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Frantic, thrashy record by one-man band SCIENCE MAN. It’s got an industrial-sounding drum machine and noodling metal guitar licks. The vocals are distorted, screechy, and dramatic. It’s loud, wild and fun.
Copenhagen post-punk with some definite nods to their city’s dark punk past. Mid-tempo and brooding with echoing vocals pushed way up front—it’s almost too high in the mix for my tastes. The songs have good hooks and are memorable, but a couple of them sound almost identical. Still, it’s really driving and intense. Side two is composed solely of the outro song, which feels like it goes nowhere and doesn’t contribute much to the overall feel of the record. It’s confusing, but side one is good. Members of OND TRO.
IZOBEL GARCIA is such a nice collaborator for REVEREND BEAT-MAN. His vocal style is rough and gritty, and hers is sassy, tough, and feminine. They sound perfect together. The music is stripped down. It is simply guitar and drums with an occasional bit of organ. It’s primitive garage rock with a snarling attitude. Unfortunately, Garcia doesn’t sing on every song. She should. Especially on the cover of “Love Me Two Times.” That one needed her.
Third album from this Providence garage pop band. The music is jangly and upbeat, the songs are catchy and bright, and the vocals remind me of BBQ or KING KHAN: kind of crooning, with moments of vulnerability and desperation. It’s their best record yet.
First-gen punk from up Canada way, reissued in scholarly style. Though I’ve held the particular volume of Smash the State that included the REACTION for eons now, the presence of SIGGY MAGIC simply lifted the thunder out from under this lot for my ear-holes. Not the case today though—this sounds pretty primo, collecting their most coveted track “The Kid’s Arrived,” along with a few cassette-only movers/ shakers. Not a lot of fat to trim either: proficient punking that’s oddly comparable to the NORMALS, if forced to cite a domestic KBD heavy. Includes hyper-detailed booklet for all us nerds to wipe our brows with after pogo-ing. Good stuff!
RAT PATROL is from the Netherlands and have been around since 1988, but this is my first time listening to them. Retaining this amount of anger and drive after 30 years while still sounding fresh and relevant is not an easy task. They have a bit of an ’80s USHC energy with biting, crunchy guitars and a vocalist who only has one setting: full-on rage. The politics are on point, and the songs have enough catchiness to stay in your head.
RADON is one of those beloved bands that was never very prolific, never quite went away, yet pops up every now and then to play a show and release some music. They were, at least in part, the foundation of the Gainesville scene, which eventually led to bands like HOT WATER MUSIC and AGAINST ME! This is their second LP since reuniting in 2005, and they haven’t lost a step. So many such bands settle into adult contemporary alternative rock. Not Radon, no siree. It may be a little more polished than the classic 28 LP (released over 20 years ago), but it’s still got lots of energy and will have you tapping your toes. Ripping pop punk from beginning to end.
I’m not ashamed to admit that I, in fact, did more or less have a fun time on my first encounter with this environmentalist / human-rights-themed band. Through the art and message, they emit a “punx as hippies living in the woods” vibe, which is sort of corroborated by their bio on the internet. Song titles like “What Is the Correct Way to Live? What Is the Best Way of Life?,” “Chemtrails—Aluminum Barium Dust A Synthetic DNA In a Toxic Aerial Spray,” and “What Is the Current Administration Covering Up?” all read like potentially quasi-wingnut headlines from various lefty or conspiracy theorist publications. Their sound is demented and fuzzy and cacophonous and so screamy (in a good way). Go back in time and put ’em on a bill with FLEAS AND LICE, CIVIL DISOBEDIENCE, and CHOKING VICTIM, and RADICAL FUN TIME would surely be the spectacle of the night.
Deluxe-as-fuck reissue of a crucial Canadian punk slice. This four- song EP was originally released in ’79 in a hard-to-file large envelope sleeve, and is now available in standard but expansive packaging, including an extra track, a booklet and two-song bonus flexi. The best tracks are still “Money Guns & Power” and the Bloodstains-comped, proto-hardcore “Fuck You,” but the rest of the songs are great too, sax and all! Supreme Echo rules!
PORCUPINE have been kicking around the upper Midwest since 2006, and now feature one Greg Norton. Yes, he of the handlebar mustache. This six-song EP is straightforward, mid-tempo alternative rock, with a bit of that ’90s Brit-pop feel. The opening track has a nice, catchy chorus, and overall it’s pleasant enough, while not being particularly memorable. They do throw in one HÜSKER DÜ cover (“Standing by the Sea”), perhaps as a tribute to the late, great Grant Hart.
