"HANS DE VENTE"/"Zinhof" (Nicknames) is a web-psychopath who report my uploads for you, so they will be deleted

This person, "HANS DE VENTE" also use "Zinhof",  mostly use my "Music Chat and Upload Room" and write very sick things about my blog and other visitors who use Music Chat and Upload Room for their own uploads.

This person will be very satisfied when he seen this article. "HANS DE VENTE" is a person who wants to be seen and enjoys destroying for other people as much as he can. 

He reports that my files are illegal so they will be deleted. This web psychopath loves to ruin and writes very sick posts on the Chat and upload page. 

The majority of these web psychopaths/narcissists are usually very lonely. They have their little computer, where they write their nasty and sick posts. 

If I were to meet this person in real life, he would be so scared that he peed on himself, because in real life, HANS DE VENTE is nobody.

Now you know why my uploads get deleted so quickly.

If any of my visitors is a high level advanced hacker, it may be possible to track HANS DE VENTE, as he will need to log in to post in my "Chat and Upload Room"

//ChrisGoesRock, Sweden  👊

Thanks all of you for this information:

Anonymous said...

Hans De Vente or whatever he calls himself has made so many enemies with this crap he pulls.

A few guys in Utrecht tracked him down to a street called Dellaertlaan in a city not that close to Utretcht. I forget the number of the street but its in a message they posted. 

They said he was a little too far away from Utrecht but if he keeps pissing people off with his blogs and deletions and they are on their way past there, they might stop by his house. He almost never leaves his house.

He's a crazy old man. He should stop before somebody throws his computer out a window and rips the internet connections out of the wall. Or worse.

16 September 2020 at 17:55

Anonymous said...

Hans de Vent is a Dutch man with a persecution habit, who creates a blog one day and the next he deletes saying that "they are going to his house to arrest him for piracy".Invents 1001 accidents in his life.Crazy, psycho.

I've seen him in a few dozen places demonstrating his madness

I will not identify myself because otherwise he will start chasing my blog

16 September 2020 at 01:00 

Anonymous said...

I have lost over 5000 links on Zippy. in 3 months. It incredulous as anything and everything is attacked.

Why and by whom is unknown... It may be your culprit.

How do you know this. Can it be stopped?

Thank you for yelling out.

16 September 2020 at 09:11

Following text was a email to me 2020-09-16 21:36

What youre doing is dangerous, and illegal, crazy persons may take actions that you dont want to be responsible for.

My name has been used by anonymous people for years  now, and none of it is true. Ive given up trying up defending me but what you do is dangerous.

Its the power and the curse of the internet that everybody can post unfounded rumours, they have targeted me since 2005.

I am asking you friendly as a person who has always loved your old blogs, but since i have extreme tinnitus,i dont listen to music anymore.

Thank you in advance

hans de vente

PS.  Who gave you the idea that i can delete posts, if you are not the rights holder and can prove that, no host will delete a post.

Record companies pay companies that use bots that patrol the internet, and report links, and they will be deleted by the rights holder

All the best

hans

Answer:  First of all, The person who reported hundreds of music-blogs, and report all upload files to be deleted, have do so since round 2005.

If this person has stolen your name and used it as his "nickname" since 2005, I suggest you change your nickname in the blog context. 

You have to understand that everyone who posts a blog puts a lot of work into their blog. Then they upload albums to the visitors that this person reports as illegal. He also writes to "Blogger" that the website is illegal, often it is shut down because of the same person.

You also need to understand that anyone who gets their blogs and uploads removed gets very angry. In the end, some bloggers manage to track this person, as everyone leaves traces behind, so it is no wonder that in the end this person is tracked to an address.

You write that you have nothing to do with this person who took your name, then you do not have to worry.

I do nothing illegal by writing about this person who destroyed for so many, and for so many years.

He has to blame himself if he is tracked to his address.

// ChrisGoesRock

Next email sent today 2020-09-17 11:31

Since you have not responded or deleted the post you have till 6 pm your time to do do so, or i will report you to the internet threat department of both the Dutch and the Swedish police,  for threats agains my life.

