Sewer Goddess - Disciples Of Shit: Live Waste

During this hot week of summer, I grab a new CD from Boston based Sewer Goddess, which with this creation presents us the collection of audio live sets that were recorded during the years of 2009-2010.

Usually, live recordings for me are more than just music, they are also some kind of a visual experience which supports the understanding of what was planned to be revealed by sound. So the CD content under the code name ?Disciples of Shit: Live Waste? totally consents this name and brings to our consideration some piece of raw and uncompromising industrial music.

On one hand, the industrial themes are created by different kinds of at hand instruments, joined together in order to provide one dense wall of cacophony. On the other hand, there is a bunch of more conventional instruments that try to implant a kind of rhythm and order into the grumbling chaos. Guitars, percussions and drums, all of them hit the floor to create the structure that can capture the heart of the hard-boiled industrial fan. But, on some stages of the sound production, suddenly, the vocal part enters the stage. It would have been better if she sat aside, drinking some beer, this vocal girl of Sewer Goddess. I truly back-up the involvement of girls in underground movement, but this one ruins all the effect of the music with her not-connected-to-anything screams.

While the sound itself is dirty and rude, the screams are so high, that they just don't fit into what is generally expected there. If it was a growl or anything like that, maybe it could have contributed more. Though in third track, called "Mother Agony", the damage was repaired with the brutal chanting, that definitely fits into the music this time. But then a few minutes later, this chick destroys my ears once again, when she starts to scream, like somebody penetrates her with a hot babyliss.

The fourth track, called "Chained to the Edge of Existence", transforms into some kind of drone metal with the presence of melody, full of overloaded guitars, drums, percussions and once again screams of the front lady, which surprisingly fit this time. And finally, the last track, "Slavepiece", shows the full packed brutality and anger to close this strange creation that raped my brain during long 45 minutes, and also left me in mixed feelings. Once again I come to conclusion, that live shows better to be experienced in live and not through the piece of plastic. Eight for the music, three for the screams. Aug 29 2011