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The Hardcore Report by Mike Ramek 
 SWORN
ENEMY - Maniacal (Century Media Records)
Past excursions into generic mosh-core may
have given way to a more technically adept trouncing
on Maniacal, the latest full length from NYHC
vets Sworn Enemy, but the end results are as
unremarkable as ever. Having long since perfected
the generic mid-paced kickbox-inducing chug,
the band has now shifted its sights on a slicker,
more metallic onslaught, with double bass pummeling
and hi-res musicianship coating otherwise drab,
heard-it-before tough guy antics. This sound
and approach epitomizes so much of what has
been wrong with NYHC from the mid nineties to
the present-any hint of songcraft, lyrical ingenuity,
or punk ethos has been tossed to the wayside,
replaced by surly thuggish swagger and boring
musicianship. Skip this.
MEMPHIS MAY FIRE (Trustkill Records)
 Trustkill's lucrative flirtations with the emo-core/metal/teen pop crossover phenomenon may make sound business sense, but the music sure is rotten. Case in point: their latest aberration, Memphis May Fire, play (you guessed it) uber-slick emo/metal-core, with heftier undertones punctuated by saccharine crooning/whining and a deluge of syrupy pop hooks. At its heaviest, the vocals here are surprisingly animalistic, but the cookie cutter chord changes, TRL-friendly production gloss, and shameless Soundscan pandering should be enough to sicken even the most grizzled vet of this commercialized pablum.
FULL BLOWN CHAOS - Heavy Lies The Crown (Ferretstyle.com)
 The rhythmic mosh that typifies the Full Blown Chaos sound is bolstered on “Heavy Lies The Crown”, their latest full length, by hyperdrive licks and surly riffs which pay homage to a cross section of American death metal and thrash. To their credit, the band pull off this tributary nod fairly well, succumbing less than one might expect to the tough guy metal-core cliche. True, at its most sluggish and kickbox-inducing, this record is not unlike your run of the mill Hatebreed clone, but more often a love for classic thrash metal (Slayer, Exodus, Testament, Metallica) and low-end death-y bombast shine through, creating a more varied pace and tone. Also to its credit, the production on this effort is unusually dense and dark, adding to the grim metallic atmospherics throughout.
TOKEN ENTRY - The Re-issues (I Scream Records, www.Iscream.com)
Token Entry championed a furious but tuneful hardcore/punk onslaught, shunning the stylized youth crew and tough urban hardcore sounds that dominated mid-to-late eighties NYHC. Their hyperactive anthems, simultaneously surly and infectious, were odes to an unusual range of topics, from aging gracefully to the plight of the forgotten Vietnam veteran (among a host of others). Their delivery often rivaled that of heavyweights like AF or Raw Deal in terms of proficiency and ferocity, but was imbued with melodic abandon, humor, and spirited fun lacking in the heavier, more streamlined work of their peers. These Queens trailblazers released one great record (“From Beneath The Streets”), a bona fide classic (“Jaybird”), and some considerably less stellar material before disbanding. Throughout their career, they refused to succumb to the limiting stylistic parameters set by many of their NYHC brethren, yet maintained an authenic grit and flavor that was umistakably New York through and through. “The Reissues” collects the incredible Jaybird LP and its follow up, “Weight of the World”, a well intentioned but less enjoyable effort which delves into lukewarm rock bombast and rhythmic, funk-influenced warbling. Even Token Entry's less impressive moments are not without their redeeming qualities, however. There is a timeless energy and vitality to this band in their prime that should not be missed. Highly recommended.
MADBALL - Inflitrate The System (www.ferretstyle.com)
 From the hyperspeed ripping of the “Ball of Destruction” EP to the street-wise tumult that defined their “Set It Off” era and beyond, Madball have always delivered a bruising, technically adept NYHC onslaught. “Infiltrate the System”, their second full length on Ferrett Records, is much in keeping with the band's legacy thus far. The rhythmic hardcore that they've honed for over a decade is in full force here, though tempered with more slick Terror-esque mosh than one might hope for. Still, their instantly recognizable riff bludgeon and Freddy's distinctive vocal battery yield satisfying, if somewhat predictable, results. A welcome development this time around concerns an infusion of the band's most overt socio-political lyricism to date. Even amdist the doldrums that define a significant cross-section of modern NYHC, the release of a new Madball record is an event worth taking note of.
