[engl] Raleigh, North Carolina’s Skemäta are back with their second 12”, A Bright Shining Hell. While you can still expect the same furious, explosive d-beat hardcore you found on their debut, this time around they’ve dispensed with a lot of the fiddly bits and delivered something a bit more direct and concise, much as Sorry State favorites Sickoids honed and streamlined their sound when they moved from their first LP to their second 12”. It’s not so much that the music is any less complex, but the intricate riffs and rhythms are packed into a smaller space, delivered with a dizzying degree of speed, precision, and power. The result is a pressure cooker of a record that takes the apocalyptic fury of a band like Framtid and fuses it with the catchy songwriting of Totalitär. In a world of flash-in-the-pan d-beat bands that rip off a couple of Cimex riffs and then vanish into the ether, Skemäta stands alone as one of the most distinctive, original, and memorable bands in the genre.

[engl] Tørsö caught our attention with their debut 7”, Community Psychosis, but when we heard Sono Pronta A Morire we really flipped out. Originally a project band started by a group of worldwide hardcore all-stars, Tørsö adopts the best parts of members’ previous projects--the energy of Neo-Cons, the precision of Punch, the heaviness of Holy and the ferocity of Ritual Control—while simultaneously breaking new ground. Easily one of the tightest and most explosive bands in hardcore today, on their debut LP Tørsö combine the catchy, crusty riffs and rhythms of Swedish hardcore like Totalitär and Herätys with pit-clearing mid-paced parts, wrapping it up in a bruisingly thick recording that doesn’t skimp on the bottom end. While they’re very much fast, loud, and hard, Tørsö are a comfortable fit with Sorry State’s pattern of releasing thoughtful, well-developed, and well-written hardcore.

[engl] Summer is here, so that means it's time for a new LP from Raleigh, North Carolina's Whatever Brains! Like their previous two LPs for Sorry State, this new album both gives us the fix of jittery, nervous punk we've come to expect from the Brains while subtly expanding the band's sound in a number of non-obvious directions. In particular, there's a discernible dark synth-pop influence on tracks like "Yellow Death 2000" and "New Drop," and big, Brit-pop-style choruses on songs like (my personal favorite) "Bellied Up." This LP also has the band's most ambitious, layered production to date, the bright and clear mastering job from Josh Bonati giving you equal pleasure whether you plan to blast this from your car speakers with all the windows down or take the headphone route down the Brains' sonic rabbit-hole.

[engl] On this, the Whatever Brains' fourth and final full-length, the band continues tilting at the windmills of punk’s aesthetic myopia and the United States’ gradual political unraveling, and it’s as musically and lyrically brilliant as ever. The Brains continue to exploit their knack for combining rhythmic complexity with big, melodic hooks, but the vibe here is less frantic than their previous releases. They are now able to ride an EDM-influenced groove or wallow in a sax-drenched psych jam for much longer than the ADD-addled songwriting style of their earlier records would have allowed. There’s no small degree of provocation in the fact that the Brains take their most ambitious work and plaster the word “PUNK” across it in giant letters. I still haven’t figured out whether this gesture is an homage or an indictment, but forcing myself to square my definition of punk with Whatever Brains’ combination of lyrical sincerity and musical nihilism has been one of the chief pleasures of following this band.

[engl] Everyone has to swallow the world’s shit, but Cleveland’s Woodstock 99 regurgitates it in technicolor. Their nihilistic and antagonistic take on hardcore punk can recall the Kings of Punk in their prime, but this band is too fucked up to focus on their rage… sometimes they’d rather wander away after a psychedelic riff or poke around in the trash for scraps of 90s pop culture. On Super Gremlin, Woodstock 99 examines the void from all angles, and while it might look frightening or intimidating from some vantage points, from other angles all you can do is laugh. One pill turns you into Jerry A (“La Casa De Fuck You”), and one pill lands you at the denouement of a French noir film (“Budget Inn”), and another one summons DJ Lethal to lay down some sick scratches (“Beatboxing in Viet… Nam!!”). Down them all, chase them with a couple shots of cheap whiskey, and follow Woodstock 99 down the rabbit hole.

[engl] 500 copies on black vinyl. Includes pocket sleeve and a die-cut sticker.

[engl] Finally, the long-awaited debut album from Philadelphia’s Zorn. While Zorn’s theatrical, (literally) scorching live shows are the stuff of legend, it would be a grave mistake to think the chaos they summon is all about the flaming swords, makeup, and leather corsets. Like Alice Cooper and David Bowie before them, Zorn knows you gotta have the songs to back up the image. Zorn’s metal-punk draws on death rock melody, intricate thrash riffing, and the bulldozing power of Discharge-inspired hardcore bands, but the songs are as infectious as they are intense. As with early Metallica, tracks like “Already Dead” and “Delco Devil Mosh” are built on memorable melodies that, in another time and place, might have formed the backbone of a killer glam rock single. I’m happy with my current reality, though, where Zorn is the kind of band who puts a devil standing atop a pile of flaming skulls on the cover of their album.