Monthly Archives: April 2014


American Hardcore/Grindcore/Hip Hop legend Dan Lactose very kindly agreed to an interview about the late Stinkweed Kuklinski, legendary West Bay figurehead of such bands and projects as Plutocracy, No Le$$, Shed Dwellaz, Kompund and many more, and how he came to curate the Stinkweed Bandcamp page.

How did you and Stinkweed meet?

I knew about Stinkweed long before I met him.  I had seen his tags all over Redwood City and had been listening to Plutocracy since the “Progress” demo because I went to school with Kalmex.  I think the first time I ever met him Kalmex had me drive over to his house with a my mom’s 35mm camera so I could take some pictures of a throw up he had done the night before on the side of the freeway.  I don’t know if he would have even remembered that though, I think it took you meeting him a couple times before he really recognized you as being down with him.  Through Kalmex I met all the other Pluto dudes and started hanging out at some practices and recording sessions which eventually led to me and Max skating together a bit and eventually forming what would end up becoming Spazz.  This coincided with Max deciding to leave Plutocracy and I was bummed that they were calling it quits just as they were writing their best stuff and also, I was worried people would think I had a part in that all happening.  Of course, if this didn’t happen, there would have not been NO LE$$ who were one of the most innovative bands to emerge from our small scene.  Fast forward to 1995, I’m hanging out at the Chestnut Spot with a bunch of fools and Stinkweed comes up to me and asks if I’d be down to be the DJ for a new rap group he was starting.  I told him sure but I didn’t have any equipment to makes beats.  He said not to worry and about a week later we had a 4 track and a Roland MS-1 which, alongside a Boss DR-550, is what I used until I bought a MPC 2000 in 1997.  An interesting side note is that I had actually met Tizoe before Kalmex and Stinkweed.  We met in my 7th grade science class.  I had a bunch of pictures from Gorezone and Fangoria taped to my book cover and we started talking about horror movies.  Redwood City gets really fucking small if you are a true weirdo.

Who were inspirations to you and Stinko coming up through Hip Hop, Metal and Punk?

I can’t really definitively speak for Stinkweed on what actually inspired him but I will say that some of his favorite groups, to my knowledge, were: Pink Floyd, Above The Law, Exodus, Vio-Lence, Funkadelic, Zapp, Youth of Today, Black Flag, Hugh-E MC, Terrorizer, Mac Dre, etc.  I think we both really connected musically because we both were into hip hop before we discovered punk and metal and we could see the parallels between them very early on.  I remember one of the last times I ever hung out with him he told me that music was better when punks, metal heads and hip hoppers all hated each other.  I’ll never forget that.  As for me, Soulsonic Force was the group that hooked me on hip hop and Black Flag was the band that made me want to pick up a guitar.  Once 7th grade me bought a copy of Napalm Death’s “From Enslavement To Obliteration” on cassette, the course was charted.  I still distinctly remember sitting in the computer lab at school and playing Napalm Death on my Walkman for a girl that liked me.  The look of absolute disgust that she gave me told me I was definitely on to something.

How did the Stinkweed Bandcamp page come about?

Stinkweed’s parents invited a bunch of us over to their house to celebrate his first posthumous birthday.  I got there a little early and gave his mom and step dad copies of the Short Fast & Loud and Maximumrocknroll magazines that contained the tributes I curated for him.  While talking to his mom she remarked that she could find tons of his grindcore music online, but barely any of his rap recordings.  On the bike ride home I came up with the idea to create the Bandcamp page.  The first thing I put up was actually something that Stinkweed, Tizoe and myself put together after Stinkweed finished his final stint in jail.  We had been starting to reconnect after a huge fall out that stemmed from a disagreement I had with a certain person I will not name who managed to convince a large group of my friends to turn their backs on me.  Anyways, I had a near death experience in 2007 and I think it kind of reset the situation and we all slowly started coming back together.  When Stinkweed originally came to me his main goal was to dig out all the 4 track tapes that had Zodiak Iller (RIP) rapping on them so that we could digitize them.  We had a great afternoon drinking, smoking, ripping the old tapes and reliving memories, good and bad.  We were amazed that the transfer sounded so much better than we had remembered the recordings and wanted to save it for something special instead of just throwing it on the net or a bunch of cdr dubs.  When Stinkweed died, I felt I just had to share it with everyone.

Do you have a record you and Stinko collaborated on that you feel most proud of?

