Mr. Bungle - S/T (Warner Bros.)

Never in all my years as a fan and critic of rock music have I encountered an act as brazenly label defying, yet wickedly unique and destructive as California noise terrorists Mr. Bungle. Every track, genetically spliced from funk, jazz fusion, and death metal perfectly compliment lyrics about masturbation, diarrhea, and even the occasional tribute to a dead pet. Even with words this silly/sinister, rest assured that it couldn’t be more tongue-in-cheek. Although the omnipresent saxophones lend to a sense of camp, each song resides in a space somewhere between a nightmarish circus and the bowels of Hell itself. In no way could the conception of this record be feasible without the unholy trinity of Mike Patton, Trevor Dunn, and John Zorn. Imagine if you could all the previous bands these three have collaborated with, combined stylistically with Stolen Babies, Incantation, and Earth Wind & Fire – you’re starting to get the gist. Overall, this is a scorching aural experience that is the sonic equivalent of blotter acid, just nowhere near as clean. You’ve been fucking warned!


- C. Kolakowski

Carcass - Heartwork (Columbia/Earache)

How many acts, save Carcass, employ the use of medical encyclopedias as a means of lyrical inspiration? Well, there have been a few, to be sure. None of these cheap imitators have had the impact that Carcass had on their first 3 records. Even though they still retained remnants of this gory lyrical sensibility on their third full length Necroticism: Descanting the Insalubrious, one can clearly see the impending demise of this style of phrasing. Enter Heartwork, a sonic masterstroke steeped in technical prowess, and devoid of morgue terminology; abandoned in favor of other dark themes. Rife with triple picking madness, Msrs. Steer and Amott are definitely at the pinnacle of of their craft here. The whirlwind fury of the rhythm section of Ken Owen and Jeff Walker (drums and bass, respectively) is an attack of epic proportions unseen in previous efforts, with a clarity unmatched by their peers. This is arguably one of the greatest extreme metal releases of all time. Check out highlights like Buried Dreams, No Love Lost, Blind Bleeding the Blind, and the H.R. Giger inspired title track Heartwork for a glimpse of something truly unique and special.


- C. Kolakowski

Behind Enemy Lines - The Global Cannibal

The current administration has been the subject of tons of dissent in the music industry recently. George W. Bush has rallied against him everyone from Agathocles to Ministry to Stevie fucking Wonder. While music and politics seldom make decent allies, some genres and subgenres are of a mindset better suited to this kind of righteous anger. Most notably those of punk descent lend themselves well to this type of music, crust and d-beat particularly. Behind Enemy Lines is one of the new breed to take their cue from rageoholics like Discharge and Nausea. This disc is fueled by the pairing of Mary Bielich and Matt Garabedian, who lay down a rumbling foundation for Bill Chamberlain and Matt Tuite’s twin guitar shred, which altogether is the sum total of impending Armageddon. In fact, this is almost the perfect punk unit, with the exception of vocalist Dave Trenga. Don’t misunderstand me – the lyrics and delivery are virtually seamless. It’s the singing I take issue with. Hey Dave, Tom Araya called: he wants his voice back!
Guess I can’t give ‘em too much crap, because Slayer is the shizznit. I’d have to give Behind Enemy Lines a solid 12 (of a possible 10) on the Destruct-O-Meter for creating a pummeling anarcho beatdown. See you in November ’08!!!


- C. Kolakowski

24-7 Spyz - Gumbo Millenium (In-Effect)

Gumbo Millenium is a love it or hate it kind of affair. Likewise, 24-7 Spyz are also that type of band. These guys are a band that is known for being able to walk freely amongst different genre tribes – everything from funk, thrash and soul, and everything in between. Stylistically similar to the sound created and honed by the Red Hot Chili Peppers, they exceed Anthony Kiedis and crew in their ability to harness a heavier, more primal appeal in the vein of the old Bay Area thrash masters. Songs like John Connelly’s Theory and Racism would feel at home on a record like Bonded By Blood or Kill ‘Em All, while a track like Dude U Knew could be an instant soul classic for someone like Al Green. Casual listeners will see the Spyz as somewhat of a novelty act (they’re black dudes) but would by far benefit more by consuming this record with an open mind and reserving judgment until the end. Alas, the original line-up of 24-7 Spyz didn’t stand the test of time and are now relegated to early 90’s obscurity. It’s sad, really, because Gumbo Millenium is an excellent example of a crossover classic.


- C. Kolakowski

Ministry - The Last Sucker (SPV)

Al Jourgensen is pretty pissed off for an older dude. In fact, the Ministry frontman might have more venom and angst to spew than the younger metal bands of today. Just one listen to new and final album The Last Sucker and it's pretty much confirmed. The album is the last part in the band's Bush trilogy (starting with Houses of the Mole and followed by the equally aggro Rio Grande Blood) Al is still taking aim at the administration, yet he seems to accept the inevitable fallout from the eight year debacle by getting his kicks in while he can. Look no further than the amped up cover of The Doors' Roadhouse Blues. Other highlights include the V.P. parody The Dick Song, the Megadeth-esque title track, the urgent riffing of No Glory, and End of Days Pts. I & II. The latter includes vocals courtesy of Burton C.Bell (of Fear Factory & Ascension of the Watcher fame) and a poignant speech from Dwight Eisenhower. While I hate to see such a classic band fade out, at least it's on such a high note. Perhaps the brightest of their long career. An absolute classic.


- A. Boyer