Friday, October 5, 2018

Hardcores Vols. 1 - 3

Coucou, les! We're back with a new entry. Yay! I must admit this one wasn't meant to be featured here in the blog, but this idea came out from somewhere inside my head and, yes, you're gonna love it too. As you may know, I'm a nostalgic individual and my hardcore/punk preferences will always be either on the 80s or 90s side of things. Indeed, this was the golden era of hardcore (IMHO) and something else after these decades doesn't quite surprise so much at all. It's pretty hard doing so ha ha.  However, I must admit some modern bands (including the ones that have exceedingly appeared here in the blog) still manage to keep alive the outspoken, outrageous and frantic spirit of the most important punk rock subgenre. Thank you for that.

Now, this compilation series were originally released back in 1992 by Fuckin' Bastards, a pretty obscure and completely unknown record label (probably from the U.S.) that only published these collections. Note that these are bootlegs since they never got an official release nor even seal of approval of the featured bands. As you may know, this trend of bootlegging is as old as hardcore itself. Indeed, many people did personal mix tapes featuring their favorite bands and some of them were even available for purchase (Most of the time without the bands' consent). Back in the days, there's a pretty well-known yet infamous case concerning a german label that will be featured here in the blog in the near future (I think you already know which one is...). And, finally, today the trend hasn't disappeared at all but it's not as encouraged as before (at least in some circles).

Lastly, I'll review separately each one of the records that appeared in every single volume of Hardcores since I consider important writing about the stories and curious facts behind them. I couldn't find the "original" third volume so, I added in one file the real records (including artwork, layouts, lyrics, etc.). Note that most of the featured records in this infamous bootleg comp series are either early demos or first 7"s of each band. There are also some tracks directly taken from some well-known compilations (two of them already featured here in the blog). You may recall Dischord 1981: The First Years in 7" compilation (Dischord Records, 1993) because the concept is exactly the same (Hmm, I wonder why I haven't featured yet this classic collection...). Oh, and I almost forgot. The e-mail requests have been pushed to next week since I'm still receiving more material from you so, I haven't finished yet of listening to all of them and I'm still busy with other things. Damned "real" world...But don't worry, I'm still working on them. In the meantime, enjoy this unexpected yet interesting ABC to 80s american hardcore punk (the names of most of the featured bands speak for themselves). With all that written, let's begin.  

Hardcores Vol. 1!XWIxDKoR!QKskrHjra1hB7cy8VoscZ34IRz68E8UDcZ1TfBXtsgw

Featured records: SSD - The Kids Will Have Their Say 12" LP (Xclaim! / Dischord Records, 1982),  The Freeze - Guilty Face (Modern Method Records, 1983),  Gang Green - Sold Out 7" (Taang! Records, 1984), Unsafe At Any Speed 7" compilation and some tracks taken from This Is Boston, Not L.A. compilation (Modern Method Records, 1982). 
The first volume contains some of the earliest and best exponents of Boston Hardcore in the 80s. I think this is a good start despite the obvious lack of some other iconic outfits (i.e. Negative FX, Siege, Deep Wound, etc.).  In general terms, the songs are short, fast and loud (notably SSD, Gang Green and Jerry's Kids) and are just a sample of what this violent, frantic and fun scene was capable of. Their overwhelming and pummeling sound is still relevant and highly influential for many modern acts today (i.e. the so-called New Wave Of British Hardcore - NWOHC).

Firstly, SSD's full-length album debut is considered by many hardcore fans as one of the best records ever released, and this outfit was also one of the first straight edge bands that were really serious about the thing. Indeed, they were unfairly accused of promoting and inciting violence against non-straight edge scenesters since there are even stories of the band leading these kind of acts in the streets but this is completely false. After the release of this LP, the band started to experiment with metal doing some kind of crossover thrash but it wasn't too great at all. Anyway, a great hardcore classic that everyone should be aware of.

