positive punk

3.10.2025

DEAD INFECTION

"start human slaughter"

Year: 1992

Label: Underground Front

Format: CD, LP

Tracks: 9

Time: 41 min.

Genre: rock

Style: Goregrind

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"surgical disembowelment"

Year: 1993

Label: Morbid

Format: CD, LP

Tracks: 10

Time: 42 min.

Genre: rock

Style: Goregrind

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"a chapter of accidents"

Year: 1995

Label: Morbid

Format: CD, LP

Tracks: 18

Time: 38 min.

Genre: rock

Style: Goregrind

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"brain corrosion"

Year: 2004

Label: Obliteration

Format: CD, LP

Tracks: 22

Time: 36 min.

Genre: rock

Style: Goregrind

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"corpses of the universe"

Year: 2008

Label: Obliteration

Format: CD, LP

Tracks: 9

Time: 25 min.

Genre: rock

Style: Goregrind

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3.04.2025

CONCRETE SOX

"no world order"

Year: 1993

Label: Lost & Found

Format: CD, LP

Tracks: 9

Time: 39 min.

Genre: rock

Style: Hardcore

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1.06.2025

RAGE AGAINST THE MACHINE

"the battle of Los Angeles"

Year: 1999

Label: Sony

Format: CD, LP

Tracks: 12

Time: 40 min.

Genre: rock

Style: Funk Metal

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"evil empire"

Year: 1996

Label: Sony

Format: CD, LP

Tracks: 11

Timme: 40 min.

Genre: rock

Style: Funk Metal

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"idem"

Year: 1992

Label: Sony

Format: CD, LP

Tracks: 10

Time: 40 min.

Genre: rock

Style: Funk Metal

Rage Against the Machine don't have an album review on this site? Okay, well, a quick search will show you that they do have one, the 2003 record-label cash-in on the back of their split: a live album. And yes, they do pretty much pre-date this site entirely and they hardly happily slot into the genre of 'punk' however you personally wish to define the term in your head. But over the years this site has had reviews of literally some of the worst musical dross ever created, and pretty much every genre you can think of represented and now, after reading a Wu-Tang Clan album review which isn't even for their classic Enter the Wu-Tang Clan (36 Chambers), I think this has to change, especially given the band are now touring throughout the biggest global venues they can get their hands on.

My copy of this self-titled release, not being a reissue or reprint, is actually one of the oldest physical CDs I own, having racked up a massive 15+ year lifespan now since its release in late 1992. Musical geeks amongst you may have know that's actually 10 years after the CD format was introduced to the musical world, and therefore infer that my record collection must suck. I urge you to remain quiet. I was only five in 1992, after all. And no, I was not a five-year-old die-hard RATM fan headbanging and air-guitaring my way through this album's 10 tracks of savage musical dissent. Instead, years later I was given this album by an older friend, who decided he didn't like them anymore. He was one of the many casulties of nÃ¼-metal, cashing in such trully brilliant and classic music for pale, bland, completely derivative and forgettable impersonations (Limp Bizkit, anyone?).

But enough about CDs, the Wu-Tang Clan and the woefulness of Fred Durst; this review is about Rage Against the Machine. From the first track "Bombtrack," the winning formula this album represents slaps you in the face: Tom Morello's crunching riffs, the politically-charged rants of Zach de la Rocha, slow and fast-building crescendos and a nice sprinkling of solos, gang vocals and chants. Anyone who has heard "Killing in the Name" (which should be everyone, regardless of whether you are on punknews.org or ilovehiphop.net -- even if you discovered it only through the medium of "Guitar Hero 2"), will know exactly how the whole sound comes together.

It comes at you at 400 miles per hour. And accelerates. It takes you left, then right and then along a brand new axis of movement you had previously not discovered. It sounds angry, sad and non-plussed all within a minute of each other, yet stays consistent and tight. However, despite the roaring and huge sound you encounter, the album as a complete unit does tail off slightly towards the end. Tracks like "Fistful of Steel" and "Freedom" continue the raw, heavy 'rage' heard from the start and are not a drop in tempo, but do seem to lose a bit of the shine and real head-banging induced nausea that you get from the true power of tracks like "Take the Power Back" and "Bullet in the Head."

The sound quality is famously brilliant on this album: no over-compression, audio manipulation, clipping or other waveform distortions here. Indeed, the notes even have the disclaimer: "No samples, keyboards or synthesizers used in the making of this record." This album really is pure and unadulterated in every way.

So, you may be asking if I am one of those Rage Against the Machine fanboys. The band seem to have an army of followers, but I am honestly not one of them. I will see them live for the first time in the summer and am excited, but even so, I do think this band really did have its time in a different decade. This, I think, far eclipses the rest of their work, which generally spiralled downwards with every release. However, they remain powerful and relevant today, but not in the same way; they are arguably, alongside Refused, the biggest 1990s influence on a lot of the new music that passes through sites like this every week.

