Back catalogue: Punk/Hardcore

Review: 2022 saw the unlikely return of late 90s New York screamo/"skramz" pioneers Saetia, who have seen a massive surge in popularity in the decades since their initial disbandment, due to being credited as a major influence by numerous affluent modern post-hardcore acts such as La Dispute and Touche Amore. Noted for their expansion of the chaotic "emoviolence" sound by imbuing their cataclysmic compositions with heightened melodrama, spoken-word vocals and poetic lyricism pulling from Greek tragedies, both their self-titled EP and sole full-length have been held aloft as quintessential blueprints for the genre in the decades since their original tenure. Following a hectic reunion schedule which has finally brought the group to new foreign shores across the UK and Europe, the three tracks that make up the Tendrils EP serve as their first new material in 26 years, marking the follow up to 1999's Eronel EP.

Review: Nowadays regarded as the stuff of punk legend, the chaotic and ill-fated jaunt undertaken by the Sex Pistols across the US in January of 1978 was hindered by so many differing factors, it was almost as if they were set to fail. Plagued by poor management while trapped on a label with no real idea how to market such a tumultuous roster outlier, the band found themselves performing for those there out of mere curiosity more than their targeted audience or genuine fans, culminating in severe burn-out in real time, captured on these recordings. Finally, for the first time, several of these shows have been retooled to their correct sequencing with this collection reflecting the debaucherous live sets in all their feral glory that took place on January 5th at the South East Music Hall in Atlanta, Georgia, January 10th at the Longhorns Ballroom in Dallas, Texas, and January 14th at the Winterland Ballroom in San Francisco, California. Boasting all of the essential anthems from 'God Save The Queen' to 'Pretty Vacant' and 'Anarchy In The UK', behind the energy is the sound of a band imploding, while today not all wounds have healed with the surviving members currently enjoying a celebration of their iconic Never Mind The Bollocks LP with former Gallows frontman Frank Carter stepping in for MAGA man Jon Lydon, who continues to lob barbs at his former bandmates whenever given half the chance.

Review: The infamous, ill-fated jaunt the Sex Pistols took across the US in January of 1978 has become the stuff of punk legend due to a myriad of factors. Under poor management, signed to a label unfamiliar with how to market such an outlier on their roster, performing to more curious patrons than genuine fans, all circumstances culminated in a burning out in real time, captured via these live performances. For the first time, several of these shows have now been properly sequenced to reflect the debaucherous live sets in full with this pressing capturing a chaotic, unhinged, vital and feral set at the South East Music Hall in Atlanta, Georgia. Boasting timeless anthems from the snarling opening rendition of 'God Save The Queen' all the way up to the one-two punch finale of 'Pretty Vacant' and 'Anarchy In The UK', behind the energy is the sound of a group of misfits left to fend for themselves in a strange environment and lashing out the best (and only) way they knew how.

Review: Infamous, ill-fated and iconic all in equal measure, the Sex Pistols US tour of January 1978 has gone down in the annals of punk history as a chaotic state of affairs. Mismanaged by their team, stuck on a label only interested in their prowess for generating headlines and performing night after night to crowds more curious than engaged, the resulting jaunt would eventually lead to the band's total implosion. After years of these live recordings being distributed in piece-meal form, the recordings from this tour have finally been accurately sourced, re-sequenced and now delivered as individual live LPs with this pressing coming from their show at the Longhorns Ballroom in Dallas, Texas. The sheer exhaustion, frustration and oncoming burnout are evident through these feral performances, almost as if hearing the once youthful pioneers imploding in real time. Currently undertaking a costly world tour accompanied by former Gallows vocalist, Mr. Frank Carter & The Rattlesnakes himself standing in for the now MAGA touting John Lydon, it's the closest fans will likely ever get to experiencing the Never Mind The Bollocks era, with these authentic real thing recordings coming in at a close second, delivered from the familiar comfort of your turntable.

Review: The ill-fated Sex Pistols US tour of January 1978 has become as infamous and discussed as the band themselves, as it came at a time of rife turmoil between members whilst it was potentially beginning to dawn on them how out of place they were on their label, how inconsiderate and mismanaged they were being treated and how much more of a travelling circus show those in attendance were paying to see rather than genuinely caring for the music or message in the same manner of their homegrown fanbase. This exhaustion, frustration and evident burnout was all captured during these live performances, which after several semi-coherent releases have finally been isolated, properly sequenced and finally deliver the closest fly-on-the-wall experience to these implosive shows yet. Taken from their set at the Winterland Ballroom in San Francisco, this is peak pissed off Pistols on the cusp of their ultimate breaking point. While the band are currently enjoying a celebratory jaunt with former Gallows vocalist Frank Carter replacing the MAGA man John Lydon, delivering the closest experience to the Never Mind The Bollocks era yet, those who'd rather not spend more than 100 quid on a ticket can now experience the authentic real thing from the comfort of their turntable.