Answer: First of all (again). Take a look in the comment section. 

If you have nothing to hide, you do not need to be afraid or worried. 

I'm writing this post because we Bloggers are tired of this person, who sitting at his little computer and ruining for other people.

//ChrisGoesRock

2020-09-20 (Read Me)

It seems like stolen "nicknames" are behind this mess of usernames. The person who stole the usernames is the person who is responsible for all closed blogs and reported links. That person should be found with evidence, so that person should not continue to destroy, as he has done since 2005. 

This person has reported at least 8 blogs to me, and started fake blogs in my name that have only been about pornography with Gay content. He has stayed away from me for 10 years, but has now started reporting all my music links as illegal again. 

This person is not healthy and would probably need psychiatric help as what this person is doing is pure rudeness.

I publish everything you write, you are responsible for the content.

If someone writes the name and address of the person responsible for all closed blogs and links, you must be 100% sure and also have proof of what you claim.

If you are not 100% sure of your source, do not write the person's name and address. You can then ruin the life of an innocent human being. The computer can harm an innocent person more than you think.

We all want to stop this person. But do not guess who the person in charge is. We need to know ...

//ChrisGoesRock  💻

.....................................................................................................

I got a email today 2020-09-27 from: the realhans,  <thisistherealhans@gmail.com>

dear chis

i agree complete with the last part of your post about me

2020-09-20 (Read Me)

It seems like stolen "nicknames" are behind this mess of usernames. The person who stole the usernames is the person who is responsible for all closed blogs and reported links. That person should be found with evidence, so that person should not continue to destroy, as he has done since 2005. 

This person has reported at least 8 blogs to me, and started fake blogs in my name that have only been about pornography with Gay content. He has stayed away from me for 10 years, but has now started reporting all my music links as illegal again. 

This person is not healthy and would probably need psychiatric help as what this person is doing is pure rudeness.

I publish everything you write, you are responsible for the content.

If someone writes the name and address of the person responsible for all closed blogs and links, you must be 100% sure and also have proof of what you claim.

If you are not 100% sure of your source, do not write the person's name and address. You can then ruin the life of an innocent human being. The computer can harm an innocent person more than you think.

We all want to stop this person. But do not guess who the person in charge is. We need to know ...

END OF QUOTE,HERE IS MY ANSWER

now there are two things you can do

you can remove the post and comments and the ones in the shoutbox about me and we will all be friends

or you can publish this mail in your blog, but then i have no choice to publish what i know about you, which is a lot.....

so far i have received threats in my mail ,thnaks to you publishing my adress.i have forwarded all to the local police

and you can beleive me or not, i have nthing to do with the attacks on your blog or links.but ask yourself what is easier to believe:

the actions of an anonymous person,who hides behind my (wellknown) name or the actions of me who `is a wellknown name and who you can find.,thanks to you

i will not publish my findings about you, before i get an answer from you, and, you may not believe me, i am still thanksfull to you, if not only for turning me on to darius,i ave got his two cds now

all the best

hans de vente

My answer is: 

First, I'm not worried about what you you "know" about me, and what you have found that is "huge". I have nothing hidden and I do not hide anything that you claim. 

You are welcome to contact: the "Swedish Police", the "CIA", "the United States Special Operations Command (SOCOM)" or whoever you want. 

You can invent any lies about me, which you will surely do, and I will now end further blog posts from you.

The reason is that you not are serious at all, is your made-up threat, if I do not do as you wish.

So: End of this story, i'm tired of it.

//ChrisGoesRock

Various Artist - Hard Rock Underground Scene UK 1968-73 (3CD)

Size: 535 MB
Bitrate: 320
mp3
Found in DC++ World
Artwork Included

A new 3-CD box from Grapefruit Records is a loud re-mastered gem, a perfect accompaniment to the first volume three years ago featuring (most of) the usual heavyweights on the scene balanced with demo-only bands who shared their gigs. An excellent 53-track panorama of ‘freak’ music from 1968-73: Edgar Broughton Band, Arthur Brown, Sam Gopal (with ex-Hendrix roadie Lemmy) etc, no Pink Fairies but Deviants, no Hawkwind but stable-mates/fellow-travellers High Tide jamming par excellence. 

