Old School Classics - Disrupt / Sauna "People Killing People" (split)

Our contributor Rigas goes back in time to review some legendary crust from grind pioneers Disrupt!

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Given that Disrupt is one of my favourite bands, it was really a hard choice which release to present here:  The cult classic 7’’ split with Destroy! (1991) or their most influential and probably most complete work ‘Unrest’ (1994)? Although, Unrest is their only full-length that actually kept Disrupt alive in punk history I chose to write something about their split album with Sauna as representative of that era and their most crustcore output.

Disrupt was one of the best hardcore punk bands of their era playing unrelentless ferocious crust/grindcore, or more aptly termed in this case discore (Dis-bands). I particularly like their style because there are no metallic influences just pure punk energy and ethos, unlike most of the ‘grind’ or ‘polished’ punk bands of today. Disrupt, like most of their peers back then, were spreading anarchist values:  DIY, abolitionist, anti-corporate, anti-authoritarian etc. (Check the anti-vivisection blast ‘A life’s a life’ from Unrest album).

Disrupt, hailing from Lynn, MA, US, were formed in 1987. They managed to release various splits, 7’’ and EPs in their short-lived career, which lasted only six years. They were in the same wave of bands as Dropdead, Destroy! and the likes. Actually, the songs found in this album were recorded only few months before their European tour (October/November 1993), after which they disbanded. Sauna, were a Swedish band and this is their only recording.

Recorded and mixed during two days (13^th and 14^th June 1993) at The  Lanes studio in Boston, MA by Bill Miller ‘People Killing People’ contains some of the most consistent tracks of Disrupt. Between the necessary Discharge and Extreme Noise Terror influences, Disrupt’s skilful and outright intense delivery sets them apart from the early American crust/grindcore bands. The riffs are crashing, the drums are pummelling, the vocals are lacerated in urgency. From the d-beat holocaust of ‘Xenophobia’, ‘You’ve no one left to blame’, ‘Succumb to the pressure’ and ‘An end to white rule’ to the slightly faster tracks ‘Trapped’ and ‘Leave me be’, this split album is a manifesto of punk essence. They even included a cover of ‘Protest’ from the UK anarcho-punk legends Conflict.

Sauna’s side is a good example of Swedish crust, albeit a bit weaker in comparison with Disrupt. The production at Markstudio with Mats Andersson is more muddy and downtuned. Highlights are the desperate, shouted vocals and the typical d-beat cuts ‘Welfare’and ‘Love’.  

Bottom line is that Disrupt delivered uncompromised music throughout their course to raise awareness and break the system apart. Their version of punk is stripped down to its pure, original essence: strictly political, rebellious and raw creating feelings of defiance and urgency. I suggest everybody should check them out. Disrupt were not playing punk, they were real punks. Not to forget also that 4 members went on to form the sludge masters Grief.

- Rigas(freegankolektiva@gmail.com)

Record Review: Comrades – "Collection 2010 – 2011" (Blood & Ink Records)

Great music-great musicianship and songwriting. Comrades delve into (mostly) instrumental, progressive rock and post-hardcore to eliminate musical boundaries and achieve a coherent whole. Enchanting melodies and captivating song structures, compiled here in a stunning release for the music enthusiast.

Genre: Rock / Post-hardcore
Country: USA
Label: Blood & Ink Records (link)
Band Website: Reverbnation
 

This is a rather unusual review for TYS, since Comrades’ music is much ‘softer’ compared to most of the bands presented here. Their sound might surely turn off some hardcore kids, but on the other hand it can surely please music enthusiasts. You can simple describe this as ‘good music’ without any terms and definitions. That is to say that these guys and gals, Joe, Connor and Laura, wrote some really inspired, good-sounding songs.

Now, more in detail, Comrades play rock with some post-hardcore hints here and there. That sounds like Sweet Cobra but Comrades invest more on ethereal, heartfelt melodies than sheer heaviness. There are surely parallels to post rock acts like Explosions in the Sky but again Comrades are quite different: their songs are more ‘unsettling’, featuring more changes and complex structures than the usual ‘building up climax to the point of distorted catharsis’ pattern. You can find some similarities to bands like Keelhaul, Red Sparowes or Burst (less), but although they share the passion of building ‘progressive’ songs with manifold changes of rocking riffs and melodies, Comrades are much less loud, sweaty and dissonant.

This album consists of 10 compositions, gathered over a span of time of two years as the title conveys. This is actually a compilation of 3 self-released EPs, as an outcome of their recent signing with Blood & Ink Records to be followed by a new album later this year. Most of the songs are instrumental and whenever vocals appear they just complement the message of the songs. The production is very bright and every instrument has its own place delivering all those timbres that you can expect from an instrumental rock band. Apart from unerring songwriting, Comrades’ are skilful players.