Next, we have the second 7" of The Freeze. Despite not being as frantic as SSD, this band has nothing to be ashamed of. Indeed, the songs are short, fast and loud (with some of them featuring a sort of slow-paced breakdowns with more traditional rock 'n roll guitar riffs) slowly drifting apart from the punk standards of the time. In fact, the bostonian scene had to struggle and experiment with different sounds and attitudes until the iconic style was established. Finally, these songs, along with the featured ones in the compilations present in the bootleg, are probably some of the fastest material ever made by the band. Pretty neat musical execution.

Now, if we're talking about fun and frenzy, Gang Green is the party animal you'll always keep on mind (Or maybe not). Unlike other bostonian hardcore kids of the time, these ones were too extreme for everyone out there because they were clearly addicted to alcohol, hard drugs and skating. In fact, most of their lyrics involve these subjects (making fun of them, obviously) but there are some other sarcastic stances too. i.e. their infamous anthem Kill A Commie. There's a curious fact about this song. Jello Biafra, vocalist of Dead Kennedys, asked them to make a political song. The band didn't like so much the idea and made a parody of the national anti-communist propaganda at the time (You know, "Cold War" era) for pissing everyone off (Including Biafra). And, yes, they achieved the purpose. Well, kinda since many people thought the stances were serious. Also, just like The Freeze, this Gang Green 7" is probably one of their fastest material. In later releases, they opted for a more crossover style gaining some moderate mainstream attention. Finally, this record is highly influential for crossover thrash, thrashcore and powerviolence styles alike. 

Last but not least, we have two compilations featuring different Boston bands. Firstly, we have the iconic This Boston, Not L.A. featuring the following bands: Decadence, The Freeze, The F.U.'s, Gang Green, The Groinoids, Jerry's Kids and The Proletariat. The sound is properly adjusted to boston hardcore standards (short, fast and loud) but there are some exceptions with a more british punk and anarcho-punk approach. And, I'm sure you may be asking, what's the deal with the name? Well, just like I stated some paragraphs above, bostonian hardcore bands found the necessity of creating an unique sound (Notably different to L.A.'s, which was predominant in most areas across the U.S.) and the editors also created that motto as a parody. But people got serious about the title and the apparent musical superiority of Boston style above L.A.'s was a real thing. A real one. SSD was also meant to be featured in the compilation but they were discarded due to all the problems around their violent and frantic live performances. And, finally, we have Unsafe At Any Speed 7" compilation, which can be regarded as a complement of the previous compilation because it contains some additional tracks from all the featured bands (except for Decadence) that didn't make it. Both compilations were put together on CD format by Wicked Disc Records in 1995 and you can click here for downloading it (You can also look for our original review here in the blog when we wrote in spanish).

Lastly, click on the image for downloading these Boston Hardcore classics. Highly recommended. Enjoy! 

Hardcores Vol. 2!SLYhTSSB!1GPz5D2m7njJeUgZBagEvp-7KVhwlUDIZQOmJEAHlAg

Featured records: Negative Approach - self-titled 7"(Touch And Go, 1982),  C.IA. - God, Guts, Guns 7" EP (Shmegma Records, 1983), Cause For Alarm - self-titled (Not On Label (Cause For Alarm self-released), 1983), Nihilistics - self-titled 7" (Visionary Records, 1982), Deep Wound - self-titled 7" (Radiobeat Records, 1983), White Trash - Trash Is Truth / Wake Up! EP (Local Anesthetic Records, 1983) and Urban Waste - self-titled 7" (Mob Style Records / Wasteland Productions, 1983).  

