Pee #48

Zine #

/ 500

Hey ALL…

GUY TO BLAME: Pete Pee CONTRIBUTING WRITERS: John MEANtime, No Show, Macca, Luke, Buf, Stu Hefner, Sean, Willy-O, Bob, Deano, Pants, John, Joel, Dan, Woody PHOTOGRAPHERS: Alex Kwong , Mitch Manz, Georgia Sassenfeld, Kieran Ellis Jones, Joe Scandal, Hara Amorós, Michael Dowding, Jesse John Hunniford COVER ART: Javi © 2012 WEBSHITE: www.peerecords.com PEEMAIL: zine@peerecords.com SNAIL MAIL: P.O Box 238 Marden, South Australia 5070 PRINTED BY: Adelaide Copy Office www.adelaidecopy.com.au Ph: 08 8349 9511 THANX TO: MY MEL!! MY LOYAL COLUMN GURUS: STU HEFNER, JOHN MEANTIME, LUKE, MACCA, DEANO, SEAN, JOHN M, JOEL & BRITTLES! HUGE THANX TO JAVI FOR THE AWESOME ARTWORK, ALL THESE ROCKERS FOR THEIR INTERVIEWS = CHRIS & NIC DF, JAYDEN EHRL, PATRICK YD, CLAES & THE ANCHOR LADS FOR COMING DOWN TO AUS FOR OUR TOUR, JACK NWO, DIZ MC!, PAT DECLINE, HUGO TB, MITCH TRAVELS, RANDY PW, THE HIGHTIME FAMILY, MACCA FOR CHATTING WITH ARMOURY LADS, NO SHOW FOR THE PW I/V, MR MEANTIME DA MAN FOR THE NWO CHAT, ROSS FOR THE DECLINE I/V, DAN FOR THE USELESS ID I/V & JOHN FOR THE DF & PBS INTERVIEWS, THESE LABEL GURUS WHO CONTINUE TO SUPPORT PEE - GRAHAM @ RESIST, DAVE @ EPITAPH, CHUCK @ BEARTRAP, GREG @ ARREST, STEPHANIE @ DEATHWISH, JEREMY @ HOTFOOT, EM @ INDELIRIUM, NIGEL @ T&E, JULEZ @ BANDPRINT, ANYONE ELSE I’VE MISSED THAT SENT US REVIEW FODDER. NO SHOW, JOHN, LC, MACCA, WILLY-O, PANTS, WOODY, JM & BUF FOR THEIR ROCKIN’ REVIEWS. ALL WHO SENT IN ZINES, ALL THE PHOTOGRAPHERS FOR THE USE OF THEIR AWESOME PIX. ALL PEE STORES FOR YOUR SUPPORT & A SPECIAL THANX TO YOU FOR READING MY PEE…

CHECK THE ZINE PAGE ON THE WEBSITE FOR A FULL LIST OF AVAILABLE STORES AND DISTROS YOU CAN GRAB A COPY OF PEE ZINE FROM CIRCULATION: LIMITED 500 HAND NUMBERED COPIES

so the 48th issue of this toilet rag has finally seen the light of day! With the last issue coming out just after the middle of last year it’s getting close to taking a full year for this issue to emerge. And it’s funny to read back in the last zine how I was hopeful of maybe getting This issue out by the end of last year. Gotta love optimism! so like the previous issue of Pee, this has been a while in the making, but y’know what? I’m more than fine with that. I know back in the good ol’ days when pee was an A5 zine we used to be able to rip three or four issues out a year, but that was before the label existed. As pee records has grown over the years we've slowly stepped back to one issue of the zine every ten to twelve months, which once again I’m more than fine with. coz now when I do get around to getting an issue together it’s still a fun, time consuming distraction from everything else I’m neglecting to do ;) anyway, I hope you all enjoy what’s inside this issue as much as I’ve enjoyed slapping it together. the awesome cover art for This issue is courtesy of our feature artist javi Ruiz Arregui from Spain. You might be familiar with the killer job he did with hightime album art, if not check out his great work inside this issue and get in touch with the guy if you’re in need of any poster, album or merch art. I highly recommend the guy’s work! a huge thanx to javi too for all his work! also inside are the usual stack of punk and hardcore bands from all over the world that we reckon you should suss out and hear their tunes. Most of the bands we’ve featured in this issue have a song on our sampler cd too. A complete track list is on the right page there, plus you can download a pdf of a colour cover from our website that you can print up and slip into a sleeve with the cd. If you like what you hear then get in touch with the bands and show them support by buying their records thru their websites listed. huge thanx once again to all the bands and labels involved in this issues sampler! Could be the last time we get tortured with That shithouse comic shazza & dazza this issue too hopefully making way for a decent comic artist in the next issue! That’s a good time to again mention that We’re always keen on taking on new contributors so feel free to get in touch if you’ve got something to send our way or wanna be involved! This issue we welcome new contributor woody who’s reviews and interview with Hightime appear inside. big props also to all the names listed to the left, as our contributing writers are this zine! well that’s about it for this issue, have a read, have a listen and check out some of these bands you haven’t heard of before for y’self. Coz We love ’em all! Until the next, enjoy the read and we’ll pee your way again soon!

Cheers

Did you ever notice how we update pretty much everything in our lives except for the rules by which we live them. I'm not talking about the main rules, like don't kill people or be a general dickhead but other rules, classic rules that worked in the olden days but don't exactly fit the time in which we live now. Steering away from the pothole argument and obvious example that is the Bible, let's look at something else marriage. The original vows for marriage were written so long ago that "til death do us part" really just meant "the next time you catch a cold." Divorce rates increase as people decide that their happiness is the main priority and are no longer willing to stick it out with a partner they can't stand or connect with. Is it really realistic to be with one person for the rest of our lives?

Most human beings actually crave change as much as they fear it. There has already been a major shift in the way that relationships run their course, for example, these days most people would consider you absolutely mad to marry someone before living with them where as in the past it was considered taboo. The cons being that marriage is no longer a major/special/exciting life change because people usually resume the lifestyles they were already living before the tied the knot. Ask anyone who is newly married these days how married life is treating them and the usual answer is "the same as it was before." That's because you were already practically fucking married. The pros are of course the blatant logic behind wanting to see what someone is like to live with before you promise your life to them, why this wasn't thought of from day one I will never know, perhaps because it isn't a very good way of telling if you want to be with someone forever since these days every one lives with their partner before marriage yet divorce rates are at their highest. The point is, perhaps the rules of marriage are a little outdated and if you want some love you should just go and buy it, probably would be cheaper in the long run.

Luke

Live Gigs for Short People Sometimes I think I picked the wrong shtick when I decided that live music was going to be a big part of my life. Not that I don’t appreciate it, I probabl y appreciate it more than most but I can assure you that my 157 centimetre exterior and lack of patience for fuckwits can often end in tears, not usually mine but tears nonetheless. Let me impart some short-ass wisdom that I’ve acquired from an excess of 10 years of audience attendance.

1. If you are pushing 160cm, stay the fuck out of the mosh pit. I learnt this very early in the piece.

Despite the fact that you definitely are going to get nailed by the wayward elbow of the drunken douchebag in front of you, chances are you are also going to be the person that everyone has to get out of the way for so security can pull you over the barrier. I can happily say that’s never been me but I’ve seen it and those shorties are the worst.

2. You are ALWAYS going to be a walkway for people. Get used to it.

3. Dependent on the venue, get their early, despite how much you hate the support band/s. This is key for venues with balcony viewing and venues where the visible line of the band is easily skewed by heads.

4. Travel in pairs. As the evening progresses you’re going to get full of beer, need to pee or have a smoke and at this point, your partner in crime is critical in maintaining the position you snaked early.

5. It doesn’t matter how good your spot is, the tallest dick in the venue is going to stand in front of you. That said, not all people are dicks and this is often easily rectified with a tap on the shoulder and a polite “dude, you’re fucking huge, can you move a little to your left/right.”

6. You wouldn’t believe how many gigs I’ve watched between the swaying shoulders of strangers. Sometimes you’ve got to weigh up the pro and cons and decide if it’s better to just stay home with a bottle of whiskey and a bands YouTube catalogue.

7. If there is a rail in front of the bar, stand on it to get noticed and served in a more timely fashion. If the bar staff just see a pair of hands holding a twenty, they are probably going to ignore you. A smile also goes a long way; that piece of advice isn’t height dependent.

8. Festivals are the devil. Stand way, way back. The sound will be incredibly shit as it dissipates into the atmosphere but you’ll know everything that’s happening onstage. Alternatively, if it’s a big budget festival enjoy the show through the big screens. See point 6.

9. If someone is coming/dancing right at you at a million miles an hour put your arms out for some buffer room but don’t push.

Unless the prick is deliberately coming for you.

10. At this level you are more likely to pick up the sweat of those around you. There’s no need to be a bitch about it.

That said it isn’t all bad at this atmospheric level. I can get through a crowd faster than most and I can slide into holes at the bar that you probably wouldn’t know existed. But regardless of this piece of advice if you’re at a show acting like a drunken dick, expect to be treated like a drunken dick whether your 6ft tall or pushing 157cm.

Brittles Rixon

I have recently moved to settle down with my family after six months of turbulent unsettling shifts of address. It feels great to finally have a place that has that homely feel, where you feel settled and humbled by your surroundings. Having moved around for the previous 4 years has meant that a majority of my shit has been packed away in anticipation of my destined move to a new home. My stuff has been evenly spread stored in boxes under my old house, cupboards and of course a storage unit.

Unfortunatel y due to my carelessness, my Pee issues and the majority of my music collection were inside the inaccessible boxes during this time. It’s amazing how much shit can be accumulated in such a short space of time, especially seeing as I’m not one to keep things. So the idea of the new house is to create a home and this has meant a stark overhaul of all belongings from diminutive to bulky. In theory throwing out all your old stuff is easy but when it comes down to the crunch, your emotional attachment to old band t-shirts, show and sporting

lanyards and collectables from yester years makes things difficult. As I was sorting through my stuff I stumbled across my lovely silver music case which holds almost 300 albums that I sorted in alphabetical order many years ago which unfortunately now resembles more of random playlist order. Starting from last week, I have slowly started going through all my albums, one by one which is bringing back tremendous memories like when I saw the Vandals & the Ataris play at UNSW roundhouse, NOFX at Luna Park, Less than Jake & A Wilhelm Scream at Sydney Uni, The Lawrence Arms & Anti-Flag at Manly Fisho’s, The Unseen at the Annandale, Leftover Crack at the Bald Face Stagg and my younger years of actively checking out local bands and supporting the underground punk scene for my local postcode.

Music is the hardest thing to let go of but luckily due to its ever compact size (I still prefer actual hard copy cd’s) it never has to be considered for the next garage sale. Throwi ng away my collection would be like throwing away 10 years of my childhood memories. A perfect example of this is my Father-in-law who to this day still goes to shows of his favourite bands like underground welsh rockers ‘Budgie’ who are close to their 60’s and still killing it and who I also had the pleasure of seeing live! He still plays the Ramones and Judas Priest and this is the wonderful thing about your music collection, it’s timeless and you can share with new generations of music lovers. I like to think that I have had some sort of influence over my siblings who both love their punk hardcore deep down and it has been great to finally be reunited with my collection of where it all started for me. Now I’ve only got 295 albums left to get through...

Deano

Good morning, afternoon or night to wherever you are and whatever the fuck the time that catches you reading this here little article. So today we’re going to talk politics. Actually no fuck that. My lovely girlfriend often brings this troubled subject up with me and I always struggle with it. Half the time, nay most of the time, I can’t figure which side

is talking more shit. I then feel guilty that I should care a little more but truth is I don’t. Sure if we were in a complete shit in the political state like some of our worldy brothers and sisters I’m sure I would care, but right now, nup. Call me selfish but that’s how I’m rolling at the moment.

So how else am I “rolling” at the moment??? Well it’s more of a cruising thing I think. Nothing too crazy but nothing too boring either. I’ve discovered that with this massive emergence of craft beers I’ve become more and more of a beer “wanker” along with most of my mates. So many new beers to try – makes for an exciting trip down to the bottlo.

Though every few weeks I do like get back to my roots. Few VB longies delicately sitting in my fridge at the moment. I even went as far to have several tinnies of export the other night. This however was most regretful and we’ll try to stay above that quality line next time. God that piss is shit – there I said it.

Looking back at the past month now I’ve actually learned quite a few lessons. The nerd in me decided that I’d build a replica Fender ’57 Twin guitar amp some time ago. I’ve got a half decent electronics background so wasn’t going in there flying blind though I can’t say that its everyday I play with high voltages. Anyway managed to knock out a circuit by accidentally shorting a cable… fun times. Mind you it was more my shaking hands that did it than anything else. Anyway lesson learned that it’s not just sex and drugs that will kill you in the rock and roll world.

So for whatever reasons I wrote this here column in two parts and as such I figured I’d add to the previous paragraph on beer.

Turns out we played a show on Friday night in town. Great night, great mates and lots of beer.

Unfortunately though I found myself staring down the barrel of that ol red and white tinnie again.

Thought I would have learnt my lesson the first time but apparently not… $6 export tinnies seem to be in vogue at the moment in ol Perth town. Sure for an extra $1.50 I could buy a pint of Swan Draught – a good solid WA beer but the call from tinnies was far too great. Needless to say I woke up in the morning in pain, but a different kind of pain this time. Whilst my head (remarkably) was ok, my whole lower body felt like it had been absolutely belted. A new kind of hangover and one I can only suspect came as part of the red death package. Hopefuly this time lesson learned…

That’s all for today. Check out Hightime - Ishi Prende, Brendan Kelly And The Wandering Birds – I’d rather Die Than Live Forever and (yup I’m fuckin late to the

party but) Drapht – The Life of Riley Joel

Darts, durries, smokes, lung lollies, cancer sticks, shaersts, ciggys, name em what you like, these fuckers are bad news.

Before you stop reading my splurge let me say this. I’m not raving about this shit from any sort of pedestal, I'm raving about this shit coz I don’t want anyone reading this to suffer what someone in my extended family has just finished suffering from.

I’ve been there, like many of you, young and stupid and played around with tobacco in my pastthankfully I was able to get away from that shit when my malfunctioning brain finally woke up and told me to stop being a dick and to look after my body.

Why o why do people still take up this habit and ignore the warnings? Same reason I toyed around with ciggies in the past, NO IDEA. I know this shit is addictive and can be hard to quit but imagine how hard it is hearing from the doc that your sore throat is actually the beginning of lung cancer. (I bet some of you are secretly thinking that now) From there on its all downhill brothers and sisters.

On the other hand imagine how hard it is for your family and friends to see you dealing with this shit and knowing it could have all been avoided. I guess we all do things and take risks thinking it wont happen to me. I got news for you, YOU COULD BE NEXT. Think about that next time you spark up one of these expensive, cancer causing pieces of shit. Weather it’s ‘just a few each day’, ‘just socially’, ‘just after meals’, ‘just when you’re camping’, ‘just when you’re stressed’ or any other lame ass excuse you have to continue danci ng wi th death, j us t remember this: you don’t have to be a 20 year pack a day smoker to get dealt the bad hand here. If you’re the unlucky one, tomorrow could be the day you sign a deal with death. I recently just heard of someone who is dying who was ‘ just a social smoker’. You’ve all heard it before but I hope my blunt, bleak warning makes you feel sick next time you go to light up and you ditch those fuckers for good. It takes balls to break the habit but the rewards are endless

and believe me, once that shit is properly out your system ( by properly I mean physically and mentally) you won’t miss it. Food tastes better, your everyday health is incomparably better, you have more money in your pocket, you can actually play sport properly, you cease to piss off those who care about their health, you stop stinking like a burnt rats arse, you don’t taste like an ashtray when you hook up with someone… the list goes on.

I ain’t gonna rave on any more.

Stop putting off the quit date.

Birthdays, ‘next weekends’, ‘next years’, ‘after I get through this problem’ etc etc they all keep comin’. Keep on using that sort of system to plan your quit date and you’ll be surprised how quickly another year , decade or more passes by that you’ve been willingly sucking in poisonous smoke. Get mentally strong and fuck smoking off for good. Life will only be better without it.

Macca

This past March, I was able to take a trip back to Ireland for the first time since I moved back to New Jersey in 2004. My wife had never been there and always wondered why I loved the country so much…after all, only a percentage of my ancestry hails from the Emerald Isle. With March 2012 being close to our One Year anniversary and exactly 8 years to the week that I last left the country, we had every excuse to plan a weeklong trip. My wife though isn’t the only person to ask why I chose to move to Ireland…twice! Pretty much the first thing out of everyone’s mouth the past 10yrs is “why Ireland?’

I never had a clear-cut reason. I could pick quite a few things from great history, beautiful landscapes, good music, rich culture & historically, the best writers in world. All of those are great reasons for my love affair with Ireland, but I know what you’re thinking…another Yank who likes to think he’s Irish cause he enjoys to drink. When people think that, they couldn’t be farther from the truth. Aside for the aforementioned reasons that pique my interest, the thing I first

fell in love with and hold special to this very day are the Irish people.

Over the years, I have made quite a few friends in Ireland and most have fallen by the wayside over the long years but thanks to Facebook; I still have a small group that I can always count on.

They are the reason I pushed to get back over there. It truly is amazing that one can uproot, move 3,000 miles away, make fri e nds wi th peo pl e wh o technically were only in your life for a snippet of time and they still will do anything for you…whether its spending a boatload of money to fly over to NJ for my wedding, take the week off from work to drive us around their country, put us up in their homes and go sightseeing with us. I couldn’t thank them enough.

One thing though, that came to mind when reflecting on my trip, was how similar my friendships over there can be to the hardcore scene. My friends in bands, from shows or promoters & zine writers are all more than willing to help in various ways, not just me, but a lot of others they technically barely know. The scene is built on friendships and helping others and for me personally, that is the most attractive thing about hardcore as well as the Irish people.

John

I’m getting straight to the fuckin’ point with this one… Fuckin skinny leg jeans or fuckin slim fit fuckin pants can go get fuckin fucked!! At a point in this country when we are all as fat as ever; according to fuckin statistics, our fuckin clothes are getting fuckin smaller and smaller! I sense a fuckin conspiracy here… a fuckin stupid incentive for us all to lose fuckin weight… or end up dressing ourselves in fuckin old bed sheets! So what provoked all this you ask? The simple task of having to buy new fuckin jeans and fuckin pants for fuckin work…

Every fuckin stupid shop I went to had fuckin “slim fit”, fuckin “narrow leg”, fuckin “skinny leg” or fuckin “low waist” fuckin pants.

Pants that fuckin squash my fuckin junk, cut off any amount of poor circulation left in my fuckin legs and show everyone my fuckin hairy arse crack! Why the fuck would anyone want to wear this shit!! I’m not fat by any means, but I’m not fuckin skinny either… I’m your fuckin typical “boot leg” or fuckin “straight leg” acid wash or marble wash wearing fuckin dude… jeans that take no effort what so fuckin ever to put on. I shouldn’t have to fuckin lube up in the morning just to get fuckin dressed… it’s a fuckin joke! Look… I don’t fuckin care if you’re into these fuckin pants or this fuckin style, but for fucks sake, retail fuckin outlets need to provide fuckin variety! I walked away with a pair of fuckin pants I wouldn’t dare get fuckin excited in… if you know what I fuckin mean! Would leave fuckin nothing to the imagination, especially being hung like a… well you know…a fuckin donkey!!

Seriously….all I fuckin want is comfortable fuckin clothes… I don’t want to look like those fuckin hipsters in skin tight fuckin jeans, big arse rolls hanging over the top of them because their fuckin tight as fuckin ‘Attack Attack’ tee is ten fuckin sizes too small… I just want to be fuckin comfortable!! Same with my fuckin slacks and fuckin shirt!! I don’t want my fuckin buttons to look like they are under a fuckin 2 tonne load and ready to fuckin burst!! Fuck off “slim fit”, fuckin “skinny leg” and all things fuckin trendy!! Just make fuckin clothes that fuckin fit with room to move for fucks sake!! I reckon there’s a fuckin dollar to be fuckin made in opening a fuckin bogan boutique, for all you fuckers wanting the same fuckin thing!! Fuck!!

