Lyrics News

What does this picture mean to you?

I’m not sure myself, even though it’s derived from the latest lyric I posted at Not Silent.
Lyrics News

Einstein In The Act – another new Frank’s Enemy (maybe) lyric

Albert Einstein rolls the dice on his afterlife

I tried to create the poetic equivalent of the Theory of Relativity. Meaning I just sort of rhymed words and tried to keep it as ambiguous as possible with some sort of underlying current dealing with the cost of commitment. Believe it or not, this started as a possible love song to my wife (I scrapped that idea by line three as it expanded into deadling with commitment to Slightly Bigger Things). And I had no idea Einstein was going to be in the title until after I finished all the verses. I’m also torn between doing this as grindcore, or hardcore, or folk. So it’s either a Frank’s Enemy lyric or a Julio Rey lyric.

Einstein In The Act

Once I did anything I wanted
But I didn’t want anything
I could feel death remodeling
The space inside my eyes
What the hell brought you here
I didn’t want to accept anything
I need you when I see it
And I need you when I’m blind

Life is hard to live with you
And impossible to live without you
You’re the wind of my purpose
The battle I will die in singing
Every day is not enough to prove
That I will never be untrue
Every sin I sin shows me
How much I need you smiling

Now there is no sleep nor rest
My head hurts, I am depressed
Unseen hands are grappling
There’s no use in taking score
Something is in front of me
Where there was space in my eyes
Ih the space and time continuum
Look for the këy to the out door

June 5, 08

Lyrics News

There’s No Stopping A Determined Asshole (new Frank’s Enemy lyric)

If I've got the downtuned Ibanez, I'm Frank's Enemy

This is the first time I use the word “asshole” in a lyric and boy do I feel rad. This song is a paean, a tribute, a cri de coeur to and for those victims everywhere of people we Cubans like to call “jodedores.” Busybodies, nitpickers, jerks. Yes, I’ve been one myself at times.

So here it is, right off the PD. I envision this as a 35-second grindcore blast, BTW. I intend to do a few of those when I get back to recording.

There’s No Stopping A Determined Asshole

There’s no stopping a determined asshole (repeat)

Turn off the sun tomorrow
Currency of sorrows
If you have a way
There to stay

Golden fool kills his pride
Golden rule a tool to ride
Forever by your side
Never on your side

Feb 3, 08 May 16,08

Lyrics News

New Frank’s Enemy lyric posted at Not Silent

My muse was Barack Obama.

Lyrics News

Vote, Work, and Roll (new Frank’s Enemy lyric)

Frank's Enemy reunited for dinner and photos in October 2006

As I get the websites together, I’m going to record a few new Frank’s Enemy tunes. We’ve kind of gotten more political with 2002’s Enraged, and this is mostly still in that vein. Here’s a my first draft of a Frank’s Enemy song about the prospect of a Barack Obama (or Hillary Clinton, or any other liberal candidate’s) presidency, inspired by the words you see below, as I discovered in a post at reason hit and run.

I want stop being selfish

Vote Work And Roll

Change for a better future is ahead
Take the living from the dead
Put the god damned war to bed
Knock up poverty instead
To be so primed and packaged
Every needle with its thread
Seems the world has found its head
And reactions have all fled

Don’t you know the Bush is dead
But he left the table set
With which to aid and abet
With which to give and to get
So many wars you can select
Our enemies will not expect
Surveillance and wiretaps
Coup de gras is call in SWAT

So vote and work
And work and roll
Over and over
Over and out

The goods of the nation
Requiring intervention
Invoking mediation
Forego association
Limit procreation
Outlaw recreation
Controlled compensation
Destroyed incorporation

In transformation
To united notions
In endless devotion
The agenda is in motion
The mixing of the potion
All hope of function
Is set to injunction

Lyrics Web 1.0

Enraged: Notes and Lyrics


(Julio Rey)

This started off as a song about Cuba. I actually started it in 1998. I wrote a few more songs about Cuba and being Cuban in the middle and in the aftermath of the Elian Gonzalez incidents. There were some songs in English and some in Spanish (one of the Spanish ones is close to completion as far as recording is concerned). I was all set to do a whole Cuba project when 9/11 happened. It kind of put Cuba on the back burner.

I do think our country doesn’t have an obligation to police the rest of the world. But now that the attack happened, it’s time to mete out justice. And the best defeat to hand an enemy is to enable him to pick himself off the ground after the smoke clears. See Germany and Japan.

The bass is going through the Buzz Box. (01.12.02)


I thought the guitar tone of the original “Enraged” recording was pretty lame, so I remixed the song (actually recording new guitars and vocals). Much heavier.

I redid some elements of this recording to pump up the heaviness. The rhythm guitars are all new, and most of the vocals are new as well. I kept the bass (which was recorded in 1999!), the drums, and the guitar solo. I also added some amateur turntable scratches. (06.10.02)

There’s going to be no more boredom I’m going to cut my hair
After the men, women and children falling through the air
The monsters have landed on Maple Street
The lynch mobs marching off to their defeat
If I was young I would sign up for a gun
And as it is I might just go out and buy one
Now I can understand I could just kill a man
After sending in bombs to flatten his land

We never knew a life of faith never toughed it out
Now we’re going to find out what’s it’s all about
Looking everywhere in the water in the air
The next shot is coming but from where?
You hold a gun at my kid’s head and what am I to do?
Could I wear a peace sign and to myself be true?
Oh, let the Mount of Olives tear and Wormwood poison from the air Don’t mind me don’t give me a care

I’m just enraged

“Allah” is crying as He looks down upon it all
The bridges between us will be the first to fall
Should the government have not stuck our nose everywhere?
Yes I think so but it’s too late to go elsewhere
Now we’re committed blood flowing on our soil
Now we’ve been dragged back in like Michael Corleone
And I ask the peace movement where did you go?
When Clinton sent bombers into Kosovo

For all the terrorizing I’m not too terrified
I mourn for the loss of innocent lives
I should have mourned before, our bombers filled their skies
When it was none of our business when they were out of our lives
But the lives of the guilty are there to be taken
Striking precisely with an aim unshaken
Let the computers point let the satellites fly
Let technology shield the homeland sky

I’m so enraged

Terror is but a weapon wielded by ideologues
Who have said it’s either them or us
Don’t want to fight a religion but some want to fight us
The future of freedom is starting to look tough
An enemy could be rid by becoming a friend
The lives that have suffered could be won in the end
For the thirst for freedom will never be slaked
The blood and darkness might give rise to a new day


(Julio Rey)

I wrote a few songs having to do with Cuba during and after the Elian Gonzalez fiasco. I had the idea for this one for a while. It’s in Spanish, and the rhythm is latin.

This is one of a set of songs I’ve written on the unique perspective I have on life in the good ol’ USA as a Cuban-born US citizen. We Cubans are the only Latin minority that the liberal press mocks because we’re mostly Republicans. At the same time, there is a lot of negative baggage in our collective psyche. I tried to collect some of these thoughts in the above song, named after the main character in the 1984 film Scarface. The refrain is basically that I’m not proud to be of Tony Montana’s nationality, despite the cult hero status the character has seemed to attain in certain quarters nowadays.

I tried to bring together some influences musically: the latin percussion, the dancehall reggae rhythm, the Spanish lyrics, set against bone-crunching riffage. (06.12.2002)

Los otros latinos tienen a Ricky y Carlos Santana
Pero nosotros un italiano llamado Cara Cortada
No hay raza ni orgullo no jugamos ese juegito
Tumbamos al mundo en los ochentas con el perico
Lo merecemos por echarnos arriba al del tabacon
Es la mejor idea aunque sea ficcion
Uno compra y uno sabe lo que de verdad es suyo
Tony Montana no me da orgullo

Vivimos en un continente que parece una isla
Apollamos sus ideales a veces pagado con ira
No tengas ilusiones yo no soy rehen
La guerra que existe es mia tambien
Yo solamente soy uno que busca libertad
No me importa de donde pero nadie la quiere dar
Prefieren robar a trabajar para lo que es suyo
Tony Montana no me da orgullo

Tony Montana que jarana tragate la banana
Que tiraron americanos que vinieron de Lantana
Armaremos nuestras balsas en el rio Potomac
Echando discos de Buena Vista Social Club
Hermanos al rescate perdiendo cuarenta anos
A correr, bayameses, al ajeno extrano
Por los hijos mios y los hijos tuyos
Tony Montana no me da orgullo

12/26/00; 6/10/01; 10/04/01; 10/11/01

(Julio Rey)

Another one having to do with 9/11. I call it rapcore, although some might find it a bit lightweight. I didn’t downtune and I obtained all my guitar distortion from overloading the mixing board.