PURPOSE - 1994-2001 (www.theblacknumbers.com)
 New Jersey's Purpose addressed issues of societal dysfunction and interpersonal malaise, channeling their messages through a hauntingly melodic yet intense hardcore/punk onslaught. In so doing, they tipped their hat to the Revolution Summer-era bands of the mid-'80s D.C. scene (Rites of Spring, Embrace, One Last Wish, etc.), but wielded a drive and structure rooted more firmly in fast paced early '80s hardcore. Their lyrical scheme was far less introverted than many other so-called 'emo-core' outfits of the day, generally devoid of sappiness and trite pesudo-poetics. Instead, they embraced a thoughtful, restrained and articulate lyrical drive which strayed from the preachy and overly sentimental. From the unadorned melodies and furious delivery of their debut LP to the abstruse, intricate layering of the “Art As A Weapon” EP, the band's strong songwriting and uncanny knack for melodic yet abrasive hooks evoked a powerful sense of immediacy and intensity. Their legacy is certainly deserving of more recognition than it has thus far been afforded. Hopefully this reissue, which compiles all of their recorded output, will rectify the situation somewhat.
AGNOSTIC FRONT/DISCIPLINE - Working Class Heroes (I Scream Records)
The material on this split release from NYHC vets Agnostic Front and euro Oi!core bruisers Discipline is compiled from a single live performance circa 2003. AF play selections spanning the entirety of their on-again-off-again career, offering technically sound but less ferocious versions of classic material and a selection of latter-era anthems as well. The sound quality here is good, and while it's nice to hear recent recordings of staples like "Victim In Pain", "United Blood", and "Crucified", the newer material scattered throughout their set is less impressive. To be honest, much of the later AF material here amounts to little more than lukewarm, mid-paced hc with a penchant for the occasional streetpunk/oi-style hook. On these numbers, the apocalyptic din of Stigma's caustic Victim In Pain-era axe assault has given way to a more polished, self consciously 'heavy' sound, lacking the grit and immediacy which made the formative AF records and seminal live performances so endearing. While Agnostic Front still manage to pack the occasional wallop on "Working Class Heroes", Discipline have no such luck. Not quite Oi!, hardcore, or 'streetpunk', but an amalgam of the three styles, the band's chant-along melodic-yet-mosh-friendly approach is trite at best. Many have attempted this self consciously surly Oi!core hybrid , but few have managed to hold a candle to the progenitors of the brickwall Oi! sound. Discipline prove no exception to the general rule. Their set comes off not unlike a surlier, more beatdown-friendly version of latter day era AF. Go figure.
BORN/DEAD - Endless War….Repetition
(Prank Records, PO BOX 410892, San Francisco, CA 94141-0892)
Oakland, California's Born/Dead play Feral crust-tinged hardcore/punk. Those who haven't had the opportunity to hear them are missing out, but this compilation from Prank Records will serve as a primer for the uninitiated. "Endless War…Repetition" chronicles the band's recent output, a 12? split with Seattle's excellent but now defunct Consume, a limited tour-only 10? release, and their more recent "Repetition" 7-inch. While sharing a caustic drive and bleak socio-political outlook similar to that of a number of modern crust/hc outfits, Born/Dead add an atypically unadorned, burly American HC sound that to their scandi-punk style delivery, which, at its best, recalls the desparate cacophony of various latter day East Bay greats. There is little Dis-clone hammering or Tragedy-inspired melodrama to be found in this self-consciously rugged fracas, and it is this absence of lyrical hyperbole and layered intricacy that sets this band apart from a number of their like-minded peers. While certain songs on this compilation represent a departure from the typical Born/Dead blitzkrieg (the single "Repetition" comes to mind, a mantra-style number which recalls a Mortarhate/mid-paced Conflict sound), much of the release exemplifies the band's East Bay meets scandi-punk vibe quite well. Aspects of the ripping gloom championed by Econochrist comes to mind at times, but their no-frills assault owes just as much to bands like Deathreat and Talk Is Poison. Awesome guitar work, ravaged vocals, and occasional shards of melody strewn throughout. I like the material here even better than their debut full-length "Our Darkest Fears Now Haunt Us" which came out some years back. The horrors of war and modern society are tackled with grim efficacy. Awesome.
