Savoring The very best of Star City Beats and Brew: Domestica and Pure Brown Defy Ominous Thunder @ Zipline Brewery

 

I once sat on a phone call with a CBS executive when things got really bad in New York that told me the world would have no shortage of heroes after the pandemic, and the “Ones that are experts in hops and barley along with loud rock and roll would happily lead the way”. The kind of fellowship, freedom, and yearning for new tastes that people crave after enduring a nation in turmoil is surely best experienced during the rumbling thunderstorms and other sensory treats that Nebraska spring provides.

This past Friday at one of our favorite local business owners’ warehouse locations, we were on the scene to check out Domestica and Pure Brown pay as lightning flickered outside, microphones were properly checked, and sound decibels were creeping high to offer up pure delight. More than two decades ago, I could creep up the noisy wooden stairs at Dietze Music in downtown Lincoln and find Domestica’s Jon Taylor doling out expertise on necks, fretboards, tuning, and other Luthier duties as the only trusted “guitar dude” in town. Now he’s still pushing Orange amplifier sets purposefully to 11, has become completely honed in his performance craft, and obviously enjoys every second spent on stage with his wife and accomplished bass player Heidi Ore.

During the 1990’s you could see other amazing sects of talent such as Frontier Trust, Ritual Device, and Sideshow carving their ways distinctively with a breed of depth that was as robust and unique as the bounty of corn and wheat harvests themselves. But, here’s the deal. This has been going on so long that when you see Domestica you aren’t just seeing a spurratic and adrenaline-infused talent show. These two have booked their own tours before voice mail existed, pursued their own labor of love when not as many people were looking, and have now become such a local staple of talent that every show is a display in timing, frenetic vocal emotion, and calculated starts and stops.

Walking through the Zipline premises to see the show was like an awesome version of Star City “How it’s Made”: stacks of palettes, hundreds of unlabeled cans, and huge vats waiting to dole out nature’s pure nectar were on site for the viewing. Head guru Brendan Mcginn has long been the cultivator and discerning judge of everything that leaves the premises and has long spent hours creating the IPAs and amazing copper ales this Lincoln business has offered up. A tasty beverage found in many other states and snagging up awards left and right for their unique tastes and distinction, Zipline is the ideal place to sample local talent and see just what a success so many ingenious local artisans have become.

One of Domestica’s most notable songs that night was “My Bones”, taking me back in time to so many shows at other local taverns such as Duffy’s, and offering up a stability and expertise in their craft that most musical trios never reach. The percussion section is backed up with expert beats of Pawl Tisdale, who was also the drummer for the iconic Lincoln band “Sideshow”. We got to speak outside about his personal passion for the rebuilding of Puerto Rico after disastrous storms as he had recently took his family there to sample amazing food, pristine blue waters, and enjoyed one of the most memorable and relaxing journeys of his lifetime.

This is the perfect place to check out the inner workings of a successful local business that has deep community roots, and prides themselves on the summer-ready delicacies of Hazy IPA, Local Time, Dear old Nebraska Brew, Copper Alt, and other delicious favorites such as the “Cloudlifter Hazy IPA”. Everyone up in Omaha, don’t despair! There’s a taproom and beer lounge up there too, as something this good can’t just be kept to Memorial Stadium’s limited locale.

When Pure Brown took the stage, I was busy being shown just how the mass production angle of things are completed at Zipline, but they had a much jazzier presence and had my thoughts wandering to artists such as Miles Davis and even a jammy influence that reminded me of greats such as Bootsy Collins and legendary funksters Fishbone. They will most certainly be an act that anyone on the hunt for something new and eclectic sound-wise should witness on the double.  

It's during nights like these that you get a pleasant shiver up your spine in front of the loud amps and realize just why the popular late shows want amazing talent to liven up their nightly routine. Stellar pitch, choreography, and those who display expertise on their instruments are truly a treasure, and here in Lincoln we have our own private chest of goodies that will please anyone from the amazingly redeveloped Antelope Valley Corridor to the Near South and beyond.

