Ratas Del Vaticano - Discography 2009-2012 (320)


R-A-W parking garage punk from Monterrey (¡Mexxxxxxico!)...


MRR 2009...

Violeta (Bass) • Rafael (Drums) • 
Joaquin (Vocal and guitar) • David (Vocal and guitar)

MRR: What kind of punk rock has inspired you?

Violeta: The real one.

Rafael: I think cholopunk ["Bumpkin" not gangster. --S] would be the best word for our sound.

Joaquin: If by punk rock you mean all those bands from the ’70s, then my favorite bands are the Sods, Anti Nowhere League, the Damned, the Boys, Dead Boys, the Kids, Johnny Thunders and the Heartbreakers, Iggy and the Stooges, Siouxsie and the Banshees, Ramones, Sex Pistols, Hubble Bubble, and the list goes on you know.

David: The classic stuff and the Mexican old rock ’n’ roll like Three Souls in My Mind, Sindrome del Punk, Massacre 68, and of course good bands from all around the world like the Kids, Paralisis Permanente, Ultimo Resorte, Rudimentary Peni, etc.

MRR: The question all the world wants to know the answer: why the name Ratas del Vaticano? Does it have something to do with the church? Do you guys hate Pope Benedicto?

Violeta: I don’t care about any church or the pope. We don’t intend to say that the pope is a rat. He might be one though. I heard Benedicto used to be a Nazi or something like that. That’s the sickest thing I’ve ever heard, haha. I don’t know, I guess it’s funny to live in Mexico and have a band called Ratas del Vaticano because some people here are so religious—orthodox Catholics. And it’s all bullshit. Religion is the opium of the masses, that’s what the Proletariat said.

Rafael: How can you hate the guy, he looks like fucking Emperor Palpatine!

Joaquin: Well, I don’t know it seems funny to have a band with a name like that, especially in Mexico where most of the people are catholic to the core. I don’t really think it has something to do with the church or that we hate the pope. I mean, I don’t hate anybody at all. We picked that name because we wanted to be offensive, not because we want people to stop believing in what they believe. If you try to change someone else’s beliefs then you are being as repressive as, I don’t know, the Inquisition and shit like that. Yet, I do think some people need religion because it really helps them find the confidence and the strength they are looking for. Still, I’m not defending religion. People need to believe in themselves. Just look at racism—it is based on fear and ignorance. That’s so stupid, you know, we all live on the same planet, so why hate someone who looks different, or someone who has different beliefs or ideals. Diversity itself gives some flavor to our existence. We need respect, tolerance, love, and a little humor if we want to get along with our brothers all over the world.

David: I don’t hate religion as a faith. As Joaquin says, it serves for some humans. I don’t like religions as institutions and how they brainwash people. But I know it serves for some people to keep living and shit. I just don’t care, here in Mexico they say they are Catholic, but they don’t fuckin’ care either.

MRR: All the songs seem like an old broken washing machine—repetitive, like a motor of unstoppable rock ’n’ roll. Did you decide to play like this from the beginning or did the songs just come out that way?

Rafael: Our biggest influences are Whirlpool and Oster.

David: It’s the way it ended up in the recording. It wasn’t intentional.

Joaquin: Dave recorded all the songs but I guess he didn’t have a complete idea of how to use the 4-track. So after we finished recording the songs, we listened to them and we were surprised by the result. I liked it a lot, yet I guess we knew it was going to sound cheap and bad, but we didn’t know it would sound that bad—which I guess is good, I don’t know.

MRR: You guys have other slower songs too like “Tema de las Ratas,” which is a very cool keyboard. Who wrote the lyrics of this song? Does it mean something for you or is it just a joke?

Violeta: I remember when Joaquin and Dave started this band. I told Dave how much I liked bands that had a theme song, like the Penetrators or Witchypoo or Los Rizillos, and they had just made that song “Tema de las Ratas", It was cool. At first I thought it could become a rap song, haha.

Rafael: I like “Paranoia” more than "Tema".

Joaquin: I made the lyrics to that song, but Dave and our first drummer Danny came up with the music. Lyrics might have meant something when I was writing them because I was kinda mad at society and stuff like that, but now I just don’t care.

David: Yeah, Danny and I were improvising, and at the end Joaquin came up with these cool lyrics that seemed like a rap song and everybody thought it was cool.

MRR: Tell me about something cool that has happened to you at a show, a story that you will never forget and will be kept in the almanac of rock inside your heart.

