The Locust traverse, constantly cross, and redefine the line between total chaos and perfect order. Genre-defying and boundary-blurring/destroying, The Locust are proven to be masters at their craft. What that craft is, however, still proves to be difficult to define. Regardless, their lengthy discography speaks for itself.
Emerging from its incubation in 1995, The Locust released its first record: a split 10″ EP with Man Is The Bastard on King of the Monsters, following that up with a split 5″ picture disc with Jenny Piccolo on Three One G and then its debut self-titled 7″ on Gold Standard Laboratories. Three years after the release of their 10″ debut, GSL released The Locust’s first full-length, a self-titled, 16-minute-long sonic cataclysm. In 2000, a split 7″ with Arab on Radar on GSL was released.
Shortly after this split, The Locust cemented its difficult reputation by putting out a double 12″ of electro/drum ‘n’ bass remixes of the song “Well I’ll be a Monkey’s Uncle,” on GSL, with folks like Kid 606, I am Spoonbender and Sinking Body turning the song’s crazy noise bursts into even crazier electronic splatter paintings.
The band’s final recording as a five-piece came in 2001 with “Flight of the Wounded Locust” on GSL – a 5 track EP that was re-released in 2003 on Erika Records.
Showcased for the first time as a four-piece on a split 7″ with Tokyo’s Melt Banana (GSL), Justin Pearson, Joseph Karam, Bobby Bray and Gabe Serbian offered a sound far removed from their grindcore-leaning past— brutally ultra-violent and drenched in sci-fi-noise, gruesome insectoid keyboards and herky jerky scream/ sing vocals — described by one journalist as “a car-wreck with vocals.”
After this initial taste as a four-piece, The Locust released Plague Soundscapes on Anti- (a sister label of Epitaph) in June 2003. This album solidified the markedly different sonic terrorism The Locust had began to explore and would go on to cement as their own unique creation – a glorious cacophony of synths and violent yelps arranged in the most strict and uniform sense. Many consider this album essential to the reshaping and expanding of what “hardcore” music could be, decades after its release.
Safety Second, Body Last soon followed in 2005. As chaotic as Plague Soundscapes, but with menacing, dripping synths during interludes for an ominous piece of sonic obliteration. New Erections, the band’s third full length album, came out two years later in March 2007, perfected what was teased on Safety Second, Body Last. This album fine-tuned everything The Locust had done so well before, mastering sonic structures so complex, vast and intricate it takes more than a couple of listens to take it all in.
After lengthy touring following the release of New Erections, The Locust went on hiatus. Another archive recording was released in 2010: this time, a legendary Peel Session recorded nine years prior. Two years on, in 2012, The Locust once again emerged from its cocoon to release a remastered and remixed compilation of previous work, called Molecular Genetics From The Gold Standard Labs.In 2013, the band performed at FYF Fest and Fun Fun Fun Fest to frenzied crowds.
In the time that the band has existed, Bray, Karam, Pearson and Serbian have taken part in seemingly countless other impressive bands and projects, including Dead Cross, Le Butcherettes, Some Girls, Le Shok, Holy Molar, Head Wound City, INUS, Zu, Retox, Planet B, and Skinwalker.
Shit Coffins / Sonido de La Frontera