BLACKLISTED - PEACE ON EARTH WAR ON STAGE

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All true hardcore has always abided by one rule: keep it short and sweet. With their newest seven inch, Peace on Earth, War on Stage, Philadelphia’s Blacklisted dutifully abides. Totaling just about six minutes this record is an all out assault on anyone accusing the band of being just another set of guppies in a sea of thug bands.

The most notable difference is in the vocals contributed by their frontman, George Hirsch. On their the two previous releases, We’re Unstoppable and ...The Beat Goes On, the vocals were powerful, with such a force it sounded like an onslaught of guttural screaming going straight from the stomach to the mouth. On Peace on Earth, War on Stage the vocals are a little more throaty. An almost embarrassing comparison to make would be the way Every Time I Die frontman Keith Buckley’s vocals changed between their first and second album. If a person’s voice can have swagger than this is a fine display of what it would sound like.

This idea of swagger is accented by the way the vocals seem to be working to the rhythm of the music. With most bands in this genre simply doing the “cookie monster vocals” over breakdowns and fast parts, Blacklisted have instead woven the vocals, rhythm section, and guitarwork all around each other to make their most cohesive songs to date. The songs “Memory Layne” and “Canonized” are beautiful demonstrations of this.

Peace on Earth, War on Stage also marks a lyrical shift for the band, in both content and style. These songs take a more narrative style with attention paid to lyrical devices like meter and rhyme.

Because of the aforementioned Every Time I Die reference, many of are probably thinking Blacklisted lost their guts. Let me assure you this record is heavy as shit. Yes, it’s true, there are no breakdowns, but that doesn’t mean these songs won’t get a pit moving. I’m sure the tracks on Peace on Earth, War on Stage are sure to cause one or two busted noses in the months to come.

HOODS - GHETTO BLASTER

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In the event of a worldwide nuclear war, I have come to the conclusion that only one thing will survive. And no, it is not the cockroach; it’s Hoods. The Sacramento-based hardcore band has survived it all, including constant line-up battles, DIY tours across the globe, and a brief tenure with Victory Records that didn’t go so well - see “The King is Dead.” Now comfortable with their new home at Eulogy, the band is serving up ten brand new songs that have something for everyone in the form of Ghetto Blaster.

Hoods kick things off with the title-track, a menacing two minutes and fifteen seconds of classic Hoods filled to the brim with punishing hardcore. The vocals on this track are extra sinister - I’m pretty sure this is one of the songs with new touring vocalist Wreak Havoc (of NJ Bloodline fame) at the mic. The liner notes don’t designate who sings on which tracks, but Havoc, regular vocalist Ben Garcia, and guitarist Mike Hood are all credited with vocals duties on the album. “I Can’t Take This” continues with a similar sound, though there is a cool upbeat break towards the middle of the song that changes up the flow of the song.

Over the years, Hoods have always been a band to mix things up. They never stuck to writing just hardcore songs; they fused a lot of punk, metal, and oi into their sound, no doubt an ode to their varied influences. “Willie Nelson and a 12 Pack” shows a different side of Hoods than we’ve ever heard before. The song is essentially a cock-rock punk song - that description sounds much worse than it is, trust me. I’ll admit I completed hated this song when I first heard it, but after a few spins it has grown on me - definitely never expected to hear something like it from Hoods.

“Serenity” and “Road Warrior” both fly by in typical Hoods-style. “Dance with the Devil” reminds me a lot of a song from Pray for Death; it starts with a slow building metal-ish opening before picking up the pace and turning into a ruckus-raising hardcore-punk affair. The ruckus continues with “Beat Cops,” a less-than-a-minute verbal assault on cops; while listening images of police officers abusing their powers flashed in my head.

“Don’t Fight! Let’s Party Tonight” is a return of the rock-n-roll sound that we heard earlier on the record. And while I wasn’t feeling it before, this time around my response was a little different. No doubt the reason is the hilariously catchy chorus: “Don’t fucking fight! Let’s party tonight / If you’re straightedge, don’t worry, I’ll buy you a Sprite.” It’s rather childish, but the song is quite enjoyable.

“Can’t Stop the Game” finally sees the band returning to their more aggressive metal-fused hardcore sound. The riffs are hard, especially the breakdown just before the midpoint. Ghetto Blaster is closed out with two live tracks, the title-track from their last EP and “Ernie Cortez,” a dedication to their recently passed away comrade of Powerhouse notoriety. The songs actually don’t sound all that live, they almost come off as demo tracks as there is little-to-no crowd interaction.

The artwork for Ghetto Blaster done by Sean Taggart (The Jerky Boys, Mental) is excellent. The hooligans depicted on the cover are exactly the mixed bag you’d expect at a Hoods show: a hardcore kid tearing it up, a punk kid skankin’ it, a scene gal standing in the corner, Busta Rhymes, a bull… okay, so maybe not all these characters would be caught at Hoods show. Nevertheless, it looks awesome.

Bottom-line, I would have preferred this recording to be a bit longer. Even with the live tracks, it only clocks in at just over twenty-two minutes. Not that I’d expect a hardcore record to last an hour, but they could have at least make it to that thirty-minute mark, especially with their previous release being a short EP. In short, the king may be dead, but Hoods will probably continue to blast out tunes forever.

BACKFIRE - THE WAR STARTS HERE

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Having been a band for over 10 years, Backfire have become well-known throughout Europe for their tough as nails, New York-influenced hardcore a-la Madball, Warzone, Crown Of Thornz and Cro-Mags. This EP, released in 2001, is a quick glimpse into the madness of these soon-to-be hardcore legends.

1. The War Starts Here
2. There's A Price To Pay
3. What Holds Us Together
4. Once Again
5. Anything Goes
6. Bonustrack Featuring Tony Mitzel

H2O - ALL WE WANT

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H2O used to rule. I remember when I got "Thicker Than Water" from Epitaph when it first came out, and I was blown away. I played that album nonstop, dubbed it for my car tape deck, saw the band live on the Warped Tour, bought their back catalog, and all was well. Then "F.T.T.W." came out, and I wasn't as much of a fan. The hardcore seemed to be on a downturn, although the album still packed one hell of a punch.

Then "Go!" came out.

"Go!" was horrible. The music went completely bland and generic, the label tried to push the hidden cover song as the single, and Toby's voice went straight to shit on the recording. I saw the band live last summer on the Warped Tour again and they still had it - even the new material sounded decent. I just chalked it up to too many A&R Reps standing over the boards telling the engineers what to do.