I tried to create the atmosphere of vague dread here that seemed to permeate in the weeks following the terrorist attacks of September. Musically, it may be self defeating to say that I was influenced by LFO, so I won’t say it. My daughter Astrid’s toy piano was used in the choruses. (06.12.2002)

We go about our business
Statistics on our side
We wear our flags
Filled with national pride
Babies in their cribs
Envy of the world
Jet plane circling above
It’s passed I am sure
Magazines in the mail
And nothing else
Saw a film at the mall
Still doing well
At least two counties away
At least for today
My eye’s peeled anyway
keeping muggers away

Everything seems so blind
New York hate of mind

Go to work
Show my card at the gate
Face on the wall
That disappeared on the date
His Spanish was perfect
So they say
Looking for the envelope
With his fake name
I’m an okay dad
I must explain
Not everything’s clear
Evil often gets its way
While we ail from the sickness
We try hard to forget
Such a blessed existence
We may realize it yet


(Julio Rey)

The events of 9/11 from another perspective. I tried desperately to sound like a live band here.

I’m probably happiest with this recording out of these new ones I’ve posted. It’s a glorious sloppy mess. I even played a real guitar solo.

The words are basically me owning up to the fact that I’ve been mad enough at certain institutions that I would not have mourned too hard if a 757 had crashed into their facilities… (06.12.2002)

If the plane had crashed
Into the right kind of clinic
Or island government seat
Hello cynic

If the wrong makes it right
If the black makes it white
If the might takes a bite
If the left turns it right

I think I’m sick to myself

Nine one one
Could it be in everyone?
I fear in my lies
What a thing to realize

11/08/01; 06/06/02

Lyrics Web 1.0

Illumination: Lyrics & Notes from 1998 & 2001

GMG/Not Silent 1998

Julio Rey: guitar, vocals
Marc Golob: bass, vocals
Alex A: drums

Gus Mayorga: trumpet
Chris Dauphin: synths
Sprite: violin
Jason Mendelson: 6-string bass and upright bass

Produced by Marc Golob
Recorded at Capstone Music, Miami, 1997-98

1. Frankskanemy! (Rey)/Codebasher (A, Golob, Rey)
2. Face To Face Again (Rey)
3. Dysfunctional (Rey)
4. Friends In The Skies (Rey)
5. John The Baptist Revisited (Rey)
6. My Night Alone (Rey)
7. Ashes (Rey)
8. Lamento (A, Rey)
9. Frank’s Enemy Metro (Dauphin, Golob)
10. Straight Up/Down (Rey)
11. Nothing Changed (Rey)
12. One Of Them (Golob, Rey)
13. Antigod (A, Rey)
14. Another Liberation (Rey)
15. Serenity (Rey)

ILLUMINATION ILLUMINATED (original press release)

Well, I’m doing this about ten months after I thought I’d be doing it. Just goes to show that what I plan and what God plans are two entirely different things sometimes.

ILLUMINATION is finally a reality, after at times thinking it was never going to get done, what with the tumult going on both in Frank’s Enemy and Cling Recordings.

Cling basically changed its name to Graveyard Media Group, leaving the Cling name only for extreme releases. It’s now headed solely by Scott Busbee. I thank God for Scott and his enduring belief in the band and the project all this year.

Frank’s Enemy is now in a state of flux, after both Alex and I left at the end of 1997 to pursue marriage and fatherhood, respectively. The Sprite/Ben Thacker/Jed Brewer lineup is dead, too, due to things not working out with Sprite and Jed going off to school. Ben remains penciled in at drummer. Marc is biding his time as far as finding a new guitarist is concerned.

By the way, both Alex and I achieved our objectives. He’s been married to Marisol since January, and my wife, Kristina, and I are expecting our first child around May of next year. It was a rough year for us, because everything was overshadowed by my father-in-law being senselessly murdered in Lima, Peru on January 26. The healing has been slow, but sure.

Like we did for NEOBLASPHEMIES, I’d like to do a song-by-song comment on ILLUMINATION. First some general thoughts: Marc’s production was different from what I expected (not necessarily a bad thing). He did some experimenting with drum triggers on Alex’s kit. The main thing is that the guitars sound pretty ultra-heavy throughout. I expected the opposite. We pretty much laid the songs out to form a kind of loose narrative, as planned. In terms of the lyrics, I approached this as a definite farewell.

I tried to give the sleeve something of a melancholy/grainy/aged look. Some graphic elements from our two previous sleeves are repeated here. Plus there is a visual pun linking it with the Lead’s first EP’s sleeve. Each song is represented by a small visual on the inner sleeve. I went a bit berserk with the lyric sheet and my only regret is that we have no prizes (like pairs of glasses) to give to anyone who actually reads the whole thing. (11.16.1998)


This is basically a ska riff I’d been annoying everyone with for a few months. Eventually we decided that it would be the perfect opening for the CD, especially segueing into the all-out grind of Codebasher. Marc got Capstone Music guitar teacher Gus Mayorga to do the trumpet overdubs. (11.16.1998)


The only Frank’s Enemy tune truly written by all three of us. I structured the whole thing. Alex wrote the intro riff, which is later repeated before and during the guitar solo. I wrote the “grind-salsa” part at the end. The rest of the riffs is Marc ripping me off. The guitar solo was fun to record (it was Marc’s idea): I put down one solo where I tried to play as many notes as possible, and then Marc punched me into the same solo at random in different places doing another solo that was all elongated whammy-bar stuff. So the end result was this insane cascade of shred and noises that no human being could duplicate live. If I may explain my philosophy of solos: I always thought shred guitar was okay, but too clean; and I always thought noise guitar was okay, but too simple. I’ve been trying to marry the two. The words are one of my usual sociopolitical rants about the pressure facing us as Christians daily, as well as the real life-threatening circumstances of Christians world wide today. (11.16.1998)

Along with the intro of Frankskanemy!, this is probably Frank’s Enemy’s greatest recorded moment. The obvious reason is apparent after 40 seconds of listening. But there are others. This is the only time that Alex and Marc and I shared a true composing credit. I structured it from riffs that we all came up with. Most of the riffs are Marc’s. The words are mine, and typical Frank’s Enemy socio-poitical commentary. The production is officially Marc’s, although I was there for the mix and actually directed the mix. Marc’s production shows itself in the snare drum, which is a triggered module, and in the guitar solo, which is actually two solos punched in and out of each other. Alex may have never drummed faster in his life either. (01.15.2001)

Two thousand years of oppression
Is the view that’s held today
He’s the cause of all wars
He’s the author of all pain
No one will hear him out
He’s the last minority
No one has a problem with Jesus Christ
Only those who invoke His name

All others have instant forgiveness
But he will have to pay
For the intolerant claims of salvation
Only attained in his one way
Two or three catchphrases will be
Enough to close most doors
Muted whispers of concern
For those who walk into his doors

Forever outside of the fashion culture
Around which the world revolves
Increasingly quaint and inscrutable
Are how his standards will be regarded
The cyanide laden Kool-Aid cup
Will be thrust into his hand
Amidst the laughter and the mockery
The time to make the stand



I poached the beat from an acoustic tune I wrote in the early eighties called “Scarlet Football Letter.” This is an example of where my music writing had been heading in the last few months of being in Frank’s Enemy: still heavy but more of a groove, and simpler, too. Hardcore or metalcore, if you will. I’d really been enjoying some of the newer hardcore bands with this type of sound. I tried to sing this a little differently than the usual death/grind style I fell into with the last CD, keeping it guttural but more emotional. Marc went nuts with the production on this one, adding crazy effects to the vocals, a snare sound that was comprised of radio static, and bass virtuoso Jason Mendelson to play a 6-string bass in the “atmospheric” middle section. The lyrics speak to the difficulties that someone may have relating to a parent or authority figure. (11.16.1998)

I’m so sorry I hurt you
And I must do it again
And it hurts me too
But I must do it
Half the time just want to crawl
And apologize
The other half feeling worse
From knowing I’m right

One misstep away
Every day on my game
I try too hard
To survive each day

I have lost touch with what I was
With the lie that it was
They say the pottery must break again
I’m not mad but I wonder when
And if it’s never then this is it
Til the day of my grave’s deliverance
The line remains there to be toed
Rejoice in the patience that will surely grow

I owe you so very much
That I cannot repay
I wish you’d see it
And let me have my one more way
You owe me that much
Owe me to let me pay
You always let me go
But I wanted to stay

10/16/96; 2/24/97


This was a song I’d written around 1990, which I originally demoed on ATROCITIES, one of the drum machine/Portastudio demos I put out in 1992 under the Frank’s Enemy name. I went to those demos a few times for material, because a) we needed more tunes to fill out the CD, b) they needed to be grindcore tunes (we didn’t want to lose that crowd!) and I really think that with NEOBLASPHEMIES (and a couple of tunes on this CD), grind had run its course with me as a writer (good thing I left the band, right?) and c) I always liked those little short blasts in ATROCITIES, and I was glad to finally do full-band versions of them. The most significant thing here musically is the presence of an actual shred-inspired guitar solo (no one will mistake it for Jeff Scheetz, though). The lyric deals with the inner pain that accompanies all temptation. (11.16.1998)


I’m sure we all have some skeletons in our closets, and this song is about the anguish they can cause if they go undealt with. As you can see, this has been written for a while. I put this out on cassette in 1992 with the help of a drum machine and my Portastudio. Oh, and the music for Destroy was originally written for these lyrics. I decided it would be more useful to concentrate on more evagelical/socio-political stuff. I was still in the Lead in those days.

