Wednesday, 22 January 2020

GET WORSE






















"snubbed"
Year:  2019
Country:  UK
City:  Leeds
Label: Dead Heroes
Format:  CD, LP
Tracks:  20
Time:  26 min.
Genre:  rock
Style:        Grindcore













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"struggle"
Year:  2017
Label:  Dead Heroes
Format:  CD, LP
Tracks:  30
Time:  40 min.
Genre:  rock
Style:        Grindcore








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Saturday, 11 January 2020

HOT SNAKES






















"jericho sirens"
Year:  2018
Country:  US
City:  San Diego, CA
Label:  Sub Pop
Format:  CD, LP
Tracks:  10
Time:  30 min.
Genre:  rock
Style:        Post Hardcore












Hot Snakes are a post-hardcore band led by Rick Froberg and John Reis, formed in 1999 in San Diego, California. Reis and Froberg had previously performed together in Pitchfork and Drive Like Jehu, after which Reis had found international success with Rocket from the Crypt. Hot Snakes disbanded in 2005 but reunited in 2011. Although they share musical similarities with members' previous outfits, Hot Snakes have a sound that is much more primal than that of Pitchfork, Drive Like Jehu or even Rocket from the Crypt. Reis and Froberg were also heavily influenced by bands such as: Fugazi, At The Drive-In, Alexisonfire and The Get Up Kids, and these influences gave Hot Snakes a distinctive sound that has been described by one critic as "hardcore indie punk." The band's recordings and merchandise were conducted in a "do it yourself" manner, with Froberg providing all of the artwork and Reis releasing the material via his Swami Records label. Highly recommended.
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"audit in progress"
Year:  2004
Label:  Sub Pop
Format:  CD, LP
Tracks:  12
Time:  33 min.
Genre:  rock
Style:        Post Hardcore








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"suicide invoice"
Year: 2002
Label:  Sub Pop
Format:  CD, LP
Tracks:  12
Time:  33 min.
Genre:  rock
Style:        Post Hardcore








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"automatic midnight"
Year:  2000
Label:  Sub Pop
Format:  CD, LP
Tracks:  11
Time:  27 min.
Genre:  rock
Style:        Post Hardcore
















Automatic Midnight, Hot Snakes’ first studio album, originally came out in 2000. Both the band and the album began as a "side project" for John Reis in June 1999, during time off from his main band Rocket From the Crypt. Reis wrote and recorded a batch of songs in San Diego with Delta 72 drummer Jason Kourkounis. To provide vocals for the tracks Reis called in Rick Froberg, whom he had played with in Pitchfork and Drive Like Jehu from 1986 to 1995. Most of the material from these sessions was used to create Automatic Midnight, which became the first release for Reis' newly formed Swami Records label (later issued through record label "Sub Pop"). The band’s sound represented a return to the unrealized past of its members: direct, simple and short punk rock while still maintaining the dense and turbulent character of the members’ previous work. In April or May of 2000, Hot Snakes added bassist Gar Wood, found their live sound and established themselves as primo, down-stroke warlords.
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Saturday, 4 January 2020

MDC





















"millions of dead cops"
Year:  1982
Label:  R Radical
Format:  CD, LP
Tracks:  14
Time:  20 min.
Genre:  rock
Style:        Hardcore        Punk












Review Summary: For what the hardcore punk documentary "American Hardcore" represented, "Millions of Dead Cops" encapsulates with a lot less fluff.

I remember…walking out of the theatre thinking to myself “My God, that film could have been so much better.” It seemed like the documentary American Hardcore was thrown together rather than organized and ended up being a poor amalgamation of acts and actions at the time, though the sentiment was well understood. Among the hardcore punk acts featured were MDC, whose song “I Remember” is symbolic of the reasons that spawned the hardcore movement. It’s the highlight of their 1982 release Millions of Dead Cops, a spitting attack on a modern, ignorant society. For what American Hardcore represented, Millions of Dead Cops encapsulates with a lot less fluff.

