INFERNO - The Son Of God EP 1985

This first 7Inch by Inferno was first released only in the USA because the four were very popular (read this review: "fast, ferocious, and fun in the Inferno tradition. These German maniacs tear it up and spit it out in a furious thrash slaughter. Crazed guitar bitings with forceful vocals make this another unique platter." (Pushead, MRR #28 • September 1985) there with their aggressive Hardcore/Punk and the crowd needed food. This is the second pressing on Campary Records (1989) with a different cover and two songs from it appeared on the refreshing Compilation What Doesn't Hurt Us Makes Us Stronger from the Berlin based label Destiny Records and as far as I know the third track can be only found on this sucker but I could be wrong. The lyrics are all fantastic, clear and unambiguous, and anyone with sense and clarity in their hearts can only agree with this, to that their excellent sound makes clear why the band were so loved overseas, and that's saying something. Inferno is always a good choice to push your troubles far far away. Splendid!

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DIE AUTOS - Niemals! 7'' 1983

December also kicks off with a rare 7inch, and also based in Mönchengladbach are Die Autos, a duo consisting of Lloyd & Junge, and their only creative outpouring came out on the small Park Platten label (200 copies in green vinyl), which also threw the fantastic Pesthauch Des Dschungels compilation. My copy is the re-release on KillerReleaseRecords from 2001, this edition came handnumbered of 1000 copies, yellow vinyl and in sturdy fold-out poster sleeve. The special thing about side projects is that the actors let off steam musically and exploit other musical resources that sometimes lead to extremes and are far from what you are used to. Weird and experimental but also different and catchy. The two goodies from the Autos impress with their wavie rhythm that floats in a solid mid-tempo and provided with meaningful lyrics, and I would almost say, the record sounds like an early EA80 demo. Well, what am I supposed to keep talking? Anyone who appreciates the Gladbach sound will grab it without hesitation, everyone else should definitely do the same. Note: 'Slaughter' from the flip was 1991 re-recorded for the first Böse Hand EP (coming soon). Now enjoy the first delicacy of the Advent Calendar!

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V/A - It's A Youth Explosion! Vol.1 2020

Dear followers & visitors, there is a new little series from Heavy Soul Records and what the creators are unveiling here is first class stuff that is pretty close to the KBD compis, and yes, even better because most of the songs are unreleased, jaja... and described as follows: Fourteen rare & unreleased tracks taking in all that was good from 1977-1984ish. You get Punk, New Wave, and Mod revival all within the amazingly created artwork from Alf Button's Revenge. All fully remastered from a whole source of different formats to create a sound crispier than a bag of Wotsits! The names may not be familiar, but the "Sounds From The Street" created will certainly take you back to when all you needed in life was an LP by The Damned, Clash or Jam and a guitar, bass and drums. All original tracks, by a whole range of musical talent. So a perfect gathering of unearthed classics, limited edition is to be specified but no one knows how many copies were actually pressed... who cares!

1.Circa 2 - THE LIMPS

2.Someday - URBAN ENEMIES

3.30 Seconds - PATROL

4.Bright New Future - THE MEDIA

5.Let Me Show You Love - BACKSTAGE PASS

6.Talk - THE TWINSETS

7.Phone You - SLEEPERS

8.Lambs To The Slaughter - MIDNIGHT HOUR

9.Just A Dream - REACTION

10.One Of The Boys - THE DETOURS

11.She Don't Know - THE FACE

12.Dance Step Beat - THE MOD-L'S

13.Sound Of Today - STATION 360

14.In The Crowd - THE PLOY

- Great Thx to Bristolboy -

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V/A - Digging In Water 1987

The cover alone is worth buying this cute Compilation on Manic Ears Records & Children Of The Revolution Records and gives a brilliant impression of the slab's musical quality. Refreshing mixture of Hardcore/Punk with relevant bands that didn't have to be asked twice to be part of Digging In Water. And it's not uncontrolled thrashing, rather amazingly solid heavy melodic stuff by seventeen bands that can do that. "This album does a perfect job of summing up a scene, and is a collection of the hottest UK Hardcore bands..." Enough for today, enjoy the weekend and soon the ball will be rolling again.

1.Overproduction - DISORDER

2.Kill Your Baby - CHAOS UK

3.Senile Fools - CONCRETE SOX

4.Single Ticket To Hell - RIPCORD

5.Coconut Song - VICIOUS CIRCLE

6.Ultracore - C.C.M.