Violeta: One time we were playing at this really small smelly place called Bar ni Soto in Mexico City, and the people were singing the keyboard notes of “Tema de las Ratas” cause we never play keyboards live. And they were all so wasted on mescal, it was a great moment. I barely remember what happened after that show.

Rafael: A show we had in Aguascalientes was like, fucking dangerous. We were literally waiting for the audience to sexually attack Violeta. They were a bunch of paint/glue sniffing kids. Los Inservibles were also watching Violeta’s back during the whole set. Once we finished it we went straight to our van, where hours later a cholo kid wanted to come in to sleep with us, hahaha.

Joaquin: People sometimes share some weed and beer with me before the show. That is so cool. And sometimes they throw stuff at us, which is even cooler.

David: People sometimes do not know how to react, and sometimes we have very wild shows with people smashing all over the drums and shit. And sometimes it seems they are so old and tired, they just stare at you.

MRR: Do you have something recorded besides the free download  and the LP ? Any future split or recordings to be released?

Rafael: We are working on a cumbia tribute to MJ.

Violeta: Lots of stuff coming soon. Besides the new releases on Volar and HBSP-2X, we are going to be on a compilation of Mexican punk bands along with Inservibles and Los Nassis and bands like that. Hopefully that will be soon.

David: A tape on Full Beans (France) and a 7″ with Volar Records (Craig and Brian from Christmas Island) and two songs on a new Latin punk compilation from a Mexican label called Cintas Pepe, run by Inservibles.

MRR: Who wrote the lyrics to “Olvido?” Does it talk about death as most people think of it, or does it talk about death as something dimensional, something that is here already?

Joaquin: I did. Well, it is not about death or dying, it is about imagining life as if you have never existed. Would the world be as it is right now without you in it? That’s what it is about, and some depression and shit like that. You know, daily frustrations in the routine of a young Mexican trying to survive in his country. Boring shit in the end.

MRR: The song "Puerta Con Frenesi" is an ode to masturbation. How frequently do you practice onanism? How frequently do you guys touch your sexual parts and play with yourself? (Yes, Violeta, this question is for you too.)

Violeta: A lot of our songs talk about masturbation. Onanism is something very important for me—it’s like a sport I try to practice as much as possible. I don’t know about the frequency though. Maybe once every two or three days.

Rafael: Every time Jerry Springer puts on any special on pay-per-view, like the Cinco de Mayo special where that fat latina and a midget were making out in a giant tortilla with beans and lettuce. You can pretty much tell that this happens every day.

David: Yeah, well. I don’t have a girlfriend, so I practice masturbation like four times a week and I try to delay my ejaculation. I also like to take a long break and enjoy going back. It feels better, you know.
Joaquin: I guess once a day, except when touring because it is difficult, which is kind of a drag.

MRR: What about the recording style? Are you satisfied with the Killed By Death sound, or do your want something better? Dave Ardilla, I know you record everything on the 4-track. Will you ever try to record on a computer?

Violeta: I’m not at all into slick production, especially when it comes to punk rock.

Rafael: I think it is a neat and unique sound—I really hate that direct-to-computer guitar sound, kinda like very electric. I don’t know how to explain it.

Joaquin: Yes, I am satisfied with the sound we have on our recordings. I would only try to record with better equipment if I had, I don’t know, a progressive rock band. Which is never going to happen, thanks to Ala.

David: I’m very satisfied ’cause we are not paying a lot of money for the recordings. We only spend money on tapes and it sounds cheap and raw, the way it was meant to be. I don’t like using computers except for watching porn or email.

MRR: Tell me about your hobbies, guys, do you collect anything? Any obsession of any kind—sexual, psychological, or gastronomic?

Violeta: I always try to collect the bus tickets that have the number 21. Also, all kinds of boxes. I am sort of obsessed with boxes. I keep a lot of useless shit in my room.

Rafael: I like gore material, like photos, videos, accident footage, suicides, executions, all that kind of stuff. Nowadays I stream it, better than collecting it, gore isn’t that much fun anymore for me.

Joaquin: I used to collect coins, rocks, records, stamps, and basketball cards when I was younger. Now I only collect skulls of dead animals and memories, which is harder and cheaper. About the obsessions, well I guess I’m kind of attracted to dead bodies, death, serial killers, space, porn, mental disorders, and exotic foods, especially those with insects as main ingredients. Lately I’ve been reading lots of Muslim authors like Al-Farabi, Averroes, and Avempace. So I guess I like world cultures and folkloric traditions of all kinds.