Which Horror Movie Does Each State Crave The Most?

 

From sea to scary sea, each state in the US has chosen different spooky flicks as their favorite. Sometimes it is because their location is the prime focus, and sometimes its just because the movie was so good it keeps them up at night! at KillTheCableBill.com, they just posted a cool blog showing what flick each state deemed their favorite when the time comes to turn off the fuzzy-feeling sitcoms and get downright horrified!

It's not surprising that Colorado's favorite was "The Shining", but there are plenty of other "plot turns" throughout the list here. Check it out, see what your fellow residents are watching, and get ready to forget about your cable provider and do some serious streaming this summer! 

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The Nostalgia Of 8-Bit Bliss: Under-The-Radar Gems From the Bounty of NES

Writer: Jon Weirman

As bands like Duran Duran and Journey's hits blasted into jam-packed and sometimes dim rooms, stepping into an arcade during the 1980s was downright exciting. Featured in movies such as “Tron” and Netflix's smash hit “Stranger Things”, the inviting world of warmly bleeping sound effects, heroes fighting for their lost loved one, or fighters defending themselves against attackers like millipedes, stand-up arcade excitement was a large and influencing element of pop culture. When the NES system first came out in the states in 1986, it was not just a ploy to bring the best in gaming to living rooms nationwide, it was a well-planned solution to curb the effects of a recession that occurred within the industry during 1983.

Super Mario Bros, The Legend of Zelda, Tetris, Punch Out!, and Metroid were some of the best sellers on the system. Incredible games that did an excellent job of showcasing the color, accessibility, and high fun factor that the system had, they will always remain as some of the tried-and-true classics, and I myself revert back to them many times. Many classics such as Burgertime, Galaga, and Popeye were given the ideal home on the NES, as early Atari 2600 versions did not quite have the capability to offer up the layering and action that the coin-op games did.

So many games were great to play on the NES. Side-scrollers like Castlevania and Contra were the absolute definition of addicting: they combined a well-balanced color scheme with a plot that was engrossing and deep. Here today I will showcase a few of the “under-the-radar” gems that the system offered. Honestly there are so many, that this opens the door for more reviews, and if you are a true NES geek, these will be familiar to you. This is just a quick roundup of some of the titles that remained a bit off the beaten path, but were still full of that rich colored, exciting gameplay that sold so many people on the system in the first place!

Adventure Island Classic was released in 1988, and is the adaption of the Sega game “Wonder Boy”. Much like the “Super Mario Bros” fare, a princess is kidnapped and needs to be rescued. The appeal to this game for me was really the well-balanced color, and the way it felt to throw the axe while jumping through various cloud formations. It is simple, but has the appeal that many 8-bit side-scrollers do: you were now playing through multiple “worlds”, and not just repeatedly playing on one never-changing screen. Even though the scenes are the same every time, the side-scrolling heroine rescue games were always fun to re-play, not wearing out after one successful attempt.

Commando is another title that won't seem under-the-radar to some, since it was a successful standup arcade game from Data East. It is a vertical scroller where you must fend your way through groups of soldiers, lobbing grenades, and with a multi-direction firing joystick. At the end of every level, you have to fight a larger number of soldiers on the offense, and you really had to be good at firing and chucking grenades. The reason why this game was so genius as a standup is that it was one of the first game I witnessed players shoving many quarters in out of dire frustration: it gets pretty hard quick due to the number of enemy soldiers after you, and there is a real sense of “old-school gaming satisfaction” when you lob a grenade and make a crucial kill.

Elevator Action is an NES release of an arcade game with a relatively simple premise. You as a bond-esque detective of sorts land on the top of a skyscraper, and have to make your way to the bottom using multiple elevators, and picking up briefcases that are necessary to obtain before passing. This is an earlier title for sure, and may seem a bit primitive off the bat, but the satisfaction comes from blasting your gun at the bad guys while dropping downward in the elevator, and timing your escalator trips just right, as your gun does not work on them. Even though the premise is simple, you have to give Taito credit for the little details, like sections where the power goes out, and things getting trickier as you reach the bottom.

