Friday, August 28, 2009
10 Days Out: Blues from the Backroads is the fifth studio album from American blues band Kenny Wayne Shepherd Band. This documentary film was directed by Noble Jones and produced by Phillipa Davis. It was Executive Produced by Kelly Norris Sarno, Devin Sarno and Ken Shepherd. 10 Days Out was nominated for a Grammy Award for Best Long Form Music Video at the 50th Grammy Awards and won the 2008 Keeping the Blues Alive Award under the category of Film, Television or Video.
The documentary portion of the album features a 10-day venture of Shepherd meeting blues pioneers with the intent of spotlighting veterans of the music genre. Artists include the Music Maker Relief Foundation’s Etta Baker, Cootie Stark, and Neal Pattman, as well as B.B. King, Henry Townsend, Hubert Sumlin, Lazy Lester, Gatemouth Brown, Honeyboy Edwards, Pinetop Perkins, and several others. It ends with a concert featuring the surviving members of both Muddy Waters’ and Howlin’ Wolf’s bands. Upon completion of the film, six of the featured musicians had died, adding a cultural significance to the content.
1. Prison Blues (Cootie Stark/Kenny Wayne Shepherd/Neal Pattman)
2. Potato Patch (Jerry "Boogie" McCain/Kenny Wayne Shepherd)
3. Honky Tonk (Buddy Flett/Kenny Wayne Shepherd)
4. The Thrill Is Gone (B.B. King/Kenny Wayne Shepherd)
5. Tina Marie (Bryan Lee/Kenny Wayne Shepherd)
6. Born in Louisiana (Clarence "Gatemouth" Brown/Kenny Wayne Shepherd)
7. Chapel Hill Boogie (John Dee Holeman/Kenny Wayne Shepherd)
8. Tears Came Rollin' Down (Henry Townsend/Kenny Wayne Shepherd)
9. Knoxville Rag (Etta Baker/Kenny Wayne Shepherd)
10. Big Daddy Boogie (Beal "Big Daddy" Pattman/Kenny Wayne Shepherd)
11. U-Haul (Cootie Stark/Kenny Wayne Shepherd)
12. Red Rooster (Henry Gray/Howlin' Wolf Band/Kenny Wayne Shepherd)
13. Sittin' on Top of the World (Howlin' Wolf Band/Hubert Sumlin/Kenny Wayne Shepherd)
14. Spoonful (George "Wild Child" Butler/Howlin' Wolf Band/Kenny Wayne Shepherd)
15. Grindin' Man (Muddy Waters Band/Pinetop Perkins/Kenny Wayne Shepherd)
The Place You're In is the fourth studio album by blues solo artist Kenny Wayne Shepherd. It was released on October 5, 2004. This is his first album in 5 years, the last was 1999's Live On.
1. "Alive" (3:44)
2. "Be Mine" (4:09)
3. "Spank" (with Kid Rock) (3:01)
4. "Let Go" (5:02)
5. "Ain't Selling Out" (3:15)
6. "Believe" (3:58)
7. "The Place You're In" (3:22)
8. "Hey, What Do You Say" (5:03)
9. "Get It Together" (3:48)
10. "Burdens" (3:39)
11. "A Little Bit More" (5:36)
Live On is the third studio album by American blues solo artist Kenny Wayne Shepherd, released in 1999. It was certified Gold by the RIAA in 2000. Live On marks the second and last album (the first being Trouble Is...) to feature vocals from Noah Hunt; although, Hunt also sang several tracks on Kenny's 2004 release, The Place You're In
1. "In 2 Deep"
3. "Them Changes" (Buddy Miles)
4. "Last Goodbye"
5. "Shotgun Blues"
6. "Never Mind"
7. "You Should Know Better"
8. "Every Time It Rains"
9. "Oh Well"
10. "Wild Love"
11. "Losing Kind"
12. "Live On"
13. "Where Was I?"
14. "Electric Lullaby"
Trouble Is ... is the second album by American blues solo artist Kenny Wayne Shepherd. It features the #1 Mainstream Rock Tracks hit "Blue on Black." The album also spawned three further hits including "Slow Ride," "Somehow, Somewhere, Someway," and "Everything is Broken," a Bob Dylan cover. It is the first of two albums featuring Noah Hunt on vocals. Trouble Is ... was certified Gold by the RIAA in 1998 and certified Platinum in 1999.
1. "Slow Ride" (Shepherd/Tate/Selby) – 3:49
2. "True Lies" (Shepherd/Tate) – 5:48
3. "Blue on Black" (Shepherd/Selby/Sillers) – 5:30
4. "Everything is Broken" (Dylan) – 3:48
5. "I Don't Live Today" (Hendrix) – 4:34
6. "(Long) Gone" (Shepherd/Tate/Selby) – 5:24
7. "Somehow, Somewhere, Someway" (Shepherd/Tate) – 5:34
8. "I Found Love (When I Found You)" (Shepherd/Tate) – 4:01
9. "King's Highway" (Shepherd/Selby/Sillers) – 4:17
10. "Nothing To Do With Love" (Williams/Miller) – 4:49
11. "Chase the Rainbow" (Shepherd/Tonio K) – 4:57
12. "Trouble Is ..." (Shepherd/Layton/Shannon/Wynans) – 3:57
Kenny Wayne Shepherd is an American blues guitarist, singer, and songwriter. He has released several studio albums and experienced a rare level of commercial success both as a blues artist and a young musician. In 1997, Guitar World ranked Shepherd #3 after B.B.King and Eric Clapton on their list of popular blues artists
Shepherd attended Caddo Magnet High School in Shreveport, Louisiana. Self-taught, he began playing at age seven, learning Muddy Waters licks from his father's record collection. At the age of thirteen, Shepherd was invited onstage by the New Orleans bluesman Bryan Lee. After proving his abilities, he decided on music as a career. Demo tapes were made and a two camera video was shot at Shepherd's first performance at the Red River Revel Arts Festival in Shreveport. It was this video performance that impressed Giant Records chief Irving Azoff enough to sign Shepherd to a multiple album record deal.
Shepherd took six singles into the top 10 and holds the record for the longest running album on the Billboard Blues Charts with Trouble Is.... He has been nominated for four Grammy Awards, received two Billboard Music Awards and two Orville Gibson awards, and has sold millions of CDs.
In September 2008, Fender Musical Instruments Corp. released the Kenny Wayne Shepherd Signature Series Stratocaster, designed exclusively by Shepherd. Most recently, he developed a unique DVD/CD project, 10 Days Out: Blues from the Backroads. This documents Shepherd as he travels the country to jam with and interview the last of the authentic blues musicians. As they tour the backroads, Shepherd, with members of the Double Trouble Band, play with a host of blues greats including Clarence "Gatemouth Brown" and Bryan Lee, Buddy Flett (with whom he jams at Leadbelly's grave), the great B.B. King, blues harp master Jerry "Boogie" McCain, Cootie Stark, Neil Pattman, John Dee Holeman, Etta Baker, Henry Townsend with Honeyboy Edwards, and a concert session with the surviving members of Muddy Waters' and Howlin' Wolf's bands.