Firstly, we have the first record of arguably one of (if not) the best hardcore punk bands of all time: Negative Approach. When I heard this Detroit-based band for the first time long time ago (notably this production), I instantly fell in love with. Indeed, my cravings for savage, outspoken and "fuck you all" attitude were absolutely satisfied with this. I even must admit many years have passed since that day of hardcore epiphany and this full of hate nihilistic record is still unbeatable in my mind. Regarding the sound, just like some bostonian acts such as The Freeze and Jerry's Kids, Negative Approach was drifting apart from the current punk standards of the time, thus creating more short, fast and louder songs. Yes, some classic punk rock elements can still be heard but the musical execution is notably different. Their second and final record Tied Down LP (Touch And Go, 1983) is also a must but I can't complain about the featured record in this bootleg. One life saver to me. Finally, the band is still active (with only his ferocious and viciously mad at the world vocalist, John Bannon as original member) since 2010 and doesn't seem to ever stop until its last breath in this fucked up world. Highly recommended and yes, mandatory acquisition for any hardcore punk enthusiastic.

Secondly, we have a pretty interesting yet underrated hardcore act from Bridgeport, Connecticut. Note that even though CT hardcore punk scene wasn't as big as other ones such as, for example, L.A. or Boston's, it spawned some interesting acts like Crippled Youth (Later relocated in NYC and changed their name to Youth of Today, one of the most influential bands ever in the U.S.), Youth Korps (one of the unofficial precursors of both powerviolence and grindcore subgenres. We'll write about this band...a little bit...later) and, of course, C.I.A. Just like many hardcore acts at the time, this one had a pretty short lifespan and only released this humble 7" EP and one self-titled LP (Incas Records, 1986). I personally rather this EP over the LP but you should check both records as well. Regarding the sound, C.I.A. is fast and loud as you'd expect from this kind of bands. Also, their lyrics are pretty well structured and written dealing with different social and political issues of their time, notably "Cold War". Finally, check this band out. Totally worth it. 

Next, we have Cause For Alarm's debut album. This is a pretty well-known act from NYC but their impact and influence in the hardcore subgenre has somewhat passed a little bit unremarked despite their huge popularity in their native local scene. Just like emerging local outfits such as Murphy's Law, Urban Waste, The Abused and Reagan Youth, Cause For Alarm played straightforward hardcore punk with short, fast and loud songs containing both personal and political lyrics. It's true that many NYC- based acts like this one were clearly overshadowed by the raising popularity of other ones like Agnostic Front, Warzone and Cro-Mags but there's an element to remark to. Following the release of this album, Cause For Alarm disappeared almost a decade. They later re-release it through Victory Records and their subsequent works (Also released through that "demoniac" record label) were having more influence of Krishna Consciousness in the same vein as Antidote, Cro-Mags, 108 and Shelter. I think I could write about all the vicissitudes behind this Krishnacore trend during the 90s in the near future. Yes, I probably could...Finally, get this record. An absolute early NYHC classic record.

Now, the turn is for Nihilistics, another influential early NYHC act, with their debut album. For no one is secret that New York spawned seminal punk acts such as The Ramones or Patti Smith but shortly after the magic of early punk rock was extinguished and turned into another fashion statement, the underground of the "world's capital" also spawned a more direct and outspoken form of punk: hardcore punk. And this band was one of the pioneers. Unlike other early bands like Kraut and The Mad, Nihilistics had a more bitter, dark and "negative" vision of life and both their lyrics and musical performance were a proof of that. I'm pretty sure that after Bad Brains' relocation in the city (Remember this also seminal act came from Washington D.C.), the opposite sides of local "positive" and "negative" bands was starting to be a thing (A serious one I must add) and Nihilistics was the perfect example of the latter. Do you wanna quit this world with an overdose of hateful bullets in your head? Listen to this then. Finally, I highly recommend this underrated 7", which was unfairly overshadowed by later acts at the time (Ironically inspired by it). If you dig acts such as Poison Idea and Sheer Terror, this is for you. A pretty solid material recalling us punk can truly be a threat (even for your mental sanity...). 

