Lack Of Interest/Bastard Noise - Split 12" Review

Honestly, the only reason I haven't posted about this record is because I thought that I already did. Better late then never, right? Besides, I take any chance I get to talk about either of these bands. I remember when I first heard about this EPIC pairing of west coast OG's, a couple years ago, it was like a dream come true. This seems like it should have been a classic 90's Slap-A-Ham or Deep Six release, and the news of it's development had fans/nerds like me jittering in our patched-up denim shorts. This fantastic split was finally released at the tail end of 2013, and was well worth the wait. Bastard Noise give us four new tracks, which were recorded after the loss of founding drummer Joel Connell. Loosing a long-time member like that seems pretty detrimental, but they recruited none other then Richard Hoak to step up behind the skins! If you've ever seen or heard Mr. Hoak tear up a drum set, you know you're in for some insane shit, and I couldn't wait to hear what his sporadic style would lend to BN's sound. Though his performance here truth be told, is actually pretty reserved and down-tempo. Which in retrospect was a bit disappointing to hear at first, but he flows with Mr. Wood's progressive hardcore sludge trotting riffs appropriately. I guess I was expecting more of a total fucking grind mayhem influence, but the trademark SKULL sound remains strong and intact, like there was no change at all really. Things do pick up a bit after the seven and a half minute opener, venturing into jazzy grooves and more visceral tempos. The closing track, "The Time Shifter", is a real highlight. It's a ruthless lil' jam featuring some excellent vocals from Mitchell Luna of Maruta. Him and Aimée's pull off a lovely duet of brutality, and it's an excellent way to end their side. Aimée and Wood seem a lot more balanced in the vocal department on here as well. No one seems to dominate the recording here. Some of Bastard Noise's brightest sounding and focused "musical" material so far. Lack Of Interest's side is just downright perfection. I'll say it once and I'll say it again, this band has done absolutely nothing wrong in their whole existence. The twelve tracks on here do nothing to break that streak, the guys just flat out rip your soul a new one here. The band has maintained a trademark sound that still sounds fresh and full of life, and they still pull it off masterfully. It's just like '99-era LoI stepped through a time portal into 2013 and recorded some tracks they had to spare. Not a drop of intensity, self loathing, or grumpiness has been lost. It's crazy to me how this band can still seem somewhat underrated, especially when they're STILL putting out powerviolence of this quality. Perfect band. Great split. If you haven't picked this up yet I'm not sure what your malfunction is.

~VII

VII's Top 20 Of 2013

I'm blown away by how fucking chaotic 2013 was. It's a year that seemed to go by so quick, but looking back, there was a ton of crazy shit that happened these 365 days. We all grew up, we got wiser, some got stupider, a lot of people died, we all experienced some hard times, and we all saw the explosion of pop stars making grinding on inanimate objects a symbol of sexual liberation. More importantly, we got body slammed with an ton of incredible new music. I think I say this every year, but I'm certain that I took in more new music this year then I ever have. It was a hard task whittling it all down to 20, but I'm pretty confident in my decisions right now, so let me just spill it before I over-think it again and change my mind. As I'm sure you'll figure out, I'm including LP's, EP's,  splits, and demos.



20. Flatbush Zombies - "Better Of Dead" mixtape

I really didn't keep up with hip-hop at all this year (I missed the new Danny Brown, that shows you
how out of touch I am). But the little pieces I've heard really impressed me. Mostly with the amount of creativity and energy they had. The new mixtape from Flathbush Zombies was the diamond that shined brightest. Drugged out, aggressive, and energetic bangers all the way through, with some grimy and impressive rhymes and flows from Meechy, Juice and Erick Ark Elliot. Love it every time I play it.


19. Bastard Noise/Lack Of Interest - Split LP

This came into my possession very late into this year, which is unfortunate as I haven't had very many chances to give it a proper listen (being stuck with broken speakers doesn't help either). But when I did get the chance to finally spin it, I wasn't disappointed in the slightest. I've been anticipating this record for over a year now, and both bands deliver some of their most vicious tracks to date. Especially on the Bastard Noise side. The SKULL crew hasn't sounded this metallic and sharp in ever, and the choice guest spot from Maruta's Mitchell Luna was deadly! Lack of Interest are always, always, always, fucking incredible. Their side of this split is no different.This is one of the rare groups that never lets me down, and this record only strengthen's my love for them. Two of my favorite bands.


18. Prurient/The Rita - "Women Pissing" collab. 7"

Harsh noise/HNW music is something I don't expect everyone to have a fond taste in. But for those with even a mild interest, or for seasoned listeners in general, do not miss this epic pairing of two of the genre's best. The Rita, aka, Sam McKinlay, creates a brutal wall with the manipulated sounds of two women
synchronized swimmers, with Prurient, aka, Dominick Fenrow, supplying the harsh vocals. It's an excellent pairing of modern noises's best acts. Plus, it's cool to see Dominick still doing stuff that isn't techno/darkwave.


17. Archagathus/Nak'ay - Split 10"

This split was a pain in the buttocks to find, but the wait made listening to this incredible record even better. Nak'ay are a complete blasturbation on their side, it's unrelenting filth grind at warp speed.
Imagine if Insect Warfare snorted meth and played through amps made of rust, you get Nak'ay. Archagathus give us a meaty chunk of new songs, with a lot of Swede-grind influence, which was pretty fun and different. Their most metallic and straight grindcore sounding stuff in a while. Mandatory split!


16. Nails - "Abandon All Life"

Haven't played this one in a while, honestly. But I'm a huge fan of Nails, and this album crushed my skull when it came out earlier in the year. They came back louder, faster and heavier then on "Unsilent Death". More grind, more death metal riffs, more more more everything. Still keeping with the fifteen minute album length though, which I dig. Never got why it was so cool to hate on this band, especially if they keep putting out quality albums like this.


