Saturday, February 21, 2009
Do not apply to silk, velvet, plastic, corduroy, or suede
"It’s funny that a band should share the same name as what the ladies call me! *Ahem*, returning to reality, Hex Machine are a long-running project out of Virginia that has had it’s share of members come and go, yet press on with noise rock filth of the highest caliber. I know right now there’s a small current of bands that are championing the AmRep sound, and I’m happy about that. Though I think Hex Machine might win the title for hitting it square between the eyes, what with it’s early 90’s feedback-laden, fuzzy recording. The early Today Is the Day screeches and howls, seething vocals and tortured rhythms are most noticeable. The pounding fuzz of old Hammerhead records beat to shit acting as a conduit for Hex machine’s playing, and their daily worship at the alter of Halo Of Flies... it’s all there. They eat Guzzard for breakfast and shit out The Cows at the end of the day. And for all that I applaud them. It’s a bitter, pissed off listen that hurts in a good way. Somewhere Tom Hazelmeyer is shooting off a rifle in their honor."--HH (Minimum Underdrive, firstname.lastname@example.org)
Hex Machine "Omen Mas"
Posted on Monday, February 23rd, 2009 @ 8:17 am »
"Probably the single most interesting band from here in Richmond, Hex Machine has finally released their debut full-length CD, "Omen Mas", via the equally obscure Minimum Underdrive imprint. Picking up where last year's "Run to Earth" 12" left off and running wild with the band's patented take on what seems (rightfully) oft-tagged math metal puréed with that classic AmRep vibe, there's simply no denying the intriguing might of this outfit. On the songwriting front, you'll find everything from taut, crisply performed math metal crunch ("Lunatic Sun") to surprisingly catchy, bass-driven, grunge-encrusted breaks ("Blueprint to Madness", "Vivisection") to forcefully sludgy rhythms and bizarrely noisy textures - all the while with vocals that saunter back and forth from uniquely strained screams with hints of singing to unhinged howls 'n' wails aplenty. Not to mention the back to back run of the 8+ minutes of gnarly, mangled feedback and completely warped chords of "Godheads Full of Candy" beside the less-than-two-minute tear of sliding chords and caustic leads in "Pink Whisky" (which somehow actually reminds me a hell of a lot of early Nirvana, dare I say). The recording this time out is even thicker than before, with massively dense pulses of bass roaming in and out between the natural warmth of the percussion and varying degrees of intensity on the guitar front, while the vocals squirm around and burst forth from the heart of the mix so as not to interfere with any of the group's instrumental twists and turns (unless needed, that is). What more can I say? Huge fan!
If for some, well, fucking stupid reason you're still not convinced, you can steam the entire album at Last.fm, so… check that out and see if your brain finally starts to grasp reality, eh?"