Remastering Os Replicantes “Compacto 1985” on Nada Nada Discos.

This is one of my favourite Brazilian punk bands and it is a great pleasure to have the opportunity to work on remastering from the original tapes this important part of early Brazilian punk history. This classic 7in is very difficult to find and thanks to the hard work of Nada Nada discos has now been reissued with every aspect of the original restored and refreshed from the audio to the artwork.

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“Os Replicantes are an influential Brazilian Punk rock band formed in 1983 in Porto Alegre, Rio Grande do Sul by Wander Wildner (vocals/guitar), Herón Heinz (bass), and Carlos Gerbase (drums).

One of their first actions was the establishment of an independent label, Vórtex. In 1985, they released an EP with the songs “Nicotina”, “Rock Star” , “O Futuro É Vórtex” e “Surfista Calhorda”. The latter broke into radio stations around the country, making the Replicantes known throughout Brazil. Their debut LP, “O Futuro é Vórtex”, came out in 1986 on BMG Ariola. Then, they released “Histórias de Sexo e Violência” (1987), which caused a fuss in the media, and “Papel de Mau” (1989) on the same label.”

Os Replicantes wikipedia article.



Mastering Fried Egg ‎”The Incredible Flexible Egg”.

“Debut three track disc from FRIED EGG, the latest and greatest hardcore punk offering from Central Virginia. This is a total punk smasher, with a sound rooted in golden era HC punk filtered through modern depression and alienation, executed in just a few minutes. The four brainfried individuals behind FRIED EGG have also done duty in CRETINS and ANIMAL PLANET so the playing here is no slouch — tight, fast, and to-the-point. The composition of the these tracks shows a bit more depth as well, with screaming guitar leads and fuzzed, walking bass lines jumping out at you, reminiscent of recent groups like Brown Sugar and Wiccans. Have a taste of the EGG and see for yourself. Limited to 250 copies with artwork by Lumpy.”

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Mastering The Exhausts “Leave The Suburbs!” on Everything Sucks Music.

Taken from PunkNews.org:

“Many would agree that we are in the midst of a punk rock renaissance, and damn it is a great time to be alive. We’ve witnessed a resurgence of interest and influence so prodigious that punk has expanded far past the parameters set by the ‘greats’ in the early days—in spite of the extensive taxonomic ranking of sub-sub-genres that were born out of necessity in an attempt to categorize it all (while arguing fruitlessly over each nuance like a couple in Home Depot trying debating if a paint color is more ‘salmon’ or ‘coral’ while narrowly avoiding divorce in the aisles…), the last few years have given fans a wealth of innovative and previously unimagined music.

At a time when invention and creativity are key driving forces behind punk’s renewal, it takes a different kind of ballsy self-assurance to tackle a particular ‘classically’ punk sound that has been a staple for years, clearly defined in the eyes of fans who are not actively seeking additions to the classic repertoire—like a well-worn pair of favorite jeans, there is no reason to actively seek out a new pair of the same denim until the previous pair is defunct. The Exhausts do not reinvent the classic garage/pop punk wheel with their debut full-length release Leave the Suburbs!, but that is in no way a complaint; instead, the album’s ability to inject new life into something so familiar is no small feat.

Clocking in at a quick 22 minutes over ten tracks, The Exhausts clearly subscribe to the ‘play fast, end quickly’ playbook of punk, because they have a mission to accomplish and do so with efficiency and precision. Each track is quick, to the point, and with little ‘fat to trim’—making the ‘meat’ of the songs both heavily relied upon and the reason Leave the Suburbs! stands out as such testaments to The Exhaust’s songwriting abilities.

Thematically, Leave the Suburbs! is about the grind, the day to day struggle of making it as far as you can to get what you want—even if it’s not the finish line, it’s the next step. The honesty is less brutal than relatable, but the thinly-veiled tongue-in-cheek smartass-ness of the album is everything you’ve wanted to say but didn’t have the balls to in any number of situations—whether that translates as vulnerable, naively hopeful, not having a fuck left to give, or just good old fashioned honesty varies from song to song, but the message is clear: we’re here to do what we want, because at the end of the day it’s the only thing that matters.

“Journey to the Call Centre of the Earth” is the working man’s anthem that anyone punching a clock (with a time card and not a fist…) can relate to. Between the cleverly crafted title pun coming to fruition in the opening “May I help you?!” to the Poe-esque spiraling madness of the bridge repeating “we’re sorry about the wait on the line / we’re experiencing a very high volume of calls / we’re experiencing a very high volume of calls” you can hear the ‘fuck you’ in the vocals without The Exhausts’ ever having to say the words. But it’s not all doom and despair—the chorus sums up The Exhausts’, and Leave the Suburbs! mission succinctly: the walls are so grey / and I gotta get away / ‘cause I don’t wanna waste another day / the sky’s so blue / and it’s time for me to choose / exactly what I wanna do”.”


Mastering Damned Street Seventeen “s/t”.

Taken from OX Fanzine:

“Ich sah sie live und war spontan verliebt: DAMNED STREET SEVENTEEN machen auch auf dem selbstbetitelten Album Nummer drei alles richtig. Mit ihrem räudigem, abgehackten Rumgeriffe klingen sie ähnlich energetisch wie DEAN DIRG (oder meinetwegen die HIVES).

Der Bass knurrt wie auf alten MISFITS-Aufnahmen, die Gitarren spielen euphorisch Send & Return. Dazu gibt es herrlich-windschiefen Gesang wie in „Five & dime“ (der ihnen eine leichte PAVEMENT-Indie-Note verleiht) und Group-Shouts.

