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CD
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EZRDR 136CD
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$15.00
PREORDER
RELEASE DATE: 7/15/2022
"Here's just a few of the gems on Brown Acid - The Fourteenth Trip, the much beloved series that is the Nuggets of proto-metal, pre-stoner rock: The Legends' 'Fever Games' is a 1969 fever dream of heavy psych on par with Blue Cheer at their heaviest, featuring an incredible intro with whammy-bar gymnastics through an Echoplex. This Harrisburg, PA power trio, featuring Dan Hartman (Edgar Winter Group, et al) and his brother Dave, also name-checks Jimi Hendrix Experience in the midst of the song's most blatant Hendrix rip. Perhaps that's how Fever Games work? Transfer's velvet smooth groove has an almost proto-punk feel like a mashup of the Velvet Underground and The Flamin' Groovies. But the lyrics referencing tokin' reefer and the twanging surf lead situate them closer to their heavy rock brethren. This very rare 1974 self- released 45 is this lone archive of the band's existence -- assume they just kept right on playin' it cool into oblivion. Cox's Army deploy the grungy rocker 'I'm Tired' which sounds like if Jimi Hendrix fronted Mudhoney. Yes, please! Though they hailed from Aurora, IL, it sounds like there's definitely some Pacific Northwest in their blood. Particularly in the gritty production, which hints at The Sonics' 'bustin' outta lo-fi' style. Not much is known about the enigmatic Columbus, OH musician known as Raven, whose 'Back to Ohio Blues' closes this edition. The mantra-like droning riff of this eight-minute jam is a Black To Comm-style epic, driven by Raven's hostile, no-bullshit diatribe until it all busts open for an insane two-minute long drum solo soaked in odd effects that sounds like it was copped from a Melvins album."
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Artist |
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Format |
Label |
Catalog # |
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LP
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EZRDR 136LP
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$26.00
PREORDER
RELEASE DATE: 7/15/2022
LP version. "Here's just a few of the gems on Brown Acid - The Fourteenth Trip, the much beloved series that is the Nuggets of proto-metal, pre-stoner rock: The Legends' 'Fever Games' is a 1969 fever dream of heavy psych on par with Blue Cheer at their heaviest, featuring an incredible intro with whammy-bar gymnastics through an Echoplex. This Harrisburg, PA power trio, featuring Dan Hartman (Edgar Winter Group, et al) and his brother Dave, also name-checks Jimi Hendrix Experience in the midst of the song's most blatant Hendrix rip. Perhaps that's how Fever Games work? Transfer's velvet smooth groove has an almost proto-punk feel like a mashup of the Velvet Underground and The Flamin' Groovies. But the lyrics referencing tokin' reefer and the twanging surf lead situate them closer to their heavy rock brethren. This very rare 1974 self- released 45 is this lone archive of the band's existence -- assume they just kept right on playin' it cool into oblivion. Cox's Army deploy the grungy rocker 'I'm Tired' which sounds like if Jimi Hendrix fronted Mudhoney. Yes, please! Though they hailed from Aurora, IL, it sounds like there's definitely some Pacific Northwest in their blood. Particularly in the gritty production, which hints at The Sonics' 'bustin' outta lo-fi' style. Not much is known about the enigmatic Columbus, OH musician known as Raven, whose 'Back to Ohio Blues' closes this edition. The mantra-like droning riff of this eight-minute jam is a Black To Comm-style epic, driven by Raven's hostile, no-bullshit diatribe until it all busts open for an insane two-minute long drum solo soaked in odd effects that sounds like it was copped from a Melvins album."
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CD
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EZRDR 140CD
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$15.00
PREORDER
RELEASE DATE: 7/1/2022
"How does one follow up one of the most legendary, yet rarest albums said to signal the birth of doom metal? If you're Randy Holden, you give everyone about fifty years to catch up, then casually drop a tastefully modernized reinterpretation of that sound. Population III picks up where Holden's 1969 solo debut left off, updated with several decades worth of technological advances and personal hindsight. Following his tenure in proto-metal pioneers Blue Cheer in 1969, the guitarist aimed for more control over his next project. Thus, Randy Holden -- Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present. Along with drummer/keyboardist Chris Lockheed, Holden created what many say is one of the earliest forms of doom metal. Their six-song debut album Population II delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. However, troubles with the album's original 1970 release bankrupted Holden, who subsequently left music for over two decades. For good reason, it's widely hailed as a masterpiece, and until finally getting a proper formal release in 2020 on Riding Easy Records, was a longtime Holy Grail for record collectors. Flash forward forty years to 2010, one finds the guitarist/vocalist quietly coaxed into recording a follow-up album by Holden superfan and Cactus member Randy Pratt. Joined by drummer Bobby Rondinelli (who has played with Black Sabbath, Blue Öyster Cult, Rainbow), the trio cut the six-song collection of leaden future blues, Population III. 'Randy Pratt had written the basic song structures, he understood my music and where I come from quite well,' Holden says. 'He nailed it.' But the recording was ultimately shelved for over a decade. Throughout Population III, Holden effortlessly dishes out squealing, soaring leads and skull-thwacking riffs with his signature low end grit and penchant for Middle Eastern scales. Coupled with Pratt's pocket-locked bass, the slight flanging effect on Rondinelli's drums and his pugilistic beats, the album occasionally brings to mind Presence-era Led Zeppelin. At times, Holden sounds reminiscent of Neil Young leading Crazy Horse's ruptured grunge as his lilting falsetto vocals push and pull his guitar's siren's call. Population III is the real deal -- a powerful continuation of a sound forged fifty years ago, that almost didn't happen. Somehow, Randy Holden's music always finds a way to stand the tests of time."
