This track was recorded to commemorate the celebration of 4/20/2025 and cannabis connoisseurs everywhere.

Dubage

Dubage ::: O.T.H

This track was recorded for D&D players and spectators everywhere.

O.T.H

D&D ::: Dungeons & Dragons ::: O.T.H

Have you burnt rubber at Daytona? or kissed the bricks Indy?
This track is about auto racing enthusiasts everywhere.

Videos for my tracks can be found on YouTube at,
https://youtube.com/playlist?list=PLRqtY35JWaAj3EZX7PshULH_WXt-gcjP-&feature=shared

Thank You for Listening!
\m/,, ( ~ . ~ ) ,,\m/

Glory Line ::: O.T.H

"Battle Track" is forged in the crucible of hardcore freestyle battle rap, thrash, and pure rock & roll warfare. Performed by a band of sonic tacticians, this track is a strategic strike in the war of sound — constructed using the OODA Loop (Observe, Orient, Decide, Act) as its core creative doctrine. Every verse is a calculated decision. Every riff is an act of war. Every beat marches like a drumline of fate.

Built for the battlefield and blessed by distortion, this song is a storyteller's scream — a chronicle of domination in the realm of raw music. From the explosive thrash sections to the freestyle lyrical firestorms, “Battle Track” is the sound of tactical mastery, performed with haunting precision by a spectral brotherhood draped in dragon-scale chaos.

A heartfelt acknowledgment goes out to the one and only Prince of Darkness — Ozzy Osbourne — whose shadow paved the golden road for generations of battle-born rockers and riff-slinging warlocks. This one thrashes in your honor, legend.

Crank the volume. Step into the arena.
This is the Battle Track.

Battle Track ::: O.T.H

KRAMPUS is conceived as a macabre winter chronicle—an immersive, nightmare-lit descent into the oldest moral architecture of the season, long before Christmas was softened by sentiment or stripped of its teeth. This track reaches backward into pre-Christian Europe, into Alpine pagan folklore where winter was not decorative but lethal, and where myth served as law. Krampus was never a monster for spectacle; he was an instrument of balance. Half-goat, half-shadow, bound in iron and bells, he embodied consequence itself—an audible warning that survival required discipline, honesty, and restraint.

Within that historical framework, KRAMPUS reconstructs Christmas Eve not as a night of comfort, but as a tribunal. In early pagan winter rites, the solstice marked a reckoning point: the death of the sun, the dominance of darkness, and the promise—never the guarantee—of return. Communities told these stories to remind themselves that light had to be earned. Krampus functioned as the enforcer of this belief system, roaming alongside Saint Nicholas in later Christian syncretism, representing the duality that faith alone could not erase. Mercy without judgment was considered dangerous; judgment without mercy was considered inhuman. KRAMPUS lives precisely in that tension.

Musically and lyrically, the track is structured as a freestyle battle rap because battle rap itself is ritual combat—verbal survival of the sharpest. Each verse advances the narrative like a folklore duel: Saint Nicholas stands as measured authority, a disciplined moral force shaped by early Christian asceticism, while Krampus answers as the pagan remainder that refused to disappear. The bells, chains, and darkness woven into the lyrics are not decorative imagery—they are historically accurate symbols of punishment rites, fertility masks, and winter demons once worn by villagers during Krampusnacht to embody fear itself and keep social order intact.

The “nightmare” aspect of KRAMPUS is deliberate. This is Christmas viewed through the lens of hunger, cold, and accountability. Snow is not clean here—it is suffocating. Silence is not peaceful—it is anticipatory. The track strips away modern nostalgia and restores the season’s original psychological weight. Every bar reinforces the idea that December was once the most dangerous time of the year, and stories like Krampus existed to ensure the community survived it.

In its modern form, KRAMPUS becomes an urban legend retold through hip-hop—a genre born from truth-telling, confrontation, and coded survival narratives. The folklore is not diluted; it is weaponized. The battle between Krampus and Saint Nicholas mirrors contemporary struggles between image and substance, forgiveness and accountability, performative goodness and lived discipline. The track asks a timeless question: when the lights go out and the world grows cold, what actually governs behavior—belief, fear, or consequence?

This is not a holiday song. It is a winter myth resurrected with teeth intact. KRAMPUS stands as a reminder that before gifts, before cheer, before celebration, there was judgment—and that legends endure because they still speak to something buried but unresolved. The nightmare is not the monster in the woods. The nightmare is discovering which side of the legend you belong to when the bells begin to ring.


Krampus ::: dB-Decibel-dB ::: O.T.H

From the remastered edition of Kill 'Em All, available on April 15, 2016.

Remastered by Howie Weinberg at Howie Weinberg Mastering, Los Angeles, CA

The Four Horsemen (Remastered)

I'm a small town Rock and Roll practitioner making a name for myself in the music industry.

Krampus ::: dB-Decibel-dB ::: O.T.H

Outlawed Treasure Hunter

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