[engl] THE WANKYS 2nd studio album finally sees it’s release on the bands preferred format hard vinyl. This incredible violent recording includes 8 songs. Amongst them a re-recording of the barmy army sing-along song “ABC I Love Noise Punk” and the already classic “Hey Crusty Have a Fucking Bath”. This is the musical equivalent of pissing in an electricity socket and sees the band blending their noise attacks with incredibly catchy punk rock songs, all wrapped up with their trademark guitar fuzz attack. The Wank Mag contains much non-sense including band history, lyrics, guitar tab, photos, Wankerman comic strip and even a dot-to-dot penis drawing. This lavish package is all encased in a Kuro inspired envelope.

[engl] Tube Alloys have made a type of record that is in short supply these days. A record that is untethered to prevailing musical trends, punk or otherwise, in either their native Los Angeles or further afield. It's in keeping with a tradition, sure, one pioneered by bands like Wire, Swell Maps and This Heat, who sought to combine the vitality of punk music with an omnivorous ear for the avant-garde. But Tube Alloys honour this tradition with their disinterest in nostalgia and their ability to cast an irreverent eye towards our present and - crucially - our future, rather than endlessly rehashing our past. In short, Tube Alloys are adventurous where many of their contemporaries are content to play it safe. In doing so they tick a lot of boxes for those with open minds and open ears, while simultaneously making sense of the innate contradictions found in any great work of art. Their songs are muscular without being boneheaded, clever without being nerdy. A dry Australian humour is barked with an American sense of self-assuredness. Songs end before you've had a chance to digest their brilliance, or they explode right when you think they've already peaked. And just when you think you're comfortably along for the ride, the songs disappear altogether, and the record's centrepiece abruptly takes shape as an oblique spoken riff on Time. And Time it is, for something a little different. Finally! If you are in need of refreshment, then look no further, you have found your Oasis!

[engl] Young Barcelona band made up of half ABSURDO and half ANARQUIA VERTICAL members. Their debut EP is pure fire, idealistic hardcore with venom and punch. Sonically clashing the golden years of Spanish or Italian hardcore with early NYHC and even Midwest hardcore while lyrically carrying the torch of anarchist Barcelona bands.

[engl] Ultra are a raging anarchist Barcelona band made up of half Absurdo and half Anarquia Vertical members. Their second EP is a 7 tracker full of short, intense and pissed off fireballs. It's chaotic but well played and recorded and hints at the Golden age of European hardcore mixed with Heresy and Crucifix.

[engl] UNA BÈSTIA INCONTROLABLE was born in 2012 as a side project with members of GLAM, DESTINO FINAL and CROSTA. They got wind of GLAM playing a show in London and decided to jump on the bill. They got a set together and recorded it in a rush to have some tapes to sell as said show. The tape recorded mere weeks after the band's inception remains an extremely powerful recording that only 100 lucky people managed to get on its original format. It shows the band as its rawest, pushing the limits of their previous bands as far as possible and setting the mood for what "Observant Com El Mon Es Destrueix " LP would be.

[engl] Barcelona's UNA BÈSTIA INCONTROLABLE came out of nowhere a few months ago. Within a few weeks of their existence they had recorded a promising demo of experimental noisy hardcore, played a few shows in UK and Spain and started working on their debut album. Barely 6 months later they give birth to "Observant Com el Món es destrueix". A 9 track LP integrally sang in Catalan and with a psychedelic approach to their previous bands sound (GLAM/ ATENTADO/ DESTINO FINAL / INVASION/ CROSTA amongst others). Their primative anthems of nature seeking dreams are distorted, repetitive and heavy at times. With their boots firmly stuck in hardcore based while keeping the overall sound free of any boundaries and styles. The artwork by guitarrist Guillem el Muro reflects the spirit of the album perfectly. An explosion of hardcore between day dreaming of peace and nightmares of reality.

[engl] Bogotá’s UNIDAD IDEOLÓGICA sound is pure high intensity hardcore. The eight songs on their debut 12” clock in below 15 minutes and not a single second is wasted. Their sound is very bass and drum driven, full of breakneck, pummelling relentless beats which do not rest for a second, setting a claustrophobic atmosphere for the noise to grow. Feedback ladden guitars at times verge on BM, which brings RAW POWER, EXECUTE, GISM and DISARM to mind, creating the perfect background for a raging vocalist full of venom to sing about fear, control, technology, and the rampant neoliberalism destroying their land and literally killing as we speak.

[engl] A deranged cacophony straight out of London, England. On their debut, self-titled release, VIOLIN blend elements of Swedish masters TOTALITÄR and HEADCLEANERS with the muscle and swagger of Boston 82 and the panicked power of NYHC in the mid 80s. The end result is a Mind numbingly fast and concise pure hardcore punk that is all together contemporary, edging in at times on the learned idiocy of Toronto’s S.H.I.T. VIOLIN is the brainchild of Lindsay Corstorphine (SAUNA YOUTH, MONOTONY, PRIMITIVE PARTS etc) who has written, mixed and recorded everything on this stellar release, with the exception of the drums, here carried out by the inimitable Jonah Falco of FUCKED UP fame. Pinning Falco’s drumming to Corstorphine’s vision has nailed a sound which is at once huge and perfectly audible, whilst remaining brutal and ugly in tone. There are moments of genuine innovation on display as is evident on the track ‘Empty Mind’ which begins with discordant noise, before building from a mid-paced swing into frantic lunacy, and then introducing a harrowing and unexpected synthesiser. The stark black and white artwork, carried out by Daniel David Freeman, provides a perfectly abstract and menacing back drop to this slab of primitive hardcore.

