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viewing 1 To 23 of 23 items
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CD
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EZRDR 095CD
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"Formed in recent years in San Francisco (though it may seem more likely that they hatched fresh out of a time travel portal from the mid-80s Bay Area thrash scene), Hell Fire have the classic look and sound of modern metal's halcyon days. Their sonic assault warmly condenses elements of Angel Witch, Iron Maiden, Rainbow, Exodus, Metallica, Riot, Virtue and Diamond Head into eight tracks of headbanging MUYA anthems. The free-wheelin' creativity and infectious vitality of Bay Area thrash is a moment forever locked in time, but its spirit lives on in this band's galloping guitar picks, soaring harmonies and blistering rhythms. The band's perfect hybrid of NWOBHM theatrics and American thrash attitude delivers a rousing and genuine expansion on sounds long lost to pointless battles over who can be the most 'extreme.' Hell Fire began when bass player Herman Bandala moved to San Francisco from Tijuana, Mexico, with the hopes of forming a heavy metal band. Herman posted an ad to Craigslist which caught the attention of guitarist Tony Campos. They bonded over a mutual love of '80s thrash and NWOBHM. Just before they entered the studio to record their debut album Metal Masses, Jake Nunn joined on vocals. The lineup continued to develop over time, finally solidifying with Nunn also taking up second guitar duties and drummer Mike Smith joining prior to recording Free Again. This sophomore album is being released for the first time on vinyl and remastered for CD and download. It was recorded over five days in Grass Valley, California, at engineer Tim Green's Louder Studios (The Fucking Champs, Melvins). Where Metal Masses showcased aesthetic nods to Metallica's Kill 'Em All album (as well as a cover photo brilliantly depicting a blurry hand speedily playing a Flying-V guitar), Free Again finds the band coming into their own with emphasis upon grooves, a beefier sound and tighter songs that expertly shift into new parts at the drop of a hat."
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7"
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EZRDR 103EP
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"Imagine if Incesticide-era Nirvana were crossed with Static Age-era Misfits -- sinister low budget horror-rock with a visceral, twisted weirdness and bludgeoning riffs. Some might call it nightmarish, we call it Warish. Warish is a very newly-minted SoCal trio formed in early 2018 that has wasted no time making its presence known. The band formed when guitarist/vocalist Riley Hawk and drummer Bruce McDonnell decided they wanted to try their hand at something more distinct than they'd done previously. 'We wanted to do simpler riffs and a fun live show,' Riley explains. 'A little more punk, a little bit of grunge -- a little evil-ish.' Their sound takes cues from a variety of cool underground sounds and twists it all into an energetic and exciting fist to the face of dark fury. Hawk's effect-laden vocals hearken to early Butthole Surfers and David Yow's tortured caterwaul in Scratch Acid. The guitars are heavy and powerful, though decidedly not straightforward cookie-cutter punk; more like Cobain's and Buzz Osbourne's wiry contortions. The rhythms bash and pummel right through it all with aggressive force ensuring that nothing gets overly complicated and the horrors keep coming throughout this five-track, eleven-minute debut."
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LP
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EZRDR 099LP
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"Bewitcher is a Satanic speed metal band from Portland, Oregon. Here is their manifesto: 'Rock 'n' roll is the devil's music, and heavy metal is it's bastard child. In the 1980s, the radical fundamentalist Christian right-wing in America waged a war against this music, bringing its practitioners and its unholy muse to the forefront of the public consciousness. Over a quarter-century later, the devil's rock 'n' roll is still alive and well, but the war is far from over. And so it came to pass... In the year of Thirteen of Satan's third millennium, a new force rises to defend the ways of old. Bewitcher is the ancient black flame of magic, mayhem, freedom and liberation, burning in blatant opposition to the laughable norms of this modern age. Instead they look to that bygone era, before it's pollution by imitators of a lesser intention, when heavy metal in all its glory truly represented the tenets it was founded upon. May your children be corrupted, may your foundations be shaken, may your mundane existences be forever altered, for this spell cannot be broken. Fall and obey! And beware the curse of the Bewitcher!"
