RISING To Solemn Ash Exile on Mainstream Records -
This album was release at the end of 2011. I picked it up as soon as i heard it. I never reviewed it, but i still have been going back to it repeatedly. It is an incredible album. Heavy. And then some more heavy. These dudes mix it up to make every song enjoyable and interesting throughout a whole album. Sometimes they play faster, sometimes they play slower. But each time is immediate and commanding.
The intro to the 2nd Track, "Sea of Basalt", is the quintessential doom beginning. While, RISING remarkably remind me of BLACK SHEEP OF KALI with some HIGH ON FIRE thrown in - say instead of EARTHRIDE, ALUNAH, SAINT VITUS, WITCHFINDER GENERAL type of classic doom - this intro codifies the link that is the loose moniker of 'doom metal'. PARADISE LOST is most certainly an influence here.
MASTODON is another obvious comparison; the vocals especially. But the production of To Solemn Ash is the clear separation. Blood Mountain has that silo approach and pushes everything up front; crisp and with a groove. The tension and dark ambience to RISING's Solemn to Ash - it's pith and life's blood that is so attractive to me - is the restraint, and calculated delivery.
Check out "Hunter's Clown". It has a full minute of a slow and dark adjustments before ripping in with a fierce riff that faster metal bands will admire. The bridge and chorus bring us back to a mid-tempo doom sway that kicks. So these guys can apply a straight NWOBHM in their sound, but it is layered with other influences; i hesitate to call it 'subtle' because it does move to the forefront at times. That influence however never is the sole ingredient, it is layered in among other influences.
Again, when BLACK SHEEP OF KALI released there lp, i was obsessed. And i have been reminded of that specific sound and experience of repeated listens with RISING. These Irish dudes have nailed their sound. To Solemn Ash is mastered by one of my favorite names to see on a recording, hardcore recording vet, Alan Douches. He brings a proper amount of fuzz ("as musicians like to call it..."); the recording is thick and heavy. But, as opposed to BLACK COBRA, it is tight and constrained as it should be. Again, i look to the production sound of BSOK; identical.
"Cohorts Rise" is a slower song. Still heavy, just pointing to that slow doom feel. But at 2:40, the restrained thrash riff breaks into a ride cymbal and slow beat that will get the hair flailing in unison. CANDLEMASS type delivery of tempo.
"Under Callous Wings" is a mammoth of a tune. The key is the rumbling of the floor toms present through out the song. RISING's tone is their greatest asset. It reverberates through each song no matter the initial approach. The dark omniscient feel and pounding drums remind much of KYLESA. Lead guitar gets a great nod in the middle only to climax and having a penury pulse stand in the aftershock. Mid tempo song with a monstrous riff. Very much like "Heir to the Flames" which gets downright evil. They have that KYLESA swirl sound with powerful vocals; but all of the elements are mixed as equal partners that captivate the listener correctly.
your
RISING draw from a number of influences to come out with a refreshing metal sound. The production of this draws out its strengths and balances the delivery to be gritty and punishing. Heavy and dark riffs wrought out to emit a lamenting ambience is the golden core of this beast. enjoy.
FFO: BLACK SHEEP OF KALI, MASTODON, BISON B.C. (less groove - but as formidable), PARADISE LOST (without any melodic singing), BLACK TUSK, HIGH ON FIRE, KYLESA
THE RISING website
FB page
THE RISING bandcamp
take a listen - doommantia review
another review and mp3 embedded
Thursday, June 28, 2012
THE FUSS Demo Review
Holy shit. everyone needs to get on this, stat!! Ferocious hardcore from Chicago. Rich from AWKWARD THOUGHT/RUN LIKE HELL is in this band; but i would not look for that oi feel. This is a tsunami in a speaker.
While the recording is rough, it is important to get it out. And this is done live and sounds like a show. i can only imagine what its like to this blasted directly in front of your helpless eardrums. This is the feral rancor of NFX, SSD and YDI reborn into rage filled spurts. Throw a healthy dose of DISCHARGE and POISON IDEA and you get the picture. Only one of the six tunes is over 2 minutes. Titles like "Golden Calf" and "Hope and Change" let you know that this band will not accept complacence in this present day country.
This is straight up old school US hardcore. THE FUSS utilizes low churning parts to restrain the tension only to be overtaken by blistering drums and frantic chords and pissed screams the rocket through your brain. The drummer is tight and pushes the powerful chords ahead (check the "Opinions" intro). There is now way that you could stand still during this set. There must be fists and feet and bodies everywhere. This music is incendiary to anyone slightly discontented with the atmosphere of the present day.
This is hardcore. cop it. Be aware of a cassette release soon to be unleashed as well.
FFO: PIECE BY PIECE, STICK TOGETHER, COKE BUST, THE RETICENTS (DC), DEATH IN CUSTODY, BOSTON STRANGLER (and all that influenced that), DEFY FALSE AUTHORITY, TRI-STATE KILLING SPREE, REPROACH, VITAMIN X, DEAD NATION.
get the demo
While the recording is rough, it is important to get it out. And this is done live and sounds like a show. i can only imagine what its like to this blasted directly in front of your helpless eardrums. This is the feral rancor of NFX, SSD and YDI reborn into rage filled spurts. Throw a healthy dose of DISCHARGE and POISON IDEA and you get the picture. Only one of the six tunes is over 2 minutes. Titles like "Golden Calf" and "Hope and Change" let you know that this band will not accept complacence in this present day country.
This is straight up old school US hardcore. THE FUSS utilizes low churning parts to restrain the tension only to be overtaken by blistering drums and frantic chords and pissed screams the rocket through your brain. The drummer is tight and pushes the powerful chords ahead (check the "Opinions" intro). There is now way that you could stand still during this set. There must be fists and feet and bodies everywhere. This music is incendiary to anyone slightly discontented with the atmosphere of the present day.
This is hardcore. cop it. Be aware of a cassette release soon to be unleashed as well.
FFO: PIECE BY PIECE, STICK TOGETHER, COKE BUST, THE RETICENTS (DC), DEATH IN CUSTODY, BOSTON STRANGLER (and all that influenced that), DEFY FALSE AUTHORITY, TRI-STATE KILLING SPREE, REPROACH, VITAMIN X, DEAD NATION.
get the demo
Labels:
2012,
awkward thought,
chicago,
demo,
hardcore,
punk,
review,
run like hell,
the fuss
STICK TOGETHER "Surviving the Times" 7" Review
STICK TOGETHER Surviving the Times Triple B Records -
Chaotic, vengeful, scathing hardcore. 6 vicious tracks are unleashed by STICK TOGETHER on their 2nd ep. Dude is rocking a CHAIN OF STRENGTH shirt, which is an obvious influence. STICK TOGETHER do not simply live in the realm of rehashed youth crew though. Their songs are comparable to the short bursts of rage contemporaries like ATTITUDE, INTERNAL AFFAIRS and WORD FOR WORD.
"View of One"
Fast, chaotic, double time pounding. Feedback and noise fuel an angry opener.
"Take the Pain"
this tune especially harder, heavier tracks that almost hit COKE BUST level darkness and speed; which is rather cool. Lyrics are unforgiving towards drug users: "No More second chances"
"Let Me Live"
is a bad ass song; straight forward 4/4 time until a rigorous breakdown that must stir the kids nuts. This is classic hardcore.
"Surviving the Times"
is a slow plodding romp for the dudes to show off there mosh moves. Seems like an extended intro joint; good feel a la RIGHTEOUS JAMS and THE RIVAL MOB.
"End It"
a quick NYHC feel riff yields to a bullet of a beat. The second half transforms to swinging groove of anti-racist words gets the fists clenched and heads moving.
"Drugs Suck"
fuck subtlities this is hardcore. fast and to the point. 88 NYHC feel here with a sweet breakdown at the end.
BOTTOM LINE:
STICK TOGETHER write fast 90 second songs (mostly) to incite the youth and get the dance floor moving. To the point lyrics of disgust and anger are shouted loudly. The music is propelled by charging drums with strong riffs. Pile-ons ensue.
FFO: ATTITUDE (buffalo), 2K Boston Bands: THE RIVAL MOB, RIGHTEOUS JAMS, MENTAL, etc; SIDE BY SIDE, BOLD, CHAIN OF STRENGTH.
STFB
Triple B Records
Chaotic, vengeful, scathing hardcore. 6 vicious tracks are unleashed by STICK TOGETHER on their 2nd ep. Dude is rocking a CHAIN OF STRENGTH shirt, which is an obvious influence. STICK TOGETHER do not simply live in the realm of rehashed youth crew though. Their songs are comparable to the short bursts of rage contemporaries like ATTITUDE, INTERNAL AFFAIRS and WORD FOR WORD.
"View of One"
Fast, chaotic, double time pounding. Feedback and noise fuel an angry opener.
"Take the Pain"
this tune especially harder, heavier tracks that almost hit COKE BUST level darkness and speed; which is rather cool. Lyrics are unforgiving towards drug users: "No More second chances"
"Let Me Live"
is a bad ass song; straight forward 4/4 time until a rigorous breakdown that must stir the kids nuts. This is classic hardcore.
"Surviving the Times"
is a slow plodding romp for the dudes to show off there mosh moves. Seems like an extended intro joint; good feel a la RIGHTEOUS JAMS and THE RIVAL MOB.
"End It"
a quick NYHC feel riff yields to a bullet of a beat. The second half transforms to swinging groove of anti-racist words gets the fists clenched and heads moving.
"Drugs Suck"
fuck subtlities this is hardcore. fast and to the point. 88 NYHC feel here with a sweet breakdown at the end.
