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Two Minutes to Late Night presents Splitsville: a new recurring live stream where two bands cover a song from each other’s catalog. It’s a homage to the classic 7″ cover splits nerds have to own but with two kick-ass music videos to go along with it. This nextSplitsvilleis going to be between hardcore pioneers Integrity and genre-defying shoegaze rock band Nothing. The stream will feature Integrity covering Nothing and Nothing covering Integrity with videos of the quality you come to expect from Two Minutes to Late Night PLUS exclusive crossover merch for both bands you can only buy during the 24-hour stream.

The live stream for the Nothing / Integrity – Splitsville performance with begins TONIGHT Friday, April 30th through the Two Minutes to Late Night Bandcamp channel here: https://twominutestolatenight.bandcamp.com/merch/splitsville-episode-2-integrity-nothing

Additionally a limited, one-time pressing only will be available through Relapse Records and 2 Minutes to Late Night’s Splitsville! This 7″ will only be available to pre-order from Friday, April 30th at 8PM EST at the launch of NOTHING’s and INTEGRITY’s Splitsville performances through Saturday, May 1st at 8PM EST. Relapse will only press the amount that is pre ordered and will ship this Fall.

Domenic Palermo (Nothing) comments:

“Integrity is the best hardcore band ever. to be able to collaborate with Dwid and the gang is bucket list level shit. I feel both honored and extremely nervous to be involved. I really hope we don’t play ourselves.” 

Dwid Hellion (Integrity) comments:

“I continue to be a long time fan of NOTHING and it is a great pleasure to be able to participate on the latest installment of SPLITSVILLE with them. Roaring such beauty into its own inversion.” 

I love NYHC and many of the bands I have shared the stage with, interviewed or saved my life. That said, I am super bummed out right now by a lot of people I love and the reckless 2,000+ social distancing flaunting Madball, Murphy’s Law, Bloodclot, Wisdom In Chains etc. show in Tompkins. Yes, shows are important for mental health, as Wisdom In Chains noted on Insta. Supporting Firefighters and the Burn foundation is great. So is protecting our most vulnerable and adhering to the bare minimum to help us have real solidarity and get through this. This show was not the triumph hardcore bands and fans are claiming it was. Period. Sorry if that makes me the ‘woke SJW mob’ and not a concerned diabetic who has loved and lived their life for punk and metal for over three decades.

As my pal Ryan Butler of Landmine Marathon fame said online ,“Tompkins Square Park in NYC yesterday looked like the Rose Garden at the White House a few months back times 1,000.” Hard to disagree.

Update. I don’t know if this is true but the Parks Dept. are saying organizers lied and said the event was a 9/11 memorial with a hundred people expected. Classy if true! Wow. WTF, y’all. I know some of you were around for 9/11 and love the city more than that. For real?!! WTF.  Cuz you donated to firefighters doesn’t make it any less misleading. And how about the healthcare workers who have to take care of anyone who gets sick?  (BNB Productions now say the permit never mentioned 9/11 and that people just “suck the dick of the media” but failed to show the permit to back up the claim the media is lying, so I can’t verify one way or the other. It is immature af though to just downplay people’s concerns as sheeple and pussies, tough guys).

Further update: Chris Flash told EVGrieve: “Nowhere did it say anything about September 11. We did apply for a September 11 memorial event, but it was for September,” Flash also said,”…Why would we apply for a September 11 memorial in April?””We were given a 3-page list of things the Parks Department wanted us to comply with — we complied with all of the stipulations,” Flash said. “We were required to provide gloves, masks, sanitizer and a clipboard if someone wanted to voluntarily provide contact tracing. We provided two tables with all the necessary supplies. We cannot enforce rules, we can’t — we’re not the police. Even the police said they can’t enforce.”

