressive, vacuous shouts before blowing up like a trailer park meth lab in explosions of beasty bass, swirling dissonance, and dentist-drill guitar shrieks; a perfect example of how Meatwound can successfully mix the two elements like mad chemists, yet not all the elixirs worked.

Two and a half minutes of Macho‘s preciously short thirty-three-minute runtime don’t land, tipping the experimental scales too far. “Barking Dog As Plot Device” is two minutes of a statically constant, power-industrial noise tone accentuated with periodic, heartbeat-like, bassy synth beats underneath Dan’s wailing hardcore shouts. The track seemed out of place and distracting but not as off-putting or momentum-disrupting as the thirty-one-second “Chunk”2 which, as far as I can tell, is either some random field recording or otherwise meaningless electronically created bit. Produced by Ryan Boesch, who also owns and operates freshly launched label partner Threat Collection Records, Macho is loud. However, the mix and master fits Meatwound‘s style and harnesses their chaotic energy effectively.

Made up of former members of acts like Combatwoundedveteran, The Holy Mountain, and Headless Dogs, Meatwound has spent the better part of a decade carving their niche into the metalverse. By and large, and in exponential fashion, they’ve succeeded. With no real expectations, I was pleasantly surprised by Meatwound’s Macho, and aside from a couple of minor missteps, it works. It’s worth a listen, and, if nothing else, Macho‘s hot-pink aesthetic might help guide you out of any unexpected darkness you might find yourself in.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Threat Collection Records
Websites: Bandcamp | Meatwound.com
Releases Worldwide: May 9th, 2025

#2025 #30 #AmericanMetal #Godflesh #Hardcore #Industrial #Macho #May25 #Meatwound #NoiseRock #Review #ThreatCollectionRecords #Unsane #Whores_