[engl] Cancer’ is a rough, melodic rock album emanating the member’s background in hardcore and metal while the band treads new paths towards a more vulnerable expression. An approach that is a natural consequence of the dissolvement, illness and struggle that have marked the band these last years - a struggle which has now resulted in a strong and honest record about survival ‘Cancer’ is produced by Jacob Bredahl and Riverhead, recorded by Tommy Hansen, Tue Madsen and Jacob Bredahl, mastered by Brad Boatright with artwork by Liz Curso. ‘Cancer’ is released on LP/CS/Digital via Sounds of Subterrania April 28th 2023.

[engl] What started as a one off project for a bit of fun on the Fuzzbrain Records Compilation LP in 2019, quickly mutated into a fully fledged band made up of four UK heads with plenty under their collective belts: Ben Woolf (Blind Authority, Lawful Killing, Frame Of Mind, Stages in Faith, Layback), Bobby Cole (The Annihilated, Churchgoers), Jon Osbourne (Mastermind), and Ollie Hudd (Fortbragg Zine). When QC heard this ‘demo’ it was so in your face we just knew we had to put it on wax, because this blend of Krackdown and Outburst era NYHC with a still distinct London hardcore sound will blow your fuckin’ face off! Live expect some crazy energy and antics that’s hard as nails. Who else is gonna do a hardcore version of the James Bond theme? Stay warned, friends.

[engl] The story of Existence dates back to 2016 when a group of young Stockholm hardcore heads wanted to get into some good old Cro-Mags worship. After some changes in personnel, the current line-up of deranged idiots has been paving the way for a violent future since early 2017. They currently share members with several other bands, including Blood Sermon and Speedway and are all active in the local DIY community in different ways, for example running Alive and Well Fest. With an EP under their belt in 2018, several tours across Europe and beyond, as well as appearances on such stages as Outbreak, the sound began to evolve leading up to the masterpiece that is the debut LP, ‘Go to Heaven’. Clocking in at nearly 40 minutes we don't think anyone can truly be prepared for this insanely epic body of work. From Slayer, to Merauder, to H8000, to Arkangel to Integrity, this is a masterclass in metallic hardcore songwriting by the strong beating heart of Stockholm HC. Songs that take you on a journey from a classic metallic breakdown riff to acoustic guitar sections to sword samples needed a hand that was not afraid of the complexity, leading to Jonah Falco of Fucked Up on mixing duties giving this the depth that it deserved. At times introspective, and at other times classic brute force, the themes of the lyrics are well summed up with the painted artwork by Nora Löwenberg of a face behind shattered glass, exploring the multifaceted nature of humanity and the ever changing place of the self in today’s global world. So if this all sounds like your kind of hardcore, then listening to this LP will truly be… heaven.

[engl] Blow Your Brains Out formed in 2019 with members of Stand United, Inside, Die Birth, Civil Defense and Soul Vice from Tokyo and Kanagawa. The band are all active members of their local hardcore communities whether it's putting on shows or running a popular radio show called Sick People. Hardcore fans were hyped for the demo with its instant hit mix of Cro-mags and Dynamo style influenced hardcore, and were excited to hear what the band would do next. However, as with all things at this time, they had to put everything on pause. Fast forward to 2023 and the band have recorded their debut 12” ‘The Big Escape’. This sees the band keep true to their demo influences but with greater flair, and will have you humming the tunes in no time at all. It was important for vocalist Kai to sing in Japanese, a language with a unique rhythm and flow that he wanted to match to the riffs, as well as to communicate about topics important to the local, as well as global community, using powerful Japanese words. ‘The Big Escape’ 12” talks about cult religions, political corruption, domestic violence, and companies that force people to work in poor conditions, as well as the suppression of citizens who resist authoritarian forces. I see through their lies and madness and act with the determination I have squeezed out, without succumbing to after-the-fact sophistry or threats. The underlying theme is the understanding that structural issues in society and politics cannot be easily solved, but it’s important to voice dissatisfaction and anger, and resist, and sometimes that’s by running away to survive, but it’s difficult to put this into practice in everyday life. However, there is hope that one day, the big escape will be achieved.

