Altered Beast Interview – March 2015

As I gear up to turn 39 next month, I can’t help but look back. I’m definitely not the same beast I was listening to the kite string pop as an 18 year old. So many changes and transformations have taken place over the years. Success, failure, love, hate, death, new lifes, a shattered knee, wheelchair, a new beginning, selling out to corporate America, mortgage, addiction, tolerance, acceptance, hardcore?, metal?; and yet here we are, still chasing that first riff that started it all. The more things change, the more they stay the same. That beast still remains, it’s just been altered.  

Awhile back I was able to catch up with long time homie and Kansas City’s Altered Beast frontman, Ryan Leach, to talk Beast and life.

There are some familiar faces in Altered Beast. Tell us who’s in the band and how Altered Beast came about.

Guitarist Max from ex- Kicked In had been helping me with my zine, Beyond Four Walls, and approached me to do vocals for a project.   He pretty much started the idea.  He and Dakota had been kicking it playing guitar and going to shows together.  They wrote a song and brought it over to me.   I played drums to it at first, but I couldn’t count it out.  I was jamming with Daniel from Sorry Excuse, We’re Fucked on drums in another project.  It never went anywhere so I hit him up to try out.  He slayed the tryout and we started to write songs really fast.  After jamming for a couple months, we approached Stephen to jump on bass.  He hadn’t played for a while and needed to get back into it.  After hitting it for another couple month’s we put together a set and played our first show with Cross Examination at Vandals venue in KCMO.  It took a while to get the name.  They all seem to be taken.  For real.   Without thinking too hard about it, the name Altered Beast sealed the deal.

You’ve been involved in a number of bands going on 2 decades now. From the sound, style, and roles of band members, how does Altered Beast differ from some of the other things you’ve been a part of in the past?

In the past I just found good friends to jam with.  With my first band Punchline, we were more of a rock the party kind of band.  The lyrics were more fun oriented.  I didn’t have as much life to write about back then.  As the years have went by, I earned more experiences under my belt and started writing more heartfelt lyrics.  I always had a metal hardcore vibe with my vocals.  But with this band I’m trying to make it sound way heavier than any of my other projects.  I grew up on a lot of different styles.  This band is faster, and more raw than any other band I’ve been in.  The songs are short and to the point.   I feel like we are working a new sound, we aren’t rehashing an old formula.   It has made it difficult to figure out where we fit in though.    

What’s Altered Beast about from a lyrical standpoint? Where do you draw your lyrical influences?

I like the gruff sound of Harm’s Way.  But, I get really descriptive and use a lot of words.  Some of the areas have a Buried Alive kinda straight up hardcore vocal.  I did bite a little Chris Barnes (SFU, Cannibal Corpse)  on some of my little screams.   There is always a Rick Ta Life influence in my delivery.  

As far as topics, the demo is reality based. 

Force Fed is based on the negative reaction I have when opinions and lifestyles get shoved down my throat.  It is really just an all around pissed song.

Lost Not Found- Is about being a parent and apparent in your kids life.  The song details a lot of descriptions of shitty parents I have seen these past years.  I have three kids, and I know how challenging it is to be a good influence.  But shit man, if you can’t walk the walk, piss off.  Don’t drag your kids down with you.

My Own Hands- Describes being in a relationship where you can’t keep from fighting and draining your situation of all positives.  Whether you are beating the crap out of each other, or sweating all the dumb shit.  Life is too short, but when you play like that, all you can blame is yourself.

Come Clean- This song puts it all on the table.  Fuck it, no secrets.  If you are messing up, don’t disguise it.  Don’t cover it up.  There is an empowerment to admitting you fucked up, or are fucking up.

Stolen-All about having your years taken from you just to make ends meet.  Living to work.  You ever work at a job where they don’t deserve you and you feel like you are losing your time?   If so, then you’ve been…stolen. 

You guys have a demo recorded which is available online and some shows scheduled in the next coming months. What are the short and long term goals of AB? Is this just a musical outlet or is AB something you want to grow?

I would love it to grow.  Into what, I’m not sure.  We are just holding down Kansas City for now.  Some of us have responsibilities like families and jobs that keep us from ever doing extensive touring.  I just wanted a band to have as an outlet.  It really is the only place I enjoy my time away from family.  I love this stuff.  I need this stuff.  I hope that we can continue to put out new songs and keep the KC scene in motion.   I feel  like it is our turn to help to keep Kansas City Hardcore/Metal flowing.  For now the next step is to officially release the demo in November (2014).  We are doing a tape pressing. 

