Skip to content

Of the great American female-fronted intersectional powerviolence/grindcore surge of the 2010s only California’s Maladjusted, Iowa’s Closet Witch, and Michigan trio Cloud Rat have survived the purging of the subsequent soon-to-be decade. Internationally, German unit Svffer is still going strong and so is Riposte from Paris, France for that matter. In the nine years since explosive domestic - and international acts as Bastard Deceiver, Buried At Birth, Curmudgeon, Deathrats, Necklacing, Sacridose, Idiots Parade, and Rape Revenge all came to an end. In the four years since the superb "Qliphoth" Cloud Rat traveled the world playing shows, released a number of different splits, and later compiled them on the "Clipped Beaks // Silk Panic MMXVIII" double-album. With “Pollinator” Mount Pleasant’s most celebrated export returns in grand form in what is easily their most incendiary since 2013’s “Moksha”. The "Do Not Let Me off the Cliff" companion EP was released simultaneously, compiling all of the more eclectic material written and recorded during the “Pollinator” sessions.

Not a lot has changed in the Cloud Rat camp since they started out in 2009. Stability is what has allowed Cloud Rat to become the force of nature they are today. The only significant change is co-founder/drummer Adrian Lee Manges bading his farewell after "Qliphoth". The then-quartet was reduced back to its original trio format with electronics man Brandon Hill switching to drums. In recent years the trio have taken to recording with J.C. Griffin at Lakebottom Recording House in Toledo, Ohio. In the past they’ve worked with Brian Uhl, Fernando Pena, and Jonia Whitney for artworks, but more recently they’ve taken a liking to the drawings of Renata Rojo. What hasn’t changed (and probably never will) is that Cloud Rat understands the simple principle that “less is more”. Their recordings are utilitarian and minimalist. Not in the sense that they are underproduced, but that they are plain, honest representations of their sound. Overproduction is the bane of underground metal, especially in grindcore/powerviolence.

“Pollinator” very much dispenses with any and all pleasantries and cuts straight to the chase. Cloud Rat hasn’t been able to survive this long and remain this prolific for no reason. Their self-titled debut from 2011 was legendary in underground circles. Infamous even, if you will. In the tradition of the best Napalm Death and Nasum records it fired off 11 songs in 18 very short minutes. Every pressing ever sold out in record time. After two records of straight-up grindcore Cloud Rat stretched their legs and experimented a bit on "Qliphoth". Grungy guitars, ambient electronics, post-metal melodies, and a more pronounced hardcore-punk bend have been part of the Cloud Rat arsenal arguably since “Moksha”. "Qliphoth" built thereupon but never betrayed the band’s primal grind/hardcore past. Madison and her men will probably never pen something as misguided as “Fear, Emptiness, Despair”, “Darker Days Ahead”, or “Head Cage”. Which won’t stop them from throwing in a bit of experimentation, mostly by covering the unexpected non-genre song here and there. “Moksha” had the Neil Young cover ‘The Needle and the Damage Done’, “Clipped Beaks” had ‘Fish In A Pool’ from Electric Deads, and Cloud Rat takes on the popular evergreen ‘Al Di Là’ as sung by crooners Emilio Pericoli, Betty Curtis, Jerry Vale, Sergio Franchi, and Al Martino here. The only somewhat experimental cut is ‘Luminiscent Cellar’ that starts out as a dreamy shoegaze song before turning into a black as pitch semi-sludgy droning doom cut that could have come from Burning Witch. ‘Perla’ is a truly phenomenal closer to a record that recombines everything of past albums.

Speak of intense. After a decade in the studio and on the road Madison Marshall still sounds as fiendishly pissed off as ever. What a voice and range this woman has. If we were to compare Marshall to anybody it would be J.R. Hayes from Pig Destroyer, late Nasum frontman Mieszko Talarczyk, and Benümb’s Pete Ponitkoff. Madison combines the thousand voices of Hayes with the intensity of Talarczyk, and the percussive guttural delivery of Ponitkoff. Which was pretty much anything and everything she did on the first two records. That never stopped her from integrating spoken word as far back as the 2011 self-titled. From “Moksha” onward, and on "Qliphoth" in particular, Marshall really came into her own and impressed thoroughly. It almost makes you hope she’d invite Veronica Mars (Buried At Birth), Christine Cunniff (Deathrats), Jaydee Perales (Sacridose), Petra from Idiots Parade, or the Closet Witch herself, Mollie Piatetsky, to provide some growls and screams on whatever they commit to tape in the next few years. Madison is on fire on this album, and a decade hasn’t dulled her in the slightest. She sounds absolutely friggin’ livid. Can you really blame her? Stupid White Men are pillaging the nation. America has become a backwards banana republic and the laughingstock of the civilised world. She has every right to be freaking indignant.

In 2009 Cloud Rat was just another newcomer in a counterculture scene bursting at the seams with young talent. Today the Michiganders are experienced veterans and an institution in their own right. They are slightly more poetic, sophisticated in ways that many of their peers are not; but above all else, they put their money exactly where their mouth is. Desperate times call for desperate measures, and in times of rampant anti-intellectualism, the cult of 45, the erosion of civil rights, and deliberate ignorance and increased backwardness borne from religious fervor and imagined persecution a band like Cloud Rat is needed now more than ever. In these dark Orwellian times where Nineteen Eighty-Four is no longer a work of fiction but our shared reality; when terms as “post-truth” and “alternative facts” are used unironically by elected officials with such alarming frequency that they’ve become commonplace. Facism has reared its ugly face in your favorite colors red, white, and blue; and it carries a Bible in one hand, and a gun in the other. Promises to “drain the swamp” have become an open invitation to join the scalping. Charlatans, grifters, con men, and swindlers man just about every position of power. The One-Percenters are rewriting legislation on the books. As Queensrÿche asked in 1988, “who can you trust when everybody’s a crook?

