Earthride is a doom metal band from Maryland. Earthride formed in 2000 after the demise of Spirit Caravan, they released their self-titled EP the same year on their own Earth Brain label. They recorded their next release, 2005 Vampire Circus, with Corrosion of Conformity's Mike Dean acting as producer, it was released on Southern Lord Records. Five years they followed with their third album, Something Wicked, released by Southern Lord. In 2007 Land o Smiles Records re-released. 2017 Dave Sherman, Eric Little, Greg Lynn Ball and Edmund Allan Brown Have record a new Signal 7" out on Salt of the Earth records USA In November 2017 EARTHRIDE hit the road with sludge legends buzzov-en. At a stop in Dayton, Ohio they were joined by the self-proclaimed "Miller Lite's favorite band" Funeral Moon. Dave Sherman – vocals Greg Lyle Ball – guitar Edmond Allan Brown– bass Eric Little – drums Taming of the Demons CD Vampire Circus CD/Pic Disc Something Wicked CD Earthride CD Earthride 10" Southern Lord band page
Technocracy is an EP by Corrosion of Conformity. It was released in 1987 on Metal Blade Records, re-released in 1992 on Relativity Records with four additional songs, including three demo versions of songs from the EP with bassist Mike Dean singing. "Technocracy" - 3:13 "Hungry Child" - 1:15 "Happily Ever After" - 4:22 "Crawling" - 4:23 "Ahh Blugh" - 0:31 "Intervention" - 2:10 "Technocracy" - 3:27 "Crawling" - 5:00 "Happily Ever After" - 4:34 Simon Bob – lead vocals Mike Dean – bass, lead vocals on bonus songs Woody Weatherman – guitar Reed Mullin – drums, vocals
Animosity (Corrosion of Conformity album)
Animosity is the second studio album by American heavy metal band Corrosion of Conformity. Album cover art was done by the artist Pushead. All tracks written by Woody Weatherman and Reed Mullin. Metallica, longtime fans of Corrosion of Conformity, performed the song "Holier" at least twice live in concert. Monster Voodoo Machine covered the song "Holier" on their 1998 release Direct Reaction Now!. Severed Head of State covered "Prayer" on their 2002 EP release "No Love Lost". Mr. Bungle covered "Loss for Words" several times during their Disco Volante tour. Agoraphobic Nosebleed covered "Hungry Child" on their Bestial Machinery album. All Out War covered "Mad World" as a hidden track on their 1998 LP "For Those Who Were Crucified". Corrosion of ConformityMike Dean - vocals, bass guitar Woody Weatherman - guitars Reed Mullin - drums, vocalsProductionPushead - Front cover Simon Bob Sinister - Back cover Brian Slagel - Executive producer Bill Metoyer - Engineering #1 - 5 David Schmitt - Engineering #6 - 10 Eddy Schreyer - Mastering Encyclopedia Metallica: Metallica performs C.
O. C.'s "Holier" A long review of Corrosion of Conformity - Animosity LP Mr. Bungle performs "Loss For Words" live
Caroline Records is a record label. Caroline has or had a number of subsidiary labels including Astralwerks, Caroline Blue Plate, Rocks the World and Passenger; the original Caroline record label started as a subsidiary of Richard Branson's Virgin Records from 1973 to 1976. It specialized in inexpensive LPs by progressive rock and jazz artists that lacked commercial appeal. Caroline records mentioned a connection with Virgin, some UK and European Virgin albums that were distributed internationally named Caroline as their American distributor; some Caroline records bore the label name Caroline Blue Plate. The first release was Outside the Dream Syndicate by Tony Conrad and Faust in 1973; the logo was a photographic-style variation of Virgin's "Twins" logo designed by Roger Dean. In 1983, the Caroline name was reused by Virgin in the US as the importer Caroline Distribution. Caroline Distribution founded the current Caroline Records in 1986. Caroline Records was merged into Virgin Records after Virgin was acquired by Thorn EMI.