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LP
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EZRDR 095LP
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LP version. "Formed in recent years in San Francisco (though it may seem more likely that they hatched fresh out of a time travel portal from the mid-80s Bay Area thrash scene), Hell Fire have the classic look and sound of modern metal's halcyon days. Their sonic assault warmly condenses elements of Angel Witch, Iron Maiden, Rainbow, Exodus, Metallica, Riot, Virtue and Diamond Head into eight tracks of headbanging MUYA anthems. The free-wheelin' creativity and infectious vitality of Bay Area thrash is a moment forever locked in time, but its spirit lives on in this band's galloping guitar picks, soaring harmonies and blistering rhythms. The band's perfect hybrid of NWOBHM theatrics and American thrash attitude delivers a rousing and genuine expansion on sounds long lost to pointless battles over who can be the most 'extreme.' Hell Fire began when bass player Herman Bandala moved to San Francisco from Tijuana, Mexico, with the hopes of forming a heavy metal band. Herman posted an ad to Craigslist which caught the attention of guitarist Tony Campos. They bonded over a mutual love of '80s thrash and NWOBHM. Just before they entered the studio to record their debut album Metal Masses, Jake Nunn joined on vocals. The lineup continued to develop over time, finally solidifying with Nunn also taking up second guitar duties and drummer Mike Smith joining prior to recording Free Again. This sophomore album is being released for the first time on vinyl and remastered for CD and download. It was recorded over five days in Grass Valley, California, at engineer Tim Green's Louder Studios (The Fucking Champs, Melvins). Where Metal Masses showcased aesthetic nods to Metallica's Kill 'Em All album (as well as a cover photo brilliantly depicting a blurry hand speedily playing a Flying-V guitar), Free Again finds the band coming into their own with emphasis upon grooves, a beefier sound and tighter songs that expertly shift into new parts at the drop of a hat."
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LP
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EZRDR 096LP
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LP version. "Everybody's favorite source for the hard stuff is back in business, with ten more lethal doses of rare hard rock, heavy psych and proto-metal! Hard to believe it's seven Trips in and they haven't lost any steam. As usual, these obscure tracks have all been licensed, the bands have been paid, and the sources are all analog. The quality of tracks seems to increase along with the number of Trips and this cohesive collection comes outta the gate with both guns blazing! Pegasus recorded one single in Baltimore in 1972 and they made it count. 'The Sorcerer' is a throbbing ripper that prior to this was basically unknown. The track title for the Nobody's Children single and start thinking, oh no, Riding Easy given up on bad trips. Fret not, 'Good Times' was originally written as a joke. The song has since been bootlegged numerous times and even covered by the Butthole Surfers, but this is the first time it's been fully licensed. This latest volume continues with many more boneheaded bangers, crunchy jams, and incredibly damaged heavy slabs. The closer on the Seventh Trip is one the label holds very near and dear. Not only is this record the one that's taken the longest to secure the rights to, it's also one of the very best examples of heavy psych ever heard. 'The Darkness' was recorded in a basement studio in Kansas City in 1969 when the lead guitarist was only 16. The band was from a rural Missouri town, played only one impromptu gig in Clinton, and pressed only 125 copies of this, their only single. It should come as no surprise that it sells for hundreds of dollars when it's offered. That's a small price to pay for such greatness."
