8.24.2019

RED FANG























"only ghosts"
Year:  2016
Country:  US
City:  Portland, OR
Label:  Relapse
Format:  CD, LP
Tracks:  10
Time:  40 min.
Genre:  rock
Style:        Stoner Rock














I was maybe a freshman in high school listening to an online radio station called Garage Monkey when a song called "Prehistoric Dog" came on. It was like nothing I'd ever heard before with the grungy, raw attitude of Melvins, sludgy sound of Mastodon, and all sitting upon a catchy foundation.

With the inclusion of producer Ross Robinson (Slipknot, Korn) and Joe Barresi (Clutch, Kyuss), the bar is already set pretty high for Red Fang's fourth album. Proportionally, the musicians contributions are most definitely more significant than an album's production team, however with a legendary duo as these just mentioned, I could confidently assume Only Ghosts would be the band's magnum opus.

I'll be blunt, I'm not big on the singles on this record. "Flies" and "Shadows" were nowhere near as dynamic as hits like "Prehistoric Dog" or "Wires." Their melodies have grown on me a bit, but they don't have same instantaneous effect as past album's songs. I also had a similar feeling with their last record, Whales and Leeches, when the flow of "Crows in Swine" and "Blood Like Cream" felt less captivating than the standard that was previously set. By this underwhelming attitude towards Red Fang's singles of their third and fourth LPs in their discography, I have my worries about their longevity and overall direction, but luckily as I'm about to explain, there's more than meets the eye.

Similar to their 2013 record, the subtleties on this record is where I actually began to very much enjoy the music. The atmospheric and experimental side of "The Smell of the Sound" has a Helms Alee stride, which is ironic because I always envisioned Red Fang influencing Helms Alee, not the other way around. Complexity shown in the ending of "No Air," vocal deliveries on "I Am a Ghost," or the drone instrumental of "Flames" also shows an impressive new territory for the band. I am a bit bummed the catchy songwriting along with the Melvins and Big Business sound isn't as abundant on this release, but there is progress on other fronts that I respect. I think it should be noted that Red Fang has always had a knack for unconventional songs dating back from their debut LP's "Humans Remain Human Remains" to their last record's "Dawn Rising."

When analyzing all ten tracks presented here, there is a mixed bag. As aforementioned, I could give or take the singles. And the same criticism I had of these current singles could be applied to "Cut it Short" or "Not for You," which are enjoyable pieces rightfully so, but appear to be vapid in comparison to dense composition such as "Throw Up" off Murder the Mountains. And funnily enough, the later tracks are the strongest. The point that I keep coming back to is that Only Ghosts is one of those phenomena albums that have more powerful material on the deep cuts rather than the radio singles.

With the knowledge and understanding of the idea that was expressed in the last paragraph, I can hope or assume that this LP is a transitional album. With the band's songwriting skills slowly fading and a stronger sense of experimentation on the rise, I hope an emphasis is placed on the moody and psychedelic material in the future as that seemed to be the highlights for this release. Contrary to my previous assumption, Only Ghosts isn't Red Fang's masterpiece, however the progress in non-conventionalities is a commendable move. Even if this album did not completely live up to the expectations I imagined, the diversity and scope of styles and structures on this record provide a likability amongst content satisfaction (*Review by Ryley Rowe ).
  Discogs  ,  Lastfm  ,  Download  ,  Wikipedia  ,  Web  ,  Facebook  ,  Twitter  ,  Myspace































8.20.2019

TRENCHGRINDER























"peace is forfeit"
Year:  2018
Country:  US
City:  New York
Label:  The Horror Dimension
Format:  CD
Tracks:  9
Time:  33 min.
Genre:  rock
Style:        Death Metal














Trenchgrinder's name make strike some as a misnomer. This is not a grind band in anyway shape-or-form. Trenchgrinder, in this instance, is more about the actual act of trench warfare than any type of musical micro-genre flag planting. Trenchgrinder play Bolt Thrower (circa The IVth Crusade) style death metal with strong crust and doom influences. And while many bands peddle this type of music in the underground today, Trenchgrinder stand out in two aspects: insanely catchy, killer riffs and a vocalist whose register and approach is more akin to gutural.

