Mittwoch, 31. Oktober 2018



(Running time: 39:34 minutes; 17 songs)
("Geffen Records"; CD):


(XVII.) "DON'T OPEN 'TIL DOOMSDAY" (plus hidden bonus track "HELL NIGHT")

Hey guys, Halloween today, yeahr, I hope you had or will have a great day (depending where you live) and after we've now finally sort of officially reached the end of October 2018 or especially today even far better the end of SPOOKTOBER 2018 and so there's no better way to end this very month with fashion with a properly themed newest (and, btw, finally right in time for the first time since April 2018 again) "CLASSICK OF THE MONTH" article and so here and now my dear readers here and now it will be respectively it is all about none other and especially none less than the infamous legendary and masterly "AMERICAN PSYCHO" of/by the almighty and immortal MISFITS, their larger than life masterpiece classick from back then in 1997, released back then via "GEFFEN RECORDS". In 1997, when the MISFITS unleashed their "AMERICAN PSYCHO" I turned 16 years young my parents made or gave me this CD as a birthday present and this was back then now a bit over 21 years ago my first real proper 'meeting' with them, with the MISFITS, and oh hell yeahr did they have conquered me instantly back then - and they simply obstinately refused to loosen the handle on me since then, yes, and this thankfully so because they refused to do so for all the right reasons. I knew and in fact I was (and also still am) a DANZIG fan way before but before "AMERICAN PSYCHO" I didn't know the MISFITS properly, to say it that way, and after "AMERICAN PSYCHO" I soon started working this up, yeah', so mighty and impactful was the impression they made or left on me. Their Horrorpunk was something that back then so far I haven't experienced and it was and since then always had been and so also for sure still is and will always be something very special for/to me and something that overwhelms and conquers me massively again and again time after time and this I can say about Horrorpunk in general and especially about the MISFITS in particular because they simply always and still today and pretty much/sure also in the future simply conquered and conquer and will conquer me the very most especially also due to their very own unique tone that shines perfectly through with the bonedry and yet sweet melodic singing guitars and the thunderous bass lines, yeahr, and also because they were/are not only the (first) definition of Horropunk but also and especially personally to/for me always the very best and this in general and in particular and especially their Michale Graves era with first and foremost "AMERICAN PSYCHO" and its successor "FAMOUS MONSTERS" from 1999 were and are and will forever continue to be absolutely massive larger than life and also lifechanging albums to/for me that are also surely closely linked to a lot of great personal memories but that to/for me always even beat their immortal classicks with the mighty Glenn Danzig and this also because Michale Graves' voice, vokillz, and style of singing had a very unique and different timbre and style and a massive huge own character and identity to it all that cultivated and enriched the MISFITS massively and this, at least so in my book, for all the right reasons. With saying this I definitely won't take anything away from the Glenn Danzig era of the MISFITS, hell no, not at least because this albums I love as well, and this also massively, but I simply or just prefer the Michale Graves time even a bit more, yes, and this for the named reasons and also because I still think that the MISFITS never sounded as fresh and alive/lively as they did back then especially so to say in 1997 and 1999 and even today with being 21 years old "AMERICAN PSYCHO" still sounds as fresh, as alive and lively, as brandnew thrilling, as exciting, and as relevant as back then in 1997 and this tells a lot and only great things. And now let us have a closer look on what the MISFITS served us here on and with "AMERICAN PSYCHO" and what made their Horrorpunk to what it was and is and what made and continues to make it great and even far and much greater than just great and this also and definitely still today.

Horrorpunk and especially the MISFITS thrilled and excited me always and this instantly right from the start and so also still today incredible heav(il)y with its/their always damn heavy but at the same time incredibe and highly-to-highest melodic and hymnal/anthemic if not to say catchy and for all the very right reasons 'poppy' and guitar driven as well as dominated by grapping vocal lines approach and identity to it all that shines through and excels massively in this mixture out of furious raging Hardcore/Hardcore Punk, hymnal and melodic Punkrock, huge influences of classick Rock & Roll the ELVIS way, and pretty dark and sinister old school Heavy Metal with a huge morbid and twisted, weird and sinister and a bit 'gothy' and also even romantic and always 'cineastic'/'cinematic' atmosphere and with a strong focus on the almighty refrains but that also don't forget(s) about very strong and exciting arranged verses that build huge amounts of tension that sheer explode in the refrains, oh hell yeahr, and all is very intense and also very atmospheric and you can really imagine how monsters go hunting humans while aliens invade the earth and go rampage with laser beams and somewhere in all this nightmare a lonely and broken soul sits at a grave where his/her dead love was laid to rest while a horde of ghouls sneaks up to him/her with hunger for human meat written all over them and a vampire drinks blood out of a golden chalice on the balcony of a hotel suite while werewolves massacre the people in the streets below and this all with a traditional old school black/white and sort of 'self-ironically' horrormovie flair to it, yes, sounds great you now think, oh boy, trust me this is great and this is fantastic, oh yeah', this is Horrorpunk and this are the MISFITS and also this is "AMERICAN PSYCHO" and it was and is and will be nothing but and nothing less than perfect. Marked by damn fantastic and highly diverse very unique vocals, a bonedry and dark and yet all the time nicely melodic guitar work, a heavy buzzing bass, and forceful thundering drumming the MISFITS' "AMERICAN PSYCHO" simply is a perfect album to/for me and one of the albums that definitely everybody needs to call his/her very own and holds it dear and close to the heart. And also this is an album completly out of the 'all killers, no fillers' category. Fantastic and also very atmospheric lyrics, a drop-dead-gorgeous artwork, and a smashing production sound then round it all perfectly up. So, yes, I think I've hailed and praised this larger than life masterpiece enough and hopefully I've told you all and everything so far about it that you need to know and in case you maybe still don't know or own it you should finally and desperately change this as soon as possible, oh yeah', and now still a 'Happy Halloween!' to you all outta there wherever you may live and damn beware of the "AMERICAN PSYCHO" stalking the night somewhere outta there maybe near you and, of course, hail the MISFITS always and forever. (-the link to the homepage of the band)


