Two of the hardest working bands in hardcore are releasing a
tantalizing split 7” just to let you know they are still coming hard. Honest.
Sincere. Commited. Consistent. Madball and Wisdom in Chains are holding it down
with a track each until Madball’s full length comes out on 2018.
Madball’s side comes packed with their revered energy. The
track, For the Cause is also the name of their impending full length. This
track continues with the firestorm they have been unleashing. The Mitts era is
a gallery of classics; Legacy, Empire, Infiltrate
the System, the three eps; and most recently Hardcore Lives. This feels right off of any recent. Only news I can
find is that the full length will be on Nuclear Blast, no word on release date
or producer. The tough, crisp track sounds like the prior ones – hopefully meaning
Erik Rutan is behind the boards or even Zeuss. “For the Cause”, is vicious.
Slamming track.
The flipside is blessed by the PAHC champs, Wisdom in
Chains. As a bonus, Mad Joe shares the mic with Freddy Madball on “Someday”.
Mad Joe’s gift to the hardcore community has always been raw, personal lyrics.
We get emotionally open lyrics, contemplating what a man’s legacy will be, with
solid melodic guitar lines over rough, beastly rhythms. WIC’s low chug is savage
and will incite any crowd to point, swing, dive and stomp. It’s a fast, forward
focused 4/4 beat with ripe time changes for cathartic pauses and two-steps.
Roger Miret Interview
I want New Noise to get the traffic so please hit the above link. Roger is always a chill dude to talk to. Humble and low key. The book is a fantastic read. Highly Recommended.
Also - CVLT NATION has a good Q&A with him. CVLT interview
Burn has peppered their history with releases. Do or Die
adds to their one album and three EPs since 1990. They may not equal much
output over 27 years, but each has triggered myriad inspiration for many bands.
Gavin Van Vlack (Absolution) and Chaka Malik (later of Orange 9MM) joined
forces to fuse one of the most unique bands in the NYHC scene. Others would run
with this style, but these dudes were first. Two graf writers ignited
turntables in 1990 without looking back on their self-titled, four track
Revelation Records debut. 2001/2002 saw a one-two punch with Cleanse LP (Equal Vision) and Last Great Sea EP (Revelation). But that
eleven year gap was second to their 14 year gap until 2016’s …From the Ashes
(Bridge 9). Seeing every major player label ha been chasing them, DO or Die
follows that path releasing September 8th on Deathwish Inc.
But the last few years, Burn have been doing shows and
gathering momentum at a faster pace than other spurts. Chaka looks fit and spews
wisdom as fiery as ever. Their live presence is electricity barely contained. Chakas
intensity transmits wonderfully here. The vibrant performance is classic. Gavin
Van Vlack’s bizarre guitar work exhibits a unique approach to hardcore, noise, and
rock. Now equipped with the rhythm section of Tyler Krupsky and Abbas Muhammed,
this frantic melee dancing on taut piano wire births a sharp record with Do or Die. Chaka has a feel of every
word being profound and prophetic. Audiences pay attention, clinging to his
tense, engaging delivery.
Burn’s characteristics shine here. Their calling cards of
off-beat tempos leading into bouncing NYHC rhythms are bountiful. The guitars
often seem to contradict each other with a ‘contrasting as complimentary’
approach. Burn presents tough, crunchy riffs that are infectious; melodic
guitar lines balanced with respites of stability. All of which delve into noisy
rough tangents.
“Fate” opens and blazes” through. “Ill Together” sliding groove
is enticing. Muhammed’s snare is precise and holds the chaos together. “Dead
Identity” howls of anger over a caustic riff. The title track has layered
vocals; some just frantic repetition. The drum pummel and charge in a constant
rolling beat. But Van Vlack holds back with a sparse, slow guitar line. The
push is phenomenal and tears the listener in two ways. This is the mantra for
either a mental collapse or an incendiary chant before changing the world.
Explosive. “Unfuck Yourself” continues the challenging lyrics. Krupsky’s bass
is allowed a loose leash and revels in the opportunity. Mixed up front, it is
glorious. A quitter tune, it still is stirring.
On Deathwish Inc this time, the Converge fam reps hard here
with production by Kurt Ballou and a slick montage of eclectic clip art
collected by Jake Bannon. Howie Weinberg mastered Do or Die. His experience is eccentric (google him. Rush to Lester
Young to Slayer to Tom Waits). Burn have returned. Even if they lay dormant for
another decade, a gem is here now. PMA flowing, sitting idle after listening to
Do or Die is not possible.
The searing new album from NYHC stalwarts, Incendiary, is coming soon. May 5th will give us Thousand Mile Stare on Closed Casket Activities.
You can hear a "Front Toward Enemy" of off it on Decibel. It is a slow burner; vicious riffs stomp while vocals are rapidly contrasted over the chugging plod. It's a pit inciter. The pent up tension is, well, incendiary to pit dwellers set to vent. The album gives us 10 tracks of passionate, angry hardcore.
A full audio interview with Brian and Brendan will be available here soon.
Thousand Mile Stare is up for pre-order on vinyl
Also check Closed Casket Activities. Brixton Agency keeps us updated on the bands touring:
"Incendiary will be performing at this year's Groezrock Festival in Belgium, Sound & Fury Festival in Los Angeles, and Bloodaxe Festival in Japan, as well as the band's Brooklyn record release show and more tour dates to be announced."
you can also check out the faster, ripping track "The Product is You" on youtube.
if you care - you already know the big news, Rest In Pieces reunion! Rob Echeverria is back with Craig and Armand, and hopefully the shorts! My Rage may be my favorite NYHC record. I'm stoked. Check instagram for band updates and Rob E posting cool practice pics.
Get ready for my favorites - "My Rage", "Fools of the World", "Joe Ignorant", "Bitter Mind", and "Keep Your Distance". These are all classics that still stir me inside, getting me to scream and point in the car or the house alone. Obviously the crowd will go beserk for "Stark Raving Nude", "Chinese Fortune Cookie", and "Balls n All"! Here is the complete roster: Sunday, May 21 at Webster Hall, New York, NY. $35 in advance ($40) at the door, 1pm.
Gorilla Biscuits Rest In Pieces Token Entry Terror Indecision Maximum Penalty Fire & Ice God's Hate Vietnom Line of Scrimmage Brick By Brick Break Away Coldside Mind Force BNB Productions have a list of NY record stores. Get your tickets! Break Away is a superb band who I listen to frequently. Such killer energy. Terror always destroys. And this is right after their new EP, The Walls Will Fall, comes out on Pure Noise (look for audio of Scott Vogel interview posted soon). Obviously reunions of Token Entry and GB are exciting. But let's not overlook Indecision! Brooklyn gets repped hard here. Brick By Brick and Gods Hate will decimate; definitely two of my releases from last year for brutal metalcore. Fire & Ice, Vietnom, and Maximum Penalty may not play continually, but they all come to hit hard. Coldside is a dope band.
Yuppicide
- Revenge Regret Repeat
Interview by Hutch.
Dead City Records - December 2015
Yuppicide
started in 1988. The mid-Nineties’ albums brought in that NYHC bounce with a
rugged punk and Oi! sound. They were hard to define but always confrontational.
Not preachy, but creatively defiant and antagonistic to the listener, they were
political and socially-minded via personal keyholes. Their lyrics represented
larger issues through myopic stories. Their main three albums Fear Love,
Shinebox, and Dead Man Walking hold a revered position in the hall of NYHC.
Their live show, with a flair for costumes and unbridled energy, secured their
legend. Dead City Records released their demos again, and their full anthologyin
2010. That was their story until some reunion shows and a 2012 EP woke their
audience from the dead. Revenge Regret Repeat was released on December 5th
of 2015. Their sound is honed and more focused on this full length. Yuppicide
are still pushing boundaries and addressing issues instead of generic slogans.
This may be their fiercest work yet. Vocalist Jesse KFW Jones and guitarist Steve
Karp took time to answer my questions.
It’s 2015. A new Yuppicide full length. How
does that feel?
Jesse: It feels
great. It took us a while to get the songs written and ready to record and
actually a few were still being tweaked in the recording studio. It is great to
finally have it out and in the hands of the people that want to hear it. When
we were working on the American Oblivion
EP back in 2012, we considered holding off and waiting until we had enough
material for an album. But, we weren't sure how long that would take. We're all
busy with family and work responsibilities outside of the band, so writing material
can be a slow process.
Steve: It
feels F*ING AMAZING. We defied the odds and created a masterpiece.
Was there a different or specific mindset
going into recording this?
Jesse: We
discussed different approaches, more for the recording style, but we decided to
try things and then decide if we wanted to work on it more. We do our best not
to let outside opinions influence what we do. Our producer, Glen Lorieo, had
some great ideas. We have a very democratic approach where everyone can voice
their opinion. But, the player has the final say on their instrument. We didn't
all agree. There were some edits that we weren't all happy with (poor Glen),
but over we are really happy with the results.
Steve: I
think we really wanted to learn from the process of recording American Oblivion and expand and improve
on that. We really wanted to create something we in the band are really stoked
on.
Can you tell me about how long it took to
write this? And then recording process with Glen?
Jesse:
Some of my lyrics precede us reforming as a band. I have always kept note books
with ideas and snippets. Whenever we are working on new material, I will
revisit those notebooks and see if anything sticks. The song that became “You're
Gonna Get It” was originally something Steve was playing around with for
another project. He had lyrics for it, but was cool with me rewriting them. I
wrote a whole set of lyrics that in the end still didn't work. So, I rewrote it
again, as it is now. We came up with some additions in the studio.
Steve: We
started kicking around new songs pretty much right after American Oblivion. I think we really got serious and productive in
the second half of 2014, especially once we committed to the idea of releasing
an LP. We started talking with Glen about recording a few months before actually
nailing down recording dates. He had ideas having just finished the incredible
Caught In A Trap LP (Good Night, New York;
also on Dead City). We had ideas having had time to digest American Oblivion and listen to CIAT’s Goodnight, New York. Once we actually started recording, it went
pretty well. I’m glad we took the time to bounce ideas off Glen ahead of time.
When it came time to do the guitars, I went back to 1990. I hauled my entire
live rig into the live studio and we recorded 99% of the guitars in a monster
eleven hour session. The actual entire recording process took a while, because
we were really nitpicky with the album. There was a lot of back-and-forth with
all the band members in regards to lyrics and arrangements and things like
that. Glen should really wear a tall, pointy hat because the kid is a wizard
when it comes to engineering and production.
Jesse: It
was great working with Glen again! We got to know each other recording the American Oblivion EP and now we're friends.
We recorded the drums and guitars at Frequency in White Plains NY. The rest, we
did in Glen's home studio in Harlem. I worked with him a lot, going in multiple
times to record a couple of songs at a time. We would play around and
experiment. He was really open to trying things and had great suggestions. He
also brought the 'science', which means he could fix my fuck ups, for which I'm
grateful.
You have kept your sound – solid writing,
catchy and hard!
Jesse: The
core band is the same: Steve, Joe, Myself. Jay brings a great drum sound to it.
He's always played fast and hard. I'm using all my usual techniques. I try to
come up with vocal hooks, if they make sense. Steve has never stopped writing
and it shows.
Steve:
Thanks! Truthfully, that’s the only way we know how to write. We write what we
know and what we like. We’re our own toughest critics. We seem to suffer from a
kind of “musical multiple personality disorder”. We have bits and pieces of so
many different kinds of music that fall under the bigger umbrella of
“punkrock”: Oi bits, d-beat bits, garage punk bits, US ’82 hardcore bits,
2-tone bits.
Have you been playing shows since American Oblivion?
Jesse: We
have been playing mostly local shows every few months. With our limited free
time, we had to decide to work on new material or practice for shows. We didn't
play a lot while writing the record. Now we excited to play the new songs out.
Steve: We
have. We even toured Europe quickly to promote American Oblivion in 2012. Since then, we played sporadically. We
made a conscious decision to try and not play out during the process leading up
to recording and during the recording process itself. We really wanted to stay
on track and get the LP done with as little distraction as possible. Well,
outside of the unavoidable “distractions” of work, family and all the other
“40-something” obligations that get in the way of being old ass punk rockers! I
think we noticed that the less we played live, and the more strategic we
were/are with gigging, the more we appreciate it and hopefully the less people
get tired of us playing.
What does 2016 hold for Yuppicide?
Jesse:
We're going to Europe for 10 days in March, and Dead City is trying to set up a
mini East Coast tour as well.
Steve:
Seeing if/how people respond to the LP, for starters. Then, we are getting out
and playing a bit. We have a European tour booked for March 2016; ten days in three
or so different countries. And, of course, the continuous process of trying to
balance the band with work/spouses/family.
I love the lyrics to “Insolence”, but I
actually might be one of the people you are trying to motivate. It’s rough out
there; to balance a proper wage and feeling fulfilled.
Jesse: The
lyrics on “Insolence” were a collaboration between Steve and me. It is about
being frustrated and unhappy in your work and personal life. Steve wrote the
original version. I think it was written from a very personal perspective.
Corporate cubicle life is a reality for a lot of us. So, the lyrics are aimed
at ourselves as much as anyone else. The second verse, which is more about
personal relationships, was suggested by Joe Keefe (our bassist). So, I wrote
about how we stay in toxic relationships because we're used to the misery. And,
yes, that's from some personal experiences as well!
Steve:
Tough? I think it’s impossible. But, someone knowing that fact is half the
battle. I’ve found that it’s necessary to separate oneself in a sense; to seek
‘fulfillment’ from one’s own interests and pursuits, and then to treat a job
like a job. Let’s face it, a lot of the people that one can work for, don’t give
a damn about their workers. We’re replaceable cogs in their eyes. We take that
frustration and channel it into our music and lyrics and artwork. That’s what
fulfills us. A paycheck is a paycheck. It pays the rent or mortgage. It puts
food on the table. Money really ruins everything, especially when it comes to
creative pursuits like art or music. Which is why we always pay for the
recording process ourselves, so, that we’re not beholden to anyone to how we
want to create our songs or do our graphics. We have complete artistic control
and freedom. We never worry about whether a song will sell, or an album will
sell, because we have day jobs. The music is our hobby. We get to create stuff
without compromising to/for anyone outside of the band. Luckily enough, we have
the good fortune to work with John (Franko) from Dead City and Bader with
Cupcake. They trust us and believe in who we are and what we do. They have the
same passion for the purity of the music as we do.
With the socio-political critique in full
swing (“Political Game”, “Spread the Infection”) how do you feel about our
county’s current climate?
Jesse: I
wrote “Political Game”. It is mostly about how lobbyists control legislation.
They donate huge sums of money and do back door deals so that the congressmen
end up with high paid jobs at the corporations. But, its also about the fact that
we now have two governments in this country: the one you vote for, and the
other one. That doesn't change and that controls security and foreign policy.
Steve:
Sometimes, I’m hopeful because there seems to be a groundswell of people fed up
with living under a corrupt government and tired of a system designed to enrich
the wealthy and keep us worker drones in a perpetual state of fear and anxiety.
People who seek answers and ask tough questions and aren’t afraid to buck the
status quo. And then, at other times, things seem hopeless because of the
apathy of the masses and how willingly people let fear allow themselves to fall
under the spell of kooks like the religious right. People who want to set our
country back hundreds of years and openly pursue policies of bigotry, misogyny,
racism…..
Jesse:
Steve and I collaborated on “Spread the Infection”. The song is about how
quickly people stop thinking for themselves and fall in line, especially when
motivated by fear. I think what's happening now with how people are reacting to
the refugee situation is a perfect example. What's really surprising is that
Presidential candidates aren't even fact checking themselves now. They're just
saying whatever crazy ideas they have and people are agreeing with them. It
would be hilarious if it wasn't terrifying.
Police Violence? Presidential candidates?
Minimum sentences? War on the poor? So much fodder to vent about.
Jesse:
Police Violence. I think there has been a core perspective shift in how the
police are being trained. At one time, they were seen as an asset to the
community (probably not by everyone, but in general). Now, it seems they are
there to control the community. Also, if you are being arrested and resist in
any way, even in a small way, they can assault you, maybe kill you, and most
likely, get away with it. The militarization of the police is terrifying. They
are being sold surplus military equipment by arms dealers and they are finding
any excuse to use it. They often lack the training to use it as well.
Steve: Too
true. We try and balance our lyrical content with political and personal
subject matter. I guess for some people, we’re too political, and for others,
not political enough. Then again, with a confrontational name like “Yuppicide”,
you kind of know you’re not getting an album of pop-punk teenage love songs.
We’ve made a career, so to speak, out of rubbing people the wrong way. That’s
not going to change anytime soon. The issues you mention are not new issues by
any stretch. Since this country’s inception, there has been a constant struggle
against centralized control and individual freedoms. There’s always been a
class war. There always will be a desire to keep the masses under control with
fears of internal and external threats.
Jesse: Regarding
Presidential Candidates, most of them seem like caricatures. Many have no
political experience. Ignorance and arrogance seem to be the most important
qualities. As a voter, if your apathy makes you opt out of the process, then
you may have just helped a nut job win. Also, the penal system in the country
is out of control. It is a huge business. 1 in 99 people in America are
incarcerated. Three strikes policy creates a slave labor situation used to
compete with countries without minimum wage.
So I have sampled that George Carlin bit; so
has hip hop artists. What is so universal about it? And why don’t we learn
anything from it?
Jesse:
George Carlin was able to communicate very intense and alternative ideas to a
huge audience. He was able to camouflage revolutionary ideas with his more
general criticism of modern life. Jay (our drummer) felt that the sample was
over used, but I felt people should still hear it. Can a comedian change your
mind? Can a song? I think they can chip away and hopefully eventually something
shifts.
Steve:
It’s universal, because it’s true. Every word of it is true. Carlin’s delivery
is spot-on because he doesn’t sugarcoat it. People hear it and agree. Then, do
nothing to change because it’s easier to complain then to actually do anything
about the status quo.
Did you see any Black Friday fights on the
youtube or social media? Comments about these disgusting plays of materialistic
consumers fiending for scraps in true BREAD AND CIRCUS form?
Jesse:
There are so many of these videos, and sadly what happens mostly is we just
judge the participants. But, it is a system of materialism the plays into greed
and gluttony. We all play our part in that. It is always depressing to
experience people behaving badly, people abandoning their humanity, trying to
fill the ever growing void with more shit and empty promises. But, unless we
are doing something very different, maybe we should focus on just improving
ourselves first, and have a bit more empathy.
Steve: As
Americans, it’s hammered into us since birth to consume, consume, consume. Very
few people stop and wonder if this mindset is wrong. Plus, anyone who questions
the “consume, consume, consume” mindset is immediately ostracized. It’s
shameful, but it plays right into the hands of those who want to keep us
helpless and docile and controlled. Rather than fix something yourself, just
throw it out and get something new! You HAVE to have the latest and greatest
whatever-the-hell-it-is!
Digital – September 19, 2015; Vinyl - October 9, 2015
Vengeance consists of members of Floorpunch, Underdog, Blacklisted,
Reign Supreme and others. They took nine tracks into the study and recorded
with legendary NYHC producer, Don Fury. Hard and heavy, Fans of Manipulate,
Terror, and Backtrack should pay close attention.
Killer riffs and heavy stomps fill Vengeance’s resume.
Nothing new in the genre, but done with sincere venom and ferocity. Marc Zeveny’s
bass (Floorpunch, Endeavor, Anger Regiment) rattles with the resurrected sound
of the Breakdown demo. Fury gave the entire spectrum a thick, full sound. Songs
range from ten seconds, a minute, to three minutes. Vengeance fill time with
spastic fits that move into breakdowns. Pepito (Blacklisted, Reign Supreme)
spews pissed growls of warnings and hate drenched venting.
Vengeance strip it down to doing right. It’s all about execution.
This pissed off hardcore, honed and unfettered. Typical song titles, “Pushed
Too Many Times”, “Your Pride”, One Sided Friendship”, and “Brotherhood” show
not a regression but a statement of getting back to the roots. After some of
these band members’ resumes, some post-hardcore, expansive sounds, I am
positive these dudes wanted to just put out ill fucking hardcore. Mission accomplished.
Ron Grimaldi – vocals, Rick Lopez - guitar, Anthony Corallo -
drums, Tom Clavin - bass.
The first time I heard the name Ron Grimaldi was on Kill
Your Idols’ release, Fur is For Fucks.
He showed up again on “Miserable and Satisfied”, sealing my attention to
this screaming bitter dude. When KYI disbanded, Paul Delaney and Gary Bennet
formed Deathcycle appropriately with Grimaldi screaming. Deathcycle released
two sinister full lengths and few splits. They broke up, and musically,
Grimaldi had stayed quiet. Until Now.
Enter current Sheer Terror drummer,
Anthony Corallo and Rick Lopez of The Casualties to sling six strings and Tom
Clavin on bass, the New York punk Rock/hardcore resume is stacked. Their first
release here is four tracks of chaotic destruction.
Steeped in punk and DIY ethos, these four tracks hammer out
rage and rebellion in the usual short fast loud fashion. It’s glorious. The
synergy, from Tom and Anthony playing in Concrete Cross and Disnihil together,
and everyone’s experience is a tight machine of anger. Production is on point,
raw but focused. Each instrument is discernible, with low rumbles balanced with
the galloping bass and clanging cymbals. Corallo produced this himself in the
band’s space.
Grimaldi’s honed spewing is aimed at social and political
imbalance in a suffocating society in “Mass Surveillance”. Then with the
opener, “Will It Ever End?” and the sequential “Another Day of Misery”,
Grimaldi spits vocals of depression and jaded memories. KYI fans will rejoice
in the malaise. The latter boasts a dope breakdown that will arms swinging and
feet two-stepping to a hardcore beat meant to incite.
Round out this release with artwork from Chad Lawson (Rude
Awakening, Expire, Backtrack, etc) and this EP is a must have. Influences are
there, but Sonic Poison emulates no one directly. Similarities to Kill Your
Idols are there, and will be noted. But that’s a huge bonus in my book. This EP
is crushing. It rips out of the gate and is unrelenting to your speakers, ears,
and guts. Inciting your emotions and sense of justice, this music will trigger
all of punk’s attractive qualities.
RIYL: KYI, Discharge, Conflict, ENT, Negative Approach,
Violent Arrest, Direct Control, Strung Up, Government Warning, Dead Stop, Tear
It Up.
Riding the momentum of the astonishing two prior LPs, SICK
OF IT ALL return to sear audiences with a raw, fierce record reflecting our
current cultural climate. 4 dudes from queens, with a piercing global awareness
and urgency, motivate hardcore fans, from the nubile to the decrepit, to finger
point and swing fists to the true spirit of NYHC. Last Act of Defiance is NYHC stripped down to its base motivation
of taut, frantic indignation as propulsion for change.
There is no question that Sick Of It All’s integrity, heart
and energy are in full throttle even as they approach they approach the thirty
year mark in hardcore. Some may wonder about the sound though. Death to Tyrants proved that the hate
and cynicism could still be savagely expressed over dark, metal-tinged stomp
fests. Based on a True Story blended
each album of their catalogue into a nostalgic romp. As we get blessed with yet
another SOIA album, they strip down to pure NYHC grit and fury.
They have been sticking with the same producer, Tru Madsen, as
they feel he gets their sound perfectly. As we enter into another flawless full
length, I can appreciate the repeated visits. The other aspect of stability is
their label, Century Media. I have seen Sick Of It All in smaller venues over
the last few years (as I have since 1990) and there is no question of the
dedication and intensity they can unleash on an audience.
Sick Of It All keeps the tried and true formula on lock
while style feeling fresh and invigorating. I want fast songs with harsh tones
leading into pit inducing breakdowns; while Lou screams with a ferocity rarely
matched. “Sound the Alarm” opens it just like that. “2061” barrels in calling
for some honesty some from our government, as they have done since “Politics”
and “Injustice System”. Frenetic noise lingers adding a layer to the raw
delivery.
Mmost people mellow with age. I have not. This is why Sick
Of It All will always remain in my top 3 and continue to be a soundtrack for
this confused world extolling broken systems. A New York groove pulsates
through it but never overtakes the furious execution of rebellious anthems.
When you tile a song, “Get Bronx”, the home of KRS-One, you better have a
little swing in the riff. And SOIA does. This song would clear a dance floor
quickly.
Musically, this is Scratch
the Surface meets Call to Arms.
Many sing-alongs and gang vocals ensnare the listener into frenzied anthems.
Infusing punk and Oi into metallic edged tracks, SOIA’s spirit is evident as
they keep screaming about injustice and their dedication to loyal friends. Sick
Of It All exposes a pith which is forged with indignation and education. They
attempt to incite their audience, to eradicate complacence. And with their
charged tunes, I cannot understand how some would sit idly while listening.
Expanding the family, Mad Joe from Wisdom In Chains (SOIA’s
closest inheritors of the crown)joins on “Facing the Abyss”. One song goes
beyond 2:30; at 2:43. “Act Your Rage”, under 1:30, boasts “We still feel this
deep in our soul!” to back up a vitriolic spewing of disdain for the judgmental
fakes in the scene. That song is quickly followed by a big riff in “Disconnect
Your Flesh”, a condemnation of those wasting days and weeks attached to the
materialistic ennui of modern life, which ends with a dark, heavy breakdown.
“Sidelined” is a sped up romp, highlighted by a churning
riff that spazzes into fast parts. “Part of History” shows Armand relentlessly
beating his drums into submission.
Again, The production captures Craig Ahead’s low, jangling bass lines the
push Pete’s riffs to twist and spiral. A slow sludge like twirl at the end of
this track adds variety. “Losing War”,
“DNC”, and “Outgunned” all embody the best aspects of SOIA’s reign.
Sick Of It All continues with a Napalm Death like resurgence
since Yours Truly with now another
classic NYHC collection of rage fueled songs; each album proving they still
have it and can dominate a scene of worthy opponents. It’s fucking awesome. I
sure as hell hope this is not their Last
Act of Defiance. I could use about five more of this caliber of albums.
There is a clear, a black, a colored (180gm) version thanks to CM. Digitally,
(e.g., on Spotify; there are two bonus tracks – which totals to sixteen –
including a Fergusn appropriate, “Stand Down”). Digipack CDs are available too.
Please don’t miss out on the artwork and lyrics here. These words are the most
important part.
Once upon a time, hardcore (punk) and metal were considered
separate entities. It did not take long for certain bands that span the
spectrum to begin combining elements eventually, harvesting the anger and
rebellion of both genres. Venom was one. This is why the first Bathory album
sounds like a sibling of The Exploited and Discharge. While in America, DRI and
COC began mashing the two styles as well. This spawned bands to incorporate the
emergence of thrash and speed metal, loving the ferocity of Metallica, Slayer,
Exodus and Testament, into a punk ethos. That inspired one scene to eviscerate
all genre limitations, where else but the world’s Capital, home of myriad arts
and ethnicities. New York Hardcore saw it in Agnostic Front, Cro-Mags, Carnivore,
Leeway, Crumbsuckers, and Ludichrist.
Ludichrist’s main two albums are resurrected after being out
of print and damn hard to find. Dead City pairs Immaculate Deception and Powertrip,
each getting their own disc, for an entire new generation to discover. Ludichrist did not take the tight crunch of
cleanly produced thrash, just the heaviness and speed. This is a rougher
approach, more hardcore. Chuck Valle played bass on this album. Chuck also
played in Murphys Law, until losing his life (RIP).
Immaculate Deception’s
sound is straight forward and better for it. The defining characteristics of crossover
are the time-changes. Most songs are broken into sections; plodding, creepy
crawl parts that spur into blistering fast moment. Ludichrist certainly utilize
this formula as distinctly and savagely as the first two Suicidal Tendencies’
albums or DRI’s Crossover or COC’s Eye For an Eye.
One aspect kids these days may not quite fathom was the
prevalence of Christian authority in the media and life in general. The big
televangelists like Swaggart and Robertson and Bakker and the Moral Majority
and Tipper Gore’s PMRC all had an intrusive presence swaying parents to fear
metal and punk and anything different from the pastoral ideal. If you raised
hell, you would prepare to be on Donahue or Sally Jesse. Many of Ludichrist’s
lyrics focus on the hypocrisy and evil of these religious stalwarts. The title
alone, obviously, speaking on how church *(check Anthrax’s “Make Me Laugh” or
Suicidal’s “Send Me Your Money”) exploits the guilt and shame of Christians to
harvest millions for their own use.
Other subjects include typical eighties’ topics; chemical
pollution (AF to DK covered this for fear of Toxic Avenger and C.H.U.D.
becoming real!), evil in the world, rebellion against parents and the system,
and kicking ass. One song, “Tylenol”, is (obvious to anyone my age) about the
Tylenol scare when someone was poisoning tier on shelf bottles. The song takes
the viewpoint of the perpetrator; still condemning his sick mind. The thematic
“Most People Are Dicks” appears here, encompassing the misanthropy and
disillusionment or a scene of outcasts. And while my verbiage may seem to
elevate, all these approaches are done in the typical rocking 80’s attitude of
casual criticisms. It ain’t cerebral. On “God is Everywhere”, the chorus is
“Hey Waiter, there’s a God in my soup!”
The recording is stellar, as conveying an energetic, pissed
off, sardonic crew of New Yorkers playing as fast and as loud as they could. By
stellar, I do not men “pristine”; I mean accurate to conveying the attitude and
music of Ludichrist. There is not a consistent thread necessarily in the music,
but the production of Randy Burns (Death, Scream
Blood Gore; Possessed, Seven Churches;
Megadeth, Peace Sells; Dark Angel, Darkness Descends; Nuclear Assault, Survive) and Ludichrist. Songs like “You
Can’t Have Fun” and “Murder Bloody Murder” are simply fast ragers. Other tunes
indulge in a noodling intro or slow teaser before jumping in to full blast.
“Arms of Christ” is bass focused and a slow stomp, like NYHC was known for
(sounds like Murphy’s Law “Cavity Creeps”). The mix is balanced and thick. The
drums have the ‘grand’ 80’s sound; guitars are acute on the high notes and
chunky on the mid-tempo tracks. The bass has a driving presence; vocals, are in
the exact right place, neither pushed nor lost in the mix.
Note the hierarchy of guest appearances with Roger AF, Eddie
Leeway, John from Nuclear Assault and Chris Notaro from Crumbsuckers helping
out with backing vocals. Al Batross (who came up with the name) was on drums,
Joe Butcher on guitars. Chuck on bass. However that line up was overhauled.
Tommy Christ remained on vocals with Glen Cummings providing the songwriting
and guitars, as they followed up with Powertrip.
Powertrip had backing vocals by
Death. Yes, that Death. So you can see the transition from NYHC base to a more
metal direction.
I wouldn’t say they got more serious as people, but they got
more serious about recording. Powertrip embraces
a darker approach to production, by Ludichrist and Tom Morris (Coroner, early
Iced Earth, Whiplash). They still called hardcore Mecca, CBGB’s, home; but they
clearly were getting comfy with their metal peers. Mike Walter grabbed the four
strings this time. That is significant to me, and other NYHC fans, as Mike
(a.k.a. Chickie)played on three Sheer Terror releases and the classic Kill Your
Idols twelve inch. The drums, played by Dave Miranda, are a strong technical
improvement. They are played with more skilled and utilize an expanded palette
(mad fills, bro!). However, Miranda never continued playing music. Powertrip’s line up was rounded out by
Paul Nieder on the other guitar (he’kll come up again…).
This is a killer album, fierce and taut. Ludichrist still
have not gone full thrash, but lean more towards those type bands. Ludichrist
is fast and focused on Powertrip. Magazines
and blogs harp continuously that the thrash revival is dead. *(Tell that to Extinction
AD, Dust Bolt, Testament, Over Kill, Bonded By Blood, Toxic Holocaust). Most blogs only envision Municipal Waste
surviving as a band in this genre. This album is filled with dive bombs, crisp
riffs, tumultuous drums, and better production. The second track, “Zad” could
be an early Slayer song. This is 1988. And Ludichrist was in full metal swing
alongside Sacred Reich, Nuclear Assault and friends, Death.
Lyrically, Tommy Christ continues indulging specific
creative stories o represent larger ills of society. Corruption, hypocrisy,
arson and parties that suck are proper fodder. Songs are longer. The first album stayed in
the one to two minute area, while this album ventures up to and past three and
four minutes. It doesn’t have them experimenting or getting all prog; “And So
It Goes” and “Well Dress…” are three and five minutes, while utilizing fast as
hell rhythms. Powertrip boasts
thirteen tracks of fury. “Damage Done” entails some angry breakdowns, but
charges forward as any vicious metal band would. “Yesterday for You”, while
still a thrashy ripper, has a groove. And that is the peculiar aspect of this
film. There were hints of the eclectic influences on ID, but they indulge
further here. Odd bass or drum meanderings show up; with a funk or jazz
influence – and it’s minimal – b
Those three formed Scatterbrain. If you remember 1990,
before grunge, when people dressed like Pauly Shore or Bones Brigade and were
“outrageous” but in a transparent corporate matter, this makes sense. This is
when bands were eclectic. Whether Mr Bungle or Fishbone, people prided
themselves on being a mash of multiple unassociated genres, a la Faith No More
or New York brethren, 24-7 Spyz. (“We’re like a punk-mod-funky-reggae-metal-thrash-groove-Norwegian
folk jam band, man!”) Anyone remember White Trash? When I played “Most People
are Dicks” – I could not help but remember “Don’t Call Me Dude” by
Scatterbrain. Now we come full circle. Scatterbrain, who I thought of as a
metal band, were lighter and more Mtv accessible. They played fast, but so did
late 80’s Chili Peppers. It was silly and catchy, but thick riffs were replaced
by lighter catchy stringed aficionado supported techniques.
But I digress. This is what crossover was; exceptional metal
that escaped recognition because it was played by NYHC guys. This music still
stands up to its contemporaries that continue to propagate respect. This is not
some lost classic for hipsters to get the jump on, like Urban Waste or
Massachusetts’ Siege. This band was in most late 80’s hardcore thank you lists.
Both albums here are fast, powerful, chunky riffed music. This is an essential
piece of any hardcore/crossover/metal catalog.
Here is a cool interview in print with the band from 1987. It gives you
perspective on their attitude, which is basically the East Coast ball busting
approach. Not too serious at all.
“Very happy” is not an expression any long time Sheer Terror
fan would predict to be softly stated from the mouth of Paul Bearer. But when I
asked him how he felt about the first full length album in eighteen years with the
Sheer Terror name; he responded simply, “I’m very happy with it. Musically,
these guys clicked effortlessly. I am proud of my band.”
That band is comprised of Mike Delorenzo (guitar), Jason Carter
(bass), and Anthony Corallo (drums). Some fans only consider one or two true
line ups for this band. But those stubborn pricks will miss out. If you heard
the Spite seven inch three years ago,
you got a taste. But just a taste. Much like other NYHC titans, Sick Of It All
(Based On A True Story) and Agnostic
Front (My Life, My Way); the latest
Sheer Terror album musically revisits each era and combines them.
This is the same line-up of Spite. Actually, Mike had stepped away from the band. After a string
of close but not quite fillers, Jason talked Mike into “at least coming down to
jam. He wanted to rejoin. God bless his wife. She finally looked at him and
said ‘just fucking do it already’.” Paul says the “songwriting came fluidly
since he came back. He’s a great guy. I love him to death.”
I would bask in giving my amassed knowledge of their
history. But they got a documentary about them, “Beaten By the Fists of God”
(Ian MacFarland, 2005). So, fuck redundancy. Go watch that. If you wonder if
this is just another novelty reunion, Paul doesn’t find sentiment as a
motivation. He is happy that “everything is on my terms. I felt good doing it
again. I couldn’t even say that about the end of Sheer Terror. These guys are not
a bunch of whiny babies. They’re just hungry to go out and play, to have a good
time. I’d be stupid to let this slip away.
