Captain Beefheart once said: why go through the bullshit to find out what the bull ate?
Those with Beefheartian inclinations should waste no more time reading this and go buy
the new Bluetip record and make your own judgement. However, those of you with the
patience to wade through 500 words of my verbal excrement, slap on a fresh pair of
tight-fitting rubber gloves and get yourself elbow deep in some bovine funk.
ĎPost-mortem anthemí is a collection of rarities and previously unreleased material from
the Bluetip archives lovingly spliced together by the annoyingly talented Jason Farrell. It
features 10 tracks unearthed from their last six turbulently productive years of recordings
with Dischord, most of which wouldíve graced any of their previous 3 full length albums.
ĎSpookyí kicks things off with all the vintage sonic trademarks in place; seething vocals,
angular axe work and a tumultuous chorus. Itís a tried and tested formula on the face of
it, but itís the sheer intensity of expression and the abrasive interplay between Farrell
and Sternís guitars which always keep things fresh and distinguishes Bluetip from their
'Ephadrephine' is a great example of the more stripped down, high-octane rock of their
early recordings harnessed and utilized to such devastating effect on the Ian Mackaye
produced debut LP 'Dischord 101'. Itís notable for dishing up a large portion of ear-
splitting feedback, which is always welcome, and a skin-grazing riff which Farrell assures
us in the liner notes is lifted directly from Skid Rowís 'piece of me'. I know what youíre
thinking, ĎSkid fucking Row! next theyíll be doing covers of obscure Motley Crue b-sides!í
Well, not quite... but if itís 80ís nostalgia youíre looking for, there is a cover of the B52ís
song '52 girls' on here and surprisingly itís one of the albumís highlights.
'Newport' and 'Orchestra' both hail from 1998 sessions at Inner ear studio with
J.Robbins at the helm and itís now that the band begin to throw numerous musical
curveballs the way of the listener. Guitars that would once rip and shred along
relentlessly, now breath and stop, allowing more space to fill with great lyrics like: 'this
life tends to breed bitter babies whose eyes glaze like sugar candy as they pitch their
Of the remaining tracks 'Retisonic' reveals the oblique blues-inflections which
occasionally creep into their songwriting. Itís the type of area which, personally, Iíve
always wished theyíd focused on more and itís the likeliest direction for Farrell to explore
if he were to go solo. But enough of my bullshit. Post Mortem Anthem is both a worthy
document of the bandís development in the 1990ís hardcore scene and a terrific album
in its own right. When youíre in need of a quick catharsis of exhilarating angst, this is the
record to turn to, just remember to play it fucking LOUD.
Written By: Steven H.