Sean Scenster

In the days before everyone had an Internet connection, there was a market for collecting a lot of jokes and publishing them in book form. Making these books must have been the kind of souldestroying hack-work that would cause anyone to regret the years they had spent trying to break into the publishing industry. They were all called something like “The ultimate mega bumper book of 1001 politically incorrect jokes”.

Back then; being proud of being “politically incorrect” was a way for people to feel rebellious and edgy while they helped to promote attitudes towards minority groups that were

considered a bit old-fashioned back in the 1950s and 60s. When I was a kid, I read a lot of joke books; and I mean a lot.

Hopefully not too much of the racist, sexist, homophobic shit has rubbed off on me, but it means that if you tell me a joke, you will generally only get a politeness laugh because I’ve probably heard a few variations on it already. When I see live stand-up comedy, I have a tendency to laugh a few seconds before the comedian has delivered the punch line. It’s kind of like having a really crap superpower.

I went through a phase of wanting to be a comedian (sometime between wanting to be a pirate, and wanting to be in a successful punk rock band). My heroes were Lenny Bruce, Bill Hicks, and George Carlin, who had all been unafraid to be controversial and question the status quo. I pictured myself tearing down everything that was ugly and wrong in the world, and opening the eyes of millions…all while making them laugh.

But I became disillusioned with most comedians as I realised that the ones who were on TV every week had a team of writers behind them, putting funny words in their mouths. They were exactly like the Top 40 bands I hated who didn’t write their own songs; and their material was just as bland. Safe comedy about banal aspects of everyday life, delivered with a laugh track or an uncritical studio audience, didn’t interest me.

A comedian I used to like did a routine where they picked on heroin addicts. Yep, junkies are always asking you for 50 cents, and often come from suburbs that have lower low income and education levels, and personal hygiene is probably not at the top of their priority list. It wasn’t very funny. Some comedians are a bit like the bully who makes fun of the weakest, least popular kid in school. I don’t know why you would want to make a career of doing this, but dickheads like Kyle Sandilands and most of the talkback radio hosts would disagree with me.

The best kind of comedy is an attempt to change the world…or at least hold a mirror up to it and let it know that its new haircut looks ridiculous. It is questioning stereotypes, rather than reinforcing them. It is championing the underdog, rather than boosting the powerful. It is making people think, rather than helping them turn their brains off.

I valued Carlin, Bruce and Hicks for their ideas. They taught me new things without it feeling like a lecture. They knew that powerful comedy is subversive.

So next time you see a comedian, ask yourself whether they are

doing lazy, safe comedy. Are they like a school bully, helping to stomp on the already downtrodden, or are they pointing out that the emperor has no clothes? Are they chasing cheap laughs, or are they trying to change the world, one joke at a time?

Ask yourself who are the people you want to support. Choose wisely.

Stu Hefner

Ok… so I’m a Dad… a family man with two amazing kids. My son loves music, all styles from country to rock, from rap to hip hop, hardcore and metal. You name it he appreciates and loves all forms of great music. Being a boy, I haven’t really had much concern over what he listens to, I don’t really know why, but there just hasn’t been an overwhelming concern to monitor what he listens to. He doesn’t run around the place signing inappropriate lyrics and music doesn’t appear to have any influence on his behaviour or attitude. My daughter however is a different story. She is now at an age where looks and what she listens to and watches on TV is all so ever important. It’s all about being popular and being “into” what everyone else is “into”. Recently she has started switching the radio station over to crap like Nova and Fox FM so as she can listen to her favourite tunes. She goes to great lengths to ensure she is the first in the car so as she can determine what we listen to and her radio is on 24-7 in her bedroom. Driving to work the other morning, being “Dad”, a little complacent, and concentrating on driving…I hear my daughter singing the words “blow my whistle baby…” The song didn’t get my attention because it simply sucks, but hearing my little girl recite those lyrics made the abundance of hair stand on the back of my neck…

So I listen a little harder to the lyrics, only to confirm what I already knew… the song is about blow jobs! Here is my 11 year old daughter singing about blow jobs!

Why is it that the most commercially available and the most popular songs are all sexually charged and full of pornographic metaphors!?! To the artists and radio shows – we

know what you’re fucking singing about, so what makes that different to disguising it in words such as ‘whistle’ instead of cock?!?! It is bullshit. This crap gets played every hour on commercial radio, along with every other bullshit popular song these days. Now compare this smut and shit to the punk and hardcore tunes a majority of us listen to and I doubt you would find one as sexually charged and explicit, if at all. Why? Because punk and hardcore…even most decent metal, sing about what matters and what is important.

Now I’m not saying that blowjobs aren’t important or sex isn’t important, haha… but to an 11 year old girl and being a part of a demographic that these radio shows and artists target, it shouldn’t even be on their radar at the moment!! My point in all of this is that we are becoming too fucking complacent with what we allow our children to listen to. The stigma attached to punk, hardcore and metal restricts its influence on our younger generation. It is said to be violent and angry… racist or even homophobic… when the truth is, it is far better for our children’s ea rs th an t he s hi t t hat mainstream media promote on a far too regular basis. I am banning commercial radio in my household and inflicting my kids with punk and hardcore… music with meaning and integrity. No longer will my daughter sing about blowjobs… at least not until she is 30 and free from my fatherly wrath!

John MEANtime

Why is everybody so fucking angry these days? I know it’s a massive over generalisation but it seems that nobody has any patience, respect or even what used to be termed as common decency anymore. The amount of violence and disregard for the well being of others I see at some shows these days both saddens and disappoints me. I know it shouldn’t really surprise me when you only need to look at the way some act in public whether it be the aggressive way they drive their car in traffic, or the impatient way they wait in a queue, or the way they toss their rubbish in the street or car park and couldn’t give a shit about it. Yea, massive over generalisation but it seems like society’s gone down the toilet Pete Pee

This issues feature artist is Javier Ruiz Arregui from Spain. Some may recognise his work from the awesome album artwork he did for Adelaide band Hightime, or the hundreds of gig posters he’s done over the years. I highly recommend the guy for any art you or your band may need...

Hey Javi, I guess we should begin with a bit of background on how long have you been illustrating and designing for folks? Have you always been 'arty' and creative? What's your earliest memory of drawing stuff and what was it you were drawing?

Hi to everybody! Is difficult to say exactly when everything started. I have no remembrance about when began; only that my mother had to go forward me to see what I was doing and she says that I used to draw on every surface; it was at the same time I started to walk… I remember to make some drawings about music, yes, in the high school I used to draw for a metal – punk band in the last 80`s.

A lot of our readers will be familiar with the awesome artwork you did on the Hightime “Ishi Prende” album cover, can you tell us some of the other bands and clients you've done work for…

I’ll mention the last I’ve done, which are the more fresh on my mind… Truth Inside, Commitment Records compilation, Positive and Focused Records, xLion Roarx clothing…

So what’s your preferred medium to work with? Do you do things the old school way using a sketchbook and pencil rather than digitally from start to finish?

The first I make is a mental sketch, after it I try to put it on the paper. Most of the times it is different than I had thought about. I use a pencil, ink it with markers of different sizes, scan and, with the computer, colour and put the text if its necessary Do you work as a professional illustrator as your “day job”?

No, I don’t work on this. Now I have a shit of job in a call center. The economical situation is very bad here; I have work in the past as a designer but I didn’t draw, it was a different kind of design. Most of the time I used to work as offset engineer, printing the designs of other people. If somebody has a job to offer for me tell me and I’ll go there…ha ha Can’t help but notice that you draw a lot of punks, skulls and images of violence, what’s your favourite subject matter / theme when you have the chance to sketch up whatever you like?

Ok, it’s not violence in fact, I don’t see on that way. Mostly there is an humour intention, as another drawer told me … he loves my artwork cause apart from all the strokes you can see in the design you can see that nobody will be damaged; that was the prettiest compliment I’ve ever received With a lot of your work I’ve seen being dark and gory I’m guessing you watch the occasional horror movie? What are your favourite horror movies?

Hehehe in the past I used to watch a lot of terror movies, when I was a child I used to watch the night terror films on tv and it was amazing; I prefer the 80’s movies although I’ve seen some of those movies recently and had lost all the charm What sort of things inspire you in your art?

I try that draws had relationship with the bands Do you listen to music whilst you’re working? Do you find you listen to different bands / genres depending on the style of work you’re producing?

In fact I don’t like the style of music of most of the bands I draw for, I use to listen hc-punk-ska Do you prefer bands and clients to give you a good brief and direction with what they’re after in the art you do? Or do you prefer to be given a blank canvas to go nuts on? What are your guidelines if a band or label reading this is interested in commissioning you to doing a t-shirt or record artwork?

The only thing I apply for is time to do it as quiet as possible. As I have told before I don’t live with this, I only can draw during my free time, the other is to interchange ideas What do your folks and family think of your artwork?

Hahaha at first my father hated I draw but in the end he liked it; the rest of the people say me that I’m a little fool cause I’d have to get paid and be a professional. Hahaha they support me on it Do you get a sense of pride and satisfaction when you see your completed work out there being displayed on t-shirts, album covers, posters etc in stores?

Is amazing see people with t-shirts and designs of mine sitting beside me, unknowing that I have done the design: Yes is good to know that people likes your works What advice would you give to any aspiring punk artist reading this who loves illustrating and wants to build a career doing so?

I’d tell him that if the only wants money he’d have to look for another job What do you hope for when you’re an old man sitting on your porch looking back thru your portfolio of work?

I won’t like to see back and continue drawing, I hope don’t lost the necessity of draw Thanx for the chat and awesome cover art Javi! Any last words or folks you wanna thank?

Thanks to you Pete and to the rest of the people of the zine and to everybody is reading this, take care and a big hug.

www.almaltiempo.com

Melbourne hardcore quintet Bateman released a fucking brilliant EP “Ultra Violence” this year from which we stole the song “Fangbanger” for this issues sampler CD. I sent the band our shit questions to answer, and answer they did!

I guess we should start with a brief and exciting history lesson on the formation of Bateman...

To be honest I have no vivid memory of when we really got this band started or how it came about. I think we all just felt a need to do something with a real aggressive bent but making it about having fun and playing with friends- no guns for hire or casting calls etc. What I do remember vividly is a certain band members girlfriend making a very verbal claim that we would never get our shit together and actually do it. Well, now I'm doing the PR rounds for the band and coincidentally marrying the pessimist hahahaha!

Do you think coming from Melbourne brings anything to the bands sound?

Melbourne is an amazing place to live as a music fan- we are spoilt for choice for live performances of all types of acts from all types of genres. Thus, we have each seen hundreds of bands perform and seeing certain live performances, both negative and positive, redefines what we think that audiences want to see and hear live. So, I think just experiencing a melting pot of sounds over the years has somehow led us to the sound that we have. But you definitely have to work to impress Melbourne crowds!

Anything to be read into the band name?

The name means nothing and stands for nothing, apart from being a representation of our own indulgence in pop culture references. Honestly, we decided on it when we were forming the band and have subsequently never considered changing it. I think its memorable, and at the very least, it's the closest you can come to a blatant copyright infringement!

First gig, huge success that re-affirmed why you wanted to start the band in the first place, or terrible disaster on stage?

The first gig was great, it was probably around 2 years ago now (I think). We were really happy with it, we had had a great feeling when practicing the tunes, but playing it live finally was when we felt the most validated. We have always and will always put the emphasis on the live performance I think, its just the type of band we are. Fun Fact #1: There was about 80 attendees (friends) at the first show. Attendees at the 2nd show a few weeks later? Maybe 10, and that includes our partners, so I guess that’s the way the cookie crumbles hahaha If Bateman had a declaration or message you wanted to get out to the punters what would it be?

We don't have a lyrical message per se, I’m not really interested in portraying ourselves as proclaiming a message from a soapbox or anything like that. I'm actually just being indulgent with the lyrics and singing about what thoughts the music inspires in my head personally, and there is no way I'm going to sing about Kony just because, when I feel that the subject matter of kidney thieves is much more appealing to me in a particular riff or bridge. But I think collectively, we have one objective, and that is we want to have as much fun as we can when we play live, and we are going to do it whether the audience likes it or not. But my mum loves us, so we are doing something right, even if it is nepotism hahahaha Worst thing you’ve seen punk / hardcore suffer thru over the years you’ve been involved?

From a Melbourne standpoint, I feel it was The Arthouse closing down, and to an extent The Tote, before it got re-opened thank god, as well as any other decent venues shut down. This band was born to play The Arthouse regularly, and unfortunately its been taken away from the Melbourne punk/ hardcore scene and us, as well as bands from other genres who utilised its excellence. Another worst thing: band break ups! Get your shit together and tour through Melbourne once again so I can indulge myself guys!

What does Bateman mean to you personally and what are your hopes for the bands future?

Personally, I think that Bateman is a way for me to break though monotony in life and do something fun, which is playing with friends, even if they want to fire me mid-song sometimes. True story, I have been personally requested by the band to stop spitting all over their instruments, but hey, what’s a bit of saliva between bandmates, right? I want to play all over Australia with amazing bands from all corners and I want to literally play as energetically, spontaneously and aggressively for the entire time we are on stage.

Thanx for your time mate, any last words, secrets you wanna get off your chest or folks you wanna thank?

Well, we just released our debut EP 'Ultra Violence' through Slippery Slope Recordings and it was mixed by Joby J Ford from The Bronx. That's a shameless plug if I ever did quote one! Thanks to Chucking A Mosh for supporting many like-minded artists from around this country. And thanks to yourself! FYI - We are currently at 3 to 1 odds to break one guitar and every guitar string in our possession at our next show. facebook.com/batemansuck

Brisbane punk quartet Mental Giants recently released their debut EP “Pop-A-Mono” which they instantly whacked online for free download. With their “Stick It In Your Pipe” track on this issue’s sampler we bugged bassist David Baxter aka Bax with some shit questions to get the Mental Giants low down...

I guess we should start with a brief and exciting history lesson on the formation of Mental Giants...

We’re just four old friends who are in or have been in other bands and all like the same music. Plus we were sick of bitching about other bands so we thought we’d get together and give people something to bitch about.

Do you think coming from Brisbane brings anything to the bands sound?

Not really. I think the only thing being from Brisbane brings to our band is a stinkier -than-average practice room. Having said that, the Brisbane punk scene is pretty small, we’re all friends or at least know each other so we can’t rip off other local bands stuff. But it’s great because there’s always a drinking partner at shows.

Anything to be read into the band name?

Other than the fact we’re a bunch of massive retards? Actually, in all honesty, there is a guy that Ryan (our drummer) works with who calls idiots “mental giants” so we thought that’d be a great band name.

First gig, huge success that re-affirmed why you wanted to start the band in the first place, or terrible disaster on stage?

It went pretty well. I got so drunk that I flapped my arse on stage but that’s nothing out of the ordinary. A lot of our good friends came out and Mark (our singer) carried me home; that’s all I really remember. All in all it was a great success.

If Mental Giants had a declaration or message you wanted to get out to the punters what would it be?

Support local bands. Go and watch a band play. They pretty much play in every pub so go and see them. Spend 10 bucks and have a good night. Tightass.

Worst thing you’ve seen punk / hardcore suffer thru over the years you’ve been involved?

The severe lack of balls in the punk scene. Everyone became a pansy, shows aren’t the same / as crazy as they used to be. Kids lost their balls and got too cool all of a sudden. Have a bit of fun, fuck.

What does Mental Giants mean to you personally and what are your hopes for the bands future?

This is the first band I’ve been in where I’ve actually written songs for so it’s a huge learning experience for me. With that in mind, it could cause our future to be all downhill. We’d like to go overseas one day but we’ll conquer Australia first.

Thanx for your time mate, any last words, secrets you wanna get off your chest or folks you wanna thank?

Our drummer is currently skanking with ladyboys in Thailand (interpret that however you want). Cap’n Ben. Thanks for the interview! facebook.com/MentalGiants

Punk rock legends Pennywise ended the long wait their fans had been enduring by releasing their new album “All Or Nothing” in May this year. Headed by their new frontman Zoli Téglás, (of Ignite), the new album brings the anger and intensity that we love Pennywise for.

Regular Pee Zine contributor No Show fired a bunch of questions about the new album and vocalist at bassist Randy Bradbury, so as their bio says “dust off your show shoes and get ready for a circle pit sing along!”

PEE: G’day! Firstly, I know you guys are probably tired of talking about it, but for our Aussie readers who may not know, can you tell us a bit about Jim leaving Pennywise?

Was it an unexpected moment, and how did the rest of the band react to his decision?

RANDY: We did not want Jim to quit the band, but he was obviously not happy being in Pennywise. He didn’t like going on tour. He didn’t really seem to be enjoying any of it. We tried our best to make things more tolerable for Jim, but he was over it... I could not wrap my head around this, and I still can’t. My thoughts are that we are incredibly lucky to be in a band that has fans all over the world, and that we’ve been going strong for two decades. I feel that the appreciation and the gratitude owed in this situation should have trumped all the possible reasons for wanting to quit... I mean, I have four kids that I love more than life itself, I hate being away from my family. Everyone in the band has a family, but, being a musician is what we have worked our whole lives for, this is just what we do. This is our lifestyle, I accept it and appreciate it. In the end I just don’t understand why Jim left, yeah I can intellectualize the reasons he gave us, but from my perspective I just don’t get it.

P: Was there ever the thought to end Pennywise when he made the call to retire?

R: Not at all. We felt like that was what he wanted, not what our fans wanted, not what we wanted. We figured we would just carry on.

Whether wrong or right, we didn’t care, it was

just a feeling of needing to keep the flame burning. I still don’t care. If you love Pennywise, and you like what we are doing now, then come to a show and get drunk with us. Listen to the new record. If you don’t like it, well, it was nice knowing you, no hard feelings, bye bye.

P: Following on from that, how did Zoli come into the fold?

R: Zoli was a friend of ours. Pennywise and Ignite had toured together before and we knew Zoli was a great singer. Fletcher and I had actually discussed the possibility of maybe getting Zoli in the band if Jim were to ever quit, years before Jim actually did quit (because Jim had been voicing his desire to leave the band for a very long time).

P: Did Pennywise cop any shit from longtime fans who couldn’t deal with Jim leaving the group, or was it mainly positive in regards to Zoli taking the mic?

R: It’s all been positive at the shows. The internet has it’s fair share of gripers, but our shows have been great, and Zoli is doing an amazing job. I don’t even think a lot of people at the shows even realize we have a new singer.

In my opinion, our live show is actually better now.

P: Now we’ve got the history out of the way, congrats on “All Or Nothing”. It’s a great album, personally it is my favourite since “Full Circle”. How has the feedback been so far?

R: The feedback has been amazing! Pennywise fans are really liking this record, which really feels good because we worked our fucking asses off on this album. We had to work harder than ever to make sure we could fill the huge gap that was left by losing our singer of 20 years. There was a lot of emotion put into this album and we are really happy with the way it turned out, and then to be getting so much positive feedback, it’s just really nice.

P: Was there any difference when it came to songwriting this time around? If so, how did the dynamic change?

R: Well, Fletcher and I have always contributed to the song writing, but this time around we had to do a lot more of it. We wrote about 30 songs before we brought in Zoli and Byron and started getting their input. Then we all started hashing them out and adding bridges, and changing parts and trying different things... In the end this album was a total group effort, we really worked well as a band on this one, and we all deserve equal credit.

P: One song on “All Or Nothing” that grabbed me immediately was “Let Us Hear Your Voice” with it’s contagious chorus and some very quick vocal delivery. Can you tell us a bit about how that song came about?

R: Hmmm, well thank you. This was actually one I wrote. It just kind of came together like it was writing itself. I started playing this very major chord progression and singing along, and it’s like, the changes in the song appeared as if I had already played the song before. Very flowing and natural and easy... It was really weird, considering that sometimes I spend days or weeks writing a song. The lyrics are expressing the frustration of so many people talking about rebellion but they don’t do it. It’s as if they have set their rebellions on ice, sitting in the freezer, waiting to be thawed out. I’m not necessarily talking about violent rebellion, but using the power we have in sheer numbers to send a message to the powers that be. There is a lot that can be accomplished if millions of people are united in a common cause.