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CD
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EZRDR 096CD
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"Everybody's favorite source for the hard stuff is back in business, with ten more lethal doses of rare hard rock, heavy psych and proto-metal! Hard to believe it's seven Trips in and they haven't lost any steam. As usual, these obscure tracks have all been licensed, the bands have been paid, and the sources are all analog. The quality of tracks seems to increase along with the number of Trips and this cohesive collection comes outta the gate with both guns blazing! Pegasus recorded one single in Baltimore in 1972 and they made it count. 'The Sorcerer' is a throbbing ripper that prior to this was basically unknown. The track title for the Nobody's Children single and start thinking, oh no, Riding Easy given up on bad trips. Fret not, 'Good Times' was originally written as a joke. The song has since been bootlegged numerous times and even covered by the Butthole Surfers, but this is the first time it's been fully licensed. This latest volume continues with many more boneheaded bangers, crunchy jams, and incredibly damaged heavy slabs. The closer on the Seventh Trip is one the label holds very near and dear. Not only is this record the one that's taken the longest to secure the rights to, it's also one of the very best examples of heavy psych ever heard. 'The Darkness' was recorded in a basement studio in Kansas City in 1969 when the lead guitarist was only 16. The band was from a rural Missouri town, played only one impromptu gig in Clinton, and pressed only 125 copies of this, their only single. It should come as no surprise that it sells for hundreds of dollars when it's offered. That's a small price to pay for such greatness."
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CD
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EZRDR 094CD
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"Helltown, the forthcoming third album by Electric Citizen is, in many ways, a homecoming. While the title may seem fittingly metal (if not exceedingly so), it actually has real relevance: Helltown, while also multidimensional, is named after the Cincinnati, OH, neighborhood in which the band lives, practices, and where the album was written, recorded and mixed. Now known more prosaically as Northside, Helltown earned its name in the 1800s due to its reputation for rowdy taverns frequented by the neighborhood of factory workers and immigrants. Inasmuch as this album is an ode to the band's home and its buried past, it also represents a return to the grittier sound of their 2014 debut, Sateen. Furthermore, it marks the return of original bassist Nick Vogelpohl, who rejoins vocalist Laura Dolan, guitarist Ross Dolan and drummer Nate Wagner. It's a fun, tough, dirty rock 'n' roll album. The band's 2016 album Higher Time was an expansive and somewhat cleaner effort mixed by Black Keys engineer Collin Dupuis. It was a landmark moment for the band earning considerable press praise?Consequence Of Sound named it in the 20 Most Anticipated Albums of 2016 with "the most breakout potential of all the young bands on this list." And, the band's endless touring since the first album earned them stints opening for acts like Pentagram, The Crazy World of Arthur Brown, Fu Manchu, Budos Band, and Wolfmother. What sets Electric Citizen apart from contemporary heavy counterparts is their songwriting. The band writes concise, three-minute, heavy rock songs. While others might now be following suit, when they started, most bands of their ilk were content writing drawn-out slow doom dirges. Regardless, none can deliver quite like Electric Citizen: Laura Dolan's captivating star-power, Ross Dolan's perfect tone and riffs, Wagner's pugilistic and swinging beats, glued together by Vogelpohl's gliding bass lines."
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LP
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EZRDR 094LP
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LP version. "Helltown, the forthcoming third album by Electric Citizen is, in many ways, a homecoming. While the title may seem fittingly metal (if not exceedingly so), it actually has real relevance: Helltown, while also multidimensional, is named after the Cincinnati, OH, neighborhood in which the band lives, practices, and where the album was written, recorded and mixed. Now known more prosaically as Northside, Helltown earned its name in the 1800s due to its reputation for rowdy taverns frequented by the neighborhood of factory workers and immigrants. Inasmuch as this album is an ode to the band's home and its buried past, it also represents a return to the grittier sound of their 2014 debut, Sateen. Furthermore, it marks the return of original bassist Nick Vogelpohl, who rejoins vocalist Laura Dolan, guitarist Ross Dolan and drummer Nate Wagner. It's a fun, tough, dirty rock 'n' roll album. The band's 2016 album Higher Time was an expansive and somewhat cleaner effort mixed by Black Keys engineer Collin Dupuis. It was a landmark moment for the band earning considerable press praise?Consequence Of Sound named it in the 20 Most Anticipated Albums of 2016 with "the most breakout potential of all the young bands on this list." And, the band's endless touring since the first album earned them stints opening for acts like Pentagram, The Crazy World of Arthur Brown, Fu Manchu, Budos Band, and Wolfmother. What sets Electric Citizen apart from contemporary heavy counterparts is their songwriting. The band writes concise, three-minute, heavy rock songs. While others might now be following suit, when they started, most bands of their ilk were content writing drawn-out slow doom dirges. Regardless, none can deliver quite like Electric Citizen: Laura Dolan's captivating star-power, Ross Dolan's perfect tone and riffs, Wagner's pugilistic and swinging beats, glued together by Vogelpohl's gliding bass lines."