Freak-sounds from the underground of Ladbroke Grove and central London (Middle Earth, Temple in the Marquee’s street) along with nationwide free festivals are well-represented: as David Wells’ short intro says, these are the bands that shook the walls of towns up and down the country. More hair here than a yak high in Nepal cavorting in a fancy wig.

Talking of the booklet (an arti-fact in its own right) this reviewer is unsure why so many negative terms are used: “Neanderthal”, “catatonic”, “semi-articulate”, “sonic excesses”, “Cro-Magnon classics”, “terminally obscure” really, today? “Sab or Zepp wannabees”, the term wasn’t even coined until later, and doesn’t reflect the counter-culture’s magazines, gigs or ethos, not as I recall anyway. It was a time of boundary-breaking, thanks partly to developing sound systems and wider issues of course. 

Not a whiff of the peculiar idea of a tribute band, except the Beatles and Stones to themselves of course. We know Americanese has a difficulty filtering nuance of language—collaboration for Christ’s sake?! It’s negative—but this is a British compilation, not even English only. The booklet is otherwise superb, handy too in that it follows track order rather than alphabet.

It appropriately leaves the traps blazing with Budgie’s first album that became a template for later decades. The now-renowned on CD-1 sees an unusually heavy Jeff Beck and also Love Sculpture (featuring Dave Edmunds) for a razor-sharp, much-covered hit ‘Sabre Dance’ that began as an Armenian ballet overture (and covered on an LP for 11 minutes, ouch), Stray from an early session released only on CD, Sam Gopal’s percussion-swirling and bass-plucked ‘Horse’ earmarked for a single that never left the stable, and The Move when hairier with Wood and Lynne on board: almost sing-along, I’m told by an expert they were much heavier live though this packs a punch too. 

For gig-liggers or later vinyl collectors there is the always-fun solo-boggling Patto (more abrasive than usual from their post-Vertigo days on Island), clanking bullet-driven Leaf Hound, the Stray-like Slowload, the tasty twin-guitar power chords with melodic interludes of Cactus-like Orang-Utan, Arthur-Brown-like Monument, and one of the two best tracks by Ancient Grease alongside a solo-typhoon by Andromeda.

There’s also a rare seven-minute outing for Sam Apple Pie, who were at the first Glastonbury and later part of Atomic Rooster: they were always creatively original (heavy surf here?), Quo did parallel experiments later. Other longer tracks include Iron Claw (after King Crimson’s killer lyric), echoey, reverb-drenched, brutally menacing as a garotte, uplifting as a scaffold on the dawn skyline with a pounding drum outro and Bodkin, an organ-washing hard guitar quintet with thoughtful lyrics on reality t’boot. 

Stack Waddy contribute ‘Rosalyn’ (I’d have thought ‘Hey Mama Keep Your Big Mouth Shut’ more in-keeping, but I’m a nit-picker, by profession) though the stand-out surprise is the unbelievable pile-driver boogie Wicked Lady: forget butter, this cuts rivetted titanium! If you ever found Agnes Strange, this would be a similar reaction. Guitarist Martin Weaver told Psychedelic Baby recently that Wicked Lady were always a live band first because they saw recording as sterile. Living in Bulgaria today, he is starting a band with two other Martins! A true tour de force power trio.

CD2 features the longest track by Atomic Rooster, all spooky piano and effects as classic hard-driven keyboard rock from an LP that spawned a hit single (‘Tomorrow Night’); Edgar Broughton’s ‘Apache Dropout’ (not ‘Keep Them Freaks A Rollin’?) which almost hit the top 30 with a mash of Shadows and Beefheart; The Deviants’ rumbustious experiment ‘Somewhere To Go’ pointing to the Fairies (it was founder late Mick Farren who said they split because the others wanted to sound like Zeppelin), plus Alex Harvey’s pre-Sensational Band Tear Gas who rock in Hendrix-style: Regal Zonophone without a hit was always going to be like playing tennis with a hole in the racket.

