REVIEW: SEALCLUBBER - STOICAL

Starting with a song titled “Tales of a Romanian Horse Whisperer,” UK mood-ruiners Sealclubber immediately bludgeon the listener with noisy sludge. Based on the prevailing sense of dread and hostility in the scabrous songs on Stoical, I’m guessing this horse whisperer has more in common with the deranged theatrics and animal mutilation of Equus than that Robert Redford snooze-fest.

Speaking of animal mutilation, you might have frowned at that band name already. If it’s any solace, the violent intentions of these songs don’t stop at aquatic mammals, and humans are very much in danger once pressing play. With their barbed riffs and the pitch-black ugliness of Drunk Dad and Trap Them, Sealclubber feel like Deadguy if they lasted long enough to have an experimental sludge phase. Like the bands mentioned, Sealclubber’s songs aren’t just sutured opiate-abusing crusty gutterpunk riffs tuned to the brown note. Even in a furious barnburner like “Haima,” the song scavenges elements of hardcore and stoner metal to create a richly textured soundtrack for giving and receiving shit news.

Despite a three-plus minute atmospheric interlude frustratingly murdering momentum, the album quickly regains its footing with “Vows of Silence.” Between suckerpunches of distortion, the reverb of callused fingers scraping over guitar strings leads to a foreboding bass tone that floats above the song like a storm cloud ready to empty apocalyptic rainfall.

It’s a fitting prelude to the disarmingly pensive epic “I Only Desire the Things That Will Destroy Me in the End.” That title likely applies to most fans of heavy music, whether it be regarding their bad habits, currently undiscovered crimes, or the headbanging riffs that will eventually snap their necks. The song proceeds patiently, feeling its way along desolate corridors. Two-thirds of the way through its almost twelve-minute runtime, the song confronts the bloody aftermath it was seeimngly trying to avoid. While the climax isn’t as destructive as hinted by the album’s first half, it still feels like the inevitable victory of baser instincts, where volume rules and subtlety burns away like bong resin. It’s a nuanced track that lingers in the listener’s mind long after it gently fades out.

While their two-song EP Sticky River was impressive, this is a definite leap forward for Sealclubber. While retaining their nihilistic bite, they also build soundscapes that reflect a rotting metropolis in a puddle of mud, blood, and petrol. Looking out my window right now, the view sure as hell sounds familiar.

Follow Sealclubber over on Facebook and check for news on a Stoical pre-order, available from Medusa Crush Recordings on February 5th.

REVIEW: HOLLOW LEG - ABYSMAL

Sometimes I forget I’m considered a music critic, because I’m really just a fan boy lucky enough to occasionally be paid for my opinions. But critics LOVE when an album/movie/book title can be used as a simple headline; let’s say, for example, the Seymour Hoffman/DeNiro film Flawless (Not quite Flawless, LOLOLOLOL!). Here we have an album named Abysmal, from Hollow Leg, a band from northern Florida that has an “affinity for the roots of American blues music and English metal,” so says their promo material. ‘Abysmal’ just happens to be one of those beautiful words that can be used to both praise and reprimand a piece of art; abysmal most often refers to something of poor quality, but can also describe something that is limitless and deeply profound. Boasting powerful performances from each musician, and offering eight tracks of zero-horseshit, Sabbath-informed sludge (is there any other kind?), Abysmal is built on a solid blues rock foundation with hardcore intensity and addresses themes that may not reach profundity, but are absolutely universal.

I first need to mention that in the second song, “8 Dead (in a Mobile Home),” I heard Scott Angelacos’ howl and immediately thought, “Oh shit, how did it take me a full song to realize this is the Junior Bruce vocalist?” He has one of those instantly recognizable voices that can’t be unheard. I say this more as a warning for non-metalheads: You will be haunted by the voice of Angelacos, which is strong enough to tattoo pentagrams in your ear canal. For metal fans: Rejoice, because his delivery is singularly awesome.