HOPESFALL - Magnetic North (Trustkill Records)
It is not surprising that the music industry hype machine continues to pump out glossy press releases that drool over slick metal-core /emo hybrids like Hopesfall, replete with pretentious psuedo-introspective lyricism, glossy production, and an absence of originality, depth or creativity. It is somewhat surprising, however, that an aural miscarriage of this caliber could honestly pass muster as either hardcore or punk …have we truly plummeted to such depths? If the fusion of tech metal wankery and radio-rock vocal hooks is your thing, by all means enjoy this heard-it-before procession of by-the-numbers croons, chuggs, and squeals.
MONSTER SQUAD - Fire The Faith (Punkcore Records)
 Monster Squad's double pronged assault combines bass-busy anthemic streetpunk/rock with the throatier side of modern hardcore. The results are sometimes tolerable, but often forgettable. Swiftly paced four chord anthems commence en masse, riff/chorus eruptions which recall the glossier, more hook-friendly side of the spikes'n'studs sound-outfits like the Casualties or later Unseen. The repetitive songwriting and relative lack of diversity on "Fire The Faith", however, results in an album that blurs all to an unmemorable mid-to-fast paced lumber. Never quite as aggressive, raw or catchy as might please the varied camps this band aspires to draw into their fray, Monster Squad's disparate influences ultimately fail to gel into anything remarkable.
ANOTHER BREATH - Mill City (Rivalry Records, www.rivalryrecords.com)
 Their first release on Rivalry was decent, but on “Mill City”, Another Breath have hit their stride. Above-average hardcore with a tendency towards the melodic is the general idea here, as a healthy dose of both youth crew and early ‘80s inclinations converge into a cacophony of high velocity musicianship, incensed vocal raging, and catchy riffs galore. A more stripped down effort than their last record, but the abundance of hooks remain, though channeled through a breakneck delivery. Pretty good, on the whole.
BORN/DEAD - Endless War….Repetition
(Prank Records PO BOX 410892 San Francisco, CA 94141-0892)
Totally feral fucking crusty hardcore/punk is what Oakland’s Born/Dead play. Those who haven’t had the opportunity to hear them are definitely missing out, but this compilation from Prank serves as a good primer for the uninitiated. “Endless War… Repetition” chronicles the band’s 12” split with Seattle’s Consume (another excellent crustcore unit), a limited tour only 10”, and their “Repetition” 7”. While some songs on this CD represent a departure from the band’s patented gut wrenching fury (the single “Repetition” comes to mind, which is a more expansive, mantra-oriented number that recalls an early Crass Records sound), much of this release exemplifies their East Bay meets scandi-punk vibe wonderfully. Aspects of the bass-busy ripping gloom championed by Econochrist comes to mind at times, but their sound owes just as much to modern bands of the Deathreat era. Awesome guitar work, ravaged vocals, and clever hints of melody strewn throughout. I like the material here even better than their debut full-length “Our Darkest Fears Now Haunt Us” which came out some years back. The horrors of war and modern society are tackled with grim efficacy. Awesome.
THE BREAK IN - Unbowed (www.surpriseattackrecords.com)
Though metal-core generally isn’t my thing, I do have a soft spot for bands that pay homage to the raw metal crunch championed by Cleveland greats Ringworm and Integrity. The Break In is such a band. “Unbowed”, their full-length debut, is plastered with crushing riffs, animalistic vocals, and jarring rhythms, all awash in dissonant murk. Downtrodden hardcore with some serious mid-paced chugging is the formula here-and no, we’re not talking crossover. This is dark, metallic gloom that strays from self-indulgent riff wankery or half-baked tech noodling to resurrect that evil-sounding mid-western fray of yesterday with brutal effect.
THE BURNING PARIS - Half Truths and Indiscretions
(Magic Bullet Records, 17 Argyle Hills Drive Fredricksburg, VA 22405)
The Burning Paris offer melodic post-rock instrumentals with subdued interweaving harmonics and some dissonant passages as well. At intervals, this effort’s hypnotic and abstruse arrangements are enjoyable, but the lack of variety in tempo and melody ensures that these pieces begin to feel same-y as the record progresses. Not bad in small doses, though.
