If you are in North America, please PRE ORDER directly to the band here : ilspdx.bandcamp.com
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paraît le 4 juillet 2020
Engineered By: Nate Abner and Stephan Hawkes
Mastered By: Stephan Hawkes
Album Design By: Triangles Around Us
Album Photo By: Tom Glose
OFFICIAL VIDEO CLIP
Je t'ai déjà dit que j'adorais Curse de Ils ?!
Expansive Portland noise groove quartet ILS — the press materials call the band’s sound “disaster chic,” which works, too — gets it so goddamn right on its debut full-length Curse. This catchy, nasty straight sidewinder of a record feels like an improbably successful attempt to build a tightly coiled rope bridge between Jesus Lizard, Kyuss, and EYEHATEGOD.
The best part of Ils cracking the doom charts this month is the ever budding noise rock genre is finally hear to kick fuckers right in the face. Hard, heavy, and brutal with intent. Ils’ Curse brings us the fire and passion from the Portland streets. Get ready for a watershed of Hardcore Noise rock to start forces it’s face around here. Ils – Curse represents today’s attitude for me and this might be what a lot listeners need. So go get it.
rench director David Moreau helmed a great movie in the mid 2006 called ‘Ils’ – a thriller set around the premise of a young couple in a remote setting, fighting for their lives against a bunch of mysterious tormentors. I’ll not go further into the plot lest you take it upon yourself, dear reader, to see it. But I will tell you that it’s a fantastic film that exudes and sustains an air of menace and unease throughout.
ILS is now also the name of an equally fantastic band from Portland, whose debut album Curse appears on a French label, immediately making me wonder if the name is a knowing nod to that particular flick. They also exude an air of menace and unease in their music, though with a sense of release more consistent than the movie. They’re always working towards an explosive moment, but willing to take just the right amount of time to get there.
Stomping straight in with the huge drums that signal the opening of hostilities, Bad Parts is the kind of opener you want every album to have – a ballsy, flailing steamroller of a thing that seems designed to both induce head banging and feel like a clatter round the skull at the same time. When I say ‘huge’ drums it’s important I point out it’s not just the drums – the production sounds massive overall. Huge guitars. Huge throbbing bass. Frontman Tom Glose (re-emerging from the great Black Elk) sounds like he has the biggest lungs in the world. Guitarist Nate Abner was involved in the engineering and deserves just as much kudos for his recording skills as his playing.
Having set us up with a roaring entrance, Ils navigate the rest of the album a lot more subtly for a nominally ‘Noise-Rock’ band than you might expect. The title track follows immediately at a more initially laid back trot, Glose roaring about his ‘35 pounds of barbed wire’ like he’s reading out a recipe for an actual disaster over a big bass and drum groove, feeling as much like a subdued Clutch as it does the Am Rep archives. And by third track Don’t Hurt Me, while Glose opens with a sound like he’s impersonating some kind of human woodchipper spitting out a body that’s been shoved into it Mafia style, the band are playing with another mid paced groove and big catchy riff underneath, alternating with verses where a simple two note guitar line lets the drums and bass drive it all.
Have you enjoyed underground American heavy rock music of any form of the last 30 years? If so then for fuck’s sake, why aren’t you already ordering a copy of this record?
Ils are not entirely interested in simple bludgeon, that much is very clear. They’re aggressive, but tempered metallic and also working in a pretty traditional frame where decent song writing carries more weight than angularity. Glose moves accordingly from a sort of raised voice (not quite a shout, not quite normal speech) through to a hoarse roar to something not too far off a black metal shriek, depending on where the emphasis in his lyrics needs to land.
Underneath his more extreme vocal approach, the rest of the band however strike a perfect midpoint between the kind of cut throat approach many of their underground peers, past and present, utilise and the more accessible heaviness that would have landed you on ‘120 Minutes’ 20 years ago. It’s an expert balancing act, never tipping too far into either territory, but maintaining breathing space in the music at all times. If you want percussive bass lines and ringing discordant guitars, you’ve got ’em in spades, but you’ve also got moments that feel almost grungey, again possibly because of that BIG production. Honestly, it’s like if Dave Jerden had produced Unsane at some points.
It’s Not Lard But It’s A Cyst is far catchier than any song with that title has any right whatsoever to be, recalling 90s post hardcore supergroup Handsome with a transforming werewolf on vocals. White Meat sees the rage reach boiling point with a rant against the rich, white superiority machine that underscores every aspect of American life over a whiplash inducing drive by the rest of the band. By the time we hit the home stretch on For The Shame I Brin, you can almost picture the veins in Glose‘s reddening forehead bulge as we hit the heaviest point on the album to go out on, spiked with the occasional unexpected major chord to temper the violence.
Look, do you like riffs? Do you own records by both Melvins and bands on the Skin Graft label but wish there was some unexplored middle ground between the two? Have you enjoyed underground American heavy rock music of any form of the last 30 years? If so then for fuck’s sake, why aren’t you already ordering a copy of this record?
(...) Après ce tour d’horizon des membres de Ils, il est temps de parler de ce Curse. Au moment de la sortie du EP, j’avais présenté Ils comme la nouvelle référence noise rock. Eh bien c’est encore un peu plus le cas, le groupe répond aux attentes avec cet album assez incroyable.
Une rage et une folie, une tempête même s’abat sur nous tant cet album fait dans la noise violente, un mix de noise, de hardcore, et de garage rock pour un résultat qui décoiffe et nous laisse sur le cul.
Bad Parts, premier titre, première claque. Le son de batterie est massif, la guitare et la basse aux sons très noisy renforcent le côté glauque dans lequel nous plongeons, et la voix de Tom est vraiment incroyable. A la fois grave et hyper puissante par moments avec une intonation géniale lorsqu’elle devient hargneuse. On peut parler de signature vocale. Une puissance hardcore se dégage de se premier morceau et ça sera le cas sur la quasi totalité de l’album. Cette vitesse d’exécution alliée à la qualité de composition du quatuor nous donne là un album excellent du début à la fin. Tom crache littéralement ses poumons sur Curse, une puissance vocale énorme, aidée sur ce morceau par un très bon riff de guitare entêtant.
