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  • So Long, Astoria  (Awaiting Repress) So Long, Astoria (Awaiting Repress) Quick View

    $17.99
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    So Long, Astoria (Awaiting Repress)

    With a handful of indie releases and a few hectic years of touring under their belts, this release marks the Ataris big-label bow. And if the concept uniting it is an ode to the power of memory--a conceit attributed to Richard Hell, but one that ironically might as well have originated with the likes of Billy Joel--Kris Roe and company blitz their way through it with kinetic power and hooks to spare. But therein lies the rub: Fans will find this an album rife with positive energy, bright, well-constructed songs, and upbeat deliveries (if sometimes in service of awkward intellectual pretensions like Unopened Letter to the World's parallels between Kurt Cobain and no less than Emily Dickinson); cynics may hear at as further evidence that punk and alternative rock have been co-opted in service of formulas as well-honed--and rigid--as anything the dreaded Corp Rock '80s ever yielded. Still, if play-it-to-the-back-rows, unabashed power-pop is what the Ataris were after here, they've delivered it with nigh perfection, right down to a slick, pumped up cover of Don Henley's classic-rock warhorse The Boys of Summer. --Jerry McCulley
    1. So Long, Astoria
    2. Takeoffs And Landings
    3. In This Diary
    4. My Reply
    5. Unopened Letter To The World
    6. The Saddest Song
    7. Summer '79
    8. The Hero Dies In This One
    9. All You Can Ever Learn Is What You Already Know
    10. The Boys Of Summer
    11. Radio #2
    12. Looking Back On Today
    13. Eight Of Nine
    The Ataris
    $17.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Horrorscope (Live In Overhausen) Horrorscope (Live In Overhausen) Quick View

    $34.99
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    Horrorscope (Live In Overhausen)

    Orange Vinyl With Green & Yellow Splatter


    Celebrating the band's history, Live In Overhausen captured not one but two album anniversaries. Fans assembled on April 16, 2016, at Turbinenhalle 2 in Oberhausen, Germany for the 25th anniversary of Horrorscope and 30th anniversary of where it all began, Feel The Fire. A full night of kill from the past played loud and in its entirety! Bobby Blitz comments, From the stage to your eyes and ears! Live In Overhausen, celebrating Feel The Fire and Horrorscope in one, filmed/recorded concert in Germany from 2016. A rare, two-hour look at what has transpired over three decades in one of the world's hotbeds of metal. Hang on to your hats kids, it's going to be a 'THRASHY-RIDE'!

    LP 1
    1. Coma (Live)

    2. Infectious (Live)

    3. Blood Money (Live)

    4. Thanx for Nothin' (Live)

    5. Bare Bones (Live)


    LP 2
    1. Horrorscope (Live)

    2. New Machine (Live)

    3. Frankenstein (Live)

    4. Live Young, Die Free (Live)

    5. Nice Day... for a Funeral (Live)

    6. Soulitude (Live)

    Overkill
    $34.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • Feel The Fire (Live In Overhausen) Feel The Fire (Live In Overhausen) Quick View

    $34.99
    Buy Now
    x

    Feel The Fire (Live In Overhausen)

    Green Vinyl With Orange & Yellow Splatter


    Celebrating the band's history, Live In Overhausen captured not one but two album anniversaries. Fans assembled on April 16, 2016, at Turbinenhalle 2 in Oberhausen, Germany for the 25th anniversary of Horrorscope and 30th anniversary of where it all began, Feel The Fire. A full night of kill from the past played loud and in its entirety! Bobby Blitz comments, From the stage to your eyes and ears! Live In Overhausen, celebrating Feel The Fire and Horrorscope in one, filmed/recorded concert in Germany from 2016. A rare, two-hour look at what has transpired over three decades in one of the world's hotbeds of metal. Hang on to your hats kids, it's going to be a 'THRASHY-RIDE'!