There is also the Gurvitz brothers’ Three Man Army (yes, they were English) before fame with Ginger Baker. The Manchester band NSU only did one LP, on Stable, as did Red Dirt (at the time) on Fontana, Pluto (on Dawn), the crunching feedback riffing Human Beast (on Decca), Mouse (on Sovereign) with a long build-up to a spacey boogie, and Dogfeet (formerly Sopwith Camel) but there are also acetate-only The Rats (featuring a near-pubescent Mick Ronson of Bowie and Hoople fame), Dark (whose LP is among the rarest and later featured Wicked Lady guitarist Martin Weaver), Purple Haze (later Transatlantic’s Little Free Rock), Tonge, and the German-only released Glasgow-based Sunday. It closes with the even higher-octane Quo-like Freedom from their own Vertigo LP: not to be listened to if your head’s not adequately screwed on!

And nuggets continue to be unearthed on CD3. Headliners such as High Tide from their debut Sea Shanties of 1969, bleak lyrics for doom-and-multi-laden rocking; the early ’68, more driving non-orchestral demo of ‘Fire’ by The Crazy World of Arthur Brown; Glaswegians Stone The Crows from the third of their four LPs, featuring Scotland’s own Janis Joplin in Maggie Bell and also Alex Harvey’s brother, in an organ-led rocker. Warhorse loom from their Vertigo days and more guitar-based second LP, formed by ex-Deep Purple (’69) bassist Nick Simper who was also in The Flowerpot Men with Jon Lord (hear Simper’s recent work on Angel Air Records); some heady acid and riffing guitar in a near-eight-minute feast. They toured Germany and were on their T.V. before folding in ’74, splitting to work with Rick Wakeman on his hit album.

Who recalls the band often confused with others of the same name, Bullet? Here’s a B-side from Deep Purple’s short-lived label, ex-Atomic Rooster and Quatermass that became Hard Stuff as almost r ‘n’ r glam! No period comp would be spliff-worthy without Writing On The Wall, the Edinburghers moving to London when their manager opened the Middle Earth club—indeed they lived below its stage! ‘Lucifer Corpus’ was on the same-named label as its first 45 release before their acclaimed LP Power Of The Picts.

From the hard-working supporting cast come studio tricks galore from a Yorkshire co-operative that got on Peel’s Show (Lightyears Away); a Welsh trio rare as Dark for the same reason (a 99-copy only issue) who featured in a Melody Maker competition of 1971 and have been reissued on Light in the Attic Records: the misprinted acetate gave them their name, meant to be the last man on the moon, and a bit like Clear Blue Sky (Eugene Carnan); Hard Horse were on the same label as Incredible Hog and did other singles for the label; Tarsus were in the Northampton scene along with Wicked Lady and Dark but released nothing, a driving menacing raunch as unlike ELP as can be imagined.

Also featured are Natural Gas, who did two Peel sessions and have appeared on a bootleg beside pre-Black Sabbathers Earth; a band named after a locked facial expression whose 101-copy LP appeared on County Records (Sardonicus); and two rare bands involved with the Sentinel label (Frozen Tear; Thor) which was run as a ‘vanity’ enterprise from a series of West Country shops featuring mostly folk and brass bands (see this reviewer’s article for the Dust On The Nettles compilation). 

Thor are not the later Vancouver band, these also covered Chicago live! A rollicking version of ‘Paranoid’ is a good cover indeed. Another German-only release is Little Big Horn, formerly Tramline, on Bellaphon Records (Sunday, Diabolus, Steel Mill etc). 

Still going are Samuel Prody with their own website, yet another who never got their royalties though produced by a Tremeloes producer: ex-Sam Gopal Dream, a nice phased drum solo is rolled. 

The now-legendary 9.30 Fly contribute a post-LP demo from ’72, an original take on the blues classic ‘Hoochie Coochie Man’, and a combo also once with Sam Gopal known as Clark-Hutchinson lay an early ’69 blues ‘Someone’s Been At My Woman’, an ailment that came with the territory alas. Breathless stuff, reflecting this review!

