[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] 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] 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] FINALLY the second anthology installment of this legendary Swedish band! The definitive TOTALITÄR of the second most productive era of these Swedish hardcore veterans. Completely remastered by Keno at Communichaos Clay Studio for your listening (dis)pleasure. ESSENTIAL!!! Klass Inte Ras 7"EP Vansinnets Historia 7"EP Dom Lurar Oss 7"EP Spela Bort Allt Du Har 7"EP Allting Är På Låtsas 7"EP

[engl] TOXIC WASTE represent the hardest end of the CRASS milieu. While most anarcho-punk bands of the time sang about a war they’d only seen on TV TOXIC WASTE were being politically active in Belfast during the troubles. They played militant punk with melody and aggression. Borderline hardcore at times with a clear peace-punk message. Angry, intense and in your face. They were involved in the Warzone Collective and shared stages, experiences and activism with bands such as STALAG 17, CONFLICT , ASYLUM and ANTISECT. “Belfast” was originally released in 1987 on Vocalist Roy Wallace’s Belfast Records and has been out of print for 30 years. It was a compilation of previously released tracks and newly recorded versions of old tracks with Dino and Gary from D.I.R.T doing the female vocal parts and guitars. The 12 tracks on “Belfast” are nuggets of raging pissed off DIY anarcho punk with hard hitting lyrics and dual vocals. The recordings are raw and passionate and stand the test of time. The band released an iconic split 12” with STALAG 17 on Mortarhate (1985) – the tracks are included on “Belfast” and then the following year a split LP called We will be Free with STALAG 17 and ASYLUM before calling it a day and becoming a lost piece of the anarcho punk puzzle. This reissue comes with replica sleeve and fold-out lyric insert.

[engl] This is a brick. Absolutely solid hardcore that while raw, doesn't make the mistake most raw hardcore does: this has riffs. Songs that jump at you with disciplined simplicity, and sometimes tilt into psychedelic loops. Production is massive, without scrubbing off the noisier peaks. This record doesn't fit comfortably in any particular "era" or region of hardcore, but things that came to mind were: "See Nothing..." Discharge and Framtid, with shades of Boston bands like Mind Eraser and Scapegoat.

[engl] The Italians of Two Words have come a long way. With roots in the hardcore scene of the early 90s, the band members have always remained true to themselves and their social and political principles. So it's almost natural that after a first 7", the band teamed up with Crucial Response Records to release their debut album. On "Rejoining The Forces", Two Words bang out twelve Youth Crew anthems with plenty of singalongs and mosh parts. There is also a reworked version of "Disillusion", a song by Think Twice, the old band of Two Words guitarist Freddy and drummer Gonzo, as well as a Chain of Strength cover. The LP is available in three colorways blue, red and white with an elaborately designed cover and a large lyric insert.

[engl] Young Barcelona band made up of half ABSURDO and half ANARQUIA VERTICAL members. Their debut EP is pure fire, idealistic hardcore with venom and punch. Sonically clashing the golden years of Spanish or Italian hardcore with early NYHC and even Midwest hardcore while lyrically carrying the torch of anarchist Barcelona bands.

[engl] Ultra are a raging anarchist Barcelona band made up of half Absurdo and half Anarquia Vertical members. Their second EP is a 7 tracker full of short, intense and pissed off fireballs. It's chaotic but well played and recorded and hints at the Golden age of European hardcore mixed with Heresy and Crucifix.

[engl] Originally released on Riot City Records in 1983 and quickly becoming one of the label's most highly sought after releases, Ultra-Violent recorded just one single before breaking up when vocalist Adie went on to front the Metal incarnation of the English Dogs. Three songs of blistering UK82, and quite possibly the best record in the genre.It's now finally back in print, with original copies regularly selling for £70+ online. An excruciating amount of thought and love has been poured into this release to make it the best reissue it could be. The accompanying insert also features reprints of original fanzine coverage, several previously unpublished photographs and also for the first time, a lyric sheet. Remastered at North London Bomb Factory by Daniel Husayn.

[engl] Vicious precision hardcore from Richmond VA played by members of DEVOID OF FAITH, MUNICIPAL WASTE and SUPPRESSION. No blast, no chug, just unrestrained acidic flex here. An effervescent debut amidst a deluge of bland apathy. 150 translucent red and 250 black 70gr 7" records housed in a custom die cut glue pocket sleeve with insert and download card included.