[engl] hardcore/punk band from Boston, MA

[engl] The Denver crew responsible for DIRECT THREAT is back at it with a new one that channels the likes of 80's American Hardcore legends like ANTIDOTE, ABUSED and YOUTH OF TODAY. Six tracks that go for the jugular and leave no room for fashion dancing or photo posing. Go hard or fuck right off. 300 pro printed cassettes.

[engl] Flailing hardcore punk from Italy filled with lightning fast riffing, locomotive propulsion, all topped with tormented and blown out Nerorgasm(o)-ic vocals. Lying somewhere between a notion of what Wretched would have been trying to do on their second LP and what the lost secretly groove-laden EPs of early 80s Japan a la Bitousha were able to pull together, Psico Galera have made a very new splatter on an old canvas. Over the top guitar leads, slippery tempo shifts, and hints of melody amongst the tuneless torment allow this to hang together as a singular blast of modern punk perfection.

[engl] Woo-wee! Public Acid, folks - the undisputed pride of North Carolina! Or is it Virginia now? A bit of both perhaps?! Ah hell, is acknowledging geographic location really even relevant when it comes to top shelf hardcore punk? The dead fucks that made those borders and boundaries wouldn't know shit about riffs anyway. In the couple years since their self released 12" came into being, the band has gigged all over the country (back when that was an option) and expanded their catalog further via a flexi and some cassettes, garnering much deserved attention and adoration from those fortunate enough to be enlightened with those scenarios and/or physical formats. But that was the old world and what matters here and now is that the "CONDEMNATION" EP is 6 urgent blasts of punk music that result in a sonic whirlwind that few others have previously concocted. In a genre that has become dominated by embarrassing posturing, this slab is a much welcomed breath of fresh air in an age of suffocating and uncertainty. Recorded and mastered at Artifact Audio in NYC by Sasha Stroud just before the shit hit the fan, each record comes in a folded sleeve both designed and screen printed by Public Acid and collaborator/comrade Thomas Sara.

[engl] Amidst a seemingly endless onslaught of bands, labels, and other opportunistic clowns vying for commercial gain via subcultural cannibalism, it can be easy to lose sight of what drew us to punk in the first place. But despite the deluge of bullshit, we know that occasional nuggets of ugly and raw authenticity will claw their way to the surface for the hardcore punk faithful. And folks, we have just such a nugget in Deadly Struggle: 8 tracks of pummeling aural turbulence on a 12" slab for those who desire reality over cosplay. Building off the shockwaves of 2020’s Condemnation, Public Acid’s sound—a skewed, arty amalgamation of bludgeoning hardcore, frantic, riff- soaked d-beat, harsh noise, and underground metal—has only grown more focused and furious. There’s the virtuosic rhythm section, possessing an inhuman combination of lightness of touch and neanderthal power; the blinding, riffs-inside-of-riffs guitar style; the density of sound, massively heavy and pock-marked with kaleidoscopic fuzz; the maniacal vocals, inventive in both their technique and their rhythmic cadences; and, of course, the deadly mid-paced parts. Deadly Struggle reminds us that while hardcore punk will never die, those who cheapen it absolutely will.

[engl] Easy Weapons was the debut from North Carolina’s Public Acid. Originally self-released by the band in 2018 in a criminally small press of 300, LVEUM is proud to finally get it back in print. PUBLIC ACID’s debut is an extremely ugly, powerfully distorted record. Taking cues from the outer fringes of both Japanese and Italian hardcore punk and combining it with the weirdness of early primitive black metal, pushing the feedback, noise and performing intensity in to the red from the first note. PUBLIC ACID execute very idiosyncratic song writing. Full of memorable riffs that twist and turn on a constantly out of control ride, which gives it a very urgent feeling of confusion and chaos. The ferocity and out-there-ness of luminaries ala G.I.S.M. or PARABELLUM, and the immediacy of WRETCHED, NERORGASMO or SHOTGUN SOLUTION in the hell of a modern sui-generis punk album.

