[engl] NYC’s PORVENIR OSCURO are back with their first full length after a very distant demo and 7”. Made up of 13 tracks “Asquerosa Humanidad” doesn't let the foot off the gas for a second. It is relentless pogo inducing attack that falls somewhere between FERTIL MISERIA, RIP and early CHAOS UK. With tunes full of aggression, melody and fuzz in equal measure, laying the foundation for vocalist Sara to spit her vile. Lyrically the album deals with modern day frustration, showing little faith in humankind and a massive dis-respect towards authority like any self respecting person should. While stand firmly in the punk terrain PORVENIR OSCURO borrows from the rich worldwide sounds of the underground delivering a fully formed sound and aesthetic which is their own. “Asquerosa Humanidad” sleeve, labels and double sided A2 poster were designed by Guitarrist Gage Allison and was recorded, mixed and mastered by Sasha Stroud at Artifact Audio.

[engl] Perth punks PRAG unleashed 4 tracks of unhinged mutant hardcore. The nasty sounds of this EP are a hybrid of Finnish Hardcore circa 1982, Japanese low production flexis from the ADK days and Spanish heavy hitting hardcore. All blended with a healthy DISORDER vibe and a rat sounding GERMS style vocalist. All in all a damaging piece of pogo inducing hardcore-punk with a teeth cutting guitar tone, a wall of reverb and an urgent beat. File next to GLAM, DESTINO FINAL, CRAZY SPIRIT or SEXUAL.

[engl] Primetime return with their second EP 'Going Places' on La Vida Es un Mus. A four track EP of juvenile Joie de vivre. Each of the four tracks ooze sass, nonchalance and that special ingredient - songs that demand repeat listens. Standout track is 'Pervert' which is one minute and 56 seconds of post punk perfection which would happily sit on Rough Trade's seminal 1980 compilation 'Wanna Buy a Bridge' in between Kleenex, Swell Maps and The Raincoats. You will not find something as instant and essential in 2016.

[engl] Easy Weapons was the debut from North Carolina’s Public Acid. Originally self-released by the band in 2018 in a criminally small press of 300, LVEUM is proud to finally get it back in print. PUBLIC ACID’s debut is an extremely ugly, powerfully distorted record. Taking cues from the outer fringes of both Japanese and Italian hardcore punk and combining it with the weirdness of early primitive black metal, pushing the feedback, noise and performing intensity in to the red from the first note. PUBLIC ACID execute very idiosyncratic song writing. Full of memorable riffs that twist and turn on a constantly out of control ride, which gives it a very urgent feeling of confusion and chaos. The ferocity and out-there-ness of luminaries ala G.I.S.M. or PARABELLUM, and the immediacy of WRETCHED, NERORGASMO or SHOTGUN SOLUTION in the hell of a modern sui-generis punk album.

[engl] Breakneck audio level destruction from Quarantine on their first full length release. The demo was a glimmer of perfected USHC pastiche but “Agony” pushes the limits of aggression to some kind of land speed no man’s land where UNITED MUTATION, GUDON, and “MY AMERICA” (FU’s) are firing live ammunition into each other’s boomboxes in a bid for hardcore punk long play supremacy. Instant classic from a group of utterly blue chip musicians on the label that can’t be beat. (Jonah Falco)

[engl] Over the top and pummelling return from Quarantine. No change in intensity or drive offering another tastefully brief and intense blast that bores holes into the earths crust with steel drillbits sharpened on the FUs, YDI, OUTO, GBH, and a healthy dose of the jester's grin. Absolute powerhouse of musical talent featuring an unequivocally ferocious rhythm section driving seriously gnarly guitars and twisted vocals at speeds that would make most people pass out. This is pure HC. - Jonah Falco

[engl] With a slight line up change in the drum department we see RAKTA tighten up their more tense, soundtrack natured developments alongside their more sparse and vulnerable elegance. They consistently manage to create a tripped out creep chamber with room to explore as the aura builds to nightmare crescendos juxtaposed with shaking silences. Simultaneously eerie and serene. With each new release we see more and more of what makes this group so essential in the canon of modern music.