Now, we have the brand new "All We Want" EP.

And it's terrible.

This band has absolutely no passion or energy anymore, at least on recording. "All We Want" is an absolutely horrible mid-tempo number that reminds me too much of Pennywise's "The World" for comfort. "Static" is the best song out of the new three, sounding the most like the band's older, faster material [the production still sucks on it, though, and sucks any life that might have been there right out of the track]. The third song, "Wrong," is just as slow and boring as "All We Want." There's nothing special about the songs at all.

The band does include two live tracks on here - "Role Model" and "Memory Lane." They were the two best songs off "Go!", and they sound infinitely better live, mainly because Toby actually sounds normal in these live recordings, opposed to the "nuts-in-the-vice" voice present on "Go!". But even these recordings sound incredibly low-budget - I have bootlegs of bands that sound cleaner than this.

To add insult to injury, MCA bleeped out the swear words on the live tracks! I'm not some huge advocate for swearing or something, but c'mon, H2O - stand up for yourselves against MCA before the label completely ruins you!

Oh yeah, the video for "Role Model" is also included on the disc, and it's actually a pretty good video [I wouldn't have known, since I don't think it ever got played ever]. So all in all, you have three brand new, absolutely horrid songs [I'd say they're the worst of the band's career], two decent live tracks, and one overlooked video. Is this worth it? Not unless you really, really are a fan.

A really, really big fan.

Don't forget your roots, H2O.

CRUEL HAND - LIFE IN SHAMBLES

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Just prior to the release, . Bridge Nine Records will be pressing the Life in Shambles 7", which will be available September 24 and feature the songs "Life in Shambles" and "House Arrest." It will be limited to 1000 copies.

NO WARNING - ILL BLOOD

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No Warning is a band out of Toronto, Ontario that has managed to find themselves a niche in the genre of New York styled hardcore. This CD sat on my review pile for what seemed like forever, being constantly overlooked. Maybe it was the simple cover art, or the band’s generic name; either way, this CD was consistently passed over for flashier bands. When I finally did put this into my CD player, I regretted my procrastination, as this was a catchy disc chalk full of shout along quality hardcore.
No Warning is sort of a throwback to bands like Madball and Biohazard who at one time or another have defined the New York scene. Their misanthropic lyrics combined with the relentlessly driving guitars are enough to send the listener into convulsions, while creating a one person circle pit in their bedroom. Yes, these guys are angry; yes, these guys are bitter; yes, this makes for a good album. For a relatively new band, No Warning does an excellent job of capturing the attention of the listener and not letting go until they’ve had their say. The songs have so much energy, that it would be tough not to get pumped up after listening to them. Also, for those of you keeping score, this record features guest appearances by Porter from Floorpunch (yes, there’s a band called Floorpunch) and Matt Henderson of Madball. So if you’re a sucker for name dropping (I know I am), there’s your reason to check these guys out. I think the highlight of this album for me is the shouted line”please don’t waste my time!” during the chorus of the song “Short Fuse”, it invokes mental images of pile ups, finger pointing, and stage diving that never ends.
So, if you’re a fan of bands like Biohazard, Madball, and other NYHC greats, No Warning just might be for you. If you like your hardcore fast, aggressive, and energetic, then No Warning may also suit your tastes quite well. This isn’t the prettiest CD, it’s certainly not the least bit flashy, but it does what it does very well. This is a no nonsense album from a no nonsense band.

INTEGRITY - TO DIE FOR

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This is an Integrity album. An obvious statement but one that sums up To Die For quite neatly. It is a loud and vitriolic attack against a world that, to Dwid, should care about the issues that he raises but instead continues in seemingly ignorant bliss to its apocalypse. Not that anyone will be able to understand the issues he explores with his screams and bellows, as after all this an Integrity album. All the same though, this work is one that, while drenched in the same lyrical ridiculousness, is a cut above the rest.

In its consistency, this album juxtaposes quiet, instrumental or acoustic sections with the furious yet jaded attack of the metalcore Integrity is so well known for. However these sombre moments were experimental afterthoughts, moments of introspective fancy that were produced from one of Dwid's endless meanderings. Granted, the results of these wanderings produced some of Integrity's finest work but they never felt a cohesive part of the album itself. However in To Die For they are incorporated fully into the album structure. The flow from acoustic to metal is not perfect; slight pauses separate them from flowing into each other with complete cohesion, but these instrumentals are especially effective in continuing the flow of rage from one song to the next and with the contrast of soft to hard, the impact of the more wrathful offerings become much more powerful. The music and listener alike are allowed to breath within these moments so the more aggressive songs are allowed to explode within the open spaces created by the instrumentals and in turn the impact upon the listener is much more potent. It highlights how far Integrity have come with their music. They are shaking off the shackles of the post-Melnick years and walking ahead with a new maturity about themselves.

This new maturity has opened new doors for Integrity's work. To Die For is abound with an originality that has not been seen since Seasons In The Size of Days. This is not the youthful vigour of For Those Who Fear Tomorrow but one that is more tentative and subtle. The experimentation that was limited to the instrumentals has crossed over into all the songs. Acoustic guitar work is interlaced with dense electric guitar work in "Hated of the World," reverb filled bass-lines dominate down-tuned guitars in a reverse of tradition in "Dreams Bleed On" and guitar solos become more prominent with double soloing upon "Heavens Final War." These experiments with old conventions of their sound may seem like old hat to other bands but here they add layers and, more importantly, an emotional impact that was thought long forgotten. The listener feels the contempt that Integrity have always tried to express through the heavier songs but somehow lost after their debut. Similarly Integrity have pruned elements of their sound that have hampered them in the past. The slower, denser sections that characterised their earlier work have been cut back and amalgamated into the fast-paced aggression that characterises this album. They regain that brooding darkness before their use meant nothing but excessive chugging. Within this album, Integrity capture a magic that was long thought dead yet with it they are still hampered by some of the same flaws.

