http://www.hellridemusicforums.com/forum// Hellride Music -- The Home of the Heavy en Thu, 17 May 2012 22:32:58 GMT vBulletin 60 http://www.hellridemusicforums.com/forum/images/misc/rss.jpg http://www.hellridemusicforums.com/forum// http://www.hellridemusicforums.com/forum//showthread.php?t=25719&goto=newpost Thu, 17 May 2012 17:03:33 GMT Got Saturday and Sunday tickets for Maryland Deathfest, message me if interested! Got Saturday and Sunday tickets for Maryland Deathfest, message me if interested! ]]> Trade?/Buy?/Sell? clfrecords http://www.hellridemusicforums.com/forum//showthread.php?t=25719 http://www.hellridemusicforums.com/forum//showthread.php?t=25718&goto=newpost Thu, 17 May 2012 14:46:15 GMT Hello.
As it would kill me to do so, I am considering putting a couple TROUBLE rarities up on eBay. I figured before going that route, I would check to see first if some folks here would be interested.

I will state up front that I paid plenty for each of these items and am not in any way looking to dump them. If I was, I wouldn't even consider eBay and just put them for trade.

With that said, I have the following:
LIVE AT PENNY ROAD PUB Recorded May of 2003. This was released by the band, and was limited to just FIFTY (yes 50) copies. It was released on CDR with a paper label that is autographed by the band. It comes in a slimline round CD-shaped plastic case. No artwork. I believe this was only sold at their BWBK performance.


ONE FOR THE ROAD
Extremely limited 5 song EP from 2004, that was only sold while on tour in Europe. This has been bootlegged a couple times, but this is the dead original. It is on a silver disc (no CDR) and has complete artwork.
Songs are:
1. Goin' Home 03:39
2. Window Pain 03:20
3. Requiem 04:59
4. Another Day 04:38
5. Doom Box 02:55

R.I.P.
Live CD released on MORBUS records. This is from a show in Eindhoven on 2/1/93. This is an original silver presses CD with artwork. This is a live show from the Manic Frustration period.

If you are interested in any of these items, please contact me VIA PM.

Thanks!!! ]]> Trade?/Buy?/Sell? Jasonic http://www.hellridemusicforums.com/forum//showthread.php?t=25718 http://www.hellridemusicforums.com/forum//showthread.php?t=25717&goto=newpost Thu, 17 May 2012 03:15:18 GMT Can somebody help me find a noise-reductionless version of this? The CD one with the white cover has the noise reudction.

I used to have this version but lost it:
http://www.youtube.com/watch?v=3PWoNviPZI8

And can't seem to find that CD anywhere. Sound is much better. ]]> jrobertson http://www.hellridemusicforums.com/forum//showthread.php?t=25717 http://www.hellridemusicforums.com/forum//showthread.php?t=25716&goto=newpost Wed, 16 May 2012 23:20:49 GMT Very interesting stuff. Plant doing a Rod Evans impression?? http://www.youtube.com/watch?v=FeXEf1OmZyM http://www.youtube.com/watch?v=7l-l00xD9Fc Very interesting stuff.
Plant doing a Rod Evans impression??
http://www.youtube.com/watch?v=FeXEf1OmZyM

http://www.youtube.com/watch?v=7l-l00xD9Fc ]]> Damocles74 http://www.hellridemusicforums.com/forum//showthread.php?t=25716 http://www.hellridemusicforums.com/forum//showthread.php?t=25715&goto=newpost Tue, 15 May 2012 22:34:36 GMT http://www.7inchrecords.com/Discogra...?Page=1&groep= ]]> Against Nature / Revelation Confusion http://www.hellridemusicforums.com/forum//showthread.php?t=25715 http://www.hellridemusicforums.com/forum//showthread.php?t=25714&goto=newpost Tue, 15 May 2012 21:38:34 GMT Melvins Lite – Freak Puke (Ipecac Records)
By Jay Snyder
May 15, 2012

