Once again erupting from one of the hellholes of Spain, Dishammer returns to make mothers and sisters weep. Their cocktail of old-school thrash/black metal fused with d-beat and crust punk flowed through many of our veins in 2010. Personally, they’ve become one of the bands I’m most obsessed with lately, and they’ve already secured a spot high up in my personal musical history. With Motörhead, Discharge, Hellhammer, Bathory, and vintage porn all in the mix, it would’ve been strange if that weren’t the case. If I ever form a band someday, it will probably sound a lot like Dishammer—no doubt about it.
In the interview we did with Dishammer last year, they mentioned how their 2008 release Vintage Addiction was recorded, sent off, and released with zero mastering or mixing—"we recorded it, had dinner, and sent it off." It seems that same ethos applies to this EP as well. The production is raw and filthy enough to rupture the eardrums of anyone craving polished, high-def sound. This is pure old-school garage filth. Structurally, the songs resemble Vintage Addiction, but they hit harder—especially in terms of guitars and vocals. Seven tracks, fifteen minutes—pure frenzy, madness, sex, and satanism. The cover art is also classic Dishammer—overtly sexual and utterly irresistible.
Musically, the songs are once again a typical hybrid of Motörhead, Discharge, Hellhammer, and Bathory, but this time the Motörhead worship is turned up even more—especially in the guitar work. Expect plenty of Motörhead-style riffs and rock’n’roll solos. The drums are pure Discharge, sticking to classic d-beat rhythms, while the vocals are even filthier—abrasive and steeped in black metal filth. The opening track, “The Devil’s Advocate,” kicks things off with demonic energy, its drums and guitars reminiscent of Motörhead’s “Mean Machine.” “Outlaw Psychopath,” which follows, continues with Discharge-esque riffing and marching drums. “Under the Sign of the D-Beat Mark” is a direct homage to Bathory and one of the standout tracks on the record. Immediately after that, “Sexwitch” comes in as my personal favorite.
This is a record dedicated to sex, rock’n’roll, and satanism—bursting with short, punk-structured tracks fused with filthy old-school black/thrash metal and Motörhead-driven rock’n’roll. You won’t be able to sit still while listening, and without a doubt, it’s one of the best releases of 2010.