• Beyond The Dark Horizon (March 2007)
• Gods Girls (February 2007)
• Play It Hard (January 2007)
• The Metal Forge (January 2007)
• BC Blade Radio (November 2006)
• Digital Metal (November 2006)
• Absolute Underground (November 2006)
• Metal Realm (October 2006)
• Metalpedia (September 2006)
• Pest Zine (November 2005)
• Rive Nord Rock Radio (October 2005)
• Dogbus Music (December 2004)
• Rockbottom Zine (September 2004)
• Attack! Fanzine (May 2003)
• Noizine.net (March 2003)
• Treats From The Underground (January 2003)
• Possessed Zine (April 2002)
• Brutalism (February 2002)
• Distraction Zine (January 2002)
• Fecal-Matter Discorporated (January 2002)
• L’Edition Metallique (January 2002)
• Grindcore.com (June 2001)
• Tripalium Zine (January 2000)

• The Link: Concordia's Independant Newspaper (February 2007)
• The Uniter (November 2006)
• Exclaim! (August 2006)
• Ottawa XPress (August 2006)
• New Noise (August 2006)
• Decibel Magazine (July 2006)
• Resound (July 2006)
• Brave Words & Blood Knuckles #96 (June 2006)
• Oshawa This Week - Profane Poster Riles Residents (May 2006)
• Le Droit (April 2006)
• Young People's Press (March 2006)
• Exclaim! - Women In Hardcore (March 2006)
• Ottawa Sun (August 2005)
• Echo Weekly (July 2004)

• Stigmata High-Five (28 reviews)
• Split 7" w/ Mesrine (1 review)
• Legacy Of Hopelessness (13 reviews)
• Collection Of Splits 2002-2004 (3 reviews)
• Split 7" w/ Subcut (3 reviews)
• Split CD w/ Sergent Slaughter (5 reviews)
• Backstabber Etiquette (20 reviews)
• Mullet Fever (7 reviews)
• Split 7" w/ Kastrat (2 reviews)
• Discoing the Dead (9 reviews)

Subtle like a sledgehammer, Canadian grind quartet Fuck the Facts attack with brutal precision and relentless momentum. From the get-go the band launch into a full aural assault with a 7-minute epic of thick rhythms and slicing fretwork, accompanied by vocals of hellish proportions. ‘La Derniere Image’ is significant as traditional grind rarely surpasses the 3-minute mark. The very fact the band are prepared to challenge that tradition is in itself a very blatant ‘fuck you’ to the grind establishment. Not all the tracks on the disc are of prog-length mind you, with some shorter tunes set aside for an even more immediate attack on the senses. Between the mathematical grind, listeners can also expect some brief jazz moments, some industrial effects and some regular 4/4 timings. ‘Carve Your Heart Out’ is a good example of all these elements with an extended blast session coming at the tail-end, just before signing off with an industrialized riff, reminding this reviewer of some Misery Loves Co. The vocals are standout, landing somewhere between Brutal Truth’s Kevin Sharpe and Nasum’s Mieszko Talarczyk (RIP), with throat-tearing delivery. The twist, however, is that most of the vocals are provided by Mel Mongeon. Few ladies attempt to tackle the guttural vocal style, and those that do often sound more like a pissed-off banshee than a tortured soul. But Mongeon pulls it off with aplomb – a feat even more awe-inspiring given her petite frame. Howver, the band doesn’t rest on Mongeon’s gender as a sales’ pitch: and rightfully so, as Fuck the Facts are of high grind quality without having to resort to marketing gimmicks. Their creative structures and willingness to explore speaks volumes amidst a scene that has long gone stale.
(Screaming Bloody Mess - Warren)

Stigmata High Five is brutal. But what else could you expect from Ottawa grindcore masters Fuck the Facts? Brutal in the same way that being kicked in the junk, then, as you’re rolling around on the floor gasping for air, someone stands on your chest with one black-Converse-clad foot and with the other stamps on your mouth until your teeth resemble southern Lebanon’s current architecture, all the while Fuck the Facts continue to pummel you with their sonic assault. Catching your limbs between the blast beats of the drums and the speed of the guitars, they are simultaneously crushed and shredded by the sheer intensity of it all. As your limbless torso spurts blood almost as fast as the songs themselves, you recall that there’s still vocals to finish you off. Sure enough, as your severed head rolls across the linoleum you think, “That band totally killed me.”
(Beat Route Magazine)

The latest releases of Canadian FTF and their debut for Relapse. 7 Tracks of savaging grindmetal. Not the cliche grind but it jump over and over in the other direction you expected. Scream vocals, razor riffs and spazztic drums. This is more than just ferocious metal it is almost precise uncontrolled butchering. I really like this "intelligent" way of making extreme songs. Not just blind ramming but going to the top but with the right skillz! Chapeau. And as a bonus you get a CDROM with video, pics and audio. So in the end you fuck the facts but you give a high five for the aural pleasure.
(Brutalism)

Holy Hell, this is a fierce son of a bitch! Taking cues from the sleek, modernized grindcore of Pig Destroyer, some slightly spazzy elements, and a sneaky sense of melody, Fuck the Facts have crafted a sound that comes off somewhat progressive and innovative and certainly one of the stronger grindcore releases of 2006. In general, you can expect several twists and turns within each track including abrupt tempo shifts and bizarre time changes. Every so often the band locks into a nice meaty groove, but usually follows it up with a more acerbic, frantic grind section. Vocalist Mel Mongeon has an absolutely viscious rasp that eclipses any female screams I've heard to date. Opening the album up with "La Derniere Image," a 6+ minute experimental excursion was a balsy move and it actually work really well. "The Wrecking" has melody not so sneaky via decidedly melodeath riffing in the mid-section surround by, you guessed it, chaotic grinding intensity. At times the album feels like it gets slightly disjointed and maybe a little repetitive, but the band certainly makes up for it with energy and an interesting take on the genre. This probably isn't Top 10 material unless you are talking exclusively grindcore, but I wouldn't be surprised to see it make a few critics lists and probably several honorable mentions.
(Deadtide.com - Tyler)

Techie grindcore from Canada. Lots of different sounding tracks. Different speeds and heaviness often very metal. Vocals are somewhat in the background, indecipherable, brutal female vocals. The tracks change speeds a ton, and the band is tight and heavy. The songs are also surprisingly long for grindcore. **1. A 7 minute grindcore track to begin the CD. They go through a million time changes, there are slight death metal leanings, and it’s heavy. Two minutes into the tack there is also a slow heavy section, a quiet section with spoken vocals, in French, and then into a discordant noisy section. Wow. Complete with IRON MAIDEN breakdown with keyboards! **2. Jutting, start-stop, before running around like someone being chased. This is almost funny, while being heavy and serious. Crazy scale runs on the guitar, melodic guitar solo, and the kitchen sink. 3. Shorter, heavier, and more straightforward. Some of the pinch harmonics on guitar get annoying. 4. Guitar madness with a million different riffs. There is even a slow, melodic doomy section in the middle of the track. **5. Blistering fast right away. A catchy almost power metal section in the middle that goes into gang vocals with a marching beat?? **6. Short and brutal. Intense vocals. **7. The longest track, with many different sounds, you only have to listen to the first minute, which has three different ideas in it to get the idea. Progressive grindcore? Those guitars are very catchy and metal. Don’t be afraid of the ambient noise section, the track does return, to a slow heavy sound. Awesome!
(KZSU Zookeeper Online - mph)

This is a wildly careening barrage of berserker heavyosity punctuated by ripping lead guit-box shred and diminutive vocal tigress Mel Mongeon’s alarming propensity for inhuman larynx power while the drums sound as though they are on fire and falling down a flight of stairs. Taken From The Nest is full of down stabbed wizardry and a soothing blast beat groove that quickly succumbs to haunting dissonance, a challenging listen that may induce night terrors while What’s Left Behind is a double-time burner that punctures the stratosphere (and yer delicate eardrums!) with dexterity and aplomb. FTF are the pride of Ottawa’s underground and now mad genius Topon Das has realized the maniacal dream he’s carefully crafted over the past 6 years, fusing grind and death, ambience and catharsis into a highly chaotic and musically disparate slab of raw metal, the sonic equivalent of all yer teeth falling outta yer head at the same time, only louder. 4/5
(Ottawa Citizen - Shawn Jam Hill)

On “The Wrecking”, amidst the choppy and spastic speedmath grindfest of her bandmates, vocalist Mel Mongeon screams with one of the most brutally convincing female voices in hardcore: “I want to know what you ache for; I want to know, have you touched the center of your own sorrow?” Run a soul through a Cuisinart on high-speed and Fuck The Facts is what it would sound like; Stigmata High-Five is serious progressive metal for the nanotech generation, and this remarkable Ottawa quartet reach deep into the modern system’s high-speed gears to pull out the battered and bloody human caught inside. Brief glimpses of soaring melody as well as some really devastating sludge are hidden within these stop-and-go machinations. Jaw-droppingly impressive.
(Synthesis - David Boone)

You can have a lot of fun with animals, a lot of it is illegal but makes for a good conversation point. FUCK THE FACTS have plumped for that lesser known Japanese past-time, Hornet blindfolding. The result is an angry swarm of venomous Vespa Crabros flying around to dizzying effect stinging anything unfortunate enough to get in the way. Straight forward Grindcore this ain't, apart from the raging slash of guitars, you get showers of sparks like the molten fuss spitting away from gas-cutters at a ship breakers. Starting off with a tray full of spinning tops skittering into each other “La Derniere Image” soon gells into something more cohesive but never totally escapes the traces of chaos that seek to pull apart the fabric of the song. The song structure reminds me of a three year kid, it fidgets and just can't sit still or concentrate on one thing for more than a few seconds, so varied tempos and multi faceted use of the guitar are par for the course. Thankfully, as with the rest of the album, you can stretch this song any way you like, it still returns to cohesion. Much of the guitar work jars and jabs but there is always a solid plank of grinding riff-mongery not too far down the line ready to blow craters into your listening experience. Serious shredding walks hand in hand with not right in the head lead work, that plectrum has got Tourettes. As FUCK THE FACTS shoe horn as much variety as they can into “Stigmata High-Five” they still manage to keep well away from the precipice, holding your attention and giving you plenty of “favourite bits” to anticipate. Close to, it seems chaotic in parts but step away and the kaleidoscopic fracture coalesces into something more fractal. Don't let all this waxing lyrical allow you to stray away from the fact that this is as much a lesson in brutality as it is sticking a corkscrew in your ear. What the band does to good effect is bash you senseless and then adopt a more conciliatory frame of mind, friend, foe or both? The differing personas at play are also reflected by the the drums which can pummel a landslide but just as often lay on a crazy beat. There are also a fair few martial moments here and there as if to say enough is enough, back in line. The bass drops bricks, keeping pace with the racket and reinforcing the judder of less linear moments. Perhaps the only constant are the vocals which despite a range of inflections still holds to a larynx lacerating snarl throughout proceedings. FUCK THE FACTS top and tail this album with some quite lengthy tracks which allows them to express themselves in any manner of ways from feral rage to twisting introspection. It also allows them to infuse elements of Hardcore and Heavy Metal into the songs, not in a particularly strong sense but more than a suggestion nonetheless. The song writing counts and I am happy to report that I am impressed with the more divergent material as well as the face ripping sections. If you don't know what direction to take today, let “Stigmata High-Five” pull you every which way at once, you'll enjoy it, honest. I am now going to dance like a twat to “The Sound Of Your Smashed Head” .
(The Metal Observer - Mac)

