12 January 2011

BETRAYED - SUBSTANCE




I just finished watching the trailer for the book-to-film documentary American Hardcore and it got me thinking. Anyone that claims to be a fan of hardcore/punk is bound by an unwritten law to have read that book, as well as Get in the Van. Many - mostly the older blokes - feel that those times documented in those books were the heydays of hardcore and that they are long gone. In some ways they are correct. Hardcore is no longer the subterranean word-of-mouth genre it was during its early years. It has been polluted and commercialized; it has been wrapped up in a pretty package and is being sold at Wal-Mart for $6.99. But if you look deep inside the present-day representation of hardcore, there are still a fair number of bands and record labels continuing to spread the music, message, and ideals that bands like Black Flag, Minor Threat, Minutemen, D.O.A., and Negative Approach laid the groundwork for over twenty-five years ago. Betrayed is one of those bands.

Betrayed burst onto the scene last year with their debut EP, Addiction. The six-song EP was brimming with pure and heartfelt hardcore and boy did the kids love it. Then, earlier this year, Betrayed delivered three new songs on the flipside of a split with Champion and again the kids went crazy. Substance is the band’s debut full-length. And to nobody’s surprise, it is already being heralded as one of the best albums of 2006.

Right out of the gate, “Think Twice” smacks you in the face with fast-paced hardcore/punk. And while this element is a prime component to Betrayed’s music, there is still that melodic undertone to it. This stylistic variation is found throughout the entire album, something that helps to distinguish the band from the countless others vying for the ears of listeners. The most distinguishing aspect of Betrayed’s music is the guitar work of Todd Jones. Jones previously had a hand in bands like Carry On and Terror, so its no surprise to hear some slick riffs here. Most of the riffs move at breakneck speeds, but at times he does slow things down.  He even throws in a few solos - “Consequence” and “Work for it.”

Betrayed continue to separate themselves from the rest of their hardcore brethren as Substance unfolds. “The City Lights” and “Bring it to Life” trend towards post-hardcore with the combination of slowed down guitars and more reserved drumming. I found myself frequently referencing Quicksand while listening to these songs. Songs like these really drive home that Betrayed is at the top of the game when it comes to hardcore.

For me the highlight of Substance comes on the track “Understand.” There is a break towards the middle of the song that enters into an amazing sequence of building instrumentation partnered with an opportunity to sing-along with incredibly honest lyrics. I shout along as the goose bumps appear on my arms: “Still growing up! Still fucking up! Still lost and desperate for answers!”

Aram Arslanian is quite the capable frontman. His style is the yelled shout that we here quite a bit. I did notice that at times he would make adjustments to the way he screamed and it vaguely reminded me of Snapcase’s Daryl Taberski. On a lyrical level, Arslanian is top notch. He doesn’t rely on cliché sayings, nor does he rely on vulgarities. He covers topics that concern the everyday man - not just the everyday hardcore kid. His lyrics are direct, honest, and most of all, inspiring.

If you’re sick of being bombarded with countless sound-alikes, then Substance is an album that you cannot do without any longer. Betrayed have amassed one of the best hardcore albums in recent years, so there is no reason why you should not own this.

EARTH CRISIS - BREED THE KILLERS



Similar to their previous releases, heavy metal environmentalists Earth Crisis combine brutal music with thought-provoking lyrics on Breed the Killer. The only problem is, without the aid of a lyric sheet, you have to take their word for it, since the vocals are a combination of unintelligible barks and growls. Their musical approach can be compared to such other politically oriented bands as Rage Against the Machine and Sepultura, but Earth Crisis' compositions contain more prominent elements of hardcore than the aforementioned outfits. For example, &"Ultramilitance" is an anthem for eco-terrorists, inspired by those who put an end to whaling ships and fur factories. Heavy riffs and drumming can be found throughout the entire album -- the opening &"End Begins," &"Drug Related Homicide," &"Filthy Hands to Famished Mouths," and the title track are all prime examples. It may sound a bit monotonous to the uninitiated, but longtime fans will surely be pleased.

