Randy Blythe « The RingMaster Review

I Am Duckeye pic

If you are one to have been welcomingly violated and recruited by the basement level persuasion of Australians I Am Duckeye and their Punching Dicks EP, whose title song once embraced has the habit of repeating on its victims at the most inopportune moments, then the thought of their debut album will have juices leaking and erections of hunger ripe for feeding. Husband is a thunderous dose of punk and metal coaxed aural below the waist salaciousness which leaves expectations of hearing something very good in the release potent underestimation. It is an outstanding album which offers slabs of prime rock ‘n’ roll for the lyrical and mischievous deviancy to rampage within.

Formed in 2008 I am Duckeye fuse comedy and riotous fun with a contagious and impressively crafted mesh of punk, rock, and metal. Imagine a back street union between Kevin Bloody Wilson, The Dickies, and Melvins, whilst Alberto Y Los Trios Paranoias and The Wildhearts add their ounce of liquid expulsions to the recipe. Consisting of founders, guitarists/vocalists and twin brothers Sam and Matt ‘Mattness’ Haycroft, who also play in Sydonia, Afterwhite and Chico Flash respectively, bassist Jules (also in Dirty F), and drummer Sean (Sydonia), the Melbourne band has already laid down a legacy of three EPs, videos, and a wealth of YouTube Duckisodes which will have mothers and grandmothers deep in their coffin’s resting place. Husband is undoubtedly their finest piece of irreverence yet and one which musically is a thrilling and imaginative monster. Containing fifteen tracks wrapped in the excellent artwork of Julian Medor (Dirty F) and unique photography by Randy Blythe (Lamb Of God), the album is a comedy rock juggernaut which is so much more than just a slab of naughtiness.

The album launches upon ear and senses with S’whale, the opening call of the sperm named creature meeting heavy rhythms and 4pg or Multi pg Booklet V2.ai hungry riffs whilst the adjoining bass offers a throat full of snarling temptation. Into its productive and intimidating stride the vocals begin expelling the ‘educational’ narrative whilst the sounds carve out a formidable and infectious course of metal infectiousness with loud whispers of the likes of Trucker Diablo.

Tea Baggin’ continues the metallic predatory sounds, its carnivorous riffs and bass seduction ridden by dual anthemic vocal enticement coated in gang persuasion. With lyrics which you can rightly assume are not about the merits of starting the day with a choice of Ceylon, China, or Lapsang Souchong sourced beverage sparking grins and more within the high octane growl of a song, the album already has inspired an impressed and lustful passion for its body further cemented with the likes of the punk ‘n’ roll blaze of It’s Time and the twisting noise rock punk engrained Whateva (Dude). It has to be said that even if the rest of the album had sucked like a Granny with no sense of direction we would have been enthusing vociferously about the release because of the opening quartet of tracks. Thankfully it just continues to rape sensibilities and unleash sounds which corrupt and wonderfully gnaw at the ear with craft and fierce antagonism not forgetting varied invention.

The wine appreciation of Corkin’, only joking, with its intensive niggling grind of riffs and climatic call, and the manic schizoid fuelled rummage of the senses Ung again leave passions alight, the latter with an evolving almost Primus like creative bedlam, whilst Brown Eyed Guy is a classic rock fired furnace of sexual temptation which again only drives the album deeper into the passions.

Without reeling out every track and leaving things for you to discover, quite simply Husband carries on diversifying its bait with devious enterprise, the likes of the exceptional and musically twisted Chode To Jesus, the exhausting predatory punk/rock bruiser Prolapse, and the leviathan The Riff, a track laden with riffs of course, all which would leave Mastodon dribbling in to their beards, engineering greater greed for its bad mannered ingenuity. Right there amongst them is also the anthem of all anthems of band and the world, Punching Dicks. The song is prime punk rock, lyrical repetition and simple construction breeding the purest infection which is like an epidemic, once consumed as mentioned it rears its insatiable head at any moment it chooses in thoughts, its presence breeding a Tourette’s like need to expel its call whether on a train, at a family reunion, funeral, or a Justin Beiber concert, though that last one is acceptable and pure instruction.

