ZYNTHSLAKT & THE PAST - 7 Låtars EP 1983

This rare split EP has to bands from Köping on it and their sound is clearly at home in catchy dirty fast punkrock.

Zynthslakt (Swedish for synth slaughter) was a band that started around 1982. Mikael Thörngren, who played drums, was impressed by the energy of bands like the Clash and the UK SUBS. Together with Per Granberg's twin brother John (guitar in Charta 77) Zynthslakt were born. Because it was expensive to make records, explored other bands to share the cost with. Result was the split single with N.O.S. The band released another split EP called 7 Låtars with with The Past. They played a lot outside Norrköping, Mikael remember once in Västerås they liked the band that just played on stage was so bad that they took over the instruments. But it did not get better because everyone was a little too round underfoot. In Kolsva they would play along with Kent Impotent. No one knows exactly what happened, but Zynthslakt never played. According to "Goofy" was the band members had to go home to Köping the evening. The album 'Spraya På En Vägg' came out 1984 on Rosa Honung Records. That same year the band folded. A posthumous EP 'Hit Med Stålarna' saw the light of the day in 1986 containing all the Zynthslakt tracks from the split singles. The track 'En Stad, En Bomb' was contributed to the 1983 cassette compilation 'Bara En Dröm'. 1993 Rosa Honung released another sampler containing the songs 'Religion Blood' and 'Land Of War'. The fact that some members were in the army, disbanded around 84-85. Then started the band J. Hex and the Scarecrows, which did not have much in common with Zynthslakt and its punk.

The Past started by the turn of the year 80-81 and consists of on Roger Andersson (drums), Pelle Hedblom (bass) and Linus Linder (guitars). Everybody was singing just to not hear who sung most false. Later Linus got to take over most of the singings. They started to play covers jut to learn how to play. Because no one in the band know how to take one single chord in the beginning. As fast as they got ready they started to write own songs with influences from bands like S.L.F., Sham 69, Sex Pistols a.o. 1983 they recorded their first record which was splitted with Zynthslakt, also a band from Köping. It was a 7-song EP sold in 1000 copies. Then they struggled on to get money to record a 7” which was supposed to be released on Birdskit, but the sound was damn bad so it was never released, but Birdskit sponsered them to record a MLP “In The Future With The Past” 1987, the single got to be included as a bonus with the first outgoings. Then they contibuted on “Swedish Stand” a compilation from the Indie labels in 1990. The Past still exists...

Great stuff from both which makes you hungry for more. ENJOY!!

- Special Thx to Fredrik -

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GERMS - (GI) 1979

Another classic that needs to be heard is the debut by the Germs, punk from Los Angeles and originally active from 1976 to 1980. The band's main early lineup consisted of singer Darby Crash, guitarist Pat Smear, bassist Lorna Doom, and drummer Don Bolles. They released only one album (GI) on Slash Records, produced by Joan Jett, and were featured the following year in Penelope Spheeris' documentary film The Decline Of Western Civilization, which chronicled the Los Angeles punk movement. Germs disbanded following Crash's suicide on December 7, 1980. Info from wiki which says everything:

Crash (born Jan Paul Beahm) and Smear (born Georg Ruthenberg) decided to start a band after being kicked out of University High School for antisocial behavior, allegedly for using "mind control" on fellow students. Their original name was "Sophistifuck and the Revlon Spam Queens", but they had to shorten the name as they could not afford that many letters on a T-shirt. The (initially hypothetical) first lineup consisted of Beahm (then known as Bobby Pyn, and later as Darby Crash) on vocals, Ruthenberg (under the name Pat Smear) on guitar, an early member named "Dinky" (Diana Grant) on bass, and Michelle Baer playing drums. This lineup never played in front of a live audience.In April 1976, the band added Lorna Doom (born Teresa Ryan) on bass, with transitional member Dottie Danger (later famous as Belinda Carlisle of the Go-Go's) on drums. Carlisle never actually played with the band, as she was sidelined by a bout of mononucleosis for an extended period. She was replaced by her friend Donna Rhia (Becky Barton), who played three gigs and performed on their first single. Carlisle remained a friend and helper of the band (she can be heard introducing the band on the Germicide: Live @ the Whiskey recording, produced by Kim Fowley), only leaving because her new band, the Go-Go's, were becoming popular and, as she put it, "I was really disturbed by the heroin that was going on". Nickey Beat, of various noteworthy Los Angeles bands including the Weirdos, also sat in on drums for a time.

The band's first live performance was at the Orpheum Theater. Smear recalled: "We made noise. Darby stuck the mic in a jar of peanut butter. It was a dare, we had no songs or anything! Lorna wore her pants inside out, and Darby covered himself in red licorice...we made noise for five minutes until they threw us off". The Germs initially drew musical influences from Iggy Pop, David Bowie, Ramones, the Runaways, Sex Pistols, and New York Dolls. Early on, Smear was the only musically experienced member; Doom survived early performances by sliding a finger up and down the fretboard of her bass while Rhia generally kept a minimal beat on the bass drum, periodically bashing a cymbal. Early performances were usually marked by raucous crowds made up of the band's friends. As a result, their gigs became notorious for being rowdy and usually verged on a riot.