Tom va même encore un peu plus loin sur For The Shame I Bring avec un final dantesque. Ils varie aussi un peu son répertoire et vire un peu punk avec brio sur No Luck. Difficile aussi de ne pas citer Casket Race et son refrain hurlé par Tom qui nous marque au fer rouge. Don’t Hurt Me et son rythme lancinant est un autre grand moment, la basse vrombissante de Adam Pike rajoutant un peu plus de graves là où il y en a déjà beaucoup. Avec ce premier album, Ils frappe fort et nous propose là tout simplement la meilleure sortie noise rock de l’année 2020. Rentre dedans, vindicatif et avec un chanteur hors normes, difficile de faire mieux.
Ils est la relève de Unsane, le même côté glauque et un son noise ultra poisseux, à coup sûr un album taillé pour la scène. Le son, la qualité des compos, la rage dégagée font de ce premier album un événement marquant.
I wasn’t sure what to expect when I first queued up the album “Curse” by ILS (released July 4, 2020 on POGO). Described as “noise rock” and “disaster chic,” I was more or less ready for anything. What I got has taken me a bit to digest if you will. Listening to it again while I type this up, there are a few things that really jump out.
The musicianship is impressive to say the least. Nate Abner’s guitar swirls over staccato vocals before dropping down to a distorted assault. The vocals vary in style and quality from lower, almost melodic, to high pitched screams, and a couple of tones in between that are a bit tougher to describe. Tim Steiner’s drumming cuts through everything else at times with the emphasis of gunfire. With all that said, what really stood out for me was the bass. My first listen of the album was through cheap earbuds while working out, and even through those the basslines stood out. Distorted and heavily present, Adam Pike’s playing is one of the highlights of the album. This is, of course, a matter of taste, but I love when heavier bands have the bass notably in the mix.
“Curse,” the title track, is without exception, my favorite track from the album. In part, this is due to the previously mentioned bass on this song (so much better when listened to through a decent set of headphones); however, the whole band comes together on this track. Each band member is showcased at some point in the song. Another big reason why I like this song so much is that there is a quality to vocalist Tom Glose’s voice that is reminiscent of the late Dave Brockie (Oderus Urunguns) of Gwar. This is also evident on other tracks such as: “Noose,” “Casket Race,” and “It’s Not Lard, But Its’ a Cyst;” and I absolutely mean this to be the highest of compliments.
Initially, “Curse” comes across as a loud and aggressive album that works well as background music while working out. On subsequent listens, the complexity of the music and varied vocal quality comes through, and leaves the listener appreciating the individual talents as well as the cohesiveness of the band as a whole. For those times where you need something a bit heavier, “Curse” will certainly do the trick.
Are you ready to get steamrolled? Well, you better are because here are ILS (pronounced "ilz") from Portland, Oregon. ILS play Disaster Chic Rock. "What's a Disaster Chic Rock?", you may ask. I would describe it as a nihilist version of Noise Rock with influence from Powerviolence, Hardcore Punk, Sludge, and some Math Rock.
On ten tracks, none of them longer than three-and-a-half minutes ILS set exactly one pace: straight forward. Drummer Tim Steiners works create a chequered and brutal backbone between intense mosh passages and intelligent changes of metre. The massive soundscape above by Adam Pike (bass) and Nate Abner (guitar) varies between sonorous Sludge riffs, unexpected and shrieking Math Rock insertions, and brachial Noise and Hardcore Punk Rock attacks. As the Master of Ceremony, vocalist Tom Glose shouts, screams, narrate, and thus completes the beautifully violent soundscape. I am not sure whether the Black Metal-like screams are done by Tom as well or if one of the other three band members adds them.
Holy Satan, what a wrecking ball! ILS' "Curse" is an album for garden parties and tearing down huge walls. Hope to get a chance experiencing them on stage pretty soon. I can imagine being super exhausted and extremely happy afterwards.
Pronounced ‘ilz’ and hailing from Portland, Oregon, ILS is a new-ish force to be reckoned with in the noise rock scene. These former members of Black Elk, The Days, The Nights, Passerby and White Orange have branded their particular take on noise rock ‘disaster chic,’ which apparently translates to drums that pummel you into submission while nasty riffs and even dirtier basslines are designed to keep you down as vocalist Tom Glose lays it all out there with a mix of spoken-word diatribes and blood-curdling screams that would make Mike Patton proud.
As you barrel down the track listing, opener ‘Bad Parts’, ‘Don’t Hurt Me’ and ‘It’s Not Lard But It’s A Cyst’ whip up flashes of Unsane, Jesus Lizard and the sludg-y groove of a band like EYEHATEGOD, all brought to you with zero fucks left to give. ILS are absolutely unrelenting in their delivery and rage through all ten songs in a mere 28 minutes, leaving you exhausted and longing for more.
ILS: New Band of the Day #241
Pronounced ‘ilz’ and hailing from Portland, Oregon, noise rock quartet ILS arrive fully formed and ferocious. They’ve released three singles from their upcoming debut album Curse so far and each one displays a band that is fully confident in their modus operandi. Take album opener ‘Bad Parts’. Exploding with a barrage of pounding drums, visceral guitar and aggressive vocals, the track is a powerful statement of intent at just over two minutes. There’s catchiness in the heaviness though. This isn’t noise for the sake of noise.
‘White Meat’ continues in the same vein of disgusted power. However, here the band display a knack for more off-kilter and angular riffs. Coming in at just over three minutes, there is even time for a brief breakdown and rebuild that culminates in an intense outro dominated by a terrifying scream from Tom Glose.
Elsewhere, the video for ‘No Luck’ demonstrates their ferocity live and sees the group head into more metallic territory. So far, ILS are an unrelenting prospect that doesn’t give an inch. Let’s hope the rest of the album can meet the high standards they’ve already set!