P: I’m a huge fan of the lyrical aspect of “Waste Another Day”. Can you explain this song to our readers a little more as I think it’s a great viewpoint.

R: Well, society has all these control mechanisms in place, like religion, the media, bad laws, etc. to keep you from thinking as an individual, and to keep you in line. Herd mentality is much easier to govern than millions of conscientious, intelligent, independent thinkers all questioning authority. This song is about breaking out of those binds that society

has imposed on you, and waking up! Not wasting another day allowing your individuality and free thought to be oppressed.

P: “We Have It All” is another ripper. It’s very catchy and slowly becoming my new favourite Pennywise song. Can you tell us about the inspiration behind the song?

R: This song is about appreciating what you have and not regretting what you don’t have.

It’s about being there for the people that need you, and realizing that those relationships are the most important things in the world. If you have good relationships you really do have it all. I originally wrote it with my children in mind.

P: Listening to “All Or Nothing” and, it is by no means a criticism, but I was surprised that Zoli’s vocal delivery is very different to his work with Ignite. It works well but was there any discussion about it, or is it simply a case of singing for a punk band instead of a hardcore band?

R: A lot of the vocal melodies were written by Fletcher and myself. Writing Pennywise songs for the last twenty years will tend to create a more Pennywise than Ignite style, I suppose.

Also Ignite songs are really a showcase for Zoli as a vocalist, Pennywise songs are more focused on having a song that everyone can sing along with. I guess you can say that Pennywise songs are simpler vocally. But Zoli preforms like a champ, he really brought these songs to life. We are very lucky to have him in the band.

P: This is a very selfish question but, firstly, will the new Pennywise line-up visit Australia soon?

R: Yes, I can almost guarantee it! Maybe in August or September of this year.

P: Secondly, and sorry to go on and on about Zoli, but is Ignite still active?

R: Yes, we love Ignite and they have a lot of fans. We don’t want to kill Ignite, we just want to keep Pennywise alive.

P: Going back a few years, can you tell our readers a bit about the decision to release “Reason To Believe” on MySpace Records, and did you cop much flak over it?

R: For us it was just the opportunity to give away hundreds of thousands of copies of our record for free. There were over 500,000 downloads of Reason To Believe. In the end, all we really want is for people to hear our music and come to the shows, so we felt like it was a huge success. But, we are very happy now to be back home with Epitaph.

P: Pennywise is in its 24th year as a band.

Do you still find PW as much fun as ever, or are there days where it feels like a 9-5 job?

R: Not every day is awesome, even if you work at Disneyland. But, sometimes I look around and go FUCK this is crazy! I’m in Pennywise! It really is awesome to be playing the type of music I love in one of my favorite bands ever.

Zoli Téglás - vocals Fletcher Dragge - guitar, backing vocals Randy Bradbury - bass, backing vocals Byron McMackin - drums, backing vocals

pennywisdom.com

Pennywise Discography: ALL OR NOTHING (2012) Reason To Believe (2008) The Fuse (2005) From the Ashes (2003) Land of the Free? (2001) Live @ the Key Club (2000) Straight Ahead (1999) Full Circle (1997) About Time (1995) Unknown Road (1993) Wildcard / A Word from the ‘Wise (1992) Pennywise (1992) Wildcard (1989) A Word from the Wise (1989)

Interview by: Woody Photos by: Alex Kwong

Adelaide party punk quartet Hightime released their debut album late last year with the band receiving glowing reviews and picking up new fans with every show. Pee contributor Woody asks the band their take on it all so far...

PEE: For those who have never heard of Hightime, can you give us a quick rundown of who you are and what you guys are all about?

JAY: Sure thing, well in its most basic form, we’re four friends (two of which are siblings) who felt we needed to start a band together; the chemistry was there and everything else seemed to fall into place quite easily.

We’re about creating positive vibes and enjoying the most out of what you have, music just happens to be that perfect vehicle to let us express this and share it with others.

NINA: Dave and I are genuinely related by blood but all of us get along as though we’re family anyhow, it’s pretty much been like that from the beginning. We all just enjoy each others’ company and the same styles of music so forming a punk/reggae/whatever band seemed like a decent idea. I’m pretty sure I can speak for all of us when I say that we get ridiculous amounts of enjoyment out of playing shows and even just practicing together. I think our live show reflects that… but if it doesn’t, it must reflect something good because people seem to have as much fun as we do.

REUBEN: Hightime started as a “let’s get four friends from different music backgrounds in a room together and see what happens” kind of band. The main idea was to just see what happens and not try to control the sound in any way.

DAVE: Basically Hightime are a band that got together through friendship and a common belief that we could create some fun music without trying to label ourselves too much. We try to not push any particular lyrical agenda, yet we still believe we do retain a certain social awareness through our music. The line up of Nina on vocals, Rubes on guitar, Jay on bass and me on drums hasn’t changed since the bands inception, this has given us a good base to grow our

sound and try new things whilst still, most of the time, remaining on the same page.

P: So I’ve spent a fair bit of time listening to your debut album Ishi Prende, and it sounds like you guys have made a conscious decision to incorporate far more than just punk into your repertoire. What other styles of music have you been listening to that influenced the way the new record turned out?

R: So we all love 90’s punk and hardcore, without doubt. We all love reggae and hip hop. For a while I went through a bit of a gypsy jazz phase and spent so long playing that stuff in my room that I couldn’t help but throw those same chords in to our songs and the guys just reacted awesomely to it. I don’t think Dave had ever played any sort of ‘gypsy’ music before and when I brought “Share Your Smokes” to the table he just went nuts on the drum kit as though he had already played that stuff for years! Fuckin prodigy that guy!

J: We all have quite vast tastes in music, from hardcore to hip hop, folk to flamenco, reggae to jazz etc. Collectively we’re all punk/hardcore kids, but with such a huge variety of influences it was really only a matter of time until these styles started shining through.

D: With most of us coming from a punk/hardcore background, that style was the obvious 'go-to'. If we wanted to just smash out some 90's punk with a female singer I’m sure that would’ve been fine enough, and may have been quite well received, but we wanted to step out of our own comfort zones and try something a bit whacky. We all listen to a vast array of music anyway from Waking Up to Raised Fist, eating Monday lunch bangin' out Mad Caddies, enjoying afternoon tea with Sublime up loud, laxin to some

Sage Francis over dinner and finishing off the day with a quick Pennywise circle pit! Also, with Rubes and Nina already havin’ an acoustic duo we began screwing around with a few of their songs. One of these muck around sessions produced the song “Plug Your Feet”, which is basically a straight up reggae song. With it quickly becoming a crowd favourite, and a rad song for us to play live, we kept experimenting which led to us find our sound somewhat.

P: While it is true that Hightime play a fairly eclectic style, you somehow never end up sounding messy or inconsistent. Has it been hard to find a middle ground between all of your disparate influences while still remaining cohesive?

R: I don’t know why, but no it hasn’t! Haha. I guess we just don’t put anything in if it doesn’t flow. There has been some songs that we’ve written that have initially sounded so awesome, but just didn’t gel with any other songs so we just dropped them without really talking about it much. Hopefully we can revive those songs later on.

J: To be honest it has been quite natural, there are definitely moments where finding segues between genres can become a little difficult; but our music is based on vibe, so if something doesn’t feel right we tend to nut it out until it flows smoothly. We write our music without boundaries, as all art forms should be; so having that freedom to approach a song/riff in any given genre really helps.

P: So how exactly did you manage to get the production on Ishi Prende to sound so good?

Where did you guys end up recording the record, and how much of a difference do you think it made getting Jason Livermore at the infamous Blasting Room to do the mastering?

J: We did spend quite a bit of time in the studio getting things right at Capitol Sound here in Adelaide, our engineer and close friend James ‘Jimmy’ Balderstone was pretty familiar with our sound and what we wanted to achieve. Our major aim was to create something that directly reflected our live show; everything was recorded based on creating a certain feeling for each song, which I think was represented extremely well.

Having Jason Livermore on board was just that perfect final icing to help create the record we’d always wanted to make.

R: Jimmy at Capitol Sound was an obvious choice. He had recorded Stolen Youths “Dark Century” and it just sounded mad. That and he is the funniest dude ever. I don’t think there was a single moment in the whole 2 weeks that I wasn’t laughing at everything he said.

That definitely helped us get the fun and happy vibe we wanted in the whole thing. And yeah Jason Livermore really polished it off. He’s a dude.

P: How have you found the reception to Ishi Prende so far? Are you ready to give up your day jobs and tour the world or have you instead found yourself developing a hatred for “music critics” and mankind in general?

J: The reception has been far beyond what we ever expected, we love our music and would play it regardless of anyone’s opinion; but so far the feedback has been very positive! If I could afford to give up my day job right now, trust me I would!

R: I’ve developed a hatred for being called a ska band!! Hahaha. The reception has been awesome.

Every review I’ve read (except one) has been really positive. It’s so rad thinking that some punker kids in Europe and America are sitting down reading a review of our band in their local street press magazine!

N: As much as I enjoy making coffee I would be stoked to go on tour! One writer said something negative towards the lyrics on our cd and that pissed me off a bit but then I saw that he had reviewed another album that I thought was junk and he thought was excellent, so I guess he and I were never going to agree. Each to their own I suppose but it is odd to have people giving their opinion on something that is obviously important to all of us in our own way.

Generally speaking though, people and reviewers are stoked with Ishi and so are we. Certainly no world wars being declared on humanity from this end. Heh. D: The reception to the album has so far been pretty overwhelming. We had been playing some pretty decent shows at home in Adelaide and people had been on our backs for a while to get something proper

out. It was a huge relief and a definite monkey off the back to get it out. As far as reviews go you always get the odd person not really understanding what we are going for- but to be honest, I’m not even sure we exactly know! We are only a small band from a small town anyway so if we really began worrying about that stuff then this would all be for the wrong reasons.

That’s not to say we don’t love people goin’ nuts and lovin’ it up the front, that’s the main reason you play in a band, just that as far as 'world domination' and 'industry buzz' goes, we couldn’t care less.

P: The artwork on the new record really wraps up the whole package nicely and gives it a very distinctive visual look. How did you hook up with artist Javier Ruiz Arregui and secure him to do the art for Ishi Prende?

J: I completely agree, I feel the artwork represents the music perfectly. Pete from our label had previously featured Javier in an issue of Pee Zine and recommended him, we contacted him directly with the basic direction and style we were aiming for and Javier came back with exactly what we envisioned.

R: The artwork idea came from a bottle of Tequila! We just said to Javier “we want a dancing Mexican day of the dead festival on the front, and the hangover on the back” and he sent back what you see now. Absolutely killed it!

P: Do you guys have any collective favourite bands (either local or international)?

J: As a collective you could definitely say NOFX, Sublime, Frenzal Rhomb, Strike Anywhere, Ignite & Pour Habit; but that’s seriously just the beginning.

Locally Stolen Youth, Anchors, The Bennies & all of our friend’s bands have played a huge influence.

R: Jay nailed that one.

N: Certainly Sublime, Stolens, The Brews, Anchors, The Bennies, Frenzal, Flatliners, Pour Habit, Propagandhi, Strike Anywhere, Raised Fist, A Wilhelm Scream. Whatever has decent music and we can sing along to together in a messy group seems to fit quite nicely with us.

P: In the short time that Hightime have been together, you have managed to land gigs with some pretty big international names (Pour Habit, The Flatliners, No Trigger etc). Has there been any one show that has stood out as particularly memorable so far?

N: I think that musically and gig wise, Pour Habit and Flatliners gigs stood out for sure. Playing with Guttermouth was pretty hilarious! After our set we went back to our ‘dressing room’ thing and there were

police everywhere trying to question everyone in Guttermouth. Not really sure what was the matter or who did what but it was a memorable little moment.

J: All the international supports we’ve played have been fantastic, it’s always great to meet and learn from the people who spend their lives doing what they love.

But as far as shows go; our album launch for Ishi Prende earlier this year in Adelaide was seriously the best night of my life, the crowd was packed and everyone was keen to party in a massive way. No cheese grater, stage diving, crowd surfing, confetti guns, glow sticks, holy shit.

P: Do any of the members of Hightime play in any other bands at the moment that we should know about?

J: Dave plays in hardcore/punk band Stolen Youth, Nina plays in an all-female punk group called She’s The Band and also has an acoustic duo with our guitarist Reuben; who has a lot of side projects such as singing (in Spanish) in a Latin band called Swinging Hammocks, a reggae band Culture Jam and a jazz duo called Tealight. I’m also quite heavily into producing hip hop tracks and have a band called The Brews who are a little defunct these days.

N: Reubs has heaps of other bands!!! Ha. One for each day of the week I think…

P: Thanks for taking the time to answer a few of my questions! Any last words for the readers at home that will inspire them to go out and fight the political status quo/drink a shitload of beer and/or grab themselves a copy of Ishi Prende?

D: Not particularly but to say that if you ever have the incline, desire or just the brutal pulsating urge to get out there and be noticed- start a band! what better way to get in peoples faces, have your opinions heard (whatever the fuck they may be) and just generally party up than that!?! Also if possible buy our stuff from an independent record store such as Clarity Records in Adelaide or any other store who is both trying to support not only the bands, but the scenes in which they are part of. Cheers!!

J: No worries at all, thanks for the interview! I’d just like to thank anyone that has listened to the album or come to a show so far, it means the world to us! For those who weren’t aware until now, feel free to check out our songs or come see us on tour around the country later this year! Live fast, have fun and create.

N: If you enjoy enjoying yourself we will all get along just fine. And if you’ve listened to our cd, thanks!

R: SMOKE BEER!!!

hightimemusic.com

Yotam Ben-Horin – Vocal/Bass Ishay Berger - Guitar Guy Carmel – Guitar Yonatan Harpak – Drums

Interview by: Daniel Cribb Photo by: Hara Amorós

Punk rockers Useless ID have spent the past four years tucked away in Israel molding and shaping their latest album Symptoms, an album that not only redefines them as a band, but also secured them a slot on the Fat Wreck Chords roster. Guitarist Ishay Berger was more than happy to tell Daniel Cribb what they got up to over that time.

PEE: There was four years between The Lost Broken Bones and your new album Symptoms. That’s the longest between albums for you guys. How come this one took longer?

ISHAY: We had been touring for a while over the last album and writing came about a little later than usual, and there wasn’t any leftovers from the previous album. We kept busy, but then we were like ‘Oh man, we should probably start a new album record soon’. We actually recorded the album about a year ago. It’s been a while since it was mastered.

P: What were you guys doing during that time?

I: I work at a record store, so I kept busy selling records of other peoples music. Our singer and bass player [Yotam Ben-Horin] also plays bass with pretty much one of the biggest rock artists in Israel, so he was doing a lot of work with them.

P: Symptoms sounds a bit heavier than your previous work. Where does that influence come from?

I: As a songwriter Yotam has his own concept of where he wants to go with every new album.

We’ve been experimenting with different vibes. Instead of just being happy and playing major chords all the time, we’ve added a lot more minor chords. We didn’t want too much of that though, so we had to balance it out so we didn’t sound like one of those bands that is depressed. We’re actually a party band when you hang out with us. We didn’t talk about what bands we wanted to be like or sound like. This album was very natural.

P: Before It Kills was the first single off the album. What is that song about?

I: It’s about Yotam’s old roommate. He was a very selfdestructive kind of guy. I can’t really say what he was into, but he was into stuff that was freaking Yotam out. So he wrote that about living with this guy and not really accepting what his lifestyle was about.

P: You guys went back to Bill Stevenson at The Blasting Room to record Symptoms. You’ve worked with him a few times before – how was it this time?

I: Recording with [Stevenson] this time was different. He’s talked about it in a lot of his interviews, so I guess it’s ok to talk about. He’d been very ill for a long time. A few months before we came over to make out record he was supposed to tour with the band ALL and he couldn’t go out on that tour because he was very ill. A few months before we got to the studio his surgery went really great and he got back into shape and lost a lot of weight. He was the happiest and most energetic I’ve ever seen him. While we were there we went out drinking, just like the old times. We always send him demos of songs that we write because we know he will produce the next album and ask him things like ‘What do you think of this one?

Should we put it on the next album?’. By the time we get to the studio he’ll know all the songs, all the lyrics and have ideas for them before we get there. He’s very dedicated to his work as a producer. When we get there, I know it sounds cliché, but he’s really a part of the band. He knows a lot about the songs and he knows what we’re capable of.

P: The Fat Wreck website says that Stevenson hounded Fat Mike to put it out – is that true?

I: It’s very true. We live in Israel and we so we don’t get to see our friends very often. Like I just said, Bill’s really a part of our band. That was something that he knew we wanted and he went and sorted it out. He told Mike what he thought about us, which I guess was positive. It’s really helped us. Whether it’s small, good or shitty, it’s just hard to get on labels these days because labels are cutting down and it’s not as good as it used to be. Even with a great album, it still takes a lot of effort. It’s been weird for a while; it’s been shitty for a while.

Indie labels have to jump through hoops just to survive. It’s definitely getting harder for indie labels to maintain what they’re doing. It’s the same for bands, but if you work hard and tour a lot you can survive.

P: Some still may not know this, because your music is in English, but you guys are from Israel.

What’s punk rock like over there?

I: It’s such a small country and not that many people here are that into it. But everybody’s friends and everybody knows each other, and when you get a country this small, all the cities are very close together so there are a lot of shows. It’s not like people have to imagine what it’s like to play or be a punk. It’s a lot more different than what it used to be. It used to be fun and freaky, it’s not like that anymore, but there are still a lot of good bands. I go to see bands around here all the time. I would rather be at a shitty punk show than be at home and wish for a great one. I go to shows if no one wants to come with me. I’ll go by myself and check bands out and drink beers and hang out with everybody.

www.useless-id.net

Brisbane hardcore quintet Travels self released a damn impressive debut EP late last year simply titled “Life”. After having the EP on repeat rotations here for days I got in touch with guitarist and all round nice guy Mitch Long to learn more about the band and find out why they seem to have a lack of online presence... s we tell olid PEE: I gues Travels ch a s n you stoked to see it with a brief on su e” EP, ca what was so well received s nt t rta should begin a po r im if , with the small am g L people that have what’s an rding e of : Con ount of our “ o P y c im heard it. As for ld e t h ou r history lesson, sh it all e e w we h h e reviews, besides t ry od t t to h d u t t his spi s el b u t or two on vario g e a o n d the b t a s go lo u y piece of Travel’ us music blogs u of yo w tle e g t o n fiv li be h e e en th , v u , a at ce we haven't d least to our know e yo us g, an know about sin ledge! ese s ing ? in h c nd t d ba n e r P: th e "T o n ed he War We Lost" o rm flu ec is one of my fav together and fo d playing in ing and r rking off the EP, it's you ourite tracks five of us starte n wo a real moody, stoked our name. writ had bee MITCH: Well the t en fer re dif urgent and ro a a so r ng with a chor de e un d m n ally W o gin a lling ! ori fr b h us c k I’v d of u c e kin together, be a we en m b d ts sin n en t o … gin days. Can you a s o s g to myself for l commitm tell me a bit e song thank you nd I g h sat down lly a som Due to persona did tt I a d ab out the song what was inf tus, Matt an fter M : Ah n't rea y muc and luencing you went on a hia back we sat M y it! Well a s we prett There was guys at the tim the writing it? when we came e of njo in. riting ly ture e a is n w g e ess a travelling, and gu v I to r d a b M: Once again, the came n writing, which mforta thank you, that’s worldly riting toge down and bega hen it rted. . ng co re really encouraging War We Lost’ is t (Travels) all sta rted w influence w were writi rce a gen ! ‘The ta actually the first s ing yth where this projec e fo s the EP r d an w fin song that we wr th jo to n to e a o sy m g m ea .