The end of the band came when Crash, who had become increasingly impatient with drummer Bolles' antics, fired him and replaced him with his friend Rob Henley. Shortly after the Germs split, Crash and Smear formed the short-lived Darby Crash Band. Circle Jerks drummer Lucky Lehrer joined the band on the eve of their first (sold-out) live performance, when during soundcheck, Darby kicked out the drummer they'd rehearsed with. The band, described by Smear as "like the Germs, but with worse players", played only a few gigs to lukewarm reaction before splitting up. Shortly after that, Crash contacted Smear about a Germs "reunion" show, claiming it was necessary to "put punk into perspective" for the punks on the scene. However, Smear has said Crash told him privately he wanted to earn money for heroin with which to commit suicide. Since Crash had described this scenario many times in the past, Smear did not take him seriously. On December 3, 1980, an over-sold Starwood hosted a final live show of the reunited Germs, including Bolles. At one point, Crash told the amazed kids in the audience, "We did this show so you new people could see what it was like when we were around. You're not going to see it again".

Crash committed suicide on December 7, 1980, at age 22. Unreported at the time, Crash had overdosed on heroin in a suicide pact with close friend Casey "Cola" Hopkins, who ended up surviving. She later insisted that he did not intend for her to live, nor did he change his mind at the last minute and intend for himself to live. According to Spin, apocryphal lore has Crash attempting to write "Here lies Darby Crash" on the wall as he lay dying, but not finishing. In reality, he wrote a short note to David "Bosco" Danford that stated, "My life, my leather, my love goes to Bosco". Outside the world of the Germs' fans, news of Crash's death was largely overshadowed by the murder of John Lennon the next day. A local news station mistakenly reported that Crash had died from taking too many sleeping pills.

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THE PAST - In The Future With The Past 1990

Short and painless, this is the sound of the first record by the Past after their long hiatus and it's an Explosion!, released via Birdnest Records and twelve smashers in less than twenty minutes have Linus (vocals/guitar), Pelle (bass/vocals), Roger (drums/vocals) smashed out at the Studio White Room on a cold grey November day. I guess, the songs turned out extremely awesome because there is a lot of darkness in Sweden at this time and I can well imagine how I would jump out of my skin with the gray haze and I have to admit I couldn't live there, too little sun. Well, maybe that wasn't the reason and I've never been to Köping, so it's purely fictional. Well, considering that the Past have released a total of four albums (last in 2021) there is little information about them, but that's okay. The music is decisive and with this album, which you aren't find on the crawling table for a special offer, the three created a solid little masterpiece. I know, you will love it!

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V/A - Varning!! För Punk 3CD 1994

Holy Shit, Warning!! Punk is exactly what it is: two hundred and ten minutes, spread on three CD's with over fifty Swedish bands, a mammoth marathon attack that comes in excellent layout with detailed informations about all songs/bands. Lots of rare stuff on board from tapes, 7Inches or anywhere else. I think together with the English and German bands, Sweden is the country with one of the largest and most variable punk culture in Europe, this is reflected in the large number of publications then and now, the current doesn't want to demolish. I hope you have enough seatmeat and be ready for hardcore/punk of the finest quality. Time for the 13:20 tea!