7.Bullshit Propaganda - EXTREME NOISE TERROR

8.Life - ELECTRO HIPPIES

9.Oldest Trick In The Book - GENERIC

10.Slumber Party - THE STUPIDS

11.Firing Line - DEPRAVED

12.Truth - BAD DRESS SENSE

13.Mr. Parkinson - DR. & THE CRIPPENS

14.The Fairer Sex - CIVILISED SOCIETY?

15.Face The Facts - EYES ON YOU

16.Miserable Bastards - POTENTIAL THREAT

17.Pigs For Slaughter - OI POLLOI

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SLAUGHTER & THE DOGS - Beware Of... 2001

After a five-year break, this band has returned with a really impressive album, and I can say: the gentlemen haven't forgotten how to make music and have written twelve catchy Punkrock pieces, plus a grandiose Beatles cover, that underlines their potential and they don't got any quieter. Released via TKO Records with delicat Artwork and and partly in white vinyl. Info: formed during the initial onslaught of UK Punk in 1976, Manchester's Slaughter & The Dogs were one of the first group to release a single (the overlooked classic "Cranked Up Really High") on trailblazing hometown independent label Rabid Records. - A review: Slaughter & the Dogs were there at the beginning, but lacked the controversial flair of some contemporaries who got more ink or the talent that helped their other peers remain major influences decades later. They had a few classic songs ("Cranked up Really High" was the bands first single), but little else, and a longevity to match. Nostalgia brought key members Wayne Barrett and Mick Rossi, kind of a punkin' poor man's Tyler and Perry, back together in the '90s with a new rhythm section. Though this is the second release of all-new material from the stalwarts after several semi-official live releases, after 1999's Shocking it was the first to have a proper promotional push in the States. The band sounds like they're having fun, and Beware Of is pleasant enough, fondly recalling the days when punk incorporated glam influences proudly. But at the end of the day, it often just magnifies the aforementioned limitations of the group. The fact that the best song on here, "Hell In New York," was written in the glory days and only finally put down in the studio for this disc shows how hard it is to teach old dogs new tricks. (Brian O'Neill)

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OPERATION GOMORRHA - Born In Sixty Four 7'' 1984

 

The following rare record was made by a Hamburg band which consisted of Marion (vocals), Jörg (guitar), Slaughter (bass), Michael (drums) and was released in a small edition via Gabba Gabba Hey Records. We're talkin' about Operation Gomorrha, a band which hardly left any traces and in the legendary Hall Of Fame of German punk bands rather a lower rank occupies. Is probably because their slab is spread over a small label and not much more recordings exist. But what the four deliver here is top notch, the title track is a catchy decent mid-tempo track with an excellent guitar (great solo) and driving rhythm and sung in English. The flip in German is a little anecdote about life as a uniformed folk hero in the former GDR. Born In Sixty Four is a damn cool record that doesn't have to hide and a real secret tip. Antesten und genießen!

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V/A - Let's Die 1985

Einen habe ich noch für Euch heute und diese compilation wurde vom legendären California based label Mystic Records released and we have sixteen times cool Deathrock at its finest. A really excellent selection of songs come from largely unknown bands, some of which only made it onto this slab. On the one hand, that may be due to the time, in the mid-80s this genre was rather new (don't think about the Misfits) and merged later into what we call gothic rock today, that's how I think. And everybody who has been to a black night disco will agree with me. On the other hand, I suspect little money for further studio sessions, negative label replys or different conflicts within the bands. Egal, was sich hier tummelt ist exzellent und für Mitte der 80ziger sehr anständig. Vorab würde ich Dance With Me von T.S.O.L. empfehlen, you will be in good hands.

1.Inside - FALSE CONFESSION

2.The Noose - SUBTERFUGE

3.Hellhouse - A.W.O.L.

4.Let's Die - PATRICK MATA

5.Slaughter Hotel - THIEVES CROSS

6.Darkest Dream - PARTY DOLL

7.When Bobby Comes Back From The Grave - WHITE PIGS

8.Innocent Me - THE MESS

9.In The Night - ILL REPUTE

10.Kill The Dead - SLAUGHTERHOUSE 5

11.Hives - BURNING IMAGE

12.Bad Brains - THE DRAB

13.Suicide - SILVER CHALICE

14.The Edge - SAMSONS ARMY

15.Day Of The Jackal - THE STAIN

16.Necrology - FLOWER LEPERDS

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LES LORDS - 1979-1980

 

The working year 2020 is over and four days off are comin'. Let's see, how I will end it musically and the opener is a treat, and this slab was released by Vidi Vici Records 2013 in edition of 300 copies. The Les Lords were Britz (vocals), Richard & Fifi (guitars), Laurent (bass), Lelett' (drums) and founded 1979 in Caen. And since nobody knows these guys until now, it is time for detailed information from the great creators of 45vinylvidivici which I would like to quote at this point:

1979: The musicians of the Caen punk group R.A.S. are orphans of a decaying movement. Britz, the singer-songwriter, mourns Sid Vicious. The others are starting to clearly prefer the power-pop energy of Jam, Skids, XTC or 999 to the neo-baba wanderings of the Cure or other Simple Minds.