Now defunct New York grindcore unit Brutal Truth observed in 1992 that “Extreme Conditions Demand Extreme Responses” and they couldn’t have been more right in that assessment. Marlborough, Massachusetts death metal upstarts Abnormality have been experiencing a meteoric rise in popularity. They made a name for themselves with their independently distributed “The Collective Calm In Mortal Oblivion” EP and inked a deal with Sevared Records (which embodies about the worst of United Guttural, Pavement/Crash Music, and Comatose Music, combined) on the back of its success. “Contaminating the Hive Mind” followed two years later and their ascending popularity helped Abnormality secure a contract with Metal Blade Records. The presence of one Mallika Sundaramurthy certainly helps but it would all be for naught if she was merely a pretty face. No. Abnormality has a penchant for writing chunky death metal that is groovy and technical in equal measure. They aren't afraid of a good hook or guitar solo either.

The past four years have been a period of great unrest; political, social, and otherwise. Abnormality has always been inspired by socio-political events but “Sociopathic Constructs” is the first time the Bostonians dedicate an entire record to the subject. Sundaramurthy (who now lives in the Czech Republic) and her men aren’t going to let the current political climate and turmoil pass without taking a stand nor without a fight. This is a band that wants to be remembered for being on the right side of history. Sundaramurthy has every reason to be foaming at the mouth looking at the increasingly theocratic – and totalitarian state of her first adopted home. Professional con man and supposed savior of the fundamentalist Christian Wrong Donald Trump has somehow been elevated to the country’s highest office and things have been getting worse from there. In his first (and, hopefully, only) term the Orange Idiot has facilitated widespread corruption and cronyism, has seen to the systemic oppression of minorities, the erosion of civil liberties, the abolition of women’s rights, and the dismantling of what little social security existed in the Land of the Free. America has entered a second Dark Age, one of religious superstition and proud anti-intellectualism. “Sociopathic Constructs” is a scathing polemic against the current powers that be.

Sundaramurthy has always had a razorsharp pen and songtitles as ‘Fabrication Of the Enemy’, ‘A Chaos Reserved’, ‘Vigilant Ignorance’, and ‘Hopeless Masses’ in their repertoire it will surprise absolutely no one that “Sociopathic Constructs” pushes their socio-political angle to the fore. Abnormality isn’t as overtly political as, say, Dying Fetus or Fear Factory but that doesn’t remove that “Sociopathic Constructs” has some of this band’s finest work on the compositional – and lyric writing front. Mallika has always been a marvelous woman that serves as an inspiration to many of her sisters. She’s an outspoken and fiercely intelligent woman; a feminist, veganist, and small business owner. On “Sociopathic Constructs” Mallika once again showcases why she’s one of the best frontpersons in the business. She truly is the Alexandria Ocasio-Cortez of the underground. The rest of the band (yeah, apparently there are other people in Abnormality outside of Mallika, as hard as it may be to believe) doesn’t falter either. Guitarist duo Jeremy Henry and Sam Kirsch unleash a veritable maelstrom of concrete riffing schemes with rhythm section Josh Staples (bass guitar) and Jay Blaisdell (drums) meting out swift punishment without resorting to random chaos for its own sake. We were more than a little indifferent towards “Mechanisms Of Omniscience” but “Sociopathic Constructs” is the record we always knew Abnormality had in them. Which is to say, “Sociopathic Constructs” absolutely and categorically slays. Everything has been building up to this. This is the album where Abnormality fulfills its potential.

One of Abnormality’s greatest strengths has always been their sense of propulsion and drive. “Sociopathic Constructs” is what Disgorge would sound like if they played with the chunk of early Cannibal Corpse and the technicality and production value of Brain Drill. This is what we hoped the Drill’s “Boundless Obscenity” would have sounded like or what Suffocation’s “…Of the Dark Light” would have been if they fully shed their skin and the pretense that they still had anything to do with the Suffocation that wrote “Breeding the Spawn”. Abnormality answers the question what Cannibal Corpse would have sounded like had they persevered with the technical direction of “Butchered at Birth”. Abnormality has always excelled in merging California informed technicality and percussiveness with a level of intensity not unlike Québecois death metal. Hopefully the current climate - social, political, and otherwise - will inspire Mallika, and Carolina Perez (from Queens, New York combo Hypoxia) to revive their sometime feminist death metal side-project Castrator. If there ever was a time for that, that time is now. What better reason than the serial sex offender holding the highest political office in the land?

Art does not exist in a vacuum (no matter how much certain demographics might prefer to delude themselves into thinking otherwise). Art reflects the society in which it was created. “Sociopathic Constructs” is one such creations. This is a record that couldn’t have been released in any other time than the year 2019. The Talibangelicals have been working overtime to transform America in the great Christian theocracy they’ve been so long desiring. Never mind that the Land of the Free is collapsing into the state of the backwater banana republics they’ve been bombing into submission for the last several decades. The War on Terror has been on of the greatest swindles of modern history and the US military-industrial complex has always been a savage imperialistic beast that always takes but never gives. “Sociopathic Constructs” does absolutely take no prisoners and its message of disconformity and protest is loud and clear. No longer can we afford to idly sit by as the world burns to a cinder. “Sociopathic Constructs” might not have the storytelling capacity of an “Operation: Mindcrime” exactly, but as a loosely conceptual recording this couldn’t have come at a better time.