1.I Wish I Woz An Animal - SIXTEN REDLÖS

2.Jag Är Ett Problem - MESK

3.Ni Fattar Ingenting - MESK

4.Mänsklig Tristess - ROLF & REVOLTÖRERNA

5.Pressad Stressad - ROLF & REVOLTÖRERNA

6.Jugend - P-NISSARNA

7.Plastic - P-NISSARNA

8.En Polismans Ord - P-NISSARNA

9.19 At 2 - SUBWAY ARMY

10.Proud Punk - SUBWAY ARMY

11.Nitad - MODERAT LIKVIDATION

12.White Rastas - MODERAT LIKVIDATION

13.Proggerebell - MODERAT LIKVIDATION

14.Pensionär - SWANKERS PMS

15.Anti OI - SWANKERS PMS

16.Dom Ljuger - MOB 47

17.Rustning Är Ett Brott - MOB 47

18.Res Dej Mot Överheten - MOB 47

19.Religion Är Hjärntvätt - MOB 47

20.Sjuk Värld - MOB 47

21.Kärnvapen Attack - MOB 47

22.Ingen Framtid - MOB 47

23.Robotar Lever - PRODUCT ASSAR

24.Anarkistisk Begravning - PRODUCT ASSAR

25.Nakes Ass In The Paradise - PRODUCT ASSAR

26.Bristles Song - THE BRISTLES

27.Sick - THE BRISTLES

28.Tilltro - KURT I KUVÖS

29.Reagan - THE PAST

30.Russian Boy - THE PAST

31.I.R.A. - THE PAST

32.United States Of Coca Cola - THE PAST

33.Politikersången - ARROGANTA AGITATORER

34.Lönlöst Krig - ARROGANTA AGITATORER

35.Tre Ton Trotyl - ARROGANTA AGITATORER

36.Hemvärnet - ARROGANTA AGITATORER

37.87 - STREG-BÄNK

38.Disarm - DISARM

39.Too Late Home - DISARM

40.Lammkött - KATASTROF

41.Blöjraggare - KATASTROF

42.AF - KATASTROF

43.Messias Barn - PUKE

44.Staten - PUKE

45.Krossa - LOBOTOMI

46.Meningslöst Liv - SVEA RIKES HJÄLTAR

- Stort Tack Till Fredrik -

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THE DISHRAGS - Love/Hate 1997

A quick re-post now: When the Dishrags formed 1977 in Victoria, British Columbia, they were like the Runaways without Kim Fowley's behind the scenes machinations: three teenage girls, singer & guitarist Jade Blade, bassist Dale Powers and drummer Scout, devoted to the Ramones and the Clash and creating their own short, sharp shocks. Moving to the more punk-friendly Vancouver scene (where bands like D.O.A. and the Pointed Sticks were already defining the sound of western Canada's new wave) in 1978, the Dishrags made their debut on the now-legendary Vancouver Complication anthology. If they had never made another recording, the Dishrags would remain beloved in punk-fanboy circles for the track "I Don't Love You." 103 seconds long and built on an insistent, scratchy guitar riff and a positively crazed drum part played primarily on the ride cymbal, "I Don't Love You" is as clangorous and primitive as U.K. second-wavers like the Slits or the Desperate Bicycles, but it also features an instant-classic pure pop chorus that would do the Buzzcocks or the Undertones proud.

The Dishrags followed that up with a slightly more polished three-track EP, "Past Is Past," and following a lineup change (Powers being replaced by second guitarist Sue MacGillivray and bassist Kim Henriksen) the band traveled to London to record the EP Death In The Family. Produced by Chris Spedding and featuring a more traditional punk-pop sound akin to the Adverts' first album, Death in the Family was insistently tuneful and clever. The wistful title track seemed to have actual hit single potential, while "Love/Hate" explored a darker post-punk sound along the lines of Siouxsie & The Banshees. Though RCA's U.K. imprint released the EP, it disappeared almost immediately, and the Dishrags broke up. Over a decade and a half later, the Canadian reissue label Other People's Music gathered the complete recordings by the Dishrags -- the two tracks recorded for the Vancouver Complication sessions, including the previously unreleased "Bullshit," the single, the EP, and ten demos and live tracks including covers of Lou Reed's "Vicious," the Ramones' "I Don't Wanna Walk Around with You," and the Clash's "Janie Jones," alongside previously unheard Dishrags originals. This is a textbook example of how to do a punk-era reissue properly. Review by Stewart Mason (source: AllMusic)

- Great Thx to Dante D -

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THE MEDIA - Bright New Future 2020

Return of The Media: From Polaroids to Instagram, from vinyl singles to SoundCloud, from printing presses to the internet - a lot has changed with our media in the past fourty years. But, late 1970s Portsmouth band The Media are hoping that some things don't change; that a great tune is a great tune and that a band with an enviable live reputation still have the chops. Love Child Records certainly think The Media still have it!

In 2019 we set about tracking the band down and launched a double A-side 7" single Jump Down/How Could You Lie in April that year. Now, after some fantastic mastering work by North London Bombing, Love Child can finally release a whole album!! The Media were a Portsmouth band formed in 1978, influenced by the UK punk explosion of 1977 and consisted of Martin Jacks (vocals), Brian Lee (drums), Pete Rossie (guitar) and Michael 'Chello' Whichello (bass). In a short space of time back in the days of the punk rock explosion (and everything moved very quickly in the late 1970s) The Media played loads of shows, honed their 60s beat meets 70s street/seminal suburban songs, got a bit good, built a large following, released two singles and by 1980 were featured in an early Phil Redmond (the producer of Grange Hill, Brookside, Hollyoaks, etc.) youth TV series Going Out. What could possibly go wrong? Their debut No Darling I Love The Media EP appeared in 1978 on their own Tearaway Records (Cherry Red Records distributed it). It featured live favourites T.V. Kids, Don't Sit Back, Getting High and Rose and Crown. It was a bit good and sold out. A second single, Southcoast City Rockers came out the following year on the Portsmouth collective Brain Booster Records, again it sold out. A video was shot for Southcoast City Rockers, heady stuff at a time when very few bands recorded videos. The single showed the band moving on musically, taking in elements of the UK's emerging Ska scene (led by The Specials' Two Tone label) and the Mod revival inspired by The Jam (they secured support slots with The Vapors and Secret Affair). On the back of the money they were paid for the Going Out TV series (The Media's scene featured a packed gig, with a young Peter-Hugo Daly careering around causing mayhem) the band went in the studio with the aim of recording songs for an album, nine songs were completed.