(Um, you can’t enforce the rules but anyone could have kept urging the crowd to mask up at the very least. Or the band members and scene folx -who’ve posted tons of selfies to their own insta feeds with the vast majority in no masks- could have also done the right thing and masked up). I also hear that people were being mocked for wearing them at the event, though can’t verify.  CDC has eased masking guidelines for vaccinated people as of 4.27 but still say “vaccinated people should still wear masks in public settings indoors and outdoors where there is a substantial risk of Covid-19 transmission, such as concerts, sporting events and other crowded gatherings,” the CDC said.)

People have been saying that maybe the vast majority of unmasked moshing and screaming people were already vaccinated (as if that means you can’t still carry it home or elsewhere, fucking duh). It was harder for young people to get vaccinated until very recently in New York.

For the wary, I can’t force people to trust big pharma companies with awful track records like Johnson and Johnson (who have sucked ass for years). I especially am not tone policing women who have fertility side effect fears when we need way better long term clinical studies or bipoc folx who are afraid because they have historically been guinea pigs to racist medical research practices before. I sure as hell also agree that it is fucked it seems -if I am understanding things right- that Reagan made it so you can’t sue lots of vaccine makers if something goes wrong (tell your conservative leaning Libertarian pals that). H.R.5546 – 99th Congress (1985-1986): National Childhood Vaccine Injury Act of 1986 | Congress.gov | Library of Congress says that ,”Provides that no vaccine manufacturer shall be liable in a civil action for damages arising from a vaccine-related injury or death: (resulting from unavoidable side effects; or (2) solely due to the manufacturer’s failure to provide direct warnings.”

I agree that is completely bullshit to not be able to sue someone if there is a problem. That goes for the Covid vaccinations as well. No one should be above lawsuit if there is a huge fucked up problem with any of them.

That is still besides the point when it comes to this concert.

I am personally diabetic and fully vaxxed. I am absolutely glad I got it. But if someone “healthy” with doubts can’t even do bare minimum compassion to wear a mask cuz they think it doesn’t work (as if having none will somehow protect others more!?) or social distance cuz moshing and peacocking is more important …yikes. And most of those people on the crowd aren’t gonna go green diet anyway and just want to fucking party, c’mon.

John Joseph wrote this on social media: “For the last year in New York City there were protests – tens and thousands of people in the streets – some rioting and looting engaging in bias attacks – nobody said shit – the media condoned it. On 4/20, thousands filled Washington Square Park sharing blunts and weed pipes no masks – again nobody said shit. This was our fucking protest – this was our rally – people came out from all over the country and enjoyed live music! Those who didn’t want to come stayed away – good nobody Missed their ass. They were free to live in fear – hide under their table and talk shit on social media.”

I don’t know about the 4/20 day stuff so can’t speak on it and can understand how that would bother a straight edge person. I am sober a year and a half and John’s description ALSO sounds like 4/20 was reckless and should have been discussed. It sounds like you think it is just hypocrisy that they weren’t called out and the hardcore show was, not that people have valid super spread concerns. Also, the idea that just because our elected officials and others have done hypocritical things is ALSO a good reason to be irresponsible as a ‘protest’ to hypocrisy is the epitome of two wrongs don’t make a right.

Ok, and while I super respect John’s veganism and love his books on the subject and think everyone should become one to save the planet (watch Seaspiracy and stop eating fish today PLEASE), this BLACK LIVES MATTER statement is simply a false equivalency. Most people at BLM protests were masked and it was outdoors, with a combination that helped soften the blow of those who weren’t substantially. That is not thousands of people crammed in a small park with masked folx being mocked and people screaming gang vocals and pitting in close proximity and breaking social distancing suggestions and max outdoor capacity guidelines. That isn’t ‘united blood’. It is fucking telling immunocompromised people that y’all don’t care when this is over or just don’t believe in it.

We all wan’t shows to come back right, but this aint it. At all.

Again, the current law in New York, according to our shitbag, rapey, bad clemency record, Weinstein money accepting and CNN softball question champion Governor Andrew Cuomo is that “outdoor venues with 2,500 person and overcapacity can begin holding live concerts at 20% capacity.” Proof of vaccination or a negative COVID test would be required for entry. I hate Cuomo for almost killing my mom in an old folks home as well and for playing chess with lives and refusing one of Trump’s only decent ideas by not using the hospital boats, but these capacity and safety limitations I cannot fault him for.

