Reviews

Refuse

Apatia Demo 1991 LP

The impact APATIA had on the then-emerging Polish DIY punk/HC scene is immeasurable. The first time I was in Europe, it seemed like everyone in every town would mention this band I had never heard of. I left the country with a handful of cassette releases and worked my way through their material deliberately, because APATIA isn’t really the kind of band you just put on and rage. The context, the time, the band…it’s the combination of everything that makes them work, and that’s abundantly clear in the Refuse Records reissue of their second demo from 1991. Much like many of the more genre-pushing DIY hardcore bands in the North American 1990s, they covered a ton of sonic territory, especially on their later releases, and hearing them forge those paths on these early recordings is excellent. A complete divergence from the “known” punk bands that came a few years before them, APATIA bypass traditional anthemic punk completely, opting for tough and determined hardcore mixed with a quirky originality that would have found them right at home on US labels like Very Small (the epic “Duma i Pycha +… Ciągłe Pytania” could practically be a PLAID RETINA outtake). The songs are great, and the songs are interesting, but really it’s the “where” and the “when” that makes the document mandatory—because while few bands sounded like this then, no one sounded like this there then. And Poland listened, through at least seven albums and a slew of live tapes and demos, Poland listened and Polish punks paid attention. You should pay attention, too—history is fucking important.

Betercore Completely Out Of Control: Discography 1998-2003 LP

BETERCORE was a severely underrated Dutch band that carried the self-proclaimed “youthcrust” banner during their turn-of-the-millennium existence. I quite literally discovered this band by doing an internet search for “youth crew crust” in 2003, and immediately knew that I had stumbled on something special. BETERCORE’s sound is characterized by blastbeats interspersed with mosh breakdowns, frequent between-song samples, and melodic leads, with two vocalists that trade off, and is sonically on the slightly cleaner side of abrasive (I think they’re more “crust” aesthetically and politically, and more “youth” in terms of the breakdowns, songwriting, instrument tones, and energy brought forth). Their impassioned lyrics—which can be felt in the vocal delivery—take on society’s bullshit, as well as that of the sometimes sterile and detached-from-real-life hardcore scenes that were going when they started up, with humor and seriousness whenever the respective one fit (sample song titles include “SXE, But Not An Asshole,” “Gospelcore,” “Man You Suck,” and “Mosh Against Monarchy”). Their main output is four split 7″s and a split tour CD-R, which is compiled here in reverse chronological order, along with a history, loads of pictures and flyers, and even a quiz! Although I still regularly see their records in distros, it’s nice to have everything in one place, and I’m glad that a band this necessary yet lesser-known has seen their discography pressed to vinyl and contextualized with care. They called themselves “better ’core” for a reason, and they delivered. Let us not forget.

Conquest for Death A Maelstrom of Resentment and Remorse LP

Full transparency, I was not that familiar with CONQUEST FOR DEATH’s music, but except by name and band connection proper enough for, and prior to, reviewing this. Those lack of credentials alone had me feeling a bit nervous and a bit queasy, to be honest. Sick from hardcore? And maybe that’s the point and best way to go into this. I also like to use maelstrom a lot in reviews, so I immediately connected with a band I felt I should already know much better. I had only seen a few of the bands associated with CONQUEST FOR DEATH: WHAT HAPPENS NEXT?, ARTIMUS PYLE, FUCKFACE, and NO STATIK often when I moved out West, and I bet had they made it over East (and they probably did), holy crap, I must have missed out! Anyway, this beautifully designed LP, their return recording since 2013, kicks off with what I can only describe as if SHOCKING BLUE or BABE RUTH played hardcore and FINAL CONFLICT ripped forth with gruesome guttural crust vocals. The timbre of BRUTAL TRUTH rears back and forth throughout, as does the lost rasp of BLACK FLAG. That being said—an excellent combination on the mic. Weird and wild thrash moments are fused within Á  la VOIVOD with the all-go abomination of REPULSION, adding grit. The lyrics are deep, existential, somewhat scientific at times(!) and real. “Philosophy, rock climbing, liquor, and weed!” Real words, which I loved, but in all seriousness, the songs cover a lot of topics, through storytelling and reflection. Now let’s talk about this artwork. This gorgeous cover by Alex Nino, a glossy black ink and grey wash warrior, rides a battle elephant, covered in bladed armor, which was used several times throughout history, but my nerdy imagination immediately went to Return of the King. An enormous full-color poster is also included; another elephant battler, on what seems like the body of Mazinger Z, by Glenno Smith. Add a vinyl sticker, and a gatefold panoramic photo (AND a second poster of this gatefold photo is included!) of the band captured in frozen energy, surrounded by a sea of their closest conquesters, a sight sorely missed this day and age. Overall the packaging is top-notch, and the tunes are an adventure in, yes, resentment and remorse, anger and injustice, but they also have a party feel and are kind of a psychedelic journey, and return trip if you will, into modern hardcore while retaining the styles of the past. To sum up, do I have any other CONQUEST FOR DEATH records, no. Am I thrilled to have this magnificent love-FOR DEATH effort, will I put the sticker on my BMX? Fuck yeah, I am. Fucking awesome! 

