The Masters Apprentices – Undecided / Wars or Hands Of Time

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mastersapprentices.undecidedThe Masters Apprentices – Undecided / Wars or Hands Of Time
re-released by Ugly Pop Records, 2012 (black vinyl 7″)

“You gotta give a little lovin’ honey, if you want a lot of love in return.” These are the opening (and closing) lines to “Undecided,” the A-side of first single by The Masters Apprentices, one of Australia’s earliest rock bands. At their debut they could be considered Down Under’s answer to England’s Rolling Stones, as both bands got their start giving more than a little lovin’ to classic American blues while honing their sound. Having up to this point been most familiar with their harder rock sound from albums like Choice Cuts or A Toast to Panama Red, this reissue provided me with a glimpse of their 60s beat origins and gave me an appreciation for how far they had come in 4 years.

“Undecided” was their first official hit, reaching #8 on the Australian KMR charts. After the aforementioned line, the fuzzed-out jangly guitar kicks off a foot-stomping rock’n’roll tune that has some real teeth. It turns out the guitar tone was due to a faulty valve in the amp, but they liked it and went with it, giving this track a raw garage rock feel that fits the attitude of the riff and vocals perfectly. The song was written in the studio in about 15 minutes, which may be what lends some of the urgency and energy heard on this track, as well as what led to the name “Undecided” when pressed as to what was the name of the song they just laid down.

The flip side is “Wars or Hands Of Time”, a slower and more melodic tune that features gentle strumming on the guitar and some pleasing vocal harmonies. The song, one of the first in Australia dealing with the Vietnam war, implores the listener to “Wait for me, I’ll be back some day.” The tune has a much dreamier feel than “Undecided” but keeps thing interesting with its melancholy melodies and tempo shifts.

It turns out that one reason this material sounds so different from the 70s hard rock era is that every member besides vocalist Jim Keays had been replaced by then. Probably the most striking substitution was the loss of original guitarist Mick Bower to a Syd Barrett-like breakdown. The Barrett comparison one is an apt one, for he was the driving creative force in the band at the time, responsible not only for their name but also having written nearly all of their tracks.

If your a fan of that classic early 70s hard rock sound and haven’t checked these guys out, I highly recommend picking up a copy of their Choice Cuts LP from 1971. This EP will be a more rewarding find for lovers of classic garage and beat music, and is a great example of Bower’s skilled songwriting in its prime. The fact that this was just re-released over 40 years later by Ugly Pop, a punk label from halfway around the world, should tip you off that we’re talking about an important piece of garage and proto-punk history here.

In School – Praxis Of Hate

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inschoolIn School – Praxis Of Hate
released by Kill Test, 2013 (black vinyl 7″)

On the heels of a solid demo tape, NYC’s In School have released their debut EP Praxis of Hate on Kill Test (whose only other release was a Sex Vid EP in 2006, which shows they’re content to release at least one killer hardcore platter per decade). Praxis of Hate showcases their development with 3 updated recordings of demo tracks along with 3 new furious bursts of hardcore punk.

This is everything good hardcore should be: smart riffs, fast changes, some nice variation between guitar and bass (with solos kept to an absolute minimum), and relentless drumming. Golnar Nikpour (whom loyal readers of MRR will surely recognize) is a thunderous hitter behind the kit, and propels the songs forward at a steady gallop. Yumi Lee’s guitar had a slight overdriven buzz with the treble cranked to 10 that makes even the mosh breakdown of “Maggot Rot” still sound punk. And Tayla Cooper’s bass tone is even moreso on the clean side of the mix, which allows the complementary harmonies to cut through.

Bidi Choudhury’s vocal delivery is right at home at the forefront of this hardcore fury. Her shouted vocals are angry and urgent, but with a husky character that reminds ever so faintly of Vi Subversa. Opening track “Conquest” has a gang vocal chant of “nothing to beat” that would be a great soundtrack to any circle pit, while “Knocked Out” bounces along in an almost poppy manner while describing broken teeth and and black & blues.

