CHROME HOOF

Following in the hoofsteps of its crazed sophomore album "Pre-Emptive False Rapture" which hoisted them into the greater world stage, CHROME HOOF followed its P-Funk infused modern mix of Parliament / Funkadelic meets electronica, jazz, mutant disco and progressive pop with its third album installment CRUSH DEPTH which continued their experimental chamber orchestra excesses presumably while wearing their famous aluminum foil regalia! Following three years after its predecessor, the band returned with a nine member lineup only this time invited a whopping seventeen instrumentalists and vocalists to the HOOFian party pad!

More diverse and less disco-y then "Pre-Emptive," CRUSH DEPTH comes across as a mutant experiment gone wrong where the B-52s meet George Clinton at a chamber rock's cameo with an avant-metal band! Yep, CHROME HOOF may have morphed its focus but CRUSH DEPTH remains in the realms of alien space orchestra turf and al the better for it. In many ways the 13 tracks on CRUSH DEPTH that will swallow up a precious hour's worth of your life force is more streamlined and noticeably less reliant on the metal guitar heft and excessive brutal prog bombast of "Pre-Emptive." Likewise there's a bit more of a jazzy flair with some moments of pure fusion finding its way into the mix.

Where the metal, prog and punk have been exorcised like demons from a serial killing psychopath, the band brings some serious synth funk to the forefront with a militant zeuhl-ish continuity interpolated into the avant-prog weirdness and post-rock cyclical processions. Less energetic and bombastic and more chilled with a greater ambient approach that nurtures psychedelic atmospheric constructs, CRUSH DEPTH. And living up to their name as chamber orchestra (a claim that is hard to swallow most of the time), this album even features true chamber rock splendor in the form of tracks like "Witch's Instruments and Furnaces" which actually serves as one of the highlights with its herky jerky unorthodox rhythmic drive and trippy neo-psychedelic atmospheric weirdness. Even the vocals are less frantic and more based on weird. However none that prevents some heavy guitar thumping to burst in also making this one of the heavier tracks on board.

CHROME HOOF is really a unique act and hard to believe it was formed by bassist Leo Smee of the stoner doom metal band Cathedral along with his brother / drummer Milo Smee. This band crafts a unique mix of crafty psycho-pop mixed with chamber metal disco, punk funk and schizoid proggy cacophony. While i don't find CRUSH DEPTH to be quite as addictive as "Pre-Emptive False Rapture," it's a much different and varied release that showcases the band's ability to craft unique textures, tones and timbres without the excessive bombast. Some would even call it more mature but i just call it different. It's clear that the musicians are well seasoned veterans who can navigate hairpin turns like a swarm of bees en masse and while the prog, metal and punk aspects have been toned down a bit, they still erupt unexpectedly on CRUSH DEPTH when you least expect them to!

BEYOND ZADE EP

Ignoring the self-titled debut which is impossible to find the experimental chamber rock orchestra that calls itself CHROME HOOF released this three track EP between the debut and the better known second offering "Pre-Emptive False Rapture." With an album as wild as that i've never gone back to find out what came before and this little gem BEYOND ZADE dishes out all the wild and unhinged avant-prog meets electronic minimalism, math rock and occasional bursts of sludge metal.

"Krunching Down on the Skull of a Newt" opens with jingle jangles of bells or something but after nearly a minute finds a punkish guitar stomp joining in but then it disappears and then replaced by a hypnotizing Krautrock styled repetitive guitar and bass groove with only the intermittent drumming offering variation. The slowly build up introduces swing jazz horns and crazed female vocals that end up screaming as the music becomes louder and more cacophonous. After a deviation from the main groove, a new one is established only with avant-prog time signature angularity and then the original returns and bombastically carries on.

"Year Ram" delves straight into sludge metal territory with heavy distorted guitar riffs that slow down to doom metal pace. It slowly turns into a chamber rock track with the guitars dropping out and the oboe becoming the prominent sound but the doom metal aspects awake from their slumber and usher the track out with a thundering roar with increased volume, faster tempos and busy note stuffing of each increment of the repetitive cyclical loops. And then a head banging metal grand finale. Overall this short but sweet EP showcases CHROME HOOF's wild and unhinged beginnings where they fused metal and punk bombast with pretty much everything they could think of!

CHROME HOOF is a London based outfit that excels at eccentricity. They consider themselves an experimental chamber rock orchestra. They are also known for their outrageous live shows where all of the many members dress in wild outfits and perform in strange avant-garde ways. I would love to see them! The story is that the founders and brothers Leo and Milo Snee were into totally different styles of music ranging from metal to electronic. When they decided to play together they couldn't decide which direction to go... so they went every which way at once! This is some unique sounding stuff indeed. Never before have I heard such a perfect fusion of metal, electronica, funk, swing jazz and chamber music. It is flawless. This is progressive music you can dance to. While there is a plethora of musical influences on board i would have to cite the specific song "Reoccuring Dreams" from Husker Du's "Zen Arcade" album as the strongest influence for that specific track has a similar musical approach that includes the horn section that adds a melodic drive over the pummeling rhythms and song structure.

PRE-EMPTIVE FALSE RAPTURE is their second album but the one that got them noticed. I have to say that this little sucka has really gotten under my skin. It keeps me coming back for more and more and more. I loved it upon first listen but now after a gazillion listens it just gets better. I'm constantly hearing it in new ways. The music takes major liberties in its development but everything stays within a fairly structured and accessible frame. The complexities are in the background and continue to reward time and time again. Each song focuses on a different genre of music but usually includes a bit from many. On some tracks there are multiple parts. You may get a funky metal beginning followed by a swing jazz break of some sort evolving into something more elaborate. Recently this album has percolated up to a 5 star rating for me. The sheer innovation is astounding. It is catchy and progressive at the same time.  I could really see Cardiacs fans going for this one. It has that same totally whacked out approach to music but keeps it approachable at the same time.

Chrome Hoof made their Cuneiform debut this year with their fourth studio album, "Black Gold". I had never heard of the band before but it took only one listen to convince me that they were a band that I needed to pay some more attention to!

I am not entirely sure what Chrome Hoof is supposed to be; in their pictures they come off as some sort of crazy 50s-futuristic space crew. They are a large ensemble that by this album have nine full time members. And although they make interesting, unique music with varied instrumentation, they have in no way forgotten their audience in their compositions. The band has a clear sense of how to write a song with big hooks, and tracks like "Knopheria" and "Tortured Craft", with their disco-meets-prog magic, really sell this band as a different act. It is hard to single out any band member as they are all fantastic but I feel like props must be given to Chan Brown for her wonderful vocals - she really has great control of her voice and it helps guide the listener through the soundscapes the music forms.

Recommended for listeners who want to have fun while listening to their weird music and who aren't afraid of the Dark Side of the 70s

This is an interesting album. Chrome Hoof was formed by Leo Smee, bassist of UK metal band Cathedral, and his brother Milo Smee. Then they added about a hundered other people to the group. There are many instruments used besides the regular guitars, bass and drums like keyboards, as well wind and string instruments. There are both male and female vocals. Musically, they are all over the place. You will hear things similar to some PA sub-genres like Zeuhl, RIO or space rock mixed with disco, ska or IDM.

"Nordic Curse" opens with spacey sounds and vocals before it goes into some sort of Zeuhl metal. Tape gets sped up at the end. "Tonyte" is almost funk-punk. Cool bass playing. Gets more stereotypical prog sounding in the middle before changing to a kind of New Wave funk metal. Female vocals here. "Circus 9000" opens with great organ and synth. Then it goes into some sort of ska/circus music/metal hybrid. In the middle the music changes to electric piano and cello. Then what sounds like sax and guitar join in. Goes back to the previous section.

The highlight of the album is "Moss Covered Obelisk", which has some strong Zeuhl and avant-prog influences. It begins with piano and strings, then bass comes in and it sounds like an update of Magma's '70s sound. Changes to a great blues-rock part with saxophone. Later you hear the voice of a woman giving a speech. A repeated guitar part leads to a section with great trumpet. Good drumming at this point. Later some jazzy guitar and strings leads to a reggae-rock part with a great slap-bass sound and horns. A real standout track.

"Symbolik 180[degrees]" has a circle instead of [degrees], but I can't type that symbol. This song has a terrific riff on distorted synth and guitar. Nice cowbell. Catchy song, but it's way too short. "Egg 'N Bass" sounds like Polish electronic artist Bogdan Raczynski. Nice interesting song but too short. "Spokes Of Uridium" begins as jazzy disco-metal. Music gets more varied in the middle. Techno style synth sounds and drum programming come in. Goes back to the jazzy disco-metal part. A drum solo later. Then someone on something does an imitation of the opening guitar sounds of Sabbath's "Iron Man". Intense ending.

The album title is pretty neat. I haven't heard their first album but I have heard their latest 2010 album. It hasn't been added to PA yet, but I didn't enjoy it as much as this one. These guys get points for at least attempting to mix different genres together in a unique way. The combination generally works. I like that they mix both old school prog sounds with more modern non-prog elements. This comes highly recommended, but I'm not sure to who. Anyway, a great album that should be heard by more people. 4 stars.

Skunk Anansie meets Lene Lovich in a Zeuhl world.

Here's an oddity if there ever was one. I'll start with my final impression, stripped to the bone, and nurtured after repeated listening ' this is an entity that can be recommended both to old fashioned prog purists as well as to the fans of new school(s) of prog. It's accessible, it's bizarre, quirky, you name it. And it's impossible to pin-point it down; after a hail to the Wagneresque heights of Norwegian gods in majestic chugging, the next moment is poppy, disco-ish, funky (sort of B 52's or CHIC mannerism) but with angularity of KRAFTWERK robot movements. Not to mention only a hint or two, presented by a bare innuendo, of our beloved genre - a hint of fusion, MANDRILL-style, presented by a spacey tap or two of digital delay.

