THE BLACK BLACK • Careful on Your Way Out LP

The Black Black Careful On Your Way Out LP

Ewel Records


I’m going to start this the same way that I started the Groupie review because I got this record on the same day so… First things first, I’m a total jerk. Hands-down, I’m not covering anything, I’m not going to hide behind the pandemic, I’m not going to hide behind the fact that someone nearly stole my identity, I’m not going to hide behind guns shipped in my name across the United States, I’m not going to hide behind any family illness, I’m not going to hide behind moving, I’m not going to hide behind anything. I received this record over a year ago and simply due to my laziness I have not addressed it in the respectful and proper way that should’ve been addressed. So, without any further ado, let me tell you about this the The Black Black Careful on “Your Way Out” record. Let’s start with the cover of this the The Black Black record, is a drawing of the backs of two young lawless lovers, or at least early crushing on each other, handcuffed with a cop standing over them and all of life’s little needles and pushes and prods trying to collapse in on this little spark of life these two kids are sharing. These two kids seem perfectly content to be handcuffed as long as they are next to each other. My guess is that this is a pop punk record. I’m stoked to spin it because New Jersey New York has had some grotesquely overlooked melodic bands that have come out and those areas. Dang duder, I dropped a needle and I could not be more wrong. This is post punk dance amazingness. This could fit right in with Talking Heads, Television, Medium Medium, APB and more recently NYC’s Radio 4, the Flesh, Lost System with a nod to goth (in a good way). All of this while managing to carve out their own sonic lane. “No Satisfaction” the first song on the LP is great but they had the perfect opportunity to reclaim the lyric “why can’t I get NO satisfaction” to “… any satisfaction”?  Meh, moving on, when the fuzzy bass starts the song “Guilt Free Genocide” I’m hooked. Lines like “where do we put the poor people once we don’t need their labor” and “guilt free genocide, rich people for climate change” I think it’s creepy because of its accuracy. The record itself is the color of sand but not beach sand. It’s the color of the sand you find on a long dirt road, dusty, hard to clean off, staining clothes. Ending side 1 is “Fun Police” with an infectious chorus of “ Who made you the fun police, did you always want to grow up and be a narc” and that line is a total crack up. “2Kool2Dance” has a rad Love and Rockets feel which brings a pleasant familiarity to the entire record. These folks aren’t afraid to throw it all out there. “Vansanity” closes out side 2, grabs onto the grizzly reality of vanity, narcissism, a life without consequence, and doing whatever it takes to be where you want to be. This is a really terrific Ewel records release and leaves me hoping to hear more from the The Black Black.  (JD)
Preview a tune and then buy the whole dang thing here!

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Justin Dratson: JD Nate Wilson: NW MA: Matt Average

WELCOME TO PITTSBURGH… DON’T MOVE HERE compilation LP

Cruel Noise Records

Welcome to Pittsburgh… Don’t Move Here compilation (Cruel Noise Records)