    LP 1
    1. Raise the Dead (Live)

    2. Rotten to the Core (Live)

    3. There's No Tomorrow (Live)
    4. Second Son (Live)

    5. Hammerhead (Live)


    LP 2
    1. Feel the Fire (Live)
    2. Blood and Iron (Live)

    3. Kill at Command (Live)

    4. Overkill (Live)

    5. Fuck You (Live)

    Overkill
    $34.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • A Long Way To The Beginning A Long Way To The Beginning Quick View

    $16.99
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    A Long Way To The Beginning

    The upcoming record from the reigning prince of Afrobeat - and follow-up to 2011's From Africa With Fury: Rise - was co-produced by Grammy winner Robert Glasper and features appearances from M-1 of dead prez, Blitz the Ambassador and Nneka. And so Fela's youngest child has full-steamed ahead with his own inimitable brand of Afrobeat: a sound as compelling as it was when Fela Anikulapo Kuti first fused jazz, funk and soul with highlife and other African rhythms - but with topical lyrics and contemporary influences giving it a modern twist and making it his tightest, most electrifying album yet.
    1. IMF
    2. African Airways
    3. Higher Conciousness
    4. Ohun Aiye
    5. Kalakuta Boy
    6. African Smoke
    7. Black Woman
    Seun Kuti & Egypt 80
    $16.99
    Vinyl LP - Sealed Buy Now
  • Revolution Radio Revolution Radio Quick View

    $20.99
    Buy Now
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    Revolution Radio

    Produced by Green Day and recorded in Oakland, Revolution Radio is a potent 12-track blitz of angst-ridden anthems that unites Green Day's fully formed stylistic approach with lyrical themes that address the complexities and uncertainties of modern day existence. Musically, the album is raw, visceral, and fearless -- solidifying the band's reign as one of the leading voices in rock music. The first single, Bang Bang, released today and inspired by recent events, marks a welcome return from a band with more to say than ever.


    Of course the world has lost its collective mind... and me, Mike and TrÉ are lost souls too, said Green Day frontman Billie Joe Armstrong. Revolution Radio is a movement for lost souls to come together... dance together... sing together... and most of all, find each other. That's what the spirit of Green Day has been about since day one.

    1. Somewhere Now
    2. Bang Bang
    3. Revolution Radio
    4. Say Goodbye
    5. Outlaws
    6. Bouncing Off The Wall
    7. Still Breathing
    8. Youngblood
    9. Too Dumb To Die
    10. Troubled Times
    11. Forever Now
    12. Ordinary World
    Green Day
    $20.99
    Vinyl LP - Sealed Buy Now
  • Revolution Radio (Picture Disc) Revolution Radio (Picture Disc) Quick View

    $24.99
    Buy Now
    x

    Revolution Radio (Picture Disc)

    Picture Disc Edition


    Produced by Green Day and recorded in Oakland, Revolution Radio is a potent 12-track blitz of angst-ridden anthems that unites Green Day's fully formed stylistic approach with lyrical themes that address the complexities and uncertainties of modern day existence. Musically, the album is raw, visceral, and fearless -- solidifying the band's reign as one of the leading voices in rock music. The first single, Bang Bang, released today and inspired by recent events, marks a welcome return from a band with more to say than ever.


    Of course the world has lost its collective mind... and me, Mike and TrÉ are lost souls too, said Green Day frontman Billie Joe Armstrong. Revolution Radio is a movement for lost souls to come together... dance together... sing together... and most of all, find each other. That's what the spirit of Green Day has been about since day one.

    1. Somewhere Now
    2. Bang Bang
    3. Revolution Radio
    4. Say Goodbye
    5. Outlaws
    6. Bouncing Off The Wall
    7. Still Breathing
    8. Youngblood
    9. Too Dumb To Die
    10. Troubled Times
    11. Forever Now
    12. Ordinary World
    Green Day
    $24.99
    Vinyl LP Picture Disc - Sealed Buy Now
  • The Grinding Wheel (Yellow And Black Vinyl) The Grinding Wheel (Yellow And Black Vinyl) Quick View

    $31.99
    Buy Now
    x

    The Grinding Wheel (Yellow And Black Vinyl)

    Pressed On Yellow And Black Vinyl

    Armed with pioneering pure metal proposals like Death Rider, The Beast Within, and Raise The Dead already in 1982, New Jersey's Overkill were a rock-solid part of the first clutch of bands forging in fire this music known as thrash metal. Along with Metallica, Exodus, Slayer and cross-town doppelgangers Anthrax, D.D. Verni and Bobby Blitz Ellsworth were helping to create a new form of metal that is still as vibrant today as when the band's first album, Feel the Fire was issued by Jonny Zazula's Megaforce Records back in the spring of '85.

