#roachleg records

[felopunk]

MIRAGE - LEGATO ALLA ROVINA EP (2024)

NYC invigorating Italo-hardcore outfit MIRAGE are back with a new 12" "Legato Alla Rovina". Their latest release shifts ever closer towards the forefathers of classic Italian punk with 8 new tracks in the vein of Nerorgasmo and Upset Noise. Martial drums and commanding riffs are the backdrop to sonorous mad-preacher style vocals, while maintaining a reverence for post punk influence. Members From: AMMO, ACID CASUALTIES, ETC.

[0-coordinates]

(929) 900-5949

[goodbysunball]

Quarantine rock, pt. III

Another long overdue update from the indoors. Hope you and yours are hanging in there - if nothing else, there’s no shortage of great music to keep you company. Here’s my take on some recent favorites.

C. Lavender, Myth of Equilibrium (Editions Mego)

Admittedly had not heard of C. Lavender until her collaborative cassette with Aaron Dilloway dropped earlier this year, but it’s safe to say that the tape was strong enough to blindly buy her new LP on Editions Mego. Myth of Equilibrium has been one of the best surprises from this year, drone at its core but opening up to something much more soothing over repeated listens, despite the jagged edges and tendency to embrace caustic noise. It came as no surprise to find out that C. Lavender embraces sound as a healing medium, as Myth of Equilibrium takes a deep, buzzing bass tone and twists and stretches it until individual packets of sound are weightless and ethereal. “Remedy Potion Extraction” is the most obvious example of this dark-to-light transformation C. Lavender excels at, but mostly the tracks present a satisfying puree of sound over shorter durations (”Engulf the Mystery,” “Dimly Lit Exit”). The brevity is a strength, and in that way C. Lavender reminds me of French duo Femme or even some of Tim Hecker’s work, but without the startling track-to-track transitions of the former or the diaphanous shroud of the latter. The bass keeps Myth of Equilibrium tangible and firmly grounded, and the rest of the sounds conjured by C. Lavender weave a very heady, very rich tapestry. The best respite from 2020 money can buy; soak it in. The LP is sold out from Editions Mego but those in the US can order it direct from C. Lavender for a very fair price.

Kobra, Confusione (Iron Lung)

Alright, I’m admittedly not a huge fan of the cover art for this record, but it’s an easy enough barrier to jump over when the music rips this hard. Kobra is from Italy, and they traffic in a mid-paced, pounding strain of punk that is right up my alley. Sounds like Una Bèstia Incontrolable meets Mecht Mensch to these ears: like the title track, which starts out like “Zombie” and then flips into a UBI-level groove, sax bleating and moaning on top of it all. This is punk through and through, the blown-out drums always there to remind you that this is presented by Iron Lung Records, but there’s a definite early post-punk/art-rock vibe present, too - check the groggy “Fogna” that opens up side B, which kinda sounds like Kobra doing their best impression of the Circle Jerks in Repo Man. The guitars don’t riff as much as they slash and chop, fragmented stabs landing among the onslaught of drums. The vocalist uses a menacing speak-scream (most effectively on ”Sogni Illusioni” and closer “C.P.D.M.”), and if I could speak or read Italian, I’m sure the lyrics would be intelligible amongst the din. Confusione is loaded with hits, but when the band clicks and all the parts come together, Kobra whips up a maelstrom; hard to deny the power of “Dentro Agli Schermi” (my favorite track) or “C.P.D.M.,” and though both of those tracks feature the saxophone, I’m glad the band wields that weapon sparingly for maximum effect. One of the most memorable and exciting punk releases of 2020, for sure, a formidable, brawny brew that’ll flex your pencil neck and have you involuntarily pogoing in no time. Highest recommendation! Confusione is sold out direct from Iron Lung, but Sorry State, Feel It, Grave Mistake, etc. all have it in stock.

