Kriegs Legion- War Bastard LP review

Kriegs Legion- War Bastard LP review

This is real old school shit, crossover the way it was made before hardcore influenced it in the 90s.  Utilizing the two guitar sound in an almost Iron Maiden-esque way (that is, with the use of simultaneous harmonies and an individual sound for each guitar), it is the plentiful riffs that seem to drive these songs forward.  The drums are metronomic, damn near flawless; bass is bumpin’, following the high end of the riffs with a mirrored, low-sounding rhythm; the vocals are gruff, mid-pitch yells with all the youthful angst and nervousness boiled out in favor of a righteous urgency (given the lyrics, it makes more sense to be this way).  Lyrics cover a wide range of topics, most of ‘em related to the shrinking level of freedom the powers that be allow the common man, the proletariat of today.  Propaganda, bribe, coercion, or a violent end is what seems to be the accepted norm for combating oppositional individuality in this day and age, and Krieg’s Legion is unafraid to say it.

The layout of the insert for the record is smooth yet simple, the recording quality is clean but not spotless (as all metal and punk should be), and there’s some room left to headbang.  A fine piece of Motor City metal and/or punk.

-Aunty Social

Iron Youth- 7" review

Iron Youth- 7” review

What if the singer from GLUE was really bent out of shape and the band was on Youth Attack?  Tortured, agitated, sludgy, driving, dirty hardcore that sounds like a bad day in the making.  Repeated words, repeated thoughts, angry sighs, Xanax bars chased by bottom shelf whiskey at 2 in the afternoon, My War’s shorter-songed cousin, trying to forget who you are or that you’re even alive… that, is this record.

-Aunty Social

Tear Off//Clean Up/Don't Get Bored split tape review

Tear Off//Clean Up/Don’t Get Bored split tape review

Tear Off//Clean Up’s melodic punk has a non-straight edge 7 Seconds vibe to it- very sing-songy, but with some energy behind the instruments.  These guys should be the band that gets the beer drinkin’ beardos energized to see bands at Riot Fest, in a good way.  Melodic and energetic in a way that says “You can mosh but you don’t have to”.  I see fist pumps being more favorable here.

Don’t Get Bored is the kind of band that would fit perfectly in 1980s Midwest nowhere/anywhere.  Snotty, contemptible, and juvenile, yet full of energy and honest, ya gotta love it.  Sonically, it could fit in next to something like Pure Disgust, but the band taken as a whole definitely is a thing in itself.

-Aunty Social

No/Breaks- No/Breaks demo review

No/Breaks- No/Breaks demo review

This is hill-bombing, Natty Ice-guzzling, Kools-smoking, J-rolling hardcore punk straight out of the 1980s, in spirit if not in reality.  This is the kind of demo tape you buy at the age of 17 and just listen to over and over and over again.  What this lacks in tunefulness and snappy catchiness, it more than makes up for in simplicity and pure energy.  Much like Pokemon or the first two Terminator movies, the replay value on this is about as high as one can get.  That is, unless you’re Snoop Dogg or Sublime, and then you’re probably not all that into hardcore punk.  High or not, this is the music of the bored, anxious, misanthropic Midwesterners with attitude problems and crappy jobs they don’t like.  Just how we like it.

-Aunty Social

Coke Bust- Confined LP review

Coke Bust- Confined LP review

What else have you come to expect out of Coke Bust other than the most stellar hardcore punk this side of the Atlantic?  They are known for their steady, excellent output of multiple short, fast songs- here’s nine more to add to that.  Sociopolitical/cultural/personal lyrics over top of some rapid drumbeats and fucking crushing riffs (Neutralized will make you mosh no matter who or where you are) delivered with spot on production and precise playing from four highly dedicated individuals in the hardcore punk scene (they don’t just play D.C.- they play all over; in fact, as of June 2015, they’re going to Japan, and have been all over the continental U.S., Europe, South America, and probably Canada and Mexico to boot).  This band is what all bands should aspire to be in terms of dedication and influences, one of which is a personal twist that makes your band your band.  I expected nothing less and received nothing less.

-Aunty Social

Last Words- Last Words LP review

Last Words- Last Words LP review

The title track is enough to warrant a positive review of this record, but it’s just the tip of the iceberg (or, idioms-wise, saving the best for last, since it’s the last song on the record).  Vicious, shrill vocals will tear you the fuck up here- you wanna talk about hard… THIS is hard.  Heavy as ever, fast as all fuck, and covers all the bases a hardcore punk record needs to.  What more can I say beyond this and that you have to get this record?  This is one of my most recent favorite LPs to jam- get it?  Got it?  Good.

-Aunty Social

Corrupt Leaders- s/t 7" review

Corrupt Leaders- self titled 7” review

Heavy grindy hardcore a la Dead In The Dirt, Napalm Death, and a little Carcass here and there.  Usual fare for lyrics- anti-authoritarian, pro-individuality stuff; nothing new, nothing bad.  This errs more on the side of heavy, though, and rightfully so- not enough grindcore is able to do that; it’s all fast-fast-fast and although that formula can work in hardcore punk, it gets boring really fast in anything else.  Not too shabby.
-Aunty Social

Asylum- s/t 7" review

Asylum- self titled 7” review

Primitive D-beat with some heavily reverbed vocals and cryptic lyrics.  Has a heavy grindcore/classic anarcho punk layout on the inside of the record.  Definitely a headbanger from front to back; feels like a couple of long songs, being kind of hard to tell them apart with no distinct riffs or choruses.  Still, a nice slab of wax from some East coast cats.  ABC D-beat.

-Aunty Social

Corrupt Leaders- Grindmother 5" review

Corrupt Leaders- Grindmother 5” review

This is definitely pure grindcore.  I don’t know if it’s your grandmother’s grindcore, but it sure is loud, abrasive, fast, heavy, and appropriately annoying.  A definite departure from their DOOM/Extreme Noise Terror vibe they gave off on their self-titled 7”.  It’s short enough that it’s no harm done if you’re not into it, cuz the worst thing that happens is two minutes gone.  Best thing that happens is you get 120 seconds of headbanging in.  I’ll bet on the latter being more likely.