1995 - Ledbetter Heights
Ledbetter Heights is the debut album by American blues solo artist Kenny Wayne Shepherd. He was a mere 17 years old during its released in October 1995. The album's name refers to a neighborhood in Shepherd's home town of Shreveport, Louisiana. It also featured lead singer Corey Sterling on vocals.
Ledbetter Heights was an immediate hit, selling over 500,000 copies by early 1996. It was certified Gold by the RIAA in 1996 and certified Platinum by 2004. Most blues records never achieve such a level of commercial success, much less ones released by artists who are still in their teens. Ledbetter Heights also spent 20 weeks topping Billboard's blues chart. In their list of blues artists, Guitar World voted Shepherd #3 after B.B.King and Eric Clapton.
- "Born With a Broken Heart" (Shepherd/Tate) – 5:56
- "Déjà Voodoo" (Selby/Shepherd/Sillers) – 6:09
- "Aberdeen" (White) – 4:15
- "Shame, Shame, Shame" (Nadeau/Shepherd) – 6:05
- "One Foot on the Path" (Selby/Shepherd) – 3:49
- "Everybody Gets the Blues" (Michael) – 5:58
- "While We Cry" (live) (Shepherd) – 6:17
- "I'm Leaving You (Commit a Crime)" (Howlin' Wolf) – 4:16
- "(Let Me Up) I've Had Enough" (Nadeau/Selby/Shepherd) – 2:43
- "Riverside" (Bowe) – 3:46
- "What's Goin' Down" (Nadeau/Shepherd) – 5:30
- "Ledbetter Heights " (Shepherd) – 6:11
|2.||Invoking The Twilight Void||02:37|
|3.||Empire of Shit||02:48|
|4.||Hordes of A Black Storm||02:49|
|5.||Dead River Intervention||04:59|
|6.||Scourge of A Satanic Infinity||03:45|
|7.||Axis To Mutiny||02:28|
|8.||Witch of The Sabbatic Fire||03:58|
|Total playing time||26:24|
Thursday, August 27, 2009
A live audience recording of Minneapolis band The Cows. This tour was pimping 1996's WHORN on Amphetamine Reptile records.
the black cat
. No, I'm Not Coming Out
. Cow Island
. Four Things
. Hitting The Wall
. Organized Meat
. The Warden
. Sexy Pee Story
. A Oven
. Massa Peel
. Heave Ho
. Divorcee' Moore
. Death In The Tall Weeds
. Baby Love
(Huge thanks goes to AcidPunks for posting this HERE)
1994 - Orphan's Tragedy
Orphan's Tragedy is the seventh album by the Cows.
- "Cow Island" - 3:08
- "Pussy Is a Monarchy" - 3:59
- "Orphan's Tragedy" - 3:16
- "Allergic to Myself" - 3:08
- "Unrefixed" - 1:16
- "The Bucket" - 2:30
- "Pickled Garbage Soup" - 4:54
- "I'm Both" - 3:09
- "Witch Hunt" - 3:29
- "Taxi" - 2:47
- "Baby Love" - 2:26
- "My Bob" - 4:04
- "Shot Down" - 4:18
- "Smell Shelf" - 6:23
1991 - Cunning Stunts
Cunning Stunts is the fifth and most praised album by the Minneapolis-based noise rock band the Cows. It was their first album where they began developing real melodies and patterns instead of their usual blasts of noise. The switch to producer Iain Burgess brought an increase in sound quality from previous albums.
- "Heave Ho" – 2:08
- "Walks Alone" – 2:47
- "Contamination" – 3:11
- "Mr. Cancelled" – 4:19
- "Mine" – 3:31
- "Midnight Cowboy" – 2:50
- "Everybody" – 3:01
- "Two Little Pigs" – 3:00
- "The Woman Inside" – 2:34
- "Terrifique" – 3:15
- "Down Below" – 4:06
- "Ort" – 4:22
They have a star on what is probably the most famous venue in the area, First Avenue. After disbanding, Shannon Selberg went on to front the band Heroine Sheiks.
The band was notorious for their raucous live performances. Acts the band have performed onstage include kicking people in the front row, spitting on the stage, throwing the microphone stand into the crowd, throwing food at the crowd, drawing on themselves, among others. Lead singer Shannon Selberg's trademark is that he has a tattoo illustrating the game Hangman on his body that reads "F_CK" and another tattoo of an anchor with the word "DAD" on top of it. One reviewer wrote about the band's shows, "I have no doubt that The Cows know how to play their instruments. What I don't understand is why they refuse to tune them." - from wikipedia
1987 - Taint Pluribus Taint Unum
Cow Jazz/Car Chase
On Plasma Pond
Mother (I Love That Bitch)
Mucho Thanks to Last Days of Man on Earth for this one!
Icepick Revival was formed somewhere around 1995-96 by Ryan Pankratz and Brett Judice in the good old swamps of Lafayette, Louisiana. They were quickly graced with the technical guitar prowess of one Stephen Sheppert, and so the gnarcore began... 5 or 6 years go by, a couple of releases, one on the short lived, New Orleans based,"8013 Records" run by Bret Davis of Spickle, two other tracks on the Berserker Records compilation "South Of Hell" that also featured Dove, Rwake, Hawg Jaw, Leechmilk, and some other greats... then they hooked up with At A Loss Recordings through the fine gentlemen of Meatjack. The Daniloski brothers delivered a demo to the heads at At A Loss and shortly there-after a 3 song monument to psychedelic technicality was birthed. then they got all sour-faced and kicked the proverbial bucket. pretty much right as the 3 song monster "Distress Signal" dropped... bastards.
The CD is still available through Itunes and through Stickfigure Distribution. you should definitely add it to your collection if you like your heaviness on the frantic-strange side of life. Get it here:
Brett Judice and Stephen Sheppert have moved on to form Collapsar, a monsterpiece of technical, math wizardry in the instrumental quadron. Go check out some Collapsar why don't ya!!!!
Ryan Pankratz can be found within the volume volcano known as The Devil And The Sea. sludge-fed and decibal dosed doom rock for the punishment gluttons out there... go check out The Devil And The Sea
- taken from their Myspace page
"This some serious math stuff, and I love it. Fans of Dazzling Killmen's face of Collapse step forward and indulge. Three songs on this Distress Signal EP don't discriminate at all. Tight well rehearsed hard corechestrated ryhthms and tempo changes that will blow your mind. Great hardcore fun too for those that are into bands like Assuck and Man is the Bastard. "
"Think old Today is the Day mixed with some phenomenal hardcore and topped off with some extremely innovative songwriting. When I think a song is headed in a certain direction they do the complete opposite of what I expect. In my opinion, Icepick Revival are the future of underground heavy music."
Icepick Revival - 1999 - Pecavi
2) Life of Peasants
Icepick Revival - 2001 - Distress Signal
2) The Perils of Self Assertion
Tuesday, August 25, 2009
Cannabis Corpse is a band that was born in the summer of 2006 as a way to express our love of smoking weed and listening to Cannibal Corpse.
The tunes for the first album "blunted at birth" were recorded in Weedgrinders kitchen on a boss br 900 digital 8-track while slowly smoking away huge chunks of memory with the finest bud in oregon hill.
