This one almost slipped by unnoticed among the growing pile of releases laying around my desk and waiting to be scrutinized in these pages. What we’ve here is a three track demo release from Greece’s Building Chaos, a thrash metal band that managed to recapture an old-school vibe reminiscent of Exhorder and Dark Angel’s heydays and meld it with the influences from more latter-day acts like Pantera and Machine Head. I guess groove is a keyword to describe Building Chaos’ sonority as the guitars of Petros and Alex exude a catchy groove that gels pretty well together with their aggressive and straightforward thrash-driven riffing. Catchy hooks are equally important for them as well since all the three songs are pretty simple with straightforward structures and catchy riffs, there’re no complex arrangements or pretentious guitar noodling.
There’s nothing here we haven’t heard before that’s true. Building Chaos do it fairly by the rule book and that’s obviously a downside since there aren’t a lot of attributes on display that could distinguish them from the zillion of other acts calling thrash-metal their favourite playground. However, these three tracks definitely show some promise and tell us that we should keep an eye on Building Chaos from now on. (5.5/10)

Band info: http://buildingchaos.com

Although I never heard of Inevitable End before, it is plain obvious from the moment the title theme bursts forth with vile intent that we’re dealing with a rather interesting and savage death-metal/grindcore band that only record labels like Relapse and Willowtip are capable of discovering. The fact that these Swedes have been dodging from my scrutinizing ears during the seven years of their existence makes their debut full-length work “The Severed Inception” an even more surprising and striking listening experience.
Throughout nine tracks, Inevitable End moves through a style of modern and technical death metal with some grind elements supported by a crisp production that shows some similarities with their label mates Origin. Especially the monstrous drumming of Joakim Malmborg, which has a somewhat clinical sound to it, can be compared to Origin’s John Longstreth in terms of intensity and delivery. Most of the songs are fast, brutal and intense with severe and malicious guitar riffs played with sharp precision and relentless blast beats, yet Inevitable End throw in some quirky and dissonant riffs and some head-nodding breakdowns whenever it’s possible, making the whole experience a lot more unpredictable and interesting. These moments are especially evidenced in “Embracing the Origin”, “Collapse in Reverse” and “Apprentice Luminous Acquaintance”.
For a band that comes from practically nowhere peddling a style of music so doggedly abused over the last few years, “The Severed Inception” is a quite enjoyable surprise. (7/10)

Band info: www.myspace.com/inevitableend
Label info: www.relapse.com
Distributed in Portugal by www.majorlabelindustries.com

Long Distance Calling is a five-piece from Germany that plays a beautifully dark and progressive-tinged instrumental music that for lack of a more suitable description, is often tagged as post-rock and lumped in with other bands like Pelican, Russian Circles and Isis. However, Long Distance Calling’s songs touch a much wider and boarder assortment of musical genres. Their second record “Avoid the Light” is heavily textured with progressive traits, drenched with dark and melancholic ambiences and simultaneously displaying gentle, emotional melodies and heavy-loud riffs.
SCRATCHtheSurface approached the band through email to try to figure the nature of their sonority and started asking bassist Jan Hoffmann if he thinks that due to the lack of vocals, writers hastily place Long Distance Calling within the post-rock canon?

“First of all, thanks for the flowers! We really try to stay outside the typical post rock circle but like you said, we are mostly tagged as a post rock band even though we don’t think we are. Of course you can compare us to it, but we definitely have a much wider range of musical styles, rhythms and yes, we are hailing the riff! :) And of course we have this electronic ‘colours’ added to our sound so I believe that we have our own sound.”

Although Long Distance Calling does share some musical traits with the aforementioned acts, the German group has their own musical identity that is way more difficult to pigeonhole. How would say Long Distance Calling fit in the current musical scene?

“That’s a good question! Of course we are no mainstream band and although we’re pretty experimental, we are astonished that we pull a really diverse audience, from indie fans to black metal kids, from rock fans to older prog-rock fans. That’s awesome!”

Like many groups that end up treading the instrumental route, Long Distance Calling initial plan was to find a singer that could fit in their musical framework, which was something that didn’t come through, despite a few tryouts. Would you consider looking out for a singer again in the future or do you think there’s not much room for vocals in Long Distance Calling at the moment?