This recording was really over the top. Alex is really playing at 1000 MPH (not always hitting the kick drum, though-who can tell anyway?). And Marc didn’t push the fader down at the end of the solo, so you have all this squealing and screeching on top of everything else at the end. (11.02.2001)

Endless parade of gross perversions
Like pins pushed into my brain
However short-lived it may be
I remember the sweeteness of the pain
Is the greater sin the act I commited
Or the lie later expressing disgust
That doesn’t exist most of the time
A lack of morals or a lack of trust?

No more blood in my heart
Just concrete pouring in
Protection from conviction
Mortared by my sin
My face slowly turns to stone
No one gets inside
Now I have my secret place
Now I can hide

The white I wore in my dreams
Irrevocably blackened
Anger settling over my eyes
At finding myself lacking
I let them into my darkest halls
And I hate myself for it
They never knew as they overturned things
What was being destroyed

Replaying and reliving
The dark passages of my life
Smiling as I wreak the vengeance
I can never realize
My hands and eyes stay on me
I have made my choice
The big man I am inside
Will never use my voice

I make the lame excuses I heard before
And didn’t tolerate
I look into the mirror
And what I see I surely hate
Wretch that I am
Who’ll free me from the body of death
The answer’s written in my stone
Waiting for my breath



Another tune pulled off an early demo (FINAL ABSOLUTION, 1992). I actually wrote this as filler, since FINAL ABSOLUTION was to be submitted to R.E.X. (my then-record company with the Lead) in the wake of the Lead having broken up. I just wanted to have a whole project’s worth of songs (and since there was no rehearsing or other band members involved, I could almost make up music as I went along). So I never really liked this one too much, but Alex had loved it from the beginning. So, in keeping with the “everything but the kitchen sink” approach of this CD, I dusted it off and we recorded it. It’s pretty straight forward ’80s thrash (I told Marc that I wanted the mix to perm hair upon first listen-not sure we got there, but dig the big snare sound and the second-rate Billy Sheehan bass tone and the low-grade James Hetfield riffing!), except for the downtuning and Marc’s out-of-time hillbilly vocals (that’s his comment on the typical UFO witness). Chris Dauphin added the outer space keyboard overdubs and Sprite (who was part of the new FE for a few months) threw in some crazy dissonant viola-sawing. As far as the words go, this is basically my opinion on UFOs and what they might be (probably satanic manifestations). (11.16.1998)

Everybody wants to make
Friends in the skies
Trying to ascend to
Planes of existence on high
Falling into trances
And trying to float away
Given up on earth and people
Headed for the astral plane

Certain of their help
To past civilizations
Ancient earth scattered with
Earth base stations
The angels aren’t so far
They’re in the mothership
Theirs is the power
They’ve been given lordship

And if there’s life on other planets
Then we’re sure that we must know
And they’ve been here here once already
And will come back to save our souls

Friends in the skies
Kidnap me today
Friends in the skies
See you in my dreams
Friends in the skies
My ears are open
Friends in the skies
I’ll spread your prophecies

Everybody wants to make
Friends in the skies
With radar dish beams
And interplanetary satellites
Before the planet collapses
Under the weight of man
In search of saviors
For an ultimate weapons ban

Ecstatic in the explanations
For the existence of God
And the sophisticated advancements
Rendering Him obsolete as Lord
The gods aren’t so far
They’re in the mothership
Theirs is the power
They’ll be given worship

And if there’s life on other planets
Then we’re sure that we must know
And they’ve been here here once already
And will come back to save our souls

Friends in the skies
Kidnap me today
Friends in the skies
See you in my dreams
Friends in the skies
My ears are open
Friends in the skies
I’ll spread your prophecies

Everybody wants to make
Friends in the skies
Do they know they seek after
Something already familiarized
Sugar coated manifestations
Designed to achieve control
Of minds unsure and hungry
In their unacknowledged souls

A vibrant alternative
To the drab oppressive Church
Obtainig maximum experiences
With just a little work
The gods aren’t so far
They’re in the air all around
Theirs is the power
Since they were brought down

And if there’s life on other planets
Then we’re sure that we must know
And they’ve been here here once already
And will come back to save our souls

Friends in the skies
Kidnap me today
Friends in the skies
See you in my dreams
Friends in the skies
My ears are open
Friends in the skies
I’ll spread your prophecies



Another short blast, originally on ATROCITIES, this was an early experiment combining grind and hip-hop (sort of), directly descended from “Hope You Stay Alive” by the Lead. The lyrics are my opinion of the John MacArthur-GOSPEL ACCORDING TO JESUS train of thought on salvation (basically I disagree with it and believe that what they preach amounts to salvation by works). Good subject matter for grindcore, eh? Marc does the rapping part at the end, as well as some cutting loose with bass-slapping. (11.16.1998)

It’s not too often that you see a scholarly theological debate put into a grind song. A friend of mine was on a rampage against John MacArthur’s book, The Gospel According To Jesus (my friend went to Dallas Theological Seminary), which states that basically you’re not really saved if your life doesn’t reflect it. So if you really slipped yesterday, pray for salvation all over again. Zane Hodges, one of my friend’s instructors, disgreed vehemently in his book, Absolutely Free, stating that no matter how badly you backslide, you are still covered by the blood of Christ and saved from the lake of fire. I still agree with Hodges to this day, however, I do believe that taking up one’s cross daily is not an option, and there is a stiff price to be paid for sin (but not the ultimate price of eternal damnation). E-mail me if you want more of my current view…

Another crazed Illumination recording. Marc (who produced the CD) wanted to make the levels “hotter” on this song and Face To Face Again when he heard the final mix. So he took the master and did something to it which made those two songs twice as loud than the rest of the CD. He also contributed the funky bass and unfunky rapping in the slow part. (11.02.2001)

Stone the liars with our words
Faith is dead without good works
You must repent, you must change
You can’t get to Heaven the easy way
A few will pass, maybe one or two
Too much sin and your salvation’s not true
No blood can cover up a lie
Better be ready the day you die

If you doubt repent and be saved once again
And after the next rash of sins
Before you help your neighbor in need
And say “Lord, Lord, see my deed”
Be sure, be sure, remember last night
Can you say your soul is pure and white?
Does your life negate your supposed salvation?
Too much sin repeals its validation

A blade of no return suspended somewhere over your head
Go beyond and you were always dead
Re-crucify yourself again and again
And come back again next week for your confession
May all these words burn upon you well
I hope I pleased God trying to keep you from hell
Hope I see you in Heaven, you know what to do
Got to go now and make sure my salvation’s true



A different version of this appears on yet another demo, DOUBLE LIFE (1993), which was all acoustic. I always thought this song had a lot of potential for a full-band version, and I’m not disappointed. The song reveals itself as somewhat metalcore in its feel. I tried to make the arrangement interesting by treating each of the verses a different way (1-voice and doubled rhythm guitars only, 2-full band, 3-voice and clean guitar with noise in back). We also employed the “I want to live in America” time signature that we used at the end of “Torturer” in the choruses. Now it can be known that that riff in “Torturer” was originally on this song. So I had to write a new riff to fit the chorus. I also opted for the shrill, vocal cord-tearing singing style that’d I’d used before on occasion (but this time throughout the whole song). The lyrics deal with a reaction to a perceived betrayal and a realization of the consequences of that reaction. (11.16.1998)

That night there was no solution
And even now looking from so far away
I still can see no real solution
Like we’re still living on that day
For me no day defined before and after
Like that one did so decisively
And every new day instead of healing
Makes me look back more painfully

On my night alone
I threw my life down the toilet
I tore my medals off my chest
I swore that this would be death
On my night alone

Did my tongue wag too much before?
Could a few words have sealed our fate?
No forgiveness allowed or forgiveness given
I said no to love and yes to hate
Some attempted praises I subtly botched
Outstretched hands did I ignore
Wrapped in a self-made coccoon of sorrows
Thinking of all that went on before

On my night alone
I threw my life down the toilet
I tore my medals off my chest
I swore that this would be death
On my night alone
Satan stood by my side
Took me for a hellish ride
I lit candles to my pride

That day stayed with me for months
Guided my every word and move
Laughed inside at all the wreckage
And I knew that we were doomed
With washed hands I watched
The events that sealed our fate
Til I saw what I’d really done
And then it was too late

On my night alone
I threw my life down the toilet
I tore my medals off my chest
I swore that this would be death
On my night alone
Satan stood by my side
Took me for a hellish ride
I lit candles to my pride

Julio Rey
January 15, 1992


On ATROCITIES, this is called “Moby-Dick #3” but Marc hated that title so much that I had to change it. I kept explaining to him that it had more to do with Herman Melville than Robert Plant, but it didn’t budge him and I didn’t care that much. Another all-out grinder, with another chaotic solo, this time with one of the guitars treated with the notorious DOD Buzz Box, which we used all over the place in NEOBLASPHEMIES. The song’s original title was symbolic of the struggle portrayed in the lyrics. Sometimes when you go after something too hard and give it all up for it, it can take you down to the bottom like Moby Dick took Captain Ahab. (11.16.1998)


1989-1990 was a particularly depressing time where it was easy for me to question everything I was doing. This is me trying to deal with it and trying to make a stand.