So, okay, it can be a bit repetitive. The last four tracks tail off. Sometimes you wish instead of stretching most of the tracks to five minutes they had kept it at three. Sometimes, Zach's groans, grunts and 'come-on!'s can cut a bit raw and seem slightly out of place. But then moments such as the end of "Know Your Enemy" with the haunting repeated chant "All of which are American dreams" are nothing short of breathaking. This album is all about inspiring music that is straightforward, in your face, uncompromising and hugely powerful. Based on those criteria, this is an absolute masterpiece (*Review by Chris ).

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1.01.2025

VENOM

"storm the gates"

Year: 2018

Country: UK

City: London

Label: Spinefarm

Format: CD, 2xLP

Tracks: 13

Time: 50 min.

Genre: rock

Style: Heavy Metal

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"fallen angels"

Year: 2011

Label: Spinefarm

Format: CD, LP

Tracks: 15

Time: 40 min.

Genre: rock

Style: Black Metal

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"hell"

Year: 2008

Label: Sanctuary

Format: CD, LP

Tracks: 13

Time: 60 min.

Genre: rock

Style: Heavy Metal

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"Metal Black"

Year: 2006

Label: Universal

Format: CD, LP

Tracks: 14

Time: 57 min.

Genre: rock

Style: Black Metal

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"bitten"

Year: 2002

Label: Burning Airlines

Format: CD

Tracks: 10

Time: 29 min.

Genre: rock

Style: Heavy Metal

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"resurrection"

Year: 2000

Label: Steamhammer

Format: CD, 2xLP

Tracks: 14

Time: 55 min.

Genre: rock

Style: Thrash Metal

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"Black Metal"

Year: 1982

Label: Neat

Format: CD, LP

Tracks: 11

Time: 40 min.

Genre: rock

Style: Black Metal

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KING CRIMSON

"in the court of crimson king"

Year: 1969

Country: UK

City: London

Label: Warner

Format: 2 x LP, 2 x CD

Tracks: 5

Time: 60 min.

Genre: rock

Style: Prog Rock

An album cover art story....

Pete Sinfield was in need of an album cover. Having served as roadie, light man, lyricist and a general conceptualizer for a new band named King Crimson, he was now tasked with the matter of finding a way to package the strange music the band was committing to tape in the recording studio. Wasting no time, he reached out to his friend and former colleague at English Electric Computers, were they worked the night shifts as computer operators. Enter Barry Godber, who was hired not for his computer programming skills but rather those with the brush, for he studied at Chelsea Art School and was savvy with watercolors. Having never been commissioned for an art project and certainly not an album cover, the aspiring artist asked to listen to the music his art was supposed to visualize. Sinfield put on the tape, blasting a piece of music that blew Godber’s socks off. Hundreds of thousands of people at Hyde Park experienced the same effect a few weeks earlier, when King Crimson unveiled their music at The Stones in the Park concert. Sinfield gave Godber one directive: The cover had to stand out in record shops.

How do you visualize a song like 21st Century Schizoid Man? Godber sat himself in front of a mirror and started painting. Whatever went through his mind as he was applying the watercolors to canvas, it worked. When completed, Sinfield brought it to the recording studio and laid it on the floor for the group members to look at. All but one were flabbergasted. Greg Lake recalls “We all stood around it, and it was like something out of Treasure Island where you’re all standing around a box of jewels and treasure… This fucking face screamed up from the floor, and what it said to us was ‘schizoid man’ – the very track we’d been working on. It was as if there was something magic going on.” The only one who did not like the painting was drummer Michael Giles, but as Robert Fripp said, he also did not like the name King Crimson.

The album was released in October 1969, and some record stores immediately latched on to the visual impact of its cover. Posters were blown up to a size that covered most of the storefronts, projecting a surreal and scary urban facade to unsuspecting passersby. Godbear definitely delivered on Sinfield’s request – that cover stood up. The album was packaged in a gate fold cover that extended one side of the screaming face. Upon opening the gate fold you found Pete Sinfield’s lyrics and another painting by Barry Godbear, this one depicting the character of the Crimson King. That face seem to be smiling, but deeper emotions are hidden in that facial expression. Fripp added: “If you cover the smiling face, the eyes reveal an incredible sadness. What can one add – It reflects the music.”

The detail given to the album cover design went beyond the paintings. The title above the lyrics on the inner sleeve drew you in, reading: No text appeared on the front cover, and nothing even on the album spine. The band’s then-co-manager John Gaydon recalls Fripp saying “It’ll be the only record in the shop without anything down the spine on it, so they’ll know which one it is.”

