My new Toxpack Review up at New Noise Mag

Toxpack
Schall & Rausch(Napalm Records)

To read my review of Schall & Rausch, Go Here

Blazing new LP from Berlin's metallic Oi band. Superb writing and production push this beyond the average streetpunk.

Duffy’s Cut Killers on the Dance Floor review

Duffy’s Cut

Killers on the Dance Floor

Oi! The Boat

Philly’s mighty mod warriors are back! Duffy’s Cut swept the punk world with their debut; a fiery, hip-shaking rock and roll 12”. Then, they brutally teased us with only one track last year on a split with Idle Gossip. Well, the wait is over. The Hammond is warm, dancing shoes are laced tightly. The whiskey has been poured. Killers on the Dance Floor challenges all you stuff armed tough guys to submit to your roots and get sweaty!

Killers is harder, heavy and charged, and catchy as ever. The opener, “Feeling Alright”, is a boiler. It builds and explodes in frantic energy. As the organ simmers, we move to the title track, a demonic scorcher. This is a powerful rocker, with spots for each instrument to stand out as the tease before the breakdown (that bass!) and then a forceful sprint to the end. “She Don’t Dance” is centered around a killer bass line. This is downbeat fury! This track embraces a dirty tone that pushes. “The Long Con” steps back on tempo, a catchy, punchy track which seduces the listener. Nice to hear the organ get so much room to play here. “Strawberry Mansion Nights” builds sweetly. The foreboding pounding backbeat mesmerizes as the guitars and organ build anticipation. Fiery vocals come in and stir a sweltering fever. The lyrics are challenging, dark.

First two tracks of B side are less jam based or indulgent, getting down to business. “Fade to Olive Drab” kicks. This with the aptly titled, “Keep It Moving”, have strong bass lines. The both push, fast and engrossing. The social lyrics of “Fade to Olive Drab” make a working man think. “The Judge” has us return to a mid-tempo head bobber. This is infectious rider, bopping along with a low down sound. “99” has a more flamboyant beat, a slow plod that bounces. It’s a re-interpretation of the Wilson Pickett/Eddie Floyd classic, maybe. The sound is different. The tempo is down, and really only the one lyric line is the same. Mavis Staples, CCR, Don Preston, Detroit Cobras, and more have all covered this classic. This is more of a sparked tangent than a cover. It’s fun. Duffy’s close side B with bluesy ode to the working man again. It’s a sharp upbeat charmer. The guitar lead is fun, as they often refrain.

The mix sits the guitar dangling over solid rhythms and the ever-looming organ. Dropping the needle on this LP transmits you directly into a claustrophobic rehearsal space. You can feel the bodies gyrating around you, the beer spilling, the feedback ringing. I have seen this band three times, and always in a packed bar venue. Killers on the Dance Floor’s recording champions the band’s live sound. Duffy’s Cut knows when to use gang vocals and get their audience primed for sing alongs. The speakers ooze sweat and energy. Duffy’s frenetic pride of reviving the mod and British Invasion, without the delicate tendencies, focuses on pushing the RnB factor. This 2017 interpretation is welcome and invigorating.

RIYL: 45 Adapters, Suede Razors, The Who, Young Rascals, Yardbirds, Them, Small Faces, Standells, Adjusters, Gas Huffer, Supersuckers, The Bomboras, Boss Martians

Buy Shit

Oxleys Midnight Runners The Battle Vol I Review

Oxley’s Midnight Runners

The Battle, Vol I

Oi! The Boat / Randale

Review by hutch

Oxley’s Midnight Runners are an Oi! Band that have been rocking hard punk jams for a few years now. They have dropped four 7”s; We are Legion, Invasion, Combat, Conquest. All release have been splits from Oi! The Boat and Randale Records. Their sound is tough and thick guitars with a punky bounce. The Battle collects OMR’s 4 EPs into one spot. So, if you only like getting up for beer and are too comfy to lug out OMR’s four 7”s to dictate a night of flipping vinyl every 1-2 songs, this collection is for you. The members are comprised of Jesus Rodriguez from Warlords, drums on half the songs, Dave/Jeff of 90 Proof (I loved that band!), Mike Fatskin from, well, the Fatskins and Lars (of Rancid, OLF).

