Sweden’s d-beat debutants get their beast from the East. You probably won’t be surprised to know that mining the Japanese language for their name and album/song titles isn’t the end of the game for these Swedish d-beat newbies. Satyagraha – which caused a stir amongst crusty punks upon its original DIY release last year – was mixed and mastered in Tokyo and adds chaotic Japanese hardcore to their native kängpunk and worship of Venom’s Welcome To Hell to create a sound ripping straight out of 1984 on a rocket powered by patch pants, studded jackets, bathtub cider and every band that’s ever had ‘Dis’, ‘Död’ or ‘Skit’ in its moniker. The sloppy, muffled recording may be considered charming, but is quite frustrating when the fiery leads in Shisuri Sekai, Iki Jigoku and vocal trade-offs in Shihaisya are castrated by a wall of fuzz, cracked cymbal splashing and an uneven mix. But that’s all part of the dirty, d-beating fun, take it or leave it.
//Metal Hammer, Connie Gordon (6)
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Se takhle občas z prdele kouknu na Hudební masakry. Musím se pak jít honem uklidnit nějakou kvalitnější produkcí. Takže po novým Kalužovo singlu (rap pyčo!) si jako léčebnou kůru ordinuju novou fošnu (debutní) švédskejch řezníků Paranoid. Samozřejmě jde v mým podání o něco jako samohanu, páč tuhle kapelu i lidi v ní znám velice dobře, páč je i vydávám. Ale stejně … vadí to někomu z vás?
Takže “Satyagraha”, téměř celý rok 2015 toužebně očekáváný dlouhohrající debut. Inspirace v japonském hardcoru více než zřejmá. Dokonce i texty a názvy songů jsou v japonštině. Takže fans Framtid / Disclose a samozřejmě všech předešlých i současných Jockeho kapel (Warvictims, Brottskod 11, Electric Funeral, Human Waste, Totalt Javla Morker, Desperat atd. atd.) nemůžou netrefit desítku na terči. Tenhle cca půlhodinovej nátěr musí každýmu pravověrnýmu milovníkovi antihudby zpříjemnit den. Po hororově industriálním intru na vás spadne z kredence tolik hrnců, že je budete ještě tejden uklízet. Potlučený zůstanete nevěřícně stát s otevřenou hubou a mimo rytmus mlátit pokličkama o sebe. Zhruba tak po pěti minutách začnete pomalu, ale nezastavitelně přidávat volume doprava. Naechovanej řev, čitelný rify, splašeně tepající bicí, změny tempa i klasickej d-takt rytmus, sólíčka, hlukový vsuvky. Rokec jak má bejt.
O finální mix a master se postaralo japonské kultovní studio z Tokia Noise Room. Obal a grafické zpracování celé desky je nadprůměrné, alespoň pokud jste majitelem evropské verze, o kterou se postaral Jockeho label D-Takt & Raw Punk Records. Hlavní přebal je s vyřezanými japonskými znaky a uvnitř obvyklé psycho. Mix punkový grafiky s japonskými texty. Jako bonus dostante k vinylu i CD. Potěší, neurazí. Jedna z desek roku 2015!
//Periferia, Phobia79, 01/09/2017
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En teaser i videoformat; enbart snygga skräckfilmsklipp i svart/vitt (Dracula, Bride of Frakenstein, The invisible man, The Mummy, Nosferatu…) föregick denna käftsmäll. Ett härligt kok stryk. Ett bastubad i vinyl med glassplitter i smeten. Låten “Nangijala” är en hyllning till Nils, gissar jag.
Även om Paranoid lätt känns igen så anar man de tidigare banden mitt i oväsendet och effekterna. “Nyhetsprogramriffen” (jag har alltid tänkt på Rapport och Aktuellt-vinjetterna när jag lyssnat på Sylens band.
Uncurbed låg väl i det där spåret också; lyssna på No respect-riffet, så ser ni Bengt Öste framför er) från Dödsdömd och Mardröm blöder upp till ytan, och även inspirationskällorna; Nippon, heavy metal och 90-talskäng. Till och med Iron Maiden kikar fram med en slurk tvillinggitarrer i en låt.
