Black Sheep Wall and Colombian Necktie have booked a May US Tour, and confirmed dates are below.
May 23: Holland Project – Reno, NV
May 24: The Shred Shed – Salt Lake City, UT
May 25: 7th Circle Collective – Denver, CO
May 26: Duke City Sound – Albuquerque, NM
May 27: 1919 Hemphill – Fort Worth, TX
May 29: Korova Basement – San Antonio, TX
May 30: Haphazard Hall – Las Cruces, NM
May 31: 51 West – Tempe, AZ
When you stick the word ‘core’ as a suffix to a particular genre tag, many over the age of thirty tend to roll our eyes and dismiss the forthcoming sound as generic, derivative pap. This sophomore effort from self-styled Los Angeles ‘sludgecore’ quintet Colombian Necktie does unfortunately commence in that fashion. Twilight Upon Us (Self-Released) starts with a slow, heavy crunch, soon ripped apart by a tinny, death style production and an irritating, unwavering high pitched scour from front man Scott Werren which resembles the unflinching pitch of Oli Sykes. The initial time changes tend to cheapen the sound initially also, especially for the low end fraternity led into the ‘sludge’ element of their description.
Bizarrely, the thing begins to actually grow on you. The filthy undercurrent accompanies a quickening of the pace in many of the tracks, introducing a hardcore element reminiscent of Raging Speedhorn or Cancer Bats in its sound and intensity, and lending a variation which sharpens the album’s somewhat formulaic edges. ‘Sleepwalking’ and ‘Ready to Burn’ see post-hardcore flecks paint the ripping savagery with pastel colours whilst drummer Ben Brinckerhoff, arguably the unsung star of this show, constantly introduces deft changes which paradoxically pummel the brain.
The vast majority of tracks here remain below the four minute mark, short sharp shocks which don’t outlast their welcome. Only closer ‘Kevin’s Song’, a track dedicated to a sadly departed friend and founder band member, bucks this trend, a brutally funky and ambient workout with elements of “post” guitars and Spaghetti Western-style centre, slowing to the coda with truly crushing yet emotive sound. In truth the low-end purists will find little to keep them hooked in here, but it’s a worthy set and one which will find those with open minds tapping their toes at the very least.