Striving to continue the fuzzy urgency of their Late Teens debut – which, despite coming out in Australia in 2018, only got a UK release in January this year – this second collection was tracked live in one week in the band’s self-built studio underneath Melbourne’s Westgate bridge.
That intent is so potent on Wasted Energy it’s as if you’ve licked the dancefloor at one of their sweaty basement gigs. Melbourne garage-rockers Press Club want their records to fully capture the untamed nature and fluid power of their raucous live shows. A difficult work, then, but one that announced Ithaca as a powerful voice in British heaviness. Yet it is precisely these challenging moves that made The Language Of Injury so rewarding. In fact, her dislocated wails intensify the sense of communication breakdown.
Similarly, the introduction of clean singing does not soften vocalist Djamila Azzouz’s attack. Halfway though, (No Translation) offers a moment of reprieve with ambient guitars suspended over indistinct chatter, yet the air of alienation and doubt is still keenly felt. There is also an unpredictability here that gives Ithaca a twitchy edge. Whiplash rhythms and mathy guitar squiggles wind around each other like a deadly game of cat and mouse on Impulse Crush, before coalescing into a hammering beatdown. Yet from the ashes of all that pain and anger, Ithaca crafted one of the most ingenious and gripping metallic hardcore albums of the year.įrom the scree of feedback and nerve-shattering drums that open New Covenant, The Language Of Injury seethes with barely-concealed frustration. Although Ithaca formed on a South London industrial estate in 2012, the years between their critically lauded 2015 EP Trespassers and the release of their debut full-length this February was marked by seismic personal upheavals: family loss, losing jobs, personal relationships turning toxic.
The Language Of Injury is a product of intense pressure and time. Sure, it was hardly a surprise that a record from this band is as good as this, but there’s an unexpected glee in their discovery of new fuel to make the Torche continue to burn brighter still. From the opening rapid-fire of From Here, through to the lurching doominess of On The Wire, every ounce of grizzled experience is put to work to delirious, speaker-testing effect. That’s not to say there was any danger of the Miami quartet going soft, of course, and jagged edges, abrasive textures and concussive left-hooks land throughout. Reminder, meanwhile, arrives with a thrilling burst of woozy nostalgia, and brilliant, fuzz-encrusted closer Changes Come is adrift with exquisitely thoughtful melodic intent. The title-track sets out the stall stunningly, a four-minute meditation of self-induced isolation swimming in a dreamy electronica far closer to Joy Division than Melvins. With Admission, however, they swerved into more expansive territory, pressing horizons further than ever before and daringly experimenting with elements of shoegaze, ambience and even synth-pop. Everything they do feels machine-tooled to crush and enchant. Over the course of their previous four albums, they’ve mastered the art of slow-burn bludgeon, piling on layer after layer of thick sound with limitless patience and unrelenting focus. “rockstar” will appear on Post Malone’s forthcoming second studio album “Beerbongs & Bentleys”, which will be out in stores on December 1.For an outfit with such a gleefully neolithic approach to riffs, Florida sludge metal masters Torche have never been shy about evolving their sound. No wonder why Post Malone had to add a “warning” message in the intro of the music video. Things will get so bloody one of the final scenes will see Post Malone covered entirely in blood – similar to that iconic scene from Rihanna’s “ Bitch Better Have My Money” music video. In Post Malone’s “rockstar” music video he will be the one using the katana and will soak his super clean all-white outfit with the liters of blood he will take out with his attacks from his enemies. The music video is very Kill Bill Volume 1 in the Japanese bar scene where Uma Thurman kills everybody with her Hattori Hanzo katana and kills everybody causing a literal bloodbath. Believe it because it’s true! The Emil Nava-directed music video arrived on VEVO in the late night hours of yesterday, November 21. The music video for Post Malone’s #1 single “ rockstar” is finally here.