Tossed Aside – “Tossed Aside”
Tossed Aside is a new band or should I say a “new project.”
I never did like that term. Sounds like they’re ready to build a new overpass connecting to a bridge or something.
It sounds very corporate- “So Jeremy, how’s your new project progressing?”
“Well, we hope to make a lot of revolting, obnoxious sounds with anti-society lyrics in an attempt to get the least amount of people to like us.”
“Sounds invigorating- I’ll pass that onto the CEO. I’m sure he’ll be pleased…pleased to rip your throat out and stomp upon it on the ground!”
Two-thirds on this new band, I mean, new project- “If I vomit can I call it my “new projectile?”- are from Crystal Methodist. And along with Goolagoon, they are my two favorite power violence bands. And though I’m far from being an expert on that style- projectile vomit I’m much more experienced with and more knowledgeable about- (Say, why isn’t there a band with the name Projectile Vomit?)- I would expect great things from Tossed Aside.
And I’m not disappointed.
I am disappointed that with my previous rantings, I may have just destroyed any credibililty that I may of had before- but this is great music. This is music that is cutting edge, that is music that is truly of and reflects, this time now.
This is music that blows a hole through your brain and fills it up with aggression and venom then leaves it with something that was better, then what was there before.
I feel it’s time for me to shut up and listen!
“Unacceptable” starts with an unacceptable amount of noise, screeching feedback and scratching as if against an insane itch. A very good and more acceptable, headbanging groove arrives. Me, I was tossing my dreadlocks along to this when they became caught in the ceiling fan, causing me to revolve continuously around the room. I then began to emit projectile vomit, giving the room a kind of Jackson Pollack inspired, smelly decor. But I was aware enough to notice that the groove is awesomely hard, almost swinging, as the guitars grind grotesquely good. In the last part of the song it explodes into an exciting hardcore rant. This song is kind of like when a nice event is taking place and then a guest arrives and commences to start projectile vomiting. But this song does not make me sick, in fact, it makes me feel- really good, as it is really, a very good song.
“Never Cared” starts out with an awesome, ominous, growling, doom-y metal groove with the guitars cutting away at the rhythm like rabid, sushi chefs. Soon were thrust into a supersonic, hardcore rhythm where we’re holding on against the turbulence, only to be set down upon the original, excellent groove. And then we fade away in feedback…and projectile vomit.
What I originally believed to be a cover of Jimi Hendrix’s “Fire” instead ignites into a chaotic, combustible drive that turns into another great, heavy, intense metal vibe for a few seconds but soon the song evaporates into feedback. Not quite as good as Hendrix’s or The Ohio Players song by the same name but tons better than Bruce Springsteen’s.
A powerful chugging, headbanging rhythm starts “Pure,” but it soon switches into a full extreme hardcore rush. Eventually, it returns to a tolerable velocity, well within in the speed limits, and finally reverts and accelerates at the same time. Kind of like drinking and throwing up at the same time. But way better than projectile vomit going through your nose.
After a short outburst “In Vain,” proceeds forward with a solid, heavy groove. But soon we’re propelled into a slammin’ hardcore one that punches and pulverizes our aural senses to smithereens. Then an even heavier, more intense metal rhythm arrives, where our souls are offered up to Satan, but he rejects them- What a bitch!- as being too pure in intent. Then the feedback reigns supreme with some great, overlapping noise, signaling the end to an EP that is always intense, always surprising and always very good.
What I think we have here is heavy, headbanging groove metal music mixed with extreme hardcore and lots of effective feedback in short songs that have elements of grind and doom but lead us to the obvious conclusion of power violence.
But those two last words or that whole last sentence doesn’t begin to describe how uncompromising, passionate and real this music truly is.
It is heavy and powerful, then frantically energetic and propulsive full of intense aggression, either way.
Aspects of punk, metal and hardcore are corralled into short explosions that are full of emotion and fury with lyrics that are raw, honest and true.
This music contains the anger at a society that you are justified in feeling contempt for.
This is music that reflects that disgust perfectly.
And unlike society, this music is great.
(Editors note: Projectile vomit is referenced seven times in this item.)
(Slimedog)
