bidhardcore.com

I’m pretty sure the seller here (athenar66) is Jaimie from Midnight*/Boulder, which if you were to be excited by that sort of thing should be exciting. The listings are minimal at best, so I’d guess some low prices are gonna be the final bids.

 He’s got the rather indispensable Ringworm demo 7″up for sale, which has a different mix than the version you can get on CD with added vocal effects, and with the Night Breed interludes removed. As so many people have wondered, why did they choose NIGHT BREED of all movies to steal the music from? Anyway you cut it though, this is the best Ringworm release. Ringworm is basically the perfect idea for a band if it’s 1991. Take the Raw Deal and Cro-Mags demos, combine with early Possessed and Death, maybe a little old Slayer, blend until it’s at maximum kill-your-mother headbanging potential, listen to 6 times a day.

Now I celebrate their entire catalog, and I know this demo doesn’t open with Numb, but it’s pretty obvious the performance on here is just better than their subsequent lp, which they admit to having been a drunken and rushed recording session. It really doesn’t pack the same kind of punch as this demo because it’s got such a cheap production and that’s maybe the biggest travesty of their existence. Sounding much thinner, although to be fair, the 7″ version of this really doesn’t sound that great and is mostly a curiosity, and overall just delivered with less percision and power. Forget about remixing the lp though, Human Furnace traded one of the reels for Kiss memorabilia. :sad slide whistle: I mean no disrespect though, even with its imperfections, The Promise is still perfect, I just like the demo a little better.

The sleeve for the record also doubles as issue #5 (I think) of Bloodbook fanzine, which is stapled inside the record sleeve. As I recall it’s borderline illegible due to small print and a questionable computer layout. I think Gehenna is interviewed, and there might be an article by Bobby Corpsegrinder. I think there’s a bunch of “noise” stuff too, like Lockweld covered in it. Not like you care. Definitely one of the less interesting issues of Bloodbook.

If you’re so inclined to check out the other auctions here, don’t miss the S.D.S. “Scum Kill System” 7″, easily one of the best metallic hardcore records from Japan ever, or the TKO’s “Don’t Pull the Plug” 7″ which is a little known 90’s Cleveland punk gem. I can’t tell what edition that SOIA 7″ is so proceed w/ caution. Also if your name is Derek Scace, you’re gonna want all those Stiff Little Fingers singles.

*Best current metal band in the world.

Hey everyone, it’s time for another guest posting, this time by Tony Rettman who you might know from WFMU radio, http://200lbu.blogspot.com/, or hanging around New Jersey record stores for the last 20 years (I’m guessing). Check out the radio show, lame bands like Mind Eraser get to play on it sometimes.

TR:

I’ve vented my spleen more than a few times over the revisionist ways of youngsters regarding the infamous Mutha label. How and why and where this label got the reputation it now has I cannot pinpoint. What I do know is most of their releases were laughed at, spat on and most possibly shat on when they were originally released in the eighties. There’s no denying the label is an intriguing chunk of underground history, but the amount of actual worthwhile material released on the imprint is miniscule at best. One slab they released that I will throw my weight behind is this Cyanamid seven inch from 1984. Cyanamid is one of those rare bands that just seem to sound stranger as time goes on. When I was a wee nip, their live sets were nothing more than a confusing mess. On record, they could sound like anything from Flipper on 16 rpm’s to abuncha wind up monkeys on outdated cough syrup. At the time of this six song seven inches’ release, I chalked it up as a novelty and that was that.
 
Upon further listening in the past few years, Cyanamid’s frenzied sound has reminded me alot of the slash-and-burn improvisational style of stuff like Rudolph Grey’s Blue Humans or late eighties Lower East Side noiseniks Demo-Moe. It is at this time I will stop typing and imagine the entire bid hardcore audience staring at their computer screens in utter confusion at those band names while the sound of crickets can be heard from outside their window. Hey…what can I say? I’m just trying to broaden some horizons…to turn some people onto some outlandish sounds…I’m also trying to get rid of some extra Blue Humans records I got laying around this place. Hi-Ya! Napalm Death send props out to Cyanamid on the inner sleeve on ‘Scum’* but I’ve always thought of Cyanamid as way more gnarled and loose than Harris and company. Nonetheless, you probably should get this to complete your Mutha collection and further your standings as a Hardcore nerdboy. I mean…even if you don’t dig it, at least you’ll have something to talk about with your pals at the next Punk Rock show before you go home to spend another wonderful night cold and alone with your records.