    Witness Overkill's 18th album of blistering yet precise and thought-provoking thrash magic, The Grinding Wheel, a record on which thrash's ultimate team of five machined parts shows up and executes to perfection with a little punk thrown in for bad measure.

    But a life dedicated to metal can be a grind, hence the title of this sparks-a-flyin' record. It just makes sense for us, reflects D.D. If you've been making metal for almost 40 years like we have, it can be a grind. But we also liked the old school metal idea of referencing Grinder, the Judas Priest song, which suits the album because it has classic metal parts on it as well as the thrash parts. There's a blue collar feel to that title too, and that's how we approach Overkill. The guitar case is basically a lunchbox and we go to work.

    One of the principles-if not characteristics-of the band is that it's been grinding through for long, long periods of time, seconds Blitz. Decades to this point. And not necessarily with huge gains with regards to popularity, but for sure, with huge gains in as much as we can earn a living while doing the kind of music that we want. And so the idea of grinding it out over the decades became a device for writing the album, whether it would be riffs or lyrics.

    Despite, as D.D. says, the album's classic metal references (such as Black Sabbath in Come Heavy and Iron Maiden in The Long Road and the epic and cinematic title track), when the band gets up a full head of thrash steam, they bring to the party a trademark punk aesthetic, forged from trips on the train to CBGB and Max's Kansas City to witness original punk legends such as The Damned and The Dead Boys.

    Punk is huge for Overkill, confirms Verni. And it's something we very specifically brought back to the band in a sort of second wave, beginning with Ironbound in 2010 and then The Electric Age and White Devil Armory. I know from my end, it came from talking to the band and talking to fans. We had some of those metal records in the middle of our career where I wasn't paying enough attention to the punk rock vibe of the band. But just before we started writing Ironbound, I was very specific about getting back into that mentality, picking up on that energy again. You're not going to hear any Green Day or Ramones in us, but the energy and the attitude of punk mixed with the New York vibe that's what Overkill is, compared to other bands. You don't hear any of that in Megadeth; you don't hear any of that in Slayer. It's more specific to what we brought to the thrash world.

    Central to that premise is the incendiary Let's All Go to Hades which is sure to become a pit favourite. This one was a hell of a lot of fun, says Blitz. You know, I've always written abstractly. I'm not the guy who says, 'I'm going to crush your skull into dust.' I like writing more so from an abstract point of view, putting a slew of thoughts together that create one idea, like a puzzle more than a specific black or white. And when I looked at all these lyrics when I was done, I said, oh my God, I'm 57 and I finally matured (laughs). Oh, this is gross! (laughs). But I do like tongue-in-cheek songs like 'Hades,' where it says, sort of let's all go to the Bataclan, you know, stand arm in arm and sing 'Killed by Death.' I kind of tied in not long ago events, specifically what happened in Paris, with losing Lemmy. After that, I'm on a train from Paris to Istanbul on the Orient express, which actually existed (laughs)-it actually went from Paris to Istanbul. So that one is mapped out a bit more.

    Adds D.D., It's not a 'smash your face into the wall' kind of song. It got a little bit of fun in it. I know any time you talk to the really heavy thrash guys, they go, 'Oh, no, no, no-no fun allowed. It's got to be heavy and brutal every second.' But that song definitely has a bit of fun in it. And we've done that before, with things like 'Old School' and 'Fuck You.' We're not afraid to do a bit of that sometimes.