The 60’s aesthetic and winks of the Who are already very present in punk, from black suits and string ties to the T-shirt with cockade of Billy Idol (Your Generation). Not to mention the Jam, of course. But when some members of R.S. land in Britain, it’s the shock. This one lives at the hour of "Mod Maydays", powerful revival which creates its own underground scene (Merton Parkas, Chords, Mo-Dettes, Squire...) in reaction to a punk now in the process of integration. "We hate the punk elite" sings Ian Page of Secret Affair. The musicians of R.A.S. are conquered, shop at Carnaby Street and return to Caen to tell friends about London news. The group is prompt renamed Les Lords.

As a result of this radical turn on the aesthetic level (because the songs remain the same) it appears fairly quickly that everyone gets into the idea of breaking their mouths, starting with the hard core of punks, more and more more influenced by the skinhead renewal and the “OI” wave. During the Lords' second concert in Lisieux, the skins came in force and have every intention of pissing off as much as possible. The chairs fly and the fans fall back on stage, somehow trying to send them away while the group continues to play. Arrival of the constabulary and relighting of the lights. We resume all the same and the Lords end in apotheosis by a resumption of "My Generation" of Who respecting to the letter the spirit of the original, that is to say accompanied by a methodical destruction of the material and the overturning of the columns sound system. Lying on the ground, arms outstretched to hold the

sound system lying on him and not to perish crushed, its owner, an old baba, manages to whisper "it's great, it's great...".

Great it is. The Lords continue the momentum of the most fit but harmonically rich punk, say Generation X to locate, incorporating 60’s influences, pre-psychedelic reminiscences (Creation, Move) and especially by tracing a new road, theirs. The group does quite a few covers: the instrumental The Persuaders ("Amically Your") as a concert intro, "For Your Love" by the Yardbirds mid-set and "My Generation" as a reminder. For the rest, it's a slaughter: slamming drums, metallic and melodic Rickenbacker bass, rhythmic Gibson "sound wall", dazzling escapades from the soloist on Telecaster. And there is the front man, with limited vocal capacities but remarkable texts and unparalleled charisma. It was obvious to who had once seen these kids in concert that they had fantastic potential. Because these are kids we are talking about, 17 years old at the time of history and just over 18 when it ended. Not really a "sex, drugs and rock n’roll" story, shot by the punk generation. No, just another story of tormented and rebellious teenagers. A story of music lovers who convert Gérald, the full barter shop of Throbbing Gristle to boots and frilled shirts. In return, he introduces them to Kinks and Small Faces, but also Real Kids, Charlie Mingus, Faust or Mother’s Finest. It is a story of rain (Normandy...), at night, of endless walking. Mopeds were rare, so scooters... It’s a story of cavalcades and frantic leaks, in the sad France of the end of the seventies whose "peripheral rascals" were so well sung by Renaud at the time.

On this front the Lords take radical measures by weaving an alliance with the gypsies, which allows to calm quickly done well the skins and to bring them back to feelings of healthy camaraderie. As for the neo-Mod movement, it is developing like wildfire. In two strokes of a pot spoon, there are more than 200 Mods in Caen. Punks converted after concerts, fans of the Specials or Joe Jackson, high school students who wanted to piss off their parents. Barely 16 years old, Laurence gives up everything to join Fifi, the rhythm guitarist of the Lords and returns on a scooter at the end of the hutch to give the teachers honor by shouting "We Are Mods", as in Quadrophenia. Britz, Laurent and I are going to see the film dozens of times at the cinema of the Carrefour shopping center, in Hérouville, one of the working-class suburbs of Caen. So we pass and we pass again in front of a band of thugs, "Arabs" as they said at the time, who stagnate on the benches of the shopping center and do not take long to look for the fight. It degenerates for good and ends with a punch outside. "We are the Mods"! Impressed, the most devious of the so-called "Arabs" quickly bought a costume and asked to join the mods.

