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Items 1 - of Review: After kicking off with a selection of artists pushing hard on the serious electro .. Exzakt himself drops a taut and wiry dancefloor bomb in the shape of " Kreep. Played by: Billy Nasty, Mimi This includes the zany, hip-hop-meets -IDM bubbler "Frankie's When I Scream You Scream (). com/thread//proposed-meeting-engagement-scenario-based-hector1 dansunah.info dansunah.info dansunah.info OT, some fun: check out the newest pics from our leader of the free world (that's what some Kraut-kreeps from the The “10, hours of practice” meme makes a comeback in the Guardian. .. If she was a tranny, I'd kick her in the nuts . over his head and the desperate struggle to reach Dunkirk.

The arguments came one year to the day after the botched execution of death row inmate Clayton Lockett. Lockett writhed on a gurney for more than 40 minutes after receiving the drug cocktail meant to kill him. In the interim, reserve deputies may only be used for law enforcement if they are partnered with a certified deputy. Bates pleaded not guilty and is currently out on bail.

At his initial court appearance, he was granted permission to go on a previously scheduled month-long family vacation to the Bahamas. A ruling is expected in late June and could affect states that use similar methods to carry out death sentences. Earlier this year, in advance of the Supreme Court case, Gov. Other states in a similar predicament have considered bringing back the electric chair and firing squad as sanctioned alternative capital punishment methods.

In a survey of metropolitan areas, the Tulsa area ranked 12th for the number of high ozone or smog days in Tulsa had 57 ozone alert days last year, compared to 76 ozone alert days for Los Angeles, the biggest offender. Oklahoma City and Shawnee were 15th on the list. However, the study ranked Tulsa among the cleanest metropolitan areas for hour particle pollution.

Corporate representatives claimed the building had chronic plumbing problems. Employees who did not qualify for a transfer are receiving regular pay for 60 days. The Tulsa closure was one of five announced that day nationwide due to alleged plumbing problems.

The store will be closed for at least six months. As of late April, Walmart still had not filed plumbing construction permits with the City of Tulsa. For years, the tobacco industry has promoted a richer, more glamorous life through smoking.

May 10 Bible Lesson: Wildly, my interrogator became loud and animated. Mountains of statistical evidence1 align with my personal reality as a black male and alert observer in Tulsa. On April 17, I was crossing a concrete path in downtown Tulsa.

Drillers fans will know the spot; many regularly traverse it in the hundreds en route to the stadium. It was about Apparently sporting bulletproof vests under their shirts, both were heavily armed with guns, Tasers, mace canisters, extra bullets, handcuffs and a passel of communications gear.

They walked briskly toward me as the lead officer loudly asked if I knew was trespassing on rail property. In a cynical tone, he asked why I had ignored the BNSF signs and pointed toward one of two concrete pylons on either side of the walkway. I told the officer that it would help if the signs werehigher and more prominently lettered.

Clearly irritated, he asked if maybe the signs should be neon. He then began to lecture me. Tiring of the exchange and wondering how it would end, I must have shifted my stance slightly. He angrily said he would now photograph me for the BNSF database and demanded my name, age and address. The face-off was humiliating and rife with the potential of being shot in the ass for doing exactly nothing. Another unforgettable event took place about 18 months ago. They backed down only after the nurse intervened.

My experiences in Tulsa and the police overreach coming to light nationally might not all point to the exact same phenomena. But they share a racially tinged, arbitrary and monstrous disproportionality. Federally collected data6 show that, compared with white males and females and black women in often-identical police encounters, black males are at far greater risk of being injured or killed by police.

In addition to increasing police militarization7 and digital audits of police work, many experts single out our reckless war on drugs as fueling the rash of recent police brutality.

In our modest-income communities— and most heavily in our neighborhoods of color—the drug war has normalized a dysfunctional web of tactical operations, sting and informant practices, entrapment troupes and improvisational drug raids. These ops would be unthinkable in whiter, wealthier parts of our cities. Their sound, which is full of time changes, comes pretty close to labelmates The Fucking Champs, particularly on the title track.

