AD.RttP{THRILLHOUSE is looking for a Drummer.}

we have gotten drunk and given this dude a blowjob...

http://providenceonline.com/stories/Thrill...sic-Providence-Monthly,1956?print=1

For Thrillhouse, everything begins and ends with the riff. From the
gargantuan monster that opens their debut LP to the racing acoustic
outro of album closer “Hammers & Boats,” their aim is to deliver the riff.
Over the course of six songs and 35-and-a-half minutes, Thrillhouse is
an unrelenting fury of some of the nastiest riffs recorded – and a
fantastic document of a superbly talented Providence band.

On “It Lives In a Mountain,” dark, palm-muted passages cascade
upwards over that ubiquitous galloping rhythm before breaking into
multiple-harmonied guitar leads inspired by the twin guitar attack of
bands like Iron Maiden and Thin Lizzy. But Thrillhouse stands apart from
these legends and other modern bands who simply ape them in the sheer
amount of dazzling ideas contained in the songs. “Psionic Scimitar”
wrong-foots you from the start, opening with a strangely discordant and
noisy double-guitar line; there’s nothing inherently “metal” about it,
before building and building once again into the riff, like Lucifer in
“Sympathy for the Devil,” the same malevolent force appearing again
and again under a different, shadowy guise.

On “Werewolf Town,” the band unleashes wave after wave of intricately
layered, pummeling passages – a byzantine structure whose capstone is
a wordless multitracked Greek chorus, one of the few instances of gang
chants and punctuated yelling on an otherwise completely instrumental
affair. On the excellently named “Elf Wizard Skyrider,” the band disarms
the listener with a beautiful, sublime and all-too-short keyboard passage
before, once again, the riff overcomes. Thankfully, the keyboard track
emerges later in the song, a gorgeous counterpoint to the furious and
towering guitar workmanship. On the aforementioned album closer
“Hammers & Boats,” (easily the best song on the record and a natural
finale), Thrillhouse offers what is hopefully a hint of things to come in
the form of a gorgeously fingerpicked and extended acoustic guitar run
that highlights the incredible musicianship within the band.

While guitarists Tom Sly and Kevin Curley obviously garner most of the
attention here, this being heavy metal at its most riff-centric,
Thrillhouse’s secret weapon is their incredibly tight and dynamic rhythm
section. Andrew Ballingall’s monstrous drumming is perfect in its
galloping processions, dropouts and time changes. This is a drum and
bass duo that begs to be seen live, with Craig Chaves’ insane bass
playing style best described as every- thing all at once.

I got to chat with guitarist Kevin Curley about the state of the band, the
recording of the record and what gets Thrillhouse in the right headspace
to find the riff.

“The power of the riff compels us. We’re all on the same page. We all
love Iron Maiden. There’s never much arguing during the songwriting
process as we’re all on a quest for the best. As far as growing and
progressing goes, we’re always trying to top the last song we wrote.
We’re always trying to write better melodies and make sure that our
songs work as songs and don’t come off as complete riff salad. We
recorded the record with Jon Downs of The Brother Kite at The Overpass,
his studio in Attleboro. Jon has an incredible ear for detail and really
helped bring the songs to life. He’s also not afraid to tell you when
something isn’t working and/or sucks. That was helpful,” Curley says.

Thrillhouse is out now on Brown Out records and the vinyl is worth the
price for the cover art alone, which was designed by local tattoo artist
Tom Butts. Tight rhythms and big riffs in a display- worthy package –
what’s not to love?