Mike Muir and his gang of suicidal maniacs are back!! This is the 13th Suicidal Tendencies release (although, the ninth studio album), with 13 new songs, 13 years since the last album (“Free Your Soul and Save My Mind” released in 2000), but the first without guitarist Mike Clark since 1987’s “Join the Army”. And it’s ferocious! Right between the classic Suicidal maniacal grindings and the killer Infectious Grooves flavour. As always. Although, last time was a lifetime ago and probably most of the nowadays headbanger kids don’t have a clue what the heck I’m talking about.
But once again, I have to notice that these “old guys” have a criminal sense of memorable melodies, have the guts to deliver killer and powerful riffs and murderous grooves, while most of the nowadays formed bands only delivering over-produced, but absolutely forgettable mass of noises. By the way, kind of sad, scary and alarming. Read more Suicidal Tendencies – 13 (2013)
This is just bloody awesome! Think of The Wildhearts, Therapy?, Backyard Babies and Terrorvision, massive, powerful guitar riffs and huge, memorable, singable and melodious vocals. Somewhere between the punk rock fury and the glam rock flavour with heavy guitar riffs and catchy, pop fueled choruses, this Newcastle Upon Tyne, England based quartet fined a damn fine path to establish themselves. And best of all, this is a FREE RELEASE, so get your ass right now and grab it from
You’ve seen the movie “Branded”
Formed in Los Angeles in 1979, Bad Religion released its sixteenth studio album, kind of unbelievable actually, they some real survivors of a long gone and by many forgotten era. The age of true, honest, undiluted punk (rock). But some things are never change and it’s a good thing. Bad Religion sounds just like three decades ago, and “True North” it’s a very energetic, fresh, sing-a-long type of, genuine Bad Religion release. These melodies, rapid beats, simple and tasty riffs never can be mistaken for anyone, but Bad Religion.
Brutal, raw, merciless hardcore punk. Nothing fancy, nothing polite, nothing for the sake of the compromise, no sell-out. Singer Frank Carter left Gallows in July 2011 and former Alexisonfire guitarist/vocalist Wade MacNeil replaced Carter in August 2011. The result of this fresh blood infusion, the third Gallows’ album it’s a very nervous, very intense, aggressive and loud record. No fills, no breaks, no This “new” Gallows are picking up from where The Exploited left out, although this is less metal flavored and heavily hardcore fueled punk with a good sense of Brit indie rock infusion. “Outsider Art” it’s an excellent sing-a-long type of punk rock anthem with a brutal hardcore breakdown. Simple and brilliant. Memorable and brutal. And this spirit it’s running throughout the veins of all the 11 tracks of the new release and grinding you into the ground. Can run, but can’t hide, Gallows will get you!
Blue Willa is the debut album by the Italian art rock quartet bearing that same name. The band had been touring and recording for years under the name Baby Blue, but then they decide it that the time has come for change and came up with a brand new identity: Blue Willa.
Noisy and raw garage punk(rock) rides twisted into some weird psychedelic trips and flavored with lo-fi, drone contortions – this is the menu on the debut album by this Michigan based and DIY devoted band. Not for those who are in the search of the perfect crystal sound and are only comfortable with the polished and mainly over-produced, but tasteless, and inconsistent fancy products of the almighty digital era. No, these guys will take you back to their garage, will tear the walls down at the house party in some suburb or in the basement of some filthy and obscure club. This taste like life, sounds messy and full of trouble as reality, wear perfectly with cheap beer, sleepless nights and lost memories.
When music becomes boring, going back to the roots it’s always an option. And the ninth studio album by
Originally recorded in 1981 in Sound City Studios, California, titled simple “The Record” and released by Slash Records on May 16, 1982, and it’s definitively one of the pillars of modern Hardcore, a milestone of Punk/Metal/Hardcore colored brilliantly with Blues/Jazz and all sort of unexpected, out of patterns inflections and infusions. So, why would Lee Ving decide to re-record it 3 decades away? One possible explanation might be a shity record deal with Slash and a better deal signed now with The End Records and the 30 years anniversary may be a great opportunity for some smooth and simple cashing-in. Anyway, this band and the original album deserves both respect and celebration. This re-recorded version surprisingly sounds pretty raw, the few small changes do not really makes any difference and as always, if you want the best, go back to the original.
Punk ain’t dead. Even more, the present it’s intense and murderous and definitively there are more then simple hopes for a future. And this is genuine Punk, I mean, not that soap-box/bubble-gum, Californian sun-burnt and Pop flavored “Punk” which the media and the multinationals selling for decades now. “Descending Light” explode like a grenade and the whole “Future Ruins” it’s a killer spiral of energy and aggression. With roots back to Black Flag, Minor Threat and Dead Kennedys, but related to contemporary challengers such as Gallows and Converge merging brutality and intensity, Hardcore energy and Post-Metal rawness, History of the Hawk delivered a truly unique and own flavored, pounding and crushing Punk album. It’s fresh, it’s furious, it’s colorful and re-inventing the heritage of the past to send it right into the future. 





