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BEANFLIPPER: BACK FROM THE FUCKING DEAD!



Melbourne's Genre-Crushing Maniacs Return to Destroy Your Eardrums

Holy shit, people! The legends are back! After years of hibernation, Melbourne's most beautifully unhinged Beanflipper have crawled out of their graves to terrorize stages once again. These absolute madmen got the call to unleash hell at Queensland's Necrosonic Festival this August, and drummer Matti Harrod spilled all the gory details in our epic Zoom session.

WATCH THE CARNAGE UNFOLD: https://youtu.be/U2vL0GJrW1g

THE RESURRECTION IS REAL

Things are getting absolutely mental for Beanflipper right now. Matti's buzzing with that familiar pre-show insanity as the band prepares to remind everyone why they're fucking legends. "The involvement of Necrosonic Festival was really the motivator," he tells me, eyes lighting up like a kid who just discovered their first Black Sabbath record. But don't think this is just a one-off nostalgia trip – these bastards are already plotting Melbourne shows and possibly new recordings. The beast is hungry!

WELCOME TO THE HELLSCAPE (AKA THE MODERN MUSIC SCENE)


The world Beanflipper are returning to is a completely different animal from the one they left behind. Matti doesn't mince words about how fucked up everything's become – booking gigs is now a bureaucratic nightmare drowning in red tape, the cost of living crisis is crushing venues and bands alike, and everyone's enslaved to social media promotion. "Back in the day, everything was about word of mouth," he reminisces, before diving into how bands now have to be their own marketing machines 24/7. Fuck that noise!

BORN FROM CHAOS: POST WARP SPASM YEARS



Beanflipper's genesis story reads like underground metal mythology. Born in 1993 from the smouldering remains of Warp Spasm, they became part of Richmond's legendary punk and metal brotherhood – a scene that actually gave a shit about community and creativity over commercial bullshit. Through lineup changes and life-related dramas, one thing stayed constant: their mission to obliterate genre boundaries and melt faces.

"We weren't a very serious bunch of people, but people really dedicated to the music," Matti reflects, and you can hear the genuine love for the madness in his voice. These guys were rhythm section alchemists, constantly stirring the pot and keeping things dangerously original.

GENRE? WHAT FUCKING GENRE?


This was the golden era of Australian underground music when bands like Beanflipper, Damaged and Christbait were busy taking doom rock, stoner metal, and old-school hardcore and throwing them in a blender with the "fuck it" button permanently stuck. Post-80s bands like Faith No More had shown the world that you could mix anything if you had the balls, and the Australian underground took that lesson and ran screaming into the night with it.


"We were all moving past the shit of the 1980s," Matti explains, describing how Beanflipper's sound evolved into something completely unrecognizable from album to album. Their second record? "Tangential" with more metal influence and "completely schizophrenically all over the place." In other words, exactly what you'd want from a band that refuses to be pinned down.

THE GLORIOUS TRAINWRECK ENDING

Every great band needs a legendary final show, and Beanflipper delivered with what Matti calls their "epically bad and drunk last gig." But that beautiful chaos was always their calling card. "Live shows were chaotic and full of dynamic energy, always intense," he says, and that same raw, unpredictable energy is pumping through the reformed lineup like electricity through a broken amp.



Since getting back together, rehearsals have been going strong, with the band rediscovering their chemistry and preparing to unleash sonic devastation once again. They've already dropped a live recording on Bandcamp – consider it your warning shot.

BEYOND THE NOISE

When he's not pounding the skins for Beanflipper, Matti's got his fingers in jazz-inspired projects and graphic design work. The other band members are similarly scattered across the musical landscape, which explains why Beanflipper's sound is so impossibly rich and unpredictable.


THE STATE OF THE UNDERGROUND

Looking at today's scene, Matti's got some harsh truths to drop. Central hub venues are disappearing, Bandcamp's changed the game completely, and "the youth should be more angry – they have to put up with a lot currently." Fucking preach, brother!

When we get into his favourite and most challenging Beanflipper tracks, it's clear that the complexity and unpredictability that makes their music so rewarding is exactly what makes it such a beast to perform live.

THE FUTURE IS LOUD


Necrosonic Festival is just the beginning of Beanflipper's second coming. Melbourne shows are being plotted, new recordings are a real possibility, and the band is absolutely pumped to bring their dynamic chaos to both die-hard fans and fresh victims who've never experienced their genre-defying mayhem in the flesh.

This isn't some nostalgia cash grab – this is unfinished business. Beanflipper are back to remind everyone why they were such a crucial part of Australia's alternative music underground, and they're ready to show a new generation what real boundary-pushing sounds like.


The recently released live recording is available on Bandcamp right fucking now, and you can witness the resurrection at Queensland's Necrosonic Festival this August. Don't say we didn't warn you.

STAY LOUD, STAY ANGRY, STAY BEANFLIPPER!

Antisocial:

https://www.facebook.com/profile.php?id=61566175374688

Get some nasty music here:

https://beanflipper.bandcamp.com/

Necrosonic details and tickets:

https://www.facebook.com/necrosonicfestival

And the gig after that:


Keep an eye on the band's page for further upcoming dates!!!


By Mark Jenkins for Devil's Horns Zine "Bringing you the music your parents warned you about since 2018 " LAST BUT NOT LEAST, SUPPORT THE ARTISTS (AND US) BY SPREADING THE WORD, FOLLOWING US ON SOCIAL MEDIA AND REPOSTING OUR WORKS...SUPPORT THE UNDERGROUND AND OUR COMMUNITY. THERE ARE NO COMMERCIAL GAINS. And: Music is not a commodity, it's a community. Your art should reflect your truth, not what others want to hear. Ian MacKaye.





















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