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REALICIDE YOUTH RECORDS

MISC. PRESS…

Realicide bio, September 2009

Established 2002 in Cincinnati, Ohio, US - Realicide began as a collective of young adults and teenage kids who, against many social paradigms, firmly believe that the punk movement and things comparable (industrial culture, hiphop, various radicalisms) have existed first and foremost as a vehicle to do things differently - to experiment and do things your own way - to bypass established dogmas both blatant and discrete. The years that followed found Realicide quickly transforming into a somewhat geographically collaged and nomadic touring and media production mission, focusing primarily on a bastardized / very personalized form of gabber techno with strong alignment to earlier anarcho-punk and earlier industrial music. This is raw urban hardcore straight from a post-911 America and after the collapse of Digital Hardcore. For all further information and archives, go to www.realicide.com

Spin Magazine, September 2009 – Geoff in Philadelphia has a huge photo at a Double Dagger show and was conveniently rocking the Realicide shirt from our “Resisting The Viral Self” tour – check out page 26, http://digital.spin.com/spin/200909/?u1=texterity

press for Realicide at Borg Ward (Milwaukee, WI) summer 2009

http://npaper-wehaa.com/shepherdexpress;see-9543O93w5BX4uLip#c-402343

Touring in support of Resisting The Viral Self, their first complete studio album after a plethora of live bootlegs and scattered other recordings, the Cincinnati ensemble Realicide re-envisions hardcore for the 21st century, pairing it with caustic, industrial electroclash. Relying primarily on a Korg ES-1 filled with preprogrammed digital hardcore beats, screeching vocalists Robert Inhuman and Jim Swill outline their aggressive punk ideals and sociopolitical agendas over a blend of hardcore gabber and digital explosions. They top a characteristically packed Borg Ward bill tonight with several other noise and punk acts of varying degrees of abrasion: Victory!, Rex Winsome, Peter J. Woods and Blessed Sacrifist.

Treebeard review of Realicide at Bunk 3 June 2009:

http://theblastbeat.blogspot.com/2009/06/review-of-first-realicide-show-in-cincy.html

(A reminder that every sentence and word is completely the OPINION of its author and should not be accepted as factual.)

Review of first Realicide show in Cincy in 2 years. As for the venue that this occurred at, the Bunk Spot is basically the new Void; very diverse crowd there and 100-200 people showed up. There was even an amazing vegetarian/vegan feast (which I’m still recovering from... oof). As for Realicide's set, they blew everyone away. So intense. Booming beats, crackling, fuzzed out, vicious noise, and vocals that were yelled, screamed, and shouted, with a cross between "happy hardcore", harsh noise, some hip-hop (I think...), gabber, and possibly some industrial. It was the best set I've seen them do and I've seen them live more than any other band I've ever watched before. Robert was handling the electronics and backup vocals, with Jim Swill doing lead vox. They sounded like they did back in 2003-2005/6-ish, which made me happy, as that's when I saw them multiple times a month and never got sick of it. Swill went on a rant about myspace and what it's been doing to the prevailing culture (ironically, they have a myspace page, but they're thinking about taking it down). They also played my favorite song of theirs, their cover of The Mob's "Wish". It was a great time and Rob and Swill were in good spirits and really happy about how well the turnout and venue were. And I'm glad that I was able to make it and support a close friend who I hadn't seen in years. Punk ain't comfort.

review of Realicide at Athens Ohio’s Experimental Music Festival, 16 May 2009:

Pencil, old punk, celebrity judge, shipping/receiving guy and demo-goblin (aka Josh Ryan): For the last couple of days I’ve listened to little else but Realicide’s “Resisting the Viral Self” CD, and I still can’t decide whether I like it not. I saw them play at Bruce Manor two weekends ago, and to say the least, they were loud, fast and confrontational. Realicide utilizes two vocalists and a bunch of electronic gear (including cassette tapes for sampling! remember that?) to create something truly different. Their own description, “D.I.Y. Gabber Punk,” confused me at first but after a bit of research I discovered that the “gabber” part is a genre of techno music originating in the Netherlands. Fusing this seemingly out-of-place music with screaming hardcore vocals and DIY ethic/aesthetic, Realicide somehow manage to make it work. It’s not unlike some bygone “industrial” acts (I use the term lightly) such as Skinny Puppy at times, when they turn up the speed and weave noise, dance beats and grinding electronics into a chaotic basket of bile. Just imagine if Atari Teenage Riot lived in a car that was actually the setting for a rave as they drove around purposely wrecking into hipsters, porno addicts, cell-phone kiosks sound men, protesters, punks, tough guys and YOU. CD/LP available @ www.realicide.com (mine came with a big fat zine with lyrics, song descriptions and art).

Realicide bio, January 2008

Realicide was established 2002 in Cincinnati Ohio (US) as a collective of young artists interested in exploring experimental punk music as a vessel for socio-political commentary, often criticizing the genres and cultures the group itself references in its aesthetic. The sound has changed dramatically several times over the years, but has somewhat settled on dealing with variations of combined hardcore punk and techno, such as gabber speedcore and grindcore for influence, often using strong elements of harsh noise.Since 2004 the drums have been performed with midi hardware setups, providing the precision of electronic sequencing and also the ability to manipulate and alter all sounds live. There are usually two vocalists in addition to one member controlling the hardware, though some tours are more minimal and certain events feature an extended lineup of up to five members. Core members consist of Robert Inhuman (vocal), Mavis Concave (electronics), Jim Swill (vocal), and in 2007 now bay area California's Vankmen (electronics). In a variety of incarnations the group has toured the United States frequently since 2004, and has released many tapes, CDR's, and books on various DIY labels throughout the US and elsewhere. In 2007 the first vinyl LP was released by RRR, which was a "best of" collection of speedcore and noisecore collages. Studio album CD's are planned for release in 2008 by Deathbomb Arc (Los Angeles, CA) and Dead Eternity (Glasgow, Scotland), as well as several 7" vinyl split records with bands such as Capital Hemorrhage, Abiku, Half Gorilla, and Evolve. The spring 2008 Realicide tour of Europe will feature Robert Inhuman and Jonathan Prunty (of Capital Hemorrhage and the Outfall Channel label), along with two other acts Captain Ahab (Los Angeles, CA) and Toecutter (Australia).

Dallas Observer, press for Hentai Lacerator at House of Tinnitus, October 2007:

http://www.dallasobserver.com/2007-10-18/music/hentai-lacerator/

“Hentai Lacerator create the type of hardcore Slimer would create if Slimer could do such a thing. It's not thrash, it's not grindcore and it's not noisecore. But it's definitely all three." After reading this sentence on Cincinnati threesome's Web site, we realized we couldn't do a better job of describing their sound. The experimental thrashers (who include members of Realicide) make songs covering topics such as the Ghostbusters blob and hentai; the lyrics to "Covered in Fun" are devoted strictly to things that suck, such as bedtime. When they're not waxing analytical on all things crappy, they're singing about all things sexually perverse in songs like "Killed by Cum." Sadly, however, most of the lines are screamed in such haste, listeners won't know they're hearing about bodily fluids, movie characters or sexual positions-thank God for liner notes!

DJ Rick’s press for Realicide + Vankmen + Gabbertree + Rale in Sacramento, July 2007

http://www.foolsfoundation.org/?p=136

Five artists affiliated with the prolific and influential label Deathbomb Arc are coming to Fools Foundation for a gabber vs. noise basement battle. Robert Inhuman, singer/leader of Realicide, has said "Punk's not punk"...so why not noise out for a change? This will surely be one of the best noise events to try if you've not snapped into "noise music" yet. Whereas many noise artists decidedly separate themselves from rock and more pedestrian forms of electronic music (esp. techno) in order to present their noise as "high art," these bands slum through even the basest influences with purely punk ethos to directly engage even the most uninitiated audiences and create a palpable sense of wild fun.