I love Pittsburgh. That’s it, I love Pittsburgh and I appreciate that they’re asking me not to move there and I respect that. One of my favorite times and first time(s) ever going to Pittsburgh was coming into the city from the South and cutting into a mountain, going through a tunnel, and being barfed out into the center of a huge metropolitan city. That feeling was felt like living in a sci-fi movie as if I  was docking a ship and walking into a secret moon colony. From that second forward I loved to visit Pittsburgh. My second time in Pittsburgh that stands out was a time I was driving in from the North, as I grow closer to the city, the four-lane highway is, on each side of me, completely empty. This is the middle of the day. I first I thought it was just an odd unique traffic happenstance but then I started to worry. I started to think in ways that a brain does when things are so beyond the norm that you completely think the worst has happened; an airborne toxic event, a mass aeromedical evacuation, did I miss an air defense warning condition alert, did I drive into an active decontamination area of military significant fallout, was I in a blast wave diffraction, a cataclysmic global life removing quirk that I somehow avoided when I stopped for Thai food, an earthquake, a plague. I drove into a parking lot, went inside the nearest store and found all of the store customers and the employees around a tiny black-and-white TV watching the Steelers play. It melted my heart and further increased my love for the city of Pittsburgh. Why did I tell you those two seemingly unrelated stories? Well, it’s because I think that those two stories go hand-in-hand with the theme of this compilation. This compilation is moving, from outer space seemingly, terrifying, and charming. The mix of music and styles from the city is unique and perplexing and certainly fits in line with the complex life we have here in the rust belt/middle west. The desperation that each of these bands have as well as a camaraderie and a uniqueness that really makes me wish that they would let me move to Pittsburgh. Starting off with Heavy Discipline the song “Lockstep” really is a perfect tune to set the pace of this record. Living World is pure brutality and mayhem. Loose Nukes pop in with “Roundhouse“ and it’s a pretty great straight up hard-core song with a nod to New York 80sHC and lyrically focused on the injustices of the justice system. Speed Plans is next with another forceful song. I’m betting that Speed Plans are a band that everybody’s friends with considering the picture on their page of the booklet is a dude just holding a beer. He seems like he’s the life of the party.  Peace Talks with Tyna’s vocal delivery is really pushing this song over the top. Rat-Nip and Necro Heads close out side one with two blasts of chaos.  Detainees hit us with a snotty hardcore brilliance similar to Career Suicide. Invalid jump in with “Stupid Pills” which is a scathing look at society. De Rodillas come in with powerful tune similar to Peace Talks. No Time is an Oi mid tempo stomper that toss in a little bit of Sheer Terror. Chiller is off the map with an unstable kinetic energy. White Stains with “Let’s Die” plop in for some nihilism in a 77 kind of way. And closing out the LP is S. L. I. P. with “Daddy‘s Little Girl part two“ and it’s a herky-jerky weirdo creepy terrifying song and I love it. 

The only setback I have with this is that only 5 of the bands contributed lyrics to their page in the booklet. Whatever, right? Their call but in lieu of me aligning to what they are angry about or position on issue or what have you, I’ll have to make their absence of vocal clarity bend to what I want so I’ll decide to assume that every line I can’t make out must be about eating boo-berry cereal and farting on their bed pillow before they go to sleep…. works for me  ¯_(ツ)_/¯  (JD)


Don’t buy this here because it’s sold out. Try discogs or some junk.

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Justin Dratson: JD Nate Wilson: NW Matt Average: MA

HEADCHEESE • LP

Neon Taste Records

Headcheese • LP (Neon Taste Records)

Holy crap! Stay off my lawn you little snot-nose kids! I am pretty certain that these guys are dads that are just fucking frustrated with the day today of all the banal globs of garbage that we go through. Their music is refreshing and nuanced hardcore that harkens back to the early days when it was cool to go outside the lanes. “I Don’t Care” starts off with ripping guitars and then the chorus “who are you?, I don’t wanna know” I feel it and agree. I was talking to my pal Will last night and I told him I have enough friends. I don’t really want to meet or make room for new people and somehow Headcheese was able to fit that entire sentiment of that conversation into 52 seconds and capture the tone and emotion perfectly. By the time they get to cut 3, “Po Po”, all bets are off, all guard rails have been removed. It just explodes with an amazing and ridiculous and Animal-esque TM perfect drum intro which feeds right into “you got a dad, and he’s the best, he got you ice cream, when your aced test, he’s wit the Po Po, that’s a no- no”. “12 years of working fucking hard, and the only thanks I get is when I manicure a yard” from the song “Invalid” addressing school and jobs and the lies we’re fed as children and adults wherein if you work hard you’ll “be the best”. Here’s the thing about this that put it a cut above a lot of hard-core and music in general right now. It has an aggression to it that is rooted in the despondent and boring life. The energy of the music is the chaos of the universe and the lyrics are arranged in a way that is self conflict between wanting to do more /be more and also giving in to your life as the arc of time decides where you’re going to be no matter what you thought in the beginning. It’s as though the endless boredom has given way to a biped stumbling from a dried riverbed’s alluvium on its way to harness the dim power of it’s larval pin sized brain funneled into “day in and day out” to feeling that it can be more and bigger but in the end, it is
what it is.  Seriously, I got this record and I heard it and I loved it so much that I ordered another one for my buddy Derek. I feel like Headcheese would be best buddies with the Thee Elder Gods from Kalamazoo, MI. 