David: I used to collect rocks too when I was a kid. And I tried to start a collection of pogs in primary school too. I don’t collect anything nowadays, I spend my money on beer and gas. I have an obsession with odors. I really like to sniff girls’ armpits, or my own armpits sometimes. I also like to be humiliated sometimes.

MRR: I know that Joaquin makes collages with paper cut-outs, and the cover of the LP is actually one of those. Can you explain to the readers something interesting or funny about the parts used, like the Nazi Mexican flag or Hector Suarez? Or tell me about the guys that appear on the backcover—who are they actually?

Violeta: The faces you see on the back cover of Mocosos Patéticos belong to some young crazy people from a Mexican communist organization in the ’70s who used to call themselves “Liga del 23 de Septiembre”. During the ’70s a lot of people here still believed in communism and anarchy, and the government had a very rigid power over the people. Anyone that seemed subversive or communist or against the president died or disappeared. So the September 23rd League didn’t last long, but they achieved some cool stuff. They could kill the richest man from Monterrey at that time. They kidnapped the president’s brother and robbed some banks. I’ve heard several stories that these guys would kidnap kids from school and send them to Cuba, or even eat them. Crazy stuff. They’re all dead now, sadly. The Nazi flags from the front cover are designs from Mexican Nazis during World War II. It’s sort of surreal to think they were actually Mexicans and Nazis at the same time. Totally fucked up! Mexico has a sick history of weird flags.

Rafael: Hector Suarez is a cool comedian. He does a very cruel/fun impression of a ghetto Cuban boy—a drugged raver/dancer so fucking ridiculous it’s not even believable, and many more I can’t even remember.

MRR: What places have you played outside of the ranch (Monterrey) where we live? I know there is a US tour coming soon. How do you feel about it? Are you nervous or do you not give a fuck?

Joaquin: The West Coast tour in the US has recently finished. Right know we are stuck in Oakland. To tell you the truth, at first I was so nervous about the whole trip and shit like that. But it was a nice experience, and we met some very cool people, especially in Mexicali/Calexico, Portland, and San Francisco. We had some trouble at a little town in Northern California, you know with all those Republican rednecks, but in general everybody was so nice. Of course there were some disappointments, but it was worth the experience. I doubt we are going to travel again ’cause when I came here I had 140 dollars and now I’m leaving with only 5 bucks.

Rafael: We just played in Texas (Austin, Houston, and McAllen) and we have had a good response from all the gringo guys. Most of the time they don’t even know what the fuck we are playing, singing, or saying, but they seem to enjoy it. McAllen is a different story, it’s like being in Mexico. They do speak fluent Spanish and shit. We just toured the West Coast. It was amazing.

David: I liked California and Portland a lot. Portland seems like everybody is stoned. Sarah Crews (spider girl from Oakland) helped us drive all the way, so thanks to her and all her lovely friends.

MRR: If you could write a letter to someone who’s already dead (famous or not), who would it be?

Violeta: I don’t know, maybe I would write to Michael Jackson just to tell him I always believed he never raped those kids. And I would like to write the story of my life and send it to Karl Marx. And to Houdini I would send a note saying, “Is there an afterlife?” because he might be the only one who could write me back.

Rafael: It might sound corny or something, but definitely to MJ. I would ask him about the sexual abuse charges against him, like really ask him what happened. I do believe in him, but there is always this part of me that wants to believe he did abuse children.

Joaquin: I don’t know, if he or she is dead then how are they supposed to read my letter? I think I would write to myself and then get my body frozen and after being reanimated I would read it and write me back and give the letter to my past self with the help of a time machine.

David: To Kurt Cobain, aka “El Rubio,” how we call it in Mexico. I want to know his opinion about his grandfather signing guitars and selling them through eBay.

MRR: Do you believe in scenes (music, art, etc.)?

Rafael: Not really. Like at first you might think it is the right thing to believe in, but as time passes (or you grow up/get older) you find out that almost 99% of the time those people are just lame, or so obsessed with that scene/thing, which makes it kind of pointless. So they like let you down, and you are yet again lost and alone. Scenes are just stupid, you have to follow “the rules” and live by that or whatever. But fuck that. Better to believe in yourself, in the end you are going to die on your own, not with your scene.

