Origin of the species: Formed in Seattle in the early 80s, THE ACCÜSED were a product of the somewhat isolated northwestern hardcore scene. Original singer John Dahlin's version of the band crafted a very conventional skate punk-ish hardcore sound. It wasn't until the band picked up ex-FARTZ singer Blaine Cook that their unique identity began to evolve. This new version of THE ACCÜSED began to fuse together a hodgepodge of styles, based on their favorite bands of the era such as BLACK FLAG, THE GERMS, ANTHRAX, MERCYFUL FATE, METALLICA, and SLAYER. As the band's music expanded, Cook conceived of the now-infamous 'Martha Splatterhead' character, a sort of female-version of IRON MAIDEN's mascot "Eddie". The concept of the character was that of a sinister serial killer, avenging the victims street crime, rape, child molestation and the like. The combination of striking Splatterhead artwork and lyrics, bolstered with insanely tight, thrash/punk mayhem became enticing fare for thrash collectors all over the globe. Like British bands DISCHARGE and MOTORHEAD, THE ACCÜSED became an irresistible force to both punks and metalheads. They're the type of band that could open for both GBH and KREATOR without ever seeming out of place. Over the last 20+ years, THE ACCÜSED and the projects associated with them have produced a slew of high-quality records, and continue to soldier on today.

THE FARTZ: "World Full of Hate", 1982: The first release by the Blaine Cook-fronted FARTZ is a study in uber-obnoxious, knuckledragging punk rock chaos. It's a rude, noisy exercise in sonic vandalism, inspired by west coast titans like early CIRCLE JERKS and BLACK FLAG. Their wounded version of "Battle Hymn of the Republic" (here rechristened "Battle Hymn of Ronald Reagan") will bring a tear to your eye, kinda like spraying bleach in your face. It's not too hard to imagine what this sounds like, considering track names like "Know It Alls" and "Take a Stand (Against The Klan)". The drummer's clicking count-it-downs before each song get old very quickly, but beyond that the album represents everything punk rock should be, even if it's only digestible in small doses. Alternative Tentacles released all the early FARTZ material a few years ago on the single disc, "Because This Fuckin' World Still Stinks", so stick it on, crank it up and see if you can guess the song titles without looking. Oh, yeah - that Duff guy from GNR played a gig as their drummer or something.

ACCÜSED/REJECTORS - "Please Pardon Our Noise, It Is The Sound of Freedom / Through My Mind's Eye", 1983: The humble beginnings of THE ACCÜSED are represented by this impossibly rare split 12". The anthemic skate punk it contains is light years away from the cartoony, thrash-crazed slasher-maiden shtick for which they would become known, but that doesn't mean it isn't worth a listen. Dahlin's vocal approach plays it pretty safe, belting out semi-melodic rants and raves throughout the recording. The bass and guitar interplay are tight and ballsy, like a politically charged version of early JFA. There's some obvious Greg Ginn imitations going on guitar-wise in "Wake the Fuck Up" and "But What About Later", and "The Rights" indicate the band may have been heading down a similar path to a young POISON IDEA. Not a bad start, but the real show was yet to begin. At some point, a Northwest FARTZ/ACCÜSED gig would bring about the inevitable vocalist change.

THE ACCÜSED - "Martha Splatterhead EP", 1985, "The Return of Martha Splatterhead", 1986: Freshly armed with the fiendish vocal talents of Blaine Cook, THE ACCÜSED plunged valiantly into new territory. At a time when many hallowed punk bands were imploding or releasing sickly metal-tainted follow-ups, this band redefined ass-kicking. Niemeyer's spiked 'n serrated riffage keeps one foot in VENOM vileness, the other in DISCHARGE fury. Politics are out the window in favor of murder 'n mayhem, ripping 'n slashing, killing and cackling. Cook free-forms hysterical grunts and mangled shrieks over the crunching, thrashing din in tracks like "Wrong Side of the Grave" and "Autopsy", soaking metal and hardcore fans with a freakish, filthy brew that left them begging for more. It's been reissued a gazillion times, and it still seems impossible to find a copy, so go figure.

