UltraViolence Operation Misdirection review

Ultra-Violence

Operation Misdirection

Candlelight Records

Out July 27^th 2018

When any subgenre rides a wave of resurgence, there will be expected jumpers on the bandwagon – or “Thrash Wagon” as dubbed by Tear It Up in 2001. That same year Municipal Waste emerged. Obviously we know their path to metal royalty. But for every Waste, there were a bunch of false hearted dudes in flip brims, white high tops, and denim vests. As the skate-core bands of early 2000s (Crucial Unit, WxHxNx?, Holier Than Thou?, etc) undoubtedly told masses it was acceptable to acknowledge and celebrate the thrash forefathers, others went full throttle into the metal realm; nodding to known bands and underappreciated ones; like D.R.I., Exodus, Death Angel, Forbidden, Destruction, and Kreator. Some of these bands achieved grand success while not being afraid to infuse other elements of metal (Ramming Speed, Vektor and Toxic Holocaust). But even after the retro-wave had hit shore and ebbed, new school bands like Havok, Bonded By Blood, Fueled By Fire, Bio-Cancer, Suppressive Fire, and Italy’s Ultra-Violence remained.

Ultra-Violence dropped their debut in 2012, only six years ago. That EP, Wildcrash, depicted the predictable beastly humanoid mutation over an apocalyptic deathscape. But for their two following full lengths, Privilege to Overcome (2013) and Deflect the Flow (2016), the band extracted imagery from Burgess’ A Clockwork Orange; Alex and Dim and the droogs racing in the durango95 and menacing the night. Operation Misdirection’s cover maintains the theme with a vibrant illustration of Alex’s pried open eye and a doctor with a needle reflects in his iris, provided by Ed Repka Artwork. Which is used as a bold metaphor for the current global political atmosphere.

Ultra-Violence have always offered a crisp, sharp production sound to the quartet’s take on modern thrash. The enormous change on Operation Misdirection is the replacement of the rhythm section. Changing both the drummer and the bassist is a stark change for a thrash (or any) band. Founders Loris Castiglia (Vocals, Guitars) and Andrea Vacchiotti (Lead Guitars) welcome Andrea Lorenti (Bass) and Francesco La Rosa (Drums). The band tapped Simone Mularoni (The Modern Age Slavery, Labyrinth, Ancient Bards, Trick Or Treat) for recording, mixing, and mastering.

As the new dynamic looks to find itself, super tight riffs open the album on “Cadaver Decomposition Island” with a chunky, bouncy bassline intermittently jumping. The seven minute opener is replete with time changes, showcasing smart songwriting. This is especially seen at the halfway point where the song takes on a new life; slow and grandiose achieved with an ethereal keyboard, mid-paced drums and squealing lead guitar. A piano outro takes over a minute. The yearning to display their intention is understandable. But it is an odd choice as the opener. Especially considering the next track is titled “Welcome to the Freakshow” and is a straight thrash rager, no frills, and lands at under three minutes. “Cadaver Decomposition Island” would be great as mid-album track while “Welcome to the Freakshow” is clearly an album opener.

Some more melodic approaches surface in Operation Misdirection. Track three, “My Fragmented Self” puts the band back in the 6 minute area. At this point Ultra-Violence’s sound is established is clear. They are never too technical but still exhibit talent with the Vacchiotti’s ripping leads and divebombs. La Rosa’s drums like to play and dictate time-changes to keep it interesting. Despite that one can argue shaving a minute off of the longer tracks, Ultra-Violence can hold your attention. The brightest aspect is Lorenti’s bass work paying homage to the slap sound of Suicidal Tendencies. This flourishes in distinct clean production, riffs are taut strings useless against Vacchiotti’s quickly moving fingers but the riffs never grimy and thick (like Testament or Sodom).

The middle of the album gets a touch weird. “The Acrobat” is a shorter, punky/rocking upbeat track. There is certainly skilled guitar work and (if it weren’t for tuning/production sound it sounds much like recent UK Oi! – makes for a good drinking tune). Then we get a slap bass breakdown before jumping to double bass drums and gang chants.

“Nomophobia” follows and is a bad ass scorcher. While it is a six minute track, the song is packed with fury and tight manic riffing. But the bridge reels back with a short slow part before charging again. This maybe my favorite track. The barrage of blast beats and dive bombs at 3:45 renders an explosive feel. The final third of the song is a bunch of haymakers, ending with a sick breakdown. This tracks crushes and holds its weight for the duration as an aggressive offering.

