[dropcap]I[/dropcap]n the vast, constantly evolving world of music, we regularly witness a recurring stigma that gets placed on a lot of musicians in today’s day and age: mainstream artists are sell outs. Every band on the radio wrote that song to get on the radio. Fans are now holding artists in contempt for making the music that they think we want to hear. It’s quite the comical situation when you think about it; but what’s even better is when you hear an album that clearly was made with the artist’s interest first in mind and the audience just comes along for the ride.
Well folks, the infamous thrash metal outfit Body Count has returned to the scene with their first album in eight years…and I don’t think they care if you like it. But I’d bet that they had fun recording it.
Fronted by legendary artist, actor, and founding member, Ice-T, Body Count is a band rooted in the old school style and attitude of hardcore thrash. They also have a long standing reputation for social commentary on current events and societal issues, and despite its brazen approach to topics, that’s what makes Manslaughter such a refreshing record.
The opening track and current single, ‘Talk Sh!t, Get Shot’ is about as sensitive as a baseball bat to the skull, but it also takes a hard stand against something we all feel strongly about: Trolling.
The message of this record as a whole comes through pretty clear: What the hell happened to being a man? Underneath the deep, chugging chords and punchy drum beats of a group that’s had new life breathed into it, there’s also a lot of anger and rebellious intent that makes each song on Manslaughter stand out. Tracks like, ‘Back To Rehab,’ ‘Get A Job’ and the album’s title track aren’t shy about getting in your face and bringing the issues in question to an aggressive head.
One thing that’s worth appreciating about this album is that, to put it simply, it knows what it is and what it isn’t.
Manslaughter isn’t a record that will be regarded as some brooding, obscure piece of art that requires any deep analysis of what each song is about, but that doesn’t mean that it lacks in creativity or merit. One of the most noteworthy moments on the album comes by way of the song ‘Institutionalized 2014’. Decidedly rich in hardcore punk elements, the song is as juvenile and absurd as it is candid and captivating. And yes, between this track and the uninhibited madness of ‘Black Voodoo Sex’ don’t be surprised if Manslaughter manages to tug out a few good belly laughs. If there are walls to be adhered to in the world of recorded music, there are definitely some unique moments where this record comes off of them.
The one collaboration on this album features Hatebreed frontman Jamey Jasta on the track ‘Pop Bubble’. Hitting heavy on all cylinders, ‘Pop Bubble’ is without question the brightest gem of Manslaughter. The chord progression and drum blasts build around a valiant diatribe against the pop culture machine. The variation between Jasta’s growling vocals and Ice rocking the mic brings out the best of both worlds, providing energy and form to a message of what music used to stand for and where it finds itself now.
Songs like ‘Bitch In The Pit’ and ‘I Will Always Love You’ are guaranteed to win over live crowds, thanks primarily to their anthemic approach and use of common themes to the forum. Compliment the aforementioned tools with a bevy of hooks and a healthy dose of R-E-S-P-E-C-T (be it for our fighting men and women, or the girl holding her on the floor at a show) and the end result is a solid dose of head banging and horn raising.
Manslaughter closes out with the rock n’ roll revival of Ice-T’s iconic hit ’99 Problems’. Notably bare bones in nature, the track starts with absolutely no instruments or effects, allowing Ice to simply belt out verse after verse of the classic tune until reaching its notorious chorus. The old school rock sensibilities ultimately do the song a great justice while giving credence to the hip hop nature of the music.
With Manslaughter, Body Count reaffirm their status as an instrumental force in thrash metal and hardcore hip-hop by sticking to their guns and daring to cross the line. Despite its extravagant and unhinged means of making a point, Manslaughter delivers music that isn’t just engaging; it also provides listeners with the experience of hearing a band perform the music they love and feel passionately about…and there’s something very staggering and distinctly charming about that.
Accept no substitutes, the return of Body Count proves to be well worth the wait.
