[engl] In the depths of the underground music scene, 400 Blows emerged as a phantom-like trio, armed with a guitar, drums, and vocals, carving their niche in the caustic melting pot of noise-rock. Under the cover of night, they would materialize in some dark, illegal basement where a small fire could have snuffed out the lives of everyone inside their clandestine performances. Undeterred, the band persevered for a remarkable 15 years, sharing their sonic revelations with anyone willing to lend an ear. Black Rainbow, their enduring masterpiece, resonates with the same vitality it possessed upon its release. Channeling the manic energy of Minneapolis' Hammerhead and infusing it with the economical precision reminiscent of Wire at their most vitriolic, 400 Blows carved a unique path. Poetic and occasionally philosophical, they stood as art house outsiders alongside kindred spirits like US Maple and The Blood Brothers. Black Rainbow eschews frenetic discordance for the primitive. Tracks like "Mortar & Pestle" and "Premature Burial" echo the industrial pulse of Ministry, blended with the hypnotic throb of Amon Düül II. The result is a record that captivates with its accessibility while unsettling with its mechanical and alienating undertones, conjuring memories of the relentless grind akin to Uniform or Killing Joke. Released two decades ago in 2003, this double LP, their second offering, marked a pivotal moment. To put in Kubrickian terms, if their debut was the cave-dwelling dawn-of-man era, "Black Rainbow" is the epoch when they harnessed the bone as a tool, evolved and propelled it into the metaphorical cosmos. This is when they figured out who and what they were and let it rip. This is Black Rainbow.

[engl] The classic first LP by Bald Eagle available for the first time on vinyl. Originally released in 2006 on CD by Emergency Umbrella Records and Collective Records. 15 years later Expert Work Records gives this classic a vinyl pressing. 11 songs re-mastered by Carl Saff (Saff Mastering) in 2021. Updated artwork by our friend M. Welch. And a impressive color in color (white inside of clear) vinyl variant that we are calling "over easy egg". Limited to a one time pressing of 200 copies. Bald Eagle, the Missouri quartet, released their groundbreaking album “Bacon And Eggs, Dear” in 2006. This album solidified their position on the post-hardcore scene and showcased their exceptional talent for combining various musical styles, resulting in a profoundly complex and progressive sound. Perhaps post-hardcore comes to mind first, but Bald Eagle’s musical prowess goes beyond this particular genre. They skillfully integrated elements of mathcore, math rock, noise-rock, post-rock, progressive rock, psychedelic rock, and even heavy metal into their compositions. The result is a captivating collection of songs that demands multiple listens to fully grasp the intricate layers and nuances within. One of the most striking aspects of “Bacon And Eggs, Dear” is the band’s exceptional ability to merge diverse genres seamlessly. Each track provides a unique sonic journey, offering something for even the most discerning fans of these varied music styles. The album showcases an array of incredibly complex themes, stunning leads, mesmerizing scales, harmonies, and intricate chord progressions, all contributing to its irresistible appeal. The interplay between the lead and rhythm guitars is a highlight throughout the album, creating an intricate ambiance that demands the listener’s complete attention. The collision of these two forces generates a mesmerizing sonic landscape where every note, every riff is deliberate and carefully crafted. The level of detail in the guitar work is astounding, showcasing the band members’ virtuosity and professionalism. You’ll also notice how the equally detailed basslines support these complex guitar arrangements but also provide heaviness, depth, and clarity to the entire material. The bass serves as the backbone, enhancing the overall sonic experience and further compounding the album’s intensity. Bald Eagle wouldn’t sound good without the exceptional drumming performance based upon well-accentuated beats, breaks, fills, and other percussive acrobatics. The syncopation and rhythmic dexterity exhibited throughout the album contribute significantly to its energetic, dynamic, and complex nature. Vocally, “Bacon And Eggs, Dear” delivers a powerful dose of aggression. The lead singer’s well-articulated screams and shouts punctuate the musical landscape, adding another layer of intensity to the overall sound. However, Bald Eagle also surprises the listener with clean vocal segments, showcasing the singer’s versatility and ability to explore different sonic territories. It is worth mentioning that the album’s vinyl release by Expert Work Record has done justice to this extraordinary collection of songs. The vinyl format allows for a more immersive listening experience, further enhancing the intricacies and depth of the band’s compositions. Also, the over-easy eggs vinyl, or should I say the color-in-color variant, enhances the overall appeal of this outstanding album. “Bacon And Eggs, Dear” is an exceptional album that pushes the boundaries of post-hardcore music. Bald Eagle’s fearless experimentation with various genres and their impressive musicianship create a comprehensive collection that caters to fans of mathcore, math rock, noise-rock, post-rock, progressive rock, psychedelic rock, and even heavy metal. The complexity, intricacy, and sheer virtuosity exhibited throughout the album exemplify their talent and creativity. “Bacon And Eggs, Dear” is a must-listen for any post-hardcore enthusiast looking for an unforgettable musical journey.