[engl] In loving memory of Darrell - you will be missed. "On Wednesday the 15th of June we lost our best friend, our Bobby. Words can’t describe how shocked and heartbroken we are. The joy, or what he would call ‘hot sauce’, that he brought to our lives has left a massive hole in our hearts. This is a photo taken at our last show on Saturday night. After we finished our set, he said “that was fucken sick, I think that was the best show we have ever played.” Darrell, we will love you forever." Love always, Greg & Steph x Eora/Sydney 3-piece Display Homes are back with new music! The asymmetric guitars, bass grooves and dynamic drums we’ve come to love on their previous two EPs are all there brighter than ever on forthcoming debut album What If You’re Right & They’re Wrong?. It’s raw but sharp, minimalist and danceable. Their pop sensibilities make it accessible while their post-punk leanings make it exciting. We’re calling it now as one of our favourite albums of the year! When I put this on I listen all the way through. The other day two times in a row. Unbelievably catchy. I will love this even years and years from now, for sure. Can’t pick a favorite song. This sounds like it could have been released in any of the last 5-6 decades. Solid, tight songs that warm the soul. I’m picking up on a wide diversity of sounds, from The Pixies to Blondie. Really glad to have stumbled across these guys! Extremely catchy, every song is a bop.

[engl] Strap yourself in people, we have here the debut full length from Philly’s Laurel Canyon; after some online EP releases, and a (now) sold out 7” with Savage Pencil, Agitated Records is excited to announce the release of their s/t album! Guitars are drenched in an Asheton worshipping haze and pummel, melded alongside a Velvets chug and mid-to-late 80s Pacific Northwest guttural / primal howl... this is American primitive music at its most powerful. Pigeonholers beware, this album takes its cues from all the most potent places… Funhouse, Loaded, Green River, early Sub Pop, all providing valid reference points. In amongst this over-amped harmonious murk are 10 visceral and catchy pop songs practically screaming for attention, the core members of Serg, Nick, and Dylan have created a beast of a record. Some tracks were recorded with Steve Albini, some with Bryce Goggin and all were mastered by Howie Weinberg. The band played 40 chaotic shows in 2022 alone from New York City to Los Angeles, where they opened for Agent Orange and Strawberry Alarm Clock on two separate occasions at the Whisky a Go Go. BAND BIO: Punk rock band Laurel Canyon formed in 2019 when Nick and Serg met through a mutual friend in their hometown of Allentown, Pennsylvania. After connecting over a shared interest in both Arthur Rimbaud and The Stooges, the two began to rehearse together in Serg’s garage. By October 2020, Serg and Nick began composing original songs together as Laurel Canyon, the first of which, “Two Times Emptiness,” was released on May 1, 2021. Following the release of “Two Times Emptiness” b/w “Enemy Lines,” Nick and Serg traded in their characteristic jangle for fuzz pedals and established a relationship with veteran producer Bryce Goggin (Pavement, The Lemonheads) at Trout Recording in Brooklyn. Between July and November of 2021 the group recorded a 5-track EP “Victim,” released on January 14, 2022, rounding out the line-up with bassist Dylan Loccarini.

[engl] Just when you thought it was safe to come out of the bomb shelter, Eteraz returns, crustier and more metallic than ever… Rabid with violence in their veins and the sonic arsenal to carry out full scale warfare on the senses. Starting in the ear and drilling its way to what’s left of your sorry excuse for a brain. There will be nothing left. Bombastic buzzsaw guitars, relentless pummeling bass, chaoticly vicious drum battery and a wildly sinister vocals make for an unholy alchemy of evil fucking hardcore. Not to be taken lightly.

[engl] There was a time when the fear of nuclear destruction was so thick you could feel it in the your lungs and walked the streets. Like at any moment some ICBM would rain fire on your town and the troops would be thrust into action. Only they wouldn’t be defending the town they would use the melee as an excuse to rid their little podunk heaven of the “punker plague”. Those freaky weirdos with pins in their ear and stains on their gear. The ones that spray paint “Ronald Reagan SUCKS a big one” on the hoods of cars. The ones that don’t fit and don’t wanna… Friends and enemies, introducing ELECTRIC CHAIR!

