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Punos Music & JVTLANDT プレゼンツ： VOMIT FIST: OMNICIDE CD digipack
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Omnicide is the second chapter of the mythos that began with the first Vomit Fist EP Forgive But Avenge. The band takes their music to new level of intensity and poetry. Two tracks proudly feature guest bassists Samuel Smith (Artificial Brain, Luminous Vault) and Jon Ehlers (Bangladeafy). "The Frogvasion assault fails even as the Human defenses collapse, exacting omnicidal cost from both Homo sapiens and the Frogmen. A sea of rotting bile swirls with ripe corpses. A wind blows across the frothing peaks while rising swarms of flies masquerade as plumes of war-smoke. An ecosystem of death; rotting corpses stuffed with egg sacks; a soldier's gas mask teams with ova soaked in putrid fluids. The triumphant sky-hoard of Muscidae yearns for the diminishing sun with a moribund embrace. This is Omnicide." |
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1. Sleep Paralysis [1:07] |
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Lurkrot: Drums & vocals Skrag: Vocals Vürdoth: Guitar Samuel Smith: Bass on 4 Jon Ehlers: Bass on 5 Alex Geisel: Second guitar on bonus track All tracks composed by Vomit Fist Bonus track by Alex Geisel and Vomit Fist Produced by Nick Didkovsky Recorded and mixed by Nik Chinboukas at Spin Recording Studios Additional guitar and vocal tracking at Punos Music Mastering by Thomas Dimuzio at Gench Studios Cover art by Paolo Girardi Insert art by Masato Okano
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Vomit Fist hails from New York City, delivering hard, fast blackened grindcore with ultra-high energy stage performances. Founders Nick Vürdoth Didkovsky and his son Leo Lurkrot Didkovsky teamed up with Malcolm Skrag the Screecher Hoyt and burst onto the underground metal scene in 2013, playing hardcore matinees, all-ages shows, DIY garage events as well as festival dates and club gigs.
They released their first EP "Forgive but Avenge" in July 2014. Featuring the apocalyptic artwork of Paolo Girardi, the CD was recorded and mixed by Nik Chinboukas at Spin Studios.
Guitarist Nick Didkovsky is best known for his bands Doctor Nerve, Häßliche Luftmasken, CHORD, his work with the Fred Frith Guitar Quartet, and as co-inventor of Java Music Specification Language. He has composed for a number of ensembles including Bang On A Can, ETHEL, and Meridian Arts Ensemble. His Black Sabbath guitar lessons on YouTube have reached millions of viewers. Album credits include Alice Cooper "Paranormal".
Drummer Leo Didkovsky plays drums in Hunter-Hunt Hendrix's transcendental black metal band Liturgy and Toby Driver's avant-goth band Kayo Dot. He has noise duo called INCLUSE with Alex Geisel, is a co-founding member and a songwriter for the punk band Chaste, and plays drums with the punk band Dog Date. Album credits include Liturgy “H.A.Q.Q.” and Kayo Dot "Blasphemy".
Singer Malcolm Spraggs Hoyt is the cofounder, guitarist, and one of the songwriters in Chaste. He also plays guitar in Dog Date, drums in the prog-punk outfit Megalopolis and records solo material under his own name.
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REVIEWS Within the first few seconds you can hear the leaps of progress the band has made on their sophomore release, filling your head with enchanting melodies and fierce passages that take you away on a mystical journey of horror. Simply put, you ought to stop what you're doing and listen to this now!
