DISSECTION-FINAL GENOCIDE-CLASSIC LP-NEVER PLAYED-1988

$ 41

$ 41 Sold For

May 17, 2011 Sold Date

May 10, 2011 Start Date

$ 20 Start price

5 Number Of Bids

USA Country Of Seller

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Description

Dissection (3) – Final Genocide

NEVER PLAYED!

Label: Fringe Product Catalog#: FPL3052 Format: Vinyl, LP, Album
Country: Canada Released: 1988 Genre: Rock Style: Thrash

Tracklist

A1 Final Genocide A2 Minotaur The Emperor A3 Graveyard Beyond A4 Eat Shit Get Away B1 Escape Of The Apocalypse B2 Viking Sword B3 Nails On Leather B4 Chainsaw Slaughter B5 Black List B6 Fu$k Off

Heavy on guitar, One Way on bass, Trash on vox, Dave Fleet on drums, and the best one of all, Antisocial Zap on guitar – here and now the pangs of trouble lurk like when you’ve stumbled into the wrong neighborhood. Dumpy, favor-owed cover art barely covers the pre-listen, Piledriver-like, spoofy ambiance and a pre-conceived OTT-ness that wraps these Canadians’ lonesome affair, an lp far from any cult status many of these off-beat, south for the winter releases managed to nab. Tremble as you dish out an hour or two worth of pay for this.

Top heavy is everywhere - moniker, title, song names (“Minotaur the Emperor”, “Escape of the Apocalypse”) – carrying over to the music, a permutation of unscrewed thrash and speed with a headstrong inkling of (song)craftsmanship pounded into some sort of form by an unsteady hand. Surprisingly, you’ll find nods to many of the metal's destinations, from the technical spectrum to the ironbound dawn of the style - disheveled Death Angel, Infernal Majesty, Wrath, Necrophagia (no, the other one), limited precision Bay Area, and debut-era Kreator, among others - tied together by vocals that’re dipped in semi-liquid thrash roughshod and poverty, self-trained power metal yowling. Basically no fuss and all muss, weirdly idiotic from many angles starting with the intro, sounding as though they hired the guy who did Venom’s radio spots to rattle off the title cut’s kooky preamble ending with “…you, children of the streets!”, and makes us wonder why we’re enjoying this even just a little.

Actually, I can defend that. It comes from its unconditional, almost wholehearted delivery, kinda like Destructor and Holy Terror but with less talent. With an ear for transformation, the quintet flies by the riffs of its pants, multi-dimensional in its own tousled way really, structures winged together with just enough wild care to perplex without feeling like you have to call your friends and hold the receiver to the speaker. The picking is forced and plunky like a second rate band honorably trying their damnedest (no wait, that’s what it is), thokking (made-up word) hard in “Graveyard Beyond”, “Nails on Leather” and especially two-man-gang “Black List” and “Fu%% Off”. Trying to get the most from their restricted, though valiant progressive skill, “Escape of the Apocalypse” ridiculously slams eight timing/speed shifts into the initial twenty seconds, only to fit about fifteen more in the rest of the four-minute track. More pleasurably, “Final Genocide” plows through with tempos of equal zeal, rising with almost courageous highs of aggression, then driving downward with more lowbrow, grinding appeal.

Getting a handle on this isn’t the easiest accomplishment, and it’s a twisted, convoluted ride, an unconventional mess with nothing windmill about it, actually better than its visuals. On the other hand, it has a humble grip on reality, which is probably the point.

In the back cover photo on the graffitied wall behind the band, ‘poser death’ is sprayed in white. Yeah, that’s part of their curious appeal as well.

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