96 Bitter Beings "Return To Hellview" (2024)

This entry in the journal is less "review" and more of a footnote for myself and any of you reading who are fans of CKY. Former band-mate Deron Miller, also of Foreign Objects, split with the group in 2011, leading him to form 96 Bitter Beings. The project fels like a branch of the same tree, this release enforces that notion with authority.

 

Selecting some of the best tracks from An Ånswer Can Be Found, Infiltrate Destroy Rebuild and one off Volume 2, Deron stamps his mark on these classics, re-recording them in modern glory. The performances are tight, production bold and chunky, instruments don't shy from being heard. He and his band mates really do them justice.

Carrying the energy and charisma of its originals in stride, extra layers of synths can be heard on a few tracks. Occasionally sprucing up some passages with additional harmony, the added creatively is mainly reserved for the end of songs, fills or transitions that get a redesign. Its fun to spot the differences, they don't spoil a thing.

I can't help but feel I might gravitate to these re-recordings when in need of some CKY nostalgia. They are simply really well done and Deron's voice is key to that. His performance glues it all together and gives this project a seal of authenticity.

 

Rating: 7/10

96 Bitter Beings "Camp Pain" (2018)

 

Yes, that 96 Quite Bitter Beings, CKY's best known song! Taking on its classic name to signify his artistic intent, Deron Miller went solo a year on from when his former band mates produced The Phoenix. Often credited as the brain child of Camp Kill Yourself's unique persona, my impression of CKY without him was an adequate one, yet with Camp Pain you firmly hear the creative source in action once again.

Although this record wanders into a few odd curiosities, acoustic tangents and Cavalcade Of Pervesion's odd sample snippets interchanging with a synth jam, its mostly a rocking set of songs. They firmly strike the charm that made CKY so charismatic and unique compared to other metallic Rock groups of the time.

Its oddities muddies the pacing, along with a brilliant cover of Micheal Jackson's classic Beat It. Not the first metallic cover, yet they nail it with attitude. Wedged in the middle, it breaks the albums tone as mood is suddenly shifted, rather than being a little icing on top nestled at the end of its runtime like a cover might normally be.

Not to dwell on its inadequacies, Deron's guitar style pairs wonderfully with starchy synths that boldly punch in tuneful contributions, as do his mingled lead and rhythm riffs that ebb and flow with groove and melody. Megadextria nails their early tone, vocals harmonizing with a breezy pace not found to often across its thirty minutes.

Deron's singing comes across a little rugged and aged in patches, not landing like it once would. The Whipping Hands is another track echoing former glory with memorable choppy, galloping melodic riffs, yet not firing on all cylinders. Ultimately, Camp Pain is solid, yet somewhat mixed in the shadow of legacy. It's well worth a listen however, plenty to be enjoyed between compositions less fruitful.

Rating: 6/10

CKY "An Ånswer Can Be Found" (2005)

 

 

Fond for a touch of nostalgia and youthful memories, I thought I'd give this overlooked Camp Kill Yourself record another try. Released amidst the years discovering Extreme Metal and darker sounds, An Ånswer Can Be Found fell wayside among a group of friends who adored the CKY videos and soundtracks. With matured ears, one hears an intelligent craft through thoughtful songs falling mercy to its mid tempo pacing and calmly subdued temperament. Experimenting further with channeled guitar effects, their tuneful leads retain a distinct character encroaching on an electronic tinge.

The emphasis on a warm gooey vibes gives its mood a welcoming tone but sucks away some of the sporadic energy previously associated with the band. Frequently do its unique melodies ride upfront, exchanging harmony with Deron's competent singing. In doing so, its chugging guitar grooves drift by, plodding along with murky intent and lacking intensity. This chemistry is why I think the record once went amiss. Now I rather appreciate its balance, which gives illumination to their melodic expression and especially the slick, gorgeous, often brief, guitar solos that dazzle upon arrival.

