Describing themselves as a band that plays thrash with a groove, I was somewhat apprehensive before listening to the newest release by New York’s Hollow Ground. Why the apprehension? Those of you who were involved in the scene circa 1995 already know the answer, but for the benefit of those who weren’t, please bear with me:

Looking through the archives of any metal publication from the aforementioned era will uncover a recurring genre term, that being «groove-oriented thrash». At the time, there were (too) many bands emulating this style. Among its originators were such outfits as Machine Head and (to a lesser extent) Konkhra. These days, metal fans have a hard time mentioning these names without throwing in a couple of derisive adjectives for good measure. Between the ridiculously dumbed-down riffs and their trendy fanbase, I always felt these bands had a lot of gall even describing themselves as «thrash». Exodus, Forbidden, Sacrifice, Dark Angel… these were thrash bands, and one need only compare a definitive release like «Bonded By Blood» or «Forward To Termination» to a humiliating slap in the face like «The More Things Change» for ample proof. In many ways, groove-oriented thrash was a precursor to nu-metal.

Relief washed over me halfway through listening to «Zero Hundred Hours», as the groove elements in Hollow Ground’s repertoire are apparent only in the more rhythm-based tracks. The musicianship is more than competent, and although the riffs themselves aren’t especially intricate, HG keep things fresh by infusing each track with multiple twists to seize your interest and hold it indefinitely. Opener «Nine» flaunts some great syncopated heaviness, but this is somewhat offset by vocalist/guitarist Matt, who sounds too much like Pantera’s Phil Anselmo for my tastes. Not to fear though, as the amusingly titled «Tubular Grind of the Ghetto Slut» redeems all with some strong mid-paced guitar chugging, and a looped police siren sample at 2:16, courtesy of full-time f/x man Ed. This tune takes the listener through numerous tempo changes which excite as easily as they intimidate. Matt provides a tasteful solo on this cut, although I wish it were louder in the mix. «Yodelling in the Gully» kicks off with a Crowbar-syle riff, and is augmented by vocals that call to mind the aforementioned band’s Kirk Windstein. Actually, I might even suggest that the vox here are slightly better, as a nice snarl/sneer is used in lieu of Windstein’s somewhat constipated bellowing. As in the latter track, Hollow Ground execute a good number of change-ups here, temporarily forgoing the grooves in the process. Next up is the title track, which had me waxing nostalgic over visions of the late 80’s Frisco Bay Area scene. The opening riff calls Testament to mind, but as soon as the first verse ends, it breaks into a full-speed burst of raw power. An excellent sample cuts in at around 1:55, which puts a spacey/industrial tilt on things. I may not be able to figure out its title, but the manic-paced «Turbine Pussy Drip» stings with a great tremolo effect at 0:30, after which it becomes a thrash metal free-for-all. As the song begins approaching the 3-minute mark, a surprisingly bluesy solo by bassist Rob adds an interesting twist to the proceedings.

While being good for what it is, the song «Wilt» is another which strays too far into Pantera territory. Later in the track, it is almost redeemed by an excellent off-time transition section, but overall, there is much better stuff to be had here. «The Burial» boasts an ultra-heavy intro that is simple, yet crushing to the point of agony. The vocals are lower on this one, and nearly enter death metal range on several occasions. Finally, there is «Blistering Insertion», which features a slow intro/solo before the tempo takes an upward lunge into a fast array of rapidly-picked guitar passages and jackhammer rhythms, courtesy of drummer Dan. This ends the main body of «Zero Hundred Hours», although there are two bonus tracks on this disc which took some time to locate. Neither is exactly mandatory, although the one with the band shouting something that sounds like «P.M.B!» over a steady barrage of farting noises is at least mildly entertaining. All things considered, «Zero Hundred Hours» is a fine example of the ludicrous standards which most labels adhere to when they are willing to overlook this caliber of musical integrity in favor of rapping wannabe-pimps who see metal as a profitable alternative to hip-hop.

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