Caroline Distribution became part of EMI Music Distribution. Primo Scree was an imprint of Caroline Records created by Ned Hayden of the Action Swingers, a sales rep at Caroline, its releases included the Action Swingers' single "Fear of a Fucked Up Planet", as well as Gumball's debut album Special Kiss and Monster Magnet's debut album Spine of God. Audio Active & Laraaji – The Way Out Is the Way In Kevin Ayers, June Campbell Cramer & Brian Eno – Lady June's Linguistic Leprosy Bad Brains – Quickness Ben Folds Five – Ben Folds Five Harold Budd Reuben Garcia Daniel Lentz – Music for 3 Pianos Cabaret Voltaire – The Drain Train Cabaret Voltaire – Drinking Gasoline Cherry Poppin' Daddies – Kids on the Street Cluster – Grosses Wasser Cluster – One Hour Lol Coxhill – Fleas in Custard Dumblonde – Dumblonde Egg – The Civil Surface Brian Eno – Before and After Science Eno Moebius Roedelius – After the Heat Brian Eno & Jah Wobble – Spinner Excel – Split Image Excel – The Joke's on You Excel – Seeking Refuge Fred Frith – Guitar Solos Various artists – Guitar Solos 2 Gilgamesh – Gilgamesh Gong – Camembert Electrique Gong – Angel's Egg Gong – You Goo Goo Dolls – Goo Goo Dolls Heatmiser – Mic City Sons Henry Cow – Concerts Hole – Pretty on the Inside Bat For Lashes–Two Suns Bat For Lashes – Fur and gold Idaho – Year After Year Idaho– This Way Out Idaho – Three Sheets to the Wind Jabula – Thunder into our hearts Killing Joke – Killing Joke Korn – The Paradigm Shift KT Tunstall - Kin Jayce Lewis/Protafield - Nemesis Mercyful Fate – Melissa The Misfits – Static Age Monster Magnet – Tab Oh Wonder – Oh Wonder Andy Partridge/Harold Budd – Through the Hill Primus – Frizzle Fry Smashing Pumpkins – Gish Southern Culture on the Skids – For Lovers Only Steven Wilson – To the Bone Suicidal Tendencies – Join the Army Suicideboys – I Want to Die in New Orleans Swans – Children of God Tangerine Dream – Livemiles Tangerine Dream – Pergamon Uncle Slam – Say Uncle Underdog – The Vanishing Point Various artists – Greasy Truckers Live at Dingwalls Dance Hall Van Morrison - Keep Me Singing Walt Mink – Bareback Ride Walt Mink – Miss Happiness Warzone – Don't Forget the Struggle, Don't Forget the Streets White Zombie – Gods on Voodoo Moon White Zombie – Soul-Crusher White Zombie – Make Them Die Slowly White Zombie – God of Thunder Youth Of Today – We're Not In This Alone Artist Shop Caroline Records Caroline Distribution Official website Discogs Caroline Records Discogs Gyroscope EMI Group Website links
Probot was a heavy metal side project of ex-Nirvana drummer and Foo Fighters rhythm guitarist and lead-singer Dave Grohl. Described by Grohl as "a death metal Supernatural," the album mixes instrumentals recorded by Grohl himself with various metal singers whom the musician admired; the album was released in February 2004 by Southern Lord Records. It featured one single entitled "Centuries of Sin"/"The Emerald Law". After years of popularity in the alternative rock scene, Dave Grohl wanted to express the passion for heavy metal he bore since his youth, he mentioned the catalyst of the experience being during the first leg of the tour in support of the Foo Fighters album There Is Nothing Left to Lose, with the mellower songs making him think about the heavier bands he used to listen to. Following the tour, Grohl went to his house in Alexandria, Virginia, to record some heavier songs in his home studio Studio 606 with Adam Kasper. Grohl would play with his Gibson Explorer as he watched TV with Kasper, once he got a riff that interested him, he would bring Kasper along to the basement, recording a drum arrangement followed by bass and guitar.