Their name “In School” is less a testament to their academic dedication and more to their devoted studies of the likes of Die Krutzen and other historical figures from classic US hardcore (with some Swedish and Japanese influence as well). The sleeve is a basic black and white pocket variety, with cover art featuring what could be an illustrated step-by-step guide to the worst mosh fail of all time. The lyrics insert are a combination of distressed typewriter and handwritten, and the inner sleeve has a red “KILL TEST” stamp on it. Very punk, all around.

Cult Of Fire – Triumvirát

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cult of fireCult Of Fire – Triumvirát
released by Iron Bonehead Productions, 2013 (black vinyl LP)

Much has already been said about this rising dark star from Czech Republic, and since I’ve spent the most time with their debut full-length Triumvirát, I want to add my voice and state this is a band that got it right from the beginning. These tall-hooded, skull-carrying cultists have been burning brightly for the past few years, and each member of this 3-piece brings fervor to the cause with a strong visual presence and a sound to back it up.

Cult Of Fire understand that true black metal needs a sense of majesty, and execute their sound with the same feeling as some of the best second-wave bands. Keyboards are used effectively, complimenting the guitar melodies without ever stepping forward into the lead, and with a melancholy tone that suits the atmosphere. No track feels like it relies too much on any one instrument. Each song is composed of several strong threads woven together into a rope that pulls the listener forward through each well-developed section. These songs are all carefully crafted for maximum reaction, as is the case with all parts of this band’s aesthetic.

This aesthetic also extends into their visual presence as a band and with their artwork, as this LP features a gatefold cover showing the hooded members living up to their namesake while holding a burning bible. The inner gatefold shows a skull sitting atop glowing flames, and no other information about the band or album. Even the song titles are rendered in the Theban alphabet, offering no clues but to the most devote scholar. Cult Of Fire follows in the traditions of their fellow countrymen Root and Master’s Hammer, both known for their theatric approach and obsession with mysticism and Satanism, with a deathly serious devotion.

Beyond all appearances, their music stands on its own, building from a firm foundation in traditional fast-paced black metal into beautifully crafted hypnotic passages that transport the listener beyond the flames. The cult expertly demonstrates all their sinister techniques in the attention-commanding start to the album, “Závěť Světu,” which builds slowly and steadily to set the mood before the whiplash of the verse riff sweeps the listener away, only to ultimately arrive at a grim mid-paced march. At this point in the album, they have truly arrived and the sound is commanding. Other highlights include the excellent side B opener “Z Jícnů Propastí” as well as the epic closing title track, burning with a “Nightside Eclipse” energy that so few bands manage to capture. The flames die down but the embers never cool, and this 6 song offering is just the perfect length to leave the listener craving more. I’ve since gotten their incredible follow-up, मृत्यु का तापसी अनुध्यान, which we may make an appearance here as soon as I figure out how to pronounce it.

Funereal Presence – Funereal Presence

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funerealFunereal Presence – Funereal Presence
released by The Ajna Offensive, 2011 (black vinyl 10″)

Bestial Devotion, drummer and core member of New York black metal occultists Negative Plane, spreads his black wings on this solo effort under the moniker Funereal Presence. Much of the unique atmosphere of Negative Plane tends to follow the members into their other projects, as can be heard both in Nameless Void’s other band Occultation as well as on this 10″. This demonstrates that both members are crucial to the distinctive sound of Negative Plane but each also has some dark detours to explore that make for a worthwhile journey.

