Hailing from Barcelona, BAIT’s debut full-length is a slab of angry, stomping hardcore punk. Jam-packed with riffs and aggression, it’s meat-and-potatoes hardcore, which certainly isn’t a bad thing. If you’re a fan of that sound, you could certainly do a lot worse. Good stuff.
Considering the dark aura of these formidable D-beats, BRITNEY FEARS was an interesting choice of name for this great Greek hardcore group. These ten sharp songs are manic and macabre, with echoed vocals ringing out over melodic raw riffs and hard, machine-like drums. It’s a tough sound with a haunting feel and an overall unique presence, perfect for scantily-clad dancing with knives in your hands on Instagram.
CALORIS IMPACT from Graz, Austria plays modern hardcore that sits comfortably next to BUGGIN, STRESS POSITIONS, and GEL, with a dash of of surf-y rock’n’roll added to the usual two-stepping riffs and breakdowns that works well. The swagger in these songs is refreshing, especially when paired with the vicious, politically-charged vocal delivery. Check out “Arrogance,” it’s a proper rocker.
DISCLOSE worshipping time! You know the drill, this one is for the Kawakami aficionados out there. Nothing new under the sun, just two bands, CMOΓ (“Smog”) from Skopje and ERGOPHOBIA from Germany, sharing their love for noisy, fuzzed-out D-beat. So if you’re ready to dive headfirst into a sonic maelstrom of D-beat, give this one a spin. You won’t be disappointed.
Issued in October 2022 by Phobia Records, a label based in the Czech Republic, this split presents bands from Germany and Sweden. ALTERI from Cologne, Germany offers a synthesis of blackened crust closer to death metal, with deep and low but also high gutturals, sludgy bass lines, and guitars that sometimes resemble math rock sounds, cutting with precision. The songs are filled with tempo changes and parts achieving complexity. Suggested track: “Verlorene Staedte.” On the Sweden side, we have GRÄNSLANDET from Kristinehamn, delivering their D-beat with deep, sludgy strings and fast cadences, good riffy guitar solos, and controlled yet strong screams plus great drums. Good work with the doom feel that gives a trance-like feeling at moments. Suggested track: “Historiens Mantra.” Appropriate selection for a split, with the bands having things in common. Recommended for blackened crust and metal enthusiasts.
Split effort coming from Italy with seven tracks per project, including a cover on each side, supported by multi-cooperative DIY labels. Motörcharged dis-punkers to the fullest, with superb cover art of a dystopian family couch for this album. MOTRON is more on the metal punk side of Lemmy’s moon, holding a grip of darker, gloomier tones in their charging, doom-thriving bass lines, mid-paced, rock-solid drums, and deep, angry, guttural vocals confronting almost mirrored guitar sections and minor riffage. Suggested track: “Lack of Shame.” HOAX goes for faster-paced cadences and sickened, steadier vocals, with a more distorted approach in the strings but keeping classical rhythms in their charged situation. Suggested track: “On Your Grave.”
Two unapologetic bands join forces to make the world a bit more fun. Malaysia’s greatest punk export, APÄRATTUS, delivers yet another vicious raw hardcore attack in a ANTI-CIMEX meets DOOM mash of noise. Italian motörcharged punks OVERCHARGE slam on the gas with their jams on an ANTI-CIMEX meets MOTÖRHEAD route. I can only guess that both these bands really clicked on their love for the Scandinavian Jawbreakers and decided to immortalize it on a record. A split made for the open road and the smell of gasoline.
Four songs of melodic hardcore punk. Socially-charged lyrics. The song “MORT420″ is the stand-out track for me. Solid effort from these Manchester lads.
Cool and weird grunge, proto punk-ish, rock-adjacent band that explores darker themes. The album opens with PJ HARVEY-sounding vocals, and builds to create a cool evolution with the introduction of more distorted guitar/bass lines. I loved how playful the guitar lines were throughout; with a kind of talking guitar in “Small Talk” to the more drone-y kind of melodic guitar in “A Dead Man’s Code (Zamama)”, they really found a unique sound that speaks for itself. I also appreciated the kind of darker themes with an enchanting, darker, witchy vibe. I felt like I was under a spell with the vocals in “A Dead Man’s Code (Zamama)”, appropriately transitioning into the next song called “Bitches and Witches” which is equally as spooky.