The Warzone tribute I covered there was one of the coolest things I have ever been to and it was great to help document it that day several years ago. I did not expect to hear that this new event would completely disregard respectfully making sure shit was done right and call people who are concerned ‘beeyotches’ (wow super feminist and inclusive, punk rawwwwk).

I believe in Christ consciousness and healing and growth and lifting one another up when we fall or make mistakes, but that requires self-awareness. I don’t at all enjoy now feeling alienated from all these bands and people who went who I admired. You can’t talk about making everyone considerate enough to live better and take care of the Earth and animals (as they should) if you also don’t care enough to protect the most vulnerable humans or try to lessen the ongoing impact of the pandemic in even the most minor ways.

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One of the few good things about this pandemic life has meant time for people to dig deep and soul search for an even more meaningful sense of self-expression. After all, we have had reminders daily that time is precious and you ought to be true to yourself, right? As a writer it has also been a good chance to have random email convos with incredible and talented cool folks and Suzi Moon is certainly high on the list of radness level as far as “rad people I have gotten to communicate with” in recent times goes.

Suzi Moon radiates the essence of punk attitude and makes the balance of sweet and sour seem effortless in glam gutter songs like “I’m Not A Man” or the rollicking “Nuthin’ To Me” that you can snarl or sing-a-long with like nobodies business. Yes, the Civet and Turbulent Hearts alumna is going solo and has delivered a fantastic video for the instantly memorable “Special Place In Hell” track from upcoming debut EP CALL THE SHOTS.

Read our chat BELOW.

 

‘This album is essentially a reflection of the societal ills that hold us back from having the grand culture and community the United States loves to pretend it has.’ – KZ

Hello dear readers and happy Trans Day of Visibility. Hope people are lifting one another up today and feeling good and loved. I need cold water thrown on my face after the inane stupor I entered from just reading an article about how friggin’ Michale Graves might testify on behalf of some loser Proud Boy Jan. 6th insurrectionists. Uh, that’s your character witness? What is he gonna do? Get up there and go ,”You’re lookin’ through the eyes of a Psycho! An American Psycho (Whoa-oh!).” The sad part is I don’t know if that would work in the fash mob defendants favor more or less considering how compromised many of our courts are.

One thing that DOESN’T make me want to scream in frustration (at least not in a bad way) is listening to the cathartic and brilliant new record Modern Grotesque from melodic post-screamo East Coasters Dreamwell, pretty much the most impressive shit I have discovered in a long time. This record , especially after the shared PTSD of 2020 we are all semi-thawing from,  just feels like a massive release of hope, heart and triumphant defiance. A cry for a more caring and dignified world for people who are different, sensitive or just genuine… for the lovers, dreamers and you (to get more Kermit than Pepe up in here). It is an album that reminds me that feeling things is not weakness and which has some of the fiery and passionate type of playing that first got me into bands like UOA, At The Drive In or On The Might Of Princes.

Modern Grotesque also boasts some of the most impactful melodic playing I have heard in a long time this side of really good Modest Mouse, moments that just take artful twists and turns that couldn’t have been generated through a cynical aim and only through vibrant and vulnerable love for the music.

Please enjoy my chat with vocalist KZ as much as I did.

Read more BELOW.