-Aunty Social

Criaturas- Espirita de Libertad LP review

Criaturas- Espirita de Libertad LP review

A mix of crossover, D-beat, and straight hardcore punk with a shrill voice behind the mic and a unique mix of reverb.  The production is clean but not slick, the songs are great, you can even bang your head… this is hardcore punk exactly as it should be.  That is, evolved from punk rock, but not trudging too deeply into the thick monotony of NYHC-styled hardcore.  Excellent.

-Aunty Social

Don't Get Bored- self titled review

Don’t Get Bored- self titled review

This is the godchild of John Brannon and Todd Swalla; pure, unadulterated, no additives, one hundred percent 80s Midwest snot.  The only difference between the two eras is the higher production quality.  The Necros vibe is almost unreal; I love it.  Deep Wound and Jerry’s Kids also have a little influence here- maybe they have an uncle from Massachusetts.  Just imagine if it were the 80s again, because this band perfectly embodies that vibe- the juvenile, nascent, short-sighted, live-for-today zeitgeist.

-Aunty Social

Eyesore- demo tape review

Eyesore- demo tape review

What if Murphy’s Law and Infest met, had angry flippant sex, and birthed a child on a shitty motel room floor on 8 Mile and Woodward next door to a guy getting pissed on and a guy who just got kicked out of his house in a messy separation?  That’s Eyesore.  Sonically, like Extortion, lyrically a lot less serious, this band knows what the old adage “less is more” means.  Sixteen songs, eight minutes; this is for those who lack the attention span needed for good music.  I love that.

-Aunty Social

Earth Girls- Wrong Side of History 7" review

Earth Girls- Wrong Side of History 7” review

This is high quality, fast paced garage-y punk rock with a big pop element to it- imagine the Ramones with a female singer (not that different a sound, honestly) and slightly less intense instrument volume.  This is catchy, melodic, well-written, well-recorded, jangly music with a “soft side of punk” vibe.  This could almost be pop punk if not for the fact that this is no doubt a record written from a chronological vision before pop and punk were ever fused together.  For anyone who understands where punk came from originally, sound-wise, or wants to.  Excellent.

Green Beret- The Cult of State 7" review

Green Beret- The Cult of State 7” review

Boston hardcore plus old-school D-beat equals one of my favorite current bands.  With a slightly different approach than their 12” but with the same hard-as-nails anti-war vibe, they plow through six ragers in as many minutes, commanding attention with a droning, bleating voice that sounds like the voice on an air raid siren.  The drums are no doubt in the front seat driving the song, but everything flows together so well that it’s difficult to say which is more important, in terms of instruments.  This is everything a hardcore punk 7” should be.

-Aunty Social

Violent Reaction- Marching On LP review

Violent Reaction- Marching On LP review

This is what I’ve been waiting for!  The steady improvements that Violent Reaction have been since their flexi (when I started listening, anyways) have culminated into this monster of an LP, one of the best I’ve heard as of late.  The blue-collar straight edge skinhead/Oi! influenced hardcore punk they play hits harder than any mid-tempo band who focuses exclusively on breakdowns and sloganeering lyrics ever could.  The vocals are booming, the guitars are tuned and distorted just the way they should be (normal EADGBE and high-EQ distortion, I think), giving off a bit of an 86 Mentality vibe but better, the bass is bouncing like their Doc Marten soles, and the drums hit on all cylinders, large and small.  The lyrics are no doubt primitive at times, but still provoke enough though to be worthwhile and still fitting of what is no doubt a genre best left to the realms of simplicity.  From the brutal intro of M1 Stomp to the almost Blitz-ish Marching On, this is THE LP to get if you like hardcore punk, no matter who you are, or what subgenre therein you like.  This is the New Wave of British Hardcore, and VxR are the ones marching on into battle, waving its flag.

-Aunty Social

Harm's Way- Rust LP review

Harm’s Way- Rust LP review

Imagine a cinematic sequence of a movie version of Streets of Rage:  Four guys surround you; one has a machete, one has a pipe, a third has a knife, and one more is unarmed.  The guy with the pipe swings at you, but you dodge it and hook him, knocking his featherweight ass out; he drops it and you pick it up.  You swing it up at the guy with the machete, who is coming at you, blade raised in the air.  You knock him back, stunning him briefly as he drops his weapon and the knife wielder lunges at you, the blade drawn and pointed right at your midsection.  You lean far backward, your assailant just missing his strike as you drop the pipe in your left hand.  With that same hand, you force your fingers into his throat and rip out his Adam’s apple, pitching up his knife as the two remaining assailants close in once again.  You swing the knife in the direction of the unarmed assassin, causing him to take a step back, while the Jason Voorhees wannabe gears up to slice you.  As he brings his blade down, you do a 180° spin with your right arm at shoulder level, with your own blade traveling in the direction of this armed assailant, who just misses you as the blade passes only three inches away from your back.  The knife swiftly enters into his neck; he almost instantly drops his weapon, clutching at his neck as you let go of your stolen knife.  Seeing that your one remaining adversary is right behind you and moving in, you let out a spinkick and do an about-face to confront your final enemy.  You pick up the machete from the ground and glare at your only remaining adversary, staring almost all the way through him as the urge to scream in anger rips through your body.  Your final assailant turns around and runs away in fear as your mouth open to bellow out all the rage that’s festered inside you all these years; finally, you unleash it…

You realize you’re the singer of Harm’s Way, an extremely heavy metallic hardcore band from Chicago, Illinois, and your assailants were members of Weekend Nachos, the last surviving member (the one who turned tail and ran, the turncoat bastard) being Snyder.  You realize that you have to finish vocals for your new record, and you get back to the studio to lay down the last few tracks.  Heavily influenced sound-wise by death and industrial metal, you lay down a similar albeit different style of vocal more akin to a hoarse version of Mike IX Williams from Eyehategod.  The records comes off as sounding as heavy, pissed, and full as ever, though the lyrics indicate you are a man of few words.  Just as it should be.  Truly a progression just as much as it no doubt a Harm’s Way album.

-Aunty Social

Tear Off//Clean Up- demo tape review

Tear Off/Clean Up- demo tape review

This is blue collar melodic hardcore punk with a heavy sing-a-long vibe a la 7 Seconds, Frank White, early Descendents, and the like.  It’s well put together, but doesn’t perfectly match up with the rhythms of the song, which is part of what gives it the soul that it has.  It’s clear, but not clean- hell, you could give this to a crusty in between their shitty Contravene discography CD, Disclose bootleg tape that they paid $100 for and it still sounds like shit, and a still unwrapped LP of Mischief Brew’s latest record, and it would fit in just fine.  These are some cool catchy guitar driven punk rock songs.  Buy a pint of R&R and a pack of Native Spirits for the complete TO/CU experience.