Most of the album feels like Iron Monkey accidentally stumbled into slightly gentler melodies. “Ride to Ruin” introduces a fuzzy higher-register lead to join Tom Crowther’s burly bass tones, and will be my motorcycle soundtrack when I’m eventually an outlaw biker with an eight-foot long beard. Brent Lynch provides some memorable riffs here, with “Blissful Nothing” syphoning Eyehategod’s groove and capturing the slow-motion sense of a day passing sluggishly on hashish, and “Cry Havoc” trapping the listener in an alligator death-roll as drummer Tim Creter goes in for the kill after some Big Black-era Orange Goblin goodness.

While the mixing on both “The Dog” and “Lord Annihilation” feels a little flat, lacking contrast and punch despite some great hooks and well-built tension, Abysmal is an album that’s the middle sprinter in a relay race, taking the baton from the UK’s best doom bands and handing it off to the crusty, lice-scalped troublemakers of the sludge scene. Though the song structures are closely related to 90s hardcore, this album will lead riff-worshipping fanatics of the slow and heavy into the exceptionally loud, wolf-infested abyss. And that, right there, is as close to a title-related catchphrase as I get.

Check out Abysmal over on bandcamp and get yourself the album on vinyl, or by instant download:  http://hollowleg666.bandcamp.com/

And check out Hollow Leg over on Facebook, and maybe some day they will answer what they would hide in a prosthetic limb:  https://www.facebook.com/hollowlegfl

REVIEW: ANODINE - PASSAGES

Although Anodine translates to “harmless” in French, this four-piece from Dusseldorf, Germany play 16 tracks in roughly 80 minutes on Passages that span the entire spectrum of sound, from gentle electric ballads to industrial metal that is anything but “harmless.” In their promo information they describe their own sound as “trip rock,” a term that absolutely captures the spirit of the catchy, driven rhythms and occasional aggression on this debut album. The band’s songwriter, Patrick Heyer, also provides versatile vocals and backing guitar for the album. I’ll discuss his vocals in more depth below, but he does supply a seductive sense of calm even while the bass and drums rumble and the guitars stab at the rhythm with punctuated distortion. Since the band took the time to polish 16 tracks, I’ll do a song-by-song exploration of Passages with some of my thoughts:

1) Antilight - Electro-instrumental track like Goblin mixed with Zombi. This song should have been in Pacific Rim, it feels like the soundtrack for the suspense before a giant robot attack. Heavy synths expertly build tension that is released in the opening moments of the next song.

2) Color Of This Place - A serpentine Deftones riff mixed with an industrial approach. Heyer’s voice reminds me of Mikael Åkerfeldt from Opeth, when he’s clean-singing and between roars. Moments of light permeate the song, like softer moments from Type O Negative’s October Rust.

3) Dark Side of Venus - A little like post-Follow the Leader Korn, nice thick bass tone with rays of sunlight peering from behind the clouds. Produced really well, nice fuzzy guitar tones and buzzing bass.

4) Into the White Light - Invokes Depeche Mode, if they used harsher tones. Slapping bass provides a nice clang, and the vocals soar with emotion as Heyer hits the higher register notes. Sophisticated, subtle touches with synth strings.

5) Break Away - Nu-metal hardcore that feels like a song-length breakdown. Deep guttural growls, Heyer reminds me of Jonathan Davis again in this song, if Davis took voice lessons. The aggressive approach also reminds me of American Head Charge, without the drug abuse.

6) The Virus - Bass and drum with chiming ethereal guitars to some churning, droning guitars with a catchy percussive beat. Could sneak this into a Massive Attack set list and the audience would think it’s one of the best songs of the night.

7) Hidden Places - Slower industrial ballad that sounds like something I could play while seducing a lady wearing fake fangs in a foggy basement club. Guitars have a little bite around three minutes in.

