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Classic Day – Universal Blood

91FalLvj7LL._SX355_Type O Negative is not only a universal blood type, but they are a Goth-rock band that formed in New York with a focus of sexual, vampiric ecstasy. The band is a walking display of Halloween, the dark themes and overall sound is off-putting at times, but engages the listener and attempts to move closer to the heartstrings. It is simply beautiful in moments of Bloody Kisses, the third installment from Type O Negative that would touch into genres of something that feels like the Cure with a bite.

Led by Peter Steele, both lead vocalist, bassist, and playgirl model, Josh Silver on the keyboards and backing vocals. Sal Abruscato handles the percussion and does an excellent job with the spacious style, while Kenny Hickey directs the guitars and backing vocals. The band would tap into the funeral style and the scenery of a Hammer Film. It was these movements that made the first musical track, “Christian Woman” an anthem that reigns eight-minutes in length.

“She Needs… Corpus Christi” Steele explains, behind the growls and choir heavy influenced backing vocalization. Type O Negative manages to be painted black, but has a beautiful sense of direction behind them that glimmers with higher pinned keys and synths. With the sudden acoustic guitar that cuts halfway through, “Christian Woman” becomes graceful with a slight interlude before leaping back at the throat of the listener. Steele moves to explain, “Jesus Christ looks like me” before having a revving guitar from Hickey form with a church organ that cascades throughout the mix. Type O Negative keeps an interesting perspective on the outlook of their music and appearance of the band. With a 6’7” Steele guiding the band through the satirical lyrics and the band containing a 90’s Goth overcoat, Type O Negative was able to back their stage presence with a full sound.

25aeaf5f3790a20068e80e873982dc9dDisplayed through “Black No. 1 (Little Miss Scare –All)” Type O Negative contains this vibrancy that becomes a conductor behind the crowd. While immensely stylish, the band is actually approachable and radio-friendly with “Black No. 1 (Little Miss Scare –All)”. It is not until the halfway mark where Steele explains “Loving you is like loving the dead” as Type O Negative suddenly becomes a symphony of sound that overpowers and becomes driving. It is short lived as the mood changes again and becomes less of a drive and more of a laid back grind of a guitar and keyboard solo. The harpsichord sound that suddenly erupts takes the band through a nose dive, keeping the action of the track feeling more alive than ever with different stages to a final end of percussion and atmospheric sound to fade the band into much shorter cuts than previously shown.

With the rugged jump, “Kill All The White People” is aggressive and becomes a feedback ridden piece of anthem punching. The death growls and samples of “Kill them all” that crashes through the music with thunderous crashes strikes a different sense of fear than previously displayed. Focusing more on the horrors of war, Type O Negative clashes into a hardcore-esque percussive beats and attacks that finishes with a barrage of sampling until “By any means necessary” floods the frame.


Other tracks like “Dark Side Of The Womb,” “Machine Screw,” and “3.O.I.F.” are strictly atmospheric and feature no instruments or singing. They are breaks in the action that actually become disturbed and act more as separate entities within Bloody Kisses.The album that stretches well over an hour comes to a final close with “Can’t Lose You”.

A final touch from the black beauty that is Type O Negative, “Can’t Lose You” is a final beg and plead that taps into the strange instrumentation and style that the band had. Bloody Kissesis an example of experimentation that works and still has that fine balance of being able to move between atmospheric and glorious, the strange with the desirable. It is a gothic dream that launches well and showed success in the final stages, just as the album began.

Listen To Bloody Kisses Here!!! – Spotify/Amazon/iTunes

Misc. Day – Overbearing Lust

a1073748225_10It is something your girlfriend will hate and your parents will not understand, it is Pittsburgh’s own Drug Lust with their 2013 release, Dusted 7”.The small, but filling EP contains just about everything that would be needed from a hardcore punk release. The overdriven guitars, the crashing percussion, bass that brings a backbone, and a vocalist that is not understood unless the lyric sheet is nearby.

The EP begins with a fuzzy, low strumming string combination that soon takes form as a low quality push into the unknown and angry. “Norway ‘92” is a fairly calm track until the vocals begin to flood into the frame and mix the equation up into a complete nosedive into the gasoline filled turnstiles. The 7-and-a-half-minute EP takes a consistent course after the first dive through the rage-filled attack of clamoring noise and persistent aggression.

Dusted 7” becomes a match made in hell with the second track being a frantic mess of sound between the blasting percussion that uses the one and two for snare and cymbal smashes, the guitar that sounds ripped straight from a higher-pitched noise installment, and the vocals that echo over the whole mix. Drug Lust has this sense of primal instinct behind their music and gives that off with the very rough, almost unpolished instrumentation and style. It is a draw to their sound though, making them stand out in hardcore for being able to move into a sound and instill new life to it.

0007261039_10The short, but capturing tracks make Drug Lust a circle-pit inducing jam-session that takes elements to form something catastrophic and unpredictable. The way the drums have this ring behind them, the guitars that follow suite and combine to create this dual attack develops an atmosphere and then relies on the bass and vocals to fill the gaps where the sound lingers.

This is shown well on “Zip Gun” which has a sense of a breakdown near the third quarter of the track. It alleviates the stress put on with the hardcore influence in the beginning and allows the build-up to become the true rising action. Amazingly, there is no lack of emotion through Dusted 7”where Drug Lust makes up most of the downtime in a still chaotic fashion.

Drug Lust has been on the radar for Pittsburgh hardcore, but their sound stays immortalized because of unrelenting force. They can capture and destroy, but it is more exciting to see them burn up the things around them in a fury with no real motivation to stop.

Listen To Dusted 7″ Here!!! – BandCamp


STREAMING // (Album) The Alchemist – “Lunch Meat EP”

Featuring Roc Marciano, Westside Gunn, Conway, Action Bronson, Styles P & Benny The Butcher

All songs produced and mixed by The Alchemist

Mastered by Joe Laporta at Sterling Sound.

collage by The Alchemist

Album packaging art by

Listen Here – BandCamp


STREAMING // (Album) KRIMEWATCH – “Krimewatch”

Vocals Recorded by Darren Nanos Sept. 2017.
Bass, drums, and guitar recorded by Ryan Abbott August 2017.
Mastered by Mike Kriebel.
Gang vocals by Krimewatch, Lara, and Darren.

Listen Here – BandCamp


STREAMING // (Track) Ramirez – “Midnight Marauder”

Prod. : Yung Milkcrate // Listen Here – Soundcloud

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STREAMING // (Video) Da$H – “Wanna Ball”

Dir. Jon Psycho, Produced: KINO BEATS // Listen/Watch Here – Youtube



STREAMING // (Video) Chuck Strangers – “Style Wars”

Featuring Joey Bada$$

“Style Wars” produced by Chuck Strangers Co-produced by Shepard Sounds

Listen/Watch Here – Youtube



STREAMING // (Video) MULU – “The Attic PGH”

“3 Faces” // Listen/Watch Here – Youtube


Christian “MULU” Holt | Vox

The Band:

Allen Bell | Drums

Aidan Epstein | Bass

Caleb Lombardi | Keyboard

John O’Brien | Guitar

Roger Romero | Sax

The Team:

Drew Bayura | Engineer

Hansel Romero | Mixing & Mastering

Sam Suter | Video

STREAMING // (Album) Howlightt – “Frost”

Pittsburgh’s Favorite // Listen Here – BandCamp/Soundcloud



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