He assembled a group of musicians to recreate those samples using live instruments, as well as compose original tunes. It wasn't until I researched them a bit more that I found out these snipets are performed by the band itself.

The original songs are also excellent funk compositions, with plenty of breaks that will surely be sampled in the future.

My only complaint is that there is no track listing and no direct credit from the loops to the original recordings, making it impossible for a neophyte of this genre to find any of this wonderful music. Freaking intense music with deep, thought-provoking lyrics.

Makes for a lethal blend and that's a good way to describe BB. I remember them laying on the hardcore but with a bit more melody and funk. Check this for some crunchy, phat-ass hardcore.

Touring the Southern California coast, Buellton brings along a guitar sound that mesmerizes behind the vocals and lyrics of John Nygren. This disc is one to play from beginning to end. Built to Last consists mainly of 's Electro and a few rap numbers that will leave you on the floor. Their skills at the decks are unmatched, and with the unavoidable revival of Electro and '80s dance music, BPST are, as usual, ahead of the curve. The first two songs are addictive. They blend right into each other and knocked me on my ass.

And then it just keeps going. The third track, track five, and track nine have this amazingly dirty sounding guitar in it, like the guy's run his guitar through distortion, plugged into distortion, plugged into distortion.

This is the best hardcore I've heard in a long time. I will admit that this disc took a little adjusting to, but in the end, I'd say that it is good stuff. With only four songs, but still managing to clock in at just under 18 minutes, the tunes are allowed to develop and you will be able to appreciate the tight musicianship and rather original arrangements.

For a demo, the quality of the recording is super. This is a professional job that is worth listening to when you finally get sick and tired of the same old shit over and over. Identikit, their second album, explores Robbins love for the electric guitar and traverses through post-punk, just like Jawbox would have, were they still around.

Robbins vocals are mixed high above everything else, while Barbott and Moffett play off of each other, providing the groove for the album. If this band isn't on Ozzfest, I've got two words for you: This is some seriously intense, brutal thrash. They have some really cool breakdowns, too, and manage to throw in some almost progressive playing, especially the guitars. If you think you're metal, try this EP on for size.

That was my impression after listening to Second Rekoning. The most impressive aspect of C Average's sound is not that it literally attacks you with a wall of sound, churning electric guitars and drums that make your heart thump, but the fact that this group is composed by just two guys. There is hardly any singing, which is a good thing, because you can concentrate on the impressive music.

The songs that feature singing tend to fall into the stoner rock category, as opposed to the instrumental ones, which will blow you away. The tracks featured here were compiled from European B-sides, remixes and other unreleased material. There is also an Enhanced CD portion containing three full-length videos.

The songs, as well as the videos, are full of southwestern imagery, from Mariachi bands and acoustic guitars, to desert scenes and beautiful dark haired women. Perhaps the most interesting track is the Two Lone Swordsmen's remix of "Untitled III," if not only because trip hop has been uncharted territory for the duo.

There's no melodicore stuff on here. This is all-out, fists of fury hardcore damage. I need a Bloomin' Onion. You've got a trio of youngsters here, playing some high-octane hardcore with some angst-filled lyrics hence the emo part.

These two bands play soft, mellow emo and keep it interesting. That's hard to do with emo this emo. Most bands bore me by the third song but these two have some interesting sounds and the singers are both distinct. I'd like to hear more from both of them. And it won't let up for 14 tracks.

These four Louisville cats rock out some damn addictive music. I was hooked on this album after one listen and I can't get enough. It combines strong melodies and hooks with a hardcore intensity, yet it still has a strong pop sense.

It's not a new genre, but they've got it down better than most others. The great thing about Christiansen is that you won't hear a song that necessarily sounds like one of those aforementioned bands, just pieces here and there.

I love a band that can grab me with a pop-oriented melody and then blow me away their hardcore abilities. I'm not sure what this is. It's emo-core but it ain't American. It sounds the same, yes, but I can't tell you the names of the dudes or anything. I don't guess that matters, huh? It's not bad but they need more of an edge, I think. It's kind of complacent. Actually, taking a look at the crap that has come out of Florida in the last few years matchbox twenty, Creed, Backstreet Boys and O-Town for crissakesit isn't such a difficult question to answer.