11 January 2011

V/A OUT OF STEP - A MINOR THREAT TRIBUTE




1. Kid Dynamite - I Don't Wanna Hear It (1:13)
2. Kill Your Idols - Small Man Big Mouth (0:56)
3. Slayer - Guilty Of Being White (1:06)
4. Ratos De Porão - In My Eyes (2:54)
5. Mighty Mighty Bostones - Think Again (1:58 )
6. Burning Heads - Betray (3:04)
7. Pulley - Stumped (2:01)
8. Shanty Rd. - Stand Up (2:51)
9. The Ripers - No Reason (2:15)
10. H2O - Salad Days (2:39)
11. Sowplot - Cashing In (1:48 )
12. Crestfallen - Minor Threat (1:32)
13. NOFX - Straight Edge (2:13)
14. Xmilk - Out Of Step (1:22)
15. Thrashington Dc - Bottled Violence (1:06)
16. Lawstreet 16 - Screaming At A Wall (1:56)
17. Manifesto - Seeing Red (1:00)
18. The Robocop Kraus - Filler (1:37)
19. Negu Gorriak - Small Man Big Mouth (1:39)
20. Afraid To Speak In Public - In My Eyes (3:47)
21. Fromheadtotoe - Think Again (2:33)
22. Springfell - Straight Edge (2:54)
23. Sick Of It All - Betray (2:41)
24. Bones Brigade - No Reason (1:53)
25. Prisma D'hours - Little Friend (2:58 )
26. Somerset - Think Again (3:52)
27. Corn Flakes - Salad Days (2:30)
28. 88 Fingers Louie - I Don't Wanna Hear It (1:14)
29. The Tangled Lines - Minor Threat (1:48 )
30. Keep On Fighting - Out Of Step (0:51)
31. Allegiance - Bottled Violence (0:53)
32. Disagio - In My Eyes (2:36)

JUSTICE - ELEPHANT SKIN




Justice came out of nowhere to firmly make their stamp as one of the leading lights in modern day hardcore.The demo was a sensation and quickly led to the ‘Look Alive’ EP. Tours, tours and more tours across Europe and America followed mainly with their good friends in Mental. They then set out to write the LP.

Justice created an album that oozes energy and passion, one that sounds raw and authentic at the same time and above all, it is an album that has enough variety, hooks and solid songwriting to keep you hooked for a long, long time. From the Supertouch/Underdog influenced opening track 'Elephant Skin' to the raging fury of 'Confrontations', and from the ultra catchy singalong inducing 'Lose Control' (Warzone anyone?) all the way to the anthemic 'Activate' that sounds like it's a long lost track from the 'We're Not In This Alone' sessions, this album owns it all!

GOOD CLEAN FUN - SHOPPING FOR A CREW



TRACK LIST


1 Shopping for a Crew
2 Positively Positive
3 Good Clean Fun
4 My Best Friends
5 Who Shares Wins
6 Coll-Edge
7 A Song for the Ladies
8 Hang Up And Drive
9 Sweet Tooth
10 The Vegan Revolution Draft Dodger Anthem
11 Bully (7 Seconds Cover)

10 January 2011

ALLEGIANCE - DESPERATION



Do you ever buy the new album from a band you like and after a couple listens you just think, “This is about what I expected”? Most of the time this means the album is good; just more songs of the sound you’ve become accustomed to. This happened to me when I got Champion’s full-length. I liked it, but it didn’t really give me anything different from what I had known of them in the past.

Before I dig myself into a hole here, let me clarify that this is absolutely NOT the case for Allegiance’s second full-length, Desperation. I’ve always liked Allegiance; don’t get me wrong on that, but my anticipation level for this album was somewhat low. I knew the songs would be solid and full of the hardcore niche Allegiance has made for themselves, but I was not expecting something of this magnitude.

Desperation opens with the hard-hitting “Another Wave,” and right away you can tell you’re in for a treat. A single guitar becomes overpowered by a thick bass line, and as all the instruments come in you can feel what I can only describe as raw power. Everything sounds heavier on this record, not just with the recording quality but the riffs don’t have that melodic edge that I remember Allegiance having in the past. That edge is replaced by a Cro-Mags slash Anthrax slash old No Warning sound that really owns the record. Don’t worry, you still have the Allegiance sound you love (see “Out of My Blood” and “Just Martyr Me”), but even on those songs you get these original, off-beat parts added in that make every song feel new.

If this isn’t enough for you, the lyrics and vocals have to win you over. I’ve heard people be a little questionable on John Eightclip’s high-pitched voice, but he really pulls it off impeccably on this record. His vocals have a slight distortion that gives it an edge unlike anything I’ve heard recently. And he brings his voice down into some slow growls that add to the skyrocketing anger of the lyrics on this record. Every song is pissed to the point of simply feeling bleak and unsatisfied with so many things, most importantly the hardcore scene. I can just picture a bunch of fifteen-year-olds singing along to the chant, “Fuck you kid, you don’t see what I see.” The lyrics are beyond what most hardcore kids could understand, like in “Summer Relief,” where he reminisces about the better, earlier times of hardcore.

