Shame On Us - Hellbastard - Feral (CD, Album)

I have, once again, decided to work with Marco Chiereghin who is songwriter and producer for my song,for whom I have performed and written the lyrics.

This nis going to be a single release but, we are really working on a full length album that will be released via Epictronic when ready. Its very hard to describe what I am living with simple words … Having signed this deal is like a dream come true. My own dream coming true. I truly belive that this is a gift from life after a life long commitment and devotion towards music.

Launched in as an offshoot of their sleazy, acid-electro collaboration as The Red Falcon Projects, High Tides was born out of daydreams of the lavish shores of Southern California, sun-faded memories of yacht rock and a desire to craft their own signature spin on the genres perfected by the likes of Boards Of Shame On Us - Hellbastard - Feral (CD, Freescha and others.

The event marked the 20th Anniversary of the RUSH Foundation which works to bring arts programing to inner city youth. Dave Chappelle, Michaela and Simon de Pury, Ava DuVernay, and featured artist Wangechi Mutu were honored for their support of the arts, career achievements, and overall commitment to our communities.

As Kid Cadaver tours nationally for the first time this fall, their raw and magnetic performances will add an edge that brings an inimitable atmosphere to their music. Droid" Wiggins ex-Amebixlulls the listener into a deliciously false sense of security, because seconds after its final note fades into memory, the album's title track hurtles in with all the subtlety of a muddy jack boot to the head, Hellbastard's patented metallic riffage in full effect, Scruff howling, "My father was a wolf It becomes immediately apparent that this is unlike any other modern crossover album.

This is primal, back-to-nature shit; a tsunami of raw emotion made sound that demands everything of the listener, no half measures. Not ever. You have to give yourself to the flow completely, or not at all, but the reward for such fearless trust in others is great indeed. Retrieved 22 September Retrieved 24 January Authority control.

MusicBrainz artist. Categories : Crossover thrash groups English thrash metal musical groups Political music groups British crust and d-beat groups Musical groups from Newcastle upon Tyne. Namespaces Article Talk. I still think genres do Album) and should be discussed and that precise descriptive names can be useful in order to reflect on histories, eras and areas.

But instead of being bones of contention, arguments about genres should improve our appreciation and not limit it. Peace and love my friends. Which takes me to today's record: the Ep from Confrontation. I have seen Confrontation being qualified as grindcore, as powerviolence, as crust - and even as modern hardcore but it was an honest mistake and the person was actually talking about the late 90's German band on that Album) so that the virtual tar and feather might not have been totally warranted and I probably should have refrained from sending anonymous threats to his house but I prefer to see this incident as a life Shame On Us - Hellbastard - Feral (CD for the both of us.

In actual fact, you would not be wrong indeed to qualify the band as grindcore, powerviolence or crust as each appellation makes sense for different reasons.

Because of its dirty metallic groove and its blast beats the grindcore tag would fit Confrontation; but then having been originally released on Infest's label Draw Blank and because of the band's typical hardcore breaks and riffs you could say that powerviolence is not far off the picture either; and of course, because of the band's close connections to Glycine Max, Apocalypse or Mindrot - in a word the OC crust galaxy - and its raw and filthy punk production and emphatic cavemen vocals, claiming Confrontation were an old-school crust act is not irrelevant, and since we are on Terminal Sound Nuisance here, the Ep will be approached and tackled through a distinctively crust perspective, without discarding the other influences, because I am, after all, known, among other things, as The Magnanimous One.

However, not being particularly well schooled in old-school grindcore - though I can hold my own to some extent - and being absolutely clueless about powerviolence - it always sounded too American to my delicate ears and I never really got the appeal, I will ask you to bear with potential inconsistencies.

Now that the issue of terminology and nomenclature has been settled, we may proceed to the crux of the matter: my own record coll I mean the band. I was, as you might say, still green. Because finances were low and grim while enthusiasm was high and unquenchable, I was able to lay my hands on Album) second-hand copy of the Confrontation's discography cd after hearing the In Crust We Trust compilation that a gentle soul had found for me on soulseek, back when it took two days and a half to download an album.