Den avslutande orgellåten är en välbehövlig hjärnsköljning. En tung, repetitiv svart psalm (Nåt spår på Refuseds The shape of punk to come flyter upp till minnes av nån anledning). Som orkestern antytt; man inleder med kaos och avslutar med lugn.
//Gamnacke Fanzine #4, Andreas Bustad, 12/2016
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Crust punk is a minefield. When harnessed correctly, the apocalyptic tones handed down from Discharge, Chaos UK, Amebix and Hellbastard make some of the most enthralling moments ever committed to record. Bands can use that sound to create apocalyptic visions of despair over the state of humanity, the animal kingdom, whatever they want.
It’s such a potent and sustainable sound that it’s no wonder so many are drawn to imitate it in the way others wanted to sound like Killing Joke or Black Sabbath. However, all too often, a good lot of crust acts are either perfunctory (Appalachian Terror Unit) or ruin their music by having “amusing” names like Skiplickers and writing songs about being drunk.
However, if we look towards places like Sweden and Japan, we see places that took the blueprints laid down by the likes of Discharge and (particularly Disorder) and turned it into something else: something more feral. With the focus on speed, the likes of Mob 47, Anti Cimex, G.I.S.M, S.O.B and Gauze upped the ante and helped create the blueprint for grindcore and powerviolence.
Not bad for a genre that still gets written off by some as being populated by unwashed hippes pining for a Crass reunion.
偏執症者 (henceforth referred to as Paranoid) have been on the go since 2012. Made up of veterans from bands like Warvictims, Electric Funeral and Brottskod 11, they came to my attention thanks to 2014’s Destroy Future Less System: it was an impressive record, but nothing really stood out. Clearly there was adherence to the blueprint, and it was executed with conviction and love of the genre. But there was nothing to really sink your teeth into. It could have been a thousand other bands.
Satyagraha was originally released last year on a variety of labels. However, Southern Lord (the new home for hardcore/crust releases such as Oiltanker, Masakari and Heartless) have seen fit to disperse it on a grander scale. Let’s be thankful for that, as this is an album that deserves to be heard.
Opening with the obligatory industrial-type sample of pounding, interference and a clip of philosophy, the mayhem begins in earnest with ‘Kaihou’. The drums pound in the right places, the bass rumbles perfectly, the guitar is suitably distorted in the mix and the vocals have enough distortion on them to rival Disguise. ‘Bouryoku’ begins with tribal (almost Celtic) drumming, leading into something more midpaced with seriously scuzzy bass. Moments like this allow for a flow and variation — a much needed respite for the listener before beating them in the face with a song like ‘Nangijala (Shigo No Sekai)’.
Each instrument can be heard in the mix throughout — a drilling equality that renders each track powerful enough to level a tower block (‘Chinurareta Tousou’, should you need it, is proof of this claim). It’s not difficult to guess how the record plays out, but — make no bones about it — this is an album that will soundtrack the journey into work on Monday mornings.
Once again, the Swedes show the world how crust punk is done.
//The Quietus, Christopher Owens, 03/09/2016
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偏執症者 (PARANOID)‘s 2015 album ‘Satyagraha‘ is out now on CD and LP format via Southern Lord. Comprised of ten biting and unremitting sonic assaults, ‘Satyagraha‘ offers up a diverse yet essential dose of d-beat. Finding itself on an array of end-of-year lists, and stealing the No.1 spot on Cvlt Nation’s Top Six D-Beat Releases of 2015, this album demanded the band’s full fury and whole souls. Therefore, you are implored to listen at maximum volume to ensure ‘Satyagraha‘ burns into your psychosis.
‘Satyagraha‘ is the first full-length album by 偏執症者(PARANOID), the album recorded in Empire Studio, Frösön, Sweden, between December 2014 and February 2015. Engineering and production duties came from Jocke D-takt, with the album mixed and mastered at Noise Room, Tokyo, Japan by Shigenori Kobayashi. The original release came from D-takt and Råpunk Records and Konton Crasher, with cassette versions available from Sub//Par and Lockyard Records. Guest musicians include Nils Landin (backup vocals on “Kaihou”), Johan Landin (guitar solos on “Nangijala”), and Christian Augustin (digital noise). Artwork comes courtesy of Andrew Morgan (Viral Age Records) and Jocke D-takt, with Japanese translations provided by Motokazu Tsukuda.
