Nearly four decades before Chloë Grace Moretz took off her Hit-Man costume to star in the lackluster remake of Carrie (2013), the titular role was dominated by Ms. Sissy Spacek, who elevated the first of countless Steven King screen adaptions to truly terrifying heights. And after just a few seconds into Brath, it becomes obvious why Cali noisecore duo/trio (different listings conflict with one another) Sissy Spacek named themselves after the actress. Armed with nothing but a rhythm section and and erratic vocals, the band embody the term sonic assault, which can be heard through Brath after the jump:
Simply put, Brath is twenty five nearly indistinguishable minutes of constant blastbeats, heavily distorted bass and erratic shrieks and growls filtered through an intense filter of all consuming noise. Cues seem to have been taken from White Suns – albeit with a much more intense result – and the collaboration between Full of Hell & Merzbow if the marriage has been truly seamless instead of being a slightly more experimental FoH release (no insult intended; Full of Hell & Merzbow is excellent. Read our review here). Sissy Spacek’s approach truly feels like an even split between noise and -core; one can easily imagine that the band placed Carrie White in the middle of their practice space, triggered one of her mental episodes and then hit record. It is abrasive and largely inaccessible, but it is in this that its value resides.