15. Sea Of Shit - "S/T" 10"

The mid-west rocked my world this year. That area seems to only be populated with the most fucked up, brilliant musicians. Chicago especially, and my favorite Windy City gutter blasters, Sea Of Shit, came through yet again with their new 10". Self released on their vocalist Robert's own label, Diseased Audio, by the way. While this is definitely the bands cleanest and least noisy recording to date, the pure filth that saturates their music is ever-present. Endlessly negative and grumpier then ever, I'd say that this record definitely has some of the bands best songs so far, and ends with one of my favorite final-screams of 2013.


14. Chainsaw Squid/Ether Binge aka Victim Of A Drive-By - Split cassette

Both of these bands could easily be my favorite bands of 2013. This is a mandatory split between two of the West Coast's best, new grind monsters. I talked very highly of this split in my review, and I stand by every word in that post. Chainsaw Squid are complete brutality, breakneck stops and starts and limb-
flailing blast beats from front to back. Ether Binge are a band that I absolutely cannot wait to hear more recordings from. This is grindcore from the future, with the most interesting slap-bass/metal guitar hybrid sounding instrumentation I've ever heard in this genre. These guys are on the 2nd level and you all need to learn quick.


13. Backslider - "Consequences" 10"

A release that may have come as a bit of a surprise to long time fans of Backslider. Definitely a surprise for me. This album (?) introduced a much different sounding band then the one that used to loyally stay in the no-song-over-a-minute club. Backslider sound more mature, inspired, and heavier then ever before on "Consequences". Keeping their roots in fastcore, and blending stoner sludge, death metal, rock riffs, and whatever the hell else they feel like into one monolith of a record. Do not miss this!!

12. Cheap Art - "Desocialized"

However, if you want a fastcore record that's a no holds barr blasterpiece of excellence, look no further then this new 7" EP from Cheap Art. This is a tough, tough fastcore record, leagues above the EP they released last year. The addition of the new vocalist is excellent. Adding a lot more vocal dynamics to the band, Blown-out screams, ludicrously fast blasts, heavy heavy down tuned riffs, there is absolutely nothing to not like here.


11. Cloud Rat - "Moksha"

When this came out, I was positive it was going to be my album of the year, While obviously, a few records have surpassed it, "Moksha" stands as Cloud Rat's best work yet, and is a landmark for grindcore this year. It's as ferocious as it is vulnerable, lyrically painting images of abuse, drugs, depression, and melancholy. It's a intense listen in many ways, and on a side note, these guys successfully pulled off a Neil Young cover. How cool is that?!


10. James Blake - "Overgrown"


I'm gonna guess not a lot of you know who James Blake is. Well, chances are most of you probably won't hold interest after I tell you. In a nutshell, James Blake is a beautiful man who makes beautiful music. This is a soulful, down-tempo, minimal and gorgeous electronic-music based record. Not something that sounds that nifty to most grindheads, I know. It's an album that just hits me right in that sweet spot I have for beautiful melodies and happy/sad lyrics. Some of my favorite songs of the year are on this album, such as the titled track and "To The Last". Gorgeous, gorgeous, gorgeous music, I think it's worth your time.


9. Suffering Mind - everything

I'm going to be cheating a bit with a couple of these inclusions. 2013 was a huge year for Suffering Mind, and they put out some incredible splits, and keep spilling the beans about new splits to come. These splits with Massgrave, Six Brew Bantha, Water Torture and Dead Church we are choice additions to anyone's record collection this year. Suffering Mind just can not write a bad song, and every time I threw on one of their new records, I was satisfied. Can't forget the other bands though, crushing stuff from every one of them; my favorite Massgrave stuff by far, some of the sharpest songs SBBB have written (more of them later), torturous sludge from Water Torture, and an under-one-minute epic from Dead Church.


8. Full Of Hell - "Rudiments Of Mutilation"

This record rocked my goddamn mind when it was first unleashed onto the world. I haven't heard hardcore sound so evil or straight up as metal as on this new Full Of Hell record. The first four tracks alone are some of the most perfect and intense moments of music I've heard all year. With the raw power electronics in the opener "
Dichotomy", the swamp monster sludge chugs of "Vessel Deserted", and the complete fury of "Throbbing Lung Fiber". The B-side might not match the urgent intensity of the first half , to me, but this is still one of the most interesting hardcore records to come out all year. And seeing them at MDF kinda sorta solidified their vocalist as my favorite frontman.



7. Rectal Hygienics - "Even The Flies Won't Touch You" 

Representing Chicago on this list once again with the lucky number 7 pick! I'm counting the vinyl re-issue of this previously cassette-only album, I'd say it's valid. "Even The Flies Won't Touch You" is nothing but pure sleaze and perverted filth (what is it about Chicago that makes bands like this?). It's a
lyrical document of a madman, a complete sociopath, it's music that your vanilla PC friends will not like, and probably shun you for listening to it. Knuckle-draggingly simple, sludgy, noise drenched heroin rock. If you dig bands like Brainbombs, or even get a kick out of Anal Cunt, dive into this mess.


6. Sex Prisoner - "State Property E.P."

What an outstanding comeback year for Sex Prisoner! The fantastic 3-way split with ACxDC and Magnum Force (honorable mention) made their presence know again, but their stand alone 7" EP, State Property" put them over the edge. Deadly, tough, brutish powerviolence, the kind of stuff that makes any mosh pit an ignorant warzone. Sex Prisoner make every single second of this 7" a beat down, it's the heaviest powerviolence record I've heard all year. Some of my favorite vocals too. Can't wait to hear their new 12" from A389 next year, congrats guys!


