Cripple Bastards and summer loves


Life’s Built On Thoughts came out in 1993 as the first full EP by the band. The two records before this one were the legendary split with Violent Headache and the one with W.B.I. . With This third vinyl releases they were still moving from the noise core roots to the more structured HC injected songs that will help building their success some years later with Your Lies In Check. On Life’s Built On Thoughts the band put out a lot of soon-to-be classics like S.L.U.T.S. , Radije Volim, Prisons, Stimmung, Vital Dreams or My Serenity. Their style was simply great, with a lot of intense and raw grindcore songs with a strong hardcore vibe and a noise attitude. The fuzzy guitar, the sharp and simple drumming, the harsh voice of Giulio, everything is just perfect. Alberto was in total grace, with a killer choice for guitar effects, plus the usual great riffing style. As I said before there are a lot of classic songs on this little record, but I want to mention Stimmung as my favorite among all of them. The punkish riff, the raw and minimalist approach in grind part, the singalongs, everything fits just perfectly in one of the best songs of the first decade of the Bastards. Some stuff can sound a bit naïve, but this is seminal stuff, with a great approach in production and song writing. The solo in Vital Dreams, the harsh finale in S.L.U.T.S., the experimentalism in The Opinion Of The Poor or the extremely entertaining melodic segments in Stimmung, everything is pure legend. This is by far one of the best records from Cripple Bastards and surely one of the best examples of noise grind in the genre history. All hail the bastards!


Eyehategod rocks. Yeah. They rock. I’ve bought this record back in the days mainly for Cripple Bastards and I knew Eyehategod only by name, as I’ve never listened one of their songs. It took me a lot to start loving their sludge music. At first I felt it was simply boring, but damn, listen after listen, day after day, they grew on me and this 7” became one of my favorite stuff by the NOLA fuckers. I Am The Gestapo is a bluesy, raw song, fitting perfectly the style of Eyehategod, with a slow instrumental section making way for the harsh vocals of Mike Williams. There’s a great guitar work, as always, by Jimmy Bower, with a simple and gloom riff that engages duels with Mike’s throat. This song is an hope-killer tune, with its dark, oppressive and gloomy vibe, making you wish, you hope that an uptempo section will come but, hell, it never comes. It just keeps dragging on and on, with its sulfurous riffing. Simply amazing!

On the flipside, Cripple Basta…Oh, wait! That was my reaction when I first listened to this EP. When I’ve bought Desperately Insensitive and I discussed with Giulio about Partner Della Convivenza, he told me that that kind of songwriting will be the future of the band, so I was expecting more structured and elaborated songs, but damn, not like THIS! Self-Zeroing starts with a slow, haunting intro, with female screams, slow-paced guitars and the usual hopeless vocal dualism by GTB. Then it explodes. When you have to blast someone in the face, Cripple Bastards is what you need. Fast, relentless, raw grinding guitars, with hardcore chorus, great, great stuff. Self-Zeroing is quite disorienting, with its huge amount of rhythm changes and furious blasts. This is the English version of the song, that will be later translated in Italian, enhanced with an electronic intro by Bastard Noise and put as the closing track in Variante Alla Morte. This is an unusual release by the Bastards, but it’s definitely a great one, with courageous songwriting and the usual uncompromising attitude that made this band so great!




Speaking about Cripple Bastards is speaking of Italian underground scene. But, for once, I don’t want to talk about their relationship with the scene, that’s a common topic and it’s been discussed too much, imho. I want to discuss about what I think about the Italian underground scene. We have some really cool bands, like CB, 2 Minuta Dreka, Compost, Bukkake Violence Kommando, O, KZ9, Vomit Hate Noise, Jesus Ain’t In Poland, Terrori Firmer, Sposa In Alto Mare, Rising Hate and a lot more, just talking about the extreme side. Luckily these bands are quite organised and they tend to support each other, so there are a reasonable amount of gigs here and there and, even if not on the whole territory (I live in Milan, which is the second most important city in Italy and there isn’t almost any extreme gig at all…) the scene is usually working. The main problem is people. Some days ago I attended MiOdi, which is a fest with a lot of bands, mainly from Italy, playing all kind of music from stoner to harsh noise. The venue is quite posh, but the music was surely nice (Amen Ra, Ufomammut, 16, Vulturum, Dyskinesia, Lento, Viscera///…well you got the point). The audience was terrible. I’m not the one who thinks that you MUST mosh or you MUST scream to be considered someone who cares, but I just can’t  figure out how it’s possible that I was one of the few people who moshed or simply showed support among something like 400 attendants. A lot fo those who went there went home before the end, arrived lately, never applauded, never shaked hands, never bought anything. They was simply there just to tell “I was there”. And that’s the main problem in Italy. I don’t want to define these a “scene kid” problem, because the problem is deeper. There are a lot of people who just don’t care who’s playing and they’re not even trying to enjoy the show. They just go to a gig, act like a snob and then go home before the end, looking the few ones who love what they’re watching or hearing like poor hopeless romantics or poor minded people. That goes together with the booking agency way to work in central Italy. There is a shitload of gigs there, each one with unreasonable expensive tickets. A lot of the bands that play there use to came back even 2-3 times per year (mainly hardcore/metalcore/modern metal bands), so there a lot of opportunities to see them, but people can’t just lose the status of “the one that was there!” so accept to pay a lot of money for a single gig, making those agencies and mainstream venues make money on people need to affirmation. I’ve payed 10 euros for Eyehategod, whi should I pay 20 or more for Despised Icon, e.g.? If for just, for example, a month, everyone decides to boycot those gigs, maybe something will change, but no one wants to lose his/her status quo, so it’s better to spend a lot of money, go to a gig that you don’t care and be considered someone who cares, even if you’ve never bought one single 1€ demo for your local favorite band…
Sorry for the rant, but summer is the season of big festivals, with fat tickets and terrible speculation, so bitterness just grew on me.




BUT summer is also the season of seaside loves and september melancholy, so I just want to suggest to anyone who loves the noise of a beating heart the debut album by a good friend of my best friend Giulia, Tommy, with his Girless project. Here you are, Loyal/Unolyal. A Love Tutorial, enjoy this acoustic guitar noisescumfuckfest! (just kidding, this is a good slab of folk/pop acoustic stuff!)





~ by petetheripper on June 18, 2010.

One Response to “Cripple Bastards and summer loves”

  1. bel post!
    CB, EHG pezzi di storia! i primi hanno forse un pelino perso quella vena “romantica” dei primi tempi ma sui vecchi pezzi sanno ancora esprimersi al meglio in concerto.

    sul resto del discorso concordo e ti comprendo in pieno! tranquillo comunque, non succede solo in italia…

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