And then comes another odd choice, a cover of Dire Straits’ “Money for Nothing”. They emulate the intro perfectly, the synth and the echoing drums into the ultra-recognizable riff. The make the riff rock. Then speed up the verse. If done in the same tone as the original (sardonic tongue firmly in cheeks), the punch lands squarely. If done just as some cheesy retro ‘aren’t we ironically cool?’ cover… Not so much. Admittedly, I love this song (the original). But I was 8 when it was released and it was a rare treat for my father and I to like the same song (Anthrax was not allowed). We will still blast it in a car 33 years later. Playing this LP about the 5^th time through, it has certainly grown on me and is a cool choice. It shows how gritty the Dire Straits’ classic was written. Also, I want my music to reflect life; working class ethics. Thrash and crossover was always the working man’s metal. Maybe it had fantastical imagery or lyrics, but it was about hanging out and not being arena rock Gods. This lands.

A two minute transition pieces leads us to the martini shot; “Shining Perpetuity”. This six and a half minute closer is frantic and tight. The frenzied music pushes and pushes. An excellent track here. Castiglia’s growls are commanding as they have been all album; never registering high notes – just what I like. After the first verse (1:39), the song launches again into that slow ascension they are doing now; (at 2:00) the thrash returns.

There are times when Ultra-Violence strip down and absolutely tear through the speakers, like a flaming freight train. Operation Misdirection exhibits an experimentation and pushing of boundaries which can be risky for bands. But the new spots of musical stretches and melodies work for the band. They’ve done acoustic slow parts before but the grand atmospheric melodic plateaus are different. Ultra-Violence accomplish much as they grow to define their own sound in such a defined genre. This band do proper thrash with fresh energy and anger. The A Clockwork Orange imagery is always sentimental tug, securing an affection for the band. So, they don’t have to be the most technical or grow each album. But Ultra-Violence do it anyway.

RIYL: Dust Bolt, Crisix, Septik Onslaught
OWES: Destruction, Whiplash, Exodus, Nuclear Assault, Overkill, Forbidden

Vitamin X interview

Vitamin X

Age of Paranoia

Southern Lord

Interview for New Noise by hutch

Answered by Marc Emmerik (guitarist)

Southern Lord Shop

There is a distinguished, undeniable sound - a cavernous, progressing rumble - which belongs to a skateboard. Your ears recognize it – and excite you – far before you see the board. That sound triggers myriad images; combining the thrill of physical exertion and challenge, but also, innately, those emblematic of rebellion. In punk, Vitamin X create a sound as unique and as riveting. Their guitar work can extract references to surf-drenched, Cali-Punk or East Coast straight edge stalwarts or 80s skate rock. Spanning two decades, Vitamin X’s career has continued to slap down thrashy-hardcore repeatedly. Age of Paranoia will be their sixth LP, dropping, today, May 18^th, on Southern Lord Records.

Propelled by sweaty live shows, Vitamin X’s reputation is founded on speed and intensity. Emailing guitarist, Marc Emmerik, illuminated some details on Age of Paranoia. “We love playing live and as you probably know, we've toured all around the world. Anyone who ever saw our performance knows that our shows are very energetic and we give everything. To see people singing along and going crazy in the pit is something that is very rewarding. So, we still play as much as our schedules permit, something like a few shows each month.” They’ve toured with everyone and headlined their own tours spanning the globe. 

These gentlemen have spun van wheels in USA, Mexico, Europe, Southeast Asia and South America. They have played France’s Hellfest and Maryland Deathfest to bulk up their heavyweight cred. They even did a recent jaunt with Baroness and Cro-Mags. You cannot pin these dudes down. And damn you for trying. 

Throughout their eclectic history, Vitamin X have done splits with Blind Society – charged punks from NJ in the early 2000s - and We Bust Burn (d-beat earth scorchers). Vitamin X have had a few homes as far as labels: Havoc and Tankcrimes; Committed and Reflections. Their debut EP was called Straight Edge Crew. But other releases have had fans of Municipal Waste drooling. Their sound is painted by influences such as Minor Threat, Gang Green, DYS, Suicidal Tendencies, DRI, COC and yet, on Age of Paranoia, have guests such as J Mascis (Deep Wound, Dinosaur Jr, Witch) and Bubba of DC hardcore noise purveyors, VOID offering to shred.

Vitamin X’s gift is melding different genres with a common core and stretching it while staying within their formula. The band has been punching their same sound for 20 yrs. Vitamin X’s two big pivots from About to Crack in 2012 to now are moving from Steve Albini’s knob turning and from label, Tankcrimes, to Southern Lord. Emmerik is stoked. They have never shied from low-end, thick production; clean and punctual. But their sound is never glossy; continuously exerting palpable frustration and conviction. Vitamin X have had two LPs (the previous two; Full Scale Assault, 20008 and About to Crack, 2012) produced by Steve Albini. They were honored and the product was solid.

