Originally pressed in 1996 PROFANE EXISTENCE is bringing this quintessential anarcho punk masterpiece back in circulation.
In 1996 AUS-ROTTEN released their first LP “The System Works For Them” on an unsuspecting punk scene. It spread like wildfire in a pre internet era within a genre that mostly depended on tape trading. (at least is was pre internet for us penniless punks) “The System Works For Them” was the perfect mix of anger and intelligence that the scene needed at the time (and still does today). It was like a wake up call that opened the eyes and ears to many punks the world over. The messages where crystal clear and most us were hooked as soon as the beginning shouts of “Boycott” bellowed over the speakers. I don’t believe any of us ever expected their message to resonate so well within the scene, but even more surprising is how the songs are just as relevant today as on they the day they were written. Which is why PROFANE EXISTENCE has decided to repress this record. We feel that that messages that AUS-ROTTEN brought to the table are to powerful to ignore. We feel that this LP is important and therefore should be highly available and priced affordably.
PROFANE EXISTENCE has worked out every last detail of this release with the members of AUS-ROTTEN whom have been involved from step one. All tracks have been re-masted by Jay Matherson at the Jamroom studios. To be 100% honest we didn’t want to do a complete re-master of what we already considered a good recording. However when we opened the tracks on protools we noticed a few balance issues that required fixing. These fixes resulted in a tremendous upgrade to the overall quality of the tracks. We painstakingly scanned, puzzled, and photoshopped the original artwork to make sure that it was as close to authentic as it could possible be. We then went for broke by pressing in three different vinyl color combinations! Overall to say that we are pumped to release this would be an understatement, we are absolutely ecstatic to bring you this LP on PROFANE EXISTENCE!
To top this all off we worked with AUS-ROTTEN vocalist Dave Trenga on redrawing the classic “What Good Is Money, When There Is No One Left To Buy” design for a T-Shirt to concede with the albums release. This is a fresh take on an old image to create a new and original design.
Vinyl options are…
1. Standard black vinyl
2. “The Battlefield is Still Red” Bloodsplatter vinyl.
3. See through “Smoke”. – Available at SKULLFEST only
Silence are a highly active post-punk/peace-punk band from Pittsburgh, PA. “The Deafening Sound of Absolutely Nothing” strives (and succeeds) to achieve the perfect balance between peace and post punk. By taking influences from The Mob, Bauhaus, Zounds, Killing Joke, Amebix, Crass, Conflict, Internal Autonomy and Joy Division SILENCE have created what can only be described a brilliant debut LP. At one moment this record is dark, heavy, and atmospheric and then the next moment it makes you want to dance and sing along. Lyrically SILENCE are much closer to the anarcho side of the previously listed influences. Lyrics focus on a variety of topics but often have a strong focus on the way punk and activist communities deal with political struggle in our current political climate.
“The Deafening Sound of Absolutely Nothing” comes with a 16 page magazine size zine containing lyrics, personal writings and song explanations. Designed, printed and assembled by the band themselves in true D.I.Y. fashion.
Silence will be having a record release show in their hometown of Pittsburgh PA at the Rock Room Friday April 22nd with SHADOW AGE and SKELETON HANDS. Then later this month SILENCE will embark on a full United States tour to support “The Deafening Sound of Absolutely Nothing”. Here is a list of dates. Be show to check in with the bands “bandcamp” or “Facebook” page for show updates.
When all that remains is a world in flames. Is that when they’ll say the wars are finally won? That wars are finally done?
They’re beating on the drums again, they’re fueling up the planes. The congressmen fall into line and sing the old refrain. In the name of peace they’ll burn the land and drop a thousand bombs.
Meanwhile we’ll just stay at home and go back to our sitcoms. It’s the same old song, we’ve heard it before. They’re beating the drums and they’re calling for war. What it’s supposed to accomplish, no one is sure But the victims are always the hungry and the poor.