MDC hails out of Austin, Texas, a fine launching point for their mission against the “army of the rich” and the “pompous hair shirted sooth sayers.” To MDC, these enemies are tearing down their fellow man by spreading ignorance, racism, sexism, homophobia, and using the law to strip minority groups of their dignity. Equating the KKK, mafia, and the police as the “anti-brotherhood,” MDC instructs its listeners to “…take your stand…There’s no God in heaven so get off your knees.” Their ideas are liberal at a minimum but usually radically progressive when gripping the microphone.

If you’re not turned off by now (or if you’re turned on), you still haven’t passed the album jacket. Once you get past the line of cops on the album cover, or the split drawing of a police officer/clan member holding a gun in your direction, you’re submerged into a stunning hardcore extravaganza. Since a lot of hardcore punk lacks variety, MDCs creative instrumental talents bleed through vocalist Dave Dictor’s snarls, differentiating MDC from average hardcore acts. MDC controls tempo throughout the album with funky breakdowns (“Dick for Brains,” “John Wayne Was a Nazi”) and quick drumroll transitions that ignite the rest of their crew (“Corporate Deathburger,” “Dead Cops/America’s So Straight”). Millions of Dead Cops is unrelenting, disguised as a repetitive freight train of sound, but surrounded by well-constructed grooves and hooks. It storms around with ferocious angst, but maintains a clever approach throughout the album to stay concentrated.

Cleverness and intelligence go hand in hand, hinting wisdom and critical thinking abilities of a higher level. MDC employs very cynical lyrics with a heightened awareness of their surroundings, lending a metaphorical hand to the oppressed and uninformed. Their song “Dead Cops/America’s So Straight” is a dual confrontation of the police and homophobic Americans, questioning “What makes America so straight and me so bent?” The transitions within the song demonstrate significant innovation as the song rotates subject matter with ease. The attacks of Americans are perpetual, whether it’s criticizing John Wayne’s image for legitimizing the Klan’s propaganda, or hammering away at the mindless citizens with “grey buildings, grey people, grey food, grey walls.” There are also the entertaining light-hearted critiques of American lifestyle, with the brutally honest portrayal in “My Family is a Little Weird,” and the common adolescent failures addressed in “Dick for Brains.” It’s fun for the whole family.

Millions of Dead Cops is fast, smart, and creative. It blends a direct hardcore approach with a few twists to become one of the most unique hardcore albums of its time. The majority of its perspectives thrive at their end of the spectrum, with the views founded on a society that prefers “Socialism for the rich, capitalism for the rest of us.” You would be wise to avoid American Hardcore in favor of an album that can sum up the whole deal in less than half the time (*Review by Dscndnts ).
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"multi death corporations"
Year:  1984
Label:  R Radical
Format:  EP
Tracks:  11
Time:  15 min.
Genre:  rock
Style:        Hardcore        Punk








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"smoke signals"
Year:  1986
Label:  R Radical
Format:  CD, LP
 
Tracks:  11
Time:  27 min.
Genre:  rock
Style:        Hardcore         Punk









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"millions of damn christians"
Year:  1987
Label:  R Radical 
Format:  CD, LP
Tracks:  14
Time:  30 min.
Genre:  rock
Style:        Punk        Heavy Metal















After three albums of fast, simple, direct and orthodox hardcore punk, MDC guys recorded this amazing "Millions of Damn Christians", which became in a mix of different music styles such as: punk rock, hardcore, heavy metal and also some kind of blues and acoustic guitar. The lyrical temes continues to be as always (social issues, politics, anarchism, anti-war, etc.) but strictly musical the album is rich in different music sources, high technical level and clean sound. One of the best MDC album but the best.
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"metal devil cokes"
Year:  1989
Label:  Boner
Format:  CD, LP
Tracks:  15
Time:  29 min.
Genre:  rock
 