5. Agents Of Abhorrence - "Relief"

Sadly, I never came around to giving this album a proper review on the blog. Somewhat regrettable, as this was one of my most anticipated records of the year. Agents Of Abhorrence have a solid spot as one of my my top five grind bands ever, and the anticipation of hearing their new full length was eating my alive. The wait, was to my Relief(hur hur), well worth the wait. This record is a fucking wrecking ball, some of the best grindcore I've heard out of Australia, and definitely some of the best stuff the band has ever done. This is their "brutal record", the guitar tone has never been more beefy or distorted, and the addition of Roskopp's Jacob Winkler to the band was the perfect touch to making "Relief" the great album that it is. Losing Grants vocals was a big loss for me, his pipes were a huge part of AoA's sound to me, so I was initially worried to hear what a new vocalist would bring to the band, and I'm happy to say that Jacob does not disappoint. The much more growly vocals definitely match the new sound AoA were going for, something that I don't see Grant doing quite as well, honestly. "Relief" only proves that Agents Of Abhorrence are one of grindcore's best kept secrets.


4. Water Torture/Six Brew Bantha - Split 7"

Water Torture released a lot of stuff this year, and don't seem to be stopping any time soon as hints and whispers of their upcoming releases keep popping up. By far the best stuff the Buffalo boys put out this year was their split 7" with Six Brew Bantha. For one, this is the first and probably only recording of them with a guitar player, and it's a fantastic change of sound for this record. It's kind of got an Infest meets Amphetamine Reptile noise rock thing going on. Kind of different, I dig it a lot. Certainly wouldn't be opposed to them doing this kind of thing again. Six Brew Bantha's side is straight up brilliant, it's by far my favorite stuff from them. Incredible riff after incredible riff with maniac drumming and vocals. Listening to this at max volume will not only destroy your speakers, it might cause everyone in your household to devour each other. Mandatory!


3. Abuse. - "S/T" LP & "A New Low" 7" (tie)

RIP powerviolence 2013, Abuse. killed everyone in the game this year. This is a band that doesn't

come around every day folks. This band, this new band mind you, broke out of the ether of the cosmos, crash landed to earth, and made the two best powerviolence records of the year. I just couldn't pick which one is better, they both wreck my everything in equal amounts. The 7" had a much rawer sound, more gritty and nasty. It had the same spirit as the classic No Comment and Crossed Out records that we know and love, but still managed to sound fresh, new and exciting. It's a perfect EP, powerviolence 101. Their LP however, shows the band with a brighter, much more modern and professional sound. And it doesn't take away a shred of their intensity, in fact it may have added some. Abuse. on the LP sound more urgent, adding a little more for a modern powerviolence sound. Some faster blasts, heavier breakdowns, more metallic guitars, the works. Both are incredible records, and are not to be missed. I mean it.







2. Deafheaven - "Sunbather"

I just know that a large chuck of you are going to look at this album's inclusion on this list a let out a loud, verbal "pshht" that I could let such a praised, insanely hyped record such as "Sunbather" come in as my 2nd favorite album of the year. And honestly, I mean this, if you can't find even one thing to like about this record, then I'm very sorry, because this album is amazing. Believe all the hype, this record is a masterwork. Some people call it metal gaze, post-black metal, some call it hipster bullshit. At the end of the day, I just say "Sunbather" is good music. Beautiful music in fact, a perfect balance of metallic intensity and energy with gorgeous, uplifting chord progressions and melodies. All together, this band creates a lush, colorful and impeccably passionate soundscape of reverby trembelo picked guitars riffs and blast beats, and some of my favorite songs of the year. "Dream House" is a monster opener, probably the best track on the album, which is maybe the only fault I can give it for starting with their strongest track. It's a very small one though, as it ends with the almost as amazing 'The Pecan Tree". I can't think of a record that's crossed over and reached so many different people in so many different scenes. I know grind fans, indie fans, metal fans, noise fans, you name it fans who all like this record. Just incredible. I know that this will definitely be a record that I'll talk about very fondly off in the years to come, and of the experiences that I've had and the people I've gotten to know with it's accompaniment.





1. D.O.C/Triac - Split 12"

At the end of the day, there can only be one. One record that stands above the rest as VII's favorite release of 2013. And with out one shred of doubt it my, the split 12" between Washington DC's
Disciples of Christ and Baltimore's Triac is that record. Grindcore just didn't get any meaner or nastier then this split, it was not even close to being matched. Keep in mind, this split came out way earlier in the year, so I've been saying this for a minute now. This is the record that all other records had to beat for me. Some same close, at time others may have even surpassed it, but it always came out on top at the end of the day. D.O.C.'s side is absolutely disgusting and earth shattering, it's still a chaotic mess every time I listen to it. And Triac bring their best stuff ever! Slick, loud, punishing, over the top grindcore perfection. You put it on and the swords come out, the ground splits, and the we all take a collective bow towards this magnum opus.

RIP 2013.

~VII

New Upcoming Extortion Splits are STUPIDLY AWESOME!!

I've been very up-front with my love for the Australian grindcore/powerviolence scene on this blog. And anyone who knows me, or has seen my record collection, know's that I have a special place in my heart for Extortion. Everyone should know what this band is about by now, and if you don't, shame on you, buy their records immediately. Their recently released split 12" with Cold World was an excellent return form, after a few underwhelming splits with Completed Exposition and Septic Surge (I should probably review that record soon). But the awesomeness doesn't stop there, because according to a recent post on their blog, it looks the these Aussie fuckers are hard at work writing and recording songs for four, count em, FOUR sure to be amazing and legendary splits. 