Riffs, melodies and tempo changes are intermixed in a very eclectic and captivating way. What really stands out here is the omnipresent enchanting melodies. The songs are utterly memorable and interesting to the point of ‘forced’ repeat. It is hard to talk about particular favourites here - all songs have something to say. They have a very grounded, human nature which is appealing directly from the heart of the musician to the heart of the listener: ‘Weight’, ‘Giants’, ‘Where Moth and Rust Destroy’ (the most HC song), ‘Hammerhand’, ‘Lend Me Your Heart’, ‘We Are Halves’, ‘Encourage, Encourage’. You can actually listen to the whole record through the following link:

http://bloodandink.bandcamp.com/album/collection-2010-2011

Comrades are doing their part; they have built their own sound and have pushed some elements of rock, progressive rock and post hardcore further. It is like they distilled those music styles into a coherent whole in order to expand, or better abolish, their boundaries.

Comrades come from Richmond, Virginia, US and they have toured extensively playing in any imaginable place. They are also part of the ‘Motherland Collective’, which is dedicated to re-establishing respect, collaboration and mutual support in the scene. As Comrades put it in their own words:

“[We are] Three very different people trying our best to make honest music about things we believe to be important, such as (but not limited to) integrity, the remedying of social injustice, and our creator God.”

Review by Rigas

 

Record Review: Robert of the Square "Time. Truth. Heart." (Hollow Earth Records)

A compelling debut EP from Robert of the Square that generates great hope for European avant-garde hardcore’s future. Rooted in both Botch-like dissonant structures and more expansive post-rock/post-hardcore themes, they explore the whole musical territory inbetween while treading in new ground. They develop a mature sound before they even introducing themselves.

Genre: Post-hardcore/Metal

Country: Italy

Label: Hollow Earth Records (link)

Band Website: Bandcamp

To be honest, the only thing I know about Italy’s hardcore is only some bandanna thrash and oldschool hardcore punk. Robert of the Square, from Trieste are remarkably different. They deliver a solid debut EP that is at least promising of great things to come. Surprisingly, their sound is already ‘mature’ enough to explore, appropriate and combine their influences to craft five ‘driving’ songs hard to go unnoticed. Well-written, skillfully-executed with an outstanding production their sound rests equally on mathcore and more expansive post-hardcore.

Although a comparsion with American peers like Achilles or The Minor Times (who came into prominence in the latter half of the 2010’s) would be valid, the listener soon realizes that Robert Of The Square consciously depart from that sound to explore a softer, more progressive and atmospheric side of the genre. For instance, the song ‘Dominio’ demonstrates most evidently their European character with dark haunting melodic riffing while still keeping the dazzling, palindromic Botch affairs all too well blended. Their sound is also informed by post-rock aficionados Mogwai and Red Sparrows.

The first number ‘Time’ is quite representative of what Robert Of The Square stand for musically: They enter the musical landscape with an interesting 1 minute ‘showcase’ of their explorative sound palette that sets the tone for the rest of the EP just to give place to typical mid-paced ‘cumbersome’ dissonance of Botch and the likes to fall back to more ‘stretched’ post-hardcore passages of earlier Swedish stalwarts like Burst and Breach.

There is no drawback in this EP, just plenty of memorable moment throughout the whole set. From the exquisite slow second part of ‘Truth’ that broadcasts some glimmers of unwinding hope to the dynamic complexity of ‘Impero’ which resembles some early-Norma Jean vibes and the monolithic heaviness of ‘Ego’ the genre of heavy, experimental music has won a gifted exponent. The vocals express insight and pressure, hard and throaty with no exceptions.

Every song is a creation, every song is ‘driving’ with manifold changes and tempo shifts intermingled, every song has a reason to be there altogether creating an exciting flow in the album. This EP, unsettling and experimental as it is, may open many musical paths for Robert Of The Square to follow. I recommend everybody to check them out, because they are a great hope for the avant-garde hardcore scene of Europe.

- Rigas

Featured Band: Focused X Minds

FocusedxMinds hail from Milwakee, Wisconsin, US. Even if Milwakee is not particularly famous for HC punk, you should check out FxM for some passionate and self-empowering straight edge HC, because they are making big noise right now with incessant touring and recording.

They already have a great demo (2010) that you can download for free here: http://focusedxminds.bandcamp.com/.

Somewhere between a NYHC / Boston sound and fastpaced straight edge HC (at times thrashcore), songs like ‘No Satisfaction’ and ‘Free Your Thinking’ are bursting into youthful blasts of positive energy.

Earlier in 2011 FxM released a 7’’ at 6131 Records, titled ‘Stay Focused’, which contains 3 tracks from the demo plus 3 new songs!  Especially the title track is one of the best songs I have heard lately. A couple of days ago FxM got out of the studio after recording a bunch of new songs to be released in a 3-way split with Out of Time and Another Mistake later during spring 2012 by 6131 Records. So, stay tuned, there is a lot coming from FxM!

FxM are a new band but they are spreading out mature messages (sxe, animal rights, personal change etc.) and seriously positive vibes. FocusedxMinds stand for being open-minded while being a straight edge kid. It is about self-determination refuting stagnation in any doctrines or submission to norms (even within a sub-culture).