(...) ILS new record " Curse" is a fuel up crush of both Metal and Punk. The album gets you straight from the go and with the punk style vocals and the metal sound with the instruments "Curse" shows you that ILS have a great future ahead of them. From "White Meat" through to "Bad Parts" each song just gets better and better. Don't hesitate and GET THE ALBUM.
ILS are a 4 piece “disaster chic” band from Portland, OR. ILS consists of Tom Glose (Black Elk) on vocals. Nate Abner (The Days, The Nights) on guitar. Tim Steiner (Passerby) on drums and Adam Pike (White Orange) on bass and “disaster chic”? Kind of like “disaster chic”, kind of like this, kind of like this lots, so damn nice, so damn rich, the sound I mean, rich sound, raging, kind of how I feel today, hissing out those lyrics to White Meat, yes! This is good, “’cause the problems of this world…”, oh look, this is a conflicted start to the week, this would have hit the spot on most Mondays though, this is what we need, this feel good, thanks for sending this one in Pogo people, there’s a couple of trtacks on the Bandcamp thing, the two tracks are all we’ve heard so far, but hey, one of the bonuses of all this Organgrinding is that the whle thing is sitting in my in-box waiting to be fired up, stay tuned for more now, for now the Pogo Records Bandcamp will give you a taste….
(...) Nothing exposes the trajectory and context of history like music does. It’s like every day I’m hit with deja vu when I hear releases written a decade ago, or I read an article I wrote 3 years ago. It makes the current chaos seem so ordered. The new release from ILS feels so timely in its subject matter and shows that each crumbling brick we put in the wall has a part to play in the prison we find ourselves in. It’s scathing noise rock that doesn’t give a shit about your illusions.(...)
ILS hail from the Pacific northwest of the good ol’ ÜSofTrumpton – a region of the Überverse perhaps best known as the birthplace of grunge, the subgenre that in the mid-Nineties did its best to kill off rock ‘n’ roll as we knew and loved it at the time, only to be ultimately, like so many pretenders before and since, subsumed and overtaken by other fad trends, such as nu-metal. This particular quartet – made up of members of various other Oregon bands of various repute, including Black Elk and Passerby – echo some of that initial aural decimation which Cobain and his counterparts wrought on the music business some three decades ago, with their self-styled brand of “disaster chic”.
Having sent up a warning flare with last year’s declarative ‘Pain Don’t Hurt’ EP, which somehow managed to pass ÜRHQ by at the time, the four guys now treat us to a full-length album of ten tracks, which crash out of the speakers in a punky total of just 28 minutes and inhabit the dirty side of the tracks somewhere between the furious insightfulness of Frank Black, the street savvy of Billy Corgan, the alt-rock intelligence of Therapy? and the don’t-give-a-fuck punk ‘n’ roll attitude of fellow modern day post-noise revivalists such as IDLES.
Sludge/Punk/Stoner Metallers ILS debut album Curse is the album that the world needs right now. With the band playing a fast-paced blend of Hardcore Punk, Noise Rock, Sludge Metal and Stoner Metal, things are aggressive, lean, mean and moody throughout the albums short 26 minute run time. Though this is a thrilling style of music with BRAINS and BRAWN to match.
ILS is a band made up of members from acts such as: Black Elk, The Days The Night, Red Fang and White Orange. So these guys are a hugely talented bunch with a lot to say.
I’ve seen the band been compared to EYEHATEGOD, Unsane, Kyuss and even Red Fang. Truth be told, the album sounds like those great bands but they also sound so FUCKING DIFFERENT as well. The socially aware lyrics offer a more “true-to-life” feel to the album and the music feels like you’re being punched into submission from a band truly pissed off at the world.
The funny thing is there is album is quite catchy in places with some great classic Sludge/Stoner Metal riffs to lighten up the mood. Lead vocalist Tom is primarily influenced the Hardcore Punk/Sludge Metal scene here with his vocals taking different elements from both worlds and offering a complex style of vocals. Nate, Tim and Adam lay down superb grooves for Tom to match his pissed-off vocals against.
Curse may put some folks off with it’s bleak and uncompromising style of different sounds. The album does take a few listens to fully understand the many different levels of music that ILS employ on Curse. The atmosphere can be quite progressive in places especially when the band play the faster style of music on the 2nd half of the album.
Most of the songs only last for 2 to 3 minutes each but ILS cover a lot of ground with each song that you’ll be surprised at how each song plays out.
The standout songs on the album are: Bad Parts, Curse, No Luck, Noose, Casket Race and It’s Not Lard But It’s A Cyst. With these songs having the catchiest riffs and heaviest sounds on the entire album. It’s a shame the album is quite short but ILS have still managed to release an album full of great songs and leave you wanting more.
Excellent and Highly Recommended.
ILS scream out of Portland and are a four piece disaster chic band which consist of Tom Glose (Black Elk) on vocals, Nate Abner (The Days, The Nights) on guitar, Tim Steiner (Passerby) on drums and Adam Pike (White Orange) on bass.
Bringing a sense of doom with every beat, they take what is essentially hardcore and add some zest, in the form of chaotic riffs, manic drum beats, crazy vocal gymnastics and a whole load of attitude.
Opening track ‘Bad Parts’ which has been released prior to the album coming out on 3rd July, is a pure collision of heavy musical intent and aggressive vocals that set out an intent for the domination of your ear drums from the off, beyond this, you do get some semblance of order within its onslaught.
Having proved that being masters of torture filled rhythmic leanings, they also hit you with ‘Curse’ the title track, which kicks off with a very familiar rap/spoken word entrance, which dragged me back to when Crazy Town were a thing, but the comparison ends there, this track has all that is ILS wrapped up within its just over 3 mins length.
‘White Meat’ continues with a similar distain for melody. However, this track does seem to display a feel for the more off-kilter riffs. Swift and to the point, although there is time for a brief breakdown and rebuild that culminates in an intense outro dominated by a chilling scream.
If in summing up this album as a whole could be condensed into just one word, “Breath” could be as close as you might come, as in the breath of life to which it so wants to take and squeeze every ounce of being out of, to create music that hits the soul.