-Aunty Social

Prohibition- Demo 2015 review

Prohibition- Demo 2015 review

This is a decent demo- what one might expect is certainly delivered.  There a tinge of New Breed era NYHC, Keep Deep In Shit, the Reaper Records sound, and modern youth crew.  Take the cheesiness of Bold, the sounds of Disengage, and the singer of Plagued With Rage (or any skramz singer, take your pick), and you have Prohibition.  Beefy power chords, a steady stream of bass lines, pounding drums, and a set of vocals that are akin to Freddy Cricien fronting Agnostic Front in the late 80s- it sounds like your little brother who watches your band got up on stage and started singing.  Not bad, but it could be better.  As for the lyrics, let’s just say this IS a demo, and it’s all up from here.  Think early-era Madball, and how basic and simple those lyrics are- this is pretty much on that level.  Instrumentally on point, at least tone-wise (songs are okay- neither great nor terrible), weird but decent vocals, and lyrics that make you glad you aren’t fourteen anymore.

-Aunty Social

Shitstorm- Paranoid Existence CD review

Shitstorm- Paranoid Existence CD review

Fast, heavy, short, and brutal- what else could you want out of a grind band?  I am generally not a big fan of grindcore, but this has a very Lack Of Interest/Neanderthal/west coast powerviolence feel to it, and I like that a lot.  The downtuned guitars coupled with the blastbeats and misanthropic lyrics/vocals will tear you up- twenty-seven songs in sixteen minutes.  This should remind you of what the Circle Jerks were if they tuned down and (somehow) sped up.  Miami is known to have hurricanes from time to time, but this is a Shitstorm, and it leaves a trail of destruction just the same.

-Aunty Social

Detain- State of Emergency 7" review

Detain- State of Emergency 7” review

Simple knuckle-dragging hardcore with riffs for days; take Madball, mix it up with modern hardcore/metalcore, and you’ve got Detain.  Mid-tempo heavy beat, gruff vocals, simple lyrics, well-recorded; everything about this EP screams simple- music for lifting weights, drinking heavily, fighting (although it isn’t as good as Neanderthal’s Fighting Music), fucking (if you can find a mutant willing to do so), or taking out your anger on a bad day.  Make no mistake, Detain is among the best at what they do- if you want to sweat in any way, Detain is for you.  Just bear in mind that it resonates much more with the id rather than the ego or superego.  It’s nothing new, just something good.

-Aunty Social

Detest- demo 2015 review

Detest- Demo 2015 review

This is pure death metal hardcore- equal parts Bolt Thrower and Disembodied, downtuned all the way through.  Vocals bark and grunt along with the crushing mid-tempo riffs and the crashing drums.  This goes back and forth between being a hardcore band with death metal riffs and a death metal band with hardcore breakdowns- ultimately, it doesn’t matter much, because it’s good either way.  Headbang or spinkick, this is for you.

-Aunty Social

Violent Reaction- City Streets LP review

Violent Reaction- City Streets LP review

Harder than NAILS and more straight edge than Project X, Violent Reaction’s debut LP is a hard-hitting hardcore punk record that also happens to be catchy at points, much like the early 80s.  Burly, beefy, and deep-throated vocals are coupled with powerful guitars, bouncing bass lines, and dead-on drumming to make this one-man project a reality of a band- it’s hard to believe that one guy could be so fucking on point with all the instruments, not to mentions the vocals, the lyrics, and the genuineness of character, he (Tom Pimlott) is.  There’s no other way to describe this than pissed-off hardcore punk- put it in any subgenre you like (and I tried to, too), it’s the shit.  Where you’re punching a hole in the wall at a show or at home, or better yet, shouting the words to these catchy tunes at a show, at home, or in your car (my personal favorite) you will be moving.  Packaging and design work is superb- Painkiller is on top with good records right now, and this is one of their best.  The best of the best of the best, sir, uh… with honors.

-Aunty Social

Demolition- World Gone Mad 7" review

Demolition- World Gone Mad 7” review

It’s cliché to say the demo is better than the EP/LP, but here it rings true.  The raw production compared to the slick one on this is the difference.  This IS a very clean sounding hardcore record; the songs all have distinct instrument sounds, as opposed to a wall-of-sound where everything is more or less lumped together.  The songs are there- I can hear the energy in the performance, but it feels like something got misplaced in the shuffle between performance and this recording.  It’s clean-cut mid-to-fast tempo modern hardcore, with a very cool layout and great artwork, leave your doubts behind there.  I have a feeling that some of the imperfections the demo had were boiled out on this recording, and although I believe it is those same imperfections that make hardcore and punk what it is, the record itself is still not bad.  This being said, it is these imperfect people who decided to go their own way, not take society’s shit, and make the music that only weirdoes and freaks enjoy.  I can’t knock that.

-Aunty Social

Discourse- Curse of Consciousness EP review

Discourse- Curse of Consciousness 7” review

This is pure 90s hardcore with heavy, crunchy riffs, a bass mixed in well, crisp/clear drums, and a hoarse voice wreathing out some harsh lyrics that keep you thinking.  Groovy and moshable as it is, it is a thinking man’s hardcore 7”.  The theory of the curse of consciousness is fascinating- once you are inundated with the awareness of what our world is, it’s impossible to forget it.  It is a gift to be given this knowledge, because nothing is more important than the truth, but too, the truth will weigh on you.  All the comforts of ignorance cannot unseat you from the throne of the truth, and this band is able to condense that feeling and transform it into an auditory format.  Excellent.

-Aunty Social

Forced Order- Eternal War 7" review

Forced Order- Eternal War 7” review

It’s like youth crew breakdowns with metal riffs, periodically picking up the pace, but mostly remaining at mid-tempo or the slower end of a fast tempo.  It’s a metal band with a bunch of breakdowns and a hardcore singer.  The short lead breaks are indicative that these guys like early 90s death metal a lot, and it does add an element not usually seen in hardcore (at least the hardcore I’m listening to- word is death metal-core is the hot thing on the block right now).  This is the kind of hardcore you circle pit and headbang to- 90s death metal riffs, a hardcore singer, plentiful breakdowns, and a lot of the fat of those death metal songs trimmed out, and for the better.  Cyrus poses the question “Can you dig it?” to which I can easily answer “Yes”.

