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Again, I realize this EP's gotten some gray hairs since it's release, but since No Escape have dropped hints about a re-release to celebrate the band's reunion, I really don't see a reason not to review this fiiiine piece'a grind performed by an eggheaded trifecto.
The Kill play relentless high-tempo gore-ish Grindcore with a technical edge, packed with disorienting time changes employing a fairly original razor-sharp riffing style with the occasional subtly blackened melodies and Goregrind mid-tempo breakdowns. The drumming is suprisingly varied and intense, and I was totally baffled when I learned that their skinsman didn't even utilize a double bass pedal for the recording. Exactly why I'm having trouble grasping, but whatever the reason, it gives the album an unorthodox feel, probably upping the general novelty - thus listenability - even more than I've realized. Shut up, I know it's not a gimmick, the concept just intrigues me.
What I've really taken a liking to, though, is the odd sense of melody that rarely rears its evil head, but prefers to sneak around under a veil of technicality and brevity, reminiscent of Immolation on first listen, or even Fuck...I'm Dead to a lesser extent. Obviously, these guys don't even belong in the same breath as Immolation, but I think you get the point. Basically: melody doesn't generally "belong" in grind, gets a hearty welcome nonetheless.
The itty bitty running time makes it a fairly addictive listen, especially since it's afflicted with something I call "Assuck Syndrome" (ie a short length but "hefty Hefty HEFTY"), but even so, I think it'd probably take a while for me to warm up to a full length due to the speed. Not a complaint, just an observation. Give it a few months, and No Escape'll hopefully come to the rescue and reissue this circular sex saw. The alternative is a maniacal ebay scouring that could last up to 2 years. True story to all you asswads who got this struggle-free when it came out. Fuck you!
The front cover is a still shot from the Exorcist. The MCD is released on No Escape Records, one of the finest grind labels. The bands line up contains Tony of The Day Everything Became Nothing/Blood Duster in his most intense vocal performance to date, and Fuck…I’m Dead vocalist Jay shows the world his drumming skills. There are 14 tracks, and the total running time is a little over 13 and a half minutes. The Kill did not/does not have a bass player, and “Soundtrack To Your Violence” does not have basslines. They tune their guitars to standard.
There are no samples. There are no build-ups. There are no effects. There are no epic passages. There is no touchy-feely emotional crap. Put simply ladies and gentlemen, this is one of the absolute most unrelenting, unmerciful, and just downright maniacal compact discs ever to circulate CD stores and distros. This is Australian straight-up grindcore with BALLS. There is a Napalm Death cover of the track with the same name as the band.
This isn’t the only recording with Jay Jones, best known for his vocal work in Melbourne grind outfit Fuck…I’m Dead, on the skins (playing drums also in melodic death band Shallow Grave). But, his effort in The Kill is nothing short of ineffable. There are rumours around that the man executes the fastest one-foot blasts on record, and they are just about not wrong. Next to Jay’s photo in the booklet (Blastasfuk and vokills), is the phrase “Single Pedal Metal” – the story goes that they couldn’t afford to get a drum kit with a double-kick pedal and/or two bass drums. But, the big fella makes full use of what he has. Speeding, blasting, thrashing, never relenting pace unless he is supposed to. It’s not constant blasting though, there is some variation on the beats he uses, though it is quite fast basically the entire way through.
Virtual unknown guitarist Roby provides all music since, as previously stated, there is no bass. The guitar tone is raw, dry, snarling, vicious – perfect. His riffing is indescribable, and perfect for this style of music. Like the drums, they are not entirely composed of their respective “ultimate fast style” (in the case for guitar, of course that’s tremolo picking), but they still maintain a quite blistering pace for the most part, rarely relenting the pace, and never losing the ferocity.
Vocals. My fucking word, vocals. Three kinds of vocals by three different men (and that’s if you don’t include the burps from Chris Watson of Vaginal Carnage that are on a couple of tracks). Violent vocals, harsh vocals, angry vocals. This is the kind of shit that makes you want to do dreadful and unpleasant things to the people around you. Really fiery, never going weak or soft at any point during the recording. There are some of Tony Forde’s trademark growls scattered throughout the album, even if the high-pitched yells are the most dominant vocal style.
The lyrics can be rather silly at times, but more often they show the bands great and politically incorrect sense of humour. The absolutely bestial “Axe Attack” has lyrics that match the hell-fuckingly violent music, “Fuck Emo” is a track with lyrical content I’m sure almost everyone can relate to, there’s the hilarious “Metal Spastic”, and the risque “Jandimara’s Burning”. (I’m not totally sure, but if I’m thinking right, this was in relation to the murder case of a toddler some years back.)
This EP is essentially a 13-and-a-half minute grind track. Unrelenting from beginning to end, absolutely violent as hell. Sadly, the album loses six points for the occasionally quite stupid lyrics that are used, particularly on “Tracksuit Pants Are Thrash” and “Junkies Records”. Although their spelling is also quite terrible, I didn’t deduct any points for that – you buy a record for the audio content, not to test the band’s literacy skills. But really, it’s hard to fault anything with such straight-up content, particular in music of this nature, and considering how minimalist the record is. Sadly, only 800 copies of this EP were ever pressed. I am pretty sure I bought the last copy, and I’ve not once regretted it to this day. There are bands I like more than The Kill, but this EP is probably my most prized possession. Still, supposedly The Kill has reformed – great, as I will soon get to see the band live.
Highlight tracks: All material is brilliant, but the ones that most stand out:
We Want Blood