“We are thinking of a singer pretty much, but we aren’t really looking for one. We believe it will fall into place or it won’t happen, you know? If it should happen, it will happen. If not, not. :) The songs work without vocals, but we are still open to give it a try when we meet the ‘right guy’.”

Knowing how singers can often turn into some eccentric prima-donnas with big rock star egos do you think it is somewhat liberating not having to deal with a singer?

“Definitely yes!:)”

Although Long Distance Calling’s music is absent of words, it talks to listeners as if it is describing a narrative through beats, riffs and melodies, displaying distinct moods and emotions. Can you tell us what inspires a Long Distance Calling song?

“That’s really difficult to answer...life itself is inspiring all of us. We are completely different characters within this band but once we got together in this room we just let it happen, that’s pretty magic sometimes. Of course there are days where nothing really happens, but this is the way we are writing our songs from the beginning.”

And how do you feel the new album “Avoid the Light” differs from its predecessor “Satellite Bay”?

“Well, I think it’s just better songs. All bands say that but when you listen to both albums you will recognize that we became better musicians and of course better songwriters. It’s more diverse, more dynamic and more colourful than ‘Satellite Bay’, but I still really like that album. It reflects exactly where we have been and who we were at that time. You can hear that we didn’t waste a single thought how it should sound or what we are doing, we just did it. ‘Avoid The Light’ is more mature and fresh at the same time and we tried to step outside the circle.”

Just like its predecessor, which had Peter Dolving from Swedish thrash-metal group The Haunted singing on ‘Built Without Hands”, “Avoid the Light” also features a vocalized theme. This time, Long Distance Calling invited Jonas Renkse from Katatonia to lend his melancholic and ethereal voice to “The Nearer Grave”. One of the most fascinating and addictive songs I’ve heard lately. How did you end up choosing Jonas Renske to guest on “Avoid the Light” and how did it happen?

“The song is called ‘The Nearing Grave’ :) (Oops, my mistake! Ed.) I love that song, every time I am listening to it, I can’t believe it’s us, really. One of us met Jonas before and had some email contact from time to time. We are all a lot into Katatonia so we just asked him to be a guest on the new album and he said yes, that’s it! I think he fits perfectly to the song and it adds another flavour to the album. Why not doing a vocal song if you want to?”

More info at: www.myspace.com/longdistancecalling

Like the terrifying Tolkien creature they’re named after, Swiss grinders Mumakil are bound to inflict some serious aural damages on the listeners with their ruthless and riotous grindcore sound that is akin to a massive and enraged herd of mammoths, exactly like the one depicted on the front cover, trampling furiously into your direction. This might sound like an advertisement, but is absolutely true as the utter intensity this Swiss group pulls off is downright crushing and devastating. Mumakil like to keep their songs short and to the point and as a result “Behold the Failure” features 27 tracks spanning less than 36 minutes. They waste no time to mess around and do exactly what’s expected from a grind act, an all-out blastbeat affair with no pauses for breath that will certainly be appreciated by fans of Nasum, Misery Index and Rotten Sound.
It’s pretty redundant to do a track by track analysis as the whole 27 tracks are made from the same mould and in many instances it’s hard to distinguish them apart from each other, yet despite the feeling of sameness emanating from the brutal grind of Mumakil, “Behold the Failure” still remains a good and strong album in the same league as essential works as “Helvete” and “Exit”. (7.5/10)

Band info: www.myspace.com/mumakil
Label info: www.relapse.com
Distributed in Portugal by www.majorlabelindustries.com

