[engl] Much like the classic Japanese bands we all know and love, RASH?MON has never rushed to release anything. They wait until the time is right to completely raze your dome with their densely packed Tokyo via DC hardcore. (Did DEATH SIDE ever cover an ARTIFICIAL PEACE song? Probably not but if they did it might sound something like this. Maybe. Anyway...) Add the absolutely sloth-like pandemic production schedule and that had us frothing for ages. Almost long enough to give up and go home but that would be foolish since that is just not what punk does. Careening effortlessly between anthemic and cerebral, despair and optimism - "Nin-Gen" provides a destructive, cathartic release from the ugliness that has become our day-to-day existence, as well as fostering just enough anger and hope within us to make tomorrow worth fighting for. 500 copies on 150gr black vinyl with an etched B-side housed in a 24pt reverse board jacket with riso print poster insert and download card included.

[engl]  The combination of all their previous work and a steady live band has come together to form the great Henge Beat LP. Beautifully housed in a bright European-art-designed gatefold sleeve. These guys have outdone themselves with this one. Musically it rests somewhere between late 70's UK new wave a-la Ha Ha Ha era ULTRAVOX and the "now sound" EDDY CURRENT SUPPRESSION RING Aussie garage that we all know and love. Add a dash of hopeful Krautrock flavor and the recipe is a smashing success. We could not be happier to offer this perfect execution to you.

[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] Here you go, punks of the year 2022, first full format release “Rostotalcontrol” by Rat’s Eyes - 4-piece future punk, hardcore punk band straight from Moscow, Russian Punx Federation from the year 3022, yes, this is how this piece of the world will be called in many years. It’s really sad to see, that lyrics, which happened to be written almost 1000 years after today, totally describing the situation, which is happening right now in eastern Europe. Anyway, guys are safe now, came out of this chaos and project “Fucking President” can’t get his iron arms on them. PEACE = DEATH FOR THE SYSTEM.

[engl] Bjorn Dossche of Rise & Fall and Chain Reaction on Redemption Denied and their new album "Where Dead Ends Meet": Somehow, longevity is a rare thing in hardcore. Consider yourself lucky if your favourite band made it past the 3 year mark. What's even rarer is a band that pushes on - despite line-up changes, personal careers and the pressure of "adult" life - to deliver their first ever full length album almost a decade after their debut EP. But, that's exactly what Redemption Denied did. And the damn thing hits like a sledgehammer. Granted, the subtle approach was never theirs, but on this album the vigor, determination and sheer power can be felt in every single song, every single riff and every single word singer Kasper spits. It's clear that while "Where Dead Ends Meet" was being written, Redemption Denied sharpened their skills and made sure their all out assault didn't lose the dynamics needed to keep everyone's attention, all of the time. Their 90s CTHC (Hatebreed, Death Threat) meets Upstate NY (All Out War, Stigmata) sound has never hit harder, not in the least by the increased death metal influence that tips "Where Dead Ends Meet" over the edge of what's socially acceptable in terms of heaviness. The destructive aggression their music possesses, is more than matched by the apocalyptic, socio-political lyrics that strike a precarious balance between embittered and empowering. It's their testament, written in blood. "Where Dead Ends meet" was recorded at Jupiter Studios in their native Belgium, mixed to perfection by Taylor Young (Nails, Twitching Tongues, Xibalba, God's Hate) and mastered by Brad Boatright (Ringworm, Never Ending Game, Integrity), and boasts incredible cover art by Ridge Rhine (Terror, Knocked Loose, Judiciary). To top things off, it also features guest vocals by Tyler Mullen (Year Of The Knife) and Bjorn Dossche (Chain Reaction, Rise And Fall).