Cymeon X Wygrać Swoje Życie LP

While one of my best pals is from the Polish hardcore scene, along with a few other heads I’ve met, I know little about Poland’s history of punk and hardcore bands, with the exception of a couple of current bands such as the hip group TONFA and HEAVY RUNNER. Nevertheless, it is really refreshing to hear a gem like this released from a very wild time in HxC. Originally released in 1992, Refuse Records’ reissue of this is fitting in our day and age when deep dives are more popular than ever before, thanks to an online database of limitless information known as the internet. While their photos would convince any audience that CYMEON X were fans of the BOLD or EARTH CRISIS style given their look, this LP sounds more like if bands such as LÄRM, KAAOS, and TERVEET KADET were listening to the likes of STRAIGHT AHEAD and the New Breed! compilation. It sounds like a pretty hilarious combination, but the poor recording of this LP adds such rawness to a clearly good band. It’s not the best Euro edge I’ve heard from the ’90s, but it’s still cool. 

Disavow Disavow LP

Total collision of preconceptions and aesthetics here, and the dust is still settling. Sweden’s DISAVOW are nothing if not impactful, which is to say that I bolted up straight as soon as the intro was over—the demand was instant and undeniable. Modern straightedge hardcore, with roots that reach for MODERN LIFE IS WAR instead of the first (or secod, or third?) waves of ’core, and with a serious fire lit under their ass, and DISAVOW sound real, which is what makes them feel special. I think the term “post-hardcore” probably applies here as well, but this is just an altogether massive slab: intense, honest, emotional, powerful music that needs to be listened to from start to finish, and repeatedly.

Domain Retreat EP

This band pays tribute to late-’80s, early-’90s straight edge. The most obvious comparison is TURNING POINT, but I also get SIDE BY SIDE and RAW DEAL vibes. It’s even got that lo-fi recording style that makes it seem like something from that era. If you’re a diehard fan of that chapter in hardcore history, or even the resurgence of that style that’s come about over the past five-ish years, this record is worth the cop. Top tracks for me are “Feeding the Fire” and “Favor.”

Dregs Built to Rot EP

Back in the ’90s there was a NYC squat band called the DREGS, a reference to the bottom of a beer. This here is ferocious sXe hardcore from Vienna reminding me in vocals of EXCREMENT OF WAR, in downtrodden darkness the NYC DREGS, in sheer power NO STATIK. These vocals are something so raw and ugly and furious. The breakdowns cannot be fucked with. The circle mosh moments are intense. The EP in summation is a brutal powerhouse of sXe HC rage. This is almost more intimidating than SLANT, of recent listening, and if it were a full-length it might very well be. Get this if you think you’re pissed-off. You’ll see you’re not as pissed-off as DREGS.

Dregs Watch Out EP

Brutal, fast, straight-edge hardcore from Vienna, Austria. DREGS’ debut vinyl release is totally fucking unstoppable. Singer Julie’s scathing and unrelenting vocals are backed up by the most pounding of hardcore breakdowns, occasional noodly guitar solos, and mysterious noise compositions at the beginning and end of the record. This is thrashy, intense and brilliant.

Drill Sergeant Grim New War EP

Philly punks DRILL SERGEANT dropped their latest EP Grim New War and it rips; cool thrashy hardcore with rabid vocals reminiscent of FORESEEN and CHAIN WHIP. Each track here packs a nasty punch, but none more than “Cries for Justice,” which features an unexpected shift to powerviolence with blastbeats that are sudden enough to cause whiplash. It also features someone named “the Meat Man” on backing vocals, so you already know it’s gonna be crazy. Highly recommended.

Eat My Fear Taking Back Space EP

Self-described as queer feminist straight-edge hardcore from Berlin, EAT MY FEAR is definitely a band the world has been waiting for. The songs are packed with angry and impassioned political lyrics, plenty of group vocals, and probably more breakdowns than the fast parts were designed to withstand. Without diminishing the depth of the emotion or gravity of the subject matter, these songs sound fun as hell. This reminds me of the fury and creativity of late-’90s political hardcore bands like HARUM SCARUM and ANTI PRODUCT. With six tracks clocking in at about eight minutes, this EP left me wishing there was more, and looking forward to what’s next.

Eat My Fear New Era LP

Angry, fast, and loud, EAT MY FEAR’s New Era is a collection of political punk songs about solidarity, conflict, gentrification, friendship, and community. According to the album’s write-up, it was recorded during the COVID-era lockdowns amidst the displacement of many local DIY spaces in Berlin. You can certainly feel the power and urgency behind these songs, mostly in the vocals which are shredding in near-desperation throughout. Sonically, EAT MY FEAR ranges from straightforward hardcore to skate punk to nearly pop punk, but what carries this album is its venom, its intent, and its message.