But they wanted to return home, in geography and in spirit, with production. But Southern Lord made sense. “We're really happy with it. We've been contacted by bigger labels in the past, but it sorta never worked out. I've known Greg Anderson from Southern Lord for a long time, since the 90's; when he played in Goatsnake. Greg saw us perform a few years ago. And he told me, once we had new recordings, we should send it to him. That’s what I did and he really liked it! He said he loved the unique fusion of old school HC and rock, metal-punk etc. He thought we push boundaries within a genre that is typically limited,” notes Emmerik. Vitamin X have been on small labels and certinlt have had a decade perched to explore the next tier. “Southern Lord is perfect for us as the label is bigger. So, we get a better distribution and promotion. But they're still rooted in the underground and very easy to deal with and great people!”

And the bluesy doom bands on the label have more in common with Vitamin X on Age of Paranoia than one would be inclined to think. One track – and killer title – is “Reverse Midas Touch”. Definite rocking, thick riff, stoner vibe but Vitamin X pushes the speed and bass work and adds “woah-oh-ohs” in the chorus – linking them to Southern Lord release like Uniform Choice, Poison Idea, and Brotherhood (Greg Anderson’s old SXE hardcore band).

Speaking on the decision to have Age of Paranoia produced by someone other than Albini – who while known as a supreme producer, did play in many bands including Big Black, Pegboy, and Shellac – Emmerik and boys chose Igor Wouters at ARC (Amsterdam). This was nothing against the producer of monuments like albums by Nirvana, Pixies, TAD, The Jesus Lizard, Mogwai, Neurosis, Weedeater and even mainstream mammoths like Bush, Cheap Trick, and The Breeders. Sometimes, the comfort of home is an allure that cannot be resisted. Emmerik notes on utilized Wouters (who also is a drummer for Angel Crew and Backfire!), “We recorded our previous two albums in the USA with Steve Albini. But, now, we wanted to stay closer to home, Amsterdam. Igor was an obvious choice (cuz) I had recorded there myself with my band, Demon Eyes. Igor has drummed in several hardcore punk bands (even Agnostic Front) and now drums in GOLD. He works really fast, is very creative, knows a lot about all kinds of music, and is really relaxed! So, it was great to work with him!”

Another record is great to hold in hand and blast when the needle drops. When the invigorating frenzy captivates, it is undeniable. The opening track, “Modern Man”, has feedback ringing and teasing as Age of Paranoia begins; you feel the band settling in for the ride. The chords ring out and anticipation builds, ground trembling, the production approach captures the live-on-stage exasperation. Age of Paranoia surges with 16 tracks; only five of which cross the two minute threshold.

“Roller Coaster Ride” is just that. The song is frenetic; slow and fast bandy in a chaotic melee; fitting inviting VOID’s (yes, that VOID) Bubba Dupree for a guitar guest slot (Speaking of bands defying classification). “Human Plague” and “Bounce Back” scorch at under a minute; while the exactly one minute “Speak No Evil” has a cool guitar line, piercing and sharp with a SoCal surf hardcore feel. These shorter jams pound and vibrate with commanding defiance. “Age of Paranoia”, with the burden of being a title track, extends Vitamin X’s comfort zone at 2:45. But funny enough, 1:45 of that is an instrumental jam with fuzzed out wah-bass. Guitars embody Iommi riffs and laced flutters as the track moves forward; while a collapsing refrain compounds paranoia and suspicion before exploding into a hardcore swarm.

Listening, it is no surprise that Age of Paranoia was recorded live. Emmerik concedes, “We recorded the basic tracks live (drums, guitar, bass) in three days. Then we did overdubs and vocals, and the mixing. I think in total we were there for 8-10 days.” That quick turnaround was solidified and fused by relentless shows. Twenty years in and Vitamin X play continuously. Emmerik states 208 will be the same. “Well, this will be the year of the release of our new album on a '’bigger’' label, Southern Lord records. We will be promoting the album, playing a lot of shows! We hope to reach our fans but also new audiences who might hear us for the first time. We're looking forward playing the songs from Age Of Paranoia live.” The new tunes will engross audiences by blending Annihilation Time, even a touch of Sabbath, the often avoided late-era Gang Green and SSD/DYS or the now revered BLA’ST! or Aggression and Stalag 13 or contemporaries like Night Birds or The Shrine; all these bands come to mind.