Each instrumental would take about 45 minutes to complete. Grohl said that he did not intend to make an album out of the recordings – "I didn’t call them songs because they were bare instrumentals with no intention of putting vocals on them and no direction as an actual song." After four days of recording and Kasper had done seven tracks, with Grohl making some copies out of the master tape before labeling it Probot to distinguish from the Foo Fighters' work. Some time inspired by the Santana album Supernatural, Grohl decided to attempt collaborations with singers he had idolized, he came up with "my wish list of all of my favorite singers from this era which is'82 to'89 underground metal, all the bands I listened to at the time: Eric Wagner from Trouble, Snake from Voivod, Cronos and Wino," and started contacting the musicians, some of whom were reached by Grohl's friend Matt Sweeney given the Foo Fighters had restarted their tour. Grohl feared his fame built out of being "a stupid, middle-of-the-road, alternative-rock idiot" could drive the metal singers away, but many agreed immediately.
Cronos would explain that "I'm open for everything. And Dave's cool," detailing that Grohl's email opened with "a real fan letter" where he mentioned his longtime appreciation of Venom, explained about his idea of a metal album with all his metal heroes "to get something off his chest."Seeing the positive response, Grohl brought Kasper and Sweeney back to do five more instrumental tracks and round out the project. According to Grohl, the songs sent to Eric Wagner and King Diamond had been done for Ozzy Osbourne as he was contacted to write for the then-upcoming Down to Earth, but when Osbourne's label did not respond, he repurposed them for Probot. Sweeney would organize the project as Grohl toured with the Foo Fighters, getting vocalists on board and organizing tracks; the demo tapes were sent to the singers, each of whom was asked to come up with lyrics, record them and title the song. Cronos detailed he wrote three different versions. On the album, Grohl teamed up with heavy metal vocalists from 1980s and 1990s bands who influenced his musical tastes while he was growing up.
Similar to 1995's Foo Fighters, Grohl wrote all of the music and performed most of the instrumentation. Each track on the album features a different lead singer including Lemmy, Max Cavalera, King Diamond and Tom Warrior. Grohl described the sequencing as "like a compilation tape that I would have made as a kid."Only Lemmy and Wino visited Studio 606 to record, with all the others sending tapes from studio to studio until the album was finished. Soundgarden guitarist Kim Thayil plays additional guitar on two tracks thanks to Kasper, who had brought the Probot tapes to Seattle and they attracted Thayil's interest. Grohl was pleased with the addition as Thayil had more experience with lead guitars, while Grohl was "more about the riff and the rhythm". A bonus track titled "I Am The Warlock" was provided by comedian/actor/musician Jack Black. According to Black, who described the song as "a homage to'Iron Man.'" after Grohl approached him regarding writing lyrics, his spouse Tanya Haden suggested "it should be about a fucked up relationship," so Black made it about a warlock.
Grohl approached death metal legend Chuck Schuldiner of Death to contribute to Probot. However, Schuldiner was struggling with brain cancer and was unable to be involved despite the efforts of Grohl and others to raise funds for his medical treatment. Grohl attempted to get Slayer's lead singer Tom Araya on the album, but he was unable due to scheduling conflicts. To replace him, Grohl invited Kurt Brecht from D. R. I. Grohl mentioned he and Sweeney had discussed and considered a lot of different singers, including the retired Jeff Becerra of Possessed, Chuck Billy from Testament, Pantera's Phil Anselmo, the vocalists from Kreator, Destruction and Candlemass. Sweeney vetoed Unleashed's Johnny Hedlund, who at the time was rumored to be a Nazi sympathizer. In a 2007 interview for Guitar World magazine, Grohl was asked about the future of Probot, he explained that the idea behind Probot was to choose his favorite vocalists that inspired him when he was a teenager. Grohl said that he does not think that he will do it again, because he does not want to go outside of that idea.
Despite Grohl's label Roswell having a deal with RCA Records, he knew such an unorthodox project featuring cult musicians of the past would not be accepted by major labels. RCA was interested at first, but Grohl decided to follow the spirit of the original bands "on independent, punk-rock do it yourself labels." So
DualDisc was a type of double-sided optical disc product developed by a group of record companies including MJJ Productions Inc, EMI Music, Universal Music Group, Sony/BMG Music Entertainment, Warner Music Group, 5.1 Entertainment Group and under the aegis of the Recording Industry Association of America. It featured an audio layer intended to be compatible with CD players on one side and a standard DVD layer on the other. In this respect it was similar to, but distinct from, the DVDplus developed in Europe by Dieter Dierks and covered by European patents. DualDiscs first appeared in the United States in March 2004 as part of a marketing test conducted by the same five record companies who developed the product; the test involved 13 titles being released to a limited number of retailers in the Boston and Seattle, markets. The test marketing was seen as a success after 82% of respondents to a survey said that DualDiscs met or exceeded their expectations. In addition, 90 % of respondents said.