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EZRDR 049LP
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2018 repress. "Back in stock on purple vinyl. Expertly archived compilation (assembled by LA's Permanent Records along with Riding Easy) explores the wealth of proto-metal, pre-stoner lost rock tracks from the past 30 years. Features blowouts from Snow, Tour, Zebra, Bob Goodsite, Raw Meat, Punch, Bacchus, Lenny Drake, The Todd, and Josefus."
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LP
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EZRDR 065LP
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2018 repress. "The celebrated compilation series of long-lost vintage '60s-'70s proto-stoner-psych singles, brown acid delivers the second trip. Expertly archived compilation (assembled by LA's Permanent Records along with Riding Easy), this second volume features rippers from Ash, Sweet Crystal, Raving Maniac, Crossfield, Spiny Normen, Glas Sun, Voltrush Band, Buck, Iron Knowledge, and Sonny Hugg."
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LP
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EZRDR 072LP
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2018 repress. "We continue down the wormhole of hard rock, heavy psych, and proto-metal here on The Third Trip with a set of tunes so obscure they can't be seen without a third eye. Most of these tracks were recorded in shack-sized studios, privately pressed for promotional purposes, and tossed out like last night's half empties only to later be discovered to be half-full, if not overflowing with greatness. The majority of these tracks are from the good ol' US of A with two exceptions, Ash-labelmate New Zealanders, Chook, and the mighty Limeys, Factory."
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CD
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EZRDR 093CD
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"Heavily inspired by the aesthetics and ethos of bikesploitation movies such as The Wild Angels, Werewolves On Wheels and Psychomania, The Death Wheelers seek to glorify this unsung era of movie-making through their sordid sounds. Taking musical cues from rock greats Davie Allan, The Cramps, Motörhead, The Stooges, and Grand Funk Railroad, they make zero compromises when it comes to laying down the groove. Through their bare-bones, stripped down, jammy approach of sleaze 'n' roll, this instrumental Canadian quartet pushes listeners to their deepest, filthiest carnal / sexual desires. I Tread On Your Grave is more than just an album -- it's a soundtrack to a wild B-movie in the mind, following this truly awesome plot synopsis: Decimated in 1972 by local authorities, all members of The Death Wheelers, a notorious motorcycle club, have been buried at the Surrey cemetery. But the time has come and they have risen for their last ride. They're back from the grave and they're hungry for blood! Nothing can stop this gang of living dead from recruiting new members as they travel coast to coast to find the filthiest, nastiest, trashiest individuals to join their ranks. Their goal, assemble a legion of thirteen 'discycles' (disciples + cycles) to seek revenge on the pigs that dismantled the club and send them to their graves. The cycle of violence continues..."
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LP
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EZRDR 093LP
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LP version. "Heavily inspired by the aesthetics and ethos of bikesploitation movies such as The Wild Angels, Werewolves On Wheels and Psychomania, The Death Wheelers seek to glorify this unsung era of movie-making through their sordid sounds. Taking musical cues from rock greats Davie Allan, The Cramps, Motörhead, The Stooges, and Grand Funk Railroad, they make zero compromises when it comes to laying down the groove. Through their bare-bones, stripped down, jammy approach of sleaze 'n' roll, this instrumental Canadian quartet pushes listeners to their deepest, filthiest carnal / sexual desires. I Tread On Your Grave is more than just an album -- it's a soundtrack to a wild B-movie in the mind, following this truly awesome plot synopsis: Decimated in 1972 by local authorities, all members of The Death Wheelers, a notorious motorcycle club, have been buried at the Surrey cemetery. But the time has come and they have risen for their last ride. They're back from the grave and they're hungry for blood! Nothing can stop this gang of living dead from recruiting new members as they travel coast to coast to find the filthiest, nastiest, trashiest individuals to join their ranks. Their goal, assemble a legion of thirteen 'discycles' (disciples + cycles) to seek revenge on the pigs that dismantled the club and send them to their graves. The cycle of violence continues..."