If you’re reading this and you are a citizen of the United States do yourself the most patriotic thing you could possibly do and buy this Canadian record. HERE. (JD)

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Justin Dratson: JD Nate Wilson: NW Matt Average: MA

GROUPIE • Ephemeral LP

Handstand Records

First things first, I’m a total jerk. Hands-down, I’m not covering anything, I’m not going to hide behind the pandemic. I’m not going to hide behind the fact that someone nearly stole my identity, I’m not going to hide behind guns shipped in my name across the United States, I’m not going to hide behind any family illness, I’m not going to hide behind moving, I’m not going to hide behind anything. I received this record over a year ago and simply due to my laziness, I have not addressed it in the respectful and proper way that it should’ve been addressed. So, without any further ado, let me tell you about this Groupie Ephemeral LP. For starters the cover has me completely perplexed. I can’t tell if these are dried little mushroom caps, flower petals or over priced healthy beet chips from your local over priced grocer.  They are maroon and bruised in color and it’s haunting and compelling at the same time. The record itself (as you can see from the photo) is also maroon. Here’s the juice of it, the music is haunting and unique but familiar. Calling this post-punk, although accurate, does a disservice to all the other things that it’s not and all the other things that it is. This LP has a mid to late 80s 120 minutes feel to me with a little bit of mid era DC crossover stuff like Jawbox. I get a little bit of a feeling that they think of themselves as rockers but in my opinion they are far better than that. They are not dazzling or overpowering with riffs. They just belt it out, earnestly, with passion filled and uniquely poignant lyrics. Groupie starts right in and blamo! gosh, I don’t know who exactly is singing (is it Ashley or Johanna) but regardless, when they get to the lyric “give up on perfection“ it socks ya right in the chest. By the time you get to the song “Industry” they’ve taken on a slight swagger, an almost Patti Smith feel in the cadence and delivery. We’re still on the first side when “Thick as Glue” comes on with a haunting guitar and lyrics that seem to cut to the heart of misguided macho and hipster male worship that comes at young women. It’s partially because I have a young daughter that is continually subjected to this type of junk but also, it’s because Groupie is quick to leave the fashion hero worship garroted in a pile that I like this sing so much. This is certainly worth a listen and who knows, now that shit is getting back to normal, we might get the chance to see them live somewheres.  (JD)

Buy this by simply clicking this fuggin’ link.

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Justin Dratson: JD Nate Wilson: NW Matt Average: MA Heath Row: HR

THEE ELDER GODS • Kill ’em All

the THEE ELDER GODS – Kill ‘EM All LP
17 songs in all!


Do any of you remember the 1990 movie Night Breed wherein a bunch of misfit friendly monsters are living underground, terrified of humans, until one day they boil over and take a stand against us…the dreadful standard humans? There was more junk going on than that, but at the core of it is how I feel about the Thee Elder Gods. The Thee Elder Gods are nice monsters trying to coexist, but folks just keep pushing them until blamo!! And the wreckage they leave in their wake is beautiful, unsettling, and compelling.

