COC "Animosity" 20 years later[views:1633][posts:6]___________________________________ [Nov 21,2005 12:03pm - litacore ""] DANGER! DANGER! TEABAGGING ALERT! ******************************** Corrosion of Conformity "Animosity" Death/Metal Blade records, 1986. Corrosion of Conformity have had an interesting trajectory, from hardcore punk to crossover metal to southern metal. The development of their sound took years--many live shows, many releases, and a few line-up changes. Whereas some bands have been around forever but you always know what to expect from them (Motorhead, AC/DC), and others were a flash in the pan yet still haver tremendous influence today (Hellhammer, Terrorizer), Raleigh, North Carolina-based C.O.C. launched from the D.C. punk ethos emblazoned by The Teen Idles and Bad Brains to the crossover bliss marked by D.R.I. "Animosity," the band's second release, is the shining example of that period, a fierce example of what can be accomplished with distortion, bravery, unconventionality, and the opportunity of working with a certain fledgling label head: Brian Slagel of Metal Blade Records. Like D.R.I.'s first three records, "Animosity" is a sharp reminder of how hardcore punk influenced thrash metal, in musical technique if not in image (which itself crossed over occasionally). Dave Grohl, who often saw C.O.C. during the incarnation responsible for "Animosity", often cites this period as their most ferocious and groundbreaking. "Loss for Words", The album's opener, is a case in point: riffs straddle between catchy, memorable hardcore mosh modes, Slayer rapid-fire picking, and finally a balls-out Sabbath possession which must have come as an utter shock to listeners familiar with their mostly hardcore debut LP, "Eye for an Eye." Another sizable difference from the first record: bassist Mike Dean's vocals, usurped from previous singer Eric Eyke's more gruff approach, are so violent and raspy they are an absolute selling point for this material. Alternating between nasal sneer and piercing wail, Dean's performance is enough to make one wish he'd stayed on the microphone (Dean left C.O.C. briefly during the 80's, but has long since returned to the band, on bass.) "Mad World" is a much more straightforward punk slab, at just under two minutes. This song shines the first of many spotlights on Woody Weatherman (the band's lone guitarist at the time). His solos conjure Mantas, Iommi, and Hanneman influences simultaneously, bookmarked by piercing feedback, reckless pentatonic abandon, and complete SCORN of melody. Beautiful. "Consumed is further evidence of C.O.C.'s unique approach. Presaging math-rock with its stop-start introduction (and with hilarious feedback in between the phrases), this song is one of the most undanceable, not-fit-for-mass-consumption cuts on the album. "Holier" is nearly lycanthropic: Mike Dean's strange vocal-chant-doubling makes Glen Benton's Deicide gutturals sound like Blossom Dearie (of "Schoolhouse Rock" fame). One of the more punk/HC songs on the album, Dean crams a multisyllabic attack similar to (but not quite as accomplished as) Tom Araya's high-velocity, tobacco-auctioneer performances on Slayer's "Hell Awaits" and "Reign in Blood." "Positive Outlook" is the only song re-recorded from "Eye for an Eye". Improved production (at least in the sense that you can distinguish the instruments) showcases Dean's considerable talent as a rapid-fire bass player. "Prayer" is the favorite cut for this listener. Perhaps the nastiest sounding song on the record, C.O.C.'s relentless but intelligent lyrical attack upon organized religion, coupled with some of the meanest vocals ever record, set this number apart. Count infinity for speed, seemingly boundless distortion, and essentially badass confidence. Someone needs to try and top this formidable song. Pray for Power. Well, come to think of it, "Intervention" runs neck-and-neck with "Prayer" for nastiness. The eleven second introduction of Mike Dean clearing his gravelly throat into what sounds like a walkie-talkie is a bit unsettling, but the song's purposeful atonality could be the ULTIMATE reflection on The Reagan Doctrine of the 1980's, particularly towards Latin America. While not as spastik as "Prayer", this song has a narrative quality to it that just cuts a fucking path through the weeds. "Kiss of Death" is C.O.C.'s radio hit, in the same sense that "Radio Hit" is the . . . er . . . radio hit off of Anal Cunt's "Morbid Florist"--its rock 'n' roll chord progression is an infectious foot-tapper in a perverse sort of way. "Hungry Child", the shortest and weirdest song, is the black sheep of the "Animosiity" tracklisting, if such a thing were possible. Consider these enigmatic lyrics: Looking for answers?' laughed the Hungry Child Pushing your answers leave none desired The Hungry Child worships ... Perhaps the song needs to be personalized in a certain way. Is this about The United States' conditional humanitarian policy towards the Third World? Is it about arrogant dominion? On the more domestic front, is this about the current plague of faith-based human services? C.O.C. may be instructing us to decide for ourselves. By the time the concluding, title track to "Animosity" rolls around, the listener's spiritual essence may be so drained (if indeed she made it thus far), there is little to do but lie supine for whatever abuse is in store. This is the only instrumental on the album, and it summarizes the vitriol, disgust, malnutrition, and swagger of C.O.C.'s finest output. In 1990, I played this particular song to close my college radio show. The program coordinator admonished me, "That song you just played gets a D-minus." Even this far along, I beg to differ: "Animosity" gets a simultaneous F, and an A. Fuckin' A. |
| ___________________________________________ [Nov 21,2005 12:59pm - davefromthegrave ""] that review was written better than most albums |
| __________________________________ [Nov 21,2005 1:48pm - SuperFly ""] one of my all time favorite albums. |
| __________________________________ [Nov 21,2005 2:47pm - litacore ""] great record. I like when they play mismatched notes intentionally |
| __________________________________ [Nov 21,2005 3:58pm - SuperFly ""] there's not a bad song on that record. |
| __________________________________ [Nov 21,2005 6:07pm - litacore ""] I wanted to cover 'Prayer' at one point but realized it would not hold a candle to the original |
| __________________________________ [Nov 21,2005 6:12pm - Dankill ""] They have fallen pretty far from what COC once was. It's a shame because their early stuff was unreal. Animosity and Technocracy are classic Metal/Hardcore crossover albums. |