Once the drums of war begin it’s hard to make them stop. The noise silences the dissidents once the bombs begin to drop. All those who call for peace will be mocked and pushed aside. In 10 years they’ll admit we were right after many thousands more have died.
Finally after many delays from the pressing plant the WARWOUND Demo’s LP “A Huge Black Cloud” is out and copies are moving fast!
Recorded in 1983, this record contains 15 songs from 3 sessions. With a few different takes you get a total of 25 blistering tracks. For those unfamiliar with WARWOUND, they are a UK band formed in 82. WARWOUND recorded 3 demos in 83 before disbanding and members went on to join THE VARUKERS and form SACRILEGE. These demos never received an official release… until now! Highly influenced by DISCHARGE, WARWOUND is one of the first bands ever to take D-Beat Punk to a raw and intense level. Recently reformed in 2015, original guitarist Damian is now joined by Ian Glasper on bass and Rat Varuker on vocals. After a few gigs in the UK word is spreading fast of the relentless onslaught of a live show these veterans put on. WARWOUND have also recently hit the studio to record for the first time in over 30 years. Needless to say WARWOUND is back with a vengeance!
Yes! Finally, after what turned out to be a gigantic task of moving the PROFANE EXISTENCE distro from Minneapolis to Denver, transferring tons of data, and rebuilding the web store, we are finally set to open back up. To access the new store follow one of the many links from profaneexistence.com or access it directly at http://profaneexistence.storenvy.com
The first official PROFANE EXISTENCE title of 2015 is out and ready for order! We are proud to bring you the RIFLE DIET – “NO SOLACE”LP
Rifle Diet’s No Solace is a 12in 45 that combines the Classic Minneapolis crust sound with Swedish hardcore, D-beat and Epic crust (think somewhere between Servitude and Wolfbirgade, with hints of Tragedy and Fall of Efrafa). The beautiful cover art by Hannah Benoche sets a bleak mood for the dark music within, plus a cover of His Hero is a Gone – Chain of Command (ex-members of InDefence and Garmonbozia) This LP is a joint release between PROFANE EXISTENCE and BLOOD OF THE YOUNG RECORDS
To honor both the opening of the new store and our first release of 2015, we are giving a free copy of the RIFLE DIET – No Solace lp to everyone that spends more then $50 from Monday January 12th to Monday January 19th!!! This deal is for one week only. DO NOT MISS OUT!
*Note*Rifle Diet are playing a record release show 1/17/15 at the Dogplex in Minneapolis with Kontrasekt, Aziza, and Fucking. To coincide with that show all orders that contain the RIFLE DIET – No Solace lp will be shipped out on Monday January 12th.
The next release in the works is the new full length lp from APPALACHIAN TERROR UNIT – “We Don’t Need Them”.
We Don’t Need Them is the second full-length record from West Virginia punx Appalachian Terror Unit. ATU have become known throughout the years as being one of the most politically charged bands in the current punk scene. This new record is an all out attack on today’s society that takes ATU to a new level of intensity both lyrically and musically. The combination of the beautiful and thought provoking gatefold cover art designed by Stivart along with the brilliant recording and mastering job by Jay Matheson at the Jam Room take this record even further. Song subjects include the horrors of war, police brutality, destruction of the environment, rape culture, consumerism and much more. Expect a very heavy and much angrier approach from a band that has been around the block and matured their sound. Seven raging new tunes including the epic fourteen and a half minute track “We Don’t Need Them”, a song that will one day be ranked among similar greats as the SUBHUMANS “From the Cradle to the Grave” and AUS ROTTEN “And Now Back to Our Programming”.