    Another favorite lyric of Blitz', which is set to a non-nonsense old school thrash track, is Our Finest Hour. It's about the recognition of sameness, explains Ellsworth. I think people are comfortable when they recognize themselves in someone else. And 'Our Finest Hour' is kind of a detailed journey through that concept. It's like, 'Come on over here; I recognize you.' I've always been a firm believer in the fact that it's great to accomplish things on your own, but people are always stronger as a group-that's the basic outline of that tune.

    At the other end of the spectrum from punk is a song like The Long Road. D.D. readily agrees that there was a Maiden influence as part of this one's crafting. Oh yeah, for sure. The opening, along with a little section in there with the vocals, definitely feels like New Wave of British Heavy Metal.

    More evident in the band's panoramic classic metal passages, but even articulated here on Our Finest Hour, is another storied Overkill trademark, the definition one gets in the band's bass parts. Combine this with the Mensa-like percussive wizardry of Ron Lipnicki (laid bare for all to hear at headphone levels through the smack of his gravity-defying double bass work), and The Grinding Wheel emerges as a record with a remarkable rhythm section foundation from which to rise.

    I've had that kind of sound now for a long time, says Verni. There are a lot of bass players that say, 'I want to feel the bass.' And it's like, I just couldn't give a shit about feeling the bass. To me that's low-end. Guitars have low-end, kick drums have low-end, bass has low-end-I want to hear the bass, not feel it. So from a long time ago, that's what I would be doing on my EQ. I would be tweaking and turning knobs until not only could I feel it, but I can hear it separate from the guitars. And as a result, the bass just got more and more aggressive. I'm not a finesse player at all, on a bass. I bang the shit out of it, and I kind of do that to get away from the guitars and give it its own identity, its own sound, its own thing, so the bass has its own personality, not just serving as a foundation for the guitars.

    This affects the writing as well, says Blitz. Don't forget, D.D. is a guitarist. He's been playing guitar probably more so than bass in his spare time since the late '80s. This is a guy who has two-and-a-half decades of six strings under his belt. So we get more of a unique perspective; it gives this band its unique qualities when it comes to songwriting. Because it's a guy holding six strings who's got plenty of experience playing those six strings, but thinking from the other perspective. So you get a punchier thing; you don't get a lot of fluff. When you compare Overkill to some of our contemporaries, there you get a guitar player writing guitar-based songs. D.D. is writing, first and foremost, from a rhythm perspective, and that's what drives the songs. Add Dave Linsk to the picture, once there's a ten-note riff written, then you have the best of both worlds.

    Which brings us back to the aforementioned machine-like efficiency of the five guys that comprise Overkill, this idea that there are no weak links within this particular classic five-piece with two guitars lineup of metal warriors.

    That's the strength of the band, explains Blitz. Dave is really the one that holds the guitar reigns in this band. He's a writer at his core. You know, he's one of these guys who brushes his teeth and hears a rhythm the way the bristles are hitting the enamel (laughs). He's that dude. 'Oh wait a second, I have another idea.' He has an idea a minute, and if that's the case, some of them are going to be great. So he holds the reins. When it comes to Derek, he's more the opinionated thought later on. And so when it runs through the machine, being D.D. and myself, then Dave, Derek comes in and can change that song. It's always kind of good to have, let's say, a chief and some Indians. And it depends who's wearing the chief hat at any particular time. But I think at the end of the day, when you're looking for a clean perspective, it goes through Derek-that's usually what his contribution is, more of a finalization.

    And Ron? He's one-of-a-kind, says Verni. He's a great drummer. I've worked with him for a bunch of records now. This is our fifth record together and so I really understand how he plays at this point. Working with him in the studio is just a pleasure, because he's so right on it.

    After heaping all manner of praise on legendary producer Andy Sneap (brought on only for mix given Verni's proven acumen at the task), D.D. further clarifies the reason Overkill can be at the top of their game 18 records into their distinguished run.