Style:         Hardcore        Punk














Live record - messy, but not too messy! A nice addition to any fine punk collection. Has about twenty tracks including a couple of Michelle Shocked tunes (apparently MDC played on one of her records, too, but I haven't heard it), but not enough good stage patter for my discerning ears. I mean, there's the bit where Dave cusses out a guy for getting mad at the slamdancers around him, but that's about it. I wish they talked more about what it's like to be in a punk band and what kind of dog they really like. Probably a Weimeraner or Yellow Lab. Those are cute. So are Dalmations, but they tend to get really fat, for some reason. Like homeless people. Bastard lazy pieces of duodenum brown!!!!
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"hey cop! ifi had a face like yours"
Year:  1991
Label:  R Radical
Format:  CD, LP
Tracks:  14
Time:  26 min.
Genre:  rock
Style:        Hardcore        Punk








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"shades of brown"
Year:  1994
Label:  Red Archives
Format:  CD, LP
Tracks:  14
Time:  29 min.
Genre:  rock
Style:        Hardcore        Punk














Perhaps this is the most unknown and forgotten MDC album. In fact when it was hardly anyone realized. I myself bought this CD in 2000 and after I realized that was recorded in december 1993. Frankly does not matter much if the disc was very popular or not , and that popularity does not always indicate that something is good or bad. I've heard it many times over 10 years and came to the conclusion that it is a good album , but it can not compare to the debut "Millions of Dead Cops" nor with the third album "Millions of Damn Christians". I think that these 2 albums are the best in the MDC discography, no doubt. But we stand before these three initials MDC and always mean quality music and a deep political and social background. As a small comment that all tracks are accompanied by a psychedelic keyboards, somewhat reminiscent to The Damned goth era or obviously to the sixties garage-rock bands. Besides keyboards, the rest of the record , the 90% , is still pure and total hardcore punk as ever.
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"magnus dominus corpus"
Year:  2004
Label:  Sudden Death
Format:  CD, LP
Tracks:  14
Time:  30 min.
Genre:  rock
Style:       Hardcore        Punk








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"mein Trumpf"
Year:  2017
Label:  Primordial
Format:  CD, LP
Tracks:  12
Time:  30 min.
Genre:  rock
Style:        Hardcore        Punk








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Thursday, 26 December 2019

THE REAGANOMICS






















"the aging punk"
Year:  2019
Country:  US
City:  Joliet, Ill
Label:  Red Scare
Format:  CD, LP
Tracks:  13
Time:  28 min.
Genre:  rock
Style:        Pop Punk












The Reaganomics have been kicking around the Red Scare roster for about 10 years and they only show their faces when they feel there’s a need to mock Republicans and/or ladder-climbing scenester punks. And let’s be honest: there’s currently a need. These dudes are from Joliet, Illinois (hold your applause), and they don’t ever tour because they have weird jobs like… music teacher and stuff. Their rare live shows are half laughs and half a display of exorbitant musicianship. But we got them to head into Chicago to record with Dan Tinkler (The Falcon, Elway, etc.) and crank out 13 songs of hefty shreddin’. This new Nomix record is called “The Aging Punk”, and it sounds like if you took the comedic writing of The Hard Times and merged it with Propagandhi’s heavy thrash-punk. You probably will never see this foursome on tour, so the only chance you have to enjoy these wicked riffs is right here on this new album.

Midwest punks The Reaganomics are releasing their new album The Aging Punk on December 13 via Red Scare Industries (pre-order), and that’s the album description above from Red Scare’s website, which was too good to not include. We’re premiering the new song and video “Grown Ass Man,” which continues in the tongue-in-cheek “we’re too old for this shit” vein of the above quote (and the album title), and here’s what the band tells us about it: “Hold onto your White Claws, Millennials, our new album is Ramones meets Dio meets middle age. We’re back and ready to rage, just have to be done by 9pm.”