APPALACHIAN TERROR UNIT – We Don’t Need Them will be pressed in the United States on PROFANE EXISTENCE & in Europe on SKULD /RUIN NATION
WARWOUND – “A Huge Black Cloud-The Demos 1983“
Another record we are very excited about is the upcoming WARWOUND – A Huge Black Cloud-The Demos 1983. Recorded in 1983, this record contains 15 songs from three sessions. With a few different takes you get a total of 25 blistering tracks. For those unfamiliar with WARWOUND they are a UK band formed in 82, and released 2 demos in 83. Members went on to join THE VARUKERS and form the almighty SACRILEGE. Warwound are one of the first bands to take the politics and d-beat influence from DISCHARGE and combine it with the blown out sound of CHAOS UK to achieve total destructive raw d-beat ear bleeding chaos!
WARWOUND – A Huge Black Cloud-The Demos 1983 will be a split release between PROFANE EXISTENCE and ORGANIZE AND ARISE.
It will be available in the spring of 2015.
Other records and projects we have in the works for 2015 …
VASTATION (pdx formally night nurse) vs WAR//PLAGUE Split EP
KRANG are a new band birthed from Chicago’s DIY punk underbelly. They play a brutally powerful brand of thrashy riff-laden crustcore and have an intense live presence. They have recently recorded for a few vinyl projects, including PE’s own 7″ singles series. Check ’em out!
Interviewed by Brian Poulin (NEGLIGENCE). All photos by Adam DeGross.
PE Who’s in the band and what does each of you do?
AUSTIN: guitars / backing vocals / song writing (synth & keyboard on 12″)
ADAM: bass / backing vocals / song writing
BRENDAN: lead vocals / lyrical content
DEVAN: drums & percussion / backing vocals
PE: What’s a brief history of the band and how did you guys form?
Austin: We started circa 2009. We had an additional guitarist: Louis C. He went on to start a blackened crust band called Welkin Dusk, based in Chicago that he plays drums & lead vocals for. We used to have an additional lead singer as well: Hannah B. Hannah was a part of our first two releases: the out of print “Onward Desolation” demo tape, and also the out of print “Bog of Eternal Stenchcore” 7″. Hannah is now the front-woman in a band called Despise, based out of Minneapolis. Our original drummer, Brett, is on the two recordings I mentioned before, as well as our “Sounds of Death” 12″. Brett now drums for a Chicago / northwest Indiana band called Asphixiate. Devan is now our permanent drummer and he will have his first appearance on the “Broken Waves” 7″, released by Profane Existence, which is coming out in June. Devan will also be on our next 12″: “Bad Moon”, which we are writing right now. I, as well as Krang, are totally stoked on Devan and really happy to have them. Devan is active outside of percussion as well with assisting in writing, assistance in lyrical content & structure, and the internet stuff. This line up has been solidified for over a year and is totally fucking Krang! It just works perfectly.
PE: You guys are based out of Chicago. What are your favorite parts of the scene there? What are your least favorite things about Chicago’s scene?
Devan: Chicago’s an interesting place. I feel like the pros and cons are often directly related to one-another. For example, the mere size of the city. There are so many people – new to here, young, old, whatever – that there is basically always something going on and a handful of solid DIY spaces at all times, regardless of whether people leave or places get busted or whatever. The downside is that the physical structure of the city makes it difficult and/or terribly time-consuming to navigate. Especially if you don’t have a car. And even if you do, parking sucks. Anyway, as a result of the city being as segregated as it is, people are often inclined to just stick to what’s going on in their neighborhood and it results in a lack of exposure or attention paid to some really cool things. It’s unfortunate. But then there are some events like the annual Black and Brown Punk Show (shout-out to Monika!) or other fest-type shows where the attendance is crazy and bullshit is minimal. It’s rad.
Austin: I used to live in CHI. I reside in northwest Indiana (NWI). It’s really close. You can compare it to how close Jersey is to NYC. The rest of the band does live in CHI. My favorite things about Chicago is the “don’t take shit” attitude that at least me and the scene we’re involved with has. We’ll kick you out if your a piece of shit human or kick your ass if we have to. I also like The Void Haus in NWI for gigs. My personal least favorite things are cliques, hype, division, etc… the things that you see in every rather large city, I suppose.