BOTTOM LINE:
STICK TOGETHER write fast 90 second songs (mostly) to incite the youth and get the dance floor moving. To the point lyrics of disgust and anger are shouted loudly. The music is propelled by charging drums with strong riffs. Pile-ons ensue.
FFO: ATTITUDE (buffalo), 2K Boston Bands: THE RIVAL MOB, RIGHTEOUS JAMS, MENTAL, etc; SIDE BY SIDE, BOLD, CHAIN OF STRENGTH.
STFB
Triple B Records
Labels:
7
Monday, June 25, 2012
PELICAN Interview for Hails and Horns Magazine
here is the interview that i did for HAILS & HORNS Magazine. it was fun and i love this band.
FROM ASHES RISE 7" Review
FROM ASHES RISE Rejoice The End/Rage Of Sanity 7" southern lord
So. obviously the world stops and takes notice when FROM ASHES RISE releases any music. And that is the news i bring. I felt a little disappointment from the fact that this will only be a 7". my stomach rolls more when i hear that it is only two new songs on that 7 inch circle of vinyl. But i am a miserable prick.
the optimist standing next to me says, "better the 2 songs than none at all". "This is true," i begrudgingly acknowledge. "But it would be cooler if it were 3 songs" i cynically add. because i realize that the acrimonious package of grit and fire, Nightmares on Jade Tree, was released in 2003. that is 9 long years of no new material. 9 frigging years.
the inevitable question arises, "how do they sound?" well, differently is my response. and this is why i wish i had a full length. Could this be a teaser; a la Reaper or Bridge 9 - when they release a MADBALL, AG FRONT, TERROR style seven inch whose songs will appear on an upcoming full length? That question has not yet been answer. this is more important with these two songs because they do sound differently.
these slower, cleaner songs are not different from some past tunes of FROM ASHES RISE; but out of context - not being placed as a lull in the 40 minute speed frenzy of the usual album - they feel quite different from the known FROM ASHES RISES song.
as i listen to these 2 songs again for about the 10th time each, and have gone back to crank older FROM ASHES RISE; they may not be as foreign to the FROM ASHES RISE sound as my initial impression.
"Rejoice the End" this song begins with a typical FROM ASHES RISE rumble. it begins looming. The menace approaching chills you as a black storm cloud on the horizon would a hiker lost in the woods. This song never reaches the speed or heaviness of the band's earlier albums. and that is the impetus for my surprise. However, this tune still is delivered with familiar ferocity and urgency. Listening to this repeatedly and eschewing expectations, I realized the darkness still inherent. The key to the sound of this is the battering of the drums and the small melodic hook of the guitar among the chaotic, loose, thick riffs. Again, i think after full side of an LP, this song would flow fine with their sound, allowing a breather. You can catch the climactic pummeling unleashed upon the ears after the second break. A good solid groove of a riff is carried throughout the song. And the strained screamed vocals surely still secure this song's place in FROM ASHES RISE discography.
"Rage of Society" MOTORHEAD. plain and simple. they put their twist on the sound; it still sounds like a FROM ASHES RISE song. but this is the mandatory d-beat/crust full steam ahead nod to Lemmy & Co. It pushes at 3/4 speed of a usual FROM ASHES RISE song. it certainly rips. Vocals screech in anger demanding vengeance for another of society's selfish mistakes. There is a melody in the break that stamps FAR's sound on it. A great rock and roll feel to this joint will get the kids chanting along to the chorus.
Southern Lord, again, cannot release a bad album. The offer quite the gamut in their sonic offerings; and despite some major variety, the ear of Greg Anderson is on point each time.
FFO: TRAGEDY, VICTIMS, HIS HERO IS GONE, CURSED, DISFEAR, WOLFBRIGADE, MOTORHEAD, GBH, DISCHARGE, THE EXPLOITED, (1st) BATHORY ...but you knew all of these. TOUCH BASE: FAR FB FAR audio Southern Lord
So. obviously the world stops and takes notice when FROM ASHES RISE releases any music. And that is the news i bring. I felt a little disappointment from the fact that this will only be a 7". my stomach rolls more when i hear that it is only two new songs on that 7 inch circle of vinyl. But i am a miserable prick.
the optimist standing next to me says, "better the 2 songs than none at all". "This is true," i begrudgingly acknowledge. "But it would be cooler if it were 3 songs" i cynically add. because i realize that the acrimonious package of grit and fire, Nightmares on Jade Tree, was released in 2003. that is 9 long years of no new material. 9 frigging years.
the inevitable question arises, "how do they sound?" well, differently is my response. and this is why i wish i had a full length. Could this be a teaser; a la Reaper or Bridge 9 - when they release a MADBALL, AG FRONT, TERROR style seven inch whose songs will appear on an upcoming full length? That question has not yet been answer. this is more important with these two songs because they do sound differently.
these slower, cleaner songs are not different from some past tunes of FROM ASHES RISE; but out of context - not being placed as a lull in the 40 minute speed frenzy of the usual album - they feel quite different from the known FROM ASHES RISES song.
as i listen to these 2 songs again for about the 10th time each, and have gone back to crank older FROM ASHES RISE; they may not be as foreign to the FROM ASHES RISE sound as my initial impression.
"Rejoice the End" this song begins with a typical FROM ASHES RISE rumble. it begins looming. The menace approaching chills you as a black storm cloud on the horizon would a hiker lost in the woods. This song never reaches the speed or heaviness of the band's earlier albums. and that is the impetus for my surprise. However, this tune still is delivered with familiar ferocity and urgency. Listening to this repeatedly and eschewing expectations, I realized the darkness still inherent. The key to the sound of this is the battering of the drums and the small melodic hook of the guitar among the chaotic, loose, thick riffs. Again, i think after full side of an LP, this song would flow fine with their sound, allowing a breather. You can catch the climactic pummeling unleashed upon the ears after the second break. A good solid groove of a riff is carried throughout the song. And the strained screamed vocals surely still secure this song's place in FROM ASHES RISE discography.
"Rage of Society" MOTORHEAD. plain and simple. they put their twist on the sound; it still sounds like a FROM ASHES RISE song. but this is the mandatory d-beat/crust full steam ahead nod to Lemmy & Co. It pushes at 3/4 speed of a usual FROM ASHES RISE song. it certainly rips. Vocals screech in anger demanding vengeance for another of society's selfish mistakes. There is a melody in the break that stamps FAR's sound on it. A great rock and roll feel to this joint will get the kids chanting along to the chorus.
Southern Lord, again, cannot release a bad album. The offer quite the gamut in their sonic offerings; and despite some major variety, the ear of Greg Anderson is on point each time.
FFO: TRAGEDY, VICTIMS, HIS HERO IS GONE, CURSED, DISFEAR, WOLFBRIGADE, MOTORHEAD, GBH, DISCHARGE, THE EXPLOITED, (1st) BATHORY ...but you knew all of these. TOUCH BASE: FAR FB FAR audio Southern Lord
Labels:
2012,
7 inch,
crust,
dbeat,
from ashes rise,
hardcore,
punk,
review,
Southern Lord
Thursday, June 21, 2012
Wednesday, June 20, 2012
VISE MASSACRE "Expendable Humans" LP Review
VISE MASSACRE - Expendable Humans - Gorilla the Horse Records
admittedly, when i saw the VISE MASSACRE logo - i thought "too metal for me". But i was refreshingly surprised. There is a lot going on here, influence wise. They handle the balancing of these many spinning plates with ease, so enjoy the talented spectacle. The first thing that hits me is the vocals; they sound a lot like COALESCE, but just on the side of palatable. But then the ugly, dark rhythms come to the surface and i realize that the music is very COALESCE as well. - halfway through the 90 second opener, we get a COALESCE type drudgery.
But this isn't total COALESCE emulation; in fact far from it. this is only one aspect. Take a feast at a jam like "Eyes of Fire" - it starts out exactly like recent SICK OF IT ALL then has a black metal ending. Then the next song is a thrash-core bouncy intro into a discordant swaying groove. 2 songs later, "Something Like Silence" - an epic at 3:10 - has a dark SOIA sound to it as well.
I think this band shows that they are Brooklyn. You can't help but get influenced by many factors. Think of Brooklyn - LIFE OF AGONY to BIOHAZARD to MERAUDER to CARNIVORE to INHUMAN to SHUTDOWN to MOST PRECIOUS BLOOD. all different but a mix of metal and hardcore; all embraced.
speaking of, yes, the INDECISION album Release the Cure is probably the most obvious reference along side HELLMOUTH from Detroit. That said - it comes just a hair short delivering the punch of RTC (which is a 5/5 classic) due to the production and amazing talent of INDECISION. but i bet these dudes could grow into that realm in an album or two. this entire LP is rather incredible - and i have this on half volume on my crappy work headphones... but with a song like "Internal War" - i feel the production is slightly muddled - i just want it a touch crisper. This whole album has a foundation of astounding power.
The end of "Internal War" has a cool metal guitar lead/noise part. Then into "Shark Intentions" with a screaming devastating first half of energy and terror. Very cool. and impressive. These dudes are talented and passionate.
"Winter Kills" is unrelenting for 1:42 of punishing 4/4 snare punches and low tuned misery. "MTA" can keep it mid-paced and incorporate a playful bandy between instruments' levels while having a grooved breakdown. While "Brain Decay" and "...Silence" incorporates more difficult song structure into the writing.