Lyrically and musically they hit the 80s classic HC but with nods to Th’Inbred, NOMEANSNO, Rhythm Pigs, and even a little bit of Schlong. It’s easy to follow along with the lyric insert and then a surprise musical uppercut just floors you. Starting off the LP with the song “Don’t Have a Cow”, “Senators in Love”, “I Am Satan”, into “Well-Heeled Baron” sets the pace for a truly one- of-a-kind experience. The lyrics are frightening and poignantly filled with a palpable and beautifully and sometimes misguided rage. Most of the time you’ll hear a band shout out some vague angry shit like “I’m broken and I’ll take you to the crusher” or some junk like that. However, when the Thee Elder Gods belt out “I got so mad when they remade Ghostbusters, that I went outside and burned down a cop car” you can really feel it. Eloquently putting a face to something that actually is irksome (like remaking a classic) vs someone yelling some vacuous junk like “my anger is a cancer to destroy your rules”. Take into consideration that we’re all trapped in this very peculiar time, an album like this swoops in and carries the precise amount of first human “thump thump” thinking and acting without consequence eg. “there are two reasons to go out after dark, first reason is to make the neighbor’s dog bark, the second reason is to turn into shark and eat up all the girlies selling hand jobs in the park”. Follow that up with “You might never be Lee Harvey Oswald but can still be someone’s hero” from the song “1981” and that gives you a reasoned sense of where they land on issues. “Well-Heeled Baron” starts right in with the gut kick of “A circumcised and well heeled baron, had it sweeter than a blowjob from the ice-cream man’s mother” and then the song takes a dark(er) turn. I won’t even get into the lyrics for “Octopus Hands” because I don’t want to give anything more away.

This album is the most unabashed, yet unpretentious, and the quintessential grey skied Middle West record I’ve heard since maybe Negative Approach’s “Tied Down” and an essential addition to everyone’s plastic stacks. This is going to be one of those records that in 20+ years you are going to say you had….but, in truth, you didn’t because you slept on it because you weren’t comfortable stepping outside your box.  Look, give it a shot.  If you get it, play it, hate it, shelve it for 5 year and try again, and do that 4 times and if it still hasn’t connected with you then in 20+ years you’ll be able to sell it for a ton of cash to someone much more musically evolved than you. (JD)


Contact them through Bandcamp if you’d like a physical copy of the LP
Contact them here for a hard copy of the actual vinyl!


Download from their bandcamp
Thee Elder Gods – Kill “Em All, Side A
Thee Elder Gods – Kill ‘Em All, Side B

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Justin Dratson: JD Nate Wilson: NW Matt Average: MA

LMI • Excess Subconscious LP

LMI – Excess Subconscious LP
9 songs
Handstand Records


This is LMI’s third LP (first two were CD only, but whatever) and I feel that this band is at a very intriguing point in the ark of where the band started and where they are now. This is a style of hard-core that has a crossover metal tinge with some surprisingly great upbeat hooks and LMI do a very good job of it. I feel as though they’re at a point where if they stay exactly where they are, with the slightly muddy production, great bass playing and dual vocals that they will add fans. However, if they decide to overextend themselves and get a little more technical and add clarity to the production, they might collapse from rising start to black hole. Lyrically, it’s the sort of angry poems that a kid would write in high school and the delivery is dependable. Here’s where I struggle, it’s a great record, there’s no doubt about that. However, compared to some of the other Handstand Records releases I’ve heard, and combined with the overall latest batch of stuff that I reviewed, there’s nothing about it that stands out. This is a very good record to put on while you’re doing stuff and it will definitely keep your heart rate up and moving through the day. If you’re trying to get your 10,000 steps in or you have to prep for a dinner party and you just need your chopping skills amped up a bit, then this is the record for you. Conversely, if you’re looking to sit down with something and read along and feel like you’re part of the experience, this doesn’t quite have me connected in that way. Some of the guitar lines are melodic and catchy for the style of music and for a power trio, it’s uniquely complex. Let me be clear, I’m not an expert on this but I do know what I like, and I think a very simple thing that could connect me to this are the lyrics. I like to sit down and read along with the record and with the vagueness of some of these, it’s hard for me to really find an attachment to the band. Musically, I think that they are great and if the singers could just maybe consider adding something personal about themselves, their day, or to be more precise, identify a theme of a song whether, specifically what you don’t like, what you do like, the way a tree looks in winter, a crush on Jessica Rabbit…I dunno. It’s that the constant anger and sorrow pushed off in vague ways with the standard adjectives isn’t quite grabbing me like it usually something like this would. I felt that somewhere along the way there wasn’t really that suffering and anger they are trying to express but moreover they are trying to stay within the sonic guardrails of the music is that they are making. Again, this is a great musically thoughtful record but could it have been more moving and captivating as an instrumental record for me, maybe. I like words and I appreciate when lyrics are authentic even if they are silly or hurtful or uncomfortable.