Adam: I love Chicago’s unspoken rule of everyone being down to get down when shit hits the fan and nobody lets bogus comments or derogatory gestures fly. My complaint for the longest time was how there is the same hierarchy that we all hate in daily life at a lot of the gigs. It seems like those “in crowd” wanks have come and gone though, or maybe I just don’t surround myself with such fools anymore. My main complaint, and I know I am sounding super negative, but for such a large city there is a lack of bands playing what I am into personally. There are a lot of great bands doing great things…but that doesn’t necessarily mean I am into them musically. Haha! I have a particular taste and its not being fulfilled. I usually go to shows to hang out and have a good time and just show support but its rare that I actually shit over a band that I see locally. I do really, really get down to Population though. White boy can’t dance but when I see this band I start doing shit I didn’t know I was capable of.
Brendan: Chicago is simultaneously the best & worst place to live; which I’d imagine is a critique most other big-city dwellers share. There is no shortage of great folks, bands, eats, cool nerd-haunts (comic & record collectors rejoice!), and beautiful neighborhoods/communities in which to live. The same is true for all of the awful yuppies, gold cost bourgeois, & assholes who get your friends hooked on hard drugs. A lot of the time I wish that I lived in a vast expanse of lush nature with no human presence save myself. When I’m not wishing for seclusion, I’m loving how hard of a time I have sorting out which of the 5 awesome punk shows I get to go see any given night. Chicago has everything I love & hate at once; most of the time its worth it.
PE: Musically what are you guys going for?
Devan: I’d say sincerity, first and foremost. In sound, words, and delivery. And the connections we can and have made with people based on that. My musician’s answer would be just to write the best songs we can and perform them at the highest level at all times.
Austin: I just want to stick out and be a little different sounding. I still want to have that essential formula for great punk. I personally believe we found the introduction to our sound with the “Sounds of Death” 12″. We have two formulas: triumphant, galloping crust metal and simplified, pissed off, to-the-point stuff.
Brendan: Initially we formed with the idea of writing over the top odes to crust circa late 80’s/early 90’s; stuff you could flail your overgrown dreadlocks around to. We all fell into a groove with each other over time, where we don’t really need to define what we’re gonna write before we do. We approach releases with general outlines (theme,length, format etc.), but when writing songs I’d say we aim for mean, earnest & impactful.
Adam: I think naturally all being into different types of musical backgrounds, our finished product ends up being a thing of its own, but we all have similar enough interests to where we end up with the result that we initially were trying to go for. I personally am really into trying to sound like the bands I am into. It doesn’t end up exactly that way which is good but I love when bands obsess over old school sounds/bands/records and try to make their contemporary music sound as authentic as possible whether it be tone or style or whatever. At the end of the day we are trying to sound pissed, like we worship the 80s and have our music sound anarchy as fuck!
PE: What bands inspire you the most?
Austin: I listen to EVERYTHING. I don’t know where to begin but musically, keeping personal interest aside, I think we’re inspired by 80’s UK crust and a lot of Japanese stuff as far as writing collectively. This is something me and you will have to nerd out on when we’re in Boston next. Haha!
Adam: For Krang, bands that influence the writing process for me are Masskontroll, Deathraid, Sacrilege, Hellshock, Deviated Instinct, Sodom, Axegrinder and Amebix as well as Instinct of Survival. Personally I am all over the water but my all time 2 favorite punk bands have always and will always be Discharge and the Dead Boys.
Devan: I could go on a long rant about every band I’ve ever loved and how they’ve all stuck with and influence me to this day and blah blah blah, but I’ll spare you the cost of ink and just say Sacrilege, Crude, Amebix and Discharge. That said, we are quite the eclectic bunch.
Brendan: Musically, anything running the gamut from Paintbox to Elliot Smith. I enjoy a lot of soaring Japanese hardcore with that Burning Spirits feel, 90’s screamo, early black metal & hip hop. Any band that has a way with words gets me going, but mostly I enjoy music that you can’t help but feel.