The main riff, I m ti at in y ote for th y t t o n s no tr a r w s en fi It’ ev T su y P: ppose you could d ll n actually . e an a o ls th e e e r lin r v re on t o a e call it that, I r wrote when I wa guys ou . F felt w s to ere T s in Colorado. I about you page is a EP freely, with a new guitar and we w gs that we er had just bought your facebook was so incredibl and and before on the oth r we an s mp searching for f ca id nd o to d y ba sto h ur ke d so I sat down d that was the firs m te we that yo unc ths la t thing I wrote on ok the task. I notice listed as like we had a b we to and 6 mon -production what kind of it! I guess that is s have you set the theme k, so r e later me r c e ’sa a p re ol’ bigcartel page th e tr f e e th o for d t w g Matt and I wh writing the rest righ u’ve suffere m to o lots certain we en of "Life". It was “Travails” so yo as band’ the piecing the did tw time. re also the song tha another overse y! We fore we we me studio rad underwent the most chan d t start a e r band name as ge o e P s over the few B s b E r in e we n ts c we a n k u re mo e o d writing, as we co d nths issue huh? uldn’t help ourse ll basically we ha ake adjustm real and bo nd and pro dios, and to co We . ue iss me na lves but ntinue attempti r ie m tu ng to make it M: Ahh yes, the vels when we to y to do it fo our good fr s at 180 s mixed by comp kind of feel leted. As for Jos y band named Tra ught we read nt in with d the drum s. It was 6th h and his lyrics, couldn't find an tho 1 we so e k, oo th e basically about the song is dio w on Faceb rde earth, and the thi e Stu ing, and on initially searched all liked it and We s and reco ngs that he had Empir r seen on his tra h that name. We Maste vels, in relation ut velling Davie ing else at tra n o r would just roll wit r ou h e of g d ult u o to how differen less as a res eryth t d at M sed "Life"! lessly thro o you people treat the earth, an it was more or seemed fitting ev d almost seem d astere t a as a band, so it to k Brad, m er, we rele flow effor d thought ment, respect it as a living being too of d that changed us kin ich b . Living away fro n nature had ma eased our EP wh place s to Decem ime a m de us unaware for us. So we rel sweet! Until we of Life" seem w much t e track of the subtle " p and we were all lik ho e things we do that ruin ar : s , An P o d P s me E th g off on Bandcam na er that beauty, and e nk in to wa ir h e t t in som n m t jus e its not fro t us, its hundred h e into got a message s of millions of pe thoug tended breaching copy- th put ople that some e EP we in less. have no clue, an us that we were or else we guys ions, etc? e did put p d probably will ne Badalov, telling th me a na g g the t ing in a us it it w ve h r r have a cease clue. Its almost d trans ctually st started w feel somew st’, we kind write laws and to as if whatever laughed it off an eah a r could be o action. We just got our M: Y When we fi ite well and War We L transitions done will never be done be he would face legal til un , sly e cause it's too ‘Th too seriou gs. to big of an issue, or w qu ving didn't take it r Facebook page thin aving it flo ocation’ and tion of ha ame down the person next shutdown and ou door ‘Av ten it to can do it, but they wo back on h lly c e b a in ails k em e li Bandcamp page a r ny e ma s d it er n't, and one da th n ong USA. So aft y with order, e songs, a preferred we'll hit the point of l legal With s e ua m act e th inaccessible in the us r no th w th return.

Anar to sho er we P: This could be n of wrote e two. As fo written for rd see o d ha e we and forth asking , im a question for th stantiate his cla Josh een th sh had to answer, bu m and documents to sub t do you find . Eventually we betw rics that Jo e wrote the p we song u ffered the worst ly w su wr ro to t iti e ye y g ng me , a na th ng th r a er thi w ou apeutic? no ge e as r losses and chan with th m. Basically rder that M: I will text him decided to cut ou were more than do and ask him rig the o g the fully Bandcamp nk in in ht tha y no are ich m w. la wh nd .. . e p ha il, He s er says “not really, Trava f put th t sense to u ed with I just love cebook on the oth o Fa . us d for list me in do na en to k s s ing to the music our o a g happy vin m le ha p e So e . and putting th n h ntactable what I am feelin made e you bee eedback t followers we essentially un-co g into what yo f v d to keep the few ur hearing”. There P: Ha ponse and o you rea fingers t bu ly, changed there, like s yo les u go! Hahaha.

D s ms less and page the re received? e of any w ne ate already have, see cre to s tic suck to have EP ha e any no crossed! It would ? Less people to scratch you know r tak . een etc o ses ea rel and start from s, ow ve b s? out upcoming sh eview h we ha a he e r t se uld co reach out to ab we Yea w it h the next record M: mate Anar lm e d ever quite P: So I guess nk e ya h w ne w ur r to yo e n ove in song dedicated se! W pect respon hat to ex after t actually tha Badalov huh? say w u d yo , funny knew to an ere d M: Hahahahaha ry much centre w ad up xt release is ve the le ase, so we because our ne le re e th . around death

Interview by: Pete Pee Photos by: Georgia Sassenfeld

k the photography and wanted to release a physical cop P: How do you thin y the day of our release, M: Ah well we are actually going to EP’s artwork tie in with so we just got a small run of the on y 50 printed up to triangular imager packaging two release shows like sell at our record these two songs live in the studio. gs thin k thin . We were com your songs? Do you se ple selling all of them tely stunned at Which we haven't done before so that more important role the so quickly! We did and artwork play a far n’t expect people particularly be int to will be pretty interesting, and this time erested in buyin days?

I g a CD, but to our we are doing the entire thing at 180 the Himalayas in Nepal, and surprise they did! Slowly we sta M: Well Matt travelled to rted to have mo the mo so re rado req Colo in ue ns re sts and studios so it will be better quality as well. for our cd from Mountai people in Europe spent time in the Rocky and the The two songs, I feel, are pretty different was meant to represent USA, so we got a second lot of 50 with a new whole idea behind the logo new to our the ired insp case just before red colour to what you will hear on 'life', but h in a way we went over to mountainous areas, whic with friends in Done WA with our altogether it will still sound like us. The doesn’t have much to do For, and once ag style. Really the imagery ain cts we refle Un it ha fortunately due ve sold out! two track, as of now with the pre although i do think to the name iss the songs or the music, that USA cant see ue, people in the was really just something production we have been doing, goes for our page, and the what the EP is about. It a ref s ore have no ide where to order ou Packaging and artwork play a around 12 minutes, so it won't be a short r CD fro m. looked visually appealing.

Als o or CD’s that say we are yet to pri Yeah, its what’s on the cd nt release!

'Travail' as opposed HUGE role, in my opinion. to 'Travels'. your P: What’s tw but i think you owe it to P: Thanx heaps for your time mate! o words that vinyl that really matters, make you cring ds. If shudder? e / Any last words or folks you wanna good as you think it soun music to make it look as to g goin M: are An they ar Badalov product, thank? people see a nicely packaged d rd than a cd in a cardboar P: Hahaha So what’s ne M: No thank you! And thanks to Anar, xt for you guys treat it with a higher rega you have any ? Do you’re a top bloke. new recording sleeve. a big intern s in the works t of your EP was ational tours lin or P: The physical produc ed up ?

M: Well we are kage wasn’t it? about to record completely d.i.y made pac As ve ry soon actually! Joshua Richards - Vocals Just two tracks all d.i.y designed anyway. to release under M: Yeah it was! Well it was Mitch Long - Guitar elf. I think it will the new name. mys gns desi our of all be good for us to I a graphic designer I do have a new relea Matt Gordon - Guitar funny. come with even not it’s s se case to the new name, designed so many different makes it easier I people to other members...because for Kieran Pickering - Drums get familiar with. the for e mor was it l, Wel The art for this rel ease Pat Flynn - Bass “Hey look at this! This will will also feature the sam e triangular logo, would always say things like so that always say “That looks should help people ide ld wou they and !” case ntify us. If all go be our EP k wee next by we should have es to plan gned 3 more a two track vinyl facebook.com/travelsmusic great, but you will have desi released in the doing it too as it was the first next few months! anyway.” I had a lot of fun it had ally actu P: http://travail.bandcamp.com and Aw case es om CD a e news. So what time I had designed in from th can we expect ese two new so down to Implant Media printed! We sent them ngs? Will there n we had anything yo whe up ted be prin all u’ll set out to de Melbourne to have them I differ liberately do ent to your EP had our master CD ready. re co settled on the design and rding? go something was going to was pretty nervous that ething small that I missed som just or ling spel like wrong, ed with the result! Actually out on, but I am pretty stok if you put our CD into a that ve belie I it of k come to thin as travel? And demons s read t artis the computer or car Hahaha. on? dem as up and mirrors comes l ing the days of physica P: With so many say bered num are at form CD in versions of a recording out of your first lot of if not dead, you guys sold first How many did you ? you ’t didn s pak digi them all take you guys ing sell did and ell press/s by surprise? on ever want to release “Life” M: Yeah we didn’t actually to put it onto vinyl, just was plan inal orig a CD at all. The of money in time and we but we didn’t have that sort

PEE: Hi Hugo, I guess we should begin with a brief Toy Boats history lesson for the uninitiated, what kind of music do you play and how long have you been doing it for?

HUGO: I play music influenced by bands such as Bright Eyes, The Cure, Death Cab For Cutie etc.

I’ve been playing under the name of Toy Boats for close to a year now.

P: Where does the name Toy Boats come from, and why did you choose to perform under this moniker instead of simply under your birth name as a solo artist?

H: Toy Boats comes from the title of a song by Stay Gold called ‘Toy Boats & Battleships’ I really like that title and the song and wanted to use it for something for a while. I decided that it was a little longer than I wanted to have as a name to play music under so I shortened it to ‘Toy Boats’. I wanted to sing under a moniker because I like the allure it has and I wanted to do something a little differently than just playing under my birth name.

P: What inspired you to take the leap from the hardcore of The Dead Ends to the more relaxed sounds of Toy Boats? Is it something you have wanted to do for a long time or has it only been more of a recent development?

H: When I finished High School a lot of my friends who played in The Dead Ends and other bands I played in at the time moved away or went travelling and the groups disbanded. At that time I wasn’t really sure what I wanted to do with myself, whether I wanted to go to university or travel or move away from the town where I grew up but I knew that I still wanted to make music. So I started playing around on an acoustic guitar and wrote a few songs and really liked the fact that I could take it anywhere with anything that I did and didn’t have to worry about members moving away or the band breaking up as there were no members, it was just me. I liked the freedom it gave me to create music regardless of where I lived or who I played it with.

Before the bands broke up it wasn’t really something I thought about, I think it just totally fit in with how I felt and was a really natural change.

P: It seems quite a popular move for punk frontmen to suddenly transform themselves into acoustic guitar-toting, folk-loving balladeers.

With Toy Boats, are you merely embracing this trend or do you genuinely have something to say that couldn’t be achieved through the medium of hardcore?

H: I think a lot of the lyrics explore similar things that bands across a lot of mediums including hardcore also do, for example bands like Killing The Dream, Sinking Ships etc.

So I guess it could be said through that medium but then there’s also the way you choose to deliver your subject matter and how that affects the way the subject is received. I also feel with using music as a medium it is usually looked at as a whole, not just It’s parts individually. Of course some elements might stand out but the combination of the music and lyrics and whatever else as a whole effects the way the song is felt. For example if you put really dark lyrics over a pop song it totally changes the feel of that song and visa versa. I feel the way Toy Boats is, as a whole, is my fitting expression of the subjects I choose to explore throughout the songs.

P: Clearly, there is a fairly large gap between the music of Toy Boats and The Dead Ends. How does composing more folk and acoustic oriented music differ from hardcore?

H: Most of The Dead Ends’ songs started with an idea by one of the members who brought that to band practice and the whole band gave input and helped create the song. Now, playing as a solo artist the songs start similarly with a basic idea but instead of bringing them to a group I build on them myself until I’m happy with the song. There is difference in dynamics and structuring from The Dead Ends to Toy Boats and a bunch of different instruments used but I feel the main difference (being a solo artist) is the change from bringing ideas to a group or working on them as an individual.

P: Do you still find yourself playing many mixed bill shows with both hardcore and more melodic punk bands? Do you have a favourite show to play, and how is your show received by the crowds at the more hardcore shows you play?

H: Definitely, most of the shows I play would be considered mixed bills, Australia day at The Tote in Melbourne would be a perfect example. I prefer to play with bands in a somewhat similar style because otherwise you can feel pretty out of place but that can be cool in ways as well.

P: Who are some of your all-time favourite artists/bands?

H: Most things Wes Eisold related, Killing The Dream, Blink 182, anything Ben Gibbard related, The Cure.

P: Following up on the last question, who were you listening to whilst composing Diamond Teeth?

H: All of the above as well as Bon Iver, The National, and Zoo Kid / King Krule plus a lot of others.

P: Are you looking forward to getting out on the road and touring with the material from your new EP? Will you be exclusively playing material from Diamond Teeth or can show-goers expect a few surprises along the way as well?

H: Really looking forward to it, I will be playing songs from 2A.M Bones and Diamond Teeth as well as a sneaky cover here and there.

P: Do you have any pre-show rituals that help you get psyched up before a show? Have you had to develop new strategies to suit the atmosphere of a Toy Boats gig as compared with The Dead Ends?

H: I’ve never really had a pre-show ritual, I usually just listen to music I really like and do vocal warm ups. Usually when I get to the venue and set up I’m already more than psyched to play.

P: So now that Diamond Teeth has dropped, are there any plans for a future full-length follow-up or are you just taking things as they come right now?

H: Definitely, I’ve already started writing for the full length. I’m not sure of when it will be recorded but I’m aiming for next year.

P: Thanks for your time mate. Any final thoughts to convince the readers to go out and grab a copy of your new EP? H: My pleasure, thank you! If you pick up a copy at any of the record store dates I’m playing you get a free hand screen-printed poster.

facebook.com/toyboats

Interview by: Matthew Woodward Photo by: Mitch Manz facebook.com/mmanzphoto

Adelaide melodic hardcore crew My Catalyst have been steadily building up quite a following and presence in their local scene since forming sometime back in ‘09. With a new split out earlier this year and a track on our cover sampler disc we fired a bunch of q’s at frontman and party animal Scott “Diz” Dobbin to talk all things MC and Scrubs...

PEE: Hey mate, could you give us a brief run down on the history of the band and how you guys came together to form My Catalyst?

DIZ: Well MC came together as a joke between mates that somehow manifested itself into songs and in turn, a band. It was just for a laugh originally, but then we started receiving some positive feedback, kids were coming to shows and people were putting us on bills. The rest is history I guess!

P: What was the worst band name you tossed around before settling on My Catalyst?

D: The original name was awful. But we weren't really a band at that stage so I'm not sure if it counts? The Zootsuiters... Yeah I know hahaha.

P: As your band is named after a Scrubs episodes, what is your fave Scrubs quote or moment?

D: That is the hardest question we will ever be asked. There are simply too many moments to chose from! I'm not sure if this is my favourite but it's definitely one I love. After Turk and Carla's honeymoon, the hilarious cat and mouse chase between JD and Turk all over the hospital for that special embrace.... Gets me every time! Stitches!

P: Is it true one of you named your dog Rowdy as a tribute as well?

D: Yes, that would be me! Rowdy is my 4 and a half year old Golden Labrador, he is my pride and joy. He watches Scrubs with me all the time! The first song on OJNK is actually dedicated to him. (it's about him eating his own shit) P: Finally on the Scrubs front, did you agree it all turned to shit once JD left Sacred Heart?

D: Turk, Cox and Kelso did their best to keep that show afloat, but really, no JD = no scrubs.

Zach Braff makes everything better! Even romantic comedies!

P: Your debut full length “Once Jesters, Now Kings” came out the end of 2010 and was pretty well received, have you been happy with the feedback you’ve had from it?

Do you still listen to it at all?

D: Haha. It seems like so long ago now! I can't speak for all of us, but I still dig it. We all have our favourite songs and we all have those songs we can't stand hearing (Australian Death Machine). It's natural for any band I think. It's just how it goes. Our cd launch was absolutely insane and our best show to date and we definitely received a lot of pleasing feedback, but I think it's a bit dated now to be honest. Our sound has progressed, so we kind of just look at it as a building block. We will always look back on that cd with pride, but we are more focused on the future now.

Photo by: Kieran Ellis Jones Interview by: Pete Pee & No Show

P: There’s a noticeable progression in your songwriting with your three songs on the digital split you guys did with local mates Aaagh! Cobras! earlier this year, is there anything you guys deliberately set out to do differently when writing those songs? Or is it just a natural progression within the bands writing technique?

D: I guess I kind of answered that above hey? Haha. I think it's natural. I think everyone's tastes change, regardless if you are in a band or not. So as your tastes change, so does your writing. We write as a group and whilst we have no intention of pulling a Thrice and changing our sound on every cd, I think progression is a natural thing that can't be fought.

Just gotta roll with it!

P: How did that split come about? Most bands would look at doing a split with a band from another city, state or country, what made you guys decide to do a split with another Adelaide band?

D: Alcohol. And being bros! It was something that myself and Yappy came up with on the gas one night. A good excuse to get a few more songs out their and work with some of our best mates. Win win really.

P: How have the downloads for it been going? Was there ever any plan to release it in a physical format, CD or vinyl? Or was it always just going to be a digital release?

D: Originally we had big plans for a hard copy release and a launch show but as is often the case with part time bands, life got in the way for all involved and it just got too hard. Sadly it didn't get the love and exposure it deserved. But hey, it's out there now, we dig it and hopefully those who have picked it up dig it too!

P: A few of you guys have been involved in the local scene for quite some time now, so how do you see things differently now some ten years later when venues and record stores in almost every city have closed, more records are downloaded from torrent sites like rapidshare and mediafire than bought from stores etc...

D: It's shit. I'm a vinyl collector, so when a good record store closes, I die inside. I think mediafire WAS a good way for small bands to get their music out there, but now I am much more into sites like bandcamp and the like. At the end of the day, bands don't make money from music anyway, so hopefully every time a kid downloads a cd, they buy two shirts and a gig ticket to compensate!

P: Your cover of Seal’s track “Kiss From A Rose” has certainly created a bit of talk, mostly over the video clip. Was it a topic of band debate choosing a song to cover and what made you choose this particular song?

D: Nah. Haha. I heard it at work one day and had an epiphany! I texted Andy, he mapped it out with Schultzy and the rest is history! We LOVED doing the video with our mate Keiren from Arcade Photo, and yes, some shallow minded Americans got a bit offended, but to those with a good sense of humour, it was taken exactly as it was intended. But hey,

everyone is untitled to their opinion... (if you don't laugh we hate you) P: So what adds fuel to the belly of My Catalyst’s songwriting?

D: Beer and double cheeseburgers.

P: What would be your dream gig line-up if you were the opening act?

D: Silverstein. A Wilhelm Scream. Defeater. No Trigger. My Catalyst. Fortunate enough to be knocking Silverstein off the bucket list on June 8th which rules!

P: What is the one album you'd run back into a burning building to save?

D: If it was my house burning down, I'd have to say my signed Touché Amore - PTSBBAM record. A simply brilliant album and I had the pleasure of meeting Jeremy and forcing him to sign it for me like I had Bieber fever!

P: What’s your opinion on the Aussie hardcore scene as it is at the moment? What are some positives and what are some negative aspects you guys are taking note of?

D: The scene is strong. So many talented bands, and the vast majority are absolute legends. The simple fact that Aussie bands are becoming increasingly able to tour places like Asia, Europe and America is a sign that Aussie HC is alive and well.

As far as negatives go, well yeah, there's plenty. I think the thing that really grinds my gears is the fact that gigs are being treated as fashion parades and pseudo nightclubs. The whole point of going to a show is to check out the bands. Don't go if you are just gonna wear a short skirt and stand at the bar all night until you inevitably get fingered by a dude with a throat tattoo.

P: What other Adelaide bands should we be checking out at the moment?

D: Our boys in Mara Jade, Day On Fire and Capulet are all gearing up to release records very soon. All three bands are tight as hell and you'd be an idiot not to check them out!

Featherweight and Valiant Jones are also two relatively new bands that are both destined for big things! Plus, the singer of Featherweight has an enormous penis.

P: Where would you all like to see My Catalyst this time next year? What would you have liked to accomplish?

D: Hopefully in another state or country! Touring is high on our agenda! We are also writing for a new record, so that is priority for now.

P: Thanx heaps for your time mate! Any last words or folks you wanna thank?

D: Anyone who has come to a show, bought a cd or shouted us a beer! Those of you who have viewed, shared or defended our Seal video from the trolls/haters. Thanks to our QLD lads in Driven Fear and Promises for providing the party every time they come to Adelaide!