偏執症者 (PARANOID) is a Swedish hardcore/raw-punk/metal band from Frösön/Östersund, formed in 2012. The foundation of the band’s savagery is in the Disclose-inspired noise blended with Venom-styled black metal, conjuring a destructive vortex of violently rotating northern winds of head banging chaos and pure D-beat fury. However, their adoration for Japanese hardcore is blindingly evident too. Stitched together, this intense sound combines the best traditions of Swedish råpunk and loud Japanese insanity.
The band’s output also includes the demo Hardcore Addict (Distort the World – 2012), Destroy Future Less System (Konton Crasher; D-Takt, Råpunk Records – 2014), Punkdemonium Hell (self-released; Viral Age Recs – 2015), and their 2015 12″ split with Absolut, Jawbreaking Mangel Devastation (Beach Impediment Records, Brain Solvent Propaganda; Phobia Records; Crucificados Pelo Sistema).
//Vita In Musica, Liam Rider, 07/07/2016
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As once famously stated by Kurt Cobain, then later used to “famously” open Pg.99‘s Document #8 lp, punk rock should be “playing what you want, as sloppy as you want, as long as it’s good and has passion.” Of course in the grand context of punk this sentiment rings true. After all, it was a genre founded on the ideals of minimal musical ability used to simply express one’s own ideals. And, above all else, passion still does primarily drive and determine what punk albums are good, and which are truly lack luster.
However, where this sentiment becomes an issue is when bands use it as an excuse to so blatantly rip off their idols without ever contributing to the growth of the genre. Take for example the billions of Discharge clone bands. While some may have plenty of passion to spare they all grow stale when searching through the bandcamp d-beat tag leads to a plethora of bands that sound almost identical. Crust has become too comfortable with itself, staying almost strictly in a rigid set of boundaries that were self imposed and ignoring the innovations of such notable crust bands as His Hero Is Gone and Fall of Efrafa.
Despite this, there are the few bands who still remain loyal to Crust’s pioneers while incorporating some of the newer elements. One such band is Swedish d-beat loyalists by way of Tragedy super fans Paranoid, who are re-releasing their Satyagraha with Southern Lord. By combining the two styles the band manages to create a robust sound that while still paying tribute to their roots, also is distinctly all their own. It is refreshing in a scene plagued by fear of experimentation as well as a staunch reminder to the punk community that no matter how much passion your band has, it can never replace actually good songwriting.
Take, for example, track number 6 on the lp, “Shisuru Sekai, Iki Jikogu”. The song starts as a fairly straight forward d-beat song plowing through until about the 2 minute mark. At this point a new riff kicks in that would feel appropriate in a Dwid Hellion project. Finally it ends in a surge of feedback, a trick that isn’t uncommon in crust records by any means, but feels a bit more meaningful as the riff actually helps to lead into it vs. simply charging into the feedback guns blazing with little to no transition. These tiny details seem so insignificant but in the long run help Paranoid to truly set themselves above the rest of the d-beat clones and provide a refreshing listen.
However, Paranoid still do suffer from the curse of the d-beat band. While they show a very capable range of black and thrash metal inspired riffs, even slowing down at some points to develop somewhat of an atmosphere, the band still steps a bit too close to familiar territory. Where they have so much potential to tap into their wider metal and extreme music influences, they often times choose to dip further into where they are already comfortable. This makes certain songs (tracks 1 – 4) often come as somewhat repetitive punk songs. It feels as if it’s already been done, and though the passion is there, it still begs the question as to why anyone would want to retread that ground. Unfortunately, this also affects the overall pacing of the record with the second half being far and beyond more engaging. By no means are those first few tracks boring, but they lack the extra zest of the last few tracks.
Paranoid stands somewhat alone in a sea of copy cat d-beat crust bands. They play with what the genre can be at certain points, and these moments result in a big pay off. But, despite this slight experimentation, still manage to fall victim to the curse of the crust band and walk back on the ground Discharge already walked before them. Satyagraha is by no means bad, and definitely should not be skipped as it shows enormous room for growth, but it feels like an incomplete product. Paranoid could do so much more, and most likely will, but sadly for right now they are stuck in an all too common rut.