Photo Credit: Jared Shute

March 24, 2021 – The New York-based group Zero Trust celebrated the release of their self-titled debut EP today in partnership with Equal Vision Records. Zero Trust might be a new name, but they boast résumé credits spanning decades of the most creative, cutting-edge pockets of the area’s storied hardcore scene. With a lineup consisting of members of Coheed and Cambria, Bulldoze, Full Scale Riot, Agents of Man, Skarhead, and more, the group formed as a creative outlet during the quarantined isolation of the ongoing COVID-19 pandemic. On their inaugural release, Zero Trust expands upon their collective experience, blurring the lines between hardcore, metal, and alternative rock with substantive lyrical themes from vocalist BJ Allen, who reflects on the socio-political turmoil that has erupted throughout the past year. To accompany the release, Zero Trust also shared the official music video for the opening track “Birch” (Editor’s Note: I vaguely think there was also a pretty cool Shabutie song called this from around the Penelope era that Travis maybe even sang (?), but maybe I am buggin’? Either way this shit is dope).

Zero Trust is out now and available to stream here.

Speaking on the single, BJ Allen (vocals) says:
“Birch is about exploring the part of your mind that knows the whole system is against you, while also knowing that if humanity were to be unified, civil and just we would be in a much better position.”

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Photo by Elizabeth Gomez (Globelamp)

Kingston, New York-based avant rock/punk outfit WALKING BOMBS presents its most infectious material to date, with the expansive new full-length release Tears We Should Have Shed. With the record now confirmed for independent digital release in April, the cover art, track listing, preorders, and track “Time To Go (Fuck Q)” have been posted.

The project of one Morgan Y. Evans, joined by a wide cast of collaborators, WALKING BOMBS here delivers a musical study in navigating regretful occurrences in humanity with Tears We Should Have Shed. It is a record steeped in sorrows and triumphs, delivered through a wide range of varied musical styles.

Recorded throughout 2020, engineered, mixed, and mastered by Sean Paul Pillsworth at Nada Recording Studio in Montgomery, New York (Senses Fail, Shai Hulud, My Chemical Romance), Tears We Should Have Shed sees Evans performing lead vocals as well as acoustic guitar, trombone, bass, guitar, and piano contributions across the album. Additionally, the record features contributions from Elizabeth “Le Fey” DaPena (Globelamp), Sean Paul Pillsworth (Nightmares For A Week, Jerk Magnet), David Brenner (Gridfailure), David Bodie (ex-Time Of Orchids, Divest, Kayo Dot), Taraka Larson (Taraka, ex-Prince Rama), Jack Manley (The Jenifer Shop), and Justin Zipperle (Shadow Witch).

“I’ve always enjoyed bands like Orange 9mm, Faith No More, or Swans where even though you knew it was them you might be surprised song to song or album to album by some big stylistic twists and turns.  My own work in bands since 1993 has also reflected that often,” Evans states. “This WALKING BOMBS album explores a lot of punk and hardcore and kind of Type O influences more than some of my other releases with this project that were more grunge or post punk heavy. There’s also a little bit of classic rock influence sprinkled here and there. But it all compliments the general themes of regret for human folly.”

Songs like “Brash Bandages” and “GeneralGrievousAngel” deal with self-reflection and sobriety, whereas elsewhere the harsh noise landscape of “Focus Shifting The Apocalypse” or the pop-punk-meets-Jawbreaker-influenced “Time To Go (Fuck Q)” examine the frenzied, cult-like impact of disinformation on a gullible society. The goth-toned title track and Bad Religion-influenced “I Will Miss You” look at the highs and lows of the life of an underground lifer musician. Other moments include examinations of Red Scare-era and modern sexism, healing, gaslighting, and trauma.

Evans delves, “This is not so much a record about trying styles and ‘seeing what sticks’ because I can’t live my life by that unhealthy metric. It’s very important to not take the ability to release a range of music while alive for granted. I almost went into a diabetic coma last year and have a year of sobriety again. Covid and a lot of intense events of 2020 really made me restless to channel some love and pain. If feels like a triumph that we safely made a record last year. It meant a lot to me to have everyone involved who played a role, but especially to finally make a full-length album deep in the woods at Nada Recording Studio with my dear friend Sean Paul Pillsworth after several decades in the scene together.”

Stream the title track to Tears We Should Have Shed’s closing punk ripper “Time To Go (Fuck Q)” RIGHT HERE.