The next record we have is also a debut album from one of the most underrated hardcore bands in the creation of both powerviolence and grindcore: Deep Wound. This band from Westfield, Massachusetts only released 2 demos (American Style and self-titled (Not on label (Deep Wound self-released), 1982 and 1983 respectively) and their only self-titled 7" (Radiobeat Records, 1983) featured here in the bootleg. Unlike other bands from their state, Deep Wound played extremely short, fast and loud. In fact, some songs even include one of the earliest examples of the use of blast beat drum technique in hardcore punk. They disbanded in 1984 and 2 of their members (J Mascis and Lou Barlow) formed Dinosaur Jr., one of the earliest examples of alternative rock gaining some modest mainstream success during more than a decade (You know, the kind of music you start to listen to when your youthful, sexy and outspoken hardcore punk self starts growing older. Ô, folle jeunesse...) And, Deep Wound briefly reformed and played one show during a Sonic Youth concert (where Dinosaur Jr. and Sebadoh (Barlow's another project) were the opening acts) That mix of alternative rock and hardcore punk should have been awesome. Finally,  there's an almost complete discography (Damaged Goods (UK), 2006) containing most of the works of this underrated band. Highly recommended.

Last but not least, we have the last two remaining records. On one hand, we have White Trash's only official release. There's also one self-released demo from 1982 (AKA Hell No) but it's pretty hard to find and I haven't got the opportunity to listen to it (Some of you have it? I'd be thankful if you could pass me the .mp3 files he he). Regarding the sound, this band's sound reminded me a lot of other contemporary acts such as S.O.A., Minor Threat, Void, The Crucifucks and The Germs but with a more outspoken and evident politically-charged lyrics in the same vein as M.D.C. and Reagan Youth. As a curious fact, this record was one of the personal choices of Tim Yohannon (R.I.P.), founder and editor of Maximum Rock 'N Roll zine (the de facto bible of punk). If you dig cryptic american hardcore acts such as State and Condemned To Death, this is for you. Highly recommended. Finally, on the other hand, we have Urban Waste's first album. Just like Cause For Alarm, this NYHC outfit was also unfairly overshadowed by other more popular acts. Regarding the sound, the music was fast and frantic and the lyrics were politically-charged denouncing hideous acts like police brutality and brainwashed public opinion. Finally, they disbanded shortly after the release of this record and returned in 2010 and have released since then more material but I haven't got enough time to listen to them so much but I can assure you that they haven't changed at all their style. A pretty rare and solid lost NYHC jewel that you shouldn't miss out. Highly recommended.

Hardcores Vol. 3!TGJRASIY!UtxEHvNNgNJbCcrU7vOQeWgkeMkZcq4JDmwgH_cjlbI

Featured records: Process of Elimination 7" EP compilation (Touch And Go, 1981), Necros - I.Q. 32 7" (Touch And Go / Dischord Records, 1981), Die Kreuzen - Cows And Beer 7" (Version Sound, 1983), Hüsker Dü - Statues 7" (Reflex Records, 1980), The Fix - Jan's Room 7" (Touch and Go, 1981), Naked Raygun - Flammable Solid (Ruthless Records, 1983) and Side A from The Master Tape LP compilation (Affirmation Records, 1983).

We finally conclude this entry with the last record of this interesting bootleg compilation series. The first record included in here is a compilation featuring the following "Midwest Hardcore" bands: Necros, McDonalds (Maumee, Ohio),  The Meatmen, The Fix (Lansing, Michigan), Negative Approach, Youth Patrol (Detroit, Michigan), Toxic Reasons (Dayton, Ohio) and Violent Apathy (Kalamazoo, Michigan). Note that this compilation is one of the first efforts in the U.S. for featuring hardcore bands from scenes that weren't as big as the most well-known ones (i.e. L.A. or D.C.) and can also serve as a sampler containing some of the first bands in the publisher's catalog. Regarding the sound, it's not so different to what other US hardcore punk bands made at time but there are some traits to remark to. For example, Detroit-based bands had a more outspoken and violent attitude (notably Negative Approach); The Meatmen were pretty obnoxious and offensive thus making people pissing off as their own political agenda; Necros and McDonalds (the latter was also an alternate side project of the former) were more sarcastic and irreverent; The Fix, some of the most underrated bands in the country, is fast as fuck; Toxic Reasons was something between Black Flag (US) and The Exploited (UK); and, last but not least, Violent Apathy had a pretty interesting mix of slow-paced mid-tempo bridges with faster tunes (Not as much as other bands from the area but it's nicely executed). Finally, get this record. It's the proof that 80s american hardcore wasn't limited to L.A. or Boston scenes. Highly recommended.