Oily Boys, Cro Memory Grin (Cool Death)

The best musical news this year, hands-down: NEW OILY BOYS. Not only was an Oily Boys LP drop completely unexpected, I am completely steamrolled by this record every single time I drop the needle, from the opening “UGH!” on “Given” to the nearly nine minutes of caustic self-loathing on “GTrance.” There’s a definite metallic edge to the way Oily Boys approach punk, from the riffing to Drew Bennett’s brutally intense vocal performance, but while most punkers approach metal as a gimmick and end up sounding pretty tame, Oily Boys just sound absolutely mad - the 1-2 of “C.B.D.” into “My Sex Life,” especially the wild guitar theatrics on the latter, carry an intense, teeth-clenching physicality. If that was all Oily Boys did on this LP, it’d be a success, but the band throws curveballs and mid-tempo fits across Cro Memory Grin’s 13 tracks. “Heat Harmony” was the most jarring inclusion at first, relatively tuneful dark punk that could’ve been lifted from drummer Yuta Matsumura’s other band Orion. It definitely works, and the slightly softened approach of the band thankfully has no effect on Drew Bennett’s vocals. “Lizard Scheme” is another detour, swelling noise and Bennett’s barking (”Stupid is as stupid does, jazz boy!” is a choice lyric), reminiscent of Gutter Gods’ dizzying “Allan.” Probably the two most pummeling tracks here slow the tempos significantly and close out each side: “Stick Him,” my favorite track, and “GTrance,” the exhaustive closer. “Stick Him” is absolutely ferocious, the band emphasizing the quiet-loud dynamic with saxophone, the loud parts lurching into place like heavy machinery turning on, Bennett screaming the title with a violent ferocity. Where “Stick Him” is feral, the screed unleashed on “GTrance” by Bennett feels therapeutic, expelling every bit of toxic bile into the song without a break, and even if there is no resolution, the end result is a momentary peace, the same kind afforded by pushing to the full extent of one’s mental or physical abilities. That kinda seems like the point of Oily Boys, from the self-effacing name to the poisonous lyrical content to the absolutely ferocious performance: know your enemies, push back against the lowering boot of the world, fuck the rest. 2020′s best punk record, no contest, and maybe even the best record/soundtrack to the perfect storm of this year. Sick artwork/inserts on this LP, a nice job as usual from Cool Death. Cro Memory Grin is still available direct from them, and Goner still has it domestically.

Subdued, Over the Hills and Far Away (Roachleg)

With last year’s Bad Breeding LP still fresh and prescient as ever, and the political climate seemingly spiraling into reality TV while people mercilessly struggle and suffer all over, it seemed like scoping this new LP from the UK’s Subdued was more than appropriate. It’s reductive and maybe a little offensive to mention UK compatriots Bad Breeding in the first line of this review, but the similarities are hard to ignore: both bands create fiery politically-charged punk that flirts with metal and noise, delivered in screamed vocals with a heavy British accent. Subdued don’t fly off the rails as much as Bad Breeding; there’s more of a Crass/Rudimentary Peni vibe, with the emphasis on vocal delivery and riffs rather than conjuring a visceral tornado of noise. Sometimes the riffs can be a little clunky (particularly the end of “The Joke,” even though “Is hope the joke?” is a pretty powerful lyric), and for how much room the vocals are given, the lyrics can tread into oft-used clichés. Doesn’t make the message any less true, and I think the longer I spend with Over the Hills and Far Away, the more I come under its spell. “Problem of Evil” is probably the best song here, a near-perfect blend of deathrock, stomping riffs and barked vocals, and when it turns into the sprint of “No More,” Subdued are an undeniable force. Not sure if it just takes me until those two songs to warm up to Over the Hills, but the B-side of the LP seems to be more memorable - like the world-beating metallic riffs of the title track, or the frenetic guitar solo that finishes off “Call to Suffer.” There’s more than enough at play on Over the Hills to keep me coming back, and overall it’s a strong debut LP, and a great reason to check in with what Roachleg Records is bringing to the US punk scene. Cop the LP direct from Roachleg, and if you’re lucky you might have a chance at one of the limited-to-100 hand-screened covers. La Vida Es Un Mus put out the LP for the rest of the world, another solid co-sign for Subdued.