Prepare for another legendary Danava style massacre! Nah, we’re not going to get quite that ugly, but I’m going to be honest. So what the heck is Melvins Lite? Is it the Miller Lite of Melvins or what? Yeah, kind of, it’s actually the sound of The Melvins regressing back to a trio configuration, which sounded kind of exciting to me on paper. But then I find out Trevor Dunn is involved as the third man, and the reason that Freak Puke isn’t making much sense to me becomes fully clear. Trevor Dunn is responsible for the Trevor Dunn Trio, and I use the term “responsible” because I once had to sit through them in between the sandwich of awesome that was Akimbo and The Melvins. Don’t get me wrong. I enjoy explosive, off the cuff jazz as much as the next guy, and can spend a whole day listening to Coltrane’s weirdest. But back to the Trevor Dunn Trio…I never wished for my life to end as intensely as I did in the grip of that hour and fifteen minutes of misery and suffering. Lord have mercy was it awful. No offense to The Melvins…I’ll always love ‘em, and even some of the most dedicated Melvins fans I know do not dig every release, so I’m no exception to the rule. Hell, I’m sure Dunn’s a stand-up guy as well. But what went wrong here?

I was actually kind of jazzed all over again about hearing new Melvins music after the release of the teaser EP, The Bulls and the Bees, which was the first thing Melvins I really enjoyed since A Senile Animal. The EP was hardly their best set of stuff, but the riffs were strong, the songs catchy, the experimental edge was present, and I had a good time listening to it for the most part. You can’t ask for anything more from this institution of hard rockin’ guys than that. Freak Puke sadly gives us plenty of Trevor Dunn noise that I can do without; in addition to the rocked-out edge Buzzo and crew have been delivering for a few records now. Yet, apart from the doom-y sloth pop noise of “Baby, Won’t You Weird me Out,” and the unabashed southern-rock of “Let me Roll it,” I couldn’t wait to turn this record off and listen to something else. Some of the songs have good riffs popping up for a minute, but there’s a lot of distortion and zero of the irresistible quirks and structures this time around that got me into the band in the first place…from Buzzo’s mangled, rather weak vocals to the ear annoying, tinny sound of the guitars, it just doesn’t gel in my ears. Then there are tracks that just go nowhere fast down noise avenue such as the utterly forgettable opening salvo of, “Mr. Rip Off,” and “Inner Ear Rupture.” I mean the Melvins are no strangers to this type of thing. If I felt like it I could pick out a generous handful of their releases featuring that cavalier approach utilized more effectively…and they make it count in the live setting by weaving noise into couplets of their vintage fare. Simply put, this one leaves me cold, no bout a doubt it.

I’m not out to pick a bone, piss off Buzzo, or just be a general dick with this review. The heartbreaker is that I love The Melvins, felt a renewed surge of interest, listened, and was disappointed beyond belief. I’d be a stone faced liar if I didn’t admit I’ve spent a lot of time being wild over this band; I still am to some degree, but everything from the noise freak outs, to the questionable guitar tone, to rather lifeless vocals (let’s face it, Buzz isn’t Pavarotti, but he sounds disinterested here), and too many songs of too many types just muck up the flow. For every great Melvins record, there’re a few that don’t quite make the grade. On my rating scale, this is certainly one of ‘em. I’ll take my Melvins straight with no filler…this lite grade shit just gives me indigestion. Though, I'm sure the boys will be back to make me eat my words sometime in the near future...this is just an unfortunate stop along the way in that course of events.

