Acid Bath - The Demos 1993-1996

Acid Bath
The Demos 1993-1996
Rotten

This record is a posthumous collection of demo from one of America’s greatest bands. The “Hymn of the Needle Freak” demo, recorded before Acid Bath signed with Rotten Records, composes the bulk of the material here. The Demos album also features early versions of three songs from “Paegan Terrorism Tactics” and a haunting version of “The Bones of Baby Dolls” recorded at vocalist Dax Riggs’ house in 1994.

Acid Bath is my favorite band, so I may be coming at this from a different perspective. When I listen to the Demos album, I can’t help but compare and contrast it to “When the Kite String Pops”, their 1994 masterpiece.

All of the “Needle Freak” songs made it on to “When the Kite String Pops” and many of them were played faster as demos. This works for songs like “God Machine” and “Dope Fiend”, but it hurts “Scream of the Butterfly.”

I’m not sure if it’s the recording process or not, but Riggs’ singing voice sounded better on “When the Kite String Pops.” I bring this up because Audie Pitre’s, Sammy Duet’s, and Riggs’ own harsh vocals sound the same.

It’s interesting to hear the slight changes in the arrangements of the songs from demo to album versions. None are changed drastically, but Riggs’ did change a few lines of lyrics in “Jezebel.” I happen to prefer the demo version in this case.

The layers of guitar effects on “When the Kite String Pops”, which must have been added by producer (and DRI guitarist) Spike Cassidy, are not present on the demos. The effects contribute to the atmosphere of that album and are sorely missed here.

The demo version of “The Bones of Baby Dolls” is hauntingly beautiful. In retrospect, this may have been a precursor of things to come with latter-day Deadboy and the Elephant Men. The three songs that would find their way on to “Paegan Terrorism Tactics” hardly sound different from their album versions.

It’s a crying shame that such a great band had such a limited musical output. They are missed. R.I.P. Audie.

Here's the promo video for Acid Bath's song "New Death Sensation".

Will Haven - El Diablo

Will Haven
El Diablo
Crisis/Revelation

I hate labels. Sometimes, they’re appropriate (CANNIBAL CORPSE is nothing other than death metal), but they’re often misused. Will Haven is a band that is often mislabeled. They’re equally influenced by metal and hardcore, but they’re not metalcore (not what metalcore means in 2007). They’re emotional, but not emo or screamo.

When El Diablo was released back in 1997, Will Haven bridged the gap between the DEFTONES and EARTH CRISIS. Now, El Diablo will forever be linked to the mid-90s metalcore sound. Maybe that’s alright.

In the years since its release, many scam artists (nu-metal and screamo alike) have stolen from El Diablo. The thieves are missing one key ingredient. Will Haven understood how to be rhythmic, melodic, and heavy all at the same time. The scam artists were generally one of the three; often to miserable results. This is not Will Haven’s fault.

You’ll be hard pressed to find a more brooding audio diatribe that “Stick Up Kid”, the album’s first song. Enough time has passed. It’s okay to get reacquainted with this old friend. Speaking of which, Will Haven has reunited (without vocalist Grady) and a new record is on the way.

Here's the promo video for Will Haven's song "Carpe Diem".









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The Minutemen - What Makes a Man Start Fires?

The Minutemen
What Makes a Man Start Fires?
SST

This is probably the best non-Black Flag album released by SST. Despite all of their personal tensions, The Minutemen were one hell of a tight band. No one has been able to recreate what they did, no matter how hard the Chili Peppers try.

The concise yet adventurous songwriting style of The Minutemen allows them to cram more solid material into one song than most bands can put on an entire album.

“Pure Joy” is the best song on the album. The three players are playing three separate lines as one unit. It’s simply fantastic and “Bob Dylan Wrote Propaganda Songs” may be the truest and funniest song title in human history. Why don’t you own this already?

Here's the trailer to "We Jam Econo", a documentary about the Minutemen.

Blood for Blood - Revenge on Society

Blood for Blood
Revenge on Society
Victory Records

I can appreciate what’s going on lyrically, but lyrics alone don’t make a record great. If you’re reading this magazine, you probably seek revenge on society too. Unfortunately, “Revenge on Society” is only half of a great album. Blood for Blood play hardcore in the tradition of the Boston and NYC scenes, but they too often rely too heavily on a sound cultivated by others.