The second record is also the second album of this impressive band from Ohio. For this record, the band managed to play faster than their debut album Sex Drive 7" (Touch And Go, 1981) and it was also one of the first non-D.C. hardcore punk record to ever be introduced at Dischord Records. Of course, this 7" doesn't quite surpass their magnum opus Conquest For Death LP (Touch And Go, 1983) but at least it's a good blueprint for it. The sound is short and fast and it still does retain some classical punk rock traits (Including their more sarcastic and irreverent point of view) but the differences are getting clearer with each song. Imagine like a some sort of Black Flag but a little bit darker. Finally, this was also one of the first hardcore bands doing a tour across the US. In fact, they accompanied The Misfits (With the original line-up, Danzig included) as their opening act in 1982. There's a funny story about this tour. Both bands were arrested in New Orleans on charges of grave robbing but bailed themselves out of jail and skipped their court date in order to drive to their next performance in Florida. That's too hardcore for all of us ha ha. This is a must. Get it while you can since there's a lot of price speculation on the Internet and sadly all Necros' records are reaaaallllyyy expensive as fuck. Yeah, as fuck. Yeah.

Next, we have Die Kreuzen's first EP. This band is pretty underrated since their local scene Milwaukee, Wisconsin was way too small and not many remarkable acts (besides them) came out from it. In fact, this is one of the few cases where only one band transcends their native city/town making anything else not as relevant as it should be. Also, despite their hardcore roots, Die Kreuzen quickly started breaking the mold and began to explore different musical styles such as heavy metal, gothic rock and even shoegaze, developing an interesting alternative rock-oriented style during the next decade. You can hear this change in subsequent records after the release of their critically acclaimed self-titled full-length album (Touch and Go, 1984). And, this musical shift also meant they were highly influential for the grunge movement in the 90s. Indeed, Nirvana's vocalist and guitarist, Kurt Cobain (R.I.P.), used to cite this band as a big influence on his music and life as well. Finally, check this record out. IMHO this is their best material during their short-lived hardcore era (Of course, don't forget the self-titled either). Highly recommended. 

Now, we have the second chance of reviewing more material coming from Hüsker Dü. As you may know, this band appeared in our infamous yet successful Make Emo Great Again: Your unofficial guide to 80s and 90s american emocore when we featured their awesome work Zen Arcade (SST Records, 1984). You can read our original review by clicking here.  So, this is officially the band's first record, a single featuring two songs Statues and Amusement. This is probably the only Hüsker Dü's record which features a more straightforward post-punk-influenced sound (At least in its purest form). Indeed, you can hear something like a desperate Joy Division tribute band trying to play faster. I know it may sound weird but you'll get the idea after listening to it. Following the moderate success of this record, Hüsker Dü released more straightforward hardcore punk-related material like most of their punk counterparts at the time (With some slight teasing with other less aggressive sounds, obviously) until the release of Zen Arcade, when everything changed and, in subsequent records, they consolidated themselves as one of the first and most influential alternative rock bands (like their contemporaries The Replacements). Finally, this is something different to everything else featured in this bootleg compilation but it's worth listening to it. Highly recommended. 

For The Fix's first 7", we only have to say one thing: it's friggin' amazing. Pretty underrated record. During their pretty short lifespan, they only released two records: this one and other one named Vengeance 7" (Touch and Go, 1981). There are also some discographies reuniting both records like At The Speed Of Twisted Thought...LP/CD (Touch and Go, 2006) and Vengeance/Jan's Room 2x7" (Touch And Go, 2014).  Both records contain the only material officially released by the band in 1981. The only difference between the two editions is that the former has some live recordings and outtakes absent in the latter.  Regarding the sound, just like emerging bostonian hardcore bands at the time such as Jerry's Kids and The F.U.'s, The Fix managed to play fast and straightforward hardcore punk slowly drifting apart from the traditional punk rock standards. And, despite their cryptic existence, many european bands that started to incorporate more american hardcore elements into their repertory like Mob 47 or Rövsvett from Sweden, gave the recognition that The Fix never got. Finally, if you have enjoyed ultra fast-paced US hardcore acts featured here in these bootleg compilations such as C.I.A. and White Trash, The Fix won't ever disappoint you. Ever.

