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Rigorous Institution: Cainsmarsh cassette
After three highly praised 7â eps, RIGOROUS INSTITUTION rises from the shadowy dripping streets of Portland, OR to deliver us their 1st full length album. Full of scathing vocals with smart, bleak lyrics (that border on poetry at times), axe grinding riffs, driving, dirty bass lines, hypnotic percussion, atmospheric synthesizer and a sense of droning paranoia scattered throughout its entirety. Yes, this is what one could call crust, but it feels too easy to use that word. These weirdos veer into seldom ventured territories that go from ripping to horrific soundscapes that make one's skin crawl as much as their fists pump. Picture John Carpenter joining forces with AMEBIX in 1982 and it will give you an idea of what this epic 12â will bring. This might just be the perfect soundtrack for the current state of the world.
Our take: I make no bones about loving Portlandâs Rigorous Institution. I loved all three of their singles, and two of them were Record of the Week here at Sorry State. For me, Rigorous Institution is one of the most exciting and original-sounding bands in contemporary punk, and my expectations were sky high for Cainsmarsh. On the first listen, it was clear Rigorous Institution had not only met, but exceeded those expectations. Cainsmarsh does precisely what you want a bandâs debut LP to do after youâve loved their singles: it gives you a little of what you expect but expands their sound and challenges their listeners. Tracks like âFever (City)â and âLaughterâ are in line with Amebix-influenced post-apocalyptic punk of their three singles, but other songs caught me off guard. âCriminal Betrayersâ channels the heavy industrial clatter of early Swans, while âFeral Dogs III (The Feral Hunt)â sounds like harsh noise or power electronics, yet still somehow carries forward Rigorous Institutionâs grandiose, medieval-sounding aesthetic. Even the albumâs shortest non-instrumental song, âTempt Fate⊠and Win!â feels like something new and unexpected, an upbeat and triumphant punk anthem that no one but Rigorous Institution could make. My favorite track on the album, though, is âNuclear Horses.â This song floored me the first time I listened to the album, and subsequent listens have not dulled its impact. The songâs lyrics address the domestication of horses, and the originality of the topic and the vividness with which the lyrics explore it hit so hard for me⊠Iâm not sure if they intended âNuclear Horsesâ as an animal rights song, but Iâve heard a thousand of those and few have stirred the emotions I feel when I listen to âNuclear Horses.â During the songâs outro, where they sample sounds of horses whinnying uncomfortably, itâs all I can do not to cry. While âNuclear Horsesâ is the standout for me, Rigorous Institutionâs lyrics are fascinating throughout. They established their aesthetic early in their tenure as a band, channeling some period of history that might be before or after the collapse of our current civilization⊠or maybe thatâs not what theyâre doing⊠whatever it is, their lyrics and music have an utterly distinctive and immersive vibe that I canât get enough of. Every lyrical topic gets filtered through this aesthetic, so a song like âErgot,â which seems to be about heroin, feels like itâs written from the perspective of the gods scoffing at humanityâs folly. Maybe some of you wonât want to visit the world Rigorous Institutionâs music transports you toâitâs fucking bleak and frighteningâbut few bands can send you somewhere else as effectively as Rigorous Institution can.