The albums are well-worth getting as well, all are essential or as good as. Some laid the groundwork for much that came later and shows the depth of the compilers’ archeology. 

A couple are on the first collection, so why no Incredible Hog or Agnes Strange? And why no Irish e.g. the original Skid Row? Nevertheless, five stars because, quite frankly without earnest, a superb near-four-hour trip which in content and spectrum can literally take your breath away or leave you scuttling around for your jaw. No frills, boas or pop. 

Rare for second compilations, some might say it even eclipses the first. With live-shot sleeves and forty-page compendium of facts and period art, this is one of the best box-sets of the genre on the market… ever. Now, why’s my Horlicks cold?

– Brian R Banks

Disc 1:
01. Budgie - "Guts"
02. Jeff Beck - "Shapes Of Things"
03. Wicked Lady - "Run The Night"
04. Stray - "The Man Who Paints The Pictures"
05. Slowload - "Rosie"
06. The Move - "Turkish Tram Conductor Blues"
07. Orang-Utan - "Chocolate Piano"
08. Iron Claw - "Clawstrophobia"
09. Bodkin - "Plastic Man"
10. Andromeda - "Let's All Watch The Sky Fall Down"
11. Ancient Grease - "Mother Grease The Cat"
12. Stack Waddy - "Rosalyn"
13. Sam Gopal - "Horse"
14. Love Sculpture - "Sabre Dance"
15. Monument - "Dog Man"
16. Leaf Hound - "Freelance Fiend"
17. Patto - "Loud Green Song"
18. Sam Apple Pie - "Winter Of My Love"

Disc 2:
01. Tear Gas - "Woman For Sale"
02. Atomic Rooster - "Death Walks Behind You"
03. Edgar Broughton Band - "Apache Dropout"
04. NSU - "Turn On, Or Turn Me Down"
05. Red Dirt - "Brain Worker"
06. The Rats - "Early In Spring"
07. The Deviants - "Somewhere To Go"
08. Dogfeet - "Armageddon"
09. Pluto - "Down & Out"
10. The Human Beast - "Brush With The Midnight Butterfly"
11. Dark - "RC8" (demo version)
12. Purple Haze - "Wait A While"
13. Three Man Army - "Daze"
14. Tonge - "Old Father Time"
15. Mouse - "Ashen Besher"
16. Sunday - "Fussing & Fighting"
17. Freedom - "Going Down"

Disc 3: 
01. High Tide - "Futilista's Lament"
02. Lightyears Away - "Yesterday"
03. Samuel Prody - "Woman"
04. Eugene Carnan - "Confusion"
05. Hard Horse - "So Long I'm Moving On"
06. The Crazy World Of Arthur Brown - "Fire!" (demo version)
07. Tarsus - "Early Morning Sun"
08. Natural Gas - "Is There Any Doubt?"
09. Warhorse - "Back In Time"
10. Little Big Horn - "Name Of The Game"
11. Bullet - "Sinister Minister"
12. Frozen Tear - "I Need Someone"
13. Sardonicus - "The Nymph"
14. 9.30 Fly - "Hoochie Coochie Man"
15. Clark-Hutchinson - "Someone's Been At My Woman"
16. Stone The Crows - "Big Jim Salter"
17. Thor - "Paranoid"
18. Writing On The Wall - "Lucifer Corpus"

Tracks taken:
Disc 1
1-1 from LP " Budgie " ( 1971 )
1-2 from LP " Truth " ( 1968 )
1-3 not originally issued, recorded 1969
1-4 not originally issued, recorded November 1968
1-5 previously unreleased, recorded 1971
1-6 from LP " Looking On " ( 1970 )
1-7 from US LP " Orang-Utan " ( 1971 )
1-8 not originally issued, recorded December 1970
1-9 from LP " Bodkin " ( 1972 )
1-10 not originally issued, recorded late 1969
1-11 from LP " Women And Children First " ( 1970 )
1-12 from LP " Bugger Off! " ( 1972 )
1-13 not originally issued, recorded late 1968
1-14 from single A-side ( 1968 ) Parlophone ‎– R 5744
1-15 from LP " The First Monument " ( 1971 )
1-16 from LP " Growers Of Mushroom " ( 1971 )
1-17 from LP " Roll 'Em Smoke 'Em Put Another Line Out " ( 1972 )
1-18 from LP " Sam Apple Pie " ( 1969 )

