Grip Inc. A Short Existence

As of this writing there has been little news on the status of Grip Inc. Since the passing of Gus Chambers in October 2008, along with their last record Incorporated released in 2004, I've often return to rekindle my interest in the band. Lately though, they've seen less and less attention from me. I currently believe Grip Inc. where an unfair causality of the Thrash style in the mid 90's because of  market saturation, while also incurring many unfair comparisons to Slayer.

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My introduction was with The Power Of Inner Strength released in 1995, and for no other real reason but to marvel at the sheer power of Dave Lombardo's drumming, and Waldemer Sorychta's riffing. This record also introduces me to Gus Chambers, and his vocal style. Holy shit is he powerful!

Everything on this record is fierce, and potent. There is attitude, which is amplified further by the power of the songs. Though I heard more intense material since, I've come back, and nothing can change my mind or opinion about the record, it holds up remarkably well.

Since I wasn't keenly swayed or having sworn allegiance to Slayer, I was open to this. Upon first listen, the mixture of rhythms sells it right away. I feel the speed has Latin texture, but there is good variation to the sheer onslaught I feel this record employs.

Because of the onslaught, and in your face aggression, The Power Of Inner Strength, is as stout as any metal record. The production is very crisp, and tight. By the mid 90's while metal bands were electing a rougher and a marketable alternative sound, Grip Inc. were a breath of fresh air.

Ostracized Video 1995

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Nemesis mellows out the super balls of Power Of Inner Strength, and inspires a emotive sound texture, whilst still employing a deft lyrical observations (much like the first record). I've grown to appreciate the mix of the drumming, while the guitars tend to drift into ambient areas that most ardent fans of metal would and have scoffed at.

I also feel the keyboard introduction is interesting, because it gives a kind of layering to their sound. Seemingly though its bereft of that potent and thrombotic presence afforded with the first record, which in turn will give the listener to remiss about, but I think that shouldn't dissuade or cause fault.

The aforementioned experimenting with record, felt like it was in development, though some of the work needed more time, what I heard was a change that was happening within the harsh tones of the first album. There are a couple fast numbers on this record, but with that lack of power should not in anyway deter from the overall experience.

Rusty Nail Video 1997

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Solidify closes the 90's decade with some pretty remarkable tracks. I felt this record was exposing some inner personal secrets, because Gus Chambers lyrics again morph and seemed more of a reflection of his perceptions brought about by the challenges of crossing periods of time and the human element of that reality.

From my perception this record really was clicking on ideas which were introduced in Nemesis.  

Solidify seemed more fleshed out, perfected, and were given a better means to showcase the shift between Nemesis,  and The Power Of Inner Strength.

There are the obvious pummeling songs,  but I don't believe that was the focal point this time around, as the players were wanting to try newer pastures, and this I think is aptly done without pretense.

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Incorporated dropped in 2004. This album I think tried gallantly to put more of a ump in their status, but I somehow wondered what happened between this record and Solidify because it felt off.

Firstly, how this was produced has a muddy mix, and some of the songs sound like a garbled mess. Gus Chambers is clear, and front and center, as Dave, and Waldemar trade off on the riff, drum construction.

Some of the structures tend to trip over themselves due to familiarity. I wonder if the long layover made the song writing process seem arduous or glaringly sluggish?

Of the four Grip Inc. records this is my least listened to. It doesn't retain my interest as the first three, and I think its possible that for that short brief moment, Dave, Waldemar, and Gus worked their magic early on for prosperity, because at this stage, I rarely return to this.

I wouldn't say this record is awful, or bad, it has flaws sure, but what it does have the last bit of music from Grip Inc. if this is truly it, then I'm okay with the result. I should also mention here this record had the making of this record, as followed in the links below is a few snippets:

The Answer Video released by SPV Records 2004

Curse (Of The Cloth) Video released by SPV Records 2004

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In closing, while I have talked about Dave, Waldemar, and Gus frequently, one component that troubles me is the bass player position. The more I kept researching this position, the more questions started to manifest. It seems to me this position for this band was in a kind of this behind the scenes, maybe he's there or not. I am not clear as to why this was a very difficult position to hold down, so I'm not trying to miss the the most important part of the group, but no where was this more apparent than the lack of that presence.

Sure there bass is very prominent but yes we get two maybe three members that I think are capable but they are kind of a fly on the wall. Jason Viebrooks(Nemesis, Solidify), Stuart Carruthers (Power Of Inner Strength). Bobby Gustafson (Guitars on Power Of Inner Strength)

No matter, I feel aptly proud of knowing about this band, and will continue to learn more as time progresses. I don't think there will ever be another group like this again, as Gus Chambers is the voice, and sadly is no longer with us. His memory will live on through my written tribute (here) of Grip Inc. Thanks for reading.

B.

Tenet - Sovereign Review

Tenet  Sovereign 2009

Whoa....lets just get that out of the way. This is the most intense I've heard Steven 'Zetro Souza in quite sometime. Since I loved his final Exodus record Temple Of The Damned. little did I know he was saving his vocal range for this record Sovereign.