Vankmen are Sacramento's own, veterans of previous NorCal Noisefest and AudioWaffles events. Just as their hyper-driven ludicrous-speed hysterics and timbrally-rich electro-squall approaches the fury and intensity of hardcore punk from its 1980s vintage through the powerviolence of a decade ago, Vankmen actually exceed that threshold of mayhem into previously uncharted territory where the definition of "extreme" is ripped from the clutches of advertising executives and purveyors of corporate-controlled rebellion. Pulse-quickening prog, C64-era VGM tunes, grindcore, and thrash are cyber-soaked and caked in clamor-dust, resulting in this incendiary futurenoise.

Realicide from Cincinnati, Gabbertree from Los Angeles, and Nero's Day at Disneyland from Oakland are pioneering this same field (a)musically, but Realicide center as much or more on the positively filthy vokill squelches and subspecies shrieks of Robert Inhuman, best known to listeners of community Freeform KDVS 90.3 FM from Davis for his collaboration with The New Flesh wherein his paint-peeling caterwaul tore a new one into "Punched in the Head" by Drunks With Guns. Gabbertree and ND@D are still raw, real, and often noise-drenched, but their techno angle is inclined quite a bit closer to gabber's stylistic intersection with "happy hardcore," which is prone to giddiness and lighthearted melodics. But it's still the blackest humor to wreck a woofer since the original glorydays of "Miami bass."

Kevin Shields from Los Angeles-proprietor of the hyper-creative Hate State cassette label and erstwhile member of Gang Wizard-puts the friendliest and most welcoming face on "harsh noise" as she (Kev's actually a lady named Eva Aguilar) playfully plunders a tabletop of low-tech electro tools and her own handbuilt contraption that looks like the head of a high-revving Japanese engine complete with hand-cranking camshaft exuding metal-level heaviness under the sheer shrillness and insanity.

“Merely Adequate” review of Hentai Lacerator’s show in Milwaukee, March 2007

Tonight was Sonic Typewriter, Peter Woods, Hentai Lacerator, and Copeater. Sonic Typewriter was joined by extra special guest drummer Digital Zombie John Bonham with Invsible Octopus Arms. We played for eight minutes, and it was an unrelenting eight minutes. Next was Pete Woods from E=MC Hammer/Half Gorrila/Mysterious Notes Found in the Wreckage/Raperies (like Draperies) and a thousand other noise and experimental projects. His set was about ten minutes of super harsh noise and microphone feedback. Lots of knob twisting. Really enjoyed it. Then came Hentai Lacerator from Ohio. Hentai Lacerator is the grindcore band of Robert Inhuman from Cincinnati’s Realicide. Robert made the show, with an impressive range of vocal styles including a deep and resonating growl that could not possibly have came from such a small guy. He set up a show for Dear Astronaut and Pink Reason when we were on tour together and it was nice to see him again. He's a cool dude. Anyway, Hentai Lacerator was high-energy with some of the best between-song banter I've ever heard. It almost seemed scripted, it was so bizarre and bombastic and just perfect. They sang songs about Slimer (from the Ghostbusters) and porn. I thought the drummer and guitar player were merely adequate, but again, it was Robert that really made the show. If you get a chance, you should check them out, grind that's not super technical but with all the energy of nearly thirty years of hardcore all balled up in one dude. Last was local tech grind band Copeater. They slayed. That's about all I can say. (This reminds me, and maybe I've asked you, but Whit, do you know these guys at all? They're from La Crosse originally.) They played five or six blisteringly fast, super intricate songs with titles like "Space Docking," "Whiskey Mama," and "Rat Boiler." They closed with a fucking brutal cover of "Symptom of the Universe." All in all one of the better sets I've seen in quite some time.