Oxley’s Midnight Runners’ sound is stark, a dark tension is salient through this album. The lyrics approach subjects of surveillance, war, faith, government or the fake sketch fuckers in “Combat”. These are days of violence and war. While threads of rock and roll permeate the foundation, this is crunchy guitars playing heavier riffs. A dark overtone is fluid through the tracks. “Combat” has a cool guitar ‘solo’, feeling like Blitz ‘80s sound. “Don’t Give Up the Fight” embellishes with a cool slide guitar at the end. “War Cries” and “Spear of Destiny” relish rocking solos with a bluesy feel.

But this is all icing, showing that there is strong musicianship here. The attraction is the beefy sound delivering hard Oi!. Mike’s voice is always commanding, serious as a heart attack. His unique pitch is undeniable. He grabs attention. There is lots of opportunities for an audience to sing along with catchy choruses and gang vocals. The simple but direct graphic design continues via the handsome Wynn Pettit (DDC, Fatskins)

If for some reason you have not checked out Oxley’s Midnight Runners, here is your ultimate choice. Luckily the album is named, “Volume I”, whetting our ears for more to come. Remember this is true music of the streets. This is not fun punk. This is angry movement music for angry people to vent to. I didn’t say ignorant, I say  indignant. Check “Land of Gold” as they vilify politicians and news anchors for wrongs such as Fukishima and Monsanto.

“They're the Enemy to everyone to you and me! Lies! Lies! Lies!”

“Nation of Hate”, “We Are Legion”, “Vengeance”, “Combat” stand out but each track is killer. Everyone is comprised of grit and punch. In this resurgence of Oi! And punk, Oxley’s Midnight Runners stand out. Tough, brash, and catchy.

RIYL: FatSkins, APA, Brick Assassin, DDC, Concrete Elite, Lions Law, NOi!SE

BUY

Yuppicide Revenge Regret Repeat Interview

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 5^th 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!

BUY THIS!

No Resistance Novus Methodus Review

No Resistance
Nova Methodus
Rebellion Records

Houston’s Brickwall troops are back with new four song EP. Ever since they kicked the door in on my heart with Gentlemen Prefer Bombs on Koi records, they continued to grow and write the teeth clenching tracks that stay in your head all day. Their second album, Vade Retro Satana, was self-released. Soon after, they were snatched up by Dutch label, Rebellion Records. Rebellion, a bastion of new classics and reissued oldies, added No Resistance to their roster by snatching four tunes from both releases on a quick compilation called, V.I.T.R.I.O.L., on vinyl and digipack. Finally, we get four new tracks on Rebellion via a ten inch, at 45 rpm to maximize quality. 

The manner in which No Resistance writes exhibits true attention structure. These lads and lady approach these tracks exercising a true craft. This band knows how to incorporate a foundation of tough Brickwall backbeat with melodies and catchy hooks. When weaving their course rhythms with harmonies, our treat as listeners is the engaging, gripping delivery of rebellious punk. Nova Methodus embraces a clean production sound. This is a slightly different than feel from the first, but fits this sound better. GPBs garage aesthetic fit that taut, frantic sound. With more song writing and the embracing of glam and stadium stomp, the cleaner, crisp sound works better.

“Downtown” kicks it off and grabs me like the GPB did. The track is gritty and rough, while boasting an extremely infectious bounce. Displaying the band’s strengths, this track sums up the best elements of “punk” and “rock” in ‘punk rock’. In the last third of the track, a strut inducing piano comes in as the song pounds away.

“Let's Hear It” starts with a seductive, rumbly bass. This intro of churning anticipation is a quality which all classic skinhead albums should showcase. That bass stays up in the mix to push this track forward with tenacity. Again they're layers of shouts and gang choruses - adding female voices – enhance the somber tone while maintaining the catchiness. The key to a strong track is repeatability and No Resistance push songs the demand you playing it again and again. The guitar nod to Cock Sparrer is a way to break up the formulaic three chords. This tune ends with a strong riff that rides out.

“Alarming” gets us back to the tough guitars, again with a mod strut to it. Terrace stompers, Cockney Rejects, and rock and roll masters, Slaughter & The Dogs, come out in front as influences for this track. A piano brings in the Frankie Flame feel. Whether you are in the bleachers or in the dark corner of the pub, you’ll be pulling your mates close and hoisting a pint. No Resistance herald the undercurrent of rumbling drums here that add a punch. It contrasts the harmonies add secures the depth of their song writing. Can you picture moshing to The Jam?

