Friday, February 19, 2010

Fulfilling Potential

I only have one release to offer to you today. Agoraphobic Nosebleed were known for the longest time as drug obsessed ‘Hypergrind’ humorists who produced some of the most intense grind in a not so serious manner. Far from taking things seriously, the band’s prolific catalog is filled with songs about blasting through an 8 ball and unloading banana clips into the unsuspecting scum of the earth.

Out of a plethora of releases (numbering a little over 20) the band has usually released material just for the sake of doing so, or at least it seems that way. Recording sessions couldn’t have gone on for more than a few days, and to (possibly) exaggerate, a few hours. While the extremes of ANB are a great introduction to the capabilities of speed combined with themes of drug use, nihilism, and violence, their material really just became this constant mess. For true Grind fans that was enough, but for those longing for truly different extremes in heavy music, there was no way to justify actively listening to the band.

As a dedicated fan of Grind, I too would find one release just as typical as the past 15, but this has changed for the 16 year old quartet. They have finally come to be the band I, and other faithful fans have always known they would become.

Enter “Agorapocalypse”

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Agoraphobic Nosebleed - Agorapocalypse (2009)



Agorapocalypse is the first full length release by ANB to feature a female added to the multi-voiced assault, it would also be the band's first full length with the full utilization of Toonz's 'Drum Machine From Hell'. This is one of the best drum machines on the market, and the program has allowed producer/guitarist Scott Hull to really do Agoraphobic Nosebleed justice. The program, like other solid drum machine software, allows for each individual piece of the kit to be mixed out providing a sound that finally has the ability to completely fool the ears of the listener into thinking there is actually someone behind the kit. I say this because some drum machine programs give the impression that there is someone manning the kit only until you hear the first cymbal crash, then you know it's some damn robot.

When listening to Agorapocalypse, the stark difference between human and machine is virtually erased, I would say the only way to tell it's still a drum machine is due to the fact that everything is just that tight.

Reading interviews with Hull regarding the song writing process behind Agorapocalypse, it was revealed that the band was ready to really put their best foot forward. They pretty much became tired of the relentless output as the monotony of the split projects became all too common and easy for them to accomplish as little was actually expected.

More than just a better sounding album, it's a better written album entirely. The band finally utilizes levels of extremes. Everything from crushing breakdowns so smoothly inserted into the foray of madness to sludgy rock breaks, fill this album with the devastation one could only expect from an album called Agorapocalypse. Just look at the cover art! The music is a direct representation of the constant Armageddon that this world is experiencing.

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