Ho99o9 "Cyber Warfare" (2019)

Less than a year on from one of last years favorites Cyber Cop, the vicious Punk Rock fusing and Hip Hop grooving duo Ho99o9 return with another vivid, conceptual EP that experiments with eerie cyber space hacker aesthetic. Opening up with Master Of Pain, gothic organs conjure an unsettling hallowed horror soundtrack atmosphere for slow tempo percussion to brood and then pivot into a riotous romp of synthetic guitar riffs fit for the pit. The back and forth is fantastic but this new gothic element sets a desire for more that is left alone on this one song. With Plexiglass a smothering, repetitive, obnoxious baseline fills the void akin to something you might hear on a TV commercial. A ridiculous mania of hurling frantic screams quickly stops this in its tracks as it turns up the intensity alongside scratchy discernible noise. At this point it may be hard to stomach for many a music listener.

Shadowrun slams into the Punk energy with fast and energetic guitar riffs, burred screams and pummeling drums. Its ecstatic and highly intriguing as the distortion and production techniques mask much of the instruments in layers of unusual aesthetic. From their the good songwriting emerges as the song leads into a fantastic closing groove played twice over. The end of the song introduces a layer of technological theming as a pitch dropped voice talks of internet connections. There is a few other bits like this but they fail to be interesting in my opinion. The next few tracks brings out the mean and gritty raps, delving into gloomy, dangerous street vibes akin to similar songs heard on their Horrors Of 1999 sophomore EP.

F.O.G. wraps up the record with some serious metallic stomping and tight drum patterns not far from something heard on a Extreme Metal record with its tight double pedal working. The song gets progressively heavier and distorted synths lead up to a ridiculous climax that maybe falls a little short of its intention. Overall this record is another fantastic chapter in what I hope will produce more of this paranoid cyber theming. Its not reached quite the peaks of Cyber Cop but it has produced some remarkable songs once again. This band are very much in a stride and I find myself dead excited for whatever it is they will do next.

Rating: 7/10
Favorite Tracks: Master Of Pain, Plexiglass, Shadowrun

Ho99o9 "Horrors Of 1999" (2015)

Rounding up the records Ive missed we have another short EP from American experimental duo Ho99o9. Once again their fusion of Hip Hop, Punk Rock and Horrorcore seems far more enjoyable than the reputable Dead Bodies In The Lake where I started this journey. With one skit and five short songs the duo get into dark, grisly menacing vibes and flex degrees of raps and Punk screaming vocals with all sorts of distorted, pitch shifted and reverberated inflections. The pair firmly sit at the heart of the darkly atmospheres their puzzling instrumentals conjure. Industrial pallets of gritty sampling paired with abstract, slow and stretched out percussive grooves set the tone for the act to get maniacal on the majority half of the music.

Its vivid and concise but the most fun to be had is in the two Punk tracks. No Regrets and Savage Heads bring on a drummer to muster up some lively beats for a roaring buzzed out bass guitar to power the track forward as an array of unusual synth sounds chime in, often with little melody and a helping of oddity. This is where the two liven up, shouting out catchy lyricism with ferocity. Overall it makes for a fun and haunting listen with a splash of cheesy horror vibes in the middle. Again the potential to grow as artists is far more obvious at this point in time for Ho99o9.

Rating: 5/10

Ho99o9 "Cyber Cop" (2018)

Horror, stylized Ho99o9, are one of the most exciting acts Ive heard in recent years, their fusion of hardcore Hip Hop, Industrial and Punk with an anarchistic flavor is exhilarating! This new soundcloud EP flew right under my radar, which is a shame because its probably their best work yet! They struck me as having potential but in this moment its really manifesting. Their recent collaboration with The Prodigy seems to of rubbed off well on the duo as the production style here has more composure and occasional Big Beat vibes. The opening track even has a tune you could lift into a Prodigy song. Its also another short and sweet seven songs amassing eighteen minutes. A curated approach to music that is serving many artists well in my books.

A clear theme and identity for the record is established through its fascinating online release including digital artwork. Cyber Cop revolves around digital paranoia in this connected ages and stylizes its songs as unauthorized viruses. It lets the electronic aspect of their sound flourish with flavorful synths and digital noise playing into the computing heart of the theme. Just about every song has talking points. The second track has a hard siren and glittery beat you might link to Death Grips, however its the vocals that almost sound like MC Ride himself chanting Internet Thuggin' in a low voice. Its a maddening orgy of noise which much of the record indulges in. Mega City Nine samples Slipknot's Only One and Tattered & Torn, fusing their darkly demented melodies with vicious street raps. Its a treat for a metalhead who loves crossover however its the Punk and Industrial influences that dominate the narrative here.