And a massive thanks to Pee Records for being the biggest positive about the Adelaide scene! This place would be a mess with out ya!!! Diz xo

facebook.com/mycatalystband

Interview by: John Martin Photo by: Joe Scandal

Polar Bear Club released third full-length, ‘Clash Battle Guilt Pride’ this past September and the album has been playing almost non-stop in my car’s stereo for almost as long. I highly recommend everyone to go out and give this album a spin soon.

I’d like to thank PBC vocalist Jimmy Stadt for taking the time to answer my questions.

PEE: You released your third full-length, ‘Clash Battle Guilt Pride’ this past September and every review I’ve read has been glowing. Is positive feedback important to the band to encourage and reaffirm the music you create?

JIMMY: It's not important to the band but it feels nice and the opposite would feel bad. It's not something that we look to and take that seriously but are very glad and appreciative that some people have said some nice things about our band. A review is really just one person's opinion who, supposedly can articulate their ideas well. That's it.

Any stock in it is really just assumed and doesn't actually hold any weight. We've been fortunate enough to be a well-reviewed band and we're thankful for that, I'm not sure it's gotten us anywhere but thanks.

P: Now that the members of Polar Bear Club are spread out across the U.S., how has it affected the creative process of the band?

J: If anything, we're more inclusive than when we all lived in the same town. We demo the songs more extensively and I think everyone has a clearer image of "the song" going into the studio. It's great, when we actually do get together to write or rehearse it's with a clear purpose and we use our time more wisely.

P: One thing I noticed when listening to all your albums back-to-back, is the growth of the vocals. The new record really shows a broader and more diverse range while also being the most melodic of any of your material. Going into this recording, did you aim to expand your vocal abilities? Or do you believe it to be a more natural progression in your delivery?

J: I naturally became more interested in distinct melodies. I wanted the melodies to be better, whatever that means. I think any range or ability you draw from the album came out of that exploration.

So it was natural, yes…but there's always a desire to do better.

P:Do you personally have a favourite song on the new record?

J: My favourite is "Pawner" track 1. I also really like "I'll Never Leave New York".

P: I’ve often heard your band labeled as both post-hardcore and melodic hardcore. I know most musicians hate labels or genres, but the reality is; people need a quick way to describe a band’s music. So if forced to label Polar Bear

Club… what genre would you classify yourself in?

J: I don't know. It's hard. To us it's just rock music influenced by punk and hardcore and emo and indie and whatever. The nuances and distinctions between us and other bands are hard to articulate but they're there.

P: Every generation of punk music has an ‘it’ band that newer bands get compared to.

Whether it was political punk bands being compared to The Clash or post-hardcore bands being compared to At The Drive-In. Is it me, or is Hot Water Music the band that everyone (yourselves included) gets compared to now?

How frustrating is it to constantly be linked by the lazy media, to one band that you have very little in common with?

J: Very true, Hot Water was very much the describer for everything with throaty vocals. Also "mid 90's"…I hear that all the fucking time now. I can almost say it before someone says it, I hear it so much. They're not bad comparisons, so you can't complain. Where it becomes a problem is where all labels become a problem. People avoid certain bands because they don't identify with the descriptor and potentially alienate themselves from an opportunity to find out they really love that band.

P: What are your thoughts on social media? Do the benefits of Facebook, Twitter and YouTube in reaching a wider audience; outweigh the flood of garbage artists that have launched themselves through these outlets?

J: They do and they don't. Listen, great is great! It doesn't matter how it gets to your hears but if it's truly great and worth a damn, it'll stand the test of time. Band careers (if they even exist anymore) are helped a long by those outlets but it takes a lot more than that as well. No one will care in the long run if you have nothing to say and can't play shows. I hope at least.

P: Polar Bear Club has used the same cover artist for all 3 of your albums. How important is the artwork to your music and your fan’s perception of the band?

J: The artwork is really important. In a lot of ways it's the soul of the record. Richard's illustration style and his really wild and muted colors seemed to fit the band well. We just thought "wouldn't it be cool to have a theme running through these records visually?" It came about naturally for every record though. We didn't know on record one or two that we would be doing it for all three records. We don't know if we'll do it for the next record either but it'll always be apart of PBC. P: You contributed a track for the Run For Cover Records Compilation, ‘Mixed Signals’. I first got

into a lot of punk and hardcore thanks to free and cheap comps that small labels were releasing. Do you believe these types of compilation releases are still relevant in today’s file-sharing, music world?

J: I think so. People did buy them so it was relevant to them. Even if the hard copy isn't, someone looked at the track listing because a band they knew was on it and then they checked out a band they didn't know. Mission accomplished.

P: You’re scheduled to take part in this summer’s Warped Tour. Do you feel that the corporate-backed tour is a necessary evil for bands or genuinely a good time?

J: Warped tour is genuinely a good time. The fact that it’s backed by corporations really doesn't cross my mind. Maybe that's naive on my part and you'd be justified in talking shit about me but I really just want to play music for people. Yes, there's a line for us but Warped tour isn't it. It's a tool for bands. It's not the end product or the culmination of a life's work, it's a tool to get other people to take a chance on you who might never have done so otherwise.

Hopefully, you'll see us on warped tour and then come see us next time we come through headlining to see what's really up. I don't want to play in my comfort zone all the time, its fucking character building (and destroying) to play in front of thousands of people who potentially don't give a fuck about you. We like that.

P: Is there a current band out there that you have yet to play a show with that you would kill to tour with?

J: I wouldn't kill anyone over it but I'd love to tour with the Sidekicks. I love their new record a lot.

P: I’m sure there are countless musical influences between all the band members that go into your sound in one way or another, but is there an album that your fans would be shocked to know you personally own?

J: I don't think so. Honestly, I think that everyone listens to pop and thinks it's so "ironic" when really it's not. "Isn't it so funny how I listen to Katy Perry?"

Well, no! That shit is designed formulaically to be catchy so it's not surprising, ironic or shameful if it catches. It really would surprise you if I listened to Emmure or something...but I don't.

P: What can we look forward to over the next year from Polar Bear Club?

J: New music. We'll be working on new material real soon.

Jimmy Stadt - Vocals Goose Henning - Bass Nate Morris - Guitar Chris Browne - Guitar

facebook.com/PolarBearClub

Interview by: Ross Hall-Butson I've known The Decline guys for around seven years now, I was at their first show and for some reason I liked them, I kept giving them shows and eventually became their manager. Now they are the four sons I never wanted. So I say down with Pat Decline to discuss the past/present and future.

PEE: I've known you guys since you were around 15 or 16 yrs old playing as a 3 piece. But can you give the readers a bit of a run down of your history and can you confirm or deny the name The Decline was taken from the NOFX song?

PAT: No, we actually stole it from a Melbournian punk band called Cash No! They will be playing NOFX's The Decline in it's entirety this July for LRF's album launches. So in fact we got it off them.

Our history goes something like this. We started playing shows in 2006, we met Ross at our first show, he's our manager now, then we got Nate in the band, then we recorded thankfully out of print EP, released it, wrote an album, recorded it, Doody quit, we got Harry, we toured, we recorded another record, got signed to Pee, kept touring, Nate made a video about Ab Running and got famous, and the rest is History! Woo! One of Harry's 1st shows was on an east coast tour for the release of the 1st album, how has changing drummers affected the sounds and dynamic of The Decline?

Well, Harry's first actual show with us was at a pub in East Vic Park.

(H-Blitz worked at this pub and organised it so he would have a "practice show" before the east coast tour.) This was the first time we ever played Showertime in the Slammer live, so we've been playing it ever since we've been playing with HBerry! I consider this song to be a good example of how H-biscuit's drumming has benefited the band. It's a song that totally came together in the practice room in one of our first practices with H-Box. Nate had a riff, H-Bomb came up with this awesome heavy beat for the chorus and Dan had the melody. In my opinion the way that all of these elements came together to write what turned out to be one of our bigger songs is a testament to the way our band has evolved with H-Billington. I mean I'm assuming that's what happened, I was out buying food at the time so I don't actually know.

The big difference between 'I'm Not Gonna Lie To You' and 'Are You Gonna Eat That?' is that AYGET feels a lot less political.. There are more songs about relationships and even my kid. You've also just uploaded a song to try bring awareness to teenage depression/suicide. Was that a conscious decision?

Well. It was, after Lie To You came out, I got some awful news that it's not punk to care about things! So Eat That is a transition album. The third album will have no songs about caring about anything. There are a few songs on Eat That about caring about shit, but a lot about nothing.

This was to ease our fans into our new cool change!

Seriously though, it wasn't really a conscious decision. I still stand by all of the things I wrote about on Lie To You, and they are mostly all still relevant issues. However the songs still exist and we still play most of them so I guess I didn't really feel the need to rewrite? If you know what I mean. Which is cool, it gave me a chance to write about myself and friends and to find some new issues to write about like animal testing and sweatshops. Come to think of it most of my songs are still political! Maybe you should ask Dan that question!

Are there any plans in the works and if so What direction do you see the third album going in?

You see, We've started jamming some riffs and we've all written a few songs but I don't think we have anything set in stone for a third album yet! However, when we do make one, I think it will be catchy and fun like Eat That, but a little bit more advanced musically. Still fast and ferocious, but with awesome melodies and some cool new themes that we haven't written about before.

And it will come from a socially aware perspective, as always!

Living in WA makes it hard to tour as much as you would like, however you've done quite a few. How does your first tour experience you ever did compare to your latest?

Well Ross, as you know because you came on our first tour and got engaged (to your now awesome wife during our first ever set in Sydney), it was mega party times. Our first ever tour was a three day stint in Sydney, Canberra and Wollongong with our best buddies Chris Duke and The Royals. It was lots of fun. Other tours probably weren't as fun as this because we go away for longer than 3 days and there's a lot more downtime, travel and hangovers, and the road starts to catch up with you. One time we went away for 2 and half weeks in winter and we

went all around rural NSW, we got sick and tired and sore and we didn't play well and it sucked. Our last tour wasn't as much of a party time as the others. We tried to make it as smart as possible. We played better venues on big nights, we played well and we tried to minimise downtime as much as possible, we didn't party as much so I know Natedog wasn't happy but I had a really good time anyway. So to answer your question, our first tour was awesome and CDATR will always be our best buddies, and our latest tour was awesome (except for the person who slashed our tyres on the hire car) and CDATR are still our best buddies. Some of the ones in the middle where we played badly and got sick sucked though!

You've shared the stage with many bands, who has been your favourite to play with?

Strike Anywhere have always been a major influence of mine lyrically and socially, whereas I really look up to the modern punk stylings of The Flatliners, getting to play with both of these bands was awesome for me and I'm super stoked we get to repeat support them in May with Anti-Flag, cheers Blood Sweat and Beers and Ben Neilson!

Is there anyone you would like to play with?

Definitely Wesley Willis, but I can't cause he's dead, so probably just NOFX, Bad Religion, Descendents/All, The Vandals and Frenzal Rhomb (Again). Oh and Rise Against, they're alright.

Whenever you plan any artwork I'm always worried what you're gonna have - from the religious album covers to Screeching Weasel rip off shirts. How do you come up with the ideas and is anything off limits?

Ross, haha we try to be funny, that's our main priority. We love to offend but we do have our limits, I wouldn't make fun of sick kids or starving people, or cancer, that type of thing and suicide is off limits too. I guess when you're being offensive and it's gonna be harsh it's important to only target people who really deserve it, like religiously delusional psychopaths or people who oppose things that we think are totally important for the world, or people who you know can take a joke.

Anyway, thanks for doing the interview, it was rad times! Any last words/shout out you wanna give out?

Kevin Smith is the best director ever, Local Resident Failure finally have an album so go see them play, Ross is our manager and I like cats better than dogs!

Dan - Vocals / Bass Pat - Vocals / Guitar Nate - Guitar Harry - Drums

facebook.com/thedeclinemusic myspace.com/thedecline twitter.com/thedeclinemusic

P: How did work with Pee Re cords? Did you be you come to punk band because you wanted to g pathetically for “concentrate more on what we were writing Pete to give you guys a shot…or did he have to ‘wo you guys into wo o’ about and the message we carried”. Now that rki ng wit h him? fullC: Well, we ha Queensland d their new you’ve released your second full-length, when South East Fear release ing the become ‘So d recorded a few demos that turned n ar ive he Dr ter p Af . ou out to you listen to it now, are you satisfied with the ciety’s Finest’ wh back hardcore gr rist/ release. ich ita a few months gu s wa k rd s ou as co r to firs Re e t ce Pee Rec band’s songwriting and the overall message Nic had been in length on Pe touch with Pete an to get the chan tions about the the de I was stoked d sent him conveyed by your songs thus far? mos. From there it ques new material, was pretty simple, mer Nic a few um dr to d like an Pe the te seemed C: Yeah, again we were all massively influenced m, and the rest is vocalist Chris ral. a P: history. ir band in gene Is there any pa pectations as by the punk scene and it’s take on the world. We rticular band yo release and the formed in 2004, what ex co u ur mp yo ared to that you jus music is grew up listening to bands like Bad Religion and PEE: When t can’t understan urselves? we’d C: Um yo so r , fo 04 ve 20 ha to d u why? maybe at times, we Good Riddance, so naturally when we started band, did yo together prior ’ve been compared were Fist, been playing Comeback Kid an of where we to Raised Driven Fear we were always going to be a band CHRIS: We’d d Defeater in the first qu d some ideas ha the d in an g s yin ng ite new record that cared about the topics we were writing about. I so pla a bit. To be honest been writing on we were , we are all pretty compared to those the main reas just enjoy stoked to be think that it will always be the foundation of the bands because we d going. I mean an s ng so are ite fan wr all such big band, as it has been very important to us from the s. They have de finitely influenced place was to play local what we have start. Musically I think that we are continually done. I hope that were keen to our tunes are half ung ourselves. We yo so all re as go we od as any improving which is exciting because it means that of the bands aforem shows but we re just enjoying entioned. we N: I showed my we are always moving forward in our songwriting. that we really boss one time, bec . ing th me so ause he Once a band stops progressing, the spark is gone was curious about being a part of out the ing ba ng nd ha an d it, the time I take and it is time for it to end. Interestingly it often seems at's off. He listened to NIC: Yeah th was ab was all it new record and com out 30 seconds of the to be after the third album. Good Riddance is the o and writing als pa e red W us to is.

Slipknot and exception. still Metallica. Now he about…and tells to travel and onsite that our mu all the other tradesmen N: Yeah that's exactly it. We've always liked the idea really wanted e sic th sou gh nds ou like Slipknot, that (hopefully) people can take something from our thr which is kinda fun meet people, ny. I gave up tryi which we've correct him a lon ng to songwriting and really relate. I mean, if something we band, both g time ago. It’s l fu ate gr so too hard to touch on in our lyrics helps someone through a rough are explain the differe achieved and nce s bet ing we th en o ha tw rdcore, punk time or educates a little, then I feel as a band we've last and metal to som for. I think the eone who has no cord interest. succeeded. God-damn I love Good Riddance! et list’ is to re Just let ‘em roll wit on DF's ‘buck ay h it I guess, haha. pl d an lly P: How do yo P: Your lyrics are embedded in the politics of in te rn at io na u ne fee do l yo 're ur sound has every day life. Although most bands despise being en we progressed from Warped. Th your earlier releas es pigeonholed, would you say it’s fair to label Driven to your full-length, haha. to ‘Contender’? you come Fear as a socio-political band?

C: I think we are P: How did just a little C: Sure, as far as hardcore/ punk bands go, that is more open to taking what we like to listen to, therefore it makes sense that it risks n o w . is what we write about as well. I like the idea that Therefore, I think maybe through our lyrics we are able to open the new record someone’s mind a little. Life and life struggles is such a sounds a little broad topic and there is so many stupid people with mo re ma tur e stupid ideals out there, therefore, there is always and interesting. something to cover and often we are simply venting.

As I mentioned P: You worked with Sam Johnson again on pre vio us ly the ‘Contender’. What does he bring to the table that reason we are your band would be lacking without him in the doing this is sim ply studio? just because we like C: Sam has an open mind and a great ear. He has writing songs. We never written anyth have worked with so many bands that he, to put it frankly, ing just ‘knows his shit.’ Sam is like a machine, he and the mixing because that is the ‘in desk are one and the same. So when you are recording style’. We write what we with him you are confident that he is on the same page. are feeling at the time. He also has some great ideas that he contributes when And due to that I think the working and he has this uncanny ability to get the best record is divers e and out of you. Sam is a legend. ho pe ful ly int ere sti ng N: Sam is a great producer; full of ideas and doesn't throughout. hesitate to throw ‘em at ya. And a second point of P: In your last interview view is always great. We spend time writing and in Pee, you sta ted that sometimes can get on one train of thought with a Driven Fear emerged song. Having Sam there, he'd listen and be like “try from your previo us punk this” or “do you really need that bit?” Never being band because you pushy or an asshole when you are fucking up or just completely exhausted. And it’s such a chilled vibe when working with him. Things roll smoothly and shit just gets done. Music talk aside, he's a great dude to hang with too… top shelf!

P: The cover artwork for ‘Contender’ is simplistic, beautiful and rad all in one. How important is it to still put out a visually appealing package with your release in a digital world these days?

C: Thanks! We wanted to put it out this way for ourselves really. The aim was to have a complete package that tied in with content of the songs. So it was more of a decision based on the band wanting to have something tangible that we can be proud of rather then something that is going to sell, that really didn’t come to mind at all.

Unfortunately the music biz has gone the way it has and no longer do you have to wait three weeks in anticipation for your favourite band’s new album to arrive from overseas, which you cherish for the next month. It is a digital world and it is always going to be from this point on, however for the nostalgic, it is nice to have something to hold and enjoy on another level. Hopefully at the end of the year we will release Contender on vinyl, which we are really excited about.

P: I haven’t read a bad review of ‘Contender’ yet.

Does the positive publicity reaffirm what you know Interview by: John Martin Photos by: Alex Kwong

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Melbourne hardcore outfit joined Pee Records roster late last year for the release of their second album “Dead Ends”. Regular Pee Zine contributor John MEANtime caught up with vocalist and frontman Jack Rieveley to talk about the new album and where to from here...

PEE: Firstly, for those unacquainted with NO WAY OUT, could you give us a run down on your history?

JACK: We have been a band for five or so years now and it all came together while my brother Andrew was away in the UK, while he was there he wrote what would end up being our first demo songs ‘Taking back’, ‘Make a Move’ etc and we corresponded via email back and forth until he returned in late 2006, asked a few friends if they would be interested an it went from there.

About 6 months later and a few line up changes we recorded our first Self-Titled demo. After playing a series of local shows off the demo we recorded our first EP entitled ‘Contempt’ that was released in mid 2007 on Dogfight Records, playing more and more local and interstate shows, which was followed in 2009 by our First ‘Self Titled’ album with the new and current line up of myself, Brad McCrohan, Scott Macaloney, Craig Forster and my brother Andrew Rieveley. And now just recently with our release of ‘Dead Ends’ Out on Pee Records brings us to 2012.

P: The new release ‘Dead Ends’ is pretty intense and sounds amazing. How has the response been to date with the release?

J: The response has been great, we have never been happier with a release and we are just eager to keep moving forward with playing live, touring, writing, recording and all the enjoyable aspects in doing what we do brings.

P: How would you describe and compare ‘Dead Ends’ to your previous self-titled release and debut EP ‘Contempt’?

J: We spent a lot more time recording than we ever have on previous releases and to me it’s more thought out and consistent.

P: How was it approaching this release in comparison to the previous releases?

J: I think the approach has always been really the same we are definitely a jam band. We don’t use tabit or have one person writing all the parts, I think the only difference this time is that we took our time, an all of us are used to writing with each other.

P: Musically what influences did you guys draw from in preparation for ‘Dead Ends’? Are there any bands you guys will always turn to for that little bit of motivation and inspiration?

J: We all listen to a range of different music from punk to metal to hip hop but general influences towards our style would have to be Hatebreed, Bury Your Dead, Day Of Contempt.

P: Overall ‘Dead Ends’ is an impressive little package.

