Visions: The Bendal Interlude – Ron Salmon

The last time we featured Scouse noisemongers The Bendal Interlude on our Visions segment, it was for their nasty video for ‘Odourama’, which was full of all kinds of insides and visceral visuals. This time, they’ve put out a video for another track from that EP, entitled ‘Ron Salmon’, which sees the presumably titular man (wearing some sort of mask) annoying the blue hell out of presumably willing participants in steadily more and more disgusting fashion, eventually getting in on the band’s jam session and trashing their kit.

I say disgusting fashion, although it doesn’t compare to the repulsivity of ‘Odourama’s vid. Still, it’s a great vid, created by Tom Lee Rutter of Carnie Film Production and for a meagre £8 within a week, according to the band, and continues what is proving to be a great year for the band. Enjoy. 

Peter Clegg

Also: The Bendal Interlude – Odourama (NSFW)

Coffins – March of Despair


March of Despair

Japan’s death/doom metallers Coffins have been around the block for a fair old while now and aside from a couple of line-up changes, their latest EP ‘March of Despair‘ is largely more of the same elephantine sluggery as they’ve pedalled for most of their career. If you’re not familiar with them, what you can expect is a blend of the best bits of Celtic Frost, Winter, Hellhammer, etc. -.basically, if you like your old school thrills, you’ll probably love Coffins.

For the initiated of course, there’s nothing greatly spectacular about this release, but it does tick all the right boxes, with new vocalist (and former drummer) Ryo getting in some Tom G. Warrior-inspired ‘ugh!‘s in at the beginning of a couple of the tracks. ‘Till Dawn of the Dooms Day’ and ‘Grotesque Messiah’ are both riff-heavy, with thick motoring grooves that’ll bring about the urge to hold your finest proverbial oranges in the sky if you’re in the mood. The doomier elements of their sound take hold on the later tracks, blending in nicely as ever with the deathier elements, before an obligatory cover, this time Death’s ‘Corpsegrinder’ rounds off proceedings in reliable fashion – although said cover isn’t a patch on the original.

Still, better now than ever to get into Coffins, who remain true to the adage of not fixing what isn’t broken. This is solid stuff and new and old fans should enjoy this, despite lacking any surprise.