There’s a sense of instant gratification about listening to the debut full length from Ils. Within the first minute of opening track “Bad Parts” you know exactly what you’re getting in the 10 songs on this record. Their sound is informed as much by 90’s chain-wallet core (without resorting to the parts that didn’t age well) as it is by the precisely fine-tuned killing music of the last several Unsane records. Everything is dialed in exactly as it is supposed to sound, each song tends to clock in around a lean 3 minutes average, and there’s a rhythm here so workmanlike it ought to apply for a union card. The X factor here belongs to vocalist Tom Glose (ex- Black Elk) whose range goes from gloomy howls, rambled diatribes, and throat-shredding shrieks all within the space of each song. It lends a dose of variety to enjoyable noise rock gut-busters that may otherwise suffer a slight case of repetitiveness were it being heralded by a singer with a singular delivery. If you like heavy-handed, meat-y noise rock this is for you. The only downside is all five of the songs from their demo have been re-recorded, so you’re really only getting 5 brand new songs. But if you haven’t heard the demo then you’re getting 10 new songs if you want to go with a glass half-full approach!
Venus de Portland, Oregon, Ils (à prononcer "ilz") prépare à lancer son premier album intitulé, Curse. Véritable découverte de la semaine, le groupe joue un noise rock bien gras et agressif qui fait plaisir aux oreilles, d'autant plus que la voix très maniérée donne quelque d'élégant à cette musique punchy. En plus, avec des paroles dénonçant la suprématie blanche, comment ne pas me faire succomber ?
(...) The album sounds huge, with a bass forward mix that long-time readers of the blog will know is right up my alley. The bass breaks up nicely but still provides a decent amount of bottom-end. The drums hit pretty hard with plenty of attack and enough body on the kick drum to help the songs thump. I also really like the stereo image on the drums, particularly for how the toms sound. The guitars sound mean, with a tight attack that gives them plenty of articulation. They provide plenty of counter-melody to the bass line, but they also bring the heavy when needed. The vocals veer from a witchy scream that brings to mind Greg from Dillinger Escape Plan to a more conversational barking in line with bands like Idles or Whores.(....)
July 4, 2020 will see the release of Curse, the new album from Portland, OR “disaster chic” quartet Ils (pronounced “Ilz”)… and we can think of no music that could possibly be more appropriate for Independence Day. As demonstrated by the track “Whitemeat,” Ils make raw noise rock with hints of operatic stoner metal, toxic death metal, and dizzying mathcore to create something that is about as independent-sounding as independent-sounding gets. It’s metal for the 99%, a metal-gauntleted slap in the face to everything homogenized and condescending about macho mainstream acts like Five Finger Death Punch. This fact is only reinforced by the painfully-relevant lyrics, which include phrases like “You’re so damn rich, and you’re so damn white.” They say that every time a bell rings, an angel gets its wings; well, every time you listen to “Whitemeat,” a CEO goes to Hell.
Destroy the 1% by listening to “Whitemeat” below. Then pre-order Curse here. It’s the most patriotic thing you can do!
The Pitch: Portland-based noise rock/sludge group ILS drop their debut album via P.O.G.O. FFO: Daughters, Jesus Lizard, Haan
What I Like: ILS' EP Pain Do Not Hurt was a surprise hit for me in 2019, and one of the few rock records even worth a damn in a mostly dead genre. Hearing those tracks now as a part of this fully fleshed out release only furthers my excitement over the potential of this band. Listening to Curse is like experiencing a supergroup made up of members of Clutch and Daughters that also detours into "Jizzlobber" levels of Mike Patton's most harsh and depraved moments. This vocal dichotomy makes ILS the perfect band for rock and metal listeners alike; with an aesthetic that runs the gamut from the psychodelic, desert stoner sludge of "Curse" and "Noose" to the pounding, driving metallic hardcore of "Bad Parts" and returning favorite "No Luck."
Critiques: A few of the tracks come off as a little repetetive and uninspired musically, namely "White Meat" and "Northstar."
The Verdict: If you're like me and either grew up during the grunge and noise heights of 90's alternative radio or just miss hearing actual ROCK music instead of the highly filtered, bastardized version we get today, I implore you to pick up Curse right now.
Hoy la banda que os recomendamos viene Portland, Oregon sacaran su primer larga duración por POGO Records expertos en buena mierda sludge, post-hardcore y noise rock, la banda en cuestión se llama ILS y el material se llama “Curse” y vera la luz para junio de 2020, tenían un ep llamado “Pain Don’t Hurt” también por el mismo sello francés y que recibió una excelente acogida por la peña y está incluido en el debut. ¿Qué vamos hallar aquí? pues noise rock no esperéis la enésima copia de Unsane, lógicamente encontrareis conexiones pero esto tíos tienen personalidad propia, una vocalista original, versátil y poderoso, en momentos su voz desquiciadamente extrema al estilo del “tito” Steve Austin, temas directos de dos a tres minutos, riffs machacones y con muy mala baba, el bajo percute contundente y el batera es de un nivel superlativo, una banda compacta perfectamente engrasada ahí reside uno de los puntos más fuerte de la banda, saben perfectamente lo que tienen entre manos,
Para poner las cartas sobre la mesa Bad Parts rompe el juego con fraseos y estallidos noise rock de toda la vida, Curse tiene feeling noventero copla más melódica del disco, para mi gusto la más floja, Don’t hurt me es un señor temazo el industrial se mimetiza con el noise de lo mejor del disco, la sombra de The Jesus Lizard es muy larga, No Luck la rabia irrumpe de manera hilarante trazas de Today is the day con mucho groove una barbaridad, si no te enamoran ILS con este tema apaga y vámonos, Noose los medios tiempos de esta gente son superpoderosos, machacones con esa pinceladas de los Melvins o Red Fang que dejan los temas redondos, White meat los loops noise de ILSE son pura adrenalina, Northstar píldora noventera directa te partirá la cara, trazas a los Faith No More más burros. Otro medio tiempo Castket Race destructivo, It’s Not Lard, But It’s A Cyst muestra a ILS en todo su esplendor agresividad rabia y muy mala hostia, bucle de guitarras que nos dejaran con el culo torcido, For The Shame I Bring joyita muy muy sludge para finalizar un gran trabajo, lo dicho amigos no dejéis pasar esta obra.
