Milk Cult was purely a studio-only experiment started by Dj CC-Nova before its current lineup. However in 1990, Mike Morasky and Dale Flattum, of the punky-indie-grungey Steel Pole Bath Tub fame, joined the electronic ensemble. As of then, this experimental insanity has avoided genre classification or a commercial following.
Their first album, Love God (1992) saw them jump into the deep end with an interesting selection of instruments: most notably, scotch tape and whipsaws. This of course makes some of the tracks fairly uninviting, bar the listener with a more experimental taste. It’s industrial electronica meets metal that sounds like it’s gone through a paper shredder. But for those that appreciate such manipulation, Love God is a good choice.
1995 saw the release of Burn and Bury, a much more recognised album, predominantly for the cult-god Mike Patton’s appearance. Those familiar with Patton’s stray projects, such as Fantomas (especially the first album) and his solo work, will no doubt appreciate his vocal contributions in Psychoanaltwist. This would have to be the highlight of the album with its climax of noise, percussion, and Pattonesque screams. Son of Obituary is a fantastic example of the improvisation of Milk Cult. It samples dogs barking and train whistles, which take the spotlight. Putting the emphasis on their samples and instruments over any deciphirable melody is idiosyncratic of Milk Cult, and thus wins a deserving appreciation.
The story behind their last release, Project M-13 (1997), is just as interesting as the content. Apparently, the French government either approached them or was approached (rumours differ) for financial support. Either way, Milk Cult was given the necessary funding to complete "this Moroccan Nectar-fueled tech-rock-noise-hop experimental dance adventure" compilation of 30 different musicians. The line-up ranges from Buddhist preachings to hip hop artists, wrapping it up with a nice red Milk Cult bow.
Unlike many underground groups with small followings and a modest discography, Milk Cult is most certainly not about to throw in the towel. Much of Milk Cult’s engineering sounds like music you would recognise semi-conscious. It sort of drifts in and out of different styles, that seem to leave you with a feeling of apathy. This makes the instrumental contributions all the more interesting, as they seem to surface here and there. It is this unique style that will no doubt see further releases if not of the same direction, than at least of the same quality.