V/A - Happy Birthday, You Sweet Liar! 2025

I guess every one of you dear followers has experienced this. I suspect each of you, dear followers, has experienced this before. You think you know someone well, a lover, a friend, or some other confidant, and then one day everything changes. You are lied to for no reason by this person. And you clearly know it's a lie. Of course, this hurts immensely, and you ask yourself what the reason was? Self-protection, fear of consequences/conflicts, or social conformity/reputation in society? Or do people lie to get rid of someone, to throw away baggage... I don't know. In any case, you are left with ambivalence and have to make a decision whether you want to tolerate this person in your environment any longer or not even look at them again. They always say everyone deserves a second chance, but if you feel like you're being treated disrespectfully and the other person doesn't care at all, well, I'm for a cut, and a breakup is the logical consequence. There are certainly many views, thoughts, and opinions on this, so I came up with the idea of channeling my anger and dismay into music, and this Compilation is meant to help, or at least for the time being. Of course, you can always fall flat on your face, nothing is guaranteed, but when you're 100% being screwed, there's only one option left and I'm tired of crying after such ignorant people. Anyway, I'll think twice about who I'll give the next bouquet of roses to. Take Care!

1 5:45 - UNKNOWN ARTIST

2 You Bastard - ALTERNATIVE TV

3 Glad To See You Go - RAMONES

4 You Stupid Asshole - ANGRY SAMOANS

5 Liar For Hire - D.O.A.

6 Keine Blöße - TORPEDO MOSKAU

7 Der Vamp - EA80

8 Last Cause - COSMIC PSYCHOS

9 Kick Her Out - ROCKS

10 You're So Stupid - THE IGNERENTS

11 Full Of Shit - OFF!

12 Go And Get Fucked - TARGETS

13 Liar - SEX PISTOLS

14 Du Bist Eine Nutte - DAS PACK

15 You're So - THE LEFT

16 Shut Up - ROACH MOTEL

17 You're A Disease - THE OUTCASTS

18 An Ass Licker - APPENDIX

19 Spooge - LETHAL AGGRESSION

20 You're So Dumb - SKREWDRIVER

21 Stupid People - PSYCHO

22 Win Some, Lose Some - LEATHERFACE

23 I Should Kill You - N.O.T.A.

24 Prostitute - BRATS

25 Sick On You - THE ZITS

26 You Really Piss Me Off - SENDERS

27 I'm Not You're Whore - RAVE

28 Go - ANTI-BAND

29 Miss Stupid - VILE BODIES

30 Self Respect - MAN SIZED ACTION

31 You Bother Me - 391

32 No Wall - UNKNOWN ARTIST

33 Fake - THE STAT-X

34 You're Wasting Time - CRAPPING DOGS

35 Geb Uf - CRAZY

36 Liar - THE RATS

37 Stupid Girl - CHANNEL 3

38 Isolation - JOY DIVISION

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THE DICKS - Kill From The Heart 1983

First full length by the Dicks and original released via SST Records, my copy is the Alternative Tentacles vinyl version and there are lots of Infos in the Blog and I like to quote here the one from AT, especially for you: "The Dicks, a Commie Faggot Band, emerged during the halcyon days of Austin, Texas Punk. The scene centered around the local dive bar Raul’s frequented by local freaks, artists, and soon-to-be Punkrockers. The band was the creation of Gary Floyd, a 26 year old from Palestine, Texas who had been a conscientious objector to the Vietnam War and was openly, flamboyantly gay. Although he was advertising the Dicks before they were even an actual band, Floyd soon joined forces with three “terrorist thugs” to complete the group: Glen Taylor (guitars), Buxf Parrot (bass) and Pat Deason (drums). They started writing burly, blues-drenched punk anthems and began playing raucous, shows with local heroes the Big Boys. Unlike that band’s funk-infused, high-production value drag show, the Dicks opted for a cruder but still spectacular approach. Gary Floyd would assault the audience with chocolate frosting pulled from his panties, inviting any rowdy audience members to suck his dick.