-Aunty Social

Fucking Invincible- It'll Get Worse Before It Gets Better LP review

Fucking Invincible- It’ll Get Worse Before It Gets Better LP review

Imagine if Dropdead (who has members in this band) were weirder, heavier, and not as political; the influence is not pronounced, but it is there.  The vocals are a little more spastic and grindy, higher-pitched, guitars are fast as fuck, regular tuning (as far as I can tell), and drums are gnarly.  Peculiar, albeit intriguing; for any fan of extreme music, really.

-Aunty Social

Out of Hand- Visions of Death EP review

Out of Hand- Visions of Death EP review

These guys have two parts of a traditional hardcore song down- the riff, and the breakdown.  The problem is that that’s all their songs are, a killer riff played over a minute long breakdown (90 seconds, whatever).  Imagine a rubric for some kind of school project- there are five areas judged on this rubric, and this band completes three of them, passing with flying colors (the vocals are pretty good, lyrics are alright).  But the other two are just… absent.  It’s like they aren’t there.  I’m all for asymmetrical song structure, but I can’t help but feel like there’s a verse or chorus missing here.  It reminds me of forgetting to videotape something but remembering midway through the show and having to catch up on what you missed, or maybe a mixtape that gets cut off mid-song because the tape ends.  Three out of five elements are there and good, but it’s incomplete, and I can’t shake that feeling.  Keep writing those heavy metal riffs, though.

-Aunty Social

P.A.W.N.- Summer 2014 tape review

Payload of Atomic Warhead Nightmares- Summer 2014 tape review

Sounds like a d-beat raw punk band with a bit of an evolution in proficiency (in song-writing, sound quality, tone, almost everything).  Aside from the bass being almost inaudible, everything is a step up from the last tape.  Two old songs, three new ones, and a new singer make for an evolved group, though they have many more steps to climb as well.  The sound is improved, but the band would greatly benefit with a more controlled guitar sound, turning up the volume on the bass, and an increase in the sound of the cymbals.  That would do the band justice, no doubt.  The lyrics are some of the usual anti-war/anti-system stuff you’ve come to expect of bands employing exclusively black and white imagery.  Still relevant to our world situation, however.  The name of the band is a friggin’ mouthful, but they still have the potential to go places.  Who’s got the 10 ½?

-Aunty Social

The Gulags- demo tape review

The Gulags- demo tape review

Another one of the many bands consisting of a similar group of around 7-10 people (who have had or do have members of Scum, Payload of Atomic Warhead Nightmares, Marrow, Cloud Rat, Live to Kill, and Ishtar), this has a different element to it not present in the other ones.  Extremely raw and underproduced, there’s no question these guys are DIY.  This is fast and loud, but Madison’s lyrical input is a welcome difference here- it makes a band that would otherwise not stand out be worth a look.  A bit more production value would do them good- the songs are good enough for an EP, but it sounds like it was recorded live rather than in studio or tracked separately.  A demo is a demonstration- now that you’ve done that, engage and act.

-Aunty Social

Ill Blood- Prisoner of Life tape review

Ill Blood- Prisoner of Life EP review

Mid-tempo hardcore definitely taking a few cues from 90s bands (both hardcore and non-hardcore bands), especially given the sort of groovy riffs the guitar player rings out.  Mix in a few mosh riffs, a few breakdowns, and some simplistic though decipherable lyrics, you’ve got this group, Toledo’s Ill Blood.  The vocals for this kind of music are usually more guttural and low, and here, they are more often than not shrill and high; it’s not different in terms of quality.  The guitar work here is very good; it’s distinct and clicks in your brain right away.  I wish there were more memorable riffs on here, but that’s not to say they’re bad.  In fact, the guitar is the best thing about this band.  The bass is cleverly disguised between the guitar and drum sounds, though it rings out independently a couple of times.  The drums are clear and well-played, you’ve gotta love the smoothness here.  For fans of mid-2000s era Bridge Nine bands, no doubt.  I’m not feeling it as much as I anticipate others might be, but this is worth a jam.  Now, let’s hope for a split 7” and see what they can do when backed with a completely different band’s sound.  I feel like this is a lot like the movie Shaft- definitely an acquired taste, kind of cheesy and campy, but you can dig it.

-Aunty Social

Ratstab- Noise War tape review

Ratstab- Noise War tape review

D-beat raw punk with a bit of a snotty Germs-ish singer.  Everything sounds so blown out, even the bass (which is the best sounding instrument in this band), and it makes this difficult to listen to- nothing is distinct or even sounds like it was tracked separately.  If it was, they did a hell of a job blending it together to create a wall-of-sound aura with a screaming idiot (as all punk singers are) over top it all.  It is indeed noisy- it’s very stripped down and simple, not great not bad.  It’s your friend’s band who is not your ideal opening group at a show, but they’re always available, reliable, polite, and supportive.  Maybe that’s what a scene is supposed to consist of, even if the bands aren’t great.  This is still better than a band who virulently rips off ONLY Hatebreed and Madball and hollers at the crowd “Why don’t you fucking pussies mosh!?”

-Aunty Social

Spiked Collar- demo tape review

Spiked Collar- demo tape review

This is raw and brutal but still has an independently tracked sound to it, which makes all the difference.  It sounds like a couple of current Texas hardcore punk bands, but a Detroit band instead.  This is what hardcore punk is supposed to sound like.  James’ vocals are rough yet decipherable, distant yet energetic, forceful yet not forced, snarly and mean but not in a bulldog-ish way.  Nick and Denis’ guitars are perfectly balanced between the raw and real and the well-produced and clean, where it’s neither painful to listen to nor too slick and overdone.  MANPUPPY’s bass follows with the guitar here- well blended, raw but not too much so.  Jake’s drums are tight but not so tight that it’s perfect; it is nigh-perfect in its imperfection.  With some badass hand-drawn artwork and a fresh perspective by the band members, these cuts make up my new favorite Detroit hardcore/punk band.  I cannot fucking wait to see more shows, cuz this demo is gonna last me a while.
James (the singer) told me about this band back in June of last year (2014) at the Trash Talk/Rzl Dzl show (a wild event in and of itself), and since he has always been on point in writing music, I was downright thrilled to hear it.  After a few months passed, I wondered what came of it, if it was just a pipe dream, dead in the water, or if it was progressing.  Then, in November, word was released, and my dream came true.  The waiting here was so very worth it.  Their first set at the Hard Stripes/Pure Disgust show at Refuge was so good, I almost yelled at them to play it again.  Hell, it was five minutes long anyways.  Cannot get enough of this.

