Kool Keith’s ‘Blast’ b/w ‘Uncrushable’ on Three One G

If you’re looking for one of those doctors who has taken the Hippocratic oath, Kool Keith may not be your man. “Fuck it, he’s dead,” Keith’s alter ego, Dr. Octagon, pronounced on his 1996 debut, as his latest patient expired of cirrhosis of the eye and a horse wandered the halls of the hospital. Truth be told, the bedside manner of his alter alter ego, Dr. Dooom, was not very comforting either. Doing harm was pretty much his bag.

But if you’re looking for a barber surgeon of the medieval period, who’ll do you for a bloodletting, a leeching and an enema—a specialist in taking apart who still needs some practice putting back together—no one will slice and dice you like Kool Keith. I think that’s why the line “Do not be bougie with the facelift” on “Blast” chills me to the bone: can you imagine how your face would look after a few hours in the operating room with Kool Keith? Emerging from anesthesia, feeling the new apertures for undiscovered bodily functions with which he’s pimped your head? Looking in the mirror through the eyes of an alligator and a shark? As Keith feeds you sashimi cuts of your own brain?
 

Heather Hunter Photography
 
Speaking of horrors, one of the best performances I have ever seen in my life was Kool Keith’s set at the 2004 Coachella Festival, the only year I attended the Southland’s annual historical reenactment of a dysentery outbreak in a Civil War infirmary. About 20 minutes in, Keith stopped rhyming and started counting: “one. . . two. . . three. . . four. . . five. . .” He counted to, I think, 27 before making an abrupt exit (“Fuck it, Coachella, we out!”—mic drop) that left his nonplussed hype man swaying on the stage, eyes darting anxiously from side to side.

So I’m pleased to introduce the music video below, a short slasher movie dramatizing Planet B’s (i.e., Justin Pearson and Luke Henshaw’s) remix of “Blast” from Kool Keith’s new EP on Three One G. (The record concludes with a mashup of “Uncrushable” and “Church of the Motherfuckers” by Dead Cross, the supergroup with members of Faith No More, Slayer and Retox.) Unless you work in a charnel house, it is NSFW.
 

 
Individually, Nick Zinner and Justin Pearson have made significant contributions to the ongoing post-punk revival. Zinner, in the Yeah Yeah Yeahs, has edifyingly proffered everything from sparse, serrated blasts of underground dance punk to a pop disco anthem that ended up being performed on Glee—mashed up with Michael Jackson’s “Thriller,” no less. Pearson, in The Locust, has been a Godfather of the influential Powerviolence micro-genre, a disorienting and challenging chimera of brutish, back-to-basics hardcore and the reductive, mechanical textures of early ‘80s synth-pop.

Together, Zinner and Pearson have collaborated as members of Head Wound City, the band that melted faces as the openers on Savages’ 2016 tour. But more recently, as members of Planet B (along with Locust/HWC’s Gabe Seriban), they’ve collaborated on a cover of an altogether different and more rarefied post-punk icon—“Never Let Me Down Again” by Depeche Mode, one of the most successful electronic music groups in history, ranking alongside Kraftwerk and DEVO in sheer enormity of influence, and surely surpassing both in cultural reach.

“Never Let Me Down Again” is an unshakably dark heroin song that achieves a weird and poignant universality by never explicitly mentioning drugs, and was the lead track and first single from 1987’s Music For the Masses”, which, taken with its follow-up, 1990’s Violator, comprises the band’s high water mark in this scribe’s correct opinion. It’s ominous, beautiful, creepy, and euphoric, and it was a massively depressing track to release as a single to begin with, but Planet B’s version is a lo-fi screamer that significantly ups the ante on the song’s bleakness, stripping it of its drug-high euphoria and leaving in its place a harrowing withdrawal. They recorded it for Love Oakland, a compilation benefitting the Oakland Family Fund, which arose in the wake of last year’s tragic Ghost Ship fire, which wiped out a crucial DIY venue/incubator and took 36 lives. The comp mostly features the obscure artists associated with that scene—apart from Zinner and Pearson, the contributor you’re most likely to know is the Indo-Canadian garage/psych savant King Khan, but other tracks, like Tony Molina’s lovely acoustic instrumental “Fluff” and Naked Lights’ “Hyde,” a jagged gut-punch of a song that recalls Arab on Radar, are absolutely worth hearing. The whole thing is streaming and available for sale on Bandcamp, and Pearson took some time to talk to DM about it:

For Planet B the decision to cover “Never Let Me Down Again” was simple. Musically the song is timeless, and lyrically, it seemed fitting for the Love Oakland compilation. Most listeners of music can connect to certain songs and this one was relevant for all of us. Furthermore, the idea to have Nick Zinner featured on the track was a means to showcase our radical friendship, and the basic idea of community. Over all, the compilation is littered with friends and family, all coming together for a good cause, and ultimately to shed light on a situation that effects a lot of artists.

 
Listen after the jump…

 
The San Diego band Retox features the Locust’s bassist Justin Pearson on vocals, and shares much of that band’s extremity, dissonance, and whiplash tempos, but in a more straightforwardly hardcore vein. Their new album, Beneath California, will be released next week, but you can stream the whole thing right here on DM.

If The Locust isn’t a helpful reference, you might want to look them up; they’ve been around for over 20 years, and if you’re into any kind of extreme rock, you might find much to enjoy there. Originally exponents of powerviolence—a ‘90s mini-genre that sought to push hardcore to its own nth degree with absurd brevity, lightning-fast drums, and brutal rawness that owes much to grindcore while intentionally steering clear of metal tropes—the Locust eventually augmented that aggression with the unpredictable time signature changes of math rock and the squared-off synth textures of much early ‘80s New Wave. Their stage presentation also diverges wildly from doctrinaire hardcore—they perform in creepy form-fitting insect uniforms. If powerviolence has a DEVO, it’s the Locust.

More after the jump…