Firewalker Alive EP reissue

Refuse Records brings us a new vinyl reissue of FIREWALKER’s 2018 cassette-only promo, originally on lame-o mersh hardcore label Pop Wig. The new cover art by Emma Hendry is a vast improvement on the original art and re-situates this release within the larger FIREWALKER visual world of smirking impish devils. It’s crazy that FIREWALKER has been around for five years now. They have been a truly game-changing band, inspiring cool girls and enraging small-minded sexists with overtly feminist lyrics set to the previously male-only province of NYHC-inspired music. “Role Model” is an antipodean take on ALONE IN A CROWD’s “Who You Know” (which AIAC puzzlingly played at a 2019 reunion show—yikes, go ahead and prove FIREWALKER’s point), while “Out of Time” bemoans the punishment that accompanies the slow march of progress in hardcore. “Cyanide” features singer Sophie and guest singer Sen of the short-lived Olympia band MALA RACHA trading off over a lurching, heavy riff. I’m glad this got the vinyl treatment—it’s a worthy follow-up to their excellent 2017 LP, and it’s quite a bit better than 2019’s The Roll Call. Still an unimpeachably cool band to me.

Foresight In Search of Understanding LP

This is the debut full-length from Polish metalcore band FORESIGHT. This is pretty by-the-numbers ’90s-style metalcore here, nothing more and nothing less. Not very much here really grabs my interest, truthfully. The musicianship is competent and if you’re into this kind of thing it might be worth your while, but I don’t dig it very much.

Fuck It… I Quit! The War Ritual LP

Vicious mad blasts of retro-crust hardcore fueled with defiance and rage. Recalling the sounds of REACT, CIVIL DISOBEDIENCE, LOGICAL NONSENSE, AUS-ROTTEN, BOILING MAN, focused on themes of veganism, animal liberation, and a strict stance against the capitalist corporate masculine hypocritical system. Several shared furious vocal duties nail-gun through each track, which clock in under a couple minutes each on average, a brief harsh slap of reality like DROPDEAD. A few songs explore into the three- or four-minute range, thinking of ANTISCHISM, PROVOKED, ZERO HOUR but for the most part, on this 22-track LP laced with several unsettling interludes, the band delivers their message concisely. FUCK IT… I QUIT! is the sound and constitution of the inherent punk culture fight and the uncensored non-metaphoric, straight-to-the-point voice we need again.

Government Flu KFJC Session flexi

These seven songs, recorded during a live session at the historic KFJC studio in the South Bay Area, absolutely rip. The songs are fast and in-your-face, falling somewhere in between JERRY’S KIDS and United Blood-era AGNOSTIC FRONT. This band has been around for a while, but hasn’t dulled a bit. Hardcore punk at its finest.

Government Flu House Arrest EP

Warsaw’s GOVERNMENT FLU has been around long enough to still have a page limping on Myspace (!), and  a lengthy catalog of solid, straight-ahead, early-’80s US-influenced hardcore. This five-song EP (their ninth!) spins like one of the best early No Way Records releases (DIRECT CONTROL, GOVERNMENT WARNING, etc.) where there’s no bullshit, no metal or art trappings, just concise, direct hardcore that maybe trawls the FANG/”end-of-the-LP-side” ’80s punk sludge here and there to bookend the speeding attack. Energetic jolts of fast hardcore more precisely played than ’80s bands in a more defined recording, the No Way comparison is apt, and the EP’s artistic design, with a big fold-out poster/lyrics sheet harkens to that great spirit and style of  HC revival of the mid-’00s, but urgency and intensity overrides any retro nostalgia. Lyrics are shouted in English, confronting decisions of how to live life, self-definition, expectation and rules. Great EP, limited to 500 copies.

Heatseeker Infected Society LP

This LP goes so hard! Unrelenting, aggressive, riff-y hardcore that falls somewhere in between VIOLENT REACTION, BOSTON STRANGLER and LOCK. Nearly every song has a moshy breakdown at the end, and a few even have some divebombs and sneaky guitar solos. The vocals are low and gruff, reminiscent of NEGATIVE APPROACH.

Id Twoja Twarz LP

As soon as the music began I immediately thought of the first POST REGIMENT album, a record I’ve listened to maybe more than any other throughout my life, or at least in the top five. Turns out that the two recordings were done at the same studio with the same engineer within a year of each other, so I’d like to take a moment to appreciate and commend my damaged but accurate and still-functioning ears. ID fits right in between exemplary Polish bands POST REGIMENT and ARMIA, really sharing the spirit and rhythmic prowess of both bands, but perhaps more stripped down. This record doesn’t immediately grip me the way the bands I compared it to did, but Polish punks surely know better than me, a Texas-born poser who loves old Polish punk and hardcore. This was previously released on cassette only back in 1993, so now we can all enjoy it on the same superior format as its aforementioned contemporaries.