Ottawa’s purveyors of grindcore, Fuck The Facts, have finally landed a deal with Relapse Records that allows them to crawl out of the sub-underground and record an album to capture their spastic, vicious sonic assault properly for the first time. That album is the brilliantly-titled STIGMATA HIGH-FIVE and Fuck The Facts’ notorious dabblings in experimental noise and spine-splitting changes in tempo still remain fairly lo-fi in the grand scheme of things, but the band has never sounded better than on this collection of seven tracks. A new rhythm section has been employed since 2003’s BACKSTABBER ETIQUETTE, welcoming Steve Chartier and Mathieu Vilandré on bass and drums, respectively. Mel Mongeon screams and roars like a tortured animal and Topon Das’ spastic riffing lurches along however the injections of melody to the groove and chaotic reels is very unique. Ion Dissonance does it but their hardcore background is very different from Fuck The Facts’ roots. Cephalic Carnage would be a closer parallel. Musical diversity and grindcore are not two terms usually associated with one another but Fuck The Facts does just that and more on STIGMATA HIGH-FIVE. “La Derniere Image” (French for “The Last Picture”) rumbles along with a blasting death metal groove before slowing temporarily for a sweetly melodic passage. The band deftly weaves between tempos, starting and stopping on a dime, with Mongeon even handling a spoken word section between belched-out vitriolic wretches. “The Wrecking” starts out with a bouncy groove before launching into a frenzied abyss of double bass, blasts and mind-blowing technical riffs. Das’ squealing riffs on the brutal grind gem, “Carve Your Heart Out,” are just as impressive. The band experiments with some sonic distortion at the end of the track that will leave many people thinking their copy of STIGMATA HIGH-FIVE is faulty. The mid-tempo groove of “Taken From The Nest” is interspersed with the usual grind mayhem but the melodic guitar that finishes off the track really shows Fuck The Facts is more than the usual bunch of skull-crushing punters who inflict their chaos upon grind fans. For all the experimentation of those tracks, the flailing insanity of “The Sounds of Your Smashed Head” (originally written back in 2003) is pure, unadulterated grind, delivering beatdown after beatdown in the form of dizzying riffs, Vilandré’s unrelenting blasts and Mongeon’s bruising vocal attack. The progressive, almost jazzy, feel to Vilandré’s drums and Chartier’s bass are positively infectious on the nine-minute, “Dead In The Ruins of Your Own City.” A foreboding ambient middle section bubbles below the surface before a slow, dirge-like doom-y conclusion wraps up the song. Slow…doomy…progressive…not exactly typical adjectives used to describe the music of a grindcore band but Fuck The Facts is not just any grindcore band. Their expert use of start/stop tempos, melodic breaks and other unorthodox (for the genre) flourishes set Fuck The Facts apart, reserving themselves a place in their own corner of grindcore’s hall. STIGMATA HIGH-FIVE is a new chapter in the band’s career, one that sees them stepping into a new realm of production values, distribution and exposure thanks to Relapse, as well as vastly-improved songwriting and musicianship. The underground is in their rearview mirror as Fuck The Facts is on the road to the next level, so buckle up for the ride. 4/5
(Metal-Rules.com)

I honestly admit it: I am a 10% share holder of Relapse Records. That’s the reason I always write positive reviews about Relapse releases. I'm of course just kidding, but the dudes of Relapse almost always bring you monster releases, and with ‘Stigmata High-Five’ they again do not disappoint me. Fuck The Facts is a Canadian band that started in the nineties as the recording project of guitarist Topon Das. While collecting and losing a lot of members in the years that followed, Fuck The Facts released two albums and a lot of (split) EP’s before they got signed to Relapse. With this third grind/math/metal –core album they truly earn the world wide acquaintance of the record label. During the first couple of listening sessions, I didn't quite get into the record, and ‘Stigmata High-Five’ just felt like a strange combination of styles and not like a perfect marriage. But true love also doesn’t come on the first day, so after a while I discovered the beauty of the vicious sounds made by Fuck The Facts. You’ll be overwhelmed by the dissonant riffs, crazy breaks, weird microphone cracks, ultra fast drum parts, atmospheric melodic structures and the insane female vocals. These Canadians have played like children in a kindergarten with members of Cryptopsy, The End and Buried Inside. Indeed, it’s not an incident that I sum up only Canadian bands that merge technical skills into breath taking songs. Fuck The Facts joined them with hyper energetic explosions like “The Wrecking” or “Dead in the Ruins of your City”. 4/5
(AsIce - Maurice)

The Canadian powerhouse Fuck The Facts is now ready with their debut album for Relapse Records, 7 blistering tracks of the most extreme and noise grinding metal one can imagine with a sane mind. Though sane minds might end up being altered, if listening to "Stigmata High-Five" too many times, the material is for sure mind bending. Shift upon shift seems to be the bearing element throughout this album, all the time and again something is shifting, be it the mood, the pace, the musical approach, the insane vocals, yea, I think you get it. That calls for quite a good deal of attention from the listener. So the album needs a good amount of spins before the madness Fuck The Facts delivers sets decently in, in the beginning much of the processed impression is noise and insanity. Though in time the final impression becomes more sophisticated and complete, as the band has a few good things to offer. The compositions are quite clever and brutal, there is always something going on, either blasting drums, heavy riffs, noise elements or melodies en masse, once in a while the whole deal at once. Though let's dwell a bit with the melodies, as they once in a while become too nice and seems quite strange in the overly brutal and noisy context, which they are presented in. The jazzy piece in 'The Wrecking' seems way more balanced, even though it hits quite surprising. The musicianship seems good and solid, all the instruments together with the vocals are getting pushed to the limit, and it is only falling few a very few times. "Stigmata High-Five" will satisfy many into this, for the brutality and the grinding insanity, even though I think the melodies used once in a while will scare some away as well, I know they have had a negative effect on me, as I found them to be destroying for the pummelling momentum Fuck The Facts do so good. Though there is plenty of grinding brutality, great and insane breaks and straight in your face madness, Fuck The Facts fucks the norms and do things their way, that demands respect. And quite cool that the can keep their artistic and creative level as high as they can as they must be one of Canada's most active bands, they sure release a lot each year. 7/10
(Nocturnal Horde)

In recent years, heavy music has seen a rise in frontwomen who don't play the role of siren. Arch Enemy's Angela Gossow, for example, has a death growl that shames most of her male counterparts. She is a serious practitioner of her craft; live, she effortlessly slides from a deep death growl to a high-pitched howl, with an alarmingly normal speaking voice between songs. Ludicra's Laurie Sue Shanaman delivers both bottomless black metal shrieks and haunting choral singing. In hardcore punk, Candace Kucsulain (Walls of Jericho), Ally French (ex-Bloodlined Calligraphy), and Alison Bellavance (ex-Fall River) have frightened many a moshpit, while Alexandra in German grindcore band Bolz'n has belched forth some of the most unfeminine sounds ever uttered. Add Mel Mongeon from Fuck the Facts and Grace Perry from Landmine Marathon to this list; one is seasoned, while one is not, but both could peel paint off walls. Canadian grindcore act Fuck the Facts began in the late 90s, compiling a long discography of split 7"s, split CD's, and limited-pressing full-lengths. Mongeon joined up for 2002's Backstabber Etiquette, an album that could only be described as "crazy." FtF's foundation is grindcore, yet the band appends melodic death metal, prog detours, and brittle electronics to form a rather spastic hybrid. It's common for FtF songs to go from glitchy beats to full-on grind to the second coming of At the Gates, all within seconds. But Stigmata High-Five tones it all down. Somewhat. It's the band's first album with a real budget, and one gets the impression the band wanted to "get down to business." The business is still killing, mind you. And the killing is still good. Electronic touches pop up here and there, but by and large, the album runs on guitars The seven songs here range from two to almost nine minutes in length, but their duration is irrelevant. The band leaves little time for recovery, as songs drag listeners over bumps of speed, spikes of dissonance, and acceleration/deceleration galore. Strong production and tight performances shape the album into a singular weapon, with Mongeon's voice as the warhead. It's somewhere between a growl and a shriek, dropping to the former and rising to the latter according to the occasion. Her voice fits perfectly as a sonic texture, with only a spoken word segment on "La Derniere Image" to remind us of her apparent humanity.
(Stylus)

My only previous encounters with this band was when I heard some of their material on split releases with the likes of SKODA 120 and KASTRAT and back then this band had that typical Grind/Noise sound, creating brief bursts of chaos that strongly reminded me of DROGHEDA. After that the band kind of fell off my radar a bit, but now since they are signed to Relapse I decided to check them out once more. With a solid, forward-looking label behind them, FUCK THE FACTS really pushed out the boat with this one – yes this is still noisy Grind, but there are tons of Death, Black, Art-Rock and even Power Metal (!) touches here that are incorporated into the band’s trademark sound quite flawlessly. The result is a thoroughly engrossing listen from start to finish and surely this is the album that will push this band to new heights. After the very experimental (a word you’ll hear a lot when discussing this album) 7 minute opener I was bouncing off the walls – this track is an epic yet the flow is so good that it flew by in what felt like two minutes! “The Wrecking” is another favorite of mine, combining savage Death Metal with slight Power Metal touches (check out those leads right after the opening barrage of blasts) and even some Black Metal screams near the end! Songs like “Carve Your Heart Out” and “The Sound Of Your Smashed Head” are a bit on the filler side, but thank Satan we have the closer “Dead In The Ruins Of Your Own City” right around the corner! Now this is an unorthodox Grind classic if I’ve ever heard one!! You get everything in this track: very prominent cymbal work, melodies that impress with an equal Death/Black sheen and even some very gloomy Doom passages towards the end. The band combines this disparate array of styles on almost every song, but they pull it off admirably and quite unlike anyone else in this field. Boring or stagnant this is certainly not!! If you are into bands like CRYPTOPSY, DILLINGER ESCAPE PLAN, PIG DESTROYER and DÂM, then you should definitely check out this monster of an album. I know we’re supposed to fuck the facts, but let me provide you with one: this band is on a mission for world devastation. Are you with or against them?
(The Metal Observer - Neil)