8) No Summer - Churning, tidal waves of bass from Fabian Siepen. Heyer sings, “You can never feel the summer in your heart.” Appropriate for this song, since it feels like a rainy autumn day.

9) Storm - Slow, radio-friendly song that could be a New Order song if they recruited a more rock-minded drummer like Jörg Skaramaga, who chisels a rhythm out of granite for this track. Feels like an 80s pop song with extra muscle. Although it’s mostly a tease, there’s a rocking riff closing out the song.

10) Dark Field - Heyer’s vocals on this track remind me of Mike Patton’s raspy delivery in his Lovage project, delivering a sort of sleazy, predatory sex appeal that installs a sense of danger.

11) Somewhere Sometime Somehow - A patient, deceptively heavy song with soaring vocals and tasteful supporting synth. If there’s any justice in the world, this would be a theme song for a future James Bond film. It has grace and a refreshing edge.

12) City - Nine Inch Nails introduction, with warped sensuality and mechanical groove. This song features Passages’ most traditional blues-based rock riffs from Rumen Iliev, but they feel fresh here and provide solid hooks. Some of the best drumming of the album from Skaramaga as well, as the song steers into jagged noise rock territory.

13) This Moment - Heavy opening riff feels like Fear Factory, and quickly switches gears into a gentler mode. This song is filled with jarring mood shifts, and while I usually embrace unpredictability, this felt awkward to me overall. If the band slims this album down to an hour or so, I think this is one song I wouldn’t miss.

14) Room 23 - Dramatic, plodding song that lurches with a doomed sensibility. Take one of the softer songs from Bush’s Razorblade Suitcase + a vocalist that can seemingly hit any note + a keyboard player = “Room 23.”

15) Resistance - Another softer song, doesn’t stand out from the rest but does have a head-bobbing rhythm matched with some guitar riffs with attitude. Unfortunately the verse starting 3 minutes in doesn’t fully capitalize on the potential heaviness waiting to explode, but it does layer the guitars and bass well. Another song that I might cut if decreasing the album’s run time to a more manageable 60 minutes.

16) She Calls - A fantastic, impressive song. Godflesh bass and percussive heaviness again matched with haunting guitar tones that seem to sparkle like starlight on a pond at midnight. Great use of stereo as the guitars hack at the song to cut their way in, like Jack Nicholson chopping through the door in The Shining. Tempo shifts into a more upbeat rhythm while the guitars sound even more foreboding and even incorporate elements of shoegaze. A track that truly stands out and wraps the album in a black cloak to prepare for the coming winter.

In summary, while Passages leans more towards the trip-side, it certainly displays enough aggression and distortion to earn the full title of “trip rock.” These songs are approachable and radio-friendly while still achieving a sonic edge, and should appeal to fans of Nine Inch Nails, Spineshank, and the Deftones. I particularly enjoyed the noisier elements of the album, with an unhinged bass tone that provides a layer of grime, and the relentless pummel of the drums that contrast with Heyer’s chameleonic voice. This is a great debut, and fans of industrial rock and goth music should check out Anodine and support this completely DIY release.

Check out the band’s website for ordering information, and get Passages on iTunes or from Amazon:  http://www.anodine.de/releases-2.php

And go follow Anodine on Facebook for live videos and updates:  https://www.facebook.com/anodinemusic

UPDATE: READ MY STUFF

  Just a quick update on ways to read my work in print and in downloadable forms, comrades:

DECIBEL MAGAZINE - ISSUE #110

Page 36: Pyrexia - Feast of Iniquity profile. I talked with Chris Basile, founder of Pyrexia, when I hadn’t yet heard the whole new album, basing my opinions on one song. Finally got the full experience, and it’s a killer record. I have a lot of respect for these guys and I was bummed to hear their tour with Six Feet Under was just cancelled.

Page 86: Ringworm - Bleed review. Solid EP from these Cleveland hardcore titans, keeping things lean and mean with plenty of metallic punk and a Discharge cover. I gave it 7/10.

