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There now seems to be a necessary undertaking when hardcore bands make the move from the 7" format to a full-length 12" to create some slower tunes to fill up the space. After the full-bore, mostly up-tempo assault on their 8-song EP, "Still Water" is a noticeable change of pace from Boston's Exit Order. The song starts at a crawl and builds momentum to a stomp, just before bursting into musical territory most Exit Order fans are more familiar with. This track not only introduces a variation of speed, but also a new melodic sensibility, particularly in the vocals, that foreshadow other tracks on the LP that seem to draw from a more goth/peace-punk influence. While we could be comfortable with another batch well-written, riff-oriented pogo punk numbers, it's nice to hear Exit Order taking their sound to different places.
]]>Housewives don't strike me as a particularly strong candidate for a Hot Track Alert because this 12" EP works so well taken as an entire statement, but since this is quickly becoming one of my favorite records in recent memory I decided I would rather pull out a track for emphasis so that it's featured here. I chose the closing track, "62426," for no particular reason. I suppose that it's a pretty good indication of what you're getting into with the rest of the EP, though all of the songs are super different from one another. However, it does display two of my favorite aspects of Housewives' sound on this EP: the strange, left-of-center rhythms and the interesting variation in noisy sonic textures. I suppose "62426" is Housewives at their most Swans-esque, and while I've never been a huge Swans fan I can't seem to get enough of this record.
]]>Sometimes, I want my punk to be complex or challenging, and maybe take some effort to dig in and get into. On the other hand, you have bands like Obstruction, where only 10 seconds in and I know I like it, no questions asked. "Pressure Breaks", the opening track, just has everything going for it. It begins with a dance-y, mid-paced intro that has a total rock-out attitude, but not too over the top. Upon first listen, I thought this band was going to sound like Judas Priest or something, but everything starts to ramp up in intensity. The bass shreds some hi-notes as the drums slowly increase in tempo just before launching into a total assault. The rhythm is obviously d-beat inspired, but doesn't bring to mind the crusty end of the spectrum. The vocals in particular give the band a more classic US hardcore feel. Much like some of their motörcharged Texan peers (Impalers for example), the songwriting is just strong, riding each riff for the right amount of time and just delivering it with so much power and intensity. Teeth-gritting, fist-clenching, to the point. Can't wait to see what comes next from this band.
]]>"Corpse Syndrome" is perhaps the black sheep among the other ragers on the new cassette from DC's Rashomon. Deviating away from the fist-pumping d-beat stylings of the other tracks, this song is a slower number with the drums pulsing underneath the focal point of the song, which is heavy reliance on groovy, single-note guitar lines. The guitars don't come across as particularly shred-ish or indulgent, but they do stand out as carrying the song. But still, the guitars are toppled by the Gauze-esque ranting vocals, all of which are sang in Japanese. And just when you would think the track is drawing to its close, it's almost as if the band decided they couldn't stray away for too long as they launch into a raging fast conclusion, literally within the last 5 seconds of the song.
]]>Wow, what an opening track! I mean it in the nicest possible way when I say that Atlanta's Nurse have evolved from the noisy pogo punk style band that started out. On this new EP, they've created a sound with just as much snarl and rage, but with leaner, more complex songs and interesting contradictions in the guitar work. I can't tell if this is a product of faction between the current members of the band, but the result is intriguing. "Foreign Object" makes strong use of weaving between a simple but effective riff and a creepy single-note melody. The song feels chaotic and claustrophobic, careening into a lot of unexpected turns, -- instruments dropping out, tempo changes, etc. -- but the structure still comes across as intentional and memorable. When looking for something left-of-center, this is what I want out of my weirdo hardcore.
]]>La Muerte No Espera is the tough stomping intro to side two and work really well. My interest has already been hooked and I'm invested enough to embrace the build up of it. The bass tone is so mean, it feels like it's about to come out of the speakers and punch me in the face, or maybe my speakers will become possessed and eat me Black Roses style (Youtube Black Roses Vincent Pastore if you haven't seen it. It's totally worth it). So turn off the lights, get it all nice and spooky and then let out all your aggro with this one.
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As a big power pop fan and a fan of the Tranzmitors this song obviously is right up my alley. Super big hooky power pop that would snuggle in nice and cozy on any of the Power Pearls compilations (well at least the first couple). Sweet and simple and to the point just like it should be. Also I really have been digging Fashionism's visual aesthetic (I think I really just like that color of blue a lot).
You have more than one shot to BUY IT HERE . But it won't be around forever so you might want to do it now.]]>Hey look we managed to write about a song that isn't the super punk one! Aquarian Blood's LP is full of punk bangers but for some reason the slower, weirder and darker Funeral Moon caught my attention. Maybe it's because everything just feels slightly off. The drums have a weird stutter to it and some of the keys seem kind of off time at points and it all just feels weird. It also feels pretty raw and has some dark anarcho punk vibes. Really cool stuff all around.
