APRIL 1, 2017
Featuring cuts from:
[the various brain droppings, rants and general wackiness of Uncle NecRo]
June 7, 2014
Think the Crucified with a rapper. This isn’t some simple sounds-like description: XL & DBD really is the Crucified with a rap artist on lead vocals. Thus making ‘Sodom And America’ the earliest rapcore hybrid on the CCM market.
What sets ‘Sodom And America’ apart from the current glut of other acts these days is the fact that it’s a true hybrid: a punk thrash band collaborating with a rapper, instead of a band searching for a certain sound. XL & DBD would be what Ice T’s side band Body Count was like, had Body Count actually been good instead of a pathetic novelty act. While I’m not a big fan of rapcore in general, what I am a fan of is a good guitar groove. And good guitar grooves is what ‘Sodom And America’ is chock full of. Good, thick and meaty grooves melded with some infectious rapping from XL (and sometimes Mark Solomon), and rather militant lyrics swarming together for a good solid listen straight through. And the sound doesn’t seem to get monotonous, just…good. And since I’m in the habit of mentioning my choice cuts from CDs, the ones on ‘Sodom And America’ are “Brother To The Saboteur”, “Sodom And America”, “Kiss Of Chaos” (that one’s extra dark, I love it), “Death Before Dishonor”, “Die (That Settles It)”, “Woman” and “Afrocka”.
I’d wager a bet that most fans of Limp Bizkit would get into this recording. Belly up, boys. . .
May 1, 2014
I understand that those who grew up in the ’90s have a way different concept of metal than those of us who hit puberty in the 80s, and knowing that some people discovered Bride around either Drop or The Jesus Experience, when they were all “modern rock”. Of course, Fist Full Of Bees is going to seem like a drastic switch of style. That’s nothing new, actually. You see, I remember the Snakes In The Playground Bride. Even that, there are more fans that remember the glam metal Live To Die-era Bride of the mid-80s.
That said, I understand the inclination to slag Bride as trend jumpers instead of musical innovators. The past fifteen years or so, they seem to release albums stylized as pop music culture dictates, and at the time this CD was released, it seemed they were riding out the rapcore / nu metal wave. I understand the need to experiment and grow as musicians, but to latch on to the current trend and downplay, almost denounce what you’ve done before is detrimental to credibility.
Not that there’s nothing positive to say about Fist Full Of Bees. The music is well-produced, as well, and the band seems to have a good grasp on the style. To be fair, Dale Thompson doesn’t rap throughout the entire thing (then again, he doesn’t wail like I remember him doing), and when he does, it’s actually a bit decent. The album does have a good groove to it, with the guitars and rhythm handled very well. And, for their credit, the guys haven’t backed down from their lyrical stance, still being the same thought-provoking and intelligent lyrics found on any Bride album, 1986 to now. Although, with Dale Thompson’s recent switch to Universalism, I would caution on the side of discernment when reading them, even though there’s nothing blatant involving its doctrines…
Would I personally listen to Fist Full Of Bees? Not often. I might pop it in once in a while, just for something different. Would I encourage those who’s exposure to metal has been a little more recent, to bands like Kid Rock, P. O. D., Limp Bizquick and Korn? Sure. Enjoy. Just don’t start whining like I do when the next Bride offering turns out to be way different than this…