From the onset of the church organ intro “Zwischen Gräbern”, one could be forgiven for almost mistaking this for a Negative Plane record. But just like chess, black metal is often about how you develop your pieces and B.D. begins moving his for maximum efficiency right away. Never one to hide behind technical showmanship or relentless brute force to make his point behind the drumkit, when the mid tempo gallop of “Astral Serpent” finally kicks in it propels the unsettling riff forward just with powerful emphasis. Then unearthly vocals emerge from swirling reverb fog like bats bursting from a black void. As the song continues to layer sinister riffs, demonic groans and fleeting whispers, the track maintains a steady sense of development without sounding like one man trying to use all 24 tracks on his mixer in his bedroom studio. In fact, this casts off many of the stereotypes of one-man black metal with the organic feel of the playing, much of it almost sounding as if it were recorded live by a full band. Everything here is carefully thought out and orchestrated, with each riff flowing seamlessly into the next and atmosphere provided by bits of choral vocal, shimmery guitar and the faintest hints of synth.

The guitar playing is especially impressive here. Buzzsaw riffs harken back tonally to the glory days of Darkthrone, but overall are complex and inventive, being far from another Transylvanian Hunger clone. As one would expect, the drumming is superb throughout as well, as B.D. is one who understands the importance of dynamics and emphasis in his playing. The epic “Astral Serpent” is surpassed by the even more grandiose  “The Sepulchral Cold” on the B-side of this record, with many of the tones and sounds established on side A appearing again like reoccurring characters in a cryptic graveyard opera.

I once read an interview with Negative Plane where B.D. lists Mercyful Fate one of his biggest influences, and that is apparent not so much in the actual sound of this record as it is in the approach to songwriting. These two epic tracks (with their accompanying instrumental intro and outro) form a cohesive first offering from this solo endeavor. Originally recorded back in 2008 (and apparently given out in very few copies on tape, how blackmetal) and then not released on vinyl until 2011 when Ajna put out this 10″, we can now only hope that we haven’t seen the last of Funereal Presence. Thankfully we’ve had some great output from both Negative Plane and Occultation in the meantime to tide us over, which I strongly recommend checking out if you like the sound of this. A new album on Sepulchral Voice has been rumored since 2012, and considering the outro track is titled “The Shifting Skies Pt. I” I can only assume this is only the beginning of something even more menacing and masterful to come.

Cult Of Daath – Doomed By The Witch

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codaathCult Of Daath – Doomed By The Witch
released by Nuclear War Now! Productions, 2010 (demo tape)
It had been 5 years since their last record when Cult Of Daath decided to return with the Doomed By the Witch demo tape (their 3rd demo tape so far). While this may seem like an odd step backward after NWN! had reissued their double LP Slit Throats and Ritual Nights back in 2006, the songs on this tape make a strong statement of intent moving forward and hit with more focused power than any of their previous material. And given their love of classic riffs and atmosphere, it’s no surprise that they also love this classic format of release.

Doomed by the Witch is everything a good demo should be. It’s short and all the material is solid, leaving the listener wanting more. This band has always been classified as “black metal” but this tape is black metal in the earliest sense, taking their cues straight from Venom. This collection of songs sees a much greater sense of structure and cohesion in the songwriting compared to their earlier and more primitive work. The production is strong, especially for a demo tape. You can tell that this duo has taken the time to refine their sound in the 10 years they’ve been playing together. They haven’t gone experimental to cover up for dwindling interest or strayed from their blackened roots, so the past decade has been spent zeroing in on the perfect mix of 80s blackened thrash.

From the thunderous opening of “From Temple to Abyss,” you know these guys mean business. The song erupts into a solid mid-paced riff with the drummer’s double bass thickening out the sound. No bullshit triggers, this drummer plays in the classic style and knows how to work a kick pedal. The guitar has the perfect buzzsaw tone with just the right about of reverb. This duo even makes sure that the bass stands out distinctively in the song, being an instrument that is often neglected in the mix in black metal if not left out entirely. “From Temple to Abyss” ebbs and flows between speedier riffs to slower breakdowns and back again, all without breaking a sweat. This isn’t a band that needs to play as fast as possible to get their point across, they are perfecting the art of rockin’ black metal that Venom invented and so many others have taken for granted.

