Hooked on a (Copro)Feeling: Why the Future Looks Shite for Shitfucker Print E-mail
Written by Gaz Tidey   
Sunday, 20 September 2015 03:40

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It was two years ago that I reviewed the (then) upcoming debut album from Detroit scum crew, Shitfucker; the subtle as a nailbomb 'Suck Cocks In Hell', not so much released on October 31st by the Hells Headbangers label as secreted into the city's water system like the dirty, polluted noise-thing that it was.

 

With cover art so imprudent that it was never to see the light (or disgusted faces) in Germany - a bastardised swastika as a band logo its focal point - that debut, which followed a slew of typically ludicrous EPs and singles, was a dirty ejaculation of sleazy, salty bad taste that had grubby early Motörhead swapping spit with prime Venom at a bukkake party held in Sodom's rehearsal space.

 

With songs like the seductive 'Smash Your Skull', the delectable 'Demonic Rock', the angelic 'Acid Bath' and the gorgeous 'Graveyard Revels' (hey, even corpsefuckers love chocolate!), the long player simply wasn't long enough. It became my soundtrack to everything: masturbating, windmilling, shitting, fisting and, mainly, laughing. Its offensiveness was either born out of comedy genius or genuine Zoot-like idiocy - either way, I couldn't help but be entertained. There was even the stealing of a KISS standard, 'Black Diamond', deformed and twisted to fit into the crazed confines of a Shitfucker original, the album's lead track, 'Sex Dungeon'. Gene must have been spinning in his hair-piece. Silent Rage these were not.

 

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Unbelievably topping zero charts, 'Suck Cocks In Hell' was, I feared, destined to disappear without trace, even the copies with altered artwork; band members Demonbitch, Shagrat and "Motor City" Chaz resigned to going back to the humdrum of their day jobs, their rock 'n' roll dreams in tatters. A suitable headfuck of a music video for 'Sex Dungeon' (watch below) appeared at the start of 2014, the song featuring on the seventh volume of the Hells Headbangers bandcamp compilation at the midpoint of the year, but I feared the worst for Shitfucker.

 

Hail Satan, then, that September 2015 has marked the return to the cultural sewers of Shitfucker, by way of a couple of special split singles.

 

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Hells Headbangers consider Nunslaughter their flagship act, the two odorous outfits nearest to them Shitfucker and Midnight. The first of the splits to be released this month features a track each from this diseased pair: Midnight offering up the first new track since their 2014 album, 'Satanic Royalty', the runaway rage of 'Sadist Sodomystic Seducer'; the new Shitfucker track, 'Nightmare (pt. 2)', the one that had me nervously fingering the studs on my wristband.

 

I need not have worried, though, as the band sounds as fucking horrific as ever before, a blur of distorted garage metal recorded by a cloth-eared neanderthal in a studio fashioned out of the worst possible materials for recording music. The song itself, if you can squint your morals just a little, is almost straightforward for Shitfucker. Could they being going soft?

 

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As if! The second of the split singles finds Shitfucker sharing a four track debacle with Japanese blackthrashing filthmongers Abigail under the thought provoking title, 'Bloody Your Lovely Pussy', and featuring wondrous cover art.

 

The title track and the 'Power of the Demon' by Abigail are hundred-mile-an-hour garage noisesters full of screeching lead guitar and vicious vocals, but it's the putrid pair of Shitfucker tracks that I couldn't wait to ram into my auditory canals.

 

'Black Mold' opens, remarkably, in sedate, moody fashion; the first minute of its running time devoted to atmospheric sound effects - the calm before the storm for sure. The difference in production between the split singles is vast, yet both sound like total abominations. These tracks appear to have been captured on a tape recorder once owned by the people investigating the Enfield Poltergeist. There are voices and sounds here that, surely, are not of this world. Or they could just have been made by someone fucking about.

 

'Under the Influence (of Satan)' sounds like the apocalypse crossed with an explosion in a drum factory, and all captured on a fourth generation VHS copy. But I don't care, because Shitfucker are back and I couldn't be happier.

 

There are people on this planet that do not and will not 'get' Shitfucker. These people don't matter. Trash auteur John Waters once spoke of good bad taste and bad bad taste - which one of these best describes Shitfucker to you will decide if we are ever to be friends.

 

 

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