Ruhaeda – S/T

Ruhaeda
S/T

Yes, this band is pretty much nuts. Matt and Nick, formerly of the noisy bands Makara and Syntax Transfer Theory, form the basis for Ruhaeda, a band that plays loud, and fast, and noisy. Fans of hardcore bands that play their music fast and loud will love Ruhaeda, mostly because this band, even in their chaotic dissonance, is tight and powerful.
The formula here isn’t new. Four guys play guitars at bloody speeds, screaming the indecipherable vocals that are mixed in with the rest of the music, while the frantic drums and bass propel the songs. What helps separate Ruhaeda from the mix of mediocre to bad bands all trying this fast-paced hardcore sound is first, the band’s tightness that exemplifies their abilities, and second, the use of some interesting noise effects, from feedback to tape loops.
The opener, “Onomotopaeia,” builds to a furious assault of blasting guitars and drums and screeching vocals. Beginning similarly slowly and moody, “Rundun” has much more focus on plodding bass lines beneath the guitar and drums assault, giving it a more moody feel, while “Patch Toy ’84” feels even more intense and chaotic. Starting with an eerie tape loop, “Keratosis” is a bit slower and far more powerful, with more clean guitar lines and plenty of feedback in the guitars. It also has more melodic, introspective moments that work well with the band. Another recording starts the more moody and at times melodic “Into the Desert,” before it breaks into the most breakneck hardcore yet. The oddly recorded “Anion” sounds almost live, with a kind of discordant guitar part, short and sweet. “Spectro Photo” has some more laid-back rock moments and more melodic guitar interspersed with frenzied blasts of energy and screeched vocals, leading into the lengthy closer, a more abstract piece called “Everything Has an End, and This is It.”
Forming the basis for Ruhaeda’s songs is a love of metal, most definitely. Only turned in a more hardcore direction, you get far more relevant, dynamic songs, with a furious power and tight, precise guitar and rhythm. Add to that a kind of devil-may-care chaos and penchant for noise, and you get one hell of a mini-album.