"If you’ve been itching for more scumfuck noise rock via the Portland, Oregon area like I have lately wake up to ILS‘ latest jam “Bad Parts”. No real info here as it was a random Bandcamp notification, just a huge jam packed into two minutes of their whipping ‘n ripping spaced-out Unsane-meets-Red Fang kinda hump. Huge fan of their stuff and hoping this means an album and some shows will happen before the apocalypse takes my ears and my mind. Check out “Bad Parts” on Bandcamp."
The anguished, guilt-wracked absurdist who’d insist existence is chaotic, purposeless morass digs his teeth into flesh — The bitter iron-scented waves of the self-cannibal’s fingertips signify a satisfying, cleansing chew. Ardent notions, deleterious interactions, and anxietous consumption just never triangulated into whatever genuine self’d been intended, right? All manner of private idealism amounts to lies told through transparent toothy grinning, every concrete-staining matter of public injustice provides an additional hammer swing applied when the empath finally snaps. The weapon worth reaching for here is the cracked brain, the “I’ve had enough of your daily menace” spill over the brim, the violence that’d break all surface tension with gut-grabbing, life-draining, spilling down. Isolation, poisonous corporate-ruled governance, deteriorating environs, and a chilling all-time low for valuation of human life… A man could deteriorate under conditions such as these, and when he does the hope is that art keeps those chewed-up fingers busy and the gun cabinet locked. ‘Curse’ is the startling hiss as all pressure releases, the blood-gush from biting your lip rather than stoking the most fiery ignorant among us. Or, in more direct terms, it is the impressive full-length debut from Portland, Oregon-based noise rock/post-hardcore quartet ILS who’re more incensed than ever as they reach this key milestone.
Formed whenever (recent-ish) by way of current and/or former members of whomever (Black Elk, Clarity Process, and with a few members involved in the technical side Red Fang) these ILS fellows have a point of view that is easily recognized but senseless to peg too deep within any category. There are plenty of high-brained 90’s noise rock influenced riff-swingers out there in the wilds if you dig hard enough through Bandcamp yet, a much smaller (highly noxious, schizo-phonic) sect of off-kilter extreme rock bands exist in experimental states of undress when pushing deeper. These sorts aren’t often songwriters but hit upon cutting edge tonal ideas and machined textural insanity. The outlier in between cut-edge sonic excess and prompt, exuberantly ‘out of body-high on expensive medical marijuana’ songwriting consists of basically just ILS, lately. If you took my recommendation of their first EP (‘Pain Don’t Hurt‘, 2018) a couple of years ago and you loved it, you already know whats up, this is a professional rendering of that core modus; Those five introductory songs are tweaked for structurally-bound intensity, featuring both refined performance and strikingly achieved n’ chic dirt n’ metal production values (via Stephen Hawkes, whom you’ll recognize from Gaytheist‘s most recent gig) as they accompany five more songs on this incredibly well-met LP. What has changed in a couple years time? The only major shift comes from swapping in new bassist Adam Pike (Toadhouse Recording, White Orange), his tone being a bit sharper and demanding in the mix.
“Bad Parts” sets us in and SUV that seats about four as it kicks into gear, driving up an old logging road with a body they’re all eager to ditch. The brief and stinging howler Tom Glose‘s vocals initially bearing a defiant and surreal narrative with the pounce of Child Bite‘s recent stuff before bloody-throated rasps set a gnarly, wicked tone. Sludge rock starts to feel like the right niche as things twitch and shudder forth, where I’d still point (vaguely) toward the heavy teeter-totterin’ clangor of Unsane and the space-drippin’ newer era of Quicksand probably being the most approachable parameters in sight — Throw in the inventive songwriting of ‘Whales and Leeches’-era Red Fang and by the time the sludge-blackened, dissonant post-hardcore romp of “Don’t Hurt Me” (and “No Luck”, too) finishes wringing out ILS have established their own sound, one that hits a particularly professional standard that bears classic and ‘fresh’ traits with broad appeal between nostalgic aggro-rock, noise rock, and popular sludge rock spheres. Though he keeps cranked it up to eleven throughout, “Whitemeat” is probably where Glose‘s lyrics steer the album towards a most clear point of shaking finger at our age of discordance and we indisputable culprit(s). For my taste, all the best stuff happens in the backseat as Side B bears substantive build-up toward some of the most choice songs from the EP on the second half; The groovin’ swing n’ scream of “Northstar” is of particular note I’d say for the sake of embodying all of the characteristics that make ILS a unique and ultimately special act from the wild and subversive narrative voice to the infectious rhythmic movement, idiosyncratic but knowable and lovably odd.
“Casket Race” almost feels like it’d been written specifically to follow “Northstar”, the transition between tracks is seamless and characteristic of an album that always has a sort of “Yes, and…” mindset, ready with more ideas that’re relevant to the holistic ‘Curse’ experience by way of fluid, continuous motion. Modern noise rock albums often feel like iterative, exhaustive rants that introduce variety for the sake of lacking conception whereas ILS manage to avoid sameness or any sense of dragging motion within this half hour squeeze of (what’d feel like) a full 45 minutes worth of ideas. As the spaced-out, metallic post-hardcore trot of “For the Shame I Bring” screams itself off the stage I’d always felt entirely ready for another full listen, not only because ‘Curse’ is fairly succinct but the ride of the album was hard to put down and catchy as Hell in a very ‘wrong’ way. What’d start as a tormented, dark and personal album meant to deal with the needling world of today instead became a much more brave and emboldened experience in my mind, a set of songs that surely “let it all out” but never give in to the sensation that that’d be an odd thing to do. ‘Curse’ is a natural reaction to the horror of existence, a set of songs expressing itself in a way that’d had me finding kinship in its illustrious realization. No doubt it’ll be too accessible for some and too much of a dark niche for others but I love that “hurts so good” point on this particular Venn diagram, it suits ’em well and hit the right spot for my own taste. A very high recommendation for this one, and a day one vinyl pre-order on my part.