When the guitars shift into tandem mode, the classic CKY grooves croon again. Their dynamic sway, traversing rhythm and melody simultaneously, sounds ripe on Deceit Is Striking Gold yet elsewhere it lacks the spark. Again, another addition to the initial disappointment, a muddied step into a refinement of sound that matured in its lack of bombast and explosiveness. It comes across soft yet has quite an endearing comfort as one gets to know the better malf of its songs. A fun listen! Perhaps An Ånswer Can Be Found is one that would grow on me with more exposure.

Rating: 6/10

Sum 41 "Chuck" (2004)

 

Initially, the Canadian Pop Punk outfit Sum 41's fourth outing was supposed to be the most exciting! Hailed as their most metallic release, I was keen on seeing how their Pain For Pleasure and Reign In Pain tributes to classic Metal would manifest with a prominent roll. With their warm, poppy personalities stripped out, replaced by a glum tone looming over the record, the music isn't as appealing without that bright, upbeat streak of Skate Punk. Softly depressive, gently downtrodden and moody, the metallic pursuit leads the music to an angsty self-defeatist tone I failed to vibe with.

Given previous manifestations in the spirit of Judas Priest, Iron Maiden and Metallica, I was expecting more of that! The latter of which you do hear on occasion. Oddly, its the then dead Nu Metal genre that has its influences. The catchy lyrical cadences of Chester Bennington is obvious at times. More so Papa Roach of all bands. Many distinctive arrangements from Infest, both vocal and guitar driven, make themselves known, as well as a riff from System Of A Down. When turning to Metal, originality clearly is lacking and the chopping between contrasting styles is far from fluid.

Disappointed by the glum tone of Nu Metal influences, the Punk leanings get dragged along in that dreary spirit. The riffs are not as bright and chirpy, lyrics lack an emotional resolve once heard before and ultimately its mood is a drag. Of course it has its merits, catchy choruses and the occasional riff but I found myself pulled into those hopeless teenage moods id rather forget. You could say its personal bias however I'd defend how naked some of their musical compositions are in the shadows of others. It drowned out originality and left a sense of disappointment with me.

Rating: 5/10

Sum 41 "Does This Look Infected?" (2002)

 

I've had nothing but fun with this cheap and cheerful record! Following up on a massive breakout with All Killer, No Filler, the Canadian Pop Punk outfit keep things simple and straightforward with a fraction of polish around the edges. Fast and fiery, the forty minutes of Does This Look Infected? storms out the gate with all energy intact. Keeping one foot on the gas, the band blaze through the motions with moments of dazzle and creativity as crafty vocal cadences, harmonies and interchanging guitar arrangements seem to frequently add spice to the mold these songs are cast from.

Lyrically, a similar sense of unrealized maturity emerges. The youthful angst, anger, adrenaline and notions of identity expressed get caught in a web of casual language. All to often does a streak of self awareness seem to offer a subtle antidote to teenage woes. It perhaps something I could of done with myself in those painful years. The only cheese I smelt came through their fun Beastie Boy raps, taking shots at the conformists suits! An amusing topic but one that seems far more relevant in youth.

The group have a streak of Heavy Metal adoration best pronounced with their Pain For Pleasure tribute. On this outing, Reign In Pain, the "Heavy Metal Jamboreee", follows this up and extends the style shift with World War 7 Part 2 to close the record out. These are significantly unpopular songs acording to Spotify but on the popular tunes, Still Waiting, No Brains, Mr.Amsterdam Billy Spleen, one can hear injections of classic Thrash Metal guitar riffs swiftly sliding into the solid Pop Punk structure.

Obviously, this is a delight to me. I do find it interesting how blunt of a Metallica riff they can just push into the albums biggest song... and it works! A lack of familiarity has aided greatly with this one, the lack of knowing and detachment of youthful memories was a breath of fresh air. I am sure this journey will get more exciting with the next installment, Chuck. I'm told it takes a much bigger shift towards Metal.