Insecurity Willpower EP

INSECURITY from France plays totally fine and serviceable aggressive youth crew, nothing to write home about but not terrible. They’re named after one of the best TURNING POINT songs and the influence is evident, but if you have even a passing interest in youth crew, you already have a record that sounds exactly like this. If someone is holding a gun to your head and demanding that you buy a Refuse Records release, I’d definitely recommend this over most. Wouldn’t that be a weird situation in which to find yourself?

Judy and the Jerks Total Jerks LP

JUDY AND THE JERKS haven’t reinvented the wheel, and truth be told, they may have even dinged it up a bit while taking it out for a spin. But they’ve done so in an undeniably  infectiously fun fashion. Assembling tunes from a handful of previously released tapes into one giant long-player party, this LP provides a comprehensive taste of JUDY & co.’s unique brand of rag-tag punk ruckus. Sometimes agitated and pointed, and often playfully warped, the group’s lo-fi approach and weirdo song subjects ring true as the sound of these guys having a great time. Also, I can’t help but feel a kinship with a band that opts to cover BUZZCOCKS, AGENT ORANGE, GORILLA BISCUITS, and the GO-GO’S (among others)— clearly they have a wide and well-studied spectrum of appreciation. It’s a joyful celebration of all things punk, complete with an MRR reference on “California.”

Kto Ukradł Ciastka Rozdział 1992–1993 LP

I had never heard of KTO UKRADŁ CIASTKA when I went to Poland for the first time in 2003 and WHN? played the Refuse 10th Anniversary show. KTO UKRADŁ CIASTKA had reformed for that one gig and it was clear that their influence was strong in the DIY scene…it was also completely fucking wild. A vinyl reissue of the first cassette release on Refuse Records, Rozdział 1992–1993 captures the band live in 1993 and a rehearsal from ’92. The audience recordings are pretty rough, but the record settles in after the first few tracks, and the power really comes out when they hit their stride around “Butapren.” The rehearsal, however, is amazing—seven doses of pure fire from a band bridging the gap from classic ska/reggae-infused ’80s Polish punk to the then-modern world of European DIY hardcore, with a sharp triple-vocal attack and constant urge to speed up and fall (or fly) off the rails. Political, straightedge, pro-animal rights, KTO UKRADŁ CIASTKA was blazing their own trail in early 1990s Poland, and this document was clearly put together by someone who followed in their wake. Just a couple of hundred copies, with a gorgeous printed booklet full of photo and flyers and a previously unavailable recording of the anti-fascist anthem “RAAF.” I highly recommend reading the label’s write-up on the history of the band and the release—perhaps it’s a copout to send a reader to the label, but in this case there’s an extensive and personal history with the band, and few people can put their importance in context better. An incredible release.

Line Of Sight Line of Sight LP

This DC youth crew band’s Dissent EP, originally on Youngblood, graces the A-side, while their demo is on the flipside. This is the more “searching for something” school of post-millennial youth crew, with the energy and shouted vocals (and a little singing on the demo) to match. Everything is tight, well-written, and well-played, there’s definite evolution from the demo songs to the EP ones, and they achieve a good balance between drawing from a few different corners of the overall youth crew canon and falling back on tried-and-true genre staples when it works. There’s a lot of cartoon bullshit in this genre, but these songs come off as sincere and relatively refreshing. I’d mosh.

Manic Ride Taking You Down With Me EP

Sick hardcore with metallic touches outta Sweden that blends several notable influences including the ACCUSED, AGNOSTIC FRONT and countrymen DS-13 into an agreeably violent whole. Cool mosh parts and divebombs abound with unusually insightful lyrics shouted over it all, occasionally backed up by righteous gang choruses. It’s not a revelation by any means but it’s a great debut from a band that’s probably killing it live (or would be under normal circumstances anyway).

Modern Love Ensomhet Vet EP

Let’s break this up. The first tracks on each side are both real cool, mid-tempo, jangle punk head-nodders. It feels like early CURE songs played through a modern Australia indie/punk filter. It’s bouncy, sing-along stuff (if you know Norsk) that maintains just enough of a punk edge. The other two tracks are more typical up-tempo, melodic punk with a heavily drenched guitar sound and little bits of hardcore that almost cut through. Still catchy and all but a little generic.