About the video, the band also adds, “This video is based on true, unfortunate events, such as growing old and falling down. We don’t make music videos, this is why.” The whole thing is very fun and funny in that jokey skate punk kind of way that never really goes out of style. Check it out for yourself below. Also below is the tracklist, including a song called “Confessions Of A Snowflake Lib-Tard" (*Review by Andrew Sacher ).
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"lower the bar"
Year:  2011
Label:  Red Scare
Format:  CD
Tracks:  16
Time:  28 min.
Genre:  rock
Style:        Pop Punk









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"get lost, stay lost"
Year:  2009
Label:  Red Scare
Format:  CD
Tracks:  17
Time:  28 min.
Genre:  rock
Style:        Pop Punk








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Wednesday, 18 December 2019

VIRUS





















"pathogens"
Year:  2019
Country:  UK
City:  London
Label:  GYO
Format:  LP
Tracks:  10
Time:  26 min.
Genre:  rock
Style:        Punk













This anarcho punk band from Dorset, not to be confused with the UK thrash band of the same name, originally trod the boards in the early Eighties, splitting in 1986, but have been quite prolific – not to mention in fine form – since reforming in 2006. Pathogens is their latest eight-track MLP, but if you pick up the CD version, you get nine bonus tracks from their last five 7” releases, and it’s a cracking collection of stirring punk rock.

The first thing that strikes you is how great it sounds; the production is rock solid, and the exceptional clarity and power of the recording really helps the songs hit home hard. And that’s the next thing of note: the songs. In the same vein as classic bands such as Subhumans, Instigators and The Mob, Virus don’t shy away from a memorable hook, and Pathogens is full of catchy choruses. And their imaginative arrangements – veering from driving hardcore to upbeat ska – maintain a compelling momentum throughout. Some of the vocal deliveries are a little eccentric, but that adds to the offbeat charm, and it’s worth noting that Dave, the singer that graces this disc, has since left the band and Virus have continued as a three-piece, the other members handling the vocals, without compromising the impact of this material. 

If you like almost any of the anarcho punk that’s emerged from the UK these last four decades, it’s a safe bet you’re going to be captivated by Virus who successfully tap the vibe of bands like Rudimentary Peni, Omega Tribe and Icons of Filth – and even Killing Joke for some of the heavier, more tribal moments – and give it a fresh intelligent twist all their own. Pathogens is a prime example of how UK punk has evolved and kept itself relevant without losing sight of its traditional roots, and thanks to Grow Your Own’s wonderful attention to detail, it looks as good as it sounds. If you love any of the bands mentioned in this review, you need to snag yourself a copy of this tout suite. *Review by Ian Glasper
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"virulence"
Year:  2011
Lavel:  Active Distribution
Format:  CD, LP
Tracks:  14
Time:  28 min.
Genre:  rock
Style:        Punk








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Wednesday, 11 December 2019

INCISIONS




















"idem"
Year: 2019
Country:  UK
City:  Manchester
Label:  TNS
Format:  LP
Tracks:  12
Time:  26 min.
Genre:  rock
Style:        Punk        Hardcore













"We are a gorgeous 3-piece punk band from Manchester who collectively agreed on everything that you could ever imagine. Then one day deep inside our Practice dungeon a Steab was born. After the band got over the initial shock of seeing a Steab for the first time, he convinced Tomb & the gang to let him join the band. Things are still pretty awkward (and sexy) between everyone but we are active and you can probably check us out around Manchester at some point soon".
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Wednesday, 4 December 2019

SUPER UNISON





















"stella"
Year:  2018
Country:  US
City:  Oakland, CA
Label:  Deathwish
Format:  CD, LP
Tracks:  10
Time:  28 min.
Genre:  rock
Style:        Punk        Hardcore












I couldn't review this record without at least highlighting one of my favorite lyrical moments from Super Unison's vocalist, Meghan O'Neil. Stella, the latest LP from Super Unison. Along with Self Defense Family, I feel like Super Unison is another band that reminds people that Deathwish isn't a narrow-minded label within the world of hardcore; and with that, the hardcore world is better off.