In Caen, these are a mass movement from the proletariat, the working masses. With guys who in case of confusion are more quick to fight than to parley... There is José who fights after the group has won the French flags in a party on July 14, Franck says "Barjot" the former rocker and fisherman, "Clash" who crushes my parents' flowers in a Vespa and shoots the rockies on Saturday afternoon in the middle of traffic jams, with a WWII Luger. And then other groups that are formed: Dandys, Holly Boys and Neckties. These are 13-14 year olds who have had little time to learn English. Suddenly they proudly adapt the Who in French, "I Can’t Explain" becoming "the Caennais complain."

The Lords play in Paris at Golf Drouot. They finish well last of the "springboard rock" but fuck a happy mess and meet that evening the fabulous Stunners. A core of Parisian fans of the Lords is formed around Laurent ("Stax"), Denis, Thierry and soon Patrice Bertrand, former Hells Angel turned Mod who sells US garage rock records in the Scooter shop in Les Halles. The Lords don't pretend. They provide the first part of the Olivensteins whose equipment they demolish ("My Generation"), the Dogs from which they steal the show and a whole bunch of others. They make all the fire, open for Valérie Lagrange and even go on tour for a few dates opening for Caravan, an old British progressive rock band.

Soon the mod-revival spreads in Paris then in the provinces. Lords are heroes and kings, but there is a misunderstanding. Basically they have little to do with twinks disguising themselves as twist dancers, petty bourgeois in polka dot dresses and groups making desperate efforts to sound "garage". In fact, while the Parisian skins led by Farid - a ringworm - are having fun persecuting this bunch of little wankers from fine neighborhoods, they carefully avoid attacking anyone who wears a "Caen" patch on their jacket. Britz and the hard wing of the Caennais accentuate the demarcation with the installers by calling themselves "Glory Boys" and adopting black shirts and white ties. But hey, it's all starting to go around in circles. Especially since despite their multiple trips back and forth in the capital, where I settle as a manager, the Lords are still out of recording contract. There are indeed some contacts with Antoine De Caunes, Marc Zermati or Patrick Eudeline, the tour of record companies, a photo in the monthly Best, but nothing comes out. Meanwhile, the sken-mod conglomerate of Caen feels winged. After two years of intensive fights against rockers (very bad in those distant times) and all that hung around as thugs in the Normandy countryside, these became real terrors. Wounds that set everything on fire and blood during the Jam concert in Rouen. The Lords are victims of Sham 69 syndrome: overwhelmed by the movement they have instigated and the excesses of their audience.

The tension rises with the rhythm, Fifi, a simple heart. Then with the bass player who stands in solidarity with him. Finally with Britz Notre Dame, icon of mods, always so frosty and uncontrollable who does not want to understand that such a radical trip cuts the group from a wider audience. In a few weeks everything crumbles. Fifi and Laurent will try their luck with another group. Britz moved to Paris where he succeeded in a few months in transforming a gang of Daddy's sons into a respected gang. Richard and Denis recruit a bass player and pursue the Lords in the form of a blazing power trio.

In the end, there will be nothing but wonderful memories and rehearsal recordings from this brief epic, in mini-cassette. Despite their obvious limitations, they will no doubt give a better idea of what the Lords were than the album they would have done at the time on a major, under the guidance of a survivor of the yéyé who was converted into a producer. And the fact that more than thirty years later RAS or Les Lords are arousing interest shows that at least the flame has been transmitted. So all is well that ends well. Raymond Debord (Summer 2013)

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THE EXPLOITED - Troops Of Tomorrow 1982

Continue with the next classic on wdthtc. The protagonists are Wattie (vocals), Big John (guitars), Gary (bass), Danny (drums) and Steve (drums on two songs) or simply The Exploited. This is their second album on Secret Records and what I meant by Slaughter is with this record completely the other way around. Sure, Punx Not Dead is a great album but this is far better. On the one hand the sound is much cleaner and more powerful than the debut and the songs are much harder and more catchy, the four have developed further and then to name the album after a Vibrators song (to be found on V2) and to cover it excellently is a brilliant move. ' Fuckin' USA' is the hymn par excellence and my favorite song of the Scots, other classics 'Sid Vicious', 'UK82', 'So Tragic' or 'Germs', shine with dynamic hardness and are pure punk. The boys from Edinburgh been never better than here. There's one more record, War Now 12'', in the Blog but I can't find the file, DAMN FUCK! Anyway, now I'll have to buy some more Mythos and I know I'll get the 12'' soon. And now enjoy the noise making, chaos causing, government hating, rule breaking, unrelenting punkrock sound of the fantastic Four!