Nevertheless, Portland, Oregon four-piece ILS have given a name for their hard-hitting, anti-social genre of noise rock and punk, embodying the continuous frustration experienced from the current state of the world that seems to have passed its point of no return.
Fairly new to the scene, ILS are releasing their debut album Curse on July 4th (how fitting) and have shared the lead single “Bad Parts”. Washed with ringing guitar riffs and bashing percussion, the new track is two minutes of pummelling sludge rock and noisy instrumentation, making for one heck on an entrance into the scene.
If more metal was like ILS, we'd cover metal a lot of a lot more. The Portland, OR "disaster chic" band has a new single out. "Whitemeat" is this weirdo metal song. It exists in a world where metal isn't trying to posture as being tough guys. ILS don't seem to care about an image. "Whitemeat" is just an impossibly heavy song that doesn't stick to the metal-by-numbers template, which makes it even more metal than most. I'm going to compare it to Refused, but mostly because it makes me feel like the first time I heard "New Noise." And that inspires the thoughts "What the hell is this?" and "Why isn't there more of it?"
ILS new record " Curse" is a fuel up crush of both Metal and Punk. The album gets you straight from the go and with the punk style vocals and the metal sound with the instruments "Curse" shows you that ILS have a great future ahead of them. From "White Meat" through to "Bad Parts" each song just gets better and better. Don't hesitate and GET THE ALBUM.
Ils (Pronounced ilz) calls themselves “a four-piece, disaster-chic band from Portland, OR.” The band consists of Tom Glose (Black Elk) on vocals, Nate Abner (The Days, The Nights) on guitar, Tim Steiner (Passerby) on drums, and Adam Pike (White Orange) on bass.
Together, they bang out quite a racket with their brand of loud noise rock. Ils’ debut LP, Curse, will be unleashed on the world on the 4th of July, and it should appeal to fans of bands like Jesus Lizard, Drive Like Jehu, or Unsane.
In other words, if you are a fan of screaming anti social lyrics over swirling guitars, pummeling bass, and crashing drums, then you’ve found your Independence Day BBQ soundtrack!
𝕾𝖎𝖓 𝖑: 𝕲𝖚𝖎𝖙𝖆𝖗 & 𝕭𝖆𝖘𝖘: Fast- distorted, heavy-swirling riffs that are straight forward of nasty and raw, that echos with -Esque 'Rage against the machine’ guitar sound effect, with pummeling bass riffs
𝕾𝖎𝖓 𝖑𝖑: 𝖁𝖔𝖈𝖆𝖑𝖘: Loud, shouting vocals with snarls/screams
𝕾𝖎𝖓 𝖑𝖑𝖑: 𝕯𝖗𝖚𝖒𝖘: Chaotic rhythmic/crashing drum patterns and beast
𝕾𝖎𝖓 𝖑𝖁: 𝕺𝖛𝖊𝖗𝖆𝖑𝖑: With only thirty-minute playing time, ten songs, that are somewhat short, not too short, If you like your music nasty, raw with a filling of noise and punk attuite, this release is ideal for you.
Once smashing that play button, you find yourself in the insane mind of ILS, this music will take you on a wild and extreme trip of a vulgar journey with antisocial lyrics, Curse is straight to the point release that misses out all that flashy craftsmanship and musicianship playing style technic, just concentrate on playing some of most gritting, dirty extreme bare-bone crushing music that pulse out your speakers, with your ears taking a week to recover from the sheer brute noise
ILS combines elements of both worlds of punk rock, noise music, garage rock/punk, (some experimentation in the music) while adding their very own ravaging, primitive and brutalization deliverance/ adrenaline of distorted/whitewash sound, grotesque vocals, swirling riffs, crashing drumming and sick extreme music & noise for us all to enjoy
full of energy*
*nasty & powerful* * dirt & grit of extreme*
Rotten soup Of Extreme Noise & Racket
𝕾𝖎𝖓 𝖁: 𝕬𝖗𝖙𝖜𝖔𝖗𝖐: Showing a woodland/forest, I'm assuming the picture is showing (a reference) 'it's not what's on the outside, it's what's inside. Displaying a beautiful image, but inside the picture is ugly & nasty music
𝕾𝖎𝖓 𝖁𝖑: 𝕺𝖚𝖙𝖘𝖙𝖆𝖓𝖉𝖎𝖓𝖌: The whole album
𝕾𝖎𝖓 𝖁𝖑𝖑: 𝕯𝖎𝖘𝖑𝖎𝖐𝖊: none.
(....) alors qu’un premier extrait audio hautement fuselé, renvoyant aux pointures du genre que sont Drive Like Jehu, The Jesus Lizard ou Unsane et baptisé « Bad Parts », ....
Pronounced like “ills,” Ils are the embodiment of the 1990s, taking pounding industrial sounds of Ministry and melding it with the post hardcore of Quicksand and Refused. The music is best listened to loud. It’s powerful and loaded with tension. Ils are unrelenting, in your face, no fucks given, no shit taken. The repetition of melodic lines provides an unexpected sense of minimalism amidst the multi-faceted cacophony. “Bad Parts” opens things with a 3/4 time meter, with a hard down beat at the start of each measure, hammering, with the other two beats reeling back in for another blow. “Curse” is a favorite for its odd juxtaposition of dark country blues themes with hard and heavy industrial hardcore rock and roll. The whirling buzz in triplets of the guitars against the 4/4 beat in “Northstar” is mesmerizing, as we hear “It just doesn’t matter / The girl’s got a mohawk” shouted at us. And the sludgy distorted bass grinding underneath the shrieking guitars on “It’s Not Lard But It’s A Cyst” creates a song that’s so taut, so pulled tight, you can feel it straining and about to snap. The one song that’s somewhat different from the others is the closer, “For The Shame I Bring.” It’s got less of the industrial influence, and it brings in flowing post-emo influence into the post hardcore mix. The kind of music Ils make is something I can enjoy, usually in smaller doses. A full album might be pushing it for me, but for fans of this sort of stuff, Ils do a fantastic job.