One of the most glaring flaws are the lyrical themes. The band still dwells upon the same downtrodden vision of the world, one which in the end comes from humanity's own sin. The extreme evangelism ranting worked upon the first album because of the seriousness of the music but as the albums have progressed, the lyrical themes have become tired and worn. They have fallen victim to metal and hardcore clichés of cloven-hoofed demons and apocalyptic visions. These clichés have worn down the lyrics until they are nothing more than comedic at best and that is if they can even be understood. Dwid Hellion's voice is very effective and unique in its style. It is a monstrous shout torn straight from the pages of the Old Testament however Dwid has always suffered from one problem; annunciation. Although it is not as bad as many of his contemporaries, at certain times it is still hard to understand. This can be seen as a positive as the listener does not have to tolerate the abominable lyrics while still feeling the hatred in which Dwid spews them yet the album can't be experienced as a whole without the lyrics being understandable. A minus point they may be but without them this album is never a complete package.

As a full package this album is rather short, clocking in at just under twenty three minutes. It's compact nature allows for the album to have a very immediate impact and the run time allows for the emotional current to never waver. It is because of this and the maturity to which Integrity have approached this album that makes this a complete work for the band. Yet one can't help but feel that more could have been added to this album. The doom-laden intro of "Dreams Bleed On" could have been extended for a grittier impact or the acoustic guitar work could have been been twisted into the electric guitar work to a greater extent. The choice of instruments for both the instrumentals and the main cuts could have been expanded as well, the addition of a piano within Seasons In The Size of Days created one of Integrity's most sombre moments. Most of all though, there is a certain need for an intro and outro to this album, ones that would add finishing touches to the album's sound.

Overall though, this a return to form for Integrity after the two previous, unfocused efforts. It is not nuanced and intricate, neither it is deep in its lyrics however it is an Integrity album. It suffers from some of the flaws that always plague every work of Integrity but mostly it is a mature, headlong charge into Hell, one that finds its depth in the primal emotions of the world. It may not be the most complete work in the metalcore genre but it is Integrity's most complete album and that is good enough.

DYS - BROTHERHOOD

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This is one of my favorite hardcore records of the 80's. Maybe that's because DYS was the first of the old Boston bands I heard, but I think Brotherhood is a classic. Mainly it's the youthful energy that I love about it - the feeling that I had when I first got into punk, like, "now I've finally found an escape from the boring teenage existence I was living in and the hostile society that doesn't accept me." Well, that's what I hear anyway...
"Wolfpack" has one of the best intros of any song, ever. Shit, the moment I hear that drumbeat, I automatically start nodding my head to the music. Sometimes, when I'm walking with a large group of people, I find myself humming the song ("Wolfpack! Don't give us any shit!" etc.). Pretty much everything here is good, though - except for the song at the end where they start talking about Excaliber and other weird stuff. Sure the music is simple, but I think it's interesting and original as well. The lyrics are also good - I don't consider myself straight edge, but "More Than Fashion" is the best argument for it I've come across ("I'd rather buy a record any day..."). Like the first Reagan Youth LP, Brotherhood has a unique guitar sound that wouldn't work on any other record, and Dave Smalley's voice is just cracking all over the place. It's awesome.
-CHRIS

A contagious masterpiece. DEPARTMENT OF YOUTH SERVICES ricochet outrageous doses of full horsepower across the cranium. Strong instrumentation provides an invincible attack of intense staggering speed, rawness, and momentum. An unrelenting, sustained guitar growls and whines, as crushing vocals lunge out notes of gnashing abrasive melodies. From Boston, the D.Y.S. rate high with the likes of S.S. DECONTROL and NEGATIVE F.X. A shimmering release.
-Pushead, from MRR #8, 1983

Compared to the other Boston bands, DYS has always seemed a bit inferior to me, at least as represented on this LP. Maybe it's the "experimental" songs at the end, maybe it's knowing how bad they would get on their next record, or maybe that it always sounds to me like he's saying "Snorkle Storm" instead of "Circle Storm" - I don't know. Certain songs on here are really over the top with that young white male insanity that fueled SSD and Negative FX. "Brotherhood," "Wolfpack," and a few other tracks here live up to the DYS legend. Others are either just less urgent or too sketchy. "The Girl's Got Limits," which could be read anywhere from horny teen venting to scary rape fantasy, is an example of the dumb machismo that reigned in Boston. The final tracks (which include a spoken word piece inspired by King Arthur and the Knights of the Round Table, a horrible Sabbath cover, some (hopefully) ad-libbed blues, and a pointless parody of Bad Brains dub songs) are so abysmal it isn't even funny.

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FUGAZI - FURNITURE

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Credits
Artwork By [Cover Mechanics] - Jason Farrell
Design [Cover Design] - Fugazi , Jem Cohen
Mastered By [Cd] - Chad Clark
Mastered By [Vinyl] - John Loder
Performer [Fugazi Is] - Brendan Canty , Guy Picciotto , Ian MacKaye , Joe Lally
Photography [Cover] - Ian MacKaye
Photography [Insert] - Jem Cohen
Recorded By, Mixed By - Don Zientara , Fugazi

Notes
Recorded at Inner Ear Studios January and February of 2001.
Mixed at Inner Ear Studios March and April of 2001.
Mastered on vinyl at Abbey Road.

DISCHORD RECORDS

CORNER STREET COMPILATION V/A

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Don't miss it to get rep and download it
Tons a great band from Jakarta, Bekasi and Bandung, INDONESIA
Final Attack, Traitors, Screwball, Enemy of Judas, and still more

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DONNYBROOK - THE BEAST INSIDE

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Those LA homeys are back. With guitarist (Martin) in touring machine, Terror, and his brother, Dre, playing roadie for big bands; the output of Donnybrook! is sporadic. But when it hits, it hits like a friggin' brick. Stemming from that LAHC fam directly with Skare Tactic, Blood Stands Still, Through This Defiance; you know what music to expect. Madball and Terror type shit. Fast riffs with a hip-hop bounce; a tough street sound.

This came out 6 weeks ago. And i have rocked it rather frequently. It holds up. I get excited by this brand of hardcore, while others may dismiss it as "Tough Guy" slandering it as generic. I mean, when you want to exorcise some frustration, this shit is dependable. It gets me energized and ready to throw some fists in a pit.

If you are a fan of past DB shit, expect the same; with some solid representation. Still tight, still solid. Still tough as fuck. But different enough to cop the new shit. The riffs and double bass pounce is going to to get you moving on the floor quickly. And when that breakdown comes; prepare for kung-fu theater.

"Accept the inevitable. This world was not meant for peace!"

