[engl] Dublin's STRONG BOYS return with their first release in six years with the 'Homo' EP. With about as much subtlety as a pub fight spilling onto the street, these four tracks vent against the church, dated attitudes, predatory creeps with wandering hands and more. This is still defiantly gay hardcore with no meat on the bone for admirers of 86 Mentality and Negative Approach. The record comes housed in a fold out sleeve showcasing new artwork from legendary gay manga artist Gengoroh Tagame and lettering from Nicky Rat.

[engl] London’s Subdued return with an even darker statement of purpose on their uncompromising second LP “Abattoir.” 8 tracks of anarcho punk that threads different UK underground traditions—descending like a dense fog of grief and anger to block out the light. Fans of Subdued will find an old friend in the galloping toms, the snide and articulate hopelessness of Jack’s lyricism, the spider-webbed guitar-work, the bass like a blunt instrument. But this record has embraced a new level of mystical antagonism towards the everyday world, towards England, towards post-industrial society, towards hell itself, that it necessitates a new kind of songwriting. The tracks are oblique and embrace emotional fragmentation. The guitars are bathed in moonlight, stunning in their evocation of darkness, the drums are somehow more frenetic, and more introspective in their varied pacing. These songs poke at the possibility of salvation, but walk away from the table, leaving a cool presence in their wake like a ghost. And here the band’s risks are equal to the reward. Like their compatriots Exit Stance, or Amebix, Subdued has crafted a timeless record, aggravating in the shadows, psychedelic with despair, one foot in the grave.

[engl] Storming debut by satanist, leatherist, body build-ist, Rat-ist, Subdued. Described aptly by a casual passerby as “North Shields War Metal” this London band brings us six tracks of powerful hardcore punk indebted to Amebix and the cold mud and unforgiving wind of the empty British landscape. Slyly tuneful guitar leads in the indentured service of plodding metallic riffing accompanied by dismembered bass, pummelling drums and a hateful full throated roar. All these aspects bringing to mind some imagined thin line walked by Icons of Filth inching toward early Venom. Noise contributions by Canadian upstart Liam McCarthy (Jockstrap, Mud,…), and original artwork by drummer Nicky Rat and vocalist Jack Sabbat.

[engl] “In The Light Of Defeat, I Cease To Exist" came to life as a humble, even shy idea. Could you trace back the initiating moments of this album, you would probably find an intimate, honest conversation between friends much rather than a musical scenery. Publishing the songs that were written in erratic, explorative songwriting sessions wasn't given much thought – at least in the beginning of the process. Now, ten years after releasing their last studio album "Seizures Of The World", a new understanding of the same musical vision that they shared all along brought the band Sundowning back together. The Band that is now living scattered in Berlin, Hamburg and the Ruhr-Area was founded in May 2009 by lead vocalist and guitarist Christoph Wietzorek and has existed as the same outfit ever since 2010. Starting out young in the hardcore scene of the Ruhr-Area, Sundowning soon evolved into a solid institution within the European Doom-Metal scene. After several tours and releases, the members focused on other personal projects and the band entered hiatus in 2014. While Sunn O))), Cult Of Luna and Amenra are still very recognizable influences, "In The Light Of Defeat, I Cease To Exist" is a much more independent and less constricted work than the earlier releases of the band. The soundscape is more consciously chosen and benefits from the individually acquired musical skills of each member. Wind instruments now support heavy, pressing guitar riffs. String sections underline choral, perpetuating vocals. Samples and electronic sounds provide the necessary contrast. All while the thematic subject is more centered and visible: the album continues the narrative of "Seizures Of The World" and tells us about moments of failure, our own weaknesses und unfulfilled longing and hope. Mercilessly, the conflict of living in a steady discrepancy of intention and feasibility is discussed and the adaption to these circumstances is disputed. The blunt honesty of the lyrics is the product of a matured and naturally grown intimacy within the band, that always infused the process that is Sundowning. The album could not have been made in any other constellation. "In The Light Of Defeat, I Cease To Exist" is the second album of the band Sundowning and will be released into the world on the XXth of 2022 via the band’s own label, Isolation Records. The Album was written and composed by the Band Sundowning, consisting of Christoph Wietzorek, Pascal Thönnißen, Markus Uhle and Sebastian Busch. It was recorded and mixed by Nikita Kamprad (Der Weg Einer Freiheit) inside the studios of Ghost City Recordings in the summer of 2021. The record was mastered by acclaimed audio engineer Seth Manchester at Machines With Magnets, known for his work with Lingua Ignota, The Body and Full Of Hell among many others. Full Of Hell also provided actual content to the record with singer Dylan Walker immensely contributing to the song “Imminent Ache”. The album artwork as well as the video to the first single “Imminent Ache” was directed by Sven Harambasic (Lingua Ignota, Soft Moon, Duma).