WALKING BOMBS will release Tears We Should Have Shed digitally on April 23rd. Find preorders at Bandcamp HERE and watch for additional audio previews and more to be issued in the coming weeks.

 

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Band Spotlight: MOVE

Posted by Morgan Y Evans - Walking Bombs on Sunday, February 28, 2021 at 7:20 AM (PST)

MOVE are a high energy Boston hardcore act who are defying racism while crafting timely and Earth shaking punk anthems for change! Hit up Triple-B Records for the Freedom Dreams 7″ HERE or head to Bandcamp and support this electrifying band on our favorite digital platform.

“…We march on to achieve salvation/Say their names we won’t be intimidated/ I fight and I fight and I fight I refuse to rest until I see progress/All to one day see these fucking freedom dreams/ We’ll never stop until we find liberation, Black Excellence unstained by degradation/ Where freedom reigns over incarceration/ Where Black joy is only met with celebration.”

RIYL Cold World, American Nightmare, Jesus Piece.

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Earlier this year, CRO-MAGS released their first album in twenty years with the critically-acclaimed In The Beginning. To close out this year of international turmoil and disease, the band announces the 6-song EP, 2020, available worldwide digitally on December 11thCRO-MAGS also release the eponymous track 2020 – venting all the frustration and rage, CRO-MAGS style, at the unprecedented chaos of this year.

The record itself is unintentionally 20 minutes and 20 seconds, and plays out more like a time-capsule look into the dumpster fire known as the year 2020. CRO-MAGS founder Harley Flanagan explains, “Just by coincidence we recorded 20 minutes and 16 seconds of music, so we simply added a few seconds of real-world chaos. The album cover is meant to look like a calendar – 7 squares across, with one picture from 2020 per day. Corona Virus, quarantine, empty streets, brutality, burning buildings, violence and destruction: 2020 is a year none of us will ever forget.”

2020 Track Listing

1 – Age Of Quarantine

2 – 2020

3 – Life On Earth

4 – Violence and Destruction

5 – Chaos In The Streets

6 – Cro-Fusion

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New York City hardcore legends SICK OF IT ALL release their new live video of “Never Back Down” recorded straight from their homes. Check out the video HERE. The track is off their album The Last Act Of Defiance and follows the previous quarantine sessions “Alone“, “The Bland Within“, “Paper Tiger” and “Hardcore Horseshoe“. Make sure to subscribe to the band’s YouTube channel in order to get notified about future releases like the last quarantine clip that will be released in two weeks.

 

“This Quarantine Jam is a perfect anthem for these times! ‘Never Back Down’! Coming from the ‘Last At Of Defiance’ album. Here’s rally cry to get you through all the shit and the seemingly endless plague. It’s high energy, anthemic hardcore music, rooted in punk and Oi are a perfect fit to the take no shit everyman and everywoman lyrics. A reminder that no matter what they throw at you, keep on pushing, keep on fighting,” states SICK OF IT ALL about the release.
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Fronted by the charismatic person Edith Coleslaw aka Ashley Pooler, Abertooth Lincoln recently dropped their debut single for Riot Records, “Hell House”and now the accompanying music video (below).

Hailing from Dayton, Ohio Abertooth Lincoln are an aggressive, spacey hardcore progressive punk band. Their music is heavy, weird, complicated and can flip genres within seconds. But the bottom line is they are unique and refreshing.

“This is the story of two naive but rebellious teenagers that magically get transported to a world within a comic book, in which they are subjected to the horrors of an evangelical hell house attraction. To save others from experiencing the same trauma and judgement, the teens take matters into their own hands, waging a bloody battle against the “demons” of Hell House. Hell Houses are a real thing, managed by evangelical churches in every state. They are run by people who get off on judging and condemning their neighbors, and pretending to be actual demons dragging sinners to hell. It’s violent indoctrination and fear tactics used on teens, and we thought it’d be fun if the people that do this sorta thing got sent to hell for a change.”
– Abertooth Lincoln

I was deeply moved after reading an article about the Red Scare era HUAC horrors faced by one time silver screen Citizen Kane darling Dorothy Comingore (lareviewofbooks.org/article/destroyed-by-huac-the-dorothy-comingore-story/) and how she was wrongfully institutionalized, framed and slut shamed. Seeing as how we are in a new red scare today as conservatives target every common sense solution as ‘radical socialism’ and the Trump era has been all about gaslighting and zealous authoritarian dogma, it seemed the perfect time to honor the life of an unbelievably strong woman in song who had her rights threatened to a horrible extent.

This will very likely be on my in progress next album Tears We Should’ve Shed but due to Covid fudging up the year, I am giving it to the public now before the election and as a timely teaser track well in advance. I have been listening to The Adverts, Against Me! and Bad Religion, as you might be able to tell.

Thank you to Sean Paul Pillsworth (Nightmares For A Week) and Dave Bodie (ex-Divest, Kayo Dot, Time of Orchids) for helping me achieve this track and for Nada Recording Studios for being the perfect place to track it. 

God bless y’all and Dorothy Comingore. Don’t give up the fight.
-Morgan Y. Evans

Click HERE to hear the song. 

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Intersectional feminist punk band WAR ON WOMEN return with new album Wonderful Hell(out digitally October 30th + physically on November 13th via Bridge Nine). You can hear a new single today! The title track, which unintentionally echoes John Lewis’ notion of “good trouble” as a catalyst for change, emerged during a period when vocalist/lyricist Shawna Potter was feeling exhausted and overwhelmed by life in the Trump era. “I think it expresses something that a lot of people are feeling. Like, ‘Okay, we had our moment. Now it’s time to get back to work. We can’t let this happen again. We can’t endure another four years of this,’” she comments.

 

It is disgusting the DOJ is being used as Trump’s personal flunkies to try to make sure there is no fair justice for E. Jean Carroll. The system is a joke! We need bands like this more than ever. Loving the new song. Reminds me of if old War On Women listened to a bunch of Dagnasty and Embrace and added more dissonant melody. Fucking rad!

 

Recorded with the band’s guitarist and co-founder Brooks Harlan alongside J. Robbins at his Magpie Cage Studios in February 2020 and completed in April (when in a COVID-19-free timeline the band would have been on tour with Bad Religion), Wonderful Hell is the first War On Women album to feature the band’s current lineup of Potter, Harlan, bassist/vocalist Sue Werner, guitarist/vocalist Jennifer “Jenarchy” Vito, and drummer Dave Cavalier.  Like War On Women’s previous albums, Wonderful Hell includes anthemic songs that tackle systemic racism, acknowledge the natural feelings of wanting to give up or self-destruct in the face of insurmountable adversity, and some that aim straight at the jugular of gender disparity.

Check out the song “Wonderful Hell” HERE. I have said it before but I truly feel they are the most important current band in punk rock.

Look for Wonderful Hell to be available digitally on October 30th, 2020 (+ on physical formats on November 13th, 2020).  More news, music, and pre-orders coming soon from War On Women (sign up to receive pre-order details here).

Wonderful Hell Track Listing:
1.  Aqua Tofana
2.  Milk and Blood
4.  This Stolen Land
5.  White Lies
6.  Big Words
7.  Seeds
8.  Her?
9.  In Your Path
10.  The Ash is Not the End
11.  Demon
Artist photo by: Julia Schwendner
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DEAFBRICK stream album at Cvlt Nation

Posted by Morgan Y Evans - Walking Bombs on Wednesday, September 2, 2020 at 9:51 AM (PST)

photo by Felipe Pagani

Deafbrick – the collaborative album between Brazil’s DEAFKIDS and the UK’s PETBRICK – will see release this Friday in North America through Neurot Recordings and in Europe via Rocket Recordings. CVLT Nation is now hosting an advance stream of the entire album alongside an interview with both acts. This is a very exciting moment for the underground as both acts are pillars of inventive cacophony and this collab is sure to be something left field and morale boosting for fans of extreme, freaky chaos and percussive weirdness.