Kinda all-over-the-place reissue of this ’81 release out of Calgary. It’s akin to a lot of stuff from smaller scenes of that era in the sense that while the songs pretty much fall under the banner of punk, they touch on a lot of different styles. The goofier side of the GIZMOS might be a fair comparison, albeit with a bunch of hard rock guitar solos thrown in. I found it all pretty enjoyable, but then read the included booklet and found out the title song here is about how the brothers in this band felt that socialism and communism are bad for people, which, uh, dampened my enthusiasm.
FUCK YEAH!!! Get past the band name and doom metal-looking LP cover. There are so many reasons this Hanover band’s (made up of Brazilian, Chilean, and German band members) debut LP is awesome! First, this sounds so fucking urgent, not in a “we liked and wanted to sound like urgent hardcore from the ’80s” but actually like urgent hardcore from the ’80s, where the emotion, politics and passion of what the band is trying to express fuel the intensity. Second, it doesn’t sound like hardcore from the ’80s, nor is there any particular direct reference point except maybe the experimentation and intensity of later ’90s and ’00s Brazilian hardcore (this is way more aggressive but let’s say… MERDA?), where anything: melody, metal riffage, or simple boot-stomping punk can throw itself in to twist around the fourteen tracks of hardcore steamrolling. Third, it has absolutely wickedly scathing female vocals. Fourth, it is dedicated to the memory of Brazilian feminist and anti-police violence activist Marielle Franco, who was assassinated in 2018 in Rio de Janeiro. “Never forget / Organize without fear!” Fifth, the balance of chaotic looseness and musical competency is perfect, where sandpapery blasts of simple metal riffing charge simple and loose, but there’s still deft thrash. Sixth, songs are sung in English, Portuguese, and Spanish, with a fold out lyric sheet containing translations. Seventh, the punchy recording is mastered well, but also balanced with sounding really raw. Eighth: Q: And D-beat? A: And D-beat. Ninth, the band is self described as “Antifa punk, no grayzone.” I’m sold!
Holy shit! Olympia’s PHYSIQUE does it again, this time in a style more strongly influenced by DISCLOSE than before. Unlike their demo or their first LP, Punk Life Is Shit, every track feels more streamlined, including their eponymous track, which was previously featured on their demo. There’s no escape from the raw cacophony, almost no lulls at all during the entire album. The songs themselves are deceptively simple, but upon further listening reveal tons of small changes and variations throughout. It’s this attention to songwriting (and not just their status as an all-AMAB trans band) that separates them from the herd of fuckers that worship Kawakami. The lyrics are great, and live up to the title by describing the various ways that warfare, discrimination, and police brutality (among others) are changing in order to remain an ever-present threat to daily life. A dark, yet essential record.
Fuck, this is gnarly. Blown-out and feeding back all over the place, Ireland’s OVERBITE offer up five tracks of fucked up disorientating hardcore with bestial vocals and some nasty riffs buried under the fuzz. The shitty looking pixelated packaging was initially off-putting, but after hearing the record, it makes perfect sense—one more element of this band’s presentation that is designed to confuse and obscure. The muffled, claustrophobic recording (which would be awful for almost any other band) is actually a plus, highlighting the ear-damaging shrieks and squalls of feedback while the drums and bass struggle in the background. This is a very challenging, very interesting record that I hope will find its way to those who would enjoy it most. Fans of PIG HEART TRANSPLANT and the like to the front, please!
The band name pegs the band perfectly. Snappy punk tracks with one leg hopelessly caught in an American rock’n’roll bear trap. DESTROY ALL MONSTERS, ROY ORBISON, AVENGERS—you know, the classics—reinvented and re-envisioned and damn near reincarnated with screaming Swedish space leads and a vocal warble straight out of ’77 LA. If this was KBD, I’d be humping legs to get a piece of them bonzers. Bonus points for gluing each song title individually on the back cover.
Swedish streetpunk here. Although the vocals here are gruff, this has a tuneful feel that borders on NEWTOWN NEUROTICS and the UK SUBS at times. Luckily the songs are not about raising a beer with the boys. Although this got a bit redundant by the end, I do give it a thumbs up.
High energy Japanese pop punk-ish alternative rock. It’s slick and well-played, but too by-the-books.