I think the Low Budget/No Budget compilation was the best thing we ever did together.  It was the culmination of 15 years of making music together, going from 4 track to 16 track to 2″ 24 track to Pro Tools.  I had lost my job after being hit by a car while riding my bike to work and Stinkweed was, well, he didn’t work all that much so he pretty much took the bus to my house everyday.  Luke Sick was working part time in the town I lived in so he would roll over after work and we’d usually already be in the midst of working on something or watching a movie.  It started to become the spot to meet and be creative and the project just came together naturally out of that.  It was great to see Luke and Stinko build off each other.  A lot of people don’t know that Stinko had an engineering background and he was involved in way more than just his vocal or guitar performances.  We both worked at the same recording studio for a bit and he attended a bit of a recording school program as well.  He was also an expert arranger, obviously born with a gift.  You could play him a riff or two and he would instantly come up with a grip of ideas how to use it or would pull a cassette out of his pocket and say, “I got a sick sample for that, bro!”  Every move he made was in some way working towards creating new art in one form or another.  He never fucking stopped!

What response/feedback have you received from the Bandcamp page?

Old RWC heads have told me they are stoked to have access to songs they maybe only had on some fucked up cassette they lost 15 years ago.  Aside from that, not much, although all the responses I’ve received so far have been positive.  Bandcamp is cool, but it’s rare that someone will sit down and write some critical text about it since it isn’t a real, physical release.  That’s why your website is so great, Jordan!  So many fucking blogs just repost the links and original write up/press release with no additional commentary.  The focus is not on quality posts, but the quantity of posts.

Any new projects on the horizon for you, or any upcoming re-releases/uploads of out of print Stinkweed material?

I actually have quite a few beat related things in the works.  My first ever fully instrumental release is at the plant now.  It’s a 7″ called “Revenge of the Crate Goblins” that will be coming out in a limited edition of 100 copies on Megakut Records. We’ve had to reject the first 2 sets of test pressings so hopefully the 3rd set works and we can get the damn thing pressed! I did all the beats for a project with Foul Mouth Jerk and Gus Cutty from Gurp City South called Scoff Law.  I believe they are wrapping up mixing that.  You can hear one of the tracks here:

I’m working on mixing down a 7″ by a young, up and coming MC named Lightbulb from the Sunset District of SF.  4 songs and I did all the production.  That will also be released by Megakut.  I just got hired by a group called Chainsaw Squid to make the intro and outro to their 7″.  I have 3 beats on a new project called Mutual Daps which is a kinda LB/NB project spearheaded by Luke Sick, TC Bonelocs and White Mic of Bored Stiff.  I just finished a remix for my homie Z-Man that will be on a forthcoming remix album that Gurp City is putting together.  Got some other things in the works that are a bit to early to really speak on.
As far as the Stinkweed Bandcamp page, I’ve been slowly upping the tracks for the Shedwellaz “Back 2 Tha Shed” mixtape which was the first release with Stinkweed’s resurrected Shedwellaz with TC Bonelocs handling the majority of production.  After that I’d like to do the Shed Dwellaz “Deadly Episodes” EP and the 2nd Kompound album, “Modern Crucifixion.”  I’d also like to add that I took this project on by myself and have just been uploading recordings that I either was involved with or lossless audio of.  I *think* Stinkweed would be into it, but like my homie Franko said, he was a crazy motherfucker who had been known to flip out on people misrepresenting his music.  For that reason, I’ve kept it all free and leave the disclaimer that if anyone involved in the recordings wants me to take them down, I will.  So far everyone has been really stoked and it’s saved me the time of burning cdrs for all the people who inundated me with requests after he died.


What are you currently listening to?

Da Buze Bruvas, Bangaar, Sepsism, Beatnuts, Villains, Pagan Altar, William Onyeabor, Yabby You, Om, Step Brothers, Original Concept, Paul Chain, Sir Lord Baltimore, Syl Johnson, Leviathan, Master’s Hammer, Funereal Presence, etc.

Anything You would like to add?
I guess I’d like to add that the relationship Stinkweed and I had definitely had it’s ups and downs, but I’m extremely grateful that we were so close during the last few years of his life.  We played in Torture Unit together, recorded the Low Budget/No Budget album, played a bunch of shows and communicated with each other almost daily.  He was a huge inspiration to me and it was an honor and a privilege that he chose to work so closely with me for all those years.  I loved him like a brother and miss him dearly.  There will never be another Stinkweed.

Thanks again to Dan for this interview and his support for GonzoK. You can check out the DJ Eons One Soundcloud here.