Now i come from hardcore first and foremost. so i am appreciating the thrash infused crossover short hammering tunes. but i can see where a metal dude, might be confused by all the chaos and clamoring (or simply not enjoy it)...
e.g.,:
"Although it’s fairly thrashy and abrasive, there’s no mistaking that this is pure hardcore with similarities to vets of the past like Cryptic Slaughter, Cro-Mags and Sick of It All. It’s all short bursts of fast, chunky punk rage, with most songs (fourteen of em) clocking in at, or under, two minutes." - angrymetalguy.com he goes on to give this a 2.0/5.0
BOTTOM LINE: These dudes clear have the immediacy of hardcore with a rush of sound and rage; but can't suppress the metal adoration of complex structures (which is good) Angry - heavy as hell - fast - feral vocals - chaotic - i am happy to hear some mix metal and hardcore and sound like the mentioned bands rather then another TRAP THEM, NAILS, APMD, EVERYTHING WENT BLACK clone.
INSPIRED BY: COALESCE, SEPULTURA, SICK OF IT ALL, GOJIRA, HELLMOUTH, SNAPCASE (if they were evil); SOIA, DEATHCYCLE; INDECISION; CONVERGE;
admittedly, when i saw the VISE MASSACRE logo - i thought "too metal for me". But i was refreshingly surprised. There is a lot going on here, influence wise. They handle the balancing of these many spinning plates with ease, so enjoy the talented spectacle. The first thing that hits me is the vocals; they sound a lot like COALESCE, but just on the side of palatable. But then the ugly, dark rhythms come to the surface and i realize that the music is very COALESCE as well. - halfway through the 90 second opener, we get a COALESCE type drudgery.
But this isn't total COALESCE emulation; in fact far from it. this is only one aspect. Take a feast at a jam like "Eyes of Fire" - it starts out exactly like recent SICK OF IT ALL then has a black metal ending. Then the next song is a thrash-core bouncy intro into a discordant swaying groove. 2 songs later, "Something Like Silence" - an epic at 3:10 - has a dark SOIA sound to it as well.
I think this band shows that they are Brooklyn. You can't help but get influenced by many factors. Think of Brooklyn - LIFE OF AGONY to BIOHAZARD to MERAUDER to CARNIVORE to INHUMAN to SHUTDOWN to MOST PRECIOUS BLOOD. all different but a mix of metal and hardcore; all embraced.
speaking of, yes, the INDECISION album Release the Cure is probably the most obvious reference along side HELLMOUTH from Detroit. That said - it comes just a hair short delivering the punch of RTC (which is a 5/5 classic) due to the production and amazing talent of INDECISION. but i bet these dudes could grow into that realm in an album or two. this entire LP is rather incredible - and i have this on half volume on my crappy work headphones... but with a song like "Internal War" - i feel the production is slightly muddled - i just want it a touch crisper. This whole album has a foundation of astounding power.
The end of "Internal War" has a cool metal guitar lead/noise part. Then into "Shark Intentions" with a screaming devastating first half of energy and terror. Very cool. and impressive. These dudes are talented and passionate.
"Winter Kills" is unrelenting for 1:42 of punishing 4/4 snare punches and low tuned misery. "MTA" can keep it mid-paced and incorporate a playful bandy between instruments' levels while having a grooved breakdown. While "Brain Decay" and "...Silence" incorporates more difficult song structure into the writing.
Now i come from hardcore first and foremost. so i am appreciating the thrash infused crossover short hammering tunes. but i can see where a metal dude, might be confused by all the chaos and clamoring (or simply not enjoy it)...
e.g.,:
"Although it’s fairly thrashy and abrasive, there’s no mistaking that this is pure hardcore with similarities to vets of the past like Cryptic Slaughter, Cro-Mags and Sick of It All. It’s all short bursts of fast, chunky punk rage, with most songs (fourteen of em) clocking in at, or under, two minutes." - angrymetalguy.com he goes on to give this a 2.0/5.0
BOTTOM LINE: These dudes clear have the immediacy of hardcore with a rush of sound and rage; but can't suppress the metal adoration of complex structures (which is good) Angry - heavy as hell - fast - feral vocals - chaotic - i am happy to hear some mix metal and hardcore and sound like the mentioned bands rather then another TRAP THEM, NAILS, APMD, EVERYTHING WENT BLACK clone.
INSPIRED BY: COALESCE, SEPULTURA, SICK OF IT ALL, GOJIRA, HELLMOUTH, SNAPCASE (if they were evil); SOIA, DEATHCYCLE; INDECISION; CONVERGE;
MADBALL Rebellion 7" review
MADBALL - Rebellion - BnB Label
the opening bass line is ominous; lingering and low. A true NYHC sound like a heavy JUDGE line about to bring the storm. MADBALL brings 4 brand new songs and 2 oldies. The big question since RIGGS left is what up with a drummer. MACKIE lasted a minute, Weinberg didn't make the cut on tour... well the new kid, IGOR, is holding it down. tight. We get some killer fastbreaks and two step parts and of course breakdowns. MITTS and HOYA been killing it as they hone the MADBALL sound over the last 3 LPs. Legacy was so insanely good. Infiltrate the System and Empire (my review) were rather brutal for pits everywhere worldwide. So this is the same NYHC sound. There is a fresh element; focused and rejuvenated. FREDDY's lyrics continue to mature and his production ear is phenomenal. His work with ERIK RUTAN on Empire and AGNOSTIC FRONT's My Life, My Way (my review)
"Reap What You Sow"
that creepy crawl NYHC looming sound starts us out into a fast break that will incite pure melee on the floor. FREDDY continues his introspective lyrics of perspective; which may or may not be about a certain apologetic foe. Mid-song that bass line comes back to distill the pit to the true old school dudes. The rolling bass drums let you know MADBALL is in full swing.
"The Beast"
LISTEN HERE
a ripping riff that comes into that hardcore hip hop bounce MADBALL is known for (and pretty much created). Guitar elements of a LEEWAY or NYHC cross over comes in but the drums push the rhythm dead set ahead. The song is short and manages to balance the windmill sections and the fast ahead old school style.
"Rebellion"
an opening riff that MATT HENDERSON would be proud of, dips into an even heavier sound once the lyrics kick in. Another great HOYA bass line is the center piece here. The song commands the rebels and outcasts to eschew the fetters of society and "take charge". The breakdown in this song is vicious i expect venues will be shaken and crashed during this ending. "Blood"
shows a slight different sound and influence. A chord progression and tuning is something not from the MADBALL mold. But with the arrangement and drum beats - it fits quite well and is cool.
"Get Out/My Life"
re-recorded classic and they sound awesome.
This is done DIY on the new FREDDY imprint, BnB Label. Which is why i assume the digital is out... but we are still waiting on that REAPER Records vinyl. MITTS is kicking ass at the helm of guitars here; i love what he is doing. FREDDY's voice is as intimidating and as strong as ever. HOYA gets some spotlight. and IGOR, again, is fitting right in.
listen today:
listen at spotfiy
emusic
keep checking for vinyl:
REAPER
the opening bass line is ominous; lingering and low. A true NYHC sound like a heavy JUDGE line about to bring the storm. MADBALL brings 4 brand new songs and 2 oldies. The big question since RIGGS left is what up with a drummer. MACKIE lasted a minute, Weinberg didn't make the cut on tour... well the new kid, IGOR, is holding it down. tight. We get some killer fastbreaks and two step parts and of course breakdowns. MITTS and HOYA been killing it as they hone the MADBALL sound over the last 3 LPs. Legacy was so insanely good. Infiltrate the System and Empire (my review) were rather brutal for pits everywhere worldwide. So this is the same NYHC sound. There is a fresh element; focused and rejuvenated. FREDDY's lyrics continue to mature and his production ear is phenomenal. His work with ERIK RUTAN on Empire and AGNOSTIC FRONT's My Life, My Way (my review)
"Reap What You Sow"
that creepy crawl NYHC looming sound starts us out into a fast break that will incite pure melee on the floor. FREDDY continues his introspective lyrics of perspective; which may or may not be about a certain apologetic foe. Mid-song that bass line comes back to distill the pit to the true old school dudes. The rolling bass drums let you know MADBALL is in full swing.
"The Beast"
LISTEN HERE
a ripping riff that comes into that hardcore hip hop bounce MADBALL is known for (and pretty much created). Guitar elements of a LEEWAY or NYHC cross over comes in but the drums push the rhythm dead set ahead. The song is short and manages to balance the windmill sections and the fast ahead old school style.
"Rebellion"
an opening riff that MATT HENDERSON would be proud of, dips into an even heavier sound once the lyrics kick in. Another great HOYA bass line is the center piece here. The song commands the rebels and outcasts to eschew the fetters of society and "take charge". The breakdown in this song is vicious i expect venues will be shaken and crashed during this ending. "Blood"
shows a slight different sound and influence. A chord progression and tuning is something not from the MADBALL mold. But with the arrangement and drum beats - it fits quite well and is cool.
"Get Out/My Life"
re-recorded classic and they sound awesome.
This is done DIY on the new FREDDY imprint, BnB Label. Which is why i assume the digital is out... but we are still waiting on that REAPER Records vinyl. MITTS is kicking ass at the helm of guitars here; i love what he is doing. FREDDY's voice is as intimidating and as strong as ever. HOYA gets some spotlight. and IGOR, again, is fitting right in.
listen today:
listen at spotfiy
emusic
keep checking for vinyl:
REAPER
Labels:
2012,
7 inch,
AF,
agnostic front,
BnB,
freddy madball,
madball,
reaper records,
review
a true Police Story...
POLICE STORY
THIS IS A TRUE STORY…
It was April. It had to be the 14th, because it was when I was wrapped shooting Murder University; but before tax time. So, it was Josh and Nicole’s wedding day, the 14th. Since the first and only winter storm of 2012 in Rhode Island, I had been shooting 10 -14 hour days each Saturday and Sunday on the film. Additionally to my restricted weekends, I work in an office chained to a computer past dark winter dusks.
