By LA Weekly
By Henry Rollins
By Weekly Photographers
By Shea Serrano
By Nate "Igor" Smith
By Dan Weiss
By Erica E. Phillips
By Kai Flanders
Forty songs were recorded for A Sufi and a Killer, says GLK; of those, they put only the cuddliest on the album. The songs that terrified even their creators — "the most demented robotic distorted fucked-up industrial post-punk shit" — sit in the vault even yet, awaiting release possibly in 2012, as the Mayan pyramid ships float into place above all major American cities. Either event would annihilate society.
Until then, we have DEATH GATE and "When I'm in Awe" and its might-as-well-be title track "Shattering Inner Journeys": war drums and space bass and digital reinforcement by Computer Jay over music as murky and menacing as Pere Ubu's "30 Seconds Over Tokyo." It is raw and ugly and weird; it sounds like hell because it is exactly designed to.
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"The dopest hip-hop shit was the dirtiest Wu-Tang shit with the breaks that made you go fuckin' apeshit! That hard Black Sheep shit, Dilla shit — that neck-snapping shit!" GLK says. "That's what makes you wanna dance, makes you wanna jump up and down, wanna sock somebody, get rowdy in the club. ... It's those beats that are so dirty! Not that glammy glitzy girly shit for girls, that R&B for soft people — it's none of that! It's that hard neck-break shit. That's the whole fucking science behind my shit. That raw shit. You find it any way you can in any genre you can — as long as it's raw."
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