Commenting on the odd but ‘yeah that actually makes total sense’ guest appearances, Emmerik syas, “J.Mascis plays on the song ‘Flip The Switch’. The intro sounded a bit like Dinosaur Jr; so, I thought it would be perfect to ask J.Mascis to do the solo. J of course used to play in Deep Wound, one of our fave hardcore bands. I had already met J a few times through Graham Clise (Annihilation Time/Lecherous Gaze) and once gave him our Full Scale Assault album. Graham and Dave (Teepee Records) helped me contact J, and when he was on tour in Amsterdam he did the solo. But, he didn’t do just the intro, he said '’I will solo throughout the whole song and you just edit what you need’'. In the end we just kept the whole solo because it's so amazing!” The result is mind-blowing. Killer idea, Brilliant execution. As for Dupree, “Bubba Dupree used to play in the legendary DC hardcore band VOID (and afterwards in Soundgarden, Dave Grohl’s Probot and Brant Bjork), a band we're huge fans of (we used to cover one of their songs live). I was hanging out with Bubba after a Brant Bjork show and asked him to do the solo on the song '’Rollercoaster Ride’. He didn’t play hardcore punk for a long time but his guitar solo is totally VOID style!”

Also, to expand on the vibe of this record, after two sensational Pushead-esque covers, Vitamin X incorporated ridiculous art for this joint from Dutch artist, Marald. Emmerik admits, “Marald is, just like us, from The Netherlands. He's a friend of mine long before he got famous. John Baizley of Baroness - who did the art for our last two albums - is a good friend of Marald. Ten years ago, we all were hanging outside a Baroness show in Amsterdam. Marald actually did the art of the last Baroness album; (plus) bands like Wolfbrigade, Kylesa, High On Fire, etc. John Baizley was supposed to do the art of this album, but he was too busy. So we asked Marald, and he did an amazing job. He not only made a drawing on the front, but also on the back and the insert!”

With titles like “Modern Man”, Age of Paranoia”, “Short Circuit”, “Flip the Switch”, “Media Messiah”; it seems clear that Vitamin X are concerned with society and its technology; and, additionally, how the people in control of the media/technology use it. Emmerik replies, “Yes. Most of the lyrics on this album deal with this subject. You could even say it's a concept album - ha! Technology is hijacking our brain and minds. That's what, for example, the songs ‘Short Circuit’ and 'Flip The Switch' are about. We live in a dangerous time and age, and age of control, confusion and paranoia. More than ever, we're controlled and affected by media, technology, mobile devices, internet, social networks, governments, political earthquakes, extreme ideologies, climate change, pollution, fake news, etc. The song 'Modern Man' is a sarcastic song in which we wonder if our so-called 'progress' isn’t actually a 'regress'. It's about people who are only interested in their phones instead of participating in the world around them.”

Emmerick continues that this cannot commit to an optimistic or cynical view about the masses and their involvement with technology. “All this technology is still pretty new, not even 10 years. So, I think people and societies are still adjusting and coping with this new situation. Those new technologies we use have in many cases turned into compulsions. Tech firms are hooking users with design tricks. I hope we can manage to find ways to cope with this new situation.”

2018 Summer EPs Reissues Splits etc

The Short List issue 42

COVER COMPILATIONS:

Classics vs Classics CD Freedom Soundworks

Silence Equals Death has been turning heads since their ferocious album last year, End Times. Channeling bands like Sick Of It All, Wisdom In Chains and, even, Snapcase, the band’s sound Is urgent. Fueled by the velocity of peers like Stick To Your Guns, Regulate and Blind Justice, SED delivers an amazing live set on a rigorous schedule. The band’s message and energy beckons hardcore fans old and young. So here on this Freedom Soundworks release, they pay homage to their influences. SED incites with their offerings; a 90s hardcore classic, “Burning Fight” (Inside Out); and CCR’s ode to the road, “Traveling Band (Creedence Clearwater Revival)

As the album continues, some surprising and brilliant choices manifest in a satisfying array of influences. Robots And Monsters absolutely crush with their Refused cover, “Rather Be Dead”; and a cool groove to Costello’s “Pump It Up”. The Ice Cold Killers bring some naughty swagger to a Buddy Holly “That’ll Be the Day” and then add jet fuel to a redo of Agent Orange’s classic, “Bloodstains”- a la Turbo ACs. Nothing Is Over takes a psych-surf classic and channels BL13RE with a heavy hardcore thrashing on “Hanky Panky” (The Raindrops). They then do a surprisingly melodic accurate cover of “Kids and Heros” (The Bouncing Souls)… well, for half the song until the second vocalist comes growling. The cool charm of I, Pipebomb radiates as they do a powerful cover of the sometimes underappreciated Prong with “Snap Your Fingers, Snap Your Neck”.

