Another UKHC record and one that isn't that known; another good score for me. I've had their first single for quite a long time, but was several times outbid by ebay on this one. And that damn thing just did not appear on Discogs for years. Then suddenly it popped up earlier this year for a reasonable price. Since then, I watched it at least 6-7 times on Discogs or Ebay. OK, the asking prices usually suck, but hey, it's record collecting, where you drop too often too much money, right?
Scottish HC Punk with heavy Punk vibes. It's unbelievable how they evolved from more 77 style Punk on their first single (check "we don't care" - what a great song) to this hardboiled shit.
Whoever was responsible for the cover art, he did a real dirty job. I counted at least 5 different fonts, the pictures seem to be randomly spread all over the cover, yeah, you can say, he really had no clue what he or she was doing. At least, the color is outstanding and I can't remember another record that has such a color. So iconic.
Sonntag, 16. Oktober 2016
Dienstag, 11. Oktober 2016
Some of the current "NWOBHC" bands hype made me want to listen to some real deal original old stuff. Not that I don´t like the current bands, but unlike Revelation stuff everybody kneels down to, many many old bands seem to be underrated and forgotten nowadays. I remember that again and again, but it´s just one of the "goals" of this blog (if it has any ...). OK Chaos UK is not that unknown and forgotten, but I just pulled it out of my singles box and .... yeaahh, it´s great. The drums are sooo brutal ...
I never wasn´t a big fan of Riot City Records and UK82HC, but I was surprised how good and fresh this single sounded, so maybe I have to revise my opinion ... Also check this single for more great UK82HC Riot City stuff ...
Montag, 10. Oktober 2016
Sub Zero was a NY based Metalcore band that started around 1989 and released subsequently and are still active or reunited. Shared some members with NY´s Breakdown.
This is their first single on Inner Journey Records, commonly referred to as "Ice-Age" 7". There´s a black and a limited blue pressing, and this one, the "Dark Knight" pressing, limited to 50. The Dark Knight pressing had a different cover, was hand-numbered and every copy came with different Comic zines. It´s a nice touch that my copy actually came with a "Dark Knight" Comic, not a Detective story or so, so it fits right to the title of this special pressing .
Before I think 2012 it was nearly impossible to obtain a copy. Then 2012 someone found (see Marcus comment) and sold a few of these on Ebay or Discogs, and prices dropped dramatically.
Freitag, 16. September 2016
I never heard of the Last Words before the Whydothingshavetochange blog reviewed this masterpiece of Aussie-Punk (see here). This is good 77 style Punk that sounds a lot like good old Clash. Really diverse and good record and thanks to Whydothingshavetochange for the advice. Bought this for 25 bucks, so good investment.
The new Dinosaur jr. sounds like it should sound like - Dinosaur as usual. This one´s on heavy rotation on my turntable i.e. mp3-player in my car. Best song is Left/right, the last song in the B-side. Relaxed sound with even enough sadness to listen to. This is the strictly to 100,000 pieces limited purple vinyl version. Nice cover art by the way.
Great debut by Boston Punx Cinderblock. Raw tunes, not too fast and with a singer who sounds like Eric Ozenne from Redemption 87. A must. Intense record, get it.
The new Nothing record is OK, although a bit too sweet for my taste. Where Deafheaven for example take the rocky road and make listening to their records an experiment, Nothing take the poppy-sweet side that fits right to the masses. Some might call this a masterpiece, for me its just another record to file under "N". OK if I am in the mood for popmusic. Strictly limited Euro pressing on "orange krush" vinyl.
I remember watching the first TV music broadcast in the early 80´s. Right people, that was before MTV even started. I even remember seeing the Tom Waits video "In the neighbourhood" which is from that point until today my favorite Waits song. Back in the summer vacation I decided that I need it on vinyl so I just ordered it with 30+ years delay. Bonus: I had the option to order the original version, not a German license, which would have been the only way to get it back then. Tom Waits always had great lyrics, so let me close this post with this little poetry gem: "There´s always construction works bothering you ... In the Neighborhood, in the Neighborhood, i-n-t-h-e-n-e-i-g-h-b-o-u-r-h-o-o-d ..."
Mittwoch, 31. August 2016
Just to notify I updated my Mutha Records blog with The Secret Syde´s unreleased 2nd LP. This one should hang in a public place, but unfortunately there´s no museum for these records. This one never made it into the public, as there are only 4 test pressings in existance, from which only one was sold through ebay in the past decade. There are no tracks on Youtube. I really really hope the band will release this one some day, because it is a great and important release, and everyone should be able to listen to it.
