Fuckpot (US)
Terrible techno mixed with movie samples, static, and a touch of James Woods and Steve Bushemi. Not to mention rants by Christopher Walken and Garth from Wayne
20
songs
188
plays
Corpsepaint Is Gay Corpsepaint Is Gay
The most popular f***POT track to date. Written in the guise of Wesley Willis. This track also appears as a hidden bonus track on the Split CD with Shroud of Despondency and Leonard.
Eviscerating The Unborn Eviscerating The Unborn
Acid For Breakfast Acid For Breakfast
Sweet Sweet Statutory Sweet Sweet Statutory
Show all (20)
FUCKPOT was started in 1998 from the demented minds of Komponent and DoktorZiplok. Following the expulsion of the foul DoktorZiplok, the ever-sadistic NarKotiX filled the vacancy of FUCKPOT's need for static, screams, and samples. Combined with the furious bass and sounds from the sucking of marrow supplied by Komponent, FUCKPOT was officially born again.
Having released several demos and 7" albums on their own, FUCKPOT signed to AcidVictim Records in 2004, and released 3 albums, namely "Satanic Static" (2004) o.o.p., a S/T EP (2004), also o.o.p., and finally a split CD with death/black metal band Shroud of Despondency and SoD's acoustic side-project Leonard in 2005, which is still in print and available.
Following these 3 releases, FUCKPOT went on the back-burner on life, and went on perpetual hiatus in 2006 following the heroin overdose of NarKotiX and the subsequent suicide of Komponent via 666 chains.
"Controlling the Masses Via Moron" was the final recording from this incarnation of FUCKPOT. Recorded in 2006, this track was dedicated to George W. "Stategery" Bush, and is a reworked remix of the track "Political Mumbo Jumbo," which can be found as a hidden bonus track off the Split CD with Shroud of Despondecy and Leonard.
FUCKPOT has 2 pages on MySpace, one is their offical MySpace site while the other is a Fanclub page. You can hear and download 10 seperate FUCKPOT tracks there.
www.myspace.com/fuckpot
www.myspace.com/fuckpotfanclub
FUCKPOT FOREVER!Band/artist history
*taken from www.freewebs.com/fvckpot*
FUCKPOT is not your typical band...if you could even call them a "band" at all. FUCKPOT was formed out of sheer boredom on a cold Michigan night during the final stages of 1998, and went on to become one of the most chaotic and headache-inducing projects to have ever come about. Two friends had come together to form the sickest, most insane band that would ever come out of the gaping wound known as Kalamazoo, MI.
The basis was simple enough in those early years. FUCKPOT simply aimed to record a demo that was a mix of static, heavy guitars, Skinny Puppy-influenced vocals and twisted humor. What resulted was something no one had ever heard before.
The FUCKPOT of today and the FUCKPOT of 1998-99 are two completely different organisms. The FUCKPOT of today is a disease that spreads across half of the United States, while the FUCKPOT of 1998-99 was a completely different band and idea. FUCKPOT merely needed an outlet to fully grow.
With only prog-metallers THOUGHT INDUSTRY to have "made it" from this cursed and wretched town, FUCKPOT didn't have much competition, but the competition they had was not something the band ever worried about. The goals of FUCKPOT and the goals of normal bands have never been one in the same.
FUCKPOT was created by Komponent, the bassist/programmer and DoktorZiplok, the vocalist/guitarist/programmer sometime towards the end of 1998. Also around this time a local music fanzine called Isolation was coming together, which played a role in FUCKPOT's introduction to the world. DoktorZiplok knew one of the writers for Isolation and begged him to get FUCKPOT in the first issue of the fanzine.
There was a slight problem, though. FUCKPOT had not even recorded a single note of music yet. Despite this, DoktorZiplok was successful in convincing the Isolation folks to conduct an interview with the band, have a featured article, a full-page advertisement and a band photo.