I recall the times when the straight edge community has suffered from ‘zero tolerance’ mentalities and militant violence towards people who do not follow straight edge lifestyles. There is a difference between being passionate about your beliefs and being blinded by them. In a passionate state you can go forward while in a blind condition you can become destructive and backward-minded.

- Rigas

Links:

http://focusedxminds.tumblr.com/

http://www.last.fm/music/FOCUSEDxMINDS    

http://www.facebook.com/FOCUSEDXMINDS

http://www.stereokiller.com/FocusedXMinds

http://focusedminds.blogspot.com/

https://twitter.com/focusedxminds

http://focusedxminds.bandcamp.com/

Review: HARM's WAY "Isolation" (Closed Casket Activities)

Harm’s Way play brutal hardcore, but unlike many peers, they are as solid and heavy as it can get without any melodic ear candies or other trendy elements inside. In the present album Harm’s Way put together the grooviest and heaviest styles from hardcore and metalcore, to transform them into a sound uniquely theirs. You can be sure that this record is going to conquer your soundsystem in heavy rotations!

At first listen, Isolation does not sound that startling or extraordinary, rather tardy worn out and cliché, nevertheless it grabbed me from the neck with its megatone heaviness. Slowly as the tracks went by, I started realizing that Harm’s Way stand out from the crowd of ‘chugga-chugga’ thugs and copycats. Especially after listening the title track things got more interesting and addictive to the point that I kept repeating the tracks again and again. Isolation contains at least three of my favourite brutal hardcore numbers of the last years, namely ‘Breeding Grounds’, ‘New Beginnings’ and of course ‘Isolation’.

Here’s the recipe: 90’s mid-paced brutal hardcore ala Buried Alive, Hatebreed, Strife, Terror,  Naysayer etc., pounding open-chord progressions reminiscent of Machine Head (‘The more things change’-period), Throwdown, Soulfly etc (but totally hardcore and personalized). They make some occasional use of thrashy but warm and tuneful Merauder-like riffing of Master Killer era (pay attention to the 2:18 of ‘Slither’ or the starting riff of ‘Pretender’). There are some influences from darker hardcore acts like Integrity or the newcomers Xibalba but also slow downtuned boneshaking Crowbar grooves alongside doom hints. Yes, there are also breakdowns, but given in the band’s plodding and harsh style.

All is delivered in Isolation under an ice cold, introvert yet devastatingly heavy prism with black & white aesthetics. It is anguish, nihilism and soreness that drives Harm’s Way, not the street attitude. It is not another band that produces plastic copy/paste patchworks by the pound; the more you dive into Isolation, the more you realize that it is a cult album that paradoxically deviates from the standard macho style in spite of its heaviness and dance parts. Even though Harm’s Way is a straight edge band, this fact passes totally unnoticed throughout the record.

The songs are perfectly-crafted to reach their ends of pulverizing despair and anger: riffs, moshing grooves, breakdowns put in just the right place to create a flow of different tempos. The severe throaty vocals are sparingly used to force repetitive abstract words into the music like nails and make the crash absolutely harder (in ‘Becoming’ the phrase "cast a shadow. plead. freed" is repeated throughout the whole song). That is a real departure from the tiring endless screaming used by most bands nowadays. 

There are also some more subtle elements that push this record even further like the 2:55 minute mark of the ‘New Beginnings’, where the open-chord groove is molded into pure distorted heaviness that brings sludge/drone mantras in mind (especially the opening riff of Torche’s ‘Charge of the Brown Recluse’). When the vocals kick in the outcome is scorching! Another super effective creative detail is the mellow, quiet end of ‘Slither’ that has an Oceanic era Isis touch (and all the feelings of detachment and withdrawnness it denotes). It lasts only 50 seconds but is again repeated in ‘Pretender’ (the album’s closer) which finishes off with a  synth-assisted epic doom riff.

Isolation is honestly delivered, not overproduced but it has definitely a crashing production (by Andy Nelson at Bricktop Studios, mastered by Carl Saff at Saff Mastering) and highly danceable grooves that can tear any moshpit apart. Harm’s Way deliver mid-paced metallic hardcore of monstrous heaviness; a homage to the 90’s with a reclusive personal twist. While they incorporate a dark image and a hard sound they do not mix many styles (crust/black etc.) like other contemporaries do (see Rise & Fall, Oathbreaker, Trap Them, All Pigs Must Die etc.), they prefer to stay on the straight side of brutal hardcore. Not a single note drifts away from hardcore sound, rather all instruments are packed together like a fist of concrete. Thumbs up also for the great cover illustration by John MacNair!

Harm’s Way have been always changing, steadily focusing their sound on what culminated into Isolation, which is by far their best effort to date. Since it is a relatively young band, the expectations are sky-high for their next steps.  I would be surprised if there are any bands out there that can do any better metallic hardcore than these guys from Chicago.

Harm’s Way previous discography:

(2007) Imprisoned 7’’ EP (Organized Crime records, Tooth Decay Records)

(2009) Reality Approaches (Organized Crime records)

(2010) No gods, No Masters EP (Closed Casket Activities)

- Rigas

http://www.facebook.com/harmsxway
http://www.closedcasketactivities.com/