The band’s first single, the masterful Dicks Hate The Police was dropped onto the world in 1980 on MDC’s R Radical label. The title track to this EP is unlike anything else before or after a total powerhouse of a song. The B-side found the band playing faster and harder than most other US Punk bands at the time. Like most of their Texas peers, the Dicks had a sound that didn’t fit any one mold or genre. Sometimes Punk, Hardcore, Blues, or free-form ranting, they were always playing music on the edge of insanity. Their next record is one of the ultimate documents of Texas Punk, a split live record with the Big Boys recorded at Raul’s. While the Big Boys don’t sound as great as their studio material, the Dicks really explode off the vinyl with a ripping live set that captures both the great songwriting and amazing energy they brought to the table. Having caught the attention of Punk producer Spot, the Dicks recorded their first full length for SST. Kill From The Heart finds the Dicks’ blues Punk attacking conservatism and especially racism with unbridled fury. In 1982, before the album came out, Gary and the Dicks moved to San Francisco, followed by MDC and DRI who took up with them at a squatted beer plant known as the Vats. Along with their new neighbors Crucifix and Michigan’s the Crucifucks, they embarked on the 1983 Rock Against Reagan tour: an exhausting three month extravaganza organized by the Yippies. The tour took a lot out of the band, and after its completion only Gary returned to the city by the bay. There he reformed the band with three new musicians: Tim Caroll (guitars), Sebastian Fuchs (bass), Lynn Perko (drums).

This line-up recorded the Peace? 7Inch, a concept single attacking the injustices of war. While the record is powerful, especially the scorching “I Hope You Get Drafted,” it also demonstrated the cleaner, more rocking direction that the new band was taking. 1985’s These People album, released on Alternative Tentacles, showcased a Dicks who were severing ties with “Punk” sounds to play more straightforward, longer bluesy rock songs. Nonplused by the reaction from punk audiences (“play faster!”), Gary decided to end the Dicks in 1986. He and Lynn Perko started Sister Double Happiness, who recorded for SST. Gary later went solo and has a new project called Black Kali Ma on A.T. Glen Taylor, unfortunately, passed away. Alternative Tentacles has reissued a collection CD of Dicks material that is a good starting point, and bootlegs of the LP (good quality) and first 7″ (bad quality) aren’t too hard to come by. Go get them now!"

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TYRANNA - s/t LP 2011

Superb release by RaveUp Records and this is one more obscure nugget from the golden age of Punkrock. Volume 63 was dedicated to the Canadian band Tyranna (feminine equivalent for Tyrant) from Toronto and who didn't in their short lifespan (1978-1979) made it onto vinyl. Vera Skye (a.k.a. Rabies) gathered all the musicians and wrote all the lyrics. Through a rotating cast of musicians, Vera Rabies was the one constant. Other members included John Ziegler and Dave Porter on guitars and drums, respectively in 1978; guitarist Ron Partridge, Gerry Smith on bass, and drummer Cleave Anderson who had just left the Battered Wives. Whenever Toronto’s Punk scene of the late 70s is discussed, it’s usually the Diodes and the Infamous Viletones that get name-checked, while other important bands of the era are overlooked. In some cases, there are good reasons why groups that regularly played the main Punk venues of the era like the Turning Point, Larry’s Hideaway and the Crash'N'Burn are now largely forgotten. Tyranna’s best work wasn’t released on singles at the time, and they rarely ventured outside the city during their brief run in 1978 & 1979. This explains why the energetic PopPunk crew led by the snarly Vera “Rabies” Skye, who split bills with Iggy Pop, Jane County, the Members and the Dils, isn’t better known today. They also appeared on My Girlfriend Was A Punk! Compilation with the track 'Back Off Baby'. It may be thirty years too late, but Tyranna’s long-rumoured early demos, finally being released on this nice record.