Visit the Ipecac Records website at www.ipecac.com ]]> Reviews Evildeadjay http://www.hellridemusicforums.com/forum//showthread.php?t=25714 http://www.hellridemusicforums.com/forum//showthread.php?t=25713&goto=newpost Tue, 15 May 2012 18:53:26 GMT * Chowder – Passion Rift (I, Voidhanger Records) By Jay Snyder (jay@hellridemusic.com)* *May 15, 2012* I swear my first attempt at writing an introduction for this record came out as all code. There were words, numbers, symbols, and ancient languages I couldn’t get a grip on, so I just decided to start this thing over. Ok, alright, you got me. I’m fuckin’ lying, but really the music did have THAT kind of effect on me. Chowder’s Pythagorean mixture of prog, doom riffs, horror soundtrack keyboards, and Wild Men from Borneo time signature shake-ups left me lying as a limp pile, of boneless gunk in the corner of my bedroom closet. As a wise man I know once said, “You’re going to have to lay down after listening to this,” and I can’t think of a better sentence to sum up the experience of a good Chowder session. Passion Rift is the band’s flagship, LP offering after an immaculately recorded EP release. Literally two years in the making, this record showcases the intense keyboard layering and tactically nuked guitar antics of Maryland doom, low-end lord Josh Hart, with bassist Doug Williams and drummer Chad Rush (his last name couldn’t be any more fitting here) taking on a Lee/Peart agenda of rhythmic nitroglycerin. Grab a spoon, scoop up a hearty serving of explosive Chowder, and let’s blow our fuckin’ heads off, shall we? Opener, “Mysterioid” almost gave me a heart attack on my first listen during a nighttime drive through the shitkicker streets of Springdale where the cops prowl every corner in hopes of catching easy, liquored up prey. The vibe of the song perfectly encapsulates the environment in which I gave the album its first dedicated listen. As the dim lights of long forgotten street lamps beam down on a beat up old Ford Ranger’s rolling wheels, the essence of horror seeped into my head; ambient, clean guitar chords plucked with the intent of simulating a serial killer’s sociopathic thought processes kept me checking behind the seat for unseen assassins, while Josh’s multi-tracked keyboards (both digital and analog…and trust me…all fuckin’ sorts of creepy and freaky) act as the bloody knives that are waiting to end your life. It gives way to the Dagon destroying doom and Lovecraftian prog-rock overtones of, “The Innsmouth Look,” a piece that builds itself up carefully and craftily; Hart enters the fray with the kind of crunchy, doom-minded riffs that could only come from Maryland, his rugged display of riffsmanship working in effortless tandem with Williams’ pronounced, completely clean low-end swagger and Rush’s seamless mixture of hard struttin’, pocket timekeeping and elaborate snare fills. Washes of keyboard integrate atmospheric grace and the aforementioned stalk n’ slash, soundtrack vibe into the band’s many dynamic shifts; downtempo doom lurches switch course at the flick of the rudder into rough waters swelling with intensely, moody lead guitar passages and solo chops in the song’s tidal, beach devouring second half, the song ending with a sample of smooth, crashing waves. “Salt Creep” comes in and basically tells Mastodon to go back to the progressive rock university and try again. This one’s got more starts and stops than the Port Authority bus line, Hart channeling the tricky phrasings of Piggy and Lifeson with his barrage of greasy, gliding melodic note progressions transforming into hard rockin’ grooves at light-speed Armageddon. He gets plenty of backup from his rhythm section, Chad’s rapid cymbal ghosting and polyrhythmic flash providing a constantly busy lockdown allowing Doug room to go into 5-finger overdrive one minute, or drop down into a doom-y groove the next (like he does so deftly at the 2:20 mark). But oh lordy, I’m not quite forty does this track turn into the fuckin’ audio equivalent of a Salvador Dali surrealist painting after that. Dissonant runs of riffage and creeping, horror score keyboards come in after that, each player given an ample and equal chance to shine betwixt technically astounding and confounding displays of upper tier musicianship; Josh letting rip with a vintage guitar solo that practically defines old school prog in the midst of the tempest, Rush going ape on every single piece of his kit, Williams diving into smooth licks far beyond my technical comprehension…I mean, holy shit, this is good stuff…like Rush, Voivod’s Nothingface, “Buzzard’s Churp, and the winding song structures and power doom of Revelation’s Never comes Silence all rolled into an Oak tree sized pinner. The title track could almost be an album by itself! At 18 minutes in length, the band leaves no stone unturned in their quest of composing the ultimate prog/doom overture. This one is almost set up like a classical piece of music with several distinct movements. Sweeping acoustic guitar lays the foundation with a sprawling, distinctly southern feel; the enriching arrangement of Hart’s unplugged axe dissipating in a puff of riff-y, churning Wino/Flood influenced slow doom grooving. Melodic leads and keyboard hymnals punch through the riffing as the slothful doom takes on an upbeat, rocked-out visage that’s just vibrating with trippy, playful lead/riff shake-ups which triggers Rush to spice things up with foot tapping snare fills against Williams’ soulful, bluesy lunges. Josh busts out a silky solo that snaps the song forward into hyperkinetic, progressive madness; stop/start rhythmic changes, whirlwind solos, ominous synth drone and a doom riff finale literally bend the tune over, and give it a big boy’s ass spanking, thusly turning this piece into an entirely new man by the time it has finished growing up in front of our very eyes. “Insidious” opens up with what might just be the best sample and most telling sample ever put onto a recorded album, “Alright, it’s Saturday night, I have no date, a 2-liter bottle of Shasta, and my all Rush mix tape, let’s rock!” And rock Chowder does, plowing like a runaway wagon train through a villa of Indian tee pees on the run from heaving doom grooves, crazy Rush-like guitar/rhythm breaks, and frantic guitarpeggios (when you run out of fresh words, make ‘em up I say!). The band abides by the same rules on “Head Full of Rats” minus the sampling, but plus extensive lead lickage of the most rock n’ rolling caliber known to man that practically runs throughout the entire length of the song. A brief moment of respite is provided in the ambient clean chording of the guitars; backwards sound loops, and crystalline keys of “Mazuku,” giving us a much needed breather before “Custody” winds things down with 11 minutes of hallucinatory doom, prog, carnival keyboards, and mystical jam tactics. Will there be a better instrumental record than Passion Rift this year? Hell no and a handshake is my answer (and yes, the new Karma to Burn is great, but I like this even more)! Chowder have come full-circle with a record that both sticks to time honored traditions and bravely challenges them. The songs, performances, and boulder tough John Brenner production come together to create a sound like no other. That previous EP was only a hint at what Chowder is capable of, Passion Rift is a proud capitalization on years of hard work. If you like classic prog and instrumental music in general and don’t buy this, you’re a damn fool! Highly recommended for adventurous listeners who enjoy a headful of deep, dark space. *http://www.hellridemusic.com/indeximages/skull_spot2.gif Visit the I, Voidhanger Records website at www.i-voidhanger.com * Chowder – Passion Rift (I, Voidhanger Records)
By Jay Snyder
May 15, 2012

