The long awaited debut LP from NYC’s FLOWER “Hardly A Dream” is finally set to arrive.
FLOWER’s tedious approach to writing/creating/drawing their debut LP was carefully thought out and the result is a monumental anarcho punk /crust record.
“Hardly A Dream” Takes us on a bleak journey through the dark side of society. As soon as you drop the needle a dark atmosphere is immediately created with a slow intro featuring arpeggio guitar work that builds into pummeling d-beat crust. The albums vocals then leave you with a feeling of being crushed by the ever-present weight of living through our modern world of late stage capitalism that was built on the falsehoods of the so called American dream, religious hypocrisy’s, nationalism, and the greed of humankind.
FLOWER take many cues from predecessors and are most often (and rightfully so) compared to NAUSEA but they also take a heavy influence from ANTISECT, SACRILEGE & other greats. The artwork has a very RUDIMENTARY PENI feel and the record comes with an amazing 24.5 X 34.75 CRASS style poster jacket. All art work was meticulously hand drawn and overseen by the guitarist Willow in true DIY style and spirit. Willow was also cool enough to draw up a special shirt for the record release featuring an alternative PROFANE EXISTENCE backprint!
Dark, heavy, galloping crust from the streets of London. AGNOSY is back to present us with a ferocious beast of an album that can only be forged by the anger and frustration of living in today’s world. “When Daylight Reveals The Torture” aggressively attacks evils such the current rise of fascism and animal abuse. It intelligently and passionately touches on the Afrin invasion and the revolution in Rojava and shows nothing but utter disgust toward the arrogance of humankind’s lust for greed and power that will inevitably lead us down paths of war and environmental devastation.
While lyrically AGNOSY are much more politicly straight forward this time around than on previous releases, musically they have expanded on their sound to create a dark and moody atmosphere while at the same time staying crust as fuck. To say they know what they are doing would be an understatement from this band of vets whose members have played in HIATUS, HEALTH HAZARD, and BEGINNING OF THE END.
Long galloping intros are followed up by traditional d-beat, fierce solo’s are then meet with vicious vocals and pulverizing bass in a brilliant recording captured by Lewis Johns at The Ranch Production House and was mastered by Brad Boatright at Portland’s legendary Audiosiege. We then pressed on deluxe heavyweight 150-gram vinyl, printed on reverse board jackets, and included an 11in x 22in gatefold insert to bring you a high quality and truly epic record.
The legendary crust classic is now available once again!
Authorized and released in cooperation with MISERY, S.D.S., & MCR Japan & Remastered by Jack Butcher at Enormous Door Studio we are beyond proud to make one one the most rare and sought after crust records available once again.
Fuck the scavengers charging punks exuberant amounts of cash on ebay and discogs. We worked meticulously with both bands and with Jack at Enormous door to bring you an updated version that kicks major audio ass while maintaining the original authenticity.
Released on deluxe 150 gram vinyl. With an 11×11 inner sleeve. Black Paper Jacket. Reverse Board Jacket.
Earlier this year we re-issued this legendary LP and sold over 950 copies in just 4 short months. For this second pressing we pressed 490 copies on Krystal Clear & 485 on Grey Vinyl with Black Mist.
Stench crust the way it was meant to be played!
The UK crust scene of the 1980’s inspired band after band but no other band has ever reincarnated the sound of that time as well as SWORDWIELDER. Quite simply if you like crust, then this the album you have waited decades for.
Review by Craig Hayes from “Your Last Rites”… Swordwielder – System Overlord Heavyweight punk fanatics take note: System Overlord is a fucking triumph. The long-awaited sophomore album from Gothenburg stenchcore band Swordwielder is a brooding behemoth, constructed from the filthiest and heftiest strains of punk and metal. System Overlord shimmers with apocalyptic visions, and it’s overflowing with all the grim atmospherics and intimidating intensity that defines consummate crushing crust.
Too much hype? No way… And no apologies, either. Swordwielder deal in definitive stenchcore on System Overlord, and much like their full-length debut, 2013’s Grim Visions of Battle, the band’s latest release is a knockout. Swordwielder’s harsh, gruff and dark sound owes a significant debt to old school icons like Amebix, Axegrinder, Deviated Instinct, and Antisect, and they mix and mangle their influences and leave ’em to rot on the battlefield.
Plenty of hammering rage drives System Overlord tracks like “Violent Revolution,” “Savage Execution” and “Cyborgs,” and thundering epics like “Corrupt Future” and “Northern Lights” exhibit subtler strengths, mixing guttural growls and clean vocals with crashing percussion and dirge-laden riffs. Connoisseurs of corpse-dragging crust will love the brute-force belligerence of “Absolute Fear,” “Nuclear Winter,” and “Second Attack,” which rain down like merciless mortar barrages. As a rule, all of System Overlord‘s mammoth tracks chug and churn with grinding muscle, while reeking of squalor and decay.
Swordwielder exudes tightly coiled aggression from start to finish here—songs rise from the ashes of desolation, and resounding calls for action and resistance ring loud. If you’re a fan of heavy-hitters like Fatum, War//Plague, Carnage, Zygome, Cancer Spreading or (insert your favorite hefty crust crew here), System Overlord‘s trampling tempo and strapping sound are bound to appeal.
