The Cult of Fuck Yeah

Pitboss 2000 made waves back in the late ’90s with their relentless anti-PC tirades and tough guy attitude. Their sound, image and delivery existed solely to make fun of everything and act tougher than everyone. Their 1998 album, Everyone’s a Winner, brought a classic NYHC sound merged with the tough as nails style of the Ohio scene. While the album was humorous, if a little try-hard at times, the album didn’t age very well, as it’s apparently no longer in vogue to poke fun at Hare Krishnas or emo kids. Regardless, Pitboss 2000 put out a few more releases in a similar vein before vanishing sometime in the mid 2000′s. In the years after the band’s disappearance front man, John Tole (Mr. X), began carving out a decent career as a stand up comedian.

In 2015, seemingly out of nowhere, Pitboss 2000 released two albums in quick succession, The Cult of Fuck Yeah in November and The Overview Effect in December. Staring with The Cult of Fuck Yeah, Pitboss 2000 has turned over a new leaf; a furious, thrashing blast of crossover and hardcore kind of leaf. It’s a sound that, thanks to Tole’s vocals, still sounds like the Pitboss 2000 of old: it’s just more metallic and more hard hitting, like if DRI or Iron Reagan added a bit of Clevo hardcore to the mix. The riffs are crunchy and hard hitting, with tons of fast paced crossover progressions and circle pit inducing thrashing.

The biggest change with The Cult of Fuck Yeah is the band has really toned down the goofy angst and comedic slant in favor of lyrics about having a good time. Tole’s vocals still have that fast-talking, shouted style, though. It’s refreshing to hear a band come back to life after nearly a decade and sound more vicious and full of energy. The drums offer a barrage of double kick patterns and thrash beats, but a few doses of rollicking, tom driven hardcore moments still pop up. Those familiar with Everyone’s a Winner should known that XLAX still brings the drums that make ‘em shit. The bass offers solid counter play with the guitar riffs, with a frenetic thumping that walks all over the fretboard.

Apparently a decade away from the scene is exactly what Pitboss 2000 needed, because this is a freaking blast. Fans of the band’s early work will still dig Tole’s vocals, but this is a heavier beast with tighter performances all around, featuring a constant barrage of crossover/thrash riffing and pummeling percussion. The Cult of Fuck Yeah should definitely turn some heads as Pitboss 2000 isn’t just about bats and gats and beating up nerds anymore.

Written for The Metal observer.