We did it in the hopes of creating a band that got you stoned with a sick oldschool death metal sound alone! We can promise you that every growl, every guitar riff, and every drum beat was done when we were completely obliterated on sweet sweet chiba.We wanted people to spark up a doober and follow along with the lyrics so they could be transported into a horrific world where you are not safe from getting your weed stolen by bloodthirsty zombies or getting captured by an ancient cult that cultivates demonic weed with the blood and body parts of sacred ritual sacrifice! We had no Idea just how well received the album would be by all our "buds" out there in the death metal community. -taken from their Myspace page
Blunted at Birth - 2006
|1.||Blunted at Birth||03:41|
|2.||Staring Through My Eyes That Are Red||03:02|
|3.||Reefer Stashed Place||03:01|
|4.||Force Fed Shitty Grass||03:06|
|5.||I Cum Bud||04:16|
|6.||I Will Smoke You||03:06|
|7.||When Weed Replaces Life||03:14|
|Total playing time||23:26|
Tube of the Resinated - 2008
|2.||Mummified in Bong Water||04:04|
|3.||Disposal of the Baggy||03:23|
|4.||Every Bud Smoken||03:24|
|5.||Sentenced to Burn One||03:31|
|6.||Addicted to Hash in a Tin||04:31|
|7.||Fucked With Northern Lights||03:21|
|8.||Experiment in Horticulture||04:25|
|9.||Gallery of Stupid High||03:21|
|Total playing time||33:11|
FIRE IT UP
Now playing: Soilent Green - Strategically Placed Acoustics
In 2007 Moore, Skerik and Dillon continued to perform by the Garage A Trois moniker featuring other musicians such as John Medeski and Marco Benevento. The current quartet as of December 2007 including Moore, Skerik, Dillon and Benevento have been billed also as "Garage A Benevento", "Garaj A Benevento" and most recently as simply "Garage A Trois".
On December 20th 2007, the band (with Benevento) played a pre-recording show at D.B.A. in New Orleans. They announced that recording for a new Garage A Trois album was to begin the next morning. As of July 2008 clips from the pending album are available for listening on the Garage A Trois MySpace page.
Mysteryfunk EP - 1999
Mysteryfunk is the first EP by Garage A Trois released in 1999. It is a 45 rpm 12 inch vinyl record. The recordings were taken completely improvised, live and with no overdubs, or samples at Magazine Studios during the February 1998 recording of Stanton Moore's debut solo release All Kooked Out!.
- "Mysteryfunk" - 7:45
- "Chupa Cadabra" - 4:28
- "Bwami" - 10:44
- "FCR Theme" - 0:57
* El Mangosta (Stanton Moore): drums
* El Balzac (Charlie Hunter): 8 string guitar, talk box
* El Guzano (Skerik): saxophonics, keyboards, fx
Emphasizer - 2003
Emphasizer is the first full length studio album by Garage A Trois released in 2003.
1. "Hard Headed Rio AKA Rio Cuca Dura" - 4:14
2. "Sprung Monkey" - 4:39
3. "Plena for My Grundle" - 3:40
4. "A-Frame" - 3:56
5. "We See" - 3:53
6. "Interpretive Ape Dance" - 6:16
7. "Launch" - 5:02
8. "GAT Swamba" - 3:04
9. "Delta Skelta" - 5:18
10. "House of Hand Wash" - 2:51
* Mike Dillon: percussion, vibraphone, marimba, congas, tabla, timbales, gong, bells, cuica, effects
* Charlie Hunter: 8 string guitar, pandeiro
* Stanton Moore: drums and cymbals
* Skerik: tenor saxophone, baritone saxophone, suona double reed horn, drum, cracklebox, analog synth, effects, distortion, marimba
Outre Mer - 2005
Outre Mer is the second full-length studio album by Garage A Trois released in 2005. Uniquely combining drums, percussion, eight-string guitar and saxophone it is funk-influenced and emphasizes polyrhythmic grooves. Allmusic reviewer Sean Westergaard stated that with the release of Outre Mer Garage A Trois "evolved from a cool side project to a great band."
The full title of the album is Bande Originale du Filme de Outre Mer. Various album reviews state the album is a soundtrack for a French film also titled Outre Mer which was never released. The liner notes include a short story by Klaus Tontine and a special thanks to Tontine Films France. When Charlie Hunter was asked in an interview with Paul Olsen if inspiration came from the film he stated:
You know, I really don’t have any idea because I never met the guy. It’s all Skerik. Basically, Stanton and Mike and Skerik and I got together and Stanton and I worked out a lot of grooves in the studio. That was our idea, just to put these grooves together--get “A” sections and “B” sections and just kind of build the music that way. And as far as [Tontine] went, I don’t really know--I’ve never met him, I don’t really have any contact with him. I was just down in New Orleans for the week that we recorded it. I wish I could tell you something; I do so much stuff that I’m totally ignorant as to what the thing is even about! [laughing]
- "Outre Mer" - 4:44
- "Bear No Hair" - 4:25
- "The Machine" - 4:56
- "Etienne" - 5:19
- "Merpati" - 5:53
- "The Dream" - 2:54
- "Antoine" - 4:10
- "Circus" - 2:07
- "Needles" - 3:51
- "The Dwarf" - 4:14
- "Amanjiwo" - 3:17
Now playing: Soilent Green - A Scream Trapped Under Water
Monday, August 24, 2009
Sucking the 70's - Back in the Saddle is a follow-up album to the 2002 compilation Sucking the 70's. It was released in 2006 by Small Stone Records. Like the original, it features stoner rock bands covering songs from the 1970s
1. "Are You Ready" - Sasquatch (Originally performed by Grand Funk Railroad)
2. "Crazy Horses" - Puny Human (Originally performed by The Osmonds)
3. "Red Hot Mama" - Clutch & Five Horse Johnson (Originally performed by Funkadelic)
4. "Rock Candy" - Dixie Witch (Originally performed by Montrose)
5. "Don't Lie to Me" - The Brought Low (Originally performed by Big Star)
6. "Sin City" - Novadriver (Originally performed by AC/DC)
7. "One Way or Another" - Colour Haze (Originally performed by Cactus)
8. "Man on the Silver Mountain" - Alabama Thunderpussy (Originally performed by Rainbow)
9. "Mongoloid" - Dozer (Originally performed by Devo)
10. "The Stake" - Acid King (Originally performed by Steve Miller Band)
11. "Honky Cat" - Halfway to Gone (Originally performed by Elton John)
12. "Those Shoes" - Antler (Originally performed by The Eagles)
13. "Outlaw Man" - Brad Davis (Fu Manchu) (Originally performed by The Eagles)
14. "Season of the Witch" - Gideon Smith & the Dixie Damned (Originally performed by Donovan)
15. "Runnin' With the Devil" - Whitney Morgan and the Waycross Georgia Farmboys (Originally performed by Van Halen)
1. "I Just Wanna Make Love to You" - Throttlerod (Originally performed by Muddy Waters, covered by many 70s bands)
2. "Saturday Night Special" - Red Giant (Originally performed by Lynyrd Skynyrd)
3. "Bonie Maronie" - A Thousand Knives of Fire (Originally performed by Ritchie Valens)
4. "Rock 'n' Roll Singer" - The Glasspack (Originally performed by AC/DC)
5. "When the Levee Breaks" - Roadsaw (Originally performed by Led Zeppelin)
6. "Super Stupid" - Greatdayforup (Originally performed by Funkadelic)
7. "Turn to Stone" - Fireball Ministry (Originally performed by Joe Walsh)
8. "Born to Be Wild" - Los Natas (Originally performed by Steppenwolf)
9. "Two of Us" - Scott Reeder (Originally performed by The Beatles)
10. "New Rose" - Orange Goblin (Originally performed by The Damned)
11. "Garden Road" - Mos Generator (Originally performed by Rush)
12. "Snortin' Whiskey" - Honky (Originally performed by Pat Travers)
13. "I Don't Need No Doctor" - The Muggs (Originally performed by Ray Charles & covered by Humble Pie)
14. "Neighbor, Neighbor" - Amplified Heat (Originally performed by ZZ Top)
15. "Parchment Farm" - RPG (Originally performed by Bukka White, covered by many 70s bands)
16. "Dreamweaver" - Valis (Originally performed by Gary Wright)
Assjack - Assjack - 2009
Assjack is the metalcore/psychobilly band led by Hank Williams III. Assjack is one of the three features of Hank Williams III's live show, and they started off playing the Hellbilly material throughout 1999-2002, until they evolved in to a strictly hardcore/punk metal band. The band features Gary Lindsey on vocals Hank Williams III on guitar and vocals and Joe Buck who used to be on bass, but is now focused on his solo career. Assjack has had a revolving drum slot and background vocalist slot throughout the years.