I swear my first attempt at writing an introduction for this record came out as all code. There were words, numbers, symbols, and ancient languages I couldn’t get a grip on, so I just decided to start this thing over. Ok, alright, you got me. I’m fuckin’ lying, but really the music did have THAT kind of effect on me. Chowder’s Pythagorean mixture of prog, doom riffs, horror soundtrack keyboards, and Wild Men from Borneo time signature shake-ups left me lying as a limp pile, of boneless gunk in the corner of my bedroom closet. As a wise man I know once said, “You’re going to have to lay down after listening to this,” and I can’t think of a better sentence to sum up the experience of a good Chowder session. Passion Rift is the band’s flagship, LP offering after an immaculately recorded EP release. Literally two years in the making, this record showcases the intense keyboard layering and tactically nuked guitar antics of Maryland doom, low-end lord Josh Hart, with bassist Doug Williams and drummer Chad Rush (his last name couldn’t be any more fitting here) taking on a Lee/Peart agenda of rhythmic nitroglycerin. Grab a spoon, scoop up a hearty serving of explosive Chowder, and let’s blow our fuckin’ heads off, shall we?

Opener, “Mysterioid” almost gave me a heart attack on my first listen during a nighttime drive through the shitkicker streets of Springdale where the cops prowl every corner in hopes of catching easy, liquored up prey. The vibe of the song perfectly encapsulates the environment in which I gave the album its first dedicated listen. As the dim lights of long forgotten street lamps beam down on a beat up old Ford Ranger’s rolling wheels, the essence of horror seeped into my head; ambient, clean guitar chords plucked with the intent of simulating a serial killer’s sociopathic thought processes kept me checking behind the seat for unseen assassins, while Josh’s multi-tracked keyboards (both digital and analog…and trust me…all fuckin’ sorts of creepy and freaky) act as the bloody knives that are waiting to end your life. It gives way to the Dagon destroying doom and Lovecraftian prog-rock overtones of, “The Innsmouth Look,” a piece that builds itself up carefully and craftily; Hart enters the fray with the kind of crunchy, doom-minded riffs that could only come from Maryland, his rugged display of riffsmanship working in effortless tandem with Williams’ pronounced, completely clean low-end swagger and Rush’s seamless mixture of hard struttin’, pocket timekeeping and elaborate snare fills. Washes of keyboard integrate atmospheric grace and the aforementioned stalk n’ slash, soundtrack vibe into the band’s many dynamic shifts; downtempo doom lurches switch course at the flick of the rudder into rough waters swelling with intensely, moody lead guitar passages and solo chops in the song’s tidal, beach devouring second half, the song ending with a sample of smooth, crashing waves.