Pinbot is a release that many of my fellow gaming aficionados don't agree with me on, but I still stand by faithfully! Out of the gate in 1990, it is a conversion of the real-life pinball machine that is surprisingly fun. One thing to keep in mind is that as a designer, the task was to recreate play sensations on a flat plane, with 8-bit technology, and make it as realistic as possible. A bit of a risky release because so many were into NES for its graphics and multiple-level offerings, the screen splits so you can always see the flippers when the ball travels far north. Some purists did not like the fact that there are “extra elements” added to the game like enemies and hazards, but I have lots of love for it because it's a very faithful adaption, and a nice shift in gears from a vertical shooter or Zelda-styled quest.

Xevious was one of the first games to use pre-rendered graphics, and was “made by the kings”, Atari themselves. It's a straightforward vertical scrolling shooter, and is thought to take place in Peru. Even though some very dedicated retro geeks don't think that the scenery changes quite enough, that is one of its draws: the constant green-on-blue and bombing targets provide a relaxed shooting showcase that still heats up righteously after just a few minutes. I admit that I really love the music on this game: it blends in perfectly with the “pew pew” of your offensive turrets, and sets a nice background pace for Xevious, a game I was immediately drawn to in its stand-up form. This is a prime example of some of the best in retro gaming, and a title that ranks high in all-around fun factor!

At the time I was writing this, I was planning a move to a bigger city. I was spending a lot of time playing these great games as well as websites such as this one looking for a studio apartment to rent. There's a wealth of knowledge out there to help with the task, and sure enough, I packed up and am now living in a bigger metro, where I continue to geek out over retro games, reviews things regarding to game culture, and dabble in real estate. Thanks for stopping by, and hope you are ready to blow hard on the top of any old cartridges that aren't quite working!  

The Astral Plain of the Aquarium: "Better Call Saul" Season 4 Episode one Recap

Writer: Jon Weirman

Staring at a home aquarium can appeal to one's sense of peace, comfort, and a sense of wonder. Feeding the fish and watching just how quickly they swim to the surface to devour their meal is captivating, and brings to mind the savage instincts that it takes to survive in any element of the current global climate. It's not surprising that the aquarium was a key focal point for this first episode of season four, providing a window into loss, injury, and trajectory. After more than a year off, many worldwide tuned in last night to follow the happenings of the bumbling-but-somehow-savvy lawyer who always seems to find himself in a tangle of sorts, and "Smoke" was an episode that tied up many existing questions.  

My closest cohort lamented to me from a crowded rush-hour Pacific Northwestern bus after reading an article about the overlapping timelines between the shows, "Why isn't Kim ever mentioned or shown in 'Breaking Bad?" This episode does not exactly give us any answers here, but rather begins to delve into the events immediately following Chuck's suicide at the end of last season. Dying from the result of kerosene flames at the end of last year's finale, we were shown the madness of a man who lost his identity, even though he somehow came to an abrupt peace with his paranoid fear of electrical current. 

What is arguably the pinnacle moment of this week's episode involves Chuck's boss Howard lamenting to Kim and Jimmy that "Chuck did what he did because of me", referring to his decision to push chuck out of the firm some time ago. Jimmy, who has been in the haze of loss and ruin for the entire episode, suddenly livens up, and we are shown the strange, quizzical, somewhat sociopathic charms of the Jimmy we first met around a decade ago, when he aided the drug-slinging Walter White. Happily getting ready to fix coffee and feed the fish in the aquarium, he says strangely, "Well Howard, I guess that's your cross to bear". 