At that time, I was still in the process of discovery of crust and the title, which I now find cheesy as fuck, announced something spectacular and developmental. There were some good bands on that compilation, don't get me wrong, it had Disfear, No Security, Concrete Sox and Heresy, but if you look closely, there was not much proper crust and it was bit misleading really. I learnt later on that the not-so-virtuous label released this cd because they claimed that the band had received an advance payment for the recording of a full album which they never did since they broke up and the cd was a way to get some money back.

Not really the classiest act on the part of a label that was famous for this kind of dodgy moves and it is no coincidence that the cd is listed as "unofficial" on Discogs. Just bad punk ethics. A boy can dream. The band formed in Huntington Beach probably in late - the Ep was recorded in May,so that sounds plausible enough.

I have seen a mention of that record being a demo Ep and it might have originally been some sort of demo tape that they decided to reissue as a proper Ep.

Still it does not seem very likely as this practice was not widespread at the time, whereas releasing a demo again on a vinyl has become very commonplace these days. What's the point of engaging in an activity bound to saturate the already fragile punk records market especially since demos are readily available online and, well, they are demos, I hear you ask from afar?

I ain't got clue guv. To get back to Confrontation, the band was from Huntington Beach and had Matt Fisher from Mindrot on vocals and future Dystopia bass player Todd on the bass. As my jaundiced speech indicated earlier, the band remained mostly associated with the mean and manically fast hardcore bands - the early powerviolence wave - and they shared some common ground with the groovy grindcore freaks that roamed this very part of California at the time.

All those hardcore acts lived in a 50 kilometers radius and therefore it is little surprising that the area, in punk's more or less unreliable collective memory, has often been closely connected with powerviolence. Similarly, just consider that grindcore legends Terrorizer - the grindcore equivalent of the era Ultimate Warrior - were from Huntington Park and Nausea from Los Angeles.

The Infest connection is clearly the most relevant since was initially released on Infest's own label Draw Blanks Records - it was only DB's second release - although Confrontation sounded nothing like them so that's the grand network of friends in action for you. The version we are dealing however is not the original but the remastered one from that Misanthropic Records - the first output of Todd's label - took care of. There are eight songs on this Ep and let me tell you that Confrontation had little time to waste.

The opening song "Deathtrap", my favourite number on the record, is a grinding crust masterpiece that reminds me of the early rawer Napalm Death, Electro Hippies and crust maniacs Mortal Terror. The first riff epitomized what old-school crust has always been supposed to sound like and Instinct of Survival on their split Ep with Guided Cradle had no reservation about borrowing it - to great effect I must say.

After that groovy metallic crust introduction, Confrontation unleash their brand of fast and abrasive crusty hardcore with harsh cavecrust vocals. In terms of production, and in spite of a second mastering work, the Ep sounds like raw and urgent early stenchgrind - the band included a five-second burst of referential noise called "Scum The cover is undeniably more enigmatic as it is a picture of a prisoner-of-war or concentration or refugee camp with a dozen of miserable-looking men behind barbed wire.

Pretty shocking and grim really. True realities of war. I do not know when this was taken or if it holds any relation to the year but judging from the prisoners' clothing I doubt it. I suppose the band's choice was meant to reflect the constant war mongering and disdain for basic human rights that defined the twentieth century and while I agree with the sentiment and the content, the visual form can be considered as awkward, or even, inas "problematic".

From a very prosaic standpoint, it makes their shirt particularly hard to wear and I only sport if at grindcore gigs where I am confident the majority of the audience will be wearing far more shocking and distasteful shirts. Clever me. The following Ep was released in - before 's remastered version - on Tribal War Records back when it was still located in New York City. Entitled Dead Against the Warit was the label's very first release or was it actually the Warning Ep? Confrontation pretty much kept on the same old-school grinding crusty hardcore tracks with new singer Ben, although they started to include heavy and suffocating doomy sludge part in the songwriting, adding a suffocating sense of atmospherics that will characterized what Dystopia would be known for a few years later.


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