However, sales plummeted over the next three years in competition with rival formats like SACD and DVD-A discs. DualDisc titles received a mass rollout to retailers throughout the United States in February 2005, though some titles were available as early as November 2004; the recording industry had nearly 200 DualDisc titles available by the end of 2005 and over 2,000,000 units had been sold by the middle of that year. DualDiscs were based on double-sided DVD technology such as DVD-10, DVD-14 and DVD-18 except that DualDisc technology replaced one of the DVD sides with a CD; the discs were made by fusing together a standard 0.6 mm-thick DVD layer to a 0.9 mm-thick CD layer, resulting in a 1.5 mm-thick double-sided hybrid disc which contained CD content on one side and DVD content on the other. The challenge for the designers of DualDisc was to produce a dual-sided disc, not too thick to play reliably in slot-loading drives, while the CD side was not too thin to be tracked by the laser. DVDplus, though conceptually similar, used a thicker CD layer and thus is more to get stuck in a slot-loading player.
Because the 0.9 mm thickness of the DualDisc CD layer did not conform to Red Book CD Specifications, which called for a layer no less than 1.1 mm thick, some CD players could not play the CD side of a DualDisc due to a phenomenon called spherical aberration. As a result, the laser reading the CD side might get a "blurry" picture of the data on the disc — the equivalent of a human reading a book with glasses of the wrong strength. Engineers tried to get around this by making the pits in the CD layer larger than on a conventional CD; this makes the CD side easier for the laser to read — equivalent to a book using bigger print to make it easier to see if the person's glasses are of the wrong strength. The downside to this, however, is that the playing time for the CD layer of some early DualDiscs decreased from the standard 74 minutes of a conventional CD to around 60 minutes, although this early limitation was overcome; because the DualDisc CD layer did not conform to Red Book specifications and Sony refused to allow DualDisc titles to carry the CD logo and most DualDiscs contain one of two warnings: "This disc is intended to play on standard DVD and CD players.
May not play on certain car, slot load players and mega-disc changers." "The audio side of this disc does not conform to CD specifications and therefore not all DVD and CD players will play the audio side of this disc."The DVD side of a DualDisc conformed to the specifications set forth by the DVD Forum and DualDiscs have been cleared to use the DVD logo. Record companies had two main hopes for DualDiscs; some titles such as Devils & Dust by Bruce Springsteen and Straight Outta Lynwood by "Weird Al" Yankovic have been released in the United States as DualDiscs. In the US, the cost of a DualDisc at retail versus that of a conventional CD varied depending on the title but, on average, a DualDisc cost about $1.50 to $2.50 USD more than the same title on CD. Some DualDisc titles such as Mr. A-Z by Jason Mraz and In Your Honor by the Foo Fighters had enhanced packaging which increased the retail cost of the DualDisc version of the albums over their CD counterparts more than the average. There were other factors which go into the additional costs such as production, marketing etc.
What one finds on the DVD side of a DualDisc title will vary. Common content includes: The entire reprinted album in higher-quality stereophonic and/or surround sound. Documentaries Music videos The artist's discography A link to the artist's website There are sometimes film-and-soundtrack DualDiscs; the CD side of a DualDisc contained standard 16-bit LPCM audio sampled at 44.1 kHz. On the DVD side, most record companies provided the album's music in both high-resolution, 24-bit DVD-Audio and lower-resolution, 16-bit Dolby Digital sound; this was done to allow consumers with DVD-Audio players access to very
Sludge metal is an extreme style of music that originated through combining elements of doom metal and hardcore punk. It is harsh and abrasive featuring shouted vocals distorted instruments and contrasting tempos. While the Melvins from the US state of Washington laid the groundwork for both sludge metal and grunge in the 1980s, sludge as a distinct genre emerged after 1990 through the work of Louisiana bands such as Eyehategod and Acid Bath, who borrowed from Southern rock. Bands border on stoner rock or post-metal. Sludge metal combines the slow tempos, heavy rhythms and dark, pessimistic atmosphere of doom metal with the aggression, shouted vocals and occasional fast tempos of hardcore punk; as The New York Times put it, "The shorthand term for the kind of rock descending from early Black Sabbath and late Black Flag is sludge, because it's so slow and dense." According to Metal Hammer, sludge metal "pawned from a messy collision of Black Sabbath’s downcast metal, Black Flag’s tortured hardcore and the sub/dom grind of early Swans, shaken up with lashings of cheap whisky and bad pharmaceuticals".