"OTHER NEWS. THE COLD WORLD SPLIT LP IS OUT, AND THOUGH  WE'VE RUN OUT OF OUR ALLOTMENT, YOU SHOULD BE ABLE TO GET A COPY FROM RSR OR SOME HELL COOL DISTRO SOMEWHERE.
WE'VE WRITTEN FOR AND ABOUT TO RECORD OUR SIDE OF THE HATRED SURGE SPLIT 7". THEIR SIDE IS RECORDED ALREADY SO SHOULDN'T BE TOO LONG A WAIT TIL ITS OUT ONCE WE'VE GOTTEN IN ALL HELL RECORDED.
ALSO IN THE WORKS IS SPLITS WITH LOW THREAT PROFILE, AGORAPHOBIC NOSEBLEED AND BASTARD NOISE. WE ALSO AIM TO RECORD OUR NEXT FULL LENGTH LP SOMETIME HELL SOON."

Holy.fucking.shit. I knew about the Hatred Surge split, but I had no idea that it was so near completion. Fucking outstanding. But those splits with ANb and Bastard Noise, man. I mean...that seems almost too good to be true. Some of my favorite bands..doing splits...my brain almost can't take this much awesome sauce. 

~VII

VII's Top 10 Albums of 2011

I'll keep this short, since none of you probably read these introduction things anyway. 2011 was a really really really good year in my opinion. Definitely better than 2010. There were so many awesome albums, splits, EP's and demos released this year, that listening to them all would be pretty much impossible. However, this year more so than past years I have spent most of my listening time with new music that was released in 2011, and I think I'm finally satisfied with the list I've compiled to show off my personal favorites.

#10: Beastie Boys - "Hot Sauce Committee Part 2" and Danny Brown - "XXX"(tie): I really couldn't decide which of these albums to put as my number 10, so I just copped out and decided to do my number 10 spot as a tie. The Beastie Boys album is on here mostly because of my fanboyness, I'm so glad that the B-boys were able to come back after their disappointing previous album "To The Five Burrows" and release what I think is the best stuff they've done in the last 10 years. Super fresh sounding production and futuristic beats, the Beastie Boys have proven that they've still got it and can still put out interesting and quality hip-hop.

Danny Brown on the other hand is an MC that I was introduced to a few months ago, and I've been playing his 2nd full-length "XXX" constantly since then. Danny is a nice breath of fresh air in the hardcore rap game, with his B-Real mixed with ODB style delivery, comedic and perverse lyrics about sex, drug abuse and street life, while still managing to sound legit and not gimmicky. It's a free album too, download that shit!

#9: Weekend Nachos - "Worthless": "Worthless" is an album that I wasn't that hot on the first few times I listened to it. The breakdowns and lack of variety in the songwriting were some grating pet peeves of mine that pretty much ruined the album for me. However, all my friends were really liking it, so I continued to listen to it throughout the year hoping to get over my annoyances. And I'm glad I did, because "Worthless" developed into a very enjoyable and rewarding listen to me eventually. The riffs are  great, the slow parts are devastatingly heavy, I love the drums, John's vocals are fierce as fuck, it's a super awesome and heavy hardcore record. Though I still skip the title track and the closing song "Future". 

#8: Wormrot - "Dirge": Here's another album that I wasn't in deep, passionate love with the first few listens. I really enjoyed it for the vicious, unrelenting 25-songs-in-18-minuets grind album that it was, but I felt like I was missing something to make me be completely head-over-heels about "Dirge". Turns out that thing I was missing was a fresh pair of ears and a some time off from it, cause after coming back to "Dirge" after several months off, it became one of my favorite albums of last year. Top notch musicianship, outstanding vocals and constant forward momentum, "Dirge" is one of the most solid pure grind albums of 2011. 

#8: Maruta - "Forward Into Regression": The sadly recently disbanded Maruta managed to go out with a bang and make there mark on the modern technical grind scene with "Forward Into Regression". One of the heaviest and grimiest tech-grind albums I've heard, opting to go for a dirtier and more raw sound as apposed to polished and clean like most albums of this style tend to be(thumbs up!). More awesome riffs that I can count, "Failure King" is a sludgy masterpiece, get this album if you haven't already!! RIP Maruta.

#6: Dead Language - "s/t": Powerviolence is a label that gets thrown around as much as "indie rock" nowadays, but the first(and hopefully not last) album from Dead Language is by all accounts, a powerviolence record. A "supergroup" comprised of veterans of the more forward thinking bands of the genre(Iron Lung, No Comment, Running For Cover), Dead Language managed to simultaneously capture the essence of all those bands and still manage to sound exciting and not dated. I definitely think this album will be one of those sought after treasures in the next several years, if you haven't gotten it yet, hurry the fuck up!

#5: Shabazz Palaces - "Black Up": I think the closing lyric of this album sums up the entire vibe of this album perfectly; "this shit is way too advanced". Shabazz Palaces have unleashed one of the most creative, interesting and original hip-hop records of the year, without a shadow of a doubt. The beats and vocal productions are so bizarre and mind-bending, its hard not to admire "Black Up" just by how out-there it is. It's an incredible and adventurous album that I haven't heard a whole lot of people talk about, but those who have are singing it's praises, and rightfully so. 

#4: Rotten Sound - "Cursed": Finnish grind gods Rotten Sound have done it again with "Cursed", probably the catchiest grind album I heard in 2011. While managing to not lose a single drop of intensity and heaviness, Rotten Sound have created one of their most varied albums filled with speed junkie blasters, mid-tempo groovers, d-beat crusters and devastating sludge monsters, and still sounding like Rotten Sound the whole way through. And did I mention that it's catchy as fuck? You know it, bravo Rotten Sound!