[engl] Breakneck audio level destruction from Quarantine on their first full length release. The demo was a glimmer of perfected USHC pastiche but “Agony” pushes the limits of aggression to some kind of land speed no man’s land where UNITED MUTATION, GUDON, and “MY AMERICA” (FU’s) are firing live ammunition into each other’s boomboxes in a bid for hardcore punk long play supremacy. Instant classic from a group of utterly blue chip musicians on the label that can’t be beat. (Jonah Falco)

[engl] Over the top and pummelling return from Quarantine. No change in intensity or drive offering another tastefully brief and intense blast that bores holes into the earths crust with steel drillbits sharpened on the FUs, YDI, OUTO, GBH, and a healthy dose of the jester's grin. Absolute powerhouse of musical talent featuring an unequivocally ferocious rhythm section driving seriously gnarly guitars and twisted vocals at speeds that would make most people pass out. This is pure HC. - Jonah Falco

[engl] The debut release for a new Bristol based band, an 8 track mini LP that is a pure hardcore punk rager, somewhere between early Poison Idea and Hellnation… (from the opening roar of noise, personally, I immediately registered 9 Shocks Terror)… In the modern day scheme of things they rank (yeah, sorry) alongside Stray Bullet, Zero Again and Rat Cage; and there’s also distinct traces of the local region, as exemplified in recent years by Regret, No Pulse, Bullet Ridden etc. And, with that in mind, apropriately enough, Rank feature at least one member of Grand Collapse; plus on drums, Mark, an old comrade from the Southampton scene having played in No Substance and Whole In The Head, and more recently/currently Beginning Of The End/Agnosy.

[engl] Much like the classic Japanese bands we all know and love, RASH?MON has never rushed to release anything. They wait until the time is right to completely raze your dome with their densely packed Tokyo via DC hardcore. (Did DEATH SIDE ever cover an ARTIFICIAL PEACE song? Probably not but if they did it might sound something like this. Maybe. Anyway...) Add the absolutely sloth-like pandemic production schedule and that had us frothing for ages. Almost long enough to give up and go home but that would be foolish since that is just not what punk does. Careening effortlessly between anthemic and cerebral, despair and optimism - "Nin-Gen" provides a destructive, cathartic release from the ugliness that has become our day-to-day existence, as well as fostering just enough anger and hope within us to make tomorrow worth fighting for. 500 copies on 150gr black vinyl with an etched B-side housed in a 24pt reverse board jacket with riso print poster insert and download card included.

[engl]  The combination of all their previous work and a steady live band has come together to form the great Henge Beat LP. Beautifully housed in a bright European-art-designed gatefold sleeve. These guys have outdone themselves with this one. Musically it rests somewhere between late 70's UK new wave a-la Ha Ha Ha era ULTRAVOX and the "now sound" EDDY CURRENT SUPPRESSION RING Aussie garage that we all know and love. Add a dash of hopeful Krautrock flavor and the recipe is a smashing success. We could not be happier to offer this perfect execution to you.

[engl] The Ratman is back with yet another dose of first-calibre hardcore. Taking cues from the golden age of International hardcore punk circa 83 and with eyes fixed on the late TOTALITÄR, this madman manages to write and record four new anthems, which follow the trail of destruction left by his first EP last year. Do not expect many changes, there is the same fixation with HEADCLEANERS, DISARM and Swedish Käng. The same political content than their previous output, a fresh and sharp look at contemporary world affairs somehow missed in current punk.

[engl] RAT CAGE is Bryan J. Suddaby’s solo project. A one man stand against the world. Armed with guitar, bass, drums and a sick brain he brings six relentless tracks of total Sheffield mangel. Heavily influenced by the all time greatest TOTALITÄR and with a clear political edge RAT CAGE delivers track after track of high energy hardcore punk that will make fans of DISARM or PARTISANS equally happy.

