Extreme Noise Terror

[Pioniere]

Powstałe w 1985 roku w Ipswich Raw Noise, jeszcze w tym samym roku przemianowane na Extreme Noise Terror (ENT) to brytyjska legenda sceny Crust Punk i Grindcore.

Extreme Noise Terror swe początkowe inspiracje hardcore anarcho-punkowymi zespołami takimi jak: Anti Cimex, Lärm, Rattus, czy Antisect wynieśli na nowe nieznane dotąd poziomy ekstremum Hardcore Punka, łącząc ekstremalną thrashową agresję z podniesionym do szaleńczego tempa graniem Hardcore Punka dodatkowo okraszonego charakterystyczną, wielce chaotyczną formą wyrzygiwanych i wypluwanych przez D. Jones'a i P. Vane'a wściekłych wokaliz, stając się tym samym obok: Amebix, Doom, Antisect, Hellbastard, Deviated Instinct, czy Ratos de Porão jednymi z praojców Crust Punka, bogami Crustcore oraz jednymi z prekursorów Grindcore na świecie.

Wraz z biegiem lat i licznymi zmianami składu, zespół wkraczał w co raz to w nowe rejony stylistyczne. Już na Retro-Bution, będącym w większości zbiorem, niczym kompilacją, ponownie nagranych starych numerów zespołu, dodano coraz to więcej elementów Metalu. Na kolejnych płytach jak Damage 381 (z dodanym na wokal Barneyem z Napalm Death) oraz następnej Being and Nothing, daleko wykraczając poza ramy Crustcora i HC Punka w stronę Death Metalu i Deathgrind. Ostatnie dwie płyty, a w szczególności S/T album z 2015 roku, to powrót do grania Grindcore i Crust-owych korzeni zespołu.


Skład:
Dean Jones - Vocals (1985-present) Death Dealers, Disgust, Raw Noise
Ollie Jones - Guitars (2002-present) Desecration, Sodomized Cadaver, ex-Amputated
Michael Hourihan - Drums (2007-2010, 2015-present) Desecration, ex-Parricide, ex-Onslaught, ex-Black Skies Burn (live)
Andi Morris - Bass (2012-present) Desecration, Mulch, ex-Ghast (live), ex-Amputated, ex-Funeral for a Friend
Ben McCrow - Vocals (2014-present) ex-The Rotted, ex-Gorerotted

▼ Byli muzycy

Pete Nash - Bass ex-Cain, Corvus, ex-Doom, ex-Filthkick, ex-Lithium Six
José Kurt - Vocals Stormwrath, ex-Voice of Hate
Jerry Clay - Bass (1985-1988)
Pig Killer - Drums (1985-1987, 1993-1995) ex-Raw Noise
Pete Hurley - Guitars (1985-1995) (R.I.P. 2014) ex-Freestate
Phil Vane - Vocals (1985-1995, 1997-1999, 2006-2011) (R.I.P. 2011) ex-Napalm Death, ex-Death Dealers, ex-Optimum Wound Profile, ex-Victims of War
Mick Harris - Drums (1987-1988) ex-Intestinal Infestation, Fret, Lull, Monrella, ex-Defecation, ex-Napalm Death, ex-Godflesh (live), ex-Unseen Terror, ex-Anorexia, ex-Doom, ex-Drop Dead, ex-Motherfuckers from Mars, ex-PainKiller, ex-Pigface, ex-Scorn, ex-Black Engine (live)
Mark Gardiner - Bass (1988-1990)
Tony "Stick" Dickens - Drums (1988-1995) Contempt, Disabuse, Doom, The Varukers, ex-Deviated Instinct, ex-Blood Sucking Freaks, ex-D.I.R.T., ex-Excrement of War, ex-Filthkick, ex-Filthkick (Legless), ex-Ruin, ex-The Devils, ex-The Pheramones, ex-Zounds
Spit - Vocals (1989)
Mark Bailey - Bass (1990-1993) ex-Filthkick
Lee Barrett - Bass (1993-1997) Disgust, ex-To-Mera
William A. "Was" Sarginson - Drums (1995-1997) ex-December Moon, ex-Solemn, ex-The Blood Divine, ex-Cradle of Filth, ex-Deinonychus, ex-Vero, ex-Christian Death (live)
Ali Firouzbahkt - Guitars (1995-2005) ex-Failed Humanity
Mark "Barney" Greenway - Vocals (1995-1997) Napalm Death, ex-Colostomy, ex-Benediction
Manny Cooke - Bass (1997-2001) ex-Bludgeon, ex-Pagan Altar
Zac O'Neil - Drums (1997-2007, 2010) Agonyst, Spires, ex-Failed Humanity, ex-Criminal, ex-Killing Mode
Adam Catchpole - Vocals (2000-2006) ex-Failed Humanity
Stafford Glover - Bass (2001-2012) Nine Covens, ex-Deinonychus
Woodie - Guitars (2001-2010, 2011-2014)
Barney Monger - Drums (2010-2014) Nine Covens, The King Is Blind, ex-Vessel, Raw Noise
Chris Casket - Guitars (2010-2014) Eastern Front, ex-Vallenfyre (live), Death Dealers, Raw Noise, Re/Volt, Strigoi, ex-Sanctorum
Roman "The Plague" Matuszewski - Vocals (2011-2012) Mind, ex-Toxic Bonkers, ex-Homomilitia
John Loughin - Vocals (2012-2014) ex-Murder One, Raging Speedhorn, The Rabhus, ex-Box