The first track then fades out into the subdued acoustic passage ‘Rumination I” for just over a minute before blasting back into the epic title track. A soaring lead opens over galloping drums. The drums break into a tight snappy beat during the verse before returning to the double-bass gallop that drummer Wargoat is so damned good at. The accents he hits in this song almost remind me of classic crust or Japanese hardcore. You don’t need to play blazing fast when you hit this hard.

Next we have the highlight of this tape, “Spell Thrust.” This is my new favorite song by these guys. It’s a perfect 80s banger over a tight d-beat with a chorus you absolutely want to pump your fist to. Finally they conclude with a cover of Profanatica’s “As Tears of Blood Stain the Altar of Christ,” a mostly instrumental track with a few guttural growls for punctuation. I must admit I’m not familiar with the original, but they make it sound their own. This is the most “black metal” sounding track on the tape, putting the Venom worship on hold to break into some speedier 2nd wave black metal riffs.

Nuclear War Now! always does a nice job with their releases, and this tape looks as good as it sounds: pro-printed cassette with 2-color screenprinted foldout jacket. Some people might dismiss this as a mere 3 songs plus a cover and an acoustic interlude, just some filler before another proper release. Don’t be fooled, because this tape packs a serious punch. All in all, a solid release for a “demo” and hopefully an indication of more good things to come from the partnership of Cult Of Daath and Nuclear War Now! Productions.

Riistetyt – Korppien Paraati

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KorppienParaatiSmallRiistetyt – Korppien Paraati
released on Riistetyt Records, 2014 (black vinyl)

Now into their 4th decade as a band, it’s almost unthinkable that Riistetyt could still be releasing hardcore punk records with any bite. But on Korppien Paraati, these long-running champions of the Finnish hardcore scene do indeed deliver with a record that is the obvious next step in their progression and still manages to bring a little new to the table so as not to sound like a desperate grab at past successes.

The current incarnation of Riistetyt has definitely had a healthy dose of metal present for over a decade (mostly in guitarist Vege’s strumming) but never enough to make this anything more than a punk band. While some songs chug forward, many feature melodic interludes and tempo-shift breakdowns and still others channel some of the concentrated hardcore fury of side project Ääritila. Opening track “Jälkeen Korppien Paraatin” starts in a very typical hardcore fashion for these gents, then stepping it up with a bit of Motorhead flourish in the chorus riff, an influence that makes several other appearances most notably in “Heil Amerika”. The intro to “Valhalla” almost channels Bolt Thrower for a few seconds before returning to the more distinctive speed-picking throughout the album. The B side opens with a riff that I almost thought was going to be Nausea’s “Inherit The Wasteland” for a second before it too returned to familiar Riistetyt territory.

Bassist and founding member Piise, who rejoined in 2008 to take over for his replacement Nappi (who later passed away in 2011, RIP) is able to work in some very fine moments of 4-string flair throughout these tracks. Any fan can see this is the same man behind the memorable bass sound on the jewel in Riistetyt’s crown, Skitsofrenia. He even manages to squeeze in a quick solo during the final breakdown of closing track “Garganta Do Diabo”. The only other remaining founding member, Lazz (who is also the only member who has appeared on every record), is visually more Brett Michaels than Sid Vicious these days, but his vocal delivery has only gotten grittier over the years and he’s shown no compromise in his approach or subject matter.

For all their experimenting with the formula, it doesn’t work 100% of the time. If anything, this record can feel a little long, with the less distinctive tracks starting to meld together, and some breakdowns that would have benefited from half as many bars or complete omission altogether. Much of the same can be said of their previous release Kuolonhymnejä from 2010, and if anything the band has since learned a few new tricks to the benefit of this record.

