1) Off The Slab
2) The Sacrifice
4) The Night She Came Back
5) Out Of The Grave (Featuring Mutant Member Tom)
6) These Walls
7) Everything Dies
8) I Hate Being Me
9) Hell Comes Home
10) Bury You
11) Raising Hell
13) Everything Dies Reprise
Late last year I was introduced to The Bastards, a cross country project featuring D.C. Disaster on vocals, and Jimmy Moon playing guitar and contributing backing vocals. If you check out our Stereo Terror review of For Your Blood, you know that The Bastards focus on the acoustic side of the horrorpunk genre, providing listeners with something a little different than the standard fare the genre produces. Much like The Mutant Members Only Club and Wolfman Chuck And The Spookalele Of Doom, The Bastards have no interest in producing music that sounds like anything else, preferring to take the road they want to travel with no regard of where everyone else is going.
I have been privileged enough to have been provided with an advance copy of the band’s second full-length album, Out Of The Grave. Being released on February 27th, The Bastards have continued carving out a name for themselves in the genre. Of course, anytime a band releases a new album listeners may be anxious to hear what is produced. Has the band stayed true to their sound, or have they taken a new route for better or worse?
Beginning with Off The Slab, the signature sound established on For Your Blood makes a welcome return. Jimmy Moon‘s laid back guitar playing drives the album, with D.C. Disaster‘s vocals continuing to sound unlike any other vocalist in the genre. Through The Sacrifice and Grey the almost-tortured sounding cries from Disaster strikes the listener in a way that no other artist in the genre can. Hell, even outside of the genre I cannot think of any other vocalist in the same vein. While I struggled in my review of For Your Blood and continue to do so here in relating what it is about the man’s vocals, I can say this for sure: D.C. Disaster has become one of my absolute favorite vocalists to listen to, regardless of genre.
The Night She Came Back turns up the tempo in comparison to the first few tracks, and the song that immediately stood out as the strongest track on this sophomore release. In my review of For Your Blood I declared the title track as the best example of what Disaster and Moon were accomplishing with their sound, but The Night She Came Back takes the flag and raises it high. Truthfully, I’ve had a hard time working through my review of Out Of The Grave because once I get to the fourth track I usually end up hitting replay several times.
Out Of The Grave is another first for the band, as they welcome Deadhouse favorite Mutant Member Tom of The Mutant Members Only Club (check out the Stereo Terror review of Dead Night At The Doo-WoPera and the Deadhouse Interview with Tom himself.) The track mixes the best of both bands, ensuring that fans of either band will be satisfied. With These Walls and Everything Dies, the band moves back into the slower tempo that they are at their best within.
I should also mention at this point that the band still opens nearly every song with some sort of sample from different classic horror movies. It’s not at all strange to hear one song start with Jack Torrance’s creepy threats to his terrified wife, or to hear the unmistakable voice of Bela Lugosi. The difference between the samples used here versus other bands in the genre using samples, sometimes even the exact same ones, is that The Bastards make the samples feel perfectly aligned with the music.
A certain standout track on the latter half of Out Of The Grave would be I Hate Being Me. Anyone who has ever had any issues with caring about themselves in some way will be able to relate to the pained cries of D.C. Disaster. The album mellows out a little more through Hell Comes Home, Bury You and Raising Hell. In fact, there is something about Raising Hell that sounds different from the other tracks. Victims then starts with the infamous speech from Paul in Friday The 13th Part 2 which is arguably the best part of that film, leading into the song itself, which is almost soothing, until you listen to the lyrics. And it works perfectly. The album closes with Everything Dies Reprise which ends the album bringing back arguably the catchiest hook from the album.
With Out Of The Grave, The Bastards show that despite their unique circumstances, they are here to stay in the horrorpunk community. And if the quality of their albums continues to evolve and get better, we may have not even reached the tip of the iceberg. You can be damned sure that any future releases from D.C. and Jimmy will be getting regular play here in The Deadhouse.
The Night She Came Back