Last month I had the honour of reviewing Seattle's Haunted Horses Dweller for The Sleeping Shaman, an album released on Justin Pearson's Three One G. The tracks on this split (put out by Hex Records) originate from two different sessions, the aforementioned Dweller and 2022's The Worst Has Already Happened. The band's line-up consists of new Bassist Brian McClelland (Filth Is Eternal) joining Vocalist/Electronics manipulator Colin Dawson and Drummer Myke Pelly. Familiarity will hopefully not breed contempt as I focus on their tracks first.
Remember Swans when they sounded far bleaker and before their discovery of Godspeed! You Black Emperor? Well if that is what you're lusting for then 'Four Watchtowers' delivers in spades. Michael Gira's older agonized Vocal style comes to the fore as does the thunderous Noise-Rock, a spectacular opener. As a huge Killing Joke fan 'Pleasure Palace' definitely ticked my boxes, recalling albums like What's THIS For...! and tracks such as 'Madness'. There's a menacing quality that cleverly belies the track's title and I'm all for it. 'Digital Meat' is an experimental piece with low electrical hums that are accompanied by spoken word Vocals/Samples. This makes it far less conventionally structured than its predecessors acting like more of an interlude, however its one that doesn't in any way feel like filler. Take the darkest of Hip-Hop (Gravediggas, Cypress Hill, Ho99o9) inject some Bad Seeds into the mix and voila, you have 'Cypress'. An extraordinary constructed work, meanwhile 'Sleaze' is faster with a distinctly Punkier vibe and Industrial edge ala Prong but with a little Cramps in the mix, drawing Haunted Horses side of the split to a superb conclusion.
Oakland's Facet formed in 2019 and released Duck in 2019, the 2020 'Devoid' single and last year's S/T album. They're a trio consisting of Max Senna – Guitar/Vocals, Bradley Walker – Drums and Jose Davila on Bass/Vocals. According to the promotional notes the five tracks here are their heaviest to date and this appears perfectly timed what with an upcoming tour with Whores looming on the horizon.
'CRNDLL' is semi shouted Vocals with an overall discordant, abrasive sound not overly dissimilar to bands such as Tar, albeit a much heavier version. In my opinion anyone who reminds me of that band are worthy of admiration and respect, which I dutifully extend to the guys. 'RCK' adopts the blunt force trauma of Unsane and that bands Metallic approach to Noise-Rock, or to put it in layman's terms, its heavy as f*ck with some thick tasty grooves to boot. 'DDMDD' summons the Grunge assault of God's Balls era Tad along with some really pleasing nods to the bludgeoning likes of Godflesh (Like Rats) and Slab! (Descension). As the latter two artists intonate, there are Industrial touches displayed here but its not as overt as Haunted Horses. 'SCT' cools the temperature somewhat with the far more Post-Hardcore nature of the track, and nods to Unwound and Quicksand. The track resultantly feels a little more introspective and yet dare I venture rewardingly anthemic at times. 'NTLNT' especially the Trumpet/spoken word intro, did remind one of Cows on tracks such as 'Heave Ho' from the Cunning Stunts album. That record saw the Minneapolis legends adopting a certain 'swing' to their otherwise chaotic sound and that's what I detected here. A fitting conclusion then not only to Faucet's tracks but also the record as a whole.
I love split albums, at their best they confirm a love for one band while aiding in the discovery of another. Such is the case here, making this a highly prized and recommended listen.
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