VOMIT FIST is a self-described Blackened Grindcore act from New York, and their second EP, “Omnicide,” was released on Dec. 1, 2019. While the band calls their sound “blackened,” there were about two or three Black Metal moments on this EP, excluding the vocals that definitely had that classic, Blackened shriek. If anything, this was closer to Progressive Grindcore, but not quite Mathcore. “Omnicide” started with mild, basic Grindcore riffs. In the first three songs, which collectively make up for roughly 2:44 of this record, the most interesting moments were on “Flies Choke the Grove.” This track was a groovy, riff-heavy chord-machine that experimented with time signature enough to catch and hold the attention of the listener. This newfound thirst for diversity brought on by track two was fully quenched with “Single-Minded Annihilation.” This track spanned five minutes, making it the longest song on the EP. The song followed a structure that scarcely repeated a riff a second time and progressed naturally through complex instrumentation. It reached an instrumental break that featured dissonant, blackened and atmospheric riffs. It was undoubtedly the highlight of the EP. “Mass Mutation” followed up this monumental track with even more Progressive Metal. With HIERONYMUS BOSCH-like riffs, the song stood out from the rest. It featured a very advanced bass line and an overall progression that was irresistible in quality. It was just over two minutes long, making it like a snippet of a Progressive Death Metal masterpiece. With the better tracks evenly spread out, it was no surprise that the EP had a very strong ending. “Choir of the Submerged Church” had technical riffing on top of the dissonant Grindcore that made up the majority of the record. The intro riff was similar to older OPETH, and the same riff was reprised later in the song. The reprisal was much more elaborate and thought-out with incredible progression and vocal variety. Overall, “Omnicide” was simultaneously by-the-books and outside of the box. Most of the shorter tracks were basic, directionless, dissonant Grindcore, but the other tracks were beautifully crafted Progressive and technical pieces. The basic Grindcore aspects were not bad; they were just not as profound as the other, more complex tracks. This is highly recommended to fans of CAR BOMB. Songwriting: 9
2013 taten sich drei Musiker unter dem Namen VOMIT FIST zusammen und hatten dabei nur ein einziges Ziel: Den New Yorker Grindcore-Underground mal ordentlich brodeln zu lassen. Auch wenn zwischen der Erstlings-EP "Forgive But Avenge" und dem neusten 20-Minüter stolze fünfeinhalb Jahre liegen, haben Lurkrot, Vürdoth und Skrag nichts an Wut und Ausdrucksstärke auf der einen, Komplexität und musikalischer Bösartigkeit auf der anderen Seite vergessen. "Omnicide" knüppelt und kracht auf Teufel komm' raus! Einflüsse von THE CONTORTIONIST, BRUTAL TRUTH, PIG DESTROYER oder NASUM sind sicherlich nicht von der Hand zu weisen. Ein paar NAPALM DEATH- und TERRORIZER-Nuancen kann man auch deutlich spüren, doch irgendwie hat das Trio aus New York noch eine ganz eigene Note, die sich durch die 20 Minuten Grindcore Deluxe ziehen. Ein mehr als gelungenes Apokalyptik-Artwork sowie der etwas rumpelige, aber durch und durch passende Sound sind die Grundpfeiler für diesen akustischen Tritt in die Magengrube. 'Flies Choke The Grove' oder beispielsweise 'Mass Mutation' kommen für das Genre gewohnt schnell auf den Punkt, 'Single-Minded Annihilation' und das abschließende 'Choir Of The Submerged Church' sind etwas ausufernder, aber fügen sich dem restlichen Song-Arsenal gut hinzu und mit Schreihals Skrag hat VOMIT FIST einen guten Shouter an der Front, der dem instrumentalen Overkill den nötigen Pfiff gibt. Ich bin – bei aller Liebe – nicht der Grindcore-Experte in unserer Redaktion, doch "Omnicide" hat es selbst mir durchaus angetan. Mit einer gesunden Portion Wut im Bauch, den entsprechenden Rahmenbedingungen und einer nicht ganz talentfreien Handhabung weiß VOMIT FIST auf Werk Nummer zwei über lange Strecken zu gefallen. Mal sehen, wann der New Yorker Underground auch zu uns herüberschwappt. |
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Hailing from New York, Vomit Fist emerged, mewling and screaming from the underground, in 2013. A three-piece, the band comprises guitarist Nick Didkovsky, drummer Leo Didkovsky (Nick’s son) and vocalist Malcolm Spraggs Hoyt. This core trio are joined by Samuel Smith (Artificial Brain, Luminous Vault) and Jon Ehlers (Bangladeafy), who add bass to two tracks, as well as Alex Giesel, who provides second guitar on the twenty-second bonus track, Mind-artifact Espionage. Omnicide is the band’s sophomore effort, following on from the blistering debut, Forgive But Avenge and it offers up nine tracks, which, in true grind fashion, range from a matter of seconds to just over five-minutes in length. Packaged in a handsome digipack, complete with stunning cover art (Paolo Girardi), it is an epic and frequently surprising record that showcases an impressive attention to detail.
Barely registering, thanks to its ferocious brevity, Sleep Paralysis opens the record amidst a brutal melee of snatched riffing and scorched-earth vocals. It’s over before you’ve even realised it’s started, leaving you with a sore neck and a mild case of bewilderment. The stabbing Flies Choke The Grove, although darker in aspect, is barely any longer, it’s blackened riff and harrowing vocals well placed to add a sense of unease to the band’s unhinged oeuvre. Even after two such bristling pieces, Cleanser, which clocks in at seventeen seconds in length, proves surprising, a blink-and-you’ll-miss-it slice of white hot fury condensed into the shortest of assaults, it perfectly epitomises the hit-and-run tactics of grind. In contrast, the lengthy battering of Single-Minded Annihilation stands as the album’s high point. The band impressively sustain the intensity, whilst adding new sonic elements to the mix, Nick’s guitars veering between blackened grind and post-metal ambience with fluid confidence. It’s an epic track that is worth the price of admission alone, and it sits at the black heart of this short album, giving greater meaning to that which surrounds it. It’s followed up by the stair-stepping guitar work of an unexpectedly complex Mass Mutation, underscoring the musicianship that the band can bring to bear.