[engl] In the tradition of fast as fuck 80’s hardcore that holds all the energy and none of the constraints, comes REEK MINDS with their debut full size. “Malignant Existence” is chock full of blistering speed and punishing sonics pushed to the absolute limit of the physical form. Just like their insane live shows, this will leave you sweating and thirsting and scared. If you ever fantasized about Void covering Negative Approach or Lärm doing Poison Idea, this is essential. 300 on black, 200 on white and 200 on translucent red 150gr vinyl housed in a 24pt jacket with lyric poster included. Recorded by Evan Mersky. Mastered by Will Killingsworth. Art by Cameron Thomas. Layout and lettering by Tam.

[engl] As the dust finally settles on their debut 7 inch on EDGER records, REEK MINDS returns with a record that is equally punishing as it is breakneck. With speed clocking in over 120 MPH, "Rabid"holds the current land speed record for Portland, if not the rest of the west coast, with little competition in their way. With influences such as Siege, Poison Idea, No Comment and early Die Kruzen; Reek Minds takes traditional 80's USHC influences and combines them with west-coast power violence influences. Hotter-than-hot, these seven tracks usher in 2021 with fire and fury that only this band can. Limited to 500 records.

[engl] After a sold-out-in-a-flash demo, Repression returns. This time featuring a fully-fleshed-out line up, complete with the former drummer of Extended Hell and Urchin. For their vinyl debut, Repression have expanded on their Burning Spirits-by-way-of-Boston sound...with monstrous Heresy style drumming, explosive thrash guitar, stompers with a healthy amount of swagger, and even more unhinged vocals. “War Comes Home” is a varied and fun listen straight through, with several highlights. Look no further than “Noxious Bulb”, where bombastic hardcore is birthed from ominous building guitar “Big Take Over” style.

[engl] We physically took this recording around to various outdoor places where “people” enjoy “music” and played the album for them. Without prompting, here are some of the highlights that got spit back at us: “Aggro midtempo noise. I love it!” -guy wearing a Rudimentary Peni shirt “Unfriendly.” -mother of two “Misanthropic.” -foodeater “Sounds like these guys have hopeless lives.” -frisbee golfer “If the Dead are a friend’s couch and Metallica are a room at the Waldorf, then Retirement is a concrete mattress.” -professor of media studies “There is so much dirt in this city.” -anonymous portable bathroom chatter “Is ‘nihilism’ a music genre now?” -comedy show barker “Punk? No thanks.” -mother of three

[engl] Another Finnish HC-classic released on ROR in 1984 and never reissued before that shows impressively why so many punx love Finnish HC worldwide! Comes with the poster-inlay which contains additional photos from Puntala-rock 1983 and lyrics! On the studio-side RIISTETYT sing in English which works surprisingly fine! On this LP the B-side is much better than on the original LP cause RIISTETYT play here much tighter, especially Piise's basslines are incredible! The sound-quality is also good! This is another Finnish HC-classic from 80ies!

[engl] “In 2012, when we were getting ready to drop “Faith” (which turned out to be our final album), we wanted to get everything right. We were incredibly excited because the record had turned out exactly the way we wanted it to. […] To do it justice, it needed a fitting release show. So, we invited our friends in Iron Age and a mix of other bands we were into and got going. We practiced as often as we could and put together a set list that focused on “Faith”, but also included songs from our previous albums. The result is what you’re holding in your hands right now. If you couldn’t make it out to the show back then, here’s what it sounded like. If you were there with us, here’s your chance to relive that evening.” - Bjorn Dossche, Rise & Fall

[engl]  Iðnsamfélagið Og Framtíð Þess which roughly translates to "Industry and its Future", is taking the oddity and isolationism of hardcore punk and industrial noise and smashing them even further together than they did on previous releases. This is the sound of a band perfecting its approach to the world. And we can't get enough. At first listen it is what seems to be a simple formula of bass, noise, drums and vocals but as you continue to listen, delicate layers of depression, life, anger, creativity, emergence and deconstruction begin to unfold until you find yourself trapped in a dystopian clamor void of hellish nothingness. Industry and its future indeed. 350 copies on black and 150 copies on translucent green 150gr vinyl housed in a 24pt reverse board jacket with printed inner sleeve and download card included.