Not ashamed to use technology to create their music, they employ not one, but two keyboard players in their lineup, while the rest of the band plays guitar, drums and bass. This ain't Stabbing Westward, though. Their anger is real, and their tendency to show it is all over Synthetic Division. This musical experimentation with pianos, guitars, trombones, turntable scratches and loops moves right along with Singer's lyrics that are howling at times and floating at others.

The first track, "The Accident", sounds like the beginning of a movie. With an eerie piano, tap of the drums and surreal atmosphere, Singer describes himself inside a car that is wrapped around a tree before moving into the next track, "The Cost Of Living.

There is some southern-flavored stuff on here that's not so Cultish they're from NC but, for the most part, it just rocks. The Dead Kings say that "punks think they are too metal. Metalheads think they are too punk The DK's don't try to be either. They just play loud rock and have a great time doing it. It has some progressive feel to it, too.

Especially the breakdowns and guitar work. Kind of like Dream Theatre minus keyboards goes punk. It's not fast enough to be true hardcore and you can understand the lead singer. Speaking of, he has a weird Dexter from Offspring thing going. The band isn't quite as radio accessible as The Offspring but they've got as much energy. There are some surprisingly good melodies and hooks on here.

And when you think about it, that's not negative. This is really catchy, really tight emo-punk. Like that radio accessible crap but more energy and less crap. Plus, these are full songs, 20 of them, not mixed together.

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Just like Off the Chain These 13 tracks are full of harmonies and catchy choruses to excite even the most cynical person out there. They are full of energy and emotion, churning guitars and Scott's tight drumming. Particularly impressive are the vocals which boast two part harmonies by Sean, Adrian and Danny that sound impeccable, thanks to the production skills of Cameron Webb.

Some straight ahead rock and roll! I thought it was all gone. This Detroit quartet slams out that crunchy, bottom-heavy hard rock that is all but forgotten on the indie scene.

They do have a punk flair but never cross the line. They don't bore you either. They mix it up and throw some different sounds on there, like on "All of the Time. Under his Last Kreep moniker, he explores the versatility of the drum machine, coupled with loops and samples from a variety of places. This recording sounds anything but cheap, with beautiful round beats and crystal clear production.

Unlike some of his other work, this album is devoted to the beats, and is almost totally devoid of scratching. The production helps this album a lot obviously, check contributions. There's enough here to keep you vibin', and your head bobbin'; 14 tracks to be exact.

But don't be misled, EDO. G brought the lyrics too. Representing Boston with tales of day-to-day living and taking care of one's business, EDO.

It is actually all of the above. The Ex Models employ some of the guitar intricacies and accurate drum pattern of Don Caballero, while the vocalist sounds like David Byrne from the Talking Heads. Add to that uniforms and Devo-like choreography, and you have got yourself the Ex Models. Interested in just making their point and going on with their lives, most songs clock in under two minutes.

This band should be called breakdown. These are some of the nastiest, sickest breakdowns a hardcore band has done in forever. The songs scream with intensity. They have taken a healthy diet of hardcore and added some complex metal to it, a la Meshuggah. If you want a new hardcore CD, this is the one. He does not limit himself to this one style, though. It's 20 great tracks of rich, full melodies with magnificent power chords and tight percussion to hold it all together.

This music marries intensity and smoothness in a great way. Listen to it loud for the intended effect. But if you have very little musical prejudice, you can really take to this great, mostly acoustic offering of rural rock. Frog Holler employs a full range of instrumentation including the fiddle, banjo, and dobro, and write robust, emotional songs about sadness, town pride, and introspection.

Or maybe it's just punk, it's just that now it's being called emo-punk. Anywho, this is some cool, hooky punk. It has a bit of a space theme to it but it's great music when you get right down to it, themes be damned. Musically this disc is well balanced and pretty impressive at that. Following that trend is Grand Tourism, which takes musical cues from the aforementioned Air as well as from dance-centric Daft-Punk, laying down smooth grooves at a leisurely pace.