A worthy song each from two SF Bay Area veterans. NOTHINGTON’s track is reminiscent of late ’80s big guitar alternative punk, where the roots might go down to STIFF LITTLE FINGERS but the aspect and melody hits more in the direction of Chad Price-era ALL. It’s a bittersweet, but sweet, catchy anthem track for the band to go out on. The SWINGIN’ UTTERS track was a surprise: drilling mid-tempo melody somewhere between the expected jangle of ’70s UK punk-pub originators, but cut with a more avant edge similar to a great EFFIGIES track, with lyrics dropping with clever missives. Lime green vinyl makes it a keeper.
This is an excellent BAD RELIGION-esque disc of short, sweet, melodic hardcore. Twin guitars, layered vocals (though definitely more Suffer than Recipe For Hate). I really dig this.
This New York trio plays angry bar punk. Sort of like that glut of SOCIAL DISTORTION and early ANGRY SAMOANS-influenced bands of the early ’90s. These guys are pretty negative and without much humor in the mix. Music for “fuck everybody” punks who wake up pissed off and ready to fight.
Damaged and distorted power pop for no generation at all, and for every member of every generation ever. It’s simple, it’s raw, and the guitars are dominant and come at you from every direction. Two tracks. 100% punk gold.
You like testosterone rock? Well, eat this shit up. Complete MC5 worship that totally falls flat. At least it’s not more pop punk in my pile, but it’s completely rehashed rock garbage, and the drummer doesn’t even have the decency to change his last name from “Rath” to “Wrath.”
This is hard-hitting, tight punk with a horror-style surf guitar, not unlike DEAD KENNEDYS and even a pinch of AGENT ORANGE, with the vocals a stone’s throw from a better-honed Kirsten of NAKED AGGRESSION. It seems a little too well-produced for something that’s trying to sound raw, but some people go for that shit. This is undeniably tight, well-oiled, and spastic, even if it’s a few decades too late.
Who do we have to blame for the mass proliferation of three-initial hardcore bands in the ’80s? SSD? DOA? CCR? MRR? In any event, MSI most likely predates ATI (ANY THREE INITIALS) as the first to satirize the trend. Existing from 1986 until 1990, this band of Toronto-area youths churned out some decent meat ’n’ potatoes hardcore, and 9 Out of 10 Doctors compiles the complete 1986 and 1988 studio sessions from which their two proper EPs were selected. It should be obvious even before listening that MSI laced their musical output with a healthy dose of tongue-in-cheek humor. Sure enough, the LP opens with a track called “Generic Straightedge Song,” and features covers of “Sugar Sugar” and a song from a Rankin/Bass animated TV series. However, unlike full-on joke bands like CRUCIAL YOUTH or GRUDGE, MSI were more likely just goofy teenagers. I’d imagine this lovingly assembled archival release, complete with a big booklet, would please fans of reissues by the likes of NEGATIVE ELEMENT or YOUNG REPUBLICANS. If you want something that dials the intensity up a bit higher, check out Schizophrenic’s expanded reissue of the SONS OF ISHMAEL Hayseed Hardcore EP (that band shared a member with MSI and really ripped).
Upbeat post-punk with strong pop undertones, but still aggressive enough to sound unmistakably punk. The songs are melodic and pretty, but also unsettling. These two different tendencies pull in competing directions, creating a natural tension. Just when you think the song has settled into a poppy riff, it gets weird again, throwing in layers of dissonant chords, unexpected accents, and yelling. Their 2016 release includes a cover of a SLANT 6 song, and the influence is still a relevant point of reference on this release. This record has five tracks, definitely looking forward to more.
On first listen, it sounds like some 50-year-olds sat around listening to the BAY CITY ROLLERS, REDD KROSS, and NICK LOWE. There’s not much punk here at all, if any. It is, however, well-crafted, old dude mellowed bubblegum—too light on the rock, and a little too heavy on personal songwriting prowess and skill to be appreciated by the MRR elite, though there are more songs on which I’ve hit the repeat button than stinkers that I have skipped. I know you don’t really wanna listen to it, but what if I told you DJ BONEBREAK played drums? Don’t you wanna maybe try it out just for shits and giggles, now? Yes. Yes, you do. Plus, maybe your parents will hear you listening to this and get off your case for one fucking minute.