PETBRICK is the creation of Wayne Adams (Big Lad, Death Pedals) and Iggor Cavalera (Sepultura, Soulwax, Cavalera Conspiracy) and more. The band has released several EPs and albums through Closed Casket Activities, Rocket Recordings, and more over recent years, and they have toured and collaborated live with a variety of acts.

 

DEAFKIDS erupted into the international scene when Neurosis’ Neurot Recordings signed them in 2016. Since then, the label has issued two albums from the trio, and they toured internationally including opening for Neurosis, Bell Witch, Big|Brave, and others across North America, and alongside Rakta, Petbrick, and others in Europe.

 

CVLT Nation writes in part of the album’s intense and psychedelic attack, “DeafBrick is a unique aural experience and I’ll give it to the guys: there’s nothing quite like it on this planet. Their collaboration brings out the best in both bands and tends to temper any of their individual excesses. This is a focused, intelligent record of noise, industrial, metal, and punk. This is the most original album I’ve heard all year, but it is definitely not one of the most pleasant. There’s an element here, one of deprogramming, or maybe it’s programming, but you can feel your brain bleed in certain parts, like the band is issuing forth sounds that are breaking down mental barriers you never knew existed. This isn’t dangerous, but it is singular, and once you allow yourself to delve into its depths, you won’t come out the same person.”
Listen to the entire DEAFKIDS & PETBRICK Deafbrick collab at CVLT Nation early RIGHT HERE.
Also see the previously issued videos for “Sweat-Drenched Wreck” HERE and “Força Bruta” HERE.

 

Deafbrick will see release on LP and digital platforms this Friday, September 4th. In North America, find preorders through Neurot Recordings HERE and HERE. In Europe find preorders through Rocket Recordings HERE. Preorders for all digital providers are available HERE.
 

WISDOM IN CHAINS, SHARP/SHOCK TEAM UP FOR 4-SONG E.P.

Posted by Morgan Y Evans - Walking Bombs on Monday, August 31, 2020 at 6:48 PM (PST)
Underground hardcore icons Wisdom In Chains face off with the ultra hyped Sharp/Shock for the ultimate hardcore / pop punk split, out on September 11th.  Each band shreds a fresh original and then cues up on their own handpicked cover.  Wisdom In Chains uncovers the glory of the ultra obscure Epoxies, while Sharp/Shock celebrates a classic hit from the legendary Buzzcocks.
Today, we’ve unveiled Side A opener “Richie’s Revenge” from Wisdom In Chains.  The track showcases the band’s trademark PA Hardcore sound while remaining as relevant and timeless as ever.
The Wisdom In Chains / Sharp/Shock Split E.P. will be available physically and digitally on September 11th from Fast Break! Records.  Pre-orders are available here, and new music from Sharp/Shock will arrive soon.
Track Listing:
1.  Need More Time (Wisdom in Chains)
2.  Richie’s Revenge (Wisdom in Chains, originally performed by The Epoxies)
3.  The Ploy in Employment (Sharp/Shock)
4.  Ever Fallen In Love (Sharp/Shock, originally performed by The Buzzcocks)
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I have long maintained that Kevin Sharp (of Brutal Truth fame) has the distinctly most savage and hearty screaming voice in metal and the latest from his project with Napalm Death alumni, Venomous Concept‘s Politics Versus The Erection, does little to shake that certainty. The bellow to out bellow them all is paired with the band’s most blatant Poison Idea-worship yet for one of the most satisfying audio weapons yet to wield in the political shitshow of 2020. I am in need of blasting it after pedo protector Cardinal Dolan spoke at the RNC last night as if he is any moral authority on anything!

Kevin Sharp comments: “We wanted to do a record that sounded reactionary. We went into a studio wrote and recorded PVE in four days, in the age of digital thinking, records full of edits. Politics Versus the Erection is perfectly imperfect.”

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