On the 14th of April, I felt free. I have been officially unfettered for my weekends. Now I had to be in the Cape, but seeing good friends at an open bar is equal to freedom. The kick to the shin had been that when I went to do my taxes on line, I had discovered that my Social Security Number had been attained by a cyber thief. Identity theft was the term used. I have had my debit card stolen four times; but this was more frightening.
But after meeting with a CPA in East Providence on this specific sunny Saturday, I felt liberated. This accountant had remedied my rampart with the IRS. I had nowhere to be for a few hours. I had been catapulted into a day now boasting a thermometer reading in the high 70’s. and I was driving; something I was still getting used to as the past New Year’s Eve was my purchase of a car; which I had not had for two and a half years. Oh, and this new car has a Bose system.
Sun? check. Solitude? Check. Speakers, of the bad ass variety? Check. Open Schedule? Check.
I was driving North on Broadway over Waterman Ave. I kept going through EP, realizing that I could have gone about 5 different ways that would have been shorter. But fuck it. It is a gorgeous, warm day and I am unrestricted in my traversing abilities. Now, for those unfamiliar; Broadway is a route. It is a commercial causeway with no residences, most days of the past two decades crippled under construction. So, I adjusted my stereo up to 40, its peak number of volume. DEATH THREAT was the band of choice; God and Government was the album. This album gets me pumped; hardcore with a punk edge, made for sing-a-longs.
I went down Broadway amongst the tractor trailer smog releasing pipes and cantankerous horns. The jackhammers were absent, but businesses and automobiles relieved their burden. My pointed fingers were lifted from the steering wheel to emphasize the important refrains of DEATH THREAT. Shouting the important phrases of rebellion filled my small sized cockpit. I drive across route 44 and approached the empty field that cradles the small no exit bridge that goes east into providence’s Wayland Square.
Technically, this is a bridge and a highway, despite its ¾ mile length. My screaming reached its acme as I was on the bridge over the water, void of others’ ears to care about. I was most likely travelling at about 65 mph and riding the ecstasy of an unsheathed sun and inconsequential singing. A combination of early summer weather and hardcore music is quite the endorphin rush.
I pull off the short bridge and quickly am dropped into a few blocks of upscale residences and posh shops. I hit a green light on the first stop enabling my speed and autonomy. A small amount of traffic and my recognition of many pedestrians pushed my foot on the brake. My car slowed, but I felt as independent as prior routes due to my singing freely to my favorite song, “Broke and Bummed Out”.
I pulled up to the red light at the first major five way intersection and most likely the busiest one. I was in idle; giddy and bouncing to the pulsating rhythms of the deep bass and crisp drums. Out of the corner of my right eye, I felt an imposing presence. I reluctantly and slowly moved my head. As I peered across my empty passenger seat, I noticed a waving hand; slightly above me, dangling from an elevated seat of a large SUV.
My mind spoke to my body, “ignore…”. I am, however, a considerate individual. So I looked to make eye contact. A look of disdain ravaged this man’s face as his lips moved in futility to state words that my ears would not hear over the Bose speakers proud abilities. My finger reached to power button. With a complete deflating of my excitement, I turned my music off.
My elation had been vacuumed out of me and I am sure my face reflected this acrimony. Through my clamoring thoughts, I eventually heard his disappointed scolding.
“You can’t do that,” he spat.
“What?”
He then extended his left arm past his side mirror and flipped open a wallet like folder that showed two sides with white papers that had some sort of print on it.
“Uh,… your music. Stop blaring your music”.
“What?”
“Stop blaring your music! People don’t want to hear that.” He shook his discouraging face, as he put his wallet back into his lap inside his truck.
“I cant’ blare my music?” I sternly asked in a mocking tone.
“People don’t want to hear that”. His frustration was obvious.
“So I can listen to it, I just can’t ‘blare’ it?” I repeated.
At this point the light had turned green. I threw my car in neutral and sat still.
Hoping to emphasize that if he just tolerated the 60 seconds of loud tunes that it would be over by now, I took my hands off of the wheel and leaned in closer to my open passenger window that was fixed between us.
“yes. Do not blare your music,” he repeated.
“Well, how loud is blaring?” I immediately asked. It seemed logical to me to inquire how to translate his glaringly obvious relative term that he tried to utilize to constrain me.
His face sank with grinding teeth and bitten tongue like an indignant father to an obstinate 5 year old having a tantrum. Clearly, such a subjective term, relating to a volume regulated device driven by digits, needs to be formatted in a regimented nomenclature. But he did not agree with my interpretation as proven by his shaking head.
“Really?” a pause of disbelief breathed in between his dry statements look, “just turn it down”.
“And what was that paper you flashed at me?”
He again paused as the horns of cars that did not drive around me honked from behind as the red light took its noble stance again above us. This is also when I noticed that he was parked at the corner of the sidewalk where no parking space is designated. This triggered a feeling of superiority despite is intimidating retort. “State Police” he stated firmly.
“Now just go” he exclaimed as the light turned green again and I pondered whether to point out his legal infraction of a no parking zone or that if he just let me go that I could have been gone long ago. I hesitated slightly, but put my car into gear and seethed at the families looking to cross in front of me.
I drove off at a medium pace. I was appalled. I was silenced. I was bewildered. I am a purveyor of logic. Detached from emotion or any personal affront, I would like to simply ask: “what the fuck, man?!?”. Fo real? Clearly if he had just let me pass then the duration of my belligerent aural attack would have lasted an entire 30 seconds. I will however concede to his point of “people do not want to hear that”. He has no consideration for that simple fact that I just got off of a highway, for argument’s sake. Obviously, I was driving open and free and only have to dip through this pretentious neighborhood momentarily until I am plunged into the downtown area. I would have been a minimal imposition at most.
Regardless of my astonishment, I will succumb to his declaration to defend the eardrums of the delicate, uppity neighborhood. What does he do when some obnoxious business man gets in an argument with a client on a cell phone in the crosswalk? What about when one of these bored housewives mismanages their 3 year old’s disposition and the annoying twit has a blaring tantrum for all to hear? Madness. Simple madness. And that whole flash of a badge thing. Fuck you. You are off duty, you are parked illegally and you are just an arrogant dick. I didn’t see any legible print. It was paper. And then you get offended when I asked what it represented; as if I should have memorized all forms of state official patterns? At least when I watch the X-Files they have big blue undeniable letter: “FBI”. I saw nothing resembling “P-O-L-I-C-E”. What a cocky prick.
All this for music. All this for feeling good. The stores had their doors open, blaring their banal audio assault. If I was walking on the sidewalk, could I flag him down and ask him to approach a manager on my behalf? Bullshit. He is blindly dedicated to protecting this rich-ass community nestled amongst the Starbucks and crosswalks. I often to think of visiting this area because they have independently owned shops but fuck them. If I can’t be myself amongst that community than I have no desire to support them. Hypocrites.
A.C.A.B.-
hutch
THIS IS A TRUE STORY…
It was April. It had to be the 14th, because it was when I was wrapped shooting Murder University; but before tax time. So, it was Josh and Nicole’s wedding day, the 14th. Since the first and only winter storm of 2012 in Rhode Island, I had been shooting 10 -14 hour days each Saturday and Sunday on the film. Additionally to my restricted weekends, I work in an office chained to a computer past dark winter dusks.
On the 14th of April, I felt free. I have been officially unfettered for my weekends. Now I had to be in the Cape, but seeing good friends at an open bar is equal to freedom. The kick to the shin had been that when I went to do my taxes on line, I had discovered that my Social Security Number had been attained by a cyber thief. Identity theft was the term used. I have had my debit card stolen four times; but this was more frightening.
But after meeting with a CPA in East Providence on this specific sunny Saturday, I felt liberated. This accountant had remedied my rampart with the IRS. I had nowhere to be for a few hours. I had been catapulted into a day now boasting a thermometer reading in the high 70’s. and I was driving; something I was still getting used to as the past New Year’s Eve was my purchase of a car; which I had not had for two and a half years. Oh, and this new car has a Bose system.
Sun? check. Solitude? Check. Speakers, of the bad ass variety? Check. Open Schedule? Check.
I was driving North on Broadway over Waterman Ave. I kept going through EP, realizing that I could have gone about 5 different ways that would have been shorter. But fuck it. It is a gorgeous, warm day and I am unrestricted in my traversing abilities. Now, for those unfamiliar; Broadway is a route. It is a commercial causeway with no residences, most days of the past two decades crippled under construction. So, I adjusted my stereo up to 40, its peak number of volume. DEATH THREAT was the band of choice; God and Government was the album. This album gets me pumped; hardcore with a punk edge, made for sing-a-longs.
I went down Broadway amongst the tractor trailer smog releasing pipes and cantankerous horns. The jackhammers were absent, but businesses and automobiles relieved their burden. My pointed fingers were lifted from the steering wheel to emphasize the important refrains of DEATH THREAT. Shouting the important phrases of rebellion filled my small sized cockpit. I drive across route 44 and approached the empty field that cradles the small no exit bridge that goes east into providence’s Wayland Square.
Technically, this is a bridge and a highway, despite its ¾ mile length. My screaming reached its acme as I was on the bridge over the water, void of others’ ears to care about. I was most likely travelling at about 65 mph and riding the ecstasy of an unsheathed sun and inconsequential singing. A combination of early summer weather and hardcore music is quite the endorphin rush.
I pull off the short bridge and quickly am dropped into a few blocks of upscale residences and posh shops. I hit a green light on the first stop enabling my speed and autonomy. A small amount of traffic and my recognition of many pedestrians pushed my foot on the brake. My car slowed, but I felt as independent as prior routes due to my singing freely to my favorite song, “Broke and Bummed Out”.
