Tim Williams’ Flat-Out Aggression: This Is London

Tim Williams’ Flat-Out Aggression

You know, a lot of sites have been praising the new Pig Destroyer as the best album of 2012; I’ve yet to hear it, so I can’t say one way or the other. But what I can tell you is that today, Vision of Disorder have a new album in stores called The Cursed Remain Cursed which is hands down my favorite record of this strange year (and can be heard in its entirety here). From first note to last, Vision of Disorder’s new album is not only furious and refined, but a return to form for a band that’s always deserved more success than they’ve experienced. I am humbled to be able to say that Tim Williams, VOD’s frontman, writes a column for my little metal site. Here now is the second installment in Tim’s regular musings for the site, which we like to call Flat-Out Aggression.

Crawl off the plane with swollen eyes and sunken cheeks. The driver picks us up; we load up and head to the hotel. After a brief nap, shit and a shower. I head out on the streets to have a gander. The sun is out and people are buzzing around. As we drift further into the market, the shops get weird — lots of Moroccans, Pakistanis, traders, day-trippers.

The trance beats, the smell of foreign tongue, the smoke and incense burn out the webs in my mind’s eye. It all fades into a smoking caffeine-riddled psychosis…I awaken 12 hours later to somebody slamming on my door — “Get up! Lobby call!”

Christ — I grumble to the side of the bed, take a quick hit and crawl into the shower. The day is murky, I feel estranged — time zone delirium is always better-dressed in reverse. Managers, label, owners, reps, photos, magazines. A roof-top smoke and diminishing sunshine signal the decent of day.

The bar room smells of piss, the back room smells worse. We bolt the door, devour the rider of subway sandwiches, soda, chips and start the count down. The iDock blasts a mix of music — we have reached the hurry-up and wait phase and it sucks. Finally, the speakers come out, the stage is set, half the video for a new song “Hard Times” is already in the bag. Push ups, sit ups, pull ups — repeat. Stretch every part of my body and begin the final check list of pre-stage obsessive compulsive disorder.

The crowd is packed in like cattle and the sweat is dripping from the low ceiling. It’s hot, like Fayetteville, Carolina, hot.

We roll “Gunfire” — (the some what controversial intro). We are proven wrong; the crowd approves. The heat burns off the amps as the lights blot out the first few rows of crushed skulls. Ripping into the first note, the place erupts in a halo of kicks, fists, sweat and the bodies come rolling over the monitors like dead soldiers from a forgotten war.

Adrenaline bursts as “Imprint” kicks in like a boot to the face. Again, bodies split through archaic feedback, as amplification bleeds the ear. All held down by drums that throttle up to unleash a relentless barrage of hell and truth.

The chord wraps my left arm, my foot crushes some unlucky bastard’s hand as words of destruction speak of a passing darkness. A diary, words of judgement, guilt and a cross to bare. Everybody has got a story to tell.

This is the underworld and this is London.

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