Sunday, July 5, 2015

Jersey Beat and Maxwell's Host The Milwaukees, Eastern Anchors and the Bastards of Melody

It's been close to a year since I left Hoboken for the sunny shores of Jersey City. In the times I've been to Hoboken since. I see less and less of what first brought me there in 2001. 
The legendary club that first had me crossing the Hudson in the early 90's not only changed hands in ownership. It's moved on with the times and no longer provides music for local and touring musicians in the way it did for decades. Times change though and while that might be hard for many to emotionally digest, it's inevitable. So when Jim Testa invited me to his Jersey Beat showcase. I was more that happy to attend.

First impression of Maxwell's rebooted were good. Getting carded at the door as a forty something was a good start. Being on the guest list, pretty cool. The back room looks really sharp. The moved the bar and make the room look a lot brighter, deeper and wider. 
The overall feel of the crowd was great and it was a pleasure to see so many familiar faces.
James Damion

Bastards of Melody opened the show on a promising note. Formed way back in 1998.
The trio featuring Paul Crane, Paul Gil and Scott Treude.... gave the intimate crowd a rewarding set of power pop that quickly reminded me of bands like Sloan, Big Star and the Replacements. Lead singer/guitarist Crane loomed tall over the crowd boasting a pretty impressive Hank's Saloon Tee. One that reminded me of may a wild night in Brooklyn.
For their swan song, the band was joined by host Jim Testa of Jersey Beat for a cover of
Velvet Underground's Sweet Jane. Afterward, I headed over to the merch table in the back and grabbed copies of Breakup, Fun Machine and Hurry Up and Wait. Good stuff I thoroughly enjoyed listening to. Bastards of Melody

In the days leading up to the show host and Jersey Beat founder Jim Testa asked me if I was familiar with The Milwaukees. "Sure, if you mean hearing about them from you countless times." The truth was, despite hearing the name and having a couple of CD's I had never listened to taking up space in my bookcases." Regardless, the chance to finally see and hear a band that had ben talked about so often in Jersey Rock lore was much needed.
From the first song to the last. The bands energy and connection with with the crowd was praiseworthy. I felt my body move in places that seemed forever cast in stone.
Singing along to songs I had never heard and enjoying the charisma and chemistry of a great band. If all goes well, I will be both seeing and hearing out this Jersey City band for years to come.
The Milwaukees

To be painfully honest. If it were not for
Eastern Anchors inclusion on the nights bill.
I would have never made it off the couch.
With the keys changing hands at Maxwell's in 2013 and my purchasing a home in Jersey City in 2014. I've had little to no reason to return to the town I called home for over ten years.
The somewhat rare opportunity to see
Eastern Anchors anywhere near my zip code was all the gas I needed to get on to RT. 139 and in to the biggest collection of potholes in all of New Jersey. While my exposure to Eastern Anchors stated in 2012 with a handful of shows and the release of the outstanding
Drunken Arts & Pure Science. The bands membership, music and footprint on New Jersey rock goes back to the 90's with Aviso'Hara,
Mr. Thumb and Tow. These days I find myself listening to Eastern Anchors more and more while getting familiar with Aviso'Hara. What I love most about this band is that, while they remind me of long time favorites Husker Du. It's the overall sound and performance of  Eastern Anchors that I love. Imagine, if you will, a band that sounds like themselves. That's what I feel I'm getting when in the midst of an
Eastern Anchors song or live set. Great seeing these guys again and again and.......
Eastern Anchors



United By Images; The Milwaukees at Maxwell's 7/2/2015

Milwaukees guitarist Jeff Nordstedt asked if I would post some extra pictures from this Thursday's show at Maxwell's. So I decided to add some additional ones to go with the show review I posted. Included is the set list I snagged from Jeff. James Damion
The Milwaukees















Thursday, July 2, 2015

Walk Proud - Too Much is Never Enough

I was rifling through some boxes of 7 inch EP's at a friends house the other day when I pulled Walk Proud's Be Yourself. Quickly, the memories of how positive and in particular, straightedge Hardcore had such a major impact on my life. For better or worse, bands such as Unity, Brotherhood and Insted (To name just a few.) payed countless visits to both my turntable and tape decks. Amongst those bands were many, less than original and downright formulaic bands I gave a pass due to their positive message and mosh worthy breakdowns.
In recalling Walk Proud, I can easily trace Be Yourself as the most generic and underwhelming records I had heard to date. Years later, as much as I personally disliked it. That same record became, for many fans of mediocrity, became a classic, milestone record. Most notably, the first release on the very influential New Age Records. 1990's RIP LP and 1991's One More Time EP followed on Nemesis Records before the band called it quits and inevitably reunited for 2003's Furious World compilation on basement records.

Fast forward to 2014 and an older, angrier and if musically possible, more generic sounding Walk Proud reappear on Hardcore's 40+ landscape. With a grand total of thirteen songs.
Too Much is Never Enough proves to be thirteen song too much. While die hard fans of the band might take a liking to this. Most fans of this style of music would do better with other dinosaurs of the genre such as Agnostic Front or Suicidal Tendencies.
James Damion

Know Records  Get it Here

Friday, June 26, 2015

Maxwell's to Host Jersey Beat Showcase

The Milwaukees were among the handful of local bands invited to play Maxwell's back in July, 2013, during the club's final weeks under its old ownership.  So the Jersey City    power-rock quartet seemed the perfect choice to headline Jersey Beat's first showcase at Maxwell's under its new management.

But the Milwaukees won't be the only familiar faces at Maxwell's on Thursday, July 2.  Eastern Anchors, featuring former members of New Brunswick rock powerhouse Aviso'Hara, and the power-pop Bastards Of Melody also have long histories at the legendary Hoboken club.  Enduring through lineup shifts, careers, marriages, and parenthood,  these three bands persevere as exponents of the Garden State's eclectic and ever evolving indie-rock scene.

The Milwaukees

Thursday, June 25, 2015

Archie Alone Headline Montclair's Home to Both Local and Touring Bands.

As I made my way downstairs and towards the stage where Trenton's The Wailing Kids were about midway through their set.
The bands eclectic mix of dream pop meets sweaty emo played well to the intimate, yet enthusiastic crowd. There was a small, yet notable crowd of rhythmically challenged girls gathered in front of the stage, dancing in somewhat of a comatose state. As the band sequenced from one song to another I became drained, realizing this was about as far from my liking as musically possible. While I would never go as far as saying they were any less than enjoyable to those in attendance. I can assure you. It wore on me quickly.
The Wailing Kids

Upon arrival that night.  I grilled my friend about the bands on the bill. Having no prior knowledge of any of the bands on the bill with Archie Alone.
I was a bit curious. Immediately, her eyes popped as she mentioned Help Me Help You. "You gotta see this band." "You'll definitely like them." Thanks Ana, you know me too well. Standing at the corner of the stage as the band began to set up. I noticed not one, but two members sporting Title Fight tees. My night was about to get better. A lot better. Just as soon as the band launched in to it's set. Any anxiety or regrets of leaving the house that night vanished in to Montclair's thin air. Help Me Help You were just what Ana had promised.  The band's sound and approach quickly reminding me why, at an age where many are reaching for the latest issue of Golf Digest or a Viagra chaser. I'm still seeking out new music, venues and sounds.
Help Me Help You

Following Help Me Help You was MA's Snowhaus. And while common descriptions of sound, approach and overall execution might currently evade me. Going back to my initial thought
"This is Apeshit crazy good." might have to suffice. Boundless energy with a spirited delivery breaks down the walls of any preconceived notions of look or sound. While local comparisons to our beloved Front Bottoms. The bands overall approach might even draw influence might find inspiration in older acts such a the oft celebrated They Might Be Giants and the influential Maryland act Half Japanese. All influences aside. Snowhaus left a lasting impression on me. One that has me hoping their next visit to the garden state is sooner than later.
Snowhaus

Headlining the night were local favorites         Archie Alone. Fresh off their recent four song EP Through the Door. See Review Here and a fist full of shows I was unable to attend.                        The mere presence of the band was both a site for soar eyes and a welcome gift for curious ears. While it would be hard to heap any more praise then I already have on this band. It goes without saying that they've single handedly rescued the term EMO from the teary eyed preteens and eyeliner goth toys that made Hot Topic popular and EMO unlistenable in the early to mid aughts. Emotional yet unflinching. Archie Alone mixes deeply cathartic vocals and lyrics with metallic guitar riffage and a thunderous rhythm section.     If memory serves this old curmudgeon.               My last experience seeing the band live was also vocalist Nicole Mesce's debut doubling as singer/rhythm guitarist. At the time, I wondered how it would effect her live performance.
With mere inches separating us just months later. The transition now looks to have gone off seamlessly. Overall, their set was a healthy mix of older material and that of what's featured on Through the Door. Music that makes you want to listen, sing along with and support wholeheartedly. Well Done.
Archie Alone


Friday, June 19, 2015

Archie Alone - Through The Door 4 Song Cassette

Every now and then I catch myself thinking "If I only had a record label." "This would be the first band I'd sign." Over the last couple of years that thought seems to limit itself to the many times I've listened to or seen a live performance of New Jersey's Archie Alone.
And while the band has been a personal favorite for some time now. Archie Alone's studio and recorded output has been criminally sparse.
Limiting our exposure to their live performances at local clubs such as The Meatlocker,
ABC No Rio and everywhere in between.

On their latest EP
Through the Door, a four song cassette release recorded within the cavernous walls of the bands home away from homes. Archie Alone, with the help of their close friend, producer and wonder kin
Ana Dobrian, carve out on of the most powerfully emotive releases I've heard in ages. Warm, yet crushing guitars meet powerfully emotive vocals that reach heights of strength and vulnerability seldom heard in music today. Vocalist (and as in recent months, second guitar) Nicole Mesce has a unique ability that keeps the listener hanging on every word as if it was the last gasp of a beloved spokesman of our generation. While the bands personnel may have not even been born when bands such as Embrace, 3 and Rites of Spring were leaving their footprints on what was to become known as Emo. Archie Alone immediately remind me of the impact those bands and that sound had on me. I can easily look to the third track Furlough as evidence to the spell this release has put on me. The best way to describe my reaction would be to note the chills that travelled up and down my spine as it's four plus minutes unfolded.

Overall, a vital and absolutely necessary release that has a very intimate and live vibe about it. One that makes you feel as if you're being treated to a living room performance. Through the Door is available on cassette (While they last) which includes a digital download for those of us without access to such ancient technology.
Check their bandcamp page for more info. James Damion

Archie Alone  Bandcamp
Archie Alone  Facebook

H20 - Live August 19. 2002 - The Bowery Collection

While it's hard to digest the fact that H20 have been a Hardcore staple for over twenty years. The fact that the band are considered by many to be legends of the genre is an even harder pill to swallow. Too each their own I guess. Having seen the band a handful of times in their early years. H20's energy, passion and take on positive Hardcore cannot be questioned.          I can't go without praising Toby's boundless energy and dedication to the music and the message. He is, after all is said and done. A hyperbolic chamber of endless energy and charisma.

That said, I never found the bands sound, music or songs to be anything more than formulaic and somewhat cartoonish. Strange, considering I own every record they've ever put out.

While no one can question H20's dedication to Hardcore, it's history and it's sustenance. I don't see any good reason to drop a hard twenty on what usually serve as bonus tracks on most albums. The soundboard quality at CBGB's was always worth praise and the sound is very good comparing to many live albums. However, considering 2002 "The glory days of Sunday Hardcore matinees at CBGB''s" as posted on  Revhq. might be one of the greatest over statements in promotional history. "Live August 19 2002" features the entire 16 song set. If you were there and want to relive the past. Go for it. If you weren't. You shouldn't really care.
James Damion

Revhq

Friday, May 29, 2015

New Brunswick NJ's Modern Chemistry Debut Video for the Song 'Cling'.

New Brunswick's Modern Chemistry have posted a video for the single Cling. You can check it out here or visit you tube  Here



Modern Chemistry  Bandcamp

KARP - Kill All Redneck Pricks Documentary

Below are some exerts from a pretty cool documentary about  KARP (Kill All Reneck Pricks) KARP were a Turnwater Washington band that existed from 1990-1998. During their lifespan, the band release 3 full length albums Mustaches Wild, Suplex and Self Titled 
(The albums actual title.)  The documentary has been out for some time now, but I felt it was worth posting considering how much time I've spent listening to them over the last week or so. Check the link below for more information or if you'd like to order a copy. 
I highly recommend it. James Damion




United By Images; Gillian

Gillian are a Brooklyn band featuring Geoff Bennington, Paul Demyanovich, Kym Hawkins, Paul Fedorow and Brian Yurachek. The quintet play an infectious and very danceable version of indie rock/punk. In early 2015 the band signed a publishing deal to for TV, movies and commercials. While something of that nature might not sit well with music purists.
It surely marks an improvement in each of the three markets. For me personally, I will forever appreciate Gillian's unique and rare ability to make me dance with wild abandon and boundless glee. Here's to hip shakin'.  James Damion

Gillian the Band  Facebook
Colorize Bandcamp
Freak Flag Bandcamp






















Suspect - S/T LP

Featuring members of notables acts such as Tear it Up, Deep Sleep, Find Him and Kill Him and Stay Gold. Suspect avoid the Supergroup
trappings by making something that is all their own. Playing straight forward Hardcore that finds influence in early Socal Hardcore acts such as Uniform Choice.