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Artist |
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LP
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EZRDR 140LP
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$26.00
PREORDER
RELEASE DATE: 7/1/2022
LP version. "How does one follow up one of the most legendary, yet rarest albums said to signal the birth of doom metal? If you're Randy Holden, you give everyone about fifty years to catch up, then casually drop a tastefully modernized reinterpretation of that sound. Population III picks up where Holden's 1969 solo debut left off, updated with several decades worth of technological advances and personal hindsight. Following his tenure in proto-metal pioneers Blue Cheer in 1969, the guitarist aimed for more control over his next project. Thus, Randy Holden -- Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present. Along with drummer/keyboardist Chris Lockheed, Holden created what many say is one of the earliest forms of doom metal. Their six-song debut album Population II delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. However, troubles with the album's original 1970 release bankrupted Holden, who subsequently left music for over two decades. For good reason, it's widely hailed as a masterpiece, and until finally getting a proper formal release in 2020 on Riding Easy Records, was a longtime Holy Grail for record collectors. Flash forward forty years to 2010, one finds the guitarist/vocalist quietly coaxed into recording a follow-up album by Holden superfan and Cactus member Randy Pratt. Joined by drummer Bobby Rondinelli (who has played with Black Sabbath, Blue Öyster Cult, Rainbow), the trio cut the six-song collection of leaden future blues, Population III. 'Randy Pratt had written the basic song structures, he understood my music and where I come from quite well,' Holden says. 'He nailed it.' But the recording was ultimately shelved for over a decade. Throughout Population III, Holden effortlessly dishes out squealing, soaring leads and skull-thwacking riffs with his signature low end grit and penchant for Middle Eastern scales. Coupled with Pratt's pocket-locked bass, the slight flanging effect on Rondinelli's drums and his pugilistic beats, the album occasionally brings to mind Presence-era Led Zeppelin. At times, Holden sounds reminiscent of Neil Young leading Crazy Horse's ruptured grunge as his lilting falsetto vocals push and pull his guitar's siren's call. Population III is the real deal -- a powerful continuation of a sound forged fifty years ago, that almost didn't happen. Somehow, Randy Holden's music always finds a way to stand the tests of time."
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LP
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EZRDR 134LP
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$26.00
PREORDER
RELEASE DATE: 6/17/2022
LP version. "Here are just some of the gems from this latest edition of the popular compilation series featuring long-lost vintage '60s-70s proto-metal and stoner rock singles, Brown Acid - The Thirteenth Trip: Max, from Montreal, QC -- originally known as Dawn, before Tony Orlando & Dawn forced a name change -- kick things off with 'Run Run' from their lone 1970 single. It's a hard-hitting rocker with scale climbing crunching guitars and powerful Bonham-esque drumming. 'Feelin' Dead' is extremely heavy blues from this also extremely rare 1974 single by Detroit, MI's Master Danse, which was only released as a promo 45. Think Led Zeppelin's 'Since I've Been Loving You.' Gary Del Vecchio is 'Buzzin'' hard, and from what sounds like an in-studio party of yelps and chatter at the start of the song, it seems that the whole band was in on the festivities. The funky blues riff, reminiscent of Led Zeppelin's 'Heartbreaker' and rollicking rhythmic changes certainly keep the buzz a rollin'. Finally, Good Humore's swaggering 1976 rocker 'Detroit' is a slick and smooth paen to the Motor City. It most likely doesn't predate 'Detroit Rock City' by Kiss, also released in 1976, and it has more rock'n'roll swing, but it could fit comfortably alongside the era's arena anthems."
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CD
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EZRDR 135CD
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"Gothenburg, Sweden trio Firebreather's 2019 RidingEasy Records debut album Under A Blood Moon was a powerhouse that most certainly established the band's incendiary potential. But no one will be prepared for the suffocating onslaught that is Dwell In The Fog. While that album was in-your-face and raw, Dwell In The Fog rumbles and rages with a fury the band had only previously hinted at. Firebreather has a streamlined focus on driving, symphonic riffs in the vein of High On Fire, Inter Arma and their tour- and label-mates Monolord. The guitar and bass tones are, quite simply, entrancing. Paired with vocalist/guitarist Mattias Nööjd's guttural yet melodic howls and drummer Axel Wittbeck's groove-based rhythms, their entire sound flows like thick, viscous lava. 'The album is a cathartic journey inwards and a musical continuation from Under A Blood Moon, but with more emphasis on groove and feel,' Nööjd says. From the first notes of album opener 'Kiss Of Your Blade' one will know exactly what he means. Like their preceding two albums, Dwell In The Fog was also recorded and mixed by engineer Oskar Karlsson at Elementstudion in Gothenburg. The band is joined by new bassist Nicklas Hellqvist on this album, who seems to have increased the thunder rumble tenfold. From the aforementioned album opener 'Kiss Of Your Blade', with its droning opening chords over a rollicking tom pattern, the band quickly shifts gears into a head-bobbing, serpentine riff with a transcendent melodic hook. Elsewhere, as on the title track and 'Weather The Storm', rapid-fire hummable riffs come and go in an ever-shifting mass of devastating swirling churn. It's like the band has such an endless supply of great hooks that to, ahem, dwell for too long on any one would undo their constantly building momentum: the fact they somehow give each song -- and the album as a whole -- a streamlined and cohesive, monolithic groove is a testament to their skill. And proof that the album must be absorbed in its entirety to experience the overwhelming swaying and lunging low-end growl that drives the band's most captivating work to date."
