Kruds / Rampant Decay "Split" 7 Inch Vinyl


San Antonio's teeth-clenching powerviolence misfit/burnouts KRUDS and Providence's beer-soaked anti-everything punk/thrash/grind crossover sextet, RAMPANT DECAY, gang up to terrorize your ear-holes and bully your skull into a whiplashing, head-banging frenzy. Combined, the bands unleash about ten minutes of loud, fast and chaotic tributes to hate, revenge, death and scum-bag supremacy. Song titles include, "Hatchet Face", "Dead Bent", "Chumbawumba/Fuck Charles Day", "Political Lemmings", "King Of The Trash" and more! Includes killer cover art featuring a heavily tattooed member of Satan's Street Gang rising from weed smoke to murder a bike-riding-dirt-head-hipster-hippie-dude with a giant machete. If you're not a total scum-bag-piece-of-shit-waste-of-life, prepare to be converted!

First pressing of 500. 100 on Random (purple-ish) Colored Vinyl / 400 on Black. :: R E V I E W S ::

"Hitting hard, fast and with no thought of taking any prisoners, this split EP from Rampant Decay and Kruds has no mercy. Through six tracks and an accumulated time falling short of ten minutes, the release makes strong men crumble and the meek run for the nearest corner to whimper and dribble insanely with their ears in their hands. The attack is swift, brief and leaves the listener in no doubt that they better hold tight as the hardcore outbursts within the EP show no mercy. From Providence, Rhode Island, Rampant Decay provides two tracks to wither the senses in “Political Lemmings” and “King Of The Trash”. Formed in 2007, the trio of vocalist Rich “Bam Bam” Horror, guitarist Pat “P.S.” Mahoney and drummer Pat “Buddy Jack” Singleton combine a varied mix of sick flavors to their hardcore sound, primarily punk but with seeping eruptions of crossover, metal, dirty, beer swilling rock, old school punk, and even a touch of oi can be heard. No stranger to split releases, recently having one with Insult that gained much acclaim, Rampant Decay’s tracks are the strongest on this release. Confident and sure handed they grab hold and beat up the ears with their brutal sound and intensity. “Political Lemmings” is the leader of the pack on the EP, a violent stomp that strikes relentlessly with killer riffs, battering rhythms, and gang vocals to echo in every punk’s heart. “King Of The Trash” flows close behind with equal power and ravaging effect. Lyrically, it is hard to know much as vocal delivery for both bands is trademark growls and gravelly screeches, but it all adds to the flavor. Experience does show as the main difference between the two bands: whereas Rampant Decay know what they want and how to get it, Kruds have a more desperate urgency to their sound, though it also is a positive bringing an eagerness that should never be denied. From Texas, the quartet of Gonzalez-Vocals, Carrasco-Guitar, Ramirez-Drums, Pollock-Bass/Vocals slam into the face harder than a truck, their hardcore/thrash violence coming with no frills. Raw and intense the tracks on the EP eat away at the ear like rusty acid, dirty and with harsh brevity. The band provide four tracks to the EP and, though the songs lack somewhat in having their own refined sound and direction, they more than show great promise for the band. Unfortunately up against Rampant Decay, and with an inferior production to their tracks, it does highlight more the areas that are less impressive than those that are. Despite that, though, “Hatchet Face” and “Advantage / Harlot” show the band has much to offer and are on the right track to make a big mark. This latest split EP is worth a moment of anyone’s time if they like a beat down from some effective hardcore/punk sounds." - RingMaster (

