ALL YOU NEED IS KILL! is a newly deformed and deranged passion project of Christian Hell from HONG KONG FUCK YOU. Fans of HKFY will be familiar with the punishment that comes with any of their releases. A single project from HKFY can feel like being thrown into a dumpster filled with knives and rocks before being rolled down a hill and stabbed and smacked from all sides. Fans of this strand of bass heavy powerviolence will likely be looking for something similar from AYNIK!. While similar in ethos and presentation, AYNIK! manages to completely blow HKFY out of the water, at least in terms of pure sonic bombast. This is extreme music off the deep end. Clocking in at just under seven minutes, S/T EP packs a lot into a little.
From the first moments of S/T EP the track listeners will be made completely aware of exactly what this project has to offer. A robotic tinged voice utters the simple words, ‘All you need is kill,‘ before a wall of sound crashes itself into your eardrums. Rolling percussion, distorted bass, and vocals slathered in effects whizz by, but soon give way to a head bobbing groove. This is the modus operandi of the EP. Get in, grind the listener into dust with sound, and get out. The same haunting voice will announce the song title every time, and every time something horrific will come after. Tracks whizz by at a blistering pace with only two of them cracking the one minute mark and only one making the arduous trek to two minutes. But don’t think this is all the project has to offer. S/T EP keeps a few tricks up its sleeve for noisecore fans to revel in.
The project’s longest track “TEETH & CONCRETE”, offers up the most in terms of sonic diversity. Beginning with the lonely cry of a searing guitar, the track soon launches into the familiar deluge of percussion and manic vocals. This time the beratement doesn’t last long though, the track grinds to a much slower plodding pace, drilling the listener with more slow but impactful percussion and screams. If the rest of the EP was a chainsaw cutting through flesh, this portion is a nail being hammered into a hand, with every single swing of the mallet driving the rusty spike deeper and deeper. This lumbering sound soon spins out of control and morphs into a distressing noise piece. Grinding feedback, pulsing electronic effects, and what sounds like a horribly out of tune guitar all chaotically fall into one another. This passage leaves just enough space for a moment of thought to grace the listener, something that has not been afforded up until this point. Thoughts such as, ‘Why am I this way?’ ‘Why do I enjoy this?’ and ‘How did I get here?’ all may come up at this point. I love music that can really makes you contemplate.
ALL YOU NEED IS KILL! is not for the unseasoned. Even some lovers of extreme music may find what it has to offer too opaque and obtuse for their taste. This makes a lot of noise and grind look quite tame by comparison. There also comes a challenge when trying to categorize it. Is it powerviolence? Is it cybergrind? Is it noisecore? I am not sure how Christian or his collaborators see it, but to me it is all of that and more. Most importantly, it is spit in the eye of anyone that doesn’t want to appreciate it. This isn’t music that wants you to ‘get it.’ ALL YOU NEED IS KILL! could not care less if you get it. I can’t wait to see what Christian cooks up next, and I will be ready to listen when it comes.