Disc 2
2-1 from LP " Tear Gas " ( 1971 )
2-2 from LP " Death Walks Behind You " ( 1970 )
2-3 from single A-side ( 1970 ) Harvest ‎– HAR 5032
2-4 from LP " Turn On, Or Turn Me Down " ( 1969 )
2-5 from LP " Red Dirt " ( 1970 )
2-6 not originally issued, recorded November 1969
2-7 from LP " Disposable " ( 1968 )
2-8 from LP " Dogfeet " ( 1971 )
2-9 from LP " Pluto " ( 1971 )
2-10 from LP " Volume One " ( 1970 )
2-11 not originally issued, recorded October 1971. Demo version
2-12 not originally issued, recorded early 1969
2-13 from LP " A Third Of A Lifetime " ( 1971 )
2-14 previously unreleased, recorded 1971
2-15 from LP " Lady Killer " ( 1973 )
2-16 from German LP " Sunday " ( 1971 )
2-17 from LP " Is More Than A Word " ( 1972 )

Disc 3
3-1 from LP " Sea Shanties ( 1969 )
3-2 from LP " Astral Navigations " ( 1971 )
3-3 from German LP " Samuel Prody " ( 1971 )
3-4 not originally issued, recorded March 1972
3-5 from single B-side of " (Get It) Up Down " ( 1972 ) DART ‎– ART 2012
3-6 not originally issued, recorded circa March 1968. Demo version
3-7 previously unreleased, recorded May 1971
3-8 previously unreleased, recorded 1972
3-9 from LP " Red Sea " ( 1972 )
3-10 from German LP " Little Big Horn " ( 1971 ) Bellaphon ‎– BLPS 19067
3-11 from single B-side of " Hobo " ( 1971 ) Purple Records ‎– PUR 101
3-12 previously unreleased, recorded October 1969
3-13 from single A-side ( 1973 ) County Recording Service ‎– COUN 240
3-14 previously unreleased, recorded circa August 1972
3-15 not originally issued, recorded March 1969
3-16 from LP " Teenage Licks " ( 1971 )
3-17 previously unreleased, recorded circa October 1970
3-18 from single B-side of " Child On A Crossing " ( 1969 ) Middle Earth ‎– MDS.101

Part 1. Hardrock

Part 2. Hardrock

Part 3. Hardrock

or

Part 1. Hardrock

Part 2. Hardrock

Part 3. Hardrock

or

Part 1. Hardrock

Part 2. Hardrock

Part 3. Hardrock

Balam - Days of Old (Great Retro Hardrock US 2014)

Size: 109 MB
Bitrate: 320
mp3
Ripped by: ChrisGoesRock
Artwork Included

A quintet of power born in Newport, RI. It's the directness of Balam‘s attack that makes their debut so impressive, as well as the thrust of their tonality and how smoothly they are able to find a niche within the dreary scope of their doom. Since their self titled release, they have devastated the East Coast with unrivaled live performances, the is no question; Balam are on their way up.  

Rhode Island traditional doom firebands Balam are gearing up to release their full-length debut, Days of Old, early in 2015. In fact, they’ve been “gearing up” for a decent portion of this year. The first signs of Days of Old surfaced via their Bandcamp over the summer in the form of the track “With the Lost,” and as we push into cold, dark winter, their fuzzed-out, classic-styled doom seems all the more vital.

You ever want to frustrate the hell out of a band, put them in the time between recording and releasing an album. I don’t envy Balam this contingency-sorting stretch — though they’ve continued to play shows through it — but with a 2015 issue on the horizon, the double-guitar five-piece are ready to unveil another slab of Days of Old, and I’m only too happy to comply. 

