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.

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)

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.

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.

BUY THIS RECORD:
Take a listen
Bandcamp - Listen and purchase
Buy the hard copy

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.

Antagonizers Hold Your Ground Review

Antagonizers ATL

Hold Your Ground ep

Longshot Records

Review by hutch

The first cut is named, “Hate City Rock”, and well, that’s what you get. For just under 10 minutes, four songs, that model is repeated. Ain’t nothing too slick in the production. This has the gloss of a bar fight. Hold Your Ground is gritty and catchy; mixing fury and fun. Adrenaline fueled punk is forged onto wax by four vets of the scene.

The Atagonizers ATL is the bastard child of US scene forefather, Zachary Bodhan. They have put out two splits on defunct labels (One with the Main Street Saints’ lost tapes) and a self-released EP a few years ago; but this is on a proper label, Longshot. Lyrics and an insert accompany a fresh splattered forty-five of red, white and black.

The songs are angry, hard driven tunes with thin, crisp production. Harnessing the band’s live energy, the production approach is minimal. No fancy knob twisting would improve these songs. No filters or effects, just allowing the individuals play their asses off. The listener definitely feels The Antagonizers’ rocking in unison, not separately tracked, to unleash the impact of standing in front of The Antagonizers drenched in sweat and beer.

The songs combine raucous fervor that elicits rumbles, driving fast, and whiskey shots. Song lyrics reveal tales of standing up for your beliefs. “City Boy” ha a chunky riff, reliant on pounding drums, that add a’77 punk/hardcore dfeel to a sing along gem. Hold Your Ground is a fast, but composed, string of tracks that become a soundtrack of fighting for that brash punk rock spirit still thriving.

RIYL: Count Bishops, Eater, Dictators, One Way System, Cockney Rejects,  Anti-Heros, Misfits, Turbo ACs, Whiskey Rebels, Kraut

Sheer Terror Interview: Paul Bearer

Sheer Terror

Standing Up for Falling Down

Reaper Records

Interview with Paul Bearer by Hutch

“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.”