CAPITAL - Signal Corps (Iron Pier, PO BOX 279, East Setauket, NY 11733)
Capital is an outfit worthy of Tom Corrigan’s insightful lyricism. Silent Majority could get a little too emo and Blood Red left something to be desired, but on “Signal Corps”, Capital’s debut EP, fast-paced melodic hardcore is the name of the game. Many of the coveted SM flourishes (intricate, layered melodies, excellent tempo shifts) are present on this effort, but Capital’s overall tone is unembellished and far more energetic, equal parts driving vitriol and contagious clamor. From the ode to deflated dreams on the opening “Transunion” to the scathing meditation on violence and conformity that is “Wolverines”, the musings and arrangements on this effort are top-notch. Recommended.
COUNT THE HOURS - We Don’t Care
(Panic Records, POB 23306, Seattle,WA 98102)
Solid melodic hardcore here, with more than enough venom to balance out the more upbeat tendencies. The fast paced ‘88-style format is in effect, but this record is laced with an abundance of hook-prone passages and breakneck percussion which keeps the adrenaline level high. Harmonic leads coat brawny riff arrangements, recalling bands of the Faded Grey/Stay Gold mold, but with a darker, more hostile (dare I say punker) edge. Hoarse cries of depression abound, while the guitar onslaught, a solid blend of tuneful discord, holds it all together.
DEMISE OF EROS - Neither Storm Nor Fire Nor Quake (www.strikefirstrecords.com)
The melodic metal romp, unholy bastard child of In Flames, Maiden, and watered down metal-core, was originally propagated by bands of the Darkest Hour/Shadows Fall mold and subsequently glossed to a pop-sheen by legions of opportunists posing as hardcore bands. It may not have been quite so dismal to begin with, but at this point the schtick is unbearable. Demise of Eros provide little respite from the dismal status quo, with their slick metal-prone chuggery, lyrical drudgery, and double bass trickery. The band never rips particularly, but rest assured this record is crammed with enough hooks to make the endeavor FM-radio digestible. Make no mistake about it: this is not hardcore, this is just bad metal. Technically sound, but lousy nonetheless. Listen to Rorschach instead.
FINAL CONFLICT - Ashes To Ashes
(SOS Records, PO BOX 3017, Corona, CA 92878)
The good people at SOS records have reissued Final Conflict’s classic ripper for all to savor. For the uninitiated, Final Conflict was one of the preeminent Southern California DIY hardcore/punk bands of the mid-to-late 1980s. Absolutely punishing thrash-influenced spikes’n’studs anthems commenced en masse, with warp speed shredding and fist-in-the air anthems abound. Though bands like Crucifix and GBH played a prominent role in their relentless barrage, Final Conflict also maintained a reverence for the more anthemic side of early ‘80s British punk (English Dogs et al), and that love for the almighty hook came across in spades. This is one of my favorite recordings of the era, and this reissue certainly does it justice.
THE FIRST STEP - What We Know (www.rivalryrecords.com)
Could a new youth crew revival be on the horizon? It seems unlikely, but this release from The First Step, their best yet, should satiate fans of the sub-genre. “What We Know” is a stripped down affair that resolutely sticks to the ‘spirit of ‘88’ formula but offers enough hooks, shout-alongs, and creativity to render the process gratifying. The production on this effort is powerful, a raw and unadorned assault that adds a sense of spontaneity to the simple messages of camaraderie, struggle, and drug-free living herein.
GBH - Punk Junkies (SOS Records, POB 3017, Corona, CA 92878)
It’s not exactly “City Baby Attacked By Rats”, but this latter-era GBH material (circa 1996) finds the band alive and ripping with their unadorned, rough-hewn ‘hard punk’ sound more or less intact. GBH’s distinctive, barbaric riff battery is as menacing as ever, with a predictably morbid lyrical scheme that seals the deal. For its strengths, however, the new material just isn’t as memorable or powerful as the band’s classic repertoire. Considering the glut of bands that re-form after years of inactivity with disastrous results, however, this record is a pleasant surprise.
HAVE HEART - The Things We Carry (www.bridge9.com)
 The memory of early-‘90s bands like Outspoken and Undertow is resurrected on the Bridge 9 debut from Boston’s Have Heart, with massive riffs, agonized vocal work, and anthemic musicianship to spare. The sound here largely conforms to the New-Age-era hardcore schematic, being a mid-paced, metal-singed assault replete with mammoth choruses, tense breaks, and novel combinations of melody and percussion. Have Heart tackle this format especially well, however, adding a creative modern flair that sets this record apart from what went before. Candid expressions of life’s trials and struggles are voiced with conviction in songs decrying conformity, monotony, wage enslavement, and competition. Each track here retains a unique depth while maintaining a sense of continuity that runs throughout the record. An intense listening experience.