“Hatchet Face (the song) leads off the Kruds side of the split, opening up with the first few lines of the Compton’s Most Wanted song “Hood Took Me Under” before exploding into about a minute-long song that alternates between a lo-fi grindy groove and all-out hardcore powerviolent fury, complete with buzzy, trebly guitars and deep, grumbling bass. ”Dead Bent” continues with the same sort of aggression for just under a minute, featuring a shouting match between lower-pitched growls and punky shrieky barks. Clocking in around 2:12, the longest track on either side of this record is “Advantage-Harlot,” which intersperses more grindy nastiness between some classic Mike Tyson quotes about stomping on children’s testicles and wishing he could get a blowjob in peace. Following these bits, the last minute and a half of the song is a churning pit of anger that gradually grinds (no pun intended) to a molassesy halt. I find it incredible that despite the filthy recording quality, the guitar and bass parts are so clearly differentiated throughout all of these songs — the ultra-low rumbling of the bass in particular keeps catching my ears, but maybe it’s just me. Anyway, that just leaves us with around half a minute more with Kruds; “Chumbawamba-Fuck Charles Day” finishes off the side in a particularly weird fashion. I have no idea what relationship the British alt-punk band Chumbawamba might have to this song; I couldn’t tell you why the track opens up with this sound; and I definitely don’t know which Charles Day (if it’s even any of these) they might be referring to. But on that last point, whoever the song is about, clearly these guys are not particularly fond of him. After the sample, the song itself is only about thirty seconds long, but it seems more like a mini-suite of three even smaller songs, each with a slightly different style, but all united with the same theme: loads of vitriol directed at the titular Mr. Day — the lyrics consist entirely of “Fuck Charles Day,” “Fuck Charles,” or “Every day, fuck Charles Day.” Fun times, indeed. On the flip side, Rampant Decay dish out two songs, each slightly under two minutes long. The style here is more of a crusty D-Beat anarcho-punk, with throat-shredding snarled vocals that are almost entirely unintelligible. The first song, “Political Lemmings,” does contain some cleaner, gang-shouted lines that clarify the message a bit (beyond what the title itself has already offered) — that neither side of the political arena, left or right, is any better than the other, and that all politicians ought to be essentially abolished. The second and final track, “King of the Trash,” offers no such clues to its thematic content, but does it really matter? The tone of these sneery croaks tells you all you need to know about the anger and hatred contained within. If this doesn’t get your head and/or fists moving, you may want to check with a doctor to make sure you still have a pulse." -

"God, it’s refreshing to have an album of this kind to review once in a while. Such a welcome vacation from wading through huge, stodgy tomes to have a release that you can listen to in its entirety whilst tying your shoelaces or brushing your teeth. What’s also very refreshing is the sound of metal and punk amalgamating so effectively, with the chaotic, unchecked ferocity of punk being turbo-charged with an incisive edge of extreme metal. Or, for brevity’s sake, Powerviolence! Is there any more hilariously named subgenre? Kruds’ four track contribution to this split is essentially a crash course, with vocals alternating between derisive ululations and bestial barks, like Jello Biafra with rabies. The music doesn’t deviate too significantly from the established benchmark, closely resembling a band practicing whilst falling down some stairs. In an MC Escher painting. As you’d expect from such a crusty concern, the production displays a strong DIY ethic and what’s more, they throw in some rib tickling samples to boot. In fact on first listen I thought our Editor had dropped a bollock and sent me some Hip-Hop tripe instead of the relentless noise attack I was expecting, as the split begins with an excerpt from Compton’s Most Wanted and also contains some prime material from none other than Mike Tyson, threatening to stomp on a child’s testicles. What a guy! As this would indicate, the subject matter is fairly puerile, eschewing the usual politically charged consternation traditionally associated with the genre. Conversely, Rampant Decay’s fare is much more socially aware, as their opening gambit ‘Political Lemmings’ is a scathing indictment of extreme political beliefs from either end of the spectrum. Their contribution is briefer than Kruds’, at a paltry two tracks, but still really caught my attention from the very first listen, rotating between grimy grind with and the crustiest of punk, with less blasting and no samples, in contrast to Kruds. The vocals consist of dirty death growls and blackened screeching, and an unexpected street-punk gang vocal chorus on ‘Political Lemmings’. This struck a chord (no pun intended) with me especially as it was evocative of the booze-soaked punk rock fare which is rife in the North of England at present. Indeed, both bands sound as if they cut their teeth in scuzzy UK pub circuit rather than good ole Texas. This release is refreshing, not only for its brevity and ferocity (both of which it displays in abundance), but also for its denuded, salt of the earth ingenuousness. Both acts endear themselves in a unique way, due to their punk influences boasting such prominence; they convey total, unrefined aggression. Granted, their material doesn’t vary too much, and is over very quickly, but given the genre that’s not exactly a shocker. Personally, I’ve found a couple of my new favourite bands here." - Daniel Heaton (