This most distinct trait of this recording is the punch in/out solo between regular guitar sound and Buzz Box guitar sound. I tried to play the same solo twice with each effect while Marc punched me in and out. Interesting results. Like bad shredding being played on a broken transistor radio. (11.02.2001)

It’s hard to admit I’m wrong sometimes
But even harder to admit I’m right
Compromise as the sun rises and falls
Just trying to avoid the fight
Thinking I’m upholding my purpose from God
While my soul and spirit fall apart
I smile and play along with everything
As I lie to my own heart

The things I think Satan wants torn apart
Maybe it’s him holding them together
His hand not behind the malfunctions
But the tensions that ensue with others
It’s all a game I play along with
Close your eyes and bow your head
I get home and I ponder my lies
And I know that I am dead

Each Christian life in the balance
More important than any charade
Who’s purpose only delays the inevitable
And ultimately sends it into the flames
With foundation in place I must stand
The compromise must end
Or God will walk me through the ashes
Of my noble accomplishments



My last grindcore song, and my first Spanish grindcore song. Ever since we met our Mexican brothers Lament, I’d wanted to do a tribute like this for them, as fellow Latins. Musically it has three parts: first, your basic grind/speed part, second, a “grind Tex-Mex” riff, and third, a straight ’80s metal riff (I think I remember some Iron Maiden songs that sound like this-I never liked them, though) that was contributed by Alex. The lyrics are somewhat derived from Habbakuk-a lament on the human condition of depravity. Up to this point, ILLUMINATION plays like your basic grind/death/metal CD. Now it gets weird. (11.16.1998)


I first met Mexico City’s Lament when they were called Beheaded back when we played at the Mosh Fest 1996 in Michigan. Alex and I served as their translators. They came by to catch our set at Texas Rock Fest 1997 and said hello. Marc saw them at Cornerstone 1998. I interviewed them for HM in 1999, when their latest CD came out. Afterward they offered to pay my way to Mexico City to talk to them and give enouragement to their scene. Unfortunately, I’ve had to devote virtually all of my time to my family and couldn’t consider it.

This is a great band, with much integrity and sense of righteousness, that I am pleased to call my friends.

I wrote the lyrics and most of the music. It stands as the last grindcore song I ever wrote as well as the first with Spanish lyrics. The middle part is an attempt to combine grind and Tex-Mex. I’m sure this is pretty obvious. The idea of going acoustic in the middle of the song was inspired by Lament’s own music. Alex came up with the Iron Maiden-like riffs at the end. (02.14.2001)

He aqui
Mi lamento
He aqui
Lo que yo siento

Me siento que mi cabeza se me va a explotar
Por las cosas que yo veo y que no puedo explicar

He aqui
Mi lamento
He aqui
Lo que yo siento

La Verdad de eternidad que esta delante de nuestros ojos
Sumamente ignorada por la mayoría de nosotros

He aqui
Mi lamento
He aqui
Lo que yo siento

Me siento que mi cabeza se me va a explotar
Por las cosas que yo veo y que no puedo explicar
La Verdad de eternidad que esta delante de nuestros ojos
Sumamente ignorada por la mayoría de nosotros

O Senor
Ven pronto
Tu justicia
Sobre nosotros
Igual a mi
Aunque yo teme
Porque asi
Yo te vere

La solucion no es facil
En nuestras manos esta
Para ponerla en manos de Jesus
La fe que El no fallara

Yo prefiero los lamentos
Y las lagrimas del dia final
Que se derramen en los cielos
Que Dios las va a secar



This was Marc’s idea and project from the get-go. He’d always wanted to do some kind of dance tune/remix based on our music. He originally envisioned this being on a separate CD. I thought it would be the perfect thing to put right in the middle of this CD, since I don’t think anybody would be expecting it. The music was basically created by Chris Dauphin, on all his equipment, using mostly our sounds from some NEOBLASPHEMIES songs. Try to identify all the samples! At the end there’s this part where my voice is sampled and looped into this continuous stream of mysto-grunting. Pretty interesting. (11.16.1998)


Now the CD moves somewhat away from grind. The only remnants are my occasional vocals and downtuning. This is another example of where my writing was heading; groove metalcore but this time with an attempted hip-hop feel and start and stop guitars. Marc and I trade vocals (me still growling). The solo is Marc with a bass and octave pedal. The lyrics are a declaration of the need to proclaim the whole Gospel, and it isn’t done by tossing tracts around. (11.16.1998)


If I would have stayed in Frank’s Enemy, I would have kept going with this type of song. Maybe we would have ridden POD’s coattails and become billionaires like them (right…).

We played this on tour in 1997, with me doing all the vocals. I actually wanted Marc to sing it all, but he wanted us to trade off. I think I works well. He also did the crazy sounds with a bass going through an octave pedal a la Tom Morello. He did this live as well.

The lyrics are an exhortation to present the complete Gospel when evangelizing. That is my pastor’s first step when witnessing: tell the person to read the Gospel of John first, then you can talk. (09.08.2001)

I told you about the work and all that it means
God came down as Jesus and fulfilled the the ultimate dream
A gift wrapped in His blood and it’s ours to take
You will hear that the just shall live by faith

But I sing a song sung so many times before
A familiar message with familiar holes
You should have questions and they should be answered
It will not happen while I stand up here and you sit down there

Straight up/down
The time will come

There’s more to the Gospel than this
But everybody seems to want the Reader’s Digest
I too am guilty of encapsulation
To a concise five-step plan of salvation

But can you blame me when we’re on the Titanic
On this sinking system of things satanic
Like Paul walking down the gallery of the gods
In a battle where it gets hard to like the odds

Straight up/down

I could be hit and run and shove it down your throat
To win the argument would be my highest hope
And maybe make you say the words and pray they’re true
Just like how everybody taught me to do

But you could grab the Book and start to read for yourself
Not decide on your afterlife from the words of my mouth
Matthew Mark Luke John could probably tell the story best
And you can always call us:



A little old-school faster hardcore rears its head, although the intro riff grinds a little, but I don’t growl the vocals. This is pretty similar to INEVITABLE from NEOBLASPHEMIES. These types of songs come out of me once in a while. The lyrics deal with accepting responsibility for one’s life and actions, and realizing that God didn’t create us to bellyache to Him about our problems. (11.16.1998)

And so I lashed out outside and in
Vented my anger at every whim
I kicked the dog after poisoning his food
I couldn’t think of anything else to do

And I was scared
Oh Lord so scared
And I couldn’t dare
To really think about it all

And today
Nothing has changed
Nothing changed
Nothing has changed at all

And so I sink and sink and withdraw in
Looking up numbers of suicide hotlines
I almost cry no specific reason why
I fantasize about the day I die

And I am scared
Oh Lord so scared
And when will I dare
To really think about it all

Because this way
Nothing will change
Nothing will change
Nothing will change at all



More hardcore of the old-school variety with some metal touches to it. It’s sung by Marc, who contributed the opening riff. This almost could have been on the Lead’s PAST BEHIND back in 1987. The lyrics are something of a breakthrough, as it is the first time I ever wrote a song about racism that rang true to myself after I was finished with it. The easy thing when dealing with this subject matter is to make blanket statements about how wrong it is. The harder thing is facing up to the racism that lingers in the corners of our own hearts, in spite of our best intentions. (11.16.1998)

I could never be them
Though my blood is just as red
And we all grieve our beloved
That end up just as dead

I can feel the anger
At the old atrocities
But I know it’s not the same
Knowing it wouldn’t have happened to me

And I’m no good with cheap sloganeering
About making dreams come true
The answer is somewhere at the foot of the cross
However hard we’ve tried to make it untrue

I remember McDuffie and how I had to stay home
Not understanding why because I also thought those cops were wrong
Until later I caught myself laughing at my friends’ racist jokes
Me the adult white male, I finally grew up

And so the drugs enslave with the laws that imprison
State sponsored plantations disguised and hidden
And I don’t want to fear a man anymore
But then when one of them knocks at my door



This is in the same vein as STRAIGHT UP/DOWN, and Alex wrote the riff for the chorus (the song starts with it). It was cool because Alex had written this along with a few other riffs and I had this song done but I didn’t like the chorus riff. Alex’s riff fit perfectly. The solo is another interesting excursion by Marc: a bass scraped on a cymbal, with me operating an octave pedal and a wah-wah at the same time. Maybe it would have been easier to use a record and turntable to get a similar sound, but this is cooler. The lyrics are pretty up-front, dealing again with personal responsibility in a positive way. There’s also a bit of a caution: sometimes a perceived miracle could be a lost blessing. We learn more from failure than from success. (11.16.1998)

Up front I say nothing is owed to me
And there’s no doubt about God’s power and love that be
I don’t blame Satan if I make a wrong choice
I’ve got the Bible if I need God’s voice

To be deserving of retribution
Is not religious persecution
If God has to do a job that He has for me
It’s not a miracle it’s His mercy

Would you say
I’m anti-God these days?