Dienstag, 23. August 2016
Band: Zero Tolerance
Label/Year: Hi-Impact Records No 2 / 1989
Everybody seems to prefer label-mates Turning Point. I never got that into TP, but this one is a little bit different and is right in my books - sounds a bit like good old SOIA. Good record.
This is the more limited version /100 on gold vinyl. There are also 900 on black vinyl.
Reviews and Links:
VinylNoize: Hailing from Buffalo, New York there was a band known as Zero Tolerance. There were other Buffalo bands playing while this band was around, but according to a lot of people during ZT’s heyday, they were THE Buffalo hardcore band. Their single vinyl release while they were a band “Bad Blood” was put out by the infamous Hi-Impact Records. Although, a little bit of a different sound than the Turning Point 7″ the”Bad Blood” 7 inch is a great release and a must have for any Hi-Impact or Buffalo Hardcore collector.
Also check Doug´s Blog for more info.
Donnerstag, 11. August 2016
Label/Year: Epitaph / 2016
I don´t really feel able to say much to a Descendents record nowadays, as the only two Descendents records I own are the Milo goes to college and the Liveage LP. From which on the other hand the Milo LP is one of my all time favorite LPs and I count Bikeage and Marriage to my all-time top 20 Punk songs. So all I can say is that this record is a good one, and catchy as hell. I wouldn´t say they sound like Milo-area Descendents, and I doubt I would have identified them if randomly played, but definitely one of my favourites so far this year. Notice the fine reference to the periodical system of elements on the backside.
According to Discogs there are already 10 different pressings so far with more than 10,000 pieces pressed:
Black - 7,000
Coke-Bottle clear / clear light blue - 1,150 (hot topic exclusive)
White - 1,000 (US indie stores)
Glow in the Dark - 500 (US kingsroad)
Opaque red - 500
Translucent blue - 500
Translucent green - 2,200 (US kingsroad)
Clear/Black swirl - 1,000 (EU kingsroad)
Green/Black swirl - 1,000 (greenhell / flight13 online)
Silver/Black swirl - ?? (EU indie stores)
That makes a lot!! My copy is green/black swirl /1,000 and I bought it from Greenhell Records as I do not order records from the US anymore, and I wanted a more limited version. Saved me a lot of money, and Greenhell is anyway a great store which I at least visit once or twice per year.
Reviews and Links:
"Von den markanten Gesichtsfalten und grauen Haaren sollte man sich nicht täuschen lassen. Die Urväter des Melodic-Punk haben es nämlich immer noch faustdick hinter den Ohren. Auf "Hypercaffium Spazzinate" brennen die Descendents ein regelrechtes Pop-Punk-Feuerwerk ab. Das ist zwar ziemlich kurz (31 Minuten), leuchtet dafür aber um so heller am Branchen-Firmament.... Auch zwanzig Jahre später zieht man auch noch seinen Hut vor der nicht enden wollenden Energie einer Band, die auf Fotos mittlerweile eher an eine Sparkassen-Führungsriege als an eine Punkrock-Combo erinnert. Nach zwölf Jahren Studiopause hauen die mittlerweile überall in den Staaten verteilten Bandmitglieder dem Genre mit "Hypercaffium Spazzinate" wieder ordentlich einen vor den Latz.So spielt beispielsweise Drummer Bill Stevenson selbst nach einem Gehirntumor-Drama noch jeden Punkrock-Kesseltreiber der neuen Generation an die Wand. Auch Leader Milo Aukerman schüttelt noch immer Melodien für die Massen aus den Ärmeln. Bassist Karl Alvarez steht ebenfalls seinen Mann. Und Stephen Egerton? Der bringt nach seiner Songwriting-Pause endlich wieder Ecken und Kanten mit an den Start.
Das erste Epitaph-Studiowerk seit zwanzig Jahren ("Everything Sucks") hinterlässt sowohl lyrisch als auch musikalisch große Spuren. Inhaltlich zwischen sozialkritischem Ernst ("Limiter", "Testosteron") bandtypischem Nonsens ("No Fat Burger") und Ironie Deluxe ("Smile", "We Got Defeat") pendelnd, legen die Ur-Punks musikalisch wieder einen Zahn zu. Alles kommt irgendwie ein bisschen knackiger um die Ecke.
Die ganz großen Harmonien rattern zwar nicht mehr im Nonstop-Modus durch die Boxen. Aber das stört nur am Rande. Die, die sich zwischen polternden Drums und rotzigen Vibes ins Freie kämpfen, trumpfen dafür um so mehr auf ("On Paper", "Shameless Halo", "Fighting Myself").