[engl] Clean Living, the 2016 full-length album by Bald Eagle, is a powerful and energizing record that showcases the band’s exploration into hard rock, progressive rock, and many other similar music genres. The album immediately grabs your attention with its aggressive and heavy sound, filled with dynamic drumming, intricate guitar work, and impressive vocal performance. From the first track to the last, Clean Living captures the essence of eighties and seventies rock, infusing it with Bald Eagle’s own distinctive style. The band’s mastery of their instruments is evident throughout the album, with each member shining brightly in the mix. The lead guitar delivers intricate themes, leads, solos, and melodies that elevate the material to a new level. These virtuosities decorate and uplift these compositions, adding an extra layer of complexity and intensity. The album wastes no time in making its impact felt. Each song punches the listener in the face with a wall of sheer power and energy. The enormous heaviness of the chord progressions and riffs creates an electrifying atmosphere that keeps you engaged from start to finish. While the material leans more towards rock than post-hardcore, it retains the impressive qualities of Bald Eagle’s previous recordings. The production quality of Clean Living is top-notch, allowing every instrument to shine brightly in the mix. The heavy guitar riffs, intricate basslines, and dynamic drumming create a solid foundation for the songs to thrive. The album is carefully crafted, with attention to detail evident in every composition. Their dedication to their craft is evident in the way they wrote, composed, and recorded these intense rock tracks. Clean Living is a must-listen for anyone who appreciates progressive hard rock music with a touch of post-hardcore. Bald Eagle has once again proven themselves to be outstanding musicians who have mastered their craft. Their ability to seamlessly blend different genres while staying true to their roots sets them apart from their contemporaries. Clean Living is a testament to their talent and commitment to delivering intense and powerful music.It is filled with aggression, heaviness, energy, and power. The intricate guitar work, complex chord progressions, and impressive drumming make this record a standout. With its perfect balance of instrumental prowess and impressive vocals, Clean Living is a must-listen for fans of progressive hard rock and those looking for a fresh take on rock music.

[engl] One of the signs of a genuinely talented act is that they can make a fan out of you even if you don’t necessarily like their style of music. I’ve never been that into the kind of blazing hard, riff-heavy indie punk metal that Bald Eagle plays. And yet by the second listen to this sophomore effort I was totally cranking it up, man (as the guys in Bald Eagle might say). What gives? The main reason for my enthusiasm is that this Columbia, Missouri quartet writes songs so infectious they seem to invade your central nervous system. Bald Eagle also soars through each number as if someone were holding a gun to their heads shouting “More energy! More power!” Finally, they have a hell of a sense of humor, giving their songs titles like “Those Are Cobras, Man” and “What’s All This Brew Ha-Ha?” The thrashy “Jammin’ the Wedge” consists of little more than the title being shouted repeatedly, yet its one of the best songs I’ve heard all year. Guitarists Danny Matteson and Mikey Wheeler crank out six-string harmonies that cross old metal with surf and punk, while drummer Justin McCready and bassist Justin Nardy make like early Red Hot Chili Peppers on speed. I was worried this record would court disaster. Now I’m worried it’ll earn me a noise violation, but when they drag me into court my only defense will be to shout: “Jammin’ the wedge, it gets you so up! Jammin’ the wedge, it gets you so up!”

