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SCISSORFIGHT

Genre: Metal/Hardcore, Rock, Bluegrass

Website: http://www.hydrahead.com

Contact:
bryce@hydrahead.com
MP3 (click name to download; click player to stream):
The Dredge
 

MORE ABOUT SCISSORFIGHT

From Mt. Washington to the Hollywood Hills; from Hastings to Glasgow; from Boston to London, a deafening sound echoes across the Northern Hemisphere. Behold Scissorfight, the world’s foremost purveyors of errant Americana and outlaw rock n’ roll: Witness the band that has upended the very soil on which they ply their trade. Hear the sound that will rule the world.

After achieving maximum domination of the US Northeast Territories with the release of their third full-length (and overdriven ode to their home state), New Hampshire, the members of Scissorfight—guitarist Geezum H. Crow, drummer Kevin J. Strongbow, bassist Jarvis and vocalist Ironlung—converted a vast assemblage of new disciples to their common cause in 2000 via Stateside tours of duty with such luminaries as Cave In, Shadows Fall, Old Man Gloom and Clutch.

With their next full-length, Mantrapping for Sport and Profit (2001), Scissorfight carved off another helping of fresh kill for the rock-starved masses. Drinking, fighting and fucking their way across the countryside, Scissorfight would both titillate and horrify with their bizarre delineations of North American lore, confrontational stage performances, and thunderous riffage. Reeking of survivalist training manuals, sabotage, and subversion, Mantrapping became the standard bearer for Total Riot Rock, and the next step in a highly organized plot to undermine the tenets of a flawed cultural ideal.

In early 2003, Scissorfight delivered a stiff Yankee cocking to the Brits with their UK debut American Clovenhoof Blues, a collection of hits from the band’s back catalogue—including their first two albums, Guaranteed Kill and Balls Deep. Subsequent European & American tours with Brit-metal brawlers Dukes of Nothing resulted in a pandemic of irreparable structural damage, turgid black eyes, and renewed colonial resentment—all of which was summarily drowned in a deluge of cheap ale and shitty cocaine.

Now the sagacious Granite State Destroyers return with what might be their most fully realized slab of unbridled turpitude to date: Scissorfight’s fifth full-length, Jaggernaut, is at once an act of civil disobedience, an exploration of the primal psyche, and a celebration of the tried-and-true tradition of backwoods motherfuckery. With howling outlaw spectacles (“Victory Over Horseshit,” “Jaggernaut”) and voracious grooves (“Dynamite,” “The Dredge”), Scissorfight deliver all the acerbic wit and rolling thunder that has made them living legends on both sides of the proverbial Pond. The tall, handsome genius who reviewed it for the UK’s Rock Sound magazine said it best: “Equal parts death-rock rumble, AC/DC swing and hallucinogenic bite, Jaggernaut isn’t just a total motherfucker of a record—it’s also probably the only time a band’s fifth album has been anywhere close to their best.”

In May 2006, the British Empire will once again feel the savage recoil of its former colony when Scissorfight descend upon the UK for a weeklong bender, bringing all manner of civic trauma onto the heads of an ossified citizenry. Then they’ll pillage the Eastern seaboard with their limey brethren in Orange Goblin while the ruling elite choke on the cock of the revolution, or whatever.