*note from cc: I was advised to fact check that they do indeed get a shoot out in Scum, however I was not able to because I originally owned it on tape (thankyou list was removed from the layout), the booklet to my CD appears to be missing, and the only vinyl I own is a test pressing (ahem, dated june ‘87). So while I’m not able to actually look this up, I can own up to having Scum on 3 formats, and of course that little ol’ test press.

Metal Monday vol. 18 

Sodom are OLD dudes. I don’t really know how they’ve been at it for like 25-ish years making German style thrash metal, or why, but every couple years they drop another album on some Euro label. Their first E.P. “In The Sign Of Evil”has a complicated history of remixing, re-recording, etc. But here’s the original version of it on Devil’s Game records which I think is just some imprint of SPV anyway. Sodom historically were kind of influential to the image of what later became black metal (you know… that stupid collection of overpriced tapes your friend refuses to stop accumulating…) as they were an early example of a metal band taking “evil” aliases like Angel Ripper and Grave Violator, something that’s now a time honored tradition. I think they might have predated Hellhammer on this practice by a little bit, although maybe not. Truthfully this probably qualifies at most as “Black-Thrash” and isn’t anywhere close to the pure Black Metal sound Bathory was busy pioneering at the time. Regardless, it’s well rated by genre purists because of the general “savage” rasping style vocals, and the low level of technical prowess displayed on the instruments. Basically, they play like total shit, and can’t keep in time with eachother, which is both the reason for all subsequent re-recordings/remixings, and the reason why this is the only version anyone wants. Sodom eventually got decent enough at their music, to seem competent, and with Destruction and Kreator flanking them, put Germany on the map for brutal thrash metal in the 80’s. I’ve always been more of a Kreator man, but this is an entertaining listen. I prefer Sodom a tad later in their career, but they’re die-hards, and I can respect anything they do. They’ve aged better than most (Venom, etc.).

• Interview with Ian Leck from The Vorhees.
• Some thoughts on BidHC, “punk blogging”, and rising ebay prices.  
• Suburban Voice Blog maintained by Al Quint. Lots of reviews!
• Adolescent Skins blog. Mostly dance hall reggae write-ups so far…

Hey, it’s post #100 for us today. Thanks for all the positive feedback and support so far. Hopefully this will stay interesting for everyone and we can keep having fun… Got some quick 1 or 2 liners today for a picture post… Feel free to leave your comments.

Love the CXA song on here. Super sludgy intro. Definitely the best Turning Point song on this comp too. Actually pretty much everything is awesome. Kind of a lesser Burn song, but it’s still Burn.

It’s kind of weird that I think this record cover looks so cool, because it’s just a bunch of scratches or pen marks, but it’s always looked super cool to me. From a time when taking the name “pure hate” would not have been associated with a scally cap.

Oh you’re gonna want that Cruck track. Maybe not for this price, but you’re gonna want and need it. Are they the America’s Hardcore of Japan? Maybe they should get more credit than that… Comp track only bands… HOW FRUSTRATING.

Seriously… this record’s not even good. My rule of thumb though, is I’ll buy any Spazz record I don’t have for $5 or less. Even when the vocals get super stupid, the song’s about underwear, and there’s a banjo overdub into a Welcome Back Cotter sample, you can find a good riff. It’s just usually followed by like… a duet between Elmo and Grover. I respect the guys in the band though. They had a good hustle even though making “Power Violence” “funny” was the worst move ever.

