Canyons – One Man’s Trash

Kansas City’s rich musical heritage includes Emo legends The Get Up Kids, Post-Hardcore/Space-Rockers Shiner, Metalcore/Mathcore giants Coalesce as well as Jazz greats Charlie Parker and Count Basie. The blot in ointment for the scene are dumbo Post-Grunge crew Puddle of Mudd (remember5 ‘Blurry’, I do unfortunately), however, seeing as their frontman can’t avoid getting arrested every two minutes, their impact can be regarded as negligible.

Canyons (Guitarist/Vocalist - Morgan "Punch" Mabrey, Vocalist/The Ghost is Clear Records head honcho Bobby Johnson, Bassist Dylan Pyles and Drummer Sean Rehmer) also hail from the City of Fountains with One Man’s Trash a rerecording of their 2019 album of the same name, the promotional notes pointing out the songs being ‘the way they were intended: louder and meaner than ever’. The release was the first in a trilogy of nine track, 20 minute projects and also include2020’s Stay Buried and the forthcoming Clutter. The band have a multitude of other releases too numerous to mention, some of which include 2010’s Can’t Have Nothin’ Nice split, 2015’s Blacklights split and 2023’s Stranded split.

‘Zebrize’ takes its cues from the heavier side of Noise-Rock recalling The Grasshopper Lies Heavy’s latest Heavy. The track also is laden with thick Sludge Metal grooves which can be found on releases by the likes of Eyehategod, some of the screams not too far removed that of Mike Williams. A pulverising and brutal opener. ‘Maximum Security Head’ has a distinctive Metalcore vibe along the lines of Earth Crisis Destroy the Machines which in itself was a Hardcore take on groups such as Exhorder, Prong and Pantera, outstanding. ‘Chancellor of Smoke’ feels more complex sonically compared to its two preceding tracks and I was also reminded of Dazzling Killmen, with the Jazz infused Noise-Rock accompanied by that band’s Nick Sakes’ harsh Vocals. A highlight for yours truly.

‘Flamethrower Feet’ shares common ground with Sacramento Noise-Metallers Will Haven’s and their legendary sophomore record 1999’s WHVN as well as criminally overlooked Post-Hardcorecrew Karp. How was I ever not going to like this? The ‘Killmen once again come to the fore on ‘Pterodactyl Blood’ with the thrilling Mathcore on offer, with Deadguy too being named as a potential comparison. ‘High It On Five’ is Pro-Pain and their bludgeoning brand of Tough Guy Hardcore but with some Vision of Disorder dynamics peppered in which makes it a lot more engaging than the sometimes monotone attack of Gary Meskil and co. ‘Hold it for Ten’ starts at a fair pace before a somewhat Bluesier Stoner Metal attack comes into play which recalls Clutch’s better material, a band with whom I have always had a love-hate relationship. At just over three minutes ‘Sorcerer’s Squire’ is the record’s longest track and there is a sense of dynamism which wasn’t as quite evident prior to it, think The Jesus Lizard, especially the piercing, angular guitar, propulsive bass, machine-like drums, and deranged, powerful vocals. A stunning number. From the longest track on the album to its shortest, ‘Wobbly Machine’ at a mere one minute fifteen seconds affords for a breathtaking conclusion to the album, the doom laden tortured Post-Hardcore/Alt-Metal of The Rollins Band’s early material but with a Grindcore-ish twist.

Having not listened to the original incarnation of the record I don’t really have a reference point with which to compare it. However what I can say is that if heavy as balls Sludgy Noise-Rock is what you are after then you’ve come to the right place. I would also advise that its a good starting place with which to commence your Canyons listening experience.