But, trouble at one of their support slots (lets be honest, there was loads of bother at shows in the late 1970s/early 1980s) led to the cancellation of a series of gigs, including a prominent London show, and the band split in 1981. Fast forward thirty-seven years and the master tapes from that album session were found by a band member in their loft. 

On the advice of Acid Attack's Dave Clarke the tape is sent to Paul Orwell at Love Child Records, who in turn played it to Adam Cooper of parent company Heavy Soul Records, both of these uber music fans gave it a massive thumbs up. Love Child Records set about restoring the nine track tapes and transferring them to files. Talk immediately turned to releasing a single and album... and then a possible reunion show. The first 7" vinyl single from this session, Jump Down/How Could You Lie, was released in April 2019, fourty years after release of first Media EP! Bright New Future is available in 100 copies yellow vinyl, 150 copies black vinyl, so better be quick!

- Great Thx to Bristolboy -

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V/A - Bored Teenagers Vol.2 2001

16 tracks of pure, unadulterated British Punk Rock from the golden years of ‘77 - ‘82. This comp. delved ultra-deep into the archives to bring some of the best and rarest UK Punk singles ever, but also totally unreleased tracks by the likes of UXB, The Negatives, Knife Edge and Disorder making this one of the most essential items any Punk Rock fan could get his grubby little hands on. The makes usual put their heart and soul’s into this release - and once again both formats come with a great sixteen page booklet featuring liner notes written by the bands, pictures of the releases and ultra rare photos. "Sure, this could have come out years ago - we could have just bootlegged it and sent it out in a wraparound sleeve like all the rest of the money-hungry so called ‘fans’ out there. But we think the collectors deserve more - and we think the bands deserve more too - so we’re bringing this out 100% officially with the consent of all the bands involved. This is for the Punk connoisseur and the music fan alike - a blast from the past that still sounds fresh today. And ya wanna know the reeaaalllyyy cool thing?" You can imagine that this album was sold out quickly and this is not to say the quality on offer is poor, in fact on the contrary: the vast majority of songs here are excellent. Many rare tracks are showcased and this really is punk rock in its purest form: shoddily produced, home-made singles made by bored teenagers that still have a raw energy that encapsulates the very ethos of punk.

1.Air-Raid - DISORDER

2.Identity Parade - DISORDER

3.Crazy Today - UXB

4.Over The Wall - UXB

5.Society - THE THRUST

6.Fed Up - THE THRUST

7.I'm In Love - THE ZIPS

8.Don't Be Pushed Around - THE ZIPS

9.Stakeout - THE NEGATIVES

10.Love Is Not Real - THE NEGATIVES

11.We're From Bradford - THE NEGATIVES

12.Say You Will - KNIFE EDGE

13.Fighting In The Chapel - KNIFE EDGE

14.Reverberate - THE CASSETTES

15.200 Voices - NO COVER

16.Office Staff - THE REPORTERS

- Huge Thx to Fredrik -

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POISEN IDEA - Official Bootleg EP 1991

Proper release by Vinyl Solution/American Leather Records and this four track EP is damn cool and I think most of you know this combo because they released a couple of awesome records. I take over the bio from discogs: Poison Idea was started in 1980 in Portland, Oregon, by vocalist Jerry A. (Lang). Within a year, the band had a solid line-up with drummer Dean Johnson, guitarist Tom Roberts (aka Pig Champion), and bassist Glen Estes. The band was motivated by the Germs and Black Flag, and took their musical cues from bands such as Discharge and SOA. Pushing the speed limits of contemporary punk rock, they played raw and angry hardcore the likes of which had rarely been heard before (or since). Their 1983 debut EP, Pick Your King, is a classic and arguably the best hardcore record ever released. Its subsequent followup, Record Collectors are Pretentious Assholes (featuring Pig Champion's substantial collection on the cover), saw Chris "Tense" replacing Glen on bass. Both were put out on the Fatal Erection label, run by Pig Champion and Malcom Conover from Eugene, Oregon. 

In 1986, Poison Idea released the aptly titled Kings Of Punk album on Pushead's Pusmort label. By this time, the band's sound had changed from manic, breakneck thrash, to a more driving, Motörhead-influenced attack - losing none of their intensity, anger, or nihilism. In the next few years, Poison Idea's lineup (mainly the rhythm section) changed several times. 1987's War All the Time was somewhat of a misstep - nowhere near as powerful as their previous output - although the two EPs released the next year both had good material. 