The lyrics are not self-aggrandizing, they remain down to earth. They are negative, hateful; a stark warning. They for the core, for the crew. But not dumb, generic words. Check "Concrete Speech" - which praises the verbal weapon. "Something Awful" addresses the betrayal issue when someone mistakes "kindness for weakness". "The pain is not something to fear". A fun song, "What's a Little Blood", is dedicated to the mosh. But really why we sweat it up with other bald dudes, taking our lumps. "forget everything in the outside world and release the aggressions inside. but respect each other and have a good time." No tough guy posturing, just an acknowledgement of the physical manifestation of our venting.

I will say - there are clear vocals, strained but not screamed; even, raps once in awhile. And there is actual 'singing' for lack of a better term. Different, but it works (not like KSE or anything). The guitars are tight and crisp; heavy. Dive bombs here and there, 1 solo; but mostly just straight up riffs crashing forward to pounding drums.

For anyone that dismisses this style of hardcore, i simply ask: "is its spirit any different from AF and Cro-Mags, or WarZone?" i think not. And you have to understand that what you may interpret as "tough guy"; these dudes have been down since day one and the "take no shit" attitude is empowering to some kid who has been down and out and now wants find urgency and purpose in this new found scene. ("i will not lose!")

While you can claim "For Fans Of" DBD, Death Threat, Furious Styles; even, the Trapped Under Ice, Forfeit, Bitter End stuff; this really takes 90% of its cues from Terror and newer Madball. Which i love, so this gets respect from me.

REIGN SUPREME - FUCK THE WEAK 7"

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Reign Supreme are one of the heaviest/hardest metallic hardcore bands to surface from Philadelphia in over a decade. Led by former Blacklisted member Jay Pepito on vocals, they wield the same devastating musical hammer as bands like Crowbar, Terror, and Integrity. Yet come out swinging with a conviction and power unlike anyone before them.

In 2006, Reign Supreme unleashed their classic demo on an unsuspecting hardcore world (now released as a 7"EP titled "Fuck the Weak" on the Rock Vegas label). In early 2007, the band released a 12" Single on Robby Redcheeks' Dead By 23 label. This marked the first time that a 12" Single was recorded and released for a single show.

INTERNATIONAL SUPERHEROES OF HARDCORE - HPxHC

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For those unfamiliar with the International Superheroes of Hardcore; the band is effectively New Found Glory with one slight change line-up wise, NFG guitarist Chad Gilbert and vocalist Jordan Pundik switch roles. As such an amazing transformation occurs turning an average-to-good pop-punk band into what sounds like a seasoned and energetic hardcore band.

The HPxHC (Harry Potter Hardcore) EP is the band’s second offering consisting of four short tracks that never go beyond 2 minutes. The EP opens with the title track detailing just how hardcore Harry Potter really is (He burnt down Gryffindor). The rest of the EP continues the same way with joke songs whether it’s the band declaring a bounty on Batman’s head for banning all age’s shows in Gotham City, or making sure everyone knows that they’re keeping Santa Claus real.

The downside to the EP is what also makes it good; the length. The EP could be 8 tracks long and it still would barely breach 10 minutes which some may see as a downside. Despite being 4 songs long and being roughly 5-6 minutes long the album is full of punchy hardcore tunes. The strength of the band is mainly in Chad Gilbert’s voice but the rest of the band definitely pulls their weight, the drumming is impressive and the guitar work whilst nothing special should keep people interested.

All in all the band has put forth a strong EP, the sheer amount of energy in the performance keeps it from being dull and the humorous, yet self-aware lyrics are both catchy and memorable, which makes what could have been an average hardcore album, somewhat of a gem in today’ s scene.

FIRST BLOOD - S/T EP

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Download it now
First Blood first ep's
You suck if you haven't heard this record before

GUNS UP! - GAME OVER

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Straight forward hardcore
Sing a long
Tons breakdown and great lyrics
Download it, coz I know that you won't miss it

ON - CONTROL

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Wanna put some noise blast from the past youth crew sound ?
Check this band
Nice licks

STIGMA - NEW YORK BLOOD

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If you’re into hardcore and you don’t know who Vinnie Stigma is, stop reading now, fire up google and check out his bands. Those of you who know Stigma, know that he’s not the greatest guitar player, but that without him, hardcore would not have been the same. Agnostic Front recently more or less returned to their hardcore roots, after a couple of CD’s that displayed a more streetpunk-oriented sound. Roger Miret has his Disasters, Stigma has his ‘solo’ project. Vinnie sings on this record and let me be honest with you, he doesn’t do very well. Listen to the acoustic song ‘Blurry Nights’ and you’ll know what I mean. It sounds somewhat like Al Barr in his Bruisers days, but not as well executed. The musical style can be described as streetpunk, the kind of music you listen to in a bar with a beer in your hand while singing along. There’s nothing new on this cd, but that probably wasn’t what Stigma wanted. ‘New York Blood’ doesn’t get my blood flowing, it’s not bad, well put together, but it never reaches the level that a band like The Bruisers produced. And please, a song like ‘Hole In My Head’: don’t do that again.

CASEY JONES - ARE SOME CRUCIAL DUDES

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Casey Jones formed in early 2003 as a side project of Evergreen Terrace. The band's name is taken from the Teenage Mutant Ninja Turtles character Casey Jones. The band was originally started by Josh James of Evergreen Terrace, his brother Caleb, and Josh Smith (former member of Evergreen Terrace). Shortly after forming, the band wrote several songs and recorded a five song demo entitled Are Some Crucial Dudes. Not long after this, the band recorded their first full length The Few, The Proud, The Crucial which was released on Indianola Records. After several member changes, the band recorded their second full length, The Messenger, which was released on Eulogy Records in June 2006.
Casey Jones are set to self-release their final album, I Hope We’re Not the Last, on January 11, 2011. The album will be available through iTunes, all major online music sites, select mom-and-pop stores and at all live shows. 2011 also marks the band’s final year of touring. Said frontman Josh James:
“When we started this band, we didn’t expect to release records, much less to gain fans across the world. We certainly didn’t expect so many people to be moved by our message. Because this band has never been first priority to its members, it has always equated to pure expression and pure fun. All things must come to an end, and we believe 2011 will be a great year to spend on tour and saying goodbye. This is going to be fun”.