Beginning as guitarist/founder Topon Das' one-man experimental grindcore project in the late 90s, Ottawa, Ontario's FUCK THE FACTS arrives with its Relapse debut, "Stigmata High-Five". After a slew of releases, including a handful of full-lengths (not the least of which is the grindcore-with-dance- beats "Discoing the Dead"), FUCK THE FACTS brings a strong collection of extreme metal tunes, often technical and scathing, sometimes grindy (but not grindcore), and with just enough melody to digest without heartburn. Beginning with Das' mix of crackling riffs and rough-hewn harmonies, "Stigmata High-Five" works as a complete album because the band's attention to detail does not get in the way of solid songwriting. The opening and closing tracks, "La Derniere Image" and "Dead in the Ruins of Your Own City", are both lengthy and very well constructed. Many of the tracks combine squealing harmonic guitar parts, death metal punch CONVERGE dissonance, and a relatively calamitous (though never out of control) attack. You will also hear sections of near doom and subtle melancholia. The organic sound mix is a good combination of rawness and clarity. The electronic effects that appeared on previous albums are here as well, but more so for accent and atmosphere. Lead growler Melanie Mongeon is a force to be reckoned with, her abrasive style quite commanding, even in a crowded scene. "What's Left Behind" even includes a gang-shout chorus that fits surprisingly well. Along with Mathieu Vilandre's active and genuine sounding drumming, the group (now including second guitarist Jean-Louis Wittinger) clearly understands how to harness chaos and put together arrangements that are aurally satisfying and musically ambitious. It's about time the band got its just due by getting signed to a label that will spread the word far and wide. 7.5/10
(Blabbermouth.net - Scott Alisoglu)

I will be the first to freely admit that I'm not too familiar with the back musical catalog of Canada's Fuck The Facts. Prior the hearing the album that you are reading the review of right now, I have only heard their studio album from 2002 entitled Backstabber Etiquette. My enthusiasm for Stigmata High-Five has definitely piqued my interest in all of this band's older recordings. On Stigmata High-Five, Fuck The Facts take a slightly progressive and experimental approach to the tried and true grindcore formula. Songs are arranged with plenty of dizzying time changes and tempos that never sound forced. There's nothing worse than a band that has all of this technical skill and ultimately could not write a song to save their lives. Fortunately, this is not the case with Fuck The Facts. Employing elements from thrash metal, hardcore, metalcore, death metal and grindcore into one cohesive sound. Most impressive are the album's opening and closing tracks, “La Derniere Image” and “Dead In The Ruins Of Your Own City” both clocking in at the 7 minute plus mark and displaying their progressive and experimental leanings. Most interesting is the use of ultra slow and creepy doomy parts with the occasional use of keyboards/samples. Guitarist Topon Das has found a killer guitar tone and is not afraid to use a ample amount of harmonic guitar pinches that squeal in utter delight. Vocalist Mel Mongeon is Fuck The Facts shining star. Having a vicious rasp that, at times, sounds eerily like Lori Bravo (Nuclear Death) who was, and still is, the be all~end all of female vocalists in death metal or grindcore. Definitely one of the summer's strongest releases, and I would not surprised to see this on my list for one of the top releases of 2006. Check them out on the upcoming Relapse Records Contamination tour this fall.
(Digital Metal - Daniel Zidar)

For once, the one sheet didn’t lie, didn’t exaggerate or try to embellish the truth. If anything, it understated the case, comparing Fuck The Facts to an atom bomb, but that description doesn’t do the band any justice. See, there’s a sort of twisted beauty in a atomic explosion, and whilst both the initial and after effects are devastating, atomic annihilation possesses an almost clinical purity, cleansing as it destroys, and there’s nothing clean or nothing pure about Fuck The Facts. This is total musical annihilation, total destruction on an aural scale. Fuck The Facts are more like the ultimate dirty bomb, built for one purpose, to obliterate anything and everything in their path. Imagine the technical prowess of Dillinger fused with the power of Napalm Death, the epic sound-scapes routinely delivered by Nile powered by the energy of Extreme Noise Terror and you’ll start to get the picture as the twisted, dark undercurrents slowly fill your waking dr4eams with a sense of impending dread. You know you shouldn’t be listening, but you can’t help yourself, the more you listen to “Stigmata High-Five”, the more you crave it, becoming locked in a vicious circle of metallic beauty and self-loathing. In death there is fragile beauty, and sometimes this beauty reaches from beyond the grave to deliver it’s own rigid inspiration, and it’s this inspiration that has fuelled Fuck The Facts, urged them ever onwards, and helped them mould and create one of the most incredible metal records I have EVER heard, and the only record that should come with a mandatory surgeon general’s warning, as it’s more addictive than crack. Play it once and you’ll be hooked for life…
(Mass Movement 'Zine - Tim Cundle)

This tech/grind blast coming out of O town is up there with fellow Ontarions the End and Winnipeg’s Malfaction, and Stigmata High Five will definitely help put Canada on the extreme-music map. This is 37 minutes of pure ballast with all of the cut and paste arrangements of Calculating Infinity-era Dillinger Escape Plan and some of the most ferocious crusty-core female vocals you have ever heard. FTF know not to blow their whole wad and pull punches with proggy keyboards on “La Derniere Image” or the quick power metal interlude on “The Wrecking,” but FTF really score points when they just hunker down and pulverize. 8.5/10
(Montreal Mirror - Johnson Cummins)

I bet it's going to be embarassing to tell your friends you just got mindfucked by a girl. That she litterally just blew your brains out with her vocal chords. Hailing out of Ottawa, Ontario, Canada, the female fronted death metal/grindcore group: Fuck the Facts have been at the heavy music thing since the late 1990's. Founded by Topon Das, the band was a small recording project that saw a lot of underground attention and eventually broke to a full length and live performances by the year 2000. Now, many releases, tours and shows later the band is getting all the credit they deserve: signing to underground heavy music giants Relapse Records and releasing their debut to the world: Stigmata High-Five. Much like Walls Of Jericho, Arch Enemy and fellow female fronted Canadian hardcore band: Arkata, the band mixes chaotic music with death growls, shreaks and screams chanting along provided by the women (who seem to have more between their legs than most men), prooving Fuck The Facts are not a band to be fucked with. In hearing this band, you're really going to think that vocalist Mel Mongeon has sprouted a set of balls because her terrifying screams and growls are so manyly that she is yet another prime example that women have just as much a place in hardcore music as men. Stigmata High-Five is a powerful and heartfelt 8 track hardcore, full-length, world debut. I think this band is going to be something more than just another hardcore band and further place Canadian hardcore on the map. So rad, so mind-blowing. Even your ears are going to doubt your feelings and thoughts on this record. 4/5
(Review4U - Kiel Burwell)

Fuck the Facts are back this time with a good sounding record. The production was what I hated the most on Backstabber but now, their Relapse debut sound killer! Not only that the production is better but same thing goes for the song. Just by hearing the first on the disc, 'La Derniere Image', a 7 minutes song, you know that you're hearing a more mature Fuck The Facts and the diversity in the songs is something that really surprise me and again you got a good exemple of that if you here the first song on this album. You'll hear some influence again from grind but also from groove metal, from choatic metal a la Ion Dissonance. The blast beats are still there, the song structure have been well done and the guitar riffs are extremly good and there's also some moody melodic parts that really blend well with the rest. Fuck the Facts really surprised me this time. It's easy to tell that this is their best work to date. We are very far from their first album here, I'm warning you..it's way better!!!7 songs isn't enough, I would have take at least 2 more! 85%
(The Darkest Hours - Patrick)

Good ol Canadian grindcore! Just heavy, in your face death metal-ish grindcore. It’s in your face, technical in a lot of parts, and it just does not let up. You will hear this on the Mosh Pit (even if we can’t say the name of the band on the air!).
(The Mosh Pit 89.9FM)

Listening to Ottawa’s Fuck The Facts is like channel-surfing through 300 stations worth of Headbangers Ball with a different video showing on every program: Pig Destroyer into Shadows Fall into Earth Crisis into anonymous black metal riffs into Madball-style gang backups into How Many Subgenres Can We Pack Into Three Minutes and Forty-One Seconds? A shitload, apparently—a feat made all the more marketable by the fact (fuck it, har har) that the band has a female vocalist. Which is only impressive until you realize you kind of don’t give a shit: Modern metal has its fair share of women these days, and they’re just as likely to suck (not like that, you pig) as their male counterparts. Luckily, FTF’s Mel Mongeon doesn’t—at least not on this track. 7.5/10
(Paper Thin Walls - J. BENNETT)

Unrelenting, unforgiving, un-everything grindcore. It would be next to impossible to find a better description for Fuck The Fact's Relapse debut "Stigmata High Five", an all-oppressive assault on all things melodic and organized. Much like their label-mates Unearthly Trance, the band's vocalist has a merciless, unrestraining voice that combines extreme-screaming and growling to create a monstrous voice, and when this is conjoined with the ear-shattering repetetive grind-riffs it's almost guaranteed to drill through your head leaving severe damage behind. Occasionally, the band is caught at attempts of Cattle Decapitation-style low-tuned scale-melodies, but never with enough proof to call it melody rather than just disorganized, chaotic noisecore with ferocious breakdowns and absolutely mental drumming with blast beats ruining the bass-receptive parts of your hearing mechanisms in no time. By the time you've reached the end of second song "The Wrecking", it is not unforgivable to think 'so track five about to start...', as the breakdowns, disturbing silences and changes of pace and pitch mid-song are extreme enough to confuse the most dedicated extreme metal fan. It's not that the songs are bad as such. The band shows incredible instrumental ability, as more often than not the songs are played at speeds definitely forcing your license to dry off for a couple of years at your local police authority. It's the repetetive-nature of the riffs, the disgusting lyrics in songs like "The Sound Of Your Smashed Head", the savage vocals and the overall abandonment of all things melodic that just doesn't fit into my mind. But then again, grindcore has never been my cup of tea, and the genre has thousands of dedicated fans so it's a matter of difference in opinions. Therefore, ignore my bias and discover "Stigmata High Five" yourself, as it still is one of the only grind albums I'll confess to having even the slightest attraction. [6½]
(Rock Freaks - J. BENNETT)

Here is a new release from Canadian metal band Fuck The Facts, released by Relapse records entitled Stigmata High Five. This marks F.T.F.’s journey from obscure underground metal to a new high. The Relapse high! I guess I am just not into grind metal as much as I used to be, or maybe it is changing from what it was at one time. I have mentioned before that going back a few years this CD would have been right up my alley but these days not as much, but I still like it. Fuck The Facts is a cross between grind, death and hardcore, with sound effects mixed in (static, feedback voices, phone sounds, wind chimes and more…) there are also some slow keyboardy parts as well. It has definite similarities with Dying Fetus, Misery Index and bands such as those, plus a discordant mathcore influence. Though this release is not without uniqueness as well. In fact, I am not sure I have ever heard another band that sounds exactly like F.T.F. does. The guitar is cool, intricate picking, chunky riffs, alot of false harmonics and even some pretty melodies as well. They play at varying speeds from slow doomy riffs to all out grinding, also some groovy parts are thrown in for atmosphere. The drums are well played and recorded. Some of the rolls might be a bit mechanical sounding, but for the most part they sound like real drums. The vocals are raspy, mostly made up of screams and growls. You could never tell that it is a female singer, if you did not know it. All in all, I would say that this is a great CD, though something about it just does not do it for me. It is not a CD that I see myself sitting around and listening to over and over again. It is not groovy enough for that. It is pretty intense and up-tempo for the most part. It is raspy to listen to and has alot of tempo changes. Some are rather abrupt, so it keeps your ears on their feet, so to speak. They bridge the tempo changes really well and all, but it is a constant change. They never get to a good groove and keep it going. It is very sporadic. Like I say it is a cool CD. I like the style and if this we’re another time. I would really be prasing this release. If you are a fan of technical death/grind/punk than this is the CD for you. 4/5
(Metalpedia)