Blood for Blood are at their best when they pick up the pace, like the song “A Bitch Called Hope”, or when they slow down the tempo to a soul-searing pace, like on “Evil in the Brain.” The band fails during their mid-paced songs, like “You’re Still a Paper Gangster.”

Blood for Blood’s rhythm section betrays itself when the players simply back up White Trash Rob’s riffs instead of laying down a cool foundation for a song. This absence of rhythm is most apparent on “Die Laughing” and “Shut My Eyes Forever.” Ironically, Paper Gangster has a great rhythm and pedestrian riffs. They can’t win for losing.

That’s not true, because when Blood for Blood are on, they’re fantastic. “Wasted Youth Crew” is the best song on the album. It has a pounding rhythm, great riffs, and lyrics that reflect the rage of America’s underclass.
Despite its flaws, “Revenge on Society” is worth tracking down if you have not heard it before. Just don’t expect “Victim in Pain” part two.

Here's Blood for Blood playing "Revenge on Society", "Paper Gangster", and "Soulless", all from the "Revenge on Society" album, recorded live at the Homebase in Wilkes-Barre, PA in 2001.






Blood For Blood - Revenge on Society




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Infest - Mankind

Infest
Mankind
Deep Six Records

The original kings of west coast power violence return, sort of. The Mankind 10” is a reissue, by Deep Six Records, of the Mankind 7” with several comp. tracks added. My copy is on white wax. Take that, record nerds!

Infest played power violence, a no-frills style of punk rock that effortlessly switched sludgy riffs and thrashing blasts. No recording tricks here; just imagination and a poor disposition.

I love Dave Ring’s bass tone on Mankind. When you can convey heavy and menace with your amp at the same time, you’ve done something right.

Far all of Infest’s straight edge and equality advocacy, they don’t forget how to rock. This is something most political bands can’t pull off, but that’s just the thing. Infest was a punk band with socio-political lyrics, but politics never got in the way of them being heavy. Check out the song “Just Act Blind” if you don’t believe me. Deep Six will be releasing an Infest discography CD soon.


EDIT: The DL link posted below contains the 7" recording and not the 10" recording.




Infest - Mankind




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Skinless - Miscreant

Skinless
Miscreant
Hater of God

The result of their first recording session since the “Foreshadowing Our Demise” album, the “Miscreant” EP is a snapshot of Skinless in a transitional period. “Miscreant” was recorded with drummer George Torres, who would soon be replaced by Origin’s John Longstreth, only to return back to the band a few years later. This 7” also marked the first changes to Skinless’ patented brutal, guttural death metal sound.

Not counting the intro and outro tracks, three songs can be found on “Miscreant.” The demo versions of “Deathwork” and “Miscreant” are here, though both songs would later appear on “From Sacrifice to Survival.” The song “Condensing” is 20 seconds worth of riffs from “Foreshadowing Our Demise.”

For the uninitiated, Skinless play brutal death metal that is both rhythmic and heavily percussive, with humorously bent lyrics. It’s unfortunate that Torres didn’t play on “From Sacrifice to Survival”, because his most fierce drumming is on this EP. Noah Carpenter plays his guitar as a lead instrument although he rarely solos or plays leads. This is likely a result of Skinless’ incorporation of hardcore into their death metal mechanics. Think of it as a reverse Full Blown Chaos.

Hit Me Back - Life

Hit Me Back
Life
625 Thrashcore

Ultra-posi, thrashing punk by So Cal kids, barely out of high school, which will put a smile on your face while you’re wind-milling in the pit. This is the best, nay, the only way to describe the monster that is Hit Me Back.

The band takes a traditionally simple style of music (straight-ahead punk rock) and adds complex arrangements that give their songs a density not usually found in the genre. Their song “I’ll Never Turn in my Raffle Tickets for Your Prize” is the best example of this dynamic songwriting on “Life”.

Another example is Hit Me Back leading off both sides of the “Life” LP with acoustic passages. This is Metallica’s old trick of using quieter parts to make the heavy parts heavier. There’s more to be found on “Life” than killer riffs. Their lyrics are killer, too.

The digital age, via numerous internet technologies, has brought forth a new level of cowardly trash-talking. Hit Me Back, through their lyrics, remind everyone that you still need to be a good person, no matter where or when. Their anthems of friendship, unity, and honesty are a welcomed change of pace from the defeatist attitudes held by so many other bands.

If you think punk has become stale, then you’re not looking hard enough. Wise beyond their years, Hit Me Back say that it’s possible to have a good time while doing the right thing.