THE ACCÜSED - "More Fun Than An Open Casket Funeral", 1987 - Although this disc was the second full-length of the Cook era, Combat Records' PR push and distribution made it the first taste of the band for many. The guitars lose a bit of the sonic grime in favor of a more metallic chug in thrashers like "Lifeless Zone" and "Splatter Rock". The cover of Cliff Richard's "Devil Woman" would become a live staple for years to come. Overall, the wild samples and grotesque humor make "Open Casket" a more memorable listening experience than it's predecessor, wide-eyed fans producing nervous laughs at titles like "Rape (Not a Love Song)", "Septi-Child", or the heart-melting acoustic beauty, "I'll Be Glad When You're Dead". But honestly, most were banging their heads so hard, there wasn't much time for speculation. A US tour with GBH followed the release, sending scores of metal fans drooling like butchers' dogs to record store shelves demanding ACCÜSED records.

THE ACCÜSED - "Martha Splatterhead's Maddest Stories Ever Told", 1988 The trend toward a more polished and metallic sound would continue with the band's '88 effort, and whether punk or metal elitists like it or not, this is one of the most high-quality sounding heavy albums of its time. The band's hell-raising ethos, on the other hand, remains completely untouched. As Blaine's raspy, rapid-fire ranting in "Psychomania" makes clear right from the get-go, this is not a band that rests on their laurels. Whether they're pummeling punk power chords in "The Bag Lady Song" or thundering out thrash metal speed picking through "Molly's Xmas '72", it's 100 percent reckless abandon from beginning to end. This album also finds the band exploring different styles, from the rockabilly swing in "The Maddest Stories Ever Told" to the acoustic sarcasm of "I'd Love to Change the World" (hell, somebody had to tear that song a new asshole). And if that wasn't enough, there's also the godly rhythm section of Alex Sibbald and Dana Collins (the bass line on "War = Death" is worth the price of admission alone) and a few licks courtesy of METAL CHURCH main man Kurdt Vanderhoof. This is also probably the easiest ACCÜSED album to find, so unlike some of the other albums on this list, there ain't no excuse here.

THE ACCÜSED - "Hymns For The Deranged" EP, 1988: This here EP can't exactly be called an "essential purchase", and there are a couple of reasons for that: First, it'll be easier to find the Ark of the Covenant than an original pressing, and two, only about half of it is original material. The covers on this one, though, have a surprising wealth of authenticity and reverence (well OK, as much reverence as one could ever possibly expect from THE ACCÜSED). "Barracuda" gallops just as hard on the plains as early MAIDEN, and hearing the band try to figure out how to play "Symptom of the Universe" is pretty damn amusing. It's also worth mentioning that their rendition of "Highway Star" is in the exact same key and tempo as the METAL CHURCH version. Coincidence? As far as the original tracks, such as "Grinning" and "Brutality and Corruption", they don't quite carry the frantic pace the band is known for, yet they still have enough aggression and charm to keep diehards satisfied. Some of these tracks have been re-released on more recent and easier to find collections (see the 'Archive Tapes' release below), so collectors would be well advised to go that route instead.

THE ACCÜSED - "Grinning Like An Undertaker", 1990:"Martha comes along / just to set things straight. Gaping mouth / full of razor sharp teeth. All-seeing eyes. She shatters your skull / in her vice-like grip! By this time, many of the thrash and crossover bands from the early 1980s were dried up and dead on the vine. But strengthened by newly enlisted maniacal drummer Josh Sinder and producer magnifique Jack Endino, the band delivered their strongest album to date. Cook and Niemeyer sound absolutely lethal during cuts like "M is for Martha", "Dropping Like Flies" and "Bullet Ridden Bodies", their nimble warp-speed thrash assault exceeding even prime SLAYER intensity at times. The cover of Entwistle's "Boris the Spider" is one of their zaniest choices of all time. The Achilles’ heel of the release would prove to be the label, unfortunately, as the tiny Nastymix dissolved within a couple years, making this one another exceedingly difficult ACCÜSED title to find.