“Salt Creep” comes in and basically tells Mastodon to go back to the progressive rock university and try again. This one’s got more starts and stops than the Port Authority bus line, Hart channeling the tricky phrasings of Piggy and Lifeson with his barrage of greasy, gliding melodic note progressions transforming into hard rockin’ grooves at light-speed Armageddon. He gets plenty of backup from his rhythm section, Chad’s rapid cymbal ghosting and polyrhythmic flash providing a constantly busy lockdown allowing Doug room to go into 5-finger overdrive one minute, or drop down into a doom-y groove the next (like he does so deftly at the 2:20 mark). But oh lordy, I’m not quite forty does this track turn into the fuckin’ audio equivalent of a Salvador Dali surrealist painting after that. Dissonant runs of riffage and creeping, horror score keyboards come in after that, each player given an ample and equal chance to shine betwixt technically astounding and confounding displays of upper tier musicianship; Josh letting rip with a vintage guitar solo that practically defines old school prog in the midst of the tempest, Rush going ape on every single piece of his kit, Williams diving into smooth licks far beyond my technical comprehension…I mean, holy shit, this is good stuff…like Rush, Voivod’s Nothingface, “Buzzard’s Churp, and the winding song structures and power doom of Revelation’s Never comes Silence all rolled into an Oak tree sized pinner.

The title track could almost be an album by itself! At 18 minutes in length, the band leaves no stone unturned in their quest of composing the ultimate prog/doom overture. This one is almost set up like a classical piece of music with several distinct movements. Sweeping acoustic guitar lays the foundation with a sprawling, distinctly southern feel; the enriching arrangement of Hart’s unplugged axe dissipating in a puff of riff-y, churning Wino/Flood influenced slow doom grooving. Melodic leads and keyboard hymnals punch through the riffing as the slothful doom takes on an upbeat, rocked-out visage that’s just vibrating with trippy, playful lead/riff shake-ups which triggers Rush to spice things up with foot tapping snare fills against Williams’ soulful, bluesy lunges. Josh busts out a silky solo that snaps the song forward into hyperkinetic, progressive madness; stop/start rhythmic changes, whirlwind solos, ominous synth drone and a doom riff finale literally bend the tune over, and give it a big boy’s ass spanking, thusly turning this piece into an entirely new man by the time it has finished growing up in front of our very eyes. “Insidious” opens up with what might just be the best sample and most telling sample ever put onto a recorded album, “Alright, it’s Saturday night, I have no date, a 2-liter bottle of Shasta, and my all Rush mix tape, let’s rock!” And rock Chowder does, plowing like a runaway wagon train through a villa of Indian tee pees on the run from heaving doom grooves, crazy Rush-like guitar/rhythm breaks, and frantic guitarpeggios (when you run out of fresh words, make ‘em up I say!). The band abides by the same rules on “Head Full of Rats” minus the sampling, but plus extensive lead lickage of the most rock n’ rolling caliber known to man that practically runs throughout the entire length of the song. A brief moment of respite is provided in the ambient clean chording of the guitars; backwards sound loops, and crystalline keys of “Mazuku,” giving us a much needed breather before “Custody” winds things down with 11 minutes of hallucinatory doom, prog, carnival keyboards, and mystical jam tactics.

Will there be a better instrumental record than Passion Rift this year? Hell no and a handshake is my answer (and yes, the new Karma to Burn is great, but I like this even more)! Chowder have come full-circle with a record that both sticks to time honored traditions and bravely challenges them. The songs, performances, and boulder tough John Brenner production come together to create a sound like no other. That previous EP was only a hint at what Chowder is capable of, Passion Rift is a proud capitalization on years of hard work. If you like classic prog and instrumental music in general and don’t buy this, you’re a damn fool! Highly recommended for adventurous listeners who enjoy a headful of deep, dark space.