Here's a live clip of Hit Me Back playing "I Walked Outside and It Smelled Funny."

Time's Up - Discernment

Time's Up
Discernment
Chainsaw Safety Records

Time’s Up is another band in the tradition of great New Jersey hardcore. The most notable thing about Time’s Up is this is the previous band of Chris and John from Burnt by the Sun. Unlike Human Remains (former band of the rest of Burnt by the Sun), one listen to Discernment and you can tell that this is the musical skeleton of Burnt by the Sun.

Time’s Up played technical hardcore with an obvious Rorschach influence. They took what Rorschach was doing, streamlined it a little, and cranked up the audio violence knob. Killer riffs, well placed changes, and a devastating rhythm section give this three song EP an unmatched brutality.

Discernment is one of those perfectly executed 7” records that makes you want to leave the house right now and search out more of their music. As a matter of fact, the songs on the Burnt by the Sun/Luddite Clone split sound so much like the Discernment EP, I can’t help but wonder if they were left over Time’s Up material.

On a side note, Discernment was recorded by Steve Evetts at Trax East Studio. How many great bands has this guy worked with? Dillinger Escape Plan, Hatebreed, Earth Crisis, this list goes on and on. It’s almost like he’s this decade’s Scott Burns, except that Steve Evetts is way better.

Sheer Terror - Love Songs for the Unloved

Sheer Terror
Love Songs for the Unloved
Blackout/MCA

I bought in the summer of 2000. I was in Hastings and I found this cassette in the dollar bin. It was produced by Tommy Victor and I’ve always loved Prong, so why not? I could spare a dollar.

This was my first and only foray into the land of Sheer Terror. I had heard their name before and I knew that they made some noise in the NYC hardcore scene, but I didn’t hold Sheer Terror in any sort of reverence. I was just trying something new.

I have very mixed feelings about this album. To be polite, half of this album is utterly forgettable, mid-paced hardcore played by a band that missed the crossover boat. I had heard this before and didn’t care for it too much the first time around. However, there were some interesting things going on in the other songs.

“Jimmy’s High Life” is a mosh-a-thon comparable to Lamb of God, as is “Broken”. Both songs possess a guitar swagger that serves as convincing evidence that Sheer Terror are a direct influence on Scissorfight. “Drunk, Divorced, and Downhill Fast” is the sort of pure hardcore song that this entire record should have sounded like. That being said, Paul Bearer sounds best when he varies his vocal delivery.

It’s almost as if “Love Songs for the Unloved” is an album divided into thirds. One third is the forgettable hardcore and another third contains some pretty innovative hardcore songs. The remaining third carries this desire for innovation entirely too far with poor results to show.

“Skinhead Girl” is an awkward, but mildly entertaining attempt to capture the Neurosis/Sepultura tribal vibe. “For Rudy the Kraut” is a ridiculous attempt at making a classic drinking song, complete with a Flogging Molly/Pouges style horn line. Most curious is the “Rock Bottom of the Kitchen Floor”. With this song, Sheer Terror are either making fun of Life of Agony or poorly impersonating one of Life of Agony’s singles “This Time”. Life of Agony once said that they used to get no respect in the NYC hardcore scene, so I’ll give Sheer Terror the benefit of the doubt and assume that they were ridiculing Life of Agony.

These songs are indicators that “Love Songs for the Unloved” was an ambitious attempt to create a diverse album. Unfortunately, no one has ever succeeded at being everything to everyone and the record leaves Sheer Terror without much of an identity. Does Sheer Terror want to wave the old school flag? Do they want to be the good time party band? Do they want to represent for the floor punching youth crews? Regardless, the result is a bland album with a few killer tunes. “Love Songs for the Unloved” is just good enough so that I’ve never sold it on eBay, traded it, or gave it away, so I suppose that it’s a testament to Sheer Terror’s mediocrity.

Here's the promo video for "Unbroken" by Sheer Terror.

His Hero is Gone - The Dead of Night in Eight Movements

His Hero is Gone
The Dead of Night in Eight Movements
Prank Records

His Hero Is Gone plays devastating, crusty hardcore. It’s the sort of music that makes the genre worth your valuable time. These Tennessee natives don’t believe the hype and prefer to let their songs do the talking. “The Dead of Night in Eight Movements” is a perfectly executed EP and proof that at least someone is keeping punk alive.