Some may say there isn’t a great deal going on as far as the artwork is concerned, but I think it looks great and is in line with the boldness and straight forward approach in the release.

J: The artwork is loosely based on the film Falling Down as is the lyrical content, but you hit the nail on the head in terms of the simplicity, the music we play isn’t “pretty” I understand why some bands go all out on artwork but its not really us.

P: Have you guys toured or gigged in support of the new release? How far have you ventured in doing so?

J: We have played a whole bunch of local shows in support of the release but haven’t ventured that far just yet.

P: Being aboard the Pee Records bus has to be a huge asset to the band. How did this come about?

J: We approached Pete with the new record and it all went from there really, from Dogfight Records to Pee Records we have been very lucky in terms of how much they have helped us along the way, I couldn’t ask for anything more.

P: Reading several reviews, the most frequent complaint is that the release is too short… Were there any tracks left on the cutting room floor that didn’t make it on the release?

J: We didn’t want to have any filler tracks and we never will it’s just what we thought sounded right.

P: Lyrically you guys don’t mess around… straight to the point, intimidating, compelling and provoking lyrics. Who in the band writes and what inspires such words?

J: The songs are a culmination of the way I perceive everyday life.

I want the people who listen to our music to take as much away from it as possible, I am not trying to change anybody’s opinion but I believe that through our media we are not given the complete picture. I question a lot of things in this record from religion to politics and to how life works in general.

P: Style wise, you guys haven’t changed during the years; maintaining an almost distinct brutal and intimidating sound. What makes a local band stay consistent and not cave in to current trends and all that is popular?

J: I don’t think we have ever cared what popular is, we have grown through a lot of trend changes in our genre its hard to really keep up, I think it’s very fickle in general we just keep doing what we want an if people like it that’s all that matters to us.

P: What has kept No Way Out together for all these years considering the current rate in which local bands are splitting?

J: I don’t know really, we don’t take ourselves to seriously would probably be the best answer. I just appreciate the fact that we can do what we do.

Interview by: John MEANtime Photos by: Michael Dowding

P: Having been around for five years or more, how have you guys witnessed the local hardcore, punk scene change during that time?

J: Faces change mostly but to me its more or less the same.

P: I know a handful of great Melbourne venues have shut shop recently. What venues were favourite haunts for you guys locally that are either still or no longer around?

J: The Arthouse was probably the most influential venue, but I enjoy playing anywhere really as long as the vibe and sound is good.

P: Social networking and media is of immense benefit to local bands these days. I know you guys have a Tumblr as well as Facebook etc… How has this changed in comparison to 5 or 6 years ago when you were starting out?

J: Myspace to facebook to blogs, its all the same just on a different .com I think it’s the best way to connect with the people who support your bands an spread the word about shows an tours P: 5-6 years together in this day and age, almost makes you guy’s pioneers within the scene, what are some memorable shows you guys have played or highlights in No Way Out’s life to date?

J: Playing at The Arthouse with The Warriors was probably one of the best shows for me, but as for highlights its all been amazing so far getting to see most of the country meeting new people and bands.

P: Will 2013 see another No Way Out full length? Or is there any chance of a split release?

J: Sure will, as for a split nothing is scheduled but we hope to do as much as possible over the next year or so.

P: If you could release a split, which band would you guys opt for?

J: Mindsnare, but I don’t think they would be interested haha P: What does the rest of 2012 have in store for No Way Out? J: We have a bunch of shows locally an interstate scheduled, I am currently planning my wedding so that’s taking up a far bit of my time and a couple of the dudes have some side projects they are working on.

P: Any last words, shout outs or complaints?

J: No complaints, Check out our new Album ‘Dead Ends’ out now on Pee Records, and thanks for all the support for all these years.

Jack Rieveley - Vocals Andrew Rieveley - Guitar Brad McCrohan -Bass Craig Forster - Guitar Scott Macaloney - Drums

NO WAY OUT - Dead Ends Out Now on Pee Records

facebook.com/nowayoutmelbourne

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Interview by: Macca Photo by: Alex Adelaide locals Armoury have been kickin it for 3 years or so but are still largely yet to be discovered outside the state. With experience aplenty in a string of charging, defunct A- town bands of the last 15+ years you can be sure that this is a band you definitely need to check out. Their blend of dark,killer old school hard core is right up my alley. I caught up with the lads to see what makes ‘em tick...

PEE: Hey guys! ‘Fear None’ dropped a good year and a half ago now. What’s the response been like?

JULES: It's only been about a year, the response has been good, we still have some work getting it out to the people, more shows and interstate trips are in the works. I'd like to thank Waiting on Revolution distro, Sick Rick's distro from Queensland ,Clarity Records and the people who have bought it online .

PEE: Between the demo and ‘Fear None’ Sammy LeRay left the band and Spanks and Tim joined. The overall sound/style basically just intensified and gained more depth. Any fresh stuff cooking in the kitchen?

SPANKS: There is plenty going on at the moment, we are writing away at a fresh sound for the band, sticking to what we have done already and adding some new elements musically including more breaks and d-beat sections with the new pieces we have written.

SHANNON: It has gained more depth. Liam, Jules and me are huge crust, D-beat, doom, DM and BM fans, so you can expect some of that influence to seep in.

PEE: Armoury shows have been pretty sparse of late. What’s been goin’ down in the Armoury camp? Where is the band at right now?

SPANKS: We all have/had full time jobs over the last year that take up a lot of our time, so making the time for the band where it fits everyone is rather tricky, but we all need the band so we can survive reality. if it wasn’t for hardcore we would all probably lash out and explode in our lines of employment. More recently I have gone back to uni so some more time can be dedicated towards the band and putting shows on.

PEE: So far shows have only been here in Adelaide. Any plans to take the show on the road?

SPANKS: We would love to take the show on the road, Melbourne seems like a future conquest for the year, and we’d love to play shows with Outright/Mindsnare over there.

PEE: Where does Matt get his song fuel writing from ? Lyrically things are fairly dark, are they fictitious or do the words have a deeper meaning?

MATT: The lyrics definitely tend to be dark and about everything coming to an end. I am influenced more often than not by horror movies and novels.

The meaning is what you make it but all the songs are based on my experiences and or beliefs. Take black wings spread for example there is a specific person I thought of when I wrote that and how they use their negativity to bring people down. I think I am angrier about the things I see as being wrong in the world than I ever have been and the lyrics for me reflect that.

PEE: Both the demo and ‘Fear None’ covers feature depictions of war. Who’s in charge of that area and what are the 2 cover pics taken from?

SHANNON: That's me. I feel that the old Crust, Black Metal and D-beat album covers were very effective in producing nihilistically stark imagery in the 80's and 90's (The Crass/ Rudimentry Peni/ Amebix /Discharge artwork especially!) We wanted to create that feeling of hopelessness and despair.

Armoury is a straight forward 90's sounding HC band and we wanted to steer well clear of the generic graffiti tag, college font and alleyway imagery that much of the genre has and create something different. Much of Armoury's imagery both visual and lyrically is post apocalyptic and ultimately based on human nature. We wage war every day. Life is war, war is hell and hell is life. War is an integral part of human nature. Humanity will only be free from war and suffering when it destroys itself, then the survivors can start all over again waging war in the ashes.

The images of both releases are from the Chechnyan war. A brutally cruel modern conflict that we in the western world know very little about.

PEE: Jules, Shannon and Matt. Three names commonly together in bands whether it be all three or two thirds. Force Fed 9, Threechainbreak, Armoury etc. What is it that keeps you guys together and creating new bands together so many years down the track? Oh, and I nearly forgot Trenchgun! Fill us in on that project.

Will it ever see the light of day?

MATT: Not knowing any better. Playing hardcore is in our blood I think.

Every time I have stopped its not long before I have to be in a hardcore band again, Shan and Jules are my go to people.

JULES: Trenchgun is a little project Shannon and I started, it's just a few fast, noisy, powerviolence grind numbers we are working on. Spanks is gonna do vocals and we hope to do a demo in next few months. I'd like to get a couple mates to do some guest vocals including a certain Pee zine contributor .

SHANNON: I work in community mental health and see a fair bit of crazy stuff. For me, Hardcore in all it's forms is a mental illness! I try to rehabilitate, but it pulls me back in!! Ha ha! seriously, it's been in my blood for over 20 years and it is a big part of who I am. Sure, it's filled with hipsters, cool kids, elitists and scene queens at the moment but experience

that they all leave as quick as they enter, so it's no point getting irritated.

There is always something that restores my faith in the music.. be that bands like MLIW or WBTD a few years back or Kvelertak or Young and In The Way recently, or old soldiers like Ringworm, MPB, Mindsnare and T2T who just never give up! Trenchgun is War. PEE: Adelaide is in a pretty good place right now. The lull seems to be well and truly over and there is a whole pile of kick ass bands around the traps at the moment. I mean, there is plenty going on and plenty of variety. You guys have been amongst it for 15+ years now. What times have been the most memorable, good and bad in your opinion? How has the whole local scene changed?

MATT: My favourite time was the mid 90's. It was just an alternative music scene at that time really, people would just go see bands, you would play with whoever and there were a lot of shows.

SHANNON: My personal opinion (not the rest of the band): I honestly feel that Adelaide is in a lull and that HC is in the hands of a few elitists at this very moment. HC should be for everyone to enjoy, not a just a group of 20 something white male hipsters who think that they were listening to Outburst whilst riding a fixed gear bike the moment that their mother gave birth to them. My most memorable times were the 90's. It just felt that everyone was on the same page and there were no real divisions. So many great bands like Subversion, Rupture, Drawback etc. That was before hardcore

got cool. The worst time was that whole Bleeding Through, Prom Queen, Hot Lies thing... Eye liner and Good Charlotte tattoos.. I bet Darby Crash and Pig Champion were turning in their graves!

SPANKS: I have only really been kicking around shows since ’03 I started when TCE and Stronghold were all the rage – it was a good time then because those bands were really popular and all sorts of kids when to shows, it sucks that it all died off due to the over-saturation of metalcore the world was experiencing at the time, (and probably the insular nature of people in Adelaide). I think the scene now however, owes a lot to Ben Page and his persistence of putting on shows with new bands, through GR4F and Craterface during the “lull” you mentioned. It saw the birth of Maverick, Cant Relate, The Weight (then Ever Ready), Snake Run and Sledgehammer, and most of these bands have spurned on the punk/ hardcore scene in Adelaide that we see today.

PEE: Armoury’s sound is definitely old school. Where do the guys take influence from ,past and present? Who is setting the world on fire at the moment?

SHANNON: The Bad Brains, Cro-Mags, Poison Idea, Motorhead, Blood for Blood, Discharge, 25TL, Merauder, COT, Death Threat.. 90's Clevo bands like Integrity, Ringworm are the probably the biggest. Strife riffs are also etched into my brain! I grew up on Slayer, Sepultura, Exodus and 80's thrash.. Old Boston bands like Slapshot and SSD... I would also have to say that Give Up The Ghost, Bitter End, Blacklisted and Holy Mountain are recent influences.. Recently, I cant get enough of Death's 'Leperosy' album.. Nails, Harms Way, Everything Went Black, Young and in the Way and Ghost!!!

SPANKY: In a lot of our new stuff, I draw heavily from Strife and Integrity, two of my favourite hardcore bands from the 90’s, in the newer stuff I am working on I'm hoping to incorporate a bit of Crust/d-beat and early 80’s Death Metal, as I haven't been able to stop listening to bolt thrower and a bunch of modern crust bands lately (Disfear Tragedy, etc).

At the moment I cant stop listening to Kvelertak, but that has nothing to do with Armoury, and if it does - let me know, because it definitely isn't our sound but I cant get enough of it.

JULES: Slayer .

PEE: Between the 5 of you there must be some absolute crackers hiding in your record stash’s. What are the most prized gems lurking in your collections?

MATT: Insted bonds of friendship original pressing. Crossed out/ drop dead 5 inch spilt. No for an answer you laugh ep. Earth crisis all out war 7 inch.

JULES: First 2 albums of Danzig and The Mark of Cain on vinyl. Acme, Massappeal, Price of Silence vinyl and a bunch of 90's hardcore 7"s.

SPANKS: Bolt thrower E.P – In Battle their is no Law, Crowbar - Broken Glass.

SHANNON: I'm Jealous of Matt having the original 'Step On It' by Slapshot... I have Ringworm's 'The promise' on urine coloured vinyl PEE: Cro Mags, Bad Brains or Integrity???

MATT: Bad Brains JULES: Bad Brains SPANKS: Madball.

SHANNON: Poison Idea TIM: Integrity PEE: Cheers for answering my poxy questions guys. Any last words you wanna add?

ARMOURY: Cheers Macca

Matt - Vocals Tim - Bass Shannon - Guitar Jules - Drums Liam - Guitar

facebook.com/armouryfearnone

Interview by: Pete Pee Photos by: Jesse John Hunniford

Hobart melodic punk rock band Your Demise independently released their debut full length album ‘Brothers In Arms’ in March this year, an album that seemed to be years in the making. With their catchy song “Another New Year” featuring on this issues sampler disc I bugged guitarist and vocalist Patrick Marshall to find out more about the bands new record and more melodic sound, and what it’s like sharing your band name with another quite well known Your Demise...

In your own words how would you describe the sound of Your Demise to someone that hasn’t heard you before?

Take some Hot Water Music rock and roll, some Lifetime double time and some late 90’s emo and you are getting pretty close.

You share your band name with another quite well known hardcore band, has there been any issues arise from this?

I believe the UK YD formed around about the same time as us in 2005. At the time they didn’t have a large profile and we had never heard of them. Since then, to put it simply, they have become huge. To be honest it isn’t ideal, we often get the same remarks “did you know there was another Your Demise? They have film clips and play at Soundwave” A week before the release of our album we were actually contacted by their extremely rude management asking us to change our name. They couldn’t comprehend that it wasn’t possible for a small self funded independent band to immediately reprint our new album / merch with a new title. We haven’t heard from them since, so we’ll see what happens.

I had a feeling you might say something like that as I've heard a few Aussie bands on the receiving end of rude emails and threats from foreign bands with the same name. I guess you're lucky they haven't abused you then shut down your facebook and bandcamp pages like Brisbane band Travels (also interviewed in this issue) were on the receiving end of! I don't know about you but I personally feel the days of only having one band in the entire world being aloud to have a particular band name are

long gone. I don't get upset when I meet other guys called Pete!!

Wow that's totally crazy, lucky for us it hasn't come to that yet. It seems now that the band with more fans has the power and for some reason the right to ownership of that name. Starting a band and generating a fan base is no easy task, and to have to basically reset your identity like that can be really detrimental to the development of the band.

How was the recording of your new full-length album “Brothers In Arms”? There seemed to be quite a lengthy gap between the release of your previous EP “This Road Takes Me Home” and the album, or did it just seem that way?

It was quite a while, 3 years in the end. I guess we’re not the fastest song writers so it actually took as a long time to get the right bunch of songs together. We all work full time jobs so the band always has to work around that. The recording itself was quite staggered, with all the guitars, bass and drums being tracked in a week, and then the vocals and backing vocals staggered over a few months. We’ll try not to let it take so long next time.

There’s a notable progression in your songwriting since the EP and your music seems a lot less aggressive now. Was there anything you guys have deliberately set out to do differently on the album to achieve this new sound, or was it just the bands natural growth bringing the new punk sound?

I guess it’s a natural progression of Your Demise.

When we first started out, we were heavily influenced by bands like The Scandal in Hobart.

They played so fast and so hard and we really wanted to fit in with that scene I guess. Since then we have learnt that a song doesn’t have to be flat out for it to be good, and changing tempos up can make the faster songs have a much greater impact. I always hated it when my favourite punk bands stopped playing fast, but I guess as you grow your musical tastes grow and you don’t want to always be playing the exact same style. But I promise we will never stop playing fast.

How has the feedback been for the record so far? Are you happy with the finished result or

are there things you now would have liked to do differently?

The feedback has been really positive which is great. When you put so much hard work into something like this it is always nice to know that at least some people appreciate it! I think the album perfectly captured where the band was at that point in time, and I think it sounds like an honest representation of the band. I wouldn’t change anything.

Do you still listen to the album? Or do you tend to shelve a release once it’s out and move on?

I haven’t listened to the album for a while. We gave it quite a few spins when we got our hands on the final mix but you tend not listen to your own music, there are so many other bands to try and keep up with and so many new ideas to explore.

The zombie pirate artwork’s great...

Our good mate Lucas Walker from Ballpoint / Ride The Tiger created the artwork. He had previously came up with a zombie pirate poster for a show down here (completely different design) and we asked him to try and work with that theme. We feel the front cover really works well with the album title, and let’s face it, zombie pirates are cool! He did a fantastic job and put a lot of hours into the artwork.

How are things in Tassie these days? Is there a strong scene and punk community still? It’s been a while since the thriving Tassie scene had the support of the legendary and now defunct label Disconnect with bands like Stand Defiant and The Scandal consistently playing shows and putting on tours…

Yeah I guess bands like The Scandal and Stand Defiant have moved on, but some of those guys are playing in new bands down here like Ride The Tiger and Wolfpack. The scene has definitely changed since those glory days but Luca Brasi have basically rejuvenated the whole scene. The amount of people those guys pull to a show is phenomenal, and things always get supper messy.

Hahaha Ok, so what would be the biggest misconception about the Tassie punk scene?

I'm not sure what the biggest misconception of the

Tassie scene is, perhaps a lot of people don't even realise Tassie has a scene. There are some fantastic hard working bands down here. The Tassie crew also has a bit of a reputation of being a bunch of drunk hooligans, but the number one thing all those people are at the pub for is to support the bands and enjoy the music.

Do you think the distance [ocean!] between Tasmania and the mainland has anything to do with the amount of awesome punk bands to come from down there over the years? A little like how the isolation of Perth seems to feed an awesome breeding ground of killer bands...

I think that separation definitely influences the song writing of the local bands. It seems perhaps the bands spend a long time down here honing their skills before they even head to the mainland. So by the time they tour they already have a really polished sound. The separation seems to motivate a lot of bands who want to prove that the distance isn't a big deal, and just because the band is over the other side of the ocean, doesn't mean they can't still make in roads in the mainland scene.

So what separates a good show from an average one for you guys?

I guess a good turn out always helps. A solid crowd always brings so much energy to a show, and it’s really easy to feed off that as a band. It’s always nice to play with bands you love so whenever we are on a bill with Luca Brasi or Ride The Tiger we are happy.

You’ve done your share of touring over the years, what’s the dumbest thing you’ve seen at a show?

Things always seem to get pretty retarded in Launceston, where do you start…people jumping head first of PA stacks, shoeies, people smashing glasses into their heads, you know, just the usual.

What’s next for you guys? Any new recordings or tours on the horizon?

We are looking to do a lot more touring on the mainland to support this release. We want to get over as much as we can. Once we have polished off some new material we will look at putting something out, maybe something on vinyl would be cool.

Thanx for your time mate, any last words or folks you wanna thank?

Big ups to anyone who has picked up a copy of the album, we are truly thankful to any support we get and a massive thankyou to PEE of course!

Andrew Turnbull - Bass/Vox Clinton Flood - Guitar Danny Flood - Drums Patrick Marshall - Guitar/Vox

facebook.com/yourdemiseband

Last June I had the absolute honour of releasing the “Recovery” album of Swedish hardcore champions Anchor here in Australia with the hopes that it would encourage the guys to sit on a jet plane for an entire day and tour our beautiful country. After months of planning, hundreds of emails (over a thousand I’d say!) the band arrived in Brisbane on 29th February 2012 to begin their first Australian tour! Towering vocalist, frontman and all round nice guy Claes kept a tour diary during their visit for us to print. A massive personal thanx to each member of Anchor for making the effort to get down to our shores, huge thanx also to Buf, Zaca, Adz, Chris, Daniel, and Colby for all their input and making this tour possible.

29th February. Byron Bay Flew into Brisbane in the morning after spending about 30+ hours on various flights from Scandinavia. Tired and psyched beyond belief. Me and Fredrik got through the border without any hustle to meet up with Zaca from Promises, Buf (our driver for the first days) and Carl from ANCHOR who had been in Australia for a few days. First show the same day in Byron Bay with Trapped Under Ice and Relentless. Awesome venue and lots of kids. The city or village lying just on the coastline was just awesome. Felt pretty unique. For being the first show we played ok but nothing special. Just stoked to rock out on a new continent.