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LP
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EZRDR 135LP
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LP version. "Gothenburg, Sweden trio Firebreather's 2019 RidingEasy Records debut album Under A Blood Moon was a powerhouse that most certainly established the band's incendiary potential. But no one will be prepared for the suffocating onslaught that is Dwell In The Fog. While that album was in-your-face and raw, Dwell In The Fog rumbles and rages with a fury the band had only previously hinted at. Firebreather has a streamlined focus on driving, symphonic riffs in the vein of High On Fire, Inter Arma and their tour- and label-mates Monolord. The guitar and bass tones are, quite simply, entrancing. Paired with vocalist/guitarist Mattias Nööjd's guttural yet melodic howls and drummer Axel Wittbeck's groove-based rhythms, their entire sound flows like thick, viscous lava. 'The album is a cathartic journey inwards and a musical continuation from Under A Blood Moon, but with more emphasis on groove and feel,' Nööjd says. From the first notes of album opener 'Kiss Of Your Blade' one will know exactly what he means. Like their preceding two albums, Dwell In The Fog was also recorded and mixed by engineer Oskar Karlsson at Elementstudion in Gothenburg. The band is joined by new bassist Nicklas Hellqvist on this album, who seems to have increased the thunder rumble tenfold. From the aforementioned album opener 'Kiss Of Your Blade', with its droning opening chords over a rollicking tom pattern, the band quickly shifts gears into a head-bobbing, serpentine riff with a transcendent melodic hook. Elsewhere, as on the title track and 'Weather The Storm', rapid-fire hummable riffs come and go in an ever-shifting mass of devastating swirling churn. It's like the band has such an endless supply of great hooks that to, ahem, dwell for too long on any one would undo their constantly building momentum: the fact they somehow give each song -- and the album as a whole -- a streamlined and cohesive, monolithic groove is a testament to their skill. And proof that the album must be absorbed in its entirety to experience the overwhelming swaying and lunging low-end growl that drives the band's most captivating work to date."
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Artist |
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Format |
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LP
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EZRDR 133LP
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LP version. "'Empty surrounds all of me.' It's a poignant line from the third album by Blackwater Holylight that encapsulates the search for self when suddenly everything has changed. There's a theme of processing vast personal trauma throughout Silence/Motion that eloquently -- both lyrically and musically -- and simultaneously embodies the crushing emptiness, sorrow, strength and rebuilding of recovering from personal devastation. Curiously, considering the dark times in which it was created, this is the band's most melodic and catchy music so far. Blackwater Holylight, as the name suggests, is all about contrasts: it's a fluid convergence of sound that's heavy, psychedelic, melodic, terrifying and beautiful all at once. Silence/Motion finds the band honing those contrasts, letting ideas and moods fully develop from song to song, rather than filling every song with a full range of their capabilities. It allows the band to go fully prog-rock here, and simply stay hushed and intimate there. There's a new confidence to the band in how seamlessly they wield their stylistic amalgam. The band recorded the album as a four piece: Allison 'Sunny' Faris on vocals and guitar (on 'Silence/Motion', 'MDIII', 'Around You' and 'Every Corner') and bass for the remainder, Sarah McKenna on synths, Mikayla Mayhew on guitar (and bass when Faris plays guitar) and drummer Eliese Dorsay. New second guitarist Erika Osterhout will perform the songs with them live. For Silence/Motion the band chose to work with a producer for the first time, bringing in A.L.N. (of Mizmor, Hell) to produce, along with recording engineer Dylan White -- who also helmed their previous album Veils Of Winter (2019) -- at Odessa Recording Studio in Portland, OR. Guest vocals on album opener 'Delusional' are by Bryan Funck (Thou.) Mike Paparo (Inter Arma) and A.LN. (Mizmor, Hell) lend guest vocals to album closer 'Every Corner'."
