Nequient – Avarice Review By Samguineous Maximus

With a name like that and an album cover featuring a vivisected human head, you’d be forgiven for thinking that Nequient play a form of knuckle-dragging brutal death. Instead, the Chicago four-piece specializes in a brand of chaotic, grinding metallic hardcore that recalls the frenetic math explosion of the early 2000s. Avarice is the band’s third full-length and promises a “unique synthesis of extreme metal and hardcore” to “blast listeners out of complacency with withering screeds against the malignant forces ravaging our world.” Despite some solid releases from last year, it’s been a while since new mathcore shook me to the bone and reminded me of modern existence’s inherent fragility. Nequient have the requisite political bile coursing through their veins—the same volatile fuel that powers the genre’s most unhinged eruptions—but is Avarice actually worth your time, or just another flailing heap of panic chords destined to suffocate beneath a pile of white-belt-era clichés?

On Avarice, Nequient paints an anarchic arras with a dizzying amount of stylistic touchstones. The band combines the unhinged frivolity of The Sawtooth Grin with the fast-paced stop/start violence of The HIRS Collective, and loads their tracks with riffs that actually stick, echoing early Converge at their most surgical. The twist? These songs feel coherent. Longer runtimes turn what could be scattershot spasms into fully realized compositions, bolstered by a wide palette of metallic textures. Blackened tremolos (“Christofascist Zombie Brigade”), demented odd-meter thrash gallops (“Brain Worms”), and sludged-out funeral dirges (“Splenetic And Moribund”) are all threaded together with mathy convulsions Nequient execute with unnerving precision. Throughout the record, the band moves between ideas at a dizzying pace, consistently impressing with bewildering moments of aural chaos.

More than just a collection of moments, the songs on Avarice are propelled by relentless pacing and tangible chemistry among the band members. Nequient’s secret sauce lies in the interplay between Patrick Conahan’s disorienting guitar cascades and drummer Chris Avgerin’s dextrous, fill-heavy style. Conahan glides between mosh-ready grind parts (“Mad King / Fool”), undulating, deathy descents (“Rintrah Roars”), and unsettling noise-rock lurches (“Siege Mentality”). Avergin follows along expertly, always mirroring the spastic guitarwork with tasty, intuitive drum parts that guide the ear and ground the anarchy. Aaron Roeming provides the low-end thunder and adds a purposeful heft that thickens the chunkier riffcraft while vocalist Jason Kolkey leads the charge, alternating between a sassy, vitriolic spew and full-bodied death growls while delivering caustic epithets about the horrors of modern life. Kolkey’s acerbic lyrics pull the whole disgusting package together, melding poetic death metal abstraction with punk’s immediacy and sharpening the record’s nihilistic aura into a potent weapon aimed at a broken system.

In fact, Nequient is almost too adept at channeling the noxious undercurrent of societal id, leaving precious little room to breathe across Avarice’s full-frontal assault. Longer tracks usually ease up on the throttle and inject variety with less frantic, slower sections, like with a menacing sludge-into-breakdown (“Rintrah Roars”), or a hazy, chordal comedown (“Stochastic Terror”). Still, I find myself wanting just a touch more space to find my bearings during full-album listens. Avarice is well-paced, and there are more than enough ideas to keep the 40-minute runtime interesting, but it’s missing one or two blissed-out melodic ideas1 or jaw-dropping displays of contrast to elevate it to the peak of the mathcore mountain. This doesn’t prevent Avarice from being a stunning display of technical aggression, but it does mean more than a few spins to decipher its labyrinthine heaviness.

Nequient really impressed me with this one. Avarice is a nerve-flayed, teeth-grinding listen that captures the low-grade panic and spiritual exhaustion of modern life with alarming precision. Rather than settling for dime-a-dozen mathcore spasms or rote metallic bludgeoning, the Chicago crew stitches together dissonance, groove, chaos, and razor-wire technicality into something far more purposeful. It’s punishing without being empty, intricate without disappearing up its own ass, and memorable enough to demand repeat spins. If you’re craving chaotic metallic extremity that does more than regurgitate the usual suspects, Nequient have your number.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Nefarious Industries
Websites: nequient.bandcamp.com | facebook.com/nequient.band
Releases Worldwide: April 24th, 2026

#2026 #35 #AmericanMetal #Apr26 #Avarice #Botch #Converge #DeathMetal #Grindcore #Hardcore #Mathcore #NefariousIndustries #Nequient #Review #Reviews #SludgeMetal #TheHIRSCollective #TheSawtoothGrin #ThrashMetal

BOTCH
an anthology of dead ends
suédée par Thomas Brochard Castex
.
.
.

Thomas exhume ses copies cd gravées il y a plus de 20 ans.

#pochettededisque #botch #ananthologyofdeadends #copiecd #enattendantdavoirlalbum #putaincestcherunvinyle

I am now listening to Saint Matthew Returns to the Womb (Live) by Botch #Botch
https://www.last.fm/music/Botch/_/Saint+Matthew+Returns+to+the+Womb+(Live)

Wolves – Self-Titled Review

By Dear Hollow

Remember when hardcore was, like, hardcore? Wolves does. The generically named yet tongue-in-cheek UK hardcore gang makes antiestablishment music cool again, but not in the tired way. It’s not the noise-and-noise-only approach of early punk’s darlings Sex Pistols or Black Flag, but it ain’t pop-punk’s catchy anthem either. It’s jerky, jagged, unhinged, and doesn’t give a fuck about your feelings – it’s angular!1 But it’s also melodic, heartfelt, and overwhelmingly sincere. Calling out fascism and nationalism and the assholes who tote them, while getting personal and vulnerable with themes of parenthood and heartbreak, Wolves offers a scathing forty-eight minute romp through both the unfriendliness and melodicism of hardcore’s storied history.