Nations on Fire Death of the Pro-Lifer LP reissue

NATIONS ON FIRE was an important part of the European SXE scene—the Belgian part of which emerged around the Vort’n Vis squat—and was more radical politically than maybe what you think of when you think of “Edge People” now, who seem mostly engaged with clothing choices and high kicks, an aesthetic 1988 reenactment activity. This record was made in response to a moment when bands/kids that came out of that VEGAN REICH hardline goofus reality were making anti-choice “pro-life” records and zines and I think it’s important to acknowledge that. Such a bleak time! I saw this band play sometime in the early ’90s, but didn’t really remember what they sounded like, just that they were smart/engaging (I think I got some zines from them?!). Musically this reminds me of pre-emo ENDPOINT—the lyrics are radical, feminist, left-wing, also very straightforward and earnest in that way every SXE band can’t seem to help. It’s a time capsule from the early ’90s, the artwork/layout reminds me of zines from back then (Kill the Robot/Simba/Positron, etc. etc.) even the way the drums sound is really distinctive to this time?! This is a glossy reissue as is typical with Refuse Records, has extra live tracks from the same era of the band the LP was recorded, and I think if you saw this band/are nostalgic for this era of hardcore it’s worth checking out…

No-Heads Pressure Cracks LP

Big beefy guys playing big beefy hardcore guitars. That’s what I picture when I think of Richmond, VA for some reason, and this record does not disappoint the visions in my delusional mind. These are hardcore folks playing Oi! and not doing a bad job mixing left wing politics with a smoother but almost RIXE-like rock sound. I do enjoy the faster ragers over the attempts at traditional street rock. For example, side one closes with a fine shitdozer of a tune, “No Future.” With lyrics like “They take your benefits away / Because the scum don’t want to pay / You can’t leave, you need a check / Life’s got ahold of you by the neck” any self-respecting punk or skin today can relate to this. Why would any skin vote for Trump anyway? Oh yeah…Nazis!? A gem of an album cover featuring droog-in-a-tunnel artwork Á  la MAJOR ACCIDENT or MAD PARADE completes the package and you get a nice little slab that any 86 MENTALITY or NO TIME fan would enjoy. Cheers.

Odd Man Out Odd Man Out LP

While “NWHC” as a descriptor has always been more of a collection of largely metallic capitol-H hardcore bands from western Washington than a cohesive genre unto itself, I feel like there’s a musical thread between a number of bands to have come out of this sterile, dreary corner of the US, of which ODD MAN OUT is both a continuing part of and expansion on. BROTHERHOOD is a clear main influence, primarily in terms of vocal delivery, competent changeups that less capable bands might handle like a herky-jerky musical collision, along with guidance on how to expand on both standard youth crew and burlier NYHC templates, and ODD MAN OUT heeds these lessons well, while also applying the hindsight and musical raw material of thirty extra years from which to draw. Plenty of dancefloor-ready mosh abounds—and even the drawn out-seeming breakdowns go somewhere in the end, or you can tell that they’re riding on a riff because it’s fucking good—but there’s also a good deal of lightning-fast blasting that brings everything together well. This LP compiles their 7″, CCHC tape, three covers (the DC YOUTH BRIGADE and Tacoma’s SIDETRACKED), and four new songs, and it’s cool to hear the evolution from the earliest songs to the newest ones. And while we’re on the subject of BROTHERHOOD, RIP Ron Guardipee.

Open Wounds Invaders LP

This has got your classic hardcore punk sound, reminiscent of YOUTH OF TODAY or MINOR THREAT, with those attitude-y 7 SECONDS-style vocals. Lots of energy, lots of speed. The lyrics span from serious to funny. I lol’d at the song “Record Collectors” which is about being “addicted” to collecting records. “Got enough but I keep buying more / The records pile up, blocking my door.” It’s a sentiment that I think a lot of us can relate to.

Protein Alive EP

Middle-of-the-road youth crew from Poland that would be equally at home on the React! roster. Vocals are a couple steps above spoken, and the fast parts trade in a bit of speed for power without upsetting the overall ratio. Riffs are adequate if not mindblowing, while melodic leads offer sentimental moments. The pleasantly rough-around-the-edges recording helps to balance the proverbial equation.

Protein The Things I Cannot Hide EP

I listened three times before I typed a single word. PROTEIN took me back to a time and place that I wanted to hang out in for a while…so much that I kinda didn’t want to leave. That place still exists, it’s still vibrant, and the hardcore there is still enthusiastic and supportive. That place is not just where Poland’s PROTEIN comes from, it’s where they live, and that comes out in every one of the six tracks on their second EP. Modern youth crew, early ’00s posicore and classic ’80s SXE all come together on this release, and when I hear Rob shout “I try…I fucking try” after you drop the needle on the second side, I believe him…and I’m all in. The short blast of “For Us” was the winner for these old ass ears, but then the record closes with “Growing Distance” that conjures the very best modern HC comparisons. A fucking excellent hardcore record, but they make a point by ending with the track that makes it clear that there is definitely more to come.

Pulso Enfrentamiento Total LP

Enfrentamiento Total is the newest LP from Barcelona’s PULSO (previously known as APPRAISE). The sound is reminiscent of the classic youth crew approach of bands like YOUTH OF TODAY, IN MY EYES, and MOUTHPIECE, so you should know exactly what you’re getting from this one. Plenty of stompy and moshy parts to get your rocks off to while still remaining fast and catchy. Solid stuff! If you’re into youth crew, you can certainly do a lot worse.