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LEATHERFACE - I Want The Moon EP 1991

When I'm drunk, or worried, or just unfocused and my mind is completely empty, I like to resort to tried-and-true methods. I don't need to write much about them because most of you already know them, and that's not to detract from the post, but it does make things easier for me, and now is such a moment. Today my friends from Leatherface from Sunderland are pushing me over the blind spot and not for sale is their intense fifth EP with three exquisite weaving arpeggiated guitar filigrees in amongst barrages of power and barre chords and one of the fiercest playing dynamic songs, two are non-album tracks, and released via Roughneck Records. These days, their 7Inchers are highly sought after and hard to come by, so that's enough for today. I'm tired and looking forward to tomorrow's day off.

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DESPERATE LIVIN' - Stilla Natt EP 1981

Desperate Livin' were a four piece from Stockholm and consisted of Giorgio (vocals), Lars (guitars), Mikael (bass), Bengt (drums) and made a fucking rare 7Inch of which only circa 300 copies were pressed and only a few survived. Info: "To top it all off, part of the edition was ruined by the sun. The remaining copies they sold themselves to friends and at gigs, they had no distribution. Consequently, the single is not so easy to find today. At the end of 1979, Desperate Livin’ took their first steps. Guitarist Lars had previously been in the Rapers, one of Stockholm’s very first Punk bands. Bassist Mikael and drummer Bengt (called Beppe) were on vocals. They had an Italian who had previously lived in England. His name was Giorgio, but he was called George. The influences were the usual ones, i.e. The Clash, Sex Pistols & The Stooges. The members were active in the Ormen association in Nacka and thus got many gigs, but sometimes they also arranged gigs in the city. The highlight was when they played support for Ebba Grön. The idea of ​​making a single came a bit hastily, they saw it mostly as a fun thing and hadn't even had time to agree on which songs they would record when the time came. In retrospect, they have regretted the song choice and they themselves prefer to listen to the demo that was recorded after the single. When it came to which language the band should sing in, opinions diverged, so it became both parts. And it was these conflicts that finally caused the band to split up in the fall of 1981." (source: from the book Ny Våg) - Four solid tracks and to find on two great Compilations.

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BENZIN - Demo [Tape] 2019

We stay in Berlin and meet a four piece called Benzin and they consisted of Anne (vocals), Phuong Vu (guitars), T. Rexilius (bass) & Denes (drums). A jagged, agile strumming guitar, a furious drum kit, pissed-off vocals, a helter-skelter sound: That's the sounds of Benzin. They founded 2019 and in the same year the first demo with seven excellent smashers was released, four years later a live tape followed. They are a HardcorePunk band with heart and songs that are centered around catchy riffs with outbursts and the zeitgeist of the Eighties HC scene. Last year they released their debut album Treibjagd on StaticAge Records and Benzin stands for distinctiveness and feels comfortable in the underground and has little interest in being "discovered". This little sucker is a blistering barrage of blazing beats and breakneck bursts and it's good to see that the Punk spirit is alive. Now I'm going out and enjoying the sun.