Rating: 7/10

Sum 41 "Half Hour Of Power" (2000)

  

Released a year prior to All Killer, No Filler, the Canadian Pop Punkers debuted with this mini album, Half Hour Of Power. Its another suitable title to represent what awaits as the blaze though eleven fast and furious chops of bright, melodic, teenage Punk. Interspersed with brief stints from other genres, the group gather some distinction. Opening with Grab The Devil By The Horns, the original working of Pain For Pleasure, they may mislead with classic Heavy Metal leads, screams and riffs deployed as weapons of choice for the opening act. Its this metallic inclination that crops up again with spouts of aggression heard on T.H.T and Ride The Chariot To The Devil.

With a fun and goofy pivot, each of the lads showcase their Beastie Boys imitation raps on What We're All About. Its upbeat, tongue in cheek and a great laugh however Second Chance For Max Headroom's doesn't yield the same. Pivoting away from its dexterous, metallic, melodic leads that blaze away with pace, the switch into Ska as trumpets arrive on a new groove, was certainly less desirable. Its probably the one blemish were thees guys excel at having tremendous fun with their influence, which they put front and center.

Otherwise its mostly straight Pop Punk with great upbeat vibes. The lyrics release youthful grievances and teenage troubles against the backdrop of fast tempered drum grooves and power chord strumming. Most these songs could be interchanged onto All Killer, No Filler. Summer being the one song that made it over and I wouldn't say its the best on the record. Makes No Difference feels like single material, capturing that energy of Fat Lip and In Too Deep. The difference is the recording fidelity. This was obviously recorded on a lower budget yet the music overpowers as its thirty minutes are a blast!

Rating: 6/10

Sum 41 "All Killer, No Filler" (2001)

Talk about a blast from the past, my teenage days of lounging on the couch after school, watching MTV for hours on end have returned so vividly! As one of Pop Punk's best offerings, the four friends of Sum 41 rose to prominence off the back of two massive singles, In Too Deep and Fat Lip. Both songs still sound fantastic to this day. Banging out the warm bouncy riffs, fun light hearted raps and instantaneously catchy hooks, these songs are so hard not to like, which brings me to musical elitism.

I remember loving these songs, as well as Pain For Pleasure, immensely. I'm also positive I had this record and one other of theirs in my collection. I am guessing as my tastes turned darker and harder, my naive youthful elitist Metalhead mind purged this "pop music" from the archives. Now a couple decades on from those years, I'm quite fond of hearing Pop Punk of that 00s era whenever it happens to pass me by.

Either Green Day, The Offspring or Blink 182, which I supposedly hated at the time, I can't deny my love of their songs I'd heard on the Tony Hawks Pro Skater soundtracks over and over again. Spending time with All Killer No Filler hasn't exactly increased my appetite for the genre, in fact its the same as I remember but at least now I can enjoy the warm fuzzy feelings these guys extract for suburban teenage problems.

As the title suggests, the band blitz through their ideas on a string of briefer three minute songs. Its fast, lean and sharp, with mouthy attitudes shouting off. Its not aimed at anyone, or with any malice. The tone is bright, sunny and upbeat. Its vibes get interspersed with fast tempos, choppy riffs and fun aggression, a typical chemistry for the genre. Most these songs lyrics have the finger keenly on the pulse of ones own emotions, relationships and mental health. A term not in the vocabulary of the times.

Despite being keenly introspective, it all tends to be ankle deep and light hearted, straight forward expressions, often airing out grievances and frustrations over suburban teenage issues, all with a decent spirit. Strangely I didn't find much of the lyrics cringe or typically angsty, the sort you'd find in embarrassing reflections on youthful ignorance. Even the anti conformity lyrical chants of Fat Lip hold up.

Lastly, Sum 41 have a slightly metallic edge. It doesn't manifest often, one or two "heavy riffs" and blazing guitar solos nod to their other influence. They give a wonderful tribute to Judas Priest with the albums closer Pain For Pleasure. Its quite possibly one of the best executed imitations of Priest you'll ever hear. It gives credit to the musicianship of these individuals who step into a genre easy to emulate yet hard to rise to the top of, which they did if you count music sales and chart success as a measurement. I've always been curious about doing a dive into Pop Punk but my time with this record didn't connect deeply. Had I gravitated to it in my youth, I'm sure I'd consider this a classic!