Things I took for blessings turned out to be thorns
Things I took for fiery darts turned out to bless me more
I found I had to watch my prayers-they might come true
To make me grow I need to be broken too
Will I be happy to rejoice in His day?
Regardless of whatever comes my way?
After so many have run away?
In the face of all the doubt and pain?

Would you say
I’m anti-God these days?

Up front I say nothing is owed to me
No magic prayer carpets to prosperity
My highest hope is the martyr’s death
God in His wisdom probably won’t put me to that test

Would you say
I’m anti-God these days?



Well, this was actually written in 1987, so it was a Lead song the Lead never got to do. I had a little fun ineptly playing a piano and a vintage 1970s ARP synthesizer (this continues a trend: on the first CD, Marc had a bad guitar solo on MAN, YOU MADE A LONELY WORLD, then on NEOBLASPHEMIES Alex had a bad guitar solo on INEVITABLE; since I already do bad guitar solos all the time, I decided to pummel away at keyboards for my moment on this CD). Marc and I “sing” the piano intro (no, we weren’t on anything) leading into more old-school hardcore (with all the crazy overdubs thrown in)-I didn’t even do metal-style riffing, it’s all straight downstroked power chords. This is the closest thing to praise lyrics I’ve written in Frank’s Enemy OR the Lead, rejoicing at being delivered from sin. And realizing it was probably going to have to happen again soon. (11.16.1998)

He’s freed me once again
From the mess I got myself in
How could I have ever thought
That He could ever give me up?
When He invested His life in me
When He looked ahead to me
Satan fought hard to bring me down
Jesus effortlessly brings me round

I was in the pit of my own thoughts
Heard the hellhounds, started feeling hot
I was crawling on the floor, I couldn’t pray
Saw dark clouds over the rest of my days

Don’t ask me how it happened, I did nothing
Don’t know how I got above, I have no wings
When you hear “greater is He…” you’d best believe it
A power greater than me and the one who oppressed me

The one who oppressed me
It’s another liberation
Once again

Will I fall again in days or weeks?
Will I fail again to run from the deceit?
If I do I hope I remember this day
When Jesus came and grabbed me as I ran away

Though I’m lukewarm, He’ll stay the same
He’s stuck with me I have nothing to say
Falling over and over and over again
Look up from the floor and I’m pulled up again

I’m pulled up again
It’s another liberation
One more time

He’s freed me once again
From the mess I got myself in
How could I have ever thought
That He could ever give me up?

Though I’m lukewarm, He’ll stay the same
He’s stuck with me I have nothing to say
Falling over and over and over again
Look up from the floor and I’m pulled up again



The obligatory understated finish-except this is really the end (at least of me in the band)! This was recorded with a couple of mikes (to give the sense of the space in the room), me on acoustic and live vocals and Alex playing with brushes. Marc again got bass virtuoso student from the University of Miami Jason Mendelson to overdub an upright bass. Sprite threw in some lovely violas at the beginning. I guess this is kind of an acoustic jazz/hip-hop thing. The lyrics deal with accepting the past, for better or worse, and moving on. (11.16.1998)

No mother ever loved her child like mine
And what I realize now makes for a difficult time
We try our best with good intents but it’s trial and error
Now we’re left digging into ourselves for our terrors

I was not the most picked on kid
But I sure hate a lot of people for a lot of things they did
Sometimes I think I’m still controlling the damage
That could drive me into realms of thought so savage

I must decide on my serenity

Some I love have now died
I won’t regain those moments replace the times I didn’t try
To be to them what I feel I should have been
Sometimes dreams just turn out to be dreams

And some things that were done to me
I know I turned around and I did to someone else
Who might now be hating or forgiving me
I have a Lord to follow I begin by forgiving myself

10/22/96; 10/23/96

Lyrics Web 1.0

Neoblasphemies: Lyrics & Notes From 1996 and 2001

CD and Cassette
Cling Recordings, 1996

Julio Rey: guitar, vocals
Marc Golob : bass, vocals
Alex A: drums

David Clo: synths

Produced by Julio Rey
Engineered by David Clo, Marc Golob and Julio Rey
Recorded at Capstone Music and Recording and Blue Smoke, Miami, 1997

1. I Think (Rey, 3:02)
2. Human Reich (Rey, 4:40)
3. Imbecile Factory (Golob/Rey, 2:07)
4. Cannibalized (Rey/Valdes, 2:01)
5. Uncalled For (Golob/Rey, 3:04)
6. Torturer (Rey, 2:10)
7. Inevitable (Rey, 2:29)
8. Cauldron (Rey, 2:57)
9. Hanging On A Tree (Rey, 2:24)
10. In Answer (Rey, 7:33)
11. Stephen Hawking Walked Away (Golob/Rey, 4:34)

The arrival of the final product is the culmination of nearly a year’s endeavor for the band and record label. Recording began at Blue Smoke Studios in January, and moved to Capstone in March. “This was truly an example of living by faith. I didn’t always have that much of it either,” said guitarist Julio Rey. “I’m used to having all the money squared away for a project before it starts. This time, I demoed the songs at home not knowing how we were going to get it done. I expected to simply record piecemeal until we had enough for the project. We really thank God for (Cling owners) Mark (Hodges) and Scott (Busbee), and I just hope enough people like this to make their investment worthwhile.” (original press release 12.12.1996)


A somewhat shocking beginning. This is a re-recording of an acoustic ballad that closes the 1992 demo QOHELETH. The demo version featured Julio on vocal and acoustic guitar. The CD version features the classically trained voice of Marisol Deus (drummer Alex A’s girlfriend), accompanied by Julio on the acoustic guitar, with additional sounds (actually noises) added later. “I kind of browbeat everybody into putting this in first,” said Julio. “In reality, (bassist) Marc (Golob) and I almost came to blows over this one.” An introspective interlude inspired by Ecclesiastes. (12.12.1996)

I think I know what to do now
I think I know why
It looks like I’m where I thought I’d be
The day that I die
Hard to believe could it be so
So much more left to go

I’ve been told where I’m going
But I still get scared sometimes
Remembering the past that didn’t last
And how I died sometimes
Didn’t care for one or all
In the disease of the fall

What I see around
It brings tears to my eyes
If I do nothing about it
What right do I have to cry
Just save the tears
For the dawn of the eternal day
Stand uselessly before God
With nothing to say

I’ve been told the right things
It’s hard to do them anyway
I just can’t account for
All the blessings in my way
Tomorrow they may go
It can’t change what I know



After the acoustic intro, Frank’s Enemy in its full incarnation explodes out of the speakers. This song, a basic dissertation on the ills of the system, was based on “The Human Reich” which appeared on Julio’s first solo Frank’s Enemy demo, 1992’s FINAL ABSOLUTION, featuring the Lead’s Robbie Christie on drums. Robbie’s appearance on that version was due to the fact that the recording was originally a Lead demo for their ill fated, never-recorded project: NOT SILENT. The original song was 9-12 minutes long, with a mountain of verses. “We were going to record it in its original form, but then I saw the looks and attitudes Marc & Alex had at having to flail away for that amount of time, and I realized I felt that way, too. Maybe it would have worked in 1990, but now it was simply overblown. I went back to the drawing board.” The result: four minutes and forty seconds of blinding speed punctuated by time changes and a dizzying progression of riffs (note the death-meets-funk riff midway though the song). It has been a highlight of Frank’s Enemy’s shows in 1996. “And Marc and Alex like it now, too!” said Rey, who fully embraces the Cookie Monster-style grindcore vocal style in this song, riding over an ocean of downtuned (B-flat) guitars, setting the stage for the rest of the CD.

