11th October 2025

Review: “The Fumes of Everything I Hate in The World” by Inconvenience Store

Trudging a path through the snow laden streets of inventive Noise fueled Hardcore for the past decade, Needham Massachusetts Inconvenience Store have finally committed a debut album to tape after a run of EPs, singles and splits. Recorded, mixed and mastered by Marc Vray Jr, also known as Marci de La Mort and Mictain, whose prior convictions include works by Wretched Inferno, Necralant and Beneath Purgatory, the eleven track affair promises more than meets the ear. That’s because mastermind Jonah Asher Feintuck (vocals, guitar, noise electronics, samples), James “Jay” Dullea (bass, vocals) and Funnels (drums, percussion, electric kazoo) are believers in sonic creation with no limitations…

The record gets underway with the raw and abrasive “N.L.F“, a cut which sounds very much like it was recorded live on the floor of the studio with a single microphone. It’s the sonic equivalent of a grainy VHS nasty, during which you can never be one hundred percent sure what’s going on. Sliding into aggressive Hardcore Punk with bombastic bass front and centre, “What Was Never Mine” charges headlong into the inferno like a schizophrenic patient needing sedation. A mid section of melody and poetic rap throws the men in white coats off the scent before a final verse and chorus to punish. “Digital Phoenix” does likewise, continuing the narrative while touching on Power Violence influences and the odd Jazz style drum fill. All of that goes towards making a wonderfully eccentric and eclectic sound that to some might make zero sense but to others is a Mona Lisa like portrait in abstract art.

Rumbling bass under a layers of distorted noise from the backbone of “Bullets Dodged, Bullets Caught” as Feintuck flips between spoken word and feral screams like a man possessed. There is however method to the rant laden lyrical narratives, soaked with emotion that then flows into the Noiseboy style electronics of “West Pyongyang Station“, a cut which sounds like a glitch in the matrix. The cold and industrial nature of “Suicide Supremacy” makes it sound like step in another direction, the frantic percussion and frenzied riffs accompanied by the feral screams of a victim of mental torture. A funky jazz meets early 80’s hip-hop breakout is as insane as the rabid dog bite back that follows, the final onslaught as barbed as it gets. How about a Nu-Metal demo that has influences from early Biohazard? That’s what “Odynophagia” as it hits you in the face like a bowl of Weetabix thrown by a parent screaming a their small child who won’t either shut up or eat up in a packed breakfast room.

A little poetry without sonic accompaniment “Composition #912” might be a little too arty for some while an insightful observation for others before the second Industrial Noise instrumental piece “East Pyongyang Station“. This one sounds like a call from an alien planet that the ancient computer is trying to decode. Returning to more primitive sounds “Dreams Encased in Saliva” bounces with the aggressive tendencies of a lunatic, the second half another warning of what can be achieved with the all powerful mind. Meloncholia soaked sounds escape from the void with “Gomorrah“, which is either an instrumental or has vocals masked by distortions in the mix. Experimental and interesting, this is a box of curiosities that is thought provoking in it madness [7/10]

Track Listing