We all know that technology is taking us over, but an on-going war between it and man, well easy to have doubts there. That was until this computer began deciding alone when it was going to connect to the internet and my iPod began mashing up songs randomly like a manic DJ to mess with the psyche. Of course if we had all listened to Killer Refrigerator previously battle plans would be drawn up and war cries in place. Thankfully they have returned with second release The Fridge and the Power it Holds at the right time, to awaken all and help turn the conflict back into the hands of humanity.
From Ohio, Killer Refrigerator is the side-project of Cody Coon, the guitarist/vocalist of death thrashers UnKured. Recognising man’s slavery to iPhones, toasters, blenders, every appliance imaginable; a dependency seeded from the aftermath of surviving an attempt to wipe out humanity a Millennia ago by the omniscient refrigerator Lord Freezus Christ ( You may laugh but think about the panic and fever which breaks out when you lose your phone), Cody and Luke “Java” Sackenheim decided to rebel against the appliances in 2014 and formed Killer Refrigerator, releasing debut album When Fridges Rule This World as their first assault and warning soon after.
Drawing on cult movies such as Microwave Massacre, Terrorvision, and Basket Case alongside their belief that appliances want to destroy the world, the band create a bedlam of sound and psychological ferocity from a vicious tangling of every extreme flavour that they can conjure, with much more besides. The Fridge and the Power it Holds EP provides seven tracks of almost indescribable but thoroughly thrilling confrontation, and sets up the battle front perfectly for upcoming second album Refrigeration Plague.
For all the theatre behind the intent and creativity of the band, Killer Refrigerator has a skilled and inventive sound which if you can ride its unpredictable tsunami, blows ears and imagination away, with the passions in quick succession. Straight away The Fridge and the Power It Holds is rich evidence as opener Terrorvision erupts into life with a web of sonic enterprise sculpted by guitars. A muscular and skittish rhythmic accompaniment adds to the initial coaxing before it all colludes with a dark bassline and a salacious mix of senses scorching vocals for a hellacious punk lined ferocity. Not reaching a minute and a half in length, it is a searing and striking start swiftly over shadowed by the excellent Slaystation. Predatory in its first breath, almost sizing up the listener as it dangles a discord kissed bassline and sonic lures from its rhythmic spine, the track is soon driving for the jugular on a tide of thrash bred riffery and ruinous vocal incitement. Squirming around this, acidic flavoured melodies and progressive nurtured endeavour fascinates, leading ears towards an unexpected Nintendo-core interlude before exploding again into the creative and rasping sonic fury the track started with. As mentioned previously, the band’s sound is an unrelenting and evolving maelstrom defying real description but with avant-garde and mathcore tendencies as prevalent as death and grind endeavours, it is a one compelling and intoxicating assault, deranged manna for the imagination.
Shower Thrashing Death toys with folk metal influences before turning into a carnivorous rampage of thrash/death seeded lavatorial rampage announcing the coming of the “toilet gods”. The bass simply seduces within the grimy scenery whilst vocals announce the demise of all with an outstanding mix of vocal deliveries which range from hardcore angst, grind squalls, to Patton-esque crooning. One of the pinnacles of the release it is matched by Killer Refrigerator VS Godzilla, the big fight off between two merciless goliaths. The track stomps with heavyweight rhythmic feet and fiery climactic endeavour, guitars scything across the battleground with sonic rapacity whilst vocal war cries breed a warped anthemic support.
The insidiously enthralling Slave To The Easy-Bake comes next, a scourge of sonic grooving and melodic flaming spun around a simple but gripping bassline. Of course this does not tell the whole deranged psychotic story of the song, every aspect from vocals to guitars, beats to imagination a distorted intrusion to fear or greedily devour.
The EP’s title track steps up next and after battering the listener senseless through pummelling beats, goes on a brutal and feverish march of searing grooves and scarring riffery. It holds back at one point to intensify its weight and drama, before regaining momentum but with an even more destructive and imposing trespass of the psyche. Deathcore, thrash, mathcore, and psyche rock are all in there running amok with the ideation and raw adventure of the band, the outcome another mouth-watering violation.
The Fridge And The Power It Holds closes with bonus track To Hell With Cancer, one of the most grouchy siren-esque enticements you are likely to hear this year. Ravaging air and ears around a funk bred devilry, the track is a carnival for the mosh pit and a thrilling, uncompromising call to arms.
Lyrically and musically The Fridge And The Power It Holds is so much fun but equally a serious slam of extreme incitement which might have a theme bred from a truth stretched to cultish proportions, but delivers it as a unique and irresistible tempest. It is probably not going to work for all but if it does click an explosive thrilling time is guaranteed.
The Fridge And The Power It Holds EP is available as a name your price download from April 7th @ https://killerfridge.bandcamp.com/album/the-fridge-and-the-power-it-holds
As a backstory to their origins, the band recently released a 20 minute documentary featuring the hilarious exploits of Cody and his fellow fridge warrior Luke “Java” Sackenheim. The documentary can be viewed here: https://www.youtube.com/watch?v=8m1zCBvL4EU
https://www.facebook.com/KillerFridge
RingMaster 07/04/2015
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The EP’s title track opens with a sample from the 1979 TV movie Salem’s Lot, the voice of James Mason instantly luring in attention and imagination before riffs venomously cascade over the senses. The hellacious clutches of rhythms are similarly an inescapable onslaught, the hefty swings of drummer Davin Sosa primal bait and an uncompromising intrusion backed by the almost slavering bestiality of the basslines crafted by Janette Valentine. The riffs and rugged grooves expelled by guitarist Jean Saiz similarly show no mercy whilst both of the ladies vocals unite to savagely entrance body and emotions with hellish revelry. It is a thrilling and compelling mix, a track which is almost flirtatious with its searing melodic endeavour and danger loaded intrigue but as its sound a predator in character and intensity.
Recorded in London, Boston and Holland, Philosophies For The Modern Ant, on the back of successful shows in Europe and the US, instantly has ears and attention gripped as opener Better Off Blind sets things off. Hefty riffs and similarly intensive grooves encase ears initially before the song relaxes into a more familiar grunge bred tempting. Melodies and a snarl equipped bassline court the slightly grizzled tones of Jon O’Connor, his voice sharing the raw essence of again Cobain and similarly Gavin Rossdale, it all creating a restrained but open drama to the song. It is fair to say that the EP starts with a recognisable and unsurprising offering but equally a captivating one which like the warm up act to the main show, gets anticipation and appetite in the mood.