[engl] Christoph Dallach, Andreas Dorau and Daniel Jahn present Echo Neuklang, a compilation which explores the question of how Krautrock has influenced generation after generation of musicians since its inception. A contentious genre at the best of times, the music within its spectrum is essentially intangible. The common thread running through it is a compulsion to seek out the new. Beginning in the year 1981 and extending as far as 2023, the music in this collection demonstrates how the idea of what passed for Krautrock in the 1970s has been interpreted or reinterpreted by a diverse array of artists with distinct approaches in the decades which followed, without recourse to any generic conventions.

[engl] If music that feels like a massage with broken glass, then this is the rub for you! We know, we’ve withstood the pain for you but now it's finally time to share. Short, fast and raging hardcore from both of these UK bruisers. Meant to be a promo tape for Frisk’s "Stalker" LP, which as you know is already out, and meant to coincide with their jaunt around the Empire late last year but, of course, Iron Lung Records got it done just in time for the day after, haha. As chance would have it, Last Affront is coming over to the states to do a tour so now this tape is their tour promo thing. Life is a stab in the dark at best so turn the lights off and start waving your knives in the air.

[engl] A deluxe, remastered, 20 year anniversary edition of the Heads’ third album proper, the under-rated gem in their canon that is “Under Sided”. Originally released in 2002 on the Sweet Nothing label (SNLP/CD 11), Under Sided was recorded in 2001 at WhiteHouse Studios in Weston Super Mare, with Martin Nichols engineering. The band had previously recorded tracks for Mans Ruin 10” at these studios (also famous for Ripcord, Heresy, Slowdive, Hardskin, Decadence Within, Icehouse.. amongst many others!). For the reissue, the original recordings were remastered for vinyl and CD by long time Heads Masterer (!) Shawn Joseph. The resultant 8 tracks, spread over 4 sides of vinyl are some of the best music the Heads have recorded, after a bit of a hiatus following their 2000 US tour / Peel session, the band regrouped and worked out the tracks for the album, relentless rehearsing for the recording. Very few shows happened in that 2001-2002 timeframe.. band members were busy, earning a living, getting on with life, but they still had some riffs/songs there. Upon release in 2002 the album got great reviews in the press, from Kerrang and MOJO to the Sunday Times, all helping the Bristol fourpiece confirm their cult status, which has continued to current times.. The remastered album is being reissued as a 4LP + 2CD boxset. The extra 2LP features their Peel session from 2000, as well as a couple of compilation tracks (For Mad Men Only / Born To Go), and some unreleased demo versions, as well as nearly 150 minutes of Live recordings (mastered, but RAW!) from their gigs on the Thekla in Bristol in 2001-2002. The boxset will also have a special slipmat, stickers, and a 24 page booklet of photos /writings, including recollections by each band member, and others including a 1000 word essay by Stewart Lee. Undersided is a pounding sike-nightmare that shows the Heads at the peak of their powers, theres a flow throughout the album of melding psychedelic noise rock to battering rhythms and creating a bad trip for all listening.. even the gentle sooth of “Energy” is enveloped by a white noise fuiry.. the intensity of some of the tracks: the terror inducing Bedminster or False Heavy (a tour worn riffmonger from 2000) or the Magnet-esque Heavy Sea, showed the band as ferocious as any of the insurgent “stoner” genre of that time. They were never going to make their living out of touring , record sales …as Hugo mentions in his notes for the booklet, “.. we had less boundaries and felt we could experiment more and not worry about commerciality…” but they were able to make this album.

[engl] Bristol's sike merchants the Heads have a 20 year anniversary this week with their THIRD STUDIO album, "Under Sided", originally released in March 2002!. They've decided (!) to release a 4LP/plus boxset of that double album, with a double album of demos, their third peel session, and other such unreleased gems. That's going to be released at the end of August/September. Whilst trawling through the cassettes, CDrs, and ephemera in order to create the forthcoming "Under Sided" 20th anniversary reissue boxset, the Heads found their cover of May Blitz's "For Mad Men Only", originally released as part of a 70s tribute comp LP on SMALL STONE Records. Also unearthed was their version of Hawkwind's "Born To Go"... a full on 13 minute unedited version.. (a version of which appeared on the ROCKET Records 10" In Demons In.) How about doing a limited 7" single to announce the boxset's impending release?...Ideal, once Born To Go was edited down (full version in the boxset, of course!) Simon Price came up with a wraparound sleeve idea.. and the two tracks were pressed to vinyl.. 900 (450 of two colours!) have been made. This is a full on, pedals set to stun, grooves set to vibrate sike assault, with the Heads at this point in time revelling in the peak of their psychedelic rock powers, and pretty much obliterating all around, then, and now. This ain't no gentle-whimsy-psych indie rock this is the real brown-acid-gobbling mind-melting beast you were warned about...get on board!