“In The Morning” is either the darling or the misfit here. The song starts with a piano bounce, almost like a looped sample with the boom bap drums. The rhythm will push your neck. This is their most extreme divergence from their sound’s foundation. It's not an Oi song. But, hell, if you love your punk roots (like The Easybeats), then you will love this as a closer. No issue or gripes here.



No Resistance have written there best material to date. And that’s a huge claim considering I place GPB in the pantheon of punk past 1990. Chad’s drumming is consistently powerful and always versatile. He is constantly adding the necessary bounce and rigid backbone to their sound. Nikki and Nibu gather the arsenal of rhythms and staunch riffs to drive the sound. Scott’s vocals have such personality. A sardonic, dark overtone with a hesitant sneer is omnipresent. But, he can be sympathetic when reflective. His dynamic of  attitude paints the songs with humor and well, vitriol. Wrap it up in a fantastic presentation of illustrations by Ramon Girones, who is spreading through the Oi and punk world with his talent and expansive canvas, and you get a fine record by Rebellion. Grab it while you can.

RIYL: 45 Adapters, Templars, Dog Company, Roadside Bombs; Slade, Sweet, Slaughter & The Dogs, Cockney Rejects, The Boys, Cock Sparrer, The Who

The Shame Foreign Legion Split Review

Foreign Legion/The Shame

Split EP

Aggrobeat Records/Rebel Sound Music

Foreign Legion:

Foreign Legion have been representing Welsh streetpunk/Oi! since 1984. After a few names changes, they finally settled and got to cranking out consistent records in 2001. That is when the Major Accident split LP was released. Then, they had a full length, again on DSS. 2007 saw the strong, Death Valley on Durty Mick. Other great splits with Red Alert, Suburban Lockdown, Riot Company, Paris Violence and Cervelli Stanki show their tenacity. Well, they throw a quick two songs here (after another solid LP, Light at the End of the Tunnel, KB records) for The Shame. 

Social and political concerns are the basis for these feisty, pissed songs. Foreign Legion are calling attention to the disarray and dysfunctional society that plagues all cities globally. A cry for people like us that see the issues, these tracks should incite disdain. The strong back beat harnesses the focus. This material boasts thicker guitars and more ferocity than Foreign Legion’s prior output. The intensity is stronger and enticing!

RIYL: One Way System, Menace, Major Accident, Brass Tacks 

The Shame:

Tough, gritty and angry Oi! here. The Shame come from Tulsa, OK. “Cross the Line” is gruff track, pledging allegiance to defiance. This track is fast. Tight guitar chords propel the beat forward. This will certainly get people singing along.  

“Faded Glory” is not just a drinking song, but a “let’s drink” rally cry to lament. The tone of the song, the guitar chords, and the pace bring a solemn feel that is in line with needing just one more shot of whiskey to go with the pint. The chorus is catchy and morose, in a nostalgic fashion. The feeling is perfect for an old skinhead who is reminiscing about the days that weren’t so caught up in daily grind and respnsibilty. Get a friend and hoist a pint.

RIYL: Wretched Ones, The Booked, Squiggy,  

Record label: Aggrobeat Records (Europe) / Rebel Sound (USA)

Pressing info: 500 copies: 250 cyan blue (Europe) / 250 solid red (USA)

Bad Engrish No Passing Trend LP Review

The Bad Engrish

No Passing Trend

Rebel Sound Music

Release: 27 May 2015

 Rowdy rock and roll from one of my favorite band names. Bad Engrish finally put out an album of older (but unreleased) material.  No Passing Trend contains thirteen tracks of fast-ass punk blaze through this piece of wax in less than thirty minutes; including a four minute track, a bonus track and a cover of “Harry May”.

Production is solid. The guitars have that UK82 crunch without getting mired in dark feedback. The instruments are recorded in a crisp fashion. The elements can be distinctly heard, just not kept up with. The drums are backbone here. And they are played in a fury. Jangly bass lines and exciting guitars will push circle pits and colored spikes top bounce and rush the stage. “True Breed” is a fierce track. This shows a more focused song in the bunch.