01. Tennessee Driver
02. Wasting Away
03. Choking Gesture
04. Gravel Pit
05. Cut Throat
06. Smoke The Fire
07. Cocaine The White Devil
08. Redneck Ride
09. No Regrets
10. Doin What I Want
Sunday, August 23, 2009
Sucking the 70's is a two disk collection of 1970s songs covered by modern stoner rock bands. It was put out by Small Stone Records in 2002. A second album, Sucking the 70's - Back in the Saddle Again, was released in 2006. The album title is an obvious reference to the Rolling Stones compilation Sucking in the Seventies.
Disc: 1 (1:18:05)
1. "Never in My Life" - Five Horse Johnson 4:47 (Originally performed by Mountain)
2. "Black Betty" - Throttlerod 3:48 (First recorded commercially by Lead Belly, covered by Ram Jam)
3. "On the Hunt" - Dixie Witch 6:05 (Originally performed by Lynyrd Skynyrd)
4. "Cross Eyed Mary" - Clutch 3:31 (Originally performed by Jethro Tull)
5. "T.V. Eye" - The Glasspack 4:47 (Originally performed by The Stooges)
6. "Free for All" - The Last Vegas 3:22 (Originally performed by Ted Nugent)
7. "Can't You See" - Halfway to Gone 4:53 (Originally performed by The Marshall Tucker Band)
8. "Working Man" - Suplecs 7:42 (Originally performed by Rush)
9. "Travellin' Band/Suzy Is a Headbanger" - Puny Human 4:19 (Originally performed by Creedence Clearwater Revival/The Ramones)
10. "We're an American Band" - Raging Slab 3:35 (Originally performed by Grand Funk Railroad)
11. "Brainstorm" - Los Natas 8:25 (Originally performed by Hawkwind)
12. "For Madmen Only" - The Heads 4:11 (Originally performed by May Blitz)
13. "Nasty Dogs & Funky Kings" - Lamont 2:33 (Originally performed by ZZ Top)
14. "Child of Babylon" - Backdraft 4:39 (Originally performed by Whitesnake)
15. "I Don't Have to Hide" - Black NASA 3:02 (Originally performed by Bachman-Turner Overdrive)
16. "Dog Eat Dog" - Warped 3:42 (Originally performed by AC/DC)
17. "Bron-Yr-Stomp" - Hangnail 4:35 (Originally performed by Led Zeppelin)
Disc: 2 (1:17:54)
1. "Vehicle" - Roadsaw 2:53 (Originally performed by The Ides of March)
2. "20th Century Boy" - Novadriver 3:53 (Originally performed by T. Rex)
3. "Hymn 43" - Alabama Thunderpussy 3:24 (Originally performed by Jethro Tull)
4. "Communication Breakdown" - Disengage 2:39 (Originally performed by Led Zeppelin)
5. "Out on the Weekend" - Porn (The Men Of) 7:47 (Originally performed by Neil Young)
6. "Rumblin' Man" - Milligram 3:47 (Originally performed by Cactus)
7. "Working for MCA" - Tummler 6:34 (Originally performed by Lynyrd Skynyrd)
8. "Doctor Doctor" - Fireball Ministry 4:33 (Originally performed by UFO)
9. "Wicked World" - Spirit Caravan 5:33 (Originally performed by Black Sabbath)
10. "Freelance Fiend" - Lowrider 3:11 (Originally performed by Leaf Hound)
11. "Walk Away" - The Mushroom River Band 3:24 (Originally performed by James Gang)
12. "Woman Tamer" - Broadsword 5:26 (Originally performed by Sir Lord Baltimore)
13. "Don't Blow Your Mind" - Doubleneck 2:54 (Originally performed by Alice Cooper)
14. "Black to Comm" - Lord Sterling 4:33 (Originally performed by MC5)
15. "Till the Next Goodbye" - The Brought Low 5:32 (Originally performed by The Rolling Stones)
16. "Don't Call Us, We'll Call You" - Scott Reeder 3:29 (Originally performed by Sugarloaf)
17. "How Can You Win" - Tectonic Break 2:53 (Originally performed by Parish Hall)
18. "The Pusher" - Gideon Smith & the Dixie Damned 5:23 (Originally performed by both Hoyt Axton and Steppenwolf)
This has got to be one of the best collection of cover songs I have ever heard. - swampchode
We Sing of Only Blood or Love (erroneously titled We Sing Only of Blood or Love on the vinyl format) is the debut solo album released by American singer and songwriter Dax Riggs. It was slated to be the next Deadboy and the Elephantmen album before that band's dissolution. Riggs decided to release it under his own name, on August 21, 2007. Matt Sweeney provided a combination of guitar, bass, piano and backing vocals for all of the tracks, as well as producing the record.
We Sing of Only Blood or Love is dominate by dark neo-blues-rock songwriting structures, and also contains heavy metal, folk music, gothic rock, protopunk, and some experimental material. The album is a continuation of Riggs' musical evolution since fronting the Louisiana sludge metal band Acid Bath in the 1990s. Riggs uses a trained, rich vocal style most frequently sung in a blues-influenced baritone rasp. Riggs was 32-years-old at the time of the album's recording. His lyrics contain various stylistic elements of metaphor and imagery, and touch upon personal and poetic subjects such as death, love, Satan, nocturnal hallucinations, mortality, phantoms, and morbidity.