I pulled up to the red light at the first major five way intersection and most likely the busiest one. I was in idle; giddy and bouncing to the pulsating rhythms of the deep bass and crisp drums. Out of the corner of my right eye, I felt an imposing presence. I reluctantly and slowly moved my head. As I peered across my empty passenger seat, I noticed a waving hand; slightly above me, dangling from an elevated seat of a large SUV.
My mind spoke to my body, “ignore…”. I am, however, a considerate individual. So I looked to make eye contact. A look of disdain ravaged this man’s face as his lips moved in futility to state words that my ears would not hear over the Bose speakers proud abilities. My finger reached to power button. With a complete deflating of my excitement, I turned my music off.
My elation had been vacuumed out of me and I am sure my face reflected this acrimony. Through my clamoring thoughts, I eventually heard his disappointed scolding.
“You can’t do that,” he spat.
“What?”
He then extended his left arm past his side mirror and flipped open a wallet like folder that showed two sides with white papers that had some sort of print on it.
“Uh,… your music. Stop blaring your music”.
“What?”
“Stop blaring your music! People don’t want to hear that.” He shook his discouraging face, as he put his wallet back into his lap inside his truck.
“I cant’ blare my music?” I sternly asked in a mocking tone.
“People don’t want to hear that”. His frustration was obvious.
“So I can listen to it, I just can’t ‘blare’ it?” I repeated.
At this point the light had turned green. I threw my car in neutral and sat still.
Hoping to emphasize that if he just tolerated the 60 seconds of loud tunes that it would be over by now, I took my hands off of the wheel and leaned in closer to my open passenger window that was fixed between us.
“yes. Do not blare your music,” he repeated.
“Well, how loud is blaring?” I immediately asked. It seemed logical to me to inquire how to translate his glaringly obvious relative term that he tried to utilize to constrain me.
His face sank with grinding teeth and bitten tongue like an indignant father to an obstinate 5 year old having a tantrum. Clearly, such a subjective term, relating to a volume regulated device driven by digits, needs to be formatted in a regimented nomenclature. But he did not agree with my interpretation as proven by his shaking head.
“Really?” a pause of disbelief breathed in between his dry statements look, “just turn it down”.
“And what was that paper you flashed at me?”
He again paused as the horns of cars that did not drive around me honked from behind as the red light took its noble stance again above us. This is also when I noticed that he was parked at the corner of the sidewalk where no parking space is designated. This triggered a feeling of superiority despite is intimidating retort. “State Police” he stated firmly.
“Now just go” he exclaimed as the light turned green again and I pondered whether to point out his legal infraction of a no parking zone or that if he just let me go that I could have been gone long ago. I hesitated slightly, but put my car into gear and seethed at the families looking to cross in front of me.
I drove off at a medium pace. I was appalled. I was silenced. I was bewildered. I am a purveyor of logic. Detached from emotion or any personal affront, I would like to simply ask: “what the fuck, man?!?”. Fo real? Clearly if he had just let me pass then the duration of my belligerent aural attack would have lasted an entire 30 seconds. I will however concede to his point of “people do not want to hear that”. He has no consideration for that simple fact that I just got off of a highway, for argument’s sake. Obviously, I was driving open and free and only have to dip through this pretentious neighborhood momentarily until I am plunged into the downtown area. I would have been a minimal imposition at most.
Regardless of my astonishment, I will succumb to his declaration to defend the eardrums of the delicate, uppity neighborhood. What does he do when some obnoxious business man gets in an argument with a client on a cell phone in the crosswalk? What about when one of these bored housewives mismanages their 3 year old’s disposition and the annoying twit has a blaring tantrum for all to hear? Madness. Simple madness. And that whole flash of a badge thing. Fuck you. You are off duty, you are parked illegally and you are just an arrogant dick. I didn’t see any legible print. It was paper. And then you get offended when I asked what it represented; as if I should have memorized all forms of state official patterns? At least when I watch the X-Files they have big blue undeniable letter: “FBI”. I saw nothing resembling “P-O-L-I-C-E”. What a cocky prick.
All this for music. All this for feeling good. The stores had their doors open, blaring their banal audio assault. If I was walking on the sidewalk, could I flag him down and ask him to approach a manager on my behalf? Bullshit. He is blindly dedicated to protecting this rich-ass community nestled amongst the Starbucks and crosswalks. I often to think of visiting this area because they have independently owned shops but fuck them. If I can’t be myself amongst that community than I have no desire to support them. Hypocrites.
A.C.A.B.-
hutch
Tuesday, June 19, 2012
MELVINS (lite) Freak Puke Review
MELVINS lite
Freak Puke
Ipecac
Melvins Lite equals the Big Business rhythm section paused so that Buzz and Dale can do an album with Trevor Dunn (Mr. Bungle, Tomahawk, Fantomas!). While it is noted that Mr. Dunn is an accomplished bassist for rock and jazz; it is un-mentioned that he will be utilizing every similar instrument on this album. The cello and standup bass, among others, are manipulated and molested to emit frantic pleas all across this album. “Mr. Rip Off” kicks off the album like David Lynch whispering in Dylan Carson’s ear. “Baby, Won’t Your Weird Me Out?” is a rocking riff, big on volume and ambition. We get traditional (can that word ever be used?) Melvins here with thick riff monsters, “A Growing Disgust” (slower) and “Leon vs The Revolution” (upbeat). There is a noise insert with “Inner Ear Rupture” where Trevor must have had a blast. “Let Me Roll It” and the title track, “Freak Puke” are classic Melvins with the sparse but heavy, rollicking ditties. “Holy Barbarian” and “Worm Farm Waltz” are more of that discordant tumbleweed odes; very enjoyable. The Album ends with “Tommy Goes Beserk”, which is a 7 minute descent into cinder. Solid addition to ever morphing organism known as Melvins.
Freak Puke
Ipecac
Melvins Lite equals the Big Business rhythm section paused so that Buzz and Dale can do an album with Trevor Dunn (Mr. Bungle, Tomahawk, Fantomas!). While it is noted that Mr. Dunn is an accomplished bassist for rock and jazz; it is un-mentioned that he will be utilizing every similar instrument on this album. The cello and standup bass, among others, are manipulated and molested to emit frantic pleas all across this album. “Mr. Rip Off” kicks off the album like David Lynch whispering in Dylan Carson’s ear. “Baby, Won’t Your Weird Me Out?” is a rocking riff, big on volume and ambition. We get traditional (can that word ever be used?) Melvins here with thick riff monsters, “A Growing Disgust” (slower) and “Leon vs The Revolution” (upbeat). There is a noise insert with “Inner Ear Rupture” where Trevor must have had a blast. “Let Me Roll It” and the title track, “Freak Puke” are classic Melvins with the sparse but heavy, rollicking ditties. “Holy Barbarian” and “Worm Farm Waltz” are more of that discordant tumbleweed odes; very enjoyable. The Album ends with “Tommy Goes Beserk”, which is a 7 minute descent into cinder. Solid addition to ever morphing organism known as Melvins.
Labels:
ipecac,
melvins,
melvins lite,
review. 2012
HOUNDS AND HARLOTS "The Good Fight" Review
HOUNDS and HARLOTS
The Good Fight
Skinflint Music
Well… it’s another catchy somber punk record. Raise a pint as you sing along up front or toast the Jameson shot to the empty air as you’re perched at the end of the bar in solitude. HOUNDS and HARLOTS have tight song writing with crisp production and are a band not afraid to throw in some harmonized vocals. The lyrics focus on the life of an isolated rebel; burdened with wandering boots and an all too vulnerable soul. Fast drums and quick guitar parts of infused rock and roll tendencies push the emotionally wrought lyrics directly into heart of the listener.
HOUNDS and HARLOTS have recorded a punk record that speaks to the introspective, damaged outcasts that are confused and angered by this human species.
FFO: THE CLEATS, THE GC5, THE BRIGGS, WHISKEY REBELS, FAR FROM FINISHED
this LP was a joint effort: skinflint music
black hole records
contra records
h&h.com
H&H Myspace
H&H FB
H&H dying scene
H&H interview
The Good Fight
Skinflint Music
Well… it’s another catchy somber punk record. Raise a pint as you sing along up front or toast the Jameson shot to the empty air as you’re perched at the end of the bar in solitude. HOUNDS and HARLOTS have tight song writing with crisp production and are a band not afraid to throw in some harmonized vocals. The lyrics focus on the life of an isolated rebel; burdened with wandering boots and an all too vulnerable soul. Fast drums and quick guitar parts of infused rock and roll tendencies push the emotionally wrought lyrics directly into heart of the listener.
HOUNDS and HARLOTS have recorded a punk record that speaks to the introspective, damaged outcasts that are confused and angered by this human species.
FFO: THE CLEATS, THE GC5, THE BRIGGS, WHISKEY REBELS, FAR FROM FINISHED
this LP was a joint effort: skinflint music
black hole records
contra records
h&h.com
H&H Myspace
H&H FB
H&H dying scene
H&H interview
BROKEN HEROES "This is Oi!" Review
BROKEN HEROES
This is Oi!
Skinflint Music
20 years on, these NJ OI legends deliver an amazing record full of beer, spit, heart and fury. Now, I say ‘legends’; but these dudes never got the full recognition which they fully deserved. BROKEN HEROES began in 1991. They had a few 7”s on NJ label HEADACHE RECORDS. They appeared on some compilations (incl GMM). They had big shows. These factors would seem to have perched them on the verge of ‘success’ (a relative term in the Oi! world). But, by 1994, they slowed down and broke up.