[engl] The Ratman is back with yet another dose of first-calibre hardcore. Taking cues from the golden age of International hardcore punk circa 83 and with eyes fixed on the late TOTALITÄR, this madman manages to write and record four new anthems, which follow the trail of destruction left by his first EP last year. Do not expect many changes, there is the same fixation with HEADCLEANERS, DISARM and Swedish Käng. The same political content than their previous output, a fresh and sharp look at contemporary world affairs somehow missed in current punk.

[engl] RAT CAGE is Bryan J. Suddaby’s solo project. A one man stand against the world. Armed with guitar, bass, drums and a sick brain he brings six relentless tracks of total Sheffield mangel. Heavily influenced by the all time greatest TOTALITÄR and with a clear political edge RAT CAGE delivers track after track of high energy hardcore punk that will make fans of DISARM or PARTISANS equally happy.

[engl] At last, ‘In the Shadow of the Bomb’, the pummelling new single from Rat Cage is back in print after a limited lathe run on Lughole Records last year. The A side is a Burning Spirits style ripper, inspired by a trip Hiroshima and witnessing the devastating long lasting effects that nuclear war has on a city and country. ‘In the Shadow’ sonically nods to classic Japanese hardcore, but still maintains the typical Rat Cage blend of Scandi/UK punk. On the flip side, ‘Scared Of The Truth’, is a political mid pace stomper that rumbles with power in a State Violence, State Control fashion, while somehow also sounding like Out Cold at their most rocking. A glimpse through the cracks as to what’s coming next from Rat Cage in 2023.

[engl] Yorkshire's most Honorable Master of Mangel brings to bear upon us the sophomore RAT CAGE full-length, an anxiety-compounding white-knuckle ride through the nauseating experience commonly known as trying to get by. On SAVAGE VISIONS, listeners are exposed to the maniacal cries of the critically-minded individual pushed to the absolute brink, copping rapid fire tidings of woe belted out by an unhinged unit who has finally ceased to give a fuck. Here we find Bryan of Sheffield, defiant and desperate on what is by far the most sinister, claustrophobic, reckless and dynamic release in the RAT CAGE catalogue to date. Though it may be full of huge sing-along-moments and loaded with surprises, SAVAGE VISIONS is no party, because there's nothing to celebrate. The boisterous resilience and boozy joy of previous works has vanished. With the rule book shattering the window of the '82nd floor, SAVAGE VISIONS lashes out at times towards the not-too-distant sounds of VENOM, MIDNIGHT and later DARKTHRONE, expertly folding these riff expressions back in to the irresistibly dysfunctional bop of GBH and CRUCIFIX. Anyone who chucks this thing on is going to feel like the passenger in a car crash waiting to happen. Razor's edge lead breaks serve only to increase the tension. Our driver careens wildly across both sides of the highway, regularly steering us toward the familiar influences of SKITKIDS, THE PARTISANS, DISARM, THE VARUKERS, TOTALITÄR and AUKTION before quickly engaging the hand-brake once again to speed off at 90 degrees in the direction of the unfinished overpass at the edge of town. Due to the up-scaled take on Swedish HC and the (now boosted) thump of the kick drum and bass guitar on SAVAGE VISIONS, this record feels like DISFEAR's Live The Storm played significantly faster. Minimal respect is afforded to genre convention. The way it should be - every band, every time. You may very well survive the maze, but what will you become by the time you reach its exit?

[engl] Like a steel girder to the forehead, incomes SCREAMS FROM THE CAGE. 19 minutes of brutally up front and relentlessly rowdy hardcore punk, that slams a firm British stamp on the classic Swedish Hardcore blueprint. This wrecking ball sits somewhere between the 80’s Hudiksvall sounds of MISSBRUKARNA, the damaged NO FUTURE confessions of THE PARTISANS and the sheer rock and roll audacity of the SKITKIDS. Back to back riffs that’ll stick to your brain like the glue at the bottom of your bag and steaming drums blasts that’ll plough through your skull like a juggernaut driven by a maniac high on amphetamine. Mylo Oxlo provides the artwork once again, perfectly capturing the claustrophobic animosity of the Rat’s latest 12 song romp and rampage. Fittingly dropping on the year of the Rat while the Tory’s take a strangle hold of the U.K for another 4 years. Hold onto your seat, feel the burn and don’t you dare turn this fucker down.