    I have a studio and I did most of it at my place; I've been doing it that way for a while now. And now the group of guys we have in the band has been pretty consistent for a while. So we have a nice mix; everybody kind of knows their role, and is good at their role. Everybody brings a little something to the party. And I think that's why these last couple of records people ask, 'How is it that your records get better after 25 years?' And I think part of it is that everybody has a role in the band, everybody is comfortable with their role, and they're really good at the part they have. So the records actually get better. It's like having a team, instead of having a whole bunch of chiefs and no Indians.

    But a proven people's band like Overkill-a more personable bunch you'll never meet-fully recognizes that part of the band's success in being able to survive and thrive with the grind is due to the allegiance of the band's considerable worldwide fan base.

    For sure, says Blitz. One of the things with regard to grind, with regard to four decades of Overkill, it's good to be here, but it's obviously earned, not just by us but by the people that support this in general. The fact is that it's not just us grinding it out. I mean, maybe it is when it comes to the studio and writing and recording songs, from that selfish perspective. But the reason something exists for decades is based on group effort. Like we had talked about earlier with 'Our Finest Hour,' people are stronger together. In that light, this band is, let's say, not just our project, but it's a project by and for all those who hold it dear.

    1. Mean, Green, Killing Machine
    2. Goddamn Trouble
    3. Our Finest Hour
    4. Shine On
    5. The Long Road
    6. Let's All Go To Hades
    7. Come Heavy
    8. Red, White And Blue
    9. The Wheel
    10. The Grinding Wheel
    11. Emerald
    Overkill
    $31.99
    Colored Vinyl LP - Sealed Buy Now
  • Subordination Subordination Quick View

    $19.99
    Buy Now
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    Subordination

    Since their first demo in 2013, the Austin expats in Institute have edged their raw
    anarcho-punk blitz into something much more expansive and nuanced. 2014's
    Salt EP marked the beginning of the band's working relationship with Sacred
    Bones, and it explored longer, more experimental song forms. Catharsis, the
    band's debut full-length, was another huge push forward, with a slightly cleaner
    production and some krautrock influence creeping in around the edges. Subordination
    sees them push themselves further out of genre, incorporating hard rock
    and glam and writing some of the most diverse material of their career.


    Subordination was written in the days leading up to Institute's first European
    tour, where they then had a chance to sculpt the songs live before recording them
    in summer of 2016. The songwriting and recording process sought to close the
    gap between the band's records and shows, to make an album as representative of
    their live set as possible. It was the most collaborative Institute writing session to
    date, with all four band members contributing (gtr -Arak Avakian, drums - Barry
    Elkanick, bass- Adam Cahoon & vox - Moses Brown). They worked again with
    producer Ben Greenberg (Uniform) and fully captured the intensity that has
    made them one of the best live punk bands touring today.


    Frontman Moses Brown's lyrics remain deeply personal, but rather than diving
    into introspection and plucking out intimate details about his life, he attempts to
    dismantle systems of patriarchal thought and power. Brown investigates national
    insecurities and American socialization failures through the lens of his personal
    experiences in both public school and art schools.


    The songs on Subordination address the lonely sham of playing by the rules, the
    search for money and power, the annihilation of a true personality, and the standards
    of normalcy that, from childhood, condition us to feel abject.

    1. Exhibitionism
    2. Only Child
    3. Prissy Things
    4. All This Pride
    5. Oil Money
    6. Human Law
    7. Too Dumb
    8. Good Ol' Boys
    9. Powerstation
    Institute
    $19.99
    Vinyl LP - Sealed Buy Now
  • Separation Separation Quick View

    $19.99
    Buy Now
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    Separation

    A sonic assault melding influences such as Sunny Day Real Estate, Neutral Milk Hotel and Nirvana, Philadelpia, PA's Balance And Compsure's upcoming full length, Separation adheres to the band's namesake. A cohesive listen of anthemic and melodic guitar blitzes with poignant lyricism, rhythmic thrusts and an abrasive pop knack in its over deliverance, Separation churns in a fortified enclave of guitar fuzz and impending rhythms that drive heavily.


    Balance And Composure may wear their love for early '90s underground alt rock on their sleeves, but they are in no way merely a throwback band as much as they are an outfit who respects their influences, and pushes them forward into brash sonic terrortory with the us vs. the world ethos of genuine punk rock.


    1. Void

    2. Separation
    3. Quake
    4. Stonehands
    5. I Tore You Apart In My Head
    6. Galena
    7. Fade
    8. Progress, Progress
    9. More To Me
    10. Echo
    11. Patience
    12. Defeat The Low
    Balance and Composure
    $19.99
    Vinyl LP - Sealed Buy Now
  • The Grinding Wheel The Grinding Wheel Quick View

    $31.99
    Buy Now
    x

    The Grinding Wheel

    Armed with pioneering pure metal proposals like "Death Rider," "The Beast Within," and "Raise The Dead" already in 1982, New Jersey's Overkill were a rock-solid part of the first clutch of bands forging in fire this music known as thrash metal. Along with Metallica, Exodus, Slayer and cross-town doppelgangers Anthrax, D.D. Verni and Bobby "Blitz" Ellsworth were helping to create a new form of metal that is still as vibrant today as when the band's first album, Feel the Fire was issued by Jonny Zazula's Megaforce Records back in the spring of '85.


    Witness Overkill's 18th album of blistering yet precise and thought-provoking thrash magic, The Grinding Wheel, a record on which thrash's ultimate team of five machined parts shows up and executes to perfection with a little punk thrown in for bad measure.


    But a life dedicated to metal can be a grind, hence the title of this sparks-a-flyin' record. "It just makes sense for us," reflects D.D. "If you've been making metal for almost 40 years like we have, it can be a grind. But we also liked the old school metal idea of referencing "Grinder," the Judas Priest song, which suits the album because it has classic metal parts on it as well as the thrash parts. There's a blue collar feel to that title too, and that's how we approach Overkill. The guitar case is basically a lunchbox and we go to work."


    "One of the principles-if not characteristics-of the band is that it's been grinding through for long, long periods of time," seconds Blitz. "Decades to this point. And not necessarily with huge gains with regards to popularity, but for sure, with huge gains in as much as we can earn a living while doing the kind of music that we want. And so the idea of grinding it out over the decades became a device for writing the album, whether it would be riffs or lyrics."


    Despite, as D.D. says, the album's classic metal references (such as Black Sabbath in "Come Heavy" and Iron Maiden in "The Long Road" and the epic and cinematic title track), when the band gets up a full head of thrash steam, they bring to the party a trademark punk aesthetic, forged from trips on the train to CBGB and Max's Kansas City to witness original punk legends such as The Damned and The Dead Boys.


    "Punk is huge for Overkill," confirms Verni. "And it's something we very specifically brought back to the band in a sort of second wave, beginning with Ironbound in 2010 and then The Electric Age and White Devil Armory. I know from my end, it came from talking to the band and talking to fans. We had some of those metal records in the middle of our career where I wasn't paying enough attention to the punk rock vibe of the band. But just before we started writing Ironbound, I was very specific about getting back into that mentality, picking up on that energy again. You're not going to hear any Green Day or Ramones in us, but the energy and the attitude of punk mixed with the New York vibe that's what Overkill is, compared to other bands. You don't hear any of that in Megadeth; you don't hear any of that in Slayer. It's more specific to what we brought to the thrash world."


    Central to that premise is the incendiary "Let's All Go to Hades" which is sure to become a pit favourite. "This one was a hell of a lot of fun," says Blitz. "You know, I've always written abstractly. I'm not the guy who says, 'I'm going to crush your skull into dust.' I like writing more so from an abstract point of view, putting a slew of thoughts together that create one idea, like a puzzle more than a specific black or white. And when I looked at all these lyrics when I was done, I said, oh my God, I'm 57 and I finally matured (laughs). Oh, this is gross! (laughs). But I do like tongue-in-cheek songs like 'Hades,' where it says, sort of let's all go to the Bataclan, you know, stand arm in arm and sing 'Killed by Death.' I kind of tied in not long ago events, specifically what happened in Paris, with losing Lemmy. After that, I'm on a train from Paris to Istanbul on the Orient express, which actually existed (laughs)-it actually went from Paris to Istanbul. So that one is mapped out a bit more."