1st March. Brisbane Woke up 6 in the morning and couldn’t sleep. Some of the others where up as well. Having a hard time adapting to the Aussie clock.

We stayed at the Gold Coast with Zaca from Promises, he lives 300 meters from the beach. I loved that place from the first minute I got there. For the next 6 days I would start every morning with going to the beach for a run. First day I brought my phone for music / "I think I’m lost" calls. However my phone got wet from my sweat and died for the rest of the tour and I got lost and struggled for an extra hour to get back. I burned myself pretty bad. Not that I cared to much. We’re in Australia and whatever happens still happens in Australia which is just enough to make me enjoy it. We played Brisbane that night with Promises, Driven Fear and some other local bands. An ok show, we where better then the day before and we had a good time.

Some desperate party dude offered Mattias 50 dollars for his jeans to get in to a club, in return Mattias got his shorts.

2nd March. Brisbane Pretty much same stuff going on as the day before. Went out for a run. Went to the beach for some body surfin’.

Checked out a little bit of Brisbane. Played with Trapped Under Ice and Relentless at this place Between The Walls. Really cool venue and lots and lots of kids. We had cool show and I felt that we where into the tour. Trapped Under Ice had a crazy show. I guess we all where blown away by how tight and heavy those guys are.

3rd March. Gold Coast Bar show with lots of people and just local bands. Really liked this show. The Gold Coast scene was really cool. Promises and Driven Fear where super good and got a really nice local support. Everyone had Hawaii shirts except us who where the stiff Scandinavians without humour, or at least that was how I felt at the time.

4th March. Sunshine Coast Rain over Queensland and Sunshine Coast. A little bit of a bummer but still super warm of course. Did my running, me and Fredrik went to the beach to do some bodysurfin'. Loving life and the tour. The show was really cool, one of our favorites from this tour. Small place. Floor show. No air. Lots of bands. 2 hour drive which was the longest so far.

Staying every night at Zaca's place in Gold Coast. The best.

5th March. Day off Gold Coast Waking up at seven as always. Getting Breakfast and Facebook. Doing some running at the beach. Getting a second breakfast. Doing some bodysurfing. Just the daily routine when you stay in Gold Coast. At afternoon me and Fredrik took the car and went to the wildlife sanctuary to hang out with kangaroos, Koalas, Tasmanian Devils and other super rad animals. I don't think neither me or Fredrik have words to express how much we enjoyed being there with all this animals. Especially the kangaroos. They where beyond anything else I've witnessed before. Had a pretty serious photo session at that place. Every time I get close to animals I get reminded of why I feel the way I do about this world and our barbarian relationship towards animals. You must either be greedy or selfish to ignore that these creatures are smart, funny and very emotional just like us. And that the may just enjoy the company of two Scandinavian gents with smiles bigger then their actual faces!

6th of March. Day off Brisbane All of us went to get tattooed by Feroze Mcleod at Bespoke Electric Tattooing who just moved to Brisbane from Singapore. He did four pieces in like 8-9 hours without any breaks and barely no food. His work was pretty got damn Impressive as well. I got an owl, Ulf a bird of some kind, Carl a rose on his knee and a X on his finger and Fredrik got an Kangaroo with boxing gloves. No joke.

7th March. Newcastle.

Got up early and went to Newcastle. Casey from Promises drove the whole way there. 10 hours or something. Played a bar show for some hardcore kids and lots of average Joe's. A fight broke out during on of the first bands. Fuck bar culture. One Vital Word played, really cool band a good vibe. Meet up with Adam who would be drive and take care of us for the next couple of days. Super organized dude. Big plus in the Anchor crew when you got all your info straight.

8th March. Sydney Got up early to have time for tourist stuff in Sydney. It did rain in the beginning which kinda sucked a bit but it was still really cool to just enter Sydney. Adam showed us that crazy Opera House and stuff like that. We went to the beach as well. Waves where huge. At least for us they where. Played at Hot Damn! which is just as Hardcore as it sounds. Teenagers dressed up as cowboys and Indians giving all they got to get as drunk as possible. Very impressive and just exactly like home but warmer. There was some cool hardcore kids coming out as well. I really liked Promises set that night. Pissed of and fast. We had a overnight drive in front of us and apparently some roads where flooded so we had to add some extra miles. Turned out to be about a 14 hour drive. We saw a free kangaroo jumping over the road so it was worth it. Beautiful creature not giving a fuck about us. Loved it. "Did you see it, did you see, did you see it?"

9th March. Adelaide Got to Pete from Pee Records’ little castle in the afternoon. In pretty good shape I must say after the long night! Hang out, showered, flooded the bathroom, left for the show. Got some vegan fast food in the city. Relentless and Trapped Under Ice were on the bill so quite a big crowd. We played ok I think. Trapped Under Ice destroyed like every other night we've crossed paths on this tour. Another overnight drive to Melbourne. One overnight is cool, two can be cool if you got a comfy van, but in a 7 seated car. Hell no! Somehow we did pretty ok though, I guess our hero Adam had to take the big hit again. I don't know, I my have fallen asleep on my watch for the second night in a row. Such an asshole for a shootgunner.

10th March. Melbourne. Break the ice Fest.

We got to Adams place early in the morning, beds had been prepared by Adams girlfriend so we went to sleep straight away for a few hours. Had to be at the venue at noon. This show had been one of the ones I had been waiting for the most on whole tour. First venue sold out quickly and even this one sold out. 600 tickets. Aussie hardcore lives!

No wonder though with bands such as 50 Lions, Hopeless, Phantoms, Warbrain, Relentless, Trapped Under Ice and probably some more rad ones that I forgot. Got to hang out with our old tour buddies Carpathian and our new favorite band, Hopeless. Good times! The show in it self was just amazing. We played early on and I felt we where really good that afternoon. After the show some of us went to the Lord of the fries, me and Carl had already been there so we went to yell at some friends at the Sea Shepherd ship Steve Irwin who had docked at pier close to Adams house in Williamstown.

11th March. Perth. Travel day.

Flew to Perth early in the morning. Got picked up by cool local kids. Super warm. Went to sleep for some hours. Packed the crew in and went to the beach to take swim in the Indian Ocean. Rad. I went for a run at night when we finally could breath outside.

12th March. Perth. Day off.

I guess we didn't do to much this day. Got Oreos. Ginger beer. I tried to do some work out outside in the shadow. 41+ just make it a lot harder. Riding a car through is just so awesome, this city is amazing. I love it. Through the whole tour everyone told us that if we liked Australia, we would love Perth, which was totally true.

13th March. Inglewoods..

Went through the city, checked out some cool local vegan store. Got food and desert. Me and Ulf got haircuts. Mattias and Ulf did an radio interview while the others of us went to see some epic spots of the city. Played a bar. Pretty cool show. An ok amount of people.

Think we sounded pretty good. Went back home to watch a couple of episodes of Whale Wars. Having a good time with the crew we are staying with.

14th March. Maylands House show. Maybe this was my favorite of the Aussie dates. Awesome little place packed with a cool crowd. Our little secret society happening while the outside world already sleeps.

Lots of cool bands that night as well, such as Negative Reinforcement. We got back early and watched Whale Wars, well some of us did and some us went to sleep. Good times!

15th March. Perth Last day in Australia. Felt pretty said, we all fell in love with this place. Went to the beach, packed our stuff. I did the mandatory running and watching episodes of Whale Wars. We played at Oh Snap! where we had to give away our finger stamps to get in. I'm putting it out there nicely if I say that the guards where assholes. They would later on throw a kid out of the club for entering the stage and singing a part in a song. (which was a part of the bands set) Since he didn't have an artist pass the guards entered the stage and pulled him off and threw him out. Other than that the band was really cool and heavy. We had a good time with the crew who we had been staying with for five days. We went to the airport later that night, flew out to Bangkok for crazy week in South East Asia. Cannot honestly wait to get back over there. To play with ANCHOR or just hang out, doesn't really matters. Aussie got a place in my heart since that tour.

Best/ Claes facebook.com/anchorofficial peerecords.bandcamp.com/album/recovery

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have just been revealed to a walkman and put in the first cassette they could find (which fortunately was Gorilla Biscuits). I’m not one to complain about this, but if an outfit wants to reignite this blast from past, it should in all honesty be done by the pioneers themselves. Sorry Alfatec, a solid swing but unfortunately a miss too.

AITCHES - Stay In Bed (Independent) CD

ALKALINE TRIO - Damnesia (Epitaph) CD

Melbourne quartet Aitches has delivered a great debut with “Stay In Bed” delivering 15 tunes across 33 minutes of mid-90s style melodic punk in the vein of Bodyjar, latter Seraphs Coal and Pulley.

Songs like “Begin Again” and album opener “Trouble” bring a smile to my face, reminding me of the great bands that got me into punk music in the first place. Other highlights for me are “Da Bears” and “Chinese Whispers”. I’m a fan of Brad’s (who, according to the accompanying bio, was a member of Game Over, for those who take an interest in that stuff) unashamedly Aussie vocals, which aren’t dissimilar to Thinktank’s Darren Thompson. Also, I should mention the great artwork. Who isn’t a fan of the ol’ car-shaped beds?! Only small complaint is it would have been great for lyrics to be included, but it’s a small gripe for such a great debut. Fans of melodic punk will dig this, hit the guys up at aitches.bandcamp.com and see for yourself.

The much loved punk trio from Chicago offer up “Damnesia”, an acoustic performance of their greatest hits, which is basically Alkaline Trio’s ‘Nirvana MTV Unplugged’ moment without the cameras or the audience.

The cynic in me struggles to understand what would drive a punk band to release an acoustic album of their hits. Perhaps Alkaline Trio wants its songs heard in a different light? Having said that, I really hoped Matt Skiba would have learned from his pedestrian performance on the split with Kevin Seconds. The guy is a great punk rock frontman but he doesn’t have the chops to do it in an acoustic setting when vocals are in the spotlight. Opening with “Calling All Skeletons”, the guys sound like a second-rate Mariachi El Bronx and “Nose Over Tail” was simply bland. It wasn’t until “This Could Be Love” where some promise emerged. A3 slows things down, gets all sombre then adds piano to the mix and all of a sudden “Damnesia” seemed like an inspired idea! Instead of an acoustic album, a song has been recreated and is better for it. Unfortunately, that song was the exception rather than the rule. Dan Adriano’s songs fare better than Skiba’s, simply because he has a great voice. “Every Thug Loves A Lady” (a song I didn’t like in its original incarnation) is actually improved in an acoustic setting. Closing track “Radio” was alright, but given what the band had to work with, it was never going to be terrible; having said that, I like HWM’s version better than this acoustic version. I’ve given “Damnesia” many spins and the biggest problem I can find is the track selection.

Including tunes like “Calling All Skeletons”, “We’ve Had Enough”, “Mercy Me” and “Private Eye” didn’t help Alkaline Trio’s cause. You didn’t see Nirvana trying to turn “Negative Creep”, “Smells Like Teen Spirit” or “Breed” into acoustic tunes. A square peg will never fit in a round hole. On the other side of the coin, where was “Aurora”, “Maybe I’ll Catch Fire”, “Bleeder” or “I Lied My Face Off” in this lot? Smarter song selection and a willingness to really experiment with them could have made this one a winner.

RATING: 76

REVIEW BY: NO SHOW

ALCATRAZ - Smile Now Cry Later (Arrest) CD Here you have straight up, bouncy, tough guy hard core taking heavy cues from heavy weights like Terror and Agnostic Front.

San Fran’s Alcatraz dish up 20 tracks of dance floor mosh anthems. I ain’t really too sold on this though to be honest. I lost track of how many times I heard vocalist Justin yell ‘fuck off’ and ‘get fucked’ and found it to be pretty piss weak lyrically throughout. Tired, cliche’d beef cake songs about your usual over worked hard core themes. No doubt at all these guys can play well and the experience of various members in bands such as Set Your Goals and First Blood is testament to this.

Having said that, I fricken hate Set Your Goals and can’t say that First Blood ever really got me too excited but I did give em the occasional spin back in the day.

Yeah, yawn yawn, pretty mediocre gear here. Might be enough to satisfy you driving home from work on one of those days where everyone has pissed you right off but generally speaking I reckon this is boring, meat head crap that will probably find top position in the record collection of the try hard tools who show their heads and well rehearsed moves at shows and spin kick (if they can get their chumpy unfit pins to move) your fresh pint of pale out your hand or windmill some poor chick in the face when the first break down hits.

With a track list featuring ‘Get Fucked’, ‘Fuck Off And Die’, ‘Shit Happens’, ’Coward With A ‘C’ and ‘Own The Show’ you should have a good idea what to expect.

Fuck off and get fucked.

RATING: 50

REVIEW BY: MACCA

ALFATEC - S/T (Independent) CD There’s not really a lot of information to be found out about Alfatec, they are Italian again and play late 80s early 90s American Hardcore crossed over with Skate Punk. As for staying true to this scene of early pioneers, this quartet has definitely found that exact rawness from back then and respectably so. Politically driven and quite disillusioned about this, there’s no doubting that there is a lot of passion fuelling the members of Alfatec. However, unlike a band paying tribute to this era and awakening the world to the yesteryear of this music, with this four-piece it more-so feels like they

RATING: 59

RATING: 54

REVIEW BY: WILLY-O

REVIEW BY: NO SHOW

ALLS FALLOW - Bit Punk (Independent) CD It’s hard to know exactly what to make of Alls Fallow.

As I sit here listening to the Sydney three-piece’s demo Bit Punk, the only thing that really stands out to me is how featureless their music generally is. While the group definitely appear to be proficient in the crafting of tight and melodic skatepunk, lead vocalist Simon unfortunately never quite manages to make his presence felt. This wouldn’t be that catastrophic of a problem, except for the fact that Alls Fallow never really seem confident enough to take any chances instrumentally either; everything feels a bit softly softly and by the numbers. While it is clear that the group have the chops and the potential to create something interesting and unique, they do not appear to have had enough time to fully develop their own sound and musical identity yet. Only time will tell whether this situation will turn around in the future and force me to eat my words.

RATING: 50

REVIEW BY: WOODY

AMPERE - Like Shadows (No Idea) CD Being unfamiliar with Ampere, I must admit my initial reaction to the opening track wasn’t a great one.

Ampere hail from Amherst, Massachusetts and play a pretty popular style of chaotic noise. Not unlike Converge, Dillinger Escape Plan, The Jonbenet, Unsane and others similar, these guys play an intense

blend of chaotic hardcore punk with ever so subtle melodies and an intense amount of emotion. For me it’s a brutal style that requires your full attention when listening or else you risk becoming lost in what it is the band is doing and where the music is, and then it can quite easily become a barrage of chaotic riffing, cymbals and seemingly out of time drumming.

From a little research, it appears that ‘Like Shadows’ is the bands’ debut full length, after several 7” releases.

Having formed in 2002, this release has o no doubt been a long time coming. With 15 tracks in total and the duration of the release coming in at just over 13 minutes, it’s easy to figure out song structure. This is a good thing though, of these tracks were any longer, I doubt I would make it half way through the release. As it stands, ‘Like Shadows’ is a decent release; straight to the point, intense and chaotic screamo, or whatever this style is referred to these days. It sounds great and production is near perfect, capturing every element of this band as it should, enabling the listener to appreciate some amazing musicianship needed within this style of music… impressive.

RATING: 77

REVIEW BY: JOHN MEANtime

ANCHORED - Time Will Tell (Independent) CD ‘Time Will Tell’ is this Perth bands’ debut release. Anchored formed back in 2009 and this release is telling of a band with conviction and intent.

Sounding similar to bands such as The Ghost Inside, Hundredth, August Burns Red and at times Confession or Comeback Kid, this band has had something special bottled and maturing these past couple of years. Featuring 5 huge tracks, ‘Time Will Tell’ opens with the track ‘Wolves’; an epic track itching just over 6 minutes, but encompassing all that the amazing band has to offer.

Musically Anchored is intense and with subtle heavy ambience, melodies and contagious riffs. This track is brutal and pummelling in parts, all with the elements previously described, and all blend so perfectly.

Vocally, front man Jesse has an amazing voice; course and harsh, intimidating but not overpowering.

Its lends a perfect amount of emotion and raw edge without overshadowing or drowning out all that is within the bands’ sound and style. Already from this opening track, it is evident there is more depth to this band than previous comparisons. Track 2 ‘Through The Glass’ begins with intensity, subtle melodies, huge breakdowns and introduces the depth and layer of brooding and darker rhythms from underneath. The result is something special… songs written and structured intricately and perfectly. This track also makes use of a great sample in its beginning. More great samples can be found throughout the EP. Without going into too much detail and resisting the urge to really rave about this EP, there is no doubting this band will be huge locally very, very soon.

Anchored have drawn from great influences and utilised vital elements to produce a huge hardcore sound. Not scared to use melodies, alternating vocals, immense breakdowns and pummelling rhythms; all of which I am certain you have heard a thousand times before; Anchored combine all with precision and conviction, producing a far more impressive and intimidating result. Would love to see these guys deliver these tracks live and definitely looking forward to whatever comes next from this band.

RATING: 98

REVIEW BY: JOHN MEANtime

ANTI-FLAG - The General Strike (SideOneDummy) CD When the Bright Lights of America was first released back in 2008, it seemed that Anti-Flag were a spent force in the punk scene.

Tainted by a sense of selfabsorbed grandeur and major label money, many duly wrote the group off as just another band destined to slowly tarnish the good name they had spent so long building up in the underground. When The People Or The Gun dropped

the very next year, the change was dumbfounding; gone were the children’s choirs and superfluous string sections, and back were the biting socio-political lyrics and furious punk rock power chords. For those wondering whether that record was a one-off return to form, never fear, because The General Strike picks up exactly where The People Or The Gun left off.

Squeezing 12 muscular tracks into a very svelte 27 minute run time, Anti-Flag make sure not to repeat the mistakes of the past by trimming all of the unnecessary fat from their music. While the folk-punk undertones of their last record are gone, the group continue to (modestly) incorporate outside sounds into their repertoire, including a pretty earnest attempt at post-punk revival on “This Is The New Sound”.

Elsewhere, the group retreat to the hardcore punk of their early beginnings, with “Controlled Opposition” and “Bullshit Opportunists” ranking amongst the most vicious tracks that Anti-Flag have ever put to tape. At the end of the day, The General Strike is a straightforward but uncompromising slab of timely political punk rock that finds Anti-Flag once doing what they do best.

RATING: 80

REVIEW BY: WOODY

ARMOURY- Fear None (Independent) CD This review is actually way overdue and only missed out on being included in last issue by a week or so, so here tis at long last. Fear None follows on from Armoury’s ripper demo and sees the band not only with an altered line up but also a fuller, meatier sound. This is due to the addition of Spanks as second guitarist and results in a few tracks off the demo being reworked (‘Your World Dies Screaming’ and ‘Dragging The Wounded’). As I said in my rant about the demo a number of issues back, these guys are no newcomers to the Adelaide hard core scene and have been busting out quality jams in a number of killer bands of the last 15+ years. Straight up, darkened, old school hard core punk is what you get here. The gang vocals are way more evident here than on the demo and definitely add to the overall improved sound. There’s a few deliciously succulent Cro Mags/ NYHC riffs splattered throughout, one of which appears in one of my personal highlights ‘You Sink On Down’. In all honesty the whole release is shit hot and is rounded out nicely at 9 tracks , ending with a great cover of Slapshot’s ‘I’ve Had Enough’. Get in touch with the guys at facebook.com/armouryfearnone to get hold of a copy. If you get into Bad Brains, Cro Mags, Mindsnare, Integrity, 80’s Boston hc, NYHC, Price of Silence or FF9 take note : This is quality ,raging hard core you all need to hear.

RATING: 97

REVIEW BY : MACCA

ASHES OF BETRAYAL - First World Collapse (Strikedown) CD Militant, vegan, straight edge metallic hardcore out of Italy is what beats you senseless when Ashes of Betrayal’s ‘First World Collapse’ is on rotation.