Another album highlight, the seething Remnant Light sees the band exploring their black metal passions, managing to inject melodies of surprising depth into the cornucopia of icy riffs and scabrous vocals. It plays out over a mere three minutes, but in ensuring that their music never outstays its welcome, Vomit Fist ensure the listener always wants more. It’s followed by the relentless (and mercifully brief) hammer to the cranium that is Death Process, a moment of pure, old-school grind that flashes past in just twenty-three seconds. In contrast, the brief Overgrowth hints at a love of Sonic Youth with its twisted chords and avant-melody. The track segues into the brilliantly titled Choir Of The Submerged Church, maintaining the avant-garde sound of its predecessor whilst injecting blackened elements reminiscent of Thurston Moore’s beloved Mayhem into the mix. For any other band it would be the perfect closer to an album that consistently delights in wrong-footing the listener. However, as if to restate their grind credentials, Vomit Fist leave a twenty-second bonus track in the form of Mind-artifact Espionage, administering one last vicious beating to the brutalised listener just as they are lurching out of the door.
Vomit Fist stand proud in a long line of exceptional bands hailing from the great city of New York. A city that has long appeared to instil a sense of wilful experimentation into all those who operate within its borders, New York’s pivotal role in the American psyche can scarcely be understated and Vomit Fist, their magnificently unpleasant name notwithstanding, uphold this tradition perfectly. With Omnicide, Vomit Fist have crafted a record that, within its short run time, takes in grind, black, death and alternative metal, barely pausing for breath and always keeping the listener guessing as to what’s coming next. High points abound, although the monstrous ebb and flow of Single-Minded Annihilation is arguably the album’s most impressive moment. A genuinely original release amidst a sea of interchangeable extremity, Omnicide is a fantastically frantic release that takes the listener to the edge and keeps them there for the duration.
9.5/10
+ “SonicAbuse’s Top 25 Albums Of 2019”
Vomit Fist are a grindcore band from the US and this is their latest release.
Here we have 20 minutes of complex, vicious grindcore. This is not your standard grindcore, however, and Vomit Fist have produced something far more atypical and individual than most.
There’s an apocalyptic energy to this, apparent as its songs ravage and tear their way through their running time. Most are short and brutal, but occasionally the band try their collective hands at longer compositions, which gives them the chance to spread their wings a bit more.
This is the kind of grind that, on its surface at least, revels in brutality and harshness. Under that grimy surface, however, lurk songs that take lesser-travelled paths down grindcore avenues, incorporating elements from hardcore, mathcore, sludge, black metal, and death metal, wherever and whenever necessary in order to get the job done. This means that we even get moments of nuance and atmosphere on Omnicide, as well as some quite impressive playing here and there. Simple and uncomplicated, this is not.
I really can’t emphasise enough how diverse and engaging this is. Comparison-wise there’s everything here from Pig Destroyer, to Between the Buried and Me, to Enslaved, to Labrat, and more. This well-constructed album has everything the modern extreme metal enthusiast would want, and more.
Vomit Fist are not grindcore purists. Rather, they worship the gods of extremity, following wherever the nastiest and sharpest extreme metal influences take them. The end result is a grinding smorgasbord of nastiness, and one very enjoyable, multifaceted monster of a release.
Exceptional.
Vomit Fist is de zwartgeblakerde vader-zoon grindcore band van de familie Didkovsky, aangevuld met zanger Skrag en maakt sinds een jaar of vijf de New Yorkse underground scene onveilig. Na een tijd van stilte is er nu nieuwe muziek beschikbaar van deze mannen en wel onder naam van de EP ‘Omnicide’.
Twintig minuten dissonante, licht avant-gardische herrie én ouderwetse grindcore, dit alles met een zwart randje, is wat we voorgeschoteld krijgen. Met ‘Sleep Paralysis’ beginnen ze met een vrij simpele, brutale death,/grindcore song uit de oude doos en ‘Flies Choke The Grove’ is dan weer redelijk dissonante kabaal dat niet zo eenvoudig te verteren is. Met enkele klassieke twintig seconden durende grindcore nummers, afgewisseld met agressieve klappers die tot wel vijf minuten blijven hameren, krijgen we een divers allegaartje waar geen lijn op te trekken valt. ‘Choir Of The Submerged Church’ heeft zelfs een pagan/folk smaakje dat via een ingewikkelde songstructuur aanzwengelt tot een progressief thrashy en punkerig nummer en weer terug. Niet heel gemakkelijk om te volgen allemaal.