Musically, Suspect is a vortex or speed and aggression with a surprising sense of melody. As I listened to these ten songs.
I felt as if I was being swept up in the eye of a tornado. Like many of the great Hardcore acts of both the past and the present. Suspect live and die by by the
"Loud, Fast, Rules" ethos. With seven of the ten songs coming in at under a minute and only one Intro/Tentative Step breaking the 2:00 minute marker. The term seems to serve as the perfect description of what Suspect have to offer. I highly recommend this one.
James Damion

React Records  Get it Here

Disengage - S/T 7' EP

Disengage, a straightedge hardcore act out of Wiles Barre PA. offer six songs of fast forward, blink of an eye raging hardcore. While it's somewhat difficult to process the idea that music delivered in just under a minute can leave a lasting impression on the listener. Disengage did just that with this self titled crusher. While compassions to age old Hardcore acts such as
Youth of Today and BOLD can't be avoided. Disengage manage to accomplish more than just wear their hearts on their sleeves. What stood out for me personally, was the somewhat tribal bass lines and percussion. Impressive stuff that had me looking to seek out more from the band. Go get it.
James Damion

Tuesday, May 19, 2015

Comeback Kid - Rain City Sessions

This year, like each and every year to follow I did everything in my power to avoid the temptations to buy records
I already owned in some way, shape or format while remaining monetarily healthy. It was a lot simpler than I thought.
"Go to the beach, feel the sun on my face and eat a good meal before returning home to the enormous amount of records I already own and barely listen to. As a record enthusiast and collector.              I find Record Store Day to be as amateur and misguided as a Santa Con bar crawl on           St. Patrick's Day.

Then came Comeback Kid's Rain City Sessions. The live EP recorded at
Rain City recorders on May 4th, 2014 features six previously unreleased live Comeback Kid classics as well as a impressively unwound cover of Nirvana's classic  Territorial Pissings.

While just an EP. Seven songs in all. Rain City Sessions made a lasting impression on this listener. Giving the overall feel of an LP with it's emotive and passionate attack at these songs. It seems just like yesterday when I was referring to them as leaders of a new breed of Hardcore bands that were returning positive Hardcore to it's long lost glory. Years later as I find my tastes evolving and aging out of the music. Rain City Sessions reminds me of everything I've grown to love about Comeback Kid in the last ten plus years. The energy, honesty and integrity. To put it lightly, Comeback Kid remind me of everything I still love about Hardcore. File under "Essential".  James Damion


WWIX - If One of these Bottles Just Happens to Fall

If one of these bottles.... the latest offering from New York's World War IX is a five boot to the head kicker that is an energetic, raucous and drunkenly fun EP that brought to mind past acts such as Murphy's Law and                   No Redeeming Social Value as well as other party anthem acts of the 80's and 90's. I might even go as far as likening them to a punker version of Seattle's President's of the United States.
The EP came with a 32 page D.I.Y. comic book titled Earaches and Eyesores. Illustrated by the bands guitarist Justin Melmann. It serves as the perfect accessory to the EP. Overall, it felt good hearing from World War IX again.           I look forward to hearing more from them down the road.
While World War IX may fly a bit under the radar in comparison to many of the bigger names on the NYHC scene. These Brooklyn boys seem to be doing just fine. Adding a sense of humor and an artful edge that has always been somewhat lacking in the scene.
James Damion

World War IX Get it Here


Saturday, May 16, 2015

There Will Be Quiet - The Story of Judge (Complete)

May 8 2015
Dilettante * 120 N Santa Fe * Los Angeles
7:30 Doors

Noisey in association with Converse present:
Screening of the feature length documenty THERE WILL BE QUIET: The Story of Judge
followed by a Q&A session w/ the directors and band hosted by Tony Rettman author of the NYHC Book
as well as a live performance by the band.

Below I've posted parts 1-4 of "There Will Be Quiet." 
Enjoy, James Damion


Friday, May 8, 2015

Abstract Artimus - The City Arrives



Abstract Artimus is a Florida transplant to New York City who plays slightly punky Rock N Roll. I'm not sure where this disc falls in regard to appealing to the UBRS crowd, but if you dig punk Rock N Roll  Godfathers like Radio Birdman then there may be something for you in the Abstract Artimus sound.  In my opinion The City Arrives does a good job of bringing together classic 70's hard rock riffs and infusing them with a sense of stoner coolness and punk rock swagger that is definitely appealing. I bet Abstract Artimus deliver a rockin' live show too...Dave G.

Abstract Artimus

Thursday, April 23, 2015

Agnostic Front - The American Dream Died

On the legendary bands 11th full length studio album. Agnostic Front, a NYC institution as recognizable as the legendary Katz's Deli,
tackle issues that are as time tested as they are current. Songs about police brutality, injustice, the scene and war,
to name just a few.
Subject matter that was as relevant in the 60's as they are today.

The 2:01 intro featuring doom and gloom news soundbites and sirens introduces
The American Dream Died like a tried and true Hardcore clique. The end is nye, but first, a sound bite. The albums title track follows and your immediately reminded of Agnostic Front'a history of relentless, unapologetic crossover aggression. For better or worse. Love them or hate them. Agnostic Front have more than earned their reputation as the Godfathers of NYHC as well as the Mad Max's of
Road Warriors.

Stellar tracks on this 16 song bruiser include and are somewhat limited to Police Violence, Never Walk Alone. Old New York, the albums 10th track, might make one long for the days when NYC was awash with junkies, pimps, murderers and abject poverty. A time that many, including myself, look back on fondly. Preferring the stark contrast to the current sea of soulless high rises, franchises and yogurt stands.

