Theory of Ruin — Counter-culture Nosebleed

Since he has been focusing on production duties for the last few years, many people thought that Alex Newport’s days as a musician were over. But there was still something in him that wanted to let the world know that he could still provide the goods. Theory of Ruin is his new band.

I guess many people wouldn’t react when Alex Newport name is mentioned. Well, a little reminder is necessary then… During the early nineties, he was the man behind Fudge Tunnel. He is more famous for having been one half of Nailbomb (the significant other being Max Cavalera, then still in Sepultura). As I said, since then he has worked as a producer, being credited on albums of bands such as The Mars Volta, At the drive in and The Melvins.

Just like Fudge Tunnel, Theory of Ruin is a trio. The bassist toured with Slapshot and the drummer, besides playing mostly free-jazz stuff, was the percussionist on Mr Bungle’s California tour.

There are of course traces of Fudge Tunnel in ToR: Newport’s guitar-work is immediately identifiable as coming from the industrial rock tradition: sharp, biting, groovy but not too much, heavy as fuck. But ToR’s music is not a mere copy of Newport’s previous works. The first time I heard the album I thought it was a less brutal version of Zeni Geva mixed with a less melodic Fugazi and topped with some Godflesh eccentricities.

Theory of Ruin’s songs are quite dynamic, almost up-tempo, departing in that aspect of the industrial tradition. The overall sound is quite discordant and the down tuned bass lines are more elaborate than what one would have expected coming from someone who played with Slapshot… Surprisingly given the man’s background, Ches Smith drumming has more to do with heavy pounding than with intricate polyrhythm.

Although the music is based on song structures, one could hardly describe ToR as “song oriented”. The music is too harsh; the choruses are hardly ever catchy enough (except on the excellent Type a male). In a way, the mood is quite negative so it’s difficult to get into this record. But it shouldn’t be too long before you actually start liking the songs more and more. If you have no problem with noise-rock, industrial or hardcore, that is…

By the way, the master work of the album is the 13-minute long last track with its Swans-like drumming and a guitar bringing the goods/noise.

Counter-Culture Nosebleed is quite a nice debut album, but I expect a little more from Newport. Anyway, I will keep an eye on their next releases. I heard they had a new ep out. i should check it.