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CD
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EZRDR 132CD
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"By now you're probably familiar with our wildly popular Brown Acid series of rare, lost and unreleased proto-metal and stoner rock singles from the 60s-70s. In the endless pursuit of those glorious gems, we often uncover equally brilliant rarities from the late-70s to late-80s Golden Age of Heavy Metal that also just must be heard, but they don't fit the series' aesthetic. Scrap Metal Volume 1 collects some of the greatest unknown and lost Heavy Metal tracks, long buried beneath the avalanche of the era's classic output. We all know the old adage that history is told by the winners. But sometimes the losers tell the best stories. And while none of these bands found fame and fortune, this artifact and the volumes to come are testament to the enduring power of heavy music. You can hear the blood, sweat and beers that went into each of these singles. The recordings may be low budget, but the inspiration and talent is immutable. Not only are the amps turned up to 11, the boyish sexual innuendo is cranked to 69. You can hear the convergence of influences -- NWOBHM, thrash, glam metal, doom, etc -- colliding at once as the era birthed a wellspring of subgenres. Many of these singles are self-released and were thus limited to a small run of copies. Those that remain are hoarded by collectors and sold for exorbitant amounts. We've collected the best of the best for you here. As with Brown Acid, all of these tracks are licensed legitimately and the artists all get paid. Because it's the right thing to do."
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Artist |
Title |
Format |
Label |
Catalog # |
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LP
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EZRDR 132LP
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LP version. "By now you're probably familiar with our wildly popular Brown Acid series of rare, lost and unreleased proto-metal and stoner rock singles from the 60s-70s. In the endless pursuit of those glorious gems, we often uncover equally brilliant rarities from the late-70s to late-80s Golden Age of Heavy Metal that also just must be heard, but they don't fit the series' aesthetic. Scrap Metal Volume 1 collects some of the greatest unknown and lost Heavy Metal tracks, long buried beneath the avalanche of the era's classic output. We all know the old adage that history is told by the winners. But sometimes the losers tell the best stories. And while none of these bands found fame and fortune, this artifact and the volumes to come are testament to the enduring power of heavy music. You can hear the blood, sweat and beers that went into each of these singles. The recordings may be low budget, but the inspiration and talent is immutable. Not only are the amps turned up to 11, the boyish sexual innuendo is cranked to 69. You can hear the convergence of influences -- NWOBHM, thrash, glam metal, doom, etc -- colliding at once as the era birthed a wellspring of subgenres. Many of these singles are self-released and were thus limited to a small run of copies. Those that remain are hoarded by collectors and sold for exorbitant amounts. We've collected the best of the best for you here. As with Brown Acid, all of these tracks are licensed legitimately and the artists all get paid. Because it's the right thing to do."
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Artist |
Title |
Format |
Label |
Catalog # |
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CD
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EZRDR 133CD
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"'Empty surrounds all of me.' It's a poignant line from the third album by Blackwater Holylight that encapsulates the search for self when suddenly everything has changed. There's a theme of processing vast personal trauma throughout Silence/Motion that eloquently -- both lyrically and musically -- and simultaneously embodies the crushing emptiness, sorrow, strength and rebuilding of recovering from personal devastation. Curiously, considering the dark times in which it was created, this is the band's most melodic and catchy music so far. Blackwater Holylight, as the name suggests, is all about contrasts: it's a fluid convergence of sound that's heavy, psychedelic, melodic, terrifying and beautiful all at once. Silence/Motion finds the band honing those contrasts, letting ideas and moods fully develop from song to song, rather than filling every song with a full range of their capabilities. It allows the band to go fully prog-rock here, and simply stay hushed and intimate there. There's a new confidence to the band in how seamlessly they wield their stylistic amalgam. The band recorded the album as a four piece: Allison 'Sunny' Faris on vocals and guitar (on 'Silence/Motion', 'MDIII', 'Around You' and 'Every Corner') and bass for the remainder, Sarah McKenna on synths, Mikayla Mayhew on guitar (and bass when Faris plays guitar) and drummer Eliese Dorsay. New second guitarist Erika Osterhout will perform the songs with them live. For Silence/Motion the band chose to work with a producer for the first time, bringing in A.L.N. (of Mizmor, Hell) to produce, along with recording engineer Dylan White -- who also helmed their previous album Veils Of Winter (2019) -- at Odessa Recording Studio in Portland, OR. Guest vocals on album opener 'Delusional' are by Bryan Funck (Thou.) Mike Paparo (Inter Arma) and A.LN. (Mizmor, Hell) lend guest vocals to album closer 'Every Corner'."
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Artist |
Title |
Format |
Label |
Catalog # |
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CD
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EZRDR 134CD
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"Here are just some of the gems from this latest edition of the popular compilation series featuring long-lost vintage '60s-70s proto-metal and stoner rock singles, Brown Acid - The Thirteenth Trip: Max, from Montreal, QC -- originally known as Dawn, before Tony Orlando & Dawn forced a name change -- kick things off with 'Run Run' from their lone 1970 single. It's a hard-hitting rocker with scale climbing crunching guitars and powerful Bonham-esque drumming. 'Feelin' Dead' is extremely heavy blues from this also extremely rare 1974 single by Detroit, MI's Master Danse, which was only released as a promo 45. Think Led Zeppelin's 'Since I've Been Loving You.' Gary Del Vecchio is 'Buzzin'' hard, and from what sounds like an in-studio party of yelps and chatter at the start of the song, it seems that the whole band was in on the festivities. The funky blues riff, reminiscent of Led Zeppelin's 'Heartbreaker' and rollicking rhythmic changes certainly keep the buzz a rollin'. Finally, Good Humore's swaggering 1976 rocker 'Detroit' is a slick and smooth paen to the Motor City. It most likely doesn't predate 'Detroit Rock City' by Kiss, also released in 1976, and it has more rock'n'roll swing, but it could fit comfortably alongside the era's arena anthems."