Trenchgrinder excels in the riff department. Peace Is Forfeit is chocked full of dense, memorable riffage. And some of them come out of absolute nowhere, like a flinty breakdown or slow doom-y passage arising from the mire of blasting chaos that surrounds it. And while that BT-esque wall-of-chugging groove is omni-present, Trenchgrinder add some nice wrinkles to it, laying some microtonal dissonance and off-time drum patterns. Musically, this record is about as kick-ass as it gets in the BT worship department.

My issue remains with the vocalist. The kind of croaking, gurgling rasps and snarls provided here don't really fit the music that well. They have that lo-fi black metal quality that lacks the necessary oomph to really stand out against these riffs. In some ways, I almost feel like some of the vocal patterns actively work against the music beneath it. And while there have been improvements here over their demoed material, I would like to hear this vocalist take a slightly more traditional DM approach. Are his vocals unique to this style, yes but perhaps too much so. Overall, Trenchgrinder have self-released a (flaws-and-all) enjoyable record - one that feels more like a stepping stone to even better things. One hopes that with some minor refinements, they can take the next step and truly slay the metal underground. (*Review by Televiper ).
  Discogs  ,  Lastfm  ,  Download  ,  Web  ,  Facebook  ,  Big Cartel  ,  Metal Archives














































8.17.2019

EARTH SHIP























"resonant sun"
Year:  2018
 Country:  Germany
 City:  Berlin
 Label:  Pelagic
 Format:  CD, LP
 Tracks:  8
 Time:  40 min.
 Genre:  rock
 Style:        Sludge Metal
















German Metal band from Berlin, formed in 2011, who mix several music styles such as: stoner rock, sludge metal and doom metal.
  Discogs  ,  Lastfm  ,  Download  ,  Web  ,  Facebook  , 




















































































8.14.2019

THE DAMNED THINGS

























"high crimes"
Year:  2019
Country:  US
City:  Los Angeles
Label:  Nuclear Blast
Format:  CD, LP
Tracks:  10
Time:  40 min.
Genre:  rock
Style:        Hard Rock















The Damned Things are an American rock supergroup consisting of Joe Trohman and Andy Hurley of Fall Out Boy, Scott Ian of Anthrax, Keith Buckley of Every Time I Die, and Dan Andriano of Alkaline Trio.
  Discogs  ,  Lastfm  ,  Download  ,  Web  ,  Facebook  ,  Twitter  ,  Instagram  ,  Punk News








































"ironiclast"
Year:  2010
Label:  Universal
Format:  CD, LP
Tracks:  10
Time:  40 min.
Genre:  rock
Style:        Hard Rock








  Discogs  ,  Download




































8.10.2019

HARM'S WAY
























"posthuman"
Year:  2018
Country:  US
City:  Chicago, IL
Label:  Metal Blade
Format:  CD, LP
Tracks:  10
Time:  34 min.
Genre:  rock
Style:        Metalcore














Harm's Way is an straight edge (vegan, anti-drugs, anti-alcohol) and political hardcore punk band from Chicago, and this latest album shows their raw strength while adding shades of modern and alternative metal for character. the philosophy of Harm’s Way is the best offense is as much offense as possible. The Chicago band began as a hardcore group with some powerviolence thrown in, but soon juiced it all up with beefcake breakdowns and got ready to brawl. Isolation in 2011 and Blinded in 2013 injected that hardcore with Swedish death metal while never abandoning their roots. With 2015’s Rust, they swapped the death metal for more industrial and ’90s groove metal influences, essentially creating a hardcore version of Roadrunner Records’ heyday roster like Fear Factory and Roots-era Sepultura, and they continue on that path on their fourth record, Posthuman. There’s a beauty to how Harm’s Way throw around such weight like boulders are pillows. It’s difficult to not be in awe of how “Human Carrying Capacity” and “Sink” dispatch punches with efficiency and brawn, where asserting might is the same as breathing, effortless and necessary. Vocalist James Pligge is an imposing figure on stage—he’s a weightlifter who could easily pass for a younger, bulked up John Joseph of the Cro-Mags—and he sounds even tougher and more assured here than before. Even if you have a distaste for competition, the band’s dedication to pure athleticism really pays off. “Become a Machine” is a string of pummeling breakdowns, an especially muscular performance from a band who defines swole. Even when there’s a lot of reexamining masculinity in hardcore, in music, and across all of culture and politics broadly, there still is value in raw strength. While still a hardcore record, Posthuman does tip the balance towards Rust’s industrial flirtations. “Temptation” takes Godflesh’s rumbling, mechanical bass and sets it to a slinking Jesus Lizard groove, then charts a course that resembles if Deftones went further in on their dream pop influences. There’s a running joke that post-punk is something you get into once you age out of hardcore, ditching your Youth of Today crewneck for an ill-fitting Unknown Pleasures shirt. By “Temptation”’s end, though, Harm’s Way avoid falling into that trap by unleashing a blistering final attack, going harder than ever (*Review by Andy O'Connor ).
  Discogs  ,  Lastfm  ,  Download  ,  Facebook  , Twitter  ,  Myspace  ,  Straight Edge




















