Every song on Sovereign oozes a kick to the groin, a punch to the face, and does not let up even once. This is as focused metal if there is ever a term to describe how this feels and sounds. Every time I listen to this, I hear new elements, or what I've missed on prior excursions.

You want something that just blows most of the competition away? This is an all star group consisting of: Greg Alvelais (Guitarist), Gene Hoglan (Drums), Jed Simon (Rhythm Guitars), Byron Stroud (Bassist), and Steve 'Zetro Souza (Vocals).

Though this record has been out four years, it has aged quite well in a field that I think still needs a swift kick to the ass. I can't say that I've felt a lot of hope in the preceding years because thusly how far can one push the boundaries of style before people just tune out. No matter, I'm glad to at least acknowledge that sometimes there are brief moments when something comes out that turns heads, this record did just that. Thanks for reading.

B.

Information Society - Don't Be Afraid (90's Era)

Information Society Don't Be Afraid 1997

Don't Be Afraid is a different turn for Information Society's fourth record. Having skipped out on Peace & Love Inc. I had complete Insoc burnout. The thing I've always included in my listening parameters is as many diverse styles. With Insoc I felt they bridged pop and electronic pretty well.

Their first record Information Society (1988) stuck with me. When Hack (1990) dropped, my tastes changed, because of a veracious appetite for aggressive music. Because of this, Insoc couldn't hold my attention. Part of it stems from the softer, glossier processing, where as my interests went into power, dominating, hard tones, and attitude pushed Insoc into the background.

In 2008, my rekindled interest of that era brought me back to Insoc's Don't Be Afraid. On first listen blew me away. I was not prepared for it, and it has stuck with me because of its tone. My initial reaction was in its resonance, and how off the cusp it was. Released in 1997, this album I think epitomizes a closing chapter Insoc accomplished.

As with my Oingo Boingo blog post, something was definitely changing with the Post-Punk (Mid to late 80's, morphing into alternative of the 90's) movement, and though Insoc did what they could, they were forgotten quickly.

I suppose the intermixing of what I was going through as a listener would contribute to their lesser prominence, yet I feel that would be more of a cop out than just admit that bands reside around the time they are created in. Sure bands will keeping trying to keep at it, but lets face it knowing the metrics of shelf life, it was very tough to maintain popularity in a ever changing pop landscape.

Anyways, the shift I think really put the creative components into Kurt Harland's hands. It is emotive, melancholy, expressive, dovetailing into more industrial concepts rather than the curt techno vibe of the Peace & Love Inc, whereas Don't Be Afraid speaks to me with its rustic and caustic edge. I like that this record doesn't dawdle, there is form, and intent.  

Don't Be Afraid is a powerful album, there is subtlety, with a major wink and nod to EBM, which I think needed to be their staple from the beginning, but I digress. The perception of the beginning shakes you at first because its not asking but demanding you to descend into the unfamiliar, while also accepting dark places. Its haunting, and stunningly beautiful.

Kurt Harland I think breathes effortlessly with his poetry, and it works with the backdrop of the electronic wizardry/production. Very different for its time, and I am kicking myself for not knowing about this sooner. This comes from my temperance of age, knowledge, and getting through the complexities of being well traveled. Thanks for reading.

B.

Arsis - Scion/AV Lepers Caress EP Review

Arsis Lepers Caress EP 2012

Closing out 2012, Arsis return with a primer EP Lepers Caress which will sate devoted fans enough until their new opus Unwelcome drops in early 2013. Provided by Scion/AV, Lepers Caress sounds fresh, and reinvigorated.

Check it out.

Vocally it is sharp like tigers teeth, and for me it maims consistently. Am I looking forward to the new album? Yes, as I felt their last outing really didn't grab my attention. I've gone back and to tell you the truth I'll really liked their second release 2006's United In Regret the most. Here this EP really is doing a great job of bringing me back me into what I liked about early Arsis.

Lots and lots of winks and nods to the Swedish death metal sound, as the guitars really do push on the the harmonic touches more this time, I'm liking they've come back to what made them who they were before all the line up changes. This EP really is going back to the well if I can use that term succinctly.

Drumming is decent, I am hopeful for new tricks or fills, and patterns will emerge, there are a few moments, but it definitely sticks to the 'technical death core' vibe, which isn't a bad thing, but I am hopeful for twists and turns for Unwelcome. Arsis definitely give me a similar vibe that The Black Dahlia Murder use and it is the that refined intensity, letting the players showcase their skills. Definitely will give me some food for thought on what to expect next year from these guys. Thanks for reading.

B.

Virus - Oblivion Clock Review

Virus  Oblivion Clock EP - (December 1st, 2012)


A mix of songs created on the road according to Bandcamp's Virus profile on Oblivion Clock EP incarnation. Whatever the case maybe, what is evident is a further exploration of the ongoing evolution of Virus and Czral's songwriting process. But, I as I stated in the Black Flux review I feel Virus meld a very unique voice to a field that is saturated with sameness, and I like the openness what this band does. It is a breath of fresh air considering the current age and state of where things reside in regards to the music industry.