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CD
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EZRDR 122CD
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"Heavy music's evolution has always been a murky swamp of subgenres. So, combining Thin Lizzy's glistening twin guitar harmonies with Melvins-grade sludge and a hearty dose of proto-metal psych probably shouldn't sound so revolutionary as it does in the hands of L.A. quartet Deathchant. But theirs is a special, transcendent sound. Waste, the band's sophomore album and first for Riding Easy Records, is anything but. The thirty-three minute, seven-song blast flows seamlessly from song to song, aided by droning segues, while simultaneously slithering between genres and moods. Rumbling noise, chiming guitar melodies, bluesy boogie, NWOBHM thrash, COC grunge and punk fury all rear their head at times, sometimes all at once. Though one wouldn't be able to tell by the concise structures and well-crafted songs, a lot of Deathchant's music is improvised, both in the studio and live. That's not to suggest their songs are jammy -- they're very tightly organized compositions. But the four musicians have that special musical telepathy that allows them to keep the song structures open-ended. 'Improv is a huge things for us and always has been,' singer/guitarist T.J. Lemieux says. 'The musical freedom to look at the other dudes in the band and be able to take things wherever we want to go is magical. I like the feel of flying off the hinges.' Likewise, the band itself is similarly amorphous in its membership. 'We run the band with an open door. No lineup is definitive,' Lemieux explains. On Waste, the lineup is: Lemieux, George Camacho on bass, Colin Fahrner on drums, and John Belino on second guitar. Waste was recorded live in a rented cabin in the mountains of Big Bear, CA. 'We packed a big-ass van and set up in the living room and kitchen,' Lemieux says. 'Tracked it live, with overdubs after.' The whole album was recorded over two separate weekends, engineered by Steve Schroeder, who also recorded the band's 2019 self-titled debut album. 'I'd say it has sort of a DIY LA punk aesthetic,' he adds. 'Very ironically going hand in hand with a classic metal vibe: Thin Lizzy, Judas Priest, classic Deep Purple, Uriah Heep and other melodic heavy rock bands.'"
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LP
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EZRDR 122LP
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LP version. "Heavy music's evolution has always been a murky swamp of subgenres. So, combining Thin Lizzy's glistening twin guitar harmonies with Melvins-grade sludge and a hearty dose of proto-metal psych probably shouldn't sound so revolutionary as it does in the hands of L.A. quartet Deathchant. But theirs is a special, transcendent sound. Waste, the band's sophomore album and first for Riding Easy Records, is anything but. The thirty-three minute, seven-song blast flows seamlessly from song to song, aided by droning segues, while simultaneously slithering between genres and moods. Rumbling noise, chiming guitar melodies, bluesy boogie, NWOBHM thrash, COC grunge and punk fury all rear their head at times, sometimes all at once. Though one wouldn't be able to tell by the concise structures and well-crafted songs, a lot of Deathchant's music is improvised, both in the studio and live. That's not to suggest their songs are jammy -- they're very tightly organized compositions. But the four musicians have that special musical telepathy that allows them to keep the song structures open-ended. 'Improv is a huge things for us and always has been,' singer/guitarist T.J. Lemieux says. 'The musical freedom to look at the other dudes in the band and be able to take things wherever we want to go is magical. I like the feel of flying off the hinges.' Likewise, the band itself is similarly amorphous in its membership. 'We run the band with an open door. No lineup is definitive,' Lemieux explains. On Waste, the lineup is: Lemieux, George Camacho on bass, Colin Fahrner on drums, and John Belino on second guitar. Waste was recorded live in a rented cabin in the mountains of Big Bear, CA. 'We packed a big-ass van and set up in the living room and kitchen,' Lemieux says. 'Tracked it live, with overdubs after.' The whole album was recorded over two separate weekends, engineered by Steve Schroeder, who also recorded the band's 2019 self-titled debut album. 'I'd say it has sort of a DIY LA punk aesthetic,' he adds. 'Very ironically going hand in hand with a classic metal vibe: Thin Lizzy, Judas Priest, classic Deep Purple, Uriah Heep and other melodic heavy rock bands.'"
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CD
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EXRDR 129CD
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"Excelsior! It's the hail of yore that one should go ever onward and upward. And so, fittingly Onwards And Downwards is the occultist Swedish band Alastor's clever call to arms... and also a reflection of the collective dark state of mind these days. 'If our last album Slave To The Grave were about death, this record is more about madness,' says guitarist Hampus Sandell. 'You can look at the whole record as one person's gradual slip into insanity. An ongoing nightmare without end. It also sums up the state of the world around us as this year has clearly shown.' Alastor is heavy doom rock for the wicked and depraved. Drenched in heavy, distorted darkness and steeped in occult horror that will make one's skin crawl and ears cry sweet tears of blood, the band is revitalized in 2021 with meticulously crafted songs and new drummer Jim Nordström bringing a hard-hitting and precise energy. 'It's a more focused record but at the same time it's more personal and naked. More raw emotion and pain,' Hampus says. The band recorded the album with the help of Joona Hassinen of Studio Underjord, who has helped with mixing since their Blood On Satan's Claw EP in 2017. Christoffer Karlsson of The Dahmers also assisted with overdubs and encouraged the band to demo the material early on, aiding in the album's more deliberate and tighter feel."
