Friday, February 3, 2012
2. I Hope All Your Friends Die
3. Assassination Markets
4. Feminism Über Alles
5. Car Sex Crash
6. Fed to the Wolves
8. Cut Up
9. You Suffer (Napalm Death, as if one man had wondered...)
11. Maine is the Bastard
I did already mention how Maine's own Robocop "makes you wonder how no band already made claims of instant ejaculation upon Alexander James Murphy's cold, metallic touch, how no non-cyborg organically dreamt up Burroughs-style phallic flesh-guns, machine-gun-hands, the morning shaving ritual resulting with resistors & transistors on the rusty yet self-aware razor, pre- or post- Verhoeven or, uh, Shinya Tsukamoto." At least aesthetically, Robocop made a futuristic move for powerviolence, an inevitable act akin to what Discordance Axis did for grind's often faceless political, erm, face, and gave the genre some new colors, some more noise, all scary and bleak but more immediate and contemporary in the best senses of both words, if art does indeed imitate life. That said, I don't want to be repeating the words of a certain Mr. C as I am, more often than not, late to the party, althought there might be just as little sense in repeating how I am generally repeating myself in & out of this sentence. This is why I'll get to rambling as I often do when I see no future for any given text as an useful review anyway, especially as I've used up all my sexy adjectives in that post about their 2009 demo.
"This is the brave new world of hardcore," concluded Mr. C, and I like it. Concerning my own comment on Robocop establishing somewhat new concepts, if not riffs, within their respected line of PUNK, it might be nice to reflect on some newer happenings, releases, in this whole "extreme music" deal. For example, the frontman of that band Liturgy put out his "Transcendental Black Metal Manifesto" and I think this sort of content is an awesome novelty, although it might, actually, be a pretty damn retro thing to do, as most of us have at least heard about all those (predominantly avant-garde) manifestos throughout modern (art) history. So I find it interesting, even if I might consider the content pretentious, vain, shitty, etc. Did similar things myself, with my own crap, like 鞠螺千世, although the destructive/dadaist mode might give it a paradoxically anti-intellectual aesthetic, whereas the actual music, the sounds, are fairly naive beyond specifics like "the blastbeat" or some of the elements of actual composition, sample placement, whatever. No hypocrisy. We're all concerned with aesthetics. Page, too, in regard to Robocop (or Body Hammer). This is why we get to observe such nice artwork along with the album, with informative notes and Baudrillard quotes, and I might not even like this Baudrillard guy (or that Barthes guy, thus the song titled "Death of Roland Barthes") and his postmodernist complications of reality, although I might've lost not only Ockham's razor, but the usual razor, too, and shaving machines still look and act like Cronenberg fathered 'em. Alright, man, I've lost my train of thought by now... Merely recalling something about the difference between words & actions and a bunch of barely comprehensive bits against academia. So hey, just listen to "Maine is the Bastard" for a very effective Robocop experience - if it ain't powerviolence, I don't know what is - where each alienating chug is worthy of that ecstatic cyborg-gone-awry finale.
Get it over @ Randall's Grindcore Karaoke.