[engl] RATA NEGRA are back with two tracks of what at this point has become their trademark sound. A mixture of perfectly balanced vocal harmonies, bouncy punk, surf guitars and melancholic vibes which is highly addictive from the first note. A side Ella Está En Fiestas takes GIRLS AT OUR BEST and RIK AGNEW on a all night party that borrows a BAUHAUS title, while the hypnotic flip Bien Triste takes us in a downspiral trip emanating the spirit of GOLPES BAJOS, THE RONETTES and even late 70’s BOWIE.

[engl] One year after their “Justicia Cósmica” LP RATA NEGRA are back with a two song single of dark pop perfection. On the A side the Madrid power trio puts music to a poem of José María Gabriel y Galán (1870-1905) turning its melancholic prose into a mid tempo punk beauty with surf guitars and deep bass tones bringing to mind the almighty GOLPES BAJOS on speed. A chance meeting of Spanish Costumbrism and kitsch as seen on the song’s video. The flip side “Problemas, No” brings back to life VIDEO’s minor hit from 1983 updating the Synth Pop of the original to a sharp upbeat punk jam which will have you dancing your shoes off.

[engl] RATA NEGRA from Madrid deliver twelve songs of dark, crude and moody punk on their debut LP. Formed of members from JUANITA Y LOS FEOS and LA URSS this power trio have distilled the negativity and uncertainly of the young Spanish generation and transformed it into perfectly crafted punk songs. Sharply turning snaps of daily life into melodic anthems for a doomed generation, musically RATA NEGRA fence between dark melodic OC punk a la RIKK AGNEW solo debut album and Spanish Punk ’83 via KGB/ VULPESS. Imagine the non keyboard tracks of Yugoslavian KAOS mixed with LA’S X melody, add to it a layer of distortion and a dose of vital desperation and you get close to RATA NEGRA’s sound. Oído Absoluto comes housed in a reverse board sleeve with printed inner. Both designed by guitarist Fa of Croke Studio and it is released as a collaboration between Beat Generation in Madrid and La Vida Es Un Mus Discos in Hackney. .

[engl] Rata Negra return with "Una Vida Vulgar" their third and best album. A truly pop infused punk record with an incredible production. The album harks back to their previous work in Juanita Y Los Feos but with more pop elements and a bigger and better production. Each of the ten tracks are so good, that they could be released as a single.The Rhythm Section is locked in and the guitars buzz but it’s the vocals that take this to pop heaven. The first side of the album starts with Venid A Ver and doesn’t let up until the Phil Spector esque Cuando Me Muera. Flip over and it’s straight back to the upbeat gems, which just keep coming until the final track Romance De Lobos which ends the album in a more reflective album. Una Vida Vulgar is pure perfection and for fans of X, Blondie and Rik Agnew. (Sean Forbes)

[engl] REAKSI from Melbourne Australia are three immigrant punks from Malaysia, Indonesia and Singapore. The band delivers direct, hard and pungent lyrical protest in their native language Bahasa. The songs attack political issues that every Asian punk knows too well, the rights of and the struggles of immigrants (Tidak Ada Manusia Ilegal, Tidak Menyerah), police brutality (Awas) and songs of struggle and freedom (Punk Asia) that is highly relevant to the Myanmar’s people current uprising against military coup junta. “Esok Hari Kepunyaan Kita” translated “Tomorrow belongs to us" was recorded last year during harsh COVID lockdowns in Melbourne, this debut five track E.P combines the solid attack of UK 82 of THE PARTISANS, CHAOS U.K, the anthemic Oi! sound of THE 4SKINS, BLITZ and also drawing influence from traditional archipelagic hymns. Featuring members of ENZYME, KROMOSOM, PISSCHRIST AND INTRUSION. At first listen/ glance, the sound production and art of this record could easily be mistaken as a record off the NO FUTURE catalogue. Featuring art collaboration by Nicky Rat and Hafiz (SIAL), sound production by Joshua Wells (PRIORS), Maxime Smadja (RIXE, CONDOR) and Yeap. REAKSI “ESOK HARI KEPUNYAAN KITA E.P” is a love letter and a call to arms for Asian punks everywhere. (Fahmi Reza)

[engl] Second offering by Basque RÉGIMEN DE TERROR. Following the steps of their debut “Inherente Del Power” EP from three years ago, the band shows very little, if any, improvement. The seven tracks included on their sophomore 7” are seven straight to the point sharp, angry aural attacks of pure hardcore punk and little else. Heavily influenced by DISCHARGE’s Why 12” and with a sound which at times brings to mind the skeletal D-beat of early MG-15. RDT is just Mikel Akizu with manic drumming from D-Takt god Janne Jutila, who also took care of mixing and master this sonic atrocity.