HARLOTS - This Is The Second Death (Corrosiverecordings.com)
Well, they cite Discordance Axis as an influence, and this outfit does play some fairly spastic metallic/hardcore/grind/thrash, but this really isn’t as groundbreaking as one might hope. Plenty of skewed tempo shifts, warp speed percussion, and frantic vocal screeches permeate the recording, but there is a derivative quality to the fracas not wholly unlike the same-y metalcore of bands like Curl Up and Die. This is technically adept, make no mistake about it, but the mind-melting psychosis of their forbears is rarely realized here. And what’s up with those lackluster emo instrumentals? Come on, guys...
HELLA – “Acoustics” EP (KillRockStars.com)
 Some of the better post-rock-influenced warbling I’ve heard in a while is delivered by Sacramento, California’s own Hella. In contrast to the feedback-soaked lunacy of years gone by, the “Acoustics” EP features a number of re-recorded songs by the group which provide less embellished and more…er, acoustic extrapolations on their jittery, percussion-intensive spazz attacks. The skronk is more or less out of the picture this time around, with ultra distorto-axe licks replaced by feedback-free fretboard melting virtuosity and rhythmic cacophony to spare. I actually prefer this one to their more overtly aggressive projects…the band’s craft and quirkiness comes to the fore as never before.
HOLOKAUST - Into the Void of Oblivion (Despotic Records)
After an excellent debut 7” and several strong split releases, Southern California’s Holokaust offer one of the better ‘D-beat’ records in recent memory. As can be expected, downbeat crustcore takes center stage here, but there is also a newfound knack for abrasive melody, incorporating elements of both early USHC and a UK82 ‘hard punk’ vibe into the band’s Discharge-inspired pummel. This results in a more diverse sound, one that noticeably strays from the standard ‘Dis’-band cookie-cutter schematic. The recording itself is also quite good, and greatly bolsters the war-torn ranting and grim atmospherics throughout. Fans of the band’s past material, or of good DIY hardcore in general, will be blown away.
JILTED/BEYOND DESCRIPTION Split CD (Forest records)
An excellent pairing of international hardcore-punk/crust is found on this release from the Japanese-based Forest Records label. First up is Jilted, a ferocious Italian outfit that play d-beat fueled HC with hints of melody embedded in their blown-out fray. The frantic vocal work (which often recalls Martin from Los Crudos) is equally raging and adds emphasis to their socio-political ranting (translations provided in the liner notes). Next, hardcore punk veterans Beyond Description, hailing from the land of the rising sun, offer a brutalizing assault rooted in more of a British and American thrash aesthetic (think Heresy, Ripcord, Concrete Sox and DRI), but with a crustier edge. Like so many Japanese greats, Beyond Description’s strength lies in their ability to twist and warp a conventional musical medium into something distinctively distorted and ferocious. The end results are far more dense and complex than your average thrashers. This is a nicely done split release, well worth your while.
THE KILLER - Better Judged By Twelve Than Carried By Six
(Organized Crime Records, PO BOX 213, Brookfield, IL 60513)
Heavy metallic hardcore with a slightly caustic thrash vibe thrown in. Not terrible, but there is too much chugging and mosh here for my taste. At their gloomiest and most dramatic these guys pull off the modern hardcore thing well enough, but all too often this record succumbs to generic tough guy posturing, metalcore drudgery, and generic vocal garbling.
LOOKING UP (Panic Records, PO BOX 23306, Seattle,WA 98102)
Looking Up play melodic hardcore that balances ‘88-style hardcore with a wilder, more agitated delivery, and some ‘modern’ gloss. The band fuses these aspects into a dramatic, if sometimes streamlined, assault that offers more than the standard cacophony of group-shout alongs and breakdowns. Creative riffing and hook-prone melody add notable elements to the equation, though this recording falls squarely within the confines of good old straight forward HC. Fans of Sinking Ships, Betrayed, etc. take note.
NO TURNING BACK - Holding On (bridge9.com)
 ’88 style straight edge hardcore clashes with burlier, brawnier, rhythm-conscious NYHC on No Turning Back’s latest Bridge 9 offering. The up-tempo musicianship, crew-chants, and melodic layering typical of the former is filtered through the mosh-prone, riff-oriented latter approach for a good ol’ trouncing that should appeal to fans of both styles. While the musicianship and production are up to par, my gripe is with the dogmatism and sloganeering prevalent throughout this effort. True, sentiments of betrayal, strife, and loss never grow old, but when your lyricism comes off like a fragmented, less coherent retread of many a classic Revelation LP, it may be time to adopt a more novel fashion of conveying what’s on your mind.