Regres Tu I Teraz EP

How is there so much potential for moshing on such a tiny record? REGRES brings six songs of melodic hardcore Á  la SWIZ meets breakdown-loving early-’90s straight edge. It’s fast, guitars move between octaves and power chord chugging, vocals are yelled and generously backed up by more yelling. On the production end, it’s a little louder and cleaner than its predecessors but still maintains some dynamics. Solid.

Schwach Kälter LP

Hailing from Berlin, SCHWACH has been putting out music for quite some time now, although it is this reviewer’s first time listening. All in all, it is by-the-numbers, melodic youth crew hardcore (although it does contain surprises within, including but not limited to the latter half of “Gedankenpalast,” which contains both a killer drum solo and even a pretty bitchin’ sax solo!), which isn’t a bad thing. Most of the lyrics are in their native German, but with the occasional burst of English lyrics like “Don’t give up!” that should give an idea of the lyrical content. Sure, it is far from groundbreaking, but it doesn’t need to be. This LP will be a two-stepper’s delight and comes very recommended for fans of the youth crew style.

Scraps Demo ’85 12″

Part of a series of reissues for this long-running hardcore punk powerhouse, Refuse Records has dug deep in the vault to bring these demo recordings into the light of day. Compiling songs from three iterations of demos, this is the most raw, chaotic version of French pioneers SCRAPS. Seven songs of sheer noise and aggression, delivered with total abandon. This early incarnation of the band bucks against any sense of melody and dispenses with worn out traditional notions of musicality or talent. What is left is pure rage and unbridled anger, channeled into political punk that sounds something like KAAOS showing up at Dial House on a rampage with CRASS. There are times when the drummer and bassist seem to be playing totally different songs from the rest of the band. Sloppy, frantic, and pissed-off. Killer cover art. This rules.

Scraps Noise Not Music: 1986–1989 LP

France has never exactly been known for its hardcore bands. In fact, I’m sure most of you would struggle a little to name five French ’80s hardcore bands. Sure, we never had any shortage of terrible Oi! bands (a sorry tradition), but few inspiring fast bands in the ’80s. SCRAPS were an exception. They played that kind of really fast and raw hardcore thrash with extreme vocals that grew in Europe in the mid-’80ss with bands like LÄRM, NEGAZIONE, HHH, or ASOCIAL. Imagine DISORDER covering GANG GREEN in a Bristol squat in 1984. SCRAPS embraced the super punky “noise not music” philosophy, although they were not as radical as their fellow countrymen, the mighty RAPT, but more direct and vicious than the equally mighty HEIMAT-LOS. The lyrics are mostly in French and tackled the topics of the day (apartheid, animal liberation, the arms race), but also some that focused on French politics, like the rise of Le Pen (famous leader of the far-right whose daughter currently heads the most popular far-right party in France) or torture during the war in Algeria. Angry political words that fit the music perfectly. The LP includes the early records of a band that celebrated its 40th birthday in 2023. That’s what you call dedication and true passion for hardcore punk. This is a pretty essential record if you are into abrasive and fast political hardcore punk, and an essential piece of history. Guaranteed completely Oi!-free.

Scraps Wrapped Up in This Society LP reissue

After one of the first WHAT HAPPENS NEXT? rehearsals, we were all talking about bands we liked and Max (625, SPAZZ, etc.) noticed that my background knowledge of fast, raw, European hardcore, a subgenre that was key to our stated mission, was deficient. The next time we met, he gave me some study material in the form of the first HEIBEL 12″ and this SCRAPS LP….and I studied. SCRAPS were so gloriously unhinged, you got the sense that they decided they were going to play fast before they decided if they could play fast. While they had surely honed their skills and focused their sights by 1990’s Wrapped Up in This Society, the blasts are still completely fucking off the rails while the youth crew moshes (and backing vocals) were in full effect, and it’s what makes this record sound so good. Because it’s kinda all over the place, and it mostly hits just off target, and because they go so hard in spite of it all. Or because of it all. If the anthemic end of “Win Together” were perfectly in tune (or in time) it would just be another hardcore song, but to hear SCRAPS wrap up the first side of this LP, it’s as if you’re ready to join the band before you even flip the wax. Lyrics blast inequality, imperialism, and military oppression, idealism leaping from the pages of the booklet just as it jumps out of the grooves. I have a vague memory of WHN? covering “I Was Blind” in rehearsal…though we may have just ripped it off and not told anyone.  A faithful and overdue (and gorgeous) reissue.