WILT combine old school metal and crust in a perfect hybrid that very few others have ever achieved. Prepare for a LP thats equal parts galloping d-beat crust reminiscent of bands like HELLSHOCK, and INSTINCT OF SURVIVAL, meets old school death metal in the vein of BOLT THROWER, MEMORIAM (old) SEPULTURA.
Here is a track from the upcoming LP
“Sermon for the Bootlickers”
Despite the inculcation of helplessness within each there remains great power. Ill at ease with such makes us ill. Learn to see the hand that feeds for what it is. You’ve been fooled if you think you’ve got no power. Refuse to be reduced to a consumer you’re a human being. Define yourself by more than wealth. Define yourself as a human. You don’t need what you’re being sold. Bend your knee to no authority but your own mind. You have the power to avoid the gilded trap. Avarice is what you’re conditioned for. Break the mold discover what’s really valuable to you.
Wed, July 12 Hanover / Germany / Confirmed Thu, July 13 Bremen Fri, July 14 Mulhem / Germany / Confirmed Sat, July 15 Gent, Belgium / CrustPicnic / Confirmed Sun, July 16 Paris / France or Amsterdam / Nederland July 18 North-East France or West Germany July 19 Freiburg / Germany TBC July 20 Winterthur / Switzerland Fri, July 21 Zurich / Switzerland Sat, July 22 Biel / Switzerland July 23 Lausanne or Geneva / Switzerland
July 24 Geneva / Switzerland or Grenoble france
July 25 Treviso (or Milano or Bologna or Verona) / Italy
July 26 Ljubljana Slovenia Confirmed
July 27 No Sanctuary chilling day
Fri, July 28 NoSanctuary Confirmed
Sat, July 29 NoSanctuary Confirmed
July 30 Ilirska Bistrica/Slovenia or Vienna/Austria or Budapest/Hungary.
July 31 Wiena / Austrai or Budapest or / Slovakia
August 1 Brno / Czech Republic.
August 2 Prague / Czech Republic
August 3 Finsterwalde / Germany TBC
Fri, August 4 Leipzig / Germany TBC
Sat, August 5 Berlin / Germany / confirmed
August 6 Dresden
August 7 Wroclaw / Poland
August 8 Warsaw / Poland
August 9 Poznan / Poland
August 10 Szczecin/Poland TBC
Fri, August 11 Rostock / confirmed
Sat, August 12 Hamburg TBC
Crass has such an established legacy within punk, anarchist, artistic, and radical circles that it seems somewhat absurd for me to keep asking questions about them. Yet, whenever I think I have a firm grasp upon the thoughts, actions, and art of the people involved in Crass, my grip is weakened by their defiance of expectations, nuance of complexity in their continuing work, and their adamant refusal of labels. Perhaps this is their greatest gift to us, i.e. their constant shaping of straight lines into question marks and their insistence on holding up a non-forgiving mirror not only to themselves but also to all of us. In some ways, Crass therefore has a philosophical position not too dissimilar from Socrates, that is, they are somewhat like sand in that the firmer a grasp you think you have on them and their thoughts and art, the more they slip through your fingers. The very debate surrounding the re-mastering and re-issuing of the six Crass LPs is a case in point on the open discussion they continue to inspire. Whether you are a purist expecting these artists to live up to your idea of anarchy and not “sell out” or a sympathetic consumer hopeful the re-masters will somehow reach new audiences that other formats might not, they have at the very least evicted a reaction from the mainstream and punk rockers alike (inspiring love and adoration from anarcho/crust followers who will never again have as inspirational an example as Crass, as well as visceral dislike, criticism, or even hatred from the likes of the Exploited and Special Duties).
And so, we can continue to discuss and debate what Crass is and was. Central to this is the question, what did Crass write? Did they perform poetry? Punk rock? Noise/free jazz? Pop songs? Political manifestos? One thing seems certain, that Crass wrote, performed, and recorded what they wanted to, regardless of whether it would meet punks’ approval, or have the slightest measure of convention, accessibility, and least of all marketability. Yet, there is a relatable aura of authenticity surrounding Crass that punk audiences did (and continue to) relate to, even when they themselves were the target of Crass critique. At one point, they were outselling the top acts in Britain, all from their country home, utilizing only independent and D.I.Y. networks. And if you doubt it, you were (and still are) welcome to write or visit to discuss with the actual artists. They have nothing to hide, for they live according to their principles and pleasures.
If we take them at their word, and in this case I believe we should, Crass wrote love songs, though as aesthetically far from the doo-wop and bubblegum sounds that label is so often associated with. In their first experiment in long-form free-jazz/punk Yes Sir, I Will, Crass addresses the precise question of what they are and what they sing about. Outraged by the question of “why don’t you write love songs,” Libertine shouts, “Everything we write is a love song.” In other words, on a record focused on anti-war messages, love for the lives destroyed by war and love for those who might be saved by peace is the guiding inspiration. Ultimately the anger and passion contained within their art was done out of love for the people and goodness within the world, as well as the hopeful love of a future world and a pure freedom. This love, however, must be unconditional, and the aphorism from Penny’s print (from Exitstencil Press) of “Love is All or Love is Not at All” was clearly the guiding light for the 2014 version of Yes Sir.