#3: Bastard Noise - "Skulldozer": "Skulldozer" is one of those rare albums that managed to live up to all the expectations and hype surrounding it. They said it was gonna be the best BN album to date, and low-and-behold, it is. Hallelujah everybody!! The songwriting is top-notch("Earth on a Stretcher", fuck yeah), the production is loud and heavy as fuck, and the addition of Aimee on vocals and noise is just perfect. Eric Wood and company have created another benchmark in the growing SKULL legacy. Hails!!!

#2: Psychic Limb - "Queens": THE grindcore album that every single one of you should have heard this year, but probably didn't, which is a real fucking shame. While the actual title of "full length" might be questionable(12 songs in 9 minutes) "Queens" is still probably the most flawless grindcore album I've heard in 2011. Everything is perfect, the production, the riffs, the songs, the vocals, the guitar and drum performances, EVERYTHING!! If this band doesn't get some recognition in 2012, I will lose all hope for humanity. Get.this.album!!!

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#1: Death Grips - "Exmilitary": Some of you might be dreadfully confused as to why I chose a hip-hop album of all things as my favorite album of 2011. I can hear you now; "you were doing so well listing all those awesome grind albums, but you lost me with your number 1, I don't like this, I want my mommy!". Well, while creating this list and choosing my favorite album of the year, I had to take several factors into consideration; what album have I listened to the most this year? What album have I continuously enjoyed all year? What album have I always come back too, etc. My answer to all of these question is without a doubt "Exmilitary", my #1 album of the year. Holy shit, did this free album blow me away. Mind-bending and heavy as fuck hip-hop that challenges the listener and pummels them into submission at the same time. Everytime I listen to this album I'm satisfied, it's just so good. The production is raw, noisy, heavy and abrasive as all hell, but still memorable. The vocal performance by MC Ride is just awe inspiring. He just constantly goes hard over these tracks, and honestly, would fit right in fronting a heavy hardcore band. Honestly, you've all probably heard all there is to hear about this album already over the year, so I won't waste your time babbling about shit you already know. It's my favorite album of 2011, and that's that. Brilliant.

Honorable Mentions:

• Fuck the Facts - "Die Miserable"
• Defeatist - "Tyranny of Decay"
• Sulaco - "Build and Burn"
• Mastodon - "The Hunter"
• Touche Amore - "Parting the Sea Between Brightness and Me"
• Tom Waits - "Bad as Me"

~VII

Bastard Noise - "Skulldozer" Album Review

Most of the time when a band says that their next album will be "the best album they've ever made" or "the most focused and best sounding recording we've ever done", or when they say that their tentative next album will be "the most interesting", a lot of these promises and statements tend to fall flat on their face, to me anyway. Maybe it's because I have my hopes set too high and ultimately have created such high expectations that the album in question can't possibly match them(fingers crossed about the new Pig Destroyer). But there are times when the hype surrounding a bands new album are just untrue, and it sounds like the same thing the band has done however many albums before, or the times when a band has full-filed their promise about a different sound or more variation in the songwriting, but what they've created is so far from what the fans are used to that it gets shunned right away(*cough*Morbid Angel*cough*). But when it comes to the new Bastard Noise album "Skulldozer", released this year on Deep Six records, all the complaints I mentioned above so do not apply! I have been eagerly awaiting this album for a good portion of the year, and was promised the best Bastard Noise album to date from Eric Wood many times. Ladies and gentlemen, boys and girls, Bastard Noise have delivered!

"Skulldozer" comes to us after "A Culture of Monsters", which released last year, which I really like and is definitely a quality BN album, but "Skulldozer" just completely blows it out of the water in almost every way. The recording is better, the mixing is better, everything just sounds bigger, louder, heavier, stronger. The bass rings out with such aggressive clarity, and the drums have an incredible heavy punch. It definitely sounds like a lot of time was spent on making this album sound the way it does. And of course, we have the new addition of Aimee Artz on lead vocals, who's presence is just astounding on "Skulldozer". Admittedly, when I first heard that BN had gotten a new singer, I didn't really see the point or need for a new vocalist since I thought Eric's vocals fit the music just fine. But hearing Aimee scream over these tracks just gives me an incredible "ooooh, that's what they've been missing" feeling. Aimee's vocals fit BN's music and compliment Eric's vocals in just the right way, and add a whole new level of aggression to these songs. It's like when I heard "Agorapocalypse" by Agoraphobic Nosebleed for the first time and being blown away by the ferociousness and totally unsubtle presence of Kat's vocals on that album.

I also feel like in terms of songwriting, these may be the best and most listenable BN tracks so far. None of the tracks drag too long, none of them feel unfinished, it's just quality throughout. I think the track "Earth On a Stretcher" might be my favorite; it has some awesome slow, dirgy riffs and a pretty catchy chorus(?)-ish part. And again, Eric and Aimee's vocals compliment each other very well. These all sound like the type of Bastard Noise tracks you've become accustomed too with their past few releases, but the addition of new vocals, new use of synth, better noise orchestration and better production just give them more of an extra kick and a whole new level of epicness(even though that word might be considered cheesy nowadays). Another noteworthy thing about this album is the last track "Rachel"; it's a soft yet intense track with only synths, a steel.slide guitar and some very unique vocals from Eric Wood dedicated to the memory and life of Rachel Corrie. It's a touching, and powerful end to an excellent album. It lived up to all of my expectations. Pretty rare, major props to BN.

Rating: 9.5/10

~VII

BASTARD NOISE/LACK OF INTEREST SPLIT IN THE WORKS!!

OHOH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.OH.

Word is from Eric that this vinyl only split will hopefully be out early next year on Deep Six Records, and that's all I know so far. The wait is gonna kill me, this split is gonna crush heads. The brutality continues!!