PE: What are most of your songs about? What inspires the lyrics?
Brendan: Lemme preface by saying that Discharge is rad & “The More I See…” could be the soundtrack to my daily tedium… but i think punk rock has much more potential than to rehash our dogmatic & oftentimes simplistic politics. Having been a few places where the punk scene eats itself inside out with depression, addiction, & apathy towards the struggles of those around us, I think its real important to allow ourselves to be more open in the way we express all of the things exploding in our minds. I am not blowing my own horn, or any horn for that matter, but I really enjoy taking the personal route when it comes to writing & am constantly attempting to better address the common threads that run through all of our lives. Our first wave of songs covered some of our political leanings in regards to vivisection, arms manufacturing, rape culture & the willful destruction of our Earth. The “Bog of Eternal Stenchcore” 7″ reflects on the weight of stagnation on the “politically motivated”. “Sounds of Death” is the result of an obsession with death and a years worth of hurt; friends making irreversible decisions in regards to their lives & some of us falling into those spirals ourselves. There is absolution in acceptance though & I think a glint of hope in such dark subject matter. Our upcoming 7″ deals with cycles of change in our lives, moments of mania & madness; a counterpoint to our last 7″. The songs we are writing & playing now are an extension of that, focusing on moments of change in our lives, wanderlust & really just form one big, loud, pissed love letter to the DIY community, punk rock & time spent on the road. Inspiration comes from any human I’ve met that has dared to be open, honest & shameless about it.
Devan: Passion in all its forms and extremities is what inspires us. Totally.
PE: You guys have done a few extensive tours. What’s your favorite city you guys haveplayed in? What’s your least favorite?
Austin: I love Boston. Detroit, New Orleans, and the Twin Cities (Minneapolis) are up there too. I don’t really have a least favorite. We have had some bad experiences, though. I will give them the benefit of the doubt and not mention them. Hopefully things will be better when we return.
Devan: New Orleans is my favorite city ever, and our most recent gig in Boston totally ruled. I’d have to say, though, that many of my favorite shows have been in non-major cities. Birmingham AL was awesome, Asheville NC, Cincinatti OH, Grand Rapids MI…basically anywhere with a really tight-knit but wide-ranging DIY scene in terms of age, music, spaces, projects, etc. It’s always super encouraging to see.
Brendan: I’ll echo the others in saying that NOLA, Asheville, Cincy, Birmingham, Boston & Baltimore all kick ass. I’m usually super appreciative of all the towns we’ve been lucky enough to play in, though of course we’ve played in towns that seemed to embrace the anti-PC attitude/sense of humor that I am so fucking sick of. Some cities are really 50/50 because you’ll either play an amazing show with bad-ass folks & have the time of your life, or you might end up wanting to eviscerate some fuckhead who only listens to GG Allin & doesn’t get why a confederate flag hanging at a show space might ruffle some feathers.
Austin: We as a band aren’t about making sure we are politically correct all the time, but we definitely are hellbent on showing one another respect and are willing to give respect back to those who are legit. No single city is bad. Like I said before, sometimes there are some bad experiences. Fuckheads are everywhere.
Adam: Yes, Cincinnati, Birmingham, Boston, but most of all NOLA and Minneapolis. New Orleans and Minneapolis…no other city can live up to the debauchery that is expected to happen when we arrive in these two places. We need a week of recovery after being in either place for just a day. Also I love playing Madison a lot. Fuck, I love touring. So many amazing friends are being missed right now as we speak.
PE: What are some of your favorite bands you guys have played with?
Lord Krang: Scum from Detroit, Appalachian Terror Unit, Antisect, In Defense, Nu-kle-ar Blast Suntan, Kontrasekt, Cognitive Dissonance, The Skuds, Coelacanth, WrathCobra, Wartorn, Negligence, In Ruins, and definitely D-Clone; but honestly, it’s great to play with anyone and everyone who aren’t assholes and give a shit about “punk rock”.