GRUNTRUCK- "Inside Yours", 1990: Tom Niemeyer's collaboration with Endino's SKIN YARD guys hit the ground running with "Inside Yours", a collection of scriggly industrial-strength hums and bouncy thuds, comparable to SABBATH tunes put through a taffy puller. It was a band more colorful than GREEN RIVER, capable of giving CAT BUTT a swift kick in the tail. But despite cuts like the shimmery, emotive "Paint" and the hard groovin', sap-drowned thrash riffs of "Crucifunkin", the disc remained relatively obscure compared to other multi-platinum Seattle albums of the early 90s. It's still a relatively cheap 'n easy find today, so all you TAD fans get a scramblin' to those budget bins.

THE ACCÜSED - "Straight Razor" EP, 1991: Most EPs never contain any band's top shelf material, and "Straight Razor" is no exception. "Down & Out," with a meandering rap segue, is a pretty goofy song probably best left on the cutting room floor. An enthusiastic cover of LYNYRD SKYNYRD's "Saturday Night Special" is given the ACCÜSED treatment, which turns out to be one of the record's highlights. Also included is a live version of the track "Voices," from the previous album, proving that the group was able to translate their frantic sound in a live setting. "Straight Razor" is nowhere near an essential release from the band, but what do they make EPs for, anyway?

THE ACCÜSED - "Splatter Rock", 1992: Fast, furious and irreverent as ever, the ACCÜSED are wild, weird, and listenable for '92's "Splatter Rock". The nasty attitude is belied by a crystal clean sounding production, making for a great listening experience. For the most part, this is a high octane thrash-fest. "Stuck in a Hole," "Blind Hate/Blind Rage," and "Living, Dying, Living/In a Zombie World" are merciless in pummeling delivery. Also included is a version of SUGARLOAF's "Green Eyed Lady," covered with an intensity that only the ACCÜSED could muster. Still, the band can't be denied their silliness, as they let their freak flag fly on "Greenwood House of Medicine / Don't You Have a Woman," a weird track of dance music under a drum loop included to offer a respite from the unwavering punk mayhem. While maybe not as memorable as past efforts, "Splatter Rock" is a worthwhile blast.

GRUNTRUCK- "Push", 1992: By this point, Niemeyer's GRUNTRUCK project had moved to the top of the priority list for several members of THE ACCÜSED. "Push" has it all; droning melodies, bouncing spring-trailer rhythms, and lots of creeping guitar chugs, replete with Niemeyer's revs and quivers. Frontman Ben McMillan wasn't exactly Chris Cornell, but his throaty wails enhance the supreme, percolating heaviness of "Slow Scorch" and "Body Farm". The songs still sound remarkably fresh by today's standards, an indication that these guys could easily pick up where they left off, but unfortunately McMillan lost a battle with diabetes, passing away in January of 2008.

THE BLACK NASTY - "The Black Nasty", 1995: While Neimeyer and co. were doing the whole GRUNTRUCK thing, Blaine Cook went a totally different direction, exclaiming to the world, "Punk rock is my life, and don't you forget it!" Not that he had to start this album with that message, though, because everything from the simple black and white cover to the bare-bones production could have just as easily said it for him. Those expecting the hellacious thrash of THE ACCÜSED, however, are in for something quite different. While "Giant Mutant Bugs" retains that ol' sci-fi fun factor, there are plenty of other songs like the CHEAP TRICK cover "C'mon, C'mon" and catchy rock 'n roller "1-2 Many Times" that probably would have never found their way onto an ACCÜSED album. As far as Blaine's vocals, he's no easier to understand than albums past, but he's far kinder to his vocal chords and actually tries his hand at legitimate singing. As a whole, this sole album from THE BLACK NASTY is pure harmless fun, even if it doesn't provoke violence. Unfortunately, it had a very limited local run, making it yet another addition to the "You'll never own this" list.

