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THE DESECRATORS- Speed up the Death Process LP (Pro-Anti Records, Switzerland, 2010)

This is one of the most astonishing records I heard in a long, long time. It was recorded as a demo in 1986, on a shitty 4 track recorder, in 4 hours and with the cheapest gear. Not that it would matter though, cause you will always be able to tell a great band from a shit band, no matter what recording tricks were used (nor not). You’re going to ask yourself, and here I am predicting, the same two questions I myself did upon my first exposure to THE DESECRATORS unreleased demo-album: 1. What the fuck is going on here and 2. how is it possible that this outfit could remain completely obscured for so long?

THE DESECRATORS were formed in Peterborough / UK in early 1984, out of the ashes of DESTRUCTORS who called it quits in late 1983. Of course everybody (well …) has heard of DESTRUCTORS, ENGLISH DOGS or the 90s PRODIGY – all of whom featured guitarist Gizz Butt, who – you guessed it – also played guitar and sang in the DESECRATORS (at this point, I don’t want to bore you with great biographical details of who and when, you can get that kind of information on the band’s myspace fansite).

But I’m afraid for once we should not completely blind out the artistic factor in music. Generally, I tend to think that the role of the musician is vastly overrated when talking about the history of music. Music can be seen as a form of text and it appears that the omnipresent concept of the musician being the one who writes music has little more to offer than petty stories about talent and artistic potency: A romantic, secure and utterly boring concept (you may want to read Michel Foucaults “Death of the Author”).
What if the music makes the musician – not just the musician in question, but the role of the musician? Some musicians in this perspective would still play an important personal role, rest reassured, for when they’re actively transforming one style into another (which, on the other hand makes their passive role even stronger, you might as well say). Gizz Butt is one of these “key musicians”. A young punk who got the Metal bug when the NWOBHM exploded and who played ping-pong with both musical styles until he had found his own formula (with the aid of his fellow musicians, of course). Or in Gizz’ own words: «Punk rock came to me as a very exciting breathe of fresh air but it wasn’t going to stop my love of Heavy Rock and Heavy Metal. Not conforming and being the outsider is one thing, but when you’re an outsider to the outsiders then you’re taking a risk of being pretty fucking lonely.»
THE DESECRATORS are a prime example for what you could call a “hinge band”; a band that transformed one thing into another (or maybe it was the other way round). You will hear plenty of NWOBHM riffing, as you’ll hear the technical frenzy of Thrash Metal à la MEGADETH (cuz Gizz is a formidable guitarist, if I didn’t mention it before, Grant is a great drummer and the band as a whole is tight, really tight!). And hit me with a stick, I also can hear a good dose of VAN HALEN in the harmonies – but strangely enough, when panning into the Punk fields, you won’t hear “Brit Punk”. No DISCHARGE, no GBH, no ENGLISH DOGS or CHAOS UK influences, but American Hardcore. Grant was and is a passionate lover of early American Hardcore, so it’s no wonder you actually hear (well, at least I do hear it) GENETIC CONTROL (!) and the likes and plenty of hooks and catchy melodies, even when the speed is up high.
But all in all I must say that I’ve never heard a band like THE DESECRATORS and if I would have to compare the work of this as such, there’s only one band that comes to mind: BRATS. When the BRATS amalgamated Punk and Hardrock / Metal, THE DESECRATORS do it with NWOBHM-Metal and Hardcore and they do it like no other band has ever done it before and no one did ever since.
Now imagine what would have been if Music For Nations Records would have signed them up or Children of the Revolution wouldn’t have gone bankrupt.

The only life time release of DESECRATORS is to be found on the “Will Evil win” Flexi compilation. Unfortunately, I sold my own copy. Those who (still) have it: How’s the DESECRATORS song on there?

I’ve had a very hard time selecting the songs for this presentation.Not only that every single song totally shreds. “Speed up the Death Process” is a compact album. It reveals its qualities as a whole and picking out single songs simply does it no justice. Although Grant gave me full permission to use whatever I want to use of this LP and be it the entire thing, I decided to post just a few of the 12 songs (Grant is the ex-drummer of DESECRATORS, ex-drummer of REAL DEAL and numerous other outfits, producer of this LP and known to most of you as the friendly bloke who recently sent me the two POISON IDEA tapes I was looking for. By the way, Grant relocated to Switzerland right after recording this album and, that’s just a funny coincidence, he arrived here on the very day AMEBIX played in Basel and that’s exactly how we first met or better yet didn’t meet cause we made acquaintance of each other a bit later).

Only 250 copies (!) were made of this, so you better hurry and order your copy today. “This vinyl version will not be repressed, never!”, Grant says. Currently, there’s no CD release available. This record costs (postpaid): 17.- Sfr (Switzerland) / 15 € (Europe) /21$ (Overseas). Get in touch with Grant: proantimusic AT gmail DOT com. Pro-Anti Records myspace here.

PS: Now available in USA ($15 shipped) / Canada ($18 shipped) via Paypal to kuhlcher AT hotmail.com sold out!

And finally, here are the samples. Forgive me, I couldn’t narrow down the selection furthermore:

Ban on Impurity.mp3
Stereotypes.mp3
The Beyond within.mp3
Wedding Bells.mp3
Prejudice.mp3
Rose Garden Funeral.mp3

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