~VII

Interview: Eric Wood

Ladies and gentleman, I have had the pleasure and honor of interviewing a true legend. Someone who has helped inspire countless hardcore, powerviolence, grindcore and noise groups through his bands Pissed Happy Children, Neanderthal, Man is the Bastard and Bastard Noise, among others; Mr. Eric Wood. Here we talk about Bastard Noise's incredible new line-up, the new full-length "Skulldozer", and the history of the SKULL. This interview was done over email.


VII: Let's start by hearing some praise towards your newest member Aimee (also a member of Progeria). How did you get her involved with Bastard Noise?


Eric Wood: Having Aimee join BASTARD NOISE wasn't actually planned but it proved to be the best thing for CONNELL and myself and BASTARD NOISE in general. On our U.S. tour last summer (2010), we had a nearly unbearable time to say the least with former member NELSON (electronics). That tour was to promote "A CULTURE OF MONSTERS" and we featured a number of "guest" vocalists that shared vocal duties with me on the track "THROUGH MODERN EXISTENCE" (THE MARCH OF THE TROLLS). In AUSTIN and DENTON,TEXAS we had Faiza Kranchei formerly of HATERD SURGE (and now with her own power unit MINDLESS), in SOMERVILLE,MASS. we had JAY RANDALL of AGORAPHOBIC NOSEBLEED , in MONTREAL and TORONTO, CANADA we had MATTHEW CARROLL formerly of THE ENDLESS BLOCKADE (R.I.P.), BRUTAL KNIGHTS and now also of DEATH AGONIES and finally in LOS ANGELES,CALIFORNIA we had Aimee Artz (PROGERIA) to accompany me on the piece. Our last show of our 2010 summer tour was at THE BLVD CAFE (in Los Angeles,Ca.) on July 16th with the magnificent PLUTOCRACY. CONNELL and I knew the end was near with NELSON so we made this set as unforgettable as possible, unified as the most dramatic sound bass and drum unit we could be and the crown jewel of positivity was Aimee doing "THROUGH MODERN EXISTENCE" with us "live" ! She totally ripped with such significant power, I was blown away. That was the last day incidentally CONNELL and myself ever spoke to NELSON again. Just a few days later I was on the phone with BEATTIE (NO COMMENT, MAN IS THE BASTARD) and he remarked how sick Aimee sounded and mentioned I should hit her up to join forces with BN as a permanent member. I was glad I took his advice to heart. I called up Aimee to see how she was doing and asked her at the same time. She agreed and the rest is history...

VII: Has the response to Aimees recruitment been positive?


Eric: Beyond a shadow of a doubt, YES ! Aimee is a fixture in Los Angeles AND has a lengthy musical background for years playing in bands. Also a very important thing (to me personally) is her musical taste which is very diverse. She is personable and works extremely hard. She is not afraid to learn. Her membership has brought about a "rebirth" to our "lean and mean" skull machine.


VII: Has Aimee brought anything to the table that Bastard Noise has never had before?


Eric: She has brought HERSELF to the table. That is the most important thing. She is proactive, intelligent, positive and the sickest vocalist !!! She adapted very quickly to the previous songs from "A CULTURE OF MONSTERS" and was a one third equal in writing and rehearsing the upcoming "SKULLDOZER" album.


VII: She handles the noise duties for live shows now, did she have to get used to handling noise equipment like that has she had previous experience?


Eric: Absolutely ! She has had to learn ! The ROARAFC "CAVEMAN ELECTRONICS" boxes have minds of their own. They are not "UL approved" so to speak. Developed as pure prototypes by BARNES back in 1989 even before he was a member of MAN IS THE BASTARD ! They constantly challenge the operator including myself. She, to my knowledge did not have previous experience. She also took her role one step further and purchased her own custom built light sensitive theremin to carve her own "niche" within the band. This is what I meant earlier by referring to her as "proactive". Certainly she is still learning. She isn't intimidated though and that is a skull blessing for us as a whole. With BARNES ROARAFC units, anyone that operates them is STILL learning.

VII: What can you tell us about your new full length "Skulldozer"? I've heard you say that this will be the best Bastard Noise material yet, what makes it the best?


Eric: I can tell you "SKULLDOZER" is our best recording to date because of three major points : 1) This is BASTARD NOISE' best line-up of personnel - Aimee adds so much vocally. Our sound now is much more driving with her. 2) "SKULLDOZER" possesses the best writing to date. "SKULLDOZER" is rich with tone AND aggression 3) "SKULLDOZER" is our best recording. It was again recorded and produced by MICHAEL ROZON ("ROGUE ASTRONAUT", "THE RED LIST" and "A CULTURE OF MONSTERS").


VII: The CD version of "Skulldozer" comes with a shirt and 2 extra tracks, which is normally the type of extra additions you see with vinyl releases. Why did you decide to put them with the CD version?


Eric: Concerning the two additional bonus tracks, it was due to time constraints between the analog and digital formats. Obviously the digital format holds a lot more time so the bonus tracks being present reflect that. The t-shirt ONLY comes with the c.d. because it is an incentive to buy the less desired (or popular) format of the album.


VII: Do you think CD's are even worth releasing now? It seems like now people are more attracted to buying vinyl and definitely downloading from the internet.


Eric: I like BOTH vinyl and compact disc but the compact disc format (as far as official recordings go) was set up to fail in the long term. When PHILLIPS and SONY invented the first compact disc, they could have easily also invented the technology to not have them be copied but that would have dug into blank c.d-r sales for them and as corporations, they looked at that potential lost revenue and the rest is history. While bands like METALLICA were extremely admirable for fighting against dogfuck shit like NAPSTER, they can also take the hit better unlike little ol' BASTARD NOISE. I love their crusade though. Music thieves should die. Especially computer downloaders. Fuck all the human maggots that steal a persons soul with the click of a fucking mouse. Dirtbag scourge.