PALEHORSE – Amongst The Flock (bridge9.com)
Governmental deprivation of civil liberties, the horrors of war, and global unrest are not always common topics in modern “straight forward” hardcore, though such issues are addressed with grim repose on the Bridge 9 debut from Palehorse. Grisly and apocalyptic, their messages convey a festering rage and desperation that typifies the current social and political climate both at home and abroad. Palehorse play metallic hardcore with venomous bite, devoid of metal-core drudgery, championing a mid-to-fast paced onslaught instead. Their varied blitzkrieg of thrashing, chugging, melody-prone riffs elicits a number of reference points across the hardcore/metal/thrash spectrum. At times I found myself recalling the more metal moments of early Ringworm, through this record is not as full-on ripping and caters to a more mosh-heavy vibe. Still, this is a menacing effort, offering a uniquely dark, brooding, and timely vision.
POUND FOR POUND - For Our Fallen Brothers (surpriseattackrecords.com)
Sure, it’s heavy and well produced, but when the main ingredient is testosterone-fueled metal-core, who really cares? Though hailing from Illinois, Pound For Pound’s take on hardcore mirrors that of the current Northeastern metal-hardcore crop, a thick barrage of rhythmic chuggs set at mid-pace lumber, indistinguishable bellicose yowls, and ‘tough’ ranting. As might be expected, there is an over-reliance on e-chord mosh at the expense of the raw, driving force that makes hc/punk dangerous and memorable.
RETCHING RED - Scarlet Whore of War
(4096 Piedmont Avenue #216, Oakland, CA 94611-5221)
 Little has changed since the last Retching Red full-length, and that is a good thing indeed. Scathing, socially conscious female-fronted DIY hardcore/punk is the formula with which this East Bay destructo-unit plow through their latest offering, with a nod to a variety of Bay Area greats. As before, fast paced bedlam commences, with vocalist Cinder Block’s tremendous screeches, growls, and croons at the fore, while song arrangements bridge the gap between grime-strewn hardcore and catchier inclinations. The lyrics are articulate and humorous as always, focusing on such topics as the folly of war, conformity, reproductive rights, and media manipulation . With all the generic mosh and pop bullshit infesting the scene, it’s refreshing to hear a band playing no frills punk with heart. Check this out.
SHAI HULUD - A Profound Hatred of Man/Hearts Once Nourished with Hope and Compassion (Revelation Records)
Though melodic metal-core has become a bad cliché in recent years, Shai Hulud were one of the better progenitors of the style. In the mid-to-late 1990s, they fused metallic complexity with hook-driven HC to produce a uniquely savage din. Now a large portion of their discography has been remastered and repackaged with improved artwork, liner notes, and photos courtesy of Revelation Records. The new edition of A Profound Hatred of Man collects the band’s genre-bending EP of the same name, their split releases with Indecision and Another Victim, and various comp tracks. The sound on these recordings has been noticeably bolstered, and the abundance of material on this compilation provides a good semi-chronological snapshot of the band’s musical evolution. The revamped version of Hearts Once Nourished with Hope and Compassion, Shai Hulud’s finest moment, also boasts noticeably improved sound quality. This nine song rager veers from one extreme to the next, encompassing the caustic, metallic, and hauntingly melodic, often simultaneously. Countless bands have since diluted this sound, making it something of a pariah to many, but let that not detract from the impact of these early recordings.
STAMPEDE - Few and the Proud
(Organized Crime Records, POB 213, Brookfield, IL 80513)
One would hope that a band touting heavy hitters Slapshot and Judge as influences would rip shit up. Unfortunately, this is not true of Chicago’s The Few and the Proud, whose mid-‘80s Big Apple style hardcore is mediocre at best. Granted, this is not beatdown metal, but the flat songwriting, heard-it-before “heavy” riffs, and lyrical bravado are far from inspired (the less memorable moments from the above-mentioned era come to mind). In short: thin vocals, plodding musicianship, and forgettable mosh abound. Nothing here seems to work all that well, and though they get points for keeping this recording metal-free and relatively fast paced, the end result is unremarkable. (Note: members of this band play in another Chicago outfit, the Man Is The Bastard/Infest-influenced Weekend Nachos, who are much better. Check them out instead).