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LP
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EXRDR 129LP
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LP version. "Excelsior! It's the hail of yore that one should go ever onward and upward. And so, fittingly Onwards And Downwards is the occultist Swedish band Alastor's clever call to arms... and also a reflection of the collective dark state of mind these days. 'If our last album Slave To The Grave were about death, this record is more about madness,' says guitarist Hampus Sandell. 'You can look at the whole record as one person's gradual slip into insanity. An ongoing nightmare without end. It also sums up the state of the world around us as this year has clearly shown.' Alastor is heavy doom rock for the wicked and depraved. Drenched in heavy, distorted darkness and steeped in occult horror that will make one's skin crawl and ears cry sweet tears of blood, the band is revitalized in 2021 with meticulously crafted songs and new drummer Jim Nordström bringing a hard-hitting and precise energy. 'It's a more focused record but at the same time it's more personal and naked. More raw emotion and pain,' Hampus says. The band recorded the album with the help of Joona Hassinen of Studio Underjord, who has helped with mixing since their Blood On Satan's Claw EP in 2017. Christoffer Karlsson of The Dahmers also assisted with overdubs and encouraged the band to demo the material early on, aiding in the album's more deliberate and tighter feel."
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CD
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EZRDR 131CD
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"That's right, Riding Easy has reached a toker's dozen editions of brilliant long-lost, rare, and unreleased hard rock, heavy psych, and proto-metal tracks from the '60s-70s. Clearly this has become a bonafide archaeological movement as each new installment leads the listener to more exciting new discoveries. Like the label has done throughout this series, all of these tracks were painstakingly licensed legitimately and the artists were paid. Make oneself comfortable and prepare for yet another deep, deep dive into the treasure trove of dank, subterranean, wild-eyed and hairy rock 'n' roll with Brown Acid - The Twelfth Trip. Here are some examples of the treasures that lie herein: The Waters start this Trip off right with swampy fuzz- and phaser-soaked dueling guitars oozing from the grooves of their 1969 single 'Mother Samwell.' The Louisville, KY trio somehow failed to make much of a splash however, only issuing two 45s, one in '68 and this rocker the following year, before eventually evaporating in '72. The bassist went on to play in Hank Williams Jr.'s band for a couple of decades, so the band's fortunes weren't entirely sunken. Side two opens with Ace Song Service, who probably thought they were pretty clever with their risqué acronym name, but it's their b-side 'Persuasion' that really kicks A.S.S. Rollicking, relentless drums, walking bass, staggering guitars and shimmering Hammond organ shake the foundations while crooning blue-eyed soul vocals remind the listener that this is still the late-60s. The Trip concludes with Dickens, whose 'Sho' Need Love' / 'Don't Talk About My Music' 45 is one of those record collector's Holy Grail type of releases. The 1971 single only exists as a demo, printed as a white label promo pressing for Scepter Records. Comprised of NRBQ's road crew and some band members, all playing instruments they didn't know how to play, the recording happened essentially by accident when studio time became available after Gomer Pyle actor and balladeer Jim Nabors cancelled a session. The group quickly cut a few songs, which an enthusiastic A&R man had pressed up, before the label president nixed it and fired the VP for allowing such nonsense. It's believed that only about 50 copies survived!"
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EZRDR 131LP
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LP version. "That's right, Riding Easy has reached a toker's dozen editions of brilliant long-lost, rare, and unreleased hard rock, heavy psych, and proto-metal tracks from the '60s-70s. Clearly this has become a bonafide archaeological movement as each new installment leads the listener to more exciting new discoveries. Like the label has done throughout this series, all of these tracks were painstakingly licensed legitimately and the artists were paid. Make oneself comfortable and prepare for yet another deep, deep dive into the treasure trove of dank, subterranean, wild-eyed and hairy rock 'n' roll with Brown Acid - The Twelfth Trip. Here are some examples of the treasures that lie herein: The Waters start this Trip off right with swampy fuzz- and phaser-soaked dueling guitars oozing from the grooves of their 1969 single 'Mother Samwell.' The Louisville, KY trio somehow failed to make much of a splash however, only issuing two 45s, one in '68 and this rocker the following year, before eventually evaporating in '72. The bassist went on to play in Hank Williams Jr.'s band for a couple of decades, so the band's fortunes weren't entirely sunken. Side two opens with Ace Song Service, who probably thought they were pretty clever with their risqué acronym name, but it's their b-side 'Persuasion' that really kicks A.S.S. Rollicking, relentless drums, walking bass, staggering guitars and shimmering Hammond organ shake the foundations while crooning blue-eyed soul vocals remind the listener that this is still the late-60s. The Trip concludes with Dickens, whose 'Sho' Need Love' / 'Don't Talk About My Music' 45 is one of those record collector's Holy Grail type of releases. The 1971 single only exists as a demo, printed as a white label promo pressing for Scepter Records. Comprised of NRBQ's road crew and some band members, all playing instruments they didn't know how to play, the recording happened essentially by accident when studio time became available after Gomer Pyle actor and balladeer Jim Nabors cancelled a session. The group quickly cut a few songs, which an enthusiastic A&R man had pressed up, before the label president nixed it and fired the VP for allowing such nonsense. It's believed that only about 50 copies survived!"