1993 is typically considered a dark time for Hardcore and Punk, and with good reason, basically everything coming out sucked. Straight Edge bands were playing too slow, Grindcore had already peaked, Ebullition style emo was popular, everyone was drowning themselves in their own white guilt. This was a time when people thought Lifetime “Background” was good and mature (it’s neither, duh). I guess Japan and South America were still holding it down, but in my mind I always think how horrible things were for USHC styled stuff. One of the few killer records for that style actually came out of the UK that year, the Voorhees “Violent” 7″. The record sleeve has a picture of one of the demons from Evil Dead 2 on it, and it’s packed with 10 songs, probably in tribute to the Negative Approach E.P. w/ the Exorcist cover. Pretty much if you combined that record with some of the burlier Boston HC from the same time (SS Decontrol, Siege demo, Impact Unit), and maybe a little early Ripcord and Rupture, you’d get Violent. So yes, it lives up to its name. One of the all time great hardcore/punk vocalists is without a doubt Ian Leck barking it out like a hellspawn of John Brannon and Dean Jones (of ENT). He’s still got it too, 15 years later, playing in a few different bands from the UK over the past few years (most recently Meat Locker). I believe this one was run off in a standard edition of 1,000, with some on red on the band’s own “Armed With Anger” label. Definitely hasn’t been in print since the 90’s  and at some point people are going to realize that it’s a “must own” and start paying real money for them. Til then I’m filing this under “cheap picks”. If you’ve never heard Voorhees this is a great place to start.

Once again, sorry for getting so carried away yesterday, I know I said it would be a marathon post, but there’s obviously way too much to read, especially on a hardcore blog. Forgive me father. Today I will keep it simple with some short-hair music, and I promise no term papers.

 You pretty much can’t beat this for Straight Edge HC rarities outside of a Judge Chung King 12″: Youth Of Today “Break Down The Walls” on red vinyl. Everyone knows this is THE album for mid-80’s straight edge hc. Raging and fast enough even for the druggies out there. Most people also know the Wishingwell edition has a much better mix than subsequent Revelation versions of the record which have additional reverb added, and some kind of obnoxious Mutt-Lange style gated snare sound (check Phil Colins “Air Of Night” and listen for when the drums come in if you don’t know what I mean). The recording is still kind of unbalanced though. The toms are really loud in some places and sort of sound like really big boxes when they get hit, the snare kind of fades in and out in places, the guitars are too quiet in some songs, the whole thing just isn’t that clear sounding. I know they probably thought they had to go to a big studio to make a big lp, but they probably would have been better served cranking it out in a day or two at Don Fury’s 8-track Demo-Demo. It’s just kind of surprising that the premier straight edge band of the day couldn’t get a recording that sounded a little better.

On the whole YOT actually had really bad luck with recordings through their career. The first 7″ sounds like everything was recorded through one of those soup-can telephone toys you make when you’re little. The original mix of the lp that follows this one has drums that clip badly, thin guitars, and the remix of the same album has drums that are off-time. In the end, the Wishingwell version of “Break Down The Walls” is actually one of the better sounding things they ever released. It’s all sort of irrelevant because thousands of people the world over have been moved by these songs time and again, but still it’s odd to think about.

Red vinyl copies of this barely exist.  Look no further than this passage from the Revelation Discography txt file for the explanation:

“The 150 count on each of the records is what Porcell believes to have been made.  100 of each color were given to the band to sell, but before they had a chance, everything from their van was stolen while parked near CBGB’s before a show.  Assuming the thieves were not hardcore kids and were more interested in selling the band’s equipment than some silly records, it can be inferred that the majority of these 200 records were destroyed (a few were given away at the show before the rest were stolen however).  A few years later, Wishingwell sold their remaining copies to local Orange County record stores.  The difficulty of finding either color of this record can be attributed to their initial limited pressing as well as the alarming 66%+ destruction rate.  In another fairly distressing yet humorous twist to the plot, I was told that the owner of one of the stores that got a number of the remaining color vinyl copies, took a dozen or so red ones home and nailed, yes nailed, them to his back porch and watched them curl up in the California sun.”

With the American Dollar the way it is, I expect an all time high for this. I got ripped off on the sale of one once. A really bummer day. Anyone who wants to mail me a free copy to replace it, please get in touch for my address.

Marathon Metal Monday part II (aka Metal Tuesday) All logic dictates that Dark Angel ought to have gone into severe creative decline following Darkness Descends. Observe:

• Strike 1) Any band playing an extreme derivative of “rock” (Death/Black/Thrash Metal, Grindcore, Crust punk, etc.) without significant evolution to their sound will probably enter into a state of diminishing returns starting with their 3rd lp. This rule applies most often to bands below the first tier in their chosen genre, but often afflicts the best of them. There are ways of dodging this slump, but it’s difficult ground to tread. As Dark Angel were playing basically the same style of thrash they began with, albeit increasingly more technical, it follows that they probably were not going to improve their song craft significantly now that they were most likely spending more time distracted by road life, (more drugs, more women, long bus rides), and probably trying to take breaks from road life.
• Strike 2) Loss of key members. A loss of key members integral in shaping a band’s sound can spell disaster for obvious reasons, especially when the remaining members choose to make a new lp. Following Darkness Descends, Dark Angel had to fill not only the former guitar slot of Jim Durkin, but also the dreaded replacement vocalist position. Brett Erikson of Viking stepped up as the new guitar player, and the always bloated looking Ron Rinehart stepped into the vocal position.
• Strike 3) Playing a style that has already reached a plateau in popularity and/or general creative possibilities. It’s pretty well accepted that thrash metal was a spent force by the end of the 80’s. To loosely quote Blade Runner “The light that burns twice as bright, burns twice as fast, and you have burnt so very, very bright”. After Reign In Blood and Master Of Puppets, thrash was in a tricky bind. Generally bands tried to play even more brutal than Reign In Blood (and also Kreator’s - Pleasure To Kill), at which point you’re going to be pushing into early Death Metal territory, or more progressive and technical than the Master Of Puppets template, at which point, shit gets tedious.

As You can see the cards are stacked against Dark Angel circa the late  80’s and they’re stacked TALL. I never had any interest in hearing their 3rd lp, Leave Scars until recently when I read about how good it is on the aforementioned (yesterday) Metal Inquisition blog, but once I did, I had to hear it. So it came to pass that Leave Scars is now my favorite entry in the Dark Angel catalog. It’s the album Darkness Descends wants to be, and frankly if they could have dreamed it up sooner, the world might have had an entirely different view of Dark Angel. Gene Hoglan’s drumming is more ferocious and speedy than ever, absolutely no disrespect to Paul Bostaph (:Rodney Dangerfield voice:), but Hoglan should have taken over on the kit during the Slayer/Grip Inc. era. Thank God/Satan he’s got that cartoon network deal paying the bills.Besides the ferocity of Gene Hoglan though there are 2 things that make this album work better than the last.

• 1) Serious increase in dynamic song writing.
• 2) Moderate increase in dynamic vocal  delivery.

In other words, the song-writing and vocals are stepped up a couple of notches. The songs have a huge increase in the number of tempo changes, and because of that it follows that the individual sections stand out better because they have something to contrast against. A great example of this is the epic jam “No One Answers”. You get some serious octopus styled drum action kicking things off, before going into the grooviest mosh part to date in their career. The kind of thing I don’t think the band would have taken the time for in their earlier days. A side note, the double kick in this section sounds awesome. Heavy and boomy and not typewriter-ish at all, which is because Gene Hoglan is legit and doesn’t need drum triggers. The riffing when the song takes full speed is practically at a Forced Entry/Vio-lence style level of difficulty, that is, about as technical and flashy as straight thrash metal can get. The riff-fest continues for almost 8 minutes with muscular narration by Rinehart who has a deeper delivery than Don Doty ever managed, and a more consistent one as well. Maybe the Hetfield to Doty’s Bauloff (R.I.P.). Not as wild or crazy, but with more of the necessary power and control. Leave Scars brings it all together. The speed and power of Darkness Descends, the crunch and bludgeoning mosh of the best Slayer, the technical prowess and ambition of Metallica (but with obviously much better drumming), a few brief melodic passages, everything is in place. Unfortunately, between 1986 and 1989 a few things had happened. Specifically:

• 1987) Scream Bloody Gore, Scum
• 1988) Reek Of Putrefaction, From Enslavement To Obliteration, Leporacy
• 1989) Slowly We Rot, Alters Of Madness, Left Hand Path, Symphonies of Sickness

In short, metal-heads invented Death Metal. Even if you write the heaviest Thrash album ever (and Leave Scars is a legitimate contender), it’s going to sound like Thin Lizzy up against debuts by Morbid Angel, Obituary, and Entombed. People had been talking about the rising Grind-core  and Death Metal trends since John Peel started playing Carcass and Napalm Death, and ‘89 was the year it really became impossible to ignore. There just wasn’t a lot of room for a band that had always been considered second class when a whole new crop of infinitely more extreme groups had stepped into the spotlight. Oh and, in case you forgot, this is the 2nd Dark Angel lp to have horrible crappy artwork. This one has a little kid in a room full of stuffed animals with an ominous shadow cast over the room like there’s a monster coming out of the closet. The Dark Angel logo is in 3D and the room seems to be bathed in pink neon light. God this record cover sucks so much. Any hope they might have had of being noticed for an outstanding achievement must have gone down the tubes with this one.When we meet Dark Angel again the year is 1991. Things are looking BAD. Thrash is dead. Like really dead. Metallica and Megadeth are playing A.O.R. rock versions of their old sounds, Slayer now has vocals that are screamed on key, Exodus is a distant memory, Death Metal is massive, and worst of all “Grunge” is breaking (or at least about to). I’m sure there’s pressure from the record label to do something commercial, and I will say Ron Rinehart’s vocals take on a little bit of a “…And Justice For All” type Hetfield quality on Dark Angel’s final lp, “Time Does Not Heal”, but other than that, there’s no concession for any popular trends of the day in heavy music. Actually “…And Justice” is a pretty good comparison for the music on here too, because it’s just endless riffing, and endless long songs. I can’t say it’s as good as the 2 lps that precede it, but I can respect it for being wildly self indulgent and hopeless of having any commercial appeal. How self indulgent you ask? “Time Does Not Heal”is infamously known for being comprised of 246 different riffs.  For a 9 song lp, that averages to a little more than 27 riffs per song. To say this is a challenging work that can only be taken on its own terms would be a cliched understatement.Commercially this album fared most likely worse than the previous ones, and again it has a terrible cover that could have only hurt sales, this time it has some C-grade model in a fuchsia turtle-neck trying to escape some kind of evil alleyway lair type thing. I can only wonder why. But horrible cover aside, I find it admirable that Dark Angel goes out with both guns blazing here, making the most complex, and over the top album they possibly could without changing their sound really, which is something few Thrash bands could lay claim to when all was said and done. I think that’s more than enough. Apologies for 2 bloated posts about a bay area thrash band, tomorrow it’s bidHARDCORE.com again. PEACE.

Traditionally in Boston, Massachusetts, sometime in mid-April, the Boston Marathon is run by hundreds of people more physically fit than me, effectively shutting the entire city down, and creating a long weekend for all non-retail employed residents. As a celebration of this, I’ve prepared, partially in advance, a MARATHON METAL MONDAY posting. By that I mean it shall be longer and more detailed than average, so long in fact that it’s spilling over into tomorrow’s posting. Unnecessary? Maybe, but I’m having fun. I’d like to give a shoot out to MetalInquisition.Blogspot.com today for partially inspiring this post with their great Death Angel vs. Dark Angel posting, and for generally sending me into thrash metal overload recently with these kind of discussions.

Metal Monday Vol. 17 (part I); Marathon edition:

Dark Angel might win the title for “best of the also-rans” which sucks because they’re actually pretty awesome and deserve better. But wait, before anything, please check out this DISGUSTING photo of the band below. Based on this photo I would wager that no one in the group has slept in 5-10 days, opting instead to do their best to smoke an entire garbage bag full of carpet meth, possibly pausing to eat something without any nutritional value like a fruit roll-up or some french fries. I’m not sure if you eat when you’re high on meth for an entire week? Seriously this should be on the cover of a Carcass lp it’s so disgusting looking: http://www.painkillerrecords.com/cc/bidhc2/126_photo.jpg

Hey WELCOME BACK! I hope that you didn’t have too much trouble cleaning the puke off your computer screen.

Dark Angel got their start in the Bay Area like a million other thrash metal bands, around ‘83 or ‘84. They went through the requisite lineup changes of singers, guitar players, roadies, got some demos out into the tape trading scene and made a name on the local gig circuit. It’s pretty clear from the get-go they were most influenced by their much better known bay area brethren, Slayer, and because of this their career could only exist in the shadow of Slayer who got all the breaks that Dark Angel never really could. Their first album (which spurred me into making this post) “We Have Arrived” (ha, what a title), originally came out in ‘85 on Metal Storm records with a cool looking pen and ink black and white cover with demons, zombified metal heads and a big tombstone. In fact this was the only time in Dark Angel’s entire career when they would have a good looking album cover. I think there is actually a later issue on Combat or Metal Blade with a stupid looking revised cover. What a shame! Musically things are pretty similar to Slayer’s “Show No Mercy” which leads me to believe these are probably songs they had been gigging out with for a couple years already because at that point this stuff ought to have sounded a little outdated. This would be from the same year Slayer was already issuing Hell Awaits which I’ll get back to in a minute, but at any rate, they were being outclassed by their competition here. No Tomorrow will give the seasoned listener a bit of a laugh when the main riff kicks up as it’s more or less the “Ice Ice Baby” to Hit The Light’s “Under Pressure”. Every time I listen I expect the first line to be “No Life ‘Til Leather”. Of course they try to speed it up so you don’t notice as much, but it’s hard not to. Despite all this, “We Have Arrived” (maybe it needs a subtitle like … “Late For the Party” or something) is pretty durable speed/thrash offering, like a junior “Bonded By Blood” or the aforementioned “Show No Mercy”.