Scraps Dismantle the Machine One Cog at a Time LP

This French band’s final twelve-song album was originally released with a different cover in 1994 on Germany’s X-MIST. I’ve always found SCRAPS’ catalog, which dates back to the early 1980s, a challenging listen: the monotonous high-pitched yelped vocals are almost painful, the mixture of thrash and ’90s stop-start-change-start off-kilter experimentation, with some somber peace punk or DCHC “I’m leveling with you now” voiceover moments thrown in—it’s not something where I can usually make it through even one side of a record, though at this point, they had seamlessly dialed in their style and delivery. The lyrics are poignant and meaningful and quite thoughtful, and the thrash sharply delivered, but I generally have found this band completely unlistenable; and I’ve tried. I own almost all of their records. This album, remastered and repackaged, is no different. I want to like it, as the regard SCRAPS is held, the fact that this record was so lovingly reissued, point to there being is probably something I am missing that other people see, but each time I revisit their records, I still don’t get it. The sloppy delivery and randomness of the previous Wrapped Up in This Society makes it more bearable, and I find parts of all the things I love here, but I can only take so much, Je suis vraiment désolé.

SFA The 87–88 Tapes LP

SFA (STANDS FOR ANYTHING) formed in 1984, joining the burgeoning NYHC scene to play alongside other early bands of the genre like TOKEN ENTRY and SHEER TERROR. During the twelve-plus years they stuck around, they’d share stages with the likes of AGNOSTIC FRONT and frequently play at the top clubs like CBGBs—this LP collects two sessions previously only released on cassette in 1987 and 1988, as well as some bonus live material. To differentiate themselves from the popular “posi-core” movement of their era, the band coined the term “hatecore” to describe their music. They definitely hated stuff, notably ska and Kurt Cobain (as expressed on songs from their ’90s LPs), but before that, they were pounding out tunes with a recognizable 7 SECONDS and MINOR THREAT influence that can be heard on the on the 1988 Tanks a Lot tape that occupies the A-side of this record. The 1987 demo on the B-side is a bit thrashier and gnarlier in nature, even when they cover BOBBY DARIN’s 1959 hit “Dream Lover.” This collection comes with a cool booklet with lyrics, interviews, and side-by-side pics of the band members then and now, and your NYHC collection is not quite complete without it.

Skeezicks Discography 1985–1987 2xLP

It’s hard to deny interest in a release that offers a glimpse into the history of punk. Courtesy of Refuse Records, we get just such a peek in the form of a double LP compiling the output of one of Germany’s first hardcore bands to embrace the USHC sound. Among the 42 tracks, you’ll find covers of FAITH and NEGATIVE APPROACH, which is a good starting point for what SKEEZICKS were going for, but it also sets a high bar for comparison. More so than either of those bands, I hear nods to CAPITOL PUNISHMENT (especially in the vocal delivery), RICH KIDS ON LSD, and CIRCLE ONE. The songs are fast with a lot of gang vocals and palm-muted guitar riffing. Though not exactly youth crew, it came as no surprise to see that SKEEZICKS were straight edge. There’s a lot of material here! A few songs appear multiple times in varying versions, including some live takes. From what I can tell, SKEEZICKS had a blast during their brief existence and helped to pave the way for German hardcore bands like SPERMBIRDS and HOSTAGES OF AYATOLLAH. Fans of obscure bandana hardcore will want to give this a spin.

Staticø Il Nostro Cimitero EP

A newer hardcore band from Serbia, this is STATICØ. This five-track EP is essentially meat-and-potatoes hardcore punk, although the occasional touches of more post-hardcore-esque guitar work does help it stand out from the pack a bit. Not too much else is memorable to me though, I must admit. Not bad, but not something I would return to. Give it a listen and decide whether or not I’m full of shit.

Step Forward Demos 1989-1990 LP

STEP FORWARD was the first “proper” straightedge band to come out of Sweden (I say “proper” because SVART PARAD had their foot in it as well, but never were established as a sXe band). Although very short-lived, they had a major role to play in Swedish hardcore and paved the way for REFUSED and FINAL EXIT. Their only two existing demos are finally being repressed with remastered sound, and with liner notes from Dennis Lyxzen along with a bunch of unseen photos. The members went on to form and play in impactful bands like FINAL EXIT, INTERNATIONAL NOISE CONSPIRACY, E.T.A., and REGULATIONS. The cover pictures four kids sitting on the front of a porch. First thoughts? MINOR THREAT. And yes…this has MINOR THREAT written all over it, from the cover to the vocal style to the sound, but an angrier and sometimes faster version. This record proves that Sweden isn’t just D-beat!

The Fog Into the Fog cassette

If the first-song-as-intro was supposed to lure me into the fog, it didn’t work. Bland, mid-paced metallic hardcore that just kinda plods along without hooks or groove. Even when it picks up the pace in that too-tough-for-top-speed sort of way—Victory Records Fast, anyone?—you’re just like “why bother?” The second side has a little more energy and considerably better songwriting, but doesn’t permeate into “memorable.”

The Fog Reconsider EP

Euro straight edge on a seriously sinister bent, this seven-song slab (plus an intro) from Germany’s the FOG treats you about as nicely as a bag of bricks swinging around knee level in the pit. Thick, throaty vocals and a painfully mid-paced attack that seems steadfastly opposed to unleashing…which means that I basically spend the entire fucking record on edge. Waiting. Tense. In other words, the FOG cranks out traditional meaty hardcore without owing anything to anyone. This is what we like to call “success.”