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ACTIVE DOG - s/t 7'' 1979

Formed 1978 in Vancouver this short-lived five piece called Active Dog and only one record is out with two brilliant goodies. Members were Bill (vocals), Chris & Terry (guitars), Ross (bass), Robert (drums) and they released this beauty by their own label. Besides this single they had two more songs on the Vancouver Complication slab, but by the time it was released the band had split up. Two members went to the Pointed Sticks and the band never recovered. In an era characterized by musical experimentation and the search for new sounds and stands out like a sparkling diamond in the musical ocean of the late 70s. This energetic anthem is not only a catchy tune, but also a powerful manifesto against the monotony of everyday life and the treadmill. From the very first notes, the listener is transported into a dynamic soundscape featuring pulsating rhythms and catchy melodies. The singer's distinctive voice immediately captivates, conveying a blend of determination and optimism. The powerful guitar riffs and driving bass give the track a distinctive energy that invites you to dance and sing along. What makes "Rat Race" special is the deeper message behind the catchy melody. The lyrics reflect the frustrations and challenges of modern life while offering an encouraging perspective. Active Dog succeeds in inspiring the listener to defy societal expectations and find their own path. It's a call to cast off the shackles of everyday life and live life to the fullest. The single's production is remarkable, it captures the spirit of the times without succumbing to nostalgia. Instead it sounds fresh and timeless, as if it could still serve as a soundtrack for a generation striving for authenticity and freedom. A fantastic record that encourages you to pursue your dreams and not be constrained by life's routine and a hidden gem that instills a sense of hope and courage. Magic!

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V/A - Oi! It's Party Time For... Working Class Kids! #3 EP 1997

Last chapter of this small mini-series called Oi! It's Party Time by the French label One By One Records with four bands, three from the States, one from France. The first act is Bovver 96 from Philadelphia, who released two 7Inches and an album in the Nineties and they give us a fast, snotty number as the opener. Next up is A.O.C. from the Moulins & Yzeure area in France who belt out a decent Oi! Smasher and the song is taken from their first tape Cuvée 1996. A single + a CD decorate their discography. The flip starts with the Suspects from Arlington, and the gents were present in the Nineties with two 7inches and albums, their song for this dittie is taken from the second album New Dawn In The 21st Century and will smash your house like an eclat in the White House. And as fourth in the league Riot Squad from Dallas, originally formed in late 1989 then reformed in 1993 after a break. They have released two albums plus a 7Inch and cassette and round off the EP with a fast, likeable and exclusive blast. Fabulous record!

1.Clockwork Chameleon - BOVVER 96

2.L'Apéro - A.O.C.

3.Ead Street Punks - THE SUSPECTS

4.Stand Up & Be Proud - RIOT SQUAD

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V/A - Bullshit Detector 1980

An important series that was born in the early Eighties is called Bullshit Detector and it's a collection of Compilations featuring demos which sent to Crass by a variety of bands and were then released on Crass Records and I only know the first three and all came with a cool fold-out poster containing a collage of information, lyrics and artwork to all the bands, and all for a litte bunch of gravel. The sound quality was mixed and often basic, or even poor, as Crass would master the tapes directly to record without any additional production or enhancement. For Crass, the expectation of a polished performance was missing the point. But that's exactly what makes these songs/records worth listening to: Authentic, raw and unpolished, they convey the rebellious, anti-attitude of the Punk spirit and when I listen to these gems today, after more than forty years, I know I did a lot of things right and you won't be able to get rid of this feeling, it will always stay inside of you. Love passes, but Punk never. And the message is still the same as it was then, get off your ass and don't accept everything that stupid society or TV shows you. With this in mind, my friends, I wish you a nostalgic listening pleasure.

1.Jazz On A Summers Day - ANDY T

2.Don't Wanna Fight For You - COUNTER ATTACK

3.Change It - THE ALTERNATIVE

4.We Are You - CLOCKWORK CRIMINALS

5.Girls Love Popstars - REPUTATIONS IN JEOPARDY

6.Do They Owe Us A Living? - CRASS

7.University Challenged - AMEBIX

8.Local Chaos - SCEPTICS

9.Mark Of The Beast - THE SINYX

10.Thalidomide - FRENZY BATTALION

11.Cancer - ICON

12.Why? - THE SPEAKERS

13.Anarchist Attack - A.P.F. BRIGADE

14.Right Or Wrong - FUCK THE C.I.A.

