Various Artists – The Sound Of Horror Vol. I

If there’s one thing that has angered me in my searchings for great underground horror punk, it’s the abundance of repetitive, lackluster compilations out there.  Rather than serving as a tool for discovering great up and coming bands, they mostly just recycle the same old genre staples.  I swear, the real horror story is how most of these comps recycle the same The Klingonz, Demented Are Go, and The Cramps songs that have been in circulation for decades.  And to top it off, they desperately sneak in some of their own label’s worst offerings as forgettable filler.  Needless to say, quality control and consistency need not apply.

But then there’s relative newcomer Robot Monster Records’ first installment of their premier horror compilation, The Sound Of Horror.  Now this is a compilation with a vision.  Over the past couple of years Robot Monster Records has been working quietly in the shadows amassing an undead army of horror punk titans, and now they’ve come together to unleash 24 monstrous tracks upon the world.  What makes The Sound Of Horror unique is how tightly these tracks stylistically fit together – like a hauntingly beautiful creation jigsawed from the sutured body parts of beasts and men.  Seldom do bands play off each other this well.

But that isn’t saying The Sound of Horror has a narrow focus – no, Robot Monster and company (not every contributor has signed with the label) cover a wide range of sound in the niche subgenre.  For starters, the first half of the record showcases a variety of melodic punk rock influences.  Tracks by bands like Church For Sinners, Grave Robbers, and Johnny B. Morbid channel a classic 90’s pop-punk sound that will easily appeal to fans of that timeless mid-nineties Epitaph sound.  Similarly, offerings by 800 Octane and Horrorwood Ending keep things fresh by injecting a hint of rock n’ roll spirit.  Some, like “On My Way” and “Love Like Blood” by Gotham RD. and Blitzkid respectively, even lather on some slick vocal polish for an unmistakably Danzig-like croon.  Other times, bands likeAmerican Werewolves embody the genre’s gruff, pseudo-melodic hardcore offerings.  In either case, I couldn’t think of more appropriate ambassadors for representing the modern sound of horror.

But horror punk is as crazy as it is dark, and rest assured, the fine folks at Robot Monster have been sure to include some of the genre’s wackier offerings too.  One of the label’s oldest signings, Gruesome Boys, contribute the previously unreleased track “Renfield Wants A Kitten…” that, thanks to a bouncy beat and commanding accordion, dabbles in the twisted dark carnival.  In another example, the unsettling theremin of heavy horror rockers Dead Vampires makes a notable appearance in their socially conscious “City Of Vampires.”

The Sound Of Horror’s only real misstep occurs during its later half in the form of stylistic confusion. Considering the compilation’s melodic punk leanings, the decision to include some growly, guttural hardcore akin to that found on Trustkill Records feels odd.  It’s not particularly offensive, but Monster Party and Ghoul Patrol in particular just feel a little out of place.  Still, this is a minor, personal gripe, and considering the comp’s otherwise consistent make-up, most listeners should be pretty forgiving.

In the end, Robot Monster has compiled a remarkably strong compilation depicting the modern horror scene as a vibrant and varied affair.  Furthermore, The Sound Of Horror serves as a precursor to Robot Monster’s jam-packed 2010 release schedule, making 2010 out to be an exciting time for horror fans.

With The Sound Of Horror, Robot Monster Records have not only released one of the best horror comps in recent memory, but also established the label as one of the definitive stops for quality horror punk.  Bring on the madness.