//Heavy Blog Is Heavy (3/5), Jake Tiernan, 17/06/2016
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Nine Circles is a metal blog. First and foremost. But a few of us have a penchant for D-Beat and crust punk. Even more so, Swedish D-Beat. So when 偏執症者 (it means Paranoid) arrives in our inbox, and D-Beat is seen in the description, you can bet there is a brief war over who gets to cover it. As a founding member of Nine Circles, I won. Thus, you get to listen to me drone on about how great punk rock is as a genre, ideal and philosophy. And I get to do that by describing Satyagraha, the newest release from Swedish D-Beat psychopaths 偏執症者.
Although this is their first official LP, 偏執症者 should be no surprise name to people paying attention. Their 2015 effort landed them a few top spots on some D-Beat lists for that year. Since their inception in 2012 the boys have only gotten angrier, more raw and more determined to produce punk rock that melts faces. And that’s exactly what they do on Satyagraha. The album opens in classic punk fashion with audio samples on the first track “Kaihou” before a brief grind track ends. And that’s when the real album begins. “Kenzennaru Seishin Houkai” is a burning quick d-beat song very much in the vein of fellow countrymen Skitsystem. The song flies, with reverb-heavy vocals that mimic multiple vocalists, a few burning solos mixed underneath the d-beat drums and pure, unadulterated aggression.
Not unlike the typical d-beat format, 偏執症者 doesn’t have many forms. The band steps outside their box on “Bouryoku” opening with a two-step and dropping fuzzy guitars over the classically British beat. That track meanders across roughly three-and-a-half minutes before “Nangijala (Shigo No Sekai)” blows the damn doors off the thing. Potentially the most aggressive of the bunch, the track features blistering drums and vocals mixed a-typically in the background (underneath the wailing guitars). There are also tracks like “Kyogi Sakuryaku” which could not be more perfectly crust in their composition and production.
There are a few forms of d-beat and punk. While bands like Wolfbrigade, Tragedy and Victims take a more up front, well-produced approach, 偏執症者joins Skitsystem, Disclose and Totalitär in producing a more raw, knife’s edge style of crusty d-beat. For all the arguments in 2016 about what constitutes “punk rock” I can tell you: this does. 偏執症者 is 1,000% punk in all of its forms and touches. They are violent, aggressive, raw, uncompromising and fully unrelenting. Borrowing from the Japanese school (Crow Air Attack, Societic Death Slaughter and G.I.S.M.) and blending that with the Swedish school (Anti-Cimex, Avskum and Mob 47) and finishing it off with just a touch of the American school (Crucifix, Witch Hunt and Final Conflict) 偏執症者 creates a perfect take on the current state of the global punk scene.
I could wax philosophical about D-Beat and crust punk for the next 4,000 words but I will spare you the history lesson. 偏執症者 is punk in its rawest form and kudos to Southern Lord for taking up the opportunity to release this gem. The band is about to hit the west coast with Canadian crusties Absolut. Your life (particularly in the summer) simply isn’t complete without a heavy dose of d-beat from time to time. So put this album on as loudly as possible and break everything within your personal radius. Satyagraha is about as upbeat as D-Beat gets.
//Nine Circles, Manny-O-War, 06/06/2016
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Crazed and shattering D-beat chaos from a Swedish band who seem to be having an identity crisis and thinking they’re Japanese. Paranoid (or 偏執症者, if you prefer) play some maniacal stuff that merges the blitzkrieg punk of Discharge, Anti-Cimex et al with lashings of primitive metal and ultra-distorted noise. Beneath the howls, brain-razing static and wildly flailing solos are actual, honest-to-god songs, meaning this one’ll not just have you destroying everything in your path but humming a merry tune while you do so. Amazing!
//Collective Zine, Alex Deller, 30/05/2016
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A Swedish Hardcore-Punk outfit hurtling through reverbed vocals and drums of utter destruction, 偏執症者 (Paranoid) are intent on careening straight into and then right through you with 28 minutes of out and out mayhem fuelled aggression.
However there’s real depth here, from the band name (which doesn’t have the translation with it on the cover), to the song titles and cover art becoming more poignant when you discover the album was mixed and mastered in Japan. In the end it all feels intrinsically linked and then shredded to within an inch of its very existence. There’s no let up as the wall of vocals and hammer smack drums shove forcefully through fuzzed guitars, having to hitting twice as hard to make the impression they do. However rather than simply hurtle at 100mph, this lot can also sit in the groove, providing vital hits of reference to make the resultant aggression becomes all the more towering.
