Republicorpse – To The Dome

I don’t listen to power violence. I consider it grindcore for fat kids. Fat kids who aren’t good enough on their instruments to play grindcore. Which is why I was obviously hesitant to be reviewing the Republicorpse 7″ ‘To The Dome’. However, Paul, after a sixpack of cheap wine coolers and several marijuana cigarettes, was able to convince me to give this EP a go. So, ignoring the little voice inside me that screamed “No, you’re going to become a power violence listening retard!” I gave the provocatively named Republicorpse a chance (it’s all cool I’m a libertarian).

Of course, all the better to cut their legs out from under them, the band decides to put their best track right at the front. ‘Stagnant Sea’ is pretty goddamn ball-busting, all things considered. I’m really not sure if the breakdown is supposed to be a joke, but I actually bang my head with it, but in a non-ironic fashion. The rest of the track proceeds at a brisk pace: the blasting parts are pretty damned tight and the slow parts don’t suck (probably due to the death vocals that are used). The follower ‘Snout’ is a pretty fun little exercise in guitar tone, probably the best of the microsongs on this release.

The real bitch here is that there’s really only three songs on here. The opener, ‘At Who’s Expense’, and ‘Marketing To Your Demographic’, the longest and most well-developed tracks on here, which are all pretty kickass in their own right. The other five tiny-ass compositions range from interesting (‘Snout’) to pretty fucking retarded (‘Hateweed’, yes, I know it’s a parody, but still). I realize that a power violence record doesn’t really have a flow to ruin, but if we pretend for a moment that it’s a real genre, it does, in fact, get ruined. We all know that the purpose of this isn’t the individual performances, but needless to say they’re all pretty capable. The best moments on this thing are when I get reminded of oldschool Napalm Death and it moves along at a decent clip. I get that the sludge parts are a necessary part of the composition, but they’re pretty hit or miss overall. Sometimes they’re well placed, but in others feel like the band found it necessary to throw in a bunch of crash cymbals and atonal chords out of some feeling of obligation rather than songwriting. I’m sure it’s interesting live; on record? Not as much.

Obviously this review doesn’t really mean shit to anyone who’s into this style, so I’ll cut it off here. It’s not going to convince anyone who isn’t already into PV (well, I guess I learned that I can tolerate it, but still), and people who already dig PV will want to snap it right up. Go with that music critic that’s inside your heart.

P.S. I swear to god if they do another riot shout I’m going to fucking kill everyone in this band with a rake.

(Originally written for


~ by noktorn on February 20, 2007.

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