The first time I played Holy Molar’s Cavity Search, I sat there, listening on my headphones, thinking to myself, “I am out of my element.” I subsequently perused online out of a curiosity to see how other people felt about this particular record, and when I read some fan reactions, I thought once more, “I am seriously out of my element.”
The most immediately entertaining aspect of Holy Molar’s Cavity Search, even before the first press of the play button, is the group’s side-splitting song titles, such as “My Saturday Night Fever Turned Into A Sunday Morning Rash” and “You’ve Had More Kids Pulled Out Of That Thing Than A Burning Orphanage.” Seeing those, I could only assume I was in for a treat. So, I popped the CD into my player and queued up the music, to quite a promising start. The opening title track starts with a vibrant blast of horns and electronic programming. Then suddenly, as if out of some horror film, the screaming begins. And it doesn’t end until the EP has run out—which only takes a surprisingly short ten minutes.
Now, even though this genre of music is not my cup of tea, I do fancy a bit of metal and screamo, so I figured I could have some sort of steady footing off of which to launch myself and dive right into this one. But the more I listened, the more I couldn’t comprehend what was being shot through my speakers. There was no rhyme or reason, no structure or stability. Cavity Search is not the album to play when trying to get a good night’s sleep or to seduce a date, or whatever potentially enjoyable activity might accompany listening. When you’re feeling angry, confused, distraught, or insane, play some Holy Molar. But personally, I try not to feel angry, confused, distraught, or insane…so this review has an obvious and unfair bias (my sincerest apologies to the members of the band).
Cavity Search is a short enough to administer just the right amount of shock before you become scared out of your wits, and the instrumentation is simple enough to allow for an easy transition into the world of thrash rock. Though the band goes nuts with their incredibly short songs (none of them meeting the three minute mark) and their stream of conscious lyrics, they keep it pretty tame in regards to the instruments. Holy Molar mainly relies on heavy distortion on the guitars and bass, with utter madness being unleashed on the drum kit, and occasionally we catch a glimpse of some synthesizer. The synth has an unusual effect because it gives the music a softer side, while at the same time comes a little too close for comfort, like a friend who always hangs around for a little too long and, after a while, starts to gnaw on your nerves. But, even though that friend can be tiresome, he’s still your friend and you still love him because he does have some good qualities.
The Locust – Plague Soundscapes
Das Oath – Das Oath
Head Wound City – Head Wound City