KARYSUN "Interceptor" LP

Interceptor is the band first recording, released in CD only in 2008. Karysun is a new band from Caen (started in 2006) with ex / current members of amanda woodward, sugartown cabaret & aussitôt mort. This vinyl is done in cooperation with Ainu Records and Odio Sonoro (that were involved in the CD release) as well as SMD records in Japan. Read here what Crucial Blast has to say about this one : « Here's a drums n' guitar powerduo that could give Black Cobra a run for the sludgy money - their debut album Interceptor (mucho rad Mad Max reference, there) combines huge crunchy garage metal riffs with spaced-out gutteral Lemmy vocals, leagues of fuzz, and a droning scumbag swagger that reminds me of a noise-rock tainted Black Cobra or High On Fire. There is some really rad shit happening in here though that makes these guys stand out...the distorted motorik drumming that opens "Until I Die" that then launches into an awesome boogie jam with a whiff of fuzzbomb krautrock and The Cult around the rocking verses; the pulverizingly slow and droning sludgecore of "Glad Corpses" that reveals a surprisingly poppy riff under all of the droning guitar crush; again, some massive motorik sludgemetal drone propulsion behind the instrumental title track; "Torche Police Cars" comes off like an unlikely cross between High On Fire, Motohead and Crowbar; "Paco De Lucifero" is a grim acoustic flamenco style tune covered in grit and distortion. All heavy as hell and rocking and loaded with TONS of killer fuzzed out groove, a far cry from the hardcore screamo of the members previous band Amanda Woodward, who were a big name in the French hardcore scene. But the album takes a hard left with the tenth and final track, "Certain Death". Here, it sounds like Karysun decided to drop the droning motorik boogie metal and spacey sludge and go for a massive psych-doom blast to close out the album. A thirteen minute epic of noisy hypno doom, a crushing almost industrial slo-mo riff repeating over and over under a hurricane of distortion and fx and those hoarse, howling vocals sinking deeper and deeper into the increasingly psychedelic mass of sludge noise. It eventually flattens out into a grinding dronescape, littered with shards of feedback and growling amplifiers, wrecked guitar strings dangling from bloodied instruments, a huge slab of blackened buzzing ambient free-noise sludge like a Total record slowed down to 10 bpm, a syrupy buzzing roar stretching out into infinity. That song KILLS. The whole album does, actually