GUNS UP! - ALL THIS IS

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Yeah this is what i needed. I was just thinking the other day, I miss straight forward hardcore. So much of the scene where I am right now is either way youth crew old school, or like metal core gayness. I need some just tough New York style stuff. Thats what this is. This cd is average in all the ways you want it to be. These guys aren't trying to break any ground or innovate really. Some would even say this release is mediocre compared to some of the cds that have come out this year, but to me this kind of mediocrity is a breath of fresh air. Guns up! Plays pretty straight forward old style hardcore. This is not a fast tempo old school release really, though there are some parts that will make you run back and forth and hit someone, but this cd really excels in slow driving grooves and really tough breakdowns. The entire disc sounds kinda like something you may have heard before, but not in a frustrating way. While I dunno if this worthy of being somebodies favorite band, this is definitely the kind of opener you come out early to see.

The lyrics are pretty standard hardcore fair, not particularly challenging or interesting, but not frustrating either. Lots of anger here for you to shout along to the next time these kids come to town. Plus with lyrics this simple they should be easy to learn. The vocals are more brutal then some of the bands they are emulating, but that is a nice change. This kind of makes me think of a slower, tougher American nightmare. I don't know that these guys would catch on with the hipster kids the way that band did though.

Over all, while this cd is not the most original disc I have hard recently, it is still a breath of hardcore fresh air in a scene choked on fashion over substance. These are the type of songs that probably made you fall in love with this music. Check it out.

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BETTER THAN A THOUSAND - SELF WORTH

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Straightedge Hardcore
Recorded in Ken's Bedroom January 1998, mixed at Phase
Mastered at West West Side
RARE ITEMS, DOWNLOAD IT!!!


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INSTED - WE'LL MAKE THE DIFFERENCE

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Third pressing with red lettering and black cover. Includes lyric/info sheet.
Recorded at Pendragon Studios, CA., June 9 and 12, 1989.
Originally released in 1989.
BEST EVER

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STEEL NATION - FOREVER WOUNDED

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Like an increasing number of their contemporaries in today’s hardcore universe, Steel Nation’s sound is heavily infused with thrash influences, owing as much of a debt to early Metallica as Black Flag or Agnostic Front. Their latest record, Forever Wounded, finds the band pushing further into thrash territory than ever before, with the band excelling at their brand of the crossover-and-hardcore matrimony. The album is a stone-faced, no piss-taking affair. Despite the glut of bands playing a similar style, Forever Wounded has secured Steel Nation a position as one of the better acts in today’s scene.

The “Intro” is a strong instrumental track to kick off the set before blowing the doors wide open with “A War Within.” Tracks such as “Odysseus” and “Reaching the End” showcase guitar work that would have fit right in on Master of Puppets. Other cuts like “Blind to the Truth” and “Day by Day” are uncompromising hardcore anthems that see the band instrumentally firing on all cylinders. The band saves their best for last, however, with the phenomenal thrash and two-step of “Downfall of Humanity,” closing the album on a very strong note.

There are two issues, though, that prevent this album from attaining a spot in the true upper-echelon of hardcore. Firstly, the record occasionally suffers from a feeling of sameness; it is rare for Steel Nation to change time signatures or even tempo. As a result, the album drags in parts. Just a few more moments like the beginning of the title track, with its soft, Metallica-esque intro, would benefit the band greatly. Secondly, Steel Nation absolutely must find an answer at the vocalist position. It has been a revolving door, with several member changes; the group now splits the duties between one of their guitarists and their bassist—Neil “The Hardness” Stiles and Steve Fisher. While the vocalist-by-committee approach works well for some bands, Steel Nation’s approach is rather pedestrian. A more dynamic set of pipes would work wonders. Every time I spin Forever Wounded I find myself wishing that I could hear even just one full-throated scream. The lack of a strong vocal presence is extremely frustrating because this record could have been so much more with a commanding frontman.

Forever Wounded is a very fine effort from Steel Nation, and though they owe a heavy compositional debt to some of their forebears, they play this music with such passion and conviction that it’s impossible not to take notice. With the addition of a true lead singer, this band could really take flight. Until then, enjoy this record for what it is—a blistering, no-frills crossover attack. Hardcore fans rejoice: 2009 has given us yet another strong release.


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TERROR - KEEPERS OF THE FAITH (LIMITED)

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Get geared up to head straight back to the heart of hardcore. This is a no frills, head nodding, testosterone overload of goodness, so sit tight.
Having done the touring circuit tirelessly, released more than a handful of both EP’s and albums, collectively Terror haven’t done half bad, and this time round stripping it back is what its all about.
Opener ‘Your Enemies Are Mine’, is a straightforward mighty attempt, drawing us effortlessly in, mild in comparison to songs subsequent, yet nevertheless its brief enough to draw our interests. ‘Stick Tight’ follows, coming full force, there’s a definite old school, hardcore vibe here, and its exactly what Terror intended to do.
‘Stick Tight’ is anything but delicate, with it’s immediate hook, you’ll find it hard to fight the urge to nod along. It’s speedy, uptempo guitars blend all so well with vocalist ‘Scot Vogel’s’ vocals, who of which never fails to deliver - Vogel remaining formidably gritty and as peeved as ever throughout the entirety of ‘Keepers of the Faith’.
‘Return to Strength’ continues the pace, pleasurable on the ears, Terror have constructed a sound that in essence captures all the energy needed, and while Terror’s relentless drumming sound can seem overpowering at times, its at that point that you have to realise that the full forced likable monotony is what the genre that is hardcore is all about.
Title track ‘Keepers of the Faith’ is a melodic, toe tapping friendly delight, (and as Old School as your mum and dad), this is a song that takes us back to hardcore at its roots. This album incontrovertibly will take a few listens to thoroughly be appreciated, but Terror’s angry at the miserable world approach shines through from the get go, and surely played loud enough will have your ears in a feuding battle.
‘Keepers of the Faith’ is Terror at their best, an album that claims no pretense. With their hard as nails approach, its with no imagining that their translation live will conjure circle pits and stage dives from every angle. Scott Vogel knows just how to perform, his antagonistic no gimmick approach is a uniqueness to Terror that we should hold in high regard, and it comes across ever so powerfully on record.
Terror in name and Terror they’ll evoke, these Californian chums are set to run riot on the ‘Hell On Earth tour’ in the UK and around Europe this September, so get your fists ready, and your bandages too, ‘cause Terror certainly don’t do anything by halves.