[engl] Tokyo's VOCO PROTESTA second LP finally arrives. Moving away from their extremely noisy EPs and working along the lines of their "Vojo al Libereco" LP from 2009 their new twelve track LP brings to mind early 80's Swedish hardcore bands ala CRUDE SS or SVART PARAD as well as Italian/Spanish anarchist bands from the same period like IV REICH/ WRETCHED. All ran thru their own Japanese filter and with a crystal clear recording. Sang integrally in Esperanto with a strong anarchist message "Neniam Konfidu al la Stato" (Never trust the State) is a fresh hope statement against the stale world we live in.

[engl] Tokyo's VOCO PROTESTA blend the best of the last fifteen years of Japanese distorted hardcore with the early 80’s European punk attitude. Their sound has changed a touch since their three 7"s - It’s more dynamic, perhaps less CONFUSE and more CRUDE SS. However, their ideas are still the same, highly idealistic anarchist lyrics about a better world sang in Esperanto. Their sonic approach is still distorted, primitive and urgent. Fast and angry. 'Vojo el Libereco' is a classic slice of raw hardcore for any fans of GLOOM, FRAMTID, FRIGORA and other masters of the black and white high contrast artwork. Cover by Teodoro Hernandez.

[engl] "If you look at the band photo on Make Me Sick’s insert, you’ll see people from pretty much all the best and most popular hardcore punk bands in Pittsburgh for the past few years. These people know how to make great hardcore punk, and Make Me Sick is White Stains doing just that. While White Stains isn’t as as blistering as Loose Nukes or as brutally intense as Blood Pressure, that’s only because they’ve taken a different tack here, channeling the snotty, punky hardcore of bands like the Circle Jerks, Sick Pleasure, and Chronic Sick. Of those bands, Circle Jerks is the most apt comparison given how White Stains’ snottiness comes along with so much catchiness and rhythmic density. And like Group Sex, the drum parts are almost catchier than the riffs here… I need to be careful listening to this while driving because these songs might make steering seem less important than air drumming" (Daniel Lupton)

[engl] It's been four years since Woolf unleashed their debut album, The Right Way to Play also on La Vida Es Un Mus and described as a “pungent spit on the face of musical normality”. Now they're back with a dystopian revision of feminist queer punk. Born out of South London's squats and social centres, all but erased in recent years by the Tory government, the four-piece have produced an album conveying alienation and activist fury, the opening track “Civilisation” setting the tone with the (rhetorical) question “is this what they call civilisation?”. Wall of sound guitar distortion provides a backdrop for a commanding, minimalist bass and insistent drums, with vocals that straddle the line between anxiety and paganity. It’s 11 unsettling songs in 11 uncompromising minutes, recalling the experimentation of no wave bands such as UT distorted by a raw punk aesthetic. (Melissa Steiner)

[engl] Rising from the underbelly of London's underground queer scene WOOLF have been shocking anyone who cares to listen, for a couple years now. After a primitive self released cassette and a brief venture into the vinyl world via a split 7" with Trash Kit on the Milk imprint, the time was ripe for a longer player. "The Right Way to Play" delivers a pungent spit on the face of musical normality. Clocking out at slightly over 13 minutes their debut is everything but Right. Bouncing between dissonant punk, inept proto hardcore and psycho noise-pop whilst dealing with issues as relevant as having fun, forest witchery and queer love - all under the tag of primitive musik. All this racket has been wrapped carefully under a great sleeve design by Sophie Brown to top things up.

[engl] “Toisten Todellisuus” compiles two 7”s by Helsinki, Finland’s YLEISET SYYT: their self-titled EP, originally released in 2019, and 2021’s “Umpikujamekanismi”. Despite members playing in well-known underground Finnish bands like KOHTI TUHOA and FORESSEN, YLEISET SYYT has flown under the radar in the Anglophone world, with only a small fraction of their records’ tiny pressings making it outside Finland. Fortunately for you, the hardcore fanatics at Sorry State and La Vida Es Un Mus have our ears to the ground, and we agreed that a band this killer deserves a much wider audience. YLEISET SYYT’s sound is both blistering and anthemic, moving nimbly from full-throttle rippers like “Hygieeninen Ruumis” to tracks like “Hyväntekijä” and “Luovan Keskiluokan Takapihalla,” whose big chorus hooks could have anchored a Riot City or No Future A-side. The combination of ferocious performances and songwriting chops might remind you of older Finnish bands like LAMA, MELLAKKA, and APPENDIX, but MINOR THREAT, THE FIX, and NECROS are equally apt comparisons. If you like your early 80s-style hardcore tightly-wound, razor-sharp, and bristling with hooks, you’re gonna love “Toisten Todellisuus” as much as we do (Daniel Lupton)

[engl] Death is raining upon us. Once again the banality of evil is plowing through lives and land. It comes in the shape of man, a mushroom cloud in trousers. What was first an artistic experiment, investigating childhood fears. The dark cloud on the horizon. Looming over us always. Became reality. These six tracks are instruments of terror. Focusing on the inhuman barbarism of humanity. Deafening, blinding, four minute-warnings of heavy electronic mayhem. Programming the synths like Stalin’s organ. Causing radiation sickness. Sonic assault of the mind and body. Hear the siren songs. Sex on red alert. Beware and behave. The Road to Nuclear Holocaust has never been closer. Devastating zynth-slaughter debut LP by Sweden Ä.I.D.S. Six tracks of deafening, blinding, four minute-warnings of heavy electronic mayhem.