"This one is a split to clear the backyard this weekend and get those jerks off your lawn. No one would ever come knock on your door and tell you to turn this down. What you've got is a split with Kruds who are throwing crazy samples into their hardcore, which is weird and awesome and Rampant Decay who are back with another split, because god knows if they get their own full length the world is going to end. Kruds - "Hatchet Face" starts out with a Compton's Most Wanted sample over some RnB loop "I got another gang story to tell..." starting out this metal onslaught of growly vocals, thin metal guitars dropping out for a crunchy fuzz bassline then they double time it with yelly vocals. I like then they get a groove going for a minute...they could stick to these melodies. I think "Dead Bent" is up next with trading off vocals... who doesn't love to hear this completely room clearing grind. Then shit... a Mike Tyson sample? Genius, really anything the guys says can be mindblowing, even if you already know he is completely crazypants. Putting this right next to speed grindcore with big starts and stops? Shit I'll take it, somehow they got away with pressing this, someone was asleep at the pressing plant...nice work. At least 4 tracks here, sounds home recorded and angry, with Marshall stacks. This last one slows down to a crawl and I like when it gets extreme like this, as slow as possible. I'm old, the fast stuff just flys by me. More samples!...from Caddyshack? I'm getting into this. I hope they try to put these in live, it's bringing back that rampant sampling from the '90s but in metal? There's an idea. More speed and mixed up stops, slow it down again for a econd of hardcore. They all yell into the mic. Nice one, unexpectd and weird. The bands they thank on the liner notes are worth the price of admission alone: Goregrowler, Charles' Grandparents (Is that a band or a sincere thanks?) and Down Syndrome (again....thanks or band?). The B-Side is from the guys in Rampant Decay, they're getting that big sound and the growling is seriously ferocious, it's beefier and even faster, blending into a massive blur of vocal and cymbal crashes... then a rock beat and chord changes with a choir?! This is great. "Political Lemmings" I love that these guys are so angry I just hope they're setting some banks on fire while they're at it. Don't put all your energy into the band, help stick it to the 1% would you? "King of the trash" has up front gutteral growls, while the instrumentation struggles to break forward... this kind of thing scares me. You can get into a trance and really want to break stuff. Great sleeve with a crazy tattooed dude rising out of the cigar smoke(?) who is knifing, no machete-ing this guy in the head who has a bike that says "vegan" on the downtube. I think there's lots of other labels involved in this release...and really? Facebook addresses? What the fuck is that? You guys should be firebombing facebook, not advertising those assholes in your liner notes. Can I be 'friends' with Rampant Decay? You should want to kill me! I've never been good at reading these crazy metal typefaces and it's a good thing there's a download card or I would have gotten these wrong." - Jason (

"Satan Tonio’s KRUDS slam some serious powerviolence across the first 4 tracks on this 7″ while the last 2 are handled by RAMPANT DECAY. This split kills. KRUDS not only rip as a band but they use some of the funniest and most perfectly placed samples I’ve heard since Charles Bronson. The music is about what you’d expect from seeing the artwork- fucking brutal! “I’ve been robbed of most of my money, can I at least get a blowjob?” I’m all about the power of violence because the wounds inflicted often discharge sludge. Plus, any Mike Tyson quote is a good Mike Tyson quote and there’s more than one… RAMPANT DECAY crush these two tracks like cans on their foreheads and laugh at your four winds with some crusty death metal shit you won’t soon forget. This is the kind of music people die fast to." - Wes (

"Kruds (San Antonio Texas) version of teeth clenching powerviolence hits on the important points of the genre - over the top vocals, grinding slow interludes, heavy distorted guitars, ridiculous fast segments and killer samples. The Mike Tyson clips are fantastic. Don't know how I never heard those before! Fans of the genre will enjoy! Rampant Decay (Providence Rhode Island) list Classy Freddie Blassie as their manager. That should give you a starting reference. Follow that up with a Japanese 80s hardcore influence filtered through a thrash attack (with dirty production) and you have Rampant Decay. A crazy enjoyable record." - DJ Frank Foe (

"A split release of nonstop grind that hates just about every damn thing on the entire planet; 4 cuts from San Antonio, Texas’ ADD riddled crossover maniacs Kruds, and 2 from Providence, RI’s cutthroat crust grinders Rampant Decay. Nothing too fancy here, just pure methamphetamine thrills that’ll break your neck and hurdle your body before it falls to a lifeless lump on the ground. Kruds are a sonic meth-bender of pissed-off powerviolence that certainly calls to mind some of the bands on Slap A Ham, late 90s Relapse, and Prank. Sort of like Word Salad, Otophobia, and Benumb mutilated and haphazardly soldered back together. They can do unrelenting, trainwreck grind scummage with thrash-y breakdowns, light speed blasting, acrobatic bass interjections, and alternating screamed/vomited vocals (opener, “Hatchface,” “Dead Bent”), as well as they can that depth-charging, Midwestern crust/grind sound with the sludge-y, 16ish downshifts (the fire breathing epic, “Advantage-Harlot,” and it’s stinking landfill of Catheter reverence is a fine example). While I haven’t kept up with too much new grind lately, Kruds are definitely massaging my sweet spot, marking themselves on my map as a band to investigate further in the not so distant future. Providence’s Rampant Decay is less chaotic than Kruds, their introductory bruiser, “Political Lemmings” runs on an infinite supply of Motorhead and Discharge, throaty vocals erupting in violent outbursts (and later gang shouts) of alcoholic rage over downtuned, mid-tempo, rock n’ roll addled crust grooves; the riff heavy bulldozing only halted for two explosions of grinding, C-4 surge that definitely recall some of the work Nasum was doing on their hugely underrated Helvete. Tight blast beats cave ball sacks as the vocals enter warp speed in endless confrontation against the onslaught of fearlessly machine gun plucked, classic grind guitar riffs. Their second contribution, “King of the Trash,” is the stronger of their two cuts, carelessly throwing Motorhead, His Hero is Gone, Napalm Death, Discharge and Black Flag into a burlap sack, beating it repeatedly with a sledgehammer, and then stepping back to watch the bag pop, in a fantastic display of crusty confetti and greasy, intenstinal fortitude testing grind. Two stellar grind acts, one short split. If you’ve spent time collecting every Crimes Against Humanity, Prank, and Slap A Ham release, there’s no reason for you to miss out on this bargain priced little gem. Both bands bring their A-game, and their cavalier crust/grind/crossover antics were ass-kickingly good enough to make me say to myself, “Damn, I really need to get with the program on new grind acts these days,” job well done you pair of felching fuckers…you got me back on track!" - Jay Snyder (