Rating: 7/10

CKY "The Phoenix" (2017)

The legendary CKY from West Chester, Pennsylvania, also known as "Camp Kill Yourself", were a fond part of my youth. Soundtrack to the CKY movies full of skateboarding, pranks and tomfoolery, their songs were drilled into my mind as we watched them over and over alongside Jackass. I often return to their first two records and had the opportunity to see them live for the second time in a small and intimate venue recently. It got me hyped up for this record after having barely heard a thing from them in over a decade.

This is the bands first record without former front man Deron Miller who departed back in 2011. He's one of the original three and in his absence Chad Ginsburg has stepped up taking on the vocal role, performing the guitars, synths and continuing his duty as the bands producer. In Deron's absence their persona hasn't been tarnished, the music comes from the same place and Chad has the voice to fill his boots with a very similar vocal style that you may not of noticed had changed if you picked this record up unknowing to the lineup change.

The Phoenix is an album for the stage. Fun, lively and energetic, full of charisma. CKY continue to develop their unique sound while boldly showing their influences as flaming guitar licks emerge from their more traditional, grungy power chord grooving. With Chad in the limelight he takes the opportunity to show off his inspiring guitar skills with tones of wild, soaring guitar solos, blazing a trail of notes to try and keep up with as he quite frequently gets into the roll, especially on "Days Of Self Destruction" where the last ninety seconds of the song is dedicated to nothing but the shred!.

Many of the songs have similarities to their early classics, however they feel fleshed out with thick instrumentation that has synths humming between the cracks of bold audacious baselines that prowl and groove. The guitar leads stack up over the power chords with short lively melodies and Jess's drumming holds in all together with a subtle roll to gel everything together without being overly present. The sort of performance to impress when given due attention.

I love the density of this record. Without being overtly heavy CKY shine on the musicality that loads every passing moment with depth as everything has an intricacy. Although the song structures are rather formulaic and many sections repeat it always feels big and ambitious without being "heavy". Chad's Hard Rock and Funk influences definitely make themselves known here without taking away from their core sound. Its a very solid record with a few songs to match some of the classics.

Favorite Tracks: Days Of Self Destruction, Wiping Off The Dead

Rating: 6/10

Suicidal Tendencies "World Gone Mad" (2016)

Mediocrity is currently the theme but its not surprising when getting to the older acts who released new material this year. Its usually the fresh faces that push boundaries and Suicidal certainly had their moment in history being the band to mix Hardcore and Thrash Metal, known as Crossover Thrash. Their song "Institutionalized" was a big hit on MTV, when MTV played music videos and a couple of their early records are considered genre classics. Singer Mike Muir is the only remaining original member on their 12th full length record which includes the recruitment of legendary Dave Lombardo of Slayer on drums, who does a solid job but little to save the record from its averages.

So the album opens with a real banger, "Clap Like Ozzy" a furious fast passed thrasher with a meaty base line rattling away under the high intensity guitars. Mike Muir does his usual thing but fails to make much of an impression beyond the title hook, most of the chorus / vocal hooks are in the title making for rather predictable moments. You could guess the records theme by the title alone and its no surprise that the lyrics delve into many problems of the world, however little insight is provided beyond pointing at apparent hypocrisys and madness observed.

Like many run of the mill records the best songs are loaded at the front and the initial thrashy, fist pumping energy gives way to a fair amount of acoustic moments which wind down the record with two finishing acoustic tracks which had potential to be far better. "Happy Never After" caught my attention with eerie Gothic guitar leads reminiscent of Christian Death but that was as out of the ordinary as things got. There not much more I can say, its passable, listenable, mostly forgettable but has a couple of exciting tracks to remember.

Favorite Tracks: Clap Like Ozzy, The New Degeneration, Living For Life, Get Your Fight On!

Rating: 5/10