Available on CD and Bandcamp/Spotify/iTunes/Apple Music

bandcamp

EPs:

The Secret Lux Tenebris 12” EP Southern Lord

August 31 2018

Six years has passed since Italy’s heathen sons have provided soundtracks of their blasphemous fury. Releasing albums for metallic hardcore giant Goodfellow in 2004 and 2008, The Secret left giant footprints on Southern Lord’s roster with Solve Et Coagula (2010) and Angus Dei (2012). Blending apocalyptic crust punk / d-beat and treacherous black metal, The Secret’s ferocity  has been elevated on Lux Tenebris. Where before the punk aesthetic guided production, The Secret conjures multi-dimensional, grand vision in their music. Solid black metal production added to the band’s more complex writing (and adding doom metal elements), weaving dynamic layers of atmosphere and rage renders listeners awestruck; recorded by Steve Scanu and mastered by Brad Boatright at Audiosiege and completed with a cover illustration and layout by View From The Coffin. Southern Lord is releasing eight albums on limited silver vinyl exclusive to subscribers. The Secret get the treatment with these three new tracks (in 20 mins). Available on August 31. Now available is the 12” EP on one-sided black vinyl; B-side is silk-screened.

pre-order

Counterparts Private Room Pure Noise Records
September 7, 2018

From the working class landscape of Hamilton, Ontario, Counterparts have been flooding angsty fans with metallic hardcore in continuous waves. Since 2010, the band have released five full lengths and a few EPs (on Victory Records and Pure Noise). Heavy riffs, balanced with angular guitars, Counerparts write songs that can engage an arena with bursting anthemic swells as well as As I Lay Dying or Killswitch Engage. But Counterparts do not shy from blastbeats. And clean swinging is eschewed for a venomous, caustic vocal delivery. On Private rooms, Counterparts return with three two minute tracks. Counterparts strength is cutting any frills and crafting pithy tracks that do not shy from leads or solos but still trim the fat. In the metalcore/deathcore genres, it often seems people make a band to showcase themselves and be idols on the stage. Counterparts have a genuine feel and stay pissed without the pretty parts.

Mustard / Red (aside / bside); 300x Half Red / Half Baby Pink 

order here

Fixation Marked WAR Records

One of the most exciting bands to punch hardcore in the gut is Fixation. They will release their new eight tracks on WAR Records. WAR is Andrew Kline (Strife, guitars; Berthold City, vox) label which has released records by Miracle Drug and Reality Slap and more. This is bold, ugly Straight Edge Hardcore. Think Boston Strangler, Rival Mob, No Tolerance or Violent Reaction, Unjust and other NWOBHC. 

Discontent with simple lyrics of banal tropes, Fixation heighten the hardcore threat with some angrier, unique words. The music slams and rages repeatedly throughout the eight minutes of straight edge vengeance. Breakdowns, two steps, and fast blasts all rotate in the spotlight. A punk foundation still thrives and lends a catchy feel as captured by Wyatt Oberholtzer (Jesus Piece, Year of The Knife). His production is crisp but beefy; while vocals are growled in old school glory.

100 x translucent pink; 500 x fluorescent green; Fluorescent green version with a hand stamped center label and a hand numbered  cover with alternative artwork (Out of 100)

bandcamp

Modern Life Is War Tribulation Worksongs 7” Deathwish Inc
Out Now

Excited to be on the road with Cro-Mags and Culture Abuse, and then Gorilla Biscuits, MLIW is back and spewing vicious venom into the current discourse with two tracks, “Feels Like End Times” b/w “Lonesome Valley Ammunitions”. Poised to test its audience and any naysayers, the band’s political agenda is ripe for discussion. MLIW shined from 2003 to 2008 alongside peers like Have Heart, Verse, American Nightmare, and The Suicide File. The pessimism and discontent simmer here through two tough but emotionally charged hardcore punk anthems.

Tribulation Worksongs will be a series of EP releases (hence the “Volume 1”). This two songs were recorded by Luke Tweedy at Flat Black Studios and mixed by Kurt Ballou at God City Studios. The craftsmanship is embodied by the materials and process here. Deathwish informs: “the lyrics/credits of each song were typed by vocalist/lyricist Jeff Eaton on his antique typewriter. These were later hand stamped on the front and back covers by artist Jacob Bannon, making each cover totally unique. The labels of the vinyl were also hand stamped before final assembly by the people at Deathwish. All copies include individually hand stamped covers and center labels. Manufactured in Los Angeles, CA; Assembled at Deathwish Inc. in Beverly, MA.”

