This single from Flesh World is on the Australian label No Patience Records. It sounds like complete crap. It's probably due to jamming seven tracks on this record at 33 1/3 or the terrible mic that was attached to whatever tape deck they happened to have lying around and would be ridiculous to have this in any other form. This kind of vibrating speed hardcore would be suspect if it came off perfectly clear and well engineered onto two inch tape. It's a terrifying super punk that won't let you deal with it on your terms, you have to get it on theirs. Like stumbling down an alley and hearing a muffled rumbling through a broken basement window in the middle of abandoned warehouses. I would be excited these sounds were randomly happening in the middle of nowhere but scared as hell they would catch me staring and want to kick my ass. It's murky and unclear and shouldn't be recorded any other way.
"Scab My Fists" fades in on feedback and the dull smack of a submerged snare. Blasted from shitty amps in a tiny room and mic'd from a single source they still manage to get some nice guitar melody definition out of the shitstorm thats rising above this drone. It all stops for a bit for the guitar to take the reigns and trade off with bass to run right into the hardest punk and screamy vocals that are equally buried and happening so fast the pieces seem to be parts of separate songs. The bass goes solo and slows down so the guitars take their chance to freak out before they all come back into the spazzy hyper stuff. "Total Pessimist" is vocals and speed right out of the gate, with a slower section to work out this melody before going almost that black metal. The pieces land where ever they can, a couple measures of lead and the bass is out there on it's own in a digitized ringtone of the source cassette. On "Make It Fit" they don't want to worry about any levels or eq, they have some brutal dirty punk stuff to get out there, don't bother them with recording bullshit, The guitars completely lose it at points in great ways, they become instruments for texture instead of stupid melody. Who said notes one after another were good anyways. "I Don't Know" starts to remind me of days listening to the Gorilla Biscuits and trying to land a single trick, just one, off a splintered quarterpipe drug into the street between cars. Masochistic like this sound but is the only thing that would make sense.
B-Side's "New Sensations" is scratchy hiss and treble, barely thirty seconds of cable crackling and hum before blowing into a thousand pieces of vocal and fragments of guitar melody. Somehow "Modern Day Pleasures" and each of these tracks manages to have it's own special room tone, the blurry bleeding of tones all in on each other, like fighting animals which turn out to be in separate cages in the same room mutilating themselves. The instrumentation feel so separate except for working in the same cramped space and feeding off each other's insanity. The feedback squealing is intense on "Fuck Time" the second they stop playing between tracks is nothing but a splitting shriek. I think this benefits from getting slow the sludgy quality adds to their chorus. This whole side is played continuously with no real track break which is also the way it should be.
Get this locally from Grave Mistake Records, Ebullition or at the source from No Patience.
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