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SLAUGHTER - Bite Back 1980

Before I have to go to the dentist and after two cups of coffee, a short visit to England. Slaughter, better known as Slaughter & The Dogs, were formed in 1975 in Wythenshawe, Manchester and this is their second album on DJM Records. Their original line-up consisted of singer Wayne Barrett, guitarist Mick Rossi, drummer Brian "Mad Muffet" Grantham and bassist Howard "Zip" Bates. I think they left their punk roots a bit on this album and switched to a more rockin' sound, which is clearly noticeable in the length of the songs, many faded out (which I don't really like). Overall, not a bad album and the eleven songs are not boring, but somehow I miss the dirty, the rough sharpness that made them stand out on Do It Dog Style, probably they wanted to get away from the wild sound and therefore made the slab a little too smooth in my opinion. Well, whatever... quite decent and audible. Find them on some compilations in the blog, and now on my bike and go!

- Great Thx to Fredrik -

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VENOM - Barmy Army 7'' 2013

This nugget was released via Punkhouse Records, 250 copies in red vinyl and both tracks were recorded 1980-1981. I quote info from discogs: Consisting of David 'Snakey' Cooze on vocals, Glenn Evans on bass/vocals, Dai Monk on guitar and Sam Phillips on drums, the Venom played their first gig on 3rd may 1979 - the day Margaret Thatcher was voted in as Prime Minister. Formed from the remains of local punk heroes the Noise, the four-piece took their original inspiration from the old-school DIY ethic of bands such as The Clash and Slaughter & The Dogs. Monk and Phillips moved on in early 1980 and were replaced by Wayne Rowe & Steve 'Gagsy' Garland respectively. Following an incident at a football match the band took an enforced hiatus at Her Majesty's Pleasure. When they re-emerged, Snakey took to wearing a balaclava on stage and their style morphed towards the crowd pleasing chant-along style of Sham 69. The band recorded three self-funded sessions over their career, yielding such local punk classics as Saturday Afternoon Trouble, Barmy Army and their own irreverent take on Nancy Sinatra's 1966 hit - These Boots Were Made For Stomping. The results impressed Sounds journalist Garry Bushell enough to pen two articles about the band and subsequently include the track Where's Dock Green? on the Back On The Streets EP that accompanied the third Oi! album Oi Oi Thats Yer Lot. Their association with the Oi movement attracted an ever-expanding fanbase of punks and skins that saw previously good humoured gigs often descend into violence. The band called it a day in summer 1982 following their final gig at Swansea's Townhill Tech.

- Great Thx to Fredrik -

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THE BOMB PARTY - Life's A Bitch EP 1985

Quite a slaughter I would call the three songs of the English Bomb Party from Leicester which are on their third EP on Abstract Records. The unholy alliance was founded in the early 80s and consisted of Jesus (vocals), Mark (guitars), Sarah (bass), Steve (drums) and they took the name from a novel by Graham Green and so the band was born. They released in their lifespan a few 7Inches and four albums. On the back stand "Recorded Live @ The Triangle/Birmingham" but I'm not sure if that's true. Actually, it doesn't matter, a slab with this truly incontestable title is interesting. In the end of 1989 they played a 13 date tour of England, plus a mini-tour of Germany, before performing what turned out to be their last ever gig, at the Mean Fiddler's Powerhaus in London, on the 17th December. The following year they released their fourth album, Nativity #3, recorded in Germany without Sarah, who had other commitments. This was to be their last recording, and the band effectively ceased to exist on it's completion (taken from a press release in 1989). Bonny record!

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DAGEN D - Mitt Kompani 7'' 1981

From Umeå, east Sweden comes this short-lived band and they released their only 7'' on Fest Records and if you look at the great cover that alone should make you curious. Two amazing songs in native language plus the excellent guitars push their sound, which is fat produced, out of your house so that everyone who passes your window has the urge to give you some money, his wife or share a drink with you. The lightly swinging rhythms attracts every slaughter, who didn't slip off his personality. I can only speak for myself, hahaha.... - And once again, I can't telling much about the band. Why? No info at all and I can't force one out of my ass. It doesn't matter, the music is brilliant and if you understand (or not) a damn swedish word, you will be certainly excited. A click to Vägra Raggarna Benzin - Punk Från Provinserna 1978-1982 Vol.3 & 4 is definitely inevitable. Respect!