Vinyl is limited edition in four colors: white, clear, transparent red, and black

deathwish inc store

Atomicide Furious and Untamed Iron Bonehead
June 22 2018

Atomicide’s Chaos Abomination was a treacherous ode to villainy and Armageddon. One of my #top10 LPs of 2015. But it has been three years since we heard the Chilean band’s version of blackened death metal. Iron Bonehead is focusing on EPs this summer, and Atomicide bless their followers with two new blazing tracks. Thick, battering riffs pound and punish fans with a sound mixed of peers like Sarcofago and others like Marduk, Abominator and Urgehal.

Limited to 300 copies on black vinyl.

IRON BONEHEAD

Invocation Mastery of the Unseen Iron Bonehead
Sept 17

Speaking of two track seven inches Chilean Blackened death thrash on Iron Bonehead, here we have Invocation slinging some ominous metal on “Ouija” and “The Spirit Trumpet”. Blasphemous tirades blare and besiege speakers on this ten minute release. Invocation is similar to Atomicide but more restrained,; the recording is more cavernous and gloomy. Invocation focus on blinding speed and the vocals are mixed low, giving a haunting vibe. The repetitive, staccato guitars poke as the music charges forward.

Invocation bandcamp

SPLITS:

Dwarves / Against The Grain SPLIT HITS THE FANS 7” #4 Failure Records & Tapes

Nasty punk legends Dwarves still mangle chords and pump out their brand of naughty rock and roll. Here, Failure Records & Tapes partners Dwarves up with Detroit’s Against The Grain. Both sides offer two tracks of high octane rock and roll spiked with bold and brash punk rock that embraces Motorhead, Poison Idea, Zeke and the like. Killer jams with screeching guitars, fast rhythma and disregard for polite society. Artwork by Clayton Jarvis of Abom Design highlights this release with vivid sleazy pictures.

Limited to 500 pressed; random colors (Incl. this sky blue with black swirl in my hand).

failure shop

Cliterati / Violation Wound split 12” Tankcrimes
July 27 2018

Prepare for a violent engagement here. Two ripping bands have teamed up to combat ignorance and political insanity with 10 sonic assaults. Portland’s Cliterati and Oakland’s Violation Wound split this 12” with confrontational punk/metal/doomy d-beat tracks. The master of the dirty, raucous Oakland sound, Greg Wilkinson recorded both bands at his Earhammer Studios.The music was then mastered at Mammoth Sound by Dan Randall (Ghoul, Fucked Up), the split features cover art by Violation vocalist/guitarist Chris Reifert (Autopsy, Abscess).

Cliterati harvest rage and unrelenting spite with tracks like “Water is Life”, “War on The Poor”, “Alt-Wrong”. Violation Wound serve equally abrasive music with tracks like “Worthless Figurehead”, “The Church of Go Fuck Yourself”. Cliterati dropped a demo and three EP over the previous two years to acclaim; seasoned by former members of Poison Idea, Voetsek (Amy on vocals), and Murderess. Their version of UK82 adoration via Oaktown grime plays as gnarly as one expects.

Violation Wound provides odious tones in which to revel; featuring Autopsy’s leader, Chris Reifert. Formed in June of 2013, Violation Wound has Riefert’s trio embed crusty, powerviolence/hardcore punk; described as a blend of Toxic Narcotic, Zeke, and Fear. The savagery is palpable, Reifert’s throat beckons the overthrow and leaves needles yearning for a respite. The colors and flavors are yet to be noted, but this one is a winner.

cliterati bc

tankcrimes merch

Integrity / Krieg Split 12" EP Relapse

Contaminating souls for his third decade, Dwid has seen himself and his band, Integrity, a number of times. Last year’s full length showed a revamped and reinvigorated collection of musicians; led by A389 Records’ owner – and guitarist of Pulling Teeth, Slumlords, and Day of Mourning – Domenic Romeo. Integrity continues with four additional tracks in the same vein; including “Flames of the Immortal” and “Sons of Satan” *(not a Venom cover). The tracks are short scorcher of searing Holy Terror. Dwid’s commanding howls illustrate why he is the master of metallic hardcore demonic incantations. In a wonderfully surprising pairing, Neil Jameson’s Krieg bring forth their black metal odes of isolation and despair. Kreig’s three five minute tracks aurally infect with blistering scabs and audio infestations. This is the band’s first material since 2014’s amazing Transient.