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CD
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EZRDR 077CD
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"If you thought we were getting close to the end of the Brown Acid series with our last Trip, you were dead wrong... we're only just getting rolling. The well of privately released hard rock, heavy psych, and proto-metal 45s is deep and we are nowhere near tapped out. Most of these records were barely released and never properly distributed so they ain't easy to find, but they're out there if you're willing to dig... and we aren't afraid to get our hands dirty. Hard calluses have formed from handling the shovel and we've sifted through a lot of dirt, but we've dug up another ten tremendous records to share with all the heavy heads out there. This volume brings together eight insanely rare and skull-crushingly heavy 45s as well as two previously unreleased bangers. You may remember the Zekes' jaw dropper 'Box' from the First Trip. If you don't, you better go back and refresh your memory, you stoner. That song rips! And so does this previously unheard recording we legally obtained from the Beverly Hills records vaults. 'Comin Back' is the longest tune we've yet to include on this series and it's a full-on rager! The only surviving copy of this recording came to us on the original 1/4" master tape from Hollywood's long-defunct Demars & Duffy Music. We did our best to preserve the recording and we think you'll appreciate the rawness. There have been numerous groups named Bad Axe over the years, but the one you hear here is the baddest. This five-piece fresh outta high school kicked out this jam (and a few others) in a Chicago studio in 1973 just for the hell of it. As a garage band, they were previously named The Burlington Express and they went on to be known as Bitch, but these dudes hit their stride as Bad Axe and 'Coachman' is their crowning achievement. It went completely unreleased until 2014 when Permanent Records issued it and 'Poor Man, Run' as a limited edition 45 with a killer picture sleeve. It's long out-of-print and only obtainable now on Brown Acid. The rest of the records included on this volume vary in rarity, but at least two of them were virtually unknown until we discovered them. You'll win the lottery before you find copies of all of the original 45s in even the best record stores. Many of the records included in this volume are owned only by the members of the bands and some of the band members don't even have personal copies. That's just how hard these guys hit it back in the day! We're lucky some of these guys are still alive and well enough to give us permission to use their masters. And for that, we thank them. And you, for all your support. Brown Acid is here to stay... as long as you'll have us. Plug in, turn up, and freak out... this is what Rock n' Roll is all about."
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LP
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EZRDR 077LP
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LP version. "If you thought we were getting close to the end of the Brown Acid series with our last Trip, you were dead wrong... we're only just getting rolling. The well of privately released hard rock, heavy psych, and proto-metal 45s is deep and we are nowhere near tapped out. Most of these records were barely released and never properly distributed so they ain't easy to find, but they're out there if you're willing to dig... and we aren't afraid to get our hands dirty. Hard calluses have formed from handling the shovel and we've sifted through a lot of dirt, but we've dug up another ten tremendous records to share with all the heavy heads out there. This volume brings together eight insanely rare and skull-crushingly heavy 45s as well as two previously unreleased bangers. You may remember the Zekes' jaw dropper 'Box' from the First Trip. If you don't, you better go back and refresh your memory, you stoner. That song rips! And so does this previously unheard recording we legally obtained from the Beverly Hills records vaults. 'Comin Back' is the longest tune we've yet to include on this series and it's a full-on rager! The only surviving copy of this recording came to us on the original 1/4" master tape from Hollywood's long-defunct Demars & Duffy Music. We did our best to preserve the recording and we think you'll appreciate the rawness. There have been numerous groups named Bad Axe over the years, but the one you hear here is the baddest. This five-piece fresh outta high school kicked out this jam (and a few others) in a Chicago studio in 1973 just for the hell of it. As a garage band, they were previously named The Burlington Express and they went on to be known as Bitch, but these dudes hit their stride as Bad Axe and 'Coachman' is their crowning achievement. It went completely unreleased until 2014 when Permanent Records issued it and 'Poor Man, Run' as a limited edition 45 with a killer picture sleeve. It's long out-of-print and only obtainable now on Brown Acid. The rest of the records included on this volume vary in rarity, but at least two of them were virtually unknown until we discovered them. You'll win the lottery before you find copies of all of the original 45s in even the best record stores. Many of the records included in this volume are owned only by the members of the bands and some of the band members don't even have personal copies. That's just how hard these guys hit it back in the day! We're lucky some of these guys are still alive and well enough to give us permission to use their masters. And for that, we thank them. And you, for all your support. Brown Acid is here to stay... as long as you'll have us. Plug in, turn up, and freak out... this is what Rock n' Roll is all about."