Balam recorded Days of Old with Trevor Vaughn, and mixed and mastered with him as well between March and April of this year. The seven-song outing is a vicious 45 minutes of full-breadth riffing and stripped-down, light-on-frills doom. Led by the guitars of Zach Wilding and Jonny Sage, the vocals of Alexander Blackhound take early command of the material as the first half of the album pushes toward the title cut, while bassist Nicholas Arruda plays off Wilding and Sage in Candlemassian form (his shining moment arriving in his leading the band through the 15-minute closer) and drummer Zigmond Coffey adds plod to the nod of their bleak but still engaging groove. 

Days of Old lacks nothing for atmosphere — each side is given an instrumental introduction of substance, and themes play out in the songs as well — but ultimately, it’s the directness of Balam‘s attack that makes their debut so impressive, as well as the thrust of their tonality and how smoothly they are able to find a niche within the dreary scope of their doom.

There’s much still to take shape before Balam release Days of Old in terms of things like the cover art, what label, and so on, but consider this glimpse at “Days of Old” — and at 11 minutes, it’s a considerable glimpse indeed — an early warning of what the band have in store for the New Year. Here’s hoping the details get sorted soon.

Affecting a heady and voluminous amalgam of Farm, Iron Claw and Wicked Lady is Newport, Rhode Island's Balam, which sits zan(il)y astride Days of Old, an album I invariably stumbled on following a slapdash search for some Old Grandad - the 'Cisco psychedelic doom band, not the drink. Once instant Black Sabbath/The Hyle vibes permeated my kindled soul, was (un)ceremoniously flattened by this Ocean state power trio's waggish, (Pb)-lined Atlantic brogue.

East Coastal War Horse and Windhand comparisons buzz forth like deer flies as we lope on down the shore to eerle, cavernous, and, perchance, rangily cadaverous, sonorizations emanating from the dually doomed i.e. ax'd quintet's front apprentice's yaw(n)ing maw. A brief caveat, though, results from "///////"...Won't Sunn O))) whig out, 'cause of such punctuative heresy? It certainly gets our attention, plus, at scarcely minute's length, serves as palatably anodyne, however whack, atmospheric (instrumental) opener. The clockbell tapping, scrappy palm muted, "Children of the Grave" meets Earthride & Electric Wizard mien inherent to "Birth"? (Ah, shit gets real!) Cowbell/drum ride affectionados should have a field night - and mouse - here. The reverb-illuminated belligerence and imposing drum stewardship continues, unabated, throughout evil(e) twin "Lilith" (linchpin to Adam's Eve), another great humdinger from these guys, with additional heady, quavering bass, alongside ponderously kinetic drumming implements, all-around ('til we drop our crown).

The intelligible flow of the tracks, which reaches an apex within top, titular highlight "Days of Old", proper, intimate a fluid conduit to this album's instantly accessible - or acceptable - pre-dispo(sition). If untold genre species (akin to Black Oath, Iron Void, Hour of 13 and Pale Grey Lord) eventually establish singular identities, so does Balam, in one fell swoop...a feat, particularly in the light of doom, no matter how dark, murky or fulminating. Elsewhere, the votive and erstwhile space-theme encapsulated "Spirit Flight", with its tribal, militant march and wizened, eldritch synths, paves a tarry path to "With The Lost", a pendulously swaying, eight minute long knuckle buster of a semi-fast, semi-slow (rafter) burner which, effectively, segues into lost dimensions of hardy doom metal turf. No sooner do you fully get grooving does a helluva bridge and second tier development beg egregiously wry returns - or revelations.

As closure, I've minor issue with that whopping, 15.5 minute closer, "Bound to the Serpent", which, mercurially pronounced as it is in itself, could've/should've been tiered into sprawling single, thus cementing, or, if you like, fermenting (i.e. pickling) the remaining five tracks - forget said front-slash nonsense, already - into a congruous, as well as deciduously compact, bedeviled offering. Although it won't part the Red Sea, tastes better than sip of the Dead.