[engl] Stomping isolationist noise punk with a raging undercurrent of industry and primitivism from Reykjavik. This new ep, their first, shows a much noisier and angrier side of what was once an industrial solo project. All sung in Icelandic. Along with Dauðyflin, these folks are fostering a cold hardcore outsider vibe in a place that has had a rich tradition of punk/pop that's not widely known for it. A truly exciting discovery. Never under estimate the remote reaches of our community, you'll be zapped every time. 500 copies of heavy duty lacquer mastered black vinyl and glued pocket sleeve with art by Þórir Georg sit inside a hand embossed sealed envelope. A pure record.

[engl] Coming in from California, ROLEX returns with their debut 7 inch offering now on 11 PM RECORDS. Vicious and untamed; Rolex has created a new breed of hardcore punk that is true to their LA roots, with influences from JFA and Mystic records; but contains the same poison that is behind DIE KRUZEN and CHEETAH CHROME MOTHERFUCKERS. ROLEX is far from your average mindless hardcore punk and brings in riffs and songwriting which owes as much to THE MINUTEMEN as it does surf rock; all with seething lyrics of vitriol and poetry. These ten tracks were previously released on 5 cassingles (R-O-L-E-X) and are now re-recorded and compiled on a 7 inch. ROLEX fuses art and hardcore together in a way not heard before and is truly worth a listen.

[engl] As a massive early Killed By Death style punk fanatic, constantly in pursuit of the ever elusive records and one-off-obscuro sound, I frequently turn up my nose at modern bands playing the style. You can't just crap out a poorly recorded generic riff punk track, slap a "KBD" label on it and expect me to fall for the ruse. I mean bands have done that and had varying degrees of wool pull - see The Uncalled 4's "Grind Her Up" 7" for the best success of this - but it doesn't usually work out. What I particularly enjoy about Rotary Club is that they rework the lyrics into all things landline telephone while heavily referencing the riffage from the genre's top tier tunes, twisting them just enough to make them their own. A refreshing and well executed take to say the least.

[engl] Cacophony is the second Rudimentary Peni album. Released after the band returned from their first hiatus following a series of personal events that changed the band forever. The thirty track LP keeps turning heads 34 years after its release. Far from writing another “Death Church” the band embarked on a truly bizarre quest. To record an album based on the life and writings of horrors absolute king H.P. Lovecraft. A dense cacophony of total free songwriting. Dark, gothic, intricate, unexpected head-scratching punk. The short bursts of music twist and turn at every corner – the vocals are part classic Blinko and part spoken word, the guitar is full of distorted awkward tones and the every inventive bass and drums are locked together creating a truly unique album. Cacophony is the benchmark of outsider Punk and the influence and cult nature of this album grows with every passing year. This reissue stays close to the original version, with Nick Blinko’s incredible cover art, including a 11” x 11” 8-page lyric booklet.

[engl] The words legendary, seminal, and classic get thrown around at will these days, but Rudimentary Peni’s debut album is all of them. Recorded over two days at Southern Studios by John Loder and originally released in 1983 by Crass off-shoot label Corpus Christi, Death Church showed a band moving away from the urgency of their two early 7”s and into their own realm. Creating a template that bands have been trying to replicate ever since, while ticking all the boxes to become a genre-defining album. Iconic artwork, a unique sound and their own lyrical universe. All merging seamlessly. Sonically the album is full of Nick Blinko’s extraordinary vocals and equally remarkable guitar, Grant Matthews’ big meandering driving basslines and Jon Greville's tight and relentless drum work which together made something intricate and hard hitting, with a sequence that makes the 21 songs on the album flow perfectly. Visually, the album is every outsider art lover’s wet dream. A six-panel poster sleeve with every inch covered in Nick Blinko’s claustrophobic black and white line drawings, while lyrically the songs deal with madness, religion, death, and questioning humankind from a dark poetic place rarely found in any art form.