Adds Rey: “Along with “Destroy” and “Psychic Pain” (both featured on Frank’s Enemy’s self titled 1994 CD), “The Human Reich” was slated to appear on that last Lead album in 1991. And it probably would have been the last, because we were growing apart, besides the problems that were going on. I would have accepted the breakup fully if it had come after we made that last CD, because I wanted to get those three songs off my chest. In fact, I dare say that if it weren’t for those three songs, Frank’s Enemy may never have happened. I was 31, I had cut my hair, I had met my wife-to-be, I’d played Cornerstone three times and put out a few projects. But God is wiser than me, and He’s bigger too. The last 4 1/2 years I’ve had with Marc and Alex have been the happiest ever for me as a member of a band. I’ve enjoyed the shows, the tours, making the records, rehearsing, and even hanging out with these guys. So I praise God it took this long to get those last three songs out, because of the great time I’ve had. By the way, now I’m 36, my hair is longer than ever, I’ve married my wife, and I’m going back to Cornerstone in 1997-hopefully as a performer. (12.12.1996)


This started as a 12-minute Lead song called “The Human Reich” in 1989/1990. It was for the CD we never got to make in 1991, but that’s another story. You can hear the full 12-minute version on Frank’s Enemy’s 1992 cassette Final Absolution (if you can get hold of a copy) with Robbie Christie drumming- that recording was originally a Lead demo.

Fast forward to 1995: I tried to get Alex to learn the 12-minute version, and we did get through it a couple of times. But it suddenly started to sound tired to me (and Alex A was getting tired physically), so I pared it down to 4 minutes and added some blast parts in the end. It gave the song a good kick in the butt. (03.25.2001)

You say right and you say wrong
You’ve got nothing to stand upon
Germ that kills you is more right
Along with you your morality dies
Under your rulers that measure so well
But what they measure no one can tell
New totems and taboos for humankind
Don’t know what to do with your mind

A condemnation of condemnation
Abolish all black and white insinuations
Your version becomes the text
Of a human brotherhood sect
Have faith only in what computes
A number’s strength is its truth
Pocket adjustable moralities the norm
Man and its hero the conqueror worm

Cut the Truth off from its Source
Ritual masses disguised as discourse

Suckling on the pleasures you love so much
Shiny coin before a touch
You bring up the children and then you betray
As your flowers of life dessicate
See your offspring deathly pale empty eyes
As your holy tenets reveal themselves as lies
Calling mother father as you spit them out
Reach for a kiss as you strike them down

The new discrimination the human reich
The new wrong the new right

Your only truth is that all is true
No mind for what mutually excludes
Punishing enemies for hypocrisies
No absolutes determined no authorities
Search for aliens out in space
Hoping for a better place
Send a satellite out that far
Find a planet destroyed by war

Cut the Truth off from its Source
Ritual masses disguised as discourse
The new discrimination the human reich
The new wrong the new right

edited 9/23/95


Marc Golob’s initial piercing scream begins even before “Human Reich” ends, and that song’s closing blast beats collide with this song’s relentless pounding groove. Miscredited on the sleeve, Marc wrote all the music for this song and sings in an emotionally charged hardcore-influenced voice (which will become his calling card on the rest of the CD) for the first half of the song. Lyricist Julio Rey closes in his death growl. This song is a musical microcosm of the band, and of NEOBLASPHEMIES: the hardcore and grindcore styles clashing and coexisting. “I wrote these words as the story of Christina Holt, the 7-year old girl killed by her mother and stepfather, was unfolding on the news. Hence the line about a dead child behind K-Mart,” said Julio. (12.12.1996)

Every song I’ve written
Every attempt to dissect
Of what’s all around me
My heart still can’t make sense
As I’m hit with the reality
Dead child behind K-Mart
Years ago I could have pushed the button
But that makes me one more part

Used to carry signs
Propagating my beliefs
But only in my mind
Was there any relief
Battle is one on one
24-7 time
I am one of a priesthood
Life is more than a rhyme

And the imbecile factory churns on
And the imbecile factory churns on
And the imbecile factory churns on
And the imbecile factory churns on

Load up my ark as I fly above
I am imperfect but no pillar of salt
I can see the fire rain down it is not for me
I tried to warn the fools but they would not see

Eternal survival walk the golden streets alone
Reading the names on uncountable tombstones
The fellowship I once enjoyed has left me betrayed
I hand them all to Satan so they may have their way

And the imbecile factory churns on
And the imbecile factory churns on
And the imbecile factory
Imbecile factory
Imbecile factory
Churns on



With lyrics written upon hearing of human fetuses being used for food in communist China, this song propels the band back into grindcore territory. The “death reggae” part in the end was lifted from a song written by Julio’s collaborator from his days in King James and the Concordances back in 1987-1990: Alberto Valdes. “The Reverend Alberto Valdes, no less! He was good enough to let me have the riff,” said Julio, “it was once a nice quirky keyboard part.” (12.12.1996)


This lyric is really quite symbolic, but I’ll spell out the inspiration right here: it’s based on reports of aborted fetuses being used for food in Communist China. Now, read the lyrics again.

My occasional partner in musical crime, Al Valdes, gets a credit (that he may wish he didn’t have) on this tune because I took the riff (with his permission-I didn’t tell him much at the time) at the end from a song he wrote for King James And The Concordances called “Summer Camp Vamp.” I’ll explain someday. The other riff at the end is what I like to call grind-reggae.

The “solo” is me at the height of my infatuation with the DOD Buzz Box, the most demented effects pedal ever made at least up to 1996. (11.02.2001)

Put them in the jars
Stomach will not turn
Waste raw factory matter
Chewed instead of burned

This is rage

Usable resources
The trains will run on time
With coal of placenta
Food of the gods of the mind

This is rage

Toothpick bones in the goo
Eggshell cranium blue
What you eat you were

There is no place for tears
After all that’s been cheered
What you eat you were

Pain or no pain
There is a face and name
What you eat you were

The imagery has been played with
Non-points well-made
Illustrating lack of purpose
Win by denying the game
It will take landing in back yards
And stomachs being cut open
And questionnaires filled out
At one’s own dying moment



Heralded by subsonic blasts from his bass guitar, this is Marc’s second vocal contribution to NEOBLASPHEMIES. A simple and straightforward hardcore song about the tough questions in life. “Any complaints about damaged stereo equipment should be directed to DOD,” said Marc, in reference to the company that manufactures a pedal called the Meat Box, which is used on the bass throughout this song. (12.12.1996)

I blame you for how I am
Or else I wouldn’t understand
All I know is survival all is hell
Bottom of the hole through which I fell

Answer the question to end them all
Why did the doctor make this house call
Every day sun sets no sunrise
Lines of rage around my eyes

I can’t stand up I only fall
I am here but I am uncalled
I can’t stand up I only fall
I am here but I am uncalled

Got something to say then tell me
I am all ears
Got a word of reassurance let me know
I am all fears
Got a little comfort what is it
I am all tears
Got the parking brake in your hand then pull it
I am all years

Tumors bursting on my back
My rainbow’s seven shades of black
I’ll steal back what I own
Fall further down this hole

I can’t stand up I only fall
I am here but I am uncalled
I can’t stand up I only fall
I am here but I am uncalled



Driven by Alex A’s off-time drumming, this is the band’s choice for the first single. Seemingly another grindcore song at first glance, the introduction of exotic rhythms without eschewing the brutality takes the band into new territory. The words describe a Christian in daily struggle in stark terms, arriving at a peace “beyond all understanding” at the knowledge of the upcoming Hope. (12.12.1996)


Possibly Frank’s Enemy’s best-known song, due to its appearance on a compilation released by Rowe Productions in 1996 entitled Massive Frequency Overload, as well as on Frank’s Enemy’s second CD, Neoblasphemies. I also admit it’s probably my favorite Frank’s Enemy song, too. It’s heavy but catchy-to use one of my pet phrases: “a pop song in disguise.” I’m a lot better at writing short blasts as opposed to long epics. The lyrics are the typical depressing stuff I was writing back then, dealing with the Christian life in a fallen world.

