Every Room In Britain

01. Rot Induction
02. Full Of Sell
03. Fuck Off Back To London
04. Back Office Savings
05. Preston Slayer Fans
06. Young Professionals
07. Every Room
08. Community Payback
09. Bare Minimum Customer Service
10. Robot Cannibal
11. Misery Trance
12. Waiting For Junko
13. Two Grand Bro
14. Glass Floor
15. Pro Area
16. Micro Aggressions
17. Self Defeater
18. Purged
19. Another Nails In The Coffins
20. Fastard
21. Anguish Champions

AtomÁk are a trio from the UK's wet and wild south-west. They have been plugging away for over a decade, evolving their primitive noise roots into a uniquely eccentric and offbeat brand of grindcore for thee end-tymes. "Every Room In Britain" is a 17-minute head crusher of cacophonous chaos, all furiously catchy riffs and inhumanly shrill, stuck-ape vocals with pinpoint drums that border on the chaotic.

Release date 21/07/17.

Co-released with Made In The Meth Lab, Rip Roaring Shit Storm, Stop Talking and Wooaaargh Records.

Linus: Vocals, machines / Karl: Drums / Luke: Guitars

Recorded and mixed by Boulty at Stuck On A Name Studio, on December 3rd and 4th, 2015. Mastered by Brad Boatright at Audiosiege.

Cover art by Luke Oram.

Ltd. to 250 copies on black.

Collective Zine
Hell's bells, this is madnes! Huge, unrelenting, head-in-a-tumble-dryer grind is what's going on, torn musically between the hulking horror of Brutal Truth and the lean, scything viciousness of Discordance Axis. The sound is IMMENSE, the thing exuding a real sense of fraught, anguished volatility and surging forth like it's going to charge headfirst through your living room wall. If the vocals are often what you'd expect from a grindcore album (i.e. garbled; throat-mangled; indecipherable) AtomÁk also deploy a 'secret weapon' that'll likely leave this one dividing opinion: weird, chirrupy vocalisations that sound like a frog being stepped on. They initially serve as an odd distraction, but as the album progresses they add to a sense of unpredictable, claustrophobic mania that can be very hard to put yourself through, ultimately rendering this a more challenging grind release than most.

Des Cendres A La Cave (translated)
We leave our green meadows for the humid and savage southwest of England and in doing so, we fall on AtomÁk, his howls of goret that are slaughtered amalgamated with other more simian and frankly strange, his ultra-massive guita , His battery sacrificed and his electronics dislocated throwing stridences clenched during the seventeen minute minutes that count their new LP. Seventeen minutes is short, especially for twenty-one titles but it's especially good enough. Grind, punk and hardcore are in a boat, nobody falls into the water and it's total war. Obviously, it beats, it meticulously pulverizes the obstacle and it rarely takes its time, the general climate is most violent and each piece administers a beautiful jerk. We do not understand a word, but we block on borborygmas and malicious riffs that the inventive guitar squeezes continuously, we also attach a lot to the synthetic veil that unfolds between seconds and quickly enough, the latter melt one In others, drawing in fine a single piece that erases time. Ultra mastered, Every Room In Britain succeeds in bringing it everywhere without ever going beyond the frame and, once the hurricane has passed, one has the curious impression that its cries of chimpanzees under amphetamines have awakened the primate that sleeps at most Deep down on us and feels a little gorilla.