Produced by Noah Landis (of Neurosis fame), someone who knows what quality hardcore sounds like, “The Dead of Night in Eight Movements” is a truly dark piece of aggressive rock music, bypassing any genre restrictions. His Hero Is Gone use the Metallica dynamic, where the use of slow passages make the heavy parts heavier, to great effect. The best example of this is the use of piano in the songs “Epidemic” and “The End Result”. Don’t get me wrong, His Hero Is Gone do not indulge in Isis-style, mellow guitar licks. This is as brutal as any power violence/crust gets. With their furious thrash assault, creative, melodic (gasp!) tempo changes, and anti-technology slant, His Hero Is Gone doesn’t care about trends, only music.

In recent years, the members of His Hero Is Gone have gone on to form the band Tragedy. Their name has changed, but the game stays the same. Top notch musicianship coupled with the total creative freedom provided by the DIY ethic allows His Hero Is Gone (and now Tragedy) to create a modern masterpiece. If you are in any way, shape, or form a fan of punk music, then search out a copy of “The Dead of Night in Eight Movements” immediately.

Here's a live clip of His Hero is Gone from the More Than Music festival in Columbus, Ohio.

Eighteen Visions - The Best Of

Eighteen Visions
The Best Of...
Sober Minds/Trustkill

Eighteen Visions were such a good band before they decided to sell the fuck out. Their buddies in Avenged Sevenfold are going to help them reach the platinum promised land. This isn’t a case of the little band in my back pocket is too big to fit their anymore, so now I’m pissed because they’re not my little underground secret anymore. That’s never bothered me. I’m as big a fan of Queens of the Stone Age fan as you’ll ever meet.

What bothers me is that I’m always suspicious when bands drastically change their sound prior to signing with a major label. Cave In is the only band I can think of where the style change actually was an artistic move. Usually, it’s a crass business move and this is what I suspect Eighteen Visions of doing. Is their old sound “the real 18V” or is it the corporate rockers?

“The Best Of” is not a greatest hits record, as the title incorrectly implies. Rather, it’s Eighteen Vision’s old 7” material re-recorded for this LP. This is a very clever idea and more bands should employ this tactic, if you ask me. In 2005, Dimmu Borgir did it when they re-recorded the “Stormblast” LP. That record and “The Best Of” provide a band an opportunity to make that early material sound as good as their later output.

In the case of Eighteen Visions, the “No Time for Love”, “Yesterday is Time Killed”, and “Lifeless” EPs get polished here. The new recordings sound great and, if you heard the original EPs, you can tell that the time spent playing together over the years has tightened up this band.

I always liked how Eighteen Visions brought a “fabulous” element to the Earth Crisis/Pantera/Hatebreed/Machine Head style of metallic hardcore. When considering their pre-“Obsession” records, you had a band that could do clean vocals and not sound like pussies. You also had a band that could write devastating breakdowns that didn’t sound like the soundtrack to football practice.

“The Best Of” is a reminder of a time when Eighteen Visions was a deadly hardcore band. This material is also from a period before Eighteen Visions lost band members to Bleeding Through and Throwdown. With that in mind, “The Best Of” is a brutal release by a solid band before they got into bad haircuts and girls jeans.

Finally, I’d like to mention that this LP was licensed to Sober Mind Records from Trustkill. Just like Eighteen Visions, I’m suspicious of Trustkill. When a label stops pressing their own vinyl, that same label attempt to get their CDs into Wal-Mart can’t be too far behind.

Here's Eighteen Visions' video for "Motionless and White" from "The Best Of..."

Books Lie - I Felt Like Such a Loser...

Books Lie
I Felt Like Such a Loser, Until I Realized I was a Winner
Level Plane Records

Books Lie is quite an unusual band. I suppose this is what is called “post-hardcore” but I hate that phrase and I won’t use it. I will say that Books Lie is the musical middle ground between The Locust and The Mars Volta. Books Lie also reminds me of the more cerebral bands like Keelhaul and Anodyne.

Books Lie has a great drummer and they make effective use of keyboards and other electronics, but they don’t ever forget how to rock. “Marker” has riffs in the same vein as Every Time I Die and Between the Buried and Me, but doesn’t sound metalcore in any way, shape, or form. Then, Books Lie turns it around and gives you a song like “Thanks Easter Bunny”, which is similar to Refused’s electronic weirdness.

Books Lie may not be the most original band, but they are able to combined different aspects of the music you love in an original way. “I Felt Like Such a Loser...” is great for scratching that adventurous itch in your listening habits.