[engl] This split LP marks the rise of the Norwegian straight edge scene. SYF's demo was recorded in 1990, with only a handful of copies ever made. Onward's demo, recorded in 1991, features most of the tracks that later appeared on their debut 7" released by Crucial Response, though these versions sound much rawer and more unpolished. Both bands not only shared some members but also recorded their demos on the same 4-track porta studio, making this split LP a natural fit. So, which side is better: SYF or Onward? Norwegian hardcore - raw to the bone. Each color limited to 100 copies.

[engl] Rutto (T.H.E. Rutto) was a pioneering Finnish hardcore band that existed from 1981 to 1984 and released two highly sought-after 7"s EPs released by Ikbal Records in 1983 and 1984 respectively. One of the few Finnish hardcore bands to have a female singer, Rutto managed to record only 11 songs in their brief existence. Final Doomsday records are extremely proud to present official reissues of both Rutto 7"s complete with rare compilation only tracks, unreleased photos, Finnish zine interviews from the early 80s, and for the first time ever, printed labels. The records have been made in close cooperation with the band as well as Finnish punk and hardcore veterans Vote Vasko and Läjä Äijälä. Each 7" is limited to 500 copies worldwide and comes in a tri-fold sleeve with the original record artwork and unreleased photos.

[engl] Rutto (T.H.E. Rutto) was a pioneering Finnish hardcore band that existed from 1981 to 1984 and released two highly sought-after 7"s EPs released by Ikbal Records in 1983 and 1984 respectively. One of the few Finnish hardcore bands to have a female singer, Rutto managed to record only 11 songs in their brief existence. Final Doomsday records are extremely proud to present official reissues of both Rutto 7"s complete with rare compilation only tracks, unreleased photos, Finnish zine interviews from the early 80s, and for the first time ever, printed labels. The records have been made in close cooperation with the band as well as Finnish punk and hardcore veterans Vote Vasko and Läjä Äijälä.

[engl] Ripping hardcore with Burning Sprits passion, rock and roll licks, and punk as fuck energy. From members of Burial, Bombenalarm, The Now-Denial and Doomtown. Side A of Taifun’s demo features four thrashing hardcore/punk tracks that include a dash of classic japanese Hardcore. Side A is all scrappy and snarling fun. But side B of Taifun’s demo features a single 10-minute noisescape that’ll rattle your fillings and your nerves.

[engl] Hailing from the western county of North Rhine/Westphalia, Germany, TAIFUN brings 2 masterfully constructed Burning Spirits inspired hardcore rippers. Members have played in such bands as BURIAL and BOMBENALARM which is no surprise once you hear these songs. The vocals sound so Japanese, it’s hard to imagine the singer as a German guy yelling lyrics about a smog monster named Hedorah and the power of Kaiju. As bass driven as this record is, the solos and guitar work are sometimes reminiscent of the late Chelsea of PAINTBOX/DEATHSIDE, resurrecting a style that has been overlooked in the modern hc scene in recent years. While this is complete Japanese hardcore worship, TAIFUN keep it really interesting and fun with their take on the genre. The noisy soundscapes, specifically the end of side A (Kaiju Power) complete the package, urging the listener to flip the record repeatedly. Well executed, and a nice tease into what this band promises to give us in the future!

[engl] February 21st saw the digital release of TAQBIR’s first outing. Released via bandcamp and YouTube this enigmatic recording turned many heads and got many people speculating about this absolute rager of Moroccan origin. Four months later the physical version of this recording sees the light. Simply put, it was just too good to be a digital only endeavour. The four tracks of “Victory Belongs To Those Who Fight For A Right Cause” are four short vomits of anti-religious sentiment made music. Sang in Moroccan Arabic TAQBIR’s lyrics are irreverent, careless outburst of anger towards an extremely patriarchal oppressive place. Musically TAQBIR walks a thin line joining some of my favourite qualities in punk music. The aggression of fuckwave originators DISKOLOKOST, the nastiness of THE COMES vocalist’ Chitose and the raw reverb-drenched heavily-distorted non-production of THE SEXUAL or DESTINO FINAL. An amazing example of primative world Musik and hopefully part of a new wave of Taqwacore bands. The record comes with a double side A4 poster with lyrics and band’s graphic.

