I admit, I was afraid this will be another noiscore/crossover post-hardcore whatever album, but fortunately I was wrong. If you miss the raw energy and fury of the Bleach era Kurt Cobain, but you’re even more hardcore and garage punk oriented, it’s very possible that “In Humor And Sadness” might be your next very best friend. It’s neat, it’s wild, it’s in your face, still quite musical and hitting instantly, getting under your skin quickly and for good.
’68 was formed in 2013 by guitarist and vocalist Josh Scogin formerly of Norma Jean and The Chariot and drummer Michael McClellan. They released same year a self-released EP titled “Midnight” including two tracks: “Three is a Crowd” and “Third Time is a Charm”. The initial pressing of Midnight sold out in less than one day, and the indie label No Sleep Records re-released it with new artwork on April 1, 2014.
In May 2014, ’68 announced they signing to Good Fight Music and eOne Music for the release of their debut album, “In Humor and Sadness”, due to be released on July 8, 2014. To promote the album, ’68 released a pair of YouTube videos, which had to be played in unison in order to hear “Track Two: E”. Such a wild idea, isn’t it??! The song “Track One: R” was also available for online streaming ahead of the album’s release. Read more ’68 – In Humor And Sadness (2014)
Dance-punk? In the good old days when punk (rock) actually meant something, I mean more then a dress code or a hair style, dance-punk would be an insult or a blasphemy, but those days are long gone and the whole idea was diluted and our perception distorted. There is no more ideology, no moral concepts and generally, no content, substance in the music – and arts – generally.
While AC/DC is about retirement, Australia seems to find – finally – their new rock’n’roll Gods. In a world of hybrid and alternative musics, a world of fakes and imitations, a world of consume and (tasteless) products, it’s both eccentric and refreshing to hear some good old fashioned guitar riffs and neat, but goddamn exciting rock’n’roll grooves, screams and pounding drums.
I had falling in love with (hed) p.e. a lifetime ago when drunk in a bar I heard for the first time their song “Bartender”. I write about that when they released in 2009 the killer album entitled 
Straight forward industrial rock/metal in the very best tradition of White Zombie/Rob Zombie, Powerman 5000, finally, are back with the “Builders Of the Future”, their seventh studio album, the follow up of their 2009’s “Somewhere on the Other Side of Nowhere” and their truly wicked cover album of 2011 
Originally named Hug The Retard, Dog Fashion Disco was formed in 1995 by Todd Smith, Greg Combs, and John Ensminger in Rockville, Maryland. Tod, Greg and John were high school colleagues. Combining many different music styles from the 70’s psychedelic, through jazz to heavy metal and circus music, Dog Fashion Disco was categorized as avant-garde metal band being heavily influenced by Mike Patton’s Mr. Bungle. The band’s lyrical content is often highly esoteric and satirical, with constant tongue-in-cheek references to the occult, drug use, and other oddities.
“A Document Of Dissent” it’s a collection of 26 tracks spanning the best of the last 20 years (1993-2013), of the band who have partnered up once again with the FAT Wreck Chords for this release. So, if for some weird reason you missed any of the Anti-Flag’s eight studio albums, this is quiet a decent way to right that mistake. I have fall in love with Anti-Flag with their fabulous 2009’s album “
Thrash metal veterans are back with their seventeenth studio album. 10 tracks (plus intro), 50 minutes, Bobby Ellsworth and his brothers in arms are delivering the same type of heavy and merciless metal as they do for more then 30 years. Probably they will never manage to write and record a better album than their 1989’s masterpiece “The Years of Decay”, but that won’t stop them from coming back and grind us all to the ground with the same intensity regularly. “White Devil Armory” it’s not better or worst then any other previous albums they delivered and fans will get one more time their dose of fury, strong riffs, psycho solos and the Bobby trademark screams. On the other hand, the album lack any brilliancy, any outstanding moments, it’s a fair, but still “just another” thrash metal album. Which is probably what exactly most of their fans expecting each and every time. Turn up the speakers, grab your air guitar, it’s axe grinding time!! 
Judas Priest is back! This equally could be a good or a bad news. It is the 17th studio album by Priest since their formation in Birmingham, England in 1969, their first album since 2008’s “Nostradamus” and also their first without founding guitarist K.K. Downing, who left the band in 2011 and was quite successfully replaced by new guitarist Richie Faulkner. The album was released on 8 July 2014. As very first impression and generality, this is much better then “Nostradamus”, but this is still a very late 80’s flavored classic heavy metal album both as sound and style which might be a good news for their conservative old fans, but might be quite disappointing for those who always appreciated the creativity and capability of Priest to reinvent themselves and delivered always fresh and surprising albums till their quite controversial and in my humble opinion, pretty under-rated 1997’s album “Jugulator”. “Demolition” was their first alarming step-back and since then they only moved backwards.
Hate have become trendy, become a lifestyle, not only an expression and a form (of manifestation), but the content itself. This Brits are fulltime, trueblood bloody haters. And huge fans of Metallica and Lars Ulrich… “THEY SHOULD MUTE THOSE DRUMS & JUST LOOP THE SOUND OF POTATOES FALLING DOWN STAIRS. NOBODY WOULD KNOW THE DIFFERENCE” (