I remember the first time I listened to the album. Album sleeve in my hands, my gaze on that wrenched painted face, I dropped the needle on side 1 of the LP. It was the perfect sonic match to the album cover, a musical wow moment you experience only a few times in your life. When you calm down from the auditory assault of the first minute, you realize this is a complex piece of music executed by very talented musicians. Multi-instrumentalist Ian McDonald on recording 21st Century Schizoid Man: “The first track on the album was the last one we actually recorded. And I’m very fond of letting people know that we actually recorded it from beginning to end in one take, with no edits. We did overdub some parts later. Contrary to what you might think, it was actually a breeze compared to other tracks. The sax solo just ends abruptly, but we needed the tape track to punch in for one of Robert’s guitar parts.” Sinfield added more insight into the lyrics: “The lyrics for Schizoid Man were written right at the end, where we knew the thing was angry, against the Vietnam war; an angry, modern song of its time. I knew I had to say something, and that I didn’t have many words to say it in.”

Barry Godber sadly died at the young age of 24, a year after the album was released. Fifty years on that piece of music still has the same effect, that sense of urgency, as it did when it was first released. Here it is. The needle drops, and... (*Review by HERE ).

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11.01.2024

DECEASED

"children of the morgue"

Year: 2024

Country: US

City: Arlington, Virginia

Label: Hells Headbangers

Format: CD

Tracks: 12

Time: 55 min.

Genre: rock

Style: Death Metal

Just when you thought things couldn't get any creepier from the Deceased, we're now presented with Children Of The Morgue.

Established 40 years ago back in 1984 by vocalist King Fowley and guitarist Doug Souther (who departed from the band under tragic circumstances) is the American death/thrash band Deceased. Setting out with the ambitious intentions of out-thrashing Slayer, they experimented in a number of musical styles, ranging from the early foundations of death metal, thrash, and heavy metal, as well as going through several band titles before eventually settling on the name Deceased in 1986. Their themes generally involve subjects of death and horror (zombies in particular), and their discography spans 20 full-length albums in addition to countless EPs and demos, leading to latest offering Children Of The Morgue.

Children Of The Morgue's recording line-up consists of a quintet featuring founding member and vocalist Fowley alongside Les Snyder (bass), Mike Smith (guitars), Shane Fuegel (guitars), and Amos Rifkin (drums), a line-up that's remained unchanged since previous album Thrash Times At Ridgemont High. Unsurprisingly, the album's concept is based on the subject of death and all surrounding it. Although the band have an ambitiously dark and twisted back catalogue, Children Of The Morgue promises to be their darkest and heaviest release yet, but after a staggering 4 decades of heavy thrashing, does this album achieve this?

The album begins its whopping 55-minute duration with a short, heavy-toned, slow-paced instrumental intro morbidly titled "Destination: Morgue". This sets the album's dark setting in motion before swiftly leading to the quite lengthy main opening title track, where it's clear from the off that the band really mean business. Throughout "Children Of The Morgue", the band bends every genre they've previously dealt with to their disposal, from OSDM and traditional heavy metal, to classic thrash, and in these early stages, listeners are treated to a fine display of classic wailing thrash leads, heavy OSDM riffs, a pulsating mid-to-rapid tempo, and aggressive gnarly growls, and this is just a taster for what's to come.

Following the next short interlude is "Terrornaut", a song which seemingly takes a more traditional heavy direction similar to Mercyful Fate; certainly putting less emphasis on thrash and death this time round, it's also here where Fowley brings his first creepy cinematic narration to the party. However, it's back to their classic thrash direction with "The Reaper Is Nesting", as here the riffs are clearly more thrash-based and ferocious, and the rhythm more rapid-paced. This is the most headbangable and ferocious song so far, and the mid-song solo is a definite early album highlight. The first real epic track to feature is "Grave Digger" at just shy of 9 minutes in length, and it's a dark one at that. The song begins with a tense, heavy, mid-tempo build-up, and the vocals at this stage are all the more dark and menacing, but the tempo inevitably picks up as the rhythm section gallops into action alongside riffs that surge with epically memorable melodies.

So far, there's nothing highly inventive or mind-blowingly original about the album, but what it does do is bring all the band's material from previous albums together and show them in their finest form yet. The downside, however, is by the time you've reached "Eerie Wavelengths", the quality doesn't really improve much; neither, though, does it drop below a reasonable standard, as it continues to provide that strikingly lethal combination of death, thrash and heavy metal. As expected, there are a few moments that may raise a few unwanted eyebrows, but maybe none more so than the haunting female witch-like narrations, but although they're not nearly as convincing as King Diamond, they do fit with the album's dark cinematic concept. Before you're fooled into thinking the album has run its course, "Farewell "Taken To Forever"" finishes the album in epic fashion. It begins with a soft acoustic melody that quickly erupts into the band's heaviest and most ferocious material yet, with an ultra-frenzied headbanging rhythm section that provides the foundation for an array of classic catchy thrash riffs and traditional solos, ultimately finishing the album how it began, which was certainly a great start to begin with.