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THE NOSEBLEEDS - Ain't Bin To No Music School 7'' 1977

Rare vinyl by this short-lived combo and they were formed in Wythenshawe, Manchester, England 1976 under the name of Wild Ram. Changed their name to Ed Banger and the Nosebleeds in early 1977 with the following line-up: Edmund 'Ed Banger' Garrity (vocals), Vincent 'Vini' Reilly (guitar), Phillip 'Toby' Tomanov (drums), and Pete Crooks (bass). In late 1977 Billy Duffy replaced Vini Reilly and Morrissey replaced Ed Banger and subsequently they shortened the group's name to the Nosebleeeds. Ed Banger ended up in a later incarnation of Slaughter & The Dogs while Vini Reilly formed Durutti Column. Pete Crooks and Toby Toman continued on as the Nosebleeds. "Billy knew this guy Morrissey, who ran the New York Dolls Fan Club and wrote lyrics - and got him to join the group, although he had never sung before. The pair of them dumped all the group's old songs and wrote an entirely new set like 'Peppermint Heaven' and 'I Think I'm Ready For The Electric Chair'. The audience was perplexed; it was a strange band!" - Pete Frame, 1989. However, in his autobiography Morrissey denied ever being a member of the band. He claims that Duffy recruited him after the break up of the Nosebleeds and they wrote songs together. For their live performances they hadn't decided on a band name. They roped in the rhythm section of the Nosebleeds and Paul Morley used this name for a live review. 

The Nosebleeds did two gigs one at the Ritz [support to Magazine] and a Rabid Records benefit at the Manchester Polytechnic before dissolving in May of 1978. After the group split up Morrissey went on to form the Smiths, Toby joined Blue Orchids, and Pete Crooks joined up with Vini Reilly in Durutti Column. The A-side was booked on numerous compilations but the flip I like better.

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BORED! - Satisfaction EP 1989

Fourth 7Inch on Dog Meat, 1200 copies, from Bored!, formed in Geelong 1987 by Grant Gardner (bass), Adrian (keyboards), Justin (drums), John (guitar) [ex-Behind The Magnolia Curtain] and Dave (vocals/guitars) [ex-Bodies, Slaughter House]. Thomas' previous punk band, Bodies, had formed in Geelong in 1983, by 1985 he had joined the Melbourne-based group, Slaughter House. Late in 1986, Thomas started a new band, International Rescue, which successively became Sister Anne and then White Noise. By 1987, the group had the line-up of Gardner, Hann, Munday, Nolan and Thomas and were renamed as Bored!. Their name was derived from a 1978 single, "Bored", by Detroit punk rockers Destroy All Monsters. In October 1988, Bored! issued their debut extended play, Bored!, on the independent label, Grown Up Wrong, which included a cover version of Lobby Loyde's "Human Being". Punk rock webzine, 'Noise For Heroes' Steven Gardner, described the EP, "basic, heavy riffs that grind away, drums that never tap when they can bludgeon, and David Thomas singing voice, a voice whose general texture sounds like The Rules being ripped in two." In the following year they released, Negative Waves, their first studio album. After its appearance Gardner was replaced on bass guitar by Tim Hemensley (ex-Royal Flush, God). With Hemensley on board they released a second album, Take It Out On You, in 1990 and toured Europe.

In 1991 Hemensley and Nolan left to form Powder Monkeys, Munday and Thomas continued with Russell Baricevic (Gas Babies, Macho Clowns) on bass guitar. In December they released a third album, Feed The Dog, on Survival Records. Their fourth album, Junk, appeared in October 1992 with eight tracks produced by The Celibate Rifles guitarist, Kent Steedman; and four tracks by Rose Tattoo's Peter Wells. In March 1993 a compilation , Scuzz, collected thirteen studio out-takes, recorded between 1991 and 1992, and nine live tracks recorded on 13 May 1992 @ Prince Of Wales Hotel. By the end of 1993 the band had disbanded.

Dave Thomas managed fellow Geelong band, Magic Dirt, he later joined the group on guitar from August 1995 to July 1997. Tim Hemensley (1972–July 2003) on bass guitar and lead vocals, and John Nolan on guitar, founded punk, indie rockers, Powder Monkeys (1991–2002). From 1997 Baricevic, Munday and Thomas periodically reformed Bored! with Matt Randall on rhythm guitar. In 1999 Thomas oversaw a 2× CD compilation album, Chunks 1988-'94, for Full Toss Records, which was issued in March 2000 and with line-up of Thomas with Matt Daley (guitar), Mark (drums) and Ben (bass) undertook a short European tour.