I do recommend you check this band out and decide for yourself. The musicianship is terrific and it’s entirely possible that I’m being overly critical considering I am well aware that overall lyrics in hardcore have become uninteresting and less evocative. (JD)

Pick up the LMI – Excess Subconscious, LP here!

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Justin Dratson: JD Nate Wilson: NW Matt Average: MA

KISSED BY AN ANIMAL • self-titled LP

KISSED BY AN ANIMAL – Kissed By An Animal LP

Handstand Records


The gatefold cover, the printed inner sleeve, the download code card and the he creamy yellow of the vinyl are all visually stunning. I feel like this record should have come with a set of game pieces, rules and directions to uncover the mysteries held within the elaborate artwork. I was so distracted with the gatefold that I didn’t look closely at this record and put it on at 33. I was so struck by the opening guitar that I had to sit down. My first thought was that their opening song was a cover of “Mercy Seat” by Ultra Vivid Scene. What a way to start a record, with an obscure
cover of one of the best Shoegaze songs ever written and with both bands being from NYC, it made perfect sense. However, as the song played on I realized that it was similar to “Mercy Seat” but the song was their own. No matter, I still liked it. It was around the last song on side A, “Animal” that I started to think that the singer was dragging a bit and there could be two reasons for this: 1. The dude drank a bottle of Robitussin and it’s starting to kick in. or 2. I have this on the wrong speed. Sure enough I looked at the spinning 12 inch record and saw a bright red 45 spinning at 33.


Restarting from the beginning this record now has a completely different feel and it’s catchy as hell. Imagine taking all the great Shoegaze songs and speeding them up to a Buzzcocks velocity and whamo! you’ve got Kissed by an Animal. Now that these songs are at the proper speed and have the hooks hitting in time doesn’t mean that it’s all sunshine and flowers. There is a subtle sorrow and darkness to a few of these tunes, a longing and lamented mistakes vibe, yet playful at the same time, as if to reassure the listener that mistakes are ok and keep making them. There was a label called Plan-it-X Records in the mid-90s (a little research shows that they are still a label…well what do you know … ¯_(ツ)_/¯ ) that filled out their catalogue with
bands that parallel the sound of Kissed By An Animal. However, where the difference lies is that, well, let’s say a bunch of Planet X bands found a pot of gold, they would return it to the leprechaun and ask him if he wanted to join them in a meadow to play kickball. I get the feeling that if Kissed By An Animal found that same pot of gold they would ring the doorbell, leave it on the porch of the leprechaun, watch and giggle from the bushes as he realized that all of his lost
gold had been peed and farted on. This is another Killer release from Handstand Records and if you mix up the speeds, like I did, you get two records for the price of one! (JD)


Kissed By An Animal pretty gatefold link

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Justin Dratson: JD Nate Wilson: NW Matt Average: MA

DRILLING FOR BLASTING • Fingers Are the Best LP

Drilling for Blasting – Fingers Are the Best Eyes LP
This record knocked my socks off. I’ve been a fan of Doug Ward since, I guess, 1986 when I heard the song “Bella Lugosi’s Not Dead (You Are)” on a mix tape from my cousin. After hearing that, I couldn’t find flaws with anything he’s touched and that includes a collaboration with Ben Weasel, from the band Screeching Weasel. The times I saw 8-Bark left me staggered but let’s get to the band at hand, Drilling for Blasting. 