I saw you guys play a show in KC with Noisem. At one point you involved your young son while Altered Beast was playing (very cool moment, btw). Can you talk about the challenges/rewards of having a family, a full time job to provide and still making time to play in a band and contribute to a music scene?

I am glad you thought that was cool.  My boy just turned four.  He is a natural rocker.  We mosh in the bathroom together to music when I give him baths.  I wanted to take him to that show to give him a memory of me doing something I love.  Most the time he see’s me stressing out about money and life stuff.  It was really cool when we did that set because he wasn’t scared at all.  He had his headphones on and was just chilling.  He kept running up to have drinks of my water.  Haha.  I’m squatting there screaming my balls out while my son is sitting on my lap drinking my water and hanging out.   I love all age’s shows for that reason.  My three kids know that music is my passion.  I hope that my inability to grow out of hardcore/metal will show them down the road that I was a cool Dad.  At least I hope.

As far as meshing the schedules, it really only takes one practice a week.   All these older dudes say they don’t have time for a band.  Fuck that.  Once a week is good enough.  In the meanwhile do your homework at home, and bring the venom to practice.  I jam at practice like I’m playing a show.  All in.  I hope that I am a positive example to my kids by showing them that success isn’t measured by money or fame.  I find satisfaction in doing my art.  

There seems to be a fairly tight-knit group of people and bands in the KC scene. You’ve been around for a bit, give us your State of the KC Scene. What bands are setting it off in or around KC? What improvements would you like to see regarding the scene?

The KC DIY scene is on point.  These people are bringing bands from all over the country to play in basements, printing shops, galleries, wherever.  The shows go just as crazy as the big budget shows.  Swarms of people, sweat, sing a longs, rafter hanging, knuckle dragging.  I love all of it.  There are a ton of good bands right now…

Beta Boys, No Master, Spine, Blindside USA, Amenaza KS, No Class, Canyons, Inner Alter, Hossferatu,  and many more! 

As far as how the scene can improve, I think more bands need to find members that aren’t playing in a million bands.  James Rumsey left KC and that broke up like three or four bands.  Hardcore and Punk have always had a shortage of players, but they are out there.   You just gotta step outside your comfort level to find them.  When you have a band that is comprised of members that are only in your band, it helps to make the band more stable.  Too many bands with one person can lead to an inbreeding meltdown of creativity and motivation.  If you are going to try multiple bands, play a different instrument in the other bands.  That way you aren’t spreading yourself too thin with creativity and energy.

Altered Beast gets to be part of a 4-way split 12” and you get to pick the other 3 bands. What bands do you choose and why?

I love this question.  I’m going to stick with active, current bands.

Ringworm, All Out War, Noisem

Ringworm, because all of us love them.  They play an accurate thrash metal style with hardcore elements.   Same with All Out War.  They have always stayed super metal and never cheesy.  And finally Noisem,  because they are the future of thrash metal hardcore.  Those kids are on top of the momentum right now, they are the real deal.  Dirty thrash, with energy exhausting performances.

Be on the lookout around KC for Altered Beast!

  

Oath of Cruelty – Hellish Decimation

You’ve got to be pretty fucking special for me to bust out the ol keyboard for a 2 song 7”. Fortunately, special doesn’t even begin to describe Houston, Texas, Oath of Cruelty. If you heard the most underrated tape in the history of metal, Altar of Impalement, then you already know.  Comprised of notables from within the Houston metal scene, Oath of Cruelty combine to create the ultimate in death thrash.  THE ULTIMATE in death thrash.  Mo’ thrash; less death and grind than Blaspherian and P.L.F.

This new 2 song 7”, Hellish Decimation, features 2 unreleased tracks from the Altar of Impalement recording sessions, so they naturally coincide with each other. It’s like finding out your down-with-metal girlfriend has an incestual twin. Title track "Hellish Decimation" races in with a fast, death thrash tempo, before getting to that holy shit, circle pit moment at the 1:10 mark.  They mix up the shred by adding some impressive guitar solo work, with the groove still chugging in the background. Pure thrash violence. Slight vocal changeup on "Skeletal Armies" with Dave C. (P.L.F., Morbosidad) taking over. This song again features phenomenal guitar work on top of unadulterated shredding. Both of these songs absolutely kill.

If you’re a fan of any type of metal, any type, you need to check out Oath of Cruelty. These dudes keep it super DIY with their releases and with the work they put in with their live show. In my mind I’m telling myself, that while these aren’t 2 new tracks, that anything surfacing from these guys might be a prelude to a full length record. Or even a 6 song EP or something, anything really. Album art is by Daniel “Sawblade” Shaw and its released on Warfare Noise Productions. Don't be a dope, seek these dudes out.