Lastly, we have the last two records. Firstly, Naked Raygun's second EP is a huge surprise since I didn't know it before writing this post. Indeed, it was a mystery to me and I found it quite charming. Just like the featured material from Hüsker Dü, Naked Raygun is an exception to the rule of fast-paced and ferocious hardcore punk presented so far. Their sound is more closer to post-punk with lots of classic rock 'n roll, traditional punk and even surf rock guitar riffs, solos and stuff but it still does have a strange early american hardcore punk feel. This record in particular somewhat reminded me of a less "dark" version of T.S.O.L's Dance With Me (Frontier Records, 1981). Pretty nice, though. Finally, the last record featured is The Master Tape LP compilation which contains Toxic Reasons, Slammies, Battered Youth, Delinquents, Zero Boys (Side A), Articles of Faith, Repellents, Learned Helplessness, The F.U.'s, The Pattern and Die Kreuzen (Side B). For a strange reason, the "original" bootleg only featured the tracks from Side A. This was probably due to there wasn't enough space on the vinyl. But, for your commodity, I'll feature Side B too as a bonus. And, most of the bands speak for themselves so, it's not so necessary writing further about it. Don't miss the other acts out either because they're also a pretty cool and almost forgotten chapter in american hardcore. I hope you enjoy this entry as much as I did preparing it. I wasn't expecting writing about 80s american hardcore punk for awhile but you know, shit happens. Ha ha ha. Stay tuned for more coming surprises. Until next time. Kisses and hugs!   

Friday, September 28, 2018

Chulo (Colombia) / TEST (Brazil) / Exacerbación (Costa Rica) 3-way split tape and Mongólico AKA Ocilógnom / ZEN-AKU (Colombia) split

Coucou, les! We're back after a while. I must admit I'm not passing through a good moment in my life right now due to different circumstances that won't ever be mentioned nor discused here (or somewhere else). Likewise, I was running out of ideas but thanks to Chulo's guitarist contribution (Thank you so much, pal!) I could get this amazing latin american grindcore 3-way split. I also must admit I was waiting for buying a physical copy but the record label only sent 10 copies to Chulo which quickly went out of stock. Such a shame.

Now, I recently noticed that ZEN/AKU (Cali, Colombia) have also released some brand new material sharing one particular split with our friends of Mongólico AKA Ocilógnom (Bogotá D.C.). Remember les! grindcore will always cheer you up. Always. Oh, and I almost forgot. Thanks to our friend Christian Montoya, the Deflagration Compilation Tapes' download links were down so, I updated the entry by creating one donwload link containing all the volumes. You can re-read the original review and download the aforementioned classic 80s hardcore punk collections by clicking here.

Lastly, I'll post next week some of your e-mail requests. Don't forget you always can submit your requests through either our e-mail adress or sending a PM in our Facebook fanpage. (The information is available on our "Disclaimer" section, which is visible at the right top of this humble website). With all that written, let's begin.     

