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Primitive Man

Primitive Man - Home Is Where The Hatred Is album art

Home Is Where The Hatred Is

17th February 2015 – Relapse Records

01. Loathe
02. Downfall
03. Bag Man
04. A Marriage With Nothingness

Doom and sludge fans have been rather spoilt over the past year or so, with outstanding releases from YOB, Pallbearer, Black Sheep Wall, Heathen, Old Man Gloom and Indian to name but a few. Denver’s Primitive Man add to this already impressive list their latest record Home Is Where The Hatred Is; four tracks of discordant, depressing, dirge-laden doom.

Unlike their aforementioned peers, however, there is very little in the way of melody expressed on HIWTHI. From the wailing feedback at the start of “Loathe“, right the way through to the nightmarish “A Marriage With Nothingness“, this is almost entirely an exercise in disturbing the listener as much as possible. There is a darkness in these songs that doesn’t allow any semblance of light through.

The guttural, pain-filled lows of Ethan Lee McCarthy’s vocal musings embody the anger, resentment and sentiment of many of our planet’s citizens in 2015. Lyrics such as “every pig hung in the streets, fucking paradise” from “Downfall” and “some things you take to the grave, like a hatred transcending” from “Loathe“, along with Jacob Speis’ fantastically provocative artwork, exemplify the seething hatred that drives the output of Primitive Man.

The production of such a low-end dominating music is yet again superb, and it’s so pleasant to hear abrasive, heavy music sound so defined yet still so noisy and gnarly. Dave Otero has captured the rumbling, disheveling, dirt-encrusted bass tones and placed them perfectly between the pummeling drums and suffocating guitars.

As a 3-piece, Primitive Man’s massive sound dwarfs that of the prolific 3-guitars bands rather embarrassingly. It’s invigorating to see bands embracing the ‘I don’t have to play 37 notes a bar then chug one note for the next 200 bars to make a song heavy’ school of thought, and instead relying on the foundations of groove, tight rhythms and loud-as-fuck (real) amps. These four songs leave the listener yearning for more, but with their impressive output over the past year – including 4 splits and this record – hopefully it wont be too long before we are served up another dose of blackened doom/sludge hate.


Josh writer banner Jan 2014