Visit the I, Voidhanger Records website at www.i-voidhanger.com ]]> Reviews Evildeadjay http://www.hellridemusicforums.com/forum//showthread.php?t=25713 http://www.hellridemusicforums.com/forum//showthread.php?t=25712&goto=newpost Tue, 15 May 2012 16:56:36 GMT Image: http://www.decibelmagazine.com/wp-content/uploads/2012/05/killdevilhill_dio_pantera_decibel_2012-572x381.jpg http://www.youtube.com/watch?v=Ex0QvZEdlAQ http://www.killdevilhillmusic.com/

http://www.youtube.com/watch?v=Ex0QvZEdlAQ

http://www.killdevilhillmusic.com/ ]]> Music Keyser Söze http://www.hellridemusicforums.com/forum//showthread.php?t=25712 http://www.hellridemusicforums.com/forum//showthread.php?t=25711&goto=newpost Tue, 15 May 2012 14:12:16 GMT Dark Elite first release "Enter The Void" is now released for free downloading and streaming.

http://www.dark-elite.net ]]> MP3s DarkElite http://www.hellridemusicforums.com/forum//showthread.php?t=25711 http://www.hellridemusicforums.com/forum//showthread.php?t=25710&goto=newpost Tue, 15 May 2012 08:24:13 GMT The deal with Firebox has come to end and now we are searching for a label to put the last Minotauri album out in vinyl format.

I don`t know what`s going on on todays doom "scene" nor which labels are the best, but perhaps you guys could help me with it? ]]> Doom Metal powerviking http://www.hellridemusicforums.com/forum//showthread.php?t=25710 http://www.hellridemusicforums.com/forum//showthread.php?t=25709&goto=newpost Mon, 14 May 2012 21:29:47 GMT I *need *to try this. http://www.synthgear.com/2010/diy/how-to-pirate-a-vinyl-record/ I need to try this.

http://www.synthgear.com/2010/diy/ho...-vinyl-record/ ]]> Against Nature / Revelation Confusion http://www.hellridemusicforums.com/forum//showthread.php?t=25709 http://www.hellridemusicforums.com/forum//showthread.php?t=25708&goto=newpost Mon, 14 May 2012 18:11:27 GMT * Kroh/Fukpig – Split 10” (Devizes Records) By Jay Snyder (jay@hellridemusic.com)* *May 14, 2012* Paul Kenney (formerly of Mistress infamy) brings both of his new projects together on one piece of blood red wax! Each band presents an entirely different outlet for the man’s many idiosyncrasies, and there’s very little in common between the two projects aside from a little industrial malice. I was impressed with Kroh’s S/T LP, in addition to Fukpig’s III, so I’m already excited to dig in, and do a spot of Hellride fact providing for anyone who missed out on either band last time around! Kroh is comprised of simply Francis Anthony on vocals, and Paul Kenney on everything else. They kick off their half of the split with the experimental, mechanized Sabbath stomp doom of “Lucidious,” another success for the band as far as I’m concerned. There’s a surplus of heavy, knuckledragging stoom riffs and grungy low-end buzz welded to girders of melodic, expressively delivered lead vocals as Anthony carves a memorable hook into the electronic beat wall and Iommi-esque riff towers (“Don’t waste your time, it is what it is, your way of life is about to begin.”). The song finishes with a blanketing volley of clean, looping guitar and kraut-y melody massage, further exploring the layered sound introduced by the very first riff, making for a stark contrast between really fuckin’ heavy groove and a softer, introspective touch. “Retribution” is a faster, quicker cut with the band’s stonery doom sensibility taking on a stealth bomber boogie alongside a healthy dose of trance-y drum programming, punked up tempos, pop vocal bliss, esoteric noise guitar dipping into groove riffs while wrangling an almost Swedish bred melody aspect, and energetic bass lines. Both tracks deliver, and cement Kroh as an act to watch; the band’s eccentric tendencies operating on the fringe of the doom and stoner scenes, but committing to neither sound, and instead settling on the riffs and drive of both styles melded with a very unorthodox, unheard of industrial approach. This is not really my normal jam at all, but it’s still very, very, good stuff for the adventurous mindset (let’s just pretend I have one!), and as stellar as anything off their recent full-length! Color me excited to hear another LP’s worth of this awesome music from Paul and Anthony. The blackened, industrial d-beat of Fukpig obviously occupies the other side of the album; Kenney clocking in serious overtime on this release as he plays both 2nd guitar and bass for this depraved trio. They offer up 2 new tracks, along with an alternate mix of “In the Absence of Your Saviour” from their recently released full-length, III. “Docile Subjects” roars in with the concrete tooth grind subtlety of Ministry remixing a Darkthrone/Discharge split 7”. Relentless electronic drumming collides against sickening, distorted vocal vomit, blackened punk riffs, and main guitarist Migg’s vibrant, metal-oriented lead melodies. It’s an off-kilter attack with an overload of sheer rage, sperm, and vitriol fueling the hopeless madness. The alternate take of “In the Absence of Your Saviour” sounds right at home on vinyl, its doomy turns and oddball sound bytes only lending more toxicity to the band’s feral crust darkness. Closing out their side, Fukpig bring rocked-out, Motorhead inspired grooves and precision drum n’ bass breaks to the rampaging, English plague metal heard on “The Prisoner.” Necro fucking punk indeed! Great bands, great split…though this release is hardly for fans of anything traditional. Paul’s taking the templates of classic heavy sounds with both bands, and screwing around with the formulas just enough to concoct something fierce and original. I’ll definitely be spinning this a bunch in the future, and anyone that’s gonzo over plumbing the deepest depths of the UK underground will do well to dig up this artifact and give it a dedicated listen! *http://www.hellridemusic.com/indeximages/skull_spot2.gif Visit the Kroh Facebook website at www.facebook.com/XkrohX * Kroh/Fukpig – Split 10” (Devizes Records)
By Jay Snyder
May 14, 2012