By 1989, Poison Idea seemed to pull it together; after trouble with record companies and distributors in the past, they started their own label, American Leather, and began by reissuing their 1982 demo. The band recorded the excellent Discontent 7" and also found their most stable lineup in years: Jerry A., Pig Champion, Myrtle Tickner, and Thee Slayer Hippie (although the second guitarist seemed to switch between "Mondo" and Aldine Strichnine). In 1990 they released the classic Feel The Darkness album, successfully combining (where so, so many others had failed) the best elements of hardcore and hard rock for a dark, powerful sound. In the next three years they put out several more records - two more full-lengths, a string of 7"s, and an LP collection of all covers. When Pig Champion decided to leave the band in 1993, Poison Idea called it quits. However, a few years later in 1996, the band briefly reformed and recorded a 7" for Taang!, who also reissued (again) most of their early catalog. An aborted tour in 1997 saw another breakup, but the band is currently back together again playing local shows, and has recently toured the US and Europe. 

Song facts: Tracks 1 and 2 recorded and mixed 5-6-89, both previously released as the 'Plastic Bomb/We Got The Beat' cassette single in 1989.  Tracks 3 and 4 recorded 6-15-90. Mixed 12-4-90.

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DEAD BOYS - Young Loud & Snotty 1977

Not really new in Blogland, but I recently saw a movie about the former New York music club CBGB that came out in 2013 and it's very entertaining and interesting, check it out, and Cleveland's Dead Boys play a major role in it. They were among one of the early American Punk combos, and one of the most rowdy, provocative, and violent groups of the era, or the first band to escalate the level of violence, nihilism, and pure ugliness of punkrock to extreme new levels. Formed 1977 by Chrome (guitar), Blitz (drums), Stiv (vocals), Jimmy (guitars), Jeff (bass) as Frankenstein but the group only managed a handful of local shows before fading away. Changing their name to the Dead Boys the band caused an immediate splash in their newly adopted hometown, due to Bators' Iggy Pop-esque, audience-bating antics, and the group's vicious three-chord Punkrock.

A superb review: "Fellow Cleveland types Pere Ubu may have won the artistic kudos for their adventurous, surprising work, but if the goal was just to rock and rock again, the Dead Boys had them totally trumped. As both title phrase and capsule description, Young, Loud & Snotty accurately defines the predominating aesthetic so well that one could just leave it at that, but there's a lot more going on here than on the face of it. With perhaps surprising great production from demi-famous '70s rocket Genya Ravan, the five-some found something sonically smack in-between the US garage/punk heritage of the past and the more modern thrashings from overseas. Bators sneers, gobs, gasps, and whines with the best of them, but he knows his rock history, as does his bandmates. Zero and Chrome aren't guitar virtuosos, but they do know what makes a song great and aren't afraid to concentrate on that, while the Magnum/Blitz rhythm section keeps things moving as it does. In some ways songs like 'All This And More' and 'I Need Lunch' simply emerge from an alternate '50s, with admittedly much more feedback and stereo sound. Stone cold rock classic 'Sonic Reducer' starts things off -- amusingly -- with all sorts of phased drums and other fripperies that later generations wouldn't consider punk at all. That said, it's still blunt, brilliantly sung by Bators and kicks out the jams with messy energy. Other all-time greats include the perfect bored-and-needing-kicks anthem 'Ain't Nothin' To Do' and the thoroughly wrong 'Caught With The Meat In Your Mouth'. There's even a rock oldie -- a cover of 'Hey Little Girl' live onstage at spiritual home CBGB's. And why not? With great punk rock and great rock, Young, Loud And Snotty still packs a punch." (Ned Raggett)

Haven't listened to it for a long time and have now rediscovered it through the movie, and I have to say, that I would have loved to have been there, back then in New York. And now, onto the stage with you.

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THE LEFT - Jesus Loves The Left 2006

Now awesome stuff from the Left, a four piece from Hagerstown/Maryland, founded in the early Eighties by Brian (vocals), JD (guitars), Kevin (bass), Bill (drums) and they didn't get much attention during their active time and this is a fucking shame because they are in every way brilliant, musically as well as lyrically, absolutely amazing and I see myself in their songs (Hell, 5 AM, Fuck It...), and I don't know why they didn't get the attention they deserve. The Left formed to flip the bird at the tedium of their hometown, and on the band's two mid-'80s EPs, It's The World and Last Train To Hagerstown (both on Bona Fide), the band did more than that, fusing together '60s, '70s, & '80s Punk with alchemical skill and black humor. Jesus Loves The Left (compiles the two EPs and other unreleased tracks) is a loving repository for the band's short history. It kicks off with the opening chords of Hell the best song on It's The World 12" (and one of the BEST songs of the past thirty years), crashing through your speakers when you press play. Brian Sefsic's sneer meshes perfectly with guitarist Jim', keening chords: "There's A Place/That They Call Hell/Where They Don't Treat You all that well." The slab rarely falters after that, tracks from a 1992 reunion sound nearly as strong and sarcastic as those from the band's prime.