Mit "Hypercaffium Spazzinate" melden sich Descendents eindrucksvoll zurück. Hier präsentiert sich ein halbstündiges Drei-Akkorde-Paket mit allem, was das Pop-Punk-Herz begehrt: auf den Punkt, ohne viel Schnickschnack und mit reichlich Schmackes auf der Pfanne."
"The Descendents didn’t set out to become heroes of punk rock–if anything, they came together to earnestly troll it. The California group seemed innocent enough when they formed in the late ‘70s: four guys from Manhattan Beach playing cheeky hardcore songs about coffee, crushes, and hating your parents. Compared to their macho peers in the then-booming Golden State scene (Black Flag, TSOL, Fear, and the like) the Descendents struck most punks as unthreatening, maybe even a little bit soft–and that was the point, as frontman Milo Aukerman so passionately argued on a song titled (wait for it) “I’m Not a Punk:” “Show me the way to conformity,” he sneers, smirking at the beefcakes, “Try to be different but it’s always the same.” The self-proclaimed outcasts went on to achieve great success, releasing a slew of great albums over the next three decades that proved, once and for all, that the loser always got the last laugh–and more importantly, outlasted the competition.
Rumors of a new Descendents LP began to surface in 2010, when the band reunited for a set at Fun Fun Fest, followed shortly thereafter by a smattering of shows. At the time, frontman Milo Aukerman insisted that the gigs were mere “one-off shows” assimilated into into his summer vacations—one of the many perks of his lesser-known career as a biologist—but the the hype machine had already left the station. Before long, Aukerman put his academic pursuits on the back bunsen-burner to pursue music full-time. The quartet finally confirmed their reunion this past June by formally announcing Hypercaffium Spazzinate—their first LP in over 12 years, as well as the follow-up to 2004’s Cool to Be You. As with all Descendents records, the 16-track effort avoids over-aggression or extensive political chatter, instead relying on humor, honesty, and personal experience to power their musical and thematic engines, with considerable success.
The Descendents have come a long way from the spastic hardcore (??? can anybody please explain that to me - massivewaste) of their Milo Goes to College days—and not just because all four members are in their fifties. Even after over three caffeine-fueled decades of shouting himself hoarse and belittling the elitist attitudes of his fellow punks, Aukerman remains tethered to the band’s sonic and thematic cornerstones: reliability, universality, and of course, satire. Fortunately for the diehards, Hypercaffium Spazzinate is devoid of the stylistic overindulgence or inflated self-importance often associated with hiatus-ending efforts; the Descendents continue to focus on food, friends, family, and just about everything besides perfunctory political tropes—the only difference is their unprecedentedly mature perspectives on these topics, informed by the members’ experiences with aging, fatherhood, loss, and illness. ...
Sobering lyrical themes aside, Hypercaffium Spazzinate is hardly the work of a band with their brows frozen in a collective furrow. It doesn’t matter if they’re grappling with self-hatred (“Fighting Myself”), toxic masculinity (“Testosterone,” which sees Aukerman railing against “fuckin’ dicks who beat [their] chests”, only to request a shot of the titular chemical so he can prove that he “has what it takes” to be a man), or intolerant Bible Thumpers (“Shameless Halo”)—the band charge through the pain as if it’s an excuse for pleasure, or at the very least, rudimentary, sugary pop-punk that puts the Warped crowd to shame. Stephen Egerton keeps his guitar riffs jagged and melodic, buoyed by Karl Alvarez’s staccato bounce; behind it all, Bill Stevenson wields his drum kit as an invaluable dynamic tool, switching between leisurely 4/4 and pugnacious double-time in order to emphasize his bandmates’ carefully-calibrated fury. Aukerman’s piercing tenor has withstood the test of time; apart from a slightly more limited range and a raspier delivery, he’s as impassioned as ever, pushing himself to the brink on lead single “Victim of Me” because he’s got absolutely nothing to lose.
Like the Descendents themselves, Hypercaffium Spazzinate has zero interest in flashy instrumentals or thematic grandeur. The album’s closer, “Beyond the Music,” frames the Descendents’ existence as an offshoot of a timeless friendship, rather than a career: “Frustrato-rock or chainsaw pop/Or whatever it is we play/This is our family/And it will always be this way.” Whether the track’s intended as the band's pre-emptive eulogy or a statement of renewed commitment is up for debate, but such postulation’s besides the point. Even for a bunch of brainiacs, these four Californians have always stressed the importance of living in the moment, sticking together, and keeping it simple—nothing more, and nothing less."