This Brooklyn band plays a rollicking blend of party punk and rock’n’roll. Metallic riffs and playing bolster the sound, which is a combination of early VAN HALEN, NEW YORK DOLLS, and would you believe POISON IDEA? I honestly enjoyed this a lot more than I thought I would, based on the terrible cover art and inscrutable name. From the looks of the photos, these are not young guys, and they’ve been around the block. But they know what they’re doing, and have managed to churn out a great ’80s punk / metal LP in 2019.
Remastered reissue of LOST SOUNDS’ game-changer debut album from 2001. It’s pretty hard to overstate the impact they had on my taste— they just blew my brain apart. Having already thoroughly flipped for the REATARDS, LOST SOUNDS took that completely raw, blood-dripping punk sound and augmented it with synths to craft something far darker and often more dangerous than the teenage tantrum punk that was expected. This was entirely more musical, moodier, strange, and a lot more deviant. At this early stage, they had yet to submerge themselves in their march toward Black Wave, and you can still detect (gasp!) garage roots in their attack. See especially “Inside My Head” and their great reworking of the LOLLIPOP SHOPPE’s “You Must Be a Witch” for the proof. And it simply must be stated: the presence and power of ALICJA TROUT here can’t be ignored. Her songs here are totally revelatory—take a listen to “Memphis 99″ or “Satan Bought Me,” and bow down—truly one of the most dynamic and underrated ladies in all of punk. LOST SOUNDS didn’t make many false moves in their lifespan, but the beginning is a mighty fine place to start. If you haven’t heard this already, what the fuck could you possibly be waiting for?
This isn’t all that unique sounding as far as singer songwriter stuff goes outside of punk. This has moments of alt-country, folk, and guitar heavy indie rock. The rock stuff reminds me of BOB MOULD’s solo stuff as well as his ’90s band SUGAR, with a bit of twang, and the folk stuff reminds me of the WATERBOYS. Being a member of the NEW DARKBUSTER and STREET DOGS, I was expecting predictable punk folk, but this turned out more interesting. Solid release.
Yes, everybody’s favorite bad boy is back in the saddle again, finally taking the giant leap from ’70s glam into ’80s new romantic. It’s hard to tell whether he had a BILLY IDOL fetish, or someone (ahem) steered him in this direction, but whatever the case, these tunes are sure to light up pretty much any futuristic TV studio dancefloor you can find. How can you deny hot licks and a drum machine? Very good stuff.
Nasty punk rock’n’roll ready made for the California adult punk set. NASHVILLE PUSSY meets the STOOGES and/or MEATMEN for a new generation.
These St. Louis vets have crafted quite a ripping debut, with a gnarly ’80s USHC vibe and more than a touch of early punk’s crash-and-burn recklessness. CHRONIC SICK, RKL and NIHILISTICS are clear touchstones, but there’s a swagger and wildness in the mix here that’s very DEAD BOYS as well. The clear, venomous vocals are immediately distinctive, as are the wild, nearly over the top guitar leads and solos. The tempo is generally moderate, though the songwriting is so hectic that many songs feel faster than they actually are, and there are some slow burners thrown in as well. This doesn’t have the intentionally retro feel of the early ’00s USHC revival bands—it’s well-written hardcore that shares a timeless quality with bands from an earlier era.
Lawrence, Kansas’ IRON GUTS KELLY take their name from a more ridiculous episode of M*A*S*H, set during the ’50s Korean War, where a general dies in the embrace of one of the camp’s nurses, and his death is then reconstructed to appear as being in the heat of battle. The band’s outlook seems rooted in the same sort of dark irony: the EP’s cover features a drawing of a punked-out ubiquitous Kansas sunflower flipping the bird, but the humor ends there, with four tracks of meat and potatoes angry hardcore that falls somewhere between the rock edge of STRYCHNINE and the blunt force of SLAPSHOT. This decade-and-a-half-old band’s earliest recordings had the feel of early, simplistic DR. KNOW, with sustained vowels and simple thrashings, but the singer growls a bit harder here, as the playing is more confident and ambitious within its economy. No lyric sheet, but the vocals are clear enough, and “Goodfellas” is a standout track with its chorus-driven affirmation of punk community and camaraderie, rung in with a “Salad Days”-style bell intro. Slightly better production would’ve shined that one up even further.
