This week we have our conversation with Street Sects after their Portland show. We chatted about their performance and it's design and intention, the difference between writing noise for a record versus a live performance, inspiration and practice, and some of the concepts behind their albums.
Preemptive Strike 0.1 vs. Wolfheart - “Planet Eradicated”
There are many times when I go into a release knowing full well that it may not be for me - having heard recently that guitars were added to the lineup, or that a traditionally pretty bland electronic artist is doing more traditionally bland things - and this was definitely one of those times. Preemptive Strike 0.1 is an artist that I generally like, but the concept for this album has been done really poorly a bunch of times. However! What sets this album apart from most of the previous efforts to bring metal and industrial into a true merriment is that Preemptive Strike 0.1 went out and recruited a bunch of established metal bands that had very distinct styles and just let them run with the track (from what I understand and can conceptualize from the music). It works effortlessly and seamlessly. With this Wolfheart collaboration especially, so many of the elements are perfectly placed within the established style. The synth elements aren’t too loud or crazy and the quality is really high. I am pleasantly surprised and really congratulate the Preemptive Strike 0.1 team for getting this release together.
Street Sects - “Featherweight Hate”
Street Sects is abrasive and intense in so many ways. It is really an experience that is best served live and I encourage anyone to travel as far as you need to to see the show. “Featherweight Hate” is the song on their latest release, End Position, that really captures the live moments in my mind and satisfies that crafted, noisy, and pointedly calm intention that the duo has such a solid grasp on. A brash and quickly fired off introduction, a moment of quiet and calm breathing, and then hell. Pure hell in sonic form. We asked them in our forthcoming interview if it was difficult to capture the live feeling on a studio recording and after seeing the show, reflecting, and going back to the record I can now say that they really worked hard to capture the dynamics and overall intensity of the show. It is a different experience entirely, but a very good one.
Dear Deer - “Dear Deer”
I tend to find eponymous songs usually are a bit cheesy, but not so with Dear Deer’s “Dear Deer”. This track, from the moment it starts, drives forward with a sort of fury. The drums are unrelenting in their heavy, reverb drenched beat, and the vocals drip with malice. As the chorus hits, the guitars basically become noise machines, accented by hammering metallic percussion and the call and response of the two vocalists. The vocal style is reminiscent of Cerce to me; there is familiar sense of anger to it. I’ve enjoyed the whole record this track is pulled from, and recommend checking out the full release.
Dear Deer is a post-punk duo from Lilles, France. Their latest album, Oh My, is available on Bandcamp via Swiss Dark Nights.
Zosima - “Embryo”
This track is a slow moving, slowly evolving work of pure menace. Ambient drones make up the floor of the song, fading in and out, ringing in your ears. A kick is always accompanied by hits of static and metal, grinding away at your sense of comfort. Sampled bits of percussion, whirs, grinds, and screeches assist in this aggressive movement. The song feels like it should be fairly low-key, but the way these elements are tied together, coming in and out of the track, keep you on edge, waiting for the next scrapes and hits. Sit back with some headphones on for this one, close your eyes, and just feel it.
Zosima is an experimental techno project. Their release Metamorphosis is available from Noiztank on Bandcamp.