Joaquin: I used to believe in music and arts, but now everything has changed from what it used to be. I think the internet and the growth of media has something to do with all this phenomenon. I don’t see myself living off this—I mean I have a job in Monterrey, in charge of a warehouse, you know a shitty job even when I have a college degree. I now see art and music just as hobbies, I have lost faith in both of them, but that does not mean I don’t like them.

David: Sometimes I believe in them, especially when I watch Rocky movies or stuff like that. I think sometimes there is something in the air and you can feel it, and everybody is so connected and into something related to everyone. So sometimes I do believe, sometimes I don’t. I always believe in having a good time though.

MRR: Do you believe in revolutions? Do you believe in global changes?

Violeta: Yes, I do believe in revolutions. I believe the world is changing all the time and some of those changes come from revolutions. From the bottom to the top. But sometimes it’s the other way around and that’s lame. I do believe people can change things if they want it and create revolutions. Sadly in Monterrey they’re still voting for the biggest corporate political parties and it’s hard to make them realize what’s going on. We need something that comes from the bottom and goes all the way up to the top. Something that comes from the people.

Rafael: I think it’s something similar to the scene question. People can like make a revolution in their minds and live with that by their own. I really hate when “revolutionaries” or people that want to change something want you to be as involved as them. I mean, fuck that! If you can’t convince me then fuck you, don’t try to persuade me to really believe in you. Either you do it or you don’t! That’s it!

David: I believe in personal changes and then revolutions.

Joaquin: Yes I do, but once a revolution becomes static, you know, once it establishes itself as a system, it is time for another revolution. A revolution must never stop.

MRR: What does punk mean to you? Do you believe in it after all that has happened? Or is it just an attitude or a musical genre? Is it just a product or just to have fun or what?

Violeta: It becomes a product just like anything else you can think of in this world: rock ’n’ roll, sex, drugs, revolutions, even people. Living in this kind of world it’s natural to expect that’s what’s going to happen. If something like punk rock is born, it’s going to become a target for teenagers sooner or later. So you decide if you swallow it that way. But punk is not about following trends and everybody knows that. I do believe in punk, it’s not just a music genre or having a mohawk to me. I don’t know. I think everyone has their own attitude towards punk and I have my own. What punk means to me might be different from what punk means to you, but it’s still punk…I guess.

Rafael: When I was young, I blindly followed the “punk code,” but then as I grew up I found out it was kind of stupid. So I see punk as a real fun thing. I love all those punk bands that don’t take themselves seriously, like you see them having fun and stuff. I hate those bands where all the members seem to be like from a Russian militia or something, that they are like dead serious about their ideals, and dying for animal rights, and shit like that. That’s not even fun! Maybe I’m just too naive, but I like it that way.

Joaquin: I used to believe in the rebellious I-don’t-give-a-fuck-attitude of punk rock when I was younger, but as I keep growing I only see it as a musical genre and a product. I mean there a lot of things to be mad at, but I don’t think music has the power to change the world. It might have power in changing someone’s attitude, but it won’t stop governments or police officers in doing what they do.

David: I don’t know what you mean by punk. I do believe in punk as an attitude, maybe it’s the rock ’n’ roll attitude of doing whatever you want to do no matter what’s popular or what the people say. I do believe in DIY of course.

MRR: What do you guys take seriously in life and what not?

Violeta: I don’t know. I don’t think I take a lot of things seriously.

Rafael: I think I’m at a point right now where again I’m lost, having no education at all, like I’m stuck between having to work a shitty job, or try to finish high school so that I can get a better job. But in the end, I find myself not doing either of those two, so I don’t think I take my life that seriously.

Joaquin: I guess I try not to take life too seriously because I don’t like being disappointed by it. But I do take some things seriously, like my family.

David: Friends and family. Everything else is not worth the worry.

MRR: If you could die and go to hell and see the devil sitting at the gates of the underworld, what would you tell him?

Violeta: Are you God?

Rafael: Wanna smoke some weed and listen to Mayhem?

Joaquin: I would invite him to have some beers. But I guess beer might be warm in hell, so probably bourbon would do better.

David: I don’t believe in the devil.

MRR: If someday you rub a bottle and a genie appears in front of you and he grants three wishes to each one of you, what would you ask?

Violeta: No border patrols anywhere. No STDs. And some indian nuts.

Rafael: An ability where the more I eat, the slimmer I get. The ability to turn Joaquin sober when it is needed, making Dave shut up when it is needed, having a smaller normal sized dick—it’s hard to pump that much blood into it!

Joaquin: A life without worries at all, I guess.