Chulo (Colombia) / TEST (Brazil) / Exacerbación (Costa Rica) 3-way split tape!j5Y1CCLI!-QcHn1SW1qZoNd4ZzmvHL6Hwf-aKv3qg_UTDmCcURbU

Chulo (Colombia) / TEST (Brazil) / Exacerbación (Costa Rica) 3-way split tape
Label: Grindfather Productions (UK).  
Recorded at: Metal Garage, Bogotá D.C. - Colombia (Chulo's side); Estudio Newen, Paraíso de Cartago, Costa Rica (Exacerbación's side); Estúdio Favela, São Paulo - Brazil (TEST's side).
Sound engineer(s): Metal Garage (Mixing and Mastering of Chulo's side), Daniel Ortuño (Mixing and Mastering of Exacerbación's side); João Kombi (Mixing and Mastering of TEST's side).
Artwork: Colmillo Workshop (Bogotá D.C., Colombia).
Format: Tape.
Country: Colombia/Brazil/Costa Rica.
Release date: September 7th, 2018 (Physical edition).

After some years in the making, this long-awaited split featuring these 3 infamous latin american grindcore powerhouses has final-fuckin'-lly been released. Indeed, this record was meant to see the light last year but some impasses (i.e. some recording delays or difficulties of finding a record label for publishing it) impeded doing so. Luckily, Grindfather Productions from the UK released the record on tape format (With 3 colors available: red, blue and white).

Regarding the sound, we have some things to remark to. Firstly, Chulo provides two tracks reflecting their iconic grindviolence savoir faire with short, fast and violent music. Along with Beatriz Carnicero (Uruguay) and Odioso Dios (Argentina), they put this trend on the track here in South America some years ago. You can hear different influences from sludge, death metal, powerviolence, grindcore and, of course, punk medallo (Early 90s colombian hardcore punk). Imagine a cross between Assück, Marion Barry, Sex Prisoner (USA) and HP/HC (Colombia). Also, the lyrics are filled with irony and sarcasm, key elements in our beloved powerviolence subgenre. Finally, they're working on new material so, I expect more from this band soon.

Next, we have Exacerbación from Costa Rica. I've been told there's a modest yet impressive grindcore movement in that country of Central America. As far as I remember, there's a compilation, whose name I can't recall right now, which features these kind of bands. I'll look for it and immediately upload it here. Now, the band has pretty brutiful style perfectly mixing both death metal and grindcore (but some traces of crust punk are present too) with lyrics dealing with different social, political and economic issues. You can think of classics such as Phobia, Assück (USA), Nasum (Sweden) and Agathocles (Belgium) but with a more visceral feel that can only be executed by latin american bands. If you enjoy modern bands such as Derecho A La Muerte (Ecuador), Destitute, Grinding (Colombia) and Restos Humanos (Colombia/Italy), this band is definitely for you.

Last but not least, we have TEST from São Paulo, Brazil. This band made a colombian tour last year and it was such a blast. Their sound also is closer to the deathgrind style. Indeed, they reminded me of classics such as Machetazo, Looking For An Answer (Spain), Brujería (USA/Mexico) and Dahmer (Canada), and, yes, as you can imagine, both their musical instrumentation and execution are pretty similar to Exacerbación's. Finally, their lyrics are in portuguese with some abstract excerpts filled with apostasy. Pretty cool. Once again, if you enjoy latin american bands like the mentioned ones in the previous paragraph, this brazilian outfit shouldn't be missed out either.

Lastly, click on the image for downloading this record. The file includes the original lyrics in both spanish and portuguese (I'm sorry I couldn't translate them to english because I hadn't enough time for doing so), credits and acknowledgments to all the people behind the project. Highly recommended. Enjoy!

Mongólico AKA Ocilógnom / ZEN-AKU (Colombia) tape

Mongólico AKA Ocilógnom / ZEN-AKU (Colombia) split 
Label: Narcosarcasmo (Bogotá D.C., Colombia)
Recorded at: Metal Garage, Bogotá D.C. - Colombia (Mongólico's side); The Hills, Cali - Colombia (ZEN/AKU's side).
Artwork: Colmillo Workshop (Bogotá D.C., Colombia)
Format: Digital 
Country: Colombia
Release date: September 26th, 2018

An outstanding split, whose digital edition was released two days ago in the morning, featuring two award-winning bands here in the blog: Mongólico AKA Ocilógnom from Bogotá D.C. and ZEN-AKU from Cali. I've been told by Mongólico's guitarist that a physical edition of this record won't be possible due to its time length (less than 3 minutes (!)) and hope to release other material instead. Let's see what time will tell... 