Self-released on Riistetyt Records (the second on their own label, following Kuolonhymnejä), the album comes on black vinyl in a grey on black pocket sleeve with gatefold insert featuring both Finnish and English translations of the lyrics. This is a solid release that while not a mandatory record by any means keeps these Finns on the map.

Chaos UK / Extreme Noise Terror – Earslaughter split LP

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ent_chaos_ukChaos UK / Extreme Noise Terror – Earslaughter
re-released on Boss Tuneage / Farewell Records, 2013 (yellow with black splatter vinyl)

The cover of this record, a giant radioactive label, is an appropriate warning for the raw noise and sickening sounds contained within. Arguably one of the most important splits to come out the the UK punk scene in the 80s, this record features two bands that were hugely influential on hardcore punk and crust bands for decades to come.

Side A introduces Extreme Noise Terror, this record being their first recording as well as their most punk sounding release. Long before this band would veer off into metal, this record contains hardcore punk played raw and fast, with urgent vocals hoarsely shouted by their dual frontmen (appropriately labeled as “Chainsaw” and “Concrete Mixer” on the back sleeve). Known for their deeply held political beliefs, the lyrics deal with common ENT themes including animal rights, class struggle and a general middle finger to the status quo.  The music maintains a relentless speed without becoming grindy (Napalm Death would pioneer that sound the following year), sounding closer to international hardcore punk like Mob 47, Wretched and Lärm (who is credited as the origin of their name). The original recording ends in a complete cacophony called “Only In It For The Music…”, but this re-release also features two bonus tracks from “The North Atlantic Noise Attack” comp.

Chaos UK continues the theme by opening with a bomb raid siren before dropping into the scathing anti-religious anthem “A Month of Sundays.” By 1986 Chaos UK already had a few solid releases under their studded belts, and despite the fact that only one original member remained at this point, their side of this split sees them in very fine form. This is relentless hardcore punk with basic riffs that still manage to sound interesting and catchy, with their trademark pounding drums punctuated with lots of rolls to help propel the music along. It’s hard not to bounce up and down while listening to these fuzzed out fist-bangers. Once they get in your head, these songs are stickier than the bags of glue the band were most likely huffing. “Depression” even manages to slow down the pace a smidge without losing any of the intensity. “Hope You Got a Fuckin’ Headache” is an appropriate closer to the Chaos UK side both thematically and musically, with a classic chorus of “AAAAH! AAAAH! AAAAH! AAAAH!” that has been reprised by countless other noise punk bands. The closing moments threaten yet another version of Chaos UK’s trademark tune “Farmyard Boogie”, but much to my relief it is cut short by a barrage of gunfire followed by a bomb blast before that obnoxious slab of cheeky aural masochism kicks in.

This reissue is a must-have if you’re interested in the hardcore punk sound that originated in the UK, and these two groups stand beside Discharge and Disorder as some of the most influential bands to pioneer this genre. Hell, I’m sure Chaos UK alone is the inspiration for the start of literally hundreds of punk bands, considering that in addition to their constant domestic gigging they were also the first English punk band to tour Japan. And ENT (along with their fellow countrymen Antisect) helped lay the template for the dual vocal high/low approach that so many other crustcore bands have followed. This re-release comes on transparent yellow vinyl with black splatter (fitting in with the cover aesthetic nicely), and comes with a heavy stock insert featuring lyrics as well as some fun drawings and photos of the bands. Overall, a killer release that I often find myself flipping over again and again and again before managing to take it off the turntable.

Axis Of Advance – Landline

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aosAxis Of Advance – Landline
re-released on Grief Foundation, 2008 (clear vinyl)

Landline was the debut offering by Axis Of Advance, a band that rose out of the ashes of Sacramentary Abolishment featuring 2/3s of the SA lineup plus the addition of “session” drummer J. Read. Like the Canadians do so well, this band straddles the line between death and black metal with a high level of proficiency. This 3 song EP (2 originals and a cover) may seem like something a band might release as a teaser, but this stands as a fine mission statement for what this band would set off to do, featuring sharp and ambitious songwriting and disciplined execution.