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WARZONE - OPEN YOUR EYES

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Open Your Eyes was the second full-length album from New York hardcore band, Warzone – who originated in Lower East Side, Manhattan, United States. It was released in 1989 on Caroline Records and follows on from their first album, Don't Forget The Struggle, Don't Forget The Streets, the previous year.
Among the production team was renowned guitarist, Dr. Know, of the New York hardcore band, Bad Brains. One of the tracks, "Always – A Friend For Life", was a re-recording of a song from their debut EP, Lower East Side Crew, in 1987 – as was "We're The Crew" from their previous album.
The album was swiftly followed by a self-titled one in 1990, by which time the musical influences had started to shift. In 1994, Another Planet re-issued the album on the same disc as Don't Forget The Struggle... – something the label did with similar NYHC artists of the same era, such as Murphy's Law, Cro-Mags, and Leeway.

The racism theorists must have had a field day when they listened to the opening title track – one of Adolf Hitler's rallying rants – but some forty seconds in, their "hopes" are dashed as along comes a bomb and blows them to pieces.
Lyrically, the band further strived to distance themselves from the racist skinhead label which had haunted them from inception – "Racism – World History Part I" being a case in point. Other themes tackled oppression, "togetherness" and the sense of belonging to a bigger, extended family.
Musically, it was generally business as usual – straightforward NYHC with plenty of room for mosh indulgence. However, the first signs of musical experimentation emerged with little guitar "flourishes" appearing here and there.
Meanwhile, while the rest of the bands in the same scene were already heading towards a more crossover thrash stance – Cro-Mags' Best Wishes from the same year – the hair was getting longer and most of the members were beginning to take their instruments of choice a bit more seriously.
By 1990, the band took a further step towards metaldom with their self-titled album – also on Caroline Records – which Raybeez dismissed, saying he "felt pressured by band members who wanted to 'experiment' with their newfound Joe Satriani influences".
A return to more orthodox hardcore ways was to return later in the 1990s, however, with the band signing to Victory Records before the untimely death of Raybeez in 1997.

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WALLS OF JERICHO - REDEMPTION (EP)

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Everybody here probably knows that Walls Of Jericho plays Hardcore in general but they will be surprised to discover that their new EP is an acoustic release! Strange for a really aggressive band isn't it? Sure some bands like Opeth have already done it before but I was extremely surprise to listen to the music of this release which is really good in the end. For a single album these kinds of changes never hurts right?

The good surprise of "Redemption" particularly comes from the voice of Candace Kucsulain. This EP is the proof that Candace can sing with a really beautiful hot and tender voice. The great thing here is that she is definitely better than a ton of other female singers (I won't give names…), her voice is a bit hoarsy, that's a real Rock voice and really that's classy. Of course the songs are soft and calm, "Redemption" is an acoustic EP of dark and sad folk music but at least we have a lot of emotions on this release, that's new and fresh, especially for Walls Of Jericho but since that it's well done, that's just perfect. Maybe that some fans will dislike this release but if they're a bit open minded and can understand that it can be a good thing for a band to release such original album, I'm sure that they will enjoy a lot "Redemption" in the end.

"Redemption" was produced by the front man of Slipknot even sings (with a clean voice) on three songs! Corey just does some backing vocals but it's perfect in addition of the voice of Candace. The sound of the album is really good and I can say that it's a perfect recording. You'll even have the chance to listen to a good cover of the famous hit "House Of The Rising Sun" (Animals). "Redemption" is a good EP, there is nothing new or original when it comes to the music but it's cool to see some bands which have the balls to do such really different releases sometime.

"Redemption" will maybe be displeasing for some fans of Walls Of Jericho because after all is all but Hardcore. Sure I can understand them but hey guys and gals, just remember that on a side it was just an album for fun and Walls Of Jericho will be back later with a real powerful and angry release. Have a look on "Redemption" if you want to discover the second face of Walls Of Jericho, a lovely face in my opinion.


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THE RIVAL MOB - HARDCORE FOR HARDCORE (EP)

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After hours of internet boredom and reading other message boards, I kept seeing one name pop up on a lot of sites where the younger kids congregate selling a bands merch on eBay for inflated prices and people getting their jorts all in a bunch over it.

That band was The Rival Mob.

I guess I'm severely out of touch with hardcore these days because I had heard the name here and there but I never knew that this band was as big as all those prices showed they are. Face it, I'm 34 and live under a rock when it comes to new hardcore bands.

I figured that I'd give them a chance and I expected nothing but the worse. For some reason, I was waiting to hear yet another band try to sound like American Nightmare with the prerequisite "Morrissey but tough" lyrics but I was surprised with what I heard with this.

What you're getting here is a solid slab of old time NYHC with no frills at all. The pace is fast and everything sounds just the right amount of pissed off. Instead of relying on just playing fast power chords, The Rival Mob actually throw in a few riffs that work out well for them and when the song calls for it, they slow it down rather than do the cop out of throwing a breakdown for the sake of having the kids dancing.

Through and through, there's 12 minutes of old school flavored hardcore that doesn't break into the metal territory one bit. Is it groundbreaking? No, it isn't. Hardcore is a pretty limited genre that can't grow constantly. Is it a competent entry in the stagnant pool of kids that put more thought into their show clothes than what bands are talking about? Yes, it certainly is.

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YOUR DEMISE - THE BLOOD STAYS ON THE BLADE

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Best ever, best EP from Your Demise
Great UK Hardcore band, trust me dude, don't miss it
Shame on you if you haven't had look and heard about this band :)

Tracklist
1. Too Little Too Late
2. No Half Measures
3. The Blood Stays On The Blade
4. Bitterness Will Prevail
5. Unbound By Blood
6. Burning Ashes
etc (hidden)

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COLLAGES - DEMO

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What do you think prior while you looking this Art Cover?
Metal? Emo? Pop Punk?
Hahahahaha Hell no dude
Collages is a Hardcore band, based on Kuala Lumpur, Malaysia
But eventually on Klang Valley
Modern meet traditional touch, you'll get insane!!!
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STAND FREE - THIS IS OUR PRIDE

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Sort of another Bandung Hardcore Kids, Indonesia
Based in Bandung, they've just finished debut EP album
yup, pretty fun, fantastic noise, put a ton of nice licks
and get ready banging your head on your room or every gigs with Stand Free
get it now !!!
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TERROR - K.O.T.F SINGLE

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TERROR - KOTF - RR033


Keepers Of The Faith is a worldwide call to the community, an attempt to hear back from the faithful on the front lines, a gathering of allies, both diehards and new bloods. Front man Scott Vogel sums it all up, "This is the record we put everything we have into, from the music to the lyrics, the layout to the title and to the direct hand to hand street marketing approach, we are putting it all on the line. We took all the rules of what’s going on in the industry today and washed them from our minds. We wanted to capture those early days of hardcore. This is the record we were destined to make. This is TERROR at its best and I’m so excited to get this out and start touring surrounding its energy and passion."