15.Morning Star - CAINE MUTINY & THE KALLISTI APPLES OF NONSENSE

16.'3' - THE SUCKS

17.Khaki Doesn't Go With My Eyes - PORNO SQUAD

18.Soldiers - S.P.G. MURDERS

19.National Service - ERATICS

20.Who Needs Society? - RED ALERT

21.War Song - THE SNIPERS

22.Power - ARMCHAIR POWER

23.Napalm - DISRUPTERS

24.Nagasaki Mon Amour - ANDY T

25.Drumming Up Hope (Ferret Skank) - ACTION FROGS

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HOTEL KEMPAUSKI - Sternzeichen Kartoffel - Aszendent Sauerkraut EP 2022

It's been a while since I presented you a new, promising band from Schleswig-Holstein, Hotel Kempauski, and back then I was still working with a band member who unfortunately changed his employer, since then there's Funkstille, but that doesn't stop me from wishing his band continued positive vibes. This little EP is their latest vinyl release to my knowledge and in advance, with which I can only agree, a little official info: The self-proclaimed building society Punks from Kiel are taking HardcorePunk into its long overdue midlife crisis. Live, they offer speed, cynicism, lengthy announcements and Hotel Kempauski deliver solid melodies to combat the tristesse and let off steam and they made it cool, because they're good at it. It's rough, it's loud, it's splendid. Six decent banger with the typically North German confusing lyrics, but very clear (it's really interesting how they went from the potato harvest to democracy, + other cool associations... simply delicious), and after nine minutes you're back in reality. Six songs, limited edtion of 250 copies, self-released and it's worth to visit their homebase for more releases. 

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THE NIKOTEENS - Slamdance Party Vol.3 1986

When we talk about Ingolstadt, only one band immediately comes to my mind: The Nikoteens. I'm sure fans of quality German HardcorePunk will know straight away that the guys have released their first album via the Cologne Malermeister, which doesn't sound bad at all. Circa two years later a tape was recorded named Hardcore Holocaust (1985), which can be read on the front cover, and thirteen of the eighteen songs were finally immortalized on this fucking vinyl, brought us by Starving Missile. And the fact that Americans also like fast, aggressive sounds from overseas is proven by a short and snappy review: Divided into a “Romantic” side and a “Realistic” side, this band pulls off an out-of-the-ordinary LP. Their punk is not generic usually, but doesn’t really drift into experimentation or post-punk to pull it off. Can’t really say what it is, but it’s a tad different. Worth checking out. (Tim Yohannan, MRR #38 • July 1986) The postman was just here with new material and I will get to it immediately to repay the donor who lent me the record. That means I'll be away for a while. Enjoy this brilliant album with a cold beer. I say Cheers, Baby!

- Great Thx to iNgo -

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THE DYAKS - Gutter Kids 7'' 1977

Original released without a label, 1978 via Bonaparte Records with another B-side but all three goddies in this file. Info: The Dyaks were Chris (vocals/guitars), Groll (bass), Brian (drums) and Chris was also behind Jabberwock who produced the Majestic Proggy Glamster Sneakin’ Snaky around the same time. The Dyaks is a punky name and they had a punky sounding single title and a punky cover with a knife wielding kid on the front. But sorry to say, in all truth, an abysmal record that definitely isn’t Punk, PowerPop or NewWave. The single was Gutter Kids/It's A Game and it’s from the Punk school of The Who with its crashing open chords and melodic chorus but somehow fails to convince. A second single On The Run was recorded in February 1978 as a follow up but was never released (limited to 25 or less copies) which is more of the same. The earlier version of Gutter Kids (probably recorded at Pathway Studios in July 1977) is so much better than the released version. Here the guitar slash and crash in an updated 66 Who windmill fashion, while the song structure wins out by debuting the rousing chorus earlier than in the released version with the harmonies bringing a nice Powerpop sprinkling to Proceedings. The flip starts off in Clash mode before going nice and melodic, with an end betraying their pre-punk musicianship. The Dyaks/Jabberwock were really stuck in the middle of Year 0, unsure which bus to take, but as exemplified here; the superior chops and melodic core they possessed were in stark contrast to other more “credible” and run-of-the mill bandwagon Jumpers. Also featured on interesting Compilations, but only the title track of their first single was used for all, hmmmm..... well...at least. Remains to be mentioned that all the studio songs, only fucking four, are included in this delicious cocktail and you can decide for yourself which one is your favorite. It's time for a break, I'm done.

