Coil – Backwards [2015; Cold Spring]

A reconstruction/continuation/adaptation of a 1993 demo tape by the same name, this ‘official’ rendition (released after the deaths of all of the band’s founding members) shares just a handful of tracks with the original leaked version, as some of the songs ended up portioned off into The Ape of Naples. The result ends up feeling more than a little patchwork, but as a scattered collection of Coil tracks, it’s not outright bad.

The usual attentive meshing of assorted synths and effects with analog instruments is present throughout much of the album, and the few tracks retained from the ‘93 tape (usually with new titles) have been audibly polished up, though some of the alterations are likely to rub long-time devotees the wrong way. Emulated percussion is allowed to run rampant in parts, samples of exotic instruments are looped and chopped, with the vocals receiving the same treatment in spots, and a vaguely dance-inclined atmosphere makes for an odd but interesting fit with the mostly harsh timbres.

Unfortunately, the momentum of the album is uneven and jerky, with abrupt changes in tone, mood, and energy making it difficult to establish a listening groove. Though it is nice to have the material released in a more widely-available form, the presentation still leaves something to be desired.

Here’s the alternate cover art.

Ophidian Coil – Denial | Will | Becoming [2015; Obscure Abhorrence Productions]

On their first full EP, the Serbian band of Ophidian Coil turns out four tracks (plus an intro) of blackened death metal, with firm guitar chords trading off with tremolo shredding, while the drums (which seem oddly low in the mix) beat down hard and steady. The requisite growling is performed with respectable energy, verging on gargling at some points, but in spite of the earnest aggression put into it, the EP’s few distinctive moments come when the band ditches the vocals to drop into instrumental mode, where they show much more control over the songs’ energies, along with a real knack for making the guitar emote (check “Hymns of Deflesh” for good examples). It’s a rough effort, but one which shows the group building from a solid base.

FOREVR – DEMONSTRATION [2015; self-released]

On their debut EP, the Australian group of FOREVR packs four tracks of electronically-glazed shoegaze, foregoing outright feedback for droning textural enveloping while drifting into dreampop territory with the vocals. The abrupt starts of the tunes, with their hard jumps into music already in progress, makes them feel more like session cuts than fully-realized songs, but the band performs well enough that it’s not much of an issue past those first few moments. While it’s not wildly impressive, it serves the purpose of a demo, and those who enjoy what they hear on it will have good reason to look forward to the improvements on subsequent releases.

Corroded Master – Delusion (Feat. Baby Tap) [2015; self-released]

In this one-track single, Corroded Master pulls together a faintly J-core-flavored beat with lots of fills while guest vocalist Baby Tap delivers an awkward near-rap. The instrumental side is decent enough, with nice work put into filling the numerous beat-gaps with ever-smaller percussive events, and some gliding synth to glaze over the hits, but it’s not quite enough to push the vocals into subconscious territory, where they’d better serve the track by hiding their lackluster lyrics as just another rhythm. A good sign of CM expanding his style coverage, but not that interesting when taken on its own.

Suiciety – Crawling Machine Edition [2015; Desert Highways]

Sporting six tracks recorded in 1996 but unreleased until this EP’s issuing, twenty years after the band’s last release, Crawling Machine Edition lives up to its time capsule status with a rough-edged mix of thrash and punk, gilded with metalcore vocals and hard-repetition choruses. While none of the lyrics are especially memorable, they’re delivered with good enthusiasm and an attitude that, while brash and a little cliché by today’s standards, isn’t too tiresome. Whether the songs were worth unearthing after a couple of decades is debatable (and really depends on how much trouble it was to acquire them), but for fans of the band, it’s likely a thrill that could never have been expected.

Corroded Master – Commodity Mixtape [2015; self-released]

Before moving into four tracks by Corroded Master, this EP opens with a remix of nullse†‘s “Hope for the Future”, featuring various treated bell-loops and flute-like synth glidings, with low-mixed beats providing a motorized texture beneath the glossier ringings. “Unsavedd” picks up from there, shifting into heavier tones and steadier percussive rhythms while alternating between new-wave plaintiveness and death metal growls on the vocals, a jump that squarely sections off the remix leader from the rest.

Two alternate mixes
(of “Righteous War”, with monastic chanting under 4/4 beats before jumping to raspy recitation, and “Pull”, with skittery, glinting synths accompanying muted yells)

follow, before finishing out with “Blood of the Fallen”, with bouncier beats and drag-drills joining retro house rhythms and forlorn singing. A weird mix taken together, but one with a fair number of enjoyable moments.

Heathen Beast – The Carnage of Godhra [2015; self-released]

Opening with a fairly lengthy spoken-word sample in Hindi, the title track of this three-song EP moves from there to grinding death metal in short order, with the band making use of instruments beyond the guitar/bass/drums staples of the genre to implement some unusual but effective flavoring. “Ab Ki Baar, Atyachar” also opens with a spoken sample, before the band ramps into even faster and harder metal, keeping the death metal influence audible, but leaning much further into black metal stylings. The drums, played at blistering speed, are the stand-out for this track, though the other musicians up their game as well.

Lastly, “Gaurav Yatra (The Aftermath)” follows the opening sample pattern, though this time with a child speaking, then turns to a more restrained death metal form, establishing the lead melody firmly before the gnashing vocals arrive. The longest of the three tracks (if only by an extra second), it keeps the riffs flowing from one hook to another with fluid consistency, and finds its finish with impressive shaping. Strong throughout, and a good jumping-in point for those new to the band.

The Baron Four – Walking Out / Can’t Find My Way [2015; State Records]

The A-side of this single bursts out in a blast of retro UK garage rock, strutting guitar lines and bleary vocals complementing sharp drum-work and an insistent bass presence. Raucous and stylish, it makes its point in two minutes and change before passing to the B-side, which eases back on the energy. “Can’t Find My Way” keeps most of the instrument treatments intact from “Walking Out”, but with more of a flourish on the guitar’s lead progression and a vaguely psych-y wash over the rhythms, it makes for a nice recovery and counter-point to the rawness of the first track. A solid pair, and a good showcasing of the group’s style.

Five Mile Smile – Boogaloo Blues [2015; self-released]

On their second single, the Irish group of Five Mile Smile pack just the title track, a blend of garage rock with bluesy psych, jamming loose while background “Whoo whoo!”s punctuate the guitar fuzz. Nice energy, good performances, and hooky melodies come together with a solid fusion, and while the preceding single has vanished from their BandCamp, this one’s still around for enjoyment, as of this writing.

The Ar-Kaics – Always The Same / Let Me In [2015; Market Square Records]

The A-side track of this single pops out into a brash slice of British garage rock, retro-flavored without getting bogged down in emulation. Twangy guitar tones complement the low-key bass, snappy drum-work, and intentionally nasal vocals for a fun little groove at moderate speed, traded off to the B-side for a mellower dig through similar style. “Let Me In” takes on a colder and more plaintive tone, with more isolated handling of the guitar’s quavering notes and feedback, and while it makes for an odd switch from the energy of the first, both sides show the band operating in strong form.