In 2004, I remember perusing the bins of a Newbury Comics in Warwick RI with my ex. I saw a new BROKEN HEROES cd. We ended up getting burritos afterwards. Unwrapping the “I Told You Once” CD in a park, we sat and ate our lunch. I was astonished that they released a full length. I thought Oi! was dead in the early 2Ks. And I hadn’t heard of BROKEN HEROES doing anything in a long time. I didn’t realize that they even existed at the time. When I got in the car I slid that puppy in the player. The songwriting was there, but I just couldn’t get into the disc. It was sloppy and just a shoddy recording. Oh well…
So now in 2012, after seeing their names on some bills, and highly respecting them for trucking up to Boston a month ago to play an afternoon show, I knew that they were resurfacing. But inever anticipated an album. And, admittedly, I was approaching this new album with trepidation.
“Remember when ‘street punk’ was NOT the word to use?” is the enigmatic phrase used to start this album. Well for you just coming of age in the 2K’s, I can see where you would be confused. But OI! was the term long ago. And I don’t get all riled at the ‘street punk’ term; I think it fit certain bands quite well. And I love the sound. It, however, did serve as an umbrella term that end up including many generic bland bands *(and got bastardized and co-opted much like SKA did in the prior decade). But there was a time when there was “Oi!”. And it was played by skinheads. Plain and simple. Well, BROKEN HEROES are bringing it back. Or not. But they are doing what fits them. So, this album and the first track are titled, This is Oi,! for that reason. And this 1st track comes off like one of their forefather’s, THE BUSINESS, classic tracks.
The word ‘skinhead’ is placed in almost every song with no apologies. God, it is refreshing to hear again.
BROKEN HEROES find a way to concoct the mesmerizing alchemy of rock and roll US Oi and English Oi. The PC friendly kindergarten lullaby, “Shoulda Been (an abortion)” is a fast drinking song dedicated to morons that plague our society. The play this hard and fast; shouting lines like “The world has enough idiots/ we never needed more / your mother should have closed her legs/ that stupid filthy whore”. All warm and cuddly. “Oi! Don’t Pay the Bills” has a great COCKNEY REJECTS and ANTI HEROS (Mark McGee…) feel. “Piece by Piece” with a nod to the ANTI HEROS’ sound“From You” embraces that NJ OI NIBLICK HENBANE sound completely and fires on all cylinders. And they even say “Suss”. A polished “Skinhead Not A Politician” gets proper treatment and packs a punch. *(will today’s youth know Sally Jesse?)
Every song is a bruiser. Well written; strong beat with a catchy chant for the drunken crowds. And they finally have the solid production that today’s technology and someone who cares about the music can offer.
So if you miss THE BUSINESS, 4 SKINS, COMBAT 84, COCKNEY REJECTS, THE LAST RESORT, THE TEMPLARS, ANTI HEROS, NIBLICK HENBANE, FORCED REALITY… if you miss the 80’s and early 90’s…. if you miss straight Oi!.... please welcome back the BROKEN HEROES. TOP TRACKS: Piece By Piece, Can’t Understand Normal Thinking, Blind Retribution, From You, This is Oi!, 100% Class…ah they are all superb. Raise a glass!!
LINE-UP: “Pete and Tim got together and realized that the band had lost its way. That we had gotten so far from what we started out to do that it was no longer Broken Heroes. We decided to try it again with new members. We got Andy from Niblick Henbane fame on Bass, Scotty Violence from Armed Suspects on vocals and Suedehead Steve on drums and started writing.” Skinflint Music Press Release. BUY IT!
This is Oi!
Skinflint Music
20 years on, these NJ OI legends deliver an amazing record full of beer, spit, heart and fury. Now, I say ‘legends’; but these dudes never got the full recognition which they fully deserved. BROKEN HEROES began in 1991. They had a few 7”s on NJ label HEADACHE RECORDS. They appeared on some compilations (incl GMM). They had big shows. These factors would seem to have perched them on the verge of ‘success’ (a relative term in the Oi! world). But, by 1994, they slowed down and broke up.
In 2004, I remember perusing the bins of a Newbury Comics in Warwick RI with my ex. I saw a new BROKEN HEROES cd. We ended up getting burritos afterwards. Unwrapping the “I Told You Once” CD in a park, we sat and ate our lunch. I was astonished that they released a full length. I thought Oi! was dead in the early 2Ks. And I hadn’t heard of BROKEN HEROES doing anything in a long time. I didn’t realize that they even existed at the time. When I got in the car I slid that puppy in the player. The songwriting was there, but I just couldn’t get into the disc. It was sloppy and just a shoddy recording. Oh well…
So now in 2012, after seeing their names on some bills, and highly respecting them for trucking up to Boston a month ago to play an afternoon show, I knew that they were resurfacing. But inever anticipated an album. And, admittedly, I was approaching this new album with trepidation.
“Remember when ‘street punk’ was NOT the word to use?” is the enigmatic phrase used to start this album. Well for you just coming of age in the 2K’s, I can see where you would be confused. But OI! was the term long ago. And I don’t get all riled at the ‘street punk’ term; I think it fit certain bands quite well. And I love the sound. It, however, did serve as an umbrella term that end up including many generic bland bands *(and got bastardized and co-opted much like SKA did in the prior decade). But there was a time when there was “Oi!”. And it was played by skinheads. Plain and simple. Well, BROKEN HEROES are bringing it back. Or not. But they are doing what fits them. So, this album and the first track are titled, This is Oi,! for that reason. And this 1st track comes off like one of their forefather’s, THE BUSINESS, classic tracks.
The word ‘skinhead’ is placed in almost every song with no apologies. God, it is refreshing to hear again.
BROKEN HEROES find a way to concoct the mesmerizing alchemy of rock and roll US Oi and English Oi. The PC friendly kindergarten lullaby, “Shoulda Been (an abortion)” is a fast drinking song dedicated to morons that plague our society. The play this hard and fast; shouting lines like “The world has enough idiots/ we never needed more / your mother should have closed her legs/ that stupid filthy whore”. All warm and cuddly. “Oi! Don’t Pay the Bills” has a great COCKNEY REJECTS and ANTI HEROS (Mark McGee…) feel. “Piece by Piece” with a nod to the ANTI HEROS’ sound“From You” embraces that NJ OI NIBLICK HENBANE sound completely and fires on all cylinders. And they even say “Suss”. A polished “Skinhead Not A Politician” gets proper treatment and packs a punch. *(will today’s youth know Sally Jesse?)
Every song is a bruiser. Well written; strong beat with a catchy chant for the drunken crowds. And they finally have the solid production that today’s technology and someone who cares about the music can offer.
So if you miss THE BUSINESS, 4 SKINS, COMBAT 84, COCKNEY REJECTS, THE LAST RESORT, THE TEMPLARS, ANTI HEROS, NIBLICK HENBANE, FORCED REALITY… if you miss the 80’s and early 90’s…. if you miss straight Oi!.... please welcome back the BROKEN HEROES. TOP TRACKS: Piece By Piece, Can’t Understand Normal Thinking, Blind Retribution, From You, This is Oi!, 100% Class…ah they are all superb. Raise a glass!!
LINE-UP: “Pete and Tim got together and realized that the band had lost its way. That we had gotten so far from what we started out to do that it was no longer Broken Heroes. We decided to try it again with new members. We got Andy from Niblick Henbane fame on Bass, Scotty Violence from Armed Suspects on vocals and Suedehead Steve on drums and started writing.” Skinflint Music Press Release. BUY IT!
Labels:
2012,
albums,
broken heroes,
oi,
review,
skinfint music
Monday, June 18, 2012
Strong Island Boot Boys "Pitbull Breed" 7" Review
STRONG ISLAND BOOT BOYS Pitbull Breed United Riot Records
Tough New York true Oi! not much more needs to be said. A big OXBLOOD influence can be heard in every song. And why not? This is the NY Oi! sound. These 5 songs were executed tightly and produced with a crisp and hard edge. 211 crew with members of OFFENSIVE WEAPON and FED UP.
SIDE A: After an intro stomp we get a great bass line driving "Scared of No One" melting Crime Stories style OXBLOOD and SOLDIER 76 sing along fast oi! It is Quickly followed by another jangly bass line and taut drum section fueling a fiery "Guilty!" chant to the a song named. well, :Guilty". Then the breakdown comes with a two step NYHC piece to finish. Great tune.
SIDE B: Again - a starting chant write of the OXBLOOD song writing book. A tough guitar bounce that would fit TEMPLARS, BRUISERS of the early 90's. This song has a great hook.
The 7" ends with the title track, "Pitbull Breed"; which i guess was written in 2004, comes out swinging. It has the delivery of YDL's classic "Skinheads 88"; the same energy and strict pounding of the drums. This song is certainly a cry for the crowd to raise a pint and sing along to "Fuck the rules! Fuck the Law! We don't care, we're from New York!".
Another great release from United Riot Records. White vinyl and crisp look bynJM Designs.
FFO: OXBLOOD, YDL, RUN LIKE HELL, FED UP, SOLDIER 76, BOOT PARTY
SIBB Myspace
United Riot Records
Pitbull Breed Song
Tough New York true Oi! not much more needs to be said. A big OXBLOOD influence can be heard in every song. And why not? This is the NY Oi! sound. These 5 songs were executed tightly and produced with a crisp and hard edge. 211 crew with members of OFFENSIVE WEAPON and FED UP.
SIDE A: After an intro stomp we get a great bass line driving "Scared of No One" melting Crime Stories style OXBLOOD and SOLDIER 76 sing along fast oi! It is Quickly followed by another jangly bass line and taut drum section fueling a fiery "Guilty!" chant to the a song named. well, :Guilty". Then the breakdown comes with a two step NYHC piece to finish. Great tune.
SIDE B: Again - a starting chant write of the OXBLOOD song writing book. A tough guitar bounce that would fit TEMPLARS, BRUISERS of the early 90's. This song has a great hook.
