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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