Go over here to subscribe to Decibel Magazine. At $29.95 for a whole year this is one of the biggest bargains out there. The writing staff is fantastic, the editors are awesome, and the design is sleek and filled with trippy illustrations. Definitely worth your money:  http://store.decibelmagazine.com/collections/subscriptions-renewals

GIRLS & CORPSES - VOL. 7 WINTER ISSUE

FOR THOSE ABOUT TO ROT - CARCASS, WATAIN, and EXHUMED. In the debut of my metal column for this brilliant, bizarro magazine, I interviewed Jeff Walker from Carcass, Erik Danielsson of Watain, and Matt Harvey of Exhumed, asking their thoughts on metal, sex, death, and the afterlife. I toss in reviews of their new albums and a few bad puns. I really need to thank the creator/deaditor in chief, Corpsy, for giving me a shot at this.

Pre-order this insane magazine now, as it ships December 1st. I promise there’s no better conversation-starter for your coffee table: http://www.girlsandcorpses.com/%5C/store/index.html

KUNG FU BREAKFAST - ISSUE #13

Page 37: “An Invisible Man Hypothetically Visits Wisconsin.” I dusted off an old piece of flash fiction and expanded the story with more sadness and perversion. It’s the one-year anniversary issue of Kung Fu Breakfast and has some amazing work from some of my favorite artists: Jay Kantor, Sean Whitman, Jessica Towne, Nate Eggert, and Kendra Lin.

Download the issue for FREE over at this link, just be warned that it has nudity and bad words and all the stuff that makes living worth all the fuss: http://www.magcloud.com/browse/issue/647037

GUEST REVIEW: MAMMOTH GRINDER - UNDERWORLDS

Continuing our series of metal reviews by non-metal fans, Mister Growl welcomes back guest reviewer Shane Frasier, manager of Acquired Taste Bookings and creator of the Behemoth Music Festival (a series of concerts in Upstate New York that recently reached down into Brooklyn). He has also been a member of roughly seven thousand bands, ranging from hardcore punk (Daytime Soiree) to electronic/dance music (Mr. Owl) to eccentric insanity (The Lanky Mofos and The Bumblebees). He was nice enough to accept our invitation and review the new Mammoth Grinder album, Underworlds:

“You don't need much of an active imagination to guess what kind of music Mammoth Grinder is. It'd be funny, and yes, kind of unique, for them to be a jazz quartet, but no, these guys play a thrashy version of hardcore that demands you to throw down in a pit. But fitting the bill name-wise doesn't save one from ridicule, especially in the music world. Thankfully, I have little to gripe about with their new album, Underworlds.

Mammoth Grinder is fast-paced and destructive, but they stay just out of reach of the term “brutal” to save them from being bogged down by such associations. It's the kind of music I feel a psychopath would listen to to get pumped about hunting down some moronic teens in a horror film. While it mainly stays grounded in its fast-paced hardcore roots, it does try to stray often enough to not warrant it being considered bland.

"Wraparound Eyes" and "Paragon Pusher" really emphasize what these guys are trying to do here, sporting quick beats, growling vocals, and thrash-induced riffs that never overstay their welcome (but how could they at under 3 minutes anyways?). The guitar work on these songs takes center stage, with harmonizing parts that effortlessly blend together to create a wall of cacophony so great that I'm sure somewhere, in the vast ruins of space, some universe has been torn apart.

"Barricades" and "Roperide" work at a breakdown-like pace, chugging through with a sense of dread. They feel slightly metallic in their approach, but don't stay true to their tropes. "Barricades" really takes the cake out of these two, mainly because it’s so damn catchy. I've often found it's hard to make slower paced songs more memorable, mainly because, in these genres, they're more focused on being destructive more than anything. It’s nice to be reminded there are exceptions to the rule.

