Reviews

Beat Generation

3ª Guerra Mundial Violencia EP

This is a really special piece of Spanish punk. This group from Madrid, formed by members of the legendary band PANADERÍA BOLLERÍA NUESTRA SEÑORA DEL KARMEN, recorded these three tracks back in 1987, which you can listen to now for the first time on this archival release by Beat Generation. These songs have a very English sound, totally focused on the UK82 style, but with the humor and very spiteful vocal delivery of the best Spanish punk. It’s a quick listen and makes you want to repeat the experience, so do it.

Agentss Agentss 12″

A reissue of the two EPs from this São Paulo, Brazil new wave synth group. Folks may be familiar with this band from opening the Não Wave comp of Brazilian post-punk that came out in 2005, which, along with the Sexual Life of the Savages comp, really introduced me to this whole scene (the latter specifically to the amazing AS MERCENÁRIAS). AGENTSS were apparently the first synth band in Brazil, forming after their lead singer/keyboardist Kodiak Bachine visited America and discovered records by, among others, the CURE, GARY NUMAN, and KRAFTWERK, groups whose influence is obvious on the four songs here. The guitars are drenched in chorus and delay, the synth zooms and glides through the soundscape, and the mood is more robotic and nervy than somber or dramatic. Short but landmark, it would make a good deep-cut DJ bin-filler for your goth bar set.

Mercenárias Cadê As Armas? LP reissue

The 1986 debut album from São Paulo’s femme-punk legends MERCENÁRIAS finally gets the reissue treatment that it so desperately needed, following a pair of killer releases from Nada Nada Discos in recent years that focused on the band’s unreleased and archival material. Slashing guitar, dance-to-destroy rhythms, and shouted gang vocals denouncing all manner of oppressive systems (the police, the Brazilian government, the Catholic church), executed with an absolutely vicious, fiery energy like BUSH TETRAS or the AU PAIRS playing at a hardcore pace—ten songs in eighteen minutes! The LP’s two most urgent and blistering tracks are probably their best-known, namely “Polícia,” which starts off with a bass-supplied klaxon call before launching into a frantic push/pull of disco beats and call-and-response chants, and “Pânico,” which counters its scrabbling guitar and deep bass throb with some disarmingly melodic backing harmonies, but the darker, chorused-out post-punk moments (“Imagem” and “Amor Inimigo,” in particular) are equally great, foreshadowing a more SIOUXSIE-adjacent direction that MERCENÁRIAS would take on their 1988 follow-up Trashland. Highest recommendation possible!

Paranoia Pain & Pleasure LP

The Pain & Pleasure LP by PARANOIA is a compilation of songs from cassette tapes that were originally only available directly from the band during the mid-’80s. PARANOIA plays a type of punk rock that is heavily influenced by goth and post-punk, and at times even explores the prog rock field. There are portions of this album that remind me of PENDRAGON or other prog bands that used fantasy-based fiction to create sonic environments. Looping riffs that seem to continue endlessly before exploring another, while vocals explore lyrics about swords, battles, and other medieval imagery.

Ratos De Porão Al Kasal LP

This LP consists of live soundboard recordings of RATOS DE PORÃO from the mid-to-late ’90s at various squats and venues in Mallorca. The tracks are from the band’s crossover era (Feijoada Accidente? and Carniceria Tropical), with a few covers for the punks. Perhaps the audio isn’t the greatest quality, but it successfully captures the pure aggressive live energy and the tension in the air that would not be able to be replicated inside any studio. May not be the most representative era of the band (such as Crucifados Pelo Sistema), but is when the band decided to cater to a wider audience while still staying true to their roots. Something to add to your RATOS DE PORÃO or Brazilian HC collection.

Sudor Causa General 12″

It surprised me SUDOR still exists and records. Causa General is hard to pin to a specific sub-style that generously offers its relics to successors, it is balancing on the edge between fast punk and low-key hardcore. The exceptional thing about the record is how it has nothing to prove—it’s not trying to be anything—and within this rail-lacking zone, they have to stand on their own. While the autonomy drips from every chord, and likely there is a huge archive as an inspiration, I am seeking for something to hold onto. Nothing is under or over-portioned and while it could be mediocre, the record avoids that trap, too. SUDOR sounds dry, which peaks in a scratching rawness, closer to a sandpaper than a chainsaw; a simplified but energetic straightforward momentum pushes all songs; among the polished riffs they tastefully place tiny bits of solos; the beat speeds but never blasts; their sober-angst eschews any goofiness, chaos, collapsing sounds, tension overdrives. The formless aesthetic of the record floats unmarked, within territories where we are spoiled with distinctions and culture related references. How draft-like they sound, the idea of other bands could fill the frames of SUDOR songs, although the act would feel forced. It is not a drawback to be untag-able. It’s more fun for me too to be challenged to figure out what the fuck to write about the record, while I do enjoy hearing it. Judging on the loudness and prominent role of the vocals I bet lyrical messages are relevant. This is suggested by the pamphlet-looking lyrics sheet and the postcard-like cardboard piece that illustrates church and military people waving together. While obviously I am sweating over this review, as a listening experience it truly is unique and might offer a lot more food for thought then anything that is precisely tailored to my taste.

V/A Matado Por La Muerte Vol. 3 LP

I remember quite well the first time I listened to Matado Por La Muerte Vol. 1. I think it was 2008. It just felt like being hit in the face by a brick and just laughing about it while you bleed. It became an instant classic. This is the third volume (the second was released in 2015), with 21 exclusive tracks from eighteen Spanish-speaking bands. As always, the comp is full of gems and styles, all sharing the same iconoclast spirit. Here are some of the songs I enjoyed the best: CAMPAMENTO RUMANO’s PEGAMOIDES-meets-REZILLOS sound, the lo-fi fun of FINALE, the fury of Mexico’s CREMALLERAS, Peru’s MORBO’s street knowledge, Spanish SATÉLITE’s gothic notes on modern life, and the anthemic “EspaÁ±a Me Pertenece” from TENDIDO CERO. This a really good introduction to current Spanish-speaking punk, hardcore, and post-punk if you’re interested in getting into it.