Review by Arek on November 16, 2016.

Deformeathing Productions stable finally comes alive and Straight Hate is a good example of it. Eastern Poland's quartet in collaboration with D. Productions gave us their debut album - Every Scum Is A Straight Arrow. Seventeen tracks of dense grindcore in a Swedish death-metal style will take less than 26 minutes and no more is needed to begin this review.

Although "Every Scum ..." is a debut album of Straight Hate, you have to know that half of the line-up also powers up death-grind commando Parricide. Even though both bands operate in similar genres, stylistically they are moving in two different worlds. Experience in musical and publishing fields resulted in an excellent production of the album. Each instrument is clearly heard in the mix, guitars purr as in golden 90’s Stockholm’s Sunlight Studio times, bass destructively growls, and drums and cymbals bang grind rhythms. Vocal is a completely separate story altogether though. Kuba expresses his hatred in three ways: low-sounding screams, tweeters and pig squeals. Straight Hate's music bears imprinted mark of bands such as Nasum, Rotten Sound, or early Napalm Death which can be perfectly heard and punk rock roots can be found in virtually every song.

The album "Every Scum ..." is…quite all right. It doesn’t strike over the framework of the genre, but while moving in those narrow musty corridors it uses the whole spectrum of their available resources. It can pummel hard and bury you under a meaty grind (e.g. Beautiful Slut), or when a respite is needed, it happens (e.g. Fuck It, This Is Grindcore). Deformeathing Prod chose Self-Deception and Disagreement for promo material, but in addition to the above mentioned pieces I would also like to point out The King Of Everything. The album passes the test as a whole - zero boredom, and however wild you go while listening is up to you.

"Every Scum ..." is a thing for fans of real grind pounding, and when live, the band stands tall for their trade… I know what I write because I have seen and heard them in the pub, where music so condensed does not necessarily sound good. They played in such a way that after a few seconds, I was by the stage banging my head - pure and sincere energy. No point to look for originality on this album, simply follow the advice of title of the sixth song - Fuck It, This Is Grindcore. This is not an album that will top musical charts or annual summaries, but it is so good to listen to - check it out for yourselves.

Rating: 8 out of 10

Review by Alex on April 15, 2020.

Within the kaleidoscope, a sacred and hidden illumination moves about; its effect, of a record magnitude, an omnipresent force. One dimensional from a distance all the while theatrically comprised of many an attribute, this semblance, this deception will cause some to encounter pains when identifying what exactly Sacred Colour of the Source of Light is. Through a sound fully ornamented, Golden Light's debut Sacred Colour of the Source of Light, triggers a trance of spellbinding serenity, that an emancipating, sorcerean shimmer would beam and strike the third eye, reconnecting one with a lost past and path to divinity. Whether only a visitor or have come to stay, Sacred Colour of the Source of Light ensues upon one a comfort unlike any, with one hand in ethereal mysticism and the other in an earthly dread.

Out the royal womb with 'Scepter of Solar Idolatry', Golden Light shows the listener that beyond the obvious iconic black metal echo, there is more than meets the ear. A clerical movement of ambient sounds and frequencies proceed to grab from the speeding lick of the snare, cymbals and toms, its dominance and direction of the music. Beginning slow, it would accelerate and reshape often enough to snatch the trancing attention of the listener and introduce one to a deeper, noble sway, ever tightening its grip as it takes you through 'The Western Gate'. By now the wander has intensified and has pushed into overdrive, as the deep-seated-synth breaks ground and intertwines with both the crash of the drum-kit and the ambient movements occurring beneath it. However, struck by a lo-fi buzz, the cloudy guitar tones heard have their own effect to fulfill, though they would follow the rhythm of the drums and act almost independent of the auric celestial shadow hovering triumphantly above Sacred Colour of the Source of Light, its strings are somehow still mended with grace into a fabric now serpentine.

Entombed by an array of sublime chord progressions, a noble ambiance and a hypnotizing drum sequence, a voice from within the spectral chasm pelts and carries with it the oriflamme of the sonic chaos. The emitting tone, like a shallow pool of water, does not drown or consume the music; instead, like all other aspects, falls into place with discipline and in subservience to the unison. The polytonality of a song like 'Dawn of History' is the glamour within Sacred Colour of the Source of Light; it’s this constant aggression of sounds that make the album such a delight. Like Trelldom's 'Steg', but with a lot more happening beneath the synchronized guitars and drumming in addition to an almost whispering emanation of vocals, Sacred Colour of the Source of Light bares down with a dolce and voguish immensity. Feel free to gaze, but be warned, it is the light that is most deceptive.

Rating: 8.2 out of 10