But you'd be forgiven if you end up lingering on the first eight It's The World tracks. On 'Attitudes', a song that sums up all that is good about life and the Left, Sefsic sings with both Iggy-esque detachment and real wistfulness: "And thank you, God, for putting me on this earth/and all the wonderful, beautiful things you've given me." Then he adds, "Let's name a few," and Swope launches into a raw and sophisticated solo that takes the song in a completely unexpected direction. And I think to myself: What A Wonderful World!

So Jesus is a big fan of their music and you damned Christians can't be wrong, he signed it in his own blood, yeah yeah yeah.... and Bona Fide Records released this fantastic cross for all us maniacs and it's an essential document from a band who wrote superb songs that express a large part of my life and will never be forgotten. Must Have!

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INNOCENT VICARS - Funky Town 7'' 1980

Specially the b-side is the burner here, brilliant song with pointed lyrics.

I never thought that would mean so much now.

The music from this band is really one of my favourites and it's no wonder that I choose the flip 'Voices' for my selfmade compilation Forward Into The Past because it's one of these tunes I can hear again and again, all day long you know. So Richard Norris was part of the Vicars and he wrote some info about when and why:

"The Innocent Vicars formed in 1980, with an average age of 14. The St. Albans band met at school, bonding over a love of Bo Diddley, the Undertones and Buzzcocks. The line up chopped and changed for a while before settling on Richard Norris (vocals + rhythm guitar), Aaron Russell (lead guitar) brother of the Toys Mick Russell), and Nigel Benson (bass) who went into a Christian recording studio in Wheathampstead to cut 'She's Here'/'Antimatter'. A host of local talent guested on the record, including Nick Egan from the Tea Set on backing vocals, Cally from the Tea Set on drums, Mark Adams from the Bodies on Roland 101 synth (making the acid house noise on 'Antimatter' nearly a decade early) and Waldo's Phil Smee on production duties.

The single sold out of it's initial 500 pressing, thanks to support from John Peel and Radio 1's Round Table show, where it was spun straight after the Clash. The band played many school discos, local clubs, various church halls and youth clubs in St. Albans, Hatfield, Luton and Harpenden, as well as a number of spots at St Albans City Hall (supporting Kagagoogoo and Paul Young's band Q Tips). They also played at the Fleur De Lys pub, despite all being underage, at a girl's Boarding school and in St Albans Abbey (twice).

After a quick line up change (Mike 'Mac' McDonald replaced Nigel Benson on bass, Steve Watts took over on drums), the band recorded a second single, a cover of Lipps Inc's 'Funky Town' backed with 'Voices'. They also appeared on two compilation albums, with the tracks 'Starship 22' and 'She Was My Girl'.

Since their release thirty years ago, the original singles have been bootlegged a number of times in America and Japan and regularly sell for over £100 on ebay. BBC Radio's Steve Lamacq named 'She's Here' one of his all time favorite records, playing it on BBC 6 Music as recently as February 2011. Richard Norris, 'Mac' McDonald and Steve Watts have all had long careers in music. Aaron Russell and Nigel Benson are currently missing in action (any updates gratefully received)."

I hope you have come to taste and on compilations: Teenage Treats Vol. 1, Killed By Death #69, The Class Of '81 and Rupert Preaching At A Picnic, all classics I think.

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ANTI-CIMEX - The Complete Demos Collection 1982-1983

"One of the most pioneering and seminal Scandinavian Hardcore bands ever, that influenced past and present generations with their trademark of rough sound, iconic art and enraged tunes: Anti-Cimex". Formed 1981 in Gothenburg, the original line-up was: Nillen (vocals), Jocke (guitar), Jonsson (bass) & Charlie (drums). After rehersing for a while, they released their first EP Anarkist Attack. In 1982 the band kicked out Nillen and Jonsson took over the vocals part and Conrad became the new bassist. They also released a new single later in the year called Raped Ass and in 1983 they released another 7Inch Victims Of A Bombraid. Three years later Anti Cimex released a mini-LP called Criminal Trap. At this time, Jocke had got tired of the band and they asked Cliff, if he wanted to join the band, but he said no and the rest of the band members got tired of the problems and it resulted in the band splitting up. In 1990, Anti Cimex decided to start the band again after Cliff had agreed to join and they say, that it is thanks to him, that they regrouped. They released the comeback album Absolut Country Of Sweden the same year. In 1993, Anti Cimex released a raw live album Made In Sweden. The show was also shot on video, but never released. They later released a new live 7Inch Fucked In Finland Live 92 and later on followed the album Scandinavian Jawbreaker. After the release of this album, the band split up and the members started in other bands, such as Driller Killer (Cliff) and Wolfpack (Jonsson). In 2004, Pelea Records released the A Tribute To Anti-Cimex compilation, featuring a line up of d-beat and crust bands from all over the world, that were influenced by the Swedes. With this record, which took a lot of time and effort, the Italian label Agipunk cobbled together a firework of twenty-nine raw and pure tracks, and equipped them with interesting infos and also conjured up some colored limited vinyl for collectors. Fascinating, Spock would say!