"Born In A Bag" and "Breeding" bring back the speed, displaying a punk attitude in the songs. I know, thrash and hardcore are pretty close siblings to punk in the music world, but really getting them to fit together is hard work. Others like "Moral Crux" deviate from the prominent fast-paced setting, relying on its intensity and slow-paced doom to instill wonder in the audience.

Underworlds is very solid, and while nothing is really different from anything I've heard before, it doesn't matter. Mammoth Grinder has set up an album that never finds a middle ground, opting to either go fast or slow. That black or white mentality might be a turn off to some people, but that's what kept me going with it. I’ve always wanted a variety of tempos and genre influences in each song, but for some reason, Mammoth Grinder wooed me away from that mentality. It's about time someone did.”

- Shane Frasier

(Editor’s note: This album is in my list of top albums for the year. I will be releasing a Top 50 list in December. - Mister Growl)

Many thanks to Shane for covering this release, and we seem to have some momentum with THREE positive guest reviews in a row from Mister Frasier. Note to self: Send Shane all crusty grind/punk/hardcore/d-beat releases we need reviewed.

Stream Underworlds over here at Bandcamp and buy it for a well-spent $6.66:  http://mammothgrinder.bandcamp.com/

REVIEW: GURT / LIMB - SPLIT ROAST

I don’t always review albums song by song, but when I do, it’s usually a Witch Hunter Records release. The newest album from the DIY label based in the UK is a truly collaborative effort from two filthy sludge bands with varying approaches to the subgenre. On this split EP, both bands include, in order, one new original song, a cover of their choosing, and a cover of a song by the other band sharing the split. I absolutely love this approach, as it invites some playful competition and camaraderie as well. Here are my thoughts on each song:

GURT

1) Sophisticate - Gurt start the hunting party with a throbbing rhythm and a thick, mucky sound that invokes Slabdragger and the bluesy flourishes and brawny chugging of late-career Pantera. Take old Chicago electric blues, channel it through an Orange amp, then dip it in hot tar and vulture feathers. The vocals from Growth/Gareth Kelly sound like the crusty howls of a swampland degenerate from a Cormac McCarthy novel.

2) Psycho Killer - Yep, a Talking Heads cover. There’s the initial, beard-growing bass tone from Spice/David Blakemore, then the novelty of hearing David Byrne’s voice replaced by the caustic roar of a gutter demon. Parts of the song feel a bit rigid (the fa-fa-fas don’t work quite as well as the ay-ay-ays, for those  familiar with the moments of non-lyrical vocals), but the last minute of sprawling, trippy rock is totally inspired, and Gurt own this song and make it their own monster.

3) Gift of the Sun - Covering the title track of the last Limb EP, Gurt extend the psychedelic rock with shades of Church of Misery’s quietest moments, and then rips a hole in the earth’s crust with a riff that could summon Cthulhu for its turn at the hookah. This song is seriously, supernaturally heavy.

LIMB

1) Plaguedoctor - Groovy sludge that’s closer to stoner metal with its hallucinogenic bounce, like Electric Wizard without the occult, just a perpetually loaded bong and a bathtub full of homemade swill. Great song, catchy as hell is hot. Rob Hoey’s vocals remind me of LG Petrov from Entombed, if his throat was shredded from acid tab paper cuts.

2) Son and Daughter - Covering a supremely heavy Queen song from their debut album, Limb explore gender roles with a strong, Sabbath stomp. I was expecting some harmonica to join the fray, as this song feels like it’s dressed up in a denim jacket with fringe. They cut the hacky synth effects that plague the original and trim it down to basics, resulting in awesome throwback heavy rock with raw-doggin’ attitude.

3) Soapfeast - Choosing a Gurt song from another split, the shared EP with Dopefight, Limb soak in the joys of profanity and all its unexpected combinations, as the vocals are the most diseased on the EP as they chant the mantra “you really don’t give a cunting fuck.” The song itself has a surprisingly low-key, smoke-a-spliff-in-the-van’s-back-seat energy, apart from one dangerously bombastic release of fury.

In summary, I had a blast with this entire release. Sludge is often considered one of the more misanthropic genres, riddled with tales of addiction and hatred and self-loathing. But on Split Roast, Gurt and Limb both scoop their sloppy, delicious gruel onto the listener’s plate and growl with a grin, “Eat up, you cunting fuck.” And that’s music to my ears.

Listen to Gurt and Limb over here, where Witch Hunter Records always makes the albums available as a “Name your price” download. Then buy the CD, which is made with a completely DIY mentality, and features artwork from the bands:  http://witchhunterrecords.bandcamp.com/album/split-roast

Add Gurt here on Facebook, and follow their swampy reign:  https://www.facebook.com/GURTsludge

And do the same for Limb, while convincing them to record the Queen epic “The Prophet’s Song” in the future:  https://www.facebook.com/LimbTheBand

INTERVIEW: STALIN

The old “sex, drugs, and rock’n’roll” adage is weak-sauce for Bay Area transgressive rockers Stalin. Mix in body mods, heavy riffs, and devil-masked cocaine orgies and you’re on the right path to appreciating the hedonistic world of Stalin’s music, which would be Emperor Caligula’s main jam. I was able to recently catch up with the band and receive their thoughts on their new music video, the sex industry, and the joys of hate mail. Join the orgy below:

Mister Growl: For those unfamiliar with Stalin’s music, could you introduce the history of your band?

Stalin: The project started in 2011 with a group of very whimsical individuals that decided to give music a go. The original line up rented out a house to live in and rehearse, which unfortunately turned into a mix of a trash heap and party pad, although we managed to write 3 albums worth of material and are still in the process of releasing the first.

The idea behind the band is to simultaneously do whatever we want musically and otherwise without limitations or rules.

Mister Growl: I described your sound to a friend as “Peter Steele from Type O Negative fronting the Rollins Band and Antichrist Superstar-era Marilyn Manson,” but in a press release you referred to your band as “transgressive rock.” Does that mean you throw semen and feces into the audience, like GG Allin?

Stalin: That's an exceptionally complimentary description - why thank you sir. As for semen and feces being thrown at the audience -- that's not likely to occur anytime soon. We're romantics and that wouldn't exactly charm over our beautiful fan base. But, that's not to say that a Stalin show won't contain some unique entities that you might not see elsewhere. In fact, we'd assure that.

Mister Growl: You have a new video out for your song “California.” What was the production process like for that video?

Stalin: We shot the video in a day and a half with only a take or two per shot, so it was a bit rushed. It was also one of the more enjoyable creative things we've done - all of the sexual bits were shot early in the morning and the whole set devolved into the real deal by mid day due to having 30 Ciroc bottles on location, everyone on set was hammered and a few as well coked out of their minds and inhaling helium balloons. Yet, we managed to get some nice shots under a collectively hazy condition. People like "method acting," haha.

We can't wait to do more and have some amazingly enticing ideas to film. Making videos is arguably more fun than recording and mixing music in the studio. Two more on the way this year.

Mister Growl: I am a firm believer that movies/TV/music can corrupt God’s children and turn them into hedonistic demons. How many lives do you reckon you’ve destroyed by including profanity, drug use, promiscuity and sexual intercourse out of wedlock, Satanic/Pagan imagery, and provocative dancing in your video?

Stalin: Why capitalize the abrahamic "god?" He/it/she has the personality of an attention seeking teenager with a superiority complex and intensive jealousy, that's not very divine is it?

We can't comment on who and what we have influenced so far, but we have managed to aggravate quite a few hipsters and techies with the video and that's of course splendid. Those cunts are positively dead to identity.

Besides, you can't corrupt religious kids, they've been corrupted by 2,000+ year old racist, sexist, irrational, logically inept and ludicrous dogma from the jump. We feel bad for them and want to extend out a helping hand. It's all love...