We are also shown that Hector Salamanca barely survives his parking lot collapse, after Nacho painstakingly swaps out his needed medication. As the ambulance drives away, we sense that Gus may be very keen on the plot, and that everyone surely wishes he were, in fact, deceased. Victor is sent to tail Nacho, and doesn't realize that he drives off with a tracking device attached to the car. This imagery is parallel to the masterful portrayal of the game of cat-and-mouse in the Cohen Brothers' epic "No Country For old Men", and I have always enjoyed the presence of the beeping boxes that are in place to follow those in this wonderfully-lain out show. 

Mike is more than just the ultimate security professional. It is marvelous to watch him steal an employee pass, board a cart that hauls recklessly through a warehouse, with the ultimate goal of letting them know his presence. Mike is beyond calculated, and we once again get to witness his dedication to a child, wonder what thoughts cross his mind in front of a small television at night, and realize that if there is anyone in a current TV series who portrays a weary fearlessness to perfection, you need to look no further. 

Situated in Omaha and shot in Black and White, the beginnings of most "Better Call Saul" episodes show what happens to him as manager of a Cinnabun, where he needs to disappear permanently after the "Breaking Bad" timeline draws to a close. After suffering a dire emergency, he winds up in the hospital, and we are shown a well-spun segment of him not being able to locate his social security number, and the possibility that his entire identity may finally be compromised. A cab driver with an air freshener from New Mexico injects fear of Jimmy's identity already blown wide open to bits regardless, and we have to wait a week or two to see if it was chance, or indeed a long arm of the cartel or vigilante law that has located him hiding out in the Midwest. 

Some have complained that this series just doesn't move quite fast enough for them. It almost gets under the skin of many, while we slowly watched Jimmy and Kim's relationship blossom, only to see what seems like an array of characters that pedal around in circles. But at the core, we are thrown an appetite-wetting sample of the best in modern television writing is. The way things are set up here can tend to make you wait for a climax, then drift sideways into a plot that you may not understand if you are not fully caught up. "Better Call Saul" really spoke to me because it showed us how someone who once worked in a mail room worked his way up, then anything but usual circumstances were thrown at him. Everyone I know is excited to keep following along, and see just how this brash and now wounded fast-talker will manage to "swim to the surface" of his own aquarium.  -J

Killigan's "Dance on Your Grave" Album Review

Killigans “Dance on Your Grave” Album Review by Jon Weirman

Run down tenements, new and fleeting loves, warm stew after a long journey, and the intense beauty of locations such as Dublin Castle are very fitting subjects for folk songs. When iconic acts like the Pogues belted out cuts like “Dirty Old Town” way back in 1985, an immediate attachment was created to their appreciation for rewards of toil, love of country, and yearning for post-industrial romance. Since 2004, the Killigans have been belting out their own form of reverent hymn, and with their fifth album release this year, they are once again producing their well-versed wares for the masses. No strangers to the road, the demand for their craft has already taken them far from home, and many of the friends they made along the way will be eagerly awaiting this installment of stories.

“Stories, instead of songs?” anyone with a pint after a long day right here in the Heartland may ask. One thing about the Killigan's instant appeal was always about the characters spun into the soundscape. While some may argue that anyone can plug into a JCM-900, get rowdy, and “proclaim themselves Irish”, these boys have taken their appropriate licks well before they became the most in-demand St Patty's day act in the state. The intricate writing, love for their own large families, and deep Midwestern roots have solidified their prowess for more than a decade, as well as wet the appetites for those who are searching for a bit more depth than the traditional fist-pumping Guinness and Harp Harrier acts. The link to listen and check out the fresh release for yourself on Spotify is right here. 

No stranger to rough-and-tumble locales myself, the song “Throw it Away” properly evokes the vibe I felt when I saw my first off-the-books bare-knuckle boxing match in Boston. Commanding the listener's attention, the devil is portrayed as a host keeping time, and the heavily-discussed issue of class war is lamented upon. Drawing back the curtain figuratively and literally, its an appropriate anthem regarding the price to be paid for our sheer existence, and what it feels like to watch something burn to the ground. The mix is just what you would expect from this rich group, who have long evolved from 3-chord monte, but the desperation is fitting: many worldwide have lost any patience with the sensation of being crunched under the banking cartel's heel.