I was more familiar with Read and Vermin’s work in Read’s primary band Revenge, and followed the trail back to this re-release of AoA’s first output. While Axis Of Advance does feature the same ferocity of Read’s drumming in Conqueror and Revenge, the full range of tactics employed by AoA build a much broader foundation. The opening track “Curtailing Factors of Interference” is over 9 minutes (and the entire first side of the record), and unfolds as a tightly constructed tactical offense carried out with militaristic precision. Opening with a blasting assault, the track slows enough to shift its weight and then launches into a black metal whirlwind of razor riffs and Read’s trademark drumming. Throughout the course of this track as well as their other original “Structural Interpretation Via Superfluous Union”, we see the band switch up and drop in deployments of death metal breakdowns, doomed wardrum dirges, and frenzied bestial bursts.

As further testament to their technical prowess, the band concludes with a cover of “Re Animation” by classic Canadian thrash metallers Sacrifice, and is spot on in speed and intensity. This EP totals up to just shy of 20 minutes, but these are indeed all live rounds, no blanks to be found in this performance.

Originally released by Catharsis Records in 1999, this stake in the ground places them firmly at the vanguard of the Canadian black/death sound, marching forward and greatly expanding upon the works of their previous groups. This re-release comes on clear vinyl in a nice glossy cardboard sleeve with insert.

Top Picks of 2013

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Metal:

noisem10) Noisem – Agony Defined
Even though the members are barely out of high school, Baltimore’s Noisem have released a tight blast of technical death metal that sounds like it was crafted a decade before these guys were even born. Precision playing is balanced perfectly with youthful energy and vigor to craft a relentless record that leaves you wanting more. A bright future awaits these kids…

 

carcass9) Carcass – Surgical Steel
Both Carcass and Exhumed released absolutely killer melodic death metal albums this year, but given that Exhumed leans heavily on the framework built by Carcass, the godfathers of medical grind rightly deserve this spot on the list. Surgical Steel is an album that could have fit perfectly between Necroticism and Heartwork. It’s good that Walker and Steer had nearly two decades to explore other directions and get all that out of their system, because this record is a long-overdue return to form.

uncleacid8) Uncle Acid – Mind Control
After a debut LP that garnered much well-deserved attention, there was much debate if Uncle Acid & the Deadbeats could keep up the magic on their sophomore album. Like its predecessor, Mind Control comes on strong with the Black Sabbath worship, but this time is focused more on the later 70s era (think Sabotage – Never Say Die!). Uncle Acid still manages to mix in their own blend of psych and 70s horror sleaze to arrive at a sound that’s distinctly their own. And while Sabbath also released a noteworthy album this year, Mind Control sounds much more exciting to these ears and had to be included on this list. Its no surprise Sabbath tapped these guys to open for the European leg of their tour.

Acrimonious7) Acrimonious – Sunyata
From an artwork perspective, this is already an adventurous record. Adorned with a bright colorful painting of a goddess and accompanied by a booklet filled with more vibrant paintings in the same style, this does not look like a typical black metal record. Acrimonious have been steadily maturing over the course of their releases, and their early expressions of unfocused hatred and destruction have evolved into a more calculated and refined form of dark worship. Even though this was technically released November 2012, I’m giving it a pass since the vinyl didn’t drop until 2013 and that’s when I heard it.

kdadavar6) Kadavar – Abra Kadavar
Germany’s Kadavar have two things under their belts: growing beards and crafting 70s-inspired proto metal riffs. Much like what Witchcraft’s first record did with Pentagram, Kadavar wraps up the best parts of Jerusalem, Leaf Hound and early Scorpions with enough of their own spin to sound classic but not derivative.

