Hellrad – Things Never Change

FRONT COVER_Reputation Radio/RingMaster Review

The sound of US sludge metallers Hellrad is like toxic lava. It crawls over and consumes ears, blisters the senses, and devours all before it in an atmosphere of unbridled hostility. It also, with weighty persuasion and hellacious intensity, leaves the listener basking in a network of scorching, seductive grooves and intimidating rhythmic slavery, it all colluding for one fierce volcanic treat.

Hellrad began in the August of 2014; the Philadelphia quartet formed by guitarist Mike Hook (Eat The Turnbuckle, Bad Luck 13) and drummer Robert Lepor (Brian Candle). The pair swiftly enlisted bassist Herb Jowett (Javelina, Lick Golden Sky), and with an album’s worth of tracks emerging from their songwriting, completed the line-up with vocalist Dirty Dave Repenning (Off Duty Death, Warsaw). Their sound is as dirty as it is ugly, as angry as it is uncompromising, but aspects aligned to a violent creativity which emerges as wholly contagious. Recording Things Never Change at Permanent Hearing Damage Studios with Steve Roche, Hellrad have unleashed a proposal which is not quite a game changer but it is certainly an uncomfortable and uncompromising fresh breath to the sludge/stoner scene.

From the uncaging of its opener Street Zombies, the album reveals depths of sound and a cast of textures which are as much ravenously doomy as they are voraciously noise rock inspired, a blend perpetually brewing in a cauldron of sludge predation. The first track comes in as a warning siren, its portentous air sparking ears and imagination though their expectancy is soon engulfed in a lumbering and slowly brewing tempest of binding grooves and scything rhythms. It is a stalking rather than an onslaught, yet it has the intensity of a sonic tsunami smothering and stirring up everything in its path. The vocals of Repenning are just as rapaciously delivered, a squall of ire and emotion and as addictive as the roar growing around him. Lyrically little is given away by his raw delivery across the release but his psyche ripping presence is all about texture and emotion, and in that he, as the webbing of enterprise around him, is primal magnetism.

The following My Jihad’s Against My Mind keeps the impressive and intrusive start going, its rage and intent a much more urgent and volatile persecution of body and thoughts. Riffs and rhythms again create an unforgivingly caustic canvas for grooves and vocals to spread their almost rancorous bait, and once more the victim is blissfully immersed in echoes of a cancerous world and destruction. The closing tonic of stoner bred lures of guitar, rather than a respite to the torturous adventure seeding them, is the flowing link into another merciless ravaging. Dope Fiend Jesus manages to be even more raw and filth clad than its predecessor but also more seductive with its flirtatious melodic enticing and passages of mellow aggression. It is deliciously fearsome stuff carrying the whiffs of classic stoner and sludge bands but quickly corrupting and twisting them into something rabidly distinct to Hellrad.

Homegrown Terrorist is one of those sonic and social statements you do not ignore. Everything from its opening sample to the insidious sprawl of Repenning’s tones and the barbarous presence of the bass to the violent swings of Lepor, create an unshakeable trespass physically and emotionally. Its brutish incitement is only enhanced by the venomous sonic vines unleashed by Hook, their virulent enticement, rather than a temper to the existing savagery, an incitement to more threat. It is a template just as addictive in the hard-line predatory saunter of Fucked Up, another unrushed violation which waits until it is ready before unleashing a scourge of sizzling sonic enterprise and poisonous intent bred in an exacting embrace of intense rock ‘n’ roll.

The rhythmic nature of 15 Years and Counting is at times almost meditative, certainly hypnotic though there is no peace or calm to be found in the ruinous landscape of the song. The infectious and anthemic bait of Lepor is only reinforced by the carnivorous tones of Jowett’s strings, both forging the irresistible dark spine within the tightly entwined mix of melodic enticing and inhospitable noise pollution. The track enthrals and thrills before making way for the groove fest of Smoke More Crack. The salacious slab of rabid, dirt spawned rock ‘n’ roll is the final confirmation of the immense and addiction forging properties of band, album, and their severe concoction of sound.

Things Never Change is a punishing treat and Hellrad the nastiest, most vicious exponents of aural castigation, and we for one cannot get enough.

Things Never Change is available now digitally and on CD @ http://hellrad1.bandcamp.com/releases

https://www.facebook.com/Hellradphiladelphia666 

RingMaster 24/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Crack House – The Hits Just Keep On Coming

frontcover

Beating on ears, mugging the senses, and corrupting the psyche, The Hits Just Keep On Coming is a punk metal violation which just keeps coming. Unleashed by US antagonists Crack House, the EP is a corrosive brawl of crossover ferocity bringing hardcore punk, crust and thrash in on a tempestuous and belligerent dirt caked rock ‘n’ roll rampage. It is not for the faint hearted or those with a nervous disposition, nor those wanting frills and extravagant excesses to their sounds, but for ruinous and degenerate metal punk animosity, this is one EP well worth being ravaged by.

Featuring members of Eat The Turnbuckle, Javelina, Call The Paramedics, and Bitchslicer, Crack House has no redeeming features to its character and everything riveting in punk bred hellishness. From its opening track, also called Crack House, the band is roaring, abusing, and providing an unrelenting and blistering incitement which beneath its scourge of a surface has a maelstrom of riffs, hooks, and enterprise giving each onslaught’s depravity depth and weight. The first song flings abrasing riffs and vocal causticity at ears as soon as it’s opening brief skit sets the scene. Thumping rhythms are just as full of enmity, every swipe a resonating punch entwined in either a tempest of varied vocal squalling or a sonic whipping of guitar. With thrash and grind just as vocal as punk in the rabid stomp, the song makes a formidable entrance to the release, an opening taking to rawer destructive heights by This Emergency Room Is Gonna Need A Fucking Emergency Room.