The first issue of Isolation came out in April of 1999 and had held up to their promise to include a decent slab of FUCKPOT in their magazine. The interview ended up being with Komponent, who gave a very interesting speech about the band and what it was that FUCKPOT aspired to be. DoktorZiplok made the advertisement for the band, which in all honesty was quite pitiful, and also wrote the featured article, which also lacked any real depth. While all of these things were included in Isolation to promote the threat of the band, FUCKPOT still had not yet laid down any music.
Despite the fact that FUCKPOT had nothing recorded, they were still able to garner some record label interest. Based upon the interview found in the first issue of Isolation, the small electro-music label DSBP expressed interest in the band, and even went as far as offering FUCKPOT a record deal upon the completion of a demo. Despite being offered the record deal, FUCKPOT refused it, citing that it was the wrong label to properly promote the band. FUCKPOT needed something far more evil and destructive. So the band forged on and decided that this was the time to finally get something recorded.
The first FUCKPOT demo didn’t come out until the late-summer of 1999. Bone Against Bone, a 6-song collaboration featuring such songs as “Stack Of Skulls”, was a limited edition CD-R release of the band’s first demo and served as an introduction to what FUCKPOT was capable of. Only 50 copies were made, and were promptly distributed to the masses.
Unfortunately, Bone Against Bone didn’t live up to the hype. While having some good samples, groove, and use of static, the vocals and guitar-playing of DoktorZiplok were nowhere near what the vision of FUCKPOT required. DoktorZiplok’s lame imitations of Skinny Puppy vocalist Ogre and undeveloped guitar-playing ultimately made the recording fall on deaf ears. Knowing that a change needed to be made, Komponent kicked DoktorZiplok out of the band and contemplated the end of FUCKPOT.
Following his ousting from the band, DoktorZiplok fled Kalamazoo and moved to Jackson, MI. The last we heard, DoktorZiplok now fronts THE NUGE, an industrial-band tribute to TED NUGENT.
While DoktorZiplok delved deeper into a pit of powerful lameness, Komponent knew he couldn’t let FUCKPOT end. FUCKPOT was too powerful a force to just wither up and die. FUCKPOT needed new blood.
During the frostbitten winter of 1999, Komponent met NarKotiX, a twisted individual who had a thirst for black metal and debauchery. They became friends, and Komponent knew he now had the proper ingredient for making FUCKPOT a truly insane creation. In December, NarKotiX officially joined FUCKPOT as the new vocalist/programmer, and the band quickly forged a new road for FUCKPOT to take.
The original idea for FUCKPOT was to be a twisted industrial band with heavy SKINNY PUPPY influence, but Komponent and NarKotiX knew that this had to change. FUCKPOT needed to be original. FUCKPOT needed to blow down all the barriers that were set for a normal band to take, and with this idea a new FUCKPOT was born.
Out from the ashes of the DoktorZiplok fiasco, FUCKPOT decided upon a new approach to music and recorded the song, “Who Needs Hope When You’ve Got AIDS.” The track was included on the Stack Of Skulls 7”, which was released on December24th, 1999. The 7” was meant to introduce the new FUCKPOT sound to long-standing supporters. “Stack Of Skulls,” which was the only song from the Bone Against Bone demo that was written by Komponent, proved to be an homage to the old FUCKPOT, but “Who Needs Hope” was a peak-hole into the apocalypse. FUCKPOT’s new sound no longer relied on guitars and normal rock structures, but instead a mix of noise, static, deranged movie samples, heavy bass and blast-beat drum machine manipulations to melt the minds of listeners.
Limited to only 101 copies, the Stack Of Skulls 7” quickly sold out, but received little attention from outside the Iron Curtain of Kalamazoo. Undeterred, Komponent and NarKotiX began work on their third piece of material, entitled Shooting Smack With Satan.
Humor was always a part of FUCKPOT’s makeup, but with this release, FUCKPOT aimed to anger and amuse their listeners all at the same time. FUCKPOT began work on Shooting Smack With Satan during the spring of 2000, and aimed their attacks at the blundering black metal scene. Both Komponent and NarKotiX felt that the only good black metal that had been come out lately was 666 International by DODHEIMSGARD, and that while the album was chaotic and sinister, FUCKPOT could create an album even more absurd.