With 10 new songs, the dynamic trio that is Super Unison has refined and strengthened their sound since releasing Auto in 2016. It may sound overly analytical but as music has changed over the years, I feel like that punk has sonically tended to move away from what might justify a band being called "punk rock."

Since discovering Super Unison when they released their 4-track 7" in 2015, I feel they're one of the main bands that opened me up to seeking out bands both old and new that laid the foundation for punk rock as a genre. It's not something always easy to describe in words, but it's often better described by a guitar tone or even a specific-sounding scream.

The overall cohesive writing by all three members is impressive from beginning to end. Punk drummers aren't often worth noticing, and I say that as a punk drummer myself, but Justin's playing on this record has a great attentiveness to detail and locks seamlessly with the guitar/bass work by Kevin DeFranco and Meghan respectively.


"The Birthday Gift" and "Scars" are particularly stand out tracks in my opinion, but there is not one song worth skipping on this record. I'm excited and impatient to hear these songs live, and I'm glad to say that some of you (specifically if you live on the East Coast) will have that opportunity soon when Super Unison does a week-long tour starting on the 11th of November. Also, make sure to get out to their record release show on the 26th of October in Oakland (*Review by Benedetto Manzella ).
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"auto"
Year:  2016
Label:  Deathwish
Format:  CD, LP
Tracks:  12
Time:  30 min.
Genre:  rock
Style:        Punk        Hardcore








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Saturday, 30 November 2019

TSUNAMI BOMB























"the spine that binds"
Year:  2019
Country:  US
City: Petaluma, CA
Label:  Alternative Tentacles
Format:  LP
Tracks:  11
Time:  34 min.
Genre:  rock
Style:        Punk Rock













According to some rumors circling in DIY punk rock circles, this album is reasonably the most awaited record of the year. Tsunami Bomb was formed in Petaluma, California by Dominic Davi back in 1998. and has recorded two full-lengths, five extended plays, countless singles, and has appeared on impressive quantities of compilations until their disbanding in 2005. Then the band determined to start all over again in 2015. with the enhanced lineup, so the band has published Trust No One, a compilation album as an announcement for their comeback on the punk rock scene. The Spine That Binds it their long-awaited third full-length album which embarks a new augmented lineup and a new era for this eminent punk rock band. Right with the first riffs and beats of this record, Tsunami Bomb showcases their musicianship through dominant horror punk sounding keyboards, highly energetic guitar melodies, punching basslines that resonates somewhere in between while the drummer nails the drums with a lot of style, precision, and common sense. Tsunami Bomb maintains their recognizable playing style, but with even more hooks, catchiness, wonderful choruses filled with dual female vocals, magnificent verses full of singalongs and almost eerie parts where spooky keyboards sound are even more dominant. The keyboards are also their key ingredient that keeps the essence and sustains the foundation of the band, but the rest of the Tsunami Bomb are also fulfilling their recognizable sound with a highly professional approach to punk rock music. Besides conventional explorations through the vast space of classic melodic punk rock and pop-punk, Tsunami Bomb also includes a lot of horror punk elements in their music, so The Spine That Binds appeals even more interesting, entertaining, and pleasant to the ears. The waiting has paid off and compositions such as opening Tidal, or ultra-melodic hardcore punk banger Naysayers, classic horror punk tune called The Hathors, highly energetic Sinking Hole, or an ode to their hometime Petaluma are giving such a great examination of The Spine That Binds while spooky Dead Man Can’t Catcall, catchy synthpop-a-like Phosphene, incredibly good pop-punk song called the Last Call, and anthemic Lullaby For The End Of The World are keeping the attention. Post-punk keyboard on Wake The Dead is indicating the closure of this magnificent album when all of a sudden The Spine That Binds comes in, a perfect closing composition that comes like a punch in the chin just in time when you need it the most. Tsunami Bomb made it once again, they’ve recorded a perfect comeback album that will catch the attention of the wider audience both visually and musically. The Spine That binds has been published by Alternative Tentacles and its available on vinyl, compact disc or through all streaming services (*Review from HERE ).
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Wednesday, 27 November 2019

