Rocket From The Crypt - The State Of Art Is On Fire

Let me start this post by saying I think Rocket From The Crypt may be one of the most consistent acts to have ever existed. No matter the release, you knew what you were getting yourself into: absolutely searing rock 'n' roll with blaring horns, and John Reis' perpetually sleazy vocal style leading the entire charge. As much as I liked a couple of the bands that came out of the whole "Return Of Rock" revival at the beginning of this decade (ie: The Hives, The Strokes), they were hardly needed to play the role of saviors, since RFTC was still trucking along just fine during that time period.

Reis also may be one of the craftiest businessmen to play the major label machine. In addition to getting RFTC on Interscope, he also convinced them to sign his other band at the time: the even weirder/more abrasive Drive Like Jehu, who put out their final album Yank Crime in 1994 before disbanding. Despite putting out most of RFTC's main LPs on major labels, Reis was also offered the freedom to put out smaller releases on labels such as Sympathy For The Record Industry. The State Of Art Is On Fire is a prime example of this.

1995 was probably the most busy year for RFTC- recording and releasing three different things by the end of the year. Kicking things off with this, then the quirky Hot Charity, and ending the year with the fucking cannonball of an album that is Scream, Dracula, Scream. A banner year, for sure.

The State Of Art Is On Fire is unique in its approach, as it was pressed on a 10" record where one side is played at 33rpm and the other at 45. As a result, the A side is a ton gritter than the B side, which actually goes as far to showcase a kinder, gentler RFTC, with some of Reis' most tuneful singing coming in the form of the song "Ratsize." As I just stated, the A side of this record absolutely slays, and it sounds like the band themselves might actually have been on fire while recording it. 3/4ths of the songs on the A-side even have some sort of reference to fire in the title. An aborted concept album, perhaps? And how about the part at the end of the A-side where everyone locks into the same riff? Chills.

Had the production been cleaned up a little more, there would be no reason any of these songs could not have appeared on Scream, Dracula, Scream. They're dually some of the harshest yet melodic things the band ever put to tape, and it's a shame that this release doesn't get more attention, in my opinion. I was lucky enough to snag a copy of it from Looney Tunes Records off the Hynes Convention Center T stop, and was thus pretty excited to write about it!

-Erik