I’d be lying if I said that TOYS THAT KILL didn’t have, and rely on, a dependable, bafflingly sturdy, formulaic style. Todd’s trademarked caterwaul, on top of his manic, monkey-mantra music, all with the same tempo and perfectly planned breaks, sandwiched between Sean’s more adult and smart songwriter-ish punk, gets a slight little twist with every release, and their shit somehow seems to never get stale. I don’t get it. It defies physics, and this little five-banger has left me wanting more, just like everything else they’ve done for the last dozen or so years. It’s still absolutely fucking killer. IRON CHIC, on the other hand, got lost on me. It’s pretty melodic, bearded and tight black t-shirt-clad (I assume), delicately growled type stuff. My appreciation for dude rock is light handed at best, and while you do get a few good whiffs of the ARRIVALS and that GRABASS CHARLESTONS/DALE AND THE CAREENERS LP—which are absolutely stellar examples of the genre, mostly—it just sounded like the rest of the stuff that makes up the majority of this sweet-yet-gruff bro’s handle on the style.
This record has such an ’80s feel. Back then, we’d simply call it college rock. It’s got a quirky musical style that is herky-jerky, filled with odd chords and time signatures, and there are elements of surf rock and post-punk. The singer has a serious but goofy vocal style, and the lyrics are thinkers such as “What Did The Deep Sea Say?” THEE IRMA & LOUISE probably would have been big in the ’80s. The insert states “This record is the companion piece to an experimental movie that you are free to shoot.” Hey, why not give it a shot? It’s on pretty, swirly lime sherbet vinyl, too.
A long time comin’ for the REPTOIDS’ round two. Psychic Sidekick serves as a not-so-subtle reminder that Andy Human & Co. remain one of the top tier outfits around these days, presenting a bent variant that’s more critical, absurdist, and exciting than most of the contemporary class. Theirs is an out-of-time sound, recalling hyper-specific influences (why oh why do I continually think about the punkest moments from the OFFS or ALIEN CITY when hearing this band?) but arranged with a personality and perspective that’s unique and just plain interesting. So many killers. “You Like Your Job” is a huge wind-up, poking a safety pin in illusions via a sick guitar schmearing, “Thrust of History” is gutter glam from Galaxy Z, “Fissures” and “Echo Pedal” both take a bird’s eye outsider view while still buzzing mightily, on and on, and no duff cuts. As much as I’ve enjoyed the singles they’ve slotted in between their albums to date, the long-form release is where the REPTOIDS truly excel—I’ll be spinning this endlessly for the foreseeable future. A vital act from the here and now, so do yourself a favor and take their trip.
Boy, if you’re put off by the trash pizza cover art, I don’t blame ya. It’s fuckin’ rough. Luckily, the music on it is much better than the visual aesthetic would suggest. The ’70s STONES-style riffing makes this one very easy to enjoy, but the dude’s vocal style put it over the top for me. It’s so laid back and matter of fact that it becomes almost comical. It’s a strange choice that I’m really enjoying. The overall effect, especially on the superior A-side, kinda reminds me of a way (way) less jammy SPACIN’ or something of that ilk. Look, I know this one’s a hard sell, but I really think it’s worth your while to try to put the cover art aside and give it a fair shot. It’s definitely a keeper to my ears.
After three LPs of rambunctious and oddball punk jingles, this Berliner/Australian combo gets the lightweight, red-stamped Total Punk sleeve treatment, and it suits them well. “Underground Agent,” “Overtime,” and “Schweinebastard” sound like a nine-year-old having a temper tantrum in the middle of older brother’s band practice. “Gasmask Factory II” uses electronic drums for a truly groove-worthy experience. While I’ve enjoyed their previous shitty-good music, I think this smaller dose works better. Those already acquainted with HEAVY METAL will not likely change their opinion either way.
Classic ’77 NYC punk with gratuitous tinges of glam (I’m talking licks for days, y’all). The titles should tell you all you need to know here, and GHETTO BLASTERS deliver as advertised.
This is it—the punkest thing in the magazine this month. Lo-fi, fucked up punk from Hazard, Kentucky, with every single note played full tilt and in the red. Every self-loathing, society-hating, paranoid word of this LP is screamed to the point of brain breaking insanity. At times, they almost share some similarities with crasher crusters trying to reimagine DISCHARGE for 2019, but GLOBSTERS is the sound of pure, unadulterated, unrefined hatred. A cassette version of this came out in 2014 (I’ve never heard it), but apparently this is a different mix and arrangement than the original. What are you waiting for? GLOBSTERS is the wildest flower.
This is a release of two three-song EPs from this long-standing Finnish smart punk outfit. They got the licks, but they got the lyrics too. Just dirty grungy anthemic punk rock with an anarcho-political bent, sounds like the ’80s all over again.
I know that when I die and go straight to hell, I’ll be forever getting my ass thoroughly beaten by all the bands I’ve slagged, all the while being reminded of my own terrible recorded output, and thousands of other embarrassments I have created. I get it, I will totally deserve it. That being said, this CD is completely undefinable—’50s doo wop sludge but also kinda cutesy. I have no idea whatsoever what these goofballs are going for. So incredibly odd, yet completely forgettable.
A double dose of ol’ Jimmy Hollywood, noted heavy from classic bands like the TYRADES and BASEBALL FURIES, most recently of GALLERY NIGHT. WHITE SAVAGE and FOOTBALL both land somewhere in the middle of all this, though the quality of each is uniformly quite high. While the bands have their own distinctions— FOOTBALL prefers direct thud, WHITE SAVAGE is more spastic and exploratory—there’s this simplistic and hard-charging drive that runs through all of Hollywood’s material: a primal and powerful use of punk energy that’s always been highly impressive to these ears. It can be heard throughout this split (which functions far better than it has any real right to!): artful and manic in equal measure, always careening, always inspiring. Great stuff.
A hard rock/punk hybrid from Southern CA, complete with punky porno sleeve. “Kitten With A Whip” sorta recalls LOUDMOUTHS in terms of theme and yowl, though there’s a studio schmaltz that doesn’t sit quite right with me. Ditto for their flipside take on the ROSE TATTOO classic. A total time warp sort of affair…It’s as if Junk Records has risen from the dead or something.
Great little debut from Galway, Ireland’s FIEND. These folks pull of the modern hardcore/punk style as exemplified by bands like RUT or BIB with aplomb. Each track is different from each other, from the brooding “Fiend” to the stomper “Scum,” but all of them explore territory that other bands have covered before. Indeed while listening to this I felt like I have heard this riffs and ideas plenty of times before. That’s not a knock against them—they’re copying from the right people—but it needs something to help it stand out from the pack. There’s a lot to like here, and I have high hopes for their next record.
This one is a straight-up grindcore ripper. While this Seattle band has some metallic tendencies, there is defiantly a heavy west coast powerviolence thing going on here. Not only that, they throw in just enough smoldering sludge riffage to keep us from burning out on the blistering blast inferno. Like TERRORIZER peppered with moments of CROSSED OUT and BRAINOIL. Sure they have a familiar sound, but this shit is well-crafted and solid as fuck! Check it out!
Split record by two Swedish punk bands. This is EIN ZWEI DIE’s (as far as I can tell) only release to date, but it was recorded in 2011, so they’re not exactly a “new” band. Probably a cool story as to why these two songs are finally gracing our ears some eight years later. No insert, no internet, only mystery. They’re cool: like if GORILLA ANGREB was trying to do FILTH covers. SHAKING HEADS are actually a new band, and five dollars says at least one of the members has a DEAD MOON tattoo. They’re dark, simplistic, anthemic, and gritty. True punk. I feel like I’ve listened to this record a hundred different times in a hundred different punk basements, but it still puts a smile on my face.
Sharp, focused, distorted modern hardcore. Overbearing buzzsaw guitars, lightning fast with a sick snarl. Think about the SKEMÄTA school of attack, but way less nuanced. Ferocity in six movements.
I remember DUMB VISION being poppier the last time I heard them, and those poppy elements are still there, but the band also seems darker and more focused. DUMB VISION is coming from a garage punk background, and layers that with the slightest bit of psych, and they do an awesome job of building their songs into a frenzy. My favorite example of that is the closer, “Don’t Die,” which builds on a riff and is fairly repetitive, but is able to build tension and acts as a perfect ending for the LP. The whole thing is a rager from start to finish.
Vinyl version of 2017’s Confrontar CD, retitled and repackaged for the 12″ format. Monstrous metallic hardcore with a production and presentation well suited for massive stages and furious sing alongs, breathing life and urgency into a subgenre often reserved for third-tier bro bands. Ruidos de Resistencia reminds me why I still have a soft spot for the heat chugs and for those melodic guitar leads, and they make everything feel important…because everything is. The only mistake here is the lack of a lyrics sheet, or even context for the words—because the words are important, especially the perspective of women in a hardcore band from Chile addressing institutional oppression and exploitation. “Cruelty Free” is the track to end all tracks, and the “every moment / every second” chorus will likely be stuck in my head for weeks. Quality fucking release from start to finish, full endorsement.