Not here to contemplate too many deep inquiries, Bad Engrish profess titles like “Pogo Power” and “Fish & Chips” and “Oi!’s not Dead”. Songs of drunken mayhem, friendship and their underground subculture are all subjects. Bad Engrish does slip in lines disavowing politics, but has a line about a woman’s right to abortion. There are fun rebellion songs; more a “fuck you” than a debate – more Blanks 77 than The Virus. “You Hate Me” is straight forward, but will always be a sentiment of each punk and skin at heart.

Rebel Sound, via Pirates Press, put out some sweet vinyl here. The choice of a white twelve inch with black and red splatter or Red with black waves gives a vinyl lover some hesitation. The LP received an honorable mention in Pirates Press Record of the week blog for May 8th, 201. The band played MidWest in May and is touring now with Sniper 66. I am sure they are fun band live. The album could use a touch more serious lyrics, and maybe a few time changes in the tracks – but that is my opinion coming from Oi! and hardcore. For the spikes and bristles crowd, this is a great record.

Rebel Sound

RIYL: Cobra, Towerblocks, Oxymoron, The Krays, Blanks 77, Lower Class Brats

Pressing info:

50x Black Vinyl

325x Heavy BLACK Splatter on BLOOD RED

125x Heavy RED(ISH) and BLACK Splatter on WHITE

Glory Days

Glory Days

Aggrobeat Records

7" EP, vinyl; ABEP019

Fresh off a split with Dead End Street (Italy) and the Oi! Against Racism LP Comp, Glory Days now have their own EP on Aggrobeat records. These kids from Poland deliver a rough (and welcome) version of Oi! They take the early English sound and mix with a good dose of the French sound. Their sound is loose and tough, with hard back beats and harsh guitars.

The song writing here loves the English style guitar intro of building the anticipation of the songs. When the songs kick in, they do so in a raucous manor. Good songwriting with catchiness (but not melodic)and sing along phrases keep feet tapping and fist pumping.

“The Line” feels like the most honed song. The beat is faster, the guitars are crisper. The crowd inducing chorus will get fans singing and beer spilling. The middle has a great breakdown with a slow but bracing solo.

B-side wins again was a Chuck D phrase; and I must apply it here. “Out of Sight” starts with a ripping beat. The energy is charged and direct. The middle employs another tense breakdown the builds to a gang chorus. The guitars are intentionally sparse but impactful. The track is tighter than the A side.

Glory Days is a stand out EP with great skinhead soundtracks. The songwriting shows effort and thought. There is room for some improvement that a strong producer and the time of a full length could certainly bring. That said, this is from a demo last year. An album worth of these quality of track would be called a classic. Classic sounds and tools ensure that the needle will drop on this at a drunken part or a bitter basement night solo. Pour a pint and sing along.

RIYL: Blitz, Veros, 4 Skins, Snix, Attack, The Crack, Eastern Youth, Combat 84

Track List: A1 Reality Check; A2 Glory Days; B1 The Line; B2 Out Of Sight

Pressing info: 300 copies: 150 oxblood red / 150 black wax

BUY: aggroshop

Violent Reaction Interview for Marching On

Violent Reaction Interview

With Tom Pimlott (vocals)

Marching On

Revelation Records.

By hutch

LINE UP:  Razor, guitars; Charlie, Guitars; Nick, Drums; Colin, Bass; Tom, Vocals

When Tom Pimlott lists his current line-up for Violent Reaction, he appends their resumes as they all have been in “a million bands”. He quietly states that he also drums for The Flex (an amazing band) and all these members additionally rotate to form Arms Race. Those are only the current bands. As I talk to Pimlott in the New York hotel, the band sits behind him for help and jest. The jets on the plane that transported them from the UK to the US are still cooling as Violent Reaction crash our shores. They have a show each day on this tour, where they will double bill with Arms Race as well. Eleven days is the time in which Violent Reaction is given to decimate stages. They also added DC’s Damaged City Fest last minute, because, well, idle hands, I guess. Straight Edge protagonists, their work ethic flies a banner for the movement.

Pimlott lists the cities of the tour, like an ad hoc grocery list. “DC, RVA, Philly, Boston. That’s two shows; a day show at The Elks with No Tolerance and Chain Rank, the night show is at the Boiler Room with Stand Off and Leather Daddy. That’s gonna be sick.” I remind him of Pittsburgh on the 9^th, as he tries to order his brain. “Yep. NYC tonight. Then Damaged City tomorrow. We have played the last two years. They’re our friends. Chicago, Detroit, Indianapolis, and…”. “Rochester,” someone offers from the background.