With the magnetic and disorientating inventive stumbling of Shadow Pogs and the insanity caressing closing title track, Husband is simply brilliant. Actually we have almost mentioned all the songs despite the earlier intent so note both Slag Bank and Rabbit Kick and you have the full complement of the aberrational glories. I Am Duckeye certainly lead to bad behaviour as they stake a claim as one of our own obsessions masked under favourite bands, just be brave and let them lure you into their clutches too.

http://iamduckeye.com/

http://www.youtube.com/iamduckeye

10/10

RingMaster 07/06/2013

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Listening to When Worlds Collide really brings home what a talent was lost to not only metal but music when Cory Smoot (A.K.A Flattus Maximus), guitarist with GWAR passed away last November. It is fair to say he was generally overlooked by far too many when talking about the great metal musicians but just one listen to this album easily sets the record straight. Without the sad background to the album it is a strikingly impactful release leaving one open mouthed at the skill and imagination at work but knowing this is his last piece of impressive creativity brings a deeply sad yet celebratory emotion surging through thoughts as it excites and satisfies immensely.

The songs on When Worlds Collide were recorded in 2010 at Cory’s Karma Studios and were meant for a concept album called Religion is Fiction. The original idea was for Cory to record the tracks and then bring in some of his favourite and the best vocalists from within the Richmond metal scene, including frontman Dave Brockie from Gwar and Randy Blythe of Lamb of God. Due to scheduling problems this never materialised so he did the vocals himself and renamed the whole project The Cory Smoot Experiment. Cory completed the project just before what was to be his final tour with Gwar in the fall of 2011. Found dead in the band tour bus from a heart attack aged 34, he left the world with great memories and an album in When Worlds Collide which is destined to have a highly acclaimed place in metal for decades to come.

Though not quite flawless and at a few times feeling still not quite completed the album from its very first few seconds captivates and ignites nothing but enthused passion and deep stirring pleasure. The Blood Red opens with a guitar slicing the air with red hot sonic slashes of sound before the song erupts into a rampaging grooved infection. With grizzled understated vocals immersed within the commanding riffs and bulging rhythms the song bundles through the ear with excited muscular intent. The song also immediately sets the stall for the album in the bringing of a persistent array of flavours and sounds into a thunderous and inventive union, the song playing with a classic metal energy and almost grunge like breath.

The song slips right into Fortunate Sun next with its slow burning intensity and invasive presence. Heavy, atmospheric, and openly expressive the track reaps many essences from sludge and stoner sown fields to great effect. Though brief it is striking and makes the perfect seamless lead into its successor Religion Is Fiction. Apart from the great sounds the way the songs for the majority fluidly flow into each other no matter the fuel driving each strongly diverse and distinct song is another excellent aspect to the album. It brings a rolling energy to the album to give it an evolving and perpetually organic structure.

Religion Is Fiction is where the album truly ignites, the song a raging feast of intensity and great sounds. It is a maelstrom of grinds, grooves, and ravenous riffs to leave the senses breathless and the heart hungry for much more. Again short at barely two and a half minutes the track is a vicious aural predator which wastes no note or thought as it saturates the listener in pure metal contagion.

The corrosive violation of Rebirth feasts on the debris the previous track left behind whilst the stunning melodic and acoustically lined Brainfade sets an inspired respite before the death thrash assault of Mandatory Purgatory lays one on their back once more with its colossal unrelenting riffs and venom dripping groove. Again these tracks are very brief and it does add to the feeling that the album was not at its final completion and would have gone on to be a true all time classic if fate had not stepped forward.

The album simply continues to light up the ear and heart through the likes of Countdown To Oblivion, the blackened hearted The Gauntlet with its spiteful riffs and funked up mischief, and Hollow Tree with a glorious mesmeric bedlam of ideas and sounds. Ending on the unpredictable and surprising instrumental Sloth Loves Chunk, a jazz funk/progressive metal brew of invention, enterprise, and teasing, the album is a real treat for the ear and beyond.

With all proceeds of the album to be donated to The Smoot Family Fund which Gwar and Metal Blade Records set up to help provide for Cory’s family, When Worlds Collide is quite simply a wonderful must have album offering a constant pleasure for metal fans of all preferences.

Go get the album here http://www.metalblade.com/smootfamilyfund/

RingMaster 04/06/2012