Après de nombreuses années d’efforts pour quitter le difficile chemin de la confidentialité, les Canadiens de Fuck The Facts, sous la bannière de Relapse, nous proposent aujourd’hui le fruit de tant de patience et d’acharnement. Le groupe se distingue principalement par la présence d’une vocaliste qui n’a réellement rien à envier à ses homologues masculins. Il est toujours impressionnant de s’apercevoir qu’une telle rage, doublée d’une assurance sans faille, puisse s’échapper de la gorge d’une jolie demoiselle. Dès lors le respect s’impose telle une évidence. Musicalement Fuck The Facts ne joue pas la carte de la facilité et personne ne pourra leur reprocher de ne pas avoir ratissé suffisamment large. On rencontre, durant l’écoute de Stigmata high-fives, un nombre conséquent de sous genre qui ont profilé le metal extrême tel qu’on le connaît actuellement. Du Grind au Thrash ("Taken from the nest") en passant par le Death us et même le Doom sur l’excellent épilogue "Dead in the ruins of your own city". Aussi, on ne réussira à éviter l’analogie avec l’incontournable référence qu’est Meshuggah sur "La dernière image". Chaque composition possède ses particularités, sa propre identité et la finalité prend l’aspect d’une œuvre hétérogène composée de sept pièces bien distinctes. Si la diversité des propos empêche de sombrer dans la brume d’une déflagration sonore terne et sans relief, on ne peut fuir l’idée que certains éléments clés, liés à la réussite, ont été oubliés. Malgré une cohérence de l’ensemble, de bonnes idées ici et là et une parfaite maîtrise instrumentale de chacun des protagonistes (mention très bien au guitariste), peu de séquence dispose de la faculté pour véritablement interpeller, s’imprégner et laisser une trace indélébile à l’auditeur. Si l’album n’est pas foncièrement médiocre, l’ensemble reste néanmoins, qualitativement insuffisant, il appartient désormais au groupe d’inclure, à son honorable créativité, quelques subtilités bien senties ou autres trouvailles géniales pour prétendre à plus de considération. A découvrir malgré tout. 6.5/10
(Pavillion 666 - Yann Swano)

Toujours difficile de cataloguer les groupes sortant de chez RELAPSE, ces derniers étant majoritairement versés dans les groupes de metal violents coupés au crust, hardcore, punk, etc. Cette fois ci le groupe sera étiqueté "power violence". Tout un programme mais qui ne veut rien dire pour moi. Déjà, présentons ce groupe sympathique. FUCK THE FACTS (FTF) n'a pas de leçon à recevoir de quiconque au vu de son impressionnante discographie faite de splits, demo, EP et ce depuis 7 ans que le groupe existe. Si tout ce qui a été fait auparavant est au moins aussi bon que ce dernier album, alors ça va coûter cher pour racheter toute la discographie. Car on tient là une vraie perle. Véritable brûlot sans concession, c'est un assaut de riffs rageurs empruntant autant au death le plus efficace qu'au hardcore le plus hargneux qu'on se prends dans la gueule. On se rapproche d'ailleurs énormément du death metal même si les chemins pris par les structures sont plus alambiquées et déroutantes que ce à quoi on pourrait s'attendre. Majoritairement on peut dire que ça cogne dur, certains blasts étant d'une précision meurtrière et soutenus par une production qui permet à la batterie de bien emplir l'espace, même si je regrette que les cymbales ne soient pas plus détachées et surtout la double pédale d'être plus massive. Du détail tout ça. Le jeu du batteur s'avère plus fin lorsque le tempo ralentit, et surtout lorsque les parties deviennent plus calmes tout en lorgnant vers une ambiance plus sombre, au début et à la fin du cd. Les riffs sont bien évidemment percutants, la production leur étant totalement dévouée. Peu de mélodies, pas de branlette de manche, tout est efficace et quelques moments n'excluent toutefois pas des parties plus alambiquées, créant, en symbiose avec la batterie, des passages très chaotiques où la violence est toujours présente. Difficile donc d'accrocher en une écoute à ce qui peut sembler un fatras bordélique mais qui se révèle être un concentré de hargne canalisée. La chanteuse braille dans des tonalités hardcore qui passent plutôt bien, dommage cependant de ne jamais avoir droit à des parties plus gutturales histoire de varier un peu. Côté extras, une piste cdrom avec deux clips sympa et deux titres supplémentaires plus atmosphériques qu'autre chose, sympa mais pas de quoi me relever la nuit. Une excellente surprise que ce groupe, pour lequel je n'en doute pas, de nombreuses autres sorties sont déjà programmées et sur lesquelles il faudra se pencher.
(Darkmag.net)

Fuck the facts indeed. And while we’re at it, fuck all the little tick-boxes that say a grindcore band must conform to stylistic points A, B and C on the scene checklist. Why the ranting and raving off the bat? Purely to illustrate the point that these jazzy Ottawans would, in another age, be in supreme defiance of grindcore convention—assuming, of course that Exit 13, Dillinger Escape Plan, Cephalic Carnage et al were all mere figments of the imagination. So, vive le difference as long as le difference hacks off your extremities in a hail of supreme grunting and grinding. Unfortunately, Fuck the Facts only manage an array of troublesome flesh wounds. The moral of the Stigmata High-Five story is that if you’re going to include several seven- and eight-minute songs, make sure they don’t sag in the middle. Make the listener hang onto as many twists and turns as possible. Make it “catchy” in the perverse grindcore sense of the adjective. Good ideas are certainly not absent, but Stigmata is hideously arranged in places, kind of like you’re listening to a string of disembodied riffs on someone’s riffs tape. Not to mention—and Fuck the Facts obviously aren’t exclusively to blame on this—that cursed “bomb-blast” beat. Note to all bands: Clumsy. Clunky. Not extreme. Please. Stop. Now. Again, better arrangements would a vastly better album make. Fuck the Facts just need to get theirs a little straighter.
(Decibel Magazine - Jerry A. Deathburger)

Je ne connaissais pratiquement pas Fuck The Facts avant de recevoir ce promo mais il ne m'a pas fallu longtemps pour comprendre qu'il s'agissait d'un groupe à part. Formés en 1999, les Canadiens ont déjà sorti 6 albums, 5 EPs, 1 live, quelques compilations et un nombre incalculable de splits à faire pâlir Agathoclès! Le combo a tapé dans l'oeil de Relapse Records qui l'a récemment signé pour la sortie de ce Stigmata High-Five, histoire de le faire sortir de l'underground et de permettre aux néophytes de découvrir sa vision musicale... Une vision bien particulière puisque la musique de Fuck The Facts est un patchwork de pratiquement tous les styles extrêmes: grindcore, hardcore chaotique à la TDEP ou technico-destructuré à la Meshuggah, death, métalcore, post-HxC, screamo, death mélodique, noise, une vraie salade niçoise! Tout celà s'avère donc plutôt bordélique puisque tous ces styles sont souvent abordés dans un même morceau. Et ce n'est pas tout, de nombreux samples sont également utilisés. Stigmata High-Five s'ouvre et se conclue ainsi sur un titre de plus de 7 minutes ("La Dernière Image" et "Dead In The Ruins Of Your Own City") "résumant" bien toutes les influences de la formation d'Ottawa. Destructuré, chaotique, brutal, original et barré (quoique moins qu'avant d'après ce que j'ai pu écouter de leurs précédentes productions), voilà comment on pourrait qualifier Fuck The Facts. Gros blasts grind, break en arpèges, mosh-part, re-gros blasts ultra brutaux, break chelou avec samples, riff groovy à base d'harmoniques sifflantes, passage planant, gravity-blasts sur riff death, break jazzy, riff mélodique moderne, le tout à l'intérieur même d'un morceau, au moins on ne s'ennuie pas, surtout que le son énorme martèle le crâne dès la touche lecture enfoncée! Celà pourrait paraître confus et difficile à suivre mais non, on se laisse emporter par la déferlante et on savoure cette musique déroutante. Les musiciens sont en plus excellents: le guitariste nous sort des riffs assez jouissifs, le bassiste n'a pas peur de se montrer et le batteur, rha le batteur Mathieu "Vil" Vilandre oui: un monstre! De toute façon pour tenir à bout de baguettes la dynamique d'une musique aussi "changeante", il vaut mieux maîtriser! La vitesse et la puissance des blasts, les gravity et toutes ces cassures m'ont mis à genoux! Le problème par contre, c'est le chanteur. Enfin la chanteuse. Mel Mongeon qu'elle s'appelle. J'ai du mal avec son timbre écorché et hurlé entre grind et hardcore. Bon ok j'en ferais bien mon goûter, ok c'est impressionnant une telle rage pour une demoiselle et ok son registre colle bien aux morceaux. Mais c'est vite soulant, surtout que la miss hurle toujours de la même façon. Comparé à la diversité musicale, vous conviendrez que vocalement, c'est un peu répétitif. Et ce n'est pas l'apport sporadique de quelques growls du guitariste qui vont sauver les apparences. Excepté ce petit soucis auquel on finit de toute façon par s'habituer, Stigmata High-Five reste un bon album, un très bon album même. J'aime ce genre de groupes qui ont leur propre personnalité et leur propre son. Mode bourrin: et puis c'est brutal en plus alors c'est cool! Notez enfin que l'opus compte 7 titres mais qu'il comporte 2 bonus cachés, "Stigmata High-Five", un bel instrumental, et "Ants", également un instru mais beaucoup moins intéressant, plus sombre mais plus minimaliste. On a aussi le droit à 2 vidéos, un petit making-of de 5 minutes filmé façon Blair Witch et un clip sympathique pour "The Wrecking". A découvrir! 7.5/10
(Thrashcore - Keyser)

As far as the Mesrine side is concerned, we have three tracks, all previously unreleased. Mesrine have become a full fledged death grind band, complete with great metallic riffs, in addition to both growling and shrieking vocals throughout. The caveman-esque rums serve their purpose of percussion, but there is no flash to listen for, these cans are being kicked around in the background to allow both singers to barf out the stench that makes this band great. Fuck The Facts throw down a track from the Stigmata High Five album. My first impression is how sturdy and hard playing a drummer Tim was. He has a brutal style of playing that is rather satisfying to my ears. It's nice to hear Mel's vocals corroding throughout every nook and cranny of this production. It's her most powerful and frightening release yet. FTF continue to incorporate a bit of variety to the mix combing brutal two guitar riffage with a smattering of melody over here, and a section that is almost quiet and reflective over there. While previous attempts of fusing odd parts together have been less than exceptional, FTF are disciplined enough to have gotten it right on this track. This EP is a hell of a teaser for the new record. All in all, this is high test Canuck grindcore on both sides of this release.
(Born Dead - Mike Alexandre)