[engl] At last, ‘In the Shadow of the Bomb’, the pummelling new single from Rat Cage is back in print after a limited lathe run on Lughole Records last year. The A side is a Burning Spirits style ripper, inspired by a trip Hiroshima and witnessing the devastating long lasting effects that nuclear war has on a city and country. ‘In the Shadow’ sonically nods to classic Japanese hardcore, but still maintains the typical Rat Cage blend of Scandi/UK punk. On the flip side, ‘Scared Of The Truth’, is a political mid pace stomper that rumbles with power in a State Violence, State Control fashion, while somehow also sounding like Out Cold at their most rocking. A glimpse through the cracks as to what’s coming next from Rat Cage in 2023.

[engl] Yorkshire's most Honorable Master of Mangel brings to bear upon us the sophomore RAT CAGE full-length, an anxiety-compounding white-knuckle ride through the nauseating experience commonly known as trying to get by. On SAVAGE VISIONS, listeners are exposed to the maniacal cries of the critically-minded individual pushed to the absolute brink, copping rapid fire tidings of woe belted out by an unhinged unit who has finally ceased to give a fuck. Here we find Bryan of Sheffield, defiant and desperate on what is by far the most sinister, claustrophobic, reckless and dynamic release in the RAT CAGE catalogue to date. Though it may be full of huge sing-along-moments and loaded with surprises, SAVAGE VISIONS is no party, because there's nothing to celebrate. The boisterous resilience and boozy joy of previous works has vanished. With the rule book shattering the window of the '82nd floor, SAVAGE VISIONS lashes out at times towards the not-too-distant sounds of VENOM, MIDNIGHT and later DARKTHRONE, expertly folding these riff expressions back in to the irresistibly dysfunctional bop of GBH and CRUCIFIX. Anyone who chucks this thing on is going to feel like the passenger in a car crash waiting to happen. Razor's edge lead breaks serve only to increase the tension. Our driver careens wildly across both sides of the highway, regularly steering us toward the familiar influences of SKITKIDS, THE PARTISANS, DISARM, THE VARUKERS, TOTALITÄR and AUKTION before quickly engaging the hand-brake once again to speed off at 90 degrees in the direction of the unfinished overpass at the edge of town. Due to the up-scaled take on Swedish HC and the (now boosted) thump of the kick drum and bass guitar on SAVAGE VISIONS, this record feels like DISFEAR's Live The Storm played significantly faster. Minimal respect is afforded to genre convention. The way it should be - every band, every time. You may very well survive the maze, but what will you become by the time you reach its exit?

[engl] Here you go, punks of the year 2022, first full format release “Rostotalcontrol” by Rat’s Eyes - 4-piece future punk, hardcore punk band straight from Moscow, Russian Punx Federation from the year 3022, yes, this is how this piece of the world will be called in many years. It’s really sad to see, that lyrics, which happened to be written almost 1000 years after today, totally describing the situation, which is happening right now in eastern Europe. Anyway, guys are safe now, came out of this chaos and project “Fucking President” can’t get his iron arms on them. PEACE = DEATH FOR THE SYSTEM.

