Here's a cool write-up we found about FAUX PRIDE's great 2008 release "Slapstick Bitch" on the CRUCIAL BLAST RECORDS webshop. This grindcore/crazycore label distro puts out a ton of great material as well as stocking thousands of the finest titles of underground extreme music (including some DTRASH, which are available to purchase through the shop). About the FP disc they said:
FAUX PRIDE Slapstick Bitch CD (D-Trash)
"If you explore the D-Trash catalog in depth (which with literally hundreds of releases in their catalog is no mean feat, let me tell you), you'll discover just about every possible known form of underground electronica and industrial music, everything from dystopian sound-collage and 80's style industrial to hardcore rhythmic noise, digital grindcore, black metal influenced breakcore, and everything in between, usually leaning towards the noisier and punk-influenced end of the spectrum. There's one project that recently released a new album on D-trash that actually combines many of these different sounds, a one man band called Faux Pride who has just released his third and apparently final album called Slapstick Bitch on the Canadian label. The goofy title, adolescent, gore-splattered album artwork and erratic mix of styles will probably turn a lot of people off, but I dug this album. The Manchester-based Faux Pride combines fierce gabber rhythms, harsh noise, brutal digital grindcore, weird soundscapes and LOTS of heavy, distorted breakbeats, cut up and sliced into jarring chunks of sound and edited back together into abrasive blasts of dark rhythmic sound. Noise and breakbeats are at the core of this disc, with distortion bleeding through everything, even the spoken word samples, and the only periods of calm that Faux Pride allows through the course of the sixteen songs on Slapstick Bitch are momentary fields of minimal ambience that appear between tracks. The tracks are mostly instrumental, and the only vocals that appear come from recycled film samples, sampled Gwen Stafani vocals, and other pilfered recordings, chopped and processed and looped over the grinding rhythmic noise and harsh breakcore collages. All of the heavy layers of distortion, noisy programmed blastbeats and huge, block-rockin' breaks remind me of the Curse of the Golden Vampire debut that Alec Empire did with Justin Broadrick and Kevin Martin of Techno Animal, but Faux Pride goes for a much more chaotic and spastic plunder-blast assault than COTGV. Fans of the harsher Digital Hardcore sound will love it."