There was a time in the late ‘90s that Fuck The Facts’ Topon would mail me cassettes of the band (typically a split) almost on a monthly basis. The band is not only still around, but also has thrived. More importantly, it has done so on its own terms. Fuck The Facts is still delivering the same whacked out grindcore with metal, dance and techno influences. Metal fans like knights of the Metallian Towers can certainly pass on the non-metal loops, synthesizers and other miscellaneous wastes of time, but the speed, ferocity, massive screams and growls and the actual riffing here are nothing to sneeze at. The best song here is Eclat.Boue.Sang whose Morgoth-ish intro leads to a brutal deathly bonanza. Kills your average Poptera fan from a kilometre away.
(Metallian.com - Ali “The Metallian” )

It’s sheer madness I tell you! And pretty damn creative at that. Ottawa, Canada’s Fuck the Facts cruise through six tracks in 10 minutes, leaving you in disarray with savage blasts of grindcore and a hefty dose of psychotic, yet sometimes alluring, electronica. Not sure what to expect, the dance beat that begins album-opener “City of Stone” had me wondering just what the hell I was getting myself into. Soon the tune descends (or ascends, depending on your point of view) into horrific and distorted vocals and a banging guitar riff, and the whole damn thing is over in one minute and 42 seconds. Journeying through the 42 seconds of furious grind with electronic effects on “Horizon,” you are then beat about the head and shoulders with gargling GC interspersed with a sort of jazziness and more programmed stuff on “Short Term Goals, Long Term Disappointmens.” Then finally a song that exceeds two minutes in length! “Dear Shit Book” is a rather beautiful piece that has more in common with a disjointed Depeche Mode than Cephalic Carnage (or something like that anyway), including a nice melodic guitar lead. Keeping with the epic song length, “Eclat-boue-sang” clocks in at a whopping 2:44 as classy synth erupts into more lunacy, this time the swirling guitar outbursts quite entrancing. More bizarre effects and wisps of the ethereal then spiral into static-drenched mental trauma that burns out after a few seconds on album-closer “Make Your Grave.” The CD also includes a couple of bonus MP3 tracks for play on your computer. “132 and the Evil Jesus” is a nine-and-a-half minute creepy atmospheric piece that rumbles, drones, crackles, buzzes, and even soothes (in a slightly unsettling sort of way). At one point, the sound seems to be one of echoing gunshots, perhaps mortar rounds. Spazzed out quasi-tribal drum bits hit and disappear as well. “Armageddon Waltz” is a two-minute keyboard piece that also becomes rather disconcerting. In both cases, Infidel?/Castro! is the band that came to mind. I do think the boys are on to something here. Legacy of Hopelessness is awfully damn entertaining.
(Live 4 Metal)

My freaks from Canada are back with another installment into their exploration to shred all boundries in the music scene. This time around their sound is a bit different from past releases. The intense & spastic Grindcore sound is there, but they build on it this time. They toss in many elements of Death Metal, Thrash metal, Noise, Industrial, Techno & Experimental to create this amazing new disc. The vocals are also done in a few styles too. There are Grindcore screams, Death growls & melodic Metal vocals as well. I have been a fan of this band for a long time & this is by far the best work they have done yet!!!
(Burt - Treats From The Underground)

On "Legacy of Hopelessness", the newest offering from Ottawa brain-scramblers Fuck the Facts, the band have further perfected their own unique brand of electronic "avant-grind", taking the listener through a dizzying maze of hyperspeed thrash assaults, profoundly moving symphonic dirges, quirky blips and bleeps, and jarring media samples. All in the (barely) ten minutes it takes for this EP to exact it's vengeance on your eardrums. Fuck the Facts are no spring chickens - they've been doing this for a little while now, but it seems like this is by far the most cohesive and focused they've ever been. Aside from the obvious step up in recording quality, the smooth transitions from song to song and effective use of sampling give the record a certain fluidity that makes you forget you are listening to five songs and not one. Fans of Agoraphobic Nosebleed, Pig Destroyer and the like will eat this up like the sick fucks that they (we) are, but the really stunning thing about this band is that they are one of the few of their ilk I've ever heard that seem to truly be taking the grind genre in a new direction, fearlessly experimenting with new elements of sound to garner more emotion from the listening experience than a simple jackhammer to the ears. For all the dry cynicism of the EP's title, the one thing it will leave you with, ironically, is hope. Hope that a genre many considered to have reached it's creative peak years ago will continue to be revolutionized by bands like this. Pick it up. 4/5.
(Graham - Ambush The Night)

Le premier mot qui me vient en tête à propos de cet album de FTF, c’est qu’il est dément. Tout simplement! C’est le genre d’album très court et très efficace, mais vraiment un extrême coup de poing direct dans les dents du devant. Les 6 pièces sont courtes, en durant parfois que quelques secondes, mais on en sort pas sans séquelles! C’est le metalcore brutal comme on l’aime, bien hurlant, sale et agressif comme l’est toujours Fuck the Facts! L’expression typique du métal avec laquelle je décrirais cet album est « blood, sweat and tears! » Ça hurle de façon presque bestiale, la batterie martèle des rythmes de l’enfer, la guitare change de rythme sans crier gare. Ça passe des déchirements de cordes vocales à des sons hétéroclites (genre Mr Bungle) sans rien pour faire la transitons entre les deux. Ça donne d’ailleurs un résultat assez surprenant…mais très efficace. Même la toune acoustique trouve le moyen d’être violente et croyez-moi, elle fesse! Il y a des cillements dans quelques chansons qui ressemblent à des arrangements sonores à la Slipknot. D’ailleurs, le résultat d’ensemble rappelle beaucoup Converge et Agoraphobic Nosebleed, avec des passes à la Kataklysm., tout en restant le bon vieux Fuck the Facts qu’on aime! Je ne connaît spas vraiment les autres albums de FTF, mais j’ai vraiment aimé celui-là. Ça bûche et ça hurle comme c’est pas permis. Je me demande comment le chanteur fait pour avoir encore une voix! Legacy of hopelessness aura lui aussi sans aucun doute sa place dans mon top 10 de 2005! Je voudrais vraiment avoir l’occasion de les voir en show, il doit y avoir un moshpit de la mort!!! 4.5/5
(Catherine Blondin Brosseau - Rive Nord Rock Radio)

While the likes of Ion Dissonance, The End, Despised Icon and Neuraxis garner most of Canada’s tech –grind-core praise, Ottowa’s female fronted Fuck the Facts, though quiet since their Backstabber Etiquette effort are making a little noise with this 6 song EP. ‘Noise’ is the appropriate term here as amid the bands violent grind-tech savagery there are some Genghis Tron like spats of techno, sampling and flat out genre bending weirdness that may be a little too much for some, but they certainly give FtF a sense of character amid the recent Canadian assaults. For example, opener “City of Stone” starts with a dance beat and samples before the almost epic riff climaxes the introductory number. However, that mild sense of trepidation is destroyed by the electronic laced grid of the 40 second “Horizon”. Then the video game beeps that start “Dear Shit Book” are broken up by some horrifically heavy mid paced savagery while the beeps and whirs continue to litter the track. Then there is the virtually melodic, celestial instrumental “Short Term Goals, Long Term Disappointments” that sounds like something Hypocrisy would play. “Eclat-Boue-Sang” starts with black metal synths before Mel Mongeon shatters the beauty with her vicious scream and the track delves into a sort of blackmetalcoretechnogrind mind buggery: It’s actually really good, despite my best efforts to describe it. After instrumental closer “Make Your Grave”, you realize the EP is over quicker than the time it takes to have sex (or is that just me?), and I was craving more (or is that just my wife?). Anyways, a tastily noisy, if short spasm of challenging and extreme music that’s a little different to the usual array of perfectly polished Yannick St. Amand produced affairs and hopefully bodes well for a interesting full length effort. Unless they churn out another 67 obscure EP's and splits....
(Eric Thomas - Metal Review)

Having Garnered a small amount of attention due to their thoroughly unmarketable band name and vigorous touring, Ottawa experimental grind freaks Fuck The Facts are acquiring a considerable following. Legacy sees the group diversifying their sound further, incorporating an almost epic tone to their slower, more down-tempo moments and allowing melody to show through a bit more. Their sound still remains abrasive and difficult to swallow initially, especially due to the severely underwhelming running time. The group's knack for samples and ear-piercing, distorted, barely audible vocals are still in full swing. Nonetheless, the unbridled mayhem of the group's stage show remains unmatched on disc, despite their best efforts, although their upcoming full-length may set a new standard.
(Max Deneau - Exclaim!)

Despite being known for blistering grindcore, this latest EP from Fuck the Facts opens with a tune that could be best described as noisy, apocalyptic doom metal. The second song however begins the bands usual onslaught of technical mind boggling grindcore. Technical guitar runs, and harsh vocals are often met with simplistic drumbeats which serve as a nice counterpoint. The band covers a lot of ground, and honestly some of this stuff will leave you scratching your head. But you’ll love every second of it. Imagine Dillinger Escape Plan mixed with Mr. Bungle playing Napalm Death covers.
(Unbound Zine)

Wow! This is by far the best stuff yet from experimental Canadian grinders FUCK THE FACTS, boasting much-improved production over their previous lo-fi releases, and an overall more cohesive approach to their wacked out, female-fronted (her vocals are MONSTROUS) electroavantgrindcrust cyclone assault. On this all-too-brief 6 song/10+ minute CD, FUCK THE FACTS blends together moody dirge-sludge a la GODFLESH / ISIS , bizarre electronic fractal blips and feedback, 8-bit techno and breakbeats, morose post-industrial goth pop, melodic Swedish deathmetal, jazzy interludes, and ferocious grindcore mixed with spastic fret-shredding tech metal into a whiplash inducing whirlwind of grind troniks and epic crustiness. Sweet!! This is def our fave release from these guys to date, way more focused and brutal and catchy and AWESOME. A show with these guys and Genghis Tron would shear our heads off. We need to hear more of this stuff!
(Crucial Blast)

Nepean's Fuck the Facts have been blasting out moody, caustic metal for quite some time and are arguably one of Ottawa's greatest live acts. All the seething fury pent up inside front woman Mel Mongeon's tiny frame spills over the audience like battery acid while her evil and able henchmen spew venomous death to hordes of delighted metalheads. This record has a cinematic feel to it, like it could be the soundtrack for a zombie film, or possibly a ghetto vampire piece. Many keyboards and MIDI-enhanced techno-drums flesh the record out a little, though I prefer the straight guitar-based metal moments myself. But well done, metal maniac nutbars. Fans of Exhumed, Death or even Pig Destroyer, rejoice: Capital City has its own world-class grind legends in the making.
(Shawn Jam Hill - Ottawa Xpress)

I cant say i was huge on this band but this is a pretty decent MCD, i've seen them live twice recently and they were amazing. This MCD has alot of moody interludes between tracks and some samples which ties it all together, its kind of like an Edge of Sanity's crimson feel but they arent just one big song. There is some cool guitar with melodic deathmetal feel withought going overboard on it, also theres an industrial sort of sound to it with some synth drum samples and old radio voice, and some deathindustrial vox, theres some high squeeling noise sounds mixed in aswell as some odd synth kind of like the merrygoround noises from The Locust's first ep. Theres a fair bit of tempo changes but this time theres more atmosphere rather than an album chalked full of constantly changing songs with a ton of riffs and changeups. This is still not basic powerchords and blasts though, a new lineup of excellent musicians is now in place i had to check FTF's homepage for the MCD lineup so its as follows Topon Das, Mel Mongeon, Dave Menard, Tim Olsen, Marc-Andre Mongeon. This is a grindcore band but theres influences from all sorts of hardcore and deathmetal. This MCD is going into my personal collection rather than to trades or whatever, but i picked up an extra copy also as its pretty decent, its brand new also so you can and should get a copy, its cheap and its not a sloppy basement band, the sound quality is awesome, the mixing and mastering are all top notch as is the songwriting. The layout is pretty basic but its pro quality, but its only a single card cover. Also theres 2 bonus tracks you can only play on your computer.
(I Can't Believe It's Not Grindcore)