[engl] Rixe are back are with a fresh three song attack. “La Clé” is two minutes and twenty seconds of lean, mean and meaty Oi! that only Rixe over the last few years have perfected. It's driving sound is built on razor sharp tight drums, a slightly phased guitar and vocals that bite and bark. “Nuit Rasoir” is another straight down the line pounder that could easily have been one of the first ten releases on No Future Records. “Les Cent Pas” is the final track and rounds off things with another stomper. The sound is bigger, punchier but still very much Rixe that you know and love.

[engl] Collection neatly compiles RIXE’s first 3 Eps on one album. All 12 cuts have been remastered for maximum volume. Rixe appeared from nowhere and went from strength to strength over the two years since the Debut EP Coup Et Blessures was released in February 2015. The EP was their calling card and harked back to the glory years of Bologna’s finest Nabat mixed with the classic 80’s French Oi! sound. It was instant and loved by all and went on to have six pressings. A year later came Les Nerf A Vif – another four tracker with extra bite and bile. Every track was perfectly recorded and produced. Lean with snarl and each track a nugget of anthemic Oi!. On third EP Bapteme Du Feu there was no let up in quality. Precision Oi! with a pop element that’s built to be loved now and in 20 years. Joined together the 3 EPs make a perfect album and proof that why RIxe are Oi! royalty in 2017. Comes with A2 poster by Matt Bellossi and artwork by Nicky Rat.

[engl] Coups Et Blessures’ is the debut 7? EP from new Paris Oi! band RIXE. The four track EP harks back to the glory years of Bologna’s finest NABAT mixed with the classic 80’s French Oi! sound via RAS or L’INFANTERIE SAUVAGE and a heavy BLITZ vibe. The sound is rough, direct and angry and driven by a distorted bass and a vocalist that chews on glass for fun. Like the now defunct CRIMINAL DAMAGE, newbies Pittsburgh’s NO TIME and Brest’s SYNDROME 81, RIXE are the new voice of a Generation.

[engl] Based between London and Sheffield, and with a lineage as incestuous as the UK scene, RUNT bring us a monumental follow up to their cassette tape from last year. RUNT are total aggro primitive punk built on furious spit and stomp, snarling electric agitation and primal clattering. Each track is short, angry and on the edge of falling apart at any moment. Yet it never does. Ash's vocals are totally confrontational and in your face while the (a)rhythmic section of Jyoti and Ralph pulverise anything in their way, laying the path for Alex’s guitar to slowly build up the sound of city-living anxiety. It has an obvious nod to early Crass Records releases but mixes it with something more modern and definitely more nihilistic. Favourite track and B side opener “DWP” sounds like a 2018 “Do They Owe Us a Living” and synthetize the band perfectly. A confrontational, forward-thinking underground sound escaping the tick inside the box current state of punk.

[engl] Finally! "Hidden In Eternity" and "Eraser III" are put to the perfect format and classed up nicely by some of the finest design work Ryan Tong has ever done. Taking the path of 2018's bulldozing What Do You Stand For? LP, S.H.I.T. crank out two tracks of hyped-up hardcore bombfall with the signature snarl that you've come to know and love. Perfect music.

[engl] A brief but dense dose of simply hulking intense turmoil. Subtle terminology is trite, so to get to the point: S.H.I.T., the LP, blurs by in under twenty minutes of thrashing hardcore gristle. Gone are the tell-tale training wheels of delayed vocals and endless layers of feedback, here now are the tighter louder songs we'd hoped S.H.I.T. would write. A piercing musical rallying cry for the listless and ever approaching bulldoze march of the future, wrapped in cellophane transfers of melted early hardcore and the best of the last decade's fresh take on simplicity and power. What do you Stand for? comes housed in a sleeve designed by legendary hc punk outsider and former S.H.I.T. designer, Jaybo. The intricately illustrated hellish image was produced with bleach onto a massive bedsheet, though the entire package is wrapped in a self censored outer sleeve, seemingly in the service of protecting the purchaser's dignity. Additional design by Ryan Tong.