[engl] Infectious punk tunes to get everyone moving composed by the freaks from CULO. This band has been slaying at their gigs and winning everyone over with their hooks and amazing song writing. Six tracks total produced by GEZA X. I’m sure you know by now that Tarantula features a number of former Cülo members among their ranks and pretty much pick up right where Cülo left off, but honestly I think that this EP is better than anything Cülo produced, and I’m a pretty big Cülo fan! It’s funny, I mentioned to Jeff that for a band that didn’t even have a bass player in their previous iteration, the basslines on this EP are absolutely killer, and without a doubt one of the bright spots in the songs. The other reason I prefer this somewhat to Cülo is because they’ve slowed the tempos down just a hair. While this is still pretty much full-bore punk rock, playing at just a tad less manic tempo really makes the catchiness of these tracks jump out at you. I feel like I hear a lot of the classic punk sensibility of bands like the Dickies or even prime-era Naked Raygun in these tracks, though without sounding like a rehash or an homage at all. The lyrics are even really strong and well worth a read. Here’s hoping that we get a spate of Tarantula releases much like the deluge of Cülo vinyl that we saw in 2010 and 2011 and that they’re all as killer as this one.

[engl] Hurtling along at the speed of global rage, and merging the best of crossover metal and hardcore from ‘80s Japan, Sweden and UK, Tempter brings a new voice to a legendary sound. It should come as no surprise that the group is comprised of hardcore veterans whose collective pedigree includes bands such as Candy, Division of Mind, Nosebleed, Ekulu and more. Standouts “Sacricide” and “Pestilence,” built on pulverizing riffs and apocalyptic solos, bookend the S/T EP while “Uniformed Madness” and “Night Terror” barrel toward impending doom with the speed of a buzzsaw. Mixed by Fucked Up’s Jonah Falco, the production distills crushing noise and acidic atmospheres and provides a fitting backdrop for vocalist Valentina Lopez’s showstopping and varied performance. “La Lluvia,” with its use of samples and layers of synths, dances around spoken word sections that read out a poem of the same name by Roberto Bolaño, one of Chile’s greatest writers: “ahora puedes llorar y dejar que tu imagen se diluya En los parabrisas de los coches estacionados a lo largo Del paseo marítimo. Pero no puedes perderte.” “Right now you can cry and let your image dissolve on the windshields of cars parked along the boardwalk. But you can’t lose yourself.” Bolaño’s work fits perfectly with the biting satirical punk mood that Lopez exudes with every breath. He often questioned the privilege of making art while the junta would torture people in basements. Hardcore, punk and metal often presents itself as a political act more than music, whether in its DIY ethic or protest lyrics. However, perhaps we find it too easy to fall into its angry embrace and eat each other alive whilst the world outside continues to fall. This music makes hell on earth a little bit more bearable, but ultimately, Bolaño and Lopez call on counterculture music to have meaning and political action.

[engl] Ten years is a lifetime in Hardcore Punk. A band’s ability to traverse such a lengthy stay is a testament to their dedication to this thing of ours, which in and of itself is commendable. Remaining sonically relevant, and engaging ever younger audiences, is another beast altogether, and a far more difficult feat to achieve. Somehow, The Flex have managed both. Not only are they the defining band of the New Wave of British Hardcore movement of the 2010’s, not to mention the last band from this original wave still left (“Last Ones Left” indeed) but they continue to trudge on with unrelenting power, orchestrating live madness wherever they roll through. Chewing Gum For The Ears is the most perfect illustration of the bands raw power to date. From the opening chords of “Warboy”, it is clear that The Flex formula remains unchanged: the vitriol of Boston 82, the lumber and swagger of mid to late 80’s NYHC, the monotone thud of UK82 and the blistering urgency of 90’s Japanese d-beat. A perfectly seamless blend of their influences, the highlights on this LP are too prevalent to list, with CGFTE earning the rare accolade of a no-skips-certified-banger. “Inferno” might hold the greatest up-tempo mosh part since Antidote’s “Foreign Job Lot”, sans the crummy political baggage. Beechwood Terrace starts off sounding like Oi! on steroids before degenerating into an Impact Unit style frenzy, and the title track “Chewing Gum for the Ears” (aka “The Herd” of 2022), begins with an Outburst style intro and develops into an anthem that ensures this LP finishes in the most appropriate of fashions. However, it is the growth on display which is most astounding; a track like “Stranger” sees the band sounding like a British Death Side, while the drum-and-bass call and response, during the song’s closing mosh part, reveals a level of musicality few bands can match. These nuances add a level of intensity and urgency which propels Chewing Gum For The Ears above their previous output, making this their most concise and crucial release to date. Sonically, James Atkinson of Voorhees and Gentlemen’s Pistols fame, has captured the band’s sound perfectly; all trebly buzzsaw guitars, guttural vocals, and a perfectly tight rhythm section, whilst Tin Savage’s ever excellent art ensures a level of visual consistency that few bands are able to maintain. I finish on these two points for an important reason, The Flex have understood the assignment; produce an LP that looks and sounds like everyone’s favourite UKHC band, whilst pushing themselves to the limits of their impressive technical range and sophisticated palate. LS4 still kicking in your door.

