#groove — Public Fediverse posts

🌬🚴‍♂️.. . . ❄️. . . . 👻

#ríogallegos #ciclismo #mtb #Funky #Groove #Kdenlive #Pegajoso #Casafantasmas #ghostbusters #slimer

https://www.youtube.com/shorts/ga8FCLJIJl4

🌬🚴‍♂️.. . . ❄️. . . . 👻

#ríogallegos #ciclismo #mtb #Funky #Groove #Kdenlive #Pegajoso #Casafantasmas #ghostbusters #slimer

https://www.youtube.com/shorts/ga8FCLJIJl4

Holy shit, I thought these dudes were gone forever! A guilty pleasure, Raunchy hasn’t released an album since I last reviewed them in my first year as an idiotic dumbass Angry Metal writer. But no one has heard from them in a long fucking time. When I first discovered their impressive 2008 release, Wasteland Discotheque, I was on a kick to explore the underground who’s who of Danish metal. During that time, I not only came across Raunchy but also Mercenary, Panzerchrist, and Dominus.1 Spread across so many varying musical styles, each band’s discog at the time was on regular rotation in the Grier household. While all but Dominus remain, only Raunchy continues to prove they can make their tried-and-true sound remain relevant.

With this year’s Prisoner, Raunchy remains the best of the bunch—the rest of these Danes reached their peak in the early aughts. But that depends on the ears of the beholder. Raunchy are the masters of one of the strangest combinations of genres, unapologetically mixing groove, melodic death, metalcore, and industrial rock/metal. They are also a rare breed for a band that’s been in existence for over thirty years: they have refused to surrender their core lineup (having replaced two members in their thirty-four years of existence), nor have they ever swayed from their style. Love it or hate it, Raunchy is one of the best of the style, and they are back to take you Prisoner.

Right away, you know Raunchy hasn’t lost a step since 2014’s Vices.Virtues.Visions.. “Frostbite” kicks off with an industrial introduction before the guitars take over the rhythm and punch it forward in a Mercenary way. It’s a safe song to begin the album because it has all of the band’s classic elements: ooo’s and awww’s, cleans and harshies, ferocity and melody, and some of the best choruses out there. The follow-up track, “Stranded,” follows in its predecessor’s shoes, delivering an Evergrey-esque mid-paced groove before alternating between calm verses and harsh pre-choruses. With each iteration, the chorus’s emotion and power grow stronger until the tension finally erupts at the end.

One of my favorite parts about the album is the flow. You might get a half-second after one song before the next begins, making it as fluid as possible. While Vices.Virtues.Visions. was emotionally heavy, some Prisoner’s tracks pack a hefty punch. “Revealing I” is a Fear Factory-infused blast attack that somehow balances each heavy riff with the absolute beauty of the chorus. While not as continuously ferocious, the back half of “Vanishing Act” fuses badassery with tripletty. Its chorus is probably the least memorable on the album, but it’s still very strong. It’s also impressive that this chorus is the “worst,” because each one is worth the time.

For example, the only good quality of the cringey, pop-synth, bitchy-emo “Darkest Self” is the chorus. And, goddamn, it’s a good one. But each time it restarts with its verse and pre-chorus pattern, I’m not sure I can make it through. “Masquerade” doesn’t have the same flaws, but it’s unique to the band, requiring a few listens to appreciate nuances. To conclude this journey of societal growth, missteps, and seclusion, the title track’s breathtaking beauty and hopefulness cap Prisoner perfectly. This new record is at the same level as Vices.Virtues.Visions. in quality and memorability. But what makes them equals is their perfect pairing: one to tear at your heartstrings and the other to empower you to get through it.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Mighty Music
Websites: raunchydk.bandcamp.com | facebook.com/ronniband
Releases Worldwide: August 14th, 2026

Holy shit, I thought these dudes were gone forever! A guilty pleasure, Raunchy hasn’t released an album since I last reviewed them in my first year as an idiotic dumbass Angry Metal writer. But no one has heard from them in a long fucking time. When I first discovered their impressive 2008 release, Wasteland Discotheque, I was on a kick to explore the underground who’s who of Danish metal. During that time, I not only came across Raunchy but also Mercenary, Panzerchrist, and Dominus.1 Spread across so many varying musical styles, each band’s discog at the time was on regular rotation in the Grier household. While all but Dominus remain, only Raunchy continues to prove they can make their tried-and-true sound remain relevant.

With this year’s Prisoner, Raunchy remains the best of the bunch—the rest of these Danes reached their peak in the early aughts. But that depends on the ears of the beholder. Raunchy are the masters of one of the strangest combinations of genres, unapologetically mixing groove, melodic death, metalcore, and industrial rock/metal. They are also a rare breed for a band that’s been in existence for over thirty years: they have refused to surrender their core lineup (having replaced two members in their thirty-four years of existence), nor have they ever swayed from their style. Love it or hate it, Raunchy is one of the best of the style, and they are back to take you Prisoner.

Right away, you know Raunchy hasn’t lost a step since 2014’s Vices.Virtues.Visions.. “Frostbite” kicks off with an industrial introduction before the guitars take over the rhythm and punch it forward in a Mercenary way. It’s a safe song to begin the album because it has all of the band’s classic elements: ooo’s and awww’s, cleans and harshies, ferocity and melody, and some of the best choruses out there. The follow-up track, “Stranded,” follows in its predecessor’s shoes, delivering an Evergrey-esque mid-paced groove before alternating between calm verses and harsh pre-choruses. With each iteration, the chorus’s emotion and power grow stronger until the tension finally erupts at the end.

One of my favorite parts about the album is the flow. You might get a half-second after one song before the next begins, making it as fluid as possible. While Vices.Virtues.Visions. was emotionally heavy, some Prisoner’s tracks pack a hefty punch. “Revealing I” is a Fear Factory-infused blast attack that somehow balances each heavy riff with the absolute beauty of the chorus. While not as continuously ferocious, the back half of “Vanishing Act” fuses badassery with tripletty. Its chorus is probably the least memorable on the album, but it’s still very strong. It’s also impressive that this chorus is the “worst,” because each one is worth the time.

For example, the only good quality of the cringey, pop-synth, bitchy-emo “Darkest Self” is the chorus. And, goddamn, it’s a good one. But each time it restarts with its verse and pre-chorus pattern, I’m not sure I can make it through. “Masquerade” doesn’t have the same flaws, but it’s unique to the band, requiring a few listens to appreciate nuances. To conclude this journey of societal growth, missteps, and seclusion, the title track’s breathtaking beauty and hopefulness cap Prisoner perfectly. This new record is at the same level as Vices.Virtues.Visions. in quality and memorability. But what makes them equals is their perfect pairing: one to tear at your heartstrings and the other to empower you to get through it.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Mighty Music
Websites: raunchydk.bandcamp.com | facebook.com/ronniband
Releases Worldwide: August 14th, 2026

#JakeWherry #OllieTeeba #TheHerbaliser

Nous sommes toujours passionnés par les éléments qui composent le hip hop : les rythmes, les samples, les sons et la créativité.

https://www.youtube.com/watch?v=ekHXIaMypuo&list=OLAK5uy_n_gj0SHk6_B9JyC-raysIrOLJac3aS4Nw&index=2

https://www.youtube.com/watch?v=CdTO7oTG0Ag&list=RDCdTO7oTG0Ag&start_radio=1

#Herbaliser #TripHop #NuJazz #HipHop #JazzHop #Downtempo #AcidJazz . #UK #Music #Electronic #Breakbeat #FunkGroove #DJCulture #SampleCulture #Underground #90sMusic #Groove #Socialmedia #tv #Interview

#JakeWherry #OllieTeeba #TheHerbaliser

Nous sommes toujours passionnés par les éléments qui composent le hip hop : les rythmes, les samples, les sons et la créativité.

https://www.youtube.com/watch?v=ekHXIaMypuo&list=OLAK5uy_n_gj0SHk6_B9JyC-raysIrOLJac3aS4Nw&index=2

https://www.youtube.com/watch?v=CdTO7oTG0Ag&list=RDCdTO7oTG0Ag&start_radio=1

#Herbaliser #TripHop #NuJazz #HipHop #JazzHop #Downtempo #AcidJazz . #UK #Music #Electronic #Breakbeat #FunkGroove #DJCulture #SampleCulture #Underground #90sMusic #Groove #Socialmedia #tv #Interview

