Street SectsEnd Position
The Flenser

- Have you ever shown modern music to the elderly? With the exemption of the particularly hip octogenarian, it’s usually met with something similar to “Oh, it’s a bit noisy.”. Even if it isn’t particularly noisy, it could be something strange made by Mark Pritchard. You see, humans, for all of their fleshy elasticity, aren’t very flexible - This is what the blues is, this is what constitutes rock music, that's not punk, that's not metal. When, essentially, it’s probably a little of all of the above.

See Street Sects, a duo based out of Austin, Texas, that are seeking to progress and challenge you in the process. Having played in traditional outfits, which I’ll lump broadly under hardcore, the duo have released an album of refreshingly electronic hardcore.

It’s too easy to slip into industrial descriptions when listening to the album. That characterisation within the digital age is further becoming a hackneyed misnomer. Lyricist, Leo Ashline, has expressed his contempt for throwback culture, and a desire to create instead of recreate, which both he and composer, Shaun Ringsmuth, have achieved here on their album End Position. With the combined use of traditional drum and guitar sounds alongside of white noise and computational hyper-ability there are moments just as brutal as Pig Destroyer, just tangential as Dillinger and just as tweaked as Oneohtrix Point Never.

It’s defiant, it’s irrepressible, it’s cathartic - all A-grade hardcore attributes. It’s greatest property, though, is it’s desire to challenge convention. To do away with the guitar is the next step for cultural punks to embrace. From Jimi Hendrix to Tom Morello with every shredder in-between, the guitar is played out and the sound of progression sounds like Street Sects. If you’re having trouble accepting that, you’re a rigid sack of water and a part of the problem.

- NJR.

Street SectsEnd Position

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