This Ottawa grind band has been notorious for their refusal to confine themselves within any specific genre. On Legacy of Hopelessness, the band’s new EP, that refusal has never been more evident. Juxtaposing eerie newsclips and samples with a musical gamut that runs from electronic dance beats to utterly butt-ugly grindcore, Fuck the Facts continue to tread upon musical ground yet to be covered. And that’s pretty fucking hard to do these days. Any original moment should be savored, and here we have 10 minutes of them (yep, gotta love short EPs), from a band that really needs to be heard to be believed. Expect all of your expectations to be crushed by Fuck the Facts, they really pride themselves on not fitting into the scenes that surround them (Ontario’s hardcore scene, Quebec’s hypergrind set, etc.) but somehow manage to create a sound that wouldn’t be out of place with the kinds of bands they play with, whether it’s Winnipeg political grind or Quebec’s raging death metal scene. One of Canada’s best underground bands, by far.
(Flex Your Head)

Fuck the Facts is a band I've heard of quite often but havn't checked out too much. So the "Collection of Splits 2002-2004" being my first review of their works might seem a little odd so I'll approach this release as I would if my favorite band had made a collection of splits. The whole reason behind making this "Collection of Splits" is entirely amazing. After seeing how many splits this band has been apart of in just 2 years, I'd find it annoying if I were an avid listener of this female-led metal act to continually have to purchase obscure and random splits with bands I could quite possibly not enjoy. So instead of having to do so, Galy Records places each of the 21 tracks on a single disc for fans to enjoy while also including a few covers the group did as well. The music itself (if you are like I who hadn't heard much from them) comes off as a roughly recorded grinding sound that could sound like early Psyopus stuff or even Pig Destroyer. So if you're into extremely chaotic music and you havn't checked out this group then you might gain some enjoyment by checking out this group (although I would much rather go after a full length album for a first listen rather than a collection of splits.) At times even sounding relevent to militant vegans Cattle Decapitation, this group's got a lot of catchy slabs of death grind to offer to any listener that's willing to check Fuck the Facts out. The concept behind this release is entirely genious and I think more labels should think about following suit with Galy Records in doing this.
(Drew - Skylinepress.net)

If, still possessed, Regan from The Exorcist managed to survive into her 20s, she’d be lucky to sing like a pale imitation of Mel Mongeon, even with a hornet’s nest under her scalp and an enduring infatuation with toe-gnawing. The Fuck the Facts frontwoman is an able bassist, too, in Fuck the Facts’ default tainted grind mode and the varied metallic stances the band takes on the likes of instrumental snapshot “Secret Asian” and Gothic quickie “Another Living Night.” (They’re all too aware of the “cut anything after a minute and it smells like grind” trick, which, at the very least, helps ’em avoid wearing out the welcome mat.) Still, there’s more to FTF than grind and/or metal, and more in Collection of Splits 2002-2004’s 22 tracks than guitar, bass and drums: the last figure in “Merdarahta,” but obliquely, as muffled, tribal continuum for what sounds like elephants fucking in a crocodile-infested bowling alley. Electronic cuteness assault “Whisper Dependency” uses R2D2 synth and a drum machine from Legoland® as a backdrop for cinematic screams and a sample of a woman saying “the sheer terror is indescribable.” Doomy snippet “The Transformation” reprises the screams, this time overshadowed by a sinister, cinematic guitar (or is it electric bouzouki?) melody. “Is this material consequential?” you ask. “Is it an essential part of Fuck the Facts’ oeuvre?” All depends on whether you miss Zoviet France, and how much. For the rest of us, the grind’ll do
(Rod Smith - Decibel Magazine)

First up are Canada's Fuck the Facts, they kick the record off with an instrumental track called "secret asian." This track definetly shows the band's got their shit down pat. This track is actually closer to traditional metal than I've heard the band before, and shows off the bands technical skills fantasticaly. The second track showcases FTF at full force, but still taking that traditional stance that I mentioned for the first track. By the last track the band's in all their grinding glory, with their more familar spastic grindcore sound. Holy shit, these three tracks are pure fucking gold, it really proves that this band knows how to get a wide variety of styles out of their sound and stiill kick my sorry ass.
(DAREDEVIL MAGAZINE)

Ottawa's unconventional underground veterans pull out their most metal-tinged, Hawaiian shirt wearing assault yet. A steady rupturing of eardrums from the double bass cannons greet me as soon as this gets under way. We have an "intro"-type number to kick things off and by the time you get into it, track two is flung at you. Here we get to hear more of the truly sick-sounding Mel Mongeon, who finally gets her proper due in the mix. This is a great time to start catching up with thisband if you are unfamiliar with their oddball techniques that will totally kick your ass.
(BORN DEAD)

Incorporate fret board dynamics that make you want to head bang into somewhat slower tempo grooves and a tech tag back into the sonic destruction and you've got a good start on fucking the facts. It’s a nice blend of the two predominate metal categories, death and black, with a lot of high speed tech metal to bridge the gap. The vocals are a cruel snarl bleating inaudible banshee cries. At times it's quite reminiscent of Cryptopsy but on a more melodic scale. The second track opens with soft picking over a French sample and leads into an emotional take on Emperor and Anaal Nathrakh. Scales are mutilated as they cross into a Dillinger take on black metal and then just as quickly as it began they revert into tremolo madness. Most of the record is completely pummelling, whether it be drifting into a moshcore breakdown or brain melting tremolo. They’re fucking the facts right out of music, crossing boundaries always keeping ideas fresh, but not in the disjointed, endless way many modern spazz acts like to perform. It's nice to know Canada can still produce metal acts with international potential.
(EXCLAIM!)

Those wacky Canadians from Fuck the facts start out this split collaboration with 8 blistering tracks of their unique grindcore style and I'm absolutely fucking floored. There's so much going on, I was even a bit overwhelmed at first. There's chugging death metal riffing, sweet melodies that pop out of nowhere, eerie harmonic runs, intense vocals with tons of variety and of course plenty of blast beats to go around. I heard some of their stuff years ago and this surely sounds different than I can recall. It seems they stopped utilizing the drum computer and switched to a live drummer. Well, the playing is tight as shit and I don't see a drum computer pulling off those jazzy rhythms in "Ventriloquist complex" either so this seems to work in their favor. The guitar work is just pure madness and makes Fuck the facts totally stand on their own. The vocals are sorta' high pitched and raspy screams, difficult to describe and very distinct. I love the writing here, they really know how to create short songs that actually sound like a lot of effort was involved. Perhaps this is what you would wind up with if bands like Converge or even Damad start playing grindcore songs, what with that compressed guitar sound and all? The last two tracks are live recordings and while the recordings are tolerable (a bit muddy, but I've heard worse) it doesn't hold a stick against the studio recordings that are way more powerful. I already said it time and time again and I'm afraid this review is turning out to be a boring read indeed, but I just can't get over the fact how awe inspiring this material is. I really need to check out more of their older stuff now as it seems I've been missing out on some great shit.
(VAMPIRE MAGAZINE)

This is quite different from what I have already heard from this canadian band but I haven't heard their latest stuff to say the truth... I'm pretty they used to have a drum machine in the past, but this is definitely real drumming here. Their style is still eccentric and aggressive, but they sound much more metal than before, at least that seems that way to me. I've seen Fuck the Facts labelled as "powerviolence", I guess they play a mix of different extreme genres, mainly taking elements from death metal, grindcore, hardcore, thrash... this stuff is blistering and fast but also pretty damn technical, with quite intricate song structures, expert riffing and some nice arrangements. Vocals are high-pitched shriekings, guitars have a ripping, thrashing sound and drumming is just really tight. The overall sound production is quite good and clear but definitely not what I'd call heavy, it's slightly raw. Also, the guitar riffs often have a depressive & melodic touch to them, I can't completely get into this stuff personally but . Honestly, Fuck the Facts reminds me of Relapse bands like Dillinger Escape Plan & Coalesce...
(BRAIN DEAD ZINE)

Nepean's FUCK THE FACTS have released a fairly raging album in Backstabber Etiquette, a noisy and mutant excursion into shred-acious chaos grind with off the HOOK female vocals ! The atmosphere here is pissed off and ragged. Powered by vicious, rabies-infected female vocals, ridiculous drum machine blasts, live drumming chaos, huge catchy hooks, total noise whiteouts, monstrous chugging deathslop riffs, this is absolute outsider grind wipeout. Imagine a mix of DILLENGER ESCAPE PLAN style fretboard gymnastics, ultra vicious blasting noise/grindcore like UNHOLY GRAVE , and dreamy melodic noise/psych breaks. Like a crustier, bloody-nosed GENGHIS TRON populated by the guys from DISRUPT, MORTICIAN and INTO THE MOAT, on crack.
(Crucial Blast)

Parfois il y a des chroniques qu’on n’aimerait ne pas faire, tant il semble difficile de trouver des qualités à un disque. En recevant « Backstabber etiquette », je me suis un peu douté que ça serait une chronique pas évidente à appréhender. Je n’avais déjà pas été très friand de « Discoing the dead » leur premier album. Là, c’est pareil… La production manque singulièrement de puissance, très froide et minimaliste, et handicape sérieusement le grind matîné d’éléments death metal technique. Il est également très difficile de supporter la voix criarde au possible de Mel Mongeon (ex-Disjonction aux vocaux). Peut être que la musique des canadiens Fuck the facts prend toute son ampleur en live qui semble être leur terrain : des dates avec Exhumed, Today Is The Day, The End, Quo Vadis, ou encore Martyr. On ne pourra que louer leur attitude « do it yourself » qui est dans l’essence même du grind mais on pourrait se demander si ils ne feraient mieux pas de se concentrer davantage sur un album plutôt que de sortir 4 splits par an. On notera également l’utilisation de samples indus pas mal conçu pour enrober le tout. Le Swervedriver n’est franchement pas convaincu par la succession de ces 11 titres quasiment identiques et sans réel relief mais supposes que cela plaira peut être aux plus irréductibles gaulois.
(Swervedriver - Violent Solutions)