SEGISMUNDO TOXICOMANO























"sangre facil"
Year:  2019
Country:  Basque Country (Spain)
City:  Vitoria
Label:  Rock Estatal
Format:  CD, LP
Tracks:  13
Time:  37 min.
Genre:  rock
Style:        Punk Rock













Segismundo Toxicómano is a punk-rock group from Vitoria formed in 1997. Followers of the Rotten hordes and company, as well as closer references such as La Polla or RIP, their music has followed the evolution of the so-called Basque radical rock, cane and with lyrics of political and social content. With seven studio albums and a live show behind them, they are one of the most prominent groups in the national music scene. Although they started as a quintet, since 2004 the formation is composed by Plací (bass and vocals), Gabi and Javi (guitars and choirs), and Arnaiz (drums and choirs).

Influenced by both national (Scar) and international (Cock Sparrer) groups, their first self-titled album was released in 1998 and sold more than 5000 copies. Given the success of their debut, at the beginning of the year 2000 they published their second work "Toxic World" that contains already mythical themes such as "Reality", "Poverty" or "Hate".

In summer of 2001 they recorded with Locomotive Music, their third album entitled "1,2,3..Fuego!" which contains a version of the "England Belongs To Me" by Cock Sparrer, entitled "Euskadi". After taking out the third album, they were touring with La Polla through the Peninsula and formed "The Line of Attack" with Boikot and Dissidence, which led them to the stages of the most important festivals at the state level.

In 2004 they released their fourth album "Escapa", a more cane-making work than the previous ones that includes songs like "Suspects", "My Life" or "Nos Joden", and two years later they returned to the attack with "Auschwitz 05". In December 2006 they recorded their album live in the Hell Dorado room in Vitoria, which sees the light the following year under the title "Balance of Damages".

In 2009, the members of the group took another important step, freeing themselves from record companies, deciding to self-manage and edit their albums themselves under the "ODNI Records" label. Their objective is to free themselves from the current record system, which they consider obsolete, and decide themselves the distribution price of their next works. On September 26, 2009 "Una Bala" is released. This album is presented in a tour of 20 concerts in the country, in which they give a copy of it to all those attending each of these concerts. Two years later, the group publishes "Ke No Cunda El Panic", again opting for desktop publishing.
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"trilogia"
Year:  2017
Label:  Maldito
Format:  CD
Tracks:  21
Time:  40 min.
Genre:  rock
Style:        Punk Rock








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"que no cunda el panico"
Year:  2012
Label:  Odni
Format:  CD
Tracks:  9
Time:  26 min.
Genre:  rock
Style:        Punk Rock








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"una bala"
Year:  2009
Label:  Odni
Format:  CD
Tracks:  15
Time:  32 min.
Genre:  rock
Style:        Punk Rock








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"auschwitz 05"
Year:  2005
Label:  Santo Grial
Format:  CD
Tracks:  14
Time:  33 min.
Genre:  rock
Style:        Punk Rock








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"escapa"
Year:  2003
Label:  Santo Grial
Format:  CD
Tracks:  14
Time:  32 min.
Genre:  rock
Style:        Punk Rock








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"un, dos, tres, fuego"
Year:  2001
Label:  Dynamo
Format:  CD
Tracks:  11
Time:  25 min.
Genre:  rock
Style:        Punk Rock








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"mundo toxico"
Year: 1999
Label:   Potencial HC
Format:  CD
Tracks:  12
Time:  26 min.
Genre:  rock
Style:        Punk Rock








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"idem"
Year:  1998
Label:  Potencial HC
Format:  CD
Traccks:  12
Time:  26 min.
Genre:  rock
Style:        Punk Rock