When a vocal pops in, it's a rich timbered female one, suitable for any gospel choir. Her vocal expressions are varying from a modern r n' b level (sic!) to the most evil commando on the most distanced Zeuhl planet! Now there's something to scratch your head about. If we throw in a solid amount of avant approach, an incredibly overdriven organ in 5ths and a teaspoon of vocoderized, undecipherable motives to make it sound shiny happy poppy - there's nothing else to do but to recommend it to everyone interested in vivid, colourful collage of humorous and bizarre ingredients. Recommended. Again. Recommended.

This band, for better or worse, should become huge as they cross so many musical genres and are building up a pretty dedicated cult following , mainly by playing live. Pre-emptive false rapture is as eclectic an album as you could possibly require. If like myself you want to hear something different and something which will surprise you, yet you can still dance to (on some tracks) and so possibly take your girlfriend to a gig without losing credibility then this is your band. Think of a mix between sun-ra, funkadelic, metal and prog and you're getting close. Their audience ranges from 50+ proggers, female students, mixed races, metallers - anyone really.

Everything is here - great playing, diversity, strange time signiatures and structures but without being as cliched as many modern prog bands. The band members fluctuate but any band which utilises bass, keyboards, bassoon, violin, guitar, drums, cello and more - probably all at the same time, gets my vote. The new tracks they are playing post PEFR are sounding great too. They are doing a gig soon with Krautrock legends Cluster.

There is a couple of slightly less great tracks so i'll give them 4/5, but i'd recommend this cd to anyone.

The name of this album from this fairly goofy, yet talented band sounds like a cliche parody, but that's all part of the fun.

This is an enjoyable, quirky, fun and experimental-sounding album which draws from Norwegian Metal, Grind, Funk, Psyche, Disco, Techno, Zeuhl, Krautrock, RIO, Doom, Avant, Canterbury Scene, Punk, Jazz, Acid House, and NWBHM influences, as well as others. A qualm one may have with the album is that it can be rather derivative, but I find that can deepen one's appreciation as one picks up on musical reference points. It sounds so familiar (it has retro qualities), despite the diversity, and I noticed certain pieces (parts of tracks) that practically seem lifted from other works, aside from wearing the influences on its sleeve (but, sadly, these are not mentioned in the liner notes). I've thought that it might be a fun exercise to spot the numerous musical references. Being a Magma fan, the direct Magma references were particularly noticeable. However, one can look at this in part as homage to certain bands and styles, while the whole package put together is quite unique. The overall package is really quite ingenious (some will find it not cohesive enough).

Nordic Curse is sort of an homage to Norwegian metal bands, but I also discern a Black Sabbath influence in this track. Nice.

Tonyte is a great driving funk/disco track with some Zeuhl flavour -- lots of groove, but, be warned, it's not very danceable.

Pronoid: I've heard the Graham Massey's remix was quite popular in some nightclubs. It's a house/ funk/ disco/ breakbeat/ post-punk piece with a New Wave influence. I like it.

Circus 9000: This is a great track. The craziness reminds me somewhat of Fantomas and Koenjihayakkei. This really feels like a circus. The post punkishness is interrupted by a chamber music segment a la Univers Zero, or later chamber rock bands.

Moss Covered Obelisk is the Prog epic, along with Spokes of Uridium. It starts off in Magma's Theusz Hamtaahk territory, and later moves into Köhntarkösz territory, and has Paga qualities (like Une Parcelle d'Urantia). it's very obvious to me that the bass work is inspired by Bernard Paganotti. It also has hints at groups such as Fantomas and Kramus. It's a very good track which I'm not describing adequately. The sax reminds me of Zorn, and the track has Zappaesque and Sun Ra qualities.

Leave this Ruined Husk is really noisy and has, again Fantomas like qualities, and a jazzy experimental metal, as well as a post-punk attitude.

Symbolic 180 Degrees is difficult for to describe at this time, so I won't really, but it has post-punk qualities with passages reminiscent of Vortex... or Zao.

Death Is Certain is doomy metal but with avant/ jazzy qualities/ passages. The growling makes for interesting contrast. I really like the repetitive Canterbury-tinged chamber rock passage in it.

Astral Suicide is crazy and noisy, but a little spacey too.

Egg 'n Bass: I'm guessing that this name is an EGG reference (the band, not the ovum). It's a fine little electronic/ IDM piece.

Spokes of Uridium is a very good track. Very funky and cool with extreme jazz-metal elements. One of the best tracks.

Anyway, I really like this album, and despite any evident influences, I think that Chrome Hoof has something different to offer to Prog fans, and is well worth checking out. I love the contrast and diversity of styles, and despite having listened to this album many times, I'm constantly discovering things in the music (even if I have difficulty describing those things). Like Prog generally, it takes repeated spins to really get the music. I'm a real lover of funk, and so that is what drew me to the music originally, and I really dig their disco sound. It's great fun and with so much groove. This is musically different, yet familiar.

As for the rating, I am torn. Personally I'd like to give it four stars, yet three may be more appropriate. I'm giving it a four for now, but that is subject to change.

To redundantly repeat part of my C.H. bio: I recommend this for those who enjoy diversity in their music, and are not scared to take an alternative Prog route where the funky disco queen resides ensconced by chrome monks in her bizarre disco-ball palace.