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EZRDR 130CD
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"With a name like Warish, the San Diego noisy punk-metal trio assured listeners they were in for a maniacal bludgeoning from the get-go. But the band has never been as dark and bitingly vicious as the wholly ominous Next To Pay. The band's mix of early AmRep skronk, dark horror rock and budget doom antipathy is taken to a whole new level on this thirteen song invective. 'Next To Pay is about a sense of imminent doom, everyone is going to die,' vocalist/guitarist Riley Hawk says. 'It's not the happiest record, I guess.' To say the least. On the title track opener, Hawk screams through shredded vocal chords with the tuneful rage of Kill 'Em All-era James Hetfield and the seething desperation of Kurt Cobain. 'This album is more of an evolution, it's a little more punk-heavy,' Hawk says of the group quickly founded in 2018. 'We figured out what our sound was.' And with that evolution comes a change in the lineup. Original drummer Nick (Broose) McDonnell plays on about half of the songs, while new drummer Justin de la Vega brings an even tighter urgency to the remaining, more recent tracks. Bassist Alex Bassaj joined after the debut album was recorded and here showcases muscular and melodic low end previously missing. Riley Hawk is also the pro-skater son of Tony Hawk. Inspired by early-Nirvana, The Misfits, The Spits and Master Of Reality-era Black Sabbath, Next To Pay keeps things heavy and pummeling at all times. The guitars are heavy and powerful, though decidedly not straightforward cookie cutter punk; more like Greg Ginn's and Buzz Osbourne's wiry contortions, and occasionally drenched in chorus effects. The rhythms bash right through it all with aggressive force ensuring that nothing gets overly complicated. Warish's cover of '80s Dischord Records punks Gray Matter turns the emotive flail of 'Burn No Bridges' into a Motörhead-style basher."
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EZRDR 130LP
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LP version. "With a name like Warish, the San Diego noisy punk-metal trio assured listeners they were in for a maniacal bludgeoning from the get-go. But the band has never been as dark and bitingly vicious as the wholly ominous Next To Pay. The band's mix of early AmRep skronk, dark horror rock and budget doom antipathy is taken to a whole new level on this thirteen song invective. 'Next To Pay is about a sense of imminent doom, everyone is going to die,' vocalist/guitarist Riley Hawk says. 'It's not the happiest record, I guess.' To say the least. On the title track opener, Hawk screams through shredded vocal chords with the tuneful rage of Kill 'Em All-era James Hetfield and the seething desperation of Kurt Cobain. 'This album is more of an evolution, it's a little more punk-heavy,' Hawk says of the group quickly founded in 2018. 'We figured out what our sound was.' And with that evolution comes a change in the lineup. Original drummer Nick (Broose) McDonnell plays on about half of the songs, while new drummer Justin de la Vega brings an even tighter urgency to the remaining, more recent tracks. Bassist Alex Bassaj joined after the debut album was recorded and here showcases muscular and melodic low end previously missing. Riley Hawk is also the pro-skater son of Tony Hawk. Inspired by early-Nirvana, The Misfits, The Spits and Master Of Reality-era Black Sabbath, Next To Pay keeps things heavy and pummeling at all times. The guitars are heavy and powerful, though decidedly not straightforward cookie cutter punk; more like Greg Ginn's and Buzz Osbourne's wiry contortions, and occasionally drenched in chorus effects. The rhythms bash right through it all with aggressive force ensuring that nothing gets overly complicated. Warish's cover of '80s Dischord Records punks Gray Matter turns the emotive flail of 'Burn No Bridges' into a Motörhead-style basher."
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EZRDR 125LP
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LP version. Four albums in, the convenient and generalized catchphrase for Here Lies Man's erudite sound -- if Black Sabbath played Afrobeat -- might seem a little played out. But Ritual Divination is perhaps the best rendering of the idea so far. Particularly on the Sabbath side of the equation: The guitars are heavier and more blues-based than before, but the ancient rhythmic formula of the clave remains a constant. 'Musically it's an opening up more to traditional rock elements,' says vocalist / guitarist / cofounder Marcos Garcia, who also plays guitar in Antibalas. 'It's always been our intention to explore. And, as we travelled deeper into this musical landscape, new features revealed themselves.' The L.A. based band comprised of Antibalas members have toured relentlessly following their breakout 2017 self-titled debut. Their second album, You Will Know Nothing and an EP, Animal Noises, both followed in 2018. Third album No Ground To Walk Upon emerged in August 2019. All of them were crafted by Garcia and cofounder / drummer Geoff Mann (former Antibalas drummer and son of jazz musician Herbie Mann) in their L.A. studio between tours. Ritual Divination is their first album recorded as the full four-piece band, including bassist JP Maramba and keyboardist Doug Organ. This album continues with an ongoing concept of the band playing the soundtrack to an imaginary movie, with each song being a scene. Musically and sonically, the album is also self-reflexive. 'On this album the feel changes within a song,' Garcia says. 'Whereas before each song was meant to induce a trancelike state, now more of the songs have their own arc built in. We're very conscious of how the rhythms service the riffs,' Garcia continues. 'Tony Iommi's (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.'"