Peter Clegg


Coffins – Till Dawn of the Dooms Day

Buy ‘March of Despair‘ here

Official site


The Cult – Nico


The Cult have just released their new studio album ‘Choice of Weapon‘, and while they no longer possess chart-busting popularity, it would be wildly wrong to suggest they’re far from being done as a musical force, still being able to pull in huge crowds the world over and their standing as a quality rock unit far from diminished. Their 2001 album, ‘Beyond Good and Evil‘, was a quality album, lacking in label backing and packing real understated stadium rock anthems, including the track ‘Nico’, which really is deserving of wider acclaim.
‘Nico’ celebrates the life of the German singer, musician, fashion model and actress Christa ‘Nico’ Päffgen, famous for her role with The Velvet Underground on their debut album ‘The Velvet Underground & Nico‘ before becoming an accomplished solo artist and forging an acting career in French cinema through her relationship with director Phillipe Garrel. She died in 1988 of a severe cerebral haemorrhage while on holiday in Ibiza. Credited as a huge influence on the likes of Morrissey, Siouxsie and the Banshees, Bjork and many others, she still commands reverence today. The Cult, through the song ‘Nico’, count as one of the many to have celebrated her in song.
Opening with the riff that gently guides the verses through their course, it sounds every bit the stadium anthem you’d expect from a band of such status. Most lines of each verse begin ‘Hey Nico‘, initially softly spoken but then almost joyously sung by Astbury. The most poignant line in the song comes during the chorus, when Astbury sings ‘I watched your spirit fly/across the velvet sky/the secrets that you hide‘; a sure reference the aforementioned collaboration between The Velvet Underground and Nico.
The Cult – Nico
The mid-section takes a slightly darker turn, with Astbury repeating the line ‘And then you fell/straight to hell‘. What this may refer to is something I’m not too sure about, given that if there is a heaven and a hell, judging from the sheer praise Nico received in death, she’d be practically a saint. In an online chat transcript available on the Cult’s website, conducted with Astbury and drummer Matt Sorum in 2001, they answered one fan’s question about the influence two songs on ‘Beyond Good and Evil‘ drew from Nico and another star of the Andy Warhol camp, Edie Sedgwick. The Cult responded regarding ‘Nico’, describing it as ‘…more complex. Nico is one part Nico, one part my girlfriend Rachel, one part an assassin‘. I don’t know jack about Astbury’s personal life, so will not even attempt to analyse that lyric in this way – although I can perhaps see how falling to hell might represent the assassin in Astbury’s view of the song – particularly through the line ‘the secrets that you hide’. The mood soon lifts back up and there’s one more triumphant verse and chorus before the song plays into fadeout.
However, despite charting solidly in America, Spain and Canada, ‘Beyond Good and Evil‘ only sold around half a million copies as sales began to drop. The album and indeed ‘Nico’ are destined to remain one of those overlooked classics thanks to the atrocious handling of the album and the band by then label Atlantic Records. Astbury has claimed in the past that Atlantic attempted to choose singles from the record, the record cover, and even apparently tried to tamper with the lyrics.
Beyond Good and Evil‘ was released roughly around the time I was getting into rock. Someone had lent the CD to my brother and I remember he seemed to like it at the time, and by fledgling interest led to me to give it a listen. Those days don’t half bring back some personal memories. Days when downloading hadn’t truly taken off yet, streaming wasn’t quite possible as broadband had yet to take off. I was still in college, spending my free time wandering around the streets of West Yorkshire, often wandering invariably towards record shops that existed at the time. Yes, record shops! Halifax had Bradley’s Records, Revo Records and Wall of Sound (still around today, now the brilliantly named Vinyl Tap in Huddersfield); Huddersfield had an MVC, a Virgin store (not quite a Megastore) and possibly a HMV, all pre-Kingsgate, and maybe one or two others as well. Summer days were often drifting around these town centre, complete with personal CD player or even Walkman (this was the advent of MP3, after all). Amidst the popular nu-metal of the time, coupled with the odd Slayer or Foo Fighters track, ‘Beyond Good and Evil’ often found a place on my mixtapes, and usually in the form of ‘Nico’ or ‘War (The Process)’.
Those two remain among my favourite songs off the record, and ‘Nico’ almost invariably ends up getting shuffled to my MP3 player of choice more often than not these days, as if it has some strange sort of allure to my ears. I’ve never tired of the song at all and remains one of my favourite songs to date. For me, ‘Beyond Good and Evil‘ is a period from the Cult’s history worth exploring further, even if its not considered their classic material. When you can write songs as good as ‘Nico’, who cares if it was a hit or not, deserving as it should have been?
Peter Clegg

Tree of Sores – A Cry of Despair


Tree of Sores
A Cry of Despair
Witch Hunter 

There is something immensely satisfying about stumbling upon that album that really hits the spot. That gets everything just right, that leaves you think ‘hot damn’, leaving you with nothing more than a positive feeling upon the closure of that record. It happened last year with YOB’s ‘Atma’, courtesy of a fantastic five-track set that concluded with ‘Adrift in the Ocean’. Its albums like ‘Atma’ that can simply carry you away and almost get you complete lost in its tumultuous journey. I truly believe that Leeds trio Tree of Sores capture the essence of this paragraph on their second album, the singular, twenty-eight minute track, ‘A Cry of Despair’.

Tree of Sores certainly wowed critics and fans alike on their debut album, capturing their chief influences of Neurosis, Wolves in the Throne Room, etc., blending into a sonic post-metal mass that got the band some worthy recognition, having dutifully pulverized the Leeds scene for some time. They have taken that one step further this time with this solo track, unashamed to display their influences but still creating an identity of their own. This time they called in Joe Hall (Wiht) to handle bass duties, no stranger to long meandering songs himself, and right from the off there’s an air of something rapturous from this triumvirate.

The band describe ‘A Cry of Despair’ as six or seven riffs or ‘movements’, ranging from the bleak and quiet to the powerful and unrelenting. Vocals aren’t the most important aspect of Tree of Sores music, notable as the track wears on, but where guitarist/vocalist Matt Faragher does yell, he does so with both ferocity and forlorn, helping to drive the song forward after nearly three minutes of foreboding build-up. A third of the way in, things take a turn for the elegant and the previous drive subsides for a moment of graceful sparsity. Before long, the song powers back up and you’re being pummelled into submission by Ben Hague’s relentless pounding. The band continue to ease between moments of sorrowful echoes and further crunching drive for the continuation of the song, finally ringing out at the end with one final movement.

Huge songs aren’t everyone’s bag but Tree of Sores haven’t just mastered it with ‘A Cry of Despair’, they’ve made it look easy. The shift between atmospheric reflections and power surges ensure the song doesn’t have any time to become stagnant, dragging you along in its undertow instead. The US has been chock full of bands of this ilk lately, including the likes of Tombs and the aforementioned WitTR. Tree of Sores can certainly match these and judging from the reaction they’re getting from the blogosphere at the other side of the pond, they’re not doing a bad job of it. Put simply, this is essential listening, and if this review or any other positive review doesn’t convince you this band is the real deal, then I guess Tree of Sores isn’t your thing. That, or you’re a clown.

Peter Clegg

Buy/download ‘A Cry of Despair’ here (name-your-price)
Buy a physical copy here (CD)
Stream it below:


Melvins – Freak Puke


Freak Puke

This is the first Melvins album since 2004 to not feature the Big Business rhythm section of Jared Warren and Coady Willis. Instead, joining stalwarts Buzz Osborne and Dale Crover is returning member Trevor Dunn, performing on this album with an upright bass. And without disparaging recent Melvins’ efforts – cos they’ve generally been pretty good – the combination the band themselves have dubbed ‘Melvins-Lite’ is Melvins’ freshest-sounding for years, thanks in part to the chunky sounds of that bass and a slightly stripped back sound all round.

Unfortunately, it does feel like ‘Freak Puke‘ takes a little while to get going, owing a lot to the experimentation that seems to be going on during parts of this album. Its easy to get lost in the avant-garde of ‘Inner Ear Rupture’, and the jam session feel that overruns ‘Baby Won’t You Weird Me Out?’ Yet despite this ‘Freak Puke‘ does have some welcome moments on it. The opening track ‘Mr. Rip Off’ is certainly a grower, brooding in its lurking presence with Dunn plucking the thick bass strings to mysterious effect, and the riff fest of ‘Leon vs. The Revolution’ is thoroughly righteous too.

Melvins – Leon vs The Revolution

It perhaps speaks something to me though, when the track I enjoyed the most was their cover of ‘Let Me Roll It’, originally a Paul McCartney & Wings track. It becomes a smouldering blues-rock slow jam and if I heard this version of the song in a bar I would drunkenly sing along to every word. Sure, McCartney and Wings deserve credit for their genius in writing such a song that the Melvins can turn into a dive bar singalong. I can’t say I’d have done this for the original, given all I hear about as a non-fan of Wings is ‘Band on the Run’ or ‘Mull of Kintyre’. Whatever, ‘Let Me Roll It’ is a massively overlooked song, a quality one at that, and the Melvins did a fantastic job of this cover.

All in all, Melvins-Lite is a combination of the Melvins I certainly wouldn’t mind hearing more from in future, given the added groove provided by Dunn’s upright bass. That said, ‘Freak Puke‘ is almost like an unfinished article – not an unfinished work, because that would denote half a job. It’s not their greatest work and I’m still unsure about bits of it, but the Melvins have at least made an intriguing album, which, thirty years on, is no mean feat.

Peter Clegg

We Must Obey v2.0

Hello again one and all to the brand new home of We Must Obey. Due to some issue with Blogger that ultimately erased our patience, we decided to up sticks and transfer the site over to WordPress, which, we’ll be honest, we’ve had our eye on for a while.

You can be assured that coverage here will be no different to that which was available on the original site. We’ll still be providing reviews, videos, streams, features, rants and more, surrounding the usual topics of rock, punk, hardcore, sludge, doom, grind, heavy fucking metal, beer, and whatever else takes our fancy.

We have transferred all content from the original site across, although some of the links may not work. We will keep the original site open, which you can find here, should you wish to locate any streams or fully functional content, until we finally update all linkage here. Which could take a looooong time.

Without further ado, we here at We Must Obey welcome you once again. Stay heavy!