Acid Feast is a Mince/Grindcore band from Seattle. This demo consists of raging, Mincing Grindcore bodychecks full of downtuned Gore Guitars, mad blasting blast beats and gross gory low low vocal with Mince bellow vocal trade-off. There’s also plenty of Hardcore Punk influence to be found in the Drumming, which adds a little something to the already pungent brew, and of course Dahmer and Hip Hop samples (Obviously!?!). Putrid, nasty, chaotic and disgusting. The 4 track tape recording quality is awesome, and everything sounds completely burnt out, fucked up and broken. If you enjoy Parfumerie, Hyperemeses, Parazitozis or Pancreactomie you’ll dig this shit. A really great demo, I’m certainly looking forward to their next release!



Pancreatic Carcinogenesis is a Goregrind project from South America, with this demo being released on the Ultra Noisy Shit!! tape label. One track, 2 Minutes 08 seconds of punked out, D beating Gore carnage. Cool Drum sounds, Guitar Noise slop and vocal ranging from human gurgle to Gorenoise toilet flush. Rancid, toxic, low rent and greasy. There’s nothing like innovation going here, but if you like Autophagia, Scatological Madness Possession or Dysmenorrheic Hemorrhage you’ll enjoy this. I wouldn’t be surprised if this was from the same person behind Brain Hypertension, so if you hit that link from a while back and enjoyed it you’ll dig this one too.

Mediafire – Linked from the Ultra Noisy Shit!! Blogspot


Coloniser is a Noise project of Andrew Nolan, best known for bands The Endless Blockade, Column Of Heaven and Shank, as well as other Noise projects including Joshua Norton Cabal and Death Agonies. ‘Macaulayism’ is a haunting, dreadful meditation on identity and violent colonisation. Waves of droning carbonized Ambient Noise, right on the brink of all-out Harsh, and wailing, moody Synth(?) wax and wane beneath primitive, near-Industrial beats and death rattle vocal tear. Layers and layers of texture and ranging dynamics create a dense, sweltering feeling, and the vocal brings a kind of Power Electronics-ish focal point, a human voice straining to be heard over the cacophony. These brooding, bruised sounds create a terrifying, heavy vibe of abuse, organised violence and cultural rape. I had images of Cannibal Holocaust playing over and over in my head as I listened to ‘Macaulayism’; the film’s brutal depiction of White atrocity on ‘Indigenous peoples’ makes a perfect visual Coda for Coloniser’s critical intent. Think Swans, SPK, Godflesh or even at times soundtrack Maestros Goblin, at least aesthetically. Unsettling, culturally confrontational and essential.

Survivalist Deathcult


AMA is a solo Noise project from Italy. Circuit bent Toy Keyboards, crude broken Dance beats, pulses of weirdo samples and a strange cut and paste, near Hip Hop sound at times, with an overall experimental, throw away vibe. Very minimalist, sparse and rubbish, and not particularly Harsh in terms of Volume or Timbre. By framing these compositions around rudimentary beats and scratch samples, the record has a dance-able groove in parts, but then careens into super fast, buzzed Noise bends and up-tempo beat implosions. A very unique, strange sound project, recommended to fans of left field Hip Hop or Electronic Noise.



Split between Belgian Mince maniacs Blood Suckers and personal favourites Captain Three Leg. Both sides of the record were recorded in 1999 and released some 13 years later. This record represents a sound the Captain left at the wayside a long time ago; crushing, blistering Goregrind/Grindcore. There’s lots of variety in these songs, between spacious mid paced parts, raging Hardcore riffs forced over blast beats and super aggressive, barbaric low vocal scrape. Gnarly, gross and still very memorable and catchy, with a very thick, pummeling recording quality, and a certain Death/Doom vibe at times. The Blood Suckers material here is equally awesome and impressive, dealing out Punk as fuck Mince/Grind with ferocious determination. Crazy blast beats, grinding Bass, three chord Guitar degeneration and manic low low vocal/Mince burl vocal/super shriek trade-off. Drunk, raging, mad fast and very nearly off the rails. The recording quality is extremely burnt out and raw, perfectly complementing this kind of Mincecore nonsense. I would also like to mention my love for the album cover, which is stupid, weird and a personal favourite among stupid, weird Captain Three Leg split record covers. A great split!