The 7" ends with the title track, "Pitbull Breed"; which i guess was written in 2004, comes out swinging. It has the delivery of YDL's classic "Skinheads 88"; the same energy and strict pounding of the drums. This song is certainly a cry for the crowd to raise a pint and sing along to "Fuck the rules! Fuck the Law! We don't care, we're from New York!".
Another great release from United Riot Records. White vinyl and crisp look bynJM Designs.
FFO: OXBLOOD, YDL, RUN LIKE HELL, FED UP, SOLDIER 76, BOOT PARTY
SIBB Myspace
United Riot Records
Pitbull Breed Song
Tuesday, June 5, 2012
STRONG INTENTION "Razorblade Express" Review
STRONG INTENTION "Razorblade Express" PATAC Records
now i am not a encyclopedia of crust or grind; but i do like a lot of it. STRONG INTENTION may be one of the reasons i made the leap into that genre. In 1996 - STRONG INTENTION released a 7" that was straight up hardcore. and i loved it. followed in 1998 with aplit from another one of my favorite underrated bands from NYC, EVERYBODY GETS HURT. Then in 2000 they released a 7" and an LP (2001) on SIX WEEKS. And it was a completely new sound for the band (Zac Ohler). The whole crust grind thing came into play with overt socio-political lyrics and message. Another killer LP, Extermination Vision came via COALITION RECORDS in 2002.
well it has been a quiet decade since. but we get 6 insanely good tunes from Zac (and MIKE WILLIAMS of EYEHATEGOD on 2 tracks). My test press is in the mail; so i am not sure who Zac has in the band these days. But whoever he lured into this nastiness is ripping it up.
Blazing fast thrash crust grind madness. We still get blessed with an iota of hardcore with some breakdowns and riffs. STRONG INTENTION kicks in tight as fuck drumming with heavy treacherous riffs. The title track with MIKE IX has an outstanding EHG like intro but quickly pounds between a thrash/mosh two step ripper and blast beats. So frigging good. "Messiah Whore" is some where between blast beats, metal and hardcore swing. it is quite a concoction. The middle of "3rd Space" has a beginning of do or die hardcore, getting me to rise and point the finger. Then.. it is a sludge titanic that gets back to the hammering quickly. "Rat Factory" and "Slaughter Intelligence" end the release, both under a minute. Taut gigantic riffs over speed metal rhythm sections that pummel you into the ground. No politician or corporate entity is safe.
STRONG INTENTION will be appropriately doing shows on the east coast with PHOBIA and even stops with AGNOSTIC FRONT and SHEER TERROR.
FFO: H8 Inc, EXTREME NOISE TERROR, ROTTEN SOUND, WORMROT, DISFEAR, KILL THE CLIENT, VICTIMS
PATAC - Buy It!
SI on the FB
now i am not a encyclopedia of crust or grind; but i do like a lot of it. STRONG INTENTION may be one of the reasons i made the leap into that genre. In 1996 - STRONG INTENTION released a 7" that was straight up hardcore. and i loved it. followed in 1998 with aplit from another one of my favorite underrated bands from NYC, EVERYBODY GETS HURT. Then in 2000 they released a 7" and an LP (2001) on SIX WEEKS. And it was a completely new sound for the band (Zac Ohler). The whole crust grind thing came into play with overt socio-political lyrics and message. Another killer LP, Extermination Vision came via COALITION RECORDS in 2002.
well it has been a quiet decade since. but we get 6 insanely good tunes from Zac (and MIKE WILLIAMS of EYEHATEGOD on 2 tracks). My test press is in the mail; so i am not sure who Zac has in the band these days. But whoever he lured into this nastiness is ripping it up.
Blazing fast thrash crust grind madness. We still get blessed with an iota of hardcore with some breakdowns and riffs. STRONG INTENTION kicks in tight as fuck drumming with heavy treacherous riffs. The title track with MIKE IX has an outstanding EHG like intro but quickly pounds between a thrash/mosh two step ripper and blast beats. So frigging good. "Messiah Whore" is some where between blast beats, metal and hardcore swing. it is quite a concoction. The middle of "3rd Space" has a beginning of do or die hardcore, getting me to rise and point the finger. Then.. it is a sludge titanic that gets back to the hammering quickly. "Rat Factory" and "Slaughter Intelligence" end the release, both under a minute. Taut gigantic riffs over speed metal rhythm sections that pummel you into the ground. No politician or corporate entity is safe.
STRONG INTENTION will be appropriately doing shows on the east coast with PHOBIA and even stops with AGNOSTIC FRONT and SHEER TERROR.
FFO: H8 Inc, EXTREME NOISE TERROR, ROTTEN SOUND, WORMROT, DISFEAR, KILL THE CLIENT, VICTIMS
PATAC - Buy It!
SI on the FB
CREEM 12" Review
CREEM 12"
Katorga Works/Deranged Record
first things - i am 35. when i see CREEM i think of that horrible teeny bopper magazine that would lay next to the CRACKED and MAD bin in the Shaw's when i was waiting for my dad to finish flirting with the grocery lady. So tongue in cheek or simple bad taste aside, this band is killer.
have you missed 86 MENTALITY? i have. CREEM is old school hardcore with a beat of Oi! to get you dancing. At first, it sounds like SSD or DYS or contemporaries BOSTON STRANGLER. It is noise based, angry, ugly stomping hardcore. But there is certainly a punk feel infused into the songs. This stuff is dark, though. Seething, anxious, feral dogs dripping with anticipation of an enemy's next move is all i can picture.
Let me revisit. it would seem that the side B songs; 3, at longer duration. They have a mid-paced BLITZ, BUSINESS, and COCKNEY REJECTS feel. The side A is a muddier production of unrestrained fury. These 4 songs have an old school NYHC delivery. So their style is still Oi!/punk influenced, but the outright aggression and NYHC creepy crawl stomp of the great bass lines are the focus. "Lucid" has a CRIMINAL DAMAGE feel with screamed vocals. "Never End" is a no bs DIE KRUEZEN, YDI crushing set of sweat.
FFO: IRON CROSS, POISON IDEA, GOVERNMENT WARNING, AGNOSTIC FRONT, KILL YOUR IDOLS and all other bands mentioned here.
It is a split between Katorga Works and Deranged labels. So, yeah it fits with Deranged (Tear It Up, Out Cold, Vorhees/The HORROR/Violent Arrest stuff) Pick this up. True old school hardcore.
DERANGED RECORDS KATORGA WORKS *** pick up WARRIOR KIDS, IMPALERS, and HOUNDS OF HATE TOO
Katorga Works/Deranged Record
first things - i am 35. when i see CREEM i think of that horrible teeny bopper magazine that would lay next to the CRACKED and MAD bin in the Shaw's when i was waiting for my dad to finish flirting with the grocery lady. So tongue in cheek or simple bad taste aside, this band is killer.
have you missed 86 MENTALITY? i have. CREEM is old school hardcore with a beat of Oi! to get you dancing. At first, it sounds like SSD or DYS or contemporaries BOSTON STRANGLER. It is noise based, angry, ugly stomping hardcore. But there is certainly a punk feel infused into the songs. This stuff is dark, though. Seething, anxious, feral dogs dripping with anticipation of an enemy's next move is all i can picture.
Let me revisit. it would seem that the side B songs; 3, at longer duration. They have a mid-paced BLITZ, BUSINESS, and COCKNEY REJECTS feel. The side A is a muddier production of unrestrained fury. These 4 songs have an old school NYHC delivery. So their style is still Oi!/punk influenced, but the outright aggression and NYHC creepy crawl stomp of the great bass lines are the focus. "Lucid" has a CRIMINAL DAMAGE feel with screamed vocals. "Never End" is a no bs DIE KRUEZEN, YDI crushing set of sweat.
FFO: IRON CROSS, POISON IDEA, GOVERNMENT WARNING, AGNOSTIC FRONT, KILL YOUR IDOLS and all other bands mentioned here.
It is a split between Katorga Works and Deranged labels. So, yeah it fits with Deranged (Tear It Up, Out Cold, Vorhees/The HORROR/Violent Arrest stuff) Pick this up. True old school hardcore.
DERANGED RECORDS KATORGA WORKS *** pick up WARRIOR KIDS, IMPALERS, and HOUNDS OF HATE TOO
Labels:
2012,
CREEM,
Deranged Records,
hardcore,
Katorga Works,
lp,
oi,
old school,
punk
DEVIL "Time to Repent" Review
DEVIL
Time to Repent
Soul Seller Records
Off the bat (vampire bat?), the album art work is a nod to the 1960’s LaVey imagery and the band is named DEVIL. So let’s journey down this left hand path. The first riff of the album in “Break the Curse” is what you’d expect; a mix of metal and 60’s dusty rock, which is awesome. This isn’t doom in the sense that it does have an upbeat pounce. This is doom as in it is about the riff. Images of rough dudes in leather traversing the panorama on Harleys are elicited. These guys can write a song. As soon as the riff of track 2, “Blood is Boiling”, gets a little weary, they break into a breakdown followed by another.
While they may not break out into balls to the wall volume or intensity that I love with a CHURCH OF MISERY or BLACK PYRAMID; these guys do their own thing and they do it well. Songs like “Howling” have an intense 60’s rock feel; while it still borrows from enough NWOBHM to support its grandiose yearnings. “At the Blacksmith’s” is the best jam, the one most like that SABBATH band I adore so, with a bigger riff. But the production leaves it at the stoned rock level instead of pushing it to the boundaries. But at 2:50 when the breakdown comes, the band’s rugged sound wins me over. I am sure they play on some vintage equipment and produced it thusly. I just think more balls in the delivery would have provided the end result with a bigger bang. i understand that every aspect of their sound is intentional. and this is an awesome album. personally, i just like it taken up a notch in the volume and aggression department. That said, the foundation of these songs are so frigging good, that it is a winner. I also am reviewing this stone sober. My fault
The lyrics are of the red guy downstairs, chicks, evil, sacrifice, and rites. Songs like “Open Casket” speak of the torment of living amongst the puppets and misguided people of our society. “Death of a Sorcerer” is about, well…you figure it out.
