Graf Orlock

Album: Doombox (2011)

Song: Job Hunt

Bitrate: 160kbps

Plays: 343 - Today: 0

  Add to Playlist


With ludicrous concepts and dead serious music, LA's Graf Orlock
carries out its missions with no concern for trends, costs, or the
law.  Larger than life, shrouded in mystery, and totally committed to
its vision, this band of DIY rebels has attained worldwide notoriety
by doing things its own way -- making music that uses Hollywood as its
unlicensed muse, touring to remote parts of the world on its own dime,
and creating shockingly elaborate artwork for its releases. In the
history of hardcore, only a select few (Black Flag and The Locust come
to mind) have been as unique and autonomous as this.

Graf Orlock is the forerunner of its own invented genre,
"cinema-grind" - music that takes all its inspiration from Hollywood
blockbusters, particularly action flicks of the 80s and 90s.  All song
titles are taken from DVD chapter titles; all lyrics are pieces of
dialogue from films.  Even the band members' names are aliases
reminiscent of movie scripts.  But Graf Orlock is more than a clever
joke.  The band uses the language of movies to convey real ideas about
real issues.  Guitarist/vocalist Jason Schmidt (also founder of Vitriol
Records, a label at the center of the current West Coast hardcore
scene that includes Graf Orlock, Ghostlimb, Dangers, Comadre, Owen
Hart, and Forming) describes the new Graf Orlock EP, Doombox, as "a
new 6 song diatribe concerning the urban issues of our own maladjusted
city -- authoritarian power, gang violence, race, and capitalism."

Musically, Graf Orlock weaves hardcore, grindcore, and thrash into its
own distinct style.  Parts begin and end before you know it but an
underlying momemtum keeps things solid and trucking like a bullet
train.  In the words of Schmidt, Doombox "rages with erratic
viscerality, in short bursts of surprising cohesion and self-abuse."
Pig Destroyer is one reference point -- raw, blunt force delivered in
quick jabs, balanced by a love for sweet anthemic riffs.  But Graf
Orlock is always thinking outside the box and on Doombox the band
fills the gaps with all sorts of surprises -- a ripping metal guitar
solo, a breakbeat interlude.  Meanwhile, dual vocals recite movie
scenes, sounding something like Eyehategod's Mike Williams trading
verses with Sick Of It All's Lou Koller.

Doombox is the first new Graf Orlock music since the "Destination Time
Trilogy" (consisting of 2006's Destination Time Yesterday, 2007's
Destination Time Tomorrow, and 2009's Destination Time Today.)
Revolver Magazine hailed Destination Time Today as "a horror show of
desperate grindcore, intercut between memorable film samples and
directed with DIY sparseness and epic axwork."  Vice Magazine called
it, simply "the future of music."  The album was included in Decibel
Magazine's "Most Anticipated Albums of 2009" feature and subsequently
appeared on many a critic's year-end list.  In support of the trilogy,
Graf Orlock completed DIY tours to the far-flung reaches of the globe,
including Australia, Indonesia, Japan, Europe, Puerto Rico, the US,
and Canada, further strengthening its rep as a band that does whatever
it wants.

And perhaps as infamous for its artwork as for its concepts, music,
and touring (the Destination Time Tomorrow vinyl featured a pop-up
"Alien" arising out of a bloody stomach), Graf Orlock ups the visual
ante once more with the packaging for Doombox -- a 30"x10"x10"
cardstock "boombox" containing the Doombox EP in 10" vinyl and CD
formats, as well as a separate CD containing the entire "Destination
Time Trilogy."

Doombox was recorded, mixed, and mastered at Atomic Garden in Palo
Alto, CA, by Comadre guitarist Flaco Shirley and at Backlot Studios in
Anaheim, CA, by Ronald Uruk.

Leaders, never followers, Graf Orlock continues to blaze its trail and
be one of the most interesting bands in existence.  Doombox or die.