Short, fast, loud, and angry are adjectives to describe the furious hardcore Violent Reaction play. Influences like Negative Reaction, Minor Threat, SSD, Agnostic Front tied in with 4 Skins and Blitz are obvious and appreciated.  Recent bands like Set to Explode, 86 Mentality, Wasted Time, Sectarian Violence can be counted as peers.  Marching on is the most focused Violent Reaction has been since it began as Pimlott’s one man project. The 2012 seven inch was Pimlott only. But by, 2013, for their impressive City Streets full length, he had a full band. Marching On marks a time with everyone writing music and contributing. “It came together faster, painless. And it still sounds like us.”

After two releases on Boston indie label, Painkiller, Revelation releasing this new album has to be a major step. Pimlott, however, reacts casually when I ask about a rigorous process. “They just asked us. We were just minding our business. We weren’t shopping around,” Tom states plainly. However, that tepid response in no way diminishes his pride. “We have all listened to this label since we first got into hardcore.” Tom also notes, “we are the first non-American band to be on Revelation.”

James Atkinson, of UK hardcore icons, Voorhees, produced the album. Atkinson knows how to get that dirty, yet crisp, hardcore fidelity as buzzsaw guitars parallel roiling drums. “It was relaxed.” Pimlott elaborates, “(Atkinson) was cracking jokes. He is our usual guy. He did our last album.” Like the songs they write, the process of recording was short and fast. “We did most of it in one day. He just presses record. Other producers, they stick their nose in. He knows what he is doing. He lets us do our thing.”

The album expresses that urgency. It sounds as if it was recorded live. The functionality of a band that plays so vigorously together, in multiple bands, comes across with a distinguished ferocity. Pimlott concurs, “We like the way we sound live. So we did it live.” The background corrects slightly again. “Oh right, we did one guitar track and the bass and drums live. Then we added leads and then vocals.” Despite the concrete line-up now, Violent Reaction lost their bassist right before recording. “Charlie was a champ. He did the bass and the leads. It was a busy day,” Pimlott laughs as he describes what will be a classic hardcore album decades from now being completed in a day and a half.

The venomous, disdainful lyrics espousing rebellion are of the “usual punk rock lyrics,” Pimlott dismisses. He states in their live sets that they do Boston and UK and DC hardcore band covers; as I had noted their style is akin. “DC is our second home. So is Boston. We have just as many friends in those cities. Actually, Philly is like that for us too. Los Angeles has many friends for us. Oh, and all of Texas.” These additions of secondary and tertiary homes relay that Violent Reaction are playing true hardcore with sincerity and humility. The honest and vicious execution of punk rock cultivates their friendships, fans and any scene they play. 

Hard Left Interview

Hard Left Interview

We Are Hard Left

Future Perfect Records

Interview with Mike (vocals) and Tim (guitar) by hutch

Hard Left are: 
Mike: exhortations 
Donna: bass, vocals 
Tim: guitar, vocals 
Stewart: drums, vocals 

In case you are unfamiliar with the skinhead subculture, or at least the full spectrum of the scene, a common mantra is “no politics”. As skinheads represent the working class of every country throughout the globe, this minute microcosm is colored by every brush of the political palette. Often, at gigs or fests or pubs, politics are eschewed in order to avoid conflict. And, to clarify, if ‘skinhead’ triggers an old stereotype, racism is not politics. The “no politics” agreement is not to encourage non-racists to shove their head in the sand while their brethren salute the Fuhrer at whim. This understanding exists so that a skinhead from France and one from Texas can share pints and discuss important things like first pressings of Alton Ellis forty-five’s or the pros and cons of different 4-Skins’ vocalists without sliding into disagreeing on the institution of social medicine. *(this said, most are intelligent adults who can discuss politics without getting out of control.)

 Hard Left throw that cordial oath aside and wave their beyond-liberal flags on the sleeves. Tim explains how the idea materialized. “Mike and I were talking that it would be fun. I’d play guitar and he said he’ll sing, which he never had. But if we would have an Oi band, it has to be left wing. For obvious reasons.”

