Street Sects – End Position

(The Flenser, 2016)

Street Sects (from Austin, Texas) was formed in 2013 by vocalist Leo Ashline and producer Shaun Ringsmuth, and released a few singles in 2014, before creating this their first full-length, a masterpiece which appeared unannounced to many from nowhere, sinking its sharpened claws into minds not disgusted by styles such as Electropunk, Industrial, Noise and Power Electronics.

I gotta admit I wasn’t that convinced about the genius of the band after having heard a couple of songs from this album, but couple of days later, after delving deeper into the violent and chaotic alluring world of the album as a whole, I became an adherent of this shit. This stuff is spiritual.

As already mentioned, what you get here is a fierce and quite original mixture of classic Industrial mentality (think of the more aggressive and faster pieces of older Skinny Puppy or Ministry), Punk Rock (or Electro-Punk if you will), and Noise, chemically (psychedelically) combined into an original and fresh end result.

Most of the music consists of samples which could have been gathered from a steel factory of some sorts, put together in an imaginative way. The clanks, thumps, rattles, fizzes, thuds, hisses, bangs, hums and slams are backed up by vicious electronic bass-lines and pounding snares and kicks, rhythms mostly not related to any certain musical style, except Industrial naturally. The grooves of the beats are sometimes childish even, yet working in an extremely convincing way with all the sample-based madness surrounding them.

There are not many clear melodies to be found on this album, as the music relies mostly on the insane cacophony brought by the various sounds and intense beats, but when you do hear them in the form of synth-lines (mostly), they sound beautiful and strong, yet you realize you wasn’t really missing them in the first place. Such is the power of this music.

The vocals are mostly screams through filters of heavy distortion, and they work perfectly with the music. But what gives this stuff a professional feel to it is the vocalists use of clear and melodic singing in the right places, nodding strongly to their influences, but maintaining the aggressive and original feel of the band.

Besides the distorted chaos and aggression, this album is packed with various emotions of sadness, melancholy, hopelessness, self-destruction, hate, disgust and other cool vibes. In fact, without having read the lyrics, I’m betting my head on them being descriptions of resentment, revenge and suicide, making the cover art (artist) a perfect pick for the album.

There are no weak parts on the album, making it a very solid and powerful totality. In this age, after having heard almost everything music has to offer (when it comes to ideas), it is always a pleasure to find someone taking classic pieces from here and some from there and combining them into something that is truly refreshing and moving. That is something we underground music lovers, grown apathetic after years of first being in love with and then disappointed by many powerful styles of music, are always secretly hoping for.

Give this album a chance, and if you get what I’m talking about above, I guarantee you will not be disappointed. This might very well be your favourite album of the year.

The Flenser

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