Review: Sihir's Ular Akan Patuk is a debut LP that delivers fifteen minutes of intense hardcore reminiscent of a burning police station. The album features razor-sharp feedback and industrial sounds intertwined with traditional music to create a euphoric yet brutal experience. This collaboration of punk musicians from Colombia, Nusantara, Spain, and Sweden presents raw punk with crashing intent all driven by phased percussion. The striking artwork by Javanese artist Enka Komariah illustrates a supernatural narrative that enhances the album's thematic depth. With lyrics in Bahasa Melayu addressing issues from imperialism to women's rights, this one is a powerful, euphoric protest.

Review: Still going strong since their 2016 reformation, even dropping their latest full-length Destination Dusseldorf in 2023, Dunfermline's sons Skids originally formed in 1977. Within six months of their inception, the band had dropped the Charles EP which would lead them to the attention of legendary BBC radio DJ John Peel, with whom they would record five separate sessions over the next two years while working on their first three LPs released during that period - Scared To Dance (1979), Days In Europa (1979) and The Absolute Game (1980). This 2xLP collection collates all of these sessions and boasts choice from some of the aforementioned albums such as 'Six Times', 'Masquerade', and the highly popularised once covered by U2 and Green Day 'The Saints Are Coming', while also offering never officially released cuts like 'Hang On To The Shadows' as well as their frenetic cover of Lou Reed's 'Walk On The Wild Side'.

Review: Originally formed in London in 1976, The Slits made major waves with the frenetic post-punk energy of their acclaimed 1979 debut LP Cut, whilst their 1981 sophomore follow up (aka "difficult second album") Return of the Giant Slits would arrive mere months before the group's initial disbandment. Highlighting the internal creative differences occurring at the time of recording, the material showcases a major expansion of sound, pulling from rhythmic afro-pop and dub, conjuring a unique "world music" approach to post-punk before the likes of Vampire Weekend were even a twinkle in their father's eyes. The album would also serve as their last output until their return with the 2006 Revenge of the Killer Slits EP followed by 2009's third full-length Trapped Animal.

Review: Drunkenly steamrolling their way out of Indianapolis, Indiana in 1984, punk shithead extraordinaries Sloppy Seconds committed themselves to their "junk rock band" ethos with a bevvy of chaotic, catchy, and most importantly provocative bangers that made light of everything from pornography to homophobia to obesity to drug addiction. Musically indebted to The Ramones (only if they mainlined crack into their eyeballs), and bizarrely inspired by 1976's KISS album Destroyer, the members would begin crafting what would eventually mutate into 1989's Destroyed with zero label interest or backing. That was until Toxic Shock (yes, that is the name of the original label) feasted their ears on some early demos before decreeing that the entire worldwide punk community needed to be this offended. Boasting snarky anthems that have aged like old milk such as the quintessential 'I Don't Wanna Be A Homosexual', as well as the ode to underage pornographic actress Traci Lords on 'Come Back, Traci', few punk classics set the bar as low as Sloppy Seconds, and ain't that the point?

Review: Live set recording is an underrated art. It's about capturing the feel of the room as much as it is about showcasing a band's live prowess. Thankfully, punk godfathers Social Distortion appear to realise this and have nailed it with their live acoustic recordings. The band are known for their signature sound of punk, bluesy rock n' roll and outlaw country and the acoustic versions give the band a chance to highlight their versatility, ramp up the country/folk side and gives singer Mike Ness the spotlight. Swapping out the thrashy power chords for something janglier and jollier, their Johnny Cash cover 'Ring Of Fire' is pure joy. 'Cold Feelings' features a terrific counter melody from the accordion and the overall atmosphere of the song makes it easy to feel transported to a ye olde tavern somewhere in Ireland, sat around a table with a roaring fire, with the wind blowing outside. Elsewhere, 'Down Here With The Rest Of Us' is Social Distortion at their emotionally charged best. Remarkable here is the restraint shown by a band who usually just let rip. You'd be forgiven for thinking they weren't full-time into this acoustic thing.

