it sounds a little off BUT THANK YOU FOR PUTTING IT ON HERE SOMEONE FINALLY.

lol i have seen this backround pic before..

thought I will be the only one that likes this song...it has meaning

I hear an incoming aussie kickflip crooking …..

I first heard this song on Tony Hawk’s Project 8, which I played on my PSP. This song is timeless and a priceless gem, in my book. 

Tony Hawk's Project 8

Track 01 Zoo York City 1

This was more of a project between a couple of roommates in 2005, then it started to actually get some attention, so we put out a few more demos on our myspace, and are working on more for a debut EP.

Tracking this stuff was some of the most challenging material.

Aurelius - Hemlock

Charizma & Peanut Butter Wolf - Devotion ('92)

Black Mountain - "Druganaut" from 'Black Mountain', out 6/23/15 via Jagjaguwar
Direct:  http://smarturl.it/blackmountain2015
iTunes:  http://smarturl.it/blackmountainitunes
Amazon:  http://smarturl.it/blackmountainamazon
Indies:  http://smarturl.it/blackmountainindies

MORE INFO: http://bit.ly/BlackMountain_10thAnn

It's only a cliché because it's true, but the greatest records are timeless. Black Mountain's self-titled debut album is just such a record, its roots leading twisting paths back into the past, while always sounding like 'now', like a future still to come. The work of a small collective of musicians operating from Vancouver, Canada, far from any industry buzz but firmly in the eye of their own storm of creativity, Black Mountain's debut album was, of course, a beginning, but it also marked an ending for Jerk With A Bomb, the group that preceded Black Mountain.

Begun as the fourth Jerk With A Bomb album, Black Mountain's debut grew from skeletal sessions cut by McBean and Wells. "We laid down the bed tracks, the guitars and drums," remembers McBean. "Matt [Camirand, bass] joined, and we changed the band name after a dream of how life could be different in the B section between Black Flag and Black Sabbath. Josh's roommate Jeremy [Schmidt, keys] was lurking about. We asked him if he wanted to add some synth bleeps or whatever. He came back with all these orchestrated keyboard parts, and we said, 'Oh, you should probably join the band now.'"

They cut the album at the Hive in Vancouver, recording in "a big cement room with a tall ceiling, nice boomy acoustics, lots of natural reverb," remembers McBean, "on an 8-track reel-to-reel tape recorder." During the sessions, these elemental first Black Mountain tracks found their true shape: the wry, giddy shuffle of "Modern Music," with its Roxy Music sax and Velvets-y chug; the epic, sky-staring riffage of "Don't Run Our Hearts Around;" the hypnotic, gracefully heavy groove of "Druganaut;" the joyful rush of "No Satisfaction;" the dark, powerful blues of "Set Us Free;" the mysterious murk of "No Hits." Here was a new classic rock, its reference points arcane and clear, its sound fresh, unfamiliar and irresistible.

The album's initial success saw the band take to the road, leaving their Vancouver enclave for stages across Canada, America and Europe. "It felt like there was a real explosion of excitement at shows," remembers McBean. "The first couple of tours, we kinda were pretty shambolic. We wouldn't write setlists, we'd just feel the energy in the room and call things out, jamming on songs like 'No Hits' and 'Druganaut.' It was a good time for live rock'n'roll: DJ booths were being transformed back to drum risers, people were digging 20 minute jams and there were bands like Comets On Fire and Oneida out there who we felt kinship with. I was into Faust and Amon Duul but had no idea of the scene of modern bands doing that stuff. And then we met those bands, and it was cool. And then we went on tour with Coldplay...and the adventures continued."
Their jaunt across the world as guests of perhaps the biggest band in the world right then is a tale for another time, perhaps: the start of Black Mountain's next chapter, and all that followed. For now, savour the compact, spacey brilliance of that cosmic, heavy and subtle debut album, expanded now with a raft of delicious bonus tracks scavenged from the Black Mountain Army archives.

Black Mountain - "Druganaut" from 'Black Mountain', out 6/23/15 via Jagjaguwar
Direct:  http://smarturl.it/blackmountain2015
iTunes:  http://smarturl.it/blackmountainitunes
Amazon:  http://smarturl.it/blackmountainamazon
Indies:  http://smarturl.it/blackmountainindies

Black Mountain

Druganaut

Pre-Order

Black Mountain - "Druganaut"

Concept
Teeth In The Dark marks the moment when the Abyss stops whispering… and starts hunting.
After the uneasy calm of The Quiet Hunger, the protagonist is thrust into a realm where the shadows themselves have bodies, the air vibrates with unseen movement, and the darkness reveals its predators. These creatures are not illusions or memories. They are the true inhabitants of the Abyss — ancient, hungry, and drawn to the scent of a living soul.
This is the first time the Abyss bares its fangs.
Sound & Atmosphere
The track blends heavy modern metal with nightmare-ambient textures to create a sense of being stalked in a world with no escape:
Deep, aggressive guitars that hit like the footsteps of something massive
Breathing bass pulses mimicking the creatures closing in
Scratching, high-pitched textures like claws against stone
Sudden drops into silence that mirror how the creatures freeze before attacking
A powerful, cinematic chorus that captures the terror and adrenaline of the hunt
The music feels tight, tense, and predatory — like a heartbeat racing in a dark forest where every branch seems alive.
Visual Concept
The cover depicts a lone figure standing beneath a shaft of blue volumetric light, surrounded by monstrous silhouettes emerging from the black. Their glowing eyes, jagged teeth, and twisting shadow-forms tell the listener exactly what this world is now:
A place where the dark is alive.
A place where the dark is hungry.
This artwork represents the moment the protagonist realizes he is prey.
Place in the Album Narrative
This track marks a turning point in THE ABYSS:
The emotional ghosts are behind him
The predators are here now
The dream has become physical
The Abyss is no longer observing — it is interacting
What happens next in the story is irreversible. Once something in the Abyss has your scent, it doesn’t stop.
For the Listener
Turn down the lights.
Turn up the volume.
Let the dark creep in around the edges.
But be careful…
Because here, in this place,
even the shadows have teeth.

Teeth In The Dark

The origin of this track has build out from a sentence, or rather a belief, of the iconic reggae legend J.C. !  This unique master and GOAT promoter of reggae, Mr. Jimmy Cliff, who recently passed away! He used the sentence from the main theme of the song as a motto for life. God bless you, Jimmy, R.I.P.!  You were one of the most influencial pillars in the lives of many musicians around the world! I played around a little in my reggae box and, as is often the case in real life, the piece developed more and more into one of my favorite genres. Well, that's just how it is with contamination in childhood, once a metalhead, always a metalhead! So, have fun with it! Spread peace and love in the world and don't forget to rock out! All the best to you!  Happy Holidays !  Booz

No slave till the grave - AmyNymA  - BoozTM WRS Promo (cathedral-edit)

006 - Mett

The Empire Strikes First

Social Suicide

Himalayan

I Feel Like Ten Men, Nine Dead And One Dying

Just playing around replicating Mick Gordon's style. This isn't the full track obviously, this is just the main riff/intro.

Mick Gordon - BFG Division (Cover)

Drist-decontrol

Voltera - do what your daddy say (by nill) (Studio Quality)

Techno, Trance, Jumpstyle, Hardstyle, House, Rock and Metal.

Voltera - do what your daddy say (by nill) (Studio Quality)

ShevXenco Official

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