Nembutal

Mastering Nembutal “Pay to Die”.

“When bands put out releases like this I always get tempted to just write, “FUCK” and leave it at that. Nembutal’s follow-up to their 2014 demo is about as no-nonsense as hardcore punk records come. The goal of every song on Pay to Die is to play as loud and fast as possible and it just so happens that Nembutal are bloody excellent at doing both. Nembutal’s music has about as much depth as a roadside puddle, but if you enjoy your hardcore punk being played with as much energy as the human body can muster then you absolutely have to listen to Pay to Die.”

 

Ganser Audrey

Mastering Ganser “Audrey”.

“Part space odyssey, part Ghost World, Ganser is a Chicago-based group that embrace post-punk, early synth music, and weird vacuum noises. Formed as a DIY duo in 2014, they incorporate driving bass and drums with anxious guitars and swelling synths, making bright black music for deep space transmissions and panic attacks.”

Buy it here!

 

Heavy Metal lp1

Mastering Heavy Metal “LP” on Static Age.

“After only six rehearsals and no previous recordings to date, Static Age is proud to introduce Berlin’s emerging powerhouse, HEAVY METAL. With this astonishing first full-length, HEAVY METAL crash through 13 tracks of noisy, antisocial, high-tension punk, eagerly mixing electric punk aggression with woozy electronic euphoria. The songwriting, which hits that sweet spot between rudimentary racket and surreal elaboration, brings the band’s restlessness to the forefront—they could break out into dance or a fight at any minute, everything sounds possible. No sense is left on the cutting room floor; instead, the clamoring drums, buzzing bass and snappy riffs are cut with catchy synths, bountiful pedal action and an exploding cocktail of bleeps, loops, samples and solos.

This ticked off diversity shines on multiple, rewarding occasions. Single-ready “Don’t Call Me Brother,” with its kaleidoscopic synths and old-school beat, is a bona fide dance floor pleaser despite its antagonizing lyrical content, and “Staring at the Rich Kids” is an instant classic, a stomping class critique that could have easily been found on a Bullshit Detector comp circa 1979. Yet it is bonus track, “Total Bullshit,” that flawlessly showcases the creative menace found in the wake of their nihilism. A joyride of shambolic punk, with a frustrated Welshman spitting wit and sarcasm into the microphone, “LP” could be the circumstantial soundtrack to a weeklong drug binge, going through all the motions to match, including ecstasy, hysteria, hostility and an uncontrollable, primitive urge to fight and fuck. And by recording everything themselves, HEAVY METAL’s already bizarre sound is pushed further into the delightfully deranged corners of their collective potential. An intoxicating stream of consciousness, “LP” was recorded in their Lichtenberg practice space and mastered by the wizard of sonic chiaroscuro Daniel Husayn at North London Bomb Factory, making it sound as unhinged and sardonic as it is distinctively captivating. They’re already working on what is promised to be a much anticipated follow up, so get into it or don’t. Just don’t call ’em brother. ( Lydia )”

 

Dead Cult Fall

Mastering Dead Cult “Fall” on Doomed To Extinction Records.

Recorded at Red Lantern Studios.

“Portland’s premier anarcho/post-punk band’s 1st album. “Fall” deliver 10 angry and passionate songs in the best tradition of the UK anarcho-punk bands like THE MOB, ZOUNDS and dark-punk classics such as SIOUXSIE AND THE BANSHEES. This is unaltered throwback post-punk of the goth variety. Insert includes all the lyrics, which carry a poetic rhyme scheme and are worth the read. If you like CRIMSON SCARLET and ARCTIC FLOWERS this will be up your alley for sure.”

Buy it here!

 

Nancy Transit

Mastering Nancy Transit “TARGETS​:​LONER”.

 

Arms Race NWOBHC

Mastering Arms Race “New Wave of British Hardcore” on La Vida Es Un Mus and Painkiller Records.

Recorded by James Atkinson at Mutiny Studios

“ARMS RACE unleash their debut album after a well-received 6-track demo in 2013 and a 6-track 7″ EP in 2014 on Quality Control HQ and Painkiller. Arms Race arrived on the scene fully formed with their powerful and gnarly UK-meets-USA hardcore: their signature sound of a vocalist chewing on glass is backed by one of the most solid rhythm sections in HC these days, and the guitar work adds a metallic element making the whole sound gigantic while keeping the ugliness and aggression to the max. NWOBHC is a statement of no-frills hardcore that is not scared to reach out to different corners of the punk and metal world.”