Review: Tim Barnes, Marco Fusinato, Aaron Hemphill, Brad Laner, Katsura Mouri, Ralf Wehowsky, and C Spencer Yeh are drafted to collaborate with Sissy Spacek for this new outing from the Los Angeles experimental outfit. Now 26 years young, the group originally emerged from the very anti-Tinsel Town sounding noise and grindcore scene in Southern California, but to say that was just the beginning of their journey would be an understatement. Quite where we've ended up now is anyone's guess, mind. Entrance seems to be a noisy place that has little by way of structure but plenty in terms of ideas. Concerned with at least some of musique concrete's principles, one of the best ways to describe what's here is by asking what's not here. This is the sound of a loud world full of clangs, bangs, whirs, bolts, brittles, emotions and fantastical masterplans. A place that's about the atmosphere and feeling, rather than the tune.

Review: .Sydney based Aussie pop-punks Stand Atlantic return with their follow up to 2022's F.E.A.R. in the form of fourth full-length Was Here. Embracing the "pop" side of their subgenre signifier more than ever before, the material on display strays further from the Hopeless Records alumni Blink-182/New Found Glory worship and careens headlong into synth-laden euphoric arena-level pop-rock, with several features from the likes of PVRIS, Sueco, and Polaris. Still one foot firmly planted in their punk origins but with eyes set on a grandiose, maximalised versions of themselves, the "Stand Atlantic Was Here" mantra feels entirely apt and fitting.

Review: Formed in Santa Rosa, California in 2010, State Faults grown to become underground heroes in their respective scenes due to their seamless coalescing of anguished sonics to paint an aural image of panic. Marrying the chaotic abandon of screamo and post-hardcore with elements of black metal, shoegaze, post-rock and ambient, their cathartic wall-of-sound feels initially oppressive before eventually enshrouding like a blanket of overwhelming emotion. Returning five years on from 2019's Clairvoyant, the band's fourth full-length Children Of The Moon seeks to eclipse each preceding endeavour with a grandiose collection of avant-hardcore post-screamo that searches to quell the pain of love, grief and existence through spiritual enlightenment, both transcendental and occult..

Review: The culmination of a trilogy of releases that began in earnest mid-pandemic in 2020 with their debut full-length Age Of Exile and subsequent 2022 sophomore effort SOS, New York based post-punk duo Straw Man Army deliver the ultimate threequel with their neo-dystopian Krautrock-indebted head-melting Earthworks. Frenetic yet robotic guitar lines weave around motoric drum fills with an alien precision offset by Fugazi-style shouted vocals, fusing elements of post-hardcore, jazz and post-rock, while lyrically continuing to espouse disheartening concern-turned-malaise that touches on everything from America's colonial history to its future as a divided, fascistic wasteland, literally posing the question on standout cut 'Spiral' - "Is this all that's left for us these days? Apathy and rage?" whereas we're essentially told on the jittering 'Look Alive' how "America will never last." New school anarcho-punk serving as the soundtrack to our end times for literally anyone with a conscience who reads the news and has a semblance of what's going on.

Review: Following two sold out farewell shows at the Scotiabank Arena in their hometown of Toronto at the end of January 2025, Canadian early 2000s pop punk megastars Sum 41 have bowed out gracefully upon their own terms. With that sombre farewell in mind, what better time to repress and revisit their surprisingly dynamic back catalogue of records, including 2007's much underrated Underclass Hero? Their fourth full-length (or possibly fifth, as many fans still often debate whether 2000's Half Hour Of Power can be considered their debut album) marked the first of two consecutive projects without founding lead guitarist Dave "Brownsound" Baksh, who would amicably depart to focus solely on his Brown Brigade solo-work. Following up the thrash-metal indebted mature left turn that was 2004's Chuck, which truly began to take shape on 2002's snarling The Offspring-worshipping grunge-punk career height Does This Look Infected?; losing their highly skilled axeman known for his juxtaposition of face-melting guitar solos next to anthemic hooks, led to somewhat of a revert to the more familiar pop-punk joviality of their earlier work, yet bolstered by more seasoned songwriting chops. Utilising an extensive array of acoustic guitars, synthesisers and a more expansive sonic scope to make up for their whittled down line up, the material has often been compared to that of Green Day's high-concept theatrical opus American Idiot or My Chemical Romance's even bolder The Black Parade. At a hefty (by punk standards) 52 minutes, this was the band's lengthiest LP to date, boasting some of their most dynamic and heartfelt cuts such as the triumphant opening title-track as well as the emo-tinged skate-punk longtime fan favourite 'Walking Disaster', culminating in a (now) near two-decade old pop punk rock opera. A bold swing for the fences in search of new direction, the Underclass Hero deserves your sincere reappraisal.