Many sludge bands compose slow-paced songs. Mike Williams, a founder of the sludge style and member of Eyehategod, suggests that "the moniker of sludge has to do with the slowness, the dirtiness, the filth and general feel of decadence the tunes convey". However, some bands emphasize fast tempos throughout their music; the string instruments are down-tuned and distorted and are played with large amounts of feedback to produce a thick yet abrasive sound. Additionally, guitar solos are absent. Drumming is performed in typical doom metal fashion. Drummers may employ hardcore d-beat or double-kick drumming during faster passages, or through the thick breakdowns. Vocals are shouted or screamed, lyrics are pessimistic in nature. Suffering, drug abuse and anger towards society are common lyrical themes. Many sludge metal bands from the Southern United States incorporate Southern rock influences, although not all sludge bands share this style. There is some controversy as to whether the term refers to only the style emerging from New Orleans and the American South more broadly, or to "a complete consciousness in the heads of like-minded Black Flag/Black Sabbath influenced scenes and individuals all over the world".
So-called "atmospheric" sludge bands adopt a more experimental approach and compose music with an ambient atmosphere, reduced aggression and philosophical lyrics. Due to the similarities between sludge and stoner metal, there is a crossover between the two genres, but sludge metal avoids stoner metal's usage of psychedelia. Sludge metal bears some musical and lyrical resemblance to crust punk, due to the usage of political lyrics and thick, "dirty" guitar sounds. Along with Black Sabbath and Black Flag, musicians cited by pioneers of the style as influential include Lynyrd Skynyrd, Celtic Frost, Greg Ginn, Carnivore, Saint Vitus, Righteous Pigs and Swans. Early sludge metal groups borrowed from the industrial music of SPK, Throbbing Gristle and Swans; the beginnings of sludge have been traced to the "slow punk" of Flipper, Swans' 1984 album Cop, Black Flag's album My War, the latter cited as one of the first works in the genre. The most significant influence was Melvins, a band from the state of Washington.
Their earliest releases, Six Songs and Gluey Porch Treatments, are regarded as the first sludge records. At this time, the band was an important member of the Washington grunge scene. Another prominent band from the Washington grunge scene, Alice in Chains have been influential to early sludge metal with their second album Dirt. Neurosis, from Oakland, were significant early practitioners. At the beginning of the 1990s, a number of bands from Louisiana took these influences and developed the style that would be known as sludge Eyehategod and Acid Bath. On the East Coast, Buzzov*en, 16 and Grief adopted a slower-paced approach to the emerging genre. According to Phil Anselmo Back in those days, everything in the underground was fast, fast, it was the rule of the day. But when the Melvins came out with their first record, Gluey Porch Treatments, it broke the mold in New Orleans. People began to appreciate playing slower. With that, all the old Black Sabbath came back around and you start digging and you come to your Saint Vitus, your Witchfinder General, your Pentagram, etc.
Sludge metal subsequently spread throughout Eastern United States. Jose Carlos Santos notes a focus shift as a result of the impact of the British group Iron Monkey's first album in 1997: Coincidence or not, it seemed like the sludge floodgates opened to the rest of the world, in the past decade small pockets, or mini-scenes, can be spotted in just about any country you'd care to mention; these include the Japanese group Corrupted and contemporary American groups such as Dumb Numbers, Lair of the Minotaur, Old Man Gloom and Kylesa. In addition, the U. S. state of Georgia has been identified as a major source of new sludge groups such as Mastodon, Black Tusk, Kylesa. During the late 1990s, many sludge metal bands began to incorporate post-rock elements