“Nostalgia is one hell of a drug, but as a creative tool, it can offer us the ability to look at the past to dig through elements that shine rose-tint or otherwise—or at least cover them with a modern spit polish. Not far removed from the idea of Brents’ chiptune grind explorations with Gonemage, Memorrhage explores the br-deng grumblings of Mudvayne, the hazy aggro-interventions of Deftones, and the stop-start core-isms of Zao.” Nu hage music.
![Cara Neir – Phase Out [Things You Might Have Missed 2021]](https://www.angrymetalguy.com/wp-content/uploads/2021/12/Cara-Neir-Phase-Out-01.jpg.webp)
“Oftimes, “experimental” is just a nicer way of saying “incomprehensible” or “long-winded”, “avant-garde” a tidier “sucked up its own ass.” Metal is at its best when it’s truly different, not just strange. Cara Neir received high praise their last time out, but I didn’t hear it. Until now, very little from the Texans intrigued me, nothing I couldn’t swap for some Warheads at the lunch table. Until now.” 8-bits a biting.
Mark Z. and L. Saunders have their moment in the blackened sun to proclaim their Top Ten(ish) preferences for 2019. Fear the words.
“For those who love the bizarre black/grind/punk that vocalist Chris Francis and multi-instrumentalist Garry Brents have been producing since Cara Neir’s 2008 inception, Despair, has been a hotly anticipated record indeed. So turn off the lights, grab some white wine, and get ready to sulk in the corner as we explore the hopelessness of Perpetual Despair Is the Human Condition.” Does white wine even go with existential angst?
![Cara Neir/Wildspeaker – Guilt and His Reflection [Split] Review](https://www.angrymetalguy.com/wp-content/uploads/2016/09/Cara-NeirWildspeaker-Guilt-and-His-Reflection-768x1166.jpg)
“Crack a beer and grab a seat. Today’s entertainment is a double feature from two Texas-based bands with a proclivity for taking black metal and turning it on its ugly, corpse-painted head. First up is Cara Neir, an idiosyncratic, punky duo whose hardcore-tinged blackness often lends itself to wild stylistic forays, as heard on 2013’s Portals to a Better, Dead World. On the flip side is Wildspeaker, a crustier, sludgier outfit who formed in 2013 and released debut Survey the Wreckage last year. They’re here to deliver Guilt and His Reflection, 13 tracks depicting ‘humanity crumbling into itself’ through ‘the story of post-civilization sins committed when desperation overwhelms.'” That certainly sounds cheery.
“Listening to Seagrave begets the age-old question: is it better to try something new and fall short, or rehash the same bullshit until we’re all shitting bowls of Iommi riffs and bleeding ‘retro-death metal’ CDs from every orifice?” If your orifices bleed retro-death for more than 4 hours, consult a physician.