PE: What are some of your favorite local bands from Chicago?
Lord Krang: Asphyxiate, Decay After Death (Decay A.D.), Cemetery (RIP), Culo, Die Time, Slag, Escalofrio, Sex Bunker (RIP), Birth Deformities, Gas Rag, Welkin Dusk, Daylight Robbery, Dirty Surgeon Insurgency, The Breathing Light, La Armada, Black September, Kontaminat, Ooze, Tensions, The Busy Sugnals, Population, More that we’re forgetting to mention….
PE: What does the future hold for Krang?
Devan: As Austin mentioned earlier, we have our “Broken Waves” 7″ being released in June, at which point we’ll be doing a small tour with Coelacanth. Also, as previously stated, we are well along in the writing process for our next full-length LP. Look for us around the Mid-west this summer and keep up-to-date and get in touch via the following:
crustardpunx[AT]gmail.com – krangcrustards.bandcamp.com – krangcrustards.blogspot.com
Austin: More touring, more albums, more blood spit nights, more everything! We’ll do a more extensive tour when the new LP comes out.
Brendan: “Bad Moon” 12″ – Skull Fest – Split(s?) – Self-Destruction With A Gusto
Lord Krang: Record labels that are interested in helping us with our next 12″ (which is more than half way written) get in touch with us!!! It will be even more galloping, pist, and triumphant than our still available “Sounds of Death” 12″!
Well here is my very first ever review of a full length CD. The band (pronounced “Va-Yee-Za-Koo”) Which means “to call out” in Hebrew. With that said not even listening to this record I’m already excited to listen to it. Well I was surprised that’s for sure I was not expecting this sound. These tracks pack a lot of pop punk with keyboards/piano. The singer has a very distinctive voice that is really easy on the ears. Most of these songs remind me of later BLINK-182 and with the keyboards really reminds me of REGGIE AND THE FULL EFFECT. The title track which has a video is “Cool Bus” is an anthem about nothing more then riding the cool bus whether that is a full sized bus or short bus I don’t know but who cares. Also on this cd is a track of FIDDLER ON THE ROOF theme with them playing over it which is kinda cool. All in all there are 13 tracks all very well put together and I would say none of these are bad tracks all really catchy and put together, all I can picture is Tom Delonge from BLINK-182 singing all these tracks for some reason. I see a big future for this band they just need to get out there more I believe. Awesome self-released (Bezerker)
With a name like Sex Bunker how can this not be good right? Well I was surprised to judge a band by its name. To start off the A side is “I’d buy that for a dollar” basically a ballad of how Americans need to consumer everything that is flashed in front of them on the television. Next is “Only Natural” a very nice snotty punk song with some yelling vocals. “A Man who had Faith” followed by “Sir, We Are they/Where I’m From” and finally “Church of the Glowing Rectangle” all very well put together songs with some vocals reminding me of ANS more of the talking over the tracks then singing over them. With the last track talking about No one being there for him/them. All in all I’m kinda sad I missed them in Minneapolis when they came through. Cool splatter packaging for this seven inch and you get stickers! Self-released.(XbezerkerX)
First things first: everything on this album is in French and, though I took quite a few years of it in school, I’m not fluent enough that I could do a proper translation of this release. So, that being said, visual this is a very stunning LP. It’s red on cream color in a style(not sure if there is a name for it)that has been popular at times in protest movements. That’s just the cover and inner sleeve, though. The vinyl is black. If you read and or speak French, you’ll be happy to know that the lyrics are printed inside. The recording is beautifully clean and balanced with the bass tone standing out. It’s crisp and punchy and not buried the way it tends to be. Musically they play very energetic melodic punk that fans of RISE AGAINST would really appreciate and remind me very much of old AFI (early 90s). The writing is creative and powerful utilizing group vocals throughout. This style has been done before, but in no way does this sound stale or overdone. It’s definitely motivating music that makes you want to run out and get things done, screaming the lyrics (if you speak French) all the way. I’m totally into this. If somebody has lyrical translations, please send them my way. (Jake)