When you dare to name your band DEVIL; no allusions or references – just DEVIL; you need to come out crosses inverted. And while these dudes’ tunes are the musical equivalent of Hell’s Angels (as opposed to DEICIDE, say). Everything coalesces to a honed end result. I am sure with a killer sound guy, this band kills it live at the altar.
FFO: EARTHRIDE, BLOOD CEREMONY, GRAVEYARD, SPIRIT CARAVAN, PENTAGRAM
3.75/5 dead virgins
Time to RepentSoul Seller Records
Off the bat (vampire bat?), the album art work is a nod to the 1960’s LaVey imagery and the band is named DEVIL. So let’s journey down this left hand path. The first riff of the album in “Break the Curse” is what you’d expect; a mix of metal and 60’s dusty rock, which is awesome. This isn’t doom in the sense that it does have an upbeat pounce. This is doom as in it is about the riff. Images of rough dudes in leather traversing the panorama on Harleys are elicited. These guys can write a song. As soon as the riff of track 2, “Blood is Boiling”, gets a little weary, they break into a breakdown followed by another.
While they may not break out into balls to the wall volume or intensity that I love with a CHURCH OF MISERY or BLACK PYRAMID; these guys do their own thing and they do it well. Songs like “Howling” have an intense 60’s rock feel; while it still borrows from enough NWOBHM to support its grandiose yearnings. “At the Blacksmith’s” is the best jam, the one most like that SABBATH band I adore so, with a bigger riff. But the production leaves it at the stoned rock level instead of pushing it to the boundaries. But at 2:50 when the breakdown comes, the band’s rugged sound wins me over. I am sure they play on some vintage equipment and produced it thusly. I just think more balls in the delivery would have provided the end result with a bigger bang. i understand that every aspect of their sound is intentional. and this is an awesome album. personally, i just like it taken up a notch in the volume and aggression department. That said, the foundation of these songs are so frigging good, that it is a winner. I also am reviewing this stone sober. My fault
The lyrics are of the red guy downstairs, chicks, evil, sacrifice, and rites. Songs like “Open Casket” speak of the torment of living amongst the puppets and misguided people of our society. “Death of a Sorcerer” is about, well…you figure it out.
When you dare to name your band DEVIL; no allusions or references – just DEVIL; you need to come out crosses inverted. And while these dudes’ tunes are the musical equivalent of Hell’s Angels (as opposed to DEICIDE, say). Everything coalesces to a honed end result. I am sure with a killer sound guy, this band kills it live at the altar.
FFO: EARTHRIDE, BLOOD CEREMONY, GRAVEYARD, SPIRIT CARAVAN, PENTAGRAM
3.75/5 dead virgins
APOLLO BROWN & O.C. "Trophies" Review
APOLLO BROWN & O.C.
Trophies
Mellow Music Group/FatBeats
APOLLO BROWN has created multiple soundscapes over the span of the last few years. In 2010, he skewed the playing field with the impeccable Gas Mask; under the name, THE LEFT, with rapper and fellow Detroit native, JOURNALIST 103. He followed that quickly with a HASSAN MACKEY collabo, Daily Bread. The thing was that they made the LP in a 24 hour period. APOLLO BROWN has also released his comp, The Reset. On all of these he has cultivated amazing music from dusty soul and RnB relics; contorting the breaks and bridges into new songs entirely. If you think you don’t like ‘rap’; you would still enjoy the songs that APOLLO BROWN creates.
So, when AB announced that he would do a full LP with Bronx vet MC, O.C.; I hit the roof. O.C., part f the DITC crew, has 2 classic albums under his belt, Jewelz and Word…Life. OC has consistently dropped bomb albums and appeared on a countless verses supporting many underground’s top notch rhymers. So, what does Trophies hold for the listener? The peak of each contributor.
APOLLO does reach out beyond just dirty, gritty soul. Trophies holds some high note harmonies, 70’s silky symphonies, and even some electronic bits and pieces. We still get a myriad of soul infused boom bap beats. But this is a lower key endeavor. O.C. doesn’t come with an aggressive flow; so the laid back vibe of each complements each other. And this is APOLLO’s talent, his ability to ply his ear towards the strengths of the MC with whom he is working. His other talent is mincing up beats and chords and plucks that you half recognize from a golden era producer and pair with an unheard sound and creating a whole new song.
O.C. definitely comes with his best notebook excerpts. No guests either; this is O.C.’s spotlight. He has to own this; rise or fall. And boy does he rise. This is not an album for soundscan or for a trophy (hence the title). This is for hip hop heads that want to Doc Brown back to the early 90’s when beats and rhymes were embedded throughout a full lp. “The Pursuit” opens the LP with everything I picked this up for. Off beat piano and a deep funky bass off set with a beat and a “hmm mmm” gracing my ears with a smokey feel. We hear O.C. using his humble approach to decorate his bars with decorative descriptions.
A song like “Nautica” is more of the reason that my excitement is perpetual through each tune. APOLLO delivers an ill track with a deep low tone piano balanced with eerie violin strings. O.C. spits colorful verbal gifts to make you think and elicits the attitude stated in the chorus, “If I reach a few who love it, my job is done”.
“We the People” has the same two factors of piano and strings but arranged in a manner to elicit a nostalgic, pensive mind state. O.C. vividly describes ghetto tales and the true victims of the streets as he peruses hood tales gone past. More importantly, he attempts to extract lessons from these stories and vows to stand by his community. “The First 48” is chopped from the intro of CREAM’s “White Room”; rather unrecognizable. O.C. takes the “White Room” to be the interrogation room of the Police station. Brilliant.
“People’s Champ” has what I expect from APOLLO BROWN, a big chunky anthem Hammond B3 riff with M.O.P. quotes for the hook, this is the shit that hits. Your head will have no choice but to ciomply with a grin and a bob. Every track puts a smile on my face. Nothing is repetitive or played out. If you love real hip hop, this is one to cop.
APOLLO BROWN FB
BUY IT
Trophies
Mellow Music Group/FatBeats
APOLLO BROWN has created multiple soundscapes over the span of the last few years. In 2010, he skewed the playing field with the impeccable Gas Mask; under the name, THE LEFT, with rapper and fellow Detroit native, JOURNALIST 103. He followed that quickly with a HASSAN MACKEY collabo, Daily Bread. The thing was that they made the LP in a 24 hour period. APOLLO BROWN has also released his comp, The Reset. On all of these he has cultivated amazing music from dusty soul and RnB relics; contorting the breaks and bridges into new songs entirely. If you think you don’t like ‘rap’; you would still enjoy the songs that APOLLO BROWN creates.
So, when AB announced that he would do a full LP with Bronx vet MC, O.C.; I hit the roof. O.C., part f the DITC crew, has 2 classic albums under his belt, Jewelz and Word…Life. OC has consistently dropped bomb albums and appeared on a countless verses supporting many underground’s top notch rhymers. So, what does Trophies hold for the listener? The peak of each contributor.
APOLLO does reach out beyond just dirty, gritty soul. Trophies holds some high note harmonies, 70’s silky symphonies, and even some electronic bits and pieces. We still get a myriad of soul infused boom bap beats. But this is a lower key endeavor. O.C. doesn’t come with an aggressive flow; so the laid back vibe of each complements each other. And this is APOLLO’s talent, his ability to ply his ear towards the strengths of the MC with whom he is working. His other talent is mincing up beats and chords and plucks that you half recognize from a golden era producer and pair with an unheard sound and creating a whole new song.
O.C. definitely comes with his best notebook excerpts. No guests either; this is O.C.’s spotlight. He has to own this; rise or fall. And boy does he rise. This is not an album for soundscan or for a trophy (hence the title). This is for hip hop heads that want to Doc Brown back to the early 90’s when beats and rhymes were embedded throughout a full lp. “The Pursuit” opens the LP with everything I picked this up for. Off beat piano and a deep funky bass off set with a beat and a “hmm mmm” gracing my ears with a smokey feel. We hear O.C. using his humble approach to decorate his bars with decorative descriptions.
A song like “Nautica” is more of the reason that my excitement is perpetual through each tune. APOLLO delivers an ill track with a deep low tone piano balanced with eerie violin strings. O.C. spits colorful verbal gifts to make you think and elicits the attitude stated in the chorus, “If I reach a few who love it, my job is done”.
“We the People” has the same two factors of piano and strings but arranged in a manner to elicit a nostalgic, pensive mind state. O.C. vividly describes ghetto tales and the true victims of the streets as he peruses hood tales gone past. More importantly, he attempts to extract lessons from these stories and vows to stand by his community. “The First 48” is chopped from the intro of CREAM’s “White Room”; rather unrecognizable. O.C. takes the “White Room” to be the interrogation room of the Police station. Brilliant.
“People’s Champ” has what I expect from APOLLO BROWN, a big chunky anthem Hammond B3 riff with M.O.P. quotes for the hook, this is the shit that hits. Your head will have no choice but to ciomply with a grin and a bob. Every track puts a smile on my face. Nothing is repetitive or played out. If you love real hip hop, this is one to cop.
APOLLO BROWN FB
BUY IT
Sunday, June 3, 2012
TBFH interview with hate5six
hate5six interview
this guy is cool as hell. down to earth... and dedicated to hardcore like few others. incredible dude. mad props to TBFH for doing this
this guy is cool as hell. down to earth... and dedicated to hardcore like few others. incredible dude. mad props to TBFH for doing this
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