Listen to Faia - Small Records Anniversary 2026, Smelteverket by Faia on #SoundCloud

https://on.soundcloud.com/eythDKnGhsuUoSbdS6

136-137 BPM
#techno #groove #hypnotictechno #rawtechno

Listen to Faia - Small Records Anniversary 2026, Smelteverket by Faia on #SoundCloud

https://on.soundcloud.com/eythDKnGhsuUoSbdS6

136-137 BPM
#techno #groove #hypnotictechno #rawtechno

Michael Shrieve’s Drum Solo at Woodstock 1969 🌸🥁🪻

Bit of drumming action today with a famous drum solo from the Woodstock 1969 music festival. Drummer and percussionist Michael Shrieve was only 20 back on August 16th 1969 when he performed.

He played a set with American rock band Sanata and his drum solo on Soul Sacrifice has gone down in legend (as some awesome shizz). Get ready to bop.

Shrieve’s Epic Soul Sacrifice Drum Solo

Above is the build up, with the drum solo starting at the 2:50 mark. Have a listen! Hell of a good groove.

There are a bunch of notable things here. Starting with just how young Michael Shrieve was, although he’d joined Santana when he was 19 after spending his teenage years playing on-and-off for all sorts of R&B groups. Even at 20, his playing quality is world class.

Keep in mind, he did this in front of 500,000 people and you get an idea of how nerve-wracking the whole thing should have been for someone so young (we did one gig back in our drumming days in mid-2006, in a room of about 100 people, and that was more than enough).

Here’s the drum solo bit isolated.

It’s also notable he’s using traditional grip (the left hand stick angled horizontally across his hand), which few contemporary rock drummers did by the late ’60s.

This was from the band’s debut album, which hadn’t launched yet. In fact, it launched just six days after the band’s performance at Woodstock. Their performance at the gig helped make the album a big success.

Shrieve’s solo is there in the album recording, but when you see top class drummers playing live that’s when you realise just how good they are. And it really brought in attention to Shrieve, even if he didn’t go on to become a household name (although he was inducted into the Rock & Roll Hall of Fame in 1999).

But his performance has gone down in legend as one of the all time great drum solos. But he actually prefers his live effort from Tanglewood of Massachusetts in 1970.

We’ve done an extensive history of drum solos previously to document how the drumming world has changed over the years. Shrieve’s style merged the ’60s rock drumming revolution with elements of jazz and soul.

Woodstock ’69 had a massive amount of world class drumming talent at the festival. Including The Who’s resident genius Keith Moon, Levon Helm of The Band, and Jimi Hendrix’s mighty Mitch Mitchell.

To be up against that lot, yet leave the festival as the main talking point, is very impressive indeed.

Shrieve is now 77 and still works in drumming. In July 2026 he also had his book Invisible Rhythms published (A Guide to Staying Curious and Creative for the Long Game). As the synopsis says:

“[This] is a guide for anyone who feels ‘wired different’—the musicians, entrepreneurs, artists, and creators who hear frequencies others miss. It’s about recognizing the signal before you can explain it. Protecting your curiosity when success tries to turn it into a cage.”

We can groove to that. Far out, man.

Michael Shrieve’s Drum Solo at Woodstock 1969 🌸🥁🪻

Bit of drumming action today with a famous drum solo from the Woodstock 1969 music festival. Drummer and percussionist Michael Shrieve was only 20 back on August 16th 1969 when he performed.

He played a set with American rock band Sanata and his drum solo on Soul Sacrifice has gone down in legend (as some awesome shizz). Get ready to bop.

Shrieve’s Epic Soul Sacrifice Drum Solo

Above is the build up, with the drum solo starting at the 2:50 mark. Have a listen! Hell of a good groove.

There are a bunch of notable things here. Starting with just how young Michael Shrieve was, although he’d joined Santana when he was 19 after spending his teenage years playing on-and-off for all sorts of R&B groups. Even at 20, his playing quality is world class.