We recorded this for Marc’s sound recording class at the local community college. He used a Neumann mic on my Marshall 4 x 12 to achieve the titanic guitar sound. “Imbecile Factory”, also from Neoblasphemies, was recorded the same night. (02.26.2001)

Things I’ve assembled
To be torn apart
It seems the essence
This lava in my heart
The same old story
Handed by a woman and a snake
Jokes about purgatory
Seems a long wait

One more day with the torturer
One more day with the torturer

Love is a mask
Donned by many things
Fighting juggernauts
Destroying everything
A life of retreat
With its outstretched hand
Slapped down by me
That rule-playing man

One more day with the torturer
One more day with the torturer
One more day with the torturer
One more day with the torturer

Wrinkles where there were pimples
Grey and gone hair in my brown
Soon I will be muzzled
Soon I will die down
Years between me and God’s face
As fleeting as dust and smoke
Every day be good in this place
If only for the hope



Old style hardcore, but heavier. Julio Rey gives up the grind for one song and screams out his lungs. Alex A contributes a gloriously inept lead guitar that breaks down into feedback. Written three weeks before the Lead’s final break, the song documents the author trying to come to terms with what is around him. (12.12.1996)

It was inevitable in your heart
And in your mind and in all your being
So here we are sitting and staring
Arguing and glaring and you’re not seeing
That nothing’s working out anymore
And we’ll all walk through our appointed doors
Praying for God’s Light to be beyond
And bright enough to get all this behind

It was inevitable as you knew
You tried it on listened to Bill Gaither
It wore out quick clouds didn’t leave
Back to the quick fix things you weren’t too late for
As I made excuse upon excuse
Feeling trapped in a cage that I choose
Praying for God’s Light to be beyond
And bright enough to cut through my wrongs

It was inevitable guess I knew
When I got changed and it was time to move
This web so fragile torn apart
With broken heart and nothing left to do
And I feel I’m stranded and I will die
But I’d gladly take it if also I could cry
Knowing that God’s Light will be beyond
And bright enough to judge my every song



Left/right bouncing guitar intros give way to a surging wall of grind. The ending is probably best left undescribed. “I know its another negative lyric,” said Julio, “but I’m of the opinion praise-type lyrics aren’t best interpreted through this kind of music. I don’t mind it. Selling the Solution is easy, it’s harder to sell the problem!” (12.12.1996)


When an mp3 file of this song was at the old, I wrote this in the description: “not meant to be prophetic.” I really put a lot of brutal imagery at the end. I was just reflecting on what the world was heading towards without the true moral compass of the God of the Bible. The rest of the lyrics describe the struggle of the Christian artist in a world where his slightest misstep can give the game away.

The screeching at the end is my guitar rig set to my solo patch with the volume knob down on the guitar: it’s pure rack noise. (11.02.2001)

Heat rising
In midst
Of sacred fight

Quiet jihad
Slips so fast
No easy
To be right

Not clever
Nor precocious
No fancied flights
On idiot wind

Stand for life
Style of death
Call the wrongs
In style of sin

As advertised
Slings and bows

Good intent
Honest errors
Never enough
To show

A march for evil on the capital
Flying in on leathery wings
Dig mass graves, blow things up
All will know there is no love

Pine for evil on the capital
Affect the legislation
Claim the angels turn and flee
Dictate reality

A march for evil on the capital
Dismembering children’s bodies
One million strong stand side by side
Sing a song and commit suicide



Frank’s Enemy at its most accessible, with a positive lyric bringing the death of Christ right to the listener’s doorstep. Marc and Alex keep up a driving groove punctuated by odd accents in the chorus. Marc’s voice is at the forefront, with shouts from the rest of the band in the choruses. (12.12.1996)


I had visions of trying to crack into modern/alternative playlists with this song. It never made it in (I was discouraged by the Cling people), but it didn’t do too badly in Pure Rock Report’s loud chart.

Marc was free to record his lead and background vocals as he saw fit. The guitar “solo” was my Ibanez going into the board through a Buzz Box. I seem to remember scraping my headphones on the strings to achieve some of the noises. I always called this song a “grind disco” song.

The song was originally written in 1994. The lyrics came as a result of reflecting on the Crucifixion as a personal act from Christ to myself. We can all think of it this way, right? (08.06.2001)

So easy to forget, honestly
So easy to forget this was for me
I was on His mind when I didn’t have to be
This was Someone with time for better things

Before my eyes the quiet battleground
Used to think my soul’s salvation was all I needed for a rout
It was as easy as a prayer, as hard as being sincere
I’ve got Heaven coming but it took hell to get here

Hanging on the tree–there He is
Nailed to the tree–there He is
Hanging on the tree–there He is
Nailed to the tree

How’d you feel if that was your mother
How’d you feel if that was your father
His mind on you in the midst of His shame
Like a lover who only calls your name

A love such as this I can’t imagine
Sometimes I miss the point even after it’s spelled out to me
I’ll carry on with my poor imitation
Of that walk between death and victory

Hanging on the tree–there He is
Nailed to the tree–there He is
Hanging on the tree–there He is
Nailed to the tree–there He is
Hanging on the tree–there He is
Nailed to the tree–there He is
Hanging on the tree–there He is
Nailed to the tree–there He is



After the seven short bursts of fury of the previous songs, a slow building doom metal ballad emerges from the wreckage. The embellishments make their appearances with each verse, and Julio’s “mellow” vocals are partially distorted. “This is a song that I wrote as a challenge, and it ended up being a blessing,” said Julio. “Alex was stressing to me, since I sometimes get way out there with the lyrics I write, the importance of presenting the salvation message in a clear way in one song in each of our records. So I took it upon myself to write such a song, and it came out well and without compromise.” “I hate it. I think it sucks,” said Marc (in reference to the music). “Of course he does” retorted Rey (in reference to Marc), “any trained chimpanzee could play his part in that song.” (12.12.1996)

In answer to your question i hope you have been asking
I’ll take off my fangs and stop all the scaring
I could quote John 3:16 pray for the best
That you’d grasp what it all means that we are in a test

To know what sin is is to know how it permeates
The day of coming justice for all of us awaits
Darkest of our deeds passes not unnoticed
Now we go free following paths we’ve chosen

O Jesus Christ bleeding at Golgotha
It took God dying price paid for all
Validation on day three stone moved from the tomb
Confirmation of deity New Life out of cold womb

The gracious Work that asks for our trust
Eternity in the balance deeds not enough

In your reach as it’s always been
To take and to open to look and taste and see



A somewhat shocking ending. Marc takes front and center in this song, which he produced and wrote most of the music for. Marc’s bass-driven funk groove, sample and scratch-laden production and manic vocals narrate Julio Rey’s eschatological-apocalyptic parade of personalities (including you). “It’s the end.” (12.12.1996)

And so Carl Sagan starts to pray
Stephen Hawking walked away
Everything led to today
The pogrom went the other way
It’s the end

Bertrand Russell bowed down
Syncretists fall to the ground
Silenced by the sound
True Face of Love melted them down
It’s the end

I’m sorry sorry
I’m sorry sorry
I’m sorry sorry
I’m sorry sorry

Politicians congregating
Standing in line and waiting
Measuring their love and hating
The resolution of all debating
It’s the end

No more bullets with your name
Left for anyone to take
Time to find out what you made
Through the wringer see what stayed
It’s the end

I’m sorry sorry
I’m sorry sorry
I’m sorry sorry
I’m sorry sorry
I’m sorry sorry
I’m sorry sorry
I’m sorry sorry
I’m sorry sorry

Karmic intents now revealed
Like incensed prayers unconcealed
Spelled out terms of the deal
No longer spins the wheel
It’s the end

And so Carl Sagan starts to pray
Stephen Hawking walked away
Followed by humanity
Everything led to today
It’s the end


Lyrics Web 1.0

Frank’s Enemy (S/T): Lyrics

CD and Cassette
Not Silent, 1994

Julio Rey: guitar, vocals
Marc Golob: bass, vocals
Alex A: drums

Produced by Frank’s Enemy and Dave Clo
Recorded at Capstone Music, Miami, 1994

1. Link Line (Rey, 2:36)
2. Things Don’t Work Out (Rey, 6:09)
3. Destroy (Rey, 4:54)
4. Acts of Love (Rey, 6:52)
5. Judas (Rey, 5:39)
6. Psychic Pain (Christie/Coyle/Rey, 5:58)
7. You Are God (Rey, 3:38)
8. Man, You Made A Lonely World (Golob/Rey, 7:48)
9. Reasons to Say No (Rey, 14:39)


Minds captured and controlled by the sin disease
Getting together to build the mad phone machine
Pre-recorded lies speaking in the voice of a god
Victims think they’re thinking for themselves helplessly nod
Pre packaged with hip-hop graphics and the pamphlet looks cool
If you seek out another opinion you are condemned a fool
Like the death camp Jews who worked to finance their own deaths
Money coming out of our pockets to misfeed heads

Link Line (Disconnect the) Link Line

Let alone not preaching abstinence but encouraging sex
Let alone not saying it’s a choice but you’re stuck with homo-sex
Employing theories and opinions that fit the agenda the best
Selling it as truth with nothing getting through to oppose this
Purporting to be of help and of service to the community
Achieving nothing but to spread a kind of immunity
To anything righteous and that costs and is the difficult way
In the name of their philosophy and the god of “anything you say”