You know, this job isn't always easy. A swear word in the band name is usually a good sign that the band isn't going to be worth a tin shit, but here I go, listening to this. I'd say this is the suckiest band on Great White North records, but that distinction has to belong to Divina Enema, who may be the worst band ever. Still, this is pretty fucking awful, even worse than I would have expected. FTF are a messy death/hardcore/grind type of band. They blast away at high speed with lots of screaming, and that's about it. They give the general impression of a garage band who cannot actually play their instruments very well. Occasionally they come up with some fairly cool riffage, as on "A Few Words For the End", but for the most part this is extremely painful to sit through. There's no low end to the mix at all, and this is quite reminiscent (to me) of the production on the early Soilwork albums. Trebly rat-tat-tat guitar strangling and a dreadful screamer hacking up hairballs onto the mike. From the song titles, I'm actually glad I cannot make out the lyrics on this, as I am sure they are really stupid. Wes at TMO loved their demo, so maybe there's something here I'm missing, or maybe Wes is just high. But if I'm to trust my own judgment here I will have to say that FTF suck royal ass, and I would advise you to stay away. If you loved Bloodshoteye's demo you will think this rules, otherwise you will hate it as much as I do. 1/5.
(Sargon The Terrible - The Metal Crypt)

Eine Band mit dem Namen FUCK THE FACTS wird wohl nie in den Media Control Charts auftauchen, aber das ist wohl auch nicht die Daseinsberechtigung dieser Truppe aus Nepean, Kanada. Ursprünglich ein Ein-Mann-Projekt von Topon Das (eigentümlicher Name) tritt man mittlerweile als Trio auf und zwar ohne Bassisten! Nach der selbstvertriebenen CD „Discoing the Dead“ und einem Cover für ein DEATH-Tribute („Empty Words“) legt man nun die neue wiederum nett betitelte Scheibe vor. Und die Musik ist echt ein hartes Brot, ich möchte es mal so umschreiben: NAPALM DEATH macht eine Jam Session mit TODAY IS THE DAY und das Ergebnis wird dann angereichert mit TOOLmäßigen Psychedelik-Akustikparts. Vokalist Mel Mongeon schreit wie ein abgestochener Paarhufer und dazu haut die Instrumentalfraktion dissonanten Krach heraus. Es wird gerifft und gebreakt ohne Ende, hin und wieder unterbrochen von den oben erwähnten melodischen Teilen, die wie eine Oase in der Wüste wirken. Das ist keine Musik für Weicheicher und Frauenversteher, so viel ist mal sicher, nach dem zehnten Mal hören mögen sich auch Strukturen ergeben, mir war dieses Erlebnis nicht vergönnt. Stattdessen fühle ich mich nun ungewöhnlich aggressiv und im Gegensatz zu Politikern erreichte ich diesen Zustand auch ohne Koks, nur mit der verrückten Musik einiger Kanadier. Vielleicht hatte „South Park – Der Film“ doch recht und man hätte den Karohemdenträgern den Krieg erklären sollen, aber auch FUCK THE FACTS sind Kunst für eine Elite von Krachfanatikern!
(Terrorverlag)

With a seemingly lowbrow approach to grindcore, Fuck The Facts have released Backstabber Etiquette, a collection of 11 gut-wrenching tunes from the underground Ontario quartet. Staying in the vein of fellow Canucks Swallowing Shit and Fistfuck, Fuck The Facts lay down some brutal grindcore, although a few of Backstabber Etiquette's songs actually reach (and exceed!) the 3-minute mark. The production of Backstabber Etiquette leaves a little left to be desired; the drum mix is tinny and the guitars sound far off and showcase a lot of high-end, but despite those shortfalls (the album was originally recorded in 2002, released later by Great White North), Fuck The Facts is able to showcase its variety, creativity, and originality in tunes like "A Few Words For The End," where an undistorted interlude makes for an interestingly composed song. Ultimately, that's what Backstabber Etiquette is: an interesting spin on the already crowded grindcore scene. If you dig grind, then it might be something to check out. In that case, you won't mind the thin production, but the song structure (and the fact that the songs are seperately presented as cohesive songs) will keep you entertained. If you don't like the grind sound, Fuck the Facts isn't going to offer enough to win you over.
(Bob D. - Deadtide.com)

Going from A-tonal grinding massacres using lots of hammerons to some rather ambient noise/soundscapes while throwing in some interesting samples and an occasional chunk groove to break up the madness “backstabber Etiquette” manages to slap you across the face in disarray but also to knee you in the guts w some unquestionable heavy/melodic counterpoints. My only complaint being the production quality is a little thinner than what I’m accustomed to. The Opening track “Second Hand Skin” slips into your attention with the opening sample then Happily grinds away at tasteful speeds with lots of dissonance and crunch with the chorus offering a nice little segway for u to nod your head in approval. “The Burning Side” starts off with a great slow guitar and drum prelude overlapped w some samples to make it a little more interesting, then moving into the heavy as fuck core of the tune. This track ends leaving you with a desperately wanted feeling of despairing contemplation. This album presents a plethora of blasts and blazing kicks that frantically yet with precision keep pace w the gouging guitars, while the screaming Diva Mel Mongeon howls from the bowels of purgatory making it quite clear that Women can easily outdo men in the role of vocalist. With songs averaging at about two Noisy minutes this really is a succinct grind offering that I was happy to spin for a few days. 7/10
(Jesse Walker - Canadianmetal.com)

Nepean Ontario's Fuck the Facts play fast and severely schizophrenic grindcore, this shit is all over the place and at times really fucking bizarre. But as crazy as this grindcore may be, there is still always some sense of control or purpose; partly due to the technicality of the musicians and partly due to a real songwriting skill. Combining intense and fast as hell Euro-style grindcore with weird jazz breakdowns and even a strong industrial-grind feel at times, this album is definately something unique! Vocalist Mel Mongeon has a lot of really crazy grindcore screams on this album and the occasional low growls mix things up really well, since they didn't include lyrics and the song titles make no fucking sense I have no idea whats shes screaming about, but she sounds pretty pissed off! haha There is really no way I could accurately describe the music on this album, so I'll just say take a lot of super fast grindcore and mix it with a lot of funky jazz riffs and breakdowns, then add a weird industrial feel on the intros and outros, plus finally whatever other crazy shit is floating around in Topon and the rest of these guys heads. Fuck the Facts are definately one of the top bands in Canadian grindcore, and anybody looking for tripped out and original grind should check this out. 8/10
(Northern Brutality)

Holy crow! This punky grindcore band from the small villa of Nepean, Ontario (okay, it's a suburb of Ottawa) rips and rages at the belly of the beast on these 11, ahem, songs. Penetrating yelps and screams from their female singer drive serrated spikes into your thought muscle. Guitars squeal, squelch, and then hammer ten-ton riffs through your cranium. The rhythm section flails madly, in desperate attempts to keep up to the chaos. Bizarre samples between songs only add to the sketchy, urgent vibe. Might I suggest Fuck the Facts be placed alongside Canadian grindcore royalty like Swallowing Shit (R.I.P.), Malefaction (ditto), and Despised Icon?
(Flex Your Head)

Fuck The Facts have been a band I've known about for years but never really bothered checking out, aside from one or two compilation appearances. Formed in 98 or 99, the band has released a few label-backed releases, along with a handful of self-released cd-rs and tapes. After listening to Backstabber's Etiquette, I'm kicking myself in the ass for not checking this band out years ago.
The opening track is a warning of you what you’re getting yourself in to. An assault of technical, brutal grind core full of twists and loops. After a short sample repeating, "I want you destroyed", the song kicks you in the face with a combination of heavy melodic guitars and trigger drum kicks. The vocals range from raspy screams, to growls, to higher pitched but still raspy shrieks (there's only so many ways to sing). It reminds me a lot of Pig Destroyer, actually. A female J.R Hayes if you will. Actually, a lot of the music reminds me of Pig Destroyer as well, but with more time added to give the songs more structure. The first couple of songs remind me a lot of Ed Gein, actually. Track three shows off their metal side with speed and riffs reminiscent of bands such as Emperor and Dawn, while in the same song they stop your head banging on a dime with a slow soft minute long interlude. The rest of the album flows along flawlessly. Grindcore, tech metal, and death metal entwined in a 30 minute, 11 song CD. I'm not really sure why Fuck The Facts isn't more recognized, especially in the Ontario/Quebec areas. Maybe kids are just turned off by the grindcore label. And true, while the genre is the predominant force in the music, FTF's are so much more. 9.5/10
(One Golden Spoon)

When I got this CD, I had a pretty good idea what I was in for; Grindcore. All kinds of different comparisons jumped to mind about what a band like FUCK THE FACTS would be like (FUCK…I'M DEAD jumped to mind immediately, just because of the similarities in the name I guess), but regardless, I was wrong, very wrong.
This is some seriously depraved and disturbing music, and quite unlike any other Grind band I've heard before. The guitar tone has this sick, dirty feeling to it that clings to your skin for hours after you've listened to it, much like what ARKHON INFAUSTUS is to Black Metal.
The eclectic mix of sounds found on this CD range from razor sharp guitars intertwined with sledgehammer riffs, jackhammer drumming, and nails-on-a-chalkboard shrieks that would drive the calmest, sanest person to insanity after just one spin.
Where "Backstabber Etiquette" seems to deviate the most, however, is that it isn't a pure Grind album, but instead has a couple of other influences in it, making it more diverse than the average Grind band, without losing any sense of perversion or brutality. They toy with some noise elements, more melodic, and even moody passages, but in the end, it all comes back to the same sick sound.
Now, over the last little while, extreme female vocalists have been getting more and more recognition in the extreme scene as being actual competent vocalists, instead of eye candy and pre-packaged marketing campaigns, but FUCK THE FACT's Mel Mongeon is heads and tails above the competition, not only is she a competent vocalist, she's a uniquely terrifying one, with a voice that will make your hair stand on end, and she fits in perfectly with this band's intense, disturbed music. I need a shower
8.5/10
(Metal Observer)

My first encounter with Fuck the Facts was live in a festival almost a year ago. I saw them sound check briefly before a small attractive lady (and I mean small, 158 cm and 45 Kg at the most) comes on stages and starts a brutal style of vocals that Angela Gossow (Arch Enemy for those living under a rock for the past few years) would dream of having. Let’s just say that I was bit surprised, but not as surprised as I was to listen the quality of the material they were playing. Having this CD in my hands now just is a pleasure. Finally a grind/crust band that tries something a little different. Instead of grinding it out all the time, like many do, they switch things up with melodic and sound effects/electronics interlude and really good breakdowns that show a wealth of good songwriting ideas. While I do like my grind in the traditional Napalm Death style, I also like to see bands trying to surprise me and FTF do with the previously mentioned parts. While the bio mentions a crustier Dillinger Escape Plan I would go that far. They are a lot crustier than DEP but they also are not as diverse as DEP, still significantly more diverse than the norm. Unfortunately for them, I believe budget restrictions just kill many of their good ideas. Put these guys in studio with Miezko Talarczik or Pierre Remillard and a budget like Alchemist had on their latest and you would have a classic for the ages. Still a band to look for in the future because they show a lot of promises.
(Mindspell)