This is issue #3 of RANTIPOLE zine from the UK accompanied by a cassette compilation (limited to 100) featuring ENDLESS GRINNING SKULLS, GREED FORCE and BRUTAL REGIME to name a few. The quality of the paper this is printed is really nice. It’s thick and shiny and doesn’t seem like it will bleed all over your fingers. We’ll see. At roughly 20 pages, this is a fairly quick read and left me wanting more, as I really enjoyed the writer’s brutally honest style. The ‘zine starts out with a few album reviews, then goes into a trivia page about Nicolas Cage(weird) then has a few band interviews, including: ENDLESS GRINNING SKULLS, JAKAL and BRUTAL REGIME. My favorite section was the recount of Brighton Punx Picnic and ScumFest. There’s even a handy guide on beating bar prices by strategically stuffing beer cans in your clothing. The whole thing is black and white in the cut and paste style with lots of photos and drawings. All this could be yours for £3. (Jake)
This is DEATH BY SNOO SNOO’s first album, they were originally known as “Moominvalley Hardcore Crew” and had some tapes/cd-rs out before this and they got their name from an episode of Futurama. They are from Oulu, Northern Finland and the album is all sung in Finnish, but don’t let that stop you from looking for this release as it’s a very cool punk rock album with a bit of experimentation added to the mix, but nothing to get in the way of the fun of this band. This comes with lyrics and is a very well produced album, with the female vocals right up in front. There are eighteen songs on here with the shortest being just under one minute and the longest at just over three minutes, so it goes by at a pretty good pace and is a pretty bouncy album to make you play it more than once. This is available on cd, vinyl, or download, try it out, you may just be surprised. (Rick E)
DEATH BY SNOO SNOO c/o Laura Rekila Valtatie / 31B4 90500 / Oulu, Finland //
I nailed this one dead on without even having to look at the promo sheet. GANG BUSTER swaggers between NYHC and SoCal punk of the 80’s. They know how to keep it tough while still making use of melody. They sometimes remind me of the Stern brothers Youth Brigade. The last of their 5 songs is a cover of the song ‘Crucified’ of which they give credit to AGNOSTIC FRONT when it was originally an IRON CROSS song. However they seem to be keeping the spirit of the AF version alive in their rendition. GANG BUSTER suffers from a demo quality recording that is a little distracting at times. SENZA TREGUA sound solid. The production is thick and full and the tones are right on. They also seem to be fond of the New York scene but this time it’s the CASUALTIES. Of the 5 songs they yell, sing or chant “Oi” in 4 of them, maybe they do in the 5th too but I was so desensitized to it by that time I didn’t notice. Both bands influences are so prominent that’s where I say I didn’t even need the promo sheet. Both bands find a place to shout out “skinhead!!!!” somewhere in the split of the disc too. That’s where the promo sheet becomes handy in its explanation that both bands are antifascist skins. GANG BUSTER hails from Malaysia and SENZA TREGUA from Italy. I know some dudes downtown that would be way into this. (Josh Mosh)
BLOWBACK………holy hell!!!!!!! What a release! This has to be one of the best releases of the year, one that will get played to death and makes me want more than just the four songs on here. Great clear production on here, but that goes to figure when the post-production was handled by Don Fury mixing (Agnostic Front, Quicksand) and Don Zientara working the boards (Bad Brains, Fugazi). You can’t go wrong with this one with songs that deal with trying to have a smoke break at work and getting treated like crap (Smoke Break), and the rant against mindless consumerism on “Cassandra’s Lament” with great spoken word over some great punk rock. This combines the best parts of good old punk rock and old school hardcore before it became too metallic. The vocals remind me at times of Lee Ving from Fear, but also have their one feel to them. This is on green/gold splatter vinyl and comes with a download card, so you don’t have to wear out your vinyl. I couldn’t recommend this more. (Rick E)