"no Gods, no Masters"
Year:  2011
Label:  Closed Casket
Format:  CD, LP
Tracks:  11
Time:  34 min.
Genre:  rock
Style:        Hardcore








  Discogs  ,  Download




















































































8.02.2019

THE CLASH

























"idem"
Year:  1977
Label:  Sony
Format:  CD, LP
Tracks:  14
Time:  35 min.
Genre:  rock
Style:        Punk Rock

















The LP was originally released way back in 1977 on Columbia/CBS Records in the UK. For nearly two years the only way for fans in the United States to acquire a copy was as an import as it wasn’t released in this country until 1979. When it was finally released domestically however, the track listing was drastically changed. Songs were removed and replaced with different songs. The only thing that remained the same was the cover art. The label felt that the album wasn’t “radio-friendly” enough so they replaced some of the original songs with newer b-sides and used a different version of  ”White Riot”. For many Americans who didn’t know about or have access to an import version, this was the only version of the album they knew or grew up with.
  Discogs  ,  Lastfm  ,  Download  ,  Wikipedia  ,  Myspace  ,  Facebook  ,  Web  ,  Blog  ,  Site , Twitter  ,  Album  ,  Bootlegs  ,  Spotify 










































"give 'em enough rope"
Year:  1978
Label:  CBS
Format:  CD, LP
Tracks:  12
Time:  37 min.
Genre:  rock
Style:        Punk Rock








  Discogs  ,  Download
















































"london calling"
Year:  1979
Label:  CBS
Format:  CD, 2 x LP
Tracks:  19
Time:  65 min.
Genre:  rock
Style:         Rock and Roll








   Discogs  ,  Download
















































"sandinista"
Year:  1980
Label:  CBS
Format:  2 x CD, 3 x  LP
Tracks:  36
Time:  160 min.
Genre:  rock
Style:        Disco        Funk        Reggae








  Discogs  ,  Download

















































"combat rock"
Year:  1982
Label:  CBS
Format:  CD, LP
Tracks:  12
Time:  45 min.
Genre:  electronic
Style:        New Wave








  Discogs  ,  Download




















































"cut the crap"
Year:  1985
Label:  CBS
Format:  CD, LP
Tracks:  12
Time:  35 min.
Genre:  electronic
Style:        New Wave








  Discogs  ,  Download







































































PURE DISGUST























"idem"
Year:  2016
Country:  US
City:  Washington
Label:  Katorga works
Format:  CD, LP
Tracks:  16
Time:  28 min.
Genre:  rock
Style:        Hardcore        Punk















Some of punk music’s greatest achievements relied on sociopolitical timing - knowing what to say and when to say it. It’s oddly fitting that some of the genre’s greatest testimonies stem from the U.S. capital: Bad Brains’ mixture of Rastafarianism and rejection of American materialism; Fugazi’s unique critical language; the revivalist, stereotype-challenging sentiment of Teen Idles. Pure Disgust’s first full-length effort is indicative of relevant cop-versus-community attitudes, and is 2016’s de facto punk anthem. It might be low-hanging fruit to touch on the themes of racial prejudice, but it’s almost unavoidable with the band not only dangling them in your face, but spitting out the seeds - let’s pretend that’s a clever metaphor for their brashness. Their brand of everyman punk and 80s-inspired hardcore touches on elements of identity abandonment (“Lost Child”), cycles of poverty (“Pipeline”), and denial (“White Silence”), while sounding pretty badass for a group of fresh-faced, chess-clubbing, whippersnapper types.