Personally, I preferred the instrumental tracks as opposed to the ones with guest vocalists, but overall, this album is very listenable. There's an initiative to infuse progressive styles with hardcore and this band is right there leading the way. There are some very progressive styles on here, amidst the screaming and furious drumming that's common with hardcore.

Lead singer Jad Fair's vocals sound like he's about to have a nervous breakdown, not quite speaking, but not quite singing either. The backing band sounds like they put up with him, but aren't entirely comfortable with the quirky material. This is the stuff you would find only on college radio. I can't understand a lick of this and can't read it either!

What the hell am I supposed to do with this?! It's loud, it's angry and if you're German or can understand it, write me and tell me what the hell they're saying. Think of the Dirty Three with a beat. There are guest musicians playing other instruments, but the core remains with Heistek and Craven, as they play off of each other through sometimes melodic, sometimes experimental tracks.

Roadrunner has hit another home run with Hinge. Slipknot's influence on this quartet is more than evident, especially when you listen to Cliff Rigano yell through the songs as loud as he can, while still being intelligible.

Thankfully, they concentrate on guitars, bass and drums to create their music, without trying to add any special effects to appease the rap metal crowd although there is a bit of scratching here and there. This band should become quite large if the disenchanted masses get wind of their existence.

Hi-Teknology is packed with his latest offerings of beats and quite a guest list for the experience.

Unlike Reflection Eternal, the critically acclaimed release with Talib Kweli, this disc never really goes in one constant direction. Hi-Tek bounces from one mood to the next, providing an album with a little something for everyone. I've heard of them before, being in their same state and all, but never heard their music. It's not too shabby! They've got a great punk thing going here.

They've released six CD's prior to this one and have amassed a huge underground following, and for good reason. Their blend of emo-punk is very addictive. Their sound is clean yet there's plenty of passion and emotion in there. I'm definitely checking them out when they swing through next. I'm down with the two drummer thing since Pink Floyd, but two singers? The songs are indie pop, a little grungy, like early R. And HG has angst where R.

That's some funny shit! They're not lying; they don't rap. Integrity has been around for over 10 years and they continue to pump out the dark, brooding rock that their fans have come to expect and love. If you're into hardcore and haven't heard Integrity, you're missing out.

They are, however, a female fronted rock band that mix elements from Goth and Space rock and Punk. Sam Skraeling's vocals are heavy on the echo, and she has a penchant for delivering speeches, like the chilling description of a female circumcision that closes out the album.

The album is pretty intense, except for "Woman," a reggae track that breaks the pace and throws you off. Isabelle's Gift is hard rock.

They're not as country-fried as a Bare, Jr. Really solid, no frills rock. They should be opening for Foo right now. You can forget about classifying this style of music, since he incorporates everything from 's Beach Boys references, to rap and turntablism both real and vocalto hard rock guitars, to string arrangements, to country music. He even does a cover of "Amazing Grace" and incorporates parts of "Two for Tea" into one of his songs.

Klipstein seems to have a photographic memory for musical genres, as well as an ability to reproduce them with zero irony, much like Dustin Hoffman's character in Rain Man could do complex math. It effortlessly blends ska with pop and punk to create a party atmosphere, led by capable vocalist Dan Baker. Jon Auer, mostly known for his songs with the now defunct Posies, gives the acoustic treatment to seven songs, playing most of the instruments himself. Suddenly, the pace picks up with "Covered with Hair," a fast rocker with a certain urgency to it.

Then "Things Gone and Things Still Here" really slows it down, with eight minutes of atmospheric sounds and spoken word lyrics. Finally, "You Are the Beautiful Conductor of this Opera" closes the album on a high note, picking up the pace and the fury of the bands' three guitars.

Whether slow or fast, Juno will blow you away with their emotion and talent. You Must Have Seen Us Pretty female vocals that sound a bit frazzled sing pretty harmonies over post-punk songs with unsettling sounds.

