Acid Bath Full Album Download __TOP__
Clarabella Doom
When the Kite String Pops is the debut studio album of American sludge metal band Acid Bath. Released on August 8, 1994, it is considered an underground classic and an early example of sludge metal. The album's artwork is a self-portrait made by notorious serial killer John Wayne Gacy while in prison awaiting execution.
The album's cover art is a painting by John Wayne Gacy named "Skull Clown"[3] in which he depicts himself as his clown alter-ego, "Pogo the Clown". The balloons on the lower part contain both his nickname and his real name, J. W. Gacy.[4]
In 1999, sales of the album were just over 37,000 copies in the US, which is higher than average for a band with no publicity and released exclusively on an independent label.[7][better source needed]
After two studio albums, Acid Bath's career came to an abrupt end on January 23, 1997, when bass guitarist Audie Pitre and his parents were killed by a drunk driver[3] who had run a stop sign. Kelly Pitre, Audie's brother, was the only one of four family members to survive the incident, escaping with only a broken rib and a mild neck fracture.
While rumors of another album circulated after the band's end, nothing new surfaced.[6] Sammy Duet owns a tape of he and Mike Sanchez coming up with riffs for a possible third Acid Bath album. He mentioned this tape on his interview with Does It Doom?. The tape was labeled "Rat Poison" because neither of them could come up with an album name. One of the members saw some rat poison in a box at the rehearsal space and said "just call it fucking Rat Poison".[7] It was also rumored that some of the riffs were used for the first Goatwhore album; however, this was proven to be false.[8]
Tommy Viator played drums on Disincarnate's album Dreams of the Carrion Kind with the well-known death metal guitarist James Murphy. Dax Riggs and Mike Sanchez went on to perform in the band Agents of Oblivion, releasing one self-titled album in 2000 and disbanding shortly thereafter.[6] Starting in 2000, Riggs was also the frontman for the swamp rock band Deadboy & the Elephantmen,[6] before he began releasing material under his own name in 2007. Sammy Pierre Duet was once a member of Crowbar,[6] but has since left the band. He is now a member of the blackened death metal band Goatwhore and Ritual Killer and his doom metal band with Kelly Pitre (the brother of Audie) Vual. Sammy Duet has remained an open satanist since his days in Acid Bath.[3] Audie formed a metal band in 1995, blending black metal vocals with the heavy sound of multiple bassists with no guitars, known as Shrüm. Tommy Viator and Joseph Fontenot were also members of Shrüm. Shrüm utilized two distorted low-end basses, and Fontenot would alternate between playing a distorted high-end bass and a clean bass. Fontenot later played bass for Devourment for two years. Joseph Fontenot is now a drill sergeant in the U.S. Army.
Acid Bath is best known for blending extreme, death metal-influenced sludge metal with a mixture of death growls and melancholic goth/grunge-style vocals and acoustic guitar passages, as well as use of sampling and spoken word poetry. AllMusic has called the band's sound "difficult to pigeonhole" and described it as "a blend of Black Sabbath-like sludge, bluesy Southern rock, death metal, hardcore, and hints of goth and industrial".[11] In a Pit Magazine interview, vocalist Dax Riggs classified their sound as "death rock".[3] In another interview, guitarist Sammy Duet described their sound as "gothic hardcore".[12]
Dax Riggs' lyrics are frequently poetic, often displaying an obsession with death, drug use, mental illness, dark humor, Louisiana-based regional culture, and continuous references to animism as well as paganism, nihilism, and misanthropy. He has claimed these inspirations are culled from comic books, namely those authored by Frank Miller, Alan Moore, and Clive Barker,[3] and has also expressed admiration for ANSWER Me! and Boiled Angel. AllMusic's William York has stated that the song "Venus Blue" could have been a radio hit "if not for the graphic lyrics".[13] Another facet of their presentation which may not have endeared them to popular sentiment was the use of art by John Wayne Gacy and Dr. Jack Kevorkian.[3] Due to the controversy surrounding Kevorkian's artwork For He Is Raised on the album, Paegan Terrorism Tactics was initially banned from Australia.[14] The ban has since been lifted. The cover of the band's 1994 extended play simply entitled Edits featured the artwork of Richard Ramirez.[15] The cover of their 1996 compilation entitled Radio Edits featured the artwork of Kenneth Bianchi.[16] Their song "Diäb Soulé" ("Drunken Devil" in Cajun French) starts out with an audio sample of Jim Jones of the People's Temple screaming. Their song "Toubabo Koomi", mistranslated as "Land of White Cannibals", is a reference to the novel Roots: The Saga of an American Family.