-Aunty Social

Dead in the Dirt- The Blind Hole LP review

Dead In The Dirt- The Blind Hole LP review

This manages to be heavy, fast, artsy, and thought-provoking, all in one.  And all this, coming from a grindcore band.  That’s right, the genre known for non-sequitors, an uncanny emphasis on drugs and political incorrectness, tunelessness, and generally being uncompromisingly stupid, managed to churn out something THIS good.  Heavy riffs, blastbeats, social critiques, oh my!

The guttural and shrieking vocals going back and forth is one trait of grindcore that the band kept, but the rest almost seems like it’s too good to be called grindcore.  Some songs clock in well under a minute, while others are almost three minutes, and the nigh-sludgy riffs are what keep one’s interest peaked.  Downright crushing!

-Aunty Social

Crisis Unit- The Tape review

Crisis Unit- The Tape review

This sounds like what California’s Media Blitz was trying to do, but better.  Crossover-ish hardcore with an emphasis on tight drums and only slightly deeper than average vocals.  Not exceptional, but good.  Worth seeing where a four song 7” would go.

-Aunty Social

Correction- Weaken the Stronghold EP review

Correction- Weaken the Stronghold EP review

The power of the riff and the drum beat are strong with these ones- the title and band name track and unquestionable signs of this.  The one epic track is the last one, and the most memorable, and the first five are burly bruiser boy straight edge hardcore punk out of France.  The singer has an extraordinarily deep growling grunt to his vocals, the guitars are beefy but still chop pretty fast, and the drums are much the same, strong in both fast and slow parts.  This is good shit right here.

-Aunty Social

Collapse- Apocalyptic Key EP review

Collapse- Apocalyptic Key EP review

What an EP!  A jarring mixture of genres with unique and fascinating words shouted over top of it, Collapse’s second effort is no doubt both an expansion and an improvement from their previous EP.  The music hits hard, a perfect anthem to capture the anger underlined in the lyrics written by the band.  These words are not only well-written, they are a breath of fresh air (even if you disagree with what they have to say, you will wind up agreeing with this).  Songs about suicide, friendship, the government, and drugs are all interesting at times, but they can also get blasé rather rapidly.  This is something different, and it’s sure as hell worth your time.  They call it hardcoredoompunx, and although this isn’t very snappy or catchy, it’s accurate.  Read the words, jam the songs, and experience something new.

-Aunty Social

Bad People- Pearls Before Swine EP review

Bad People- Pearls Before Swine EP review

Garage-y punk with a sneery tune and an unending drive of tuneless fidgety weirdness.  It’s organized, but only enough to stitch together the essential parts of a song and even then, it’s stretching it.  However spacey the idea of the song is, the energy to drive that forward is there- in the modern day, it seems like an art project, but in days past, this would have fit right next to Lydia Lunch, the Dead Boys, Cinecyde, or most of the bands on the New York Thrash compilation LP.  Very weird, very good.

-Aunty Social

Back to Back- Of Flesh and Bone EP review

Back to Back- Of Flesh and Bone EP review

Every modern Texas punk band seem to have the same recording guy, it’s odd; still, the songs are absolutely there.  Low-fi hardcore punk with some spacey garage elements here and there, hard to go wrong.  Amongst the Texas bands getting attention, this one seems to be getting overlooked, although this is just as hard-hitting as Glue’s second 7” or Blotter’s demo.  I wasn’t big on the last song with the everlasting outro, but beyond that, it’s tough hardcore punk modernized and filtered through an analog sound.  Like a pair of small pants on an oversized scene kid of yesteryear, it’s tight.

-Aunty Social

Another Mistake- Life's Noose EP review

Another Mistake- Life’s Noose EP review

This is classic youth crew with a slightly more menacing undertone and faster beat.  It’s a good ole’ Midwest Blood style hardcore EP; short, staunch, and danceable.  A new-fashioned take on old-fashioned music.

-Aunty Social

Raw Justice- Artificial Peace 7" review

Raw Justice- Artificial Peace 7” review

The band’s first EP set the stage for some good old brutal straight edge hardcore punk- I didn’t think that they could improve on it, yet they did.  I didn’t think that one guy belting out some angry shouts backed with thundering drum rhythms could make me want to get violent and mosh, but it did.  To top it all off, this record is named after (inadvertently or not) a lesser-known 80s hardcore band from Washington, D.C.  The only thing that might have made this record better is if Raw Justice had covered one of their songs.  Barring that, this can’t get any better.  The guitars are goddamned brutal, the bass chugs along with all the force of a fucking train, the drums are crushing whether they’re fast or slow, and even though the vocalist sounds like Peewee Herman singing Infest songs, I fucking love it.  This is one of the best EPs I’ve heard all year.  Jaw shattered.

-Aunty Social

Old Wounds- Death Projection EP review

Old Wounds- Death Projection 7” review

The opening riff on the first song is enough to get this EP a review- it’s one of the hardest and most brutal riffs I’ve heard this side of the 80s.  ‘Dead Beat Blues’ hits hard all the way through, ending with the prophetic line “Life is pain, death is release”.  ‘Ritual’ is a unique song that blends just about every kind of extreme music into one (save for harsh noise).  ‘Bloodpact’ is much the same, and is notable for the fact that the vocals are abrasive yet distinct, clear enough to discern the lyrics the singer is uttering.  The last song ‘Epilogue of a Possession’ is the epitome of a long 90s hardcore song- melodic and cacophonous at different times, and reaches epic proportions at times as well.  The lyrics of the band are largely on another level- I do not understand some of them.  They’re a mix of storytelling and a rhythmic blend of philosophical musings from a strange, interesting fellow with a lot of heart and even more charisma.  This band is one I admit that I do not fully grasp, but it’s pretty fucking good, much more intelligent than most 90s-influenced hardcore and metalcore jocked today.  Through the sheer application of hard work, this band DESERVES your attention.  Donkey kick your neighbor and dwell on the deeper elements of your life.