We Sing of Only Blood or Love - 2007
1. Demon Tied to a Chair in My Brain
2. Didn't Know Yet What I'd Know When I Was Bleedin'
3. Night is the Notion
4. Radiation Blues
5. The Terrors of Nightlife
6. A Spinning Song
7. Truth in the Dark
9. Living is Suicide
10. Forgot I Was Alive
11. Ghost Movement
12. Dog-Headed Whore
13. The Wall of Death
14. Scarlett of Heaven nor Hell
16. Dream or Be Dead (Vinyl only)
Wednesday, August 19, 2009
After disputes with an independent label over the distribution of their debut album If This is Hell, then I'm Lucky, the band signed a three-record deal with Fat Possum. For the latter part of 2005, and most of 2006, they toured in support of their major label debut, We Are Night Sky, playing from bars and smaller venues to Lollapalooza, Austin City Limits, and Bonaroo. In early 2006, Riggs recruited his former Agents of Oblivion bandmate, Alex Bergeron, to play bass on tour. Later that year, the band was primarily a duo of Riggs and Tessie Brunet. This line-up was often compared to The White Stripes in reviews, and their music is sometimes referred to as "swamp rock." By 2007, Brunet left the band and Riggs went on to a solo career.
Deadboy & the Elephantmen first appeared in late 2000, following in the wake of the break-up of Agents of Oblivion. The earliest incarnations of DBATEM were little more than Dax Riggs playing solo shows under the moniker when not using his own name or the rarely used T-Daks & His White Plastic Soul. He would play early versions of Deadboy songs along with covers of Leonard Cohen, Bonnie "Prince" Billy and Nick Cave and the Bad Seeds, among others.
As time went on, Riggs began expanding the band and by early 2001 had a full line-up.
Deadboy's first album, If This Is Hell, Then I'm Lucky was released in 2002. The album was discontinued and for a time was extremely hard to find. However, it has recently been re-released by Fat Possum.
Following the first album Dax Riggs sought new musicians after a couple of the band members quit. The line-up for the first album consisted of Jason Dupre on the guitar, Christopher Gautreaux on the bass, and Jeff LeCompte on the drums. Niki Rhodes Jr. then rejoined the project again, after leaving it the first time, and Christopher(Sax and keys) began working with him on futuristic techno rock. Other musicians where then brought in after Christopher and Niki left the group, and New York City-based Nasty Little Man handled the band's live promotions. It was during this time that Brunet was recruited and the two began recording.
An EP, Song Mechanism, was released in late 2004. It was distributed by Riggs through Deadboy's website and various local Louisiana music stores. It too has been discontinued though all four tracks from the EP later appeared on We Are Night Sky.
We Are Night Sky was made available for purchase online in late 2005, but its official release date was February 7, 2006. While it is technically the second full-length album for Deadboy & The Elephantmen, it is the first featuring the simpler two-person lineup and is better distributed than previous efforts, and as such is often referred to as their 'debut' album.
Upon discovering We Are Night Sky, Henry Rollins began championing the band on his radio show Harmony in My Head and his TV show The Henry Rollins Show. He has since had the band on the latter to perform "Stop, I'm Already Dead".
In late 2006, Brunet left the band, but it has yet to be stated as to why and under what terms. On April 16, 2007 it was announced that the band was no more, and further records will be released under Dax Riggs' own name.
If this is Hell then I'm Lucky- 2002
If This Is Hell, Then I'm Lucky is the long out-of-print debut effort of Deadboy & the Elephantmen, fronted by Dax Riggs, formerly of Acid Bath and Agents of Oblivion. The album was re-released on February 5, 2008 under Dax Riggs' name only. Dax Riggs (vocals, guitar); Jason Dupre (guitar); Christopher Goat (bass guitar); Jeff LeCompte (drums, percussion)
- "Strange Television" (6:14)
- "Waking Up Insane" (4:30)
- "Song with No Name" (4:03)
- "Graves Beyond Windows" (3:51)
- "Otherworldly Dreamer" (7:50)
- "Like the Dead Would Laugh" (5:07)
- "High Monster" (4:42)
- "Heart of Green" (8:16)
- "Barefoot in the Dark" (4:20)
- "Deadboy and the Elephantmen Theme Song" (7:53)
We Are Night Sky - 2005/2006
We Are Night Sky is the second full-length album of Deadboy & the Elephantmen. However it is often considered to be their first album, due to its sole major label level. It is also the first full length album to feature drummer Tessie Brunet.
The album was released at two different times. The first release was online in late 2005. The store date was February 7, 2006.
- "Stop, I'm Already Dead" (2:19)
- "No Rainbow" (4:35)
- "How Long the Night Was" (3:14)
- "Ancient Man" (3:17)
- "Dressed in Smoke" (3:57)
- "Blood Music" (3:36)
- "Walking Stick" (3:25)
- "Kissed by Lightning" (2:04)
- "Misadventures of Dope" (2:30)
- "Break it Off" (3:47)
- "Evil Friend" (3:09)
- "What the Stars Have Eaten" (2:52)
Dax's solo project started out under the name T-Daks & His White Plastic Soul. Riggs performed rare live shows, mostly acoustic, under that name.
This recording is pretty rare from what I understand. This was before Deadboy and the Elephantmen came into existence. -swampchode
Tuesday, August 18, 2009
|Agents of Oblivion|
|Origin||Formed in||Last label||Status|
|United States (Houma, Louisiana)||1999||Rotten Records||Split-up|
|Last known line-up|
|Dax Riggs - Vocals, Guitar (Golgotha, Acid Bath, Deadboy and the Elephantmen)|
Mike Sanchez - Guitar (Golgotha, Acid Bath)
Alex Bergeron - Bass (Deadboy and the Elephantmen)
Chuck Pitre - Keyboards (Deadboy and the Elephantmen)
Jeff McCarty - Drums
|Jimmy Kyle - Drums (Golgotha, Acid Bath)|
Agents of Oblivion - Agents Of Oblivion
Daisyhead & the Mooncrickets is akin to an urban legend for fans of underground bluesy rock. But the two works, especially "Skeletal Circus Derails," are an important chapter in Riggs' history. Fans to this day regularly ask him to play certain songs from that album when they see him on tour. (The possibility of that happening has not been ruled out.)
They also detail a point in Riggs' career when he's struggling for life after Acid Bath, which disbanded following the death of bassist Audie Pitre in 1997.
The End of DaisiesToward the end of Daisyhead & The Mooncrickets, Riggs was pushing for a more melodic sound, which materializes in his subsequent bands Agents of Oblivion and Deadboy and the Elephantmen. But, that sound was first heard on the Daisyhead recordings.
Known RecordingsThe first known recording is Skeletal Circus Derails which is a 6 song recording and is the namesake of the Riggs fan site Skeletalcircus.com.