The Warriors - War is Hell (Redux)

The Warriors
War is Hell (Redux)
Eulogy Recordings

Hardcore, by the kids and for the kids, is standard procedure for The Warriors. These California natives’ pair their pure-bred mosh riffs with lyrics that sting the soul. Uncompromisingly straight edge, The Warriors pick up in the confrontation department where Earth Crisis left off. The difference, however, is that The Warriors have far more in common, musically, with Terror than Earth Crisis. With only a slight metal influence, they make effective use of Slipknot style noodling over what would otherwise be another by the numbers hardcore album.

I do think it’s irresponsible to compare their suburban California lives to warfare when two wars are being fought right now. There are soldiers in Iraq and Afghanistan getting shot at everyday and their experience holds nothing in common with some brat who’s feeling were hurt when someone made fun of their Give Up the Ghost hoodie. I doubt that I’m the first person to point this out and I don’t say it to defend one political side or the other. I say this because The Warriors are a very talented band and it would be a shame if this oversight turned off people who would other wise dig the band.

War Is Hell (Redux) is an incredibly tight album. The two bonus tracks on Redux (this is the reissue of War Is Hell) showcase the band’s remarkable progress after a year of touring as professional musicians. As good as the record is, I walk away anticipating what their future material will sound like. The Warriors are only a few years out of high school and, if they can keep their heads on straight, this young band should have many years of creating quality hardcore ahead for them.

Here's a live clip of "Set the Stage" from "War is Hell".

Phobia - Get Up and Kill

Phobia
Get Up and Kill
Deep Six Records

As a long time Phobia fan, I was thrilled to see “Get Up and Kill” on the shelf at Vinyl Edge. I immediately snapped it up and put it on the turntable as soon as I got home. A new Phobia release never disappoints, but “Get Up and Kill” was even better than I expected.

“Get Up and Kill” isn’t exactly a proper new album. Side A has eleven new song of killer socio-political crusty grindcore and Side B has six live track recorded in Newport Beach. The new songs are as good as any that Phobia has recorded. If you’ve heard this band before, then you know the drill: blast beats, low-vocal grunts, high-pitch tortured screams, and blistering guitar work.

Phobia is the rare grind band that benefits from proper studio production. The studio polish doesn’t make them sound any less raw. Phobia is the even rarer grind band that plays political hardcore, but never sounds redundant. Quite an accomplishment.

The live tracks slay. This is Phobia in their natural environment, harassing emo kids and inspiring riotous behavior. No one got hit with a bass at this show, as far as I know. (We all know the Real TV story, right?)

Deep Six Records did an excellent job with the packaging of “Get Up and Kill” and the label always makes an effort to keep prices down. I encourage all of you to order “Get Up and Kill” directly from Deep Six and help keep quality hardcore in the hands of the people and out of the hands of big business.

Here's Phobia playing a house party somewhere in California.

KMFDM - Rules

KMFDM
Rules
Wax Trax!

“Rules” is a 12” single the way they used to get made. You know, remixes that are actually interesting to listen to and are executed in a creative way. Having been a casual KMFDM fan for years, I bought “Rules” at Renaissance Records in Killeen, TX back in 1997. I remember being very impressed with the song “Son of a Gun”. It was more danceable than Fear Factory, but heavier than Nine Inch Nails. Then I moved several times, the years passed, and I virtually forgot about this record.

Flash forward to the summer of 2005. I’m listening to “The Sound and The Fury” (the all-night metal show) on Syracuse’s K-Rock radio station late one night. Lo and behold, they play “Inane” from the “Rules” EP. I immediately got that warm and fuzzy feeling. “I have that record”, you know? Having heard the song through fresh ears, I found a new respect for KMFDM.

As previously mentioned, KMFDM are one of the few acts who know how to do remixes properly. They also legitimately combine metal and dance music together, unlike other industrial acts. They didn’t forsake the guitar like Consolidated and Nine Inch Nails often do. They avoid abandoning their dance roots by effectively using keyboards and synthesized percussion. The modern hip hop producers should take notes on how to do it right.

Plus, who doesn’t love the artwork of Brute? Like always, he did the cover art for “Rules”. All in all, “Rules” is a great record for when you can no longer fight that urge to shake your rump and do the bedroom mosh at the same time.

Here's a clip of "Son of a Gun" from "Rules", live in Atlanta.