enthusiasm and stubbornness
rock, heavy metal, punk, hardcore, pop, tunes, hip-hop, r&b, vaporwave
Beastmaker - EP.4 (2018, Church)
Continuing with the series, as promised! Four more solid compositions, horrorish without being scary, classic doom with equal parts Sabbath and Pallbearer.
Braz - Brazpark (2017, Top Notch)
Hedda likes Dutch hiphop on occasion! Brazpark combines hard swagger with a lot of introspection and Brabo pride. Most importantly it contains the guilty pleasure terror anthem “Testosteronbommen”.
Plus on “Voor 1 Dag” he imagines what it would be like to have a pussy. Make of that what you will.
Cacola - Flower (2018, Business Casual)
Vapor-tinged pop mashups are what Flower by Cacola is about, and they do it with panache. Particular kudos for the Lady Gage vs Gotye extravaganza that starts this swell EP (2018, Business Casual).
Dirt Woman - Dirt Woman (2018)
We got some nice fuzzy psychedelic stoner on this self-titled EP by Dirt Woman. Groovy and heavy, with Zoe Koch’s yowling effect-laden vocals center stage. And of course +1 for sampling Pink Flamingos.
Diskette Park is a master of the 80s pop synth backing sound, whether it’s through sampling or composition—it’s sometimes hard to tell the two apart. Trackpoint Drift (2017, Business Casual) contains a breadth of sound within that terrain: athletic anthems, commercial jingles, slow jams, upbeat pop.
Megadeth - Peace Sells… But Who’s Buying? (1986, Capitol)
I suppose it’s the little brother to Master of Puppets, or the surly cousin that scowls from the shadows while the other stands in the spotlight. But Peace Sells is a strong album, and a rightful thrash classic. It’s mostly mid-tempo, even a bit cerebral and proggy at times.
Saint Vitus - Hallow’s Victim (1985, SST)
Vitus’ last album before Wino joined is a solid uptempo doom affair where the trademark guitar sound is already strongly present. And in all honesty, despite Born Too Late’s classic status, this one has better solos.
Voïvod - Rrröööaaarrr (1986, Combat)
Crude, raw, and energetic. That’s what Hedda likes! This is barbarian thrash the way it’s supposed to be done. Different from their later work, but who cares?