1400 x Black; 300 x White and Black Merge with Baby Blue, Electric Blue and Blood Red Splatter; 200 x Milky Clear with White, Black and Blue Splatter; 100 x Clear with Black Smoke and White Splatter; 100 x Clear

 Relapse Pre-Order

Primitive Man / Unearthly Trance split 12” Relapse
August 17^th

Primitive Man continues to unleash their glacial hate hymns here (after a one minute intro) splitting 20 agonizing minutes between two tracks. The Denver trio seems to put out Relapse releases between self-released and other DIY; a litany of EPs, LPS, and splits (especially).They are back at it; distilling misanthropy and self-abuse to reveal the ugliest, most repugnant sludge-metal soundscapes. After last year’s LP, Caustic, Primitive Man return with two filthy tests of your endurance.

Unearthly Trance is one of the few bands mighty and slow enough to hold down this side B. The New York doom titans broke the world’s heart when they disbanded (although Serpentine Path helped the pain). After 2017’s Stalking the Ghost, on Relapse, restored galactic order, Unearthly Trance present 4 tracks of blackened doom/chaotic noise. The speed of “Triumph” is a brutal display of metal prowess. “Reverse the Day” sounds like a blistering portal to Hell more than a conventional song. 

RIYL: Clive Barker and John Carpenter and Lee Dorrian.

1600 x Black; 300 x Milky Clear with White, Grey and Black Splatter; 100 x Clear with Grey Smoke; 100 x Clear.

Relapse PreOrder PM_UE

Stuntman / Art Of Burning Water Split (digital) SuperFi Records
July 1^st

Certain feelings surface when listening to Stuntman’s malevolent, scathing five minutes of side A. Those feelings are apprehension peering in a mirror of confrontation. Stuntman deliver grinding, spastic powerviolence type hardcore that reaches out of your headphones to pummel your misconceptions as well your eardrums. Sludge driven noise rock played through chaotic punk chords bathed in nihilism. Glorious purging of belligerence from the south of France. AOBW join the destructive practices with their two minute rager of unrelenting noise plus add a :38 Deep Wound cover.  Each band gives it their all here.

 bandcamp

PREV UNRELEASED:

Joe Strummer Joe Strummer 001 Ignition Records
September 28, 2018

Ignition has compiled a stack of unreleased versions of Joe Strummer material, gathered from Strummer’s property. The unreleased material includes an early demo of "This Is England" originally called "Czechoslovak Song/Where Is England”; a solo demo of "Letsagetabitarockin" recorded in 1975; outtakes from Sid & Nancy featuring Mick Jones and unreleased songs "Rose Of Erin"; "The Cool Impossible" and "London Is Burning". Some songs are outtakes from 101ers, Mescaleros and some are simply Strummer solo. Finally, a collection representing authentic  closure for fans. The collection exemplifies the legend’s reflection of the world he saw; wrought with hope, anger, confusion and urgency. 

Joe Strummer 001 was overseen by Joe’s widow Luce and Robert Gordon McHarg III. “All tracks were restored and mastered by Grammy Award winner Peter J. Moore at the E. Room in Toronto Canada. […] On the 1" 8-track recordings, it was discovered there were hidden tracks superimposed onto each other. […] The box set has the same content as the CD set and is pressed on audiophile quality 180g vinyl. The box set's accompanying book… features rarely seen and previously unpublished memorabilia from Joe's personal collection as well as historical press reviews and technical notes about the albums […] The artwork was curated by Robert Gordon McHarg III who previously worked on the Clash Sound System box set with Paul Simonon, the John Cooper Clarke compilation Anthologia and curated the Black Market Clash Exhibition.”

Limited edition Deluxe Box set: Quadruple heavyweight Vinyl, 7" vinyl single, cassette, A4 Book, enamel badge, art print, screen print, lyrics and sticker sheet (IGN53BOX).

Limited edition Deluxe Double CD in book; Double CD in slipcase; Quadruple heavyweight Vinyl in slipcase (IGNLP53X).

The Last Crime “Operate/Medicate” b/w “Man vs. Shark” Cassette Sunken Temple Records

Recorded at legendary Inner Ear Studios (many Dischord Records) by legendary producer, J Robbins; these two tracks were committed to tape in 1998. Somehow, hidden under a cloak of justice, they were never released. The Last Crime were a “New York City cult Y2K-era hardcore/screamo outfit”. They had released a vibey, atmospheric, jaunting math-rock EP of four songs. Combining dark atmospheric with Fugazi, 6L6, Neurosis, Deftones, Glassjaw, Unsane, Shellac and other incinerating influences, The Last Crime did not release anything else. Until now.