This is looking to be my favorite hardcore record of 2007. This was nothing that I was expecting, and it pretty much blew me away. It’s raw, angry, and heavy; everything a solid hardcore record should be. Desperation is coming from the guys who have been in hardcore for ten plus years and still love it as much as they did when they were in high school. Although filled with loathing for some of the hardcore scene nowadays and nostalgia for better times lost, they can’t let go of the music they’ve given so much to. This is the album that Allegiance was meant to write.

DOWN TO NOTHING - THE MOST




Despite the surprise excitement of live Minor Threat covers, Down to Nothing had never particularly impressed me, the barrage of pointless mosh/two-step parts likely being the main culprit. With their proper Revelation debut, The Most, there's a good chance there'll be more than one person claiming fan conversion, as the band outfit their modern hardcore stylings with a more melodic, slightly less burly setup with the occasional nod to late `80s hardcore touchstones. Despite DTN managing to overall retain their identity, it's still an alternate approach for the band that better calls to mind Bane channeling Turning Point, not unlike the band's newer, more heartfelt peers in Have Heart and Sinking Ships (hardly a shock sonically at least, considering the last full-length efforts from HH and DTN were recorded by Jim Siegel).

The 23-minute blast offers a number of engaging moments and surprisingly creative points. Opener "Along for the Ride" packs a little musical muscle without coming off overbearing, while gang vocals and wonderfully crafted stop-starts in the middle of "My Disguise" punctuate the song perfectly. "Serve and Neglect" is one of The Most's best, with some of the band's trademark, playful `80s skate riffs and quirky line delivery from vocalist David Wood. But "Well Deserved" might be the best, chock full of instrument change-ups and a variety of tempos, and Wood sounding particularly condemning when he spits "you fit the part, you think you got some image / and you expect everyone just to give in / no one's buying." "Up River" is "Well Deserved"'s main competitor, as it's unusually emotional for the act, sincerely warning against the evils of addiction and abuse as evidenced by the downfall of friends, with the band even throwing in a nostalgic "smash it!"

Sure, you've got your breakdowns and dance cues, but unlike past efforts they're never overextended and used considerably sparsely in comparison. Through this careful, more economical employment, they're entirely more effective (see: the end of "Serve and Neglect") and make their mark hard.

DTN tend to lay on the cheese a bit with their thoughts and offerings on their straight-edge bearings and hardcore lifestyle ("fight the pain, don't give in / be stronger, fight it, overcome it" / "never learned from your past mistakes / no sympathy when you fucking wake"), but it's usually pretty tolerable, if not even well-written sometimes.

At least in this reviewer's opinion, Down to Nothing has produced their finest effort to date with The Most. Revelation Records continues to parade out the standout releases in today's hardcore scene, and Down to Nothing's revelatory progress is no exception.

ENSIGN - THE PRICE OF PROGRESSION




In my personal opinion, New Jersey's Ensign might very well be one of the top acts in hardcore music today. From the amazing lyrics, searing gutars, heavy bass, thunderous drums, and the awesome voice of Tim Shaw it's hard for me to think of another hardcore band that I would rather listen to.
With "The Price of Progression" Ensign adds a slight bit of melody to thier formula, but the changes aren't very drastic. They still manage to crank out 17 ripping tracks in under 40 minutes. "The Spark" opens up the album in a furious fashion and then leads into one of my favorites on the cd, "Black Clouds vs. Silver Linings".
There are two really great guest vocal apperances on this album as well. Russ from Good Riddance sings on the track "Foot in Mouth as an Artform" while Andy from Kill Your Idols joins in on the fun during "Stay Warm".
The beginning of my personal favorite on this album, "The May Conspiracy", sounds like it would be straight out of a horror movie. Loud, thumping bass followed up by a screeching guitar riff, when I hear it for some reason I think of being chased through the forest by a masked murderer, I don't know maybe I'm just odd.
Anyways enough rambling, if you've never heard Ensign before, and you're a fan of hardcore music I definitely recommend this to you. You might want to pick up some of their older stuff on Indecision Records as well, because everything this band has released has been truly awesome.

31 December 2010

BLACKLISTED - PEACE ON EARTH WAR ON STAGE




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




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





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

30 December 2010

H2O - ALL WE WANT



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




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






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.

29 December 2010

INTEGRITY - TO DIE FOR





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




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






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.

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CORNER STREET COMPILATION V/A




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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28 December 2010

DONNYBROOK - THE BEAST INSIDE




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"





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.