Keep in mind, he did this in front of 500,000 people and you get an idea of how nerve-wracking the whole thing should have been for someone so young (we did one gig back in our drumming days in mid-2006, in a room of about 100 people, and that was more than enough).

Here’s the drum solo bit isolated.

It’s also notable he’s using traditional grip (the left hand stick angled horizontally across his hand), which few contemporary rock drummers did by the late ’60s.

This was from the band’s debut album, which hadn’t launched yet. In fact, it launched just six days after the band’s performance at Woodstock. Their performance at the gig helped make the album a big success.

Shrieve’s solo is there in the album recording, but when you see top class drummers playing live that’s when you realise just how good they are. And it really brought in attention to Shrieve, even if he didn’t go on to become a household name (although he was inducted into the Rock & Roll Hall of Fame in 1999).

But his performance has gone down in legend as one of the all time great drum solos. But he actually prefers his live effort from Tanglewood of Massachusetts in 1970.

We’ve done an extensive history of drum solos previously to document how the drumming world has changed over the years. Shrieve’s style merged the ’60s rock drumming revolution with elements of jazz and soul.

Woodstock ’69 had a massive amount of world class drumming talent at the festival. Including The Who’s resident genius Keith Moon, Levon Helm of The Band, and Jimi Hendrix’s mighty Mitch Mitchell.

To be up against that lot, yet leave the festival as the main talking point, is very impressive indeed.

Shrieve is now 77 and still works in drumming. In July 2026 he also had his book Invisible Rhythms published (A Guide to Staying Curious and Creative for the Long Game). As the synopsis says:

“[This] is a guide for anyone who feels ‘wired different’—the musicians, entrepreneurs, artists, and creators who hear frequencies others miss. It’s about recognizing the signal before you can explain it. Protecting your curiosity when success tries to turn it into a cage.”

We can groove to that. Far out, man.

#noaimusic #funk #groove #breakbeat #electro
“OneBeat12Styles”, 12 tracks, all based on the same beat.
The beat was played on an electronic drum kit, but we didn’t record the audio signal, only the MIDI triggers.
We were then able to assign different sounds to these triggers on our drum machines for each track,
thereby influencing the style of the beat.
AppleMusic
https://music.apple.com/au/album/one-beat-12-styles/6791128513
Deezer
https://www.deezer.com/de/album/1030531542
Tidal
https://tidal.com/album/543262419
or:
https://frontl.ink/zod7bx7

#noaimusic #funk #groove #breakbeat #electro
“OneBeat12Styles”, 12 tracks, all based on the same beat.
The beat was played on an electronic drum kit, but we didn’t record the audio signal, only the MIDI triggers.
We were then able to assign different sounds to these triggers on our drum machines for each track,
thereby influencing the style of the beat.
AppleMusic
https://music.apple.com/au/album/one-beat-12-styles/6791128513
Deezer
https://www.deezer.com/de/album/1030531542
Tidal
https://tidal.com/album/543262419
or:
https://frontl.ink/zod7bx7

"Tumbling Dice" is a song by the English #rock band #theRollingStones. It was released worldwide as the #leadSingle from the band's 1972 double album #ExileOnMainSt on 14 April 1972 by #RollingStonesRecords. A product of #MickJagger and #KeithRichards' #songwritingPartnership, the song contains a #blues and #boogiewoogie-influenced rhythm that scholars and musicians have noted for its unusual tempo and #groove.
https://www.youtube.com/watch?v=EMoi_m2G6XU

"Tumbling Dice" is a song by the English #rock band #theRollingStones. It was released worldwide as the #leadSingle from the band's 1972 double album #ExileOnMainSt on 14 April 1972 by #RollingStonesRecords. A product of #MickJagger and #KeithRichards' #songwritingPartnership, the song contains a #blues and #boogiewoogie-influenced rhythm that scholars and musicians have noted for its unusual tempo and #groove.
https://www.youtube.com/watch?v=EMoi_m2G6XU

Oh my love!!!

https://www.youtube.com/watch?v=s-tB9tviuWc

#freeyoursoul #southern #groove #rock #music