I’ll hang on to my Bible cause its burning’s on the way
Teach my children well that we’re at war today
Chip away at my block at the corner that the Lord gives
Make the most of my life and the time I’ve got here to live
So you can take your Link Line and make all your little chains
This is one player praying against all your games
You versus God and it’s a battle for every mind
Pit eternity against the rest of your life


this silver platter world
handing out its song and dance
says subjective obsolescence
is the right of all humans
condemned human race dancing
to their hormonal tunes
which change according to food intake
and tides changed by the moon
try it you may not like it trade it in come tomorrow
for the main objective in this life
is to be devoid of sorrow
buy it if you can or steal it if you must
and look into the mirror
if you need someone you can trust

and we can say things didn’t work out
til we say things don’t work out

you can say things don’t work out
i say it’s people who don’t
guided by fear of all commitment
we can run but we’re still owned
by all our petty fears and desires we’ll never satisfy
on our sick beds with question marks
in our heads as we die
god has shown us what is right
and what there is to care for
but we’re in a hall of mirrors darkly
uncaring to find the door
words like sin redemption and trust
hit our ears irrelevantly
condemning ourselves to no hiding place
in the time of missed glory

to God we’ll say things didn’t work out
and God will say shut up and get out


i don’t believe in you anymore or the things you sell
don’t accept as fact everything
your loudspeakers tell
canine snarls lurk behind your every fluoride smile
your well-placed bright fashions
become a necropolis after awhile
the God I love and His Truth
branded archaic biased against and ignored
in the new state of mind religion
of do it yourself instant lords
i have bowed to your little global sphere
my own mind you have touched
trying to make your required sacrifices
as my sanity was crushed

i look up and see your pharisees
sitting there judging
your eyes accusing with your words grudging
skepticism your God
you reduce me to my appearance
in your statistical world my voice has no clearance
we’re the new heretics
you burn our books at the stake
i pray to God to take you out
of my mind all that i hate
your warped moralities
changeable to kill posing as a toy
good and innocence in your sights
you’re ready to destroy

so many lies from my lips
as i kowtowed to yor party line
trying to embrace the colors
that could never be mine
you disguise things so well
token causes as mock fresh breath
seems so right but the ends thereof
are the ways of death
to blow your tumors out of my brain
is to be truly alive
you blinded me and removed the freedom
Jesus won me when He died
you wanted to keep me laughing
in your shackles til the day of my death
leaving my God to work without me
me missing out on what He’d bless

your scientific advancements
mere discoveries of God’s creation
yet He shrinks in your psyche
while He really becomes greater
the collective brain losing oxygen
arteries cut off from their Source
poison fruit of malignant seed
planted and set on hellbound course
try to ignore eternal yearnings
and the innate need to trust
there are no ghosts where there are no men
you’ll be conquered by dust
packaging immediate contenment
and selling it as ultimate joy
happiness as virtue in your sights
you’re ready to destroy

the blind following of these empty alleyways
is the only blame to place
for there’s nothing truly human
about your human reich
even now you make these words
fall on indifferent ears
but I fight you every day
long as God keeps me here

may God use me to my fullest
protect me against your lies
give me love to show to your suicide row
that they may survive
i destroy you world in my mind
cut your babylon spider web
the smoke from your ashes
won’t have my tears in it


I don’t know the circumstances
All I’ve heard is what I read
And a couple of people where I worked
Are dead of the disease
Your emptiness your void no different
Than the one once inside me
Someone got in front of your eyes
And became so tempting
Who was the human landmine
That you shared passions with?
What was going on in his mind
The moments that you kissed?
Awareness of death’s specter
Or ignorance untold?
Or fear of what was in your blood Not knowing what was in his own

So tempting to say
I’m glad I’m not you
Get away from me
You’re not like me
So tempting to say
It’s your own fault
You asked for it all
Hear judgment’s call
Til God pulls me from my sin
And shows me all the hate I’m in
Nothing left to do but give
And pray that you can still live

My flesh so used to searching
Sometimes forgets it’s found
All the reason it needs to live
Beyond touch and sight ang sound
So tempting have been the situations
It has been through
No guarantee that in the future
I won’t have to face what’s facing you
If Jesus is my master
His Spirit the Source from which I live
I must allow Him to take over me
Allow Him to let me give
To temper exhortations
With decisive acts of love
Acts with fingers that point not at me
But straight up above

Cholera in times of love
Triumph of the pill
Sex is dead the new cry
The god of choice is ill
Children of the revolution
Slowly eaten away
Society binge and purge
Of liberation ways

Conqueror germs in the air
Running through veins
All across the face of the earth
A growing red stain
Souls spiraling downward falling
Solutions backfired
Accompanying drought of love
Eros getting tired



Judas at the end of the rope
No salvation and no hope
Judas at the end of the rope
No hope

Did he wonder if it had to be
As he succumbed to his destiny
Did he wonder about what he missed
As his lips formed to kiss
Satan makes for easy stomping
Knowing how he’s behind it all
But what to say about Judas
What day really saw his fall

Did thirty pieces really turn the tide
Or was betrayal always in his mind
How was he born and raised
Was his life filled with dark days
Was the serpent his companion
Or was the deal already done
Did his father break his bones
Did he steal or was he stolen from

Judas bought the death that bought us life
Fulfilled the chronicle from before time
It had to happen but it was his choice
Though the book was written he had a voice
Logic mysterious unassailable
Til the end of time concealed
Like Pharoah’s heart hardened
So God’s glory would be revealed


utopian visions of a dream world
quickly fade into dust
you finally seize the golden prize
and see it’s really rust
obstacles are overcome but followed by another test
finally settling in the sun still get wracked by stress
happiness brings on psychic pain
for the darkness surely follows
the sun inevitably sets for each rise on the morrow

your reality of existence you can’t escape
an absurd meaninglesness
yet you think you reason your inner world
can’t explain why with it you’re blessed
got no way to say who’s right or wrong
takes thirtysomething states to ratify constitution
hitler pursued his destiny
with approval of public opinion
cut away fron God it is the human condition

no happy endings for the rich
see them languish and die alone
the poor die their absurd deaths
drugs or aids or starvation
conformed to the choice conformed to the fall
sweet breath of Revelation taken as a tale too tall
saving bitterest tears
for when the Truth hits their eyes
will God also cry knowing they won’t be dried?


in the beginning there was darwin and marx
formulating theories to throw out God
artificial reality free of absolutes
the only sin left is telling the truth
pregnant child-mom smoking crack
spike lee and athletes counterattack
noble fight against the symptoms
of redemption lost
in the want for freedom from all cost

man, you made a lonely world

every human now a walking lie
in his own system of born to live and die
one eye desperate on the great beyond
with incantations to bring the magic wand
to turn the beast back into the prince
to balloon back home to Kansas
to bring back primeval memories gone
but something somewhere’s been left undone


You wake up in the morning and you call the mirror God
With eyes deep inside that show a man in love
Self-hypnotized to your transcendency within
Idiot-proofed game you play, no matter what you lose you think you win
Your soul is your sycophant and you’ve trained it well
Drink your sacred cup of today’s lies or chemicals
From the ape you have evolved now it’s in your hands
You’re going to take that leap of faith, make that advance

You are God-so they’ve told you
Science pulled down the curtain on Oz
You are God-so they’ve told you
What you see is whart you’ve got
You are God-so they’ve told you
So if you must you’ll go out and kill
You are God-so they’ve told you
The bottom line is “do what you wilt”

Spent a century tearing down icons and setting up your might
Every instrument readout now says your presence is a blight
An empire of waste, a dominion of toilet seat
Try to allay the guilt by criminalizing consumption of meat
Possibilty of an underlying condition never crossing your mind
Everything seemingly in your grasp controllable but time
Something inside wants to be free-flying but you can’t decide what
With every crystal and pyramid that you’ve got

The gate to your heaven so wide even Hitler can get in
Because in your world there’s no such thing as sin
Blow it in this life you can pay for it in the next
The prize nirvana or who-knows-what, not that important
I have a vision of all the paths converging on celestial heights
Every human being hand in hand walking up no bickering about who’s right
Happy music fills the air harmonmious voices blend to one sound
Drowning out the cries of those who reach the end and fall to the ground



Something new on the TV
Something new to get to me
Three more sitting on the fence
With inadequate defense
Three more fell in mammon’s spell
Making money out of hell
Now glory goes to ABC
For reporting the truth to you and me
Now glory goes to doomed souls
As they just say “I told you so”
A few less tears for a burned down church
Less sympathy for a suppressed Word
Three more like those before defrocked
The saints become a laughingstock
Three more reasons to say no
To Jesus Christ as Savior and Lord

Reasons to say no

Just look at all this on the TV
Suits by Cardin and Armani
Look real good with diamond rings
And velvet carpeted settings
For the rich I have no dis
If they know what to do with it
Actionless emotions are a lie
Quick way to regret when you die
TV cameras can never catch
What’s behind a door safely latched
If at some point they ever do
Edit it to do what you want it to
An easily manipulated medium
To see it is to believe it
Medium and message in control
Pay your money buy your soul

If the cameras could only catch
The silent struggles of believers attacked
They’re the ones we could look up to
They’re the ones who do what we should do
Look up to Jesus first no one else
Placing others before themselves
Feeding those out without a home
Keep believing when tomorrow’s unknown
Unafraid to share the Word
In the everyday neighborhood world
Sometimes at night they’ll cry from sin
Pray from the hole they’ve fallen in
Soon enough you’ll see their cheer
As the Lord did not turn a deaf ear
There’s some reason to say yes
To salvation through Jesus

Reasons to say yes