KingHeikong Heikozilla. Oliver Meyer. Friend of the Night. Name's Dalton. Jon Anning. Sean Hampton. Marcus Fiene. Jesse McDade. Alexx Chavez.
Adam Hill. Abrogated Conformist. Luca Bastianelli. Mark Jarrell. Daniel Johnson. Simon E Phoenix. Kevin O'Donovan. Purchasable with gift card. PD takes some time to get used to but you can't ask for a nastier sound. They destroy and are one of the heavier bands around. I really dig Loathsome, Girl in the Slayer jacket and especially the machete twins. If you like grindcore even slightly you must buy this cd. This one ends well but the first half of the cd is very average.
Pure rage. This is grindcore! Love it. One person found this helpful. While it doesn't come close to modern releases by Napalm Death, imho, this release by Pig Destroyer is yet very listenable and a worthy addition to any grind fan's collection. For their fourth full-length release, Virginia's iconic Pig Destroyer blend together Slayer-worthy thrash with classic grindcore, hardcore, death and even a little doom metal to create what just might be their most frenetic, vicious, bludgeoning, and breakneck release to date, this year's "Phantom Limb.
Indeed, this one is a monster, folks! To say Brian Harvey is an awesome drummer would be a gross understatement. Pig Destroyer don't have a bassist, but they really don't need one when this man is behind the trapkit -- he provides all the bottom end that the songs need. He doesn't just play basic, machine-like drum patterns; he plays explosive, pummeling blast beats which are so friggin' fast, skilled, and technical that it seems like he has eight arms!
But what's even more amazing is guitarist Scott Hull of Anal C and Agoraphobic Nosebleed fame , who is a riff god above almost all other riff gods. As another review noted, it often sounds like Hull listened his favorite Kerry King and Jeff Hanneman riffs, and then learned to play them on fast forward.
And finally, who could forget about frontman J. He may not be the sound's focal point, but he is still a very important part of it. In addition to his famously skin-crawling, larynx-shredding, gut-wrenching vocals, he also contributes plenty of sickening, yet often oddly humorous lyrics i. As is the problem with many grindcore releases, none of these songs really stay with you after they are done playing, but there are still several highlights on hand here.
Opener "Rotten Yellow" is an all-out deluge of brutality that tears your head clean off your shoulders. Later on, tracks like "Deathripper" and "Cemetery Road" feature inhuman drumming and whiplash tempo changes; "Lesser Animal" and "Girl In The Slayer Jacket" are backed by fiery, chugging thrash riffs and thunderous drums; and "Thought Crime Spree" and "Alexandria" play like full-on thrash, and boast positively ripping and face-melting riffage.
Elsewhere, the pounding, Pantera-esque breakdowns in the title cut could almost be described as catchy. Lastly of note is the album's midpoint, "Loathsome," which is a mid-tempo, restrained and even somewhat groovy cut that serves as a nice albeit fairly brief break in the otherwise relentless and devastating calamity.
All told, phrases like "skull crushing," "neck snapping," and "butt kicking" were made for an album like "Phantom Limb. See all reviews from the United States. Top international reviews. Translate all reviews to English.
Since it's been over 3 years since this album came out and the dust has been allowed to settle; I thought I'd write this review to set the record straight. This album is heavy, grab a look at the John Baizley penned artwork above if you don't believe.
But deathcore, this is not. PxDx have always had their own orbit and a casual listen will straighten that out. They added another member for this album, a sampler, Blake Harrison, stretched out the song lengths; and shoved in some much needed atmospherics - check out the soft country tones after the closer, 'the Machete Twins' or the incessant cricket wail on 'Rotten Yellow'. The album goes for the jugular but it also twists and distorts you; thus it never feels dull. Plus it helps that 'Loathsome' is a bona-fide metal masterpiece; the greatest individual song the band have ever penned and a watershed in modern metal, even it's video isn't bad which is a miracle in itself.
