Fysisk Format 2013

Haust take no prisoners on this their fourth full-length album.  A messy bass production really suits the opening notes of Raw Material and you get possessed by the beefy riffs that surge afterward.  They hit hard and are accented by a melodic passage as the song is a collision of traditional punk, hardcore and driving rock.  The vocals are harsh and scathing, like a blackened version of The Accused.  Swells is a mid-tempo brooder.  You can actually discern black metal riffs that are turned on their ears with a sloppy punk approach before the guitars turn in a crunchy groove.  The next track, Let It Die, starts with a cacophony of cymbals and feedback only to reveal a determined riff and some Hellhammer-ish primitivism that punishes and brutalizes your eardrums.  It is not a pleasant song by any stretch of the imagination.  The riffing turns towards a more traditional blackened feel as the song closes out and the song's title is uttered by some dry vocal retching.  A punkier vibe emanates from the title-track, but then a magical thing happens, a blackened melodic overtone drifts through those vampiric punk riffs.  The title-track is the first time I really see the merits of the amazing word of mouth this band has been getting.  Into The Night also utilizes a blackened foundation for its songwriting and dragging guitar lines slowly sway amongst haunting vocals.  The guitars continue to drone and the chorus lunges with a pounding acceleration of energy and noise.  Night brings to mind some of the more somber songs of The Police.  Mantra is for me a throwaway song with its monotonous drum line and simplistic lyrical approach.  It's punk, but boring for me.  Luckily it's short.  The final track on the album, Dead Of Night is a mournful funeral dirge of a song and serves to calm you into a coma as the night ends.  Haust's new album is delightful blackened punk with some great songs and some throwaways too.