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CD
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EZRDR 090CD
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"Six volumes worth of licensed tracks released in just three years: doing the Dark Lord's work isn't an easy job, but somebody's gotta do it, so here is Brown Acid - The Sixth Trip, with more lined up. The heads just can't get enough obscure hard rock, heavy psych, and proto-metal from the late'60s and '70s! This time around Riding Easy present ten deep cuts from across the continental USA and one from the neighbors up North. This trip kicks off with an outrageous number from Gold out of San Francisco circa 1970. The band used to open their sets with this over-the-top frantic jammer which is absolutely mind-blowing! Delving deeper into the depths, Canadians continue to prove that they could bang heads with the best of 'em! Heat Exchange from Toronto released the rollicking ripper 'Inferno' on the Yorkville label way back in 1968 and it's still thumping almost fifty years later. Some more examples of the mind-melting tracks on this platter: Missouri isn't a state that brought us a lot of heavy 45s, but there are a handful of outstanding tracks, one of which is the funk-laced anthem 'Give Me Time' by Backwood Memory from Kansas City. Youngstown, Ohio, meanwhile, might have been the Hard Rock Mecca back in the day. Travis is yet another Youngstown group that aimed to get asses out of seats and out in the streets. Truth & Janey had their incredible proto-metal masterpiece 1976 album No Rest For The Wicked; released four years earlier, 'Midnight Horseman' was a 45-only track, included here! Those are just some of the fruits of months worth of record digging and detective work included on this latest installment. This is the stuff that makes life worth living, at least until the next Trip..."
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LP
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EZRDR 090LP
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LP version. "Six volumes worth of licensed tracks released in just three years: doing the Dark Lord's work isn't an easy job, but somebody's gotta do it, so here is Brown Acid - The Sixth Trip, with more lined up. The heads just can't get enough obscure hard rock, heavy psych, and proto-metal from the late'60s and '70s! This time around Riding Easy present ten deep cuts from across the continental USA and one from the neighbors up North. This trip kicks off with an outrageous number from Gold out of San Francisco circa 1970. The band used to open their sets with this over-the-top frantic jammer which is absolutely mind-blowing! Delving deeper into the depths, Canadians continue to prove that they could bang heads with the best of 'em! Heat Exchange from Toronto released the rollicking ripper 'Inferno' on the Yorkville label way back in 1968 and it's still thumping almost fifty years later. Some more examples of the mind-melting tracks on this platter: Missouri isn't a state that brought us a lot of heavy 45s, but there are a handful of outstanding tracks, one of which is the funk-laced anthem 'Give Me Time' by Backwood Memory from Kansas City. Youngstown, Ohio, meanwhile, might have been the Hard Rock Mecca back in the day. Travis is yet another Youngstown group that aimed to get asses out of seats and out in the streets. Truth & Janey had their incredible proto-metal masterpiece 1976 album No Rest For The Wicked; released four years earlier, 'Midnight Horseman' was a 45-only track, included here! Those are just some of the fruits of months worth of record digging and detective work included on this latest installment. This is the stuff that makes life worth living, at least until the next Trip..."