-Aunty Social

Special Duties- '77 in '82 LP review

Special Duties- ’77 in ’82 LP review

Underrated, supercharged Oi! with a faster beat and a bleaker outlook- this is the epitome of what UK 82 was, and although these guys weren’t as well-known as the likes of their contemporaries like the Exploited, One Way System, Abrasive Wheels, and any band on a punk’s denim/leather jacket circa 2006 (that they probably didn’t listen to), these guys were just as good, if not better.  The rhythm is much heavier than the melody here- it’s downright thudding, stifling even, and not in a bad way.  The simplicity and brutality of these songs is what sets them apart from their predecessors.  Neither an evolution nor devolution, it was a progression that left a permanent imprint on the world.  This is what the “hardcore” movement in the UK was, the one that sprouted up alongside Black Flag, Minor Threat, Bad Brains, Negative Approach, etc.  Since the cultures were different, they progressed and manifested differently as well.  The songs and demeanor were different, but there still existed a camaraderie of sorts.  Those who make the effort to research history will be the ones who unearth lost treasures.  This is no doubt one of those.

-Aunty Social

Angel Du$t- A.D. LP review

Angel Du$t- A.D. LP review

I tried liking pop punk once- the Descendents’ ‘Milo Goes To College’ is an awesome record.  Some of their later material isn’t bad.  Hell, even some of the best punk music has its roots in catchy bubblegum pop, some of these songs are even love songs.  The potential does exist for catchy punk/hardcore music that isn’t necessarily rough-and-tough all the time (though that is the best kind).  This record, and this band, is not that.  The singer’s voice is vexing- it’s melodic, sure, but it sounds strained, unnatural, forced, like something that doesn’t fit.  The music is far from catchy or enchanting- think Cro-Mags’ ‘Revenge’ B-sides or the Buzzcocks on a fucking shitty and awful day where they play their instruments too hard and too fast just so that they can get the set over with and leave.  Even if this music is innovative and unique, it is truly god-awful.  Buy this for someone that you’re fake friends with as a gift so they know how you really feel about them, that you paid good money and wasted valuable time in order to subject them to this swill.  That would be one cold dish of revenge.

-Gary Abusey

Meth Mouth- Waste of Life EP review

Methmouth- Waste of Life EP review

Powerviolence/fastcore at its finest and downtuned-est, it’s maybe the length of the single side of a 7” at 33.3 RPM, but enough anger for both sides of it.  Think Downsided with less political commentary, tuned down a step or so.  Not complicated, but still pretty good if nothing else for a slipping in someone’s hipster party playlist just to piss everyone off, because that’s funny.

-Aunty Social

Spitback- Skate the Streets demo tape review

Spitback- Skate the Streets demo tape review

Mid-tempo hardcore a la Bridge Nine circa 2006 with basement quality production (this is a good thing- hardcore is not meant to sound overly slick).  What if the U.S. Bombs were a hardcore band?  What if the Faction or JFA grew up in the Midwest in the 2000s rather than the west coast in the 80s?  It’s a very fun band, the kind that would play a house destruction party in exchange for a 30 pack and a couple blunts- very punk rock attitude for a hardcore band.  It’s a hardcore band for everyone- crowd-killers, two-steppers, circle pitters, push pitters, posi-jumpers, all are welcome in Spitback’s music and at their shows, and none are out of place.  The music isn’t amazing, but it’s what you’d expect a hardcore demo to be.  These cats have the energy and the mentality; I think the songs are forthcoming.  Not a bad demo tape.

-Aunty Social

Humanerror/Snakes split tape review

Humanerror/Snakes split tape review

Two bands with their respective brand of heavy, dark hardcore manage to complement one another here, almost a necessity for a split.

Humanerror is a chug-friendly band that also uses powerviolence-y drum beats while sludging away on the guitar and bass, not terribly far off from Eyehategod.  The two tracks they offer are no doubt the better two here, though it’s admittedly difficult to best the band from Texas who has been around for six years.  Still, the two tracks Snakes have are no slouches- they’re dirty and grindy but still possess some clarity.  The Nails-worship HM2 sound is absolutely present, but it doesn’t sound like leftovers, it is a sound unto itself that mixes hardcore and metal in the dirtiest of ways, the way it was meant to be, the way Cleveland bands from the late 80s and New York bands from the early 90s intended it to be.  Homage-paying and still an independent force.  A good blend.

-Aunty Social

Kontrasekt- s/t 7" review

Kontrasekt- self-titled 7” review

Primitive, raw, noisy, fast d-beat that is equal arts Disclose and Discharge.  Not a fantastic EP, but if you like simple, this is indeed simple.  Norden’s Hammer is probably the best track, though all these songs sort of blend together, and it’s over before you know it.  It will either leave you relieved (that it’s over with so quickly) or leave you wanting more (because it’s over with so quickly).

-Aunty Social

Spine/Repos split 7" review

Spine/Repos split 7” review

The same sides of a different coin, these tracks, this split, fucking rip.

On Spine’s side, there is more of a sociopathic late-80s NYHC feel to it (not New Breed Comp. style, though- more like the bands on The Way It Is).  The lyrical content is on point; one song is about a dystopian future complete with cannibalism, another about the problem of sexual assault at shows, one about the future already being written for you, and the fourth is about problems with dentists.  The final song is a cover of the Repos’ Kids Don’t Care (off their first 12”); these tracks are a simultaneous continuation and evolution of the songs laid down on their first EP.

On the Repos’ side, it’s clear the band has changed since their first incarnation (they broke up in 2008, members went on to form the Ropes a couple years later, and due to threats of litigation by a more commercially successful band also named the Ropes, that band folded, and thus the Repos were reborn).  The jagged, disjointed, angry, and puzzled sound still remains, however, and the charm of the first band also still exists.  Blurry in its blending/mixing of the instruments, the sound is one ugly mix of killer hardcore punk with rough enunciations of something resembling words.
The packaging is excellent, everything a split should be.  Same goes for the sounds- this record has reinvigorated my belief in the power of the split(s).