Textlich wird ordentlich beziehungsweise vernünftig gewettert. Mittendrin darf ein Highspeed-Polizei-Hass-Song, wie „Savage cops“ nicht fehlen und zum Abschluss wird bei „Nightclubbing“ noch mal das Tempo rausgenommen und man stampft sich ins Finale.

Tolles, kurzweiliges Album!”

Buy it here!

Cult Syndrom.jpg

Mastering Cult Syndrome “Demo”.

“CULT SYNDROME – Demented hardcore punk of the darkest order from London. They do that plodding 1-2-1-2 beat to death….but they do it right, and when they’re hitting on all cylinders (like “Banality” or “Psychic Violence” for example) CULT SYNDROME are just unfuckwithable. Just a few tasteful hints of the modern goth punk resurgence, but without any of the lame-o trappings that make that shit a yawnfest for rockers—these punks play the dark shit punk as fukk, and it’s a welcome injection. Yes. Good shits. (Robert) MAXIMUMROCKNROLL “


Mastering Andy Place And The Coolheads “Summer Of The Beast” on Jonny Cat Records.

“Huge sounding kitchen-sink garage punk from the Pacific Northwest. There’s a heaviness to it all that keeps me from focusing on the sparking clean sound, which is a major savior. The mood is an even split between frustration and inspiration, with the latter actually emerging victorious. Kinda cool! The odd winner of the lot is “A Song For Mick Jones”, which is legit, heartfelt, and not at all what I expected to hear today (or any other, really). A decent EP, and probably lotsa fun live. (missed ’em recently…bummer)” MC, Maximum Rock N’ Roll.


Mastering LIFELOCK/RAPPA “Split EP” on 4490 Records.

“A fine split between DIS-worship punks, LIFELOCK from Singapore and raw hardcore punkers, RAPPA from Morioka, Japan. No artwork, no bullshit. Just pure destruction.”


Mastering Paul Orwell “Fangz” on Heavy Soul Records.

“The epic last track from the “Blowing Your Mind Away” LP has been extended and unleashed in its near six minute entirety.

Feel that hammond fizz your eardrums as the guitar, vocals and effects take you to another freakbeat dimension where Jimmy Page, Graham Bond, Keith Moon and John Lennon are jamming and playing THIS!!!!…..

With the new track Hyp No Tize on the flip this is the third and last single from the album.”

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TerminalFiveMastering The Terminal Five “3×5” on Feel It Records

“Three fresh cuts of loud punk rock from Richmond’s best new export, THE TERMINAL FIVE. Four SLUGZ members kept together after the group disbanded, resulting in a new rock’n’roll unit designed to flat out destroy. On 3×5, THE TERMINAL FIVE zero in on a sound that draws from the best 70’s punk, applying a solid appreciation for the powerful songwriting and playing present on degenerate rock records like Killer and Raw Power. With the recent addition of Jarrett from SATAN’S SATYRS on guitar, THE TERMINAL FIVE are already hard at work on a proper album.”

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Mastering Nervous Twitch “Don’t Take My TV” on Odd Box Records.

Taken from Louder Than War:

Odd Box Records give the second Nervous Twitch album the vinyl reissue treatment. Glenn Airey is first in the queue for Louder Than War.

Don’t Take My TV, the second long-player from fun-loving Leeds four-pieceNervous Twitch, was first released in cassette form back in February. Odd Box Records have now seen fit to grant this vital indie-pop document the status it undoubtedly deserves, and reissued it on instantly collectible clear vinyl.  Twitch-watchers of any vintage are likely to agree that the album constitutes the finest collection of the band’s material to date, nicely summarising their ability to have fun with a range of cool-as-fuck influences like punk-pop, rockabilly, girl-groups and surf, while retaining a charm and consistently appealing bedrock sound that’s all their own.

From the stop-start sarkiness of So Rock’n’Roll to the climactic Cramps-meet-the-Dolls blowout of A Little Self Discipline, Don’t Take My TV includes eleven stormers clocking in at a petite twenty-six minutes with barely a dip in the smile count. Having said that, the subject matter isn’t all fun and froth. Emblematic frontwoman Erin, she of the technicolour wigs and mightily impressive lung capacity, slips in stories of sleazebag stereotypes, self-doubt and suicide amongst the punk pop rush and melodic melee.

Some genuinely nasty characters stalk these songs. Lurking In The City starts with a proper rock riff worthy of Motorhead, if ever played through Marshall stacks the size of tower blocks, then warns us to stay indoors and avoid the wrath of psychopathic David, all in all a fine addition to the killer-on-the-loose mini-genre. Meanwhile, John Power describes a go-getting, materialist trustafarian, presumably not the John Power out of Cast, although if you’ve ever heard that terrible Anfield Road record he made, you could forgive anybody for having a pop.

Guitarist Jay lays down a sound that’s just fuzzy enough (as punk-pop fans of course, we expect this as birthright) but that knows when to jangle and knows when to twang. Even Though I Have Regrets is a fine example of the former, its semi-acoustic loveliness providing an ideal backdrop to a classically-structured girl-group mini-drama. And the twang’s definitely the thang in East Coast Rumble which, as the title suggests, references the band’s longstanding love affair withLink Wray but also can’t help calling to mind the godlike Duane Eddy. As someone who lives in a house where Twenty Terrific Twangies rarely goes a week unplayed, I’m naturally a sucker for this stuff.

Erin’s keyboard skills also get a fair old workout on tracks like Something Wrong With Me, where she cleverly balances vocalising the dumpee-blues with some neat, Mysterians-style 60s organ showboating. Throw in the odd rockabilly scramble like Can’t Find The Words For How I Feel, and a great lost Ramones song title in I’m An Idiot Babe, and you have one of the great multi-faceted indiepop records of the last few years. One hopes they are now safely back in their garage with their bullshit detectors, working on the next one. Long live the Twitch.

Buy it here!

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