Kaito shares an experimental edge with bands like Blonde Redhead and Sonic Youth. Once you hear him, you'll know why. His voice is one that would make James Earl Jones sound like a year-old going through puberty.

It is strong, capable of expressing just about any emotion and most of all, deep. These 20 tracks are all in the style he dubbed "Word Jazz," where his spoken word tales are backed up by a free-form jazz group. You have to pay attention, or you'll miss the message, while he talks about spiders, or birds, or the meaning of time. Dim the lights, sit back and prepare for storytelling so full of visual imagery, you'll think you are really seeing these things.

This noise-metal-core debut is as brutal as they get, drenched in images of blood and death. The lyrics are printed, so you can sing along to lines like " Now he is responsible for Reason, his first release on Hellcat Records.

Always an eclectic artist, he performs roots-reggae and ska songs, but adds elements of Drum N' Bass and Hip Hop, including some scratching, just to add an extra spice to the tracks. Many of the tracks here would have appeared on their regular albums but were left off for one reason or another. If possessing these tracks is not enough of a treat for you, they threw in 7 new songs, just to sweeten the deal.

The tracks are arranged in reverse chronological order, so the quality goes down as you listen all the way through, but it's not so bad. You start listening to the new tracks and end up listening to their three-song demo. Who knew Lagwagon started out as a Metal band! The liner notes let you know where the tracks came from and during which session they were recorded.

You DID know that, right? There are tons of textures and sounds and harmonies on here, making the four-piece sound like It's a very moody, very melancholy CD.

It doesn't really follow any emo formula, rather cuts a new niche. That aside, he has 11 pretty different songs on here. Mostly though, as I said, they have that UK pop feel to them, more reminiscent of the Beatles than Oasis. Really cool stuff though. This is some scary shite. Liar is as heavy and hardcore as I've heard in a long time. I'm not sure Slayer would take these guys on tour with them.

This German quintet is flat-out wicked. The music is blistering and the lyrics are even thought provoking, discussing socio-economic issues, animal rights and various other injustices. You can't understand a lot of them but read up. Sands, together forming the Lone Catalysts. This duo offers up some of the most amazing tracks hip hop has heard in a while.

Rawls gets fresh with his smooth beats, jazzy as fuck, bumpin' nonstop. Sands delivers flows to make your brain do flips. Not only is his style dope as hell, his lyrics are tiptop; intelligent words from a man who knows how to speak it. The 21 tracks on Hip Hop are a tribute to independent music, a few gems breaking through the surface in a sea of drowning artists to show they've got what it takes.

The sessions are called "In the Fishtank" and this is the seventh installment. Low invited Dirty Three to accompany them during their contribution to this series. These two bands blend seamlessly, with Dirty Three providing a morose atmosphere courtesy of their string arrangements.

Not to be left behind, Low joins in on the moodiness with lead singer Mimi crooning sultrily to these very slow songs. Their brand of Rock and Roll holds up well with time, sustained by their aggression and raw sound. The lyrics are somewhat disturbing, from the storyline of the title track to having sex with animals on "Makin It With Other Species.

Sure, some are under two minutes long, but they're good punk songs and good punk songs aren't supposed to be minute opuses. Formed under a different name The Swell in influenced by such bands as The Ramones and Black Flagthis band went through a few lineup changes and, obviously, a name change before landing in Orange County, California.

The history gets even more complex, breaking up, reforming, changing members, etc. This is tight stuff and the singer has kind of a Jim Morrison thing going on. If Morrison sung punk, of course. Rock the Plank is no different. This time, they play a style they like to call "Pirate Punk," which they came up with after comparing their lifestyle of travelling, drinking and pillaging with that of a pirate.

It is really not much different than their other stuff, except that some songs sound like pirate sing-alongs. They also like to infuse dixieland, ska and jazz into their tunes. You get The Recline of Mexican Civilization. Manic Hispanic are back, taking songs from Descendents, Dead Kennedys, Catholic Disciple, Rancid, Decline, the Ramones, and others, and somehow turning them into hilarious tracks.

