We’ve got tons of great records in this week. Here a few that we’re real excited about.
PATSY – LA Women LP
After two singles on Total Punk in 2015 and 2016, Patsy return with a 7 Track Mini album on La Vida Es Un Mus. New Orleans’ Patsy (featuring multiple members of Mystic Inane) are perhaps the current reigning champions of riffy, snotty punk. This is their first full-length, after a couple of EPs, and it’s a pure delight for anyone who likes their rock n’ roll stripped of all pretense and equipped with a constant eye-roll. “Society Ape” and “Nazis Are So Plain” are particularly finger-on-the-pulse in 2017 without being too on-the-nose; the former taunts harassers (“You can’t touch me”), and the latter takes the piss out of the careful aesthetics of white supremacists by essentially calling them basic as hell. “Tommy, Bobby, Johnny” is a wicked take on the interchangeability of musical love-objects, and Candice Metrailer’s vocal delivery here is especially cutting. Patsy do a lot with their essential elements; everything here is perfectly simple but not at all simplistic. (La Vida Es Un Mus #158)
SUICIDE – First Rehearsal Tapes LP
“On Suicide’s First Rehearsal Tapes, recorded in 1975, Alan Vega and Martin Rev create minimalist aural structures, traces of which would surface on their eponymous debut album, released on the Red Star label in late 1977. “These songs are not a sketchpad of semi-formed ideas. The First Rehearsal Tapes comprise an audio diary of two men out in the ether, measuring themselves as evolving individual artists and as a unit who would rely on inseparability to realize their unique and often confrontational mass in the decades to come. What the tapes also reveal is that Vega and Rev were compositionally ambitious, capable of melody and form, while resisting definition as they headed further into uncharted territory. “The First Rehearsal Tapes afford the listener a glimpse into the creative process of two groundbreaking, true art warriors with their swords and shields leaning against the practice room wall. To understand the absolute brilliance of Suicide’s first album as well as their sonic adventures that followed, you have to start here with their earliest recordings.” —Henry Rollins (excerpt from the liner notes)
ITANSHA – Paranoia Demo 7”
This record has a track that repeats the same “part” about 368 times by my count, has no vocals, and advances on six minutes in length like some kind of fucked up D-beat dub edit that wields confusion as a hammer and tricks you into pounding your fist in the air in opposing sway to your swelling, banging head. That should be all you needed to hear but just in case… ITANSHA was a one-and-done project envisaged and carried out entirely by Daiki Kusuhara (MORPHEME, VACCUUM, HEAT, CRIME DESIRE, YADOKAI) employing all instrumentation and vocals. Seven cuts of raw, globe-trotting hardcore punk like a nice middle ground between the cacophonic mania of noisy Japanese hardcore of the ’80s, and the dense, humid desperation of brawny Mexican and South American raw hardcore. Edition of 250 copies. Originally released on cassette in 2012 by Life Sucker. (Warthog Speak Records #28)
THE REPOS – s/t LP (remastered and repressed)
Originally released in 2004 and out of print until now, this deluxe reissue features newly-remastered audio by Will Killingsworth at Dead Air Studios. Pressed on 180gm black vinyl, this LP comes housed in a slipcase with a slightly-updated jacket design and a euro sleeve displaying art sourced from original materials, including an unseen live photo of the band during their first-ever performance at Buffalo Bill’s garage in the south Chicago suburbs in 2003. In the wake of the dismal millennium thrash revival, THE REPOS brought a fresh perspective to hardcore by blending nihilistic humor and dirtbag culture with a furious classic sound that created their own distinct style out of influences like YOUTH OF TODAY, JERRY’S KIDS and CRO-MAGS. Led by legendary frontman Aaron Aspinwall (CHARLES BRONSON, DAS OATH), THE REPOS initiated a legacy with this stunning debut, laying out a template of unhinged three-chord, barebones hardcore that countless bands later emulated. With their patented low regard for showmanship, this classic lets loose with a wallop of timeless Midwestern fury. (Youth Attack Records #21)
THE REPOS – Hearts and Heads Explode LP (remastered and repressed)
Originally released in 2006 and out of print until now, this deluxe reissue features newly-remastered audio by Will Killingsworth at Dead Air Studios. Pressed on 180gm black vinyl, this LP comes housed in an embossed, spot-gloss slipcase with a slightly-updated jacket design and a euro sleeve displaying art sourced from original materials, including an unseen live photo of the band playing a Dekalb, Illinois basement show in 2005. With a looser, more free-form indifference to their playing, their second full-length charges on with an even crazier fist-in-the-face Midwestern rage and takes their influences to greater heights with a faster and more monstrous delivery, exemplified in Aaron Aspinwall’s insane vocals atop Joe Philips’ guitar tornado. Despite the fact that the majority of this material was written and recorded on the spot in the studio, its schizo urgency has gone on to be regarded as one of the finest U.S. hardcore albums of the 2000s. (Youth Attack Records #27)
COMBAT FORCE – Demo 7” (gatefold)
