Nov 16, 2015 For their first four years, Dillinger Four didn't even release an album, getting by with a few EPs and touring on those. 'A lot of bands get.
Dillinger Four vs. The Strike These two nineties Minneapolis punk bands matched punk and politics with furious tunes and, unlike many of their contemporaries, had a working knowledge of musical history. Studio Album (4) Midwestern Songs Of The Americas.
With combative punk rock as a base, but with some variables that give dynamism to the ensemble, the group starts at full speed its new album with 'Through Glass', a theme with air to the most aggressive side of Scandinavian rock and some Choirs ready to raise your fist. ‘I'm still (El Loco)’ I wouldn’t clash on a Crim record, with Gartxot’s broken voice singing “I’m still the crazy guy, the fucking pirate who spits out when you go to Lao. I'll screw up, your father and the king, just for you, just to fuck. ” It is clear, isn't it? The album also has some guests as in ‘Corpse On Earth’ where we hear the invaluable voice of El Drogas in this hymn about the dead forgotten in the gutters or in the powerful ‘I am Your Storm’ with Juanra and Sergi de Kop. That without forgetting the production and mixtures of Haritz Harreguy who has managed to capture a sound that sprouts loudly from the speakers.In the second half of the album, The Guilty Brigade let out a more metallic side like that 'We've Come Here To Fuck' with a rhythm reminiscent of the fast part of 'Seek And Destroy' and a thrilling guitar solo or 'I Want To Destroy You ', the only song in English, which we could call punk thrash.
The album ends with ‘This Is Not A Song of Love’, but of course if your wave goes, it will be difficult for you not to love them.,. You didn't think you'd still be hearing about Alexisonfire in 2009, did you? To be frank, I didn't either.
I've followed the St. Catherines quintet since '.44 Caliber Love Letter' first overpowered the speakers on the relic of a computer I had back in 2002, and I loved every second of the brash, screamy hardcore that George Pettit and co. Brought to my life.
But it never occurred to me they'd be a band with staying power. A band who could adapt to the changing of the musical times and their own growing influences. Color me wrong. So very, very wrong. Alexisonfire is back with Old Crows, Young Cardinals - their fourth full-length - and they're writing songs with staying power.
With passion. With gravitas.
With a renewed sound and sense of songwriting. This ain't your daddy's (er, older brother's) Alexisonfire. Apparent from the get-go is the band's increased punk influence. The guitars are muddier, the vocals - from Pettit, Dallas Green and Wade McNeil - more scratchy, the drums louder. The album's leadoff, 'Old Crows' is a ravaging three-and-a-half minutes that balances Wade's low, gruff screams, Dallas' incredible vocal range and an unbelievably diverse rhythm section. It's a more complex sound than they've attempted before, and Pettit says as much himself; 'Now, we are not the kids we used to be.' Across the entire album are themes of transition, as Pettit eloquently suggests on 'Young Crows': Part of that transition, besides adopting a more punk-based sound, includes balancing the melody of Green's impassioned vocals and the manic screams of Pettit and McNeil.
The band started down that path on Crisis with songs like 'Boiled Frogs,' but many of their new songs see them perfecting the craft. 'Born and Raised' is a rollicking, up-tempo song that kicks off with gruff vocals and short, choppy chord progressions before Green swoops in and lays down gorgeous vocals that happen in time with McNeil's background screams. As the progressions lengthen out and the clean guitar underneath comes to the forefront, Green breaks out and completely takes the song over, letting no one question his talents on the mic or the six-string. This is the new Alexisonfire.
This is perfection in balance. Much of that balance is achieved by juxtaposing McNeil's aggressive delivery with grandiose choruses, a tactic seen on 'Heading for the Sun' that brings new meaning to the phrase flawless execution.' The first verse is one of the band's most aggressive; McNeil digs deep to dredge up every bit of fire he's got and the instrumentation is dark and laden with distortion.
The second verse is Green letting his vocals rise fully above some slick guitar work, and just when things quiet towards the end, McNeil re-enters the fray with ample distortion before Green swoops in one last time to take the track out on a plateau. Fans of the band's previous albums can also feel relieved knowing that Pettit's scathing vocals haven't been forgotten; they bookend the powerful 'Sons of Privilege' and punctuate the rhythmic peaks and valleys of 'The Northern.'
He may not be the face of the band as he was on Alexisonfire, but his voice has matured and his timing has improved to the point where every appearance he makes on the album comes at an absolutely perfect point. There's something so satisfying about listening to a band you've followed from the beginning grow into such a dynamic and talented outfit.
I don't know where Alexisonfire is headed musically or how long they'll be around for; I don't know if the lineup will stay the same or they'll get bored of writing this kind of music and switch to pan-flute music tomorrow. What I do know is decidedly more concrete - this is one of the best bands currently making music, and if you're late in finding out, there's plenty of room left on that train (.Review ).,'crisis'Year: 2006Label: WarnerFormat: CD, LPTracks: 14Time: 42 min.Genre: rockStyle: Post-Hardcore.
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Their last full-length, Pull the Thorns from Your Heart (2015), had Senses Fail going all-out in hardcore. The release was hard-hitting, powerful, and memorable in more ways than one. But rather than give it another go, the band has decided to return as the older sibling this year: punk/rock. It would appear that the Speak the Truth debut a few months back was more of a preview than realized for what was coming in 2018; granted, the two bands only share a singer (Nielsen), but the two records do sound related when played one after the other.
However, between the two, If There Is A Light is the stronger entry for a multitude of reason. Maybe the fact that Senses Fail have put in more continuous time together than the members of Speak the Truth has something to do with the difference, but that’s a discussion for another place.Admittedly, there were some love/hate feelings to be had during the first few spins of this record; luckily, they eventually settled on the air of positive.
Lyrically, this is a very dramatic and sad release; but instrumentally and vocally, it’s energetic and fun. Tracks like “New Jersey Makes, the World Takes” and “Gold Jacket, Green Jacket” are pure punk/rock goodness, featuring an early 2000s backbone of nostalgia (“I’m not giving up today / No-o-o-ooo” – “New Jersey Makes, the World Takes”) while tackling current events (“Fuck the government / it’s an embarrassment / we’re all going to die in debt” and “You’ve got to defend yourself from anyone who doesn’t think the same” – “Gold Jacket, Green Jacket”).
And of course, the band has made sure to create yet another engrossing finale with its title track; it ranks right up there with “The Priest and the Matador” of Still Searching.It would seem that Senses Fail can take on a variety of genre types and come up on top. If There Is A Light co-exists as a powerfully emotional and energetically fused entry, built on insecurities and personal promises to overcome. It strikes at the core throughout, while often leaving the listener full of love and gratitude. That makes this one even more special (.Review ).,. The absolute highlight is in my opinion the pre-single 'fist up'.
Content has not changed so much, but that's good. On the one hand there are a lot of optimistic party songs, on the other hand sympathetic stories like 'love of hate' and in addition also political things, which put the finger exactly in the wounds, which hurt particularly. Racism, homophobia and turbo-capitalism: there's a song to each theme, unlike many other bands that casually mention such things to avoid stupidity - Radio Havana was and remains authentic and genuine. The songs are, as briefly mentioned, different, without falling too much out of line. Still, it's nice to see that both the slightly slower numbers like 'Houston' and the fast ones work well.
Of course, one or the other complains that the production is very smooth and some chorus something of the dead pants reminds. There will be voices saying that the music is too mainstream. This is understandable somewhere, but I do not care, because the songs have an important message and the entire album is more determined than its predecessors - it's just fun to listen to and has a lot of hits (.Review by ).,'alerta'Year: 2012Label: CargoFormat: CDTracks: 12Time: 36 min.Genre: rockStyle: Punk Rock. 'Expansive' is the wrong word to describe a viciously focused, 29-minute album, but White Lung’s fourth full-length is an evolution in every direction. The breakneck Vancouver quartet’s latest effort packs knotty instrumentation and glinting, steel-edged melodies, pierced by hints of ’00s radio rock and singer Mish Barber-Way’s dry sneer. Passionate by rarely loving, Paradise works on a higher conceptual level as well; Barber-Way’s side gig as a journalist and advice columnist has broadened her perspective and solidified her voice in a way few lyricists get to experience.The follow-up to 2014’s bracing Deep Fantasy continues to professionalize White Lung’s sound, and the resulting cyclone powers a band with even greater ambitions in mind. The band chose producer Lars Stalfors (the man behind dark, warped albums by Chelsea Wolfe and HEALTH), because they wanted a “modern” sound for Paradise.
Modern means clean, and modern means loud; White Lung have never had any trouble with volume, but Paradise brings new polish. Guitarist Kenneth William made a point of composing each song in a different key, and the band has refined their pacing without sacrificing momentum. “Below,” a ballad that could easily be another band’s fast song, highlights piercing guitar work that wouldn’t sound out of place on the new Deftones record. In Stalfors’ hands, the songs’ muscles grip closer to the bone and wildly zigzagging riffs are thrown into sharp relief. The sonic variety gives Paradise a more distinctly faceted sound than any of White Lung’s previous albums, even if you’re not consciously aware of why each track seems to ring with a unique echo. The skillful construction and principled production are two reasons Paradise feels simultaneously thorny and listenable; another is the strength of its emotional trajectory.The pent-up frustration of opener “Dead Weight” gives way to “Narcoleptic,” a brutal awakening that fuels the furious energy of the eight tracks to follow. “Watch my blue turn red,” the narrator threatens, her ire invoked.
Dillinger Four Discography Rar Downloads Free
“Take him down / With the lead he built into your crown,” she commands, fantasizing revenge. William’s ferocious guitar arrangements lead the choruses, matching Barber-Way punch for punch. There’s no one literal reading of Paradise; part of the album’s story is Barber-Way’s invention of new roles for herself. Several songs are told from the perspective of specific characters - some relatable, some awful. “Kiss Me When I Bleed” casts her as a young woman in a sinkhole of harsh circumstances and obsessive passion. “I will give birth in a trailer / Huffing the gas in the air / Baby is born in molasses / Like I even care,” she belts. It’s an un-beautiful line, exploiting taboos about bad mothering and the unkind habit of passing judgement on who has children and who ought not.
It’s also one of the album’s most anthemic choruses, matched in intensity by a squealing bridge. Parde me rahne do dj shikar 1968 mp3 songs free download torrent. There’s a universality to it; “kiss me when I bleed” is at once a human and explicitly feminine demand. If White Lung seize their commercial potential - they’re certainly capable - they’ll have to keep sticking the tricky balance between raw energy and hooks that don’t alienate their noise-loving early adopters. Paradise lands closer to technical brilliance than emotional resonance, but you can feel the band reaching.
On the titular closer, they nearly capture it. At its heart a traditional punk ripper, “Paradise” conveys in a few phrases an animalistic and trusting love: “We’ll go so very far / They’ll never hear our copulating.” Consequently, the song with the fewest pyrotechnics here is worthy of as many repeat listens as the barnburners.
Throughout Paradise, the cure for pain is bitter medicine - and its title track is a reminder that things aren’t always so bleak as they first sound (.Review by ).,. Young punk band from the Isle of Wright, UK, Grade 2 will release their third album and Hellcat debut, Graveyard Island, on October 11th. The album was recorded and produced by Rancid’s Tim Armstrong at Armstrong’s Shiprec Studios and mixed by The Interrupters’ Kevin Bivona.Grade 2 is vocalist & bassist Sid Ryan, vocalist & guitarist Jack Chatfield, and drummer Jacob Hull. Formed in 2013, the band met at school where they would spend their lunch break playing covers of classic punk tunes together in the music room.
Since their formation, the band has released several EPs and two studio albums; Mainstream View (2016) and Break The Routine (2017).While touring, the band met Lars Frederiksen (Rancid) who took an interest in Grade 2 and ultimately played some of their music videos to his bandmate Tim Armstrong. Armstrong liked what he saw and not only agreed to produce the band’s forthcoming record but signed them to Hellcat. Last December, Grade 2 flew to Los Angeles, and, over the course of two weeks, tracked the dozen songs that comprise Graveyard Island.
“He’s one of the most efficient people we’ve ever worked with. He knows exactly what he wants. In the studio, he wanted to capture how we sound onstage, so we were tracking songs live with a scratch vocal,” vocalist/bassist Sid Ryan said on working with Armstrong.Graveyard Island offers proof that punk rock is still as relevant in 2019 as it was in 1976. 'Although we’re more than forty years on from when punk began, I actually think the times are very similar now to how they were back then,” says Sid Ryan.
“The political climate today means that people see the worst in everything, which means that for us there’s a lot to write about. Everything in the country is pretty much turning to shit! There are certain parts of our record that would make sense were it released in 1976' (.Review by ).,'break the routine'Year: 2017Label:Format: CD, LPTracks: 12Time: 32 min.Genre: rockStyle: Punk Rock. Authority Zero is an punk rock band from Mesa, Arizona formed in 1994.
The band's style is rooted in reggae and skate punk, with Spanish/Portuguese influences. They have released seven albums to date and two DVDs. The band regularly tours North America, Europe and Japan.,'broadcasting to the nations'Year: 2017Label: Bird AttackFormat: CD, LPTracks: 13Time: 40 min.Genre: rockStyle: Pop Hardcore,'persona non grata'Year: 2019Label: Concrete JungleFormat: CD, LPTracks: 12Time: 40 min.Style: Pop Hardcore.
On February 23, 2018, the new Talco album And the Winner Is not released on Long Beach Records Europe (Broken Silence distribution) The album is available on CD, vinyl, download and stream. In addition to the Spanish-language versions of the titles La Torre and La Danza Dell'Autunno Rosa and the English version of La Mia Citta ', the deluxe version also includes the German version of the song St. Pauli as a bonus CD. On vinyl, a transparent deluxe version with an additional 7-inch and woven patch appears. So much for the official part of the review.
I do not think Talco has to be presented to anyone. The band is the ska-punk institution from Italy and especially at the club and juzshows quasi the Italian live band that you should have seen (sorry, Los Fastidios, sorry class criminals). Accordingly, the new album meets all expectations again. Danceable and social criticism, 'If I can not dance to it, it's not my revolution,' attributed to Emma Goldman, fits here like a fist on the fascist eye (or nose). The content of the lyrics is alien to me unfortunately, I can not Italian and typing quite interesting to read interview in the Ox, because I miss the desire to. But I can feel vibes, and they are clearly visible here.
Fiercely, the album goes forward, very happy, always danceable and whipping forward. As Ska-Punk should be. The album is never boring and presents the band in the best of moods. For the politically interested people, the texts should also be offered in the booklet in translation. Outstanding is the Muhammad-Ali-Homage Bomaye (you do not need a translator for), who also has a certain sailor feeling, the album buff Silent Avenue and La Verita.,'silent town'Year: 2015Label: DestinyFormat: CD, LPTracks: 12Time: 34 min.Genre: rockStyle: Ska Punk,'la cretina comedia'Year: 2010Label: DestinyFormat: CD, LPTracks: 13Time: 34 min.Genre: rockStyle: Ska Punk.
The Proletariat are a punk rock band from Southeastern Massachusetts, whose heyday was during the 1980s, when they were active in the early Boston hardcore scene, sharing the bill with many of the best punk and hardcore punk acts of the time, despite their recorded output having a decidedly non-hardcore aesthetic; the Proletariat show more strongly the musical influences of early British post-punk bands such as Wire and the Gang of Four in their fractured guitar sound. Their first period of activity wass from 1980 to 1985.
In 2016 the band come back.,.
Imnot going to ramble on about how great i think the music o the '90swas, as i'd just be repeating myself from other posts. I'll just saythat i think the underground music scenes of the '90s was just asimportant and influential as the '80s. Hardcore/punk just seemed tobranch off in so many amazng directions in the '90s.
It's like all the4chord blueprints got pissed on or ripped up entirely. Just a greattime to be involved.For this post i've just decided topost a lot of the more rare/hard to find '90s hardcore, punk, indie,emo, fastcore, grunge, sludge, crust, metalcore, powerviolence, rock andwhatever else i have accumulated over the years, as well as as some not so rare. It's all herediscographies, anthologies, demos, radio sets, EPs, LPs, compilations,live sets, rehearsals. Many compiled by myself. If there are any bandsthat want any music removed, please just emal me or leave a commentand i'll remove the link immediately. I think between this post, thefirst Livin' In The '90s post, the Powerviolence post and a few others(like the Assfactor 4 post for instance), this should prove that the'90s underground scene was simply nothing short of amazing.
If, when youthink of '90s hardcore, you think of bands like Crown Of Thornz, E TownConcrete Bulldoze, Earth Crisis, Hatebreed etc, then this probablyisn't the post for you.I'm not going to write atlength about everything i post on here, as it would take way too longand make the post way too big. I've just thrw in a few comments hereand there, an if its a compilation, i'll list the key bands.
This ispretty much split up into three main groups. Hardcore and punk, indieand emo, and other (weird shit that can't be categorized like Black Mayoand Lambchop for instance). This started ot kinda organized, but nowit's pretty much random.
So here goes. 134 downloads plus 20 eggs.
Theultimate DIY 90s compilation put out by Vermiform in '93. It's allhere. Nation of Ulysses, Rorschach, MITB, Herion, Native Nod, fuckingINFEST, 1.6 Band, Merel, Moss Icon, Hell No. I'd say they don't makecomps like this anymore, bit truth is they don't make bands like thisanymore. Hand drawn covers for the first press of the vinyl release. Youcan check out most of the covers on this great blog.
Mine had a painting of an male ass on the cover. This is a CD rip. The Vermiform CD was mastered from vinyl.
Psychedelicpunk from Russia fronted by Yegor Letov of legends GrazhdanskayaOborona. 23 tracks pulled from 3 different releases recorded between1992 and 2001. Think 13th Floor Elevators meets Rudimentary Peni frontedby a Russian folk singer.That'sit for now.
Stormy, you are God! Your knowledge of music is incredible buddy and your taste is impeccable. Some of the stuff you posted on this, I had written off way back when, for whatever narrow minded reason, but I'll be damned if you aren't spot on about each and every one of these. Just how many gigs of music do you have up your sleeve, Mr. Thank you so much for your time and effort on this blog over the years? So do you answer emails/requests of is that just for those folks who don't want their music posted?
I would love to pick your brain and perhaps do an interview for my own blog???anyway, thanx again! Hey nice post! You can upload Neglect's Four Years of Hate and the Complete don fury sessions? Also upload Unbroken's demo and their split with Groundwork, Without a Cause (whole discography), Bulldoze (just their first Demo-EP called 'Cleaning the shit up'), Canon (they just have one EP 'The Solution'), Crematorium (whole discography), Groundwork (just 'Lay Down' and 'Living in Fear'), Resolution, Struggle and Pittbull (whole discography).PS: I removed my comment because I forgot to put another band.
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On June 23, 2018, Dillinger Four posted the album art of Midwestern Songs Of The Americas with the following caption: “True story, when we sent the completed album in, one of the label guys said the demos sounded good and wanted to know when we were heading into the studio. Midwestern Songs Of The Americas was released exactly 20 years ago today.”
Funny how an album that would get a reaction like that would become a total classic twenty years later.
While Midwestern Songs Of The Americas was not Dillinger Four’s very first release, it was the band’s first full-length, marking the beginning of a discography that would be celebrated for years t come. The album also marked the beginning D4’s unmistakable take on melodic punk rock. The vocals were nowhere near as melodramatic like their melodic hardcore peers, but they did master the art of having multiple lead singers take turns singing a could of lines each in the span of one song such as “It's A Fine Line Between The Monkey And The Robot” and “Mosh For Jesus.” And with D4’s signature vocal style came their take on writing incredibly catchy, sing-along anthems with rowdy musicianship especially when t came to the tracks “#51 Dick Butkus” and “Twenty-One Said Three Times Quickly.” On top of all of that, the old school audio clips stitch in between most of the tracks made the album have it’s own distinguishable flow. It is a tradition that the band would keep doing on the later albums.
Of course, Midwestern Songs Of The Americas was where the band introduced us to one of (perhaps the) most famous songs in their discography, which was “Doublewhiskeycokenoice.” Right after a clip of some children singing, the track started out with an unmistakable few guitar chords (cough, cough looking at you Green Day, cough, cough) followed by the band yelling “D!” and then “Four!” And what happened next was probably one of the best drinking anthems to be written within the punk genre.
Despite the label’s apparent, initial reaction to Midwestern Songs Of The Americas there were some absolute classic tracks on this album that fans would go completely wild over when Dillinger Four played them live even two decades later. The record was a classic because it was the beginning of their rise to becoming one of the most influential melodic punk bands, especially during the early 2000’s and beyond.