Matt Martinez has deep roots in the Phoenix underground, with a history that spans decades of playing in DIY venues and contributing to some of the most respected heavy bands to come out of the scene (see his top picks for 7 inspiring artists from Arizona).
As the bassist for COMMON WOUNDS, his perspective on music goes beyond trends or surface-level influences.
Pre-order Common Wounds’ “All Night Blood” HERE.
You can catch Common Wounds live at their “All Night Blood” album release party on October 18 at Eleven10 Moto Garage in Phoenix, AZ, followed by shows on November 16 at Wooden Tooth Records in Tucson, AZ, and December 15 at Linger Longer Lounge in Phoenix, AZ.
In this piece, Martinez reflects on Mesomorph Enduros, a compilation that left a lasting impact on his understanding of music and shaped the way he approaches his craft.
His thoughts provide a window into how this record became a key influence, and why it continues to resonate with him after all these years.
Here’s Martinez, in his own words.
Words by Matt Martinez
I consider myself a very lucky person in many regards.
In my elementary and junior highschool years, I was exposed to an abundance of underground and outsider music. I credit this exposure to friends who would exchange dubbed tapes, and a skateboarding community where we all obsessively read Thrasher magazine.
Pusheadβs recurring Thrasher Magazine βPusZoneβ music column featured writings covering punk, hardcore and metal that spanned the world.
Through Pusheadβs articles, I found bands like The Stupids, Lip Cream, Heresy and many other bands whose music was not discovered at the time, but whose names would be recognized later in life.
The seeds were planted and built a strong, lifelong foundation and love of βextreme music.β In high school, the explosion of Nirvana and grunge music was both interesting and exhausting.
When grunge musicβs cultural saturation left me with fatigue and eventually disinterest, adjacent and influential bands were found and had a substantial impact on me.
Pre-internet era deep dive searches were not always an easy task, with limited funds and lots of risk in βtaking a chanceβ on a record. These βgamblesβ on new music purchases were often based on a combination of record label familiarity, artwork and general guesswork.
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This piece is a love letter to one of the compilations that impacted and influenced me, with over 30 years of staying power.
I was introduced to this record sometime in 1993 by my friend Joel Leibow (Wooden Blue Records). The album contains fifteen artists, contributing one song each.
Sonically, the album contains little redundancy, while maintaining a continuity in theme. In reflecting on the album lineup, I like to imagine these bandsβ names could be pulled from a hat and create an amazing show!
The layout aesthetic is stark black and white illustrations by renown Long Beach California artist, Stephen βThe Pizzβ Pizzurro. Featuring an exploding skull with projectile eyeballs, the art has a sleazy hot-rod cartoon on acid feel.
I think the art captures and reinforces the themes of violence, chaos and insanity that the music exhibits, very well.
Any time through the years that I have put this album on, I am instantly greeted with a familiarity that is unparalleled. I try to not dwell on nostalgia but this album takes be back and offers reflection on this formative time in my life.
When I first heard this compilation, the collection of songs reinforced my love of some familiar artists and exposed me to worlds that I donβt know I would have discovered on my own. Mesomorph Enduros was released by Big Cat Records (UK) in late 1992, and brilliantly curated by J.G Thirlwell. His finger was on the pulse of challenging, eclectic and angrily passionate music. This review is many years past due and serves as a token of gratitude for Mr Thirlwell.
Cop Shoot Cop – Room 429
From the initial needle drop, this song burrowed in my heart. As a bass player, hearing a band who utilized two bass players was completely infatuating and somewhat uncommon. Cop Shoot Copβs delivery of swirling synth pads and primitive industrial aggression, coupled with gruff, emotional melody captivated me. Common Wounds often discusses covers that we would like to do, and this is on my list. Even with Strapping Young Lad having their heavy take on the song, I feel we could offer an interesting interpretation.
Melvins – Vile
Melvins were a band that I was very familiar with and their inclusion was one of the selling points of the comp. They were definitely one of the bands that I discovered from countless Nirvana articles and interviews citing their influence. Ozma/ Gluey Porch Treatments and Lysol were in constant rotation. Melvins beautifully defined how heavy a band could be. As a bass player, their extensive roster of bass players show how fundamental the instrument is and how much an individual band member can change or expand a bandβs sound.