Punk Police brings the unapologetic attitude to the forefront as the two yell into peaked mics shooting back at their critics. Its a short track with dirty synths and gritty drums, total Punk aesthetic! Delete My Browser History slows down the tempo and brings in some gorgeous 90s Industrial synth baselines also heard on the opening track. Its focus on atmosphere heightens when twirling, snappy synths jive in, leading to an explosion of distortion guitars that culminates exquisitely. It ends with Leader Of Pain, an absolute banger to play at high volume! The singing is phenomenal. They fully embrace a over the top echo reverberation and deliver unhinged maniacal chanting over slamming guitar riffs. It only plays its sweet spot twice and the second time it suddenly cuts off short, always leaving me yearning for more of the madness.  

Ive only talked in specifics so far. This record conjures it own realm of anarchistic digital madness that's spurred on by an aggressive release of youthful energy and rebellion. Its immediate and fiery, an adrenaline shot to the mind as it takes on an aesthetic assault fit to diverge down different paths which it does! Not a moment repeated itself and the seven tracks forge a unique distinction within the experience. Thrashing guitars, expansive electronics and a relentless vocal presence unite with explosive chemistry. This is undoubtedly their best to date and my current addiction!

Least Favorite Track: Forest Fires

Rating: 8/10

Discharge "Hear Nothing See Nothing Say Nothing" (1982)

Ten spins or so into this cult record I am waiting for a spark to ignite, teetering on a hunch that all will slide neatly into place in an eruption of adrenaline and excitement. It may never come but my enjoyment isn't hindered and comes with a great sense of appreciation and understanding to the significance of such a record. Ive heard this record referenced by many musicians, a "bands band" so to speak. Discharge are an English four piece Hardcore Punk band who put this debut album out in May of 1982 and it fits so sweetly into the linage of extreme music, providing a linking point between Punk music and the likes of Grindcore, Crust Punk and even Black Metal.

Pushing simplicity and minimalism to once new extremists, Discharge deploy a claustrophobic guitar distortion that bleeds itself into the crevasses around the pounding punk march of ruthless, determined drumming. The low fidelity fuzz creates a wall of sound, pushing hard with brief, one dimensional riffs consisting of short repetitions droning over and over again, ready to exhaust the listener of their appetite as the fast thrashing guitar pummel and pummel to no end. At twenty seven minutes between fourteen songs they average two minutes usually consisting of no more than one or two riffs drilled over and over with frequent guitar solos utilizing a similar tactic of minimalism as short bursts of notes repeated over and over erupt above the ferocious dissonance. 

Singer Cal Morris manages to rise above the onslaught, shouting full throat with a rough, burly rawness that persists at a dogged, stubborn pace. Its more than reminiscent of Lemmy from Motorhead who released the iconic Ace Of Spades a couple years beforehand. With that exception everything else is so telling of whats to come. The guitar tone and intensity is an obvious precursor to Grindcore which would arrive a few years later with Napalm Death. The production, which in itself is rather impressive for a thirty five year old record, has its significance in utilizing the potential magic of low fidelity recordings. These ideas would be taken even further in the 90s thanks to Darkthrone.

Its lyrical themes delve into power structures, authority, the brutality of war, freedom and all range of social political points. It always comes from the humanitarian perspective, packaging large topics into short simplistic slogan alike lyrics shouted with fury and anger to stir much needed thought in the listener. Its very much my cup of tea but given my adoration of what it inspired leaves me feeling as its just behind the threshold of my goosebumps, a slightly muted emotional response however objectively its utterly fantastic and such a clearly influential record and sound. Very glad to have checked it out, it fits snugly into the musical evolution map.

Favorite Songs: Protect And Survive, Cries Of Help, The End

Rating: 7/10

Ho99o9 "United States Of Horror" (2017)

The New Jersey duo Horror, stylized with three nines, blew me away with a wild performance at Download Festival last year. Their anarchistic fusion of Hardcore Punk and Hip Hop has a lot to offer, unfortunately their EP Dead Bodies In The Lake didn't quite live up to the hype bar one song. With their debut full length, things are different, the ideas are in sync are ready to bombard us with rebellion and chaos. Released a few months back, this one managed to sneak past me, in a moment of excitement I foolishly ordered an import copy from America, rather than checking Amazon... A silly mistake that cost me a pretty penny and had me waiting a few weeks more to listen. Given the bands underground vibe I figured it would be hard to get hold of but as everything is commodified these days its no surprise to hear they are signed to universal records with worldwide distribution.

The music is the message, and horror's message is a weapon, aimed at our societal norms and the values that need questioning. Kicking off with a child reading a corrupted pledge of allegiance, swearing loyalty to the nines, the duo fly head first into the critical mindset to set a spotlight on the perverse and corrupt. It rattles off at a sprint, flying through short burst of songs, swaying between its fast guitar thrashing metallic Punk and the dark, disturbed Hip Hop personas with an unusual ease. The styles are held together with a strong Industrial current of pounding mechanical drums and pumping, dense electronic synths that electrify the sound and give power to the wild energy the pairs dissatisfaction inspires.