Thematically, Pure Disgust’s LP is what you’d want from angsty, politically-fuelled D.C. fervour. The sub-two-minute tracks aren’t exactly complex political analysis, and don’t really attempt to deconstruct the recent racial tensions, but rather dig at the base level of humanity. “Potential Criminal” and “Agents of the Machine" touch on the fickleness/ambiguity of morals in the judiciary system, and the never-ending debate of to what extent ”to serve and protect” holds water. “White Silence” takes a jab at those who claim to be vanguards for equality, but only when called out as perpetrators of inequality. Suffice to say, Pure Disgust’s S/T is full of pertinent frustration. Still, it wouldn’t necessarily be a worthwhile listen without great instrumentation to boot. Sonically, it’s unwavering; it’s more of a mission statement than a purely artistic exercise. The aggressive, bellowing approach finds a balance from the get-go and maintains it for eighteen minutes, combining catchy drum work, memorable riffs, and gutsy vocals without any member hogging the spotlight; this approach would be unremarkable if not for the sheer devotion on display. One suspects Pure Disgust are actions-speak-louder-than-words advocates, and their sound encompasses the power of unity better than any amount of stonewalling ever will. (*Review by Tristan Jones ). Brilliant album.
  Discogs  ,  Lastfm  ,  Download  ,  Web  ,  Facebook  

























































7.29.2019

FUGAZI























"13 songs"
Year:  1989
Country:  US
City:  Washington
Label:  Dischord
Format:  CD, LP
Tracks:  13
Time:  40 min.
Genre:  rock
Style:        Post Hardcore














Fugazi is a post-hardcore band formed in Washington, DC. Fronted by ex-Minor Threat vocalist Ian MacKaye and ex-Rites of Spring vocalist Guy Picciotto, both on vocals and guitar, Fugazi also consists of Joe Lally on bass and Brendan Canty on drums. Since its inception, Fugazi has been self-managed and have released almost all their material through Dischord Records, an independent label founded by MacKaye and partner Jeff Nelson in 1980. The band maintained a policy of affordable access to their work through low record and ticket prices and all-ages concerts.  Says AMG All Music Guide, “Along with their stridently underground ethics - which were more out of pragmatism and modesty than anything else - they gained an extremely loyal and numerous global following. To many, Fugazi meant as much to them as Bob Dylan did to their parents.” They played their first show in the fall of 1987 and since then released 7 albums and toured the world extensively covering all 50 United States, Europe, Australia, South America, Japan and many points in between. This Maxi CD includes songs from the 7 Songs and Margin Walker EP's.
This Maxi CD includes songs from the 7 Songs and Margin Walker EPs. - See more at: http://www.dischord.com/release/036/13-songs#sthash.YMa3qAzl.dpuf
This Maxi CD includes songs from the 7 Songs and Margin Walker EPs. - See more at: http://www.dischord.com/release/036/13-songs#sthash.YMa3qAzl.dpuf
This Maxi CD includes songs from the 7 Songs and Margin Walker EPs. - See more at: http://www.dischord.com/release/036/13-songs#sthash.YMa3qAzl.dpuf
  Discogs  ,  Lastfm  , Download  , Wikipedia  ,  Facebook  ,  Myspace











































"repeater"
Year:  1990
Label:  Dischord
Format:  CD, LP
Tracks:  11
Time:  40 min.
Genre:  rock
Style:         Post Hardcore








  Discogs   ,   Download
























































"steady diet of nothing"
Year:  1991
Label:  Dischord
Format:  CD, LP
Tracks:  11
Time:  40 min.
Genre:  rock
Style:         Post Hardcore








  Discogs   ,   Download  






















































"in on the kill taker"
Year:  1993
Label:  Dischord
Format:  CD, LP
Tracks:  11
Time:  42 min.
Genre:  rock
Style:        Post Hardcore








  Discogs  ,  Download 

















































"red medicine"
Year:  1995
Label:  Dischord
Format:  CD, LP
Tracks:  13
Time:  40 min.
Genre:  rock
Style:         Post Hardcore








  Discogs   ,   Download

















































"End hits"
Year:  1998
Label:  Dischord
Format:  CD, LP
Tracks:  13
Time:  40 min.
Genre:  rock
Style:        Post Hardcore








  Discogs   ,   Download














































"the argument"
Year:  2001
Label:  Dischord
Format:  CD, LP
Tracks:  11
Time:  40 min.
Genre:  rock
Style:         Post Hardcore








  Discogs   ,   Download