    Adds D.D., "It's not a 'smash your face into the wall' kind of song. It got a little bit of fun in it. I know any time you talk to the really heavy thrash guys, they go, 'Oh, no, no, no-no fun allowed. It's got to be heavy and brutal every second.' But that song definitely has a bit of fun in it. And we've done that before, with things like 'Old School' and 'Fuck You.' We're not afraid to do a bit of that sometimes."


    Another favorite lyric of Blitz', which is set to a non-nonsense old school thrash track, is "Our Finest Hour." "It's about the recognition of sameness," explains Ellsworth. "I think people are comfortable when they recognize themselves in someone else. And 'Our Finest Hour' is kind of a detailed journey through that concept. It's like, 'Come on over here; I recognize you.' I've always been a firm believer in the fact that it's great to accomplish things on your own, but people are always stronger as a group-that's the basic outline of that tune."


    At the other end of the spectrum from punk is a song like "The Long Road." D.D. readily agrees that there was a Maiden influence as part of this one's crafting. "Oh yeah, for sure. The opening, along with a little section in there with the vocals, definitely feels like New Wave of British Heavy Metal.


    More evident in the band's panoramic classic metal passages, but even articulated here on "Our Finest Hour," is another storied Overkill trademark, the definition one gets in the band's bass parts. Combine this with the Mensa-like percussive wizardry of Ron Lipnicki (laid bare for all to hear at headphone levels through the smack of his gravity-defying double bass work), and The Grinding Wheel emerges as a record with a remarkable rhythm section foundation from which to rise.


    "I've had that kind of sound now for a long time," says Verni. "There are a lot of bass players that say, 'I want to feel the bass.' And it's like, I just couldn't give a shit about feeling the bass. To me that's low-end. Guitars have low-end, kick drums have low-end, bass has low-end-I want to hear the bass, not feel it. So from a long time ago, that's what I would be doing on my EQ. I would be tweaking and turning knobs until not only could I feel it, but I can hear it separate from the guitars. And as a result, the bass just got more and more aggressive. I'm not a finesse player at all, on a bass. I bang the shit out of it, and I kind of do that to get away from the guitars and give it its own identity, its own sound, its own thing, so the bass has its own personality, not just serving as a foundation for the guitars."


    This affects the writing as well, says Blitz. "Don't forget, D.D. is a guitarist. He's been playing guitar probably more so than bass in his spare time since the late '80s. This is a guy who has two-and-a-half decades of six strings under his belt. So we get more of a unique perspective; it gives this band its unique qualities when it comes to songwriting. Because it's a guy holding six strings who's got plenty of experience playing those six strings, but thinking from the other perspective. So you get a punchier thing; you don't get a lot of fluff. When you compare Overkill to some of our contemporaries, there you get a guitar player writing guitar-based songs. D.D. is writing, first and foremost, from a rhythm perspective, and that's what drives the songs. Add Dave Linsk to the picture, once there's a ten-note riff written, then you have the best of both worlds."


    Which brings us back to the aforementioned machine-like efficiency of the five guys that comprise Overkill, this idea that there are no weak links within this particular classic five-piece with two guitars lineup of metal warriors.


    "That's the strength of the band," explains Blitz. "Dave is really the one that holds the guitar reigns in this band. He's a writer at his core. You know, he's one of these guys who brushes his teeth and hears a rhythm the way the bristles are hitting the enamel (laughs). He's that dude. 'Oh wait a second, I have another idea.' He has an idea a minute, and if that's the case, some of them are going to be great. So he holds the reins. When it comes to Derek, he's more the opinionated thought later on. And so when it runs through the machine, being D.D. and myself, then Dave, Derek comes in and can change that song. It's always kind of good to have, let's say, a chief and some Indians. And it depends who's wearing the chief hat at any particular time. But I think at the end of the day, when you're looking for a clean perspective, it goes through Derek-that's usually what his contribution is, more of a finalization."