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V/A - It Came From InnerSpace 1983

Now an Edmonton Compilation which had a lot of interesting bands on it, not all Punkrock but really cool. A review first: This new Canadian compilation is very much like the English samplers that proliferated wildly in the ’78 epoch, in that it features a bunch of Pop bands and one or two token punk groups. Of the latter, SNFU produces two powerful mid-tempo gems with crunching guitars and sing-along choruses (including the classic “Real Men Don’t Watch Quincy”), while Down Syndrome offers a couple of raunchy garage Punkers. Of the pop bands, the Standards and the Thieves stand out above the wimpy pack by virtue of a heavier guitar sound and an unobtrusive ’60s tinge. The overall effect is rather refreshing in our current era of musical segregation. (Jeff Bale, MRR #12 • March 1984) All in all, a comfortable and stress-free selection that is perfect for cooking and I will now put it into practice and conjure up some meatballs, perhaps I will send you a small visual impression of this. But first I want to get one or teo beers to come in the right mood, while I'm working on another selfmade-sampler and yesterday I dusted off my place so the girls can come.

1.Nerve Gas Attack - THE TOUCH

2.What's Old Is What's New - THE THIEVES

3.Where Is She During The Week? - ROUTE 66

4.I Know Some People - FACECRIME

5.You're A Punk - DOWN SYNDROME

6.Party's Over - MALIBU KENS

7.(Real Men Don't Watch) Quincy - SNFU

8.Break Out - THE STANDARDS

9.421-1111 - MALIBU KENS

10.Screams - THE THIEVES

11.Strip Search/Grunt, Groan, Rant & Rave - SNFU

12.Did I Hear You Right? - FACECRIME

13.Family Tree - THE TOUCH

14.Bums - DOWN SYNDROME

15.Had Enough Of This - ROUTE 66

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RARE - Walking EP 1981

Three song EP on St. Rogers Records by this very unknown combo called Rare. No date on labels but this was apparently recorded in 1981 and we have three nice goodies. Two reggae-inspired tunes that are absolutely fine for me, fantastic slow tempo, very bass-heavy with a subtle organ that only the most Hardcore reggae bands can pull off, but the boys from the United Kingdom do it damn well. The third song is a real KBD smasher that I will definitely immortalize on my next Compilation. I think the EP was released without a proper cover, but I'm not sure and I can't imagine a large print run, so dear friends, this is a truly rare jewel with some damn cool stuff that you shouldn't miss! Now soccer ⚽

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KAMALA & THE KARNIVORES - Girl Band EP 1989

We stay cozy but now with a bit more punk factor with female power four piece Kamala & The Karnivores, a San Francisco Bay Area band which was active from 1987 until 1989 when they originally disbanded. They were one of the few female bands closely associated with the early days of 924 Gilman Street, a Berkeley institution that is the longest running all ages venue for underground music in the US. The band recently reformed in order to play the Lookouting Festival at 924 Gilman in January of 2017, a popular four-day event that drew well over six hundred attendeesworldwide. The Karnivores enjoyed themselves so much that they have opted to play a limited run of additional shows in 2017. The band consisted of Kamala (vocals), Todd (guitar/tambourine/vocals), Lynda (guitars/vocals), Ivy (bass) and Maracas (drums) and sounded a little indie-rock in their tempos and melodies but they pulled it off with a Punkish swagger. Definitive East Bay pop band and we have four sweet songs about being in love, killing boys, and black thumbs, this is their only 7Inch released via Lookout! Records and Compilations featured the band on the The Thing That Ate Floyd from 1988. In 2018 there was a final sign of life in form of a mini-CD with seven songs called Vanity Project.