 

cultes5) Cultes Des Ghoules – Henbane
Mystery surrounds this occult Polish black metal band, but one thing is for sure: they’ve been steadily building a strong reputation with each release steadily building in quality and intensity. This year’s Henbane is the cultivation of that evolution, and is a truly remarkable black metal record with depth and range. The 5 tracks of this album are all in the 9+ minute range, and each is an epic composition that covers a great deal of dynamic ground. From the opening sounds of a witch’s cackle and storm breaking, the mood is perfectly set for a dark journey that carries you through this well-paced album.

magiccircle4) Magic Circle – Magic Circle
Boston has always been a town that takes its music seriously, and Magic Circle live up to that rep as one of the best players of traditional doom metal on American soil. You’d never guess these guys all had backgrounds playing hardcore, because they can slow it down with the best of them. The riffs are original and on melodic and the vocals absolutely soar. They keep it interesting, which is important considering their shortest song still clocks in over 5 minutes.

portal3) Portal – Vexovoid
This may be Portal’s tightest record yet. It’s just as packed full of insanity-inducing riffing and darkness as previous releases, but there’s a more promenant element of melody and structure with these songs. The band has matured, and I find this to be the Portal record I want to listen to the most often.

 

antediluvian2) Antediluvian ‎– λόγος
These Canadians continue to impress me with their truly prehistoric death metal rumblings. On the one hand, this record is as primitive as they come, the sonic equivalent of being beaten over the skull with a mammoth bone. Yet every time I listen to it, new details emerge and a greater work starts to reveal itself within the chaos. This is the sound of the world before the Great Flood, an evil and reptilian world. Delve into the chaos.

gravemiasmia1) Grave Miasma – Odori Sepulcrorum
Occult death metal from the land of Crowley that oozes from your speakers. As the needle glides through the grooves of this vinyl, the room fills with fog and the moon is eclipsed. Pure horror and churning riffs span all three sides of this record, with an etching on side 4. This is the first proper full-length album by these summoners of darkness, and it is a masterpiece.

Hardcore/Punk:

criminaldamage10) Criminal Damage – Call Of Death
Portland’s masters of street punk dropped their 3rd LP this year, and it’s another classic. With an obvious reverence for the bouncy, melodic Oi Punk of bands like Blitz, Criminal Damage write fist-pumping anthems that, while musically sound upbeat, are usually dealing with darker personal politics. Songs like “Hopeless” perfectly demonstrate this combination of well crafted melodic riffs and lyrics that sound like they’re barely holding on in this insane world. This serves as a good reminder of what an excellent PUNK record in 2013 should sound like.

selfish9) Selfish – Life Has No Vacant Time
These Japanese-worshiping Finns took me by surprise with one of the best sounding and most unrelenting records I’ve heard them put out in years. Every member of the band is giving their all, resulting in a record that matches the passion and “burning spirits” energy that is clearly such a huge influence on these guys.

 

unabestia8) Una Bèstia Incontrolable ‎– Observant Com El Mon Es Destrueix
I was unsure what to think of this band when I first heard them. I think I was expecting something with the speed and intensity of Glam (with whom they share members), and this band’s mid-paced hardcore left me confused. But the record slowly grew on me, the distinctive swing of the drumming worming it’s way deep in my ear. Then suddenly I was swept away by the primal, animalistic undercurrents and now I can’t get enough.

vaaska7) Vaaska / Impalers – Split EP
Two of Austin’s best bands went on tour together this year and released this split. Vaaska’s shredding d-beat and Impalers’ pummeling metal-punk equal two relentless sides of a brutal slab of wax. A special shout-out also goes to the Impalers LP that also dropped this year, which is a must have if you want a larger dose (because I know this EP left me wanting more…)

 

bellicoseminds6) Bellicose Minds – The Spine
2012 was the year that “death punk” really broke, and possibly one of the finest examples of the style was executed by the Bellicose Minds on their demo. Now they’ve released a full album of dark melodic post punk. This doesn’t sound like punks trying to play goth, this is an extremely well-crafted and genuine example of what makes this sound so good in the first place.