Our take: I make no bones about loving Portlandâs Rigorous Institution. I loved all three of their singles, and two of them were Record of the Week here at Sorry State. For me, Rigorous Institution is one of the most exciting and original-sounding bands in contemporary punk, and my expectations were sky high for Cainsmarsh. On the first listen, it was clear Rigorous Institution had not only met, but exceeded those expectations. Cainsmarsh does precisely what you want a bandâs debut LP to do after youâve loved their singles: it gives you a little of what you expect but expands their sound and challenges their listeners. Tracks like âFever (City)â and âLaughterâ are in line with Amebix-influenced post-apocalyptic punk of their three singles, but other songs caught me off guard. âCriminal Betrayersâ channels the heavy industrial clatter of early Swans, while âFeral Dogs III (The Feral Hunt)â sounds like harsh noise or power electronics, yet still somehow carries forward Rigorous Institutionâs grandiose, medieval-sounding aesthetic. Even the albumâs shortest non-instrumental song, âTempt Fate⊠and Win!â feels like something new and unexpected, an upbeat and triumphant punk anthem that no one but Rigorous Institution could make. My favorite track on the album, though, is âNuclear Horses.â This song floored me the first time I listened to the album, and subsequent listens have not dulled its impact. The songâs lyrics address the domestication of horses, and the originality of the topic and the vividness with which the lyrics explore it hit so hard for me⊠Iâm not sure if they intended âNuclear Horsesâ as an animal rights song, but Iâve heard a thousand of those and few have stirred the emotions I feel when I listen to âNuclear Horses.â During the songâs outro, where they sample sounds of horses whinnying uncomfortably, itâs all I can do not to cry. While âNuclear Horsesâ is the standout for me, Rigorous Institutionâs lyrics are fascinating throughout. They established their aesthetic early in their tenure as a band, channeling some period of history that might be before or after the collapse of our current civilization⊠or maybe thatâs not what theyâre doing⊠whatever it is, their lyrics and music have an utterly distinctive and immersive vibe that I canât get enough of. Every lyrical topic gets filtered through this aesthetic, so a song like âErgot,â which seems to be about heroin, feels like itâs written from the perspective of the gods scoffing at humanityâs folly. Maybe some of you wonât want to visit the world Rigorous Institutionâs music transports you toâitâs fucking bleak and frighteningâbut few bands can send you somewhere else as effectively as Rigorous Institution can.
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Rigorous Institution: Cainsmarsh cassette
Rigorous Institution: Cainsmarsh cassette
After three highly praised 7â eps, RIGOROUS INSTITUTION rises from the shadowy dripping streets of Portland, OR to deliver us their 1st full length album. Full of scathing vocals with smart, bleak lyrics (that border on poetry at times), axe grinding riffs, driving, dirty bass lines, hypnotic percussion, atmospheric synthesizer and a sense of droning paranoia scattered throughout its entirety. Yes, this is what one could call crust, but it feels too easy to use that word. These weirdos veer into seldom ventured territories that go from ripping to horrific soundscapes that make one's skin crawl as much as their fists pump. Picture John Carpenter joining forces with AMEBIX in 1982 and it will give you an idea of what this epic 12â will bring. This might just be the perfect soundtrack for the current state of the world.
Our take: I make no bones about loving Portlandâs Rigorous Institution. I loved all three of their singles, and two of them were Record of the Week here at Sorry State. For me, Rigorous Institution is one of the most exciting and original-sounding bands in contemporary punk, and my expectations were sky high for Cainsmarsh. On the first listen, it was clear Rigorous Institution had not only met, but exceeded those expectations. Cainsmarsh does precisely what you want a bandâs debut LP to do after youâve loved their singles: it gives you a little of what you expect but expands their sound and challenges their listeners. Tracks like âFever (City)â and âLaughterâ are in line with Amebix-influenced post-apocalyptic punk of their three singles, but other songs caught me off guard. âCriminal Betrayersâ channels the heavy industrial clatter of early Swans, while âFeral Dogs III (The Feral Hunt)â sounds like harsh noise or power electronics, yet still somehow carries forward Rigorous Institutionâs grandiose, medieval-sounding aesthetic. Even the albumâs shortest non-instrumental song, âTempt Fate⊠and Win!â feels like something new and unexpected, an upbeat and triumphant punk anthem that no one but Rigorous Institution could make. My favorite track on the album, though, is âNuclear Horses.â This song floored me the first time I listened to the album, and subsequent listens have not dulled its impact. The songâs lyrics address the domestication of horses, and the originality of the topic and the vividness with which the lyrics explore it hit so hard for me⊠Iâm not sure if they intended âNuclear Horsesâ as an animal rights song, but Iâve heard a thousand of those and few have stirred the emotions I feel when I listen to âNuclear Horses.â During the songâs outro, where they sample sounds of horses whinnying uncomfortably, itâs all I can do not to cry. While âNuclear Horsesâ is the standout for me, Rigorous Institutionâs lyrics are fascinating throughout. They established their aesthetic early in their tenure as a band, channeling some period of history that might be before or after the collapse of our current civilization⊠or maybe thatâs not what theyâre doing⊠whatever it is, their lyrics and music have an utterly distinctive and immersive vibe that I canât get enough of. Every lyrical topic gets filtered through this aesthetic, so a song like âErgot,â which seems to be about heroin, feels like itâs written from the perspective of the gods scoffing at humanityâs folly. Maybe some of you wonât want to visit the world Rigorous Institutionâs music transports you toâitâs fucking bleak and frighteningâbut few bands can send you somewhere else as effectively as Rigorous Institution can.