Bleach Eater – Night Work – Supercoven Records

This review is a long time coming as I am making a concerted effort to step my Death Metal game up and what better way to dive back in than with New York’s Bleach Eater. Night Work is a full length that came out last year but is most certainly worth the review. I heard about Bleach Eater while doing the Mother Brain interview for the zine and immediately started checking them out.

Bleach Eater play a style of Death Metal that reminds me a lot of early 2000’s era Razorback Records, which is legitimately one of my favorite eras of metal. Night Work kicks off with a short psychedelic type intro on “Pit of Kings” and transitions into a fit of rapid drumming and clever guitar work before dropping down into a thrashing death metal groove. The vocals come in with a pit of hell growl that then range from scathing to straight up vomit vox. The song clocks in at 4 minutes, which is about 3 minutes longer than when I usually check out, but they’ve constructed the song so well that it flows without ever getting redundant.  The rest of the album ranges from fast to mid-paced death metal around the 2 minute mark. “Horse Girl” is a prime example. Sound bite intro explodes into fast DM which chugs down heavy as fuck then ramps back up into a fast groove full of lung cookie gurgle vox.  “Nukekubi” comes in with a chunky riff before splattering into blasting drums to vomit vox before digging down into a mid-pace death groove and going on a long death metal all instrumental that gives way to more psychedelic noise that is present throughout Night Work; absolutely killer song. For a 2 piece (now a 3 piece), Bleach Eater bring precision riffs and tight drum work. More highlights from the album include the grooved outro on “Algor Mortis”, the vocal work on the intro to “Den of the Lummox”, and the death grooves on “La Bruja”.

My Death Metal intake is on a Terri Schiavo level of vegetative state, but this Bleach Eater full length is a rotted breath of pungent air for my atrophied lungs. Night Work is available on cd and limited edition vinyl. If you're like me and feeling stagnant in the Death Metal game, or are tired of having to get up to flip the vinyl every 4 minutes, do yourself a favor and check out this Bleach Eater full length. Its plus musicianship and heavy as fuck.

Water Torture – Pillbox – Nerve Altar

All Hail The Full Length.

As an exercise, while reading this review, I want you to create a list in your mind of bands you believe can do no wrong. I’m talking about bands that when ISIS has a sword to your neck, you remain steadfast in never uttering a bad word about them regardless of if they broke edge with a bottle of passion fruit MD 20/20 or if they say the rosary with the poor on the weekends while their Satan gear is being dry cleaned. I’ll start, P.L.F.  P.L.F. could put out an acoustic K-Pop album and I’d write a review right here on my site proclaiming it as the most bone chilling and crushing release of the year. I’ll give you another one…Water Torture.

Fortunately for me and everyone else, I don’t need to blindly proclaim the brilliance of Water Torture’s first full length, Pillbox, it does it all on its own.  The dual bass and drum trio have always leaned towards the experimental side of grindcore/powerviolence and they have taken it to a new level on Pillbox. Tuned way low, Pillbox sounds like the first black Sabbath after super power nations have fired upon one another. Post apocalyptic sludge, littered with spurts of blast and chock full of urban decayed noise. Rust Belt grooves behind a rain storm of metal shard vocals and steel factory drumming. The brilliance of Pillbox is not just that it’s a full length, but the way it flows as a true linear listen. Short, fast, menacing tracks linked together by ominous noise create a sonic premonition of a bleak future.  

Pillbox opens with a 30 second noise intro that gives way to familiar Water Torture low tuned grindviolence. They grind out 5 tracks before coming to the first mechanical-like noise intermission. It almost serves as a breather for the punishment you just took. The noise gives way to my favorite track, "Fourth Stage", which builds into fierce powerviolence before dropping down into thick, down tuned, doom licks littered with spurts of drum blast. "Boxcars" is a unique track in that it’s almost 3 minutes of solid doom; with long, drawn out, tormented chugs behind strained shouts; very dark. Post nuclear fallout, Godfather-esque, instrumental track "Creature of Repetition" is another agonizing interlude to break up the grinding pummel and stretch out the overall despair of this album. "Rat" comes in with another fuzzed out doom intro that maintains a mid-pace groove before slowing even further before fading out.  The Water Torture speed is still here as well. Title track, "Pillbox", starts fast and maintains a nice speed to groove combination before giving way to noise which is a formula followed throughout.

Overall, Pillbox is a true genre crippler. It’s a grindcore/powerviolence/noise record overcast with doom making it a truly tormenting listen.  The low end tune and production on Pillbox capture how heavy the Water Torture sound can be.  Tip of the cap to whoever is responsible for conceptualizing this record and the brilliant use of the noise interludes that tie what could easily be a couple of 7”s into a masterful large vinyl. The packaging from Nerve Altar is suited perfectly and can be purchased from their site. You already know this is good, but do you really know how good?