There’s no doubting that what happens throughout will prove a mighty steep step for some and with the constantly echoing vocals and heady atmospheres, this is a full on experience that never lets go for a second. You’ll either be swept along by the entire thing with a joyous determination, or catapulted off the ride with such force that whatever you hit first will be splintered into smithereens.
Either way Satyagraha feels anything like its name – a policy of passive aggressive resistance. Instead coming across as the most uncompromising smash in the face you’re likely to come into the proximity of for quite some time.
//Sea Of Tranquility (4), Steven Reid, 28/03/2016
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If it’s a concentrated sonic punishment you seek, look no further. Satyagraha is a necessary amendment to the ‘How to Insert Atmosphere of Uncertainty and Dread in Recorded Music’ Handbook, from the industrialized cacophony of the intro all the way through to the organ-driven funeral dirge at the end of the record. A level of ferocious noise that was last seen on the KRIEGSHÖG LP, and the first FRAMTID LP before that. Like a glistening chrome Machiavellian hammer of noise smashing its way through a mesa of bland tan rock, PARANOID breathes life, context and craft back into a style that has seemingly been losing ground to careless hacks, sameness, and colonization. Best record of 2015 but I heard it too late to make my official list.
//Maximum Rocknroll #394, Justin Briggs, 03/2016
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Currently, many folks are beginning their new year by making empty promises to themselves about all kinds of shit that they most likely won’t be able to follow through with. Luckily, we here at CVLT NATION are here to help! As many of you may know, CVLT NATION is the go-to website for life advice, especially with regards to your health. Instead of vowing to exercise more, revise your resolution and get your daily calorie burn from blasting some Paranoid! If eating healthier is your main concern, I suggest that you purchase some Paranoid vinyl, eat it raw, and let your organs turn to pure rage!
In 2014, the Swedish powerhouse released a full LP titled Satyagraha, and it fucking rips. For fans of all things crust and d-beat, Paranoid will take you on a full-fledged assault to punker town. The band’s recent offering to the Gods consists of 28 minutes of reverbed vocals, raw guitars, and the most pissed off drummer on planet earth. If you’re looking for a brutal combination of past and present d-beat, then look no further than this record. Whether you’re the old guy at the bar with the Discharge tattoo, or the 14 year-old who just discovered punk, Paranoid will bring out your inner discontent. D-beat is an interesting genre, either you do it well, or you don’t. Paranoid, dare I say, have completely mastered the genre and everything from their tone to their album artwork embodies what it means to be in a d-beat band. There is no bullshit attached to this record – if you, or anyone you know considers themselves to have DIY ethics and care about the contemporary state of aggressive music, then Paranoid should frequent any and all playlists. If you like what you hear Paranoid has their own YouTube channel and they update it frequently update it with cover songs, live shows, and their original material. Lurk rad tunes, and rad live shows below and fucking rage!!
//CVLT Nation, Dyland, 21/01/2016
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Nichts ist wie es scheint. Das liegt natürlich an unserer begrenzten subjektiven Wahrnehmung. Auch wenn PARANOID ihren Namen in chinesischen Buchstaben schreiben, bleiben sie doch Schweden. Und das heißt: ABBA, Death Metal oder D-Beat.
Da wir beim Ox sind, also D-Beat und gleich noch etwas Allgemeinbildung für lau: „Satyagraha“ ist eine Geisteshaltung, die von Ghandi entwickelt wurde und im Kern das Durchbrechen von Gewaltspiralen mittels Gewaltlosigkeit bedeutet.
Ja, ja, in den Köpfen der Zecken geht mal wieder mehr vor, als gemeinhin erwartet wird und der Krach vermuten lässt. Musikalisch kann bei PARANOIA nämlich nicht mal im Ansatz von Gewaltlosigkeit gesprochen werden.
Vielmehr prügelt man sich durch neun derbe, rauhe Punk-Songs, wie sie auch Ende der Achtziger aus Skandinavien hätten kommen können, lediglich der Rausschmeißer ist ein ruhiges getragenes Orgelwerk.
Nicht neu, aber gut gemacht.