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THE DAMNED - Friday 13th EP 1981

Just the right time for an almost classic and it's difficult to say anything bad about the gents from London. At least I don't know of any bad albums, but I have to admit I haven't heard them all. I'm lazy today and will use a few lines from Wiki that sum up almost everything in a nutshell, here we go: This little four track beauty was issued by the Damned as the result of a one-off liaison with Nems Records and was released on 13.November 1981, which fell on a Friday. The lead-off track, "Disco Man", was featured on many Compilations, also becoming a live favourite. Two of the other three tracks, "Billy Bad Breaks" and "Limit Club", were composed by the band; the final track was a cover version of the Rolling Stones song "Citadel". Not tired at all and elegant sexy, who needs words when the music has everything? A very good phase of the band!

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RABID - The Bloody Road To Glory EP 1982

I did a little searching on my hard drive and found the following one. It's not my rip either, but it's worth posting this music. Back across the canal to meet Rabid, who weren't able to get off to a good start like others, a four piece from Leicester which were founded 1979 and they consisted on this fine debut EP of Nick (vocals), Dean(bass), Brute (guitars), Penny (drums) and initially active between till 1986. A new line-up of the band was reformed in 2013. After recording a 5-track demo in 1981, they released this debut EP on their own 'Blank Label' imprint. After the EP's distributor, Fresh, went out of business, owing money to Fall Out Records, Fall Out reissued the EP later in 1982. They released two 7Iinches in their early days and after the re-union they became more active in terms of albums. Three were made by 2016. Since then, it has been quiet around them. Enjoy the record!

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CÓLERA - É Natal​!​!​? EP 1988

Now my only contribution to the fucking Christmas time and this year it is the second EP by Cólera from São Paulo on Ataque Frontal with four excellent numbers. The band is known for their aggressive sound and socially critical lyrics. They are one of the most influential bands of the Brazilian Underground scene. Their EP "É Natal!!?" is a delicious example and deals with themes such as social injustice and problems that prevailed in Brazilian society during the 1980s. The title of the EP alludes to the contradictions and challenges that exist during the Christmas season and in the context of Brazilian reality. Cólera has released several albums and EPs throughout their career and remains active today, continuing to perform concerts and release new records. Overall a very nice record with their typical aggressive style combined with catchy melodies, Cólera has gained a loyal fan base over the years and is often considered one of the key figures in the development of Punk in Brazil. And now off to the fucking TV and to Lyon.... Hallelujah!

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WALPURGIS VOLTA - Violence Des Chocs 1989

Second and final record by Walpurgis Volta which came via La Rage and I've been a little out of it since yesterday and can't think straight because I've been a bit put out by damn love. The second album by the Belgians from Brussels continues seamlessly where the first one left off. After the break-up they formed PPz30 and they very quickly achieved in France and Benelux the reputation of a terrific live band thanks to the astonishing performance of front man Bruce and to the musicianship of Daniel. I know I've written this before but I can't write any further because my arm fell off. Their music combines elements from various genres, including Punk and experimental sounds, resulting in a distinctive sound. This album received praise from critics and fans alike and is often addresses social and political issues and is known for its powerful lyrics and dynamic melodies. The production highlights the intensity of the music and offers a deep insight into the band's creative ideas. The band has carved out a solid place for themselves in the Belgian music scene, attracting a wide audience with their music and live performances. Reviewers says the band's artistic development and experimental approach. The band's lyrics are often described as provocative and socially critical. They address relevant topics that make you think and connect to the current social situation. The sound density and careful arrangement of the instruments add to the intensity of the music. Critics emphasize that the band's energy is palpable in the studio recordings and many of the songs are great for live performances. This could make the band an exciting live act. While many old fans of the band appreciate the new direction, there are also voices that say that some of the experimental elements may not appeal to every listener. The band could be taking a certain risk by moving away from their original style. Overall, "Violence Des Chocs" is considered a bold step in Walpurgis Volta's career, pushing musical boundaries and presenting the band in its second stage.

