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Agoraphobic Nosebleed - 'Agorapocalypse'

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Agoraphobic Nosebleed - Agorapocalypse Relapse Records

The Bottom Line

Grind troupe Agoraphobic Nosebleed revisits their love of thrash.
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Pros

  • The Agoraphobic Nosebleed sound combined with 1980s thrashcore.
  • Salome vocalist Kat a strong addition.

Cons

  • Hardcore fans might miss 30-second blast songs.

Description

  • Released April 14, 2009 by Relapse Records.
  • This is the third ANB full-length and the first long-player since Frozen Corpse Stuffed with Dope (2002).
  • Cover art by longtime ANB collaborator Florian Bertmer.

Guide Review - Agoraphobic Nosebleed - 'Agorapocalypse'

Listening to a new Agoraphobic Nosebleed album is a bit like opening the medicine cabinet and swallowing pills without reading the label. You know what’s in your hand (or transmitted via Internet stream in this instance) is going to lead into some dark corner of the brain and likely cause flashbacks and regret.

This is, after all, the band that crammed more than 100 songs on a twenty-minute extended play (the notorious Altered States of America) and influenced a generation of antisocial troglodytes to pick up drum machines. But you are curious and perhaps more than a little self-destructive so you take the plunge. The big surprise is that Agorapocalypse is the most purely musical thing Agoraphobic Nosebleed has ever recorded.

In appears that Scott Hull and this three-vocalist troupe locked themselves in a cellar while writing Agorapocalypse and listened to nothing but D.R.I, Cryptic Slaughter and Corrosion of Conformity; the scream that opens the album directly channels D.R.I.’s Kurt Brecht.

The new direction might throw off fans accustomed to ANB albums packed with 30-second blast songs and sociopathic antics. But the thrash-tinged album still sounds like ANB and is packed with the same politically incorrect tirades.

Salome vocalist Katherine Katz is a strong addition and screams with as much vitriol as co-vocalists Jay Randall and Richard Johnson. Guitarist Scott Hull, also of Pig Destroyer, finds interesting musical ideas and has an eternal eye for the killer riff. It sounds strange to say, but some of the songs on an Agorapocalypse kind of rock.

There’s still room to grind, too; the final two tracks “Ex Cop” and “Flamingo Snuff” could have been placed on the ANB discography Bestial Machinery. Agorapocalypse might lack a bit of the deviant vibe of ANB’s past work, but there’s still thrash, grind and a liberal dose of madness.

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