TRAPPED UNDER ICE - SECRETS OF THE WORLD

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Baltimore’s finest Trapped Under Ice is at it again to unleash havoc with their raw blend of in your face hardcore. The bands latest effort Secrets of the World came out August 4th, on Reaper Records. The band brings the brutality of a New York hardcore band, while keeping it “cold” in a way only Trapped Under Ice can deliver. Coming off Stay Cold lets see what “Ice” the band brings to their first full length.
First off I must comment on the fat bass lines and production value; Trapped Under Ice delivers a true hardcore sound that almost has the raw live feel, while not sacrificing any audio quality. The band comes out swinging with “See God,” very punctual and real something that can truly be appreciated in the current sea of mindless clones and drones. Fast, pissed, and downright aggressive, Trapped Under Ice does hardcore justice with songs like “TUI,” and “Gemini,” that are relentless. Much like Shai Hulud misanthropy runs rampant throughout Secrets of the World, especially apparent within the closing track “World I Hate,” which may very well be the best track on the album, with a more eerie destructive melody.
Only setback within Secrets of the World is its length, I left my stereo after track one to get a Pepsi by the time I got back it was already to track five. This doesn’t surprise me due to the genre but a full length album that only spans just over twenty minutes is somewhat upsetting. Especially since their EP Stay Cold with bonus tracks spanned around thirty minutes, you don’t see that happen too often. Other than that minor nuisance Trapped Under Ice has put together one of the most solid hardcore albums yet this year.
If you like hardcore, this is a must. Secrets of the World, contains the perfect blend to suit any hardcore taste buds. I am certain Trapped Under Ice will continue to bulldoze across the earth with their intense amount of touring, and continue to climb up the ranks within hardcore to become one of the best. Trapped Under Ice has a delivery and style that is true to themselves as well as the genres roots. Do not miss out on one of the best hardcore albums put out this year.
Fuck man, I love this band.

NO ONE CARES - DEMO

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BAD BRAINS meet NEGATIVE APPROACH mixed with furious drum beat and catchy licks
Recent line up made this thing happen
The vocalist is member of MARTYR (leading greatest Medan City Straight Edge Band)
Basically the put and keep rhyming with traditional accent but has followed with scream out loud
Nice ass dude...N.O.C based on Medan, North Sumatera, Indonesia
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UNIFORM CHOICE - SCREAMING FOR CHANGE

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Don't called yourself as STRAIGHT EDGE, if you've never barely listened to this band, or perhaps did't know about this band lately

Uniform Choice lit the fuse on the Southern California straight edge hardcore scene. The band formed in 1982 and went through a number of line-up changes before recording their defining-album, Screaming for Change, in 1986. The record features some of the finest "positive" hardcore anthems of all time in title-track "Screaming for Change, "Use Your Head," and, well, every other song on the record, to tell the truth.

Check the latest history of UNIFORM CHOICE ;


Uniform Choice was started by guitarist Myke Bates, bassist Hanson Meyer and drummer Eric Hanna during the Spring of 1982. Bates had been playing with a couple of bands previously in Palm Springs. His band, Funeral Information, had played early punk shows with Sin 34 and Black Flag (band) and his other band, Target 13, had written the song "Rodney On The ROQ" for KROQ DJ Rodney Bingenheimer, which appeared on the compilation album Rodney On The ROQ, Vol 2 under the independent record label Poshboy.
Bates left his skateboard shop, Bates Skates, behind in Palm Springs and moved to Newport Beach. He looked to start a band in Orange County and found Meyer and Hanna who were playing with a local punk band called Moral Sin.
They together created Uniform Choice and as a power trio started playing a number of songs already written by Bates. Meyer and Bates wrote a number of songs together over the course of the next two years including "War is Here" and "Don't Take the Car You'll Kill Yourself". Bates played guitar and sang lead vocals in the beginning until the group landed on lead singer Elliott Colla, a former classmate of Meyer and Hanna's from Corona Del Mar High School. The band experimented with other singers before Colla. Newport Beach local Eric Whittick sang for a short while. And later in the tradition of X-Ray Spex, 14-year-old Jennifer Harper fronted the band for a short time. The band made its first studio demo in September 1982 (Demo #1) with Colla heading up vocals. The recording sessions were engineered and produced by Tom Springston of Burnt Party Host and were recorded in Corona Del Mar, California. In 1983 the band experimented with an additional second lead bass player, Brent Turner. Turner only played several shows with the band and left the group to record an album with The Vandals (punk). Over the course of the first two years the group performed with other established punk acts such as Black Flag, Circle Jerks, Shattered Faith (band), Bad Religion, Circle One and Angry Samoans.
In early 1984, Hanna and Meyer decided to leave the band and Bates enlisted an entire new line-up which would be fronted by Pat Dubar and drums being played by Hanna's friend and classmate Pat Dyson. Meyer went on to play with other groups such as the Finks and Peace Corp. Bates left the group later in 1984 to pursue other endeavors in Hollywood, CA.
The group with this final line-up of Dubar, Dyson along with the addition of two well known O.C. hardcore players Vic Maynez and Dave Mello went forward with a new vision as Uniform Choice and continued to record and created what was considered the first O.C. Straight Edge Demos. gaining momentum nationally and performing throughout California and beyond bringing the group to their current level of fame and recognition in the Southern California punk subculture.
Screaming for Change is their most acclaimed album.They also recorded another less well received LP called Staring into the Sun and their demo has been bootlegged several times. Pat Dubar was a graduate of Pepperdine University and created the label Wishingwell Records, which released albums by Uniform Choice, Blast, and Youth of Today, among others. Uniform Choice is historically among the first five Straight Edge Hardcore bands to emerge from Southern California.