[engl] Brand new studio full length from Bristol based sike-o-nauts, orbiting in the Heads’ realm and led by Heads’ Simon Price. k3 continues the trajectory of outer space excursions found on previous kandodo releases. Out of focus, relaxed and expansive vibes fuse together into serpentine rivers of minimalist rhythms and echoed tones, drawing the listener into tunnels of sound and scorched sonic landscapes. It's one for the headphones at 30,000 feet or late night deserted drives. k3 finds three heads taking time out to dive into the dronal repetitions of deep space, 3 psychonauts killing time in the only way they know how; head-nodding drumfuzz layered with creamed strings. Guest guitar from fellow sike-head John McBain on the final half of the 40 minute trip which makes up sides 3 and 4. k3 takes the autobahn, veering left past the sun and heading on till morning. There are no black holes 'cos we're in it: just do the half. The colours will come back with the dawn. Settle in for the long haul and …..

[engl] Brand new studio full length from Bristol based sike-o-nauts, orbiting in the Heads’ realm and led by Heads’ Simon Price. k3 continues the trajectory of outer space excursions found on previous kandodo releases. Out of focus, relaxed and expansive vibes fuse together into serpentine rivers of minimalist rhythms and echoed tones, drawing the listener into tunnels of sound and scorched sonic landscapes. It's one for the headphones at 30,000 feet or late night deserted drives. k3 finds three heads taking time out to dive into the dronal repetitions of deep space, 3 psychonauts killing time in the only way they know how; head-nodding drumfuzz layered with creamed strings. Guest guitar from fellow sike-head John McBain on the final half of the 40 minute trip which makes up sides 3 and 4. k3 takes the autobahn, veering left past the sun and heading on till morning. There are no black holes 'cos we're in it: just do the half. The colours will come back with the dawn. Settle in for the long haul and …..

[engl] Since the first Heads album was released.. .so.. for 2021..Rooster has decided to get the album back in print on vinyl.. but changing the artwork. With some silver foiling and bordering, the single sleeve has been boosted to a sweet gatefold, Rooster also got the Radio 1 sessions from the time remastered, and re-cut along with the huge b-side to their Television 7” “Jellystoned Park”. So there you have it, a double vinyl silver jubilee reissue of a fantastic debut album! From the original reissue sales notes: “The Heads had self-released a couple of 7"', and then Cargo Uk's inhouse label Headhunter UK got to release a further 7", and then the Debut album in 1996. Amidst a world suffocating in Britpop smarm, the Heads cut a timely swathe with their unkempt rock psychedelique. The album contained 10 tracks of guitar driven, amp destroying rock, with cues taken straight from the US underground, Stooges, MC5, Mudhoney, Pussy Galore, early Monster Magnet too but with a disitinctly British stamp, some of the drone and fuzz from Loop / Spacemen 3, some of the attitude of the Fall, Pink Fairies and Walking Seeds and overlaid with the spaced rock of early Hawkwind. It was obvious that the four members of the Heads were music obsessives. The debut album was recorded at Foel studios (owned by Dave Anderson from Hawkwind) and engineered by Corin Dingley, it was mastered by John Dent at LOUD.”