Het zwaartepunt ligt in het midden van het album met de drie beste nummers achter elkaar, waarvan ‘Mass Mutation’ een zalig trage stamper met enkele technische hoogstandjes is, ‘Remnant Light’ het dichtst tegen black metal aanleunt en ‘Single-minded Annihilation’ met z’n sfeervolle passages het ware potentieel van de band toont. Samuel Smith van Artificial Brain komt hierop ook een stukje mee bassen, wat het meteen één van de meer technische songs maakt. De kortste nummers zijn vrij betekenisloos en alleen interessant voor de echte liefhebbers van grind. Er komt dus veel op je af tijdens het luisteren naar dit plaatje en ik kan gerust een beetje variatie hebben, maar het zou me toch beter bevallen, moest Vomit Fist de lijn van ‘Remnant Light’ doortrekken op een volgende release. Het artwork is van de onoverkomelijke Italiaan Paolo Girardi, die eerder al werk afleverde voor Inquisition, Nocturnal Graves, Diocletian, Bell Witch en nog vierhonderdzestig andere bands. Uiteindelijk is het een leuke digipak geworden, staat er voor ieder wat wils op ‘Omnicide’ en raad ik zeker niet af om dit schijfje te checken.
7/10
Grindcore er en genre, hvor energi vægtes langt højere end struktur og sammenhæng, så da jeg så betegnelsen i pressematerialet, satte jeg mentalt Vomit Fist i den bås. At det var lidt forhastet, viser New York-bandet på ” Omnicide”, som er deres anden EP, for her er der plads til andet og mere end bare kaotisk power.
For lige at sætte tingene på plads: Rigtig Grindcore med alt hvad dertil hører leverer de tre medlemmer Skrag, Vürdoth, Lurkrot i rigt mål – numre som ”Death process”, ”Cleanser” og ”Sleep Paralysuis” er nøjagtigt lige så vilde og voldsomme som forventet – okay, så er det på plads.
Men allerede åbningsnummeret overrasker med sine duga rytmer i moderat tempo, sin kontrollerede energi og de flerstemmige(!) vokaler. Ikke mindre forbløffende er det instrumentale ”Overgrowth”, som er lige så meget Rock som Metal, og har fine melodilinjer.
På samme måde starter ”Remnant Light” ret roligt og kontrolleret, men spidser til helt til slut.
Endelig vil jeg fremhæve ”Single-minded Annihilation”, som er udmærket Death Metal, endda med et skud groove.
Så jo, mit første møde med Vomit Fist faldt positivt ud; amerikanerne viser, at det sagtens kan lade sig gøre at skrue lidt ned for vildskaben uden at miste power.
4/6
House of 1000 Corpses Punishing record of high-energy “grindcore” noise from Vomit Fist…this Omnicide (JVTLANDT JVT0019) EP delivers just over 15 mins of fast-moving toxic sludge that could give you incurable cancer just by picking up the digipak, and extrapolates its nihilistic pledge into the apocalyptic cover art, where war machines and diseased corpses are piled up in a huge red ocean of blood. This New York group turns out to be led by guitarist Nick Didkovsky, a fellow we more normally associate with free improvisation and art music modes, on account of his recordings and performances with Han-Earl Park, Hugh Hopper and Fred Frith, but this would be to ignore his avant-rock noise combo Doctor Nerve (who I never heard). Renaming himself Vürdoth for this Vomit Fist thing, he roped in his son Leo (Lurkrot) on drums and recruited Malcolm Spraggs Hoyt (calling himself Skrag The Screecher) from the punk band Chaste to add the throat-shredding vocals that are the hallmark of this genre. Two photos of them playing live reveal the requisite black T-shirts and some suitably alarming facepaint daubs to make their faces look like evil demonic skulls. They’ve been doing this metal thing since 2013 with two self-released EPs, of which this second one appears to have now been reissued (or at least distributed) by Jvtlandt. A good purging spin with plenty of short tracks – ‘Cleanser’ is but 17 seconds long – but my favourite is ‘Choir of the Submerged Church’, which bucks the trend for extreme brevity by coming in at 3:18 and not only boasts some very skilled guitar-chiming noise, but feels more structured, like a prog-rock epic in miniature. The other odd thing is how much “fun” Omnicide generates…despite the pure negation of the lyrics and imagery, the band don’t really seem too keen on projecting an all-out evil vibe, as many of these death-core grinders strain so hard to do. Instead you get the sense the band are really enjoying the whole thing, especially the drummer. I’d like to think Leo is a furious 15-year old teen from the frantic way he’s hammering these tubs, but I’m probably wrong. With visuals by Paolo Girardi (horrific cover painting, also available as a poster) and Masato Okano (grim devil illustration inside) and mastering by Thomas Dimuzio (another art music connection there). |
