The punchy, teeth-rattling songs on this album were tight, charismatic and also brutally straight to the point; the vocals were equally consistent and relentless.
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Everything was locked in, ready to destroy and had no intention of stopping for a sandwich along the way. Minus The Herd is a kind of fly-by heavy experience, weighing in at only 33 minutes long. But it packs such a pelt, that any longer may have been too long. With only the second, humbly industrial, interlude as respite, the record served and still does serve as a reassuringly uncompromised burst of teeth-grinding energy.
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It hits, keeps on hitting and then hits some more, giving no sign if tiring along the way. Even though the music video is probably one of the most chaotic ones out there, I was overwhelmed by its energy, its madness and chaos, and of course the unbelievable heaviness of the music. When Minus The Herd begins, it instantly smashes in and makes me want to break something down. Although the music on Minus The Herd has this extraordinary heavy and brutal aspect to it, there are still some melodies going on amidst the riffing. The way the band incorporated the vocals is another selling point to this record.
Their phrasing perfectly fits within the rhythmic structures and underlines them with even more power and expression. It has a lot of drive, and the individual parts feel so incredibly coherent, even if the music sometimes seems to be chaotic. It might sound obvious, but their dissonant side is definitely something that makes Ion Dissonance sound unique, and may have influenced many bands within the realms of deathcore and death metal, as well as the entire math metal scene. Had a bad day and want to destroy everything? Go with Minus The Herd , it will do the trick!
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Until then, though, stay safe out there, and as always…. Everything Is Noise is here to bring you music that you connect with, and provide a positive, accessible space to discuss this music in a open-minded community of fans and creators. The Everything Is Noise-Newsletter is currently in maintenance. The subscription box will be back soon. Hit enter to search or ESC to close. Robert Miklos. Ashley Jacob.
SCENE & HERD — MARCH 2, 2000
Rodney Fuchs. Until then, though, stay safe out there, and as always… …thanks for reading! To be modern is, above all, to be against something; there is nothing we have learned better from the moderns than the idea that to oppose is a measure of intelligence, perhaps even the sine qua non of intellectual lucidity.
We laugh. And then a moment later we raise our fists and curse our own moonlights. Like a member of the Lone Wolves outlaw motorcycle gang, the undergrounder is socially isolated in the sense of being equally social and isolated — or quasi-social and quasi-isolated. It is perhaps therefore not hyperbolic to call the potentialities of underground prophetic. The prophet, after all, is the one who is born too early, whose mother tongue is met with incomprehension — until it becomes a lingua franca. As a post WWII phenomenon, the underground borrows its name from those illicit networks and movements in Europe that resisted German occupation.
Bookended by the rise of fascism on the one side, and the cataclysms of Hiroshima and the Holocaust on the other, the events of the mid s to the mid s became — and continue to be — determinative of the cultural landscape of the world that followed. The underground cannot be anticipated or seized in advance, and its expressions cannot be specified in formal aesthetic terms.
It does throw cool parties, though. Look at a photograph taken at a Banksy launch party at Covent Garden mid last year, a layered image which contains both a reproduction of a Banksy work as well as a mirrored reflection capturing the scene of the launch. And are we just talking about economic success? The people lining up for their Destroy Capitalism shirt do not look like they are in a state to destroy anything, even a good dinner. Undoubtedly, the imperatives that drive the underground can degenerate and resurface as a series of paranoid and temperamentally adolescent games of faux rebellion and automatic contradiction.
Did it ever? Could it?
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Perhaps the best attitude to take here is a kind of gentle agnosticism. To mangle Voltaire, whenever the underground does not exist, we will have reason to invent it.
Margie Borschke was in Canada in the mid s when she discovered the Underground. Farmer, artist, writer Kirsten Bradley who works from Milkwood Permaculture Farm near Mudgee in the high country of NSW spills the beans on how to make a seedball or seedbomb to revegetate or vegetate urban spaces around you.
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Like guerilla gardening, it's quick, it's quiet and it creeps up on you. Writer and curator of the moving image Danni Zuvela examines underground film in Australia to draw out its spirit it from the pre-Seventies to now - 'profane, collective, improvised, transgressive, convivial, illegitimate'.
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Emeritus Flinders University Professor and philosopher Donald Brook writes about his 'new theory' and why it has never been taken up. He wonders: 'Could it be that he is wrong? It began as a series of zines and is now published by Breakdown Press to impress new readers and inspire new acts of defiance. Joselina Cruz and Paula Acuin.
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