Endless Bore-Treatment Resistant album review.

Endless Bore-Treatment Resistant album review.

The wait is over and Endless Bore has delivered an outstandingly chunky and corrosive sophomore release. Treatment Resistant (killer album name and art yet again) takes the original hostile formula and amps everything up in an exhilarating fashion. But the thrilling clincher is they add some remarkable elements that really define the EB sound. Opener Hostile Architecture is a case study to illustrate this, a sneaky almost bluesy portion of the track sounds like the band has necked some serious downers, and then it throws acid in your face with searing riffs and acidic raw vocals. What the band has gained is a sweetly dark sludge/doom element that works utterly in sync with the unhinged aggression of the band's core-fast, frantic hardcore with absolutely no bullshit, no bells and whistles-just truckloads of audio violence. And personally, I was absolutely smitten with their first album, so this is a treat to hear the progression in the best possible way. I also hear more late 80's/90's hardcore with the guitar riffs, this also adds some treble to the immense bass and drum expertise on showcase again. But it comes as no surprise as all, as all members have been in multiple bands of significance and depth within the music community. This is a crushingly heavy album but has more hooks and twists and turns than it's predecessor and I cannot wait already for album number three. My faves were: Nosecutter, Antisocial Worker, and Displacement Activity (which starts off sounding like a Rudimentary Peni Track..win-win).
The music is stupendous, the lyrics sensational and it's a perfect aggressive album for the times...Very impressive.

and see this band live once this pandemic bullshit is gone!!!

Comments

Popular posts from this blog

Integrity interview with Dwid on the eve of their Australian Tour.

Bastard Squad-Interview with Jason and "Hate City" album review by Mark Jenkins

Hymns of the Dead review at Dark Mofo 19th June 2019 By Mark Jenkins