It's not really hard to see why, Scott Hull's riffs come thick and fast, Brian Havey's drumming is inventive - an attribute often supplanted in modern metal by the ability to just blastbeat ad infinitum - and it also helps that JR Hayes is the greatest lyricist in modern metal - example prima, Deathripper: 'Your rib cage is open, like a great white's jaws, your legs look so sexy out of context' - what the hell is not to love? So yeah, less serious Prowler in the Yard sounded like a Ted Bundy snuff film at points , more tongue-in-cheek, more tight musically; an actual album cover and finally, some artistic direction sacrilegious in a grindcore band helps push this over the edge of PxDx's other work.
The best thing in grindcore got a hell of a lot better; it feels like there's more to come. Thank you for your feedback. Sorry, we failed to record your vote. Please try again. Can You Believe It? Where's My Parade? Browse More Goodness. Psychic Temple Houses of the Holy. Helvetia This Devastating Map. A: Not Exactly. Click here for more info. Grunt work completed, the hot stamper king and his minions meet in the Better Records listening room for a round of tests dubbed a "Shootout. By the standards of your stereotypical tube-loving, power-junkie audiophile, the amp Port uses as the hub of his Shootout machine is shockingly ordinary: a s Japanese integrated transistor amp rated at a feeble 30 watts per channel, a typical thrift-store find.
That can sound nice, but I need accuracy. The other components are much more upscale. Everything has been carefully selected for sonic neutrality. This isn't about conjuring mega-bass or shimmering highs. The goal is flat frequency response, getting as close as possible to the sound on the original master tape.
Nothing added or subtracted. When the shootout finally gets underway, lights are dimmed, eyelids fall and ears peak. With each cut sampled, the usual things are carefully pondered: presence, frequency extension, transparency, soundstage, texture, tonal correctness, and an elusive quirk called "tubey magic" seriously.
Every element is scrutinized in granular detail. If opinions diverge or memories fail, reference copies are pulled from the archive to check benchmarks.
It's tedious work. When the grades are tabulated, a sonic pecking order emerges:. It's tempting to dismiss hot stampers as pseudoscience, like cryogenically treated speaker cables , power amp fuses zapped with Tesla coils , and every other confidence scheme devised to separate affluent middle-aged audiophiles from the contents of their wallets.
Talk to enough studio engineers and record plant technicians, though, and it becomes apparent that the aural disparity between records that Tom Port prattles on about really does exist. Industry experts agree that copies of the same album can, and often do, sound different; sometimes a little, sometimes a lot.
Not just from copy to copy, and from side A to side B, but from track to track, and, yes, even within the same track. In fact, vinyl records made on the same stamper, during the same production run also can vary in sound quality. Other copies, bearing different record labels, pressed in different countries, using different equipment and personnel, will impart their own sonic flavor, which only muddles the issue further. Only the producer, the mastering, and cutting engineers really know what that record was supposed to sound like.
Most members of hobbyist web forums who discuss vinyl records are vehemently anti-hot stamper. It's the exorbitant markup, of course, that provokes all the outrage. The first pressing, mastered by a young Bob Ludwig , beats every other pressing and reissue by a wide margin.
This record is easily identified by scanning the matrix, a product code located in the run-out area next to the label. Known among dealers as the "hot mix," it has such energy and dynamic range that when it was released it caused the needles on cheap record players to literally jump out of the grooves.
This happened when Ahmet Ertegun, the president of Atlantic Records, brought a copy home to his daughter. Judging the record defective, he immediately ordered a new pressing with the signal dialed down and compressed. Ludwig would later lament that this version " sounded puny and aghh!
LP (12" album, 33 rpm), Mono Blue Cheer Format: Vinyl. Blue Cheer looms large in the annals of hard rock, laying down the sonic foundations of heavy metal, and serving as a crucial influence on the birth of punk, grunge and stoner rock. While the rest of the rock world was mellowing out and embracing the spirit of the Summer of Love, the.