1996 saw Kevin Egan of NYHC giants, Beyond, and joined with other Long Island and New York City musicians. Any band from Long Island, fighting to find the light outside of 

NYC’s shadow, has always been left of the dial; jarring and angular – beyond (sorry…) whatever genre it was supposedly in.  Formed with Egan and Steve DePalo both on guitar and vocals, Eric Svirida on bass, and Richard Muller on drums, the music created was blossoming among bands like Vision of Disorder, Locked In A Vacancy, Milhouse, Sons Of Abraham.

“Playing eighty-seven shows in their first year and turning through several bassists including Chris Donohue before Mike Ciasullo filled the slot, The Last Crime recorded their first release with Alap Momin, a self-titled four-song 10” and CD, released on NYC-based, The Omega.”

As 2018 trudges forward, DIY cassette label Sunken Temple is searching for lost NY punk and hardcore gems. They now share the other, lost recording from The Last Crime. Each track hits seven minutes, dissecting the reverb and sonically embattled layers; now, “mastered in 2018 by Jon Florencio at Produkt Sound and completed with paintings by Richard Muller and design by Muller and Dalton Ryan.” Chaotic and angry, “Man Vs Shark” finds a captivating (yet, dark) groove, thick and hazy. It is a disturbing romp.  “Operate/Medicate” is a little more restrained. Anchored by a locked grumbling bassline and a snappy snare and open hi hat rhythm; the track bandies between a meandering feel – holding Fugazi and Unsane and The Jesus Lizard in a padded room.

Cassette Only

http://www.sunkentemplerecords.com/ 

REISSUES

Agressor Rebirth Season of Mist
Out Now

Scorching French metal from 1994 is now available, remastered with bonus tracks on two LPs. Symposium of Rebirth was a grand venture, applying a classical music template to sinister death metal. The infusion of searing thrash parts, while still growling in the death metal vocal approach and pounding double bass drum created an unrealized masterpiece. Merging influences such as Dark Angel, (early) Sepultura, and Morbid Angel. Rebirth takes the original Long out-of-print LP and adds a re-recorded version and almost a dozen bonus tracks. The mesmerizing effort – of the original 1994 album – proves a staggering endeavor and I highly recommended.

Double LP vinyl available on black or 350 on blue or 100 on red.

SoM Order

Prong Cleansing Century Media
8.31.18

In their apex, New York’s Prong wielded a daring sound. They were metal but had roots in the CBGB’s hardcore scene. And then a NY Noise/AmRep sound creeped in as well as industrial influences. Their attitude and commitment to being original was revered. Tommy Victor was a respected producer ans sound guy at CB’s. Prong’s Cleansing – boasting their biggest hit, “Snap Your Fingers, Snap Your Neck” – may have seen them catapult out of the underground, to some praise and some disappointment. But 25 years later, fans can objectively listen to an album boasting rigorous rhythms, crushing riffs, and amazing leads. Somewhere between Helmet, Type O Negative, Fear Factory and Ministry, Prong’s sound fought tough to declare independence when released on major label, Sony. But jump to “Cut-Rate” and you hear the speed driven 80’s NYHC/crossover love from the band. “Not of This Earth” is a spacey adventure with reverb and a lighter foundation.”One Outnubered bandies between a churning stomp and a cleaner melody. Songs range from 3 – 7 minutes; exploring a wider breadth than on their underground first two classics, Beg to Differ and Prove You Wrong. 

Here Century Media releases this giant on black or red vinyl.

Suicidal Tendencies Lights Camera Revolution Century Media Records
8.31.2018

In 1990, it was clear that Venice’s punk kings were far removed from their 1983 eponymous classic. Regardless of where your opinion was in 1990, now it is clear that LCR is a stone cold classic. Introducing Robert Trujillo to the stellar and seasoned line up of Lead Cyco, Mike Muir, and lead guitarist, Rocky George, Mike Clark, and RJ Herrera (his last ST album), LCR left behind any hardcore punk or crossover and went straight thrash. And they executed it with power and strength. Suicdal got pushed into almost mainstream, as Megadeth, Anthrax, and Metallica all had videos on Mtv. Suicidal released killer classics, “Send Me Your Money” and “You Can’t Bring Me Down”. The production remains crisp and piercing as Suicidal had tight riffing and succinct delivery balanced with emotional melodic breakdowns that would become their signature. Songs like “Send Me Your Money” and “Lovely” also introduced the funk-metal label and Trujillo’s signature slap sound. Muir reels in his sarcastic taunting best here as he writes his odes to misery. LCR is a brilliant offering sometimes forgotten among the roller coaster of Suicidal’s career. 

Black or Transparent green vinyl.