Retaining a twisted atmosphere, the album drifts into its Hip Hop persona effortlessly, the tropes easily corrupted to fit the anarchistic mold, the fast shuffling Trap hi-hats and dirty sub baselines are menacing. "Hydrolics" takes up a fantastic opportunity to lace the track with a thick layer of sarcasm that serves their purpose well. Its a real collision course of sounds that the two use to forge a unique and distinct person that comes to fruition in the diversity through the track listening. Each time they lean into Industrial noise, Hardcore thrashings or devilish Hip Hop, it comes out the mixer with a distinctly different sound yet through all this diversity the album flows a charm.

I enjoy this record more so based on my mood and apatite, where sometimes it isn't as appealing or enjoyable. Objectively, I think all the positives here really add up to something special. As much as I like the idea of the chaos this duo brew, It isn't always my preferred taste. The way they have fused styles is inspired and unique and this debut full length comes together with a plethora of ideas and some solid direction. From here the coin could spin either way, I hope the continue to push and redefine themselves as the best could be yet to come.

Favorite Songs: Ware Is Hell, Face Tatt, Knuckle Up, United States Of Horror

Rating: 8/10

Conflict "Its Time To See Whos Who" (1983)

After enjoying a dip into Crass's first few record's I decided to seek out some more Anarcho Punk since the sound really appealed to me. Steve Ignorant of Crass actually joined the band after this, their debut record, released in 83 around what seems to be the peak of popularity for this rebellious sound. Many similar musical ideas are deployed although the record opens with a misleading track, "Young Parasites" sounds very much like The Clash with its prominent colorful baseline and generally tuneful, toned down aggression. Poorly performed guitar leads make a mockery of themselves as a shout cuts the track short to start over again.

The mood is flipped upside down with the real record as "Kings & Punks" kicks in with a crash of fast, lively drumming, temperate guitar riffs and an angry Colin Jerwood shouting with fury over a crunching baseline. At just a minute it sets the tone for fast and to the point music where songs rarely span further than the two minute mark. These tempo driven quick cuts make for an energetic atmosphere were nothing stays settled for to long as anger and frustration comes to fruition in dissent.

With an anarchy mindset, the lyrics take on progressive issues of anti-war, meat as murder and anti-establishment values with an exasperated grit of irritation. Jerwood keeps the heated resentment flowing but the accompanying music leans from its dissonant rebellious accent into catchy melodies and rocking riffs that despite being enjoyable, finds itself distancing from the core idea. A few songs here drift from the path and in these moments the consistency dips noticably.

When all elements are on the same page the soundtrack is set and the resolute attitude becomes engrossing. The records production is reasonable, guitar tone a little brittle and plastic, at times it doesn't quite have the aesthetic vitality to match its anger and the same might be said of the drums which despite being rather lively and rampant, find themselves getting buried in the mix. I also love the way the records end with some sort of improvised jam where the tempo keeps increasing and they keep going for it over and over. Chaos! Great album, potential to be great but falls short it too many places.

Favorite Tracks: 1824 Overture, One Nation Under The Bomb, Blind Attack, Blood Morons, Crazy Governments

Rating: 7/10

Crass "Penis Envy" (1981)

Crass's third record is a loud, bold statement. One that transcends the ideological rebellion from their first two records into art as the groups sound shift gears. Firstly frontman Steve Ignorant is absent as Eve Libertine takes lead vocal and second the instrumentals steer to an artsy form of Post-Punk not far aesthetically from their former sound but with an expansive ear for atmosphere and mood. Its an evolution fit for purpose as the lyrics take a bold feminist stance making mockery of gender inherited values and the marital tradition. The title marks the records intention and its artwork further extends the subjects poked at in its playtime.

"Penis Envy" is a vehicle for thought, its instrumentals don't swoon with melodies or take the forefront of your attention. They mostly balance the atmosphere to contrast the moods in opposing sides of the topics being discussed. Its simply not possible to enjoy without being engaged in the subject matter and no track does it better than "Systematic Death. Its the song that encompasses everything daring about challenging conformity and does it with a spike of audacity. The repetitive "System system system" chants between commenting on the social constructs of gender based expectation. Lines like "Fuck her mind so they can fuck her silly" makes remarkable statements that might be hard to wrap your head around depending on how you perceive how individuals are formed within society.

Through the record there are many resolute statements to question your resolve, especially a mockery of dependency on men in society. Much of which dives deeper into what "Systemic Death" outlines. Musically a couple of memorable melodies extrude from the baselines and there are some great experimental tracks. "Berkertex Bribe" has a stunning break out moment where the intensity on all instruments kicks up a notch as subtle wedding bells ring out in the back drop. The album is seen out with "Our Wedding", an almost eerie track poking fun at post-marital expectations in a subversive way. Its a much artier experience than previous records but in true crass style it is the food for thought that becomes the focal point of a brilliant record and a very bold statement for an 80s society to digest.