There is a recurrent problem with people who stay in a music community for a long period oftime. A.) Staying relevant. B.) Keeping the same level of torment and fury that you had in your teens and have it be authentic and compelling. Drilling for Blasting manages to do that with a message and delivery that hits with each note and syllable. Doug’s guitar is at times, very direct (what you’ve come to expect from a punk veteran) however, at other times, there is a blues influence that jolts in, adding to the angst and anger of the lyrics. For me, what gives this superiority over peers and the general quagmire of music these days is the drumming of Kammy Lee. Her drumming has me on the edge of my seat. There’s a mountain of weighted tension waiting for things to fall in line but she’s staggering her rhythms, adding punch precisely where it’s needed and not backing down. She lets off the gas enough to let you know she’s in control of this ride. The song “Run Out” has my favorite drummer rock trick of all time and that’s the sound of clicking wood on metal. Then this bass line that’s seems to be from outer space drops in (although they have no bass player, like The Doors). Lyrically it’s encapsulating everything I’m feeling right now in these peculiar times; sarcastic, dumfounded, hollow, unsteady, bored, busy, anger, confused, etc. There are a few more surprises on this but I want you to enjoy your own discovery. I’m floored by this record. Please go buy all the copies.  (JD)


Drilling for Blasting link to MP3s and where you can get a beautiful smokey blue vinyl copy

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Justin Dratson: JD   Nate Wilson: NW   Matt Average: MA

AN UNEASY PEACE • self-titled

AN UNEASY PEACE • self titled 7″ EP

Dirt Cult Records

An Uneasy Peace

I was taken aback when I heard Lance’s voice on the An Uneasy Peace E.P. Have you ever found a note, or heard a message from someone that you were certain you’d never hear from again? It was strangely both transportive and comforting, while being haunting and sorrowful. An Uneasy Peace is a project of Lance Hahn’s that was aimed at being a hardcore band. Musically it is standard, catchy, SOCAL style HC. But it’s really a Lance record and if you’re reading this then I’m certain you already know what I mean. Lance had a way of turning anything he did into a very definable “Lance Hahn” entity by way of distinct guitar style, lyric phrasing, and voice. I don’t remember where I was when I’d heard that Lance Hahn had died. I remember it was 2007 and maybe Fall. We’d been pen pals from the later years of Cringer through the birth of the internet and onto electronic mail. The last time I’d seen him was outside of Brownies in Hoboken, NJ and I hassled him about records he owed me. It was the first time someone I knew, with a connection to the underground community that I really respected their song writing and art and who was a friend to everyone, had died. I’m happy that this has found its way from an idea to its vinyl home, the way I’m certain it was originally intended. (JD)

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Justin Dratson: JD   Nate Wilson: NW   Matt Average: MA

 

YOUTH ATTACK bundle

YOUTH ATTACK bundle

I first met Marc McCoy when he was working in a hut outside of a TGI Fridays punching holes in coed spring breakers’ punch cards. He ate a lot of steamed vegetables. I think that was around 1999 and he’s since then, as far as I know, he’s continued to put out music/media artsy projects as well as continued to eat bland steamed foods.

Below is a run down of my thoughts on his most recent releases:

Snarling Hate EP

SNARLING HATE • How To Kill EP

This has a nice little head-bobbing groove to it. The first tune, “Takeover”, is a call to arms of sorts to our under appreciated sanitation workers. The chorus repeatedly shouting, “Keep the Streets Clean” over a hooky little melody, I think, proudly reinforces how we tend to overlook some of our truest heroes. The second number, “Asphyxia”, starts with a straightforward bass intro to set the tone. The song quickly turns to reflect the seasonal allergies that many of us tend to go through this time of year. The lyrics “I need, scratch till I bleed” and “the bloom, build yourself up” is clearly about the struggle of man’s imprisonment by pollen, well done and very thoughtful. The title of the E.P., How To Kill, at first seems misleading since it isn’t so much as a manual on how to kill something, but rather an example of how to do something well. As the kids say, “you killed it” meaning you’ve done a terrific job at this thing you’ve tried.