[engl] On their debut 12'' EP for Ever/Never Records, New York City's Ballroom explode out of the gate with a whirlwind fury. Anchored by a tornado of vicious snare drum thwacks and excoriating guitars, "Corridor" is a threat made manifest by singer Eric Cecil's warnings to "not let the sight disturb ya." Ballroom are a powerful ensemble assembled from scattered remnants of other notable bands. Cecil (who also plays guitar) did time in Chicago punk standout Busy Signals, and has featured in numerous NYC bands since his relocation. The other axe-slinger, Kristian Brenchley, is a founding member of long-running scum rockers Woman, and also lays down the bottom end in Ever/Never labelmates Degreaser. Ballroom low-end is provided by Home Blitz' Theresa Smith, while the drums are beaten into submission by Steven Fisher, leader of Wilful Boys and Dozers. On "Dismal Sun," the band locks down on the central riff as guitar leads and frantic snare rolls keep pace with Cecil's thousand-yard stare vocals. "I'll Keep Coming Back" points to a key influence -- the sun-scorched blacktop rumble of prime Scientists, Australia's sultans of swamp. Smith doesn't let up on the gas, pushing Brenchley and Cecil into the realms of the unhinged. Ballroom's debut features no mellow songs, sappy ballads or moments of false sincerity. "Nail's Head" stands out for its approach to rock n' roll as controlled demolition. This song will bite your hand off if you get too close. "Burnin Billy" could be a feedtime cut, but there's also echoes of the Gun Club and past Crypt Records powerhouses like The Beguiled. The epic final track, "Anti-Hole," coalesces all of Ballroom's excess energy into diesel fumes and takes it for a ride out into the open range, traversing peaks and valleys and mountains and digging for something deeper. Ballroom doesn't so much ride off into the sunset as reach up into the sky and pull it down into the dirt.

[engl] Originally Released in 1985, and now re-mastered by Steve Albini and Bob Weston at Chicago Mastering, Big Black's first full-length album Atomizer gets the treatment as a 30th anniversary reissue including a double-sided insert and a digital download coupon! This remastered version of Atomizer also includes the song "Strange Things" which appeared on the first pressing of Atomizer, but was not present on subsequent vinyl pressings nor on The Rich Man's Eight Track CD. To put this release into context for the uninformed: Big Black began in 1982. Steve Steve Albini, then a sophomore at Northwestern University, fanzine writer and loudmouth, released the Lungs EP on the Chicago co-operative label Ruthless (whose other artists at the time included Naked Raygun and the Effigies). Lungs was recorded in his apartment on a borrowed 4-track for the price of one case of beer. After that record's release, Jeff Pezzati (singer for Naked Raygun) and Santiago Durango (Naked Raygun, Arsenal), both linchpins of the burgeoning Chicago music scene, joined Big Black. During this period, the band established itself as a live act, recorded two more records, the Bulldozer EP and the Racer-X EP, toured the U.S., and had - in general- a pretty good time. Jeff Pezzati's other obligations precipitated his departure from the band in 1984, when he was replaced by Dave Riley, bass player for Chicago swing-punk band Savage Beliefs. This lineup persisted until the band's self-destruction in August of 1987. Big Black toured the U.S., England, Europe, and Austrailia. They recorded a sh**load of records: Il Duce 45, Atomizer LP, Headache EP (which bore the heartbreakingly-honest disclaimer "Warning! Not as good as Atomizer. Don't get your hopes up, Cheese."), Heartbeat 45, He's A Whore 45, Songs About Fucking LP, and Pig Pile LP / Video.

[engl] Kansas City, MO aural-radicals Big Water have announced a new LP for May 28th, 2021, the aptly named "I Came to Drink Nattys and Fuck Shit Up and I’m Out Of Shit To Fuck Up" LP. The trio composed of Stephen Pelerito (guitar), Matt Perrin (drums/vocals) and Morgan “Punch” Mabrey (bass/vocals) excel at creating heavy, angular and off-kilter screamo (like the Gravity Records / Ebullition kind) that has a metallic punch and sludgy rawk tone. As the band says “Steve loves to write these crazy cool 13/4 into 9/8 riffs that the rhythm section (Matt and Punch) layer and maximize into a groove.” As for inspirations behind their throat-shredding lyrics on the album Perrin revealed “Curb Your Enthusiasm (“My Name Is Chappie Johnson And I Can’t Open This Damn Pickle Jar”), Mr Show (“24 Is The Highest Number”), a quote from a cop who caught us urinating on a pole as we were unloading a gear (“If I Go Over There, Is It Gonna Be Wet?”) and the repetitive wear of the 8-5 life (“In Spirit It’s A Madcat”). Before the lockdowns the band was able to share stages with such acts as God Mother (SWE), Cult Leader, Exhalants and Bighand/Bigknife who all gave horns up to their work. In addition to Big Water; the members also currently play in other KC outfits, CANYONS and BUMMER!!

[engl] new album from this english noise rockers!

[engl] Before vocalist/guitarist Ryan Shelkett (Steadfast Records) formed CROSS MY HEART (Deep Elm/Dim Mak Records) & LIARS ACADEMY (Equal Vision), he honed his songwriting craft in the band BLANK (1992-1997). Based in Baltimore MD, BLANK mixed emo, punk, pop, and hardcore and laid the foundation for his later bands, releasing several singles and EPs in their 5 years. Originally released only on compact disc, ANYWHERE BUT HERE was their first actual full length, also their last effort, and showcases the band at full power. The record still sounds as fresh now as it did when recorded 25 years ago and is regarded as an influential yet underrated gem. Reptilian Records celebrates the 25th Anniversary of this landmark post hardcore emo record with a LIMITED EDITION vinyl release!

[engl] Newest album by this constantly evolving and experimentally band from Austria, with their synthesis of Noise-Rock and Dance-Electronica. 14 tracks recorded in 2021 as one-take instant compositions with a spontaneous and vividly alive atmosphere. Limited edition of 343 copies in silkscreened covers, with download-code included.

[engl] "Most Gen-X music obsessives, especially those reared in the secluded, aseptic confines of suburbia, can probably relate stories about their own local record store and one or two practically messianic employees who worked there and whom they credit for the beginnings of their musical education. Through these often unkempt and overtly sarcastic sages, armed with their encyclopedic knowledge of limited-run Japanese 7-inches from labels like K Records and SST, countless bands were discovered by eager youths who studied them. As a result, a few ambitious students were even inspired to form their own bands. BULLS — one of North Texas’ most expressive underground-inspired groups — is one such band. The three-piece’s signature blending of powerful cascading post-rock motifs with the raw emotional charge of punk rock could have been incubated only in this special time in music history — a time when experimentation was at its peak and when what could be called “rock” music was stretched to its limits, encompassing the electronic-tinged jazz of Tortoise and the Baroque-style chamber music of Rachels, the Spaghetti Western mourning of the Dirty Three, and the noisy aural assault of Shellac. BULLS are currently celebrating the release of their first album, a milestone long overdue. Then We Die does, in fact, seem to successfully capture all the energy and contrasting moods that BULLS are known for as a live band. The frenetic break-neck momentum of songs like album opener “Seismic” and the rapid eighth-note onslaught of “Salt” are balanced tastefully with the dreamy, ocean wave-riding of “Hart” and the mournful plea “Cartel.” Del Toro’s vocal is mixed more prevalently than it is on the previous EPs, which adds a deeper dimension to the emotional push and pull of BULLS’ music. From whisper-quiet lines to all out anguished screams, the anchor that Del Toro wished for when he decided to tackle singing keeps the boat that is BULLS’ sound moored closely to the dock of the vision they want the listener to experience.

[engl] Throughout parts of the mid-western United States lie towering mounds of the waste residue from early 20th Century lead mining operations. Comprised of what is known as "chat," these hills of toxic, metallic dust dot the countryside as if they were headstones for communities destroyed by industrialization such as Picher, Oklahoma. These effigies would come to be the namesake for the Oklahoma based band, Chat Pile, whose grotesque and pummeling brand of noise rock has managed to terrorize listeners worldwide in only a matter of months