[engl] In 2014 The Heads reissued their 2000 album "Everybody Knows We Got Nowhere" in full remastered / deluxe boset glory, and to much acclaim. In the boxset, they added a 70 minute Compact Disc of demos, unheard versions etc of material pre -2000 recorded in the rehearsal room on a walkman. For RSD 2015, and to celebrate their rare live performances at Roadburn 2015, Simon Price has taken the material he edited for the bonus CD, and added more tracks to the pot. With the mastering expertise / tape polishing skills of Shawn Joseph, Price has created a warts'n'all document of the time in the heads' rehearsal space just prior to the making / construction of the Every Knows album. This double LP is 10 tracks of the Heads in their element, raw and alive in the rehearsal room prior to 2000, tracks being formed, prototype Heads' riffs in the sonic gloop. Hear this era of the Heads in its speaker blowing, walkman warping glory, a true psychedelic rock morass. Wrapped in a Simon Price sleeve, a gatefold sleeve to boot! naturally! A "fin de seicle" of sorts, "Nobody Knows" is a closing chapter, a sonic glossary to the band's Everybody Knows' legacy.

[engl] The Scientists’ pre-“Swampland” days in Perth are brilliantly encapsulated on this collection of mostly unreleased live material from ’78 and ‘79. These were the days when former Victims and future Hoodoo Gurus drummer James Baker led the band alongside guitarist/singer Kim Salmon, and when their poster read "Rock’n’Roll in the tradition of The Groovies and The Heartbreakers". The Perth-based line-ups of The Scientists recorded the brilliant "Frantic Romantic" single and self-titled EP highlighted by "Last Night." They also recorded a posthumously released LP - the 'pink album' - which came as a massive disappointment due to bad production and a reduced line-up. “Not For Sale: Live’ 78/79” is a collection of live and rehearsal tracks that captures the band making the same noises as on those 45's, and presents live versions of the fan faves and vastly superior versions of most of the LP tracks as well as coughing up a bunch of hitherto unreleased originals and covers to boot. This is "The Legendary Scientists" - as they were dubbing themselves within months of forming - as they should be heard. The main set comes from late 1979; a live-to-air broadcast from Melbourne’s 3RRR. "Frantic Romantic" was in the shops and the EP was in the can. If you only know tracks like "It’ll Never Happen Again," "That Girl. "Making a Scene" and, "She Said She Loves Me" from the limp pink album versions you’ll be knocked sideways by the raucous and rocking versions here. Covers of The New York Dolls, the Groovies ("Slow Death" and their version of "Have You Seen My Baby") and The Undertones' "Teenage Kicks" are a bit throwaway but show where their heads were at. And yes, a couple of these appeared back on the 'fan club' cassette "Rubber Never Sleeps" back in '82 and have since appeared on other collections, but those were third or fourth generation cassette dupes. What we have here is the whole set, taken directly from 3RRR's master reels. The same line-up is also present on a handful of primitive live recordings, made by a friend at one of the group's regular haunts, the Governor Broome Hotel in ‘79. What they lack in clarity they make up by letting us hear some otherwise lost original tunes. Play this really loud and it sounds like you're right there in the pub - shitty PA and all. The original "Kinda Girl" is maybe the pick here; it's James and Kim channelling their beloved Troggs. Also included, for the first time anywhere, is a Scientists’ version of "Drop Out", a Baker/Salmon song that its writers later made famous with The Beasts of Bourbon. The 2LP edition also includes some covers from this show: The Velvet Underground’s "There She Goes Again", The Searchers’ "When You Walk In the Room", and the early '70s Masters Apprentices rocker “Turn Up Your Radio”. First 1000 copies pressed on PINK VINYL The band's short-lived original line-up, featuring Roddy Radalj on rhythm guitar and Boris Sujdovic on bass, also finally gets proper representation here in the last bracket of songs, which presents, for the first time (minus a couple of tracks on the CD), the complete 'Loft Sessions.' This was the name informally given later to a 1978 tape recorded live - in a loft. The undoubted jewel here is the lengthy "Baby You’re Not For Sale," an ambitious Velvet Underground-inspired piece that namechecks the Groovies and gathers momentum to end more than 10 minutes after it starts, in a beautiful racket. Again, a couple of these recordings have appeared on other Scientists collections, but not “Baby You’re Not for Sale”. Packaged with rare and unseen images, an original 1979 Roadrunner magazine feature by Kim Williams (of the Summer Suns, and co-writer of “Swampland”) and additional notes by Grown Up Wrong!’s Dave Laing. “Not For Sale: Live ‘78/’79” provides a thrilling glimpse into what an album by the "Legendary" Scientists might've sounded like if it had been recorded in 1979. With the current incarnation of the band touring the US again and performing the likes of "Last Night" and "Frantic Romantic”, this collection is an essential listen for all Scientists fans, no matter which line-up they prefer.