Despite only releasing two albums, as well as a number of radio edits and an official bootleg DVD, Acid Bath gained a strong underground following (especially in Louisiana) owing to the unique, experimental nature of their music.
I always wondered what Acids Bath 3rd Album would have sounded like. I would guess we would see better instrumentation and more cleaner sound, but I wonder what the overall sound of the album would be. And I wonder if they would continue the route of some of the Darker BM influenced songs like New Corpse and 13 Fingers
Friendships were cemented by listening to this band. We got to see Acid Bath and meet them at a couple of shows back in those days. It might have been intimated by the band that the group of friends I ran with smoked too much pot. But whatever it was, there was always mutual respect to the point that Cleveland got a shoutout in the liner notes of their follow-up album. I can tell you without a doubt that is because of my friends and me showing them the love when they came to town.
I set out to write about this album a few more than a week ago. As it turned out life got in the way and we had to say goodbye to our old black lab, whom I named after a brutal song by the band Acid Bath. Jezebel was with us more than 13 years. Between Jezebel and her departed sister Molly, we had been dog owners for 15 years. It\u2019s just a coincidence that our old girl passed just after I started writing this post about Acid Bath, but it made it kind of difficult to get up the courage to open the draft and finish it.
Acid Bath is problematic, at best. Their music is like a horror movie coming to life. Violent fantasy and some of the vilest imagery you can think of were used to extreme effect to create haunting, brooding melodic, metal. I have many favorite songs by this band, but \u201CThe Blue,\u201D which opens their album When the Kite String Pops, is definitely my first favorite. However, now that I\u2019m in my 40s and I have children, it\u2019s hard to square music that has outbursts like \u201Ceat my dead cock\u201D and \u201Ceat my cold shit\u201D as punctuating lyrics. Sure, there are some more lyrical passages, even if they hint at violence and murder, like \u201CI have fallen deep in love with the sky, fragments of a sunbeam glaring on a kitchen knife.\u201D But no matter how poetic Dax Riggs could be with his lyrics in some breaths, he also wrote the words to a song like \u201CCassie Eats Cockroaches.\u201D
This band\u2019s highlights list is a long one from Kite String. \u201CThe Blue\u201D opens the album and it goes straight into \u201CTranquilized\u201D that completely changes the pace. It\u2019s upbeat almost like a pop song with normal screaming for the first minute. It hits a verse and heads into another verse all sung like any old heavy rock song. The guitar drone is huge in the background before it explodes into more riffy goodness. But at two minutes, Acid Bath goes full Acid Bath. The tempo drops by more than half. Dax gets more deliberate and sings,
Now things get really interesting. Acid Bath wrote their own sinister types of ballads. The first on Kite String is a tune called \u201CScream of the Butterfly.\u201D I\u2019m posting a live version of the song below because you have to imagine a death metal audience not only allowing a band to slow it down, but loving this song as much as the kind that they could slam and mosh to prior. It\u2019s the second-most popular song on the album based on Spotify streams. It shows that Dag Riggs was more than just a screamer. He really could sing beautifully, which was something many in the genre never even tried, let alone pulled off to audience approval. There\u2019s one other ballad on the album toward the end of the album called \u201CThe Bones of Baby Dolls\u201D and it\u2019s more experimental with more instrumental and heavily effected vocals.
After \u201CScream of the Butterfly,\u201D Acid Bath give you the one-two punch and probably my other two big favorites from this album with \u201CDr. Seuss is Dead\u201D and \u201CDope Fiend.\u201D These are the types of songs that have everything I love about Acid Bath. The guitars are huge and menacing and slow. Nowhere in the Acid Bath catalog is there more contrast in tempos from verse to chorus than with \u201CDr. Seuss.\u201D And the live version was honestly the slowest, most deliberate the band could ever be only to explode into the chorus. They look like they\u2019re going in slow motion.
I still love this album. I still love this band. It\u2019s absolutely a part of my history and I always wondered as I got older if I\u2019d still be able to listen to something so aimed at my youth. Turns out I can. I\u2019ve placed it into a certain category. I don\u2019t really search out any new death metal, but perhaps there will always be a place in my world for this stuff that I listened to as a teenager.
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