- Great Thx to Fredrik -

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VEM BRYR SIG? - Va Fan E Re Nu Rå? EP 2009

A blast from the past: Vem Bryr Sig? from Lidingö formed in September 1979 and had their first concert at a talent show two weeks later. Played fairly extensively in the Stockholm area and Karlshamn until the split in 1981. They won after the jury has been threatened with beating if they did not vote for the band. The group was formed from the wreckage of a blues band as Janne Hoffner (guitar) and Patrick 'Pruten' Wedholm (drums) had. Hoffner and Pruten asked Weston if he wanted to sing in a punk band that he did, and with The Cramps modeled trio were ready to rock on Lidingö. Further line-up changes followed and the band played gigs at schools and other locations until the split in December 1981. The band never made a record but are included on the live compilation ”Lajv På Kulan” from 1981. In the book 'One two three four We're Vem Bryr Sig?' by the band's lead singer Henry Weston he wrote and published himself in true punk spirit the way of the band from its inception in 1979 to the end of 1980/81. The book became a minor underground hit. This led to Vem Bryr Sig? reunited in 2008. The band got the taste of blood and in April they went into the studio and recorded eight songs. Four of these are on this EP, originally written between 1979-1981, four crazy punk blasts in a typical kbd style, even after 30 years still fresh and uninhibited.

- Special Thx to Fredrik -

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MRTVI KANAL - Prošlost I Budućnost 2008

Mrtvi Kanal was punk band from early 80's, from town of Rijeka, Croatia/former Yugoslavia. They never made it to the vinyl which unfortunately was a cause with many former Yugoslavian bands, but this awesome compilation of their early recordings is an absolute classic. They started as a classic punk band but soon they developed to a darker punk/new wave sound, and they had very powerful lyrics as well. They sing in Croatian about socially related stuff with razor sharp punk sarcasm that even had no mercy for punks as well, old punk from around here, a real identity and not just a life style fashion to fit in. Electric harmonica as a constant equal instrument in the band's sound collage in itself gives testimony to their proper tone. Past and future of the Compilation edition that the first seven songs combines footage emerged on the tape that was in 1983, therefore, at the very end of their career, shared with the group Cramp, while the remaining six shots from the very beginning of the bands career in 1979. The older material, unfortunately, is primarily characterized by poor sound quality, which is why some songs irritating to listen more carefully. Great pity, but I guess that's about it made the best deal possible. Feel it, of course, in music, but the most bother the ears of the vast differences in image quality. This release to me is all the more worthwhile & interesting, and definitely recommend to all lovers of punk and ''The Past & Future'' is another excellent album from the musically most significant period of Rijeka and forms a necessary part of the collection of new wave fans. In any case, praise edition.

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RUBBER CITY REBELS - s/t LP 1980

Last post March and sailing across the Atlantic and stop in Akron, Ohio and meet the Rubber City Rebels, formed 1977 by Rod (vocals), Buzz (guitar), Donny (bass), Stix (drums) and Pete (keyboards). Let me give you a bit info from wiki: "In their early years, the Rebels were fans (and friends) of fellow Greater Cleveland-area bands the Dead Boys and Devo. Their breakout show was opening for the Dead Boys at legendary New York City rock club CBGB in 1977. This led to a split album with the Bizarros, titled From Akron, which was released that year on Clone Records. The Rebels moved to Los Angeles in 1978, minus Pelton (who was replaced on drums by Mike Hammer) and Sake (keyboards were deemed unnecessary for the band's change to a heavier sound), and gained considerable fame on the Sunset Strip. The band was signed to Sire Records; however, a clash between band and record label ensued and the recording contract was terminated before the Rebels could record their debut album. Following some personnel changes (Damage and Hammer left to form the Hammer Damage Band, replaced by Johnny Bethesda and Brandon Matheson, respectively), the Rebels signed a deal with Capitol Records and the eponymous debut album was released in 1980. Although praised by critics, sales of the album never vaulted the band past its underground status. In 1981 a 7Inch follows and the band faded from the scene and ceased touring in 1988, although they never officially disbanded. Despite not touring or recording any new material through the 1990s, the Rebels' reputation and support among fans remained strong and in 2001 the Rebels were back and still alive." So let's enjoy ten superb Ohio crackers and have a great weekend.

