This nu metal outfit was formed in Peoria, Illinois, USA in 1996 by Gurrg (b. Greg Tribbett; guitar), sPaG (b. Matthew McDonough; drums), Kud (b. Chad Gray; vocals), with Ryknow (b. Ryan Martinie; bass) added to the line-up two years later. Always concerned with the visual aspect of their performances, the band developed bizarre stage identities, while their sound (dubbed ‘math metal’ in an attempt to explain its intricacies) had little in common with most of their peers. Characterised by challenging arrangements and with influences ranging from new wave, electro to metal, the result was a compelling mix of staccato riffing, raging vocals, and electronica with jazzy flourishes.
After developing a substantial local following the band began touring more widely across the USA. Their Kill, I Oughta demo led to a recording contract with Epic Records (the demo was later repackaged under the title The Beginning Of All Things To End). The title of the band’s 2000 debut L.D. 50 referred to the pharmacological count for lethal dosages, and was produced by Garth Richardson with executive production from Slipknot percussionist Shawn Crahan. The band’s complex, twisted sound was now polished, although no less uncompromising, most notably on the eastern-tinged ‘Prod’ and the mesmerising ‘Death Blooms’.
Despite largely excellent reviews in the rock press, certain sections chided the band for their similarities to Slipknot (the costumes and use of pseudonyms). Some critics suggested that the band was no more than a calculated attempt to capitalise on Slipknot’s success, although in reality the two bands had developed completely independently of each other. All of which resulted in an often fractious relationship with the media. Despite this the band proved to be a major draw at festivals and a series of successful tours through Europe, the USA and the Far East, and chart success in Australia did much to establish them as contenders in their own right.
The band adopted new pseudonyms for the recording of their second album, The End Of All Things To Come, answering to the even more ridiculous names of Chüd, Güg, R-üD and Spüg and posing as space aliens. Little had changed in terms of the band’s rather formulaic sound, however, and the album was greeted with muted applause. The quartet opted to jettison the make-up and silly names on their next recording, but their attempt to embrace a more organic hard rock sound on 2005’s Lost And Found was largely a failure.