Following the short, experimental yet impressive musical execution featured on their previous work (you can re-read the original review by clicking here), Mongólico AKA Ocilógnom once again returns to their auto-called "Bulldozer Grind" style. But this time, I do think the death metal elements in the record are a little bit more prominent than in previous material (This can also be noted just by looking at the band's logo on the front cover which ressembles to Morbid Angel's, a well-known and influential outfit in this extreme metal variant). Finally, the band only featured two tracks, whose lyrical content are full of sarcasm and are just parodies of one loved/hated yet infamous U.S. noisecore outfit (It's pretty evident which one is) and some questionable practices made by some local scenesters. Ha ha ha. Nice.

Last but not least, ZEN/AKU from Cali, one of the most important grindcore outfits emerging from their native city, is back with new material. Unlike their previous work, Impureza (The Return Records, 2017), which also was one of the best picks of 2017 (you can read the original review here), the two featured tracks in this record are closer to their original grindviolence roots, which is fantastic since this land of tropical anarchy forsaken by the ancient gods of rock'n roll lacks the luster of this kind of bands. Finally, the lyrical content displays some kind of hate, delusion and despair that the inhabitants of this country feel every single day of their miserable lives (including mine). FOF Magrudergrind (USA), Chulo (Colombia) and Beatriz Carnicero (Uruguay).

Lastly, click on the image for getting redirected to Narcosarcasmo's official bandcamp accuount where you can listen to this record and either downloading it for free or paying the price you consider right. Highly recommended. Enjoy and until next time. Kisses and hugs!

Thursday, September 13, 2018

Abuso - self-titled tape

Coucou, les! We're back with MOAR colombian hardcore punk releases and this time we have Abuso's long-awaited debut album. As you might remember, this female-fronted hardcore punk band was already featured here in the blog when we reviewed  Silla Eléctrica - Punk Colombia 2018 compilation (Fuerza Ingobernable (Colombia), 2018) (You can read the review by clicking here) and Julián Baracaldo's Sesiones En Negro (Black Sessions) (You can also read our special review of that audiovisual project by clicking here). Lastly, for this review, I'll use once again the infamous "data sheet", featured in the previous post of Amenazas and Víctimas split tape, and will also be brief on the redaction since time isn't my best friend right now (Curse you forever, real world!). With all that written, let's begin.

Abuso - self-titled tape
Label: Not On Label (Abuso self-released).  
Recorded at: Rat Trap Studios, Bogotá D.C. - Colombia.
Sound engineer(s): Sergio González Rojas (Mixing), Lenin Rojo (Mastering).
Artwork: Melissa López (Also vocalist and bass player of Abuso).
Format: Tape.
Country: Colombia.
Release date: September 7th, 2018 (Digital edition), TBA soon (Physical edition).

Abuso, a female-fronted hardcore punk band from Bogotá D.C., has finally unveiled their long-awaited debut album. This self-titled not only includes the contributed tracks to Silla Eléctrica - Punk Colombia 2018 compilation but also some additional ones that exclusively appeared in their Sesiones En Negro (Remember both projects are already featured here in the blog).

As previously remarked, Abuso plays short, fast and loud hardcore punk with an unique and particular duet of both female and male vocals (harsh and shrieked) mostly drawing influences from UK82, d-beat and early latin american hardcore punk (Notably colombian and mexican). There are even some classic punk rock (notably punk ibérico) and post-punk feel in some tracks but, fortunately, the band do not lose the grip while unleashing their sonic attack.

And, last but not least, the lyrics, as the band describes, deal with "the quotidian abuses sieving above our humanity". Best description ever. Lastly, click on the image for getting redirected to their official bandcamp account where you can listen to this record and buy the digital edition if you like. Another potential candidate for our best colombian picks of 2018. Highly recommended. Enjoy and until next time. Kisses and hugs!