Sonntag, 28. Oktober 2018


(Running time: 23:26 minutes; 11 songs)
("Bridge Nine Records"; 2018; CD):
Hey folks, I just came home recently and thought that it would be an anyhow anyway 'nice' move to finish this weekend with another post for you all up here and so, yes, trust your eyes because here and now this weekend from friday on you now get the 4th post up here, yes, it's true, and in all honesty right now and right here I can't tell you when this happened the last time up here but anyhow and so let's go: We will stay in camp 'HARDCORE' also with this very one here and now and we do also stay in the U.S.A. and after we moved yesterday from Los Angeles to New York today/tonight we stay on the east coast and move up to Boston, M.A./U.S.A. because here and now it's all about no one else and especially no one less than the almighty SLAPSHOT and/with their newest offering "MAKE AMERICA HATE AGAIN" released at the (if I am now not completly on the wrong tracks) 1st of June of 2018 via the legendary "BRIDGE NINE RECORDS", oh yes, and if you look at the damn short running time that only 'shortly outruns' the 23 minutes marks I can tell you that I will keep this review also short, I can further tell you that this 'shortness of the review' is definitely not to be mistaken as a 'symbol' or 'metaphor' or something like this of/for the quality of this album, and you should also already right now know that here on and with SLAPSHOT's "MAKE AMERICA HATE AGAIN" you're in for one hell of an intense ride. This is Hardcore. True Hardcore. Authentic, honest and real through and through Hardcore. Old School Hardcore. Boston Hardcore. In one word, in one term, in one name: SLAPSHOT. Incredible intense, very dense and compact and highly characteristic and unique, massive and harsh songwriting, full of huge rousing high energy dynamics and on an incrdieble big, intense, and just almighty level of heavyness so that SLAPSHOT's "MAKE AMERICA HATE AGAIN" is from start to finish highly'n'massively violent, aggressive, ultra-heavy, fast and harsh raging and sawing, no prisoners taking, all out brawling, bonecracking and facesmashing, über-intense, devastating, full force, full throttle, and highest energy Hardcore with here and there some (very) few nasty and loud'n'proud roaring Oi! marks in it all. Rousing, grapping, exciting, and massively overwhelming and conquering from the go to the stop and without any holes, blank spaces, or any crappy-trendy-bullshitty 'dingle-dangle' stuff, nothing but the absolutely real deal and the totally complete package. Choke's fantastic and highly pissed off very unique vokillz slap and spit and whip and kick and beat the songs without any mercy or regrets straight onwards into the harshest battles, where the harsh sawing and sharp cutting bonedry and every resistance absolutely demolishing guitars rage in the centre of the warzone with the sheer devastating heavy and über-hard smashing bass tanking-up the support, and the crushing and thundering drums fire heavy artillery-bombardements without stop into it all without caring for any losses, absolutely no prisoners are/were taken, nothing but scorched earth is left behind when SLAPSHOT rise up high'n'mighty at the end on a skyhigh pile of smashed corpses in total triumphant. Hardcore. Boston Hardcore. The real deal. Great, pissed off, and very vocal lyrics, a fantastic artwork, and a fiery and crushing production sound then round it all perfectly up. On SLAPSHOT's "MAKE AMERICA HATE AGAIN" you find only killers, no fillers, eleven times only purest platinum. In short: One of the very best albums of, in, and for 2018 and definitely my personal Hardcore album of/for this very year of 2018, hell yeahr, so go get it. Hardcore!!! Fist!!!
(10 of 10 points) (-the link to the facebook site of the band)


Samstag, 27. Oktober 2018


(Running time: 34:34 minutes; 13 songs)
("Nuclear Blast Records"; 2018; CD):
Good evening, my dear readers, yes, one more time again today trust your eyes because here and now is already the 2nd post of or for this very day aimed at and coming for you and like earlier today with my review on the brandnew TERROR album "TOTAL RETALIATION" also right here and right now we will be and also stay'n'remain in the departments of Hardcore but this time we will move from Los Angeles to New York and we will be with the (al)mighty MADBALL and their new asskicker titled "DOWN FOR THE CAUSE" released still pretty recently at the 15th of June of 2018 via the these days sort of more than ever before omnipresent "NUCLEAR BLAST RECORDS" label on CD and I'm pretty sure also on LP. MADBALL, yes, one of my all time favourites, it's always a pleasure to see them coming round again, yes, and after all so also in 2018, definitely. This is roughnecked New York Hardcore delivered on a very high level of skill(s) and competence and this all with a damn huge own and unique personality to it all and this all also without a single doubt, yes, but... I can't name it to you sort of in a concrete way why but in 2018 MADBALL with "DOWN FOR THE CAUSE" simply fail to really conquer me and I've given "DOWN FOR THE CAUSE" over the last month since the day of its release uncountable listening'n'spinning-sessions but to me too much (especially for silverbacks like MADBALL themselves) sounds too lame'n'stale or maybe simply just too ordinary for/to me. Okay, this sounds now maybe sort of harsh and 're-reading' it then it sounds definitely too drastic because MADBALL's "DOWN FOR THE CAUSE" is definitely no bad or weak album anyway in general and legions of other bands would sell their poor little souls to come up delivering an album like this but in the MADBALL context and for a stand-alone band like MADBALL this is anyhow a weaker effort and offering and definitely and sadly a more forgettable album of/by them, so at least in my book. It's after all simply too unsinspired and too often they ripp off themselves and it's just not that much exciting after all and too foreseeable and so... yes, any MADBALL fan and any fan of New York Hardcore that showcases a strong hymnal sing-a-long fueled Streetpunk/Punkrock influence with some melodic Oi! impressions here and there as well as metallic notes will find up here anyhow a lot of goods being delivered properly but it all is missing a lot of freshness and excitement this time around, yes, so at least to me. The songwriting is nicely multi-facetted and especially the mid paced and sing-a-long heavy Streetpunk influenced smashers shine bright and know definitely to convince and also to conquer and especially Freddy's highly chrismatic and today more than ever very hard'n'smart vokillz that have developed massively and impressively add a lot of an alive-lively spirit and a huge new dimension and facet to it all and the devastating and highly intense guitar work also leaves no questions open as well as the heavy bombing rhythm section still knows and does to tear down every wall(s) and loud'n'proud gangshouting backings as well as nicely hymnal sing-a-longs we get as well, yes, all good and fine, definitely, I would just wish for more fresh ideas and especially more than just this few slight Reggae reminiscences here and there and also more mercyless intense heavyness and sheer force to lift MADBALL's "DOWN FOR THE CAUSE" really up because especially the supposed-to-be harsh and fast raging angry, nasty, and aggressive Hardcore slashers lack a lot of potential and are too lame and too stale ordinary stuff that MADBALL definitely know how to do better and they still know I am convinced. Anyhow, my personal favorites are "REV UP", "FREIGHT TRAIN", "TEMPEST", "OLD FASHIONED", "LONE WOLF", "THE FOG" featuring Tim Timebomb/RANCID, "FOR YOU" and the re-recorded killer-tune "CONFESSIONS" taken from their "HOLD IT DOWN" masterpiece from way back in the days and especially in comparision with this masterpiece current songs of that kind like for example "SMILE NOW, PAY LATER", "EVIL WAYS" featuring Ice-T/BODY COUNT or the just open-boring "ES TU VIDA" pretty much stink. Strong and nicely vocal lyrics, a pretty cool artwork, and a heavy but maybe a bit too sterile production sound then complete the package. So all in all MADBALL delivered in 2018 with "DOWN FOR THE CAUSE" definitely a decent, a very decent new album, yes, a strong and good one and for sure in good parts surely and definitely also a damn good one at the end of the day but also an album that personally left me a bit too cold and unmoved and from an anyway still damn authentic and sympathic band like MADBALL I definitely await more so no matter if that's the problem or not but anyhow... New York Hardcore and MADBALL fans will do nothing that much wrong with getting their hands on "DOWN FOR THE CAUSE" at the end of the day but also I definitely expect more of/by them again the next time around. Anyhow, at least risk an ear or two. Hardcore!!! Fist!!!
(8 of 10 points) (-the link to the homepage of the band)



(Running time: 28:29 minutes; 13 songs)
("Nuclear Blast Records"; 2018; CD):
Hey guys, yes, trust your eyes because it's true and here and now today-already-the-next-day again a new post is coming up here for and straight aimed @ you and here and now we will head finally again into the department and area of Hardcore with my review on the brandnew TERROR album "TOTAL RETALIATION" released very recently @ the 28th of September of 2018 via "NUCLEAR BLAST RECORDS" and I own the (standard) CD version of it and so, yes, you probably already guessed it, my review on it will be based solely and strictly on this very one but I could imagine or would even bet that there are also limited CD versions and/or various LP formats/colours of it floating around. The precursor full-length of/by TERROR titled the "25th HOUR" from back in 2015 was and still is sort of a dissapointment to/for me and is so up to this present day and this also definitely the least-listened TERROR release in my pretty extensive TERROR-(record-)collection. Last year in 2017 then with their the "WALLS WILL FALL" EP then to/for me they returned sort of to old glory and strength (my reviews on both releases you find up here, too, just search under the label of TERROR), thankfully, and here and now in 2018 they which means TERROR are finally back with a proper new full-length here'n'now with "TOTAL RETALIATION" and... okay, after this is with roughly more than 28 minutes a very short and compact one I will also keep this review by me on it a short and compact one, yes, and so: TERROR are also today back to their former glory and strength and stick to/with it and they've released with "TOTAL RETALIATION" a definite killer-album and also one more time again a sort of a blueprint for highly intense, fiery, aggressive, massively the Old School hailin'n'praisin' as well as at the same time 'ongoingly' perfectly to the New School serving, and always onwards into battle charging and in nearly equal parts by mercylessly thrashing Metal as well as relentlessly raging Hardcore Punk fueled, in the cold-concrete-streets of Los Angeles, California/U.S.A. raised through'n'through pure power and full force highly energetic Hardcore with always a very strong gang-shouting'n'sing-a-longing anthemic note to it all. Highly compact and to the point written'n'played very intense songs full of a nearly larger-than-life and sheer exploding energy and marked by a harsh and stunning heavyness on a very high level of quality and skill(s) and definitely highly charismatic, yes, so that despise of all the legions of bands from all across the globe that had been, were, and still are massively influenced and inspired by TERROR over the last decade or so you right from the kick-off of "TOTAL RETALIATION" with the incredible heavy down-to-mid-paced and pretty 'blocky' smasher "THIS WORLD NEVER WANTED ME" get that this here are no one else and especially no one less than TERROR themselves, oh hell yeahr, and this time at least in my personal perception they shaken things by far more up with more pace variations and some very stunning and heavy and pretty 'blocky' compositorial approaches and arrangements and with doing this they keep it all not only nicely fresh and exciting without straying away from their chosen path but they also only add some huge and heavy amounts of very fresh heavyness on top of it all. And doing 'things-this-way' also only led the full force and no prisoners taking fast charging parts and the massive anthemic fist in the air gang shouting parts only build more powerful momentum over all the time of TERROR's "TOTAL RETALIATION", yeahr, and this for all the right reasons. So, yes, clearly scored at the part of the songwriting and the delivery via harsh sawing and heavy hitting metallic thrashing and punky highly intense guitar work (with some damn great solos and leads cultivating it all massively), widescreen loud'n'proud hymnal/anthemic gang shouts, a highly destructive heavy bombing bass, devastating thunderous drumming, and one of the still very most charismatic and very most aggressive lead singin'n'shouting voices outta there only does justice to it in a very stunning way. Two or three songs maybe fail to grap me as massive as the other ones but here shines a lot and this is mostly really all gold. Strong and uplifting and still very authentic Underdog-lyrics, a nicely sinister and old-schoolish artwork, and one hell of a heavy bombing production sound then finally round TERROR's "TOTAL RETALIATION" strong and in all the right way up. Clearly and highly recommended and so, yeah', if you still don't have or even know it you should definitely change this very, very soon. Hardcore!!! Fist!!!
(8,5 of 10 points) (-the link to the facebook site of the band)


Freitag, 26. Oktober 2018


(Running time: 36:38 minutes; 11 Songs)
("Century Media Records"; 2018; CD):
Hey guys, next post coming up for you and this time if I finish it in time we will finally have another beloved early morning post right here and now and this time you get my record review on the new album of /by the (al)mighty STREET DOGS from Boston, M.A./U.S.A. titled "STAND FOR SOMETHING OR DIE FOR NOTHING" that was released @ the 22nd of June of 2018 via "CENTURY MEDIA RECORDS" and I call the CD version of it my very own. The STREET DOGS were one of my favorite bands back then with fantastic albums like for example "FADING AMERICAN DREAM" but somehow I lost them a bit out of sight over the past decade or so and so "STAND FOR SOMETHING OR DIE FOR NOTHING" is the first new album of/by them to that I listen(ed) in quite a while… yes, shame on me. But, oh yes, the magic and the spirit were right back and the STREET DOGS instantly conquered me again in an absolute supreme way with their "STAND FOR SOMETHING OR DIE FOR NOTHING" titled newest masterpiece that finally made it into my collection again - and I definitely won't loose them out of sight again. But, yes, I have to fasten up the pace here of and with that review here and now a bit if I want to get it done still this morning before I will leave to work and a bit of breakfast I also still have to loop down, yeah', and so let's go: First big surprise for/to me was that the STREET DOGS here on and with "STAND FOR SOMETHING OR DIE FOR NOTHING" only show very slight Celtic Punk/Irish Punk or in genereal Celtic influences, and this mostly or more in the general feeling of (some of) the songs as well as in the general approach of the rhythm arrangements and the compositorial dynamics, and that they turned more and more into one hell of a strong and in all positive sense emotional Streetpunk/Punkrock band with strong rockin' notes and a truckload of surprising, very fresh and grapping, and totally unique ideas (like for example vocal line arrangements and the 'out of that resulting' vocal delivery in a very rhythmic accentuated way that sound like EMINEM would go out all Punkrock) in it all. The STREET DOGS were and still are and today even more than before totally one of a kind and so to compare them with other bands isn't making that much sense at/after all but if you really shouldn't know them or (like me) lost them for quite a while out of sight then let me tell you that today in 2018 they sound like a very stand-alone mixture out of DROPKICK MURPHYS and SOCIAL DISTORTION and THE CLASH with some good doses of COCK SPARRER mixed into it all for all the right reasons and with some strong rocking and rolling Working Class Rock & Roll marks of the BRUCE SPRINGSTEEN kind in it all, too, and with the Celtic roots (like above already mentioned) shine through only in pieces here and there and all done (like also already mentioned but it won't burt anyone if I mention it one more time again) in their absoultely unique and very own way and this done above all also all damn intense, authentic, heartfelt, and sympathic. So expect very intense and grapping as well as very, very anthemic battle-scarred diverse and multi-facetted highly emotional songs that are packed up full with fantastic rousing arrangements and fresh surprising twists and turns quite all along the ride and that are damn melodic and emotional but this with still being damn heavy beneath their surface over all the time and that are filled with highly melodic guitars, very charismatic and absolutely unique delivered/delivering lead-vocals, some fantastic very full backings, and a just pure power and yet sort of very 'empathetically' rhythm section, and this all is creating eleven purest gold anthems here on and with "STAND FOR SOMETHING OR DIE FOR NOTHING". Fantastic, diverse, socially and politically aware and very outspoken lyrics, a drop-dead-gorgeous artwork, and a warm and organic production sound then round it all perfectly up. To anyone into really intense and incredible good music I can only highly recommend the STREET DOG's "STAND FOR SOMETING OR DIE FOR NOTHING" and this massively with it being one of the best albums of/for 2018, definitely, and so in case you still shouldn't have or even know it then by any means, yes, you definitely, finally, and desperately have to change this and this best right now. Get it, period.
(9,5 of 10 Points) (-the link to the facebook site of the band)


Sonntag, 21. Oktober 2018


(Running time: 43:12 minutes; 13 songs)
("Contra Records"; 2018; CD):
Hey guys, yes, finally the next post up here is right now and right here incoming just for you and this time it is on the new STOMPER 98 full-length-album "ALTHERGEBRACHT" released at the 30th of March of 2018 via the mighty "CONTRA RECORDS" label, and yes, the almighty STOMPER 98 finally really returned this very year with "ALTHERGEBRACHT" with a proper brandnew full-length-album after six by far too long years of being absent. And, shall I tell you something, it's good that they are finally back, very good, really very, very good. I listen to this very band, STOMPER 98, now since their "STOMPING HARMONISTS" days sort of two decades ago and every time a new one of/by them is finally unleashed again it's always like the return of a beloved old friend returning to the front or from the front, like you may like to see it, it feels good and familiar but also all the time fresh thanks to new stories and new impressions he has to tell and to give, yes, and so it's also this time again in 2018. What I mean with this is simply that they definitely have their very own unique tone, their very own characteristic sound'n'style and their very own unique character and that this they do show us rightfully so all the time respectively every time but they always manage to keep it fresh and exciting and massively rousing and grapping and so also one more time again right here and right now in 2018 with "ALTHERGEBRACHT". The absolutely alive/lively songwriting is full of incredible rousing fresh ideas and great surprises as well as some very cool and nice little notes/eastereggs (like for example the a little tribute to the almighty SKOIDATS and their larger than life anthem "LAST NIGHT" paying opening riff of the über-song "DIESE NACHT") and delivers massive amounts of dynamic energy that go hand-in-hand with a great work in the departments of the rhythmic arrangements of the songs as well as the pace work of, yes, the songs and also is the compositorial approach in general nothing but fantastic and exciting and grapping, yes, and this all the time on the highest octane levels and this definitely all the damn time and it graps you, it overwhelms you, it conquers you massively and this nearly from start to finish and all definitely showcases nearly perfectly the concise and unique handwriting of STOMPER 98, yes, one of the very best Oi! bands past, present, and (hopefully) future and this in the case of German Oi! and Oi! from Germany as well as Oi! in general, 'internationally', yes, definitely. All is driven forward and, yes, all is all the time further onwards pushed by sharp cutting guitars that deliver a fiery rhythm'n'riff-work without end and that also shine and excel with a brilliant and strong rockin' and rollin' note and approach to it all and that above all are really standing out with massively engrossing melody lines, leads, and solos. The loud'n'proud through the songs strutting rowdy bass and the fantastic highly 'beat-filled' drumming are backing it all nearly-to-clearly perfectly up. Loud fist-in-the-air and sing-a-long-to crew chantings add highest amounts of anthemic character and hymnal potential to it all and the fantastic naughty'n'nasty melodic and yet very hard and cutting sung highly charismatic lead vocals and the fantastic saxophone lines then finally cultivate it all and giving it all the highly deserved and justified crown. Also, something that I always massively like and that you may already anyhow know and that also counts or is to say here is the fact that the verses are as strong 'prepared' or maybe better done'n'delivered as the refrains. And all is delivered by high-skilled and well-versed musicians. Some of the guys with that I talked about STOMPER 98's "ALTHERGEBRACHT" over the last past months have questioned the authenticity of STOMPER 98 in general today and of "ALTHERGEBRACHT" in particular with STOMPER 98 being today in their perspective more of a part-time-project with a sort of everchanging all-star-roster of members and with some of their most prominent members being today far more active in bands somewhere between Rock, Metal, and Hardcore that have sort of nothing to do with Oi! and Skinhead and as far as that may hold some portions of truth, but just maybe, but for all what I can say is that to me this all still feels like a real band and this all still feels heartfelt and passionate and more I can't and won't judge, not at least because who am I, and this also... yeah', let me say it this way: To me the quality of an output counts far, far more than any and/or every conjecturing perception (and that are all also maybe not that important after all, at least if you ask me) and the quality here on and with STOMPER 98's "ALTHERGEBRACHT" is nothing but and nothing less than massive, period. Only the somehow sort of a bit 'too-wanted' and a little bit sort of artifical and placed 'acting' opener "SKINHEAD" is sadly a huge'n'strong down turner, and truly a really massive one, but after this we get twelve incredible strong heavy hitters that massively overwhelm and convince and conquer with "KEINE HELDEN", "GESETZ DER STRAßE", "NICHTS IST FÜR IMMER", "FÜR DEN AUGENBLICK", "DIESE NACHT", "ALTHERGEBRACHT", "WIR STEHEN HIER", and "ALTER FREUND" being my personal favorites. Good and strong and also nicely socially aware and outspoken lyrics, a drop-dead-gorgeous artwork, and a top notch production sound then finally round it all up. A fantastic album that I can only highly and massively recommend to any fan of Oi! and this is definitely one of the strongest albums being released this very year and this in Oi! in particular and music-wise in general, too… I just hope that it won't take another six years before/until STOMPER 98 drop the successor of/to "ALTHERGEBRACHT". But so long, yes, just get this majestic one here. Cheers & Oi! Oi! Oi!
(9 of 10 points) (-the link to the homepage of the band)


Mittwoch, 17. Oktober 2018


(Running time: 37:34 minutes; 13 songs)
("Rebellion Records"; 2014; CD):
Hey my dear readers, yes, again too many days past by without seeing a new post/article up here, yeah' I know, but that's life and so now finally straight again into the action and here we go: Tonight it will be all about an already a bit older record but that I just picked up at the end of this June of 2018 @ the fantastic "THIS IS SKA 2018" festival... and this was definitely by far long, long overdue, definitely, and I am talking about the self-titled HAMMER AND THE NAILS album that was released four years ago back in 2014 via the almighty "REBELLION RECORDS" and if I know made my homework sort of correct than this is sort of a compilation album of all their demo and singles material from 2009 and 2010 with some live bonus stuff added to it as well. And sort of since 2009 I know HAMMER AND THE NAILS now already, from back then when MySpace still was a thing, yes, and I hailed and cheered up to them massively right from my frist listen to them but then over the last now already really nine yeas I totally lost them out of sight… shame on me, shame on me, and not just a bit. And when I then saw "HAMMER AND THE NAILS" @ the "CONTRA RECORDS" merch-desks @ the above already mentioned "THIS IS SKA 2018" the memory was right'n'promptly back and I instantly took it finally with me. And then it was also already instantly and promptly clear to me that I definitely will do a review on it up here, really sort of finally do a review on it up here, despise that it is now already four years old and also despise that the songs featured on this very one here are now already in parts really nearly ten years old, yes, but who cares, surely not me, myself, and I, and so, again, now here we go… finally: HAMMER AND THE NAILS play dustdry and bonecrackin'n'headsmashin' heavy American Oi! the Brickwall Style that's driven forward by harsh sawing and forceful onwards marching and mercylessly pushing bonedry and as heavy hitting as a well aimed crowbar swing pure power guitars that deliver an overwhelming amount of heavily and massively crushing as well as really incredible rousing and exciting, really grapping and surprising fresh riffs and rhythms as well as great and formidable accentuated and really loud singing leads and solos and that above all truly brightly shine with a strong own and very unique tone. Harsh delivered and throaty and hard but still all the time really sung and not shouted lead vocals with a nice and pretty impressive way of a unique accentuated delivery with a special vibe to it all. A firy and harsh attacking bass with massive anmounts of full force power backs it all very beefy and bulky up and then the war-drums like thundering drum work finally crushes every and any resistance completly down into the ground and this without any mercy at all. All is done and delivered highly skilled and very, very fresh and totally alive/lively and this is beside the high skills of this fine Boston Gentlemen in the biggest parts thanks and due to the phenomenal songwriting and some very fresh and unsual and so pretty surprising rhythm arrangements and some in general very unsual and exciting compositorial work that often blends sort of Vintage Hard Rock spirited and nicely 'tricky' rhythms, grooves, and a very grapping pace work and a huge multi-layered and multi-facetted diverse approach to it all in general into their Brickwall styled through and through neckbreaking and facecrushing American Oi! and this makes it all even and only more great(er) and exciting and rousing and grapping. And it makes it all to something pretty to very special that in this way you haven't heard so far before or from another than HAMMER AND THE NAILS. And of course they also deliver huge fist in the air and sing a long to refrains that are really larger than life material, yes, but this also is to say about and/or counts exactly the same way for the brilliant arranged verses and this all adds a huge and also very cliché-free anthemic and hymnal character to the whole songs. A fantastic artwork, very strong and outspoken nicely diverse and also very thoughtful as well as thoughtprovoking lyrics, and a raw and dirty and yet still very heavy and powerful crushing production sound round it all finally and very perfectly up and after truly all songs are purest platinum I will now spare me any words about any favorite songs because, like already said, all songs are the purest platinum. To anyone who like me so far completly for what reasons ever missed out on HAMMER AND THE NAILS should definitely and desperately finally change this as soon as possible and why not with this perfect gem even it is now already four years old with dating back from 2014... and I really will 'make up my mind' on new and/or other stuff of/by HAMMER AND THE NAILS, yeah', finally and definitely. Cheers & Oi! Oi! Oi!
(10 of 10 points) (-check out the Bandcamp site of the band)


Dienstag, 9. Oktober 2018



(Running time: 28:59 minutes; 17 songs)
("Epitaph Records"; CD):

(02.) "I HAD ENOUGH"
(07.) "SICKNESS"
(08.) "SHADOWS"
(10.) "TRUST"
(11.) "MY LIFE"
(12.) "IT'S TIME"
(13.) "ROCK STAR"

Good morning folks… or so... finally again much earlier than the last time you here and now already get the next dose and this here and now means the newest "CLASSICK OF THE MONTH" article and of course we're here and now talking about the "SEPTEMBER 2018" edition of it. Yes, this time I haven't forgot (or nearly forgot) about it, no, no, no, and so here and now you get this very one much earlier than its direct precursor one, hm, and I hope that already one of the next posts up here coming up the next days or so will then already be the succesor one to this very one here. And now, I think so, enough of the smalltaking and introducing rambling(s) and now direct and straight into the action: This time we will take a trip 'down' to the Big Apple with visiting the cold, hard concrete of New York City where we will today meet one of the if not maybe even surely the biggest legend(s) ever to arise from the NYC and it's all about no one one else and especially no one less than the absolutely almighty and larger than life AGNOSTIC FRONT and today here'n'now we will have a more precise look on their album that definitely sort of always was and I am pretty sure always will be my total favorite album of/by them and their most important one to/for me and this is their in 1999 released absolute masterpiece "RIOT, RIOT UPSTART" released back then via "EPITAPH RECORDS" on CD (and please don't ask me if there had also been a LP version of it back then, today there is).

In 1999 I knew AGNOSTIC FRONT already for quite a while especially due to their infamous classick "CAUSE FOR ALARM" and their heavy slasher "ONE VOICE" both from way back in the days, yes, and then they 'went away' and my teenager-self only knew them 'so far' just as a legendary but 'gone' band that I always massively cheered up to. And then 1998 came across and suddenly AGNOSTIC FRONT were truly and really back and their 1998 comeback-album "SOMETHING'S GOTTA GIVE" with the lifechanging "GOTTA GO" on it erupted like an A-Bomb and... to put it short, yes, I was totally conquered by it and this hasn't changed up to the present day. (So maybe better not be too surprised when you see it someday up here as a part of this series, too.) This strong opening to Oi! and Streetpunk that had happened and that AGNOSTIC FRONT suddenly showcased was exactly what I was up to and for what I was looking for back then (and, to be honest, this hasn't changed in good parts that much today), it was sort of the 'together-melting' of my two most favoured styles which means Oi! and Hardcore and, like already said, it fired up my heart and soul and it was exactly what I was looking for; and even still today it is in the largest parts exactly this what still fuels my fire the very most. But as damn great, brilliant, fantastic, and massively conquering already "SOMETHING'S GOTTA GIVE" from 1998 was and definitely still is, oh yes, but in 1999 it even got a good bit better with "RIOT, RIOT UPSTART". My first contact with non-mainstream-musick was very eraly in elementary school with Metal and like anyone who knows me and/or also reads this very blog here (especially those who stick around here now for already quite a while) know I am still in love with Metal in its various forms and even especially sort of from 2000 to 2010 or 2011 I was pretty much 'out of it' my personaly classicks always fueled my fire massively and today Metal is very prominent in my stereo again. But... hm, I lost myself a bit, sorry... okay, from latest 1994 on when I was 13 years young first Hardcore and Punkrock and then Oi! (and Streetpunk, but back then this 'seperating-terms' and how or like we use them that often especially today I simply didn't knew) became more and more important and influential to/for me and especially Oi! and Hardcore should become more and more 'my everlasting most important thing' and when then AGNOSTIC FRONT unleashed their "SOMETHING'S GOTTA GIVE" in 1998 and especially "RIOT, RIOT UPSTART" in 1999 that was exactly what I wanted, needed back then (and what I still cheer up to massively today). Not that this hadn't been done by others also before 1998/1999, hell no, others did it as well and they did it very often also damn fantastic, yes, but AGNOSTIC FRONT simply did it to/for me in a very special and damn unique and characteristic as well as charismatic way and they absoultely conquered me and so especially those albums of their comeback era hold a very special place in my heart and this also counts for their by far too often dramatically underrated "DEAD YUPPIES" slasher from 2001, the third and final one of their comeback era and so also don't be surprised when it one day will also be part of this article series up here, yes, before AGNOSTIC FRONT should turn with their mighty "ANOTHER VPOICE" from and in 2004 to the through'n'through 'pure steel' New York Hardcore slashers and giants as we know them today. And so now after all my by/of personal events and situations permeated blathering let us have a closer look on the almighty "RIOT, RIOT UPSTART", hell yeahr, the absoulte groundbreaking masterpiece and classick that AGNOSTIC FRONT released nearly twenty years ago in 1999 via "EPITAPH RECORDS", yes, so let's roll.

AGNOSTIC FRONT's "RIOT, RIOT UPSTART" features 17 songs in about 29 minutes and this was and still is one hell of an intense ride from "POLICE STATE" to "BULLET ON MOTT STREET" and it was and is just again and again overwhelming and incredible how much energy and rousing dynamics AGNOSTIC FRONT put into this shortly or roughly half of a hour. Very intense and dense, full throttle and no holds barred and also no prisoners taking songwriting that creates skyscratching high amounts of intensity and highly energetic tension that just wants to erupt massively and 'overwhelmingly' and makes you instantly start a mosh pit right in front of your stereo in your living room and, and that's maybe most important and most impressive, its still as fresh and as strong and as conquering and also as relevant as it was now nearly twenty years ago way back in 1999, yes, and that's definitely and truly statement of one of a kind and definitely of its very own and should already tell you all what you need or have to know about how damn larger than life and fantastic AGNOSTIC FRONT's "RIOT, RIOT UPSTART" was and still is and definitely forever will be, point and fact. A raging and sawing guitar work, that delivers stomping rhythms that are varying nicely between fast speed Hardcore facebreakers and more in an elated Oi!/Streetpunk mid pace held or delivered tunes, 'shines' in a dirty and nasty 'streetraised' heavyness without any metallic flirtings and delivers also great hymnal Oi!/Streetpunk leads and melody lines and with doing so enriches and cultivates the songs heavily and massively. A rampaging and nicely present bass work and bonecracking and 'weasel-nimbly' drumming back it all perfectly up. Roger Miret's highly charismatic and unique lead vocals then really give the songs their bright shining crown and massive and highly hymnal massive gang back ups enrich it all only even more. The songs display/showcase anyhow from start to finish a larger than life (still incredible) very fresh hymnal and anthemic character and identity and this all even more due to the fact that the verses are as impressive and overwhelming and hymnal arranged as the majestic refrains. From song one to the final one we get here only purest platinum and this is by all means to/for me nothing else and especially nothing less than a truly and definitely perfect album and with that said I think I've said all what there was to say so far, I hope so, and I simply can't pay enough tribute to AGNOSTIC FRONT in general and especially their "RIOT, RIOT UPSTART" groundbreaker in particular and to anyone who maybe really shouldn't know this total supreme masterpiece I can only highly recommend to desperately finally get their hands on a copy of it. First class, nicely diverse and very outspoken and socially and politically aware lyrics, a truly great old schoolish artwork, and a dirty and rough production sound round(ed) it all perfectly up (also even still today). And I really hope that we will see next year a very nice 20th anniversary edition of AGNOSTIC FRONT's "RIOT, RIOT UPSTART" is being (re)released. To close this article now let me state that I simply love AGNOSTIC FRONT and especially first-and-foremost "RIOT, RIOT UPSTART" and so simply just thanks for all, AGNOSTIC FRONT. HARDCORE!!! FIST!!! Oi! Oi! Oi!
(***Check their facebook site out:***)


Freitag, 5. Oktober 2018

BROILERS - "FACKELN IM STURM" (Rerelease, 2011)

(Running time: 45:36 minutes; 12 songs)
("Skull & Palms Recordings"; 2011; CD):
Hey guys, yes, next dose is already incoming and this time here you now get my review on an old record, yes, in its original-version an even already very old record because here we have the full-length-debut of/by no one else than the (al)mighty BROILERS titled "FACKELN IM STURM" and originally it was released way back then in 1997 and so some may/might with all justifications consider it a classick. And, yes, with all justification to do so. Back to the topic,  the BROILERS were one of the young and strong stomping German Oi! bands that started to take over back then in the mid to late 1990's. Since latest 2007, when the "VANITAS RECORDINGS" was released, the BROILERS really 'took off' and today they are a damn 'big number' in the german music scenery with save (and high) chart-entries every time a new release hit the stores. And, not that you get the wrong impression, this for all the right and justified reasons and personally for me today it is a big, a huge pleasure to see them standing where they are today and I only wish them all the best on their further way. Even more because they never forgot or denied where they came from and they always stayed true to and never were ashamed of their Oi! and Skinhead roots and that makes them only more authentic and also and maybe even especially sympathic in my eyes and that's someting sort of very 'rare' and 'precious' especially in our current time and age. And so seven years ago in 2011 they were already very strong going and only getting bigger and bigger and then they rereleased their older albums in totally drop-dead-gorgeous rereleases and so also their debut, standing proud and true to and for their roots. Personally back then when I was a teenager or a (very) 'young adult' I really discovered the BROILERS properly with their second full-length-album "VERLIERER SEHEN ANDERS AUS" from and in the year 2000 and their former works I back then first only knew songwise from compilations and parties and such stuff, yes, and that's also the reason why this very album and review on it isn't part of the ('personal') "CLASSICK(S) OF THE MONTH" series up here because my first real personal classick of, with, and by the BROILERS was and is "VERLIERER SEHEN ANDERS AUS". But back in 2011 I finally realized that I should definitely get "VERLIERER SEHEN ANDERS AUS" in a proper version, especially after the tape on which I got it back then started rapidly to 'melt' away, so to say, and so I already in 2011 wanted to call this one finally and properly my very own... but don't ask me why it took me long seven years to finally get it done, damn it... however, because some time ago this year of and in 2018 I finally managed to get it, yes, done and since some months I call this drop-dead-gorgeous rereleased timeless classick of German Oi! my very own and so I thought why not even still today deliver you my review on it, yes, and so now finally after all this 'historical ramblings' let's go, yes, so, truly, here we finally go: Back in 1997 the BROILERS still were sort of 'nearly teenagers', so to say, and they delivered an asskicking harsh sawing and thirsty-for-life forward rumbling German Oi! that still today suprisingly strong and tall stands its very own ground, yes, and that alone is a statement. I mean, definitely, this is through-and-through pure 1990's Oi!, yes, with surely already a strong own identity, also definitely, but still true 1990's German Oi! and still it is as strong and releavant as back then and this still today even despite the fact that German Oi! developed hugely and massively since the 1990's and, yes, so that  the BROILERS' "FACKELN IM STURM" is still as strong and as relevant as back then in 1997 is truly a statement of its very own. The songwriting was already back then nicely diverse and multi-facetted and what they served us back then they also knew how to get it all properly done and without 'taking themselves over with something' and the impressive development and evolution of the sound'n'style of the BROILERS like we know them today was or better is retrospectively already in its very floorplans or groundplans to be recognized here on and with "FACKELN IM STURM" that's still even today a very strong and in parts even just 'overwhelmingly' conquering album and I really could kick myself in the ass that I haven't cheered up to it properly already back then in the glory days of 1997. Anyhow… again: return to the topic; so the foundation of the BROILERS' "FACKELN IM STURM" is by harsh (German) Punk(rock) fueled gruff and rough and 'boorish' German Oi! that's massively driven forward by harsh sawing and powerful stomping bonedry and 'road-grimed' guitars that deliver a headsmashing full force riff-and-rhythm-work and also set strong and 'formative' melodic and lead accents from start to finish of the whole album, yes, and they also deliver power and force non stopp; then there's the warm and earthy but also or as well as heavy and dirty huming and buzzing bass that's struts around like '(s)he' owns the place and that's also very often nicely marking the songs in its own way and with its own flavour; then the smashing drumming pushes the songs with massive and meaty poundings onwards and lending it all the needed massively beefy and bulky stomp; then there are the gruff and harsh and in a throaty shouted way sung lead vocals with a very nice own vibe to them and, just by the way, no matter how much I also still today love Sammy's 'old style'n'voice of singing' it is really impressive how much and how far he developed since then to what he does and is able to do today, hell yeahr, nothing but much respect; and finally we have the loud crew backing chants only adding up to the massively hymnal and anthemic character of all the songs. And, yes, already back then in 1997 on "FACKELN IM STURM" the BROILERS knew very damn well how to write really massivley hymnal and anthemic songs with really large 'hooky' sing-a-long refrains and also damn rousing verses that are mostly in no way inferior arranged than the mighty refrains and that was and still is an ability that the BROILERS (sort of) 'learned from the ground up' and haven't unlearned to the present day and I am pretty damn sure they will never unlearn it. And all this is enriched and cultivated by already back then in 1997 pretty strong and nicely huge SKA and Offbeat influences and elements, licks and rhythm-arrangements as well as also some slightly 'Coutnryesque' guitar tones and some few nicely doses of healthy Rock & Roll like onwards pushing marks. With all that added together even still in 2018 "FACKELN IM STURM" is an exciting and grapping, intense ride and truly a timeless classick of the German Oi! of the 1990's and in the basic floorplans today in the retrospective a lot of what should become of the BROILERS culminating so far in 2018 is or was also already in slight portions dawning at the horizon of and in 1997 while they and we, the "FACKELN IM STURM" still defying the storm still burning brightly, proud and strong. Already back then often pretty outspoken and anyhow thematically nicely diverse and sympathically 'ironical winking' and anyhow good lyrics with a strong and clear youthful attitude, a fantastic artwork, and a heavy bombing and still dirty stomping production sound then round it all finally up. Surely, yes, some songs like for example "KELLY FAMMELLY" or "SUFF DICH VOLL" are today in one way or another (at least a bit) outdated but, hey, what did you expect. My personal favorites were and (mostly still) are "BLAUE AUSTER", "IN 80 TAGEN UM DIE WELT", "DU BIST SO BLIND", "FACKELN IM STURM", "DÜSSELDORF", and "WENN DU DENKST" and the sort of 'bonus-medley' "DAS GÜLDENE POTPOURRI" is just a fantastic 'musical bouncer' of the (rerelease-)album. So, yes, also with nowadays being already twenty-one-years-old I can only and nothing but recommend the BROILERS' "FACKELN IM STURM" to anyone into Oi! and also to anyone who wants to know how great German Oi! was already back in the 1990's, oh yeahr, and so you should finally (and desperately, trust me) try to get your hands on a copy of it, yes, and the rerelease-version of it would be a perfcet match for or in the case of this very undertaking, yes, trust me. So, okay, you best promptly just damn fucking finally get it. Cheers & Oi! Oi! Oi!
(8,5 of 10 points) (-the link to the homepage of the band)

BROILERS - "FACKELN IM STURM" ///live, ca. 2010 @ the "WITH FULL FORCE FESTIVAL"\\\ (1997/2011, "FACKELN IM STURM")