The second recording is a self-titled 14-track recording from 1997, where most of the songs are cut off before they end. A few covers are included, David Bowie's "Ziggy Stardust" being among them. Half (or more) of the song titles are unknown. It's also perhaps the earliest recording of the "Deadboy & the Elephantmen Theme Song," which Riggs would sometimes play when he formed a band by that name in late 2000. - taken from wikipedia.org
1995 - Skeletal Circus Derails
- "The Skeletal Circus Derails" – 3:25
- "As Gone As Gone Can Be" – 2:48
- "Seahorses (Acid Quest)" – 2:18
- "Wander The Day Away (Come The Morning)" – 4:20
- "Downtown" – 2:53
- "Instrumental" – 0:40
1997 - Daisyhead and the Mooncrickets
Daisyhead & The Mooncrickets is the second recording is a self-titled 14-track recording from 1997, where most of the songs are cut off before they end. A few covers are included, David Bowie's "Ziggy Stardust" being among them. Half (or more) of the song titles are unknown. It's also perhaps the earliest recording of the "Deadboy & the Elephantmen Theme Song," which Riggs would sometimes play when he formed a band by that name in late 2000. - taken from wikipedia.org
- "Ghost Of A Ghost" – 2:49
- "The Skeletal Circus Derails" – 2:24
- "Dead Girl" – 2:38
- "Ziggy Stardust" – 1:42
- "Neighborhood Threat" – 3:19
- "Riding The Wormholes + Winter Ritual" – 7:09
- "Unknown" – 2:01
- "Unknown" – 1:31
- "Rock N Roll Angel" – 1:04
- "Unknown" – 1:04
- "Space Oddity + Seahorses" – 2:57
- "Deadboy And The Elephantmen Theme" – 1:39
- "Unknown" – 1:53
- "Unknown" – 1:24
Anyone who is a fan of Acid Bath/Agents of Oblivion/Dax Riggs should check this out.
|Death, Drugs, Dark Humor, Doom|
|Origin||Formed in||Last label||Status|
|United States (Kenner, Louisiana)||1991||Rotten Records||Split-up|
|Last known line-up|
|Dax Riggs - Lead Vocals (Agents of Oblivion, Deadboy & the Elephantmen,Golgotha, Daisyhead and the Mooncrickets, Dry Pussy, T-Daks and His White Plastic Soul)|
Sammy Duet - Guitars, Vocals (Dark Karnival, Goatwhore, Vual, Ritual Killer,Crowbar, Walpurgisnacht)
Mike Sanchez - Guitars, Vocals (Agents of Oblivion, Golgotha)
Joseph Fontenot - Bass (Daemon (US), Devourment, Prophecy, Shredding Lettuce, Shrum , Jacknife)
Jimmy Kyle - Drums (Golgotha, Agents of Oblivion)
Audie Pitre (also Vocals) (R.I.P.1970 - 1997, killed by drunk driver) (Shrum, guest for Walpurgisnacht, Dark Karnival)
- taken from metal-archives.com
I'm sure most of you know about the legendary Acid Bath, but for the few of you who don't, SHAME ON YOU!! You have been cheating yourselves for a long time. Acid Bath was a band who were def. WAY ahead of their time. I personally was lucky enough to catch them live a few times as a teenager. These albums are well over ten years old, but every time I hear them they sound fresh and new to me. You just cannot help but love this stuff. - swampchode
Acid Bath - When the Kite String Pops
Full-length, Rotten Records
August 8th, 1994
|Dax Riggs - Vocals |
Sammy Duet - Guitars, Backing Vocals
Mike Sanchez - Guitars, Backing Vocals
Audie Pitre - Bass, Backing Vocals
Jimmy Kyle - Drums
Produced by Spike Cassidy.
Co-produced by Greg Troyner and Acid Bath.
Digitally recorded and mixed at Side One, Metairie,
LA by Spike Cassidy and Greg Troyner.
Digitaly mastered at Future Disc by Eddie Shyer and Spike Cassidy.
All music and lyrics by Acid Bath/Subversive Noise [BMI].
Remastered in 2004 by Eddy Schreyer at Oasis Mastering.
The cover art ("Pogo the Clown #15" / "Skull Clown #171") was painted by
infamous serial killer-cannibal-pedophile-necrophile John Wayne Gacy while he
was in prison.
Reviews for Acid Bath's When the Kite String Pops
|Heavy metal's ultimate best-kept-secret - 100%|
|Written by Chainedown on January 16th, 2009 |
|What an amazing album!|
Acid Bath's first album is probably nothing like you have heard before. It is not entirely weird, nor is it revolutionary, yet it manages to create a whole world that is original and one-of-the-kind. In fact, it's even quite different, in a way, from Acid Bath's second (and last) album, which is another incredible album.
Maybe it's only natural that Acid Bath is as unique as it is, considering the singer Dax Riggs worships David Bowie and guitarist Sammy Duet worships Satan. The two dudes' interests are contradictory, yet the these core members are close friends who has mutual fascination with death, insanity, and darkness in general. Acid Bath is fascinated with themes more than a particular musical style, and that really makes them stand out from other metal bands. They are able to have a bluesy song ("Tranquilized"), an acoustic song ("Scream of the Butterfly" and "Bones of Baby Dolls"), a sludgy song ("Cassie Eats Cockroaches" and "Dope Fiend"), all in one album, and still maintain coherence and impact.
The whole thing is just nuts. It grabs your attention, grips your mind, and will surely poisons your feelings with negativity. Start off with album cover; even if you didn't know that the painting was done by serial killer John Wayne Gacy, it looks creepy and gives you a fair warning of what is contained within. Dax Riggs is a hell of a songwriter; his words are beautifully demented and imaginative. He is also a great singer that gives so much color and dimension to the album, whereas your average metal singer would've been disposable and predictable. Sammy's distorted backing screams are more sinister than any vocal work you heard on a black metal album. Sammy and co-guitarist Mike Sanchez, along with bassist Audie Pitre, cranks out some mean riffs and grooves that sometimes compliments each other and sometimes trades off with each other. The guitars make liberal use of squeals, pick scrapings, and feedbacks - you heard these tricks before, but here, these simple sound effects are somehow spooky... for example, the opening to "The Blue" and "Dr. Seuss is Dead." Audie and drummer Jimmy Kyle provides perfect complimentary support to evil vocals and guitars. The music is carefully placed to keep it balanced - I, for example, love the first 6 tracks and the last 4 tracks, which make the album easy to listen through. On top of all this, raw but effective production, mix of musical styles (like doom, blues, thrash, and even a slight touch of industrial??), and diversity in tempo and loudness turns an album into a perverted monster.
Bottom line, it kicks fucking ass, and any reviews you read will probably not do enough justice to the album. It's a true underground legend, a classic among classics that will surely survive through the test of time. Go buy it NOW!
|Acid Bath - When the Kitestring Pops - 100%|
|Written by overkill666 on December 28th, 2008 |
|When you think of Louisiana, what is the first band that comes to mind? For me, and many other sludge fans it should be Acid Bath. I must say, this is truly a dark and bizarre album. Specifically, this album is musically dark, and lyrically bizarre. Though, this is a sure-fire, 100% album that should be remembered through the years, and replayed many times.|
As I said in the introduction, this album is musically dark. The use of acoustics helps add that depressive, melancholic sound to the music. A great example is the introduction in 'The Bones of Babydolls'. The acoustic guitar/vocal combo is very effective, and adds a touch of sadness into the song. It goes without saying that the guitar/bass work is very strong throughout the release. It sounds like Acid Bath spent a very long time writing their music. Though, the faster songs aren't as captivating, but are awesome nonetheless. They don't have the melancholic effect, but have a nice heavy sound and give you the ability to actually headbang to Acid Bath. The drumming isn't prominent throughout every song, but where it is used, it is great. The vocals can be described as nothing less than amazing. Dax Riggs has a superb clean singing voice, and it goes along very nicely with the slow, melancholic parts. His screams, like in the track 'Jezebel', are rough and sound relentless.
