Album Review

Album Review: Jucifer – “District Of Dystopia”

Posted by Morgan Ywain Evans on Thursday, October 30, 2014 at 10:02 AM (PST)
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Jucifer‘s District of Dystopia is just what the world needs right now. “Non Gratum anus Rodentum” opens this up with lo-fi Melvins/Buzzov-en glory and ragged precision. This shit is so killer. In some ways this is the ultimate Jucifer release, since it is the closest to their ever-shifting live experience you could get withouta lasso and a tornado. Nomadic Fortress is releasing this fury of 4 track blast and doom, choked and peaking vocals
to make Converge blush on “It Can’t Be Helped” and the merciless crashing cymbals of Edgar Livengood. That dude is such a whirlwind of beast to watch drum.

Bunnybrains are playing in my town tonight with DJ Lunar Moss (what a great fuckin’ name). “Narcissist” is hissing outof my speakers with menace as deadly as any Venom record and I kind of want to kill or hump something. Life has some good moments.

From the press release: Jucifer’s District of Dystopia examines the particular dystopia native to our nation’s capital.  With homage to both D.C. punk protest tradition and the American Dream itself — in all her battered majesty — the band marks its 21st year with a razor sharp blast of aggression honed by world weary wisdom.

I can think of no better topic after their extensive foray into Russia after a long French romance (a rad double album, haha), than to set their eyes
back on the USA for a punk rock school lesson. The Liberty bell is ringing somewhere in Purgatory.A house of cards, indeed.

“Red Summer” is a slogging, fuzzed out ultimate vibe to everywhere that evokes the scurry of pedestrians hurrying to work, the frustration of Congressional gridlock and the entropic dog and pony of crony capitalism/mixed economics. Buildings decay and paint peels and the lightning bolt aims for the White House one more time cuz everybody can be bought.

Amber sounds brutal on this and there is the immediacy of any backyard or basement show jam around a burn barrel, cheap beer cans or a pile of dirt and concrete blocks. “The Object of Power” is straight black metal grind meets slug metal, a weird vortex of colliding force fields and politics, scene boundaries and signifiers.


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