Mister Growl: Was the “California” video just an excuse to kiss and fondle an impossibly hot tattooed gal, or is there another message as well?

Stalin: The video itself is a parody that few seem to spot outside of the Conspiracy Theorist realm, or those who watch a lot of Kesha and Lady Gaga material. Mainstream pop videos throw in more and more faux Illuminati material because it generates a lot of hits online from people that believe in power behind the throne and secret world orders and so on. So we took the basic elements and mixed in sarcastic product placement, the Baphomet, chifir induced rituals and then sexed it up more than they're willing to do in their prude teases.

So literally it's just taking the piss on mainstream music culture while throwing in some subtle anti-authoritarian overtones. We even put the plaque from the real Bohemian Club in it for our tin foil hat wearing friends.

Mister Growl: One of my favorite places I’ve visited in this country was The Lusty Lady in San Francisco, which tragically closed this past summer. What are your opinions of that legendary venue, and of the sex industry in general?

Stalin: Our bassist and one of our guitarists were thrown out of the Lusty Lady by a Tranny whose occupation was cleaning off cum stains from the walls and floor. They tried to get in a booth half priced for two and were in there laughing about the whole experience while other customers were "handling" themselves all business like. That's the only memory we have of that place.

The sex industry, as in porn and other outlets obviously has its place as a multi-billion dollar industry. The only people that denounce are social conservative types that detest it while enjoying it in the comfort of privacy and secrecy.

Not too many of those types in SF. Lots of freaks, creeps and people that can't afford rent amongst the new gen of liberal yuppies.

Mister Growl: There have been a series of disturbing violent incidents between fans involved with the San Francisco Giants/Los Angeles Dodgers rivalry. What do you think that sort of twisted fanaticism says about humanity?

Stalin: The irony is that the Raiders-Niners rivalry is calm and respectful. The more violent sport in the more violent areas having a calmer situation probably says that the slower sport that induces more boredom maybe is the culprit of twisted fanaticism and brings out the animal.

That idea could relate to the root of almost everything, or is just baseless pseudo-intellectualism.

The latter, definitely.

Mister Growl: On September 16th, 2013 you Tweeted the following: “Isn't it ever amusing that those who espouse "traditional moral values' have the worst closeted moral codes known to man? #prostitutechrist.” Why did you name our band Stalin, instead of Prostitute Christ?

Stalin: Just for you we'll rename a track on our next album 'Prostitute Christ'. We named it Stalin as jest, due to our anti-Authoritarian output it fits within the whole dark humor bit perfectly. We're totally down with Anonymous.

Mister Growl: As an East Coaster, I’m curious to hear how you’d describe the musical history and current scene in San Francisco.

Stalin: The history of it is fantastic, all the way up to when Silicon Valley drove up rent prices to make it the most expensive city to live in the United States. You had the 60s scene here that was very influential, you had the thrash movement in the 80s and as well a great alt-metal and alt-rock scene in the 90s. Janis Joplin, Metallica, Faith No More - significant acts.

Now it's nothing but beards, banjos and holding hands with a bit of electro pop. There's a gigantic market for that lifeless bilge and 20,000 different acts consisting of it.

Except for us.

Mister Growl: What have been your strangest and most rewarding experiences playing live?

Stalin: This project has yet to make its live debut, but in the near future expect us in a town near you. ;)

Mister Growl: You seem to be particularly proud of the hate mail the band’s received. What are your thoughts on that sort of antagonism, and what it says about the band’s music and image?

Stalin: We love it! But only when they put a lot of thought into their love letters or adoring compliments.

Mister Growl: What does the future hold for Stalin?

Stalin: Bringing the Stalin brand to wider and broader audience. Stay tuned if you like what we do, it's only going to get more fun.

Many thanks to Stalin for taking the time to answer these questions and share their new music. Go check out their website, watch the video for “California,” and listen to their music NOW:  http://www.stalin.org/