When I first started listening to this, I heard the screamy vocals, the dirty punky guitar riffs, and the aggressive music. And then I find out that Jared Warren, who is now in Melvins, was in this band from a suburb of Olympia, and I’m all, yeah, this is totally awesome, kinda reminds me of Moistboyz. And then a few songs in I’m thinking holy crap do these guys enjoy bass frequencies at all?
Wikipedia has them as a three-piece, so maybe there’s not even a bass in the band, though I think I can kind of hear it when I listen really closely on really good headphones. But it’s not just the lack of that instrument. It’s like everything on here comes through a mid-pass filter. Every sound is in the same upper-mid frequency range we use for human speech. All you hear from the drums is the snare and the initial hits of the cymbals. The vocals are just scream-talking at you. Which is kind of fine, but not for an entire album. This album is the definition of fatiguing.
It’s good in small doses, but I don’t ever need to listen to this from start to finish again. Not even as good as the sum of its parts.
– “Forget The Minions,” “Octoberfleshed,” “D & D Fantasy,” “We Ate Sand”
– “Bacon Industry,” “Bastard Of Disguise,” “Spelling Trouble,” “J Is For Genius”
Song Notes: After the jump