Visceral e abrasivo como cada vez mais nos sentimos ultimamente, principalmente para quem tem, por razões laborais, de andar pelas redes sociais. O ar cada vez mais podre e irrespirável que se sente por lá só faz como que álbuns como este “Curse” nos soe cada vez mais pujantes. Noise-rock com a abrasividade do sludge (e muitos mais rótulos poderíamos encaixar por aqui se tivessemos vontade) fazem com que esta seja uma estreia fantástica e que nos leva para o lado mais reaccionário (a nível de impacto e porque não, até mesmo em sentido lírico) sem que tenhamos qualquer tipo de problema com isso. Faz falta coisas assim.
Ils es una banda de Portland (EEUU) creada en 2017 y que este año 2020 han publicado su primer disco titulado “Curse”. El hecho de que ellos mismos cataloguen su música como “Noise Rock” creo que deja claro su sonido y lo que pretenden. Pura agresividad, energía, salvajes en todos los aspectos, ¿te gustan los temas que te revientan desde el principio hasta el fin?, esta es tu banda.
El disco empieza con “Bad Parts”, dos minutos en los que te van a joder a base de bien, riffs violentos que te van a penetrar hasta lo más profundo de tus entrañas, es un tema de ¿quieres escuchar este disco?, prepárate para lo peor. Le sigue el tema que da nombre al disco “Curse”, empieza con una distorsión en la voz y una guitarra estridente, el bajo te va machacando poco a poco según avanza la canción, llega el momento cumbre de la voz, salvaje, es como si alguien quisiera decir a los cuatros vientos sus pensamientos, uffffff, pura energía. “Don’t Hurt Me” el siguiente tema empieza con una jodida distorsión de bajo que te destroza, es como ¿en serio estoy escuchando un tema de Death Metal? y eso es, lo que tienen Ils, una diversión de sonidos que te dejan estupefactos. La siguiente es “No Luck”, canción que te lleva a los grandes tiempos de Dillinger Scape Plan, esto es lo que hay, aquí tienes toda nuestra salvaje energía y adiós.
Sin embargo con “Noose” en sus inicios piensas guauu, esto empieza a desenfrenar ¿alguien puede decirle al cantante que se relaje?, va a ser imposible, te estalla la cabeza aunque los riffs sean algo más metaleros, la violencia con la que tocan es una pasada. Seguimos escuchando esta brutalidad de disco y viene “Whitemeat” qué decir de un tema que son más tres putos minutos de virulencia lírica, en un concierto, hay que verles por derecho, tienen que ser una auténtica apisonadora sonora, no dejan víctimas, todos acaban masacrados por la contundencia de Ils.
“Norhstar” son tan solo dos minutos, empieza con riffs más tranquilos, te recuerda al metal de Marilyn Manson, duro, oscuro, directo a la yugular, es como una canción donde la voz lleva el tiempo con partes que parecen rapeadas pero que no lo son. Con “Casket race” pasa más de lo mismo, la primera parte es algo turbia, pero te va poco a poco llegando, la voz tiene muchos matices acompañada a la perfección por la sección rítmica. El disco va llegando a final con “It’s Not Lard, But It’s a Cyst”, pura y dura distorsión de principio a fin, es una canción que en directo te va a destrozar el cerebro desde que comienza, esa guitarra afilada te va a dejar exhausto y el final cortado a raíz, recuerda a esas bandas punks que cortaban los temas a degüello. El disco termina con “For The Shame I Bring”, quizás la canción más oscura del disco, volvemos a la agresividad, las voces son demoníacas pero mezclando con melodías más rockeras. Vamos a ir al infierno todos los que escuchemos esta canción, parece decir.
Definitivamente los amantes, como yo, de los sonidos agresivos, de las mezclas tanto vocales como musicales, estamos ante una banda que van a destrozar el jodido mercado. Escuchas “Curse” de Ils y solo quieres pasarlo bien sabiendo que una jodida apisonadora te está pasando por encima.
ILS is a 4 piece noise groove rock band from Portland Oregon. Promoted as “disaster chic rock". The bands name is pronounced “ilz". Released on July 4th “Curse" is their new album. It is a heavy crushing kick in the teeth.
Every note and drum hit seethes with rage. Every vocal line is directed with organized fury. ILS is a sonic unhinged firestorm.
“Bad Parts" comes in with a hard drum beat. The rest of the band comes in a with a punishing riff. This song is unrelenting. The first punch thrown in a metaphorical brawl.
“Curse" comes up next. Pulling the listener in with a groovy bass line. The riff here is heavy and down tempo. A head banging mosh anthem. “Bad Parts" and “Curse" have that vicious one two punch. Always helps to start an album and draw you into their madness.
3rd song is “Don’t Hurt Me". Beginning with a skull crushing heavy groove. Sonically pummeling with that hook throughout. The catchy grooves they have are fun. They also disintegrate your vertebrae .
“No Luck" begins with a churning sludgy riff. ILS seem to get more pissed off on every song. There’s enough punk, grind, and sludge. To keep any heavy underground music fanatic breaking necks. This song really stands out.
“Noose" starts off with a punky groove riff. Relentlessly building over a catchy lead lick. This is only halfway through the album. I haven’t stopped head banging. ILS wont let me. It’s a mutual appreciation at this point. ILS wants to have you in a neck brace. I’m begging for it with every note.
“Whitemeat" is a vitriol laced soul crusher. The weight of the words and the absolute heaviness is nigh unbearable. Like facing down your reflection in a bullet. This song has a swarming riff that ebbs and flows. Absolute stand out track.
“Northstar” and “Casket Race" rip, churn and groove through. Neck wrecking is a priority with ILS. These songs are catchy and fun. For them to maintain this level of fury is a testament to their skill as songwriters.
Coming next is “Its Not Lard, But It’s a Cyst". This song comes in fast and heavy. Crushing your will to ease up in your neck. The directed hate is amazing. They take aim at many sociopolitical themes. Never losing focus on each songs topic. Never relenting with how heavy and catchy their musical talent combines.
