Combining some of the fithiest elements of hardcore and metal (with some screamo sprinkled on top) into one potent sonic stew, Horsewhip have returned with their latest offering. Spanning eight tracks, Consume and Burn is the Florida band's third album and finds them in a new musical setup.
Featuring members of both Reversal of Man and Combatwoundedveteran, Horsewhip have welcomed guitarist Dave Teten into their lineup, as well as moving guitarist Shaun Drees to main vocals and bassist Jeff Howe on background vocals.
Soak in Consume and Burn track "Plague Machine" below to get the full picture:
To celebrate this month's release of their latest album, the gentlemen of Horsewhip have whipped together (sorry) a list of a few records that helped inspire the material on Consume and Burn for No Echo.
As you'll see below, Horsewhip clearly have great taste in heavy music.
Shaun Drees (guitar/vocals):
Union of Uranus, Disaster by Design (1995)
"I first heard Disaster by Design in 1995 at a friend’s house after he received a shipment from Great American Steak Religion, record label based out of Canada during that era. I can’t remember the first time I’ve heard most records, or where I was at the time but this one has always stuck in my memory.
"Disaster by Design had an impact on our specific scene that was vast and made us look differently at what hardcore could be or sound like. Not many chaotic hardcore bands can hold up after nearly 30 years, but this record is still as brutal and powerful as the first day I heard it.
"I know a lot of people would call this 'screamo but at the time it was just dark, chaotic, spooky hardcore. Their chord progression and insane, almost incomprehensible drumming was something that inspires me and has stuck with me all these years later."
Alex Bond (drums):
Rorschach, Remain Sedate (1990)
"When I first heard this record, I was immediately hooked. There was nothing like it at the time. A Dark, intense, combination of hardcore, metal, punk, and even jazz/prog influences. Andrew Gormley soon became a huge influence on my drumming, and I have followed everything he has done since Rorschach.
"Unfortunately, Rorschach was criminally underrated and didn’t last long enough for me to see them live. Remain Sedate remains untouchable to this day."
Dave Teten (guitar):
Bathory, Under the Sign of the Black Mark (1987)
"This record is so primitive and evil from the chord voicings to pummeling distorted rhythms. The dark atmospherics on this record are unmatched and influenced a lot of my guitar 'choices' on Consume and Burn."
Jeff Howe (bass/background vocals):
His Hero is Gone, Fifteen Counts of Arson (1997)
"BRUTALITY. From the opening Rosemary's Baby sequence to the final "FEAST!" on 'Skinfeast,' this record gets increasingly angry after starting out about as irate as possible. Not many records do that for me.
"The first time I listened to Fifteen Counts of Arson, and The Dead of Night in Eight Movements in 1996, the feeling of burning and destroying everything in my path came to mind. Obviously, I opted for the safer route of arriving to band practice in one piece, but it played a huge factor in song writing and attempting to make music as pissed as possible. It still makes me feel that. PISSED.
"Consume and Burn wouldn't be what it is without that influence. I was fortunate enough to see HHIG play live with their original lineup and multiple times with Yannick on guitar. Every time I saw them; they blew me away and knocked the dust off whatever building they were in."
Shaun Drees (guitar/vocals):
Neurosis, Times of Grace (1999)
"First let me say I also love [Neurosis' previous album] Through Silver and Blood, but Times of Grace connected with me like no other heavy record has. I think up until that point I was mostly listening to fast chaotic hardcore or death metal. Basically, something with either a D-beat, blast beat, or just nonsense.
"Neurosis always sounds like Neurosis, no matter how weird or different each song is on a record, their sound is clear and branded. Times of Grace is one of the most dynamic, dark, beautiful, and shockingly heavy records. Songs like 'The Doorway,' with its menacing angry chords, makes me feel like the first time I listened to Slayer or Napalm Death in middle school and realized that I wanted so badly to be a part of it."