The Jesus Lizard – Nub
this song introduced me to The Jesus Lizard. Nub has so much chaotic movement with slide guitar meandering over David Wm Sims hypnotizing bass lines. This song led me to pick up the Nirvana split and dig further into their catalog. I was able to see them live a few times, in this era, and they were one of the most feral and threatening live acts that I ever experienced. I am very happy that they are making music and playing again!
Hammerhead – Louse
This song felt like the band was playing βas if their lives depended on itβ. There is an urgency to the tempo of the song that combines so well with the frantically pissed off vocals. The volume of the song seems to distort enough in the recording to tell me that they were a very loud band. I did see them perform live years later, and yes, they were very loud!
Helios Creed – Sister Sarah
This was my introduction to Helios Creed. His take of psychedelic/ space rock music is both refreshing and familiar. Helios Creed bridged the gap between or helped me better understand bands like The Butthole Surfers to the 13th Floor Elevators, Bubble Puppy and Hawkwind.
Tad – Pig Iron
I had first heard Tad, when a friend showed me their Stumblinβ Man video. I always loved their no-nonsense approach to heavy riffs. This song is no exception!
Foetus – INC Incesticide
With lyrics riddled with uncomfortable taboo, Incesticide challenged me on many levels. My exposure to industrial music, at this point in time, was limited to Ministry, Revolting Cocks and Nine Inch Nails. This song not only introduced me to Foetus INC, but led me to artists like Pigface and Evil Mothers. JG Thirwellβs beat poet-like vocal delivery devolves with the music into an outright distortion-laden harsh noise adjacent assault.
Thinking Fellerβs Union Local 282 – Nothing Solid
TFUL 282 blew my mind with this song. Their sludgy, off kilter chamber rock was both unsettling and intriguing. At the time, I had no points of reference to compare this music to. This song and band truly expanded my thought of what a βrockβ band could be. Later, when I found bands like Univers Zero, Ash Ra Tempel and Nazca; their music made much more sense. Brilliant!
Laughing Hyenas – Candy
This song initially hit me with John Brannonβs relentless psychotic, run-on sentence vocals. Pausing only briefly, for a breath or two, this song is relentless. At the time, I was completely unaware of Brannonβs involvement in Negative Approach. I now consider this my gateway to Negative Approach, and one of the most brutal vocalists of all time!
Drunk Tank – Hog Ditch
Driven by a punchy, bouncy bass line, off kilter guitars and gruff vocals, Drunk Tank left a memorable mark on this comp. After years of this song being drilled into my mind; I sought out their Albini recorded, self titled LP. It is a sleeper, but well worth seeking out.
Pain Teens – Hands in Fire
Pain Teens provided a tape loop heavy sludgy dirge that is balanced with Bliss Bloodβs haunting vocals. This song led me to the bandβs wonderful and eclectic LP Destroy Me, Lover LP, King Coffeyβs Trance Syndicate Records and an amazing Leonard Cohen cover.
Of Cabbages and Kings – The Reign
The Reign ebbs and flows with dramatic dynamics that explode in industrial precision drumming and tastefully discordant guitar work!
Barkmarket – Johnny Shiv
Barkmarket delivers a song that bridges the worlds of βnoise rockβ and βpost- hardcoreβ and sonically marries the abrasiveness of the music with skillfully melodic vocals. This approach seemed atypical at the time; with harsh and gritty vocals taking the center stage of these genres.
Unsane – Bath
Unsaneβs brutal take on hardcore has always been inspiring and motivatingβ¦ The sound that this powerhouse trio creates is deafeningly (literally) life changing. Unsaneβs influence on the music that I create may not be blatantly apparent, but they are a strong reference point for what we strive to sonically accomplish.
Motherhead Bug – Blister
What an excellent closing song for a diverse collection of music. Motherhead Bug creates a noise rock Gameleon orchestra with their dense percussion, strings and horns. This song teeters on sensory overload when you listen to the dense layers. David Ouimet was a co-founder and early contributor to Cop Shoot Cop. This is an example of the DNA that brings this compilation full circle.
This record is long out of print, but remains available at non-collector prices, in the used marketplace. I highly recommend that folks dig into this compilation and hope that they find something interesting or overlooked or are reminded of some classic bands.