“For The Shame I Bring" is the final song. Building slowly on a heavy riff. When the drums smash through I felt like I’d never lift my head again. By far the most pissed off song. The enraged state in which they seem to play is exquisite.
ILS full length “Curse" is akin to being in an arena size fist fight. The heavy grooves and catchy tunes are amazing. I couldn’t stop head banging. Would have been a disservice to myself.
I’m picky about the mix as always in some places the harsh vocals are too quiet. In others the clear vocals are too high. On a lot of the tracks the cymbals get swallowed by the super heavy crushing riffs.
My final say for ILS “Curse" is 4 out of 5 broken necks. As song writers ILS does everything right. It’s a true joyful experience to hear. The catchy groovy bone crushing songs. ILS is a band I’ll be paying attention to. As well should you.
Be sure to grab a copy of “Curse" by ILS. This album is great for any occasion. Music like this keeps me invested in the future of heavy underground music.
This epic band from Portland is really what the world damn needs atm. No correction, absolutely anytime. The overall sound is made up of multiple genres, but their sound is utterly original and harks back to a time when independent bands produced sensationally diverse albums that weren't trend-driven. Over the last decade, we have seen the sharp rise of copycat bands that may be influenced by the greats, but frankly don't cut the mustard for long term repeated plays of their dull releases. And this goes for hardcore, metal, sludge, and mainstream music equally. Moving back to our loud and obnoxiously creative gods, ILS we can feel comfortable knowing that the mantle of music that rocks is in very safe hands. Curse is a damn special release, it combines sheer aggro with songs that are so well written-like catchy as fuck. There is a constant groove and rhymic tone that just grabs you-many grunge/stoner bands like Alice in Chains, Kyuss and Monster Magnet, etc had that sneaky hook that makes you remember the songs well after you have stopped listening. That's what I loved about this ripper album. It is a perfect combo of insane (but technically mindblowing) vocals with skin tearing riffs and rhythm to die for. Plus each track is on a different tangent to the predecessor and it can quickly move from sludgy depths to mathcore chaos, then back to an addictively catchy music festival-closing anthem. Yes, damn straight a classic album from start to end.
Highlights: the whole fucking album, seriously!.
Epic, noisy, damn crazy, and a perfect release to bang your head to. And categorically an album you will bounce back to frequently.
Out now on the frankly brilliant Pogo records (great label with awesome bands and owners):
D’emblée, Curse éparpille ses gros éclats contondants dans toutes les directions et le premier gros fragment que l’on reçoit en pleine poire frappe comme une évidence. On connait cette voix. C’est celle de Tom Glose, auparavant croisée chez Black Elk. Du coup, mon cerveau n’a rien trouvé de mieux qu’associer les deux formations et la première écoute d’ILS n’a pu se faire qu’à l’ombre noire des premiers dont on identifie bien quelques réminiscences rageuses ici et là.
Du coup, si mon mon cerveau n’a pas complètement tort, il ne fait aucun doute après quelques écoutes qu’il n’a pas non plus complètement raison. ILS a un truc bien à lui et si sa très maîtrisée mixture mêle noise-rock, metal et mathcore comme chez Black Elk, il l’équilibre différemment. Chez ILS, la fureur l’emporte constamment sur la lourdeur, y compris lorsque le groupe suspend sa course effrénée vers l’avant en trépignant et en arrachant tout l’espace (Don’t Hurt Me). En outre, on identifie quelques accents stoner, des plans lourdement heavy et des particules de groove qui viennent régulièrement perturber l’azimut unsanien et furibard que ces quatre-là tracent à l’acide depuis Portland. Bref, un drôle de truc tout à la fois tangentiellement moche et bizarrement sexy.
Et puis il faut bien reconnaître qu’un quart de groupe ne saurait suffire à le définir tout entier. Si on a bien compris d’où venait Tom Glose, les trois autres baignent également dans le Portland underground versant indie-rock nerveux , space rock ou stoner – The Days, The Nights (Nate Abner, guitare), Passerby (Tim Steiner, batterie) ou White Orange (Adam Pike, basse) – et on voit bien comment tout cela se retrouve encapsulé dans Curse.
Dix titres relativement courts et qui filent comme une balle. Difficile d’identifier les apports de chacun à l’irascible mixture mais on peut d’ores et déjà dire qu’ils se sont bien trouvés. Dès Bad Parts, les neurones se retrouvent embrigadés par les flots de rage qu’exsude le groupe à grandes eaux : ça va vite, ça tabasse et la voix de Tom Glose, impressionnante, intervient pour une bonne part dans toute cette entropie furieuse (chant clair, râle d’hyène, cris de goule, colère, tout y passe et le registre semble infini). La basse enclume, le lexique de la guitare s’étend du labourage consciencieux aux incisions chirurgicales, la batterie tape sur tout ce qui bouge et tout ça mis ensemble dessine de très bons morceaux : Bad Parts, Curse, Whitemeat ou For The Shame I Bring ne se contentent pas de simplement tout bousiller, ils explorent aussi et, ce faisant, on sent bien qu’ILS se cherche encore un peu.
Ce n’est qu’un premier album, il ne faudrait pas l’oublier et si la variété y est de mise, il y a une pointe de monolithisme à l’œuvre là-derrière qui domestique la folie. Du coup, on se dit parfois que le groupe gagnerait à ouvrir encore plus largement ses brèches pour laisser remonter le groove entraperçu ici et là afin de rendre l’amalgame encore plus irrésistible qu’il ne l’est déjà. Mais je pinaille sans doute.
Qu’on ne s’y trompe pas néanmoins, ces dix titres sont d’une telle trempe qu’il est très clair qu’ILS maîtrise parfaitement son sujet, ce qui promet pour les déflagrations à venir.
Pour l’heure, il y a Curse et c’est déjà son meilleur album. Ou en tout cas, un réel incontournable.
Dead City Radio / Church Of Noise
THEY TALKED ABOUT:
released July 3, 2020