VARIOUS - "A Fistful of Rock 'n Roll, Volume 9" 1998 : Ever wonder where bad reviewers go when they die off? To a hot 'n nasty place, where the guy with horns and a pitchfork makes them write track-by-track reviews of all 13 volumes of the "Fistful of Rock 'n Roll" series, followed by all the "Pebbles" discs. Seriously! I saw that on the Discovery Channel! At any rate, like most of these compilations, there's five or six keepers in this wall-to-wall collection of grande rock action. THE HELLACOPTERS' classic "Move Right Out Of Here" never gets old, and THE KNOCKOUTS riff-tastic "Stripshow A Go Go" is sure to get the blood pumping. But the star attraction of this particular spinner comes courtesy of Josh Sinder's HOT ROD LUNATICS. There's not a lot of recorded material to be had by the ex-ACCÜSED stickman, but "Wreckingsled" is a drum crazy, rock 'n roll sideswipe if there ever was one. Definitely worth the price of admission, and after multiple playbacks, one can't help but crave more from these guys. Maybe a HOT ROD LUNATICS compilation will hit the racks one day. Who knows...

THE FARTZ - "What's In A Name?", 2001: As the new millennium approached, lack of activity in THE ACCÜSED camp paved the way for a marvelous opportunity to be goofy. Despite the familiar DK-style artwork and general tomfoolery involved in this peculiar reunion, the finished product surprisingly kicks mucho tailo. ACCÜSED bass player Alex "Maggot Brain" Sibbald proves to be quite the axe man, peppering the entire disc with his own brand of tangled fishing-line leads and wrist-snapping riffs. From a lyric and image standpoint, THE FARTZ are still aligned with typical hardcore punk, but these bucking, galloping nuggets of thrash mayhem could be just what the doctor ordered for fans going through ACCÜSED withdrawal. Even the more rock 'n rollish stuff like "Is This The Way (It's Gonna Be?)" is just super high-octane punk rock nonsense, and Cook sounds better than ever. You'll hardly recognize most of the re-recorded tracks from the "World Full of Hate" album. The mangled "Taps" intro that kicks off the dusted down "Heroes (Come in Boxes)" is a nifty tribute to their early days, and the cover of MOTÖRHEAD's "Iron Fist" absolutely crushes. Buy or die, people.

THE FARTZ - "Injustice", 2002: Twenty years prior, THE FARTZ unveiled their happy talent for offending the easily offended via their blaring, club-footed clatter and lewd lyrics. "Injustice" finds them showing the youngsters how it's done in 2002, but this time the vehicle is inconceivable speed...and lewd lyrics. For a band determined not to take itself seriously, these guys kick up a major ruckus with "Injustice". Stuff like "God Fearing Christians" makes high-velocity ZEKE or SPEEDEALER sound like some kind of FLIPPER demo. ACCÜSED fans that haven't checked this one out should take a break from Ebay (you're never going to get that original CD of "Open Casket" anyway) and lose themselves in these cheap thrills. "What Do You Stand For" would fit on any splatter rock collection, and if THE FARTZ version of "Buried Alive" was any faster, it'd be grindcore. Plus, there's a bitchin' version of DISCHARGE's "State Violence, State Control". Damn, they thought of everything.

THE ACCÜSED - "Oh, Martha!", 2005: The long-awaited reunion disc is a feast for the senses, a visual and auditory celebration of all things ACCÜSED, featuring pages and pages of splatter-style artwork from a host of underground artists. Musically, “Oh, Martha!” is the CD that 1992’s “Splatter Rock” should have been, minus all the filler. 13 new tracks flash by like a tasmanian devil, Niemeyer’s calculated bursts of E-string sawing locking and synchronizing perfectly with the drums of Steve “O-Ring” Nelson (who last appeared on 1989’s “Hymns for the Deranged” EP). Throw back the twin espresso shots of “Crapassreality” and “Fast Zombies Rule” and see if you can keep the shades from flying off your headbangin’ noggin. Blaine’s screams are a little less blistery this time, but the overall vocal delivery is far from tame. For cover choices, we’re treated to spastic versions of TANK’s “Filth Hounds of Hades” and OLIVIA NEWTON JOHN’s “Have You Ever Been Mellow”. The stunning package would also see a vinyl release a couple of years later.

