Blunt Force Trauma was a collaborative project between Jonathan Canady of Deathpile, and Scott Candey of Gruntsplatter.

Jonathan’s previous project, Torture Chamber, shared the “Bisect” split with Gruntsplatter in 1995. We began discussing the idea of a collaboration in early 1996. Jonathan and I each put together approximately 30 minutes of material, 5 tracks a piece, and traded our incomplete recordings for the other to flesh out. It took close to a year to complete as we both had various other things we were working on. The finished product, came out ablunt_bledouts “Bled Out”.

We referred to the style as “Ultra Noise.” Dense, complex harsh noise with an atmospheric undercurrent. It was our goal when we undertook this project to create something that was a complete package of intensity from sonics to art –  something as brooding as it was ferocious.

After several years of silence from the project, a new track was recorded in 2003 entitled “The Weight Of The Feeble” and released by PacRec as part of their business card CDR series. It shows development sonically, but it is still very much in the tradition of what we did for “Bled Out”.

There are no current plants for additional Blunt Force Trauma material.

Complete Discography…

“Bled Out” – CD
limited to 1000 – Malsonus – February 1997
“The Weight Of The Feeble” – Business Card CDR
limited to 48 – PacRec – May 2003


“Bled Out” CD – 1997

“Could this signify the end of music? Fans of MERZBOW, BDN, NAMANAX, or whoever would listen to this with a trained ear and think ‘Damn, I think this is the most unpleasant thing I’ve ever heard.’ In Fact, BLUNT FORCE TRAUMA, a “co-action” between Power Electronics units DEATHPILE and GRUNTSPLATTER, is so totally devoid of any hint of music that I think it would be very hard to recommend to anyone really. With that in consideration, “Bled Out” may just be the ultimate end all of the extremes in music. I like the idea that it is so utterly offensive to the senses (and visually as well with blood red design and mangled broken bodies) that I’m intrigued by it all. Obliteration.”

“I’m giving the BLUNT FORCE CD another blast at the moment. I think I’m starting to get a hold of it. I guess (from listening to the first track. Which I’ve just finished doing) that this stuff would be quite interesting to listen to stoned or while tripping on acid. It would make your interpretation of the sounds that may or may not be buried under/within the static (people screaming, voices, orchestral music etc.) quite interesting. Especially the screaming voices of agony coming out of the giant fire hurricane food processor from hell – bad trip 100% guaranteed!!! There’s a start to a review in that… Oh and by the way, that food processor is being carried on a high speed Freight Train, which is being recorded as it passes by, through several distortion different pedals onto Scott and Jonathan’s 4-track. There, I can’t really think of a better way to describe BLUNT FORCE TRAUMA than that. As for the cover art Congratulations on the cover photo though. That’s one of the few things I’ve ever seen like that, which actually shocks me. It’s almost a little too over board. You kind of become desensitized to pictures of mutilated Adult bodies, but when it’s an innocent kid, that had a whole life a head of it and has never done any wrong in the short time it’s been around, it kind of fucks you up looking at it. I’ve never been into drugs, but this person I knew was always trying to get me to trip until she came over tripping one night and I improvised about an hour and a half of noise for her. After that she said that my mind was already in that state and I didn’t need to trip to get there and she never mentioned it again.

“Jonathan Canady (DEAD WORLD, DEATHPILE) and Scott E. Candey (GRUNTSPLATTER) joined their efforts for this project which offers shockingly brutal power electronics. Operating with low-end, throbbing noises BLUNT FORCE TRAUMA put a lot of extreme sonic weight on it and created 10 thick, heavy and quite complex noise compositions. Along with the accompanying graphic design it produces horrific, repulsive and sickly curious visions, while the loud noisewaves falls down crushing and hammering one’s brains with unrelenting cacophony. I think people into ATRAX MORGUE and BRIGHTER DEATH NOW will dig this one, for BLUNT FORCE TRAUMA has a strongly developed concept behind them just like those aforementioned bands and that sets them apart and puts along the leaders of the power electronics. This is just what you may need if you think your life is getting boring and calm.”