Aviador Dro, Nuclear, Sí 7″ (La Vida Es Un Mus) // Algara, Enamorados Del Control Total 7″ (La Vida Es Un Mus)

I don’t think these two 7″s have much in common other than the fact that they’re both put out by La Vida Es Un Mus, they’re both sung in Spanish and they’ve both been ruling my turntable this year. The Aviador Dro record is a reissue, one that came out last year, and it’s a gem: sci-fi keyboard punk from the '80s, the titular track one of the best songs I’ve ever heard, a slinking, funky beat driving the song into your brain forevermore. The B-side feels more edgy than the A-side but it’s all undeniably great; Paco did us all a favor by repressing this record, and continuing to keep it in print. Fast forward to 2020 for Algara’s 7″, their debut, which came out way back in pre-pandemic January. The cover art caught my eye, and the spindly, groovy drum-machine post-punk within is immediately addictive. The label says Crisis and Joy Division are in Algara’s musical DNA, and that sounds about right; the sound is spare, you can kinda dance to it, the bass lines carry the weight and the wiry guitars smear into each other (”Miedo a Perder”) or stitch single golden threads into the tapestry (”Dopamina y Producción”). Algara’s a 4-piece now, and they’ve got an LP coming soon on LVEUM, so 2021′s lookin’ bright. Both 7″s are mandatory, widely available from distros and direct from La Vida Es Un Mus. Scope the feature that Lulu’s wrote on Algara while you’re at it.

Saskia, Eeuwig Op Reis 7″ (Stroom)

The record collector sweat starts when you read about a 7″ reissued from a “highly intimate cassette” limited to ten or so copies in 1983, circulated only amongst friends and family. My eyes typically roll at such uncovered “gems” or whatever, but these two songs definitely deserve a wider audience. “My Lips Get Hot” splits the difference between the foggy late night atmosphere conjured by Chromatics and a breezy Balearic vibe, topped by sensual, high-pitched vocals that really drive the whole woozy, lovesick message home. The flip has the instrumental “You Left Your Soul Behind,” wherein said Balearic vibe is now at the forefront. It’s a strong track on its own, but kinda just serves as the comedown from “My Lips Get Hot” in this presentation. Stroom continues to unearth overlooked records with unnerving ease, and this Saskia 7″ might be the one that makes the label a more common name. One copy of this record is left at Stroom’s Bandcamp as of this writing - move quick.

Glen Schenau, “Jhumble” b/w “Jearnest” (self-released)

Glen Schenau is at the forefront of Brisbane’s experimental musical scene; he’s done time in Kitchen’s Floor, Bent and has even self-released a few things under his own name. The solo stuff I’ve checked by him was restless, frantic guitar and bass lines seemingly swimming against the current of his Bryan Ferry crooning. While there’s no denying that it was singular, it never really coalesced for me in the same way that this new 7″ does. That same restlessness is still at play here, obvious from the beginning strumming of “Jhumble,” and Schenau seems to still relish the vocal stylings of Ferry, though his vocals also remind me of some of the alterna-rock radio I was subjected to while working in a warehouse during summers between school. Normally that sort of vocal homage would send me running to the hills, but it really works here: the busy guitar line and the drums lock into an undeniable groove on “Jhumble,” and whatever Glen is singing, the melody is stuck in my head for days. “Jearnest” is my pick, the more difficult foil to “Jhumble”’s pop leanings. The sprightly guitar at the beginning is submerged into this rubbery goo, which eventually takes over the song while a whistle floats in to carry a melody over the tarry pit. Can’t say I’ve ever heard anything like it, but it doesn’t just float along on that claim; this is a highly potent brew served up on both sides of this single. Glen self-released this record and it’s limited to 150 copies; mine came with a hand-written note and drawing, which was a nice touch. High marks all around. I’ve got to echo Matt K.’s sentiments when he reviewed this record: “Seems like every Australian band gets their own album without much delay, so I have to ask: where the hell is Glen Schenau’s?!”

[alotofboring]

Playlist #27: Noisy noise punk

[genericrecordreviews]

Subdued, Over The Hills And Far Away (La Vida Es Un Mus / Roachleg, 2020)

I usually like my punk with as little metal in it as possible. But I found out you can get away with a few long-haired shenanigans to my ears if you just pay attention and follow a few simple rules: sick riffs; keep the soloing discreet; crunchy trebly guitars, please, none of that bass-heavy bullshit; no growling; no hi-pitched squeals.

That's easy, see? Subdued had no problem fulfilling all my requests. When they go back to grabbing you by the hair to drag you to the end of side A, after the cool, atmospheric, bleak intermission following “Death or Lies”, they do so with two straight-up punk bangers: the mean gothic stomp of “Problem of Evil” and “No More”, a 1 minute and 44 seconds masterclass in no-bullshit classic 1-2 UK hardcore.

