CD Review

Human Aftertaste – “White Man's Voodoo”

By Marcus Pan

White Man's VoodooThe first impression I have of Human Aftertaste is that they're about as fun as a tub full of crank with a side order of tic tacs. They have impressive marketing skills and won't just send you an album – they'll send you cans of unidentified meat products with recipes on them that would make a billy goat puke. "Eat Our Meat!" emblazoned around the can in huge gaudy letters. Interestingly written press kits accompany all this pizzazz to give you an idea of who and what Human Aftertaste are. And you're still not sure...

Made up of Count Jabula, Creepy Charlie, Gorgeous George, Protus, The Mysterious Jim and Irv - lots of people for lots of noise. The music of Human Aftertaste hovers between post punk, metal and left field shenanigans and reminds me strongly of work by Zakas, Marilyn Manson, Dope Stars and more. Mixing up healthy doses of inpropriety, S&M, death by unnatural means, hardcore sex and drug-laced grooviness, it becomes a journey into...well I'm not sure, but it's a journey anyway.

When In Hell opens White Man's Voodoo with a dismal rap-style groove with catchy lyrics and a background dirge. The heavier portion comes soon enough with Marilyn Manson riffwork and vocal strains. Human Aftertaste's production is low key at best, so the sound is grittily effective and takes on a basement underground flavor. Kings of Terror meanwhile takes a more goth-rock approach to things with heavy guitars that fade into behind-lyrics strumming. It's one of the tighter played songs on White Man's Voodoo.

Dead Friends is a spooky song that, with the piano, reminds me of Seven 13(1). One of my favorites on the album, a slow dismal ballad. It grows creepier and creepier as it progresses until you can almost see the chorus of zombies that are singing the tune by its end. Pickman's Song goes through various metamorphosis, moving from a grunge style rock song into a thrashy metal dirge. This same song turns into a strange voodoo dance complete with chants and hand drums...it's dosconcerting, as it was meant to be, but interesting, and this without warning slides guitars in when track five, White Man's Voodoo, segues in without a break and turns into a strangely sung but metal guitar infused song. The album itself gets predominantly strange following this. I really dig the catchy bassline in Last Page.

You'll be hard pressed to find similar music with such a wide ranging influence bank. It simply doesn't happen all that often. The downside is you may find yourself enjoying this song to hating the next, but Human Aftertaste certainly are doing this more for themselves than for you so if you don't like that song then skip it...because these guys really don't care what you think anyway. You should just be happy that they're feeding you their meat...says them.

Contact Information:
Octopoid Productions
Post: P.O. Box 611, East Moline, IL, 61244, USA
E-Mail: joshbentley@octopoid.com
Web: www.octopoid.com
(1) Interviewed in Legends #95 (as Coven 13). Their last, Unleashed, album was reviewed in Legends #129.