String Break Records 3054 36th Ave SW Seattle, WA 98126 /
I FAIL is from Cincinnati, Ohio, and has put out a five song e.p. that has a lot of raw power in the songs, but the songs tend to be a little long in the tooth at times. From a short minute and a half, to almost six minutes long, they could have condensed some of the slower parts and just raged. The production is pretty clear, giving everything space to be heard, with the vocals being a bit screamo at times, but still retaing enough hardcore anger to make you take a listen more than once. This came in a foldout sleeve with a lyric sheetI did think that this was a more screamo version of late period Black Flag in parts, and some of the lyrics seem to be a bit Republican/Christian to me, but still a pretty good e.p. from a band that if they tightened up the songs a bit, could be interesting to hear where they go from here. This is out on compact disc, 10″ vinyl, and cassette. (Rick E)
Sacred Plague Records 7746 Whitehall Cir E, West Chester, OH 45069 /
I’ve been a fan of this band for a while and looking at their discography I think I own all of their stuff! I’ve never seen them live but I have met just about everyone in the band through different trips to the Haz Mat. But with that said this is might be my first introduction to their new vocalist, Hekka Bekka. Hekka Bekka adds and interesting and new dynamic to the fold. Although the previous vocalist sometimes sounded like Jake from FILTH I think I like Hekka’s vocals better. She can sound nasty and crusty when she wants or just pissed and punk when that’s what the song calls for. Either way, she always sounds powerful and in command. SHORT CHANGED play Bay Area Hardcore Punk, that really describes them well, I mean they capture the spirit well. They play fast and punk, sometimes with a metal edge and always with a stinky, sticky crusty undertone. They sound like the scum stuck covering your shoes after a night of pitting it up at the Haz Matt. It’s dirty, filthy, punk rock. To sum it up they are punk as fuck! There is so much energy on this record and if I haven’t said it already this is by far their best release. Everyone in the band has really started to get comfortable behind their instruments and are simply kicking ass. I mean holy shit! They do a kick ass, tight as shit, cover of SEPULTURA’s ‘Refuse/Resist and fucking nail it, guitar solo and all!!!! Fuck yea! The song ‘Punx with an X’ is re-worked version of an earlier song called ‘X Marks the Spot’…I think…At least they have major similarities!! The cover art is awesome and certainly worthy of mention. Metal Matt seems to be the genius behind that. Also of note is that this was recorded by the late Jeff Leppard (RIP). It’s also great to see another killer release on the Rodent Popsicle label, Bill has been at it forever and certainly deserves some credit for keeping it DIY, he is truly one of the “Tru Punx”! Great effort from a great band. (Josh Mosh) http://www.rodentpopsicle.com/ http://www.myspace.com/goatpowerrec
I’m a big fan of bands releasing things digitally, in order to reduce packaging, save on fuel and cut down on pollution all together, but in this case, I wouldn’t mind the hard copy since, in true CRASS fashion, this release comes with a specially designed fold out poster and illustrated booklet. Their visual art has always been as interesting to me as their music. That said, you either love them or hate them. When I was a youngster they had a huge impact on my political view and I was completely sucked in to the world I believed they lived in. Yep, I became a total “Crasshole”. Whatever, better that than crack, yeah? I think I’ve actually encountered more punks that find them annoying than actually like them. Fortunately my wife loves them as much as I do. Anyway, This was recorded between the Winter of 1984 and Summer 1985, giving it more in common sonically with Yes Sir, I Will than earlier and rowdier releases like Feeding of the 5000 and Stations of the Crass. Tack two appears to be an instrumental version of the over ten minute first track. It’s a nice bit of insight into the construction of the sound collage. These two versions of Ten Notes on a Summer’s Day are followed by four short songs that cold almost be outtakes, but are free standing audio art bits. Another solid release by a band that has always been good for a controversy. (Jake)