▼ Muzycy koncertowi

Burwood - Drums (2016-?) Cythraul, Void, Antisect, ex-Gout, ex-Dead Existence (live)
Agz - Vocals (2016) Dr Aids, Gas-Tank, Skitvärld, ex-The OldGuard
Bruno Gabai - Vocals (additional) (2016-?) Siege of Hate, Somberlain, Bode Preto (live), ex-Insanity, ex-Rotten Corpse, ex-Griefgiver

Dyskografia:
1986 - Radioactive Earslaughter [split]
1987 - The Peel Sessions [EP]
1989 - A Holocaust in Your Head
1989 - From One Extreme to Another [video]
1989 - In It for Life! [split]
1990 - The Peel Sessions '87-'90 [kompilacja]
1991 - A Holocaust in Your Head (re-recording)
1991 - 3 A.M. Eternal [single]
1991 - Are You That Desperate? [EP]
1991 - Discharged: From Home Front to War Front [split]
1991 - Punk's Not Dread [split]
1992 - Phonophobia [EP]
1994 - Extreme Noise Terror / Misery Loves Co. [split]
1995 - Retro-Bution
1997 - Damage 381
2001 - Being and Nothing
2002 - From One Extreme to Another - Live at the Fulham Greyhound London 1989 [live]
2004 - Hatred and the Filth [single]
2006 - A Holocaust in Your Head / In It for Life [kompilacja]
2007 - Extreme Noise Terror / Driller Killer [split]
2008 - Extreme Noise Terror / Trap Them [split]
2008 - Back to the Roots [kompilacja]
2008 - Law of Retaliation
2009 - Extreme Noise Terror / Cock E.S.P. [split]
2010 - Hardcore Attack of the Low Life Dogs EP [split]
2013 - Tear It Down [EP]
2015 - Chained + Crazed / Nih Nightmare [single]
2015 - Extreme Noise Terror
2016 - Dwarves / Extreme Noise Terror [split]
2017 - Daily Holocaust [split]





[tylko wybrane utwory z Law of Retaliation]

MA: https://www.metal-archives.com/bands/ex ... error/1046
BC: https://candlelightrecordsuk.bandcamp.com/music
BC: https://extremenoiseterror.bandcamp.com/music

[pit]

Żadnego odzewu? Split z Chaos UK to jeden z kamieni węgielnych crustu, równie wysoko cenię Peel Session. Późniejsze wycieczki w death metal nie są dla mnie. Spośród zespołów które stoją w rozkroku między obiema scenami wolę Deviated Instinct, no i Bolt Thrower.

[kurz]

Split z Chaos UK

Czysta, nieskażona energia. Piękna rzecz.

[Derelict]

Zesraliście się wszyscy w gacie. Trzy posty na krzyż, tyle warte to forum o gitarowej muzyce kekstremalnej. Żartuje.

ja pierdole, debiut nieuchwytny jak predator. Jest chyba z dziesięć wersji i każda brzmi inaczej, inna kolejność utworów, itp. To jest pojebane. A Raping the Earth to ma najfajniejsze brzmienie w wersji teledyskowej dostępnej wciąż na serwisie youtube.

PS. jesteście zjebani i słuchacie bużum.

[Vexatus]

PS. jesteście zjebani i słuchacie bużum.

Kiedy Ty piszesz coś takiego to prawie jak komplement.

[kurz]

PS. jesteście zjebani i słuchacie bużum.

Znajdź tu kogoś kto nie jest zjebany

[Derelict]

PS. jesteście zjebani i słuchacie bużum.

Znajdź tu kogoś kto nie jest zjebany

Ty nie jesteś.

