Man Is Mostly Water / Exit the King Split 7" Vinyl (Rare—Limited Availability)

Split 7” by Texas bands Man Is Mostly Water and Exit the King, released May 23, 2006, by Arclight Communications (defunct Ohio label that put out stuff like Circle of Dead Children and Cloacal Kiss).

Copies of the CD version can still be found here and there, but the original vinyl release is rare and has a slightly different mix from the CD.

Notes:

-Artwork/design by rad Austin artist Ben Aqua (benaqua.org)
-Guest vocals by Champ Morgan of Kill the Client (Relapse Records) and BLK OPS
-Engineered/produced by Josh Wardrip in 2006 at Orphic Studios, Austin (At All Cost, Mala Suerte, Architects, Trifle Tower, Thumbscrew, 25 Dollar Massacre, tons of other TX bands)
-Mastered by Nick Landis at the renowned Terra Nova Mastering, Austin
-Two songs by each band, not released elsewhere
-Lyrics printed on back
-MIMW includes current members of Baring Teeth (Translation Loss, Willowtip Records)

Reviews:

“Hot on the heels of their excellent, self-released demo, this is Austin, TX, natives Exit the King’s split with fellow Texans, Man is Mostly Water.… Exit the King play a style of technical hardcore that is chaotic but maintains a level of memorability and songwriting sometimes lacking in similar bands.… The production still has a grainy, lo-fi feel to it that works in the band’s favor, sounding more organic and making their raw, acerbic tendencies all the more noticeable.… [T]hese two songs appear to have a subtle melodic bite that the demo didn’t have.… [S]ome very promising material from a new band that can only improve from here.” —Deadtide.com

“Exit the King is a spazzcore outfit that does Dysrhythmia, Behold…the Arctopus, Orthrelm, and Canada Songs–period Daughters proud. ‘The Case for Concealed Firearms’ and ‘The Human Abstract’ are both dense and dissonant…the vocals are predictably raspy screams, and the compositions are truly hard-hitting. Contrary to a few of their peers, this group isn’t afraid to slow down occasionally, flesh out a passage, and then return to tense, abrasive insanity.” —Metalreview.com