[engl] The Lipstick Killers were easily one of the greatest live bands I've witnessed in my 65 yrs. on this planet” – Keith Morris (Black Flag/Circle Jerks/Off!!) HINDU GODS ARE CALLING YOU!!! Grown Up Wrong! Records is thrilled beyond belief to present the LONG-AWAITED anthology of material by the legendary Lipstick Killers, who blazed a trail in late ‘70s post-Radio Birdman Sydney before gigging with the likes of the Gun Club and the Flesh Eaters in Los Angeles where they crashed and burned in 1981. The Lipstick Killers released just one single in their life time – the perfect ’79 Deniz Tek-produced pairing of “Hindu Gods of Love” and ”Shakedown USA” on their own Lost in Space Records and Greg Shaw’s Voxx Records - but a posthumous live album and a couple of archival releases followed. It was all incredible. All that material is included here, as is a plethora of additional stuff, all from the best-available sources (mostly original tapes). The Lipstick Killers’ enigmatic and high-energy sound – heavily inspired by the Stooges and the ‘60s psychedelic punk sounds of bands like the Thirteenth Floor Elevators and the Chocolate Watchband – bridged the gap between Radio Birdman and subsequent Sydney groups like the Sunnyboys (whose first-ever show was opening for the Lipstick Killers), Lime Spiders, Hoodoo Gurus, the Screaming Tribesmen and the Psychotic Turnbuckles. And of course they anticipated generation after generation of other bands with similar things in mind, right up to today’s ‘60s-inspired freaks like The Straight Arrows, The Living Eyes and Thee Oh Sees.

[engl] The band got together again in 1986 on the occasion of a party to move out of a shared apartment. A video was recorded of this last concert, which the band knew nothing about until 2012. The recordings were taken from the video, edited and are now on this LP. Two songs are unreleased to date. No doubt without an absolute contemporary document! Comes with lyric sheet and liner notes.

[engl] Time for another prime dose of potent, chorus-drenched anarcho-punk from one of its finest modern exponents: A Culture Of Killing return with their third album, bigger and bolder than before with a foreboding sense of deathrock gloom dialed all the way up beyond 11. Their usual array of nods are all present and correct (The Mob, Zounds, The Cure), but this time everything feels… grander? More fully realised? Impressive, given their first two albums have been hoovered up and hailed by those in the know, but maybe we should banish any lingering doubts that the mysterious Italian band might be moving beyond merely echoing the classics and closer to creating a new benchmark for the genre. Look, all of this is a very fancy way of saying that ACOK are pretty fucking great and no one else can touch ‘em right now when it comes to this sort of goth-tinged post-punk. New instrumentation, new ways of relating to each other as a band, new ways of grabbing your attention as a listener and making you want to press the record grooves into your brain and use your nerve endings as a stylus. From new wave-styled Burundi beats and furious call-and-response vocals to dubbed-out grooves, there are new influences that are more than welcome in the band’s sound, but the songs themselves are their finest thus far (‘2 Years’ and ‘The Last Train Home’ are simply magical). It says a lot about this LP that it’ll hold its own with the output of both Crass Records and 4AD; it’s a strong step forward that’ll win ‘em new fans and embolden existing ones to say things like ‘best band in the world right now’ and ‘sell your home to buy a copy if you have to’. Especially if you don’t technically own your home. You get the idea. Is there a Crass-shaped hole in your life that’s been empty since you wore out your copy of ‘Penis Envy’? An itch that only the purest of peace punk can scratch? This is the record for you. I don’t use the word ‘essential’ much but… oh, well, I’ve given the game away there, haven’t I? Get it, get it now.