It’s all very dreary. The lyrics have a sort of dry gothic style, halfway between a 1940s American noir, an anarchist pamphlet and 19th century romantic poetry. The 16 page booklet, illustrated by the band’s drummer Nicky Rat, is dismally beautiful. Comparing this record to the latest Bad Breeding LP (which is kind of what the label blurb prompts you to do) I feel like the latter have a more earthly, concrete approach to the politics. Subdued sound more vague in their stance, adopting an aestheticized, poetic point of view on despair that leaves you wanting a little more substance. Still, some of the lyrics hit the right spot: “Is hope the joke?” is a line that will make any punk vocalist mad at themselves for not having thought of it first.

On Over The Hills And Far Away Subdued do it all. Mid-tempo punk stompers, breakneck hardcore ragers, top notch metalpunk, melancholic goth atmospheres—on “War Cry” even in one song. While music nerds will no doubt love to pick them apart and point out that this riff sounds just like this, the drumming is straight up lifted from that etc., I’m too ignorant and disinterested to play the game. While it won’t be the most original-sounding album of the year, it will probably be one of the best.

Click here to listen to Over The Hills And Far Away on Bandcamp.

Follow GRRAWR on Instagram to get a weekly record review every Wednesday in your IG feed.

[magick-knives]

Poison Ruïn: Not Today, Not Tomorrow / Parade Of Phantoms / Edifice.

7" on Black Vinyl.

Roachleg Records.

[boaws]

Fat Tracks for Fulci - Show 210

Fat Tracks for Fulci - Show 210

Cactus - One Way...Or Another - One Way...Or Another - 1971 (ATCO) Visitors - Visitors - Visitors - 1974 (Decca) Ian Carr with Nucleus - Bull Dance - Labyrinth - 1973 (Vertigo) / 2022 (Be With) Rich Ruth - Angel Slide - I Survived, It's Over - 2022 (Third Man) Galcher Lustwerk - Overpay, Overstay - Information - 2019 (Ghostly International) Black Lodge - A Cross Inverted - Bitter Blood (A Collection of Archival Recordings) - 2018 (Disciples) Hogg - Burn - Breaking at the Edge of the Frame - 2022 (Self-Released) Boris - Nosferatou - Heavy Rocks - 2022 (Relapse) Chalk - Power of Justice - Demonstration - 2022 (Self-Released) Doom Beach - How to Love an Insect - Copperhead - 2022 (The Ghost is Clear) Black Beach - Bear Witness - Giallo - 2021 (Blade) 00_ - ClaUdia - Ca-yptra - 2022 (Ramble) Hysteric Polemix - Queer Goetais - Songs for the Solstice - 2022 (RoachLeg) Backwards into Paradise - Hope - 86-88 - 1988 (Hope) Died Pretty - Round and Round - Free Dirt - 1986 (Citadel) / 2022 (Sorcerer) Tony Molina - Leave This Town - In the Fade - 2022 (Run for Cover) Lemonheads - Clang Bang Clang - Creator - 1988 (Taang!) Khaliq Al-Rouf & Salaam - Libra - Elephant Trot Dance - 1979 (Nilva) Sir Edward - Peace, K.D. - The Power of Feeling - 1973 (Encounter) / 2022 (Jazz Room) Khan Jamal - Lovely Afternoon - Infinity - 1984 (Jambrio) / 2021 (Jazz Room) Goon - Lyra - Hour of Green Evening - 2022 (Démodé) Balafre - Boxing Song - Boxing Songs - 2022 (Moment of Collapse) Madelines - Barely Breathing - Your Motives Kill Me - 1996 (Sudden Shame) Lifeguard - Fifty Seven - Crowd Can Talk - 2022 (Born Yesterday) Polvo - When Will You Die for the Last Time in My Dreams - Exploded Drawing - 1996 (Touch & Go)

[evolstak]

URCHIN PEACE SIGN 7"EP ROACHLEG RECORDS ROACHLEG U-02 2nd ep of Urchin from New York! raw Anti Cimex influenced discharged punk core shit! fucking awesome!