“Paducah” begins with a truly Irish sound, and bassist Trevor Nebesniak gets to wander around while being appropriately in synch, and this track really reminds me of world-class and heavily-layered act Gogol Bordello. The accordion here is first-rate, and is the perfect addition of warmth and commanding expertise. Hitting the bottle harder, asking questions of existence and fate, and a seemingly fateful accident paints a picture that is not perfect, but one must remember those bustling streets of Dublin aren't always rosy and prim on a daily basis either.

“Bartender” is a playful number that is asking the local establishment's proprietor to “save us now”, by frequent pouring, and deep understanding of everyday strife. Needing a good friend that won't abandon them, as well as the reassurance that everything will be alright, is painted in a manner that is more than fun: the age-old thirst of the working class will never be fully quenched. Songs like this are what drew many to this band in the very first place: rich instrumentation along with tasteful and mid-rangy guitar solos simply take the cake, or “the keg”, as it may be.

“Burn it Down” is an introspective and rather stripped-down piece that begins with an acoustic guitar and accordion, along with the vision of taking a walk across the land of opportunity. This song really hits home to me what true progression is supposed to sound like: Charlie Johnson at Fuse Recording Studios really clocks a firm win for the books here. One mistake in production of folk, rock, and punk is to heavily lay on the buckets of distortion, and this common error does not take place in the least within this final mix.

Guitar-driven rock can make a lot of mistakes, as Replacement's frontman Paul Westerberg laments about the added effects and “other garbage” music during the 1990's. There is not even a hint of this type of saturated production here, and this song is a solid number about the sensations one would experience remembering a tragic fire in your very own city. In retrospect, this entire album release seems timely: many metro areas as of late have been surely sensing a crackling of kindling underneath them, and heavily present unrest from the inside out. 

Replicants, Glossy Hues, and an Entire Population's Desperate Quest for Nirvana: Blade Runner 2049

During  1982, a very important moment took place in science fiction film history, although it was not fully endorsed by many viewers until later. Harrison Ford glanced out wistfully while flying over pyramids of what the modern world made of Los Angeles, and clamored down on his duty of hunting down replicants. The first "Blade Runner" film was a true spectacle of film noir, with light sources coming in from side angles like mad, dystopian themes that had people thinking about the future placidly before it came, and a rather prophetic call to think about our existence. It was irresistible to enjoy yourself during the ride, and cult classic status was gained faster than you could push "pause" on a VHS player.

A lot of us thought there would never be a sequel. This was one movie that stood so far out on its own ledge, that its defining moments were never thought to be duplicated. Everyone in the loop wondered if there could ever be a sequel, reboot, or anything that even resembled the original. Where do you begin? storyboards upon storyboards, deleted scenes that don't quite work, and the incessant tugging on you as the filmmaker to present to the audience something even close to what Ridley Scott presented more than two decades ago.

I put all of my judgments aside, and walked into a theater today. I had a few spoilers sent my way, and paid them a bit of attention, but patiently waited. The first thing you notice about this film is that it really succeeded in being visually perfect. Perfection is tough, especially in a time when drone footage, slick editing, and massive CGI can swoop down and take over. We are shown more. It's a simple premise at heart, but the city of LA, and the outer boundaries that this movie involves completely won me over. They won me over so easily, that every gray cloud, multiple-ship arrangement while flying, and shot interwoven with the musical score had me thinking about the films' next pulse obsessively.

Ryan Gosling showed many during pictures such as "Drive" and "Place Beyond the Pines" that he is a very multi-faceted master of the screen. If he is angry, you might not know it. If he is beginning to get stressed, you may just see an inkling. Most importantly, he truly was made into a young version of Harrison Ford for this new film. He eventually channels the character from the first film completely, with his thick raincoat, sordid attitude, and tired existence while taking part in a "robotic" relationship of his own. During moments where this relationship becomes more complex, we are completely sold on the art of film. Elements of Hitchcock, Michael Mann, and directors such as Marty S enjoy throwbacks here.