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Tuesday, 19 November 2019

IDLES























"joy as an act of resistance"
Year:  2018
Country:  UK
City:  Bristol
Label:  Partisan
Format:  CD, LP
Tracks:  12
Time:  36 min.
Genre:  rock
Style:        Punk       Alternative Rock











IDLES’ new album concerns the tragedies of illness and loss, the addict’s vacillation between sobriety and vice, and the discomfort of rational people at the current state of the world. Joe Talbot, the band’s sardonic, growling singer, lost his disabled mother, cleaned up his substance abuse, and watched the xenophobic Brexit go down - all while his Bristol-based punk and post-hardcore quintet blew up in his home country. While they mined grief and addiction on their heralded 2017 debut, Brutalism, its follow-up seeks to further focus their notorious, explosive, tongue-in-cheek energy. Now the name of the game is to see past the pain: Joy as an Act of Resistance.

The music on this record is unrefined in the same way that sugarcane is unrefined - any further processing would strip it of its vitality. In the few short months IDLES have spent touring stateside, they’ve gone from cult New York bar act to headlining midsize venues from Brooklyn to Peoria. Without a doubt, they’re playing the hits people who can muster the energy for a circle pit want to hear: Grief is OK, masculinity is toxic, racism sucks. (An actual cover makes its way into the mix, of Solomon Burke’s 1961 soul standard “Cry to Me.”) The riffs come hard, fuzzy, and fast. And the platitudes follow close behind.

Talbot delivers lyrics like “I am my father’s son/His shadow weighs a ton” with the passion of a desperate man, borrowing wisdom from very well-worn aphorisms. The lines come from opener “Colossus,” which twists the solitary act of Catholic confession into something collective: After the narrator atones for his personal sins, the song closes with a gang-shout chant, and the entire room is absolved. But what’s so revolutionary about bringing the mosh pit to the pulpit? In the face of the explicitly earthly problems IDLES are so eager to address, it feels like a cop-out.

And it isn’t the only moment on the album when Talbot retreats from more difficult conversations. The singularly heartbreaking experience of having a stillborn child permeates Joy. “There are so many people out there who probably think they are weird or different because they have lost their child,” he told NME. “Because there is a point of loneliness where you think you are the only person in the world grieving at that point.” It’s the kind of insight that, if harnessed in Talbot’s songs, could have made grieving listeners feel less alone. Yet IDLES never quite get there. Instead, they paraphrase a six-word story famously, but probably apocryphally, attributed to Hemingway: “Baby shoes for sale: never worn,” Talbot repeats on the turgid singalong “June.”

Across Joy as an Act of Resistance, IDLES struggle to balance the weight of human history with the absurdity of making music at what feels like the twilight of humanity. On “I’m Scum,” one of several overt political polemics. The line “I put homophobes in coffins” (with Talbot’s hint of a Bristol accent) is laughable enough to pass, while “This snowflake is an avalanche” belongs scrawled on the protest sign of a recently radicalized 13-year-old. When the songs - and the political convictions behind them - are inextricably tied to personal experiences, it’s a shame to paper over that vulnerability with something so broad.

When an artist reaches their wit’s end, the struggle to return from that point can fuel some of their most resonant work. IDLES share a certain strain of desperation with Modern Life Is War, the crossover hardcore act whose 2005 album Witness was a masterpiece of bottoming out. But what made that record so compelling as a portrait of a broken man was specificity that approached poetry, with the band finding solace by wallowing in the caverns of misfortune and describing every stalagmite that blocked their path. While IDLES don’t sound dishonest on Joy as an Act of Resistance, both the urgency and the vagueness of this record create the impression that a declaration of “joy” might be a little premature (*Review by Dale W Eisinger ).
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"brutalism"
Year:  2017
Label:  Partisan
Format:  CD, LP
Tracks:  12
Time:  36 min.
Genre:  rock
Style:        Punk        Alternative Rock








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