[0-coordinates]

SUPPORT THE CAUSE - ROACHLEG RECORDS

[0-coordinates]

ROACHLEG RECORDS

[0-coordinates]

PUFFER - DEMO

[0-coordinates]

[goodbysunball]

Best of 2021

What a freakishly dark year. Amidst our dystopian descent, one where D-beat and grindcore record covers seem particularly apt, independent record labels and artists keep providing and grinding, delays and inflation be damned. What the fuck else are ya gonna do? I wince reading headlines - the world is dying, tribalism reigns, someone just burned down the Planned Parenthood blocks from where I live - but music remains a constant source of elation, solace, rejuvenation and invigoration for me. It's helped me through a lot this year, and turned into a form of self-care in a way, given that increasingly rare free time was almost always accompanied by immersion into music. When I survey the past 12 months, these are the records that resonated. Grown man photographs his precious belongings, 2021. Take care of yourselves and each other, support the music venues and artists suffering through the pandemic's never-ending coda, and I hope this list can introduce you to something new even if I gave away the top dog months ago. Damn, what an amazing time for new music - happy digging.

LP

Nusidm, Hatred of Pain (self-released)

Cube, Drug of Choice (Alter)

Monokultur, Ormens Väg (ever/never / Mammas Mysteriska Jukebox)

Nightshift, Zöe (Trouble In Mind)

Quarantine, Agony (Damage United 82 / La Vida Es Un Mus)

Heimat, Zwei (Teenage Menopause)

Mortiferum, Preserved In Torment (Profound Lore)

Lea Bertucci, A Visible Length of Light (Cibachrome Editions)

The Body, I've Seen All I Need To See (Thrill Jockey)

N0V3L, NON-FICTION (Flemish Eye)

Six more:

Cerebral Rot, Excretion of Mortality (20 Buck Spin)

CIA Debutante, Dust (Siltbreeze)

Jean-Luc Guionnet & Will Guthrie, Electric Rag (Ali Buh Baeh / Editions Memoire)

Maraudeur, Puissance 4 (self-released)

Emily Robb, How To Moonwalk (Petty Bunco)

Waste Man, One Day It'll All Be You (Feel It)

12" / 7" / cassette

CIA Debutante, Music For Small Rooms 12" (ever/never)

CIA Debutante, Pier 7" (SDZ)

Earwig Deluxe, It's An Emergency To Them CS (Striped Light)

The Fulmars, The Lost Ones 7" (Hüüpnootsche Platen Un Kassetten)

Horrendous 3D, The Gov. and Corps. Are Using Psycho​-​Electronic Weaponry To Manipulate You and Me​... 7" (Whisper In Darkness)

Sial, Zaman Edan 7" (La Vida Es Un Mus)

Suffocating Madness, s/t 7" (Active-8 / Roachleg)

Stomachache, Good Machine CS (self-released)

Taphos, Blood Plethora 7" (Night Shroud)

Treasury of Puppies, Lollos Dagbok 7" (I Dischi Del Barone)

Rap

Separate category because I'm a tourist at best. Here's what I was listening to that hit a nerve.

Armand Hammer feat. Earl Sweatshirt, "Falling Out the Sky"

Bigmutha AKA BbyMutha, Muthalificent 2 and Bastard Tapes Vol. 3 (self-released)

Boldy James & the Alchemist, Bo Jackson (ALC)

Flint & Detroit Rap 2021 mix by the best @thehotboxsocial

MIKE, "Disco!" (10K)

Pooh Sheisty feat. Lil Durk, "Back In Blood"

R.A.P. Ferreira, the Light Emitting Diamond Cutter Scriptures (self-released)

Starlito, Funerals & Court Dates and Insomnia Addict (Grind Hard) Not new, but it's never a bad time to revisit my favorite rapper's discography. The two albums I listened to most this year in any genre or form.

Young Nudy, Rich Shooter (RCA)

Young Slo-Be, Red Mamba and Slo-Be Bryant 3 (KoldGreedy / Thizzler on the Roof) - thx @raygarraty

[evolstak]

ARSEHOLES NEVER MIND THE ***** HERE'S THE cassette ROACHLEG RECORDS 6 songs tape of Arseholes from Philadelphia on New York's label! straightforward Scand core raw punk shit! fucking awsome! https://www.instagram.com/p/BsPsVTKgpFh3T573n36N_p8AavhjHcnylPEddc0/?utm_source=ig_tumblr_share&igshid=1gfs82jcpxm00