Bitchslap

While I'm sure this was ripped straight from bootleg and has little to offer slavish fanboys of Slipknot's eponymous 1999 Roadrunner debut, MFKR is a refreshingly bold experimental record from a band that simply hadn't yet found its niche (or the all-encompassing influence of Ross Robinson). There is the funky "Confessions" more suited for a Mr. Bungle record, "Only One" dabbles in the nü metal genre they'd eventually be associated with (a smirk-inducing white boy rapping opus that would make even Fred Durst groan) and "Do Nothing" - an epic jazz/death metal amalgam with Ministry-esque vocals to totally fry your mind. As a whole, the glue of the record is still metal - actually very Metallica-sounding metal that seems a tad dated, even in 1996. My biggest problem with the album (and the reason its recording budget ballooned to almost $40K) is the piecemealing together of the drums and overdubs. It simply doesn't sound quite in time. An excuse could be made in the fact that there is a lot going on in the songs but that problem has plagued Slipknot for years (I almost found Iowa unlistenable at times simply because there was so much shit going on on once). Fans of Slipknot will either love or hate proto-versions of "(sic)" (they way-too-long opener simply titled "Slipknot") and "Tattered & Torn", but unbiased prog metal fans could be pleasantly surprised if they can get around the somewhat unrefined production (revisionist band history now considers this a demo record). I chuckled upon finding out that none of the members still own a legit pressing of this record. Enjoy.

Meld

What's In A Name?

No, this isn't a long-lost demo from your favorite Iowan nü metallers, it's instead the sole effort by a long-forgotten Connecticut hardcore trio. Bridging the crossover gap with shades of proto-grunge (the opener "Condemned" sounds a lot like what Kurt was doing at the time with Nirvana while "No. 9" reminds me of Excel) there's a lot to like about the six songs contained herein. The grooves and breakdowns are solid as fuck - I especially dig the vocalist Stiemy, he's got that ideal scream/yell/growl voice I wish I had. It's a pretty angry, overly political twelve minutes - in other words a perfect snapshot of late-80's hardcore thrash. Enjoy.

Hate In Blue