City Beat (Cincinnati), press for Heinous Rave 7, February 2007

You may have read recently that a new generation has resurrected rave culture in England with a new millennium rock edge. Local promoter Robert Inhuman is having none of it. "It's not really a rave, by no means in the conventional sense. It's actually more of a parody," says Inhuman of Saturday night's Heinous Rave 7, which will feature performances by White Flour from Houston, a group that plays the gabber style of hardcore techno dance music that features overdriven, distorted beats. Also performing is Inhuman's own hardcore act Realicide and the groups Destined 2 Fester, Pantz Party and Evolve. "It may be my minority opinion, but rave culture is more than an excuse for suburban rich kids to do drugs and listen to crappy music." Inhuman promises a night of "noisy, overblown, aggressive electronic music" in the new Skullab space at 271 McMicken Avenue. 8 p.m.-2 a.m. Saturday, $5, all ages.

Robert Inhuman’s Top 5 Experimental Musicians in the Cincinnati area 2007 for City Beat:

http://www.bestofcincinnati.com/years/bocof2007/openmic.html

1. Mavis Concave: Like digital Hardcore but faster and more abrasive, he runs MIDI hardware and other instruments for Realicide, SX, DJ THumper and solo performances. The important thing is he always throws himself 100 percent into the physicality of Hardcore no matter what form it takes.

2. Ryan Faris and Jonathan Prunty: I put these guys together because they almost always work together in Capital Hemorrhage (ex-Ultra/Vires) and Hentai Lacerator, redefining and personalizing an approach to drums/guitar Hardcore and Noise Rock. They're from Dayton but mainly play in Cincinnati.

3. Colin Murray: He operates the Evolve project, solo or with the YES! and Swill at times. It's a very passionate approach to experimental Hip Hop with elements of spoken word and tape collage; increasingly one of my favorite local bands.

4. C. Spencer Yeh: The Burning Star Core frontman has been active in local music for quite some time now. He focuses on electronics, violin and vocal and is becoming increasingly known globally for his ability to collaborate flawlessly with a wide variety of other artists in the avant-garde.

5. Ron Orovitz: The mad scientist of noise behind Iovae, a calculated and intriguing solo project involving sound and video oscilators, short wave radios, fireworks, guns and the "hell frequency." Long-time programmer of the infamous Art Damage Radio formerly on WAIF (88.3 FM).

ROBERT INHUMAN is leader of the Punk/Hardcore band Realicide and produces music shows in the area. His next event is April 17 at Skull Lab (271 McMicken Ave., Over-the-Rhine) featuring British artist Z'ev, Realicide, C. Spencer Yeh, Capital Hemorrhage, Iovae and others.

Portland Mercury, press for Realicide at Foodhole, July 2006:

http://www.portlandmercury.com/portland/Content?oid=42053&category=22187

Combining Gabber (very fast techno often accompanied by sped-up music samples), harsh power electronics, and thrash/hardcore, Cincinnati's Realicide are an ambitious optimistic propaganda machine. Like Atari Teenage Riot meets Black Flag with a collage of blown-out breakbeats coalescing samples of car alarm sirens, sped-up music, and spoken samples with high blasts of screaming, Charles Bronson style (the band not the man). Their earnest message isn't as concerned with how the music they make fits into a genre, but how it infects the world with their raw blast of heartfelt and sometimes terrifying sincerity. ~ JAMES SQUEAKY

Portland Mercury, press for Realicide at Valentine’s, July 2006:

http://www.portlandmercury.com/portland/Content?oid=41977&category=22187

Realicide collective can sound like plodding, brooding, impending doom, all slow and swampy trudging death-march rock parts that slow-build into electro beat grindcore that has one foot in the grave and the other glistening with swarms of fire ants. It can get Throbbing Gristle noisy, but it can also go speed gabber nuts just as nimbly. Turntable'd samples bust into industrial/rave beats, stabs of noise lash out anxious and brutally like a giant squid stuck in a sea chest. It's vicious, smart, funny shit. A good mix. As says one of their samples, "Well, I definitely wouldn't call it punk." ~ JAMES SQUEAKY