What I want all of my readers to understand is how carefully woven the gumshoe tale has been attended to. There really is a case to solve at hand in the making, and during times of modern lore, many stray to the hastily-done plot. A movie that is this visual is hard to simmer down. You are manipulated from the beginning, as you become more and more curious about bleak landscapes, brutal assaults, robots being "retired", and the reasons why you'd want to be a futuristic private investigator in the first place. There is so much to enjoy here, and so many opportunities to sit back and do do.

Robin Wright shines as the dominant boss who needs answers, and honestly, everyone in this film gets to. I loved watching her as Kevin Spacey's wife in "House Of  Cards", where she really has the opportunity to show her stake in a partnership. "Blade Runner 2049" is astoundingly about loss. We are not just lured into a ride for no reason, and every single element of detail has been taken care of. We are shown that the people in charge of the planet will tarnish it, that we will become owned if we don't front a corporation, and that during the entire ride down, there are moments of tech-enslavement and desperate intimacy that are dazzling and unforgettable. This is a journey well worth buying the ticket for, and one that will "implant its image on your SD card" for many days to come.     -J

Portraying The Under the Rug Regimen of Child Labor: Tj Templeton's "Waxing Candidly"

Years ago in 1984, I spent time in the nation of Bangladesh, which still had scars from its liberation from Pakistan, a very malnourished population, and a very obviously large number of children who were working under fairly barbaric conditions. On this rainy day in Lincoln in mid-November, I went with my editor to a private showing of Lincoln artist TJ Templeton's latest display at the Spatium Gallery on O Street downtown. In the main room of the display, he has very painstakingly and dutifully captured some of the faces that were components of the American child labor force, and inspired by photographs from Lewis Hine. Children were then used to provide many companies cheap and long hours of labor, and sardine shops were one of the usual culprits who profited from these exploitations.

In current times, TJ recognizes that this effort has been largely outsourced, with companies in nations such as the Phillippines and India taking on the brunt of the business. This display that continues the entire month of November in the gallery has the sardine cans as the main attraction, but delves uniquely into the realm of bridges, his collection of Cold War style propaganda posters he created ten years ago, and some captivating works of visions from the studio. It took him quite some time to perfect the task of placing the images and the wax into the empty sardine cans, and you quickly realize this when gazing at the wall of haunting black and white portraits.

In the times we live in, the race to build things cheaper and at the path of least resistance from labor laws and regulation will continue to be intense. When Tj decided to put much energy into another facet of his art on display here this month, it was his own disdain for the neocon agenda. He redesigned WWII and New Deal era looking propaganda style posters into his own breed of graphic art that placidly evoked his own opinions, and his opinions were shared by so many that they were even featured in textbooks. and found their way on to t shirts, magnets, tote bags, and even onto national TV outlets such as "The Daily Show". Scared outright by the elements that he felt were going to gain control of the nation, he really poured his heart into these images that were used in an online news portal.

From the proceeds of his marketing genius for this "Project for the Old American Century", he ran as a very progressive liberal for a state representative in Iowa during 2008. During this he experienced intense retaliation, death threats and other forms of scorn for his free thinking and very anti-globalist sentiment. There are many who dream of some form of social change, and imagine doing just about anything to accomplish it. When you really get down to business and start cranking out material that others will deem offensive, you find out firsthand the ways in which some people don't want change, and the lengths that they will go to keep things towards their version of what they want to the world to be.

One of the reasons why this exhibit is so important is that it really exposes many talents: the time and effort alone spent on the sardine tins, the elaborate portraits of bridges that TJ spent years of teenage angst walking on, and his own full-scale leveraged attempt at getting folks to see a bigger picture of what was happening to the nation of America. The bridge in question is a legendary Kansas City Icon: the A.S.B. bridge. There were only 3 bridges ever to have this type of construction: cars and pedestrians gained passage on the top, and railways on the bottom. The extreme underside can be raised to let boats pass underneath without disrupting the traffic on the top.