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CRYPTIC SLAUGHTER - Money Talks 1987

I remember when my best Friend and I listen to their first album Convicted we were completely blown away, such fast music we knew only from Septic Death, D.R.I., Raw Power & MDC but that was Hardcore and at that time we broke with Metal and became Punx and Cryptic Slaughter mixed both genres into one big whole and on the second album they drove the pace back a little, nevertheless famos! Info: The band was formed 1984 by Les Evans (age 17), Scott Peterson (age 14) and Adam Scott (age 15), who met through their mutual participation in the American Youth Soccer League (AYSO). Soon they were joined by Bill Crooks (age 15), a friend of Adam Scott and a fellow soccer player. Adam Scott was let go a few months later due to conflicts regarding his parents and school. Their first demo, Life in Grave, was produced in 1985 and became well circulated in the burgeoning tape-trader underground. Their first full-length LP, Convicted, was released in 1986 on Death/Metal Blade records, whose artist roster also boasted D.R.I., Corrosion Of Conformity, the Mentors and Beyond Possession. Within its first year of release, Convicted sold over 25,000 copies and earned Cryptic Slaughter the reputation as being one of the fastest bands in hardcore. Next came Money Talks in 1987, which is still considered by many to be the band's best effort. Mixing crushing grooves with lightning speed, Money Talks surpassed Convicted's success by selling 35.000 in its first year and by earning Cryptic Slaughter a fanatical following around the world. They took on the right-wing theocracy directly, with songs like "Freedom Of Expression" that skewered the censorial nature of the Parents Music Resource Center (PMRC), founded by Al Gore's wife Tipper. Their "American Heroes" directly confronted the mass media heroic mythology of the astronauts who died in the explosion of the space shuttle Challenger, when millions toil to survive daily in a world of injustice. Along with D.R.I. they were at the forefront of a musical genre known as much for its relentless energy as its radical anti-authoritarian politics, even if not all the listeners paid attention.

The original line-up recorded their final studio album, Stream Of Consciousness, in 1988. Unhappy with the recording process and the album's production, the band's internal problems were magnified by life on the road. They broke up in the summer on tour before Stream was released later that fall, they played their last show in Detroit on July 14, 1988.

Shortly after returning home, however, guitarist Les Evans and bassist Rob Nicholson recruited new member Eli Nelson and continued on in a new direction. This new incarnation was short-lived, however, and Evans moved to Portland in May 1989 to reform the band with an entirely new line-up, which included Brian Lehfeldt of Wehrmacht fame. The final Cryptic Slaughter album, Speak Your Peace, was a definite departure from the previous material, heavily influenced by a changing music scene.

The band are often credited as one of the progenitors of crossover, the thrash metal and hardcore crossover genre, along with such seminal acts as D.R.I., Corrosion of Conformity and Suicidal Tendencies. In 2003, Relapse Records reissued Convicted and Money Talks with added bonus tracks from Cryptic Slaughter's demo and live recordings. Due to legal reasons, the band changed their name to Lowlife and will be touring and playing CS songs.

And now I have to go to the birthday party of a dear friend!

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ACCÜSED - The Return Of Martha Splatterhead 1986

Holy shit, that was a long hard fuckin' day and I need the weekend more than ever and to switch off now a record that I heard in those days with my best friend up and down and unfortunately no longer in my collection: the first Accüsed album. A bit info from wiki: The Accüsed is a crossover thrash band from Seattle, Washington, founded in 1981. The band was a progenitor of the crossover style that bridged the gap between thrashcore and thrash metal, later influencing grindcore and some crust punk bands; as well as an influential band in the Seattle alternative scene. The band calls their music "Splattercore", and their zombie mascot, Martha Splatterhead, appears on most of their albums. Common themes involve social issues and the theme of Martha Splatterhead coming back from the dead to slaughter rapists and child molesters. The Accüsed took an 11-year hiatus in 1992, with members taking time to play in Seattle bands such as The Fartz and Gruntruck. The band re-formed in 2003, and after several line-up changes was put on "...indefinite hiatus..." in 2012 according to band founder and sole original member, guitarist Tommy Niemeyer. The Return of Martha Splatterhead was released on Subcore Records and later re-released on Earache Records (the first mosh album), in 1986. According to reviewer Jeb Branin, "I was writing for a zine in Canada called Northern Metal that reviewed the new LP The Return Of Martha Splatterhead giving it a 0.0 rating and absolutely crucifying it in the review. It is the only 0.0 review I remember ever seeing in Northern Metal. They hated it so much I knew I had to buy it. As I suspected, the album was a masterpiece of hardcore hysteria."

