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REVIEW – Once again, Canada’s ever-changing grindcore masters, FUCK THE FACTS have stayed true to their method of chaos. The Ottawa-based band that seemingly has never taken a break, unleashed their sixth full-length release on August 25, 2015, a strong collection entitled “Desire Will Rot”, on the Noise Salvation label.
For what started as a small recording project in the 90’s, the band’s determination produced a sizable underground discography, which, in turn, gave them an opportunity to work with just as sizable extreme labels, all while continuing to be productive with self-financed releases. Maintaining the same lineup since 2010, guitarist/founder Topon Das, vocalist Mel Mongeon, drummer Mathieu Vilandré, bassist/vocalist Marc Bourgon, and guitarist Johnny Ibay have seen it all when it comes to playing live; Huge festivals, sharing stages with Napalm Death, The Black Dahlia Murder, Exhumed, and several others, to headlining one-off basement gigs. Showcasing their independence, and sticking to their roots, the most recent albums were self-produced and self-released, and recorded at their own studio, giving them complete creative freedom and control. They are currently on tour through the end of 2015.
FUCK THE FACTS solidifies the old band adage that the sum is greater than any of its parts, and the longer they perform and remain prolific together, that sum will grow exponentially. Integrity for their art, and the love of what they do, seeps from their music, and their fans devour it. This release is very intense, yet holds a dynamic with its diverse themes and melodies. That’s true, I said melodies. Brutal, heavy melodies, but they’re there. I mentioned chaos earlier, and that, of course, is present with a very unique blend of grindcore and death metal. However, progression, and creative experimentation has started to make an appearance here and there, and it’s performed masterfully. The album attacks with its brutality through the first several tracks, like “Shadows Collide”, “Path of Most Resistance”, “Storm of Silence”, and “False Hope”, thanks to the searing vocals of Mongeon and Bourgon, but then explodes in climactic release near the end, with the almost eight-minute, mostly instrumental, “Circle”.
Music has a funny way of making itself known, and eventually it will come your way. That’s how I feel about this album. I’m pleasantly surprised by it and by FUCK THE FACTS. It’ll be listened to several more times.