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CD
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EZRDR 087CD
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"The notion of 'heavy music' is continuing to expand of late, with many intrepid artists finding new ways to incorporate the power of traditional metal into new music, but without all of its trappings. Enter Portland, OR quartet BlackWater HolyLight to further swirl musical elements into a captivating hybrid of emotional intensity. Heavy psych-riffs, gothic drama, folk-rock vibes, garage-sludge and soaring melodies all collide into a satisfying whole with as much contrast as the band's name itself. 'I wanted to experiment with my own version of what felt 'heavy' both sonically and emotionally,' says founder and vocalist/bassist Allison Faris. 'I also wanted a band in which vulnerability of any form could be celebrated.' The band -- Faris, guitarist / vocalist Laura Hopkins, drummer Cat Hoch and synth player Sarah Mckenna -- formed upon the breakup of Faris' longtime band and she sought a fresh start. 'In my last band I was the only female in a group of six, so I wanted to see how my song writing and vulnerability could glow taking the driver's seat and working with women.' Throughout this self-titled debut, the band's songs shirk traditional verse-chorus-verse structure in favor of fluid, serpentine compositions that move with commanding grace. The band expertly, yet subconsciously, incorporates hints of Chelsea Wolfe, Celebration, Captain Beefheart, The Raincoats, The Stooges, Pink Floyd, Jane's Addiction and more to form their unique brand of dark 'n' heavy transcendence."
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LP
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EZRDR 087LP
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LP version. "The notion of 'heavy music' is continuing to expand of late, with many intrepid artists finding new ways to incorporate the power of traditional metal into new music, but without all of its trappings. Enter Portland, OR quartet BlackWater HolyLight to further swirl musical elements into a captivating hybrid of emotional intensity. Heavy psych-riffs, gothic drama, folk-rock vibes, garage-sludge and soaring melodies all collide into a satisfying whole with as much contrast as the band's name itself. 'I wanted to experiment with my own version of what felt 'heavy' both sonically and emotionally,' says founder and vocalist/bassist Allison Faris. 'I also wanted a band in which vulnerability of any form could be celebrated.' The band -- Faris, guitarist / vocalist Laura Hopkins, drummer Cat Hoch and synth player Sarah Mckenna -- formed upon the breakup of Faris' longtime band and she sought a fresh start. 'In my last band I was the only female in a group of six, so I wanted to see how my song writing and vulnerability could glow taking the driver's seat and working with women.' Throughout this self-titled debut, the band's songs shirk traditional verse-chorus-verse structure in favor of fluid, serpentine compositions that move with commanding grace. The band expertly, yet subconsciously, incorporates hints of Chelsea Wolfe, Celebration, Captain Beefheart, The Raincoats, The Stooges, Pink Floyd, Jane's Addiction and more to form their unique brand of dark 'n' heavy transcendence."
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EZRDR 085CD
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"The hits just keep coming -- for this fifth lysergic journey, Riding Easy assembles ten heavy slabs of obscure rock the likes of which have never been seen before... not in this form, anyhow. And as usual, the tracks from these impossibly rare records have all been fully cleared through the artists themselves. Great lengths were gone to in order to get the best possible master sources, the worst case scenario being an original 45. The legendary Captain Foam kicks off this trip like an anvil to your skull with a rollicking stomper sounding like The Who with Matt Pike's thunderous guitar tone. 'No Reason' wasn't easy to find, but lo and behold, the super sleuths located him and got his blessing to include the A-side of his sole single. Good luck finding an original copy of the record. It's rarer than raw beef -- and that's just the tip of the iceberg. The other nine tracks continue the onslaught in typical Brown Acid form: George Brigman's charmingly disjointed bedroom-fi production of 'Blowin' Smoke,' Finch's way out of time and place grungeadelic anthem 'Nothing In The Sun,' Cybernaut's heavy prog, Fargo's hallucinogenic BBQ-sauce soaked 'Abaddon,' Mammoth's fittingly beefy eponymous riff-monger, Flasher's 'Icky Bicky' boogie, Ohio-based screamers Lance, Zebra's gritty rendition of 'Helter Skelter' and finally, the mysterious and previously unheard Thor appears here exclusively and for the first time ever with their unknown 45 track 'Lick It.'"