[pit]

[HUMAN]

up. miód dla uszu

[pit]

The show began. The audience were seated in rows, dressed as
fabulously as their status demanded and looking effortlessly nonchalant
whenever a TV camera turned toward them. The KLF were announced as
the opening act and the audience cheered and applauded, seemingly
delighted. Bill and Jimmy walked out onto the stage. They were
accompanied by Extreme Noise Terror, a grindcore band from Ipswich.
At the time, the existence of such extreme metal bands was all but
unknown to the mainstream audience. Bands like Extreme Noise Terror and
Slayer had been played on John Peel’s radio show, and the Midlands band
Napalm Death had appeared in a BBC Arena documentary, but beyond a
small group of serious music fans most people had no idea that such an
extreme type of music even existed. To those unfamiliar with the genre, it
did not even appear to be music. It was noise, and it was a shock to realize
just how deeply unpleasant noise could be. In an age when speed metal is
used to sell energy drinks, it is perhaps hard to appreciate just how
incomprehensible bands like Extreme Noise Terror were at that time. With
all due respect, they were not how the British Music Industry wanted to
showcase British music to a watching TV audience of nine million people
in the UK alone.
The band erupted into a thrash metal version of 3am Eternal, although
there were few in the audience who recognized it. Extreme Noise Terror
had two vocalists, each barking lyrics in incomprehensible, atavistic grunts
that sounded somewhere between Beelzebub and the Cookie Monster.
Between them stood Bill Drummond, leaning on a crutch and smoking a fat
cigar. He wore a kilt of Drummond tartan that he received on his 21st
birthday and the battered leather overcoat that Martin Boorman wore when
he escaped to Bolivia. He meant business. He spat out new lyrics, full of
references to the BPI and the Brits, but the exact words were indecipherable
under the volume, speed, and sheer presence of the music.
Drummond’s interest in Extreme Noise Terror came after he heard them
on the John Peel show. He and Cauty had been planning a hard rock follow
up to The White Room called The Black Room, and had approached
Motörhead about a collaboration. Motörhead declined, knowing full well
that their solid metal audience would never forgive them for working with a
“dance music” band. Drummond then called Extreme Noise Terror but the
message he left, “from Bill of The KLF,” was initially ignored as it was
misheard as “Bill from the ALF,” or the Animal Liberation Front. Extreme
Noise Terror were deeply into the animal rights scene and were
considerably more likely to be called by the ALF than The KLF. Eventually,
though, they connected, and the two bands started working on The Black
Room sessions. That album was never finished.
Earlier that morning, Drummond had driven to an abattoir in Alan Moore’s
hometown of Northampton and bought a dead sheep and eight gallons of
blood. The plan was that he and Cauty would dismember the corpse on
stage. The KLF had used sheep imagery throughout their career, ever since
they appeared on the cover of Chill Out, so destroying one like this had
obvious symbolic meaning. They had huge butcher knives ready, and
planned to throw hunks of carcass into the audience. It was intended to be
an act so appalling that they would never have been forgiven for it. Jimmy
also goaded Bill by suggesting that Drummond could cut his own hand off
as well. This was dangerous talk, given how psyched the pair were. They
both knew as they suggested ideas that there was a danger that they would
carry them out.
Cauty’s suggestion reminded Drummond of the Red Hand of Ulster. In
Irish legend there was a race across the sea from Scotland, and the first
competitor to touch the land was to be declared the King of Ireland. One
potential king was behind in the race, so he cut his hand off and threw it
ahead of his rivals, onto the shore, and in doing so claimed the land as his
own. When Cauty suggested that Drummond could cut his own hand off
and throw it into the audience, the idea interested Drummond because he
immediately saw it as in some way claiming the music industry for himself.
Drummond’s actions were being dictated by his symbolic interpretation of
events, as always, but this potent form of internal logic seemed to be
pushing them into darker and more dangerous territory. Drummond’s train
of thought was, needless to say, not a normal reaction to being asked to cut
off your own hand.
Rumors about the dead sheep had spread during the day, thanks to their
publicist Mick Houghton wisely informing the press in order to sabotage
their plans. Jonathan King and the BBC were horrified and made it clear
that no such act could be allowed, and certainly not televised. Extreme
Noise Terror weren’t too impressed either, some of them being extreme
vegetarians who were known to vandalize butcher shops. The sheep
remained in the van during the performance, only to reappear later that
night dumped on the steps outside the aftershow party tagged with a note
that read, “I died for ewe.” The prompt arrival of the police prevented the
eight gallons of blood joining the sheep on the hotel steps. Like so many
other times, Drummond and Cauty had failed to implement their plans and
been left with no choice but to improvise.

- The KLF: Chaos, Magic, and the Band Who Burned a Million Pounds