-Aunty Social

Skaven- Discography review

Skaven- Discography review

Crusty west coast sludge dirtier than almost anything of its time, Skaven’s small but sinister discography is a precursor to the American crust bands of the modern era.  Raspy, somewhat discernible vocals, clear but still animalistic in energy, were not a common vocal type, but went on to be used fairly frequently.  The guitars, though dirty and tuned down to emphasize heaviness, still possess enough drive to be “punk”, although this would not succinctly describe Skaven’s sound to any but the most unfamiliar of individuals.  The bass is blended into the overall guitar sound well, but there does remain some distinction between them, the former having a very punchy sound.  The drums, though the driving force of the overall sound, are not set in their speed, speeding up and slowing down all over the songs.  The overall mix is excellent; everything is distinct, clear, well-blended, and alters as is appropriate for the atmosphere of the sound.  This is also a mix of the dirty punk and metal primitivism and the unending artsy and melodic complicated-ness, as hardly any bands had done before this.  The lyrics are much the same- at times primitive, other times artsy, and often mixed together.  Too bad this band only lasted for a couple of years- these songs rip and could have evolved only further.  If nothing else, this reminds me slightly of the evolution of His Hero Is Gone into Tragedy.

-Aunty Social

Left of the Dial- Idly By 12" review

Left of the Dial- Idly By 12” review

Admittedly, this is not my kind of music; usually, pop punk and melodic hardcore don’t much appeal to me.  However, given this prologue and word of warning, I shall proceed.

The songs are punny and alliterative, complete with nasally and higher-pitched croons and clean, clear, crisp sounds behind it.  The guitar work is pretty standard, not tremendous nor terrible, the bass blends in to the guitar quite well, and the drums are audible, not drowned out by any of the other audio tracks.  The songs didn’t really elicit any large emotional response from me, but I didn’t feel like tearing my ears off while listening to this.  For a genre of music I don’t like, that tells me that this is a good record.  For the pop punkers and the hardcore kids who aren’t afraid to cry.

-Aunty Social

The Repos/Auslander/Known Abuser/some Clevo noise band at the Bunker, 9/5/14

Show review: The Repos/Auslander/Known Abuser/Cleveland noise act, at the Bunker, September 5^th, 2014

Now, this was a weird show, and it would eventually be in a good way.  I spent 3 hours driving around at my job, and another 3 driving to Grand Rapids from Detroit- the long drive was enough, not to mention the freak storm that knocked out a bunch of power all over the state later on, that I drove right fucking through.  Eventually, I made it to Grand Rapids for a record store trip (got a nice haul), a stop at a local pizza place (surprisingly good), and a show.

The show starts around 10:30, which is way later than usual for a Grand Rapids show (usually, these are dead on time, short sets, everyone's up and out of there in time to get 8 hours of sleep and go to work in the morning).  The first band (not sure if it was Broth or if it was a band who replaced them) was some noise project that seemed like it was straight out of a college art class- take elements that don't usually mix together, and mix them together, and call it art.  The problem with this, is that it sucked, even from a "broaden your horizons" perspective.  Some noise isn't too bad, some of it is even good- but this, this seemed so contrived and by-the-book for a musical endeavor that I couldn't take it seriously, but they did leave me a nice opportunity to nod off and get some rest.

The second band went on maybe 10 minutes after the first one, so I thought it might be flowing really well, as per usual for a G.R. show.  Known Abuser went on, and they did a fucking HAUNTING cover of "How Much Art Can You Take" (by SSD) that rivaled the original.  The originals were not far removed from the style of the Repos, to the point of where I thought I was watching the Repos and was waiting for them to do some songs that I knew, which never happened outside of the first song.  So, with this in mind, I was kinda bummed, and wandered around looking for people I knew, only to find that there weren't much of any friendly faces at that point.

I retired back to the couch for the third band, Auslander, who played this really rhythmic "out with the boys" kind of Oi!  Not bad for what it was, but given that I was very tired and the music was kind of dry and mundane (like most Oi!, mind you), I quit paying much in the way of attention.  I'd like to see these guys in Detroit, I feel as though they'd have quite a bit more ability to interest the crowds here.

After an hour and a half of waiting for the Repos to go on, I was about to leave, since I had to work in the morning and had a 2.5 hour drive ahead of me.  I noticed that a drummer was setting up equipment, but it seemed like everyone had filed out like the show was over, so I went upstairs to piss to see if that was indeed the case.  It kind of looked like it, but I held out hope for a few more minutes until I could buy some much-needed Repos merch.  I did this, and I noticed more people filing back down and more band members setting up.  FUCKING FINALLY!  The Repos were going on!

They were of course the last band of the night, and there was no explanation given as to why they went on late.  They went on, and blasted away their demented 80s-style fast/faster/fastest hardcore punk, the way I've always envisioned it.  Though I didn't know a few of the songs they did, I did know a few of them, "Valium Coccoon", "Pig Acts", and I think they also did "Kids Don't Care".  It was brief, but energetic, volatile, yet friendly and welcoming, the way a hardcore/punk set should be.

Also, after the set was over, I ran into the folks in Snakes and Detain (some of the nicest folks I know, and some of the only Grand Rapids people I'm fond of), and had a merry time with them until I had to depart for Detroit.  It was worth the long drives and sleep deprivation the next day.

-Aunty Social

The Beautiful Ones- Jaded Love LP review

The Beautiful Ones- Jaded Love LP review

This is one of the strangest mixes of music I have ever heard.  If nothing else, this is, without a doubt, unique.

If there were three bands one could associate with this group, they would most likely be Type O Negative, Biohazard, and Twitching Tongues.  This mixes the mid-90s New York hardcore/metalcore sound with the heavy, crunching riffs and steady rhythms and the tuneful, love-boasting deep voice reminiscent of an anxious, throaty, teenage Morrissey.  This has got some groovy beats, and has the benefit of actually fitting as a full LP and not just a large collection of songs on a slab of twelve inches of wax.  The breakdowns on this record are some danceable/2-step-able ones for sure, even if the ambient rhythms mixed in between them make one go, “What the hell?” some of the time.  Last song has the hardest line I’ve heard in a while “At least we all die alone”- a nice conclusion to a record about love.  I admit that this isn’t really my kind of thing, but this is definitely worth a listen- it is not time wasted.