TAKE MY CHANCES - Down Here With Us (onedaysavior.com)
 Take My Chances play straight-laced hardcore with nods to the ‘88-style build/break bludgeon, but tempered by some killer howls and a flair for melodic hooks. While the miscellaneous array of hardcore-related styles that they dabble in isn’t groundbreaking, it is the skill with which they capture and integrate those sounds which makes this work. At its least inspired, the end result comes off a bit too much like a heavier Kid Dynamite, but more often the harmonic interplay collides remarkably with a raging riff battery for a satisfying listen.
TEENAGE HARLETS - Up the Fixx
(Springman Records, PO BOX 2043, Cupertino, CA 95015)
Nuggets fanatics take heed! Many have tried, but rarely has a modern band managed to capture the early ‘60s garage-kitsch-clamor as well as these young ‘uns who call themselves The Teenage Harlets. No, I’m not much of a modern garage rock fan, but this anachronistic lo-fi racket is an exception to the rule. Sure its derivative, but it rips, and in this era of hipster rock rehash vomit, I’d much rather listen to a band with an obsessive need to recreate the stripped down Northwestern sounds of the Sonics or the Kingsmen than a lot of poser tripe. From the swampy recording to the razor riffs, fuzz-fueled hooks, and affected vocals, this record does good by me.
TERROR - Always The Hard Way (Trustkill Records)
 Terror are back, and rest assured they still sound a whole lot like…well, Terror. The band has become something of an institution in recent years, for better or worse, offering inordinately burly, mosh-heavy hardcore to the masses. An endless onslaught of carbon copy ‘tough’ drivel has surfaced in the band’s wake, lacking the slick production and considerable chops that Terror possess. To their credit, the band has maintained more of a reverence for fast paced, straight forward HC than, say, every Hatebreed clone out there, though they are no less ‘hard’. With each subsequent Terror release, the production has gotten slicker, however, and the music has succumbed a bit more to the lure of mid-paced metal-core chugg. “Always The Hard Way”, Terror’s latest, follows this trend, though it often showcases fierce, fast paced hardcore with nods to the Cro-Mags and mid-era Madball. Simply put: if you have enjoyed what this band has done thus far, you will like this. If not, steer clear.
TODAY FOREVER - The New Pathetic (strikefirstrecords.com)
There are tolerable moments aplenty on this record, but all too often Today Forever broach their brisk hardcore assault to bring much maligned metal generica and pop sheen to the fore. The end result is a formula far removed from the origins of that thing called punk. Unfortunate to say the least, but all the more discouraging because there are moments where the band brings some full on straight-forward hc to the table that is actually pretty solid.
TOWERS OF ROME - World War I
(Hewhocorrupts Inc., PO BOX 4450, Chicago, IL 60680-4450)
While not pushing the grind envelope into regions uncharted, aficionados of the genre will be pleased with the warp speed shredding and blast-beat driven percussion that Towers of Rome bring to the table. For the uninitiated, this Illinois outfit experiment with traditional grind fare, adding an array of wild tempo shifts and abstract passages. At center stage is their raging drum work, which strays from the over-produced mechanized click-gloss found on many a modern grind record. It would be tough to liken what is achieved here to, say, the ingenuity and brutality of the early Earache camp, but for grind enthusiasts this release is worth a listen.
TRIPLE THREAT - Into the Darkness (bridge9.com)
 Tim McMahon of Mouthpiece/Hands Tied fame returns on this lukewarm recording from Triple Threat. Their combination of youth crew and early ‘80s-era clobbering sounds good on paper, but the songwriting here is average to sub-par. The musicianship is generally boring, a languid clamber that rarely kicks in with any real excitement or drive. The typical builds, breaks and shout-alongs are all in effect, of course, but without any vitality to speak of the formula sounds derivative. It’s as if the members of this band have run out of steam at the outset and spend the duration of the effort going through the motions. Nice to see McMahon back in action, but the finished product here could have been better.
