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CD Review
Human Aftertaste White Man's Voodoo
By Marcus Pan
The 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.
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