Get it HERE!]]>I don't know if I gushed a ton about the Exotica tape, but if I didn't I should have. The drums really sell this track for me. They could have gone with a straight pogo beat to match the driving bass but switching it up gives it an anxious energy that I really like. Oh yeah and I'm always a fan of a good grunt. I feel like I should have more to say about this because I listen to it constantly but for real it just does everything I like about punk right. This whole 7" rips though so do yourself a favor and click that link below.
]]>When that build-up continues to pulse faster and faster, you know you're in for some Mängel-style punishment. Apparently Rat Cage is just one guy? Well, he must love Totalitär as much as I do. "No Consolation" as a closing track just absolutely rages, almost to a tiring degree. But finally, just when the tension needs to be broken, the song launches into that groovy, half-time pace that'll have you circle-pitting until the track finishes fading out. Afterward, you can throw on that ski mask and go cool off in a nice bath of Swedish hardcore 7"s.
]]>At a quick glimpse, the bright, cartoony aesthetic that brings to mind 90s pop punk might have been a turn-off for me. Still, there's really just an upbeat ray of positivity emanating from this LP. And sometimes, me liking a band just comes down to good songs, and when I heard "Why Do I?" it stood out amongst the other tracks coated with saccharine as having a more bitter flavor. This song might induce a slow shimmy rather than energetic hopping up and down, but the melody has an addicting 70s power-pop vibe -- almost like "Why Do I?" could be mistaken for a more sullen moment on a Holly and The Italians record. It's not a sad song exactly, but it's got this subtle sense of longing. I'm also sucker for a call-and-response vocal part: Q: "Not this time." A: "No, not this time."
]]>"Aguas Negras," the closing track of Side A, is a single banger among many on this debut LP from Rata Negra. If I understand correctly, this band is comprised of people from both La Urss and Juanita Y Los Feos. Upon hearing this record, that combination is immediately familiar because the rocked-out edge from La Urss comes through, and then is coupled with the unmistakable vocal signature of Violeta from Juanita Y Los Feos. Rata Negra rides that line of shameless melodicism in their brand of punk without crossing into the dreaded vibes of pop-punk territory. This record is chock full 'o catchy numbers, and "Aguas Negras" just happens to be the most infectious of the bunch, and stands out as a nice melodic moment both in terms of the vocals and opening guitar line. Though upbeat, there is also this eerie melancholy feeling brought on by distant echoing backing vocals. Plus, you get the most bang-for-your-buck in terms of squeezing in syllables.
]]>So this time around, while you can still expect the tough, pit-clearing parts and wild, avant-garde divebombs from Concealed Blade, there's still this element of being unashamed of your love for hard rock on this record. Between the nod to Kiss at the beginning of track 1 and the Quiet Riot-esque drum intro on this track, this record doesn't simply make my mind jump to think just a typical tough hardcore record. "Bought And Sold" is one of the slower songs on the record, and while it's a "hard" jam no question, it's also kind of the sing-along, fist-pumping rock anthem of the record. The middle section has this dissonant guitar break and then what follows alludes to a proper guitar solo! I don't know if people will read this and think I'm crazy, but I think YINZ all need to embrace some rockin' in your hardcore every once in a while.
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I've been on a huge Scientists kick lately. There are so many tracks from this early era of the band (i.e. before they went "swampy" and when they shared a drummer with the great, underrated Victims), but lately I've been kind of fixated on "Larry." The bubbly, Undertones-esque melodies are right up my alley, and the lyrics are great too. There's a consistent theme of escapism in the lyrics on this first Scientists LP (see also, for instance, "High Noon"), but at the moment, at least, "Larry" is my favorite articulation of that theme.
]]>Urochromes' debut 7" on Lumpy was killer, but this one is even better. It sounds like the band have really found their sound and grown comfortable with their own voice, and now they're willing to experiment. There are lots of little out-of-the-box touches on the Night Bully EP, but my favorite is the brief little melodic guitar lead that pops up in "My Dickies." More of that please!
]]>You can sue me for designating a cover tune as a Hot Track if you want -- somehow though, even sounding like a black metal-twinged thrash band, DSS seems to make a W.A.S.P. song fit in. Sure, maybe Deep Space Sorcery doesn't have cover art with a sawblade codpiece, but I can't let this track go unacknowledged. It's nice to see some metalpunks not taking themselves too seriously, and perhaps even the most kvlt of rockers still need to "Fuck Like A Beast." I'm sure Tipper Gore would cringe at the sight of this tape.
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