"Rampant Decay hail from Providence, RI. They originally formed in 1979 and are known for their legendary feud with the Von Erichs in the World Class Championship Wrestling territory in the days when wrestling was wrestling. “Political Lemmings” and “King of Trash” are both clean and consist of a hard-charging blend of 70s punk rock and early 80s hardcore. The latter is the more desirable of the two. Kruds hail from San Antonio, TX and play scorching powerviolence that will singe the hairs on your fucking balls! “Hatchet Face” starts with a hip-hop into before segueing into loud, blistering drums. What a delightful mess! Don’t even try to figure out “Dead Bent” because it’s the equivalent of a quick skull-fuck. Both “Advantage-Harlot” and “Chumbawumba-Fuck Charles Day” are similar to the first track with their intros. Regardless, your standard powerviolence." - bbarratt (

"Kruds kick off with Hatchet Face, which starts with an ace hip-hop intro before lurching into, low down dirty power violence. The music is bass heavy and the guitars sound like chainsaws. The vocals are mad as well, with low growls morphing into higher pitched screams. Dead Bent exemplifies their dual vocals and the drums more, with thrashing rhythms and more crushing guitars. Advantage-Harlot starts with a sample about a guy wanting to kick someone in the testicles, which is pretty apt, as that's what this song does. It's as harsh and as fast as Kruds get on the split, but they play in short bursts in-between samples. The second passage has some good groove to it thanks to the drums and is slightly more sedate, as the pace slows down to a more mid-paced speed before grinding too an almost doomy dirge.. It's still utterly mental though! Kruds last song goes by the amusing title of Chumbawumba-Fuck Charles Day (I'd love to know how they came up with song title!). Again it's fast and it only lasts about 30 seconds, so has to be. It ends their section in fine, grinding style. Rampant Decay kicks of with Political Lemmings, which has a slightly more hardcore sound to it. Again the guitars are heavy and the vocals are insane, as they grind their way through almost two minutes of hardcore infused grind-violence. They even through in gang vocals to hammer home a sense of unity. King of The Trash is a more frantic song, with the vocals ranging from high pitched, crazed lunacy to evil low growling, with some awesome riffs sitting underneath. The production on the record is nice and raw, allowing nothing to take centre stage and allowing each instrument (including vocals), to play their part and add too a heavy as hell sound. The split EP may only be about seven and a half minutes long, but both bands let rip and contribute enough ideas to make it seems longer. I love the whole package here, the artwork fits the music perfectly and bands play with integrity and style. Who says music doesn't have substance anymore! So there you have it. A short, sharp split record from two awesome hardcore/power violence bands. What more could you ask for!" - (

"Ah fun, a split album! Always cosy! How do you handle this? By divide this review into two sides! In one corner we have, dressed in crusty punk shirts, Rampant Decay! This trio fires two tracks at you. Crust punk of the school of old, with some Oi influences here and there. Not real surprises, straight forward riffs, gang vocals and a anthemy feeling. Nothing special. In the other corner, wearing Infest shirts, we have Kruds! Kruds makes me quite a bit happier. This is probably because of the powerviolence-ish hardcore ways. This quartet from Texas delivers four tracks on this split. Raw and intense, these angry tracks are shot into your ears. Even though it sounds far from original; they show a lot of potential to grow a bigger fanbase. The disc is certainly worth while to check out, for the punkers and powerviolencers." - William Kampen (

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