These guys are brutal.

Definitely more metal on the music side of things they are still one of those bands that cannot be removed from their hardcore tag. The lyrics are extremely issue conscious in their nature, regardless of topic and are delivered by a terrifyingly coarse, blood curdling roar by vocalist Giopy who sounds like a mutation of Earth Crisis’s Karl Buechner, Arch Enemy’s Angela Gossow and Walls of Jericho’s Candace Kucsulain. Scary as. There’s an intro and an outro either side of the 5 tracks that are First World Collapse, one of the most savage releases that Pete has flung my way to review. Yep, this is all out war.

The nineties/early 2000’s had more of this sorta stuff kickin around and along with fellow Italian flag bearers Purification, Ashes of Betrayal are still keeping it alive in 2011/12. Definitely more of a crossover band, these guys would be just as at home playing with metal bands as much as hard core bands. My pick of the bunch is ‘Vengeance’ with it’s ‘Angel of Death’Slayer style riffs and the ‘Breed The Killers’ Earth Crisis-ish

roar. The line “Everything comes home to roost” really had me looking through the booklet to see if it was indeed Karl of E.C. but i couldn’t find anything of the sort. I’m definitely giving this ep the thumbs up but i can assure you it’s not one to put on at your next barbie. With Earth Crisis’s best days faaaar looooong gone, check this bunch out.

RATING : 83

REVIEW BY: MACCA

BATEMAN - Ultra Violence (Slippery Slope) CD Only seconds into opening track Fangbanger and already this Melbourne quintet are wearing a mask of disguise and elusiveness, this writer was instantly confused by the early Nintendo console sounds wh i c h c h a r me d my eardrums three seconds in. A slowly ascending and matching sleazy southern guitar riff follows along this video game introduction then similar to how a cannon fires, so does Bateman 23 seconds in. Lucky I wasn’t to comfortable or I would be definitely in need of new underwear, but that’s not necessarily a bad sentiment.

Quite brilliantly the five-piece have very naturally combined some very impressive influences to become a very original act in this short four track EP. Every Time I Die are clear favourites for these Victorians (but can you blame them?) but throw in a bit of Maylene & Sons Of Disaster, The Chariot, Cancer Bats and some slight hints of Poison The Well with just a bit of an occasional breakdown for good measure, plus a filthy Australian accent this roughly equates to Bateman.

Whilst they are far from leaders of this Noisecore minor revolution in Australia (see: Safe Hands for one), they have left a solid impact with ‘Ultra Violence’.

We need more than 14 minutes you self-proclaimed offenders, and some touring too.

RATING: 83

REVIEW BY: WILLY-O

BEGGARS - S/T (Chorus Of One) VINYL Beggars are a Chicago based 4 piece whose sound is strikingly similair to that of traditional Gainsville punk bands.

There is also a slightly heavier edge present at times which puts the band in more of a hc pigeonhole. The first track on this 4 track ep ‘Get The Hint’ is an absolute corker that strikes the same nerve as that which the epic ‘Alachua’ from the mighty HWM album ‘Neverender’ does. Both of those tracks give me goosebumps.The vintage sound, the heart wrenching roar and the melodic catchiness just works like nothing else.

‘Forward’ takes a slightly gruffer and aggressive approach whilst still maintaining the raw passion that makes the previous track so good. Yep, i’m diggin this stuff. ‘Wasted’ definitely has an angsty hc approach that echoes moments of Fugazi comparison. The overall sound quality of the recording definitely isn’t the best. It is a fairly dull, muddy sound but neverless still listenable. Luckily, the band have enough shred to carry through a fine product. I’m pretty bloody stoked on my first encounter with Beggars and being only 4 tracks on offer here I’m keen as to see where they head next. Chorus of One have an ass kicker of a band here and i can solidly recommend this small offering to anyone who gets into the raw, gravelly, bearded type of 2000’s melodic punk. I’m off to spin ‘Get The Hint’ again. Buy this, buy this ,buy this. The first track alone is worth the piddly pocket change price that this 7” can be yours for. Available through the Pee webstore NOW.

RATING: 93

REVIEW BY: MACCA

BLAME IT ON THE OCEAN - Ruins (Strikedown) CD The bands’ name Blame It On The Ocean almost leaves me thinking I am in for an emotional melodic metal onslaught similar to that of As I Lay Dying, In Fear And Faith and others with similar band names.

However, I was shocked as the first song played and ‘Ruins’ opened with some intense dark and heavy hardcore. Bands that immediately came to mind in comparison were The Banner and Melbourne’s own Fallout (circa 1990’s). Blame It On The Ocean play flat

out, pummelling and intense hardcore. It is blistering for the best part with shredding riffs, shuddering base lines and flat out drumming. Vocally it borders on high pitched “black metal’ screams but with enough tone and mood to carry this intensity and dark brooding sound and style. With 6 tracks in total, the duration of this release is a disappointment. Most tracks end before the 2 minute mark, but fortunately the stand out and last track ‘Runaway’ persists past 3 minutes and reveals much more to the bands’ sound than the previous tracks. For an EP ‘Ruins’ is gripping and compelling. This bands’ sound is haunting, yet so aggressive, fast and intimidating all at the same time.

Reminds me of an older U.S. band called Closer Than Kin… intense and incredibly impressive.

RATING: 98

REVIEW BY: JOHN MEANtime

BLAZIN’ ENTRAILS - Los Barstos (2Fast4Love) CD Perth rockabilly trio Blazin’ Entrails has returned with “Los Barstos”, a six-track EP which follows on from its self titled effort (which I rated 71 in a previous issue of Pee). This time around, the main concern I had with Blazin’ Entrails has been rectified, as the vocals aren’t buried in the mix and it sounds great. The overall production is leaps ahead of the band’s debut, giving a more ‘in your face’ result. Opening track “Flamethrower” is a ripper introduction and immediately catchy, as is the aggressive “Weekend At Birnies”. I’ve dragged out Blazin’ Entrails’ previous effort and this set seems to be more energetic, assured and infectious. One listen to “Switchblade” proves that, it’s a bloody good song with a great shout-along chorus. Even the primarily instrumental title track is a winner. If you have even a remote interest in rockabilly, check this one out, it’s good stuff.

RATING: 74

REVIEW BY: NO SHOW

BLOOD COMMAND - Hand Us The Alpha Male!

(Fysisk Format) CD Blood Command is a Norweigan hardcore trio and, as much as I’ve tried to get onboard with their six-track effort “Hand Us The Alpha Male!”, it just isn’t clicking for me.

Opening track “Summon The Arsonist” begins promisingly, but the vocals are the main issue for me. When Silje Tombre sings, Blood Command has an awesome Idle Hands vibe happening but, when she screams, it doesn’t work at all. The following title track suffers from the same inconsistency, as does the whole EP. When Silje sings or shouts, Blood Command sounds really good but, when she screams, it all falls down. Musically, Blood Command is great and I think if the vocals are kept a little more melodic, it could work out quite well for the Nordic trio. However, if Blood Command decides to persevere with the screams, I doubt I’ll ever be interested.

RATING: 38

REVIEW BY: BOB

BLOODSHED REMAINS - Countdown (Burnside) CD I first discovered this band when they toured Australia in 2011 off the back of their debut album. This year the boys have followed up with their sophomore release Countdown, and let's hope they get back to Australia as it has topped their debut by leaps and bounds. This is an album full of heavy goodness, it's a cohesive mix of tracks which will rip your face off with unrelenting energy, have you bouncing your head along to the grooves, or singing along at your piss ups

when a track comes on from your party playlist. The lyrics are kind of silly at times which made them more enjoyable for me, tough guy music that doesn't take itself too seriously is where it's at. Also the dudes are Austrian, so their ingrish is a little off at times which is funny. This is a great and versatile album for fans of Madball, Thick As Blood and Grave Maker.

RATING: 90

REVIEW BY: BUF

BLOODSHED REMAINS - Countdown (Burnside) CD Austria’s Bloodshed Remains began back in 2006 and ‘Countdown’ is the bands second full length. Consisting of 16 brutally quick and intense hardcore tracks, ‘Countdown’ is straight to the point and in your face.

Sounding a lot like Terror, Sick Of It All, First Blood, Madball, Hatebreed and others alike, Bloodshed Remains play a traditional style of heavy hardcore.

These guys are relentless, intense and brutal in their delivery. Breakdowns and gang vocals are thrown amongst the mix when they slow down enough from break neck pace and pummelling rhythms. Tracks such as ‘Fuck Your Words’ provide ample tempo to do a little 2 stepping, whereas others just provide the soundtrack to mosh. Bloodshed Remains ensure that all relevant aspects of traditional hardcore are on offer in their sound, and this provides subtle diversity and an unpredictable element to their music. If songs were any longer than they are on this release, there is no doubting that they would soon become monotonous and mundane. Written as short and sharp as they are, Bloodshed Remains have delivered ‘Countdown’ with conviction and intimidating intent. Lyrically and musically this is the massive angry man you fear bumping into in a dark street.

RATING: 89

REVIEW BY: JOHN MEANtime

BOOZE CRUISE - Moose Stuff (Independent) CD Canadian trio Booze Cruise has recorded 12 tracks of great uptempo melodic punk with “Moose Stuff”, which is ironic considering google told me their hometown Yellowknife is on the edge of the arctic.

Guess the boys have to jump around to keep warm!

Anyway, musically, imagine a blend of Lagwagon, fellow Canucks Youthinasia, Nearmiss and early Slick Shoes. If you (like me) grew up with mid-90s Fat Wreck records on constantly, you’re going to be all over this one. Opening track “In The Saloon Of A Sinking Ship” is a corker, first listen I knew I’d be a fan of these guys. What followed did not let me down. The ripping “I’m OCD” is my pick here (imagine Strung Out at their peak) while “No Big Deal” is another ripper. By no means is Booze Cruise reinventing the wheel, but melodic punk has ever been broken, so why the hell fix it?! If you want a fun album of melodic punk, go on a Booze Cruise.

RATING: 79

REVIEW BY: NO SHOW

BOOZED - One Mile (Chorus Of One) VINYL What the hell did I do wr o ng t o have th e misfortune of having to endure the pain of sitting through this piece of shit?

How a label like Chorus of One came to sign Boozed puzzles me. Surely it must have been an owed favour for a blood relative that just could not be turned down.

Yeah, my ears fried themselves when the needle touched down on this awful, awful piece of wax. My eyes were already tortured by the horrific cover art which depicts a turtle sitting on a road. Yeah, it looks a shite load worse than I can make it sound too. Man, this ‘bonus tracks’ version of ‘One Mile’ is even a gatefold lp. Someone stands to lose money on these beasts. Sort of stuff you see on ebay with a buy now price of $0.99 but no one still buys it because of the postage alone. The band logo has the Van Halen wings and is printed in bright red in a scarily similar

style to the revolting Aussie rock band Airbourne.

Boozed are an Italian band who play sickening cheese rock. If I had to list who I thought may have provided influence to Boozed I would include Diesel ,yeah the Johnny Diesel and The Injectors Diesel, some Keith Urban, yeah the Nicole Kidman Keith Urban, Jet, yeah the Rod Stewart haircut sporting retro douche bag band Jet and the post Michael Hutchence incarnation of INXS with that young crooner they got from Australian Idol or one of those rotten shows. This is torturous stuff to endure. Really nasty stuff. It’s a horrific blend of garage rock, country, 40’s, 50’s,60’s, 70’s rock and who knows what else. Lots of puffing, squeals, screams of things like “get down!” and “guitar!”. The band photo shows a bunch of pretty boys in leather jackets with Oasis haircuts, yeah the Noel and Liam Oasis that is. One dude has the flanny shirt and posed cigarette drag thing happening just to really toughen it up the image. If you wanna see these guys play live in Australia you might find em at A Day On The Green playing support to that guy Altiyan Childs from Australian Idol. Yeah, I know that’s the second time I have mentioned that show. I don’t watch it, somehow I picked up enough of it from the ads.

Definitely one of the worst things I have put myself through all year.

RATING: 1 ½

REVIEW BY: MACCA

BRIDGE AND TUNNEL - Rebuilding Year (No Idea) CD Having released a string of vinyl releases for No Idea over the past four years, Bridge and Tunnel have finally set about releasing their sophomore full-length.

Rebuilding Year builds upon the group’s previous works, mixing layered indie-rock with a punk aesthetic in a manner not very far removed from DC legends Fugazi.

It is a dense and complex work, shifting back and forth between listlessly floating and gruffly hardcore.

Something however is missing from Bridge and Tunnel’s sound; they can play their instruments well, they have a grasp of tonal dynamics far in excess of most of their contemporaries, and they have definitely proved that they aren’t afraid of pushing the boundaries of what can be classified as punk. But in doing all this, they come off sounding a bit distant, a bit too mysterious, and ultimately a bit too alienating.

Rebuilding Year is an accomplished record with plenty to offer for sure, but it is not something that I will be returning to anytime soon.

REVIEW: 55

REVIEW BY: WOODY

CARPENTER - Sea To Sky (Goldstock) CD Given that melodic rock is not a genre that I would normally venture very far into, it should be obvious that I had no idea what to expect from Sea To Sky. However, with a line-up which boasts members of All State Champion, By A Thread and Daggermouth, it is hardly surprising that Carpenter are hardly the straight up rock ‘n’ roll outfit they claim to be. Instead, elements of indie rock and melodic punk rock often sit alongside more traditional pop song writing, creating a sound which focuses heavily upon energetic, uplifting choruses and lean instrumentation. Case in point would be the record’s opener “Mean Things”, a track which sounds like the bastard love child of Rise Against and The Kooks. While it is true that the more hardcore-oriented of listeners are probably going to dismiss Carpenter outright, I am nonetheless sure that many punk fans will find something to enjoy about the group, even if it is only as a guilty pleasure in-between listening to Circle Jerks and Choking Victim.

RATING: 70

REVIEW BY: WOODY

CEREBRAL BALLZY - S/T (Cooking Vinyl) CD I’m not one who uses unnecessary coarse language but hey, lets face it, when I pull out four letter words it conveys how I feel pretty accurately as a result. When I first got this disc spinning I thought one thing. Fuck.

Yeah, I was already intrigued to check these young punks out after instantly recognizing the Raymond Pettibon artwork on the front cover. The dude

famously responsible for the iconic Black Flag cover art and also the infamous ‘bars’ logo has provided a piece that could very well have been included in the OFF! box set art portfolio.

Back to the tunes. Fuck. I wasn’t ready for anything as good as this. The second ‘On The Run’ kicked off I was all over it. Building from a tense spoken word introduction over an edgy ,hovering guitar bridge the shit explodes and launches into an urgent, all out thrashy punk assault that just gets faster and faster and faster. There is as much thrashyness in Cerebral Ballzy as there is trashyness. Move on a few minutes and you’re into the anti authoritarian onslaught of ‘Don’t Tell Me What To Do’ which instantly brings to mind any of Keith Morris’s bands present or past. Pure magic. These guys raise the middle finger high and definitely come across as being full of attitude, something which this album would not exist without. Songs about cutting class , skating, drinking, drugs, girls and not wanting to grow up can be quite spew worthy if not done right but rest assured they are more than well done here. This is punk for pure fun not substance. It’s arrogant, obnoxious and immature and I love every bit of it. I’ve read a bunch of reviews written by sour melons who have canned Cerebral Ballzy for ‘trying’ to be old school not only in music but what the dudes like to wear. Well, obviously the lads have a big thing for 80’s punk and hard core and their influence comes out in their overall package.

SO WHAT!!! Nothing worse than sour grapes in spite just because something is done way better than you like to admit. I’m tipping these guys to gain a lot of attention world wide in coming years if they last that long and even if they self destruct this album could be set to become a classic. Having been touring with Trash Talk and OFF! lately the word must be spreading. I’ve never given a perfect score before and there’s only a few records I own that I would give full marks to so I’m gonna give the very next thing. This album rules and these brats shred.

RATING: 99

REVIEW BY : MACCA

CEREBRAL BALLZY - S/T (Cooking Vinyl) CD Cerebral Ballzy have been getting a lot of attention in the press lately, with many touting them as a modern reincarnation of the Bad Brains. Such comparisons have proven to be horribly inaccurate however, largely because Cerebral Ballzy care far more about pizza, skateboarding and getting wasted than righting societal wrongs. Indeed, Cerebral Ballzy are far more reminiscent of RKL and early NOFX, both of whom similarly share a love for incredibly high tempos, power chords and adolescent immaturity.

When viewed in this light, Cerebral Ballzy’s self-titled debut can be considered an overwhelming success; its speed and thrashiness is like a shot of pure adrenaline, while its lyrics require little intellectual interpretation. Combined with its lo-fi production qualities, this is a record that is sure to please fans of both Oxnard hardcore and drunken circle pits alike.

RATING: 70

REVIEW BY: WOODY

CEREMONY- 6 Covers (Bridge 9) CD Covers albums generally don’t interest me much more than changing the oil in my lawn mower and are normally a boring affair resulting from a lull in productiveness whilst still maintaining activity. That’s how most come across anyway to me, hence my initial snobbery and general lack of interest in Ceremony’s latest release. After passing uninterested glances over it on the Clarity racks it ended up in my review pile , which suited me just fine. I had nothing to lose except 17:40 of my lifetime to get through one spin to make my call. I’ve more or less gotten into most of the Ceremony back catalogue and still rate

‘Still Nothing Moves You’ as a great record. Each of the band’s releases have offered something different to their discography whilst still maintaining their recognizable ‘Ceremony’ sound. The ‘Covers’ ep continues to stand alone in the continually yet marginally different string of the bands take on punk.

Looking at the cover and seeing the hundreds of artists (many punk, many not) that the band pay homage to you could be forgiven for thinking that multiple variations or a series of releases would come from this covering but alas! Just a sweet , simple 6 are what is here. I think this is rather smart play by the band. Had there been some 20 (or there abouts) tracks covered the initial reaction may well have been more ’bang for buck’ due to the quantity but all the while each inclusion getting lost in the blur and overwhelmingness of a bunch of tracks , largely by obscure bands, and becoming too much to take in resulting in a bit of an ‘ah, whatever’ reaction from the listener. The actual final result couldn’t be further from the truth. The ‘measly’ 6 tracks chosen here leave you wanting more, not a change of disc. Kicking off is a fantastic rendition of Urban Waste’s classic ‘Public Opinion’. If you don’t own a copy of this early 80’s NYHC ripper then I strongly suggest you hunt down a copy. Ceremony’s version of this track stays true to the original and is a highlight amongst a bunch of highlights. 90’s alternative gurus The Pixies get a leg in too, with ‘Nimrods Son’ getting the work out.

Another great track covered by another legendary band. 70’s Britpunks Crisis have their track ‘Holocaust’ done over followed by 80’s punks Eddie and the Subtitles track ‘American Society’. Obscure underground punks Vile provide their track ‘5 to 10’ from their now cult classic ‘Solution’ lp for the 5th place to be redone by the coverers. Lastly is another choice by a largely unknown band in today's circles, Wire.

Their tracks is the finale to the half dozen choice cuts picked for the ep. Short, quality and interesting song selection make this a surprisingly satisfying listen which as I stated earlier, keeps you keen and more importantly wanting more. A job very well done where others have failed miserably. Definitely worth getting hold of, the wax version is an even more worthy purchase (when isn’t it anyway) with its eye catching art. Don’t be fooled like I was before I heard this fine little dark horse. Get it.

RATING: 95

REVIEW BY : MACCA

CHASING GHOSTS - Confessions From A Phone Booth (Burn City Burn) CD “Confessions From A Phone Booth” is the debut effort from Chasing Ghosts, the folk outlet for former Bellevue frontman Jimmy Kyle. Vocally, this guy reminds me of Rob Thomas (of Matchbox 20 fame), which is not an insult by any means and Connor Oberst. Kyle’s strong vocals really carry this record, especially on tracks like “An Unanswered Telephone Is An Answer In Itself”, “Tips For Drowning Onself” (which would give Bright Eyes a run for its money) and “Restlessness Is Contagious”.

Unfortunately, there’s the other side of the coin, which is “Dead Man’s Bones”. This track features Tyrone from the quite decent Queensland band Mