ASrock

Music:

Member Since: 5/3/2005
Band Website: fulleffectrecords.com
Band Members: ASROCk/Final Cut/Method of Operation............................ The Final Cut has been an international underground electronic music enigma since emerging from the late 80s Detroit underground. Final Cut began when Anthony "Asrock" Srock, then a radio and club DJ, began collaborating with techno DJ Jeff Mills. The pair struck gold with the international club hit "Take Me Away" just as Detroit technos first wave began to crest, and of course didnt see a thin dime from it as was the fashion of the day. But the sound was a mix of industrial, house and techno, aggressive but uplifting, and showed Asrocks roots as a DJ absorbing different genres to make the best record. Mills left for a career of minimal techno and was replaced by drummer and programmer Joseph LaFata. Asrock and LaFata took FC into a more aggressive industrial direction with "I Told You Not To Stop" in the early 90s, with Srock stepping out as frontman and vocalist. The single led to an album deal with Nettwerk Records, home to fellow industrial-and-then-some act Skinny Puppy. The resulting album, 1992s Consumed, evolved the Chicago industrial sound into a more Detroit-bred, bottom-ended sound, full of churning riffs and wide-load beatsMinistry upended by P-Funk. The album featured collaborations with Revolting Cocks/Ministry alums Chris Connelly and the late, great William Tucker (RIP). It also showed Asrock emerging as a seething frontman of a sound that straddled techno, industrial, deep riffs and melodic rock. It was also, of course, way-too ahead of its time. Despite all-live, sampler-free, full-band supporting tours with Chris Connellys band and My Life With The Thrill Kill Kult, Consumed suffered from being on a Canadian label more devoted to Sarah McClachlan than artist development. Down but not out, Srock returned with 1995s Atonement, recorded at Chicagos Warzone Studios and first released on Chemlabs Fifth Column Records and then re-released in 1998 on Slipdisc/Mercury. By now, LaFata had settled down and left, replaced by Greg Lucas, CreepyK, aka Kurt Komraus, of Lick and guitarist Max Edgin of 13 Mg, fellow midwestern axe-wielders with a taste for wicked beats and hard sounds. As Ministry was turning into a death-metal parody, Nine Inch Nails was becoming "The Crow On Ice" and Filter was turning into an alt-rock footnote, Final Cut wasnt having any of it. With the production of Van Christie of Die Warzau and Jason McNinch, cuts like "Terminate" sharpened the hard groove FC sound into a "one chord and the truth" as Lou Reed might put itwith the requisite earth-mover beat under it, of course. Cut to 2005. Joe Lafata has passed. Asrocks mother as well. Times are tough again, in a different way. When Final Cut started, Public Enemy welcomed us to the Terrordome; now theyd welcome us to the Astrodome. Asrocks been around the country, stopping in Chicago, the West Coast, and, after the death of his parents and a nervous breakdown, back where he started in Detroit, taking care of his family. He jumpstarts Full Effect recordshis own label and Final Cuts original portal to the listening world, immortalized by the slogan: "If it gets you erect, its on Full Effect." Thus re-erected, Srock rallies CreepyK and Max, then calls up Taime Downe, an old pal from Pigfaces revolving cast of characters. Taimes better known as frontman for hair metallers Faster Pussycat, but more recently a born-again Goth/industrial entity singing in his band the Newlydeads. Downe brings on Newlydead Xristian Simon, another guitar player who knows his way around a brit-pop melody and heavy, timeless riffs. Add to that production from Baltimore vocalist Ric Peters and Chicago engineer wunderkid Jason McNinch, and Method of Operation represents the most collective Final Cut effort to date. Asrock humbly puts it, "Like most Final Cut records, the sum is greater than its parts." With this many parts, it would have to be. Working between Detroit, Chicago and LA over the course of 2005, Asrock and his band of riff- and beat-happy gypsies piece together what will become Final Cuts strongest work yet, Method of Operation. Ten tracks of wide-load beats, bulls-eye riffs and Final Cuts trademark seething ominousness. The vibe is menacing, ornery, but in a positive way. Taime, Max and Xristians guitar work is extraordinary, punchy but articulate, driving without just being relentless. The album opening "Come On To You" may be the most melodic riff ever in a Final Cut song; its also one of the heaviest. A song like "Be Alive" is just what the title says, a song about persevering through anything life throws at you. And then theres curveballs like "Mutiny," an underwater psychedelic half-speed tune featuring former Big Chief guitarist Phil Durr. The Final Cut sound has matured from its industrial techno roots into a hazed and razed sound that recalls heavier goth-pop bands like Jesus and Mary Chain, Love and Rockets and Peter Murphy while still giving club deejays deep-cut BPMs to choose from "Ten years ago when we tried to make a melodic industrial record we felt about as welcome as a narc at a biker rally,"" says Srock. "Now the games finally wide-open enough again that we can do what we want and our fans will get it." And why wouldnt they: underneath the queasy riffs and torn beats is a simple message: you keep going, no matter what. Embrace the adversity. That which doesnt kill you only makes the music stronger. These are songs of survival, after all. Surviving the hard times, surviving the death of loved ones, surviving all the getting f-ed over. Most of all, surviving yourself. Method of Operation, indeed. Dont call it a comeback, Final Cuts been here for years. Hobie Echlin /Aug 2006
Influences: When I raise my flashing sword, and my hand takes hold on judgment, I will take vengeance upon mine enemies, and I will repay those who haze me. Oh, Lord, raise me to Thy right hand and count me among Thy saints.
Record Label: FULL EFFECT RECORDS
Type of Label: Indie