David: Yeah, a life without work as we know it nowadays and without racism and a life near the beach trading bananas.

MRR: And finally, what would you do with a million dollars?

Violeta: Buy one million burgers at McDonald’s. Or send the money to Africa.

Rafael: Probably save it so I wouldn’t have to work for a long time, or maybe buy several ugly looking ghetto homes.

Joaquin: I would save half in the bank and bet the rest in Vegas.

David: I would get a lot of drugs and alcohol and a stand of Mexican food and have a party for friends and I would contact the Spits to play there.

Back To Back - Discography 2010-2014


Accidental Outo, minus the braindrill (and a demo that confusingly vibes like jockcore,
otherwise it's M-A-D tumpa-tumpas). Fave Trax: the entire "Narcissist" EP...

Die Form VS Depeche Mode - "Die Form 1" Tape 1978 & "Summer Demo" 1980 (128 & FLAC From O.G.)



"Die Form is a French post-industrial and electronic band formed in 1977-78. The name Die Form means 'the form/shape' in German and is also a play on the English word 'deform'. It is the primary project of electronic musician and multimedia artist Philippe Fichot. He began his own record label to release experimental cassettes as Die Form, starting with 'Die Form 1' in the late 1970s. Whilst the project was still in its infancy, the underlying concepts were already evident: esoteric electronic experiments with an underlying theme of erotism, death, and other taboo subjects."

"Depeche Mode's true origin dates back to 1980, when Vince Clarke and Andy Fletcher formed a band called Composition Of Sound. With Clarke on vocals & guitar and Fletcher on bass, the pair were soon joined by Martin Gore as a third instrumentalist. Dave Gahan joined the ensemble after Clarke heard him sing a rendition of David Bowie's 'Heroes'. With the advent of affordable synthesizers and the increasing popularity of electronic music, the group began pursuing a synth-pop direction and changed their name to Depeche Mode, after a French fashion magazine of the same name, meaning 'Fashion Dispatch'."

Sadistic Intent - "Conflict Within" Demo 1989 & "Impending Doom" 12" 1990 (320)



Tough Riffs 2016 interview snippet with guitarist/cofounder Rick Cortez...

Sadistic Intent was formed in 1987. Who came up with that name? Is there any story behind it?
Did you consider any other versions as well? Who made the logo for you?

In reality, Sadistic Intent has its roots in 1986 when we were called Devastation. Bay and I had met a drummer and guitarist/vocalist in our high school that wanted to start a band with us. Bay wanted to play guitar so they were okay with it and the guitarist ended up becoming our vocalist. Bay and I wanted to play faster and heavier but the vocalist already had his songs written which were not that way and we compromised. After a while he told us that we needed to make radio friendly songs because with our style of song writing we’d never get played on commercial radio. Bay and I didn’t want that and the band sided with us, then we ended up finding another vocalist and that is when we changed the name to Sadistic Intent. As far as inspiration for the name, that came to me from the Slayer song “Angel Of Death” when Tom yells, “Sadistic, surgeon of demise”. That was the spark that lead to the name of the band. I remember we had come out with eight names but in the end, we narrowed it down to Sadistic Intent! Back then we did not have the internet and we figured that although some names sounded great, chances were that some other band(s) around the world would also think the same. Ultimately, we felt that Sadistic Intent was original and it fit our musical style well. As far as the logo, back then we had a friend who called him self Legionz, and he would draw a lot of our gig flyers in the early days. Every time we had a gig he would draw a new logo and we actually had several logo’s back then! In those days we thought that was cool but eventually we thought it would be a good idea to stick to one logo and it was hard to pick only one so we picked two of them! If you look at our first MLP you can see both logos. After a while we made the decision to stick to the one we use today.

What was your first concert like? How active was the LA scene? What bands did you usually share the stage? At early days, did you manage to support any national acts?

The Metal scene in L.A. was basically splitting up, there was the Guns N Roses and Poison type of bands that were allowed to play the Sunset Strip Hollywood clubs, and then there was the fledgling group of bands like us playing our new style of extreme music. By 1988, with the exception of Slayer the popularity of the pioneering Thrash/Death/Black Metal bands had gone down, especially due to bands changing their styles or breaking up. By then the Hardcore Punk and Crossover scene had gained a lot of momentum. Death Metal in those days was truly underground and there was not many fans of it here in Los Angeles at all. Therefore, we were sort of forced to play shows with a lot of the Punk bands and of course the Thrash bands. Our first gig was actually a back yard party in the city of South Gate. Honestly, I do not remember who else played that night but I remember it was a mixed crowd of Thrashers and Punkers of around 100 people and there was even a few skinheads who showed up! We thought they were there to start trouble but they actually ended up in the pit during our set! From what I recall, the crowd responded well to us but the police showed up during our set and we had to stop playing! They told everyone to leave and after the police left, most of the crowd was gone but we ended up hanging out there with music on a stereo and drank a lot of beer! Heheh I can’t recall all the bands we shared the stage with in the very beginning but some that come to mind are Terrorizer, Brutal Assassin, LKK, Darkness LA, Suburban Warfare, Demolition, Clowns Gone Bad, etc. Thanks to our 1988 rehearsal tape, we got on our first big show with national acts opening up for Dark Angel, Dr Know, & Forbidden, the band that had Slayer’s future drummer Paul Bostaph. It went great and after that we started getting invited to more club shows and we stopped doing the backyard parties. At that time, I remember on the television news they would talk about the gang violence and death toll every week. Then some of the gangs in L.A. had started going to the backyard gigs and looking for trouble, it got really fucked up! There was literally some people who got killed at these backyard parties! We seen some serious violence and we even had close calls with guns pulled out on us so once we started getting invited to do the club shows, it was time to move forward.

In 1989, you released another demo, "Conflict Within". What can you say about the recording process? How many labels did you contact with it?

We recorded that demo at a garage that was converted into a studio which was called Cage Studios. If I’m correct, it was a 16 track mixer recorded onto half inch reels. The owner of the studio was actually the uncle of our ex-vocalist from Devastation. At first we thought he would not record us because his nephew was no longer in our band but he was cool and still worked with us. He basically tracked (recorded) the drums first, then the bass, then the rhythm guitars, guitar solos and in the end the vocals. Then of course the mixing was the final part. We told him to put up the treble on the cymbals because with all the tape trading we did at the time, we would notice the treble/cymbals always seemed low. With tapes being a copy of a copy, the treble would get lower so we thought it was a good idea to raise the cymbals on the demo. As far as gear that we used back then, since we did not have much money, we bought some cheap used amps and cabs (speakers). The Yamaha solid state amp I owned at the time did not have self distortion so I used a Boss Heavy Metal to get that sound. I had a 4x12 cabinet (half stack) but I can’t remember the name brand, I know it wasn’t a Marshall. I’m pretty sure the guitar I used was an Aria Pro II that actually belonged to Bay. My guitar at that time was an Elektra (Les Paul copy) but I didn’t I use it on that recording. As far as labels, I personally do not recall even trying to send one copy to a label, at least I don’t remember thinking about that during that time. We were underground and that kept us busy just keeping up with all the aspects of the band. We took copies of the demo to Wild Rags Records, the actual record shop that was around back then. After the owner saw that our demos sold well and got good reviews in the underground ‘zines, he asked us if we’d be interested in putting out a record. That’s basically how that happened. 

Released in 1990, "Impending Doom..." EP became your first official release. How did recording sessions go? The songs from your previous demo, did you change them anyhow before the recordings?

The label (Wild Rags) was supposed to have a recording budget for us but when the time came to record, we had to pay for it ourselves! The recording session went very quick because it was a relatively expensive studio in Hollywood and with our budget, we knew it had to be quick. They had the 2” reel to reel machine and a big mixing console, I think 36 tracks. Generally our mindset back then was, we’re a live band and you’re getting that in a recording. Looking back, before we recorded there we checked out the studio and met up with the owner. When it came time to record it was a different guy who worked with us and he didn’t really have much input, he didn’t know about this type of music and he just recorded us. Morbid Faith was actually the only song from the previous tape. As far as the difference, not that I can think of, I have not heard or compared those songs in a long time but if my memory is correct, the song got a little faster on the EP. 

Who is that guy, Kisser, who did the artwork for you? Looks like it was his single work like that.

He was a friend of our [other] guitar player who was in the band for about a year (1989-90). Kisser would come around once in a while and from what I recall he was a graffiti artist. Truth is, we never hung out with him so I’m not 100% sure but he might have been inspired to draw something different because he was aware of Sadistic Intent. That drawing was a one of a kind drawing for him and although he gave it to our guitar player, it was not meant to be our cover artwork. Eventually when the time came that we needed artwork we used it! I remember Kisser looked like a gang member and two to three years later, he ended up getting shot and he died.