-Aunty Social

Welcome to 2013 compilation LP review

Welcome to 2013 compilation LP review

The packaging and the zine that comes with this record are excellent, as per normal with Not Normal.  Detailed, artistic, captivating, everything a compilation should be.

The two tracks Basque Country band Hondartzako Hondakinak offer are pure chaos, unfocused hardcore punk with a lacking sense of rhythm- I’m not complaining.  Cülo is as they always are- pure nihilistic snot without a bass or regard for common existence of man; it is mutant, through and through.  Adjustment to Society is one of my favorite PNW hardcore punk bands with some of the hardest-hitting, brutally honest lyrics I’ve read to date.  They’re no longer a band now, but I can’t say enough good things about them anyways.  I am at a loss for words on what to say about Big Crux’s track.  Ooze had me confused at first as well, but eventually I did realize that it’s a shell of weirdness with a thrashy punk center filling.  Haute Couture’s track is a straight-up Bad Brains-worship intro conjoined with some gnarly d-beat, quite good.  Inservibles has two tracks of noisy raw punk, adequate at what it is but just a little too unpolished for my taste.  Tenement… I really tried to get into this band, but honestly, I hate this track, through and through.  I’m sure it’s decent indie rock music, but I really fucking hate indie rock music.

Side two brought Negative Degree first- nervous fits of rage-filled 80s hardcore punk, 100% piss and vinegar.  Brown Sugar’s track is another minute-long blast of funky weirdness, but it has a drive to it.  Porkeria is a band that sound as though Los Crudos listened to a lot of classic 80s hardcore (even though they probably already did).  The Spanish-speaking nations seem to make some badass hardcore; not sure if there’s a correlation between the two, but it doesn’t matter, because no matter who made it, these tracks rip.  NASA Space Universe- a strange mix of noise punk and the drearier side of Chaos UK songs; I wasn’t into it.  Good Throb- whoa, what a band.  They are as if X-Ray Spex were angrier and funnier, and given how insightful Poly Styrene was (RIP), this is saying something.  Catchy, biting, driving- everything punk should ever be in two tracks.  Bored Straight has ripped for a while, but these two songs are a step above, yet still fit with the rough and weird mix of punk tracks on this compilation.  They are a modern Midwestern version of The Neos.  Broken Prayer is a halfway decent Chicago group, playing some post punk/industrial punk- unique, though this track is not a particularly standout one for this band.  Closing out this undoubtedly weird record is Thee Nodes, who blast some heavily-drenched-in-reverb noise punk, probably best experienced under the influence of hallucinogens.  Spacey as fuck, no doubt.

I can highly recommend half the bands on this, the rest are honestly too weird for me.  If you like super weird, you might dig it, but I thrive on rhythm and a mild resemblance of normality, so do with that what you will.

-Aunty Social

Rebel Spies- Before I Die I Shall Destroy... 7" review

Rebel Spies- Before I Die I Shall Destroy… 7” review

Energetic punk rock with a huge dose of sing-a-long melody a la 7 Seconds, early Gorilla Biscuits, any number of Chicago bands, and a very late-era of Minor Threat or Dag Nasty- it mixes Chicago and D.C. sounds with Detroit.  They even sneak in a SICK breakdown in the middle of “What Have I Done”, showing that they are capable of true grit, but prefer the calming, euphonic energy of melody rather than the cacophonous, repetitious sound of rhythm.  It’s quite catchy and fun, but it took me a few listens before I realized this.  I appreciate the different approach the Rebel Spies take, good shit.

-Aunty Social

Dead Church/Faction Disaster split 7" review

Dead Church/Faction Disaster- split 7” review

On the Dead Church side, it’s grindcore with all the cacophony and on-point drumming, powerviolence with all the invective lyrics and killer riffs; these tracks are some real headbangers, with a gnarly guitar sound, although I do feel the drums get a little drowned out.  I appreciate the seriousness with which these guys takes themselves, and this is a good set of songs to get violent to.

On the Faction Disaster side, although I like the drumming and the funny as fuck sound clip, I do not like this style of grindcore- I can’t understand any of the words and the guitar is more feedback than riffage or rhythm.  I’ll admit that music like this is great for getting people to leave the room and stay away from you, but I doubt I’d get into it otherwise.

-Aunty Social

Weak Link- LP Promo tape review

Weak Link- LP Promo tape review

This tape kicks off with one hell of an intro, and the song moves into a Canadian version of “Jealous Again”, albeit modern and with a little more experimentation included.  Though the music is no doubt classic-sounding 80s hardcore, the vocals follow their own beat, as do the lyrics- not quite like anything I’ve read before, though not so different to seem foreign.  The final song does stand out quite a bit, however- it’s a rhythmic, almost psychedelic instrumental outro that I hope is something the band never plays live- jam music is one step above folk punk and one step below country.  This promo tape isn’t half bad.

-Aunty Social

Concrete Asylum- Concrete Asylum 7" review

Concrete Asylum- Concrete Asylum 7” review

Late-80s UKHC meets noisy Jap-core, be that Gauze or Disclose or anyone else.  The guitar and drums are so loud they almost drown out the bass entirely and the vocals sound like a guy screaming as loud as he can from about 200 feet away- faint, but audible.  This EP walks the line between noise punk and demo-quality thrash punk that falls just short of powerviolence.  I fucking love the cover art and the layout of this record- it’s detailed, yet punk as fuck, not an easy effort to attain.  However, I might need a couple tall boys of Steel Reserve to be able to fully rage to this band.  Not bad, but not my kind of noise- still, room exists to evolve.

-Aunty Social

The Plain Dealers- Terminal Darkness 45 review

The Plain Dealers- Terminal Darkness b/w Die With Me 45 review

I wasn’t a fan of this 45 at first, but I did come around to it eventually; the A-side is a decent first effort, although it takes a minute to kick into gear.  The narrative is interesting, though the B-side is a better musical expression of this.  The bleak, dark tone of the lyrics is contrasted by the simplistic driving chords of the guitar and the bouncing bass lines that ring of a punk rock sound from happier times- still, it manages to work.  “Die With Me” is a bit more fitting in terms of blending the sounds and the words- both are equally bleak, and more driving than the A-side.  For an initial effort, thumbs up.

-Aunty Social