//Ox Fanzine #123 (7/10), Ollie Fröhlich, 12/2015
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I Close-Up #115 redogjorde Al Cisneros (OM, SLEEP, ex-SHIRINEBUILDER) för sina så kallade Iommistunder: ytterst noggrann skärskådning av den legendariske BLACK SABBATH-gitarristens riffkonster. Antagligen kan Joakim Staaf-Sylsjö (TOTALT JÄVLA MÖRKER, DESPERAT) känna igen sig en smula i Cisneros iakttagelser.
Östersundstrion PARANOID, i vilken Staaf-Sylsjö, ingår, utforskar på sitt senaste album distorsionens innersta väsen, helt i enlighet med japanska DISCLOSE och dess ledare, den framlidne Hideki Kawakami. Gitarrtonen är absurt överstyrd, sången är belagd med kraftig ekoeffekt och den hamrande d-takten lägger ut bombmatta efter bombmatta. Med urstyvt basspel och starka låtar lyckas PARANOID ändå förena det sinnessjukt råa med det direkt medryckande. Helt makalöst bra.
//Close-Up Magazine #178 (9), Daniel Johansson, 11/2015
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Last week a promo showed up in my mailbox that instantly grabbed my attention. The CD cover had an ominous illustration on the front and a track listing in Japanese on the back, but it turns out that 偏執症者 (Paranoid) is actually from Sweden and had all of their song titles translated into Japanese on this new full length Satyagraha. Coming in somewhere between extremely noisy D-beat and punk with a healthy dose of raging metal influences thrown into the mix, this record manages to channel both the Asian and European variants of both genres which results in a killer listen that you’re going to want to crank all the up.
Satyagraha starts off with some lingering noise and ambient sounds before launching right into its abrasive assault. It’s clear right from the start that this album is focused on hitting listeners with some of the noisiest guitar riffs around, and that’s what made it instantly appeal to me. 偏執症者 (Paranoid)’s song patterns may be familiar, as they pull from the D-beat pattern frequently and have aggressive riffing and pounding drums that don’t let up for a single second. But they do it really well, and behind the sheer abrasiveness of the recording there are plenty of catchy riffs that will make you want to crank the volume up and run around with your fists in the air. There are plenty of bands going for this particular style as D-beat and punk of this type regularly have new acts joining the fray, but it’s a bit rarer to have it offer memorable riffs and standout songs alongside the sheer wall of energy. But what’s most surprising about Satyagraha is the way it ends. You get nine tracks of intense instrumentation and catchy leads that all span around two to three minutes a piece before the final song heads off in a completely different direction. Spanning five and a half minutes, the last track on the album takes the foot off the gas in favor of a haunting keyboard melody. It’s an unexpected way to end, but it feels like the instrumentals are channeling the aftermath of the destruction the rest of the material left in its wake and proves that these guys might be thinking just a little outside of the box compared to some of their peers.
When the noise level is this extreme on a punk record of any kind, the vocals have a tendency to be buried underneath the dense wall of sound. But that’s actually not the case here, as even with the ear shattering tonality of the guitars the drums and vocals stand are near the front of the mix and dominate just as much of the spotlight. I’m not sure which of the three members contribute vocals or if all three of them do in some capacity, but there’s quite a bit of variation between screaming and growling that gives the material some additional depth. What I like the most is that the band likes to use the high/low pitches in tandem with each other, giving off that towering presence that works so well for this particular type of music. As with the instrumental work, the screams and growls are unrelenting the entire time through and do their best to grab you right by the throat every single second.
I’m a big fan of any punk/D-beat that’s capable of offering both absolutely punishing tonality and instrumentation mixed with some catchy riffing, and that’s exactly what 偏執症者 (Paranoid) has been able to do on Satyagraha. The guitar attack with the force of a buzzsaw and up the noise to its maximum level, and it’s some of the sickest, dense material of this type I’ve heard this year next to Napalm Raid. But there’s also a hint of some softer experimental elements at the end that fit thematically with the rest of the record, and that’s a sure to help this band stand out a bit from the rest and leave them with plenty of room to branch out should they choose to do so. The bottom line is, if anything D-beat related grabs your attention you shouldn’t miss out on Satyagraha.
//Cosmos Gaming/Transcending Obscurity, Chris Dahlberg, 26/10/2015