VII: In addition to "Skulldozer", you've also released a split 12" with A.C.T.U.A.R.Y, and have another noise release and a live 12" coming out. The 2 latter releases seem to be pretty underground in terms of publicity, are they gonna be self-released?


Eric: "SKELETAL UNCERTAINTY" has been released by DUSTIN JOHNSTON (LOVE EARTH MUSIC) and the "live" BASTARD NOISE album (untitled at this point in time) will be released by DEEP SIX RECORDS in the near future.


VII: One of the songs on "Skulldozer" is about Rachel Corrie, a woman working for peace in Palestine who was run over by a bulldozer. Why did you decide to base a song around her?


Eric: Her story, like so many other peace activists was incredible to me personally. I LOVE Olympia, Washington where RACHEL CORRIE happened to be from so for some strange reason, she resonated with me. I remember the day it happened. So horrifying. She already had goals in the 5th grade to end starvation in the world especially when it came to children. There is a video on YOU TUBE of her giving a speech about that very subject to her 5th grade class. Really makes you stop for a moment and think of what you've got. The first time that I saw/heard this I was moved beyond words. There are many "RACHEL CORRIES" in the world as well as many peace activists that give up nearly everything if not their own lives for the benefit of others. I just felt strongly about it so myself and MICHAEL ROZON (our producer) put it together to include on the album.


VII: Is their going to be any touring in support of the new album?


Eric: Once we have guarantees to support our travel and the actual physical time to do so, yes we will tour. We are touring Europe in October through DOOMSTAR BOOKING in THE NETHERLANDS.


VII: This may be a sensitive subject, but what was up with Maryland Deathfest?


Eric: This is my opinion only : MDF is a "QUANTITY VS. QUALITY" event that is nostalgic to say the least. No sound check, bad on-stage sound, stage hands/sound persons unwilling to work with equals disaster and dis-satisfaction. It is also held in an open sewer of a location also. NEVER AGAIN without a contract to protect our musical interests and peace of mind.


VII: You recently played the 10 year anniversary show for Short, Fast and Loud, what was that show like?


Eric: The SHORT, FAST + LOUD two day event last january was great as far as attendance but I and CONNELL were sick. Playing last is fucking dire when too many bands are on the bill. But I got to sell merch next to DAVE of P.L.F. and "the brotherhood was truly born ! Aimee ruled. Terrible sound. GREAT crowd. GILAMN's soundman has no business fucking bands over the way he did. Not ATHENA KAUTCH's fault !!! P.L.F., CAPITALIST CASUALTIES and F.I.D. ruled. So many great people there though !!!!

VII: A lot of veteran bands played that show as well, it is surprising to see that bands from west coast hardcore scene like Lack of Interest and Despise You still have relevance? Even bands like Crossed Out, who only played something like 12 shows and had a handful of releases are still an influence to many hardcore/powerviolence bands today.


Eric: I think the human race is embarrassing and that's why in a general sense, good quality h.c. will always have relevance. LACK OF INTEREST and DESPISE YOU are no exceptions.


VII: Do you even think that there are any new powerviolence bands? Or that bands that claim to be powerviolence are what they say?


Eric: No - scabs need to start their own genre.


VII: Getting more into the past now, way into the past; how did Man is the Bastard start? How did the concept manifest itself?


Eric: MAN IS THE BASTARD was born from the ashes of P.H.C. and NEANDERTHAL. In the beginning (1990) we were known only as CHARRED REMAINS (named after a cassette tape v/a compilation featuring all Los Angeles bands like ILL WILL, SIN 34 NIP DRIVERS, etc.) but on the inside of the first release (a split 7" e.p. with BELFAST, N.IRELAND's PINK TURDS IN SPACE) we put CHARRED REMAINS A.K.A. MAN IS THE BASTARD. The name MAN IS THE BASTARD was coined by our drummer CONNELL during an early rehearsal for that 7" split e.p. release. We just quickly realized that CHARRED REMAINS was very limited in its' view of where we wanted to potentially go with subject matter (i.e. lyrics) and with what music that we wanted combine with it. It just came out of him ! It stuck right away and we never looked back. We knew due to the punk and hardcore bands of our era (1979-1990) that the world was obviously a corrupt vacuum if you play the game of "societal interaction" and of course we did so like any normal people we were often frustrated with the humans that controlled the world as we knew it. Those bands that helped so much to "cope" were early BLACK FLAG, N.O.T.A., THE OFFENDERS, early PRONG, M.D.C., YOUTH OF TODAY, HARD STANCE, B'LAST!, NECROS, MIGHTY SPHINCTER, NO FOR AN ANSWER, early CROMAGS, AGNOSTIC FRONT, RAW POWER, TOXIC REASONS, early C.O.C., CONDEMNED TO DEATH, DEPRESSION, STARK RAVING MAD,J.F.A., TH' INBRED, REAGAN YOUTH, DEAD KENNEDYS, WASTED YOUTH and the list goes on forever... MANCRUEL pisses and shits where he/she eats.


VII: Man is the Bastard was, musically and sonically, an incredibly forward thinking group for the type of scene you guys were involved in. Were their any limitations when it came to creating music?


Eric: Not really. Between CONNELL,KENYON and myself who wrote the bulk of the material, we worked fairly efficiently and with real passion for the music and its' vision. "THOUGHTLESS..." was our "peak" album to me personally. I always thought we could have gotten a better mix for the MUMIA ABU JAMAL/MAN IS THE BASTARD split 12" L.P./c.d.


VII: Another thing that I love about MITB was that you guys sort of became a collective. Was it easy to find like minded people to get involved?