THE ACCÜSED - "The Archive Tapes 81-86", 2006 - Originally a late-80s, ridiculously limited issue, this version of "The Archive Tapes" is a sprawling, vault-raiding vinyl release for fanatical fans to lap up, consisting mostly of mucky, dropout-plagued cassette demo tracks from the Cook and Dahlin eras. As emaciated as early efforts like "No Reason" and "Life's A Waste" sound compared to the band's later output, they still piss all over most hardcore of the time period. Fanatical splatter-mongers will find it intriguing to hear a live version of "Reagan's War Puppets", the proto-speed metal of "Running From The Police", and the early version of "Autopsy" with different lyrics (here entitled "Father's Revenge"). It's a hissy and primitive affair, but for the band's legions of die-hards craving those crazed stops and starts, it's a worthwhile purchase. Packaging wise, it's a sweet find and the various sources that make up the track listing are well-documented - but definitely not a good starting place for the curious or uninitiated.

TOE TAG - "Machete Killah" EP, 2007: The TOE TAG project is Blaine’s latest return to the scene, and the band makes one hell of a splash! OK, it’s just one song with a cover of SABBATH’s “Junior’s Eyes” as a ‘B’ side, but the new material here is a ‘Killah’, pun intended. The title track is a blazing thrash/punk romp capable of raising deceased ACCÜSED fans right out of their graves. It's speedy, dirty, thick, and full of Blaine - what more do you need? There is some great riffing here of course, and by the time Alex gets to the solo, the two Steves keep the bass and drums are absolutely racing. The rhythm section during the solo reminds me of the way SABBATH kept up when Iommi was off doing his thing. Blaine must still gargle with that drain cleaner, cuz his pipes never sounded so good. A logical evolution from the ACCÜSED, but the highway’s a little quicker, and the pavement a little straighter. Oh, yeah, whoever thought of making the 7” with 33rpm on one side and 45rpm on the other with no markings, thanks so much ...really. Get it.

TOE TAG - "C.S.M.F.D." EP, 2007: We get more than a taste this time from TT, 4 or 6 songs as you read the jacket, and WOW! Kick me inna nuts. More thrash/punk/speed insanity, with the band taking a firm toe-hold (more puns!) in this joint. Heavy and thick sounding, “Hate Your Friends” is what must happen when Blaine has too much coffee. He screams so forcefully on this track, he probably needed someone to stuff his innards back in. The title track, “Cock Sucking Mutha Fuckin’ Diablo / CSMFD” is like peroxide on an open wound. God, it stings...but then it feels so good. The bass is quite prominent in the recording, and really holds the tune together when Alex gets into his solos. It's difficult to fathom how well these guys play together, and how the songs can hit so hard. Even a casual Blaine Cook fan should really dig this EP. So all you shocked and disgruntled fans that keep saying 'It's not THE ACCÜSED without Blaine' - well, now you have a couple 7" discs to purchase before they're gone.

THE ACCÜSED - "Why Even Try?" EP, 2007: This ironically-titled single dares to introduce the underground populous to the new era, revolving around lone mainstay Niemeyer. Cook is supplanted by former BURNING WITCH stickman Brad Mowen, gurgling and shrieking like some blood-crazed sewer creature. Niemeyer's riffs and revs still groan and creek like a rusty trap door, and Mike Peterson's resolute drum lunacy gets the job done, even if the sepulchral snare tone could use a bit of engineer's poise. Overall, this latest version of the band delivers the manacle-bound, cartoon gore charms with surprising zeal. A full-length with the right producer and some fresh ideas (please!) could turn quite a few heads indeed.

Final Thoughts: Looking back, aren't many punk or metal bands that have released more than a couple of quality albums in their entire career. Seattle's ACCÜSED managed to dish out a string of impressive releases that often became coveted treasures in both camps. They're the type of band that really brings it all: memorable tunes, jaw-dropping musicianship, collectable records, stunning aggression, and a great sense of humor. Despite the ups and downs, the cast of characters are still involved in quality projects to this day. So keep an eye out for some of these records, and don't let 'em go no matter what your friend the Ebay guru says.

- Peacedogman staff

Special thanks to Blaine Cook for his input to this article.

**The web version of this article can be found at www.peacedogman.com/csgacc**