Our take: I make no bones about loving Portlandâs Rigorous Institution. I loved all three of their singles, and two of them were Record of the Week here at Sorry State. For me, Rigorous Institution is one of the most exciting and original-sounding bands in contemporary punk, and my expectations were sky high for Cainsmarsh. On the first listen, it was clear Rigorous Institution had not only met, but exceeded those expectations. Cainsmarsh does precisely what you want a bandâs debut LP to do after youâve loved their singles: it gives you a little of what you expect but expands their sound and challenges their listeners. Tracks like âFever (City)â and âLaughterâ are in line with Amebix-influenced post-apocalyptic punk of their three singles, but other songs caught me off guard. âCriminal Betrayersâ channels the heavy industrial clatter of early Swans, while âFeral Dogs III (The Feral Hunt)â sounds like harsh noise or power electronics, yet still somehow carries forward Rigorous Institutionâs grandiose, medieval-sounding aesthetic. Even the albumâs shortest non-instrumental song, âTempt Fate⊠and Win!â feels like something new and unexpected, an upbeat and triumphant punk anthem that no one but Rigorous Institution could make. My favorite track on the album, though, is âNuclear Horses.â This song floored me the first time I listened to the album, and subsequent listens have not dulled its impact. The songâs lyrics address the domestication of horses, and the originality of the topic and the vividness with which the lyrics explore it hit so hard for me⊠Iâm not sure if they intended âNuclear Horsesâ as an animal rights song, but Iâve heard a thousand of those and few have stirred the emotions I feel when I listen to âNuclear Horses.â During the songâs outro, where they sample sounds of horses whinnying uncomfortably, itâs all I can do not to cry. While âNuclear Horsesâ is the standout for me, Rigorous Institutionâs lyrics are fascinating throughout. They established their aesthetic early in their tenure as a band, channeling some period of history that might be before or after the collapse of our current civilization⊠or maybe thatâs not what theyâre doing⊠whatever it is, their lyrics and music have an utterly distinctive and immersive vibe that I canât get enough of. Every lyrical topic gets filtered through this aesthetic, so a song like âErgot,â which seems to be about heroin, feels like itâs written from the perspective of the gods scoffing at humanityâs folly. Maybe some of you wonât want to visit the world Rigorous Institutionâs music transports you toâitâs fucking bleak and frighteningâbut few bands can send you somewhere else as effectively as Rigorous Institution can.
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Description
After three highly praised 7â eps, RIGOROUS INSTITUTION rises from the shadowy dripping streets of Portland, OR to deliver us their 1st full length album. Full of scathing vocals with smart, bleak lyrics (that border on poetry at times), axe grinding riffs, driving, dirty bass lines, hypnotic percussion, atmospheric synthesizer and a sense of droning paranoia scattered throughout its entirety. Yes, this is what one could call crust, but it feels too easy to use that word. These weirdos veer into seldom ventured territories that go from ripping to horrific soundscapes that make one's skin crawl as much as their fists pump. Picture John Carpenter joining forces with AMEBIX in 1982 and it will give you an idea of what this epic 12â will bring. This might just be the perfect soundtrack for the current state of the world.
