Pahu O ka Ua

Hearing this harsh and super-raw BM / hardcore punk fusion work, you'd think this came from the most desolate and remote abysses of Thule, far from human habitation and equally beyond human imagination. Surely the last place on this planet that "Pahu O ka Ua" could hail from is Hawaii! But as it turns out, "Pahu O ka Ua", the stompy and aggressive debut album from Hawaiian one-man BM horde Kūka’ilimoku, is rooted in righteous anger and disgust towards all those who, over the past century or so, have exploited Hawaii for its resources and Hawaiian people and their culture and traditions for profit. Before "Pahu O ka Ua", Kūka’ilimoku already had released a number of short EPs and demos, and two split releases with USBM bands Ebony Pendant and Sandworm so Kūwāha'ilo the man behind Kūka’ilimoku was clearly working steadily towards his project's first album, writing and performing songs and honing the Kūka’ilimoku style of blackened punk.

The songs are short and rely on very catchy and distinctive punk riffs over strong headbanging rhythms and enthusiastic drumming that bludgeon their way into your brain and keep hammering away until all resistance must fall. The shrieky vocals, shrouded in ice-cold reverb, often come to the fore and dominate the music even while the guitars, sometimes sounding a bit off-key and always with a trashy edge, churn away and the percussion goes on and on. Songs might start with the main riff played quietly on solo guitar or bass before other instruments join in. The riffs and rhythms are really infectious and in spite of the fury and hatred of the colonial imperialism that still holds sway over Hawaii, you can't stop yourself from jumping up and down and dancing to the music. The production across the recording is clear so all instruments can be heard without sounding polished and the melodies are distinct even though the guitars have a noisy raw edge. As the album progresses the music slows down and establishes a solid bass presence.

The best songs boil down to personal preference as some might prefer faster, more aggressive tracks and others might favour the slower tracks which have a more robust sound and slightly more complex music including a bit of lead guitar soloing (as on "The Mouth of My Way"). Later tracks like "Lauhala not yet broken in" and "Where is the water of Kane?" have a mesmerising twangy guitar sound in parts.

Kūka’ilimoku's style is reminiscent of second wave BM acts like Ildjarn in songs like "Breath before the First Breath", a very boppy track under the snarling raspy voice and the rickety-rackety guitars going non-stop. Some listeners might find the songs, short as they are, repetitive and monotonous and admittedly they are not much more than sets of two or three (sometimes more) riff loops over which Kūwāha'ilo rants and spits out his rage. They might not sound developed but they boast huge amounts of energy, aggression and passion. At this point in Kūka’ilimoku's career these songs railing against American treatment of Hawaii's native people, while upholding Hawaiian traditions and myths in blisteringly raw music you can dance and headbang to, are a good introduction to a new USBM horde with its own distinct messages and aims. Future albums are sure to build on the musical and thematic foundation established on "Pahu O ka Ua".