Buy it here!

 

Gloss

Mastering G​.​L​.​O​.​S​.​S. “Trans Day of Revenge” on Sabotage Records.

“G.L.O.S.S. is still really mad, about shit that really matters. In Trans Day of Revenge, they tear down pacifism in the face of state violence, transmisogyny, and respectability politics, all in five tracks that will leave your heart pounding with joy and rage. This is for all the trans punks wanting more, six minutes that allows us to envision an alternate future and “weaponize our alienation.” Searing riffs, raw vocals, d-beats.”

Buy it here!

 

SILENT ERA

Mastering Silent Era “s/t” on Sabotage Records.

Recorded by Stan Wright at Buzz or Howl studio in Portland, OR.
North American version mastered by Will Killingsworth at Dead Air (Euro version mastered by Daniel Husayn at North London Bomb Factory).

“This EP features four tracks of Silent Era’s near perfect amalgam of the best kind of melodic hardcore (think Post-Regiment) and dark anarcho punk (think A Touch of Hysteria or Zounds). The sleeve of 7″ also features a lovely printed insert and gorgeous cover art by singer Michelle Hill.”

Buy it here!

 

GLOOM SLEEPER.jpg

Mastering Gloom Sleeper “A Void” on Contraszt! and Per Koro Records.

“Yes – GLOOM SLEEPER are very late to the post-punk party, but they don’t particularly sound like the contemporary and earlier bands of the genre. Nothing from this release sounds dated or trite. GLOOM SLEEPER’s style extends from post-punk to new wave, from gothic atmosphere builders to upbeat guitar pop. The band used the recording session to create a textured sonic art that married a breath taking understanding of atmosphere (without loosing its punky edge) with a sense of emotional fury. The music soars where it should and drifts when the listener needs a break from the intensity. The layered, jangly guitar releases liquid notes, the dedicated bass player pumps out rhythms, the fairly powerful drum section bites and the somewhat gothic styled vocals mixed into the songs take everything to a higher level. These guys from Bielefeld, Germany are creating their music based on the sound made popular by British bands like THE SOUND and ECHO & THE BUNNYMEN or THE WIPERS from the other side of the pond. At the same time, the influence of today’s THE ESTRANGED or TERRIBLE FEELINGS is obvious. The result is a unique sound that is somehow beyond mere words – A VOID feels entirely cohesive and unified. The inventive arrangements and intricate playing can’t take the catchiness out of these 10 songs: Limited colored (semitransparent turquoise) vinyl comes with a heavy printed innersleeve and includes a digital download card. A VOID will leave you re-playing to excess!”

Buy it here!

 

UK Subs

Mastering U.K. Subs “Ziezo” on U.K. Subs Records.

Taken from Record Collector:

“Back to ‘A’ and start again then, eh Charlie?

When UK Subs released their debut album Another Kind Of Blues in 1979, no one could have predicted that the band would still be going strong in 2016, let alone still led by Charlie Harper, now 72 years old. And as for clocking up 26 albums, one for every letter of the alphabet? Hardly. Those early, incendiary shows with explosive guitarist Nicky Garratt should have seen the band burn out before D.

But with early 80s bassist Alvin Gibbs, guitarist Jet and drummer Jamie Oliver – the band’s longest running line-up – UK Subs are as strong as they’ve ever been, and it’s almost a shame that they’ve reached the end of their quest with Ziezo, as it’s a monster of an album.

Jamie’s super-precise hardcore beats and Jet’s modern metal-tinged riffs give the album a contemporary edge, with blisteringly crisp production from Pat Collier, while Charlie and Alvin ensure we’re still listening to the Subs. It’s a winning combination. Opener Polarisation pummels the senses, spitting out the aforementioned beats and riffs, though Dope Fiend is more traditional Subs fayre, and City Of The Dead is a jaunty reggae rocker in the Clash vein, but This Machine is positively corrosive – brilliant.”

Buy it here!

 

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