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EZRDR 085LP
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LP version. "The hits just keep coming -- for this fifth lysergic journey, Riding Easy assembles ten heavy slabs of obscure rock the likes of which have never been seen before... not in this form, anyhow. And as usual, the tracks from these impossibly rare records have all been fully cleared through the artists themselves. Great lengths were gone to in order to get the best possible master sources, the worst case scenario being an original 45. The legendary Captain Foam kicks off this trip like an anvil to your skull with a rollicking stomper sounding like The Who with Matt Pike's thunderous guitar tone. 'No Reason' wasn't easy to find, but lo and behold, the super sleuths located him and got his blessing to include the A-side of his sole single. Good luck finding an original copy of the record. It's rarer than raw beef -- and that's just the tip of the iceberg. The other nine tracks continue the onslaught in typical Brown Acid form: George Brigman's charmingly disjointed bedroom-fi production of 'Blowin' Smoke,' Finch's way out of time and place grungeadelic anthem 'Nothing In The Sun,' Cybernaut's heavy prog, Fargo's hallucinogenic BBQ-sauce soaked 'Abaddon,' Mammoth's fittingly beefy eponymous riff-monger, Flasher's 'Icky Bicky' boogie, Ohio-based screamers Lance, Zebra's gritty rendition of 'Helter Skelter' and finally, the mysterious and previously unheard Thor appears here exclusively and for the first time ever with their unknown 45 track 'Lick It.'"
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EZRDR 082CD
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"When R.I.P. came crawling out of the sewers of Portland, Oregon, last year, their grimy, sleazy street doom was already a fully formed monstrosity, quickly infecting the minds of everyone it encountered. Now, borne from the band's declining mental health and an increased focus on songwriting, Street Reaper is even more unhinged and menacing than their debut In The Wind (2016). Borrowing equally from '80s Rick Rubin productions and Murder Dog magazine aesthetics, this latest album is a streamlined yet brutally raw manifesto of heavy metal ferocity hearkening to the era when both metal and hip hop were reviled as the work of street thugs intent on destroying America's youth. Throughout, Angel Martinez's guitar and John Mullett's bass are inextricably interlocked like a massive sonic steamroller, while drummer Willie D keeps the beat solid and simple for the most powerful impact. Plus, the band's extensive touring and excessive virgin sacrifices have provided singer Fuzz evermore agile vocal chords to drive it all home with extreme precision. Operating on the belief that doom is not tied to a tuning or a time signature, but rather a raw and terrified feeling, R.I.P. eschews well-trodden fantasy and mysticism tropes of the genre and focuses on conveying the horror and chaos inherent in the everyday reality of the human mind."
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LP
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EZRDR 082LP
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LP version. "When R.I.P. came crawling out of the sewers of Portland, Oregon, last year, their grimy, sleazy street doom was already a fully formed monstrosity, quickly infecting the minds of everyone it encountered. Now, borne from the band's declining mental health and an increased focus on songwriting, Street Reaper is even more unhinged and menacing than their debut In The Wind (2016). Borrowing equally from '80s Rick Rubin productions and Murder Dog magazine aesthetics, this latest album is a streamlined yet brutally raw manifesto of heavy metal ferocity hearkening to the era when both metal and hip hop were reviled as the work of street thugs intent on destroying America's youth. Throughout, Angel Martinez's guitar and John Mullett's bass are inextricably interlocked like a massive sonic steamroller, while drummer Willie D keeps the beat solid and simple for the most powerful impact. Plus, the band's extensive touring and excessive virgin sacrifices have provided singer Fuzz evermore agile vocal chords to drive it all home with extreme precision. Operating on the belief that doom is not tied to a tuning or a time signature, but rather a raw and terrified feeling, R.I.P. eschews well-trodden fantasy and mysticism tropes of the genre and focuses on conveying the horror and chaos inherent in the everyday reality of the human mind."
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