The title of the new work of progressive Polish grinders Antigama is clearly alerting all potential listeners against the dangers and sonic chaos that will be set in motion the minute the play button is pressed. There’re indeed some motifs for us to be apprehensive when approaching “Warning” since it is a truly weird and fierce record capable of frying our gray matter and tearing our limbs apart from our torsos.
Considering this is my first encounter with this Relapse act, I can’t really pronounce about the differences between their fifth new work and their previous ones, but some reading up have informed me that this is their most varied and inspiring release to date. Surely “Warning” is anything but predictable. Don’t expect the usual grindcore sound blasting relentlessly at 300rpm since Polish grinders are to some extent rewriting the rules of engagement dictated by leader bands like Napalm Death, Brutal Truth and Nasum. Throughout 35 minutes they constantly vary pace and direction, throwing in various styles of music like jazz, sludge and some electronic into their brutal grindcore equation, as if you could lock all sorts of people from John Zorn, Entombed, Napalm Death, Venetian Snares and Dillinger Escape Plan in a basement and torture them until they come up with something fairly impressive and cohesive. There’re all sorts of things occurring in “Warning”, jazzy dissonant chords and sludgy grooves juxtaposed along a full-on brutal and complex riffing, weird electronic sounds, an inhuman drumming that could only be replicated with loads of Red Bull and enraged, primal grunts.
Looks like after all, grindcore can also be a creative style of music and “Warning” is an essential purchase for fans of extreme sonorities who aren’t scared of trying something more than a little out of ordinary. (7/10)

Band info: www.myspace.com/antigama
Label info: www.relapse.com
Distributed in Portugal by www.majorlabelindustries.com

In the entire history of modern music, few bands can claim to have successfully attained a level of artistic innovation and versatility without compromising one iota of their integrity like New Yorkers Crisis. Throughout the early 90’s the experimental metal/hardcore act have gained a cult status in the underground realms of extreme music due to their ferocious and genre-defying onslaught and the disturbing and intimidating voice of Karyn Crisis. Sadly, three years ago while they were writing their fifth record, the band has announced against all expectations their intentions to put the band on halt for an indefinite period of time.
For the second time in their career, Crisis has split-up abruptly with their band members reaffirming their will to pursue other artistic interests.
After the split, vocalist Karyn Crisis moved away from the music business and dedicated herself to different forms of art like painting and photography and even launched her own women's clothing line called Exorsister.
Just recently, Karyn have made public that she was preparing her solo debut album following four albums with Crisis and several participations with other artists. There’s a certain curiosity to find out why Karyn Crisis only now have decided to embark on a solo journey. The first thing we’ve enquired Karyn when we approached her by e-mail was exactly that, why now?

“When I left Crisis, it was to embark on a journey within. My lyrics have always dealt with this concept, the actions it takes to carry each journey out, what the experiences are on the way to finding a catharsis, and documenting the war… in others words, facing one’s demons, pain, trying to understand them and gain some knowledge with which to carry forward and build a better ‘me’. This time, I wanted to find a process that would break through the vicious cycle in life of receiving wound, trying to heal wound, receiving wound again. The creative process alone wasn’t enough to bring me peace at the time. I needed to go much deeper, to test my limits and capabilities as one does on a vision quest. For the majority of the time after I left Crisis, I wanted nothing to do with music, the music business, I stopped going to shows, and I felt at the time that I never wanted to sing again. I equated that world with disappointment and pain and was no longer interested in ‘trying to make it music’ or pursue a life of such sacrifice. I began to ask myself, before the hiatus, «can I ever stop sacrificing and just be? Am I going to spend the rest of my life hoping that at some point I’ll make enough money to be able to have the life experiences I want? Will I ever have the time to do other things I want, like painting and being free from working for someone else»? I was also asking why I was dealing with certain idiots, a booking agency had ripped Crisis off for a good amount of money, we had a manager who was working instead to promote his own band and doing shit for Crisis, and I just realized I didn’t want to deal with fucking morons anymore. There was no point to be congenial and pleasant for the sake of dysfunctional relationships. And interviewers, stop asking me how I feel about, in your opinion, other female fronted bands that are more successful than Crisis and instead ask me about my lyrics, my stage performance, my voice, my vision. I had enough and I decided I deserved much more. At the time of the hiatus, I decided the time was now to make the changes I want, and I wanted my own space, I wanted to step out of the rat race, and I wanted to explore others parts of life. I wanted change, and the change had to begin with me. And after that, suddenly I felt compelled to make music, even though I wasn’t sure at first if I wanted to. It felt like something I was supposed to do with urgency. Everything I do I do with my sense of integrity.”

The album is currently being written by Karyn and Davide Tiso, guitar player of Italian experimentalists Ephel Duath. How did you and Davide get together to write the record and what’s like working with him?