As a whole I would encourage those who read this, that they consider using Bandcamp to support the artists more directly, because the channels currently don't give back to the artist in anyway, shape or form. These prominent avenues of support do not directly involve or care to support the work rather than steal from those content creators.

Moving back to this EP, after listening I am struck with a jubilant mixture of elated satisfaction, and more questions. Oblivion Clock goes into various enclaves of experimentation, I was agape thinking what the hell is going on with this EP? It is a strange mix of songs, weird rhythms, and shift in vocality I was thrown off a bit. Having taken a decent crack at the material, I'll need some more time to uncover its novelty, don't get me wrong I love this implicitly.  Finally, the thing that stays is the guitar tone, it sticks with me, it gives a lot of interest. Thanks for reading.

B

Virus - The Black Flux Review

Virus - The Black Flux - (November 10th, 2008)


Having been acutely aware of Virus, as my first introduction was with The Black Flux, dating back to 2008, little did I know I would be deep in 2012. Most of what I like about this band is the use of different textures of note. I like that the chords don't always match what is expected, and this challenges me in re-examining the overall construction of groove, and tonality.

I am not the first nor will I be the last to say that music needs different types of components to fit together in a cohesive or abstract way to make sense. Its alright to have other types of references to pull from when being introduced with. What I won't take is the blatant ruse that its all just noise. If one really focuses on the means of the performance, one would understand the nuances, and inflection going on. I try not to get to literal with this stuff because on the surface its just like anything else, people are going to read into what they want, and that's okay.

The Black Flux retains some interesting components of Ved Buens Ende whom I was introduced to this year as well. So what I have here is a mix of older meeting a modern aesthetic, what was dated seems fresh and appealing. I would harken from my prior metal listening experiences to the 60's acid rock tones, which I think is pretty remarkable to harness. Frontman Czral I think makes a great attempt at making this as unique in strobe like effect whilst pushing what I think is the boundaries of what (style) is, in a very outside the box aspect.

The Black Flux punishes the listener if they are not prepared. For me I have had this affinity with eccentricities, so this is up my alley in regards to being very different to what is out there, and I like that a lot. Thanks for reading.

B

Billy Idol - Cyberpunk (90's Era)

Billy Idol Cyberpunk 1993

An album full of promise, and ideas, I felt somewhere Cyberpunk's execution wasn't as fleshed out, but I feel as though the overall aspect of this record was forward thinking in its approach, as it was something of a discussion piece to a very trying early 90's, while giving as much creativity to the artist.

A very pronounce construction of the 90's idiom, the Internet, and  the cyberpunk culture coined by William Gibson, and the new age/Sci-Fi element that Billy Idol's Cyberpunk evokes was overlooked because of Billy Idol's cartoony behavior. Having said that, I looked passed his bizarre proclivities and peaked into, through, and underneath the volatile just enough to see where the purpose of Cyberpunk resided.

Cyberpunk was at that time ahead of the curve, using the web as a means to transmit information. Expanding on the song lyrics, and artwork, whilst giving a way for fans to converse. We take for granted in today's apparatus, but at that time it was new. There wasn't a competing element when the network began whereas today it is ubiquitous and it has become more controlled, and there are many competing interests molding what will shape the 21st century paradigm.

Though many of the lyrics tend to be on a new age, sci-fi, and observational side, there is a feel that I think resonates very well in its eccentricities. Melding Indian rhythms, gospel, funk, electronic, and rock into a album I think gave good variation.

I keep coming back to both Under Midnight's Void, and Billy Idol's Cyberpunk because these records posit a discussion about technology, how it is used, and what gains in which propels or hinders a society with technology.

Analyzing this album as it is crossing the twenty year mark, is still largely hated, and despised record by many. I've had an open affinity to this because I wasn't thrust into the lore of early Billy Idol. My curiosity lay in how Cyberpunk spoke with it's expression, tonality, and melancholy. If nothing else, I felt it could have been about our place, age and the patterns crisscrossing across wide areas of time.

For example: The Berlin Wall, China's Tienanmen Square incident, Sam Kinison's death, the L.A. Riots, all of these could be muses in the creation of Cyberpunk. Constructed in 1993, I believe feels very disorienting, and has this underlying judgement based on its criteria its expressing. A good portion of the record needed better execution with a lot less of the implied innuendo, and more on the concept it needed to elicit. I thought it wasn't as focused, but again, it is creative license to interpret what one aims to achieve.

As with many things, history tends to give great abhorrence, and complete indifference to the human condition, whereas I think Cyberpunk's music tried to break this boundary by giving a very curt and beautiful expression which I think got passed over because of its myriad directions of giving hope to a hopeless time.

Though Billy Idol wouldn't record another album in twelve years (2005), this record is a testament of its ardent strength, strange character, and ingenuity in which we don't see these days. Thanks for reading.

B.