The shortening of our attention spans is not without its merits. From the perspective of "a blogger" - the correct terminology for what I do apparently although it sounds like I am a part of some sort of inelegant tech bro clique (that makes one shudder) - attention span as an endangered species means pretty much that I can repeat myself without fear of being singled out as a person stuck in a loop and asking the same questions over and over again, like a pub bore who always wants to share his views with you even though you've already endured far too many times his theory that the vanishing of Antisect's second Lp is the greatest mystery of humankind, bar none. Well, at least with a blog you can just close the window and switch to watching underwhelming youtube videos like a normal person while in a pub you have to hide in the toilets and pretend you have a tummy ache.
Today's oft tackled topic is the observable lack of classic, typical crust bands in Brazil during the 90's. As I mentioned, it is kind of a rerun and you may check the first episodes as I wrote about Under Threat in 2015 and Dischord in 2017. This is a head-scratching, unexplainable phenomenon from an outsider's point of view. How come Brazil, and above all Sao Paulo, a town that had - and still does - one of the strongest, liveliest, most prolific extreme music scenes did not produce many ENT/Disrupt/Doom-like bands? I mean, even France had a contestant (eternal respect to Enola Gay) and we have always notoriously sucked at it so you would have expected Brazilian punks, famously well into fast aggressive music, to offer a solid dozen of cracking crust bands, which they did not. They certainly created their own brands of primitive thrashing grindcore and furiously fast metallic hardcore and many bands proudly adopted this sonic approach but, strictly speaking, as far as crust was concerned, seemingly few were inspired. Of course, elements of crust music were included in the classic Brazilian extreme hardcore vibe but I would not say that there was ever really a Brazilian crust style which, given the incredible potential, does come as a surprise. It does not imply either that that Brazil was actually missing something, it is just curious. As I said earlier, some things may escape me.
It would be untrue and hyperbolic to claim that the scene was deprived of Doom-lovers though. How sad would that be? Aforementioned bands like Dischord (a hard-working band who had a very decent discography with splits with Lies & Distrust, Rotten Sound or Força Macabra) or Under Threat (a project that was started by Rot's drummer and went on to release splits with Battle of Disarm or... Dischord!) and bands like Cruel Face were inspired and included elements pertaining to the subgenre to some extent. And of course, you saw me coming, Disarm were undeniably, gloriously, heroically one of the few national bands that was openly, deeply, fundamentally oriented toward gruff 90's crust.
In fact, I see Disarm as the Brazilian band that was the most typical of the 90's crust wave, the one that fitted the template with the most accuracy and, clearly, with the most ease. The name could be seen as a little unfortunate and prone to cause confusion since it is a great but fairly common moniker. The classic Swedish käng band Disarm from the 80's is the most famous, but there is also a one-man grindcore band from Italy, some short-lived punk-rock band from Springfield, a hardcore band from Niigata, yet another American band this time of the folk punk variety (gasp), yet another Japanese band but one that does 80's thrash metal, a Welsh sloppy anarchopunk band from the 80's, a Ukrainian thrash metal band with the most horrendous Disarm font of them all, yet another American hardcore band from Virginia and there is apparently an active crust band from Switzerland named Disarm. This abundance of Disarms is disarming (I take full responsibility for that shit joke). A great name that was used far too often but then in the mid-90's, our Disarm's first recording was done in 1997, it certainly sounded like a good idea since you wouldn't have heard of some of the most obscure Disarms of the past.
But anyway, the four songs on this split Ep are the best ones from the band's first run between 1997 and 2001 (the band seemingly reformed in the mid-00's as they released a split with Norway's Sound Your Alarm in 2007 and with Indonesia's Firstblood in 2013). The 1997 self-titled demo tape (this session also appeared on a split tape with Holochaos) was a rough and ready direct crustcore attack, the potential of which was confirmed with this 1999 recording. The first three numbers are by-the-book 90's cavemen crust reminiscent of From Resignation-era Hiatus, mid-90's Doom and Warcollapse with lyrics about animal rights. You know the drill. The lyrics in Portuguese also point to the overlooked - but beloved in these quarters - mid-90's Subcaos as well. The key word overall here being "mid-90's". The production has that perfect 90's crust cave groove and thickness, the scansion is ideal, the riffs obvious but effective, this is exactly what I expect from the genre and era. The fourth song however is totally different and display Disarm in full-on Brazilian thrashing hardcore mode with that typical fast and angry vocal delivery and that vibe of unstoppability. Quite the surprise since it sounds nothing like the other songs and also a genuinely good idea since it reminds the listener that this is Sao Paulo not fucking Stockholm. Following this split, Disarm would appear on a split Lp with Stomachal Corrosion.
On the other side prolific grindcore band Subcut (but grindcore bands often are) offer, kindly, five songs of raw and energetic relentless angry grindcore with a hardcore thrash influence like Brazilian bands are usually excellent at. This is definitely my kind of grindcore, really direct and with a punk attitude and none of that technical snooze fest. I love how the band frenetically speeds up the tempo and unleash furious blast beats. The musicianship is a little sloppy and the production very low-fi but Subcut sound intense and relentless enough to make these elements work at their benefit. In fact, if it were properly produced I would not probably like it because that is exactly what I expect from a raw high octane Brazilian grindcore band. With them using dual vocals Subcut's music can be said to incorporate a primitive crust influence (after all the two genres were close at the beginning of the decade) or at least appeal to a crust crowd open to a balanced diet of blast beats like Destroy! or Confrontation used. But on the whole, in terms of song structures Subcut belonged to the grindcore side and their cover of Intestinal Disease is a clear enough sign of that. Imagine Rot and Dropdead recording a one hour practice together on a tape recorder in order to contribute songs for a 4-way split between Gride, Entrails Massacre and Intestinal Disease.
My one reservation about the Subcut side is that the five songs were taken from three different recording sessions. The first three were recorded in 1999 and the whole session would appear on the very fine split 10'' with Cruel Face in 2000; the fourth song is taken from a 1998 session while the Intestinal Disease cover was already included on a split tape with Rot. As a result, as a whole, their side has a disparate feel that is a little distracting, to a small extent because the production always remains raw and stylistically the songs were similar but still, I'd rather have five songs from the same session. Subcut would have a long life and are still active and still grinding.
This fine highly enjoyable Ep was released on No Fashion HC Records, a label that specialized in grindcore and raw hardcore and notably released a double-cd Disclose retrospective.
Hello, subcut is still alive and active for 28 uninterrupted years
ReplyDeleteNo Fashion HC Records was carried by the vocalist of Scum Noise, another beautiful brasilian crust band with a typography that pays homage to Doom.
ReplyDeleteThat's interesting, I wasn't aware of it. It will come handy! Thanks for the information.
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