“A common friend of ours introduced us because he knew I was looking for the right people to make my album with. Meeting Davide was fate, a magical once-in-a-lifetime experience. In many ways, personal and creative, we are symbiots, we complete each other. Working with him is exciting, because he’s an incredible songwriter and guitar player who’s always pushing his limits and arriving in fantastic new places. He’s a sonic painter with a dark, haunting, emotive palette. There seems to be nothing he can’t do, and hearing what he creates opens new worlds for me. He is super focused, has an incredible understanding of music, and works fast while at the same time creating profound passages. His songs are more stories, journeys, which is what can also be said about my lyrics and vocal style. What I’m really excited about is that his sense of rhythm is just as fucked up as mine, yet distinct, so as I work my way vocally into his songs, I’m treading uncharted territory, the unknown. At first, the plan was for him to the guitarist and songwriter for the album, but soon enough I told him I wouldn’t want to play the songs live without him. He’s the soul behind those notes and beats, and it would be sad for someone else to be playing them. So then, the plan became not for us to develop my solo album, but for us to create a new band together, the Karyn Crisis Band. He decided that not only would he join me as partner in this creative pursuit, but he’d also join me in day to day life, and we married.”

Do you have other musicians lined-up to play on the record?

“Still looking, we have musicians we like prepared to work session for the album recording, but we’d rather hold out to find the right people who want to continue on as the touring band.”

Where does the new material fit in your discography?
Are there any obvious points of comparison with Crisis or you’re touching new things you somehow couldn’t explore with the band? What can we expect from it?

“It’s a new beginning! Comparisons to Crisis are unlikely, except for my voice, I suppose. Vocally I’m taking up where I left off with ‘Like Sheep Led to Slaughter’, which saw me stretching my voice in new ways anyway. Sonically, musically Davide’s style and finesse are quite different, but have a darkness, a haunting beauty that makes sense for my vocal style. Similarly, his guitar playing is a departure from his band, Ephel Duath. Yet each of us has strong, distinct, unique styles which are our signatures, and carry over into this new music. So, you can expect something difficult to describe.”

Is there any pressure to deliver a strong work knowing how relevant and influential Crisis had become in the underground music scene?

“The pressure to deliver a strong work comes from within us and is not dictated by our histories in music. Everything I do I do with a sense of purpose and integrity that comes from within me. Some people are born angry, others become angry in reaction to their environment. Some people are born with drive to create, even if that creation and expression is not understood by the majority of people, and regardless of positive/negative feedback. I’m born angry, born driven to do things my way, and it’s a mechanism that is internal. Davide is much the same.”

So when is the record due for release? Have you already started to conceive ideas for an album name?

“There’s not a release date yet, it all hinges on when we begin the studio process.”

Crisis never got the chance of completing their fifth record that was in the making before the split-up. Do you think that record will ever see the light of day?

“No.”

More info at: www.myspace.com/karyncrisisband
Photos by: Davide Tiso

Sacred Mother Tongue’s “Ruin of Man” release has surely one of the most amateurish and worst album covers I’ve seen in recent memory, the kind that seems to have been drawn by a ten-year old kid and could easily be overlooked at the record stores shelves. Fortunately, the music contained herein, though nothing groundbreaking or outstanding, is way better than its artwork. “Ruin of Man” is the group’s debut full-length work and it veers unconvincingly from a pounding metalcore to a slightly palatable rock-metal affair, a combination between heavy, hard-hitting moments and more melodic, softer ones that sounds a little unfocused at certain points. Sacred Mother Tongue certainly seem to be proficient and gifted musicians, but have yet to refine their song-writing skills and trim down some superfluous and insipid arrangements that go nowhere and prevents the songs from being truly memorable. They’re able to hold their own on each of the different genres of music they try to poke in. Be it in the power-metal driven “The Man You Tried to Hide” and “The Suffering” leaning slightly towards someone like Annihilator, the Swedish death-metal styling ala In Flames explored on “Anger on Reflection” and “Talking to the Ears of the Deaf”, or the metalcore affections revealed on “The End” and “Wake Up Call”, but as a whole it sounds a bit messy and confused.
These guys are touted in UK press as the future of British metal, but I guess it’s too premature for such bold affirmation considering they still haven’t got what it takes to make into the premier league yet. (5.5/10)

Band info: www.myspace.com/sacredmothertongue
Label info: www.transcendrecords.com