Meatus - 1999 - Inner Demons: A 3 Act Noise Opera
Noise Opera Production
ACT I: Isolation From Society
01 - Slave - Do It, End It All Now
02 - Barbee - Blinded Sterotypes
03 - Yeast - Societies Outcast
04 - Lust - True Friends?
ACT II: Memories Of Torment
05 - Buried - Six Degrees Of Greed
06 - G.H.B. - Sex, Drugs, Rock-n-Roll Humility
07 - Ribo - Drugs Can't Erase The Memories
08 - Spoken - confusionCONFUSIONnoisufnoc???
ACT III: Conflict And Resolution
09 - Empty - Sticks And Stones
10 - Meticulous - Preamble To Conflict
11 - Endowar - Conflict And Resolution
12 - If - Epilogue
Texan death metal crowd of mid and late 90-ies of the last century was separated by musical thinking on two sides. It can be considered one of the significant, peculiar experimenters of death metal. The first of them (which were recorded on the Corpse Gristle label collectives Sintury, Prophecy and Devourment) used a death metal basis to create even heavier musical forms. Preferring to bring brutality to the absolute subsequently formed a certain sub-genre and a new step in the development of style. The second used death metal as one of the elements, and not always as a basis, settle for only a local episodic success. Leaving behind a minimum of documented materials (for example, Dead Industry leaved only one cassette demo), the collectives disintegrated, and their names surfaced mainly in connection with the participation in the collectives of musicians from groups that have become a cult.
To such formations should be attributed Meatus. One of the founders of this band was Wayne Knupp, and Burt (guitarist), which after split up of the band, played with Prophecy. Lack of recognition from the public may have several reasons: weak promotion of the album, released on their own, lack of seriousness, backed by live show, which can be defined as "performance". Horror on the stage with all the madness always caused an ambiguous reaction. The performance of a set riding on a toilet, acts of body piercing, broadcast porn on screens and other insanity. However, the group approached to the creation of the debut album (which was the only one) more than seriously. Preparation of the concept about human controversy and his inner demons, took about four years. Partly, the biographical story written by the band's vocalist, Sean, received serious audio-visual support. Artist Adam Kobetich created a booklet of 20 pages with drawings in the spirit of comics; each drawing serves as an illustration to a particular part of the story. Musically, Meatus experiment at the junction of several styles, moving from fast thrash metal riffs to full-fledged sound in the death metal style of the mid-90s, using in the future almost a proprietary Texan groove and developing it into a hardcore. Sometimes for the transition from one part to another the collective uses extensive intervals between songs and acts, and straight in the middle of the composition. Intervals filled with stringy guitar parts, distorted or on clear sound, supported by a minimalistic rhythm section and (sometimes) various inserts, from break beat, samples and scratch to the parts of the blues harp and banjo (performed by a dozen invited guests). To maintain the dynamics, the vocalists use a variety of techniques, use them to get a full rapping sound, for example declaiming some lines of history at moments of lull and reading in the most expressive moments separate couplets or combining groul of varying degrees of uterine growth with mooing and choral screams.
Positioning the album as a "noise opera", the band rather made an experimental audio production in an extreme key. And despite the unfortunate moments such as periodically arising sharp transitions and pauses in the middle of the composition and insufficiently powerful sound, which is especially lacking in density in the heaviest death fragments, it got to admite that the experience of Meatus is interesting and attracts more to repeated attentive listening.