Paul Kenney (formerly of Mistress infamy) brings both of his new projects together on one piece of blood red wax! Each band presents an entirely different outlet for the man’s many idiosyncrasies, and there’s very little in common between the two projects aside from a little industrial malice. I was impressed with Kroh’s S/T LP, in addition to Fukpig’s III, so I’m already excited to dig in, and do a spot of Hellride fact providing for anyone who missed out on either band last time around!

Kroh is comprised of simply Francis Anthony on vocals, and Paul Kenney on everything else. They kick off their half of the split with the experimental, mechanized Sabbath stomp doom of “Lucidious,” another success for the band as far as I’m concerned. There’s a surplus of heavy, knuckledragging stoom riffs and grungy low-end buzz welded to girders of melodic, expressively delivered lead vocals as Anthony carves a memorable hook into the electronic beat wall and Iommi-esque riff towers (“Don’t waste your time, it is what it is, your way of life is about to begin.”). The song finishes with a blanketing volley of clean, looping guitar and kraut-y melody massage, further exploring the layered sound introduced by the very first riff, making for a stark contrast between really fuckin’ heavy groove and a softer, introspective touch. “Retribution” is a faster, quicker cut with the band’s stonery doom sensibility taking on a stealth bomber boogie alongside a healthy dose of trance-y drum programming, punked up tempos, pop vocal bliss, esoteric noise guitar dipping into groove riffs while wrangling an almost Swedish bred melody aspect, and energetic bass lines. Both tracks deliver, and cement Kroh as an act to watch; the band’s eccentric tendencies operating on the fringe of the doom and stoner scenes, but committing to neither sound, and instead settling on the riffs and drive of both styles melded with a very unorthodox, unheard of industrial approach. This is not really my normal jam at all, but it’s still very, very, good stuff for the adventurous mindset (let’s just pretend I have one!), and as stellar as anything off their recent full-length! Color me excited to hear another LP’s worth of this awesome music from Paul and Anthony.