Latest split release from Gonzo favorites Captain Three Leg, this time with ex Black Market Fetus guys Ghostbusters. The Ghostbusters material on this record is some caustic, burly Hardcore/Grindcore with a heavy ’90’s recording quality. Lots of mid-paced Hardcore songs fortified with blitzing fast parts, blazing three chord Punk sections and grunted/shout vocal. Reminds me a lot of Lack Of Interest, and at times Elephantman. Very enjoyable. The Captain Three Leg songs here continue their recent spat of melodic Hardcore with a nasty Grindcore edge. Again, lots of mid-paced Thrashin’, with Guitar parts that range from wasted, sloppy Punk Rock to blurred out super fast Grindcore wipeout, with vocal here consisting of a really cool high/low trade-off between guest shouters Andrew and Nate. Catchy as hell, bouncy, and lots of fun. The more I think about it, the more I think Captain Three Leg sound uniquely dismayed and annoyed at the world around them; most Grindcore/Hardcore of this type sounds super aggressive and angry, but C3L sounds irate, jaded and sarcastic. This quality is one of my favourite aspects of their Hardcore material. A great pairing of complimentary sounds, with some brilliantly stupid artwork. If you dig it pick up a copy from the bandcamp page for only $4!

Mortville Noise



Split between two heavyweights of Canadianoise, the Prince of Mince Archagathus and Gonzo favourites Hyperemesis. The Hyperemesis side of the tape is some of their thickest and sludgiest sounding material to date. Expect downtuned, gross Gore/Mince covered in D Beats, blast beats and rank vocal vomit. Their tracks were recorded as a two piece, with Isaac of Grind band Detroit on Drums, giving their material here a live rehearsal sound; much of the rancid spew low low vocal is actually lost to the crushing murk of the Guitars, which isn’t such a bad thing. Many of the songs here are re-recorded, but the whole thing hangs together well as a set of ‘songs’ and is probably one of their tightest recordings musically. The Archagathus side of the tape is a bit of a detour from their usual Polka Mince mastery; although the Mince remains, there’s a very heavy old Goregrind vibe in the blast beats and low ass troglodyte gurgle vocal. This is actually some of my favourite Archagathus material since their ‘Mincecore Fever’ discography that collected their early splits. The recording is very raw, even for Archag, which again is always going to appeal to me. Unfortunately the Archagathus side of the split isn’t available to download, but go ahead and stream it until you can snag a physical copy or a download’s available. Obviously excellent!

Archagathus Bandcamp / Hyperemesis Bandcamp


Holy Cow is a three piece from the States playing noisy, downtuned, Mincing Gory Grindcore. You know what to expect; lots of blast beats, D beats and Mincing parts, super gross Guitar slime, really stupid samples and brutal low low/Mincecore burl vocal. This is one of the more sloppy, low rent Grindcore/Mince demos I’ve heard in a while, with a great/shitty recording quality and seemingly zero effort put into a clear recording (in a good way). The Drums in particular sound totally unweildy, crappy and awesome. Because of the recording quality I can see fans of Noisecore enjoying this, as well as fans of stuff like Lt. Dan, Shit Life or SRAM. Dig.



Slum Killer is a Noise/Drone project from the States, dealing in aggressive, pulsing Dance music with an Industrial/Noise aesthetic. Harsh screaming vocal skims across dirges of weirdo Synth, coming across like a super whacked out John Carpenter soundtrack drenched in tortuous screams. Downward-spiral echo wipeouts, Pulse/Drone wobble and an ear towards Dance music in terms of beats. There’s very MOOG-y sounding melody to be found in the Synth lines, which creates an interesting contrast with the harsher sounds here, and makes for an overall intriguing record. Short and sweat.



Festering Recto Gangrenous Slime is a two man Goregrind project from the US. As much as I find personally that the band overuses some of the more tired tropes of Goregrind aesthetically, sonically their particular brand of Death Metal-ish Gore is very enjoyable. The Drum programming is quite varied in terms of pace, and the vocal is suitably shifted, low and disgusting. What intrigues me most about F.R.G.S. is the Guitars; there’s some really Sabbathy shit going on here, particularly on opening track ‘Macerated Tits(?)’, as well as classic style Death Metal riffs and more traditional Gore grooves. The whole record has a real bedroom demo feel also, which I always dig. Punk, Doomy, Sludgy and Gory, it’s nice to hear a band confidently draw from different styles of extreme music as influence. A good demo from a band to watch.



Tetem is another Gore/Noisecore unit from the HappyHappy NoiseNoise label, also out of Hungary. This demo is 1 minute 16 seconds short, a single track with two songs, and because it’s painfully short I’m desperate to hear more. I guess you could describe this as D beat Noisecore; the Drumming is way more on the Punk/Hardcore side of things, the Bass sounds ropey, thick and blurry and what little vocal’s present is super harsh and pained. There’s also a real Gory vibe going on here too, and in some ways this reminds me most of Canadian Gore/Mince nutcase Andy’s Hyperemesis. An interesting concoction of sounds, one that leaves me starving for more. Here’s to a longer, more fruitful demo from Tetem!