The songs are hilarious, and sound remarkably like the originals. Orale, vato, go get this disc ahora! Described as "delicate and jovial" yet "heavy and lumbering", Schickele's voice aches alongside each strum of his guitar with poetic lyrics about daily activities and interaction with people.

Though this release is unique, it's hard to digest at first listen. The interesting thing about this group is that on first impression, you think this is a gimmicky band with no shot at a musical career. But when you listen to the songs, you realize that these guys are good. You also realize that they are not playing these songs as a joke, but they really like them.

On their last album, Are a Drag, they concentrated on covering show tunes. It's not too over the top, not Oi! All this slick MTV punk is getting on my nerves. Stay Human is somewhat of a concept album, built around vignettes that take place in an imaginary radio call-in show which is protesting the impending execution of a wrongly accused woman. Although the topic is serious and Spearhead's intentions are good, these segments interrupt the flow of the music and feel corny and out of place.

Which is a shame, because the music is quite uplifting. There is plenty of social commentary in the songs, which give you energy to take on any problem, only to be dropped back down by the "radio call-in show. Whether it's the jazzy beats and loops, the live instrumentation including percussion, bass and keyboards or the mighty mic work of Raashan Ahmad and Moe Pope, Mission: Their tracks hook you with penetrating melodies, the kind that made Tribe famous and keep The Roots rockin'.

But that's only the icing on their cake of fresh, intelligent rhymes. Do I need to tell you this is something you need to bounce to, now!?

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Considering his music a "constant evolution," Moka rhymes nice but doesn't say much. The production mostly by Moka picks up the slack and balances out the minor inconsistencies. The Vancouver native has put together an album full of instrumentation and wordplay that will keep listeners in it until it's done. There are some nice melodies and the songs have real substance. I hate saying this but this is "very promising.

I know bands hate to hear that but it is! They have talent, they just need a bit of refining. They need a bigger sound. Hopefully this CD will give them the means moooola to create something bigger the next time around. Still fun to listen to though! You could not be more wrong. Their music is self described as Psychedelic Jewgrass, and it is a melting pot of genres. Touches of Jazz are fused with Klezmer and ethnic sounds, all under the banner of a true jam band.

Songs like "David Melech" have an obvious Jewish influence, but others like "Sabbath Prayer" sound more like something out of the Wise Monkey Orchestra. To celebrate, they recorded this live album, full of songs from their discography. In the liner notes they even list every single one of the shows they have played. Odd time changes and tempo shifts are around every corner, with no time to relax and settle into any one song.

Complex guitar parts and drumming that can only result from some sort of nervous seizure are the norm here. This music is not for fucking around; this is some serious shit. This time around, according to the press statement, they spew their venom on, among others, the music industry.

However, the lyrics are vague enough that they could be screaming about anything. The songs are quite entertaining, bordering on Pop, throwing some acoustic guitars among the distortion. The lyrics are dark, inspired by the untimely deaths of high school friends, but the music carries the record just the opposite. Though not much stands out on this release, there are a few tracks that do. With a burst of energy, "Celebrate" kicks off the album, filled with harmonies and fast tempo drumming.

Songs like "Broken and Burned" and "Break it Down" build up momentum until they climax at the chorus, raising the hairs on the back of your neck, while other songs like "Going Numb" start and end with the same all-out intensity. You are going to feel exhausted after this 40 minute album is over. Elaine Doty's passionate vocals drift above guitar string-pluckings and distortioned riffs. Plus, just about every song deals with some sort of heartbreak.

This could qualify as emo, but they prefer to call it "econo-rock," where you get more bang for your buck. I couldn't agree more. I think, yeah, I think I'll go with punk on this one. It's really not full-on punk though.

There are some straight rock sounds on here but it has that hooky, upbeat punk vibe that separates it from so much of the trash on MTV.

With Land of the Free? They do this with fast, slick guitar riffs and vocal melodies. Not much is done to distinguish one track from another, unfortunately the disc sounds stale and shows signs of being repetitious at times. Disappointing effort considering past achievements.