The blackened, industrial d-beat of Fukpig obviously occupies the other side of the album; Kenney clocking in serious overtime on this release as he plays both 2nd guitar and bass for this depraved trio. They offer up 2 new tracks, along with an alternate mix of “In the Absence of Your Saviour” from their recently released full-length, III. “Docile Subjects” roars in with the concrete tooth grind subtlety of Ministry remixing a Darkthrone/Discharge split 7”. Relentless electronic drumming collides against sickening, distorted vocal vomit, blackened punk riffs, and main guitarist Migg’s vibrant, metal-oriented lead melodies. It’s an off-kilter attack with an overload of sheer rage, sperm, and vitriol fueling the hopeless madness. The alternate take of “In the Absence of Your Saviour” sounds right at home on vinyl, its doomy turns and oddball sound bytes only lending more toxicity to the band’s feral crust darkness. Closing out their side, Fukpig bring rocked-out, Motorhead inspired grooves and precision drum n’ bass breaks to the rampaging, English plague metal heard on “The Prisoner.” Necro fucking punk indeed!

Great bands, great split…though this release is hardly for fans of anything traditional. Paul’s taking the templates of classic heavy sounds with both bands, and screwing around with the formulas just enough to concoct something fierce and original. I’ll definitely be spinning this a bunch in the future, and anyone that’s gonzo over plumbing the deepest depths of the UK underground will do well to dig up this artifact and give it a dedicated listen!

Visit the Kroh Facebook website at www.facebook.com/XkrohX ]]> Reviews Evildeadjay http://www.hellridemusicforums.com/forum//showthread.php?t=25708 http://www.hellridemusicforums.com/forum//showthread.php?t=25707&goto=newpost Mon, 14 May 2012 15:12:05 GMT Haven't seen you guys shred it since right before "Hymns" came out. Fuckin' shame on me. Is the Kopec's show with Iron Crown definitely on (5/22)? ]]> The Gates of Slumber Evildeadjay http://www.hellridemusicforums.com/forum//showthread.php?t=25707 http://www.hellridemusicforums.com/forum//showthread.php?t=25706&goto=newpost Mon, 14 May 2012 07:50:02 GMT Some of you may know the band already and perhaps some of ya listen to Oi!-music, so let me introduce the band here.

Started a project few years back and after being featured on international skinhead comp. album, we found ourselves in studio recording our debut album "Skinhead Action" to a german label Oi! Ain`t Red Records. The Cd version came out last year and the Lp version (w/ unreleased bonus tracks aka "politically incorrect" demo) will follow this year.

http://www.youtube.com/watch?v=kly90AMqkNc
http://www.youtube.com/watch?v=wyqAeNd4vcM (Lp bonus)

Earlier this year we recorded a new 7" single titled "Oi! Division Finland", which will be available soon & released by Oi! Ain`t Red Records.
Here`s a sample:
http://www.youtube.com/watch?v=B5Eux...feature=relmfu

-it has a real ugly rac-style cover art, but that`s why we like it.

No politics, just pure Oi! & street level working class populism

Ps. We got a bass player, so it`s a full band now. Perhaps we`ll play live too. ]]> MP3s powerviking http://www.hellridemusicforums.com/forum//showthread.php?t=25706 http://www.hellridemusicforums.com/forum//showthread.php?t=25705&goto=newpost Mon, 14 May 2012 03:49:59 GMT their 30th Anniversary this is the compiled demo output from the SF Legends. BROCAS HELM- DEMONSTRATION OF MIGHT DLP SIDE A -INTO BATTLE DEMO 1983 SIDE B- BLACK DEATH DEMO 1987 SIDE C- HELMS DEEP DEMO 1989 SIDE D - GHOST STORY DEMO EP- 1994 8 PAGE BOOK- Full demo artwork/Lyrics/Pics/Flyers etc.../A3 gig poster Out with Desolation Angels in Late June. Image: http://i48.servimg.com/u/f48/13/08/89/96/brocas10.jpg their 30th Anniversary this is the compiled demo output from the SF Legends.

BROCAS HELM- DEMONSTRATION OF MIGHT DLP

SIDE A -INTO BATTLE DEMO 1983
SIDE B- BLACK DEATH DEMO 1987
SIDE C- HELMS DEEP DEMO 1989
SIDE D - GHOST STORY DEMO EP- 1994

8 PAGE BOOK- Full demo artwork/Lyrics/Pics/Flyers etc.../A3 gig poster
Out with Desolation Angels in Late June.
]]> NWOBHM, Cult and Classic Heavy Metal quietus http://www.hellridemusicforums.com/forum//showthread.php?t=25705