Well, I'm still excited about this aggressive sound that I've never heard again which continues seamlessly on the second longplayer 'More Fun Than An Open Casket Funeral'.

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V/A - Rock Today 1980

I will be a bit softer with the next record which is probably not released (Metronome) and as promo platte cataloged but its still coming out I think. Well anyway, I have a copy here and on this record is a decent gathering of different styles and not all songs are quite cool but more than 50% I would say is acceptable, especially at the end the sound kicks, no wonder with this bands. The drugs show effect and I feel much better than yesterday, must be fit for the stadium tomorrow. All right, that was it for today, tomorrow is another, enjoy the weekend.

1.New Lines On Love - SNIFF'N' THE TEARS
2.So Good To Be Back Home Again - THE TOURISTS
3.The Eton Rifles - THE JAM
4.Hunted - THE PASSIONS
5.American Heartbeat - DUNCAN BROWNE
6.Dead The Beast, Dead The Poison - THE RADIATORS
7.Heavy Duty - JIMMY HIBBERT
8.Gabrielle - THE NIPS
9.Frustration - PURPLE HEARTS
10.Jumping Someone Else's Train - THE CURE
11.Smash It Up - THE DAMNED
12.You're Ready Now - SLAUGHTER & THE DOGS

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MICKEYMAN & EXTREM - Split LP 1983

The first release of this ultra-rare original Austrian pressing from 1983 shows the debut of two bands from Vienna. Now an extremely cool song from an extremely cool band: "Fress'n, Sauf'n, Scheiss'n, Prunz'n" is the ultimate rejection to the Austrian philistines with their 40-hour week, the obligatory television evening after work and the drunkexcesses around the corner. Austria needs to burn, all right? EXTREM founded already in the summer of 1979 in Vienna and went through a short time with some line-up changes, and Mickey Kodak, alias MICKEYMAN took them and recorded a split LP on their label Rebel. Recorded in July 1983 in the Gaga, the result was probably the harshest and toughest punkrock publication, which had until then spit the steak paradise to light. Oaschloch-Rhetoric in crude Viennese, jagged hardcore punk guitars and drums beating high-speed at the door to madness and say Serwas! I'm ahead of my time..' MICKEYMAN took them and recorded a split LP on his label Rebel. The American punk Magazine "Maximum Rock-N-Roll" reviews: The Extrem side is extreme! Raucous cycloning mayhem from Austria, enough driving power and insistent quickness to hurl you into a venture mega-speed craziness. Savage guitar grinds charge out a brutal slaughter of aggression and combustion, crammed into a wild seizure of raw energy. Extrem escalate with each zooming slice. Mickeyman is Austrian reggae done well, and their punk song is basic and humorous. Don't miss this album! - the Extrem stuff is drastic plastic. - Pushead (from Maximum Rocknroll #14, June 1984) - No wonder he invited them to contribute a song to his now legendary Cleanse The Bacteria compilation in 1985 and this was the first time that an Austrian punk band was released in the U.S. - In 1991 they changed their band name in EAT LEAD and disbanded at the end of the year, finally!

- Special Thx to Reinhard -

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V2 - Speed Freak EP 1978

Damn good debut record by this Manchester combo on Bent Records with three awesome KBD smasher and because I'm a lousy writer I steal a little Info: "V2 were formed in late 1976 by David Wilks and Mark Standley. Both were regulars at Bowie/Roxy clubs in Manchester and became aware of punk rock when Dave Went to see the Sex Pistols in Manchester. This seminal gig at the Lesser Free Trade hall, at which the Pistols were supported by Manchester bands, Slaughter and the dogs, the Buzzcocks, inspired the next generation of bands to come out of Manchester, the Drones, Joy Division, the Fall, and V2. V2 brought their Glam Rock past to the band, and quickly became a popular live act with over the top shows, explosions, smashing up their equipment, and bassist Stan the Man attacking audiences with his cricket bat guitar when they spat at him once to often. Their first single, released on Bent records, (small bent one) was released in late '77, and quickly sold out 3 pressings. It featured three songs, Speedfreak Nothing to do and That's it. It went into the alternative top ten on each release." Read the full V2 bio. R.I.P. David! Compilations featuring the band: England Belongs To Me and the brand new Greater Manchester Punk - matchless!

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