The second song has fear and juices flowing from the first rumble of rhythms, the drum’s wanton bait soon joining an opening sonic coaxing. In no time the track becomes a contagious and violent seducing of ears and passions, leading the senses into a visceral landscape which could be described as Motorhead meets Hellbastard at a brawl organise by The Exploited. Grooves spray venom and beats destruction yet the heavy metal spiced sonic insidiousness which veins the storm is almost inviting in its resourcefulness. It is an anthemic intrusion, a description fitting most tracks on the EP, and especially the following title track. Again launched on a torrent of rhythmic contagion, the track smothers the senses in a wave of defiling sonic adventure whilst the rhythms increasingly feel like they sense blood as every scything swing comes with greater rancor to match the increasing bile in the vocal delivery.

Without quite matching its predecessor, the song still ignites ears and emotions impressively as does the briefer animus of Junkie Fucker. It is pure hate and defiance in one accusing sonic fury which leaves ears and emotions ringing as it makes way for the final grudge, March Of The Crackhead. Metal and punk collude here to provide a senses scorching, psyche bruising squall which is as irresistible as it is intimidating. Grooves and hooks are ridiculously addictive whilst the rhythms find new and greater bait in their armoury, building a song which is a total seduction even as it violates your veins and steals your sanity.

   The Hits Just Keep On Coming leaves a real hunger for more by its end. You will feel dirty and violated from the encounter but certainly for hardcore/thrash lusting fans more than likely will breed a real appetite and addiction for sound and band that just will not go away.

The Hits Just Keep On Coming is available via Horror Pain Gore Death Productions http://www.horrorpaingoredeath.com/store/hpgd102.html, as well as Buriedinhell Records http://buriedinhell.bandcamp.com/releases, and Useless Christ Records from January 20th.

https://www.facebook.com/CRACKHOUSEROCK

RingMaster 20/01/2015

Copyright RingMaster: MyFreeCopyright

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http://www.thereputationlabel.today

 

Primate: Draw Back A Stump

A brawling and bruising riot of hardcore and grindcore, Draw Back A Stump from Atlanta punks Primate is a no holds barred storm of satisfaction. It does not exactly rip up trees of originality but just flattens the whole forest with insatiable energy, formidable aggression, and an irresistible dirty infection.

Originally self released as an extremely limited edition the album has been remixed and remastered by Relapse Records and set up with extra bonus tracks. As much as limited releases have that added appeal, if you manage to grab one anyway, it would have been criminal for an album like Draw Back A Stump to have remained out of the reach of genre fans at large.

Primate is the unleashing of the combined talent of Brutal Truth vocalist Kevin Sharp, Mastodon and  ex-Lethargy guitarist Bill Kelliher , bassist Dave Whitworth (Timebomb77, The Despised and Otophobia), guitarist Mike Brennan (The Despised, Otophobia and currently Javelina), and drummer Shayne Huff (The Despised, Bloody Sods and Virulent Strain). The band is an all muscular cast of musicians steeped in extreme punk creativity and outstanding musical brutality leading to no real surprise as to how good Draw Back A Stump is. The album is not simply a harsh obliteration of the senses with the deepest attitude but a release which pulls in eager tendencies from stoner and sludge metal as well as some simple in your face punk. It is a feast of sounds which do exactly what they say on the tin, leave one grinning in an eagerly offered up pool of willingly given blood and sweat.

The title track ignites the riot with an immediate inciting bass riff and hypnotic beats whilst guitars stroke the ear with a caustic grin. It soon emerges as a mischievous stomp, its energy tempered as if sizing up and picking spots with its riled riffs and hungry intensity. Though a mere one and a half minutes it is an opener to light the touch paper for an inferno of passion every time, those fires further fanned by the following blistering Global Division. The music sets one up for the contempt and aggressive breath of the song, Sharp wonderfully forcing it through the ear with his unmistakeable scathing growls. As the song feasts upon the senses the band reminds of old UK punks Angelic Upstarts, Sharp delivering a similar attack and delivery to vocalist Thomas (Mensi) Mensforth.

The song leads immediately into Hellbound with the great rhythms of Huff directing proceedings and inviting the rest of the band to lay down a contagion of grooves and incendiary riffs for a direct pleasuring of the heart. As those before and all to follow the song is fully anthemic and in control of emotions and limbs from first note to last. With guitars scorching the atmosphere with blazing chords and sonic fallout the track is glorious something you have to tag the whole album as.

Tracks like Silence Of Violence with its distressed stoner rasp and the out and out rock roll dirt bowl that is Drinking And Driving continue the outstanding quality and variety to the songs, both a mesh of greed and antagonistic teasing from riffs and rhythms let alone the fine guitar enterprise of Kelliher.

There really are not enough words to say how enjoyable and gratifying Draw Back A Stump is. Ok it does not break through to build new boundaries for hardcore and punk but it hardly matters when the band do something much better than most other similar veined bands and openly different to what the members are recognised for.

Closing with more brawls called songs like Wasted Youth, Pride, and Reform?, the album leaves one desperately hoping there will be more from Primate which is the indication otherwise that would be another crime in the making.

http://www.primategrind.com/

RingMaster 03/07/2012

Copyright RingMaster: My FreeCoyright

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