The first studio record coming from New York thrash outfit Carnivore with a self-titled release that shook the November 1985 nights through an eight-track release. Originally on Roadrunner Records, the group saw a crunching of bone and teeth with tracks like “Armageddon,” “World Wars III and IV,” and the iconic thrash metal smash “God Is Dead.”
Made up of Peter Steele who was the soon to be frontman of Type O Negative, also joining the fight was Keith Alexander on the guitar and vocals. With Louis Beateaux providing the percussion and vocals with a grinding, overarching sound that acts as a predator of music. Carnivore can take rapid jumps through crowds, plucking people off along the way as the record progresses. Each bite, stomp, and chewing motion on Carnivore illustrates the seedy New York underbelly that strikes the jugular with precision.
From the breakdowns on the opening track, “Predator” to the final moments on nuclear holocausts from “World Wars III & IV,” there is something oddly uncomforting about Carnivore. It could be their almost ghoulish lyrical style, or perhaps their harsh sound, but it is nearly impossible to pinpoint exactly why the release demands movement. By learning to act as if they were animals, Carnivore is impressive through their 54-minute conquering of the throne through hellish aggression.
The track “Armageddon” opens almost as if it was a Type O Negative B-side with these catchy guitar works that translate into a dramatic but sluggish build up as elements of instrumentals are purposefully added in. Similar to baking a thrash metal cake, each ingredient is then kicked into a mixing bowl and demolished by the stirring mosh pits that the percussion and blitzing strings create. The final product is something less than pretty, but still, a tasty treat as the vocals scream “Armageddon” with a chorus coming in to reprise this short, but quotable chorus. It is one of the more memorable parts of the record as it shows a harmony before the vocals decide with animalistic and primal rage to, “Kill each other” as the band begins the moshing once more.
Carnivore is a circus act of balancing the heaviest thrash elements alongside the technical works that are known to prove a theory base from each member of Carnivore. They are fantastic musicians in the way that they provide a grim outlook into the thrash sound, while still performing under intense heat from the rising and shaking ground that was beneath them. As the atmosphere builds and sculpts abrupt chaos, Carnivore explodes in a frantic atom bomb of expression and tribe-esque leadership.
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Director: Nick Walker
Director Of Photography: Harley Astorga
Producer: M. Corey Whitted
Creative Director: Ben “Lambo” Lambert
Colorist: Brandon Chavez
Editor: Harley Astorga
Sound Mixed By: My Best Friend Jacob
Produced By: Object & Animal
Starring: Freddie Gibbs, Eric Andre, Silverio Diaz, Quasimoto
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Produced By: EYEKETYSON
Shot By: B.G_I
Starring: TYRUS CREEK + DJ JACKALOPE
As the descent of these uncomforting splashes of blackened blue streaks flares across the fading sky, A Different Shade of Blue is the second studio record coming from Kentucky outfit Knocked Loose. Through their ventures with Pure Noise Records, Knocked Loose quickly becomes this overarching blend of mind-bending hardcore that can shatter steel through their punishing sound.
Opening with the first spin-kick of “Belleville” where material fades to become nothing but primal rage. The stuttering guitar works are sinister and creep low while the percussion breaks bone with ease. It is a heartfelt connection to the animalistic ability that transposes any sensibility to negotiate, Knocked Loose is in immaculate control. It all starts with Bryan Garris who is the executioner MC that combines forces with Isaac Hale and Cole Crutchfield on the guitar works. Often times the bass in hardcore is vital to creating a solid backbone where the other instruments can flourish, instead, Kevin Otten uses the bass as if it was a lead guitar that punches through that stigma. The final member, Pac Sun is the uncontrollable fury on the percussion that claps along to the world of sound around him. As Knocked Loose high-steps over heads in the crowd, A Different Shade of Blue opens new pits with a pendulum.
It is truly where the track, “Trapped in the Grasp of a Memory” where Knocked Loose shakes their opening skin and emerges as this concurrent threat of hardcore hell. The feedback on the guitars engulfs the ears as this almost unbearable screech to the point where it invokes a sense of outburst. Knocked Loose acts as a swarm of crows that block out the sun where the listener is left to their own devices as the train derails and an understandable sequence is instead abandoned for a sporadic nature of grinding pressure.
This pressure is necessary and acts as the theme of A Different Shade of Blue. This rushed and often frantic style is by no means friendly but is approachable for the way that it can develop hardcore tendencies as a forerunner. “In The Walls” comes to mind as the breakdown of the track is a gasoline-filled pit of chaos. As the tension becomes increasingly noticeable, Knocked Loose decides to burn off these chains with inhuman screams and an orchestra of razor wire. Ultimately, they create a scene where nothing joyous can live or grow, but the image is perfect for their shadowy album art which allows little light into the record.
To fall into the hands of a psychopath seems unwarranted, but A Different Shade of Blue is the perfect grasp. They show complete horror for the 38-minute record and then dissipate into their backrooms with little-to-no love. Knocked Loose works under the guise of nightfall, attacking and then disappearing with one final elbow strike to end the attack.