This Week’s New Releases – Feb 26th


We got a ton of great new records in recently.  Here’s a few from this week that we’re extra excited about:



Vinyl LP pressing. 2018 release. Onion, produced by The Black Keys front man Dan Auerbach at his Nashville studio, finds a finely tuned and tour-tested band stretching out from the ’60s-inspired, surf inflected rock that has defined their previous releases, and delves into genres including soul and psychedelic pop. On Onion, the band explores themes of origin and self-determination, loss and recovery, and the power of community to heal after tragedy. “It’s okay for people to interpret the songs,” Shannon Shaw says. “You can put your own story into it if that helps you heal. I just want people to feel something, whatever it is.”


ECSTASY – Self Titled 7″

Oakland’s ECSTASY (members of TONY MOLINA band, JUMP OFF A BUILDING) display a strong showing on their first release, offering jagged harmonics-laced hardcore which seamlessly transition from one song into the next. These 5 songs clocking in at just under 7 minutes, berate wealthy-bay-area-transplants aiming to gain social capitol on their parents dime. Pressing of 500 housed in fold-over covers risographed by Irrelevant Press in Oakland.


SABBAT – Envenom LPx2
Originally released on CD by Evil Records in 1991, “Envenom,” Sabbat’s debut album, represented the culmination of work and dedication to the band’s craft that founding members Gezol and Elizaveat had initiated in the early 1980s and carried through multiple band name and lineup changes over the course of nearly a decade. Although “Envenom” has been reissued several times on a variety of formats since its original CD pressing, this current version made available to the American market has gone a step further in enhancing the audio and reproducing the visual aesthetic of the original to the greatest extent possible.  With the goal of maximizing the sound quality for an album of this length, the track order was rearranged by Gezol himself in order to be pressed on three sides of a double-LP.  The fourth side of the vinyl boasts a screen-printed image of the same iconic Elizaveatian artwork that also adorns the cover.  Every attention to detail was given to ensure that the layout represented the Evil CD version as faithfully as possible, from the blue ink on black background to the rotated ‘e’ in the title on the cover, which harkens back to Gezol’s painstaking effort in using rub-on letters on the original layout. In sum, this release ensures that the first album in Sabbat’s historic discography is properly immortalized for the legions of the band’s zealous fanatics, and it serves as a harbinger of more Sabbat album reissues to come from NWN! in the coming months.


EXTINCTION OF MANKIND have been around since 1992, so they are veterans of the UK punk scene. They started when others finished and when time passed (20 something years) and I get the chance to hear their fourth upcoming full length album, I realise they are one of the very few who are true to what UK punk has always been about. They are the natural continuator of the UK anarcho crust punk movement started in the late 1980s by the likes of ANTI SECT, AMEBIX or AXEGRINDER.  “Storm of Resentment” is the concentrate of the UK anarcho punk. Take what is best from it (the lyrics, the statements, the sound, the tempo, the anger and dedication) and add thrashy guitars to top it all. EOM prove you don’t need to play very fast to be brutal. “Cash Cow” intro leads you slowly into the record with its instrumental 2-minute piece. And then it all starts. Lengthy punk songs with metal influence and apocaliptic atmosphere. “Turn a Blind Eye” has very good female vocals and “Believers of Their Lies”, the 6-minute suite, contains a tirade of spoken words and sampes to complete this anarcho punk feel of this masterpiece.  I remember very well the first time I heard the great “Baptised In Shit”. This one is equally good, if not better!


This split between Arizona’s SEX PRISONER and France’s HARM DONE is an audible story of the anger you have after the worst day of your life. Each band produces four songs to brutalize your eardrums and make you rethink stepping outside. The SEX PRISONER side is angry and moshy, and HARM DONE have a bit more of a metallic hardcore sound that almost sounds a bit CRO-MAGS at times. I know for a fact you will not want to miss out on this release.  For Fans of: WEEKEND NACHOS, CRO-MAGS, MADBALL.


Chaos Echœs continues the psychological and spiritual explorations pursued with their previous works, but whereas the focus of “Transient” was on the individual and the internal forces operating within, “Mouvement” explores the effect of the external on the self—the sharpening of the individual will against the coarse whetstone of world. The music traces a narrative arc, and, other than the break between the sides of the LP, the segments of the composition are seamlessly merged together to create a single piece of music. “Mouvement” was meticulously composed and painstakingly recorded, mixed, and edited over the span of two years. The band’s attention to detail is apparent and the impact of the album is stunning. As on “Transient,” the tracks on the new album are structured and stitched together into a larger form such that the whole is greater than the sum of its parts. And as with all Chaos Echœs releases, the accompanying visual artwork, created by Stefan Thanneur, is as magnificent and intrinsic to the impact of the release as the music itself.


LIQUIDS – Heart Beats True 7″

Indiana’s punk/ hardcore syndicate LIQUIDS have been on quite a run with at least 2 albums and 4 EPs in the last year (that I know of). Heart Beats True is a high-point of this output, originally pressed as a self-released cassette, it is finally getting the proper vinyl treatment it warrants. Pressing of 750 copies.


PREENING – Greastrap Frisbee 7″

PREENING is a band that is literally bursting with ideas. Their music is chockablock with tension and pressure—gaskets blowing; pipes exploding; circuit boards fizzling out. A trio comprised of some of the Bay Area’s most active underground musicians, Preening are poised to cement themselves as one of their scene’s most crucial exponents of non-trad punk. Within Preening’s tumultuous music, elements careen and collide—sax bleats; bass lines access spinal nerve-spots; drums poke and pound. On this release, the trio blast through five cuts of controlled chaos, exuding a nonchalant confidence in their mission.

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