Despite its near-hour running time, Children Of The Morgue is over before you even know what's hit you; it's certainly a great and epic way to mark their 40th year anniversary. Since their origins, Deceased have always remained somewhat ambitious, delving into the three classic genres of death, thrash, and heavy metal, and they've managed to carry that tradition through to now, where they've ultimately crafted everything they've known and done into this one album. Children Of The Morgue is not going to go down in history as one of the all-time great achievements in metal history, but it's an outstanding achievement in this band's own right, considering how they've kept releasing quality material after all these years despite never reaching the heights of popularity of so many others established during the same time frame (*Review by Andy Metal Freak ).

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"ghostly white"

Year: 2018

Label: Hells Headbangers

Format: CD

Tracks: 8

Time: 54 min.

Genre: rock

Style: Death Metal Heavy Metal

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10.17.2024

LA INQUISICION

"mundo invisible"

Year: 2024

Country: Spain

City: Barcelona

Label: HFMN

Format: CD, LP

Tracks: 10

Time: 24 min.

Genre: rock

Style: Oi!

I'm not saying it. They say it themselves. After two albums that cemented their reputation within the national punk scene, La Inquisición faces with Mundo invisible (2024) the challenge of consolidating their formula without losing the essence that has brought them here. With ten songs that maintain the intensity and social criticism that has always characterized them, this new work shows that the band has found a solid and coherent sound that, although it does not reinvent the genre, has a lot to offer.

The third album is always a challenge for any band. Expectations are high, and finding the balance between evolution and identity is not always easy. La Inquisición has chosen not to complicate their lives too much and remain faithful to their characteristic sound. Mundo invisible does not seek to revolutionize punk, but rather to consolidate what they have built so far. The ten songs flow naturally and have a direct impact that does not disappoint.

From the song that opens the album, "Mundo invisible", to the closing with "Nadie", the band maintains a constant tempo, with a bass that marks the pulse of each song. Although the album lacks explosive hooks, its cohesion is undeniable. Àlex Montoro's guitars, staying in the midrange, allow Rubén López's voice and newcomer Rau's bass to shine, reminiscent of bands like Social Distortion. This sound balance is one of the keys to the album, which stands out for its clarity and energy.

But this new work not only stands out for its sound, but also for its lyrics full of social criticism. La Inquisición addresses issues such as disenchantment, urban alienation and the internal conflicts of human beings. Spanish is the perfect vehicle to channel this anger and frustration, making the message resonate more strongly among their already loyal and multitudinous audience. "Las fotos mienten", the second cut, is a clear example of this, offering a stark vision of the fragility of today's world. It never hurts to have someone remind you that you have to question the reality that surrounds us and fight against the oppressive structures of modern society.

Barcelona, the band's hometown, is another recurring theme. In songs like "Cien colores," the quartet laments the transformation of the city, marked by savage capitalism and the loss of identity in its most vulnerable neighborhoods. There is also room for emotional reflection, as in "Sombra y luz," a tribute to a fallen comrade who now, in spirit, continues to accompany them. The lyrics of La Inquisición strike a delicate balance between scathing criticism and introspection, with choruses that reinforce their message without losing emotional intensity.

Although some may criticize that Mundo invisible does not bring new things to the genre, it is precisely its consistency that gives it strength. The band does not intend to break with the established, but to offer punk executed with precision and passion, huge tons of passion. This does not mean that the album is predictable; Songs like number five, “Otra manera,” and the one that follows, “Aplasta a la bestia,” remind us that La Inquisición is capable of channeling social frustration without losing the melodic focus that characterizes their sound. Although the formula is familiar, it is executed with a conviction and coherence that allows the album to remain firm in its purpose.

Yes, the lack of unexpected elements can be a disadvantage, but I see in Mundo invisible a confirmation of the sound that has made the band stand out in the Spanish-language punk scene. Although it is not an album that breaks molds, I insist, its solidity makes it an enjoyable work from beginning to end. Isn’t that the main purpose of the music?

With Mundo invisible, La Inquisición continues to demonstrate that their punk has a lot to say, and that they are one of the most consistent bands to be able to do so. Although they do not seek to reinvent the genre, their critical approach and precise execution allow them to continue evolving without losing sight of their essence. Mundo invisible is a sample of melodic, committed, honest and socially conscious punk, which manages to convey its message without falling into excesses or concessions. For followers of La Inquisición, this album is a firm step, and for those looking for a punk with soul and conscience, it remains a safe bet (*Review by Rubén de Haro ).

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