“Jonathan Canady (Dead World, Deathpile) and Scott Candey (Gruntsplatter, Cinder Kkin) have two things in common. They both enjoy making noise and they both have terribly large egos. Well, okay, maybe I am being unfair. The person who wrote up the bio is the one with the ego, and since I don’t know which is at fault, they will both take the blame. This American noise duo is trying to compete with the noise coming out of Japan. I suppose that no one told them that the race to create the harshest noise has already been won. Perhaps someone should also tell them that they are not really all that harsh. Bled Out is full of tracks that, while they have fluctuations, high pitched squealing voices, and other changes within them, really just come off as a blast of constant, fairly regular electronically over processed noise. I would not say that is a bad thing necessarily. But many Japanese noise outfits have already created what Blunt Force Trauma is out to build. The CD is not bad and definitely listenable — I find the constant noise quite restful, in fact. However, an “unparalleled experimental noise masterpiece ” it is not! Rating: 6.5″

“Frzzzhhhssshhh. Frhhhhhsssssssspppppeeeee. Man oh man… Thunderous wallops of sound and intensity blaring from this CD. 57-minutes of some of the most intense noise you’ve ever fuckin’ heard. This’ll make yer boombox bleed. Like it loud n’ noisy? Get this then you fuckin’ noisemongers.”

“Packed with nearly an hour of some of the most punishing and hateful vibrations ever to cross my tinnitus plagued eardrums, comes the debut release “Bled Out”, from BLUNT FORCE TRAUMA. This project is the joint effort of Jonathan Canady (DEAD WORLD/DEATH PILE) and Scott Candey (CINDER SKIN/GRUNTSPLATTER) whom effectively explore the limitless avenues of harsh noisescapes and infinitely layered articles of sound. The result is a challenging listen which sonically simulates the horror of being turned inside out, or possibly getting attacked by a swarming hive of bees. BLUNT FORCE TRAUMA have triumphed by incorporating an underlying dark atmosphere in the tracks “Saeva Indignatio”, “Germinal Crawler” and “Shades Below” for example, by weaving indiscreet synth passages and samples into the caustic fray. Noise enthusiasts shall lap up the conviction and inventive delivery hatched by this 2 man project, and I think those of you into the Dark Ambient field will equally appreciate the sense of emotion swelling beneath the surface. Painful sounds from tortured souls.”

“The Weight Of The Feeble” Business Card CDR – 2003

Nothing more and nothing less than six years have passed since the release of the legendary collaboration between John ‘Deathpile’ Canady and Scott ‘Gruntsplatter’ Candey under the moniker of Blunt Force Trauma, and surprisingly ‘Bled Out’, the resultant CD, keeps on sounding extremely fresh nowadays. Maybe this fact explains the disappointing lack of recognition that it suffered and its increment of popularity with the pass of time, which proves its visionary quality at certain extent… And now, while part of the scene claims for a follower of the occasional reunion, PacRec puts out one of its ultra-limited CD-R cards (48 copies this time) bringing light and hope to all of them. More when its content was recorded like 3-4 months ago in words of Scott, although Phil Blankenship argues that for the task, he used the original tapes that Canady sent him years back. But in any case this is good news, because these five minutes and twenty five seconds demonstrate the good shape of the project after all this time… And how the recent sound relates to the past oeuvre? Any significant change? Well, ‘Bled Out’ stood for intensity and density, and from that point of view, very few or not changes at all can be remarked, since it seems that the approach remains inalterable. But anyway, I would like to mention a certain sense of evolution in terms of textures, probably due to an improvement of gear, quite reasonable after all, and to a more mature compositional sense, I guess. On the other hand, the particular newest track seems to illustrate a more defined atmospheric, less crunchy approach, even if the totality still is absolutely abrasive (those who aren’t aware of the prior Malsonus edition: don’t expect Dark Ambient or something like that); and regarding elaboration, the final result accomplishes all the expectations and even more, because intricacy and complication keep on being the main keys… So to conclude, even if the piece becomes a must for the fans of the project, its true value lies in the possibility of a future continuation that this succeeding exhibition may be announcing for the near future. Can such a proof of current validity end with just this couple of releases? Mmm… The masters come to my mind in this precise moment: ‘twice is not enough’…

This project is a collaborative effort between Deathpile and Gruntsplatter, here offering up some excellent death industrial/power electronics with lots of crisp distortion and menacing atmospheres, as well as sweeping ambient undercurrents and clouded vocals deep in the mix. There’s a lot of stereo panning, almost constantly, so each speaker works independently of the other for the majority of the track, creating some interesting layering effects. It seems like perhaps there’s a lot more going on than there actually is, as a lot of interesting (and potentially illusory) sounds are created with the layering. The crunchy and loud sound quality adds a lot of gritty texture to the tones and makes things bright and punchy. I might like to hear the vocals come up a bit in the mix, but I like the fact that they’re there without being too dominant or central. Hand-numbered of only 48 copies, the “business card” CD-R comes in a standard plastic sleeve. The back cover is all text (a few email addresses), but the front cover is a brightly colored reddish/brown photograph of two children facedown on a bed, hands and feet bound. Disturbing, but very nice. Another great piece of work from PACrec that no doubt sold out within 24 hours.

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