Eric: At that time, it just sort of operated itself. I asked Barnes,Kenyon and Beattie all to join. Each of them possessed something unique that added character to the band. Kenyon asked Lawrence to join (the last two years of the band's existence). We were fairly compatible up until just before the very end where drug issues destroyed all of our hard work. People are human and make mistakes. It is not worth crying over spilled soymilk any longer.


VII: Where did the iconic Skull image come from? Was it adapted from Neanderthal?


Eric: I found that exact skull in a reference book at THE CLAREMONT LIBRARY in early 1989. It was in an anthropology book and it was the first "modern man" skull ever to be unearthed by a profession expedition team of anthropologists. It is directly related to NEANDERTHAL because NEANDERTHAL was an earlier project/band and M.I.T.B. was obviously its contemporary hence the "MODERN MAN" skull versus the NEANDERTHAL one.


VII: Even though MITB is done, are you still tight with Aaron and Barnes?


Eric: Only BARNES. BARNES is a true brother and giving soul who's "real" to me on every level of friendship. KENYON and I do not speak. I do not hate him. KENYON truly helped define MAN IS THE BASTARD and was a gifted player/lyricist/performer to collaborate with. I will leave it at that.


VII: I assume you don't use "the boxes" anymore?


Eric: Yes we do. One isn't fully operational at the moment and is in the transition of being "tuned up". These original units are simply blowing. Aimee uses one of the original ROARAFC "CAVEMEN ELECTRONIC" boxes "live" and on the new album "SKULLDOZER". Just wait until you hear it !


VII: Bastard Noise started pretty much the same time as MITB, and as it's own project, which a lot of people might not get. It was never a side project to MITB as I understand, right?


Eric: You are correct. Using the term "side project" is what people who truly don't "get it" say. It was its own enigma, origin of expression and identity. Thank you for realizing this important fact.


VII: BN has been pure noise up till the Endless Blockade split. What made you pick up bass again and bring it into the fold?


Eric: I came out of severe drug addiction in 2004. From 1999-2004 I was in a horrible place. I hadn't picked up a bass from 1997-2007 ! That was 10 years of not ever touching the instrument I loved so very much and that defined part of my creative identity. It took me at least 18 months to get back what I lost during my "personal darkness". That was a grueling process with no one to hold my hand whatsoever. The instrument will not play itself. You have to pursue it with everything in your being to re-achieve the past, present and future ! So to answer your question as to what made me pick up the bass again, it was missing the instrument and knowing in my heart there was so much more to be accomplished. "THE RED LIST" was that first rung of the new musical "ladder". "A CULTURE OF MONSTERS" was the second and now "SKULLDOZER" is the third.


VII: I feel that MITB has sort of become reborn in BN. The recruitment of Conell has definitely influenced that thought.


Eric: I agree completely. With CONNELL it is joyous again. The chemistry is divine with him (and now with Aimee) Credit MUST be given however to DANNY WALKER (INTRONAUT/MURDER CONSTRUCT) who assisted BN highly in getting our footing initially as a "musical force" and who plays drums on the BN portion of "THE RED LIST" and who toured with BASTARD NOISE in JAPAN in 2009.

VII: Pretty much all of the songs on your last full length "A Culture of Monsters" were resurrected Cyclops and MITB songs. Why did you decide to bring these songs up again and give them new life?

Eric: CONNELL and I agreed that the CYCLOPS compositions we wanted to "resurrect" would be the ones on side one or the first three tracks on "A CULTURE OF MONSTERS". Those three we decided to "run into one another" sequentially. It felt natural to do so - not contrived whatsoever. They came very naturally to us. Back in the CYCLOPS days, we were not experienced with knowing how to acquire good recording or mix. All three of those tracks were recorded previously but not on the level of quality they have been now. Also the tracks lacked quality musical embellishments that I feel at least, are there now on "A.C.O.M.". The added vocals really gave the music life and the production by MICHAEL ROZON gave us a true realization of this. Truly only "PINCER'S MOVEMENT" , "ME AND HITLER" and "A SILENT NIGHT IN THE HORRIBLE GARDEN" are "old" ones. Everything else was brand new to the album.

VII: Who are some of the bass players that inspire you?

Eric: CHRIS SQUIRE (YES), RAYMOND SHULMAN (GENTLE GIANT), JEFFREY HAMMOND-HAMMOND (JETHRO TULL), BURKE SHELLY (BUDGIE), GARY THAIN (URIAH HEEP),PERCY JONES (BRAND X),DENNIS DUNAWAY (original ALICE COOPER), early GENE SIMMONS before he became a dick (KISS), RALPHE ARMSTRONG (MAHAVISHNU ORCHESTRA, JEAN LUC PONTY,etc.), GEEZER BUTLER (BLACK SABBATH), early STEVE HARRIS (IRON MAIDEN), BOOTSY COLLINS, JAMES JAMERSON( MARVIN GAYE,etc.) JOHN WETTON (KING CRIMSON,URIAH HEEP, U.K.), JACO PASTORIOUS (WEATHER REPORT, SOLO), DENNIS BALL (BEDLAM), JAMES DEWAR (ROBIN TROWER) and on and on...

VII: What's the future looking like for BN?

Eric: Incredible. We are already starting the writing process for the next album already after "SKULLDOZER" !! This IS the line-up of BASTARD NOISE !!!

VII: Final thoughts?

Eric: Please check out our website bastardnoise.org as there are many amazing videos created by good friend JAY RANDALL (AGORAPHOBIC NOSEBLEED) that feature the music of BASTARD NOISE, SUPPRESSION, ANB and more ! If you have any merchandise or related questions to the band please write ewbastardnoise@gmail.com

Thank you for the interview !!

~VII