Tied Down Don’t Care EP

Ex-members of VOORHEES, BREAK IT UP and MY RULES doing what they damn well do best: bringing old school USHC worship to the punters over in the UK! There are some pretty great Boston/Detroit-styled straightforward thrashers here but my heart’s with the gang chorus and breakdown-laden NYHC-style stuff like “Aim to Please” and “Divide and Conquer” (the latter featuring an absolute monster of a circle-pit part, goddamn!). Hardcore for the hardcore faithful, expertly performed by a gang of lifers. Shoutout to the absolutely killer production courtesy of Rockinhorse studio, this is a fucking great sounding record!

V/A Warsaw’s Burning Volume 2 EP

In celebration of Refuse Records’ 150th release, they’ve compiled another nice-looking eight-band compilation of current Warsaw hardcore bands. The majority of the material is throttling and precise hardcore, namely from HEATSEEKER, NEGATIVE VIBES, JAD, and GOVERNMENT FLU. MORUS has a slightly more classic Euro crust vibe, BRAINEÄTER brings some powerviolence, and the GLAMOUR and CAST IN IRON (doing a DEZERTER cover) tracks come off more aggressive punk, minus the ’core. The 7″ is packaged in a beautiful booklet with attractive cover art, a nice reflection from Robert Refuse, and each band gets a page. High quality all around, and congrats to Refuse for prolific endurance throughout the years!

V/A Duma Młodych LP

Crucial comp from the annals of the Polish Mysha fanzine, active in the early ’90s. All tracks are from bands covered in the zine, with the first side dedicated to international content (INSTEAD, NO FRAUD, MANLIFTINGBANNER, EMBITTERED, THINK TWICE, and others), and the flip honing in on the Polish bands of the era (CYMEON X, INHELL, HOODED MAN, AGUIRE, NOWA DROGA, JAK DŁUGO JESZCZE?, and HOMOMILITIA—the latter the only band I was already familiar with). Eighteen bands all in, with a gorgeous zine anthology paying homage to an incredibly influential publication. No one is documenting the Polish scene (current and past) like Refuse and their Warsaw Pact subsidiary, and this comp absolutely shows the reverence they have for the era and their forebears.

Wall Breaker Democracy Dies LP

It’s hard to go wrong opening an LP with a sick instrumental. WALL BREAKER’s debut LP delivers a dozen tightly wound, politically charged HC blasts, pulling a range of ’80s influences into a contemporary sound without trying to mimic a particular style or era. The slower, heavier riffs here are particularly effective, burned into my brain after just a couple spins. Excellent.

Wall Breaker Wall Breaker EP

Straight out the gate, you know what you’re in for here, from the band name to the WASTED YOUTH/VERBAL ABUSE/YOUNG WASTENERS-style logo with a big ugly straight edge X smack in the middle. This is meat and potatoes (or lentil loaf and kale for the vegans) dumb and basic East Coast hardcore with heavy guitar breakdowns galore and an almost going into high pitched Springa style wailing vocalist. A wicked hard-pounding rhythm section completes the picture, featuring veteran members of COKE BUST and CHAINSAW TO THE FACE, so you know they’ve been around the hard city block before. They’re not exactly breaking any new ground with originality but, hey, the new Coke is back and it still sucks. For fans of SSD and CONCEALED BLADE. More sprouts on my veggie burger please.

Waste Last One Standing EP

This is one of the best XVX records I’ve heard since SEVEN GENERATIONS’ To See The End which came out in 2008. It’s tough as hell, reminiscent of Satisfaction-era HATEBREED and Underdogs-era TERROR with moshy riff after moshy riff and hard-hitting vocals. The lyrics are what I really like about this record; they’re a step beyond those of 2000’s XVX bands, taking on more specific, relevant issues. “Not Your Fight” calls out the savior complexes of men in the hardcore scene: “Self proclaimed rulers / Will fall by our hand / sStep back and listen for once / And realize this isn’t your fight.” The song “True Colors” is about “PC guys” who act “high and mighty” but are actually pieces of shit: “Saw through your fake ass right from the fucking start / Never bought your lies so it came as no surprise.”

Zxrx Community Siah Was Here EP

Four songs recorded by members of ZLODZIEJE ROWEROW, APRIL, and OREIRO as a tribute to their friend who passed away in the summer of 2020. Rather than write some songs of their own, they chose to play some VERBAL ASSAULT and SERENE songs and record their own lyrics. I can only guess that perhaps these were among some of their fallen friend’s favorite songs and the lyrics are in remembrance of them. The songs are sung in German so I’m just assuming here, but the last line of the last song is sung in English with the words being “We say goodbye,” so I’m pretty sure that it’s a safe bet that I’m right. All in all, it’s a cool way to honor a friend.