No disrespect intended  but, listening to Roger Miret sing is like watching Guy Fieri cook. Unfuckingbearable. And while his caterwauling was the catalyst for what AF were to become and to be. That voice, along with the bands music. Just doesn't speak to me the way it did so many decades ago. it might have worked for me in the early 80's, more than 30 years later. I'd liken that voice to someone retching over a public toilet. If there's any saving grace in all of this. There are a couple A list guest appearances by Lou Koller (Sick of it All)
Freddy Cricien (Madball). Toby Morse (H2O) also makes an appearance. 

Overall, listening to The American Dream Died reminded of when I first hear
Cause for Alarm. and to be more specific Every album that followed. Lucky for me, none of these 16 tracks make the three minute mark. James Damion

Nuclear Blast  Get it Here

 Related; Agnostic Front - No One Rules

There Will Be Quiet - The Story of Judge (Part 3)

Here's Part 3 of Noisey's documentary "The Story of Judge". This moving chapter brings up closer to the bands fateful, yet unexpected reunion at Hardcore's Black N' Blue in 2012.  
I recall many of the rumors about Mike in the early 90's, but some of the one's hear are like that of the Vikings. I highly recommend keeping up with this series. One can only hope there's a new record in the future with a lot less outside bullshit to ruin one of, if not the best bands to ever come out of New York. Keep hope alive. James Damion


Archie Alone Post New Song "Alone" from Upcoming EP "Through the Door"


New Jersey's emotive four piece Archie Alone have posted "Alone", on their bandcamp page. It's the second track from their upcoming EP titled "Through the Door". Just click the link below and download to your hearts content. James Damion


Archie Alone Perform "Eighty Sixed" Live on Leftovers Session

Watch as local favorites Archie Alone perform Eighty-Sixed from the upcoming EP 
"Through the Door" on Leftover Sessions. The band will be performing at Montclair's 
The Meatlocker  tonightApril 23 along with Gregory McKillop, Daephne, Help Me Help You, and Ambary Lake at Montclair's Meatlocker. Enjoy. James Damion



Monday, April 20, 2015

Guest Editorial with Richmond's Sadie Powers; When Strobes Attack

No red lights. No strobes. This is the request I make to every sound guy and lighting operator whenever I load in for a gig. There’s always this moment when they look at me quizzically, almost combatively, before I punctuate my request:  ‘I get seizures.’
Not exactly, but close enough.

As a musician, there are few things that I enjoy more than going to a show and experiencing people push to be the best versions of themselves through their art. There is something about the honesty that comes through when one is performing, and the conversation that a musician is having with their bandmates as well as with their instrument, an electricity that is not only heard and seen, but also felt in your soul. When a performance is completely locked in and captures your senses and your imagination, and you surrender and get lost in the ‘there-ness,’ and you feel what can be possible through this synthesis of personhood and chemistry and sound waves and vulnerability and connection, one word that comes close to capturing this experience is Beauty. Another is Human.

There has always been some light show element in live shows, even in smaller-capacity venues. Usually it’s just changing the lights from back to sides, blue to green twice, maybe three times per song. But it seems that as of late, more and more bands and venues are integrating more – shall we say -- involved, and therefore troublesome, light shows into your regular run-of-the mill gig.

At a recent Sleater-Kinney show at the 930 Club, I was completely taken aback by the unruly amount of strobe lights, affectionately termed #DeathStrobes.
They were insanely bright, and they were focused directly at the audience’s retinas, and I squeezed my eyes shut,
my face buried in my jacket.
By the third song, my brain felt like it was going to push out through my eyes and ears and I saw spots, and I felt my right arm starting to go numb.
My Positive No bandmate, Tracy Wilson, and I eventually retreated to the basement bar, where we waited out the rest of the set.

You see,  I have chronic sporadic hemiplegic migraines (SHM), a rare neurological disorder that is characterized by having both the fun of a classic migraine with aura (thousands of flashing, zig-zagging stars in my field of vision) and the excitement of a stroke –tingling, numbness, weakness, and/or partial paralysis on my right side, lack of muscle coordination, slurred speech, problems with finding words, inability to speak, difficulties with concentration, dizziness, eye and facial twitching, balance issues.

I’m not gonna lie. It sucks. Imagine your brain feels like it’s swelling and is pushing up against the back of your right eye and the base of your skull, and it’s been pressing against your skull for so long that your brain feels like it has permanent throbbing bruises.
This is my normal. In fact, I can’t remember a time when my head didn’t hurt.
The other symptoms, well, they just come and go as they please, sometimes one or two, sometimes all at once, lasting from several minutes to a few days, usually triggered by some sort of stimulus, such as perfume, stress, heat, not enough sleep, changes in barometric pressure, hormones, caffeine, alcohol, and yep, you guessed it, light, especially fluorescent bulbs, sunlight reflecting off metal and glass surfaces, and flashing lights.

It’s really inconvenient.

Only a few people know about the extent my SHM, because it’s kind of a conversation killer, and I don’t want pity, and honestly, I’m not a delicate flower, and I don’t want my illness to define me. It’s something I’ve dealt with for 20 years, and I try not to let it get me down, and on the whole I have a really amazing life. Seriously, you would be totally jealous.

Tracy, a fellow chronic migraineur, and I told people about our Sleater-Kinney experience, and every person has asked us whether we were able to watch the NPR video of their show from the night before. I know they’re trying to be helpful and offer us a way to possibly regain something we lost, but that’s not the point. I mean, would you pay $40 to see Sleater-Kinney on Youtube? I really don’t feel like I should have to say this, but video footage is nowhere near the same as actually living it.

A week later, another friend and I had to leave a Gang of Four show early because of the strobes, which were unbearable, even though I had come prepared with sunglasses.

The strobe phenomenon has even worked itself into smaller clubs. Two days ago, I saw
The Gotobeds, Protomartyr, and Priests play at U Street Music Hall. Killer bill, right? Unfortunately, the experience was overshadowed by pulsating red and blue lights both on stage and overhead, and I left the show with my right side in a sad place: dragging my foot, not being able to make a fist, and my cheek felt like it had been injected with novocaine.
This was not a roller coaster. This was not a rave. This was not a multimedia extravaganza.  This was a punk show, with the light board manned by some random employee with an exuberant finger on the fader.