While FUCKPOT leaned towards black metal and noise-beats for their songs, FUCKPOT now had a new idea on how to dazzle and confuse people. All the previous songs written for the album were scrapped, and Shooting Smack With Satan was completely redone.
The summer of 2000 finally saw the release of FUCKPOT’s second full-length album. Shooting Smack With Satan stunned the fans with an 80-minute-long track of nothing but static. The album was split up into 666 tracks, each track only a few seconds long, and each one a blistering slab of recorded white noise. Shooting Smack With Satan had a limited edition print of 1,000 copies, and were spread across the gray landscape of Michigan with fury. People in Kalamazoo would find copies of the album all over town, and most of them hated it.
FUCKPOT received such a backlash from the “regular” people who heard the album, that they decided to piss off the populous even more, but on a much bigger scale and no matter what the cost. Just for the sheer purpose of feeding Komponent and NarKotiX’s warped senses of humor, FUCKPOT flooded the market with 4 7”’s over the course of 2001, which made the people of Kalamazoo cringe at the mere mention of the word “Fuckpot”. FUCKPOT enjoyed every minute of it.
Following the release of Shooting Smack With Satan, NarKotiX came up with the initial idea to release a series of 7”’s, all of which contained the same thing, all in one year and easily accessible to the general public. Thus, The Satanic Static Series 1-4 were released.
All 4 Satanic Static releases comprised of 4 tracks on each 7”, each track a loud and abrasive static track with black metal screams over the top of it. The point of these releases were not to gain fans, but to anger themalong with anyone else who dared listen to a FUCKPOT record. The purpose of releasing the series in 7” format was to give the releases an illusion that there was “something special” on the grooves, something extra or hard-to-find. What people found was something far more brutal.
The first volume in the Satanic Static series was released in January of 2001, entitled Sweet Sweet Statutory. The album title alone made most people hate FUCKPOT, but gave them notoriety as well. Following the release of Statutory, people started to wonder what FUCKPOT was going to come up with next.
People’s fears were soon answered in April of 2001 when FUCKPOT released the second volume to the series, Music To Make Baby Jesus Cry. In the same ways that Statutory confused and angered people, Music To Make Baby Jesus Cry featured another 4 tracks of pure Satanic noise.
Taking no breaks in-between, FUCKPOT released the 3rd volume in the Satanic Static series. On April 25th, one week after the “concert,” the Black Metal Is For Pussies 7” was pressed and issued to the citizens for another round of blitzkrieg noise for junkies and psychotics alike.
October 25th showed the world FUCKPOT’s final volume in the 7” series, which was entitled Cupcake Bloodscapes. This 7” followed up the previous 3 noise-works with 4 more tracks of static and screams. By this point in time, NarKotiX felt that the band’s point had been made, and that now was the time to get back to releasing something of value, and Komponent agreed. In search of inspiration, NarKotiX went back to the Stack Of Skulls 7”, which featured his songHave you performed in front of an audience?FUCKPOT played only one live gig in 2001. Due to an electrical storm, only 9 people showed up. We were disgusted by our fanbase's fear of a little lightning, so we decided to take our frustrations out against the 9 unlucky souls.
We locked them in a basement, and played a static track at the loudest possible setting for nearly 4 hours. The people eventually broke the door down, but FUCKPOT had long since vanished.
Your musical influences
Kraftwerk, Velvet Acid Christ, Biopsy, and Merzbow...but without any of the talent.What equipment do you use?
A shitty beatz program, a radio tuned to a static channel, microphone, and boredom.Anything else?
Visit FUCKPOT at they're many places on the web.
www.myspace.com/fuckpot
www.myspace.com/fuckpotfanclub
www.freewebs.com/fvckpot
www.garageband.com/fuckpotContact
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