The George Washing Machines is the experiment grindcore/doom metal alter ego of Jack Simpson. Created in 2012 in Washington, D.C., with the explicit goal of creating “the worst band of all time,” the outfit dropped a large collection of about 22 singles before falling off the map as Simpson shifted toward EDM music. Six years later, after the death of a close personal friend, Jack reignited GWM as an outlet to deal with depression while dabbling in experimental writing styles like taking quotes from a former crack addict or directly reciting a breakup letter written to an ex-girlfriend. Now much more mature and with a wide array of fascinating influences, the George Washing Machines has dropped FUNERAL CRACK BINGE.
The record opens with the hilariously titled “ANTHONY FANTANO WOULD PROBABLY GIVE THIS RECORD LIKE A 6.3,” which, itself, begins with a long and angry statement claiming that this is “not music.” The track that follows is a hellish, doom metal-inspired cut that is one of the better openers I’ve heard all year. This is the first of many points on the EP in which the drumming is excellent, but the brutally distorted guitars are actually the highlight for me here, aided by the periodically disorienting feedbacks.
It’s followed by “BITCH GET THE FUCK OUT OF MY HOUSE,” which is a real freight train of a song. There’s a much heavier thrash and grindcore element as the fuzzy guitars chug along at a much faster tempo and the drums are driving and explosive. The vocals are quite impressive here, despite having no lyrics aside from repeating the title, bringing a gravelly quality that really adds to the track. The highlight, without a doubt, is the bizarre and abrasive breakdown that leads into the final chorus. While the electronic elements are fairly scarce across the EP, they add quite a bit to this song.
The best of the six tracks, “A GOOD MAN IS HARD TO FIND,” comes next, and it’s here where Simpson finds a sound that this fairly unique to him. With heavy influences from post-punk and hardcore, this track turns out to be certainly the most accessible on the project, though that isn’t saying much. The drums are excellent on this cut, as are the vocals, and the balance struck between crushing instrumentation and singable melody is truly something to be proud of.
We seem to take a left turn to hell immediately after, however, with the title track, “FUNERAL CRACK BINGE.” This is one of the more brutal and caustic songs I’ve heard in quite some time, from the screeching loops to the pummeling screams and the almost reptilian effects of the outro. It’s a lush hellscape that should satisfy fans of the group’s earlier sound.
The post-punk returns, however, on “ANNA, PLEASE DON’T MOVE TO PORTLAND WITH JAKE.” The quick switches from heavy but accessible verses to genuinely horrifying choruses are jarring in the best way possible. There’s a desperation conveyed very well in the lead vocals and the guitars are gut wrenching on the choruses. Once again, the drums shine as being extremely well played and arranged, and it makes for yet another fantastic track.
We close out with “I MEAN I GUESS WE CAN FUCK IF YOU WANT TO…” and it’s here where I will find my first substantive complaint as the more electronic, industrial style of this track makes it feel quite out of place in the lineup. That being said, it is a great song. The loops are extremely well utilized, the rapping from Young Socrates is phenomenal and jam packed with emotional delivery, and the ending may be the best on the record. Though it does feel a bit out of place here, it does give hope that future releases could tend toward more electronic, Death Grips inspired tone.
While my complaints are minor, I do have a few, most of them stemming from the production side. First and foremost, the drums. While they’re perfectly performed, they seem to have been left almost bare in terms of EQ and could do with a bit of touching up. Additionally, the there is a pervasive static across the record, which likely comes from the several higher pitched cymbals and the near constant overdrive on guitars and vocals. Having a constant amount of noise is, of course, not a bad thing on a noise rock record, but much of this seems to come from nowhere, and could likely be fixed with a bit tighter EQ on the instruments. All of this, however, is fairly forgivable, considering the EP’s DIY style.
Overall, FUNERAL CRACK BINGE is one of the more daring and brutal projects I’ve heard this year, and while it’s certainly not for everyone, it’s a must hear if who wish to explore the fringes of underground music.