    And Ron? "He's one-of-a-kind," says Verni. "He's a great drummer. I've worked with him for a bunch of records now. This is our fifth record together and so I really understand how he plays at this point. Working with him in the studio is just a pleasure, because he's so right on it."


    After heaping all manner of praise on legendary producer Andy Sneap (brought on only for mix given Verni's proven acumen at the task), D.D. further clarifies the reason Overkill can be at the top of their game 18 records into their distinguished run.


    "I have a studio and I did most of it at my place; I've been doing it that way for a while now. And now the group of guys we have in the band has been pretty consistent for a while. So we have a nice mix; everybody kind of knows their role, and is good at their role. Everybody brings a little something to the party. And I think that's why these last couple of records people ask, 'How is it that your records get better after 25 years?' And I think part of it is that everybody has a role in the band, everybody is comfortable with their role, and they're really good at the part they have. So the records actually get better. It's like having a team, instead of having a whole bunch of chiefs and no Indians.


    But a proven people's band like Overkill-a more personable bunch you'll never meet-fully recognizes that part of the band's success in being able to survive and thrive with the grind is due to the allegiance of the band's considerable worldwide fan base.


    "For sure," says Blitz. "One of the things with regard to grind, with regard to four decades of Overkill, it's good to be here, but it's obviously earned, not just by us but by the people that support this in general. The fact is that it's not just us grinding it out. I mean, maybe it is when it comes to the studio and writing and recording songs, from that selfish perspective. But the reason something exists for decades is based on group effort. Like we had talked about earlier with 'Our Finest Hour,' people are stronger together. In that light, this band is, let's say, not just our project, but it's a project by and for all those who hold it dear."

    1. Mean, Green, Killing Machine
    2. Goddamn Trouble
    3. Our Finest Hour
    4. Shine On
    5. The Long Road
    6. Let's All Go To Hades
    7. Come Heavy
    8. Red, White And Blue
    9. The Wheel
    10. The Grinding Wheel
    11. Emerald
    Overkill
    $31.99
    Vinyl LP - Sealed Buy Now
  • Flight of the Conchords Flight of the Conchords Quick View

    $17.99
    Buy Now
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    Flight of the Conchords

    Acclaimed Kiwi novelty band Flight of the Conchords follow the release of their six-track Grammy Award winning CD/EP The Distant Future with their full-length record album debut, the conveniently titled Flight of the Conchords (which, not at all coincidentally is also the name of their HBO television series). Produced by Mickey Petralia (Beck Midnight Vultures, Ladytron Light & Sound) in Los Angeles, New York and Wellington, the album features fully fleshed-out and professionally recorded versions of Flight of the Conchords concert and television favorites. And its release finally renders pointless all the inexpert fan-made audio transfers (the modern day equivalent of holding a microphone up to the television speaker and shouting at your mom to be quiet), which have bloated hard drives the world over. The songs are heard here in expanded but reverent arrangements. Bret McKenzie and Jemaine Clement's trademark acoustic guitars lead the blitz, backed by a diverse array of instrumentation and production technique. And, the album sounds legitimate and musically, it's incredible, but, as Shakespeare said, Does it funny? Happily, yes. If amazing, delightful and hilarious is your idea of funny, then prepare for undisappointment! These 15 songs pay homage to Pet Shop Boys, censorship, Marvin Gaye, sexism, Shabba Ranks, and backhanded compliments. To be blunt, if you can't find a rire ou sourire in the FSL study guide of opening track, Foux du Fafa, then, please notice, vous tes malade.

    1. Foux du Fafa
    2. Inner City Pressure
    3. Hiphopopotamus vs. Rhymenoceros
    4. Think About it
    5. Ladies of the World
    6. MuthaÆuckas
    7. The Prince of Parties
    8. Leggy Blonde
    9. Robots
    10. Boom
    11. A Kiss is Not a Contract
    12. The Most Beautiful Girl (in the Room)
    13. Business Time
    14. Bowie
    15. Au Revoir
    Flight of the Conchords
    $17.99
    Vinyl LP - Sealed Buy Now
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