[engl] Bjorn Dossche of Rise & Fall and Chain Reaction on Redemption Denied and their new album "Where Dead Ends Meet": Somehow, longevity is a rare thing in hardcore. Consider yourself lucky if your favourite band made it past the 3 year mark. What's even rarer is a band that pushes on - despite line-up changes, personal careers and the pressure of "adult" life - to deliver their first ever full length album almost a decade after their debut EP. But, that's exactly what Redemption Denied did. And the damn thing hits like a sledgehammer. Granted, the subtle approach was never theirs, but on this album the vigor, determination and sheer power can be felt in every single song, every single riff and every single word singer Kasper spits. It's clear that while "Where Dead Ends Meet" was being written, Redemption Denied sharpened their skills and made sure their all out assault didn't lose the dynamics needed to keep everyone's attention, all of the time. Their 90s CTHC (Hatebreed, Death Threat) meets Upstate NY (All Out War, Stigmata) sound has never hit harder, not in the least by the increased death metal influence that tips "Where Dead Ends Meet" over the edge of what's socially acceptable in terms of heaviness. The destructive aggression their music possesses, is more than matched by the apocalyptic, socio-political lyrics that strike a precarious balance between embittered and empowering. It's their testament, written in blood. "Where Dead Ends meet" was recorded at Jupiter Studios in their native Belgium, mixed to perfection by Taylor Young (Nails, Twitching Tongues, Xibalba, God's Hate) and mastered by Brad Boatright (Ringworm, Never Ending Game, Integrity), and boasts incredible cover art by Ridge Rhine (Terror, Knocked Loose, Judiciary). To top things off, it also features guest vocals by Tyler Mullen (Year Of The Knife) and Bjorn Dossche (Chain Reaction, Rise And Fall).

[engl] In the tradition of fast as fuck 80’s hardcore that holds all the energy and none of the constraints, comes REEK MINDS with their debut full size. “Malignant Existence” is chock full of blistering speed and punishing sonics pushed to the absolute limit of the physical form. Just like their insane live shows, this will leave you sweating and thirsting and scared. If you ever fantasized about Void covering Negative Approach or Lärm doing Poison Idea, this is essential. 300 on black, 200 on white and 200 on translucent red 150gr vinyl housed in a 24pt jacket with lyric poster included. Recorded by Evan Mersky. Mastered by Will Killingsworth. Art by Cameron Thomas. Layout and lettering by Tam.

[engl] As the dust finally settles on their debut 7 inch on EDGER records, REEK MINDS returns with a record that is equally punishing as it is breakneck. With speed clocking in over 120 MPH, "Rabid"holds the current land speed record for Portland, if not the rest of the west coast, with little competition in their way. With influences such as Siege, Poison Idea, No Comment and early Die Kruzen; Reek Minds takes traditional 80's USHC influences and combines them with west-coast power violence influences. Hotter-than-hot, these seven tracks usher in 2021 with fire and fury that only this band can. Limited to 500 records.

[engl] After a sold-out-in-a-flash demo, Repression returns. This time featuring a fully-fleshed-out line up, complete with the former drummer of Extended Hell and Urchin. For their vinyl debut, Repression have expanded on their Burning Spirits-by-way-of-Boston sound...with monstrous Heresy style drumming, explosive thrash guitar, stompers with a healthy amount of swagger, and even more unhinged vocals. “War Comes Home” is a varied and fun listen straight through, with several highlights. Look no further than “Noxious Bulb”, where bombastic hardcore is birthed from ominous building guitar “Big Take Over” style.

[engl] We physically took this recording around to various outdoor places where “people” enjoy “music” and played the album for them. Without prompting, here are some of the highlights that got spit back at us: “Aggro midtempo noise. I love it!” -guy wearing a Rudimentary Peni shirt “Unfriendly.” -mother of two “Misanthropic.” -foodeater “Sounds like these guys have hopeless lives.” -frisbee golfer “If the Dead are a friend’s couch and Metallica are a room at the Waldorf, then Retirement is a concrete mattress.” -professor of media studies “There is so much dirt in this city.” -anonymous portable bathroom chatter “Is ‘nihilism’ a music genre now?” -comedy show barker “Punk? No thanks.” -mother of three

[engl] Another Finnish HC-classic released on ROR in 1984 and never reissued before that shows impressively why so many punx love Finnish HC worldwide! Comes with the poster-inlay which contains additional photos from Puntala-rock 1983 and lyrics! On the studio-side RIISTETYT sing in English which works surprisingly fine! On this LP the B-side is much better than on the original LP cause RIISTETYT play here much tighter, especially Piise's basslines are incredible! The sound-quality is also good! This is another Finnish HC-classic from 80ies!