Hailing from the agitated Denver, Colorado underground, COMBAT FORCE comes out swinging with this 4-song EP of feral hardcore. Drawing influences from classic French Oi! and Canadian legends URBAN BLIGHT, COMBAT FORCE stampedes forth, taking no prisoners and delivering over-the-top vocals and insanely catchy riffs captured with perfect lo-fi production by Denver scene stalwart, James Trejo (CADAVER DOG, CIVILIZED, CULTURE SHOCK). Mixed and mastered by Will Killingsworth at Dead Air Studios and originally self-released on cassette, this EP features a stunning gatefold sleeve with all new artwork printed on uncoated stock with a black flood and houses an extra-thick 70gm white vinyl 7″. This incredible introduction to the band anticipates their forthcoming EP due out on YA in 2018. (Youth Attack Records #98)
CHAOS ECHOES – The Unfathomable LP
“Transient” established Chaos Echoes as one of the most compelling and innovative groups of musicians in the scene. Listeners may recall that interspersed throughout the “Transient” album were improvisational pieces, referred to as “Interzones” (a nod to Burroughs’ “Naked Lunch”), that provided connective tissue between the more heavily constructed songs on the album. “The Unfathomable” is among the most evocative and atmospheric pieces Chaos Echoes has performed. Improvised and recorded in Paris in 2015, the track was edited and mixed by former band member Fabien W. Furter. It is desolate, ritualistic, and cold—lunar in its emptiness. It is a hymn to solitude, a collision of intermittent percussion, strings, and electronics, unfolding in slow, churning motions and abandoned to the corrosive machinations of entropy. (Nuclear War Now Records #339)
BED WETTIN’ BAD BOYS – Rot LP
Received a 7.3 rating from Pitchfork. Look, there isn’t any way to write this without commenting on the name BED WETTIN’ BAD BOYS. You’re casting aspersions on their unmarketable name, maybe formulating in your mind what they might sound like, and wondering why What’s Your Rupture is bringing them to your attention. BWBB is the main project of JOE SUKIT, guitarist for the much beloved Australian Soul-Punk band, ROYAL HEADACHE, and Rot is BWBB sophomore album. Bold, passionate, ear-splitting rock & roll, performed with tremendous heart and determination.
CRUCIAMENTUM – Paradise Envenomed 7″
The new Cruciamentum EP Paradise Envenomed is two-songs (nearly 12 minutes long): the title track is new (and the first written and recorded with the new lineup) and the other track is a cover of Absu’s “Descent To Acheron”. Once again recorded and mixed at Priory Studios by Greg Chandler, this new track shows the progression and advancement the band have taken since their colossal debut Charnel Passages, with heavier tones and a more progressive and calculated approach to the songwriting. The band’s take on the cult Absu track is also a worthy observation with the band interpreting it with their signature sound and vibe.
DES DEMONAS – Self Titled LP
“The South will never rise again,” Jacky Cougar Abok intones in a manner that suggests he is looking straight into your eyeballs while singing the opening track on Des Demonas’ debut album on In The Red Records. His hand may be around your neck as well! Sounding like The Last Poets acid tripping to ’60s Sunset Strip, the band drags you on a wild ride of fuzzy guitars and swirling Farfisa organ, while the bass and drums keep pounding a rhythm to the brain. And that’s just the first song! The band hails from Washington, DC, and have been denizens of the byways and highways of the city’s musical underground for years. Jacky Cougar Abok is the six-foot-five-inch tall Kenyan punk singer who has drummed with Thee Lolitas and Foul Swoops. Guitarist Mark Cisneros has bent strings with Kid Congo & The Pink Monkey Birds, Deathfix, and Medications, and has pounded the traps for The Make-Up and Benjy Ferree, the latter alongside organist Paul Vivari. Joe Halladay (Citygoats) on bass and Ryan Hicks (Suns Of Guns) on drums round out this squared circle of sight and sound. The songs on this album range from Nuggets-style snottiness on “Tuff Turf,” to the brash warnings of “Liez” (“Lies… only seem to matter if you never wise up”), to the stomper “Psychedelic Soldier” and cool psycho creeper “Say You Tried,” to the hard boiled ’70s punk of Swahili-sung “Golden Eggs.” When Abok sings “There are no vampires in Africa,” it may be a warning. It may be a fact. Or it may be a whole lot of unrelenting scuzzy fun. Dig the Des Demonas. Play it loud. Twist your wig. —Kid Congo Powers
PRETTIEST EYES – Pools LP
“Very pleased to be working with Prettiest Eyes. I first saw them ages ago at the Satellite and they were cake-takers that night. Now, they are stronger and weirder than ever. I couldn’t believe this new batch of tunes and their bananas-energy live show and, their fans are hard-core heads, just a soup of dance and mouths agog. Brutal, fractured, pogoing beats played by Pachy [Garcia], also the singer, belching out vocal smoke rings in the laser light above the din—they are flat out commands, militaristic in their delivery and yet catchy, like you like em. Marcos, an extro-sensual bassist who climbs inside of your mind-clothes while grinding out aggressively greasy throbs and pulls and Paco, the keyboardist, who at times plays reeling wailing lines that could be mistaken for a number of other instruments…and the hair on this dude! I have a hard time remembering how nice his face is offstage, all you can see is a whip wigging out. They are captivating, they are odd, they make strange and interesting choices. Futuristic and yet drawn from the same sonic sludge that all mankind derives from, they live and breathe early Los Angeles-punk vibes while still innovating at every turn. There is electricity in this sound, they simply rule and what a pleasure to hear Pools doesn’t stray far from what makes them just melt it in person. Recorded perfectly to harness the animal on a nice inanimate slab of plastic you can take home. For fans of Screamers, Suicide, Chrome, and yes, a hint of a down unda Birthday Party.” —John Dwyer