When I think about the best shows I’ve seen over the past couple of years – Swans, Perfect Pussy, Xiu Xiu, Einsturzende Neubauten, Kate Bush, Laurie Anderson, Dirty Beaches, Magnetic Fields, Nick Cave, Deerhoof, Yo La Tengo, Pharmakon – only one of them had any strobes. (Kate Bush, who can do what she wants because she’s Kate Bush. And she only had about 10 seconds of strobes during an entire 2 ½-hour performance.) Why is it, then, that so many other bands and venues feel the need to inflict seizure triggers on the rest of us? On some level, I understand: One of my bands, Dead Fame, had a DIY light show that we built (and tested, to make sure I was okay) in order to ‘enhance the performance’ and ‘give the audience something exciting.’ Maybe that’s it. Ticket prices are increasing, and perhaps bands and venues are feeling pressure to make it ‘worth it’ to someone shelling out $25-$50 per ticket. Perhaps there is some sort of unspoken competition to be
Bigger, Faster, Brighter, Louder.

By the way, Dead Fame eventually got rid of the lights when they got to be too much of a hassle and got in the way of the performance. We realized that we spent too much time worrying about the lights on stage and not focusing on the music. And isn’t the music why we go to shows? Isn’t it through that music that we truly connect and the reason why we’re willing to shell out some cash? Isn’t that what got people together in a room with instruments and ideas to begin with?

The bands that really touched me were just that: people, on stage, with their instruments, their tools, telling us their stories, showing us their truest, inner selves, going on an adventure and taking us with them, with passion and honesty and heartache and joy.
It was just us, together, in that moment. Any extensive lighting would have detracted from that connection, and honestly, would have felt disingenuous and contrary to the spirit of the bond between the audience and performers; it would have created a veil.

I accept that light shows are not going anywhere, but bands should be aware that they have fans who want to see them perform the music they love, who also happen to live with serious neurological conditions, which cannot always be controlled with medication. You can’t easily pick us out in a crowd, because our ailments are, for the most part, ‘invisible’ to the untrained eye, and because we are badasses who keep on living. But I ask that you please be more proactive to help us make informed decisions concerning our health. While neither is ideal, it’s far better to pass on a show than to have to leave three songs in. If the venue has a capacity of less than 500, don’t use house strobes. There’s no need for them in a venue that small, and it’s usually controlled by someone who’s just kind of fudging buttons to do whatever they thinks looks cool. If you have a contract, include a provision that states that the venue post signs stating that your show contains lighting that might induce seizures. Better yet, have the venue post it on your event’s page on their web site. Post it on your personal site and on Facebook. Instagram a venue’s warning sign. And maybe, just maybe, you could cut back on the #DeathStrobes just a little?

Because you don’t need them. What you give us is so much more than some flashing lights. Your music helps us get through the bad days, and we are forever grateful, and we’ve got your back.

Sadie Powers

Sunday, April 19, 2015

Holy City Zoo debut "Poor Little Pinkus" Single from Upcoming Debut Full Length on Bandcamp

New Brunswick's Holy City Zoo has just released a digital single, Poor Little Pinkus, from their upcoming full length debut "No Bunting". The track is available for a "Name Your Price" option and  includes a bunch of extras so don't be stingy.
Check it out Here

Friday, April 17, 2015

Into Another - Omens

Whenever a band decides to go the reunion route I can't help but think of the scene from
The Blues Brothers when
John Belushi say's "We're getting the band back together." Followed by Akroyd's deadpan
"We're on a mission from God."

Since his days fronting Underdog. Richie Birkenhead has owned the most dynamic and impressive set of vocal chords to ever come out of the NYHC camp. A quality that has aged well and carries the songs with an impressive sense of emotional command.

Overall, Omens was somewhat of a surprise and a markedly excellent return to form for one of the 90's most uniquely rewarding post Hardcore acts. Still sounding dynamic, original and ahead of their time.
After listening to Ignaurus almost exclusively for over a decade. I've found myself dipping deeper and deeper in to the bands catalog, finding hidden treasure within every release.
Whereas many reunited bands from past eras seem perfectly comfortable continuing as nostalgia acts. Into Another have proven they are much more. A band that, years later,
still has something to say. One that is determined to follow through on unfinished business.
It's easy to say that Into Another stand as one of the most important acts to come together over the past three decades. James Damion

Find it at the following;
itunes
Amazon
Spotify
Rdio

Music Log Day 1; Orange 9MM - Dry (For Gina)

Welcome to a new feature on United By Rocket Science. One that I give full credit to my Aussie friend Ted Dougherty who recently started one under the same name on his Facebook page.  Each installment will feature a song, video or album. (Most likely a favorite of mine at one point or another) and a personal story or anecdote relating to it. Being that this is my first installment. I really can't say how this will evolve. There is no timeline or genre relation for these posts. I'll just post when the spirits are willing. You know, keep it loose. Thanks for the inspiration Ted. All proceeds go to a charity of your choice. James Damion

While I'm not sure if I was living in Hell's Kitchen or was still commuting to work from 
Staten Island.  At the time of Orange 9mm's debut release on Revelation Records I was working at a Jazz label that also booked floating Jazz Festivals with my best friend 
Gina (Last Daze) Lawson. At the time, we were both still heavily involved in the NYHC scene and major fans of bands like Absolution and Burn. On the rare occasions we managed to gain control of the offices stereo, we'd blast everything from Sick of it All to Sheer Terror to 
Eye Hate God. One one particular day, my lunch break took me over to nearby 
St. Marks Street where I picked up a copy of Orange 9mm's Revelation Records debut. 
The four song EP had some stellar tracks, with Dry being my personal favorite. 

My good friend Gina died some years back, but her spirit will always live on with me. 
Her smile, laugh, generosity and love for the music. How she used to call Sick of it All 
"My Boys" and how her burps always smelled like a mix of Heineken and Doritos. 
She left behind a son named Kyle whom I have not seen or heard from in years. She was loved by just about everyone, including my Grandmother Veronica. As far as Orange 9mm, the band went on to put out a number of successful albums. None of which resonated with me quite like that first EP. The records 3rd track Decide, is still in heavy rotation some twenty years later. 



Low Culture / Iron Chic Split 7' EP

I don't know about you, but as far as I'm concerned. Whoever it was that came up with the idea to make the first split 7' inch EP needs to have a monument erected in his/her honor. Most importantly, it should feature two completely different sides that show the differences... little or small and their overall uniqueness.

The idea for this particular split came like many before it. While two bands, Iron Chic and Low Control were out on tour. While the two bands shared bill along the east coast, southwestern desert and further north in Canada. The idea to not only make a split record, but to complicate matters further by turning it in to a split label release between
Mike (Iron Chic) Bruno's Dead Broke Rekards and Chris (Low Culture) Mason's Dirt Cult Records.

This split gave me my first taste of the band Low Culture. The mix of melodic Punk and southwest flavor is addictive. I was immediately drawn to the band due to this two week sample. I'm looking forward to hearing their demo,  s/t 7 inch and LP Screens soon.
As for Long Island NY's Iron Chic continue to raise the bar as one of my favorite "go to" bands for an uplifting energy buzz PMA booster that's helped me get through my day, my week, my month and even my year. The bands uplifting melodic punk always rates high on my list. Go pick on up now. James Damion

Dirt Cult Records Buy it Here
Dead Broke Rekards Or Buy it Here





Fury - Kingdom Come

Smashing, bashing, the drums they go crashing and within seconds the gates open and the dogs are running loose with the rabid tooth. And while that silly little intro may sound a bit silly. That perfectly describes how quickly Fury's highly anticipated debut EP.

What you get are five tracks Royalty, Reality Check, Holy, End is Nigh (It's Time) and Kingdom Come. Fast, fierce and above all thoroughly impressive. While these tracks move forward in the blink of they eye. Each leaves an enduring foot print.
While I definitely felt a big
Title Fight / Stick Together vibe here. California's Fury to me, sound even more original, if not more advanced. I could swear I'm hearing the ghosts of 80's Youth Crew bands on Holy. And while I wouldn't go as far as saying their ode to NYC legends Breakdown on the title track Kingdom Come was intentional. It certainly brought back memories for me. The record itself is released by Triple-B Records, comes on color vinyl with a digital download card and features a gatefold inlet with images and lyrics for each song. Being that this record was a mere add on to my recent order from RevHQ.
It's rewarding knowing just how good this is. Maybe I need to start playing the lottery again. James Damion


FuryHC Banndcamp
Fury RevHQ

Red Death - Demo 7' Inch

With the bands debut LP Permanent Exile already up for Pre-Order on Grave Mistake's page.
I did some hustling to finally pick of the 7' inch version of the bands incredible debut demo. The bands first recordings as infectious as they are powerful and ruthless. Reminding the listener of 80's crossover kings Corrosion of Conformity and their 1985 classic Animosity.
All comparisons aside, it's the sheer intensity and brutal power Red Death puts forward that now only draws but keeps the listener in a complete stranglehold. If you've already heard the demo, you'll know exactly what you're getting. Having it on vinyl only sweetens to pot. The record includes lyrics to each of the five songs as well as a digital download card. I'd suggest putting it in your cart with the preorder for their debut LP. You know what they say, "Better Red than Dead." Well, why not order Red Death and have both? The choice is simple. James Damion

Red Death  Band
Grave Mistake Records  Store

Siege - Drop Dead

I sometimes find it hard to digest that after 30 years involvement in Hardcore music as a fan, participant and fanzine editor.
There still seems to be a shit load of bands and recordings I've not even remotely heard or heard of. A truth that sometimes makes me wonder if I've had my head firmly place in the sands of an exclusive beach just off the shores of the east river.

Drop Dead celebrates the 30th anniversary of the original nine recordings, fully restored, with original outtakes as well as two bonus tracks from the 2006 reissue as well as bonus tracks from the 2009 reissue. Add it all up, this is the most complete collection to date. While Boston, MA.'s Siege and these nine 1984 recordings may not be known to the masses. The band allegedly was a major influence on classic bands such as
Drop Dead, Heresy, Infest and Ripcord to name a few. Raw, scathing and brutal.
While this was definitely not my thing. I would recommend this for both fans of the bands mentioned and hardcore archeologists alike.  The album comes on opaque green vinyl, features song lyrics and info on the back cover (There is no inlet included. Just the sleeve.)  and unfortunately does not feature a download code. James Damion

Deep Six Records  Buy it Here

THERE WILL BE QUIET - THE STORY OF JUDGE (PART 2)

Here's Part 2 of Noisey's documentary on legendary Judge Frontman Mike (Judge) Ferraro. As I watched this footage I clearly remember hearing the Judge demo tape for the first time at a party on Civ's (Gorilla Biscuits) parents block. How we all wanted a piece of it. 
We all begged Luke Abbey (Warzone) for a copy, but it was so secret at that moment. 
No one was getting a copy. As I watched this footage. I kept thinking how much the band meant to me and how, even today it stands as the most personal part of my time as a resident of NYHC. What you're about to watch is, to put it lightly, epically chilling. 
Having been to the shows, witnessing the violence and hearing the endless shit talking and rumors that involved the band and the straightedge scene as a whole. I found it hard not to shed a tear. I'm grateful the someone's finally taken the time to help Mike finally tell his story. James Damion


Wednesday, April 8, 2015

THERE WILL BE QUIET - THE STORY OF JUDGE (PART 1)

In the first part of Noisey's multi part series. The media outlet sits down with legendary and complex Judge frontman Mike Ferraro. Judge is truly one of the great Hardcore bands on the history of the sub-genre. Though short lived, the band and their powerful, yet self reflective lyrics made them one of a kind. The bands short lifespan, break up and the numerous rumors caused by the Ferraros' utter disappearance from the scene, the music and the overall landscape. "There will be Quiet" might be the most anticipated music documentary in decades. 



ABC No Rio to Host A Visual Retrospective Featuring Images and More from 1990 - 1991.

Coming this May, ABC No Rio will be hosting a visual retrospective feature photography, flyers, film and other visuals from 1990-91. The Retrospective will close on Friday May 18th with the screening of vintage footage of Citizens Arrest's 1990 ST. Patricks Day show. Created by Freddy Alva and John Woods. This is sure to be a must see event. 



Nude Tayne - Still Nude

By now we've all heard and hopefully learned from the term "Don't Judge a Book by it's Cover"
A term that has proven right time and time again. Well folks, it's time to go back and reinvent the wheel or at least admit the fact that, sometimes the cover should influence you to stay the fuck away. This, unfortunately for me was as clear cut a case as I've experienced in a long, long time.

While the Tampa, FL. trio come in first place when it comes to worst name choice, worst title for a release and the most juvenile and least appetizing album art. They won't win any awards for the music presented on "Still Nude". Scathingly frantic rhythms dumbed down by schizophrenic shouts and screams that sound like a promo for prison rape. If Yoko Ono had decided to start a power violence, electro screamo band in the mid 90's it might actually sound better than "Still Nude". James Damion

Nude Tayne Bandcamp




Friday, March 27, 2015

Love Child - Migraine Music

Imagine my surprise when
I received an email from
Mayfly Records stating that the record I preordered back in October of 2014 was finally on it's way. As I arrived home today, "Migraine Music" was waiting to welcome me home.

Featuring a mere five songs, less than half of the eleven featured on their 2014 debut 7' "Everything is Fine, in Heaven". Lovechild manage do just as much damage, if not more on "Migraine Music".

The Boston MA. band formed out of the band Cerse in 2013 produce a venomous Hardcore Punk sound that ranges from a fast forward hyperactive attack to a stuck in cement, sludgy pace. The record opens promisingly with "Most Weekends" One of the three songs featuring spoken word samplings. "Colder Winter than Usual" perfectly sums up winter in Boston with it's metallic leads and psychotic vibe. The kinda of sound that could inspire the mental breakdown Jack Nicholson perfected in the horror classic "The Shining". Each of the five songs featured on "Migraine Music" work to cast a long shadow on this listener. In an admittedly short span of time. Lovechild have shown a great deal of growth and an ability to mature while staying true to their sound and overall style.

Aside the exorbitant amount of time it took the pressing plant took in producing this record and the fact that it arrived with noticeable damage to it's cover. This short, yet powerful blast of rage proved worth the wait.  This is a limited first press of 500 copies.
(400 Black / 100 Gold. So get them while they last. James Damion

Mayfly Records

Crumbsuckers - Life of Dreams Reissue

Reissued on Back on Black records just in time for the bands inevitable 30 year reunion at this years salute to Hardcore and Hardcore reunions. the Black N' Blue Bowl.
"Life of Dreams" the
Long Island bands 80's debut Metal Crossover  classic, along with it's ill received and thoroughly forgettable follow up "Beast of my Back" get the limited edition reissue treatment.

The band which featured former Krakdown singer Chris Notaro, Gary Meskil (Propain) and
Dan Richardson (Life of Agony) were synonymous
(for better or worse) with the mid 80's crossover that brought Thrash Metal to Hardcore.

Revisiting this 86' classic some thirty years later allowed me to enjoy "Life of Dreams" with a wider brush than I had when I was a mere 16 years old. A time when Crossover and Metal were making it's mark on a genre that was just beginning to change my life. While this reissue served as much needed upgrade to my original copy. The music and it's sociopolitical lyrics still ring true 'till this day.
Overall, "Life of Dreams" stands a timeless classic. One worth the reissue treatment. The album is limited to 999 copies and features an impressive gatefold cover with lyrics to each song.  This record does not include a download code. While I'm not sure about the varying colors Back on Black are offering. My copy came on milky white180 gram vinyl.
James Damion

Get it Here



Saturday, March 21, 2015

Banging the Drum with Matthew Cross of Detroit's Collapse

What started out in earnest as an interview with Detroit Hardcore act quickly began to focus on the band's drummer Matthew Cross. Since seeing the band perform live at a local dive in nearby Montclair. We had exchanged emails and social media. As these exchanges continued to grow began to grow more and more curious about Matthew's background, his time and involvement in New York's Hardcore scene and his life in general. As the progress of the interview began to grind to a halt. We decided to expand our exchanges in to somewhat of series of open ended conversations. Come to think of it. This could end up becoming the blueprint to future interviews. Open conversations about music, art  and common interests. Communication without the boundaries we sometimes put on ourselves.  James Damion

James: I was under the impression you grew up in New York.

Matthew: I grew up in Warren, MI, one of the many suburbs surrounding Detroit.
When I moved to New York in the early 90s, I first lived in Manhattan – lots of floors, couches, and illegal subletting – and later in Long Island City in Queens.

James: What was your introduction to NYHC? The bands, the people, the clubs you frequented.

Matthew: My first introduction was Agnostic Front’s Victim in Pain LP, and Cro Mags’
The Age of Quarrel LP. I heard AF first, and there was something unmistakably different about their sound, it was so raw and real.
There’s a really exhausting and ridiculous rivalry between east and west coast punk and hardcore (and everything else), in which I refuse to take part. But for whatever reason,
I was always drawn to the east coast sound.  Maybe because it was so obviously influenced by Midwest bands like Negative Approach, but also because it felt like Detroit and New York had more in common than Detroit and Los Angeles, you know? Listening to surf punk in Detroit is cool, but listening to
Agnostic Front’s “Last Warning” feels right – like “yeah, this track feels like where I’m at right now.” The atmosphere of that music – the grit, the darkness, the urgency, and rhythms that felt like a factory falling apart around you – felt like home.
I know there were a lot of great punk and hardcore bands in NYC before 1984 like Kraut, the Mob, and Cause for Alarm, but that AF record was the first thing I heard.

I went to shows at places in Detroit – The Graystone Hall, Traxx, The Falcon Lounge, Paychecks, and so on – but missed most of the classic NYHC venues and show spaces from the early 80s. I did see and play shows at CBGBs, Wetlands, Coney Island High and
ABC No Rio.

So as an outsider, I came up loving New York Hardcore, but like kids in the 90s who loved Seattle’s grunge rock scene from afar, I wasn’t part of it and probably had a lot of misconceptions about what the scene was like. For example, I remember when I first met Sick of it All, and had to really brace myself to try to appear “hard” and serious, because their Revelation EP was the biggest thing in the world to me, and I just assumed these guys would be really intimidating. And as anyone can tell you, they are four of the sweetest, silliest people you’ll ever meet. As a kid, I was surprised, but also grateful. I didn’t have the energy, or even the desire, to maintain that kind of fa├žade, and it meant a lot to me that they weren’t interested in it either.

As I age and evolve, I’m leaving a lot of that music behind. Part of that is natural.
We grow, and are not moved by the same things we were when we were 18, or not in the same way. It’s very rare that I feel like blasting Breakdown’s “Sick People” or
Sick of it All’s “Pete’s Sake” because that’s how I’m feeling in that moment, you know?
I might reach for other hardcore records, but more often than not I want to hear something else.

But part of it is also that I’m over the masculinity of hardcore. There is so much masculine posturing and posing that is part of hardcore, from the music to the lyrics to the style to the performance. I still love hardcore, and there were a lot of bands from that scene that took different approaches, like Gorilla Biscuits, Token Entry, and Nausea, and I still enjoy those bands today. Actually, the youth crew bands used to confuse me a little, because stylistically they just looked like preppies, or young Republicans. But in general, I think many sects of hardcore cling to really outdated, regressive attitudes about gender. So while I still love and enjoy hardcore, I’m more inclined these days to seek out bands and music representing a wider spectrum of humanity and emotion.

James: I picked up the vinyl reissue of Into Another's Ignarus a few weeks ago. It was the first time I had read the liner notes in over a decade. When I saw your name on the
"Thank You" list....it was like pieces of a puzzle. Can you tell me a little about your relationship with them and your connection to the band?

Matthew: That’s a great record. It’s funny you mentioned that; I had “Maritime Murder” in my head a couple weeks ago, and went and listened to that LP again for the first time in years.
I loved Drew and Richie’s previous bands Youth of Today and Underdog, and so I was excited to hear Into Another when their first record was released. Because I also loved metal and rock, I appreciated the new direction they were trying. Like many other kids, I bought the records and went to their shows, where I struck up an acquaintance with Drew. I worked at a drum and percussion shop at the time, we’d talk drums, and I helped him out from time to time when he needed gear. So my name on the record is because of that help and support. Drew also gifted me the Zildjian 20” ride cymbal he’d used on all those early hardcore records, including Into Another, which I thought was really sweet of him; he could have sold that thing for a lot of money instead. Hell, I would have bid on it.

James: How did the opportunity to join Orange 9mm come about? Had you been in any bands prior to that?

Matthew: I had been in other bands since high school, mostly punk and hardcore. Before I joined Orange 9mm. I was in a band with my brother that was quite different. It was metal influenced, and incorporated a lot of keyboards and industrial-style rhythms and arrangements. So Alan didn’t have a reference for me in terms of bands; in fact, I’m not sure he’d ever heard me play. He probably guessed I knew how to play because I knew a lot about drums, and the band was willing to give me a shot because of Alan’s recommendation, as well as my willingness to pick up and move from Detroit. At the time I was working a couple low-wage jobs in Detroit just to pay rent and bills. I didn’t want to do anything but be a drummer, and when the call from Alan came, I figured this was my chance to step up and do it.

James: It's funny you saying that about evolving and perhaps musically aging out of Hardcore. I've been feeling the same way for years. Honestly, most of that departure is rooted in all the endless nostalgia, reunions and constant reminders of what I've come to consider ancient history. I never cared for the knuckle scraping tough guy ideology that  went along with the music. However, your mention of acts such as Token Entry and
Gorilla Biscuits reminds me of the type of music and message I was always drawn to.
What originally drew my to the music was the fact that is was small, intimate and for lack of a better word organic. You paid your five dollars, saw five bands and made a bunch of new friends by the end of the show. Even if I wanted to see my favorite band play.
Chances are I'd have to buy advance tickets and day passes to see them play a festival with forty other bands I could give a shit about.
All rants aside, I'm curious as to how this evolution or change in tastes effects your being in a very good hardcore band. (Collapse) I wanted to get some of your thoughts on the subject and how or if that reflects in what Collapse is creating.

Matthew: I think you’re right about the message of those bands, and that meant as much to me as the music. When you meet someone who absolutely loved the Burn EP, it usually isn’t just about the music, which was phenomenal. It’s because that band, in the best spirit of punk, was about something. “Shall Be Judged” is about a certain kind of injustice, but it’s also about trying to make sense of one’s place in a society entrenched in systems and cultures of violence and oppression. And then that middle breakdown kicks in, Chaka’s doing a somersault off the stage, and you want to throw a chair at the wall.

And these bands also had a different energy onstage. Detroit was full of bands that carried and promoted really negative, hateful masculine energy – yelling at the “pussies” in the back to stop being “soft” and get up front. That shit makes me want to leave the room immediately. That stuff was all over the country in the late 80s and early 90s, it wasn’t just Detroit and New York. But you also had bands like Los Crudos and Nausea playing sonically aggressive, heavy music, yet it was more about healthy human anger, not masculine aggression.
At least that’s what I took from it.

I’m taking the long way answering this question, but this gets into Collapse, and why I’ve spent the past three years writing and playing with them.
I wanted to play aggressive punk, but I wanted to do it with…I guess the best way to say it is with feminists, with people who have a more complex understanding of power. It isn’t enough for me anymore to work at this level with someone who just happens to not be overtly sexist or racist; I want to work with people who are conscious of those dynamics, and intentional about minimizing their impacts. And with Collapse, that’s the kind of band we are; it’s reflected in our lyrics, and we try to live into that in our interactions with other people.

You know, thinking of that Burn song makes me think of other hardcore songs I still love. “Regress No Way” by 7 Seconds, “Sink with Kalifornia” by Youth Brigade, or with punk, “We’ve Got a Bigger Problem Now” by Dead Kennedys or “Poison in a Pretty Pill” by Crass.  Those songs are full of meaning and vision, and questions about what kind of world we want to live in. For me, being in Collapse is an opportunity to be a part of that legacy. So many of the issues those bands were addressing – racism, misogyny, militarism, and consumerism – are just as prevalent today as they were in the 1980s. It feels good to be in a band following that tradition of speaking out about injustice and oppression. Our task, and I think it’s the task of every artist who takes these issues seriously, is to move beyond expression to intentional action in community with others.

Collapse (Detroit) Facebook  
Collapse (Detroit) Bandcamp




Friday, March 20, 2015

Agnostic Front - No One Rules

The past is on a crash course with the present with a slew of documentaries, books and what feels like a continuos archeological dig for long lost and often forgotten material from both obscure and celebrated artists.

"No One Rules"a collection of 34 songs recorded over two sessions. The first predating their classic debut 7' "United Blood". The second,  just prior to their first full length
"Victim in Pain".
A time that, for many, saw the band creating, defining and ultimately, placing NYHC on the map. Rightfully earning them the title as the Godfathers of NYHC.

 "No One Rules" just might be the best collection of resurrected material I've heard to date. The overall sound and delivery brings the listener back to an essential period in both Agnostic Front's and the often overlooked early New York Hardcore scene. A record that fits neatly between "United Blood" and "Victim in Pain". Records considered by many, including myself to be the bands most vital and raw.

Radio Raheem Records deserve a great deal of credit for their hard work in getting this long lost, never before released material on Wax. There's an astonishing amount of detail to the history of these tracks, the early years and days of Agnostic Front and the
New York Hardcore Scene.
The massive 48 page full color booklet that comes with the record is worth it's weight in gold. Featuring more than
150 archival images tracing the bands humble beginnings in 1982 until the end of their first nationwide tour in 1985.
There's also additional commentary and anecdotes from the band and members of the early NYHC scene.
An absolute can't miss for fans of the band and hardcore alike. James Damion

Radio Raheem Records    Get it Here