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BRAVE HEART - WAKE UP CALL

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One of the biggest straight edge band from Jakarta, Indonesia
Former of LARANGAN YOUTH CREW, get into one badge as BRAVE HEART
One of their single called Komitmen Untuk Hidup Positif (POSITIVE LIFE COMMITMENT) is one of the greatest hype from another greatest band from Jakarta called SIDE OF STRENGTH...best single ever
But unfortunately SOS has disbanded

Shame on you, if you called yourself as STRAIGHT EDGE, pledge yourself on POSI lifestyle, but never heard this band before
Enuff said


File name: BRAVEHEART - Wake Up Call ( Pre-release).rar
File size:small & fast MB

VERSE - STORY OF FREE MAN

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Rare items from VERSE, under license of BRIDGE NINE RECORDS
Get it now, Don't miss it


Story Of A Free Man - Chapter Two: The Cold Return Lyrics
Dad came home in a body bag. He never had a chance to say goodbye. He was
A good man - fooled to believe in a fake ideal. His veins soon pulsed
With dissent from what he had learned right before he died. The cold reality
Of the rich sending the poor off to fight a war for the corporate whores.
"Will we ever see an end to this?" he said. Still stuck with addiction,
He numbs his mind. He wants to return to the time when he was young and blind.
"Will we ever see an end to this?" he said. He knew life would never be the
Same from here on out. He felt those storms coming in with those dark
Approaching clouds. "Will we ever see an end to this?" he said. He's homeless now.
He throws his mind away and struggles with thoughts of suicide at the end
Of days. He wants to see the end of this. This is the beginning of his concrete
Bed under a bridge. "This is rock bottom. I can only go up from here. I'm
Looking ahead, and I think I'm ready to face what I've always feared."
He screams out at the metropolis in front of him. This is where he learns
To sink or swim. He turns to face a monster in front of him that is the epitome
Of limiting. He takes the needle from his bed side, gives it a look for
The last time. It's the last time...

VOID - POTION FOR BAD DREAMS

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To one of the greatest Dischord bands to ever surface...VOID were more than a band, they were everything pure about music, the approach, the sound, the attitude and the commitment. Of course this album was never properly released, but I personally love everything VOID ever did if for nothing else but the reason they were a band, not like these cliche revival bands. They were truly original and stand the test of time, there will be no other band to ever do what they did.

ZOLI BAND - ZOLI BAND

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Formed by Zoli Teglas as side project from his well known hardcore band IGNITE, Zoli Band explores a completely different dimension of Teglas’s creative genius. Most songs on the self titled album are heartfelt and raw, allowing you a glimpse of Teglas’s inner workings. Zoli Band was featured on the Transworld Surf video game for PS2 and X Box. And now he keeps busy with PENNYWISE, what a great talented guy ever

VERSE - AGGRESSION

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Verse, one of the truest and longest running hardcore bands,  has defied all logic of todays hardcore scene with the release of their third album, “Aggression”. The album is lyrically confrontational and front man Sean Murphy’s harsh vocals are released from his body like he has nothing left inside, creating a powerful listening experience for those who are passionate and politically savvy. ” The first track on the album begins with a calm, melodic instrumental piece and abruptly moves into the first powerful lyric; “They’ve got themselves a new spin on the story.” The break’s in Murphy’s voice express his clear urgency.

While listeners are claiming that this Verse album is the best hardcore album of the year, even beating out Have Heart, it must be noted that Verse is more on the risky side of doing things. While they create a sound of what true modern hardcore punk should sound like, they are not afraid to try new things with melody. Verse also is able to vary the sound of their vocals from whispers to shouts, not to jar the listener,  but only to capture the importance of the words. The vocals are by far the most impressive part of this album. Along with the heavy guitars that you can hear the emotion in, they make listening to the album much like swimming in chocolate, soo dense, yet sooo sweet!

Verse Is a band hailing from Providence, Rhode Island.  This is Verses’ first release signed to Bridge Nine Records. Their previous albums, “Rebuild” and “From Anger and Rage”, were released on Rivalry Records.  For this album, the band was able to take many different aspects of hardcore and refine them, creating a perfect blend of melody and harmony through heavy guitars. Bridge Nine provided the band with a new top notch production, allowing the catchyness of the music to hold a strong essence without taking away from the passionate lyrics. Because this band has proven to stand the test of time by releasing a third album (unlike many in modern hardcore) and earned its name as “Rhode Island’s longest running hardcore band”, listeners are astounded and excited to see what else Bridge Nine has to offer for Verse.

SHAI HULUD - MISANTHROPY PURE

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Shai Hulud are one of my favorite bands, so to say I was both curious and excited about their new release, Misanthropy Pure, would be a huge understatement. Their third full-length marks their Metal Blade Records debut, as well as the first appearance of vocalist Matt Ian Mazzali, whose raspy screams fit the band's signature sound well. While I don't think he lives up to the ferocity of Chad Gilbert (vocalist from 1996-1998), he out-powers Geert Van Der Velde (vocalist from 1999-2004). The new album can be described as controlled aggression, a fine cross between the band's two previous full-lengths, 1997's Hearts Once Nourished with Hope and Compassion and 2003's That Within Blood Ill-Tempered.

The disc kicks off with "Venomspreader," which begins with a few seconds of desolate notes before exploding into a fast-paced verse. It reminds one of classic Hulud, and one also cannot help but notice the rather slick production thanks to Greg Thomas and guitarist Matt Fox. This disc has a surprisingly clean sound, which seems odd at first, but is very fitting once you become accustomed to it. Their technical moments really shine as a result.

The title track is, as the lyrics state, "a plea to vindicate intolerance." Once again, the lyrics are intelligent and thought-provoking, something we don't see too often in the hardcore genre. Then again, the same could be said about the music itself. The disc also contains "Set Your Body Ablaze," which any Hulud fan will recognize as a new version of a song from A Whole New Level of Sickness, their 2000 split with Another Victim. Some may call this an obvious and unoriginal rehash, but it is more like a treat for old fans; the song has never sounded so precise or heavy. Other standout tracks include "Be Winged" and "To Bear the Brunt of Many Blades."

There's something for everyone on Misanthropy Pure. It's melodic, heavy, technical, fast, smart, driven hardcore metal. Most importantly, it does not disappoint after a long five-year wait, which says a lot. While most early metalcore favorites have changed their sound over the years (Poison the Well, Dillinger Escape Plan, Converge, et. al), Shai Hulud are still a force to be reckoned with.

SOLDIERS EMBRACE - ACTION REACTION

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Weeew this band ran from Malang City Hardcore, Indonesia

Nice stuff, kinda old records but still feel the passion indeed

Old skool? fuck no, I don't want to use that abbreviation anymore

HARDCORE...sharp as knives, enufff

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