However, the reasons were not obvious, as I had not known these guys. “We’re both left wing.” Mike expands, “our political beliefs were not a big part in prior bands. This time we want to do more than have great songs and laughs. The message is important. We love this style of music, but the scene is stridently apolitical or right wing. We wanted to be upfront about this.” This aspect has the potential to cause trepidation in the band. “I already got trolled on facebook.”

Mike was already called ‘oppressive’ by a white power user. Hard Left simply want to seize the opportunity. “I think it’s great if apolitical people want to listen. But they will get a message.” Tim adds, “the apolitical aspect about fun and style is tired for me. We want to put on a different gloss. While not ‘skinheads’, we are steeped in the culture; the music, the fashion.” Sham 69 and Oi are the basis of the sound. “We are trying to unseat what it means to be working class. If you want fun and apolitical, you are missing content that could be there.”

Despite Mike citing that the left wing has a strong long history with British scenes, the hard kicking music should be heard, and not always eclipsed by the political stance of Hard Left. It is drenched in Mod and Pub Rock style. Mike revels in their intent. “We’re old, been in a bunch of bands. We wanted to be in a band with terrace rocking beats and ripping guitars full of feedback and anthem songs with great lyrics. This is the band we want to be in.” Tim shares the elation in the layers and tangents of their musical direction. Tim guides band decision on what he (and they) would like. “Would we want to see this? Yes. Let’s do it. Marching in with drums and flags? Check. Fred Perrys? Check. Anthems? Check.”

This attitude forms one hell of a record, which drops on May 12, 2015. Tim and Mike simplified the formula. Tim pushes, “We kept it simple. The mixing principle was to make the toms loud and add clapping. Make it anthemic.” Mike agrees, “everything is so pumping. I can’t picture these tunes sounding any better. I think it’s the best album I have ever heard.” Mike qualifies this bold statement. “I usually play guitar and I didn’t. So, I am removed and objective. Our drummer, Stewart , lives in Arizona. He recorded it. Tim and I worked with our bassist, Donna.  We sent Stewart demos with no drums. We went there and ran through each song, one to two times. He is an amazing drummer with great concepts. “Stewart is the right man for job. He’s English,” adds Tim. “He grew up with punk rock and all the terrace glam stuff, Slade. It is in his musical DNA.”

Mike lauds, “Stu makes it seem effortless.  Our sound can be said as, ‘77 punk. But people only think of the Clash. They’re great, but that’s not our sound. We come from the football terraces, the early Oi. That stomping punk sound with driving beats, shouting choruses. But, still, Oi does not tell the whole story.” The Pub Rock sound of early Who, Cock Sparrer, Sham 69, Angelic Upstarts, and specifically early Cockney Rejects are on target. Punk bands beyond The Clash like 999, The Ruts, The Damned, and Slaughter & The Dogs fill in the rest.

Hard Left has record release shows soon. San Francisco, Los Angeles, Oakland are on the list. Stewart will attend those shows as they are planned ahead. But Hard Left will be on the search for a drummer who is available to play out of town. Hard Left plan to visit the East Coast and the Northwest in the summer. They want to go to Europe feeling they “would be well-received,” declares Tim. “We have made good connects in UK and Germany. Our message and music will be taken seriously as a provocation in German highly politicized, in a good way.”

Oakland is the home of Tim and Mike. They find constant inspiration from their environment. They see it as “unbelievably diverse and integrated, more so than other cities,” Mike claims. “People tend to live in a checkerboard. Oakland is, it sounds hokey, but, ‘multi cultural’. The structural diversity is amazing.” Tim calls it “electric with flavor. The city is organically integrated, not due to social engineering. It’s real.”

When I think of Oakland, I think of bands like Dystopia and Neurosis; painting a crusty punk, anarchistic, squat, DIY musical landscape. Mike notes that the Oaktown is “gnarly and crusty with warehouse parts. Music is a logical reaction to it environment.” And that is where Mike distinguishes Hard Left’s music. “We are not reacting against it. We are feeding off the energy and diversity. Oakland is still a city, gritty.”  Tim continues this thought, “There is the Black Panther history. That flavor still exists. Hard Left doesn’t partake in the gutter punk thing, or garage-y, which is big here.” So, while the tones and tunes are executed differently, the message is on par.