Wolves is hardcore in a traditional way, but that doesn’t forego on experimentation. The quintet at its core recalls the hardcore fury of Gallows or Verse in their punky politically inclined foot on the gas, but they toss in a generous helping of post-hardcore, healthy cup of mathcore, and a drizzle of post-metal into their stew of titles. Furthermore, four out of five members are also vocalists2 and panic chord abuse runs rampant alongside a groovy swagger. It recalls Every Time I Die, The Dillinger Escape Plan, and Poison the Well without committing to them completely, creating a hardcore album that rides neatly on the borders with intensity when needed and thoughtful melody when the situation calls for it. Both bolstered and hindered by their four vocalists and a gratuitous runtime, Self-Titled is math-curious, -core-furious, and genre-spurious debut LP.

Wolves justifies its lengthy runtime with some tasteful experimentation. While the backbone of tempo-abusing furious hardcore punk, a hefty amount of melody adds a heartfelt ache to the tracks (“All or Something”), while post-metal’s dirge-like hypnotism appears to slow things down in a far more somber and dreary tone (“New Liver, Same Eagle”). These moments can be hit-or-miss, however, as the more Intronaut-inspired expanses that rely on clean vocals fall drearily flat (“A Stolen Horse”), the bluesy riffs can grate after so many reiterations (“A Guide to Accepting One’s Fate”), and the more chaotic mathcore faithful can derail the otherwise interesting grooves (“Nicaea to See You (To See You Nicaea)”). Furthermore, although the melodic nature recalls the yearning moments of Counterparts or The Ghost Inside, the four-vocal attack does not bode well, the fry vocals feeling particularly grating against the layered plucking (“All or Something,” “A Stolen Horse”).

Thankfully then, the bulk of Self-Titled is one hell of a beatdown romp that toes the line between its influences in a relentless blend of mathy and groovy. Wonky panic chords and dissonant technical sweeps courtesy of The Dillinger Escape Plan add a desperate and unhinged dimension (“LEECHES!,” “Emergency Equipment”), while bluesy swagger that recalls the heyday of Every Time I Die makes riffs sound “yuuuuge” against the backdrop of blistering hardcore tempos, resulting in some seriously mosh-worthy content (“Thirteen Crows and One Pigeon,” “The Rich Man and the Sea”). Second track “Reformed (Try Love)” is of special note, that while its groovy riffs are rad, the spoken word callout is the most hardcore thing I’ve heard this year, calling out those who are “one step from Nazi propaganda” and nationalism-flirting politicians, businessmen, and influencers, British and American: “Mate, they don’t give a fuck about you, but you′ve let them whisper in your ear… ’cause it′s easier to hate than to look in a fucking mirror.” In Wolves’ words, “Christ, what a shower of cunts.”

WolvesSelf-Titled is all about balance, as their unapologetic brashness blends surprisingly well with their tongue-in-cheek vibe and vulnerable melodics. At its core, it’s a math-curious hardcore romp that fits neatly alongside the likes of both Gallows, Botch, and even Stray from the Path, so it’s easy to forgive the overloud vocals, mediocre cleans, periodically gratuitous repetition, and album length. When its experimental edge succeeds, it’s a home run, but that’s not the star of the show – its political edge and weaponized mathcore influence will rip you a new one. Wolves is here to make sure you’re not “duped by absolute scumbags” and have a rip-roaring time doing it.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Ripcord Records
Websites: theycalluswolves.bandcamp.com | facebook.com/theycalluswolves
Releases Worldwide: September 5th, 2025

#2025 #30 #BlackFlag #Botch #BritishMetal #Counterparts #EveryTimeIDie #Gallows #HardcorePunk #Intronaut #Mathcore #PoisonTheWell #PostMetal #Review #Reviews #RipcordRecords #SelfTitled #Sep25 #SexPistols #StrayFromThePath #TheDillingerEscapePlan #TheGhostInside #Verse #Wolves

BOTCH
An Anthology Of Dead Ends
2002 U.S. 10” pressing
Opaque Blue #vinyl

A total change of pace from Nina Simone for last spin of the night.

This was a random dart throw from a clearance bin a few years ago, and to be honest, I STILL don’t know how I feel about it.
However, I keep re-visiting it, as there’s just something about it that keeps me coming back each time.

This is one of those bands/recordings that people like to invent goofy labels/genres for.
#MathRock post-this-or-that #Hardcore nerd #prog #punk …whatever. I don’t know what to call it.

Regardless… interesting rock music from Tacoma, Washington.

#vinyl #vinylrecords #vinylcollection #art #music #vinylcommunity #retro #vintage #washington #tacoma #botch

#TheMetalDogArticleList
#MetalSucks
Sh*t That Comes Out Today: June 27, 2025
Featuring new releases from Botch, Deadguy, and Pig Pen. Sh*t That Comes Out Today: June 27, 2025 .

https://www.metalsucks.net/2025/06/27/sht-that-comes-out-today-june-27-2025/

#MetalSucks #Powerman5000 #Forbidden #Botch #June27 #NewReleases #LiveAlbum #SargentHouse

Mondrian Was a Liar, by Botch

from the album We Are The Romans (Remastered Reissue)

Botch
I Don’t Want to See You in Heaven by The Callous Daoboys

Listen now on your favorite streaming service. Powered by Songlink/Odesli, an on-demand, customizable smart link service to help you share songs, albums, podcasts and more.

Songlink/Odesli
Rate my botch? But hey: it works! #botch #smd #soldering #repair #improvisation
When Brandon St James bopped me on the head with his hockey stick. #prowrestling #videography #botch