Throughout the album, I found myself very interested in this band. Once the last track had completed, I knew this would be an album I'd listen to a lot more in the future. Acid Bath had added a very significant touch to sludge metal, and I'm sure this album has influenced other bands. I'd recommend you check this one out, surely this was a major highlite for the year 1994.
|So diverse and never dull - 100%|
|Written by shagnarokvonlustmord on November 27th, 2008 |
|This is one of the most diverse albums to ever emerge from the United States. I cannot pinpoint exactly what category musically to put Acid Bath in. I hear doom and death as well as black and sludge elements. Even thrash and melodic rock emerge at some point. Lets just say that Acid Bath were ahead of their time so much that they are revered as legends only 10 years after their departure from the metal world. Dax, for starters, is a very interchangeable vocalist. His range can go from extremely melodic to as extreme as screaming can get. This Jekyl and Hyde personae works well with Sammy's blackened screams and the rest of the bands different methods and tones.|
When listening to songs like 'Scream of the butterfly' and 'Bones of baby dolls' the listener can become mesmerized and lost in the overall depth of the beauty. The melodies are very ballad like and quite overwhelmingly soothing. They are what sets them apart from the very aggressive ferocity of songs like 'Cassie eats cockroaches', 'Jezebel' (which when the song breaks down, gets calm with decipherable lyrics) and 'The Blue'. Overall each song has a different individualistic stance when it comes to pace, sound and story. There are no nuances nor mundane offerings.
This is for all listeners. Whether you prefer the doom/sludge aspects or the black and death alike. Metal aficionados who appreciate new territories explored and calculatingly executed will find at least one thing they like about 'When the kite string pops'. It Usually take 2 or more releases to give this much impression for just one album. Not to mention awesome cover artwork done by sadistic madman John Wayne Gacy (an author of death as a creator of art).
I highly recommend their follow 'Pagan Terrorism Tactics' for an album equal to brilliance.
|Fuckin great - 100%|
|Written by Skallagrim on June 13th, 2003 |
|I love this album. More than PTT, thats for sure. The riffs are great, the vocals are great, and this is a band that can play and arrange well. It starts off good with The Blue, a solid song and moves right into Tranquilized and its catchy as fuck beginning riff, changing to slower tempo through most of the middle, and drones off to finish. Cheap Vodka is really just filler, and next is Finger Paintings of the Insane. This album is full of amazing shit, and this is some of it. Starting off slow, and breaking off into a strange riff, after that breaking into a very black-metalish section, with keyboards and double bass. It eventually gets back to the main riff, and ends in a swell of mumbling and feedback. Jezebel is good, with a sudden intro to break the random feedback feeling. Then Screams of the Butterfly. Quieter acoustic song, which Acid Bath is talented at pulling off and placing. It creates almost a midpoint to the album. Next, Dr. Seuss is Dead, sparked a debate between my friend and I over stoner doom and how cool it is. heh. Dope Fiend opens with almsot the same feedback as The Blue, and you're almost waiting to hear The Blue's riff...but you don't. Mediocre song at best. Next is Toubabo Koomi, their only single they made a video for if i recall. It does have a very 'pop' feeling to it, but is good enough to not be a throwaway track. God Machine begins with a few samples from movies I can't quite place, and develops the main riff gradually, until vocals enter. It starts and stops tempo-wise for the rest of the song, and ends with a strange scream and clatter. Morticians Flame includes one of the catchiest riffs on the album, played by the bass, which is more prominent on this track. What Color Is Death seems out of place, with the singer screaming GO! repeatedly. It reminds me more of nu-metal, and doesnt flow with the rest of the album. The last two songs are Acid Bath classics, meant to kick your ass and make you love the album. Bones of Baby Dolls is another slow acoustic song, much better than the previous, sporting one of the coolest solos I've heard in a while. Cassie Eats Cockroaches is a fucking awesome song, starting with a detuned note over and over along with a Clockwork Orange sample, which goes so well with the lyrics. Samples that are random make the song suck. Acid Bath is a great band for not filling the second half up with shit filler, saving one of the best for last.|
Acid Bath - Paegan Terrorism Tactics
Full-length, Rotten Records
November 12th, 1996
|In memory of Dan and Pauline Riggs, Jake (Infant Slug), Billy Maupins, and |
Brutis the Boxer.
Dax Riggs - Vocals
Sammy Pierre Duet - Guitars, Backing Vocals
Mike Sanchez - Guitars
Audie Pitre - Bass, Backing Vocals
Jimmy Kyle - Drums
Original Cover art "For He Is Raised" © 1996 Dr. Jack Kevorkian.
Produced and engineered by Keith Falgout.
Assistant Engineer: Matt "Heavy" Akin
Mixed by Keith Falgout.
Samples by Spice.
Recorded and mixed at Festival Recording Studios, Kenner, Lousiana.
Photography by Jimmy Kyle.
Layout by Mean Street Graphics.
Ode of the Paegan is actually a hidden track at the end of Dead Girl, which is
only 7:23 without the hidden track and the silence in between.
Reviews for Acid Bath's Paegan Terrorism Tactics
|Acid Bath - Paegan Terrorism Tactics - 99%|
|Written by DrSeuss_is_dead on February 6th, 2009 |
|Acid Bath is one of my all time favourite bands, they’re just incredible! From the lyrics, to the vocals, to the guitar and the drums, everything works amazing together. Acid Bath is not a very technical band, both their CD’s are similar, in that they use each element of music together to create a solid, dark and killer atmosphere. Entrancing you with haunting vocals, as well as screams, Acid Bath are, in my opinion, one of the top sludge/doom bands, up there with Eyehategod, Crowbar and the many others.|
This CD “Paegan Terrorism Tactics” is a definite classic. The melodic sludge and doom draws you in cuts you into pieces and then puts you back together in a new form. Dax Riggs has a gift for creating some of the darkest lyrics ever, and not cheesy dark, just plain serial killer dark. He takes you on a journey through a drugged up psychopaths mind and man he does it well. Not only are his lyrics insane, his clean voice is fucking incredible and he can scream as if he were being murdered, he is relentless. Alongside him, Sammy Duet, now of Goatwhore, is able to compliment Dax’s vocals and screams with his own haunting screams. They are just as intense and just as necessary as anything inside of this haunting album. All musicians: Jimmy Kyle (drums), Mike Sanchez (guitar) and Audie Pitre (bass), are amazing, they all grew up in similar slum areas of the South, building their influence of Southern fried sludge.
Now on to the songs! The CD starts off with “Paegan Love Song,” a sure crowd pleaser. It has a very groovy and intense riff to start off the song, as well as the CD. The whole song is put together beautifully, and it is quite simple, but gives off an energetic rush. Dax screams, sings, screams, sings, as the tempos increase and decrease in a melodic manner until the slow droning breakdown that really grabs your attention. Dax’s voice shines at that part! It is a killer song, but next is one of the highlights, “Bleed Me an Ocean.” This song starts off slow and basic and Dax’s voice, once again, shines above slow sludgy music. But the song picks up and gets faster until it gets to a bridge that is nice and slow and hits you with Sammy Duet screaming in anger. It then picks up again and a very catchy riff comes out with Dax singing his ass off. Fuck that song’s amazing!