AtomÁk are a UK grindcore band and this is their latest album. I love me some unruly, pissed-off grindcore, and this certainly hits the mark. AtomÁk have provided us with 21 tracks that last a mere 17 minutes. The songs are short, frenetic ragers that spew out insectile and savage grind full of passion, energy, and no small amount of inventive chaos. If youíre unfamiliar with AtomÁk, imagine a twisted cross between something like Discordance Axis and Cripple Bastards, only with a distinct personality all of their own. The tracks are well-written and pack a surprising amount of enjoyably pandemonic content into their short running times. Almost everything here is fast, violent, and relentlessly vicious. As far as grindcore goes, you canít fault it really. With a nice juicy sound, the songs have the kind of sonic substance needed to burst into your house and rearrange all of your furniture while youíre out and about. Or something. Basically, they have a well-developed recording that does the music justice. The vocals consist of a variety of extreme vocalisations, from deathgrowls, to shouts, to screams, to something that sounds like a peacock yelling for its dinner. Combined with the high-velocity, high-energy music, you end up with 17 minutes of mayhem and violence that canít fail to entertain and satisfy. Fuelled by a very self-aware anger, this is music thatís more thought-out than might initially appear to the casual observer. The band have been doing this kind of thing for a while now, so they are well-aware of how grindcore works and how to maximise its various strengths. Overall, I think this is probably the strongest material Iíve heard from AtomÁk. Every Room in Britain is the type of release that everyone should have tucked away in their music collection somewhere, ready to unleash on themselves when the world gets a bit much for them. Make sure you get yours.

Cadaver Garden
Atomck describes themselves as ďproper grindcoreĒ and that certainly is pretty appropriate being how their newest release Every Room In Britain is filled with nothing but twenty-one tracks of furious grind. These Bristol dwelling heathens play an intense and of course chaotic brand of grind, much like grind should be, and all throughout this record you are subjected to nothing but top notch noise. Minute after minute you are bombarded with screeching vocals and spastic riffs that crash down upon you much like a car wreck. Atomck begin their release with Rot Induction, which is actually just noise, but from then on you are pile driven with blistering fast and face melting grind of the likes that you will not soon forget. After the brief four second intro, Atomck kick everything into high gear providing you with a bombastic and spastic listen, one that sends your head into a tail spin and turns your brain to mush. As per grindcore tradition, each of the twenty-one tracks is incredibly short hardly every passing over the one minute mark, so what you get with this record is nothing short of a blitzkrieg of harsh metallic noise. Each track passes before you get to blink your eyes. After you press play you become surrounded in chaos and are being prodded and bombarded with twisted and furious grind for you to revel in. Every Room In Britain is a sonic assault, one that you have no chance of escaping once you press play. Once you lift your finger off of the play button you become trapped in a vortex of sharp metallic madness from which you canít see your way out of. Each track rolls right into the next providing you with a whiplash inducing and neck breaking listen. Atomck does a great job of giving you no choice but to headbang and snap your neck back and forth as feverishly as possible. Each of these tracks come complete with sharp riffs and chaotic drumming that are only to be backed by vocals that transition between guttural growls and high pitched screeches that sound like a distressed animal. While it may sound exactly like noise and nothing but, it really isnít. Each track is constructed well and performed well providing you with a solid overall listen. Atomck certainly werenít wrong to describe themselves as proper grindcore because that is what they are. They are madness and chaos that seems to be barely contained and that is what makes Every Room In Britain an enjoyable and highly entertaining listen.

Transcending Obscurity
Packing in 21 songs in just 17 minutes of run time, ĎEvery Room in Britainí is the latest output from UKís manic grinders AtomÁk. If you havenít done the math yet, the tracks here are extremely short and are akin to little concentrated bombs of chaotic riffs, pummeling percussion and vocals that defy description. They explode together, unleashing disorienting grindcore that bounces all over the place. Save for the few seconds of noisy dissonance, the record rarely eases up on the cacophony. Itís the unrelenting pace, constant assault of sharp-angled riff work and those tortured primate like shrieks that makes this record one worthy of visiting over and over. AtomÁk deliver a shot of pure adrenaline straight to the heart with this release. ~ Shrivatsan R

Merchants Of Air
Deranged, insane, psychopathic and frenzied, this were the first words that came to mind when I started listening to the album. These words still apply after I stopped listening too. This 17 minutes lasting effort is way too harsh and chaotic for most people but fans of noisepunk induced grindcore will undoubtedly get a boner with delightful songs like 'Fuck Off Back To London', 'Preston Slayer Fans' or 'Robot Cannibal'. Let this be a warning; this stuff is sick and it will cause your intestines to ferment. Only suited for hardcore Brutal Truth, Napalm Death, Melt Banana fans...

