Municipal waste Demonstrating “the art of partying”
In 2007, a bunch of bands emerged who were disenchanted with metalcore and even the new wave of American metal, and yearned to hear songs that sounded like their favorite 80s thrash and crossover bands. , Warbringer, Havok, Toxic Holocaust and Bonded by Blood – were heralded by the press as pioneers of a new retro sound, but the most enduring band turned out to be Municipal Waste, who released their third album , the revolutionary The art of partyingJune 12, 2007.
Ironically, at first glance, the township of Richmond, Virginia seemed to be the least serious of thrash revivalists. Most of their songs varied between three speeds – fast, fast and lightning fast, and they mainly wrote songs about drinking, hammering, erection, drunken idiot behavior and bumping. head like Exodus circa 1986. Aesthetically, Municipal Waste was – and still is – like a cross between a juvenile, graphically violent, and hysterical Troma film and ’80s crossover bands, including DRI, Agnostic Front and, perhaps most important, SOD
The latter is what really separated Municipal Waste from other thrash revivalists, most of whom didn’t consider themselves peers. Singer Tony Foresta did not sing or scream in pain; he shouted, barked and shouted with aggressive delight, and while guitarist Ryan Waste spent most of the band’s two-and-a-half-minute (or less) tracks quickly picking muted strings and playing incisive riffs and sultry, it also had the chops to insert grating harmonics, plunging string scrapes and melodious solos, many of which were rooted in Iron Maiden’s dual-harmony lead pattern. Of course, Municipal Waste never went solo when a good chugging riff, heartbreaking beat, or singing vocals did the trick.
Municipal waste, “sadistic magician”
“Sometimes critics call us a bunch of drunks who play sloppy and write shitty songs,” Foresta said. “We really want to have fun and be totally ridiculous and when we’re not making music we don’t take anything serious. But we’re very serious about the music we make. We work hard on these songs and when we do them. we record, we make sure everything sounds good.
While the group had the right idea from its formation in 2001, on its first two albums, 2003 Waste them all and 2005 Dangerous mutation (produced by current second guitarist Nick Poulos and late GWAR guitarist Cory Smoot), they lacked the resources to convincingly convey their artistic vision. For The art of partyinghowever, Municipal Waste teamed up with producer Zeuss (Hatebreed, Shadows Fall), who was able to capture both the band’s frenetic energy and their instrumental talent with a sonic clarity absent from their first two releases.
Municipal Waste, “Headbanger Face Rip”
Referencing their love for the Troma movies, Municipal Waste hired low-budget horror house schlock to shoot a video for “Headbanger Face Rip,” which includes footage from The toxic avenger series.
While municipal waste followed The art of partying in 2009 with the equally brutal produced by Zeuss Massive aggression, the album was less about booze and blunts. Despite some crushing riffs crammed into a 13-song, 28-minute build, it wasn’t quite as entertaining as its predecessor, a flaw the Waste more than corrected in 2012 on The Fatal Feast (Trash in Space).
Loudwire contributor Jon Wiederhorn is the author of Raising Hell: Backstage Tales From the Lives of Metal Legends, co-author of Louder Than Hell: The Definitive Oral History of Metal, as well as co-author of Scott’s autobiography Ian, I’m the Man: The Story of That Guy From Anthrax and Al Jourgensen’s autobiography, Ministry: The Lost Gospels According to Al Jourgensen and the book Agnostic Front My Riot! Grit, courage and glory.