[engl] 'Morphing Polaroids' is the debut album by Japanese born Saeko Okuchi alias Saeko Killy for Hamburg- based Bureau B. After moving to Berlin in 2018 Saeko Killy found herself in the orb of Club Sameheads, where she made herself known as a DJ and live performer. After releasing her first EP " ???????? ?? – Dancing Pikapika" with the label Chill Mountain from Osaka in 2021, followed a fruitful Jam session during the pandemic lockdown, resulting in the eleven titles collected together here for the album 'Morphing Polaroids' produced by Brussels DJ and selector soFa elsewhere. The LP is a contemporary Leftfield Clubsound, effortlessly combining elements of Dub, Post-Punk and Kraut with electronic Beats.

[engl] GAMES OF POWER lives inside a crystal clear recording by long time friend and Edmonton wizard Nik Kozub, bringing Home Front’s follow up to “Think of The Lie” to euphoric heights and gritty lows. Produced again by Jonah Falco remotely and between sub zero 10 kilometer runs in Edmonton in late February with co-production by Nik Kozub, Home Front have put their best mirror shined boot forward.” (Jonah Falco)

[engl] First things first - you don’t need me to tell you about the significance of Australia in the history of punk. I mean, what am I, Jon Savage? Google it yourself, FFS. Instead, let’s just agree that the speedy, feral racket thrown together by the likes of The Saints, Radio Birdman and The Scientists in the mid-late ‘70s is AT LEAST as deliriously entertaining as anything concocted by their UK/US counterparts, sowing the seeds for seemingly endless garage-inflected noisemakers in the land down under. No one likes using words like ‘tradition’ or ‘heritage’ here - the punk rock clusterbomb is far too messy for any of that business - but also emerging from Australian rock’s primordial soup is the addictive sneer of Stiff Richards. Like their predecessors, the band are a gleefully wracked mess of full throttle energy and barrelling power chords, with songs like ‘Kids Out On The Grass’ and ‘Point of You’ proving at least the equal of ‘(I’m) Stranded’ or ‘Aloha Steve And Danno’. Nine tracks in less than 30 minutes, all winners and all determined to leave you flipping over couches and smashing your TV set. And let’s face it, you may as well; there’s nothing good on. It all builds towards frantic closer ‘Fill In The Blanks’, which rattles around your speakers like the UK Subs trying to play Ed Kuepper riffs at the centre of an earthquake, before grinding to a halt as a voice says, “That’s the one.” Does it sound self-satisfied? Hey, it’s got good reason to - this is the best no-frills garage rock party since Gino & The Goons’ ‘Do The Get Around’, and the only appropriate response is to declare yourself betrothed to Stiff Richards because you can’t imagine your life without ‘em. Don’t believe me? Sort out your ears and get ‘State Of Mind’ in ‘em. Rock’n’roll as it’s supposed to be played.

[engl] Split System, the Aussie group featuring Jackson Reid Briggs (Jackson Reid Briggs & The Heaters) on vocals and Arron Mawson (Stiff Richards) on guitar, took the punk world by storm with its debut EP this past spring. That was hardly surprising given the talent involved. But whatever my expectations were for Split System, the Melbourne-based outfit far exceeded them. Not just another "super group" (also on board are guitarist Ryan Webb [Speed Week], bassist Deon Slaviero, and drummer Mitch McGregor [No Zu]), Split System is straight-up one of the most powerful and exciting punk rock and roll bands of recent memory. The band's EP was a smasher, and now debut album Vol. 1 emphatically follows suit. My god, this record is a monster! Essentially Split System's sound is classic Aussie punk. That may sound like nothing new, but this band executes the style with a force and fury rarely heard these days. It doesn't hurt that Jackson Reid Briggs is one of the best rock and roll screamers going. He's got a fire inside of him. Meanwhile, Mawson and Webb form one hell of a guitar tandem. And that rhythm section is insane. These are all brilliant players who come together to make an extraordinary band. Vol. 1 comes storming out of the gates with "The End" and never lets up. Of course we knew some of the previously-released tracks ("Hit Me," "Demolition," "Climbing") were going to rip. But the newer material is just as good and will just about melt your face off. Songs like "Ringing In My Head" and "Grip" are pure energy and ferocity, while closing track "Feelings" has a mellowed-out Saints feel. This band knows how to rock and roll, and there are literally no songs on this album that don't entirely kick ass. Sometimes we think of these all-star groups as "side projects," but such categorization would sell Split System woefully short. If we're talking about the top three or four punk bands in Australia right now, this has to be one of them!