Review: In the mid-90s while the hardcore punk scene witnessed both an influx of more melodious acts as well as those injecting the scene with as much metallic bite as possible, few could have been prepared for the utter assault on the senses The Dillinger scape Plan were cooking up. Often cited as the one of the pioneering acts in the mathcore subgenre (combining the unhinged intensity of hardcore with the compositional dexterity of math rock), 1999's Calculating Infinity is still regarded to this day as one of the most uncompromising, impenetrable, and challenging debuts in alternative, punk or metal. Their only full-length with original vocalist Dimitri Minakakis before his departure and subsequent replacement by the admittedly much more dynamic Greg Puciato, and pre-dating their experimental collaborative EP with Faith No More/Mr. Bungle mastermind Mike Patton; the material here does little to offer any sonic respites of glitched out synth ambience or even a melodious hook. Rather, it lays down a highly complex blueprint of odd time signatures, polyrhythms, dissonant breakdowns, jazz freakouts and caustic vocal howls that would inspire an entirely new wave of outsiders who felt hardcore and metal just weren't vicious or experimental enough on their own merits.
Review: Rhode Island post-metal avant-garde duo The Body have made a name for themselves due to their caustic maelstrom of harsh, brutalist experimentalism as well as their prolific output and collaborative nature, releasing collab albums with the likes of Full Of Hell, Thou, Uniform, and most recently, Dis Fig. Their latest endeavour sees the pair link up with another duo of musical extremity, Toronto, Canada's recently reformed industrial two-piece Intensive Care. Was I Good Enough? has been on the cards since the artists first began making plans as far back as 2018, trading, warping and ruining mutual sessions with layers of loops, distortion, samples and even dubs, constantly striving to find the ideal haunting balance between both of their sonically hideous, oppressive worlds. For all of our ears' sakes, they just might have succeeded.
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