TROPHY SCARS - Alphabet.Alphabets
(The Death Scene Recording Company, 8642 Bay Parkway, Brooklyn, NY)
Trophy Scars play upbeat, occasionally discordant indie rock with scattered forays into heavier territory that recall Northwestern veterans Modest Mouse and a slew of other acts, as well (the over-rated Wolf Parade comes to mind intermittently). This band sustains more of a punk undercurrent than the above-mentioned outfits, however. Solid arrangements and catchy yet abrasive musicianship makes for one of the more solid indie records I’ve heard of late. What makes “Alphabet. Alphabets” noteworthy is the variety of musical arrangements therein, which span emphatic rockers, jangle pop number, and angular, rhythmic freakouts. The occasional hesh lick adds a bit of aggression to the jumpy din, as well.
UPSTAB - w/ report
(Way Back When Records, Taskinlaan 9, 2361 XM Warmond, Holland)
The second installment of raucous distorto-core from Cleveland’s Upstab is easily as intense and unforgiving as their first. In other words, it fucking rips. That infamous rabble rouser Chris Erba, formerly of H-100s/Ruiners fame, offers more of his malevolent, inhuman vocal retching to the backdrop of a raucous, catchy riff onslaught which borrows liberally from traditional Japanese hardcore and American punk/hc bile. Semi-coherent down-an-out jabbering is Erba’s m.o., an amalgam of off-kilter rhetoric and psychotic ramblings not soon forgotten. It is a shame that Upstab called it quits recently because they were one of the best bands going. Memorable tunes, nonexistent production, and a vicious delivery.
WHEN TIGERS FIGHT - Ghost Story
(Indecision Records, PO BOX 6052, Garden Grove, CA 92856)
A surprise from When Tigers Fight, who have largely eschewed the rock-tinged blaze of their earlier EP for a more mid-paced outing on their first full length “Ghost Story”. The straight-forward hardcore riffs remain intact, but are slowed to a sluggish, occasionally metal-tinged crunch, while new vocalist Mike McTernan provides harsh and evocative bouts of howls and growls. The hook-laden guitar melodies and groove-oriented rhythms scattered throughout propel this record along at a good pace, and the lyrics are decent enough, straying from overt dogmatism. One of the more interesting hardcore records I’ve heard recently, and a noteworthy follow up.
COMPILATIONS
AMERICAN HARDCORE: The History of American Punk Rock1980-1986 (Rhino)
I didn’t like the film American Hardcore, but the soundtrack to that misguided debacle provides a pleasing (if incomplete) snapshot of the American hardcore scene of the early-to-mid 1980s. Ear-rending staples like Black Flag’s “Nervous Breakdown”, Minor Threat’s “Filler”, Bad Brains’ “Pay To Cum”, Negative Approach’s “Friend or Foe”, and SSD’s “Boiling Point” are accounted for, of course, and it is more than likely that these ragers will already be quite familiar to the listener. Some comparatively obscure tracks also surface here, however, like the ‘genre-defining’ “Out of Vogue” by Southern California’s Middle Class, the rollicking “I was A Teenage Fuckup” by the criminally underrated Texas HC outfit Really Red, and the aural mind fuck that is Flipper’s “Ha Ha Ha”. Excellent selections from Void, Flipper, Die Kreuzen, Articles of faith, Jerry’s Kids, and MDC round the effort out nicely (an ‘82 demo version of the Cro-Mags’ “We Gotta Know” doesn’t hurt, either). It would be a stretch to call this an especially cohesive overview, but as a concise, reasonably priced compilation, this effort proves its relative worth.
THE PATH TO TRUE INDEPENDENCE (Forest Records)
This four way Japanese hardcore/punk split offers a diverse range of sounds but maintains a uniformly foreboding vision and fierce drive. Beyond Description start the record off with a volatile thrash attack that, in contrast to the output on their recent split with Italy’s Jilted (also reviewed in this issue), seems slightly cleaner and a bit more technical than what generally can be expected from these guys. Next, veteran punks Asbestos offer like-minded metal-scorched tumult, but with thicker, crustier undertones mixed into their blend of British, American, and Scandinavian thrash bile. Totsug Eki Sensya follow with a more unadorned hc/punk assault that bears the strongest likeness to early American hardcore of any band on this compilation. The record closes with a single track by Japanese powerhouse Destruction, a mind-blowing number simply entitled “Workers”. Of all the songs on this compilation, this is the most distinctively ‘Japanese’ sounding, the vocal delivery and musical intricacy on par with modern “burning spirits” heavyweights like Barged, or even Tetsu-Arrey. This release is recommended for fans of the crustier, less adorned side of Japanese hardcore punk.
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