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LOOKOUTS! - Spy Rock Road & Other Stories 2015

Now that I'm home at the weekend and have nothing better to do, here's an excellent compilation and I'm quoting the band bio from the band's own homepage, I'm too drunk to write anything, just one thing, excellent material is on offer: "The Lookouts were a three piece that existed from 1985 to 1990 from Iron Peak, a remote rural mountain community outside Laytonville, California. Members were Larry (vocals/guitar), Kain (bass/vocals) and Tré (drums/vocals). Thirty years ago, long before there was such a thing as Gilman Street, Green Day, or the East Bay pop punk explosion, three guys got together in an off-the-grid hippie wilderness known as Spy Rock, at the heart of Northern California’s legendary Emerald Triangle. They hooked their amps up to their solar panels, made up a couple songs about living on the backside of nowhere, and The Lookouts were born. It would be the first time 12-year-old Tre Cool ever laid hands on a drumstick or a set of drums, but over the following five and a half years he would hone the skills that would see him headlining amphitheatres and stadiums, winning Grammy Awards, and being inducted into the Rock and Roll Hall of Fame with his second band, Green Day. Guitarist and singer Larry Livermore would go on to co-found Lookout Records, the indie label that introduced Green Day and many other bands to the world.

Together with bassist (and future forest ranger) Kain Kong, and with guest appearances by Operation Ivy’s Tim Armstrong and Green Day’s Billie Joe Armstrong, The Lookouts produced a legacy of two albums, two EPs, and several compilation tracks, the best of which are featured here. Also included is a track from The Lookouts’ very first demo tape, recorded in 1985, which features Tre singing backups in his as yet unbroken three-and-a-half-octave soprano.

One of the greatest (and, some say, worst) legacies of the Punk movement was the notion that anyone can be in a band. Even me, as it turned out. When I formed the Lookouts, I quickly became the laughingstock (I should amend that to “an even greater laughingstock”) of the remote mountain community where I was living at the time. Already well into my 30s, I was playing music (to use the term very loosely) with a 14 year old bassist who had never played bass before and a 12 year old drummer who had never laid hands on a drum set. The abuse wasn’t limited to the verbal variety, either; there was the matter of the legendary black eye I received when a local lunkhead tried to physically restrain us from playing at a town dance, a black eye which I wore semi-proudly (the other guys in the band used makeup to draw their own in solidarity) at our first record release party at Gilman Street the next night. The Lookouts, even several years down the road, were never noted primarily for their technical skill, but we did manage to get a good bit better. We never got a chance to tour, but we were privileged to play at some truly awesome shows, by far the most memorable being the last Operation Ivy show. Maybe even more important, we had the honor of being part of the Gilman Street phenomenon from pretty much the ground up. We first played at Gilman only a couple weeks after it opened, and our next to last show, opening for Bad Religion in June of 1990, was there as well. When we finally split up the next month, it wasn’t so much that we were tired of the band or each other. In fact we all felt as though we had finally hit our stride, and were capable of playing together as a pretty darn good band. But we were living in three widely separate places and it was next to impossible to get together for shows or even practice, so we reluctantly called it quits. Later that year, Tre was asked to join Green Day and started making a new kind of history. Since those days I’ve learned a lot more about music and played with a lot of other musicians, but your first band, like your first love, is always special beyond anything words can tell. No doubt we embarrassed ourselves many times while we were struggling to master our instruments and figure out what it meant to be in a band, but we were too dumb and too sincere to know it. We just kept on bashing away and howling at the moon, and by the time we were finished, well, we’d fashioned some of the best days of our lives." (Larry Livermore, homebase)

here