THE GREAT KAT - "GUITAR GODDESS"
(Blood and Guts Music)
So...you want to talk vicious? You want to talk tough? You want to know about speed? Are your parents, classmates and friends desensitized to all your brutal and evil extreme metal? Then it's time to move on to the next step. Think about it...gore, death, violence and hatred expressed through foul, guttural emanations from one's throat along with chainsaw-like guitars and ridiculously-fast/intense drumming can only take you so far, really...you've tried being offensive with your music and pushing people's limits, but you're hardly scratching the surface...until you've discovered THE GREAT KAT. Maybe you came across Worship Me or Die or Beethoven On Speed back in the early 90's...if not, well this is as good a start as any! Guitar Goddess was released back in 1996, but I just obtained it at the beginning of this year and it of course makes no difference, she has not changed, only become more fierce! To describe her music is truly to describe THE GREAT KAT herself (the sign of any genuine artist). I've gathered that the violin mirrors her extremely cutthroat, quick-witted personality, whereas the flashy guitar better characterizes her physical flare. Transpose these terms throughout this review and you'll see what I mean. Right fucking away she'll pull you into the whole CYBERSPEED setting with the popular "The Barber of Seville". She knows precisely when and how much to use what violin & guitar to maintain a perfect balance and keep you craving more, better yet displayed by the closing track, Sarasate's Gypsy Violin Waltz "Zigeurnerweisen". Within the first 15 seconds your heart and soul WILL be brought to their knees with a mercilessly beautiful violin, truly one of the best extensions of herself I've heard. The chaos of two originals offered in between may be tough to get through after being spoiled from "The Barber of Seville", partially due to the "lengthy" 2+ minutes on each track, but I believe this is the intention. I personally love the abusive screaming on Dominatrix and the brief, soothing samba beat courteously incorporated into and out of Feast of the Dead, plus the sip of Pepsi (or something) at the end is the touch of a genius. All the illustrious guitar wankery should make it perfectly clear that when THE GREAT KAT says things like, "SUCK MY DICK," she means it. I used to wonder why she's only bothering with 8 minutes of music per CD, but I've found part of the answer since I've managed to play this (and her other newer releases) several listens at a time, repeatedly, and still can't get enough because she packs so many notes into it all. More importantly, however, her forceful overshadowing of complex rhythmic purity and diabolically acute instrumentational precision allow her preeminence to manipulate one's emotions, without question. Moreover, such as her own a personal level of interaction with her audience could not breathe a more genuine presence (this is all the more exemplified by her Digital Beethoven On CYBERSPEED CD-ROM), fueling a deep hunger for her acceptance once one recognizes this as the greatest asset and gift she can provide. In essence, she is a Goddess. The slightly rough production doesn't do the material justice, but it's no hindrance. Also, let's not forget Jeff Ingegno's impressive command of the bass guitar. I'm forced to assume he's playing a fretless to keep up with everything else smoothly and cleanly.