The Headbanging Moose
When the total running time of an album with 21 songs is only around 17 minutes, you know those 17 minutes will be as intense as hell. Founded in 2006 in Bristol, a city and county in South West England, Grindcore/Hardcore Punk trio AtomÁk has evolved from their primitive noise roots into a uniquely eccentric and offbeat brand of Grindcore, culminating now in 2017 with the release of the full-length album Every Room In Britain, a nonstop head crusher of cacophonous chaos, furious, catchy riffs and inhumanly ape-like shrieking vocals, as if Cornelius, the son of Caesar from Planet of the Apes, decided to rebel against his father in his teens to form a Hardcore band. Most probably the shortest intro of all time, the quick sonic havoc Rot Induction wakes our inner monsters up for the boisterous one-minute tunes Full Of Sell and Fuck Off Back To London, both presenting a solid Grindcore devastation with brutality flowing from all instruments. Furthermore, just try to follow the lyrics of the latter with the band (ďGraffiti tours / Fuck off back to London / Moustache barbers / Fuck off back to London / Bad film clubs / Fuck off back to London / Cultural erosion / Fuck off back to London nowĒ). In Back Office Savings we have the ultimate shrieking and slamming feast, courtesy of the demented ďapesĒ Linus, Luke and Carl, and then you might wonder how they could possibly sound more violent than this in less than a minute, right? Well, their answer comes in the form of the songs Preston Slayer Fans and Young Professionals. And when you least expect, youíll begin to deeply enjoy their primate-inspired screeches. Every Room sounds slightly more rhythmic than its predecessors, but still insanely brutal, with its demonic guitars going along really well with their demented gnarls; followed by the incomprehensible, anarchic chant titled Community Payback, the thunderous bass lines of the ďbridgeĒ Bare Minimum Customer Service, and the amazingly violent, fast-paced tempest named Robot Cannibal. What about those lyrics, can you follow them (ďWhat to do / Iím not sure / Might as well / Kill something / Didnít work / The last time / Never mind / We have to / Do something / Someone must / Be murdered / Blind idiot god / Demands meatĒ)? Or should I ask if youíre still alive after so much savagery? Misery Trance presents menacing low-tuned sounds accompanied by their trademark monkey-frog-hybrid screams, while in Waiting For Junko they speed up their pace and offer more of their Grindcore dementia. And the slamming party goes on with Two Grand Bro and Glass Floor, showcasing Mike Patton/Barney Greenway-inspired vocals in a turbulent manner, which is also the case in the demented Pro Area 1. Then after four seconds of noises in Micro Aggressions weíre treated to Self Defeater, with its fun lyrics (ďNo tolerance / For dogma / But be careful / With the use / Of language / Or thou shalt / Be cast outĒ) and deranged drumming. In Purged the trio proves why theyíre the masters of sick Grindcore, destroying everything and everyone that crosses their path in less than one minute, whereas Another Nails In The Coffins brings forward more of their insane Mike Patton-ish vocals. How can Linus screech like that during their live concerts? That should be an interesting event to watch. Anyway, there are still two more minutes of pure aggression and wicked growling in Every Room In Britain, starting with Fastard and followed by Anguish Champion, closing this berserk and totally crazed album on a high note. Portraying an elegant artwork by Luke Oram, Every Room In Britain can be relished in full on Spotify and purchased at several different locations such as the SuperFi Records BandCamp or webstore, the WOOAAARGH! Records BandCamp or webstore, and the Rip Roaring Shit Storm Records BandCamp or Big Cartel, as well as on iTunes, on Amazon, at the Boomkat webstore or at Discogs. It definitely feels like there are more places where you can buy the album than minutes of music in it, donít you agree? Now please get up from that couch, stretch your muscles and get ready to jump up and down and slam like an ape to the hurricane of extreme sounds blasted by AtomÁk, because thatís what entertaining high-end Grindcore is all about.