As I noted already Hell Awaits came out in ‘85, and if you need any more proof on how much of an influence Slayer was on Dark Angel, look no further than their second album, and by far best known, Darkness Descends. Hell Awaits was extremely progressive and technical for its time. The songs are probably the longest of Slayer’s career, there’s numerous riffs in every song, and the vibe is really dark, an early prediction of death metal I suppose. Thus when Dark Angel assembled their follow-up with a new drummer, Gene Hoglan, who today has the reputation of being one of the fastest and most precise drummers in metal, they adjusted their level of precision and shredding to match. Also, for you tv fans, he’s one of the studio musicians that plays on the Metalocalypse cartoon show. Anyhow with a world class drummer Dark Angel was set to try and out-tech Hell Awaits, to beat Slayer at their own game, and one would assume ascend to the level of Bay Area main attraction. Unfortunately for them, this was the year Slayer released Reign in Blood and Metallica issued Master of Puppets. OUCH. First of all the very band they’re obviously copying pulls a coup on the scene, signs to a major label, and then issues an album where half the songs are less than 3 minutes, and manages to out-brutalize everyone. Secondly you’ve got Metallica proving even with the worst drummer out there they can still write the most technical and progressive album of the year.

Darkness Descends breaks open with a massive sounding title track that has a serious slam inducing intro, which perfectly follows the Hell Awaits template. You can just see the denim vests flying. But what Dark Angel really came to do, and mainly what they show off on this album is speed. I’m going to agree with the opinions of many, that for the era Darkness Descends is one of the fastest records around and it’s extremely tight as well. Every 16th note falls exactly into place like bullets fired from that gatling gun Arnold is lugging around in T2. I guess the biggest difference compared to Slayer, is that Dark Angel actually have relatively coherent solos, which they’re very happy to show off to you at various intervals. A secondary, but probably more important difference is that even at their most self indulgent, and least commercial, Slayer had a knack for bludgeoning you with things that were catchy. They had a sense of when it was time to change tempo, when the song didn’t need another bridge, and I say that full well realizing that Hell Awaits is a monstrously self indulgent release. Because even at that, Darkness Descends is more so, and though it’s still EXTREMELY good, and totally classic, it’s also a total blur by the end of the first side. There’s just a bit too much speed, too many monotone shouts, too much tremolo picking and pinched note accents for much sense to be made of the proceedings. I wouldn’t say that it’s impenetrable, but it’s VERY dense. To make matters worse, Darkness Descends begins a 3 album streak of some of the WORST cover art ever to see the light of day. On this album we have a pair of claymation hands popping out of the ground in front of a Styrofoam tombstone, and a big ugly purple yellow and red Dark Angel logo next to it. This cover would be extremely scary if: you’re 6 years old, scared by the video for Thriller, or afraid of clay. I cannot believe anyone at the label OK’d this. Seriously no one could get a couple hours of Ed Repka’s time? Welcome to Will Vinton’s Spooky Halloween Party, Featuring the California Raisins, and TV’s Gene Hoglan!!!

Tomorrow you get part 2 my Marathon posting… and then I’ll get back to the hardcore and punk I promise. I’ve been thrashing all around and acting like a maniac just a little too much lately.

New feature: a post each Saturday with links (relevant or interesting).
Slipknot 7″ on True Punk Metal blog.
Some nice words to say about this blog and about CC’s writing on 200lbu.
A review for the Hellhammer 3xLP reissue that CC wrote for Stuart Schrader’s shit-fi.com.
Chucky Edge interviews Sweet Pete.
Recent interview with Curtis Canales from Chain of Strength in Tim McMahon’s and Gordo’s new blog.