“The band is ideologically eclectic.” Tim states. “We lean into anarchism. People who do work should benefit from it. Tradition and ideological history which holds a democratic practice is what we support; initiatives that push people working for their own emancipation. We value Marx, his analysis is important. But we are Anti-Bolshevic.” Mike explains, “Marx is super relevant right now. I was at a march the other day for teacher union labor dispute; my son is a Kindergarten teacher. Communist party was there and I was talking to them. They are mired in bureaucracy, We come from the bottom up movement and action is best embodied by anarchism.”

Even the foundation of Hard Left is a statement, just by the nature of the members. Tim notes quickly, “we have a woman; which differentiates us from bands in our genre. It is nice to have the songs be less cookie cutter with her shouts.” It adds a texture to their energetic songs. Donna is “not ornamental”.

Mike is uncompromising in her pedigree. “She is amazing bass player, powerful. It’s important, the idea of having a woman in the band.” Tim appends any notions, “her being in the band is not contrived. But, it’s great and goes with politics of self empowerment in the band. Women having a voice adds more diversity. If women aren’t free none of us free.” I note that I feel the skinhead scene, especially more than metal or hardcore or even pop, embrace the women significantly. Unless a girl proves herself to be a decoration or coat rack, female skins get concrete respect in the scene.

Sniper 66 Caput Lupinum Review

Sniper 66

Caput Lupinum

Rebel Sound Music

Sniper 66 is an Austin four piece that play vengeful punk rock. Their self titled release was impressive and caught much attention in 2013. I had already liked them. They also appeared on Oi the Boat’s VOA: IV with Hard Evidence, Concrete, and Die Trying. They also provided my favorite track with a sad-as-fuck, “7 Years”, song on Cashing in on Christmas vol 5. I saw these kids lay waste at Midwest Fest ’14 and they ripped it. I ended up talking to their drummer, April. As a 37 year old, I tried not to be a creep and to not be surprised like “hey, you are a girl and you can play an instrument!”. But in a room of sweaty, old, bald men, I raised a glass and chatted to acknowledge her skills. She tore it up and simply happened to hit the bar when I did.

For Caput Lupinum, Sniper 66 have moved forward. This was available as digital or CD form last April or June. Now, we finally get a vinyl version thanks to Rebel Sound. Here they embrace less of a rock and roll sound and push a tougher, angrier and heavier sound. These kids have learned to play tighter and faster. Like wicked fast. Coming from Texas, no doubt Lower Class Brats is an influence. Oxymoron is another obvious influence. APA should be cited as well. S66 play angry, gritty riffs played automatic fire quick over sped up , battering drums. The production has been improved as well. The style is clean but allows for the instruments to play; especially that bass in there, rumbling along.

The songs do feature lyrics with the punk ethos of “be yourself”, but focus in on non-traditional topics. “Society” addresses the issue of gender roles in the singer’s household and in the punk scene and in general society. The plea of the song is to “treat (girls) as equals”.

“Why must this happen? Right in our scene/ Punk rock girls are sexualized… 

I won’t stay silent. This time I’m pissed/ Because I love this scene, I know we are better than this

 Blow up your TV …don’t listen to the standards set by society”

“Another War” definitely stands out to me. The song is churning and speaks about the empty promises of (now) multiple administrations to bring the troops home. The earlier mentioned, “7 Years” is back and depressing; which I love! Subversive, honest songs on a Christmas comp satiate me.  “Long Road” steps back half a step and calls back to the rock and roll feel of their debut. “Anxiety” is a dirty, pounding track that pummels as you listen. “One Shot” also kicks.

Sniper 66 are talented kids tearing up fests across the nation. They found enough time to sit and write fantastic punk rock songs, with no sense of pop. Belligerent riffs at sonic speeds should please anyone in leather or a bomber. Intelligent lyrics that will leave you thinking help elevate this band above the average. Production is on point, handlingS66 as they should be. No one is aiming to make more of this  than it is; and that is what makes it worth more than the sum of its parts and stand out.

 RIYL: Varukers, Abrasive Wheels, APA, LCB, Oxymoron, Defiance

Interview with A Skinhead about Krishna

New Noise Magazine was nice enough to print an interview I did with Scott from No Resistance. Dude is cool and is a good friend. But I was astonished at a punk rock skinhead kicking aggro tunes being a Krishna. But the exposes more of my ignorance than anything else.