Favorite Tracks: Systematic Death, What The Fuck

Rating: 8/10

Crass "Stations Of The Crass" (1979)

After being brought back to a classic record, "The Feeding Of The 5000", I thought id follow up with their second full length album released the following year. Id only heard it a handful of times before and listening to the album again it pretty much takes off where the last one left. However the albums mood is slightly more depressive, pessimistic and angry. As if the monochromatic abrashion wasn't gritty enough the tone now has a little less statement and more response to the events that unraveled between the two records. Calling out The Clash again and making defeatist statements like "Were not going to change the system". Its not just in the lyrics, its in the delivery too, their is more anger, bite and despair in the voices of Crass's various singers.

But for the most part its very similar. Instrumentally its constructed from the same ideas, lots of snare lead militant percussion, dissonant noisy distortion guitars and a bouncy baseline always in the thick of it. The vocals are again apologetically blunt and stubborn, marked by the thick Essex accent. Eve Libertine makes a return on a couple of tracks, singing on "Upright Citizen" which gives it a wave of color in a sea of grey. Aesthetically its mostly the same too, sounding as if they could of come from the same recording session, maybe with a touch more clarity.

The record plays through with less striking statements and little hooks where its predecessor had many. The last three tracks unwind slowly with moments of anger fulled Punk between more atmospheric noise led movements. Its a decent record but doesn't have quite the same orchestration is the bands first, however with it being so similar its quite possibly an example with what retreading your footprints can mean musically, less memorable and not as impacting. Still a great listen though, again with a large track listing of many short songs.

Favorite Tracks: Darling, System, Upright Citizen, Demoncrats

Rating: 7/10

Crass "The Feeding Of The 5000" (1978)

Here's another record that the miracle of shuffle brought me back to. Reading and exploring the world of Punk music many years back Crass stood out as one of the most interesting bands, pioneers of the Anarcho Punk sound, Crass were artists who met their words with actual activism and action, true anarchists who expressed their anti establishment and authoritarian views through their DIY music. Feminists, animal rights activists and anti-war they stood for a lot of things I agree with while pointing out the hypocritical nature of punk ideology in the mainstream, calling out The Clash directly on one particular song. The bands story is fascinating, their influence on political culture and activism during their short tenure is unique and quite unheard of in the world of music today... or at any time really.

Punk can be unapologetically raw and crass, pun intended, but not quite like Crass are, with spoken word and dissonant guitar distortions, scratchy and dingy in tone, the band border on Art Punk with a continual exploration of feedback noise through their songs where you might of expected simple power chord riffs. When they do resemble more traditional styles they are buried, distant, quiet and second fiddle to the chemistry between bass guitar and drums. The core "melody" comes from the bouncy bass guitar, lining the direction of each track with a chromatic charm. The drums sound narrow but rattle away with a militant industrial vibe, keeping rhythm with snare rolls and marching rhythms between kick and snare. The symbols are quiet and often hit at the same time as a drum, rarely heard in the moments between.

They create quite the gloomy, nihilistic atmosphere, taking on the weight of the urgency they feel for their world views. Vocalist Steve Ignorant as the lead voice has quite the stark and blunt approach to his performance, almost spoken word, or shouted word as his thick London accent dominates the listeners attention. Its again unapologetic and straight to the point, a brilliant union of art and intention, you can feel the passion and fire for their beleifs. The album is also littered with creativity in the form of sampling, artsy spoken word interludes from Eve Libertine and interesting song ideas. The anti nuclear "They've Got A Bomb" sets a grim tone with crackling guitar noise and as Steve says "twenty odd years now waiting for a flash" it goes silent, as if the bomb has gone of. Fantastic. After its opening track the music starts and ends with two renditions of "Do They Owe Us A living", solidifying one of its main themes.

At thirty two minutes its fast, direct and loaded with short tracks, eighteen in total but they play like a singular experience in moments, often rolling from one into the next, sometimes with the shifts in tempo being transitioned through the drums which steadily increase or decrease in speed. The records DIY production doesn't hold it back, its a low fidelity affair and the reality and genuine nature of its construction makes complete sense given the circumstances, its part of its charm. I love this record for its character, conviction and substance, the music is grounded in reality. The people, ideas are real and meaningful, a much more intelligent form of Punk with a strong, harsh, unforgiving aesthetic.

Favorite Tracks: Do They Owe Us A Living, They've Got A Bomb, Punk Is Dead, Banned From The Roxy, Fight Wars Not War, Securior, You Pay, What A Shame

Rating: 8/10