On the centennial year of World War I, Penny Rimbaud and Eve Libertine assembled a group of diversely talented musicians to perform Penny’s revision of the “Yes Sir” poem. This was only to be performed once (as are all improvisations), at the annual Rebellion festival in Blackpool. Though Crass itself never performed in commercial venues, this ensemble performed at the largest punk festival in Britain (and one of the largest in the world). Of course such a large performance carries certain risks regarding sound as well as audience reception. To heighten expectations and excitement, this performance inaugurated this year’s Rebellion festival, as it had the opening slot in the Empress Ballroom on Thursday afternoon. The performers walked out onto a solemnly lit stage to the sound of your typical applause, heckling, and hoots-n-hollers. Penny grasped his microphone and said, “We’d like to dedicate this set to all those who have died, are dying, and will continue to die in the killing fields of political and corporate madness. And blessings to the people of Gaza.” Immediately following this dedication, much to my (and I suspect others’) surprise, the band launched into the opening chords of the Who’s “My Generation,” setting the stage for a recollection and rumination on the punk generation or so-called ‘punk movement.’ This would prove to not be the last of their musical departures from the three-chord, fast-paced accepted punk formula.
This version of Yes Sir, I Will was not a simple rehashing of the 1983 Crass record. No, this was both a re-writing and a re-imagining in word and sound. Some of the original “Yes Sir” shined through, such as Penny’s beautiful and Beatlesesque “what did you know, what did you care?” though sung in this live performance in a lower register than the original record, providing a melodic, almost lullaby-like reprieve from the sonic tidal wave that was occupying the ballroom. Eve Libertine also brought in the classic Crass “Fight war not wars,” “everything we write is a love song,” “if there were no butchers, what would people eat?” sections originating not only in the 1983 Yes Sir but also from Crass material spanning their entire recording career. Pen’s “Acts of Love” also shined in at times, most especially in the opening verses. Yet, despite these aspects of original, older work, the Rebellion performance definitely added components of 21st century culture and technology.
For instance, a particularly poignant moment in the performance was when Penny declared that while people are starving in the world, too many of us are “tapping tittle tattle texts” and “sending selfies to ever-absent friends” at which point the music ceased and the performers all took phones out of their pockets. “Hello? Where are you? Hello? No, I can’t talk now.” This was a brilliant display of the distracting, self-absorbed, and rude qualities that mobile technologies have disseminated. There were also moments of reflection upon Pen’s lifetime, ranging from references to the Beatles, to engagement with punk rock, to critiques of Hollywood, media, and war.
To those who were there, it should come as no surprise that Pen would describe the sound as inspired by a “Zappa meets Coltrane” space. There were no breaks here in the long-form improvisation. And in addition to the typical rock instrumentation of drums, bass, and guitar (though I don’t mean to belittle these musicians as typical, as they were far beyond that), there was also a wonderful jazz sensibility and complexity added by saxophone and cello. Sonic registers typically associated with punk spaces? No!…and therefore all the more shocking and powerful. Also incredibly important to the success of this performance was the visual aspect. The contrast between Penny moving, jumping, and marching around the stage and Eve solemn entrapment at the microphone provided a visual stimulus that nicely complemented the sonic aesthetic.
Behind the musicians flickered brilliant images by Gee Vaucher, fluctuating seamlessly between beauty and innocence, to death and violence. These images nicely complemented Penny’s and Eve’s cries for us to take responsibility, for us to look beyond mere negative blaming and start looking toward positive action. Pen later told me that when you point your finger to blame someone/anyone, you should really be looking into a mirror, “the responsibility is ours.” I therefore like to think of Yes Sir, I Will in its new incarnation as an invitation to self-reflect, both for punks and everyone else. We are invited into a discussion about what authority means, who is deserving of blame, and what we want to do. After roughly 45 minutes, the jam came to an end, and the performers left the stage to loud applause. We had all been on a journey of sound and ideas quite unlike anything else that would grace the stage at Rebellion for the rest of the weekend.
Is this punk rock? In that it defies expectations of a listening audience, yes. In that there is a radical political message prompting not complacent agreement but active engagement, yes. In that it was performed by three members of punk’s most important band, yes. However, the most encompassing answer I can offer (and one that I would like to think Pen, Bronwyn, and Gee would agree with) to the question of ‘is this punk rock’ is who cares. Why is it important that we classify art and thought? It simply is, and if that means that some punk rockers may not accept it, so be it for it shall be their lost opportunity at reflection, experience, and perhaps even love. They have challenged us to embrace the “fuck you” to institutions of power and murder, but also to eventually move beyond this visceral anger towards a state of universal, unconditional love. I know the new script will be widely disseminated eventually, and I hope we are all open enough to encounter it and truly grapple with the ideas and invitation therein.
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