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EZRDR 127CD
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"'The vastness of everything is something that I think about a lot,' says Spelljammer bassist/vocalist Niklas Olsson. And it certainly shows in both the expansive, sludgy sounds and contemplative lyrics of the Stockholm, Sweden based trio. Following a five-year break between their previous album, Ancient Of Days -- perhaps fittingly spent pondering said vastness -- Spelljammer is back with an album that perfectly bridges the band's earlier desert rock leanings and their later massive, slow-burning riffs. Abyssal Trip (note: carefully re-read that album title) takes its moniker from the perpetually dark, cold, oxygen-free zone at the bottom of the ocean. The six song, forty-four minute album fittingly embodies that bleak realm with rumbling, oozing guitars intercut with dramatic melodic interludes. The songs take their time to unfurl, making them even more hypnotic. Likewise, the lyrics take a poetic approach to establishing the sonic scenery. The recording process for this album differs from previous releases in that the band -- guitarist Robert Sörling, drummer Jonatan Rimsbo and Olsson -- opted to capture the performances while holed up in the mental bathysphere of a house in the countryside near Stockholm. 'The songs benefitted from the relaxed environment of being away from everything,' Olsson explains. Indeed, the album sounds confident and meticulously arranged, afforded by the band's isolation. Sörling mixed the album and it was mastered by Monolord drummer Esben Willems at Berserk Audio. Abyssal Trip is, just like its title suggests, an epic tour through desolate zones which yields much to discover."
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EZRDR 125CD
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Four albums in, the convenient and generalized catchphrase for Here Lies Man's erudite sound -- if Black Sabbath played Afrobeat -- might seem a little played out. But Ritual Divination is perhaps the best rendering of the idea so far. Particularly on the Sabbath side of the equation: The guitars are heavier and more blues-based than before, but the ancient rhythmic formula of the clave remains a constant. 'Musically it's an opening up more to traditional rock elements,' says vocalist / guitarist / cofounder Marcos Garcia, who also plays guitar in Antibalas. 'It's always been our intention to explore. And, as we travelled deeper into this musical landscape, new features revealed themselves.' The L.A. based band comprised of Antibalas members have toured relentlessly following their breakout 2017 self-titled debut. Their second album, You Will Know Nothing and an EP, Animal Noises, both followed in 2018. Third album No Ground To Walk Upon emerged in August 2019. All of them were crafted by Garcia and cofounder / drummer Geoff Mann (former Antibalas drummer and son of jazz musician Herbie Mann) in their L.A. studio between tours. Ritual Divination is their first album recorded as the full four-piece band, including bassist JP Maramba and keyboardist Doug Organ. This album continues with an ongoing concept of the band playing the soundtrack to an imaginary movie, with each song being a scene. Musically and sonically, the album is also self-reflexive. 'On this album the feel changes within a song,' Garcia says. 'Whereas before each song was meant to induce a trancelike state, now more of the songs have their own arc built in. We're very conscious of how the rhythms service the riffs,' Garcia continues. 'Tony Iommi's (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.'"
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EZRDR 021INST
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"Swedish trio Monolord release a special all-instrumental version of their beloved 2014 debut album Empress Rising. The sleeves are printed on premium chrome jackets limited to 1000 copies each album. Begun as a digital-only release for Empress Rising - Instrumental, the response was so overwhelming the band and RidingEasy Records decided to release both revised albums on vinyl as well. Monolord formed in 2013, quickly recording their 2xLP debut Empress Rising, which RidingEasy Records released on April 1st, 2014. The second album, Vænir, followed April 28th, 2015. " "Without vocals, Empress Rising suddenly becomes a post-metal, stoner epic in the vein of Sleep's Dopesmoker and Monster Magnet's 30-minute opus 'Tab.' Arguably Monolord's most atmospheric work, the instrumental treatment gives the album a new life and listening experience." --Consequence of Sound
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EZRDR 044INST
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"About the release, Esben Willems, Monolord drummer and recording & mixing engineer for the original album and this version, says, 'Listening to the mixes for the instrumental version of Vænir opened an unexpected door. We seriously didn't expect that the album would take such a different shape and feel in an instrumental version. Really stoked to see how our fans will experience this release. Also, getting both instrumental versions (Vænir & Empress Rising) released on LP adds another layer. Hope you like it.' Swedish trio Monolord release a special all-instrumental version of their second album, Vænir originally released in 2015. Begun as a digital-only release for Empress Rising - Instrumental, the response was so overwhelming the band and RidingEasy Records decided to release both revised albums on vinyl as well. The sleeves are printed on premium chrome jackets and limited to 1000 copies each album."
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