Bandmembers
•  Coffey - Drums 
• Jonny Sage - Guitar 
• Nick Arruda - Bass 
• Alexander Blackhound - Vocals

01. /////// 00:55
02. Birth 02:23
03. Lilith 03:38
04. Days Of Old 11:04
05. Spirit Flight 03:46
06. With The Lost 08:17
07. Bound To The Serpent 15:41

1. Balam
or
2. Balam
or
3. Balam

Amondüül II - Wolf City (German Progressive Rock 1972)

Size: 144 MB
Bitrate: 320
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster

Wolf City is the fifth studio album released by the German Krautrock band Amon Düül II.

Like its predecessor, Carnival in Babylon, Wolf City is a more conventional recording than the band's earlier albums, with shorter track times and more straightforward song structures. This was likely due to the band's increasing commercial popularity, both at home and in the UK. Despite this, some of the album's tracks, such as "Jail-House-Frog" and "Deutsch Nepal", are still overtly experimental.

Amon Düül II's fifth studio album is a more conventional recording than most, though there's still a lot of the involved experimenting and dark undercurrent which sets the band apart from the mainstream, along with the off-kilter hooks and odd humor which saved them from being lumped alongside more serious (and less easy to take seriously) prog rock outfits. 

After the lengthy explorations of Tanz der Lemminge, Wolf City seems targeted to an extent at a commercial English-speaking audience, perhaps reflective of their increased status in the United Kingdom, if not in America. Regardless, opening song "Surrounded by the Stars," the longest track on the album at just under eight minutes, is also one of the band's best, with strong vocals from Renate Knaup-Kroetenschwanz, a dramatic building verse (complete with mock choir), an equally dramatic violin-accompanied instrumental break, and a catchy chorus leading to a fun little freakout. 

Knaup actually takes the lead vocals more often this time out and turns in some lovely performances, as on the beautiful, perhaps slightly precious "Green-Bubble-Raincoated-Man," with a great full-band performance that grows from a nice restraint to a slam-bang, epic rockout. Lothar Meid gets his moments in as well, his sometimes straightforward, sometimes not-so-much vocals adding to the overall effect as before. 

The one full instrumental, "Wie der Wind am Ende Einer Strasse," is excellent, with guest Indian musicians adding extra instrumentation to an intoxicating, spacious performance. While Wolf City generally sounds like a tight band playing things live or near-live, there are some equally gripping moments clearly resulting from studio work, like the strange loop opening the title track (percussion, guitar?). 

Concluding with the groovy good-time "Sleepwalker's Timeless Bridge," including some fantastic E-Bow guitar work, Wolf City works the balance between art and accessibility and does so with resounding success.

Amon Düül II
♦ Renate Knaup-Krötenschwanz – vocals
♦ Chris Karrer – guitars, soprano saxophone, violin
♦ John Weinzierl – guitars
♦ Falk-Ulrich Rogner – organ, clavioline, synthesizer
♦ Lothar Meid – bass, vocals, synthesizer
♦ D. Secundus Fichelscher – drums, vocals, guitars

Guest personnel
♦ Jimmy Jackson – choir organ, piano
♦ Olaf Kübler – soprano saxophone, vocals
♦ Peter Leopold – synthesizer, timpani, vocals
♦ Al Sri Al Gromer – sitar
♦ Pandit Shankar Lal – tablas
♦ Liz van Neienhoff – tambura
♦ Paul Heyda – violin
♦ Rolf Zacher – vocals

01. "Surrounded by the Stars"  Karrer/Rogner  07:44
02. "Green-Bubble-Raincoated-Man"  Weinzierl  05:03
03. "Jail-House-Frog"  Weinzierl  04:50
04. "Wolf City" Karrer/Fichelscher/Rogner/Weinzierl/Meid  03:18
05. "Wie der Wind am Ende einer Strasse"  Karrer/Fichelscher/Rogner/Weinzierl/Meid  05:42
06. "Deutsch Nepal"  Kübler/Meid  02:56
07. "Sleepwalker's Timeless Bridge"  Fichelscher/Rogner  04:54

Bonus Tracks:
01. "Kindermörderlied"  Karrer  05:59
02. "Mystic Blutsturz"  Weinzierl/Knaup-Krötenschwanz  10:11
03. "Düülirium"  Karrer/Kühler/Weinzierl/Knaup-Krötenschwanz  04:25

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