Our take: I make no bones about loving Portlandâs Rigorous Institution. I loved all three of their singles, and two of them were Record of the Week here at Sorry State. For me, Rigorous Institution is one of the most exciting and original-sounding bands in contemporary punk, and my expectations were sky high for Cainsmarsh. On the first listen, it was clear Rigorous Institution had not only met, but exceeded those expectations. Cainsmarsh does precisely what you want a bandâs debut LP to do after youâve loved their singles: it gives you a little of what you expect but expands their sound and challenges their listeners. Tracks like âFever (City)â and âLaughterâ are in line with Amebix-influenced post-apocalyptic punk of their three singles, but other songs caught me off guard. âCriminal Betrayersâ channels the heavy industrial clatter of early Swans, while âFeral Dogs III (The Feral Hunt)â sounds like harsh noise or power electronics, yet still somehow carries forward Rigorous Institutionâs grandiose, medieval-sounding aesthetic. Even the albumâs shortest non-instrumental song, âTempt Fate⊠and Win!â feels like something new and unexpected, an upbeat and triumphant punk anthem that no one but Rigorous Institution could make. My favorite track on the album, though, is âNuclear Horses.â This song floored me the first time I listened to the album, and subsequent listens have not dulled its impact. The songâs lyrics address the domestication of horses, and the originality of the topic and the vividness with which the lyrics explore it hit so hard for me⊠Iâm not sure if they intended âNuclear Horsesâ as an animal rights song, but Iâve heard a thousand of those and few have stirred the emotions I feel when I listen to âNuclear Horses.â During the songâs outro, where they sample sounds of horses whinnying uncomfortably, itâs all I can do not to cry. While âNuclear Horsesâ is the standout for me, Rigorous Institutionâs lyrics are fascinating throughout. They established their aesthetic early in their tenure as a band, channeling some period of history that might be before or after the collapse of our current civilization⊠or maybe thatâs not what theyâre doing⊠whatever it is, their lyrics and music have an utterly distinctive and immersive vibe that I canât get enough of. Every lyrical topic gets filtered through this aesthetic, so a song like âErgot,â which seems to be about heroin, feels like itâs written from the perspective of the gods scoffing at humanityâs folly. Maybe some of you wonât want to visit the world Rigorous Institutionâs music transports you toâitâs fucking bleak and frighteningâbut few bands can send you somewhere else as effectively as Rigorous Institution can.
Our take: I make no bones about loving Portlandâs Rigorous Institution. I loved all three of their singles, and two of them were Record of the Week here at Sorry State. For me, Rigorous Institution is one of the most exciting and original-sounding bands in contemporary punk, and my expectations were sky high for Cainsmarsh. On the first listen, it was clear Rigorous Institution had not only met, but exceeded those expectations. Cainsmarsh does precisely what you want a bandâs debut LP to do after youâve loved their singles: it gives you a little of what you expect but expands their sound and challenges their listeners. Tracks like âFever (City)â and âLaughterâ are in line with Amebix-influenced post-apocalyptic punk of their three singles, but other songs caught me off guard. âCriminal Betrayersâ channels the heavy industrial clatter of early Swans, while âFeral Dogs III (The Feral Hunt)â sounds like harsh noise or power electronics, yet still somehow carries forward Rigorous Institutionâs grandiose, medieval-sounding aesthetic. Even the albumâs shortest non-instrumental song, âTempt Fate⊠and Win!â feels like something new and unexpected, an upbeat and triumphant punk anthem that no one but Rigorous Institution could make. My favorite track on the album, though, is âNuclear Horses.â This song floored me the first time I listened to the album, and subsequent listens have not dulled its impact. The songâs lyrics address the domestication of horses, and the originality of the topic and the vividness with which the lyrics explore it hit so hard for me⊠Iâm not sure if they intended âNuclear Horsesâ as an animal rights song, but Iâve heard a thousand of those and few have stirred the emotions I feel when I listen to âNuclear Horses.â During the songâs outro, where they sample sounds of horses whinnying uncomfortably, itâs all I can do not to cry. While âNuclear Horsesâ is the standout for me, Rigorous Institutionâs lyrics are fascinating throughout. They established their aesthetic early in their tenure as a band, channeling some period of history that might be before or after the collapse of our current civilization⊠or maybe thatâs not what theyâre doing⊠whatever it is, their lyrics and music have an utterly distinctive and immersive vibe that I canât get enough of. Every lyrical topic gets filtered through this aesthetic, so a song like âErgot,â which seems to be about heroin, feels like itâs written from the perspective of the gods scoffing at humanityâs folly. Maybe some of you wonât want to visit the world Rigorous Institutionâs music transports you toâitâs fucking bleak and frighteningâbut few bands can send you somewhere else as effectively as Rigorous Institution can.
