Though still steeped in the steroid fueled, punky Napalm Death -ish grind and blast noise and sociopathic political rants, Dallas’ Kill the Client have dirtied their sound up sice the debut, making these 18 raging numbers even more feral and angry than the debut. The result is arguably one of the most furious grind albums of the last few years.

Dissecting 18, sub two minute songs is a pointless task especially when all 18 tracks (except the lumbering “Downfall”) are utterly eviscerating, merciless assaults of classic grindcore on a PCP and steroid fueled binge of anti government violence and destruction. Backed by Brian Fajardo’s truly relentless and palpably angry drumming, tracks like “Divide and Conquer”, “Red State Rampage”, “The Lies”, “Bullet Proof Vultures”, “Christian Pipebomb”, “Product of Misinformation” and “Spartacus” (one of the three tracks taken from 2007s split with Agoraphobic Nosebleed) are tangibly pissed off and tear into you with the force and tenacity of one of Michael Vick’s pit bulls.

A cover of Infest’s “Terminal Nation” closes this 23 minute assault on your ears, but they will bleed and rings for a while afterwards. In a time where American metal is being core-ified, commercialized and packaged for the Hot Topic generation, I’m glad to see bands like Kill the Client literally deliver a giant, shredded, mutilated middle finger to the scene.

While most copycat metal rests on the laurels of the subject material, Kill The Client’s homage to Napalm Death (as well as Nasum it sounds like), is amply individual to keep them from being brainless clone. Even with the same subject matter (politics, religion, war, etc), Morgan’s Barny- esque shouts and roars, and scathing power chord laced bursts of scathing grind, KTC deliver just enough slight tweaks to make their sound their own.

This 28 minute salvo, consisting of 15 abusive tracks is ball pin hammer to the head for pretty much its entirety and really isn’t done justice by my mere words. From the raucous opening of “Defend”, the short lived opening lurch of “Worker Ant Syndrome”, sample fueled “In God We Trust”, the Righteous Pigs gait of “Bloodline”, the sheer Watchmaker like noise of “”Liberty or Death” and “Gridlock”, the grimy restraint of “Killing Fields” and “Negative One” (KTC’s equivalent of “Morale” from The Code is Red..?), to the ultra savage “Scene Queen”, the album pretty much smokes for its full 28 minutes, which is about a perfect length album considering its genre.

The production isn’t quite as clean as say Napalm Death or Nasum nor as grating as Watchmaker, but an unhealthy middle ground that’s acidically effective. The rend result is a bluecollar grindcore album that’s aware if its past and its future impact.