I have vehement, cynical view of all religions and their associated organizations. But I detest ignorance. We learn much and only truly progress through conversation and education. While I never listened to even Youth of Today (never mind 108 or Shelter), Cro-Mags and Next Step Up are two of my favorite bands ever. And they were heavy and angry. I enjoyed John Joseph's biography immensely. So fuck. Let's chat.

The Interview

Snake Handler Enjoy The View Review

Snake Handler
Enjoy the View
Victimized Records

Jesus Almighty. This is heavy, fast, gnarly, ugly. In other words, this is perfect. Snake Handler released a demo cassette last year. It was damn good. Enjoy the View excels at their formula.

The anger oozes through the speakers. For being so raw and frantic, the production is well mixed. I always search for where the bass gets pushed to in a track; as it is usually my focus. From doom metal to hip hop to punk to oi etc, the bass is the foundation for me. This bass is utilized as a pile driver, pushing the songs forward. Rich's guitars are frenetic but are focused with intent of delivering fierce riffs. The drums are tight as penguin pussy. Ian's vocals are exactly what I want; raw and pushed but not filtered or cleaned in anyway; and not growled like a caricature to sound like a demonic cookie monster.

The other aspect of hardcore that I love, are time changes. Snake Handler knows how to drive fast then pull it back a hair for the two step or crushing breakdown. The intro to "Ghosts" is slow and evil and quickly rushes into an unparalleled fury.

Snake Handler never go d-beat or crust, but the frenzied disdain for humanity seems to channel that energy. But you can still dance to this if you want to destroy a VFW hall or dive bar. There is always a spark of - not catchy or grooved - some small swing to grasp. When "Saturday Night..." kicks into its bridge, those low toms pound rhythms of destruction. The song's swinging riff is so fucking incendiary. You will not sit still. I broke into unabashed mirror moshing in my basement.

I cannot find a flaw here. I seriously would not change a thing. I do not think a cleaner production would improve the delivery. It's not bad production, it is the style that fits this hardcore. It is never muddy - you are always able to discern each instrument and vocal. This is dark music. But this ain't no lingering sludge or mopey emo. Snake Handler has no time for that. While pummeling your senses, these tracks leave you no time to ponder or wander in the existential darkness. You can only hate and want to rage forward.

FFO: fucking hardcore. Think the energy and ethos of Black Flag and Poison Idea, but turning it darker and angrier. Bands like Violent Arrest, Punch, Boston Strangler, Tear It Up, Reproach, Wasted Time, Raw Nerves, Sick Fix, DFA, Set to Explode, 86 Mentality, Born Against, and, of course, Sheer Terror demos and Negative Approach.

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Sick Of It All Last Act of Defiance Review

Sick Of It All

Last Act of Defiance

Century Media

Review by hutch

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. 

http://www.sickofitall.com/

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Murderers Row Liberty Denied Review

Murderer’s Row

Liberty Denied

Riley Records

Review by hutch

Well after five albums on various labels, Bob Riley has stepped out on his own to release records. Bob Riley headed the Upstate NY metal mammoth, Stigmata, for many years. But in 2000, he grabbed his boot boy roots and started this drunk and roll band.  Self-described as Motorhead meets Rose Tattoo, their influences are obvious. Though prior albums have been faster or splashed with hardcore, this album is straight slower rock and roll for punks and drunks.

Immediately, I think of Forced Reality’s 2000 feel, late Bruisers, and The Wretched Ones. Solid production helps boost the quality writing. You hear what you expect about working class, shaved heads, drinking and boots. But when that’s my life, it suits me fine. Smart stories from older men who have been doing this for thirty plus years, fill this album and I say, “preach, on brother”.

Songs like “White Collar Crime” bring the US Oi! feel matched with lyrics. Revved up rock like Combat Ready or Bruisers is this band’s strength and separates it from the a generic vibe.

Struggles and the pains of the working class is the common thread the pulls these gritty rock songs together. And rightly, that incorporates a great Oi! sound into the tracks. “Our Struggle” slows it down to lament over a beer and a guitar. While “When the Day Comes” and “Slum Nation” pushes the harder faster edge.  While I try to compare the fast fury of the closer, “Give the Pain”, to maybe some current heavy Condemned 84 clone, I realize with the tight riffing that it all goes back to Motorhead; just a NY Oi twist.