These bridge works are incredibly detailed. We have seen many others similar to this with industrial smokestacks in the distance and an extra wide view that depicts every etched nook and cranny; but TJ's work here is intricately defined, and brings to mind how much knowledge anyone would have to acquire to be a structural engineer. Beyond the structural layers, the well-portrayed hues of blue in the background and reflectionary details on the water are of the upper end of all the art I had seen over the last three years, even after spending time in one of the ten biggest cities in the nation. This thought provoking and technically proficient display will be at the Spatium until the end of the month; but unfortunately, the many social and economic problems that TJ chooses to tackle with his work may be around for decades to come, providing no shortage of inspiration.

Pondering the Pit With The Push of a Button: Beaver Damage's “Spread Eagle”

The notion of thrash, metal, punk and grindcore always conjure up images of unfathomed revelry, late nights around out of control fires, gasoline and sweat smelling rooms, and the thunk of palm muted guitar riffs. When DRI released The Dirty Rotten LP in 1983, a new way of perceiving headbanging and speed drumming was born, and the well calloused club of lightening fast percussionists and completely out of control shows was born. Suicidal Tendencies, Stormtroopers of Death, and punk greats The Dead Kennedys all shared one thing in common: they seemed more than a little unhappy with the system, had a middle finger extended towards society in general, and were always pleased to pierce the air with amps turned up so loud you were gonna feel like you lost a fist fight with three people the next day.

I settled in to listen to Beaver Damage's “Spread Eagle” album with a bit of a vision in my head of what greats Slayer and Pantera had become: not just bands, but an entity out of control, that hundreds of thousands of people now worship for their precision, volume, and unfiltered power. At first listen of the track “You'll Never Make It” the drums caught my attention right away: very precise, crisply miked up, and well earned prestige on the double bass. The guitar riff wanders a bit like The Dead Kennedys' “Holiday In Cambodia”, then the vocals remind me of the anger and junk yard scorch of heavyweight grind core contenders HateBreed. An obviously jaded number about someone who was once told they were worthless, it scoffs defiantly through with quite the unmodified diesel formula: complete stops, good breakdowns, and plenty of sinister snarling.

The next track on the list was “Cowboys and Lycans”, and it began with a much more calculated approach: palm muted lead, soaring barre chords on rhythm, and came out of the assembly line sounding much like what Prong or Valient Thorr has on tap: palm muted dribbling of the ball that easily graduates out of beginner's class with the syncopation. A few well placed pinch harmonics, the same angry voice and the middle breakdown had me thinking about another one of the most underrated thrash bands of all time: The Accused. This track reminded me a bit of the heavy jumping around and boisterous air of an album that any true thrash fan should check out: “Martha Splatterhead's Maddest Stories Ever Told”. Just an all out assault and mind blowing display of skill, it still carries much weight in the thrash community.

The third track “Cro-Magnon Man” immediately had me drawing parallels to one of the greatest moments I had experienced over the last two years: seeing Clutch at Riott Fest. The delivery of this song, the way the vocals switch it up to an almost playful sneer, and the simple notion of a primitive being and straightforward chorus with the drum sound I appreciated in the beginning still rang true, and it was my favorite track from them yet. Last on the list for my sampling was “Derailed”, and even though the timing and writing leans towards the mathematical, I was reminded of pioneers Motorhead, just due to the sheer haul ass factor and swagger. At 53 seconds there is a sweeping guitar solo that fits the tune perfectly, with some nice hanging notes and a few harmonics, minus the unnecessary waltz through some flashy sweep picking that scores of metal solos fall prey to. This 12 song album will be available from Beaver Damage during their next live show with shock thrash kings Gwar, and will surely stoke more than one patron where the notion of thrash itself begins: into the circling pit.