HappyHappy NoiseNoise


Chappa’Ai is a Noisecore band from Hungary, featuring Marci from the excellent one man Goregrind project Parazitozis. Chappa’Ai play a very unique, druggy take on classic blistering Noisecore; they combine furious blast beats and rumbling Bass noise mayhem with extended spacy Drone passages, Harsh Noise sections and utterly manic distorted Blurcore vocal. The end result is mystifying, raging pissed, alien and really otherworldly, with a psychedelic Jam band vibe. The closest band to Chappa’Ai sonically would be dutch Sci Fi Noisecore band CSMD, but I find Chappa’Ai far more weird, inaccessible, THC addled and confusing. This almost sounds like a bunch of stoned WORLD fans trying to make a Hawkwind style space odyssey, which if your anything like me you will find most appealing. A must listen for Noisecore idiots!

HappyHappy NoiseNoise


Pacing is a Power Electronics unit from the States. Droning, pulsing, crushing layers of toxic, white hot Harsh coalesce and collide in looped, grinding slow motion, with different vocalists on each track with varying levels of distortion. I find a lot of this kind of Power Electronics to be quite tame and repetitive, however Pacing keep this kind of Noise extremely dynamic, claustrophobic and pointed. I find the intensely distorted vocal on the record more interesting than some of the comparatively clearer performances; that additional layer of grit from an organic voice buried under nauseating compression/distortion rounds out an already discomforting and unsettling listen. Some of the spoken word vocal adds a real sense of range and dynamics also. Overall a really impressive record, and one to check out if you find Power Electronics can be a little one dimensional.

GK#143 / Human Beard


Orange Annihilator is the Noise project of George Moore, also of The Cryptic Yeast and Prime Eggsample Records. ‘Candidate For Heart Disease’ comprises 6 tracks of Harsh Noise/Drone/Harsh Ambient. Droning waves of crackling sound wash over each other, making way for timbre/volume swells, and climactic, orgasmic sonic peaks, with a focus more on Drones than cut ups. Enveloping, unsettling, vast and punishing. The palette of sounds is pretty wide, covering ground between HNW and minimalist sound scape, and makes use of sampling and occasional fractured melodies. Texturally these tracks are really interesting, perhaps owing to the use of a Guitar to create some of the Noise found here, and there’s a sense of space between noises, creating a dynamically Harsh sounding but not overly dense listening experience. Dig.



Internal Rot is a Grindcore 3 piece from Australia, featuring members of Agents Of Abhorrence, Super Fun Happy Slide and Roskopp, and in all likelihood others. 6 tracks of girthy, fattened, Bogan 90’s Grindcore. A cohesion of Crust Punk bile, Death Metal obesity and Grindcore intensity. Torrential blast beats with lots of Punk breakdowns, slabs of beefy Guitar buzz and deranged low end vocal blurt/manic high shriek combo platter. I can’t nail down specifically why, but this is an instant classic record for me; the combined elements completely nail that classic 90’s US Grindcore sound, and more importantly the vibe. The band get a lot of comparisons to Excruciating Terror, a comparison they aren’t and shouldn’t be ashamed of, but I feel there’s a broader 90’s sound going on here than just worshiping one band. I would say there’s a dose of Benumb in here, little bits of Disrupt, little bits of Assuck, perhaps even a pinch of Enemy Soil, and Internal Rot makes these sounds firmly theirs. As I said before, to me this is a classic modern Grindcore EP. If you enjoy any of the other bands mentioned here, you’re gonna want to check this one out.



Bruising Deathgrind from Canadian outfit Bungus. 20 quick tracks of stodgy, dank Deathgrind, combining Thrashy Hardcore elements and whirlwind Death Metal with aplomb. The recording quality is loud and clear but not clean, with lots of grit in their chugging Guitars and throaty vocal shriek/growl, and particular clarity in the Drum sound. There’s plenty of variation on these songs, with lots of downturns into slow-ass Sludge sections and mid paced Death Metal stomp. As I’ve mention elsewhere on GonzoK, I find Deathgrind very hit or miss, but there’s enough Punk, spit and grime here to keep me happy, and Bungus do an excellent job of balancing their influences and sound, keeping their material cohesive and riffy, yet brutal and primal. One problem I do have is that occasionally the vocal drifts into inhale-sounding growl, which really doesn’t do it for me but might not be an issue for you. Check it out!