Two bands that are releasing the harsh reality of music and noise on the unsuspecting victims of today's music followers. From Maine's Robocop to Canada's Detroit - they combine a onslaught of noise, powerviolence to produce some blasting combinations. Previously released on Grindcore Karaoke, now available on vinyl.
Doesn't time fly? It feels as if only yesterday Maine is the bastarders Robocop liberated their second installation of audio firmware Robocop II, bringing humanity one step closer to a mind to machine merger. Ever closer to that dystopian fantasy and one release further we have a new treat, coded in part by the Cyberpunks themselves and the coincidently titled Detroit.
This time round Robocop have gone more chaotic than ever clearly a violation of the first law of the three laws of Robotics, propping an insatiable screaming frenzy to spear head their siege upon the listener. Somewhat reminiscent of back from the grave powerviolence phenomenon ACxDC, only exceptionally more coarse and pumping with some serious voltage. Fundamentally its a biomechanical mesh of powerviolence, jazz and noise which blurs the line between their organic musical projections and digital manipulation. Creativity is in abundance, ranging from the traditional stimulating norms we have come to expect from Robocop, and a few nice full bodied additions such as the addition of a Saxophone in a new build of Feminism Über Alles and a noise induced psychosis offered by J. Randall. The musical grandeur is matched with a lyrical resplendence to match, I had as much fun reading up on Room 641A and the Zapruder Frame 265 as I did listening to the music, which was optimised by their coincidment.
Detroit bring the split back to the here and now, offering some really hammering powerviolence that offers a substantial range of punishment, from the slow paced yet evocative likes of Day after Day, anger management needing convulsions of Mule. Overall there is a nice approach Detroit offer, deviating from the general norms of their peers, bringing a sort of back and forth of their seizures of aggression and what would be moments of relative calm,sort of rocking on a rocking chair and drinking a cold beer in the basking sunlight for half a minute before pulling a baton out and bludgeoning a puppy to death (note Grind to Death does not endorse the actual bludgeoning of puppies, being citizens of the internet we like small furry animals too much). Not only in how they develop their songs do they stand out, but the very face value of their instruments and vocals stand out too, the guitar have a particular edginess to them and the drums have a sort of softness to them and vocals have a distinct tone to them, whether this is actually the case or a bit of post-production wizardry is beyond me, regardless it serves well to define their nature.
Dead Language, Foreign Bodies is a great testament of North American Cooperation, Man and Machine Cooperation and possibly worth getting just for the artwork I mean this probably is the best art work I have ever seen and I find it comforting its awesomness is put to use by something equally awesome!
- Grind To Death