A group of individuals who share a love of cycling and the outdoors. We will always stop for a photo, or to hit a rope swing… Rubber side up!
Where did Prolly is Not Probably go?
It is still here, and then some. PiNP was one person’s opinion and voice. Now we are a collective – a community of diverse opinions and rich stories.
What does the Radavist mean?
Rad + Atavist = RADAVIST
Why does a porpoise surf a wave, or a sea otter slide down a rock? Atavism is a primal trait in humans and animals that drives us to do what we do – what ought to come naturally. Atavism is why we ride the way we ride; From mashing the city on a track bike to shredding the trails on full suspension. Take the time to get rad.
Why it’s taken me this long to review the work of Judd Madden in a Tuesday Teardown post is beyond me. Drown is a part of a triptych of self-released albums from Melbourne-based musician Judd Madden. While it’s easy to call albums “ground breaking”, “monumental” and “epic”, Drown definitely hits all of those on the head with precision, especially when compared to the other albums in the series: Float and Waterfall. What makes this doom-ridden series so dynamic is that each of the albums are entirely different beasts. Drown makes up the most recent in the series of experimental albums and is by far my favorite. Featuring crushing riffs and menacing drums, Drown evokes a sensation that’s understood immediately.
In just 7 tracks, Judd brings the weight, totaling an hour of playing time. Doom metal ain’t that tough to nail down and yet, Judd Madden’s work is so effortless in achieving that classic sound that it really makes you wonder how smart he really is. “Path” and “Riptide” begin their reign of bass and riffage, raking in an impressive 14 minutes for the pair. Drown‘s sound is a familiar one. There’s obvious Sleep influence but it’s not as monotonous as Isis or Pelican can be. If I were to compare it’s sound to anything, it’d come in close with Flood. For a more experimental and softened tone, check out “Waterlung” with its ripping opening riff and cascading symbols. This classic sludge track echoes the days of Sabbath and Vitus.
Check out more below, including the entire album streaming for free!
Melbourne ain’t exactly the sunny, surfer bro city you’d expect it to be. Where there are foreboding skies, there will be metal. This week for Tuesday Teardown, I thought I’d give you a look at the premiere metal music and book shop in Melbourne, Ritual Music and Books.
So yesterday, a local reader named Dylan hit me up asking how I’d feel about featuring Ritual for Tuesday Teardown. Sure enough, I was stoked to see a grassroots record store and was eager to check out what people were digging here.
Check out more from my special edition of Tuesday Teardown below!
I was beginning to wonder about Book of Black Earth. Especially with frontman TJ Cowgill’s new found love for Satanic Folk and Actual Pain’s success as a clothing label. But we all know that metal is eternal and the newest album from Book of Black Earth, The Cold Testament is living proof. The band is back with its fast-paced and brutal approach to metal. It’s not exactly black, death or power metal and yet it speaks clearly to fans across all genres.
Check out more of my Tuesday Teardown featuring The Cold Testament below!
It’s Tuesday Teardown and this one will make you break your chain in a furious sprint!
All hail the mighty motherfucking BONGRIPPER. The Chicago four-piece has been wrecking speakers and houses for so long that any other band with BONG in their name must drink their bong water. When this band releases an album, much less a 7″, marijuana plants worldwide bud up and release a pheromone that entices pot smokers and riff-heads to spark one up!
Sex Tape/Snuff Film picks up right where the god dammed juggernaut Satan Worshipping Doom left off last year. Expect the gravity defying riffs to crunch your speakers and Beelzebub himself to grace your opium den with pentagrams and naked whores. Put on “Sex Tape” and daze the fuck out. As the first riffs drop, the sky rumbles and walls collapse as the heaviness sets in, obliterating everything in its path. BOOM!
NYC black metal and I don’t get along too well, unless it’s Krallice. Over the years, Krallice has been honing their sound and after two successful albums, Krallice and Dimensional Bleedthrough, the band has created a great album entitled Diotima.
Where do I begin with their sound? The initial track, “_” sounds much like their earlier work: tremelo picking, blast beats and endless loops of chaotic bliss but there’s something different now. In Diotima, the lead singer’s vocals have begun to take dominance over the tracks. But it’s not the typical black metal vocal stylings, they’re more akin to death metal and they compliment the fast-paced chaotic sound perfectly. There’s a power behind the music now and the dainty presence their music has had in previous albums is now irrelevant.
Just listen to “Inhume” for a key example, it’s fucking kick-ass! Same goes for “The Clearing”, another quasi-artsy composition that would normally be too shoe-gazey for my taste but the vocals just balance it all out. The title track “Diotima” is a bit slower and more epic than the other tracks. One slight critique of Diotima is the way most of the songs begin. They all start with the same reverb but the beast that lies sleeping is about to awaken.
Here I was, thinking to myself that there needed to be an album in 2011 that gave Richmond-based Cough a run for their money. A few hours later and I came across the new album from Chicago’s Indian. This is one of the first 2011 albums that I see making through the metal masses and sticking around for years to come. As their first album on Relapse and forth in their collection, Guiltless delivers on all fronts.
The guys have come a long way since their 2008 album, Slights and Abuse / The Sycophant. Their sound is bigger and the production kicks ass. Not to mention the anger that was evident in Slights and Abuse / The Sycophant has been sharpened and honed for a much more impactful delivery. The twisted vocal stylings of Dylan O’Toole bring their sound to new, emotional lows in ways that I can’t even come close to describing. While the wretched sounds are heavy, they do lack that refinement that other doom acts posses after years of playing. Don’t look to Guiltless for a modern-day Burning Witch or Electric Wizard, these guys have a different tinge to their music.
Since I forgot to put up a Tuesday Teardown post yesterday, the newest from Hessian Hobbies will serve as an apology to the metalhead readers. You remember the last one right? This time they’re mixing it up with some Black Breath! Thanks to the one and only Crocus Bocephus for sharing. This is Viking-approved!
Man, it’s been a while since I posted anything on a Friday afternoon that was bangin’. Oh wait. Could this be considered a Friday Afternoon Banger? Sure. Why not. Benny L’s newest edit for FIT comes out swinging. With that flat wall to bar and the hard smith to fakie nose mannie, not many will argue with that!
With their sound bouncing and reverberating all over the place in the last few years, it’s hard to determine where Blut Aus Nord is taking their unique approach to black metal next. Maybe that’s a by-product of the genre dying out, or at least changing scope. Bands that take it seriously are often led down the path of mockery to the original intent of a cold and essentially compressed, low-fi genre. Gone are the compressed vocals and distorted sounds and now all that remains are the few lone acts who consistently nail down the feel by using their own experimentation with cross-genres. That’s where Blut Aus Nord’s new album, 777 Sect(s) comes into play. It’s clearly black metal but it’s a redefinition of said genre.
777 Sect(s) may just be the most significant black metal release in years. Its cold and cavernous feel creates the same depressed and compressed sound made popular by the early Norwegian acts. From their 2009 release, Memoria Vetusta II: Dialogue… and into their more recent EP, What Once Was… Liber I, the French band effortlessly turn the dials of the apocalypse with one finger. Each track is entitled “Epitome” and they range from 1-6 offering a solid 45-minute experience.