Beaten Back To Pure is a Virginia-born band which was formed in 1998 by
former Ebola men Ben and Vince. Many member changes later the band
released a demo called Double Barrel Blasphemy in 2000 and also
on a CD compilation called South Of Hell which was issued through
Berserker Records. In the meanwhile, bassist Kevin had moved on
The band operated as a six-piece for a while. These garnered the band a
deal with Retribute Records after the label heard the band on mp3.com
and issued the act's debut in 2001. Production was handled by Steve
Austin of Today Is The Day in two days. Guitarist Erik Sundt would
and Richie Sharr would join the group later and the band would record
The Last Refuge Of The Sons Of Bitches. The production for the second
album was handled by guitarist Vince Burke. A split-CD with Blessing
Hogs fell through. The band signed to Devil Doll Records next and
its third album in September of 2004. The album was originally due in
May. The album was supported through shows with Alabama Thunder Pussy
and a headlining appearance at Emissions Of The Monolith show. The band
also recorded a song for a Lynyrd Skynyrd tribute album.
Beaten Back To Pure proudly brandishes its affiliation with the South.
The singer cut his arms during live shows in the early days and even
falsely spread rumours of a drummer's suicide to get publicity once.
BEATEN BACK TO PURE - THE BURNING SOUTH - THIS DARK REIGN/DEVIL DOLL
The Burning South is the band's third full-length album and simultaneously the third one with a title referencing the band's Southern US allegiances. One can write volumes about the narrow-minded confines of jingoism, regionalism and American prejudice so let us instead divert our attention to the musical aspect of this volatile band. Beaten Back To Pure is a moody, doomy, heavy band with dirty riffs, down-trodden music and a smoky vocal approach. The entire outing smells of the type of plodding rock that is often referenced with names like Saint Vitus (check out the solo on Running Out Of Neck), COC, old Soundgarden, Black Flag and Danzig. The music has a loose attitude, is sometimes untight and even sounds like a pounding jam session at times. This feeling is, perhaps deliberately, reinforced by the live-sounding production. It is entirely underground, care-free, distant and hateful and no matter which tempo - song number five Where The Sewer Meets The Sea is played at a comical one - the band plays at the proceedings betray a volatile spirit. Little wonder then that the album ends in a daze of melancholy. - Ali "The Metallian"