Peter Clegg & Michael Collins

Deathwank/Wheelchair Wheelchair Wheelchair Wheelchair – Your Scene Means Fuck All

Deathwank/Wheelchair Wheelchair Wheelchair Wheelchair
Your Scene Means Fuck All

Deathwank emerged from the grind cesspool last year as Scotland’s answer to Anal Cunt. Their songs were so ridiculously titled you couldn’t help but thinking they were perhaps aping them a little too closely, especially given that their songs struggled to even reach 30 seconds a time. Here, they play the title track, their only track, at precisely six minutes. It’s here they prove they can be more than pure imitators. It could well be the case that this is several songs rolled into one track, given the high number of time changes, stick clicks and paces on show, all nailed in one take. Whatever, its fucking genius. It’s insane. It’s sounds like the bloated offspring of Melt Banana and The Afternoon Gentlemen, getting bounced from wall to wall, with only the briefest of respites before getting submerged back into its torture cell with no true means of escape. Put simply, this is one of the grind highlights of the year so far.

Conversely, Wheelchair Wheelchair Wheelchair Wheelchair contribute tracks, and in comparison to last year’a fantastic ‘Contraception‘, is altogether more concerned with brevity than concept. This despite an intro and outro track, both sounding suspiciously like a TV theme tune in structure  bookending their side of the split. It’s rampant and chaotic, only truly letting up with a truly phlegm-wretching snarl during ‘A Film That No One Ever Watches’, the only post-minute track they post.

It’s two very different approaches to grind, though the end product is still the same. If it were a boxing match, I’d perhaps hand it to Deathwank on this occasion, simply for breaking out of their micro-shackles in favour of a singular take rollercoaster of insanity. Still, ‘Your Scene Means Fuck All‘ is ridiculously great stuff all the way through, and has left me greatly anticipating each band’s next move, particularly the new Wheelchair x4 album, which promises a sexual concept. Nice.

Peter Clegg

Download Deathwank’s side here
Download Wheelchair Wheelchair Wheelchair Wheelchair’s side here

Stream each side of ‘Your Scene Means Fuck All’ below:

Deathwank Bandcamp

Wheelchair Wheelchair Wheelchair Wheelchair Bandcamp

Cannibal Corpse – Torture

Cannibal Corpse

Metal Blade
Let’s get one thing straight before we continue here; one given with ‘Torture‘ is that there’s no real surprises to be expected. Everybody knows what Cannibal Corpse brings to the table, and that’s brutality, riffs, blastbeats and buckets and buckets of gore. That they’re still doing this on their twelfth studio album and still remain at the top of the death metal is testament to their merciless delivery time and time again.
Torture‘ quite up there with recent albums ‘Kill‘ and ‘Evisceration Plague‘, but those two albums were mercilessly brilliant and that doesn’t mean ‘Torture‘ is a slouch in comparison. Far from it. There is an ever so subtle shift in dynamic without dramatically cutting at what Cannibal Corpse do. There’s more than one occasion where they’re almost in groove territory, which, if you’ve not heard the new album yet, is not something to be alarmed by – the riffs are still ultra heavy and George ‘Corpsegrinder’ Fisher delivers his guttural vocals in much the same fashion too. There’s also some sterling bass work by Alex Webster on here, the highlight being a ripping bass solo during ‘The Strangulation Chair’. 
Cannibal Corpse – Encased in Concrete (official video)
To sum it up with various tracks is futile because Cannibal Corpse is Cannibal Corpse. But once again, Erik Rutan’s has turned out a sterling production job and captured Corpse’s bloodthirst on record supremely well again. One or two outlets have proclaimed this album as a career best although, once again, I would still take ‘Kill‘ from their recent output, but even if you’ve heard everything they’ve had to offer before, this is still a worthy pick up, and you’re one of the few people on this planet to have never heard Cannibal Corpse (where have you been?), now is as good a time to start as any.
Peter Clegg

Visions: Motörhead – God Save The Queen

So today’s the day of our Queen’s Diamond Jubilee celebrations. It’s also my second wedding anniversary!
Enough about my personal life though. Here’s some things you need to know about Motörhead’s cover of one of the Sex Pistols’ biggest hits.
1. I’d wager it’s better than the Pistols’ original. It certainly rocks more.
2. They bothered to make a video for it. And it’s quality, as they perform on a flotilla around ol’ London town.
3. Lemmy. Without a beard! But still the coolest frontman you’ve ever seen.
4. Yep, definitely better than the original.
But that’s my opinion. You can weigh in with your two pennies below. Once you’ve watched the video, that is. It’ll only take around three minutes of your time and it’s more fun that the day’s celebrations, that’s for sure.
Peter Clegg