 

sickoids5) Sickoids – No Home
Even though I’m still a little bitter that these guys formed one of the best bands Philly had seen in years and then all moved out of state, I’m still excited to hold this record which may be their best output yet. I was excited to finally have these songs that I’d heard them refine as part of their live set in basements across the city in their final form, screaming from the grooves of the vinyl, drenched in emotion and reverb. Sickoids are a true US Hardcore classic, combining some of the best bits of Midwest hardcore with both east and west coast vibes.

longknife4) Long Knife – Wilderness
I’m ok with the fact that Poison Idea is a shadow of its former self, knowing that Long Knife is out there. Capturing the Poison Idea sound and attitude as well as the ever important sense of humor and willingness to be weird, Long Knife have dished out a hot slab of hardcore that rises above being simply a “worship” record and becomes it’s own beast.

 

sadboys3) Sad Boys – Sad Boys / Cry Now Cry Later
Easily two of the most fun records I heard all year. Every time I listen to “Frolic!” I just want to pogo. It’s hard to listen to one of these records and not immediately follow it with the second, so I grouped them together here. These punks know exactly what they’re trying to do and they’re having a blast doing it.

 

kremlin2) Kremlin – Drunk In The Gulag
Holy shit this record is good. Canadian d-beat hasn’t sounded this fresh since Inepsy’s first EP, and Kremlin definitely adds their own spin to things for a distinctive sound that I’ve never really heard before. I was sad to hear they played their final show this year, so get your hands on this record and enjoy their final offering.

 

framtid1) Framtid – Defeat of Civilization
Ok, this is what we’ve all been waiting for. Japan’s peace-crust champions drop this bomb of an LP, building on the sound of From the Ashes without departing too far from the formula that makes them one of the most powerful bands in the world right now. This combined with their live set in Tejas made my 2013.

Crushed Butler – Uncrushed

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Crushed Butler - Uncrushed

Crushed Butler – Uncrushed
released on Radio Heartbeat Records, 2009 (black vinyl)

Crushed Butler were a hard rock band from the early 70s UK scene that has been categorized as one of the first bands to play ‘punk’ style years before punk was even a thing. Supposedly they had a live show that would blow headliners away, but unfortunately were never able to transform their raw energy and power into a record contract. Uncrushed is a collection of their recordings from the early 70s compiled by the band and finally given a proper release.

Tracks such as “It’s My Life” and “My Son’s Alive” were destined to be hits even if they never had a chance to reach a wider audience. (They were even released as the A and B side of a single in 2005 on Windian Records). Darryl Read’s heavy drum style is all over the kit, propelling the rest of the band forward. His work on “It’s My Life” is absolutely pounding and relentless throughout the 2 minutes and 12 seconds of the track. Alan Butler’s bass fills out the rhythm while Jesse Hector leads on guitar and vocals. Hector’s guitar tone is bottom heavy and full. He’s not here to waste time on solos flying up and down the fretboard, just big juicy riffs with roots in English blues but with a heavy helping of overdrive and grime. “Factory Grime” does feature some nice interplay between Hector’s guitar and Butler’s bass, but the stomp of the drums keep it rooted in their pre-punk sound.

Also included on the record is 2 versions of “High School Dropout”, their attempt to write a catchy rock’n’roll song, as well as their version of a song written by some friends called “Love is All Around Me”. “Love Fighter” has a nice slow pace that’s proto-doom in the Sabbath tradition, while the upbeat instrumental “Let it Ring!” rounds out the recording with a bit of fun.

This record comes in a simple cardboard sleeve but does feature a nice history of the band on the inner sleeve written by Read, as well as a handful of band photos from his personal collection. These recordings are very raw, not having the polish of a professional studio, but these recordings compliment their style well, preserving the punk quality and heavy metal grit that set these guys apart from their contemporaries.