One of the more sonically extreme discs in the Allin catalog, this 2001 compilation is a fuckin' low-fi abomination. A reissue of one of the best sessions of abject noise punk from GG Allin, which has been out for awhile, but I'm just now getting it on the shelves. Like much of the later GG Allin output, it's atavistic hardcore punk filth, but this session boasts one of the harshest, most distorted recordings I think I've ever heard on an Allin album - oh hell yeah, Violent Beatings is one of my all time favorite discs from the Sewer Messiah. This recording is so fucked-up and noise-damaged that it strikes the same frayed nerve as stuff like Stickmen With Rayguns, Brainbombs, Flipper, Drunkdriver, No Balls, and Rectal Hygeneics. And that title? Couldn't be more fucking appropriate. It's one two three four and the blown-out homicide anthem "Watch Me Kill The Boston Girl" skids into you like an out of control Honda, a mere minute long blast of primitive hardcore with incredibly gnarly vocals pushed through a snarl of distortion and dented microphone. That hardcore punk element is all over the classic Watch Me Kill 7" tracks (released on Fuckin' A / Stomach Ache Records in 1991) that consist of the first half of this disc, apparently remixed and remastered from the original four-track tape recordings, slamming one after another into the mutilation fantasia "Castration Crucifixion" a mid-tempo punk stomper, into the bizarre tribal exorcism "Snakemans Dance" that weaves reptilian noises and crude tribal rhythms and GG sneering psychotically over a simple but sinister sludgy guitar riff, producing some wickedly noxious psychedelic noise rock fuckery. And then it explodes into a shrapnel storm of infectious pogo violence via "Slaughterhouse Deathcamp" and the closing song "Master Daddy", that wash of omnipresent tape-hiss consistently smeared over top of everything, simultaneously catchy as hell, and garbled and grotesque; a bizarre Communion ritual is rasped over the blasphemous sludge-punk of "Feces And Blood Bacteria Of The Soul" that dredges up some more of the band's latent shithole psychedelia, twisted and gnarled blues guitar licks and discordant amp skree swirled into the slow-motion depravity, almost suggesting a viciously violent Butthole Surfers jam as the group and Allin stumble and stomp their way to the absolute blurr-chaos of the summit. Yeah man, this EP is a beast,; again, one of my favorites of the late 80s Allin canon.

The alternate recordings from the August 1988 "Suicide Sessions" is similarly hideous and wrecked as the band rams another five tracks of grime down your throat, from the Oi!-esque catchiness of "Dagger In My Heart", the vile mid-tempo metalpunk crusher "Spread Your Legs Part Your Lips", the "classick", almost surf rock-tinged "Shit On My Prick" with its brain-damaged atonal guitar soloing and simple, barbaric riff; "Cornhole Lust"'s borderline pigfuck atrocity that stands out on the set with its slower, shambling tempo, horrific vocal sounds, and gritty noise and distortion. The band's hardcore punk undercurrent rises to the surface on "Kiss Me In The Gutter�, again demonstrating some completely berserk ear-fucking guitar skronk and solo. Oner of the real standouts on Beatings is the abject sludge of "Drug Whore", a dark and deliriant crusher that could almost pass for some unheard Hellhammer song, its grisly minor-key riffs grinding over you like a bulldozer, the noisy fretboard histrionics adding to the song's aura of depravity and chaotic frenzy, with Allin's ranting, seemingly freeform muttering and whispering and shouting drawling across the slo-mo scumbath. "I Live To Be Hated" is a perfect closer, another one of those rippin' nihilistic pogo-punk jammers that Allin and crew were able to just pluck out of the fetid air. What a glorious, abominable bloodbath.