Fissure/Gets Worse – split 7”

You already know about Fissure; fastcore front runners from the OC/LA, purveyors of powerviolence infused punk, and undisputed West Coast house show champs. Boasting a s/t 7” out earlier this year, a recently released cassette, and a West Coast Summer mini tour; they were cool enough to let ShatteredKnee preview their side of their upcoming monster split with UK’s Gets Worse.

Ripping a new acne scar on the scene, Fissure’s brand of fury is everything you’d expect from SoCal fastcore; fast, explosive, and well executed. However, what sets Fissure apart for me is how efficient they are with their song composition. I like 40 seconds of blast as much as the next recluse, but Fissure will actually give you an intro, some blast, a crusty breakdown, some Nigel Tufnel-esque guitar parts, and a furious close out; all within a minute. For a fast hardcore band, they do all the little things well that make for a complete song. 

Their side of this split kicks off with some excellent drum work that transitions into Oscar’s mid-range, hysterics bordering shouts that moves at a quick pace and then grinds down to a slow, pounding breakdown behind lower end barks only to speed back up on the way out with some clever guitar work. Track 2 shows the attention to detail that I spoke of earlier. A quick hardcore intro into a blistering pace that shifts down into a subtle groove that is so minute you could almost miss it…the little things. The song breakdowns around the 20 second mark with some thick bass and wanky guitar work before chugging back up into a nice hardcore-ish groove. I don’t have the lyrics to the Fissure side of this split so I can only assume that At Least It Wasn’t Barbed Wire is a song about an armband tattoo. The high energy breakdown on Don’t Tell Me Secrets Because You Have Bad Breath is a standout on the Fissure side of this. The highlight though, is the intro to final track 30 Miles (Of Diarrhea).  They may have perfected the powerviolence ballad with that intro; nice guitar work to feedback to chugga chug to “BUUUURRRP!” to fastcore explosion. Just a great and memorable song to close out their side.

I thought Fissure’s s/t was pretty straight up fastcore and I thought their cassette had a more hardcore feel to it, and their portion of this split seems to have blended the two nicely.  Well put together, high energy, SoCal fast hardcore from some dudes who put in work up and down the West Coast and in their own communities with their live show. Don’t wait to support these guys.

On the flipside, Leeds, UK curmudgeons Gets Worse bring a more traditional, low tuned, powerviolence sound. With the obvious nod to 90’s powerviolence given, what separates Gets Worse for me is their 3 prong vocal attack. They write the song then add in the vocals to fit each guy’s style which melds into an unmatched layered vocal assault. The irony in writing a Gets Worse review is saying so many positive things about something soooooo negative. I mean, on the rare occasion I wake up in the afternoon with a hint of optimism, I like to throw on a Gets Worse record to bully myself back into hopelessness so I’m never disappointed. I heard Robin Williams (RIP) may have listened to a Gets Worse record on his last day.

If you didn’t hear “Negative”, please hurt someone you care about as penance. If you did hear “Negative” then you know about that intro to Negative PV…Too Much Talk. I’ve never been able to dead lift as much weight as I was able to while listening to that intro. That whole record is like sonic human growth hormone. Well, Gets Worse come very close to that again with the intro to Boring Legend to kick off this split. Feedback gives way to drums to a low tuned creepy crawl groove which stalls then explodes into some grindcore-ish blast drumming before finally settling in with some caveman barking in front of that same low and slow Gets Worse PV groove. The mean streak continues on No Remorse; shout intro to blast spurt to guitar windup to beatdown chug; everything you expect from a Gets Worse track. They set up the groove with the blast and vice versa; using they’re vocal variety to tie it all in. Part grind, part powerviolence, part hardcore, 100% pissed. Another highlight for me is the classic PV, all vocal barking kick off to Push Past the Trash. Also, the drum work by Rich (The Afternoon Gentlemen) is ferocious, but especially on No Shep.  If I had any complaints about the Gets Worse side of this split it’s that none of the lyrics are about physically assaulting someone, but they more than make for that by using the line “Fuck this!” in 2 of their 4 songs on here.

I realize that this is an absurdly long review for a split 7” but this isn’t just any split, this is a step backward in the right direction and deserves the commentary.Two bands on the rise with two different adaptations of powerviolence infused punk. The only thing that could make this better is if it were a split 12”. The UK release for this is sometime in September on Dead Heroes and the US release will be later this year on Obscene Records/Murdernoise. Steal or find or borrow the cash.