[engl] First time back in print since 1999, with four added tracks from their “A Deadly Duo” split with The Bollweevils (from 1996). Original artwork by Tony Award Winner Edward Gorey makes this their most “sinister” and dark release to date. One of Boston’s first hardcore bands [1978] they deliver drive, aggression and insight full lyrics that’ll make your skin crawl. And yes, they are STILL playing killer shows! This is the band’s and the Doc’s personal favorite release from them. Get it and see why!

[engl] Limited on 100 copies. One side etched.

[engl] Gimme, Gimme, Gimme Desire, an everlasting grip of that youthful energy, that fire and fury you felt playing a style of music that gives you a lifelong addiction and appreciation. If you’ve once been part of that certain something, that became part of your identity, it never lets you go. Drummer Sascha, bassist Jan, guitarists Philipp and Tobias know how it is getting older but still feeling the fire. The four friends shook up the scenes out of Frankfurt in the 90s and 00s. They played in different bands, they toured Europe and the US of A, they were mods, punks, hardcore kids. And they never lost their connection and love for their music. That’s why they got together some years back, rehearsing and writing songs just for the heck of it. Out of pure desperation the four of them were thinking about staying a goddamn instrumental band, maybe working with projections and shit to fog the fact that there was something initial missing: a singer. The road was calling their names, and they wanted to play shows and let you and you and you know what they got... So, they gave it one last try to find somebody to fill the void behind the mic. What helped was a platform – basically Tinder for musicians – to find that certain somebody. They kept it simple and only dropped one thing: #blackflag. On the other side of the screen there is Sam, a mystical, ghostly punkrock fairy. Sam shares that same hashtag, and she wants to sing. So, why not give it a try? Sam takes the offer, shows up in the rehearsal space, and the rest is history. Sam owns it. Sam is prepared. Sam can sing, scream, kick ass and has the lyrics to back it all up! On different occasions they now set stages on fire. They played a sweaty show in a packed Molotow cellar at Reeperbahn Festival, they joined the “Female Fronted Is Not A Genre” festival at legendary SO36 in Berlin and took the place by storm. They are ready. They were born ready. And they have that record to prove it. As any classic hardcore/punk LP it’s almost over before it started. Ten songs in twenty minutes. That’s the way. I Am A God sets the tone: “You think that I’m a girl?”, Sam asks, “Let me tell you I am a god/ And you know that I’m heaven sent.” What else would Sam be? The legendary hashtagged Californian hardcore icons drip out of every note here. This is old-school knowledge, played today. Fast, furious, and packed with energy. But it’s way more than just a bland tribute. It’s a middle-finger that finds its own direction. Salary Man allows itself a certain amount of melody – also carried by Sam who obviously can do more than bellow. Or Somewhere that shows that The Pill is a more dimensional band that can even Hüsker Dü things up if they are willing to. The Bitter Pill presents itself surprisingly angular and kind of melancholic. And What’s New almost makes its way into post-hardcore territory. Inbetween Switch and Off give you all the Greg Ginn vs. Dez Cadena your damaged souls were desperately striving for.

[engl] New Jersey mad men offer their 3rd slice of hard wax with this pummelling new record. 8 songs of ripping hardcore punk spitting venom at the world they're forced to exist in and the social bullshit we're expected to go along with. This time round Thought Control have armed the record with a cool Oi / UK street punk number in the title track Sick & Tied Of The Talking Heads in the vein of a jacked up east coast version of Sham 69, with the same clenched jaw frustration and spitting vocal grit you expect. I don't think they're talking about the band Talking Heads but I could be wrong, Talking Heads could be giving Thought Control shit for all I know. I like the idea of that lore spreading, so tell your friends. This is music to make you feel good about being pissed off to, like good hardcore should.