Next is “Graveflower,” a simple song with trippy and cool melodic chords. This song is one of their bigger hits. There is no screaming, just a stoner like vibe through the whole thing. It’s actually a very beautiful song and shows off Dax’s voice and the bands ability to be melodic and beautiful and still maintain their dark vibe. “Diab Soule” is next, this title is Cajun French for “Drunken Devil.” Just from this you can see how badass the song is. It really is cool starting with bass and drums that turn into a monster of sludge driven riffs, in turn, making you feel drunk, in the best of ways of course! This leads into “Locust Spawning.” This track is pure sludge and heaviness, and pretty much all screaming. This is one of my favourite tracks, its fucking badass and heavy in so many ways. The ending is superb, it trails off with Dax screaming his ass off, “DEVOUR!!!!” It makes you cringe and feel like you want to kill someone, but not actually do it, of course.
The rest of the songs are all amazing, there is nothing bad at all in this CD. “New Death Sensation” is a slow ballad, but is not a regular one. It is very hypnotic and entrancing and fuck is it beautiful in the most demented of ways. “Venus Blue” is another more commercial sounding song, but that doesn’t mean it is bad, it’s got a very depressing vibe about it and it shows off the bands ability to give off a shitload of emotion in their sound. The chorus will give you chills, it’s haunting and unforgiving, plus the song has an amazing melody. “13 Fingers” and “New Corpse” are fast, heavy and sludgy songs. They are fucking brutal and strong. They have killer hooks and riffs and the band works their ass off to prove to the listener how fucking intense and crazy they are. “13 Fingers” is one of my all time favourites. Last but not least, “Dead Girl” is a beautiful ballad that makes you feel like you’re in pitch black stuck in a graveyard. It’s got one of the most depressing vibes ever, again this band gives off a fucking unbelievable atmosphere of darkness and drug enhanced melodies.
Yes, there are two “fillers,” but I enjoy both of them. “Old Skin” and “The Beautiful Downgrade” are both poems. It is Dax reading poems in a weird voice above a very weird, industrial sounding background. I love them for their ability to add to the bizarre sounds of this album and compliment this bands beauty in darkness. The poems have some amazing lines, and if you like lyrics a lot, check them out. But they are not actual songs, so don’t get your hopes up, although, I think they’re awesome!
Anyways, this is one of my all time favourite albums, and it should be an amazing experience for anybody who actually knows and enjoys music. This is a must have! I mean that, these guys were just fucking incredible, as close to perfect as it will ever get! So check these Southern psycho’s out!
Highlights: “Bleed Me and Ocean”, “Locust Spawning”, “Venus Blue”, “13 Fingers”, “New Death Sensation” and “New Corpse”.
|One of the best albums I have ever heard - 99%|
|Written by ozzeh on December 23rd, 2008 |
|"Paegan Terrorism Tactics" is one of the most solid musical entities I've ever experienced. I say experienced because of the sheer gloomy aesthetics of this monstrous progressive sludge work of art.|
Acid Bath takes the best aspects of 90s alternative hard rock in the vein of Soundgarden and Alice in Chains and injects their 90s alt influence with 100% metal steroids. The addictive qualities of "PTT" are akin to heroin. The vocals are quite possibly my favorite part of the brilliance which is Acid Bath: the clean, emotive strung out vocals are accentuated with a demonic hardcore antagonist which adds dimensionality superseding any alternative rock album ever in pure vocal talent alone.
Whereas "Where the Kite String Pops" featured a predominantly hardcore influenced stoner/metal amalgam, "PTT" adds a severe dosage of doom to give the overall impact a very unique mix of hardcore/sludge/doom/prog metal bliss. The guitar tone is gorgeous and the guitar playing is equally gorgeous, every riff, every chorus, every lyric, every note is perfect. I've never experienced a doom/sludge metal album near this perfect with the sole exception of some of Neurosis' output.
The vocal performances cannot be understated. Equal in perfection is the production with is as brooding as the music itself: the artwork on their albums is done by serial killers: that's kind of the fucked up feeling "PTT" will give you. This is something you have to listen to dozens upon dozens of times to truly appreciate, though contrarily it will captivate even the most casual listener upon the first listen.
|Dark and Violent - 97%|
|Written by ProMetal2007 on February 10th, 2006 |
|Acid Bath's Paegen Terrorism Tatics is a blend of most true types of metal. It's classified as Sludge/Doom Metal which is a good interpretation, but a big Stoner influence is also shown, no doubt. In the album they go from Doomy Sabbath material all the way to a Death Metal Sludge much which sounds a lot like extreme thrash (borderline death) with a heavy punk influence (hence the Sludge). The Doomier side of Acid Bath shows melody and good songwriting skills, songs like Bleed Me an Ocean, Dead Girl, and New Death Sensation tend to stick with you long after the listening. The lyrics are dark and depressed and give off a psychotic mood throughout the whole album, and are graphic and detailed. Dax Riggs is a very able and talented vocalist and consists of the core and soul of the album, along with the rest of the band have great chemistry.|
The album starts off with Paegen Love Song, a heavy sludge/doom number that chugs along with a good chorus and sets the tone of the album. From there it gets out of contol, Bleed Me an Ocean is a classic Doom song. Dark, slow, and of course depressing. Graveflower gets a shot of melody and keeps the slow pace and doom that was used on the last song. Diäb Soulé picks things way up, one of the most extreme Sludge songs on the album. It's face paced and for the first time (and not last) we hear the harsh death metal like vocals used. Locust Spawning doesn't pussy out or get any slower, it just builds on from the last song. A great fast riff drives this one, mixed with a heavy bass backing. Old Skin is odd, like poetry, and is demented. It's weird enough to make you listen every once and awhile. New Death Sensation is one of the, if not the best song on the album. It starts out acoustically with melodic vocals, it gets out the beautiful suicidal message encoded in it. The song eventually switches from it's acoustic vibe back to electric, but keeping the pace and mood. Venus Blue leaves off where New Death Sensation stopped, but gets heavier and adds more power to it. The chorus is amazing on this song too, again showing the song writing ability of Riggs. 13 Fingers and New Corpse are heavy Sludge, almost pounding the record to a close. Before it can though, the acoustic song Dead Girl shows up and just about steals the album. The song's only about seven minutes and twenty seconds but the record keeps it on until the 24:08 mark and then we hear an odd outro, like Old Skin and it ends.
This album's great for anyone that enjoys any kind of extreme metal, who knows where these guys could of been if it wasn't for Audie Pitre passing on in that car accident. Acid Bath capture a dark and dry depressed sense, and do it almost perfectly. The two inserts (Old Skin and The Untitled Track) are really not needed but are unique in their own way, and are good for a novelty every now and then. If you like true extreme metal, then Acid Bath probably will do something for you.
Seriously, if any of you have not heard this, do yourselves a favor and get this NOW!
That's why I put all the reviews up, to let all of you who may not know just how great this band really was/is. - swampchode