Fuck The Facts es un trío formado en Canadá en 1998, y ya tienen en su haber varias participaciones en compilados y splits, grabaciones lanzadas en forma independiente y otras a través de sellos DIY (Do it yourself). En el 2000 lanzaron su primer álbum, "Discoing the dead", a través del sello Black Hole Productions. Luego de varias idas y venidas de integrantes, llegan a su segundo CD, este "Backstabber etiquette", el cual salio a través del sello Grind it! Records, y al cual tratare de comentar. Y digo tratare, porque este tipo de música, debo reconocerlo, no es precisamente el estilo mas fácil de escuchar o catalogar, por lo menos en lo que a mi respecta. Mi oído, mas acostumbrado a otras cosas, ciertamente se siente shockeado ante esta avalancha de riffs grind/death que es Fuck The Facts. Nunca había oído algo tan "enfermo", y uso esta palabra ya que no encuentro otra que pueda definir mejor a esta banda. Las voces son ciertamente extremas y violentas, totalmente insanas y fuera de lugar, y al no tener bajista todo el sonido es agudo, a mi juicio inescuchable. Algunos de los samples e intros son francamente aterrorizantes, y desde el primer tema ya se destapan con alaridos y música (música?) a altísima velocidad. A lo largo de los 11 temas, rescate un poco del riff de "A Few Words For the End", pero el disco en su totalidad es un martirio para un ser humano normal. Por citar algún referente podríamos decir el viejo Napalm Death, mezclado con algo de The Dillinger Escape Plan y Today Is The Day, pero no si valen las comparaciones.
Este estilo tiene millones de seguidores en todo el mundo, por lo que seguramente me estoy perdiendo de algo, o simplemente estoy muy viejo para esto. Si te van este tipo de bandas, metele; yo paso, y paso muy lejos.(ROCKA ROLLA ZINE)

Nice churning and crunchy grind riffs that bring together an overall death grind feel on this tastefully technical release. The vocals recall an Unholy Grave at their most violent at moments. The backing vocals are great as well. Deathmetal-esque clean breakdowns occur a couple of times, and after listening to the first jazzy breakdown on this, I got the idea that the band isn't satisfied pulling off one style over another. A little more punch from behind the ol' triggered drum kit would have been an added bonus, but this is well crafted and well-executed mind-bening grindcore.
(BORN DEAD ZINE)

New disc from these Canadien assaulters. FTF plays fast and weird grind metal. It ain''t just extreme fucking but also adding industrial intros and outros. Even a great slow motion rhythm in track 3! Different vocals styles, raging blast drums and ravenous riffing. The eleven songs show a various mixture of musical elements that keep you attached to the speakers. Highly appreciated (by your neighbours) if it is played on high volume.
(BRUTALISM)

Wow! I've always loved these sickos out of Canada & always thought they were a great Grindcore band. This album surely surpasses anything they've done in the past. This is by far the sickest Grindcore I've ever heard emerge from Canada. FTF has improved in every way they could. They have gotten tighter, faster, heavier, sicker & grindier tahn ever. they do the whole Grindcore scene a lot of justice. The vocals are done in a mid to high ranged Grindcore type scream. I liked all the new change ups they have tossed into these new songs as well. If you are a fan of the Czech republic Grindcore scene you must get this disc & all the other FUCK THE FACTS releases in your collection!!!
(TREATS FROM THE UNDERGROUND)

Romantically-exquisite artwork failed to persuade that FUCK THE FACTS began to play gothic-doom or something like that. And that's fucking great 'cause if one's born to be weird and extreme, it's better to follow your own path 'till death. Five Years of wild and wildly original grinding war with traditional and "politically correct' musical trends is something that cannot be denied or put no attention to... they're here, forever brutal as fuck and great as hell!
(SOUNDZ ONLINE MAGAZINE)

Crushing heavy brutal grindcore from Ontario. If you like grindcore, you'll love that band for sure! Sick brutal blast beat that'll make you freak out! One thing I don't like from guitar is that sometimes its kind of hard to clearly hear what the guitars are doing but that's not the case for Fuck The Fact. The guitar is there and it's easy to understand and fell the riffs and the writing as been well done. And even if it's grindcore, there's a couple of groove in there music and that's a good point in my opinion. Blending big growls & mid-range death vocals is a good move too. It's energic, intense and it's so sick!! The only big problem is the overall sound quality that is poor. Not that it sounds like shit but the production could have been way better and that dissapointed me a lot. Having said that, this is a good album and fans of the genre will dig it. This release is like a big punch in the face that'll knock you down instantly! (75%) - Patrick
(THE DARKEST HOURS)

Stirring up a real shitstorm of chaos, Nepean Ontario's Fuck The Facts (great name) may seem to be a bit hardcore for the metal-starved BW&BK fanbase, but hold up: there's more grinding aggression and screaming vengeance here than the standard hardcore band. FTF opt more for a balls-out grindcore/hardcore approach, not unlike fellow countrymen Head Hits Concrete. The production is kinda treble-heavy (I had to crank up the bass on my equalizer), but no big deal. And it's on a metal label, so no excuses! 7.5 - Greg Pratt
(BRAVE WORDS AND BLOODY KNUCKLES)

41 tracks of brutally heavy hardcore and I mean vicious as fuck. This reminds me of the classic Brazilian sound but FUCK THE FACTS are from Canada. This is uncompromising hardcore... distorted, aggressive, fast and fucked up. It stabs and growls. There's nothing fashionable about this! This isn't poser-hardcore, this is staunch hostility. It's intense and uncomfortable and mesmerizing. The presentation is excellent... I love the artwork. It's like vague close-ups of an oil painting and you can see glimpses of the band members in parts and I think that kinda relates to the music... evasive confusion with glances of clarity. I grew up with this sound so I dig it but I hope it scares the fuck outta kids who think they know hardcore... think again.
(No Front Teeth)

What can you say about fuck the facts that hasn't already been said? This CD is a combination of two different releases. The first release being the Mullet Fever CD from fall of 2001 and the FourOninE 3" CD from spring of 2001. Mullet Fever is 41 tracks of spastic grindcore filled with inhumanly fast blast beats and some quality shredding courtesy of Topon Das and Tim Audette. The CD gives us some quality grind and some interesting experiments. If you like bands like Exhumed, etc. then you will enjoy this CD.
(Fountain)

About umpteen fucking trillion tracks of goresoaked tech-grind here for your vampirous delectation, blitzing through mechanically efficient riffs a la Brutal Truth, He WhoCorrupts or Discordance Axis and mixing those razor-edged complexities with occasional bouts of irreverent, anything-goes strangeness that bring a band like Swarrrm to mind. Colon-loosening grunts are temporarily traded for deranged jabberings or spoken word pieces; killer riffs momentarily make way for experimental passages and, at one point, something sounding like the steel drum effect on a cheap keyboard totters out of control before common sense once again takes hold. Though these zany ways certainly serve to carve up the mayhem they don’t necessarily provide any long-lasting kicks, and while there’s plenty of carnage to be enjoyed when Fuck the Facts decide to play it straight, you may well find yourself judiciously skipping certain tracks (their tongue-in-cheek Master of Puppets bastardisation and beyond-dumb foray into hip hop spring rapidly to mind…) for a more satisfying grind experience.
(Alex Deller - Collective Zine)

Within this jewel CD case, you get a small, but colorful pamphlet with any useful information you desired within it. The art is pretty well done as well, on the lines of Echo Is Your Loves "Paper Cut Eye" only more 'sketchey' and dark here. Moving on to more important things, when putting this CD into your Computer Harddrive, you won't have your music program open up. Instead, you'll get a webpage full of pictures, a video, two oop (out of print) tracks, and a little history in the album. Which is all an essential to make this album even better than I'd already had though of it. To add to this CD of awesomeness I've already described, there are 41 songs total. Each better than the last. Intense speeding Grindcore that could give you a haemorrhage within a matter of seconds, this haemorrhage being in the name of Grindcore. Slow and has slams at times, and at other times is completely fucking spastic. This CD is limited to 500 copies as well, and I don't see many pro CDs limited.
(Zombie Belch)

Aw, shit yeah, this is a proper release of the first album, originally released only on small quantity CDRs in 2001 from FUCK THE FACTS, who are one of the better up and coming grind bands out of Canada. With most songs clocking in well under the minute mark, this is sheer frenzied grind with great samples, a million changes, total speed and chaos and a sense of humor, like somewhere in the nether-regions between SPAZZ and CRYPTOPSY. It's gotta be said though that there's some fucking awful rapping buried towards the end of the record. Congrats on doing your own thing, but that shit is terrible. I'll chalk it up to screwing around, but somehow I fear they were serious. Anyway, that doesn't change the fact that most of this completely rules, so get this and also check out their last full-length, Backstabber Etiquette, one of the better and least-appreciated grind releases of last year.
(Maximum Rock 'N Roll)

Mullet Fever is by far the most unique and interesting grind CD I have ever heard. Fuck The Facts offers us a full 41 tracks on this CD, plus some video footage and photos. Don't be misled by "grind" and "41 tracks"-- this is certainly not the same 30-second song played over and over. Fuck The Facts plays completely brutal grind with deep, throaty vocals and soaring screams-- I'd forgotten how much I love this genre until they reminded me. However, Fuck The Facts doesn't stop there. There are three hip hop songs (the beats aren't so amazing, but I have to give them a lot of credit for the word flow!), at least one epic screamo breakdown, a couple tracks with ridiculous silly screaming and wailing, some super-fast jazzy parts, and of course a lot of movie samples at the beginnings and endings of songs.
(VIVA LA VINYL!)

This band from Ontario, Canada has a unique blend of grind/death metal versus ultimate thrashing noise. How else could I possibly describe this album? It’s not your every day death metal band, but it’s not your ordinary noise band either. The best way of getting my point across is if you actually visit their official website or mp3 site and listen for yourself. Only then will you understand where I'm coming from! I really like this style of music, though I know there probably aren't many people like me out there. Their sounds definitely aren't for everyone - the tracks are short and brutal, but in whole give out little samples of what could possibly be the next genre to take over the world. I can see a lot of other reviewers knocking the band for their track lengths and style of composition. But all in all, I listen to this disc almost every day and I don't think I'm going to stop listening to it for a long time to come!
(NEFARIOUS ENTERTAINMENT MAGAZINE)

Appropriately enough this Canadian unit opens the disc with some disco related samples before plowing into some totally raw and filthy grindcore using a drum machine. Expect a shitload of speed, raging vocal screams, samples, a few glitchy cutups and stuttered electronic types of elements, etc. The riffing is actually tight as fuck, and it sounds like there's a lot of good shit happening, from subtly melodic leads and slower hardcore/punk chord progressions to insane high-speed fury. But the chief problem is that the recording is a little too noisy to let the details shine through. The drum machine is of course really rigid and thin, but it's not so bad, I feel that it's handled well and the electronic sounding percussion fits in with some of the other noise influences and samples. However, the vocals and guitars sound really thin, and I'm not sure if there's always bass in there or not. It sounds alright, but it's not crunchy enough, and there's definitely a lot getting lost. The only other thing I find mildly bothersome is the way that some of the songs are structured - with breaks where samples take over and then the music kicks back in, etc. - which sort of hurts the continuity and makes it feel like there's more than one song in each track. I like how "The Burning Side" slows it down with some clean guitars and really works at integrating the samples into the music, getting a lot heavier and more powerful midway through with some twisted harmonies and crunchy chords. They cover the Dayglo Abortions' "Proud to be a Canadian" as well, but you'd never really know it were it not for the title/credits.