“We know that people
expect certain things from Sheer Terror. We know that. And I am not going
to deny them that. But I won’t deny myself expanding and trying different
things. It is a balance. I have the luxury of writing lyrics for the band. I
can write whatever the fuck I want. It’s not that I don’t care. I don’t have to
sweat it so much. I sweat it for me.
“The music is a mix of the old stuff; just putting a new
energy to it and adding our own flair. These guys have their own style.”
Recalling again the writer’s block, Paul notes it was crippling because he was
so excited about the new music. “It got that bad, where I almost recorded
mundane lyrics. I got to the point where I wanted to just put out children’s
records.”
The true essence of Sheer terror has always been Paul’s
lyrics, unlike any in hardcore punk. I explain that while the anthems are
classics, I always preferred “Roses” and “Burning Time” and “Ashes, Ashes”. I
certainly throw on Sheer Terror when I’m drinking with the boys, but the
majority of my Sheer Terror listening has been alone in the dark in a room.
Paul laughs, “I hear that a lot.” He takes that with a grain of salt. “I hope
to write something that will make you want to turn the light on, look around,
and say ‘what the fuck am I doing?’ My words will affect somebody whether I
want them to or not. People are going to take what they want from it. That’s
what music is supposed to be about. I have been the guy in the dark room,
miserable and lonely, but I am usually listening to Jimmy Scott.
“I put care into my lyrics. I don’t write crap. I’m not
going write about something that doesn’t mean anything to me or cheerleader
lyrics or whatever the flavor of the day is – a power point presentation of
positive messages. I am 46 years old. I’m writing for me. I can’t be writing
for the kids, that’d be ridiculous. If
the kids enjoy it, fine, but if they don’t; I can’t hold it against them”
“Boots Braces and Alimony” is a song directly off of Love Songs for the Unloved with a
bootboy slant. And the slight melodic feel adds a fraction of Joe Coffee as
well. “Coffee, 5 Sugars” is the odd kid
here. It is a slow, dark reverb fest. It could be a Melvins song. But under the
surface, and Paul’s vocals bring a strict rock and roll swing to it; like if
Sinatra played Peter Boyle in Joe.
However, if you think of Old New Borrowed
and Blue, it fits perfectly.
“Heartburn in G”
(heart burning…) leaves no doubt that this earns the Sheer Terror title. This
opener damages any naysayers and seduces diehards instantly. Covered with Negative
Approach glory, the song would open any set and rally the goons. And channeling
“Ashes, Ashes” or “Ready to Halt” complete with an Alan Blake gallop that sits among
the best, old school double bass Celtic Frost tribute.
“Remember when you
said I was your first (I’ll Burn this fucking bitch to the ground)
I may not be the last, but I’ll be the worst
(I’ll Burn this fucking bitch to the ground)”
Most of the treachery of Standing
Up for Falling Down is delivered in analchemy of Negative Approach, Poison
Idea, Discharge, YDI from Philly; to Motorhead, Venom (“Cigarettes and Farts”)
to the Saints and Dead Boys on meth and Red Bull with “Sandbox Tonka” and
“singalongstupid” when the chorus kicks in it is laid on a old pop soul break.
All this is done with a “College Boy” delivery.
A surprising big slow riff more akin to Sleep or Eyehategod is
birthed on “Return of Mr Jiggs”. However, that sinister doom sound of Sabbath
yields to drums boiling over, emulating work of Sheer Terror’s early days. It
could be “Cup of Joe” Pt II; cowbell to boot. But Paul’s vocal strength is far
more intense in its contempt and ferocity than those years.
Paul reports, astonishingly that, “for the first time ever”
he had writers block. It was the “first time ever I wrote lyrics in the studio.
It worked. I don’t know how, but it did.”
Hardcore producer/engineer of the last twenty years, Dean Baltulonis
helped out again, truly reuniting the players of Spite. “He knows how to get our sound. He also knows how to push
you without being a jerk.”
“Of course I want my music to effect people. I want it to
mean something to someone outside of just me. I want it to mean something to
me, that is why I make music. But if someone out there, whether or not they are
actually connecting or not, finds a reason to like themselves I want you to
have a reason to like yourself. Taking away from whatever is driving them nuts
and want to take that long walk off of a short pier. That’s a good thing. But I’m
not gonna lie. Some of them, I wish would take a long walk off of a short pier.
“I like to take my time with words. I like to fuck with
words, fuck with cadence. I play with a song and let it grow and have it mean
something. It’s gilding the lily. Well, maybe, it’s gilding the Venus Fly Trap.”
Madball’s side comes packed with their revered energy. The
track, For the Cause is also the name of their impending full length. This
track continues with the firestorm they have been unleashing. The Mitts era is
a gallery of classics; Legacy, Empire, Infiltrate
the System, the three eps; and most recently Hardcore Lives. This feels right off of any recent. Only news I can
find is that the full length will be on Nuclear Blast, no word on release date
or producer. The tough, crisp track sounds like the prior ones – hopefully meaning
Erik Rutan is behind the boards or even Zeuss. “For the Cause”, is vicious.
Slamming track.