- Great Thx to Fredrik -

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D.R.I. - Dirty Rotten LP 1983

Kurt (vocals), Spike (guitars), Dennis (bass) & Eric (drums), the first line-up of D.R.I. (Dirty Rotten Imbeciles) released their first masterpiece with twenty-two blasts on a 7Inch in 1983 on their own label Dirty Rotten Records. In the same year it was re-released as 12Inch by R Radical Records (MDC label) and this slab ranks high in my top ten. I remember exactly how blown away I was after going through this Hardcore firework, and the bar was already set high because MDC's debut is a milestone and I had a hard time imagining it rising, but this band from Houston (later based in San Francisco) went one "better". Pure energy paired with skilful, almost virtuoso interplay at a brisk tempo plus Kurt's fantastic voice. This is real magic and makes every Hardcore heart beating faster, being in love is harmless in comparison. And that's exactly the sound to get your emotions straight to the point and create slogans that are burned into your brain. Anyone who has heard that will have to become someone else, at least that's how it was for me. And this music is great if you want to clear your head, when it's full of shit, tried and true home remedy. You see, there's a reason I picked this record for today, and it's the weekend so appropriate for that too. I want give you a sparkling review which I can't:

"Starting with the awesome 'I Don't Need Society' and ending with the anthemic 'Explorer', D.R.I.'s debut album was an important stepping stone in the evolution of both metal and hardcore. D.R.I. drew a line in the sand between the American hardcore bands who wanted to stick close to the original punk sound and bands who wanted to branch out into heavy metal territory. D.R.I.'s use of thunderous heavy metal drumming and California Hardcore songwriting made Dirty Rotten LP something special, putting them in a category with Corrosion Of Conformity and Suicidal Tendencies as the forefront of a new movement. Their angry lyrics revolved around the usual political and social ills, but their approach was a staggering blend of pre-grindcore blastbeats (that particular drumming style may have even had its first recorded instance here), blunt and simplistic guitar riffs, and an acidic vocal workout from the young Kurt Brecht. His charismatic shout was the tone-deaf glue that kept the band together, especially in the face of abbreviated songs and sloppy playing. With some humorous lyrics, endless enthusiasm, and a penchant for short song times (only one song makes it past the two-minute mark), D.R.I.'s debut was a landmark album that paved the way for exciting new hardcore bands to spring up in its wake." (Bradley Torreano)

If you like loud old school Eighties Hardcore, this is for you! 

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ARSON - White Folks 7'' 1979

Five piece from Toronto hereby invite you to listen to their only great & rare 7Inch on Motor Records, which was released in a limited edition of 900 copies, and since I can't talk about the How’s, Why’s and Wherefore’s, because I wasn’t there at the time, I found a small but shiny & informative anecdote from someone who knows better, here we go: In 1977, at the height of the punk rock pandemic that was effortlessly engulfing the globe, vocalist and composer Rude Tuesdai fortuitously joined forces with guitarist Marcel Lafleur to begin a musical friendship that has spanned more than three and a half decades and spawned the incendiary band ARSON, the rest of the gang were Chic (guitars), Spyke (bass), Mike (drums). Ask anyone who’s ever heard them live and they’ll tell you that ARSON sonically sutures the Detroit destruction of the Stooges and MC5; the New York noise of the Velvet Underground and New York Dolls; and the British brainpower of the Stranglers and Clash. I could go on, so I will. Arson has independently toured all across North America and played countless concerts in a myriad of notorious rock’n’roll breeding grounds like New York, Detroit, and Chicago while sharing stages with (and stealing spotlights from) much influential legendary luminaries as the Dead Boys, Misfits, Suicide, Troggs, Destroy All Monsters, etc…. Meanwhile, Rude and Martin continued to douse the band’s smoldering ashes with new songs until the time was right to finally tap their past and craft a contemporary sound containing the unflinching fury of their earlier incarnation.

Aided and abetted by John Sutton (Weakerthans) on bass and David Quinton (Mods, Dead Boys, Stiv Bators) on drums, Arson recently recorded an in depth profile for Toronto radio station CIUT while recent concerts have garnered a whole new generation of rave reviews. That not hyperbole, that’s a fact and you can take it from me because I actually was there back in 1977 at the height of the punk rock heyday. So who you gonna believe: me or your own ears? (Bio by Jeffrey Morgan)

Two amazing songs and really too little for a talented band like Arson.

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D.N.A. - Retrospective 2018

I remember, that the Swedish combo D.N.A. was long on the Wanted list, many years ago, and the response has been astonishingly high. This is proven by the functional link to their first EP A Trip To The Land Of The Dead.... And Back, from 1985. Black Konflik Records, a malay label, released this limited compilation with a red Obi strip gatefold CD in 2018, 500 copies, with more recordings of this wild and versatile band from Skövde. Unfortunately with no infos about the recordings (except who was playing), but I guess they were all made around the mid-eighties. But apparently all of the band's remaining songs are immortalized here, including those of their two EPs plus two live goodies. The quality is not the best, but enough for a purchase in your city or in the train. Mega interesting in any case and very difficult to get. It’s good that these classics can see the light of day after so many years. Despite the rough edges and shit-fi quality, the anger in those releases is unconquerable. Real punk blast from the past. A solid retrospective of an era that marked the birth of the raw punk and d-beat genre.

- Great Thx to Fredrik -

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