Mangled State EP

MANGLED STATE • Stigma EP

The first thing I noticed was that this record is smaller than other ones. I think this one is around 6 inches versus the standard 7 inches. Really, not even kidding. I bet you’re wondering if the smaller size affects the play? Let’s find out together. There are 5 songs on this little thing and are all straightforward, powerful and aggressive hardcore. It is the no frills quality that I dig about this but what about their lyrics? Let’s dive in. “Stigma” lyrics start off with “believe in your own shit”, so I like the message but not the potty mouth. Song 2, “Scowl”, lyrics kick off with “take back my life, ripped to fucking shreds”. Hmm, there’s that potty mouth again. Let’s look at the song “Price You Pay”, track 3, “Call yourself a man, conceited, self serving fuck”. Well we almost made it through without the gutter words. “Cast Cut”, on the B side has no potty words. However, the final song “Façade” does. In the end, this is a raging 5 song, 6 inch, record that any fan of straightforward, unabashed hardcore will definitely love. Just be warned though, if your mom hears it, she might wash your mouth out with soap.

Arts EP

ARTS • Graveside Summoning EP

Wow, this is spooky. The very first line of the very first song, “Daemonomie”, is “I am in the grip of evil”. Heavy. However, it takes a boyish and sparkling look into the world of fantasy like the Tale of King Arthur. The packaging in remarkable and if you look at the picture I’ve included, I think that the inside of this envelope is Marc McCoy himself doing some cosplay as the Wizard of Greenpoint. This record has equal parts fiery swords, dark and damp chambers, a thing with scales and eyes, celestial crypts and more. I’d say that this Arts release is a very uplifting record that skips down a little boys dream journal. Sure, there is some scary ass metal-death-creepy-dark-core (MDCDC) but it is creative in a way that doesn’t come off as goofy as some of this style often does.

Life Support EP

LIFE SUPPORT • Die Like A Man EP

First off, this is an incredible looking triple gatefold package filled with artwork of wizards and metaphysical healing crystal imagery. However, Life Support band couldn’t be further away from chakra energy points or what your aura color says about your study habits. This is a tornado of sound and hostility and even has a few slow down “mosh- able” parts. This isn’t going to be an awakening for anyone but is most certainly worth checking out and spinning a few times a year. I just wish I knew what they were so angry about.

Combat Force EP

COMBAT FORCE • Never Stray EP

The cover drawing is of a helmeted knight with sword and shield. I have no idea what to expect but I’m enjoying the TSR arc to this batch of Youth Attack releases. I drop the needle and was hit with a the sound of a fun-time-in-a-bar-crowd that breaks cleanly into a catchy guitar rock-n-roll riff with the memorable and sing-able repeating chorus of “never stray, this is the way.” This record has a thuggish and almost pub-rock/Oi feel to it. Don’t get me wrong. This is, as these all are, a hardcore record. This is a bit more mid tempo and even has a “whoa whoa” part in a song. I thought that with the cover that this would be more about slaying dragons and love potions and a path to become a master of beasts. The song “Breached” touches upon an epic battle on a great field. The final song on the 6 song EP weighs heavily and sits clearly on their feelings about people that prey on children and I’m right there with them. If you’re curious as to the direction they’re leaning on that song, the answer is in the title, “Give ‘em the Chair”. This is a great record.

Well, that’s it for this plop of Youth Attack stuffs. (JD)

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Justin Dratson: JD   Nate Wilson: NW   Matt Average: MA