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smp - stalemate original 1995 release by re-constriction/cargo records remastered 2011 re-release by music ration entertainment 01. pure uncut anger 5:10 02. drug czar 4:52 03. 451 4:38 04. alcohol, pt. 1 3:43 05. lethal weapon 4:25 06. clementine 4:32 07. scarlet letter, pt. 1 2:12 08. scarlet letter, pt. 2 3:57 09. cops 6:09 10. 1999 5:51 11. backwards 4:37 12. homeless 4:36 13. punch 6:00 14. we've got a problem 4:14 15. christmas at the pub 2:18 16. weak* 4:49 *remastered 2011 re-release edition bonus track produced by unisect engineered by a.p. boone, tim farrow, & charles holzer recorded & mixed at unisect studio by a. p. boone & tim farrow track 5 written by afrika islam & ice-t track 16 vocals recorded at the vortex by the sultan track 16 written by chris demarcus, jason bazinet, & sean ivy track 16 recorded & mixed at deathproof studio by chris demarcus all songs except tracks 5 & 16 written & performed by jason bazinet & sean ivy all turntables & scratches by #9 aka tim farrow artwork by heather ivy layout by garrick antikajian reviews: smp's industrial style incorporates hip-hop, samples and thick rhythms to convey its generally angry and specifically political message. in doing so, smp echoes other greats in the genre; its closest relative is meat beat manifesto, although it also recalls consolidated and ministry. like meat beat manifesto, smp uses rap vocal style fed through vocal distortion to create a gritty shout set against a dense musical backdrop. the music is based on rhythm, rather than melody, and it is layered and textured until it is one basic beat with many supporting rhythms placed around it. smp avoids the overkill trap that a lot of industrial bands fall into; its songs are straight-ahead and even catchy at times, rather than being too bombastic or musically heavy. on 1999, the rhythm has a tribal sound to it, which, juxtaposed with the futuristic samples, makes it sound like a song from a mad max movie. afrika islam and ice-t contribute the only non-original, lethal weapon, whose style blends well into the rest of the material. while smp isn't breaking down new barriers in industrial, the band is creating music which is palatable to the casual, as well as the hardcore industrial fan. check(mate) these: punch, pure uncut anger, and drug czar. - review by megan mclaughlin/ cmj magazine #436 wow! booty-shaking, mind-stimulating, nerve-draining industrial mayhem straight out of grunge-land. this latest release of smp is definitely not your typical metal-headed speed trash that has been overwhelming record stores. these hip-hop punk industrial fellers have got what it takes to keep me pissed off and dancing in yer face. with their driving beats, richly textured sample overlays, and their ability to rap your ass straight back into hell you already live in. you can't lose with this ever so untypical cd in your collection. review by virus/ permission magazine there's something of chris connelly in this music, with hints of the rap-like approach of murder inc. to some of the tracks on this album. subtle it ain't, simple it is. but because the construction isn't neck-jerkingly complex doesn't mean the music is weaker - rather it makes a good steady backdrop for the voice which, for once sounds quite good - the clichéd fx enhance rather than cover up the strengths of the vocalist - and also makes a decent vehicle for the plethora of vocal samples which take their turn throughout. they kinda sound familiar and have you racking your brain as to which movie they were taken from. tempos range from high-octane thrash-outs to limp-along soporific pieces - zombie dance! mood, too, is varied here. while overall there's the usual feeling of dark streets and ugly threats, there's also (intentionally or not) a breath of fresh clean air which appears here and there - as if there's still time for those who want, to be able to escape, get out of this potential dystopia for somewhere less threatening, and, okay, dull. which, despite myself, i cannot tag this album as being. while i find it follows specific genre guidelines perhaps too closely, it nevertheless kicks enough ass to be a satisfying listen. no track jumps out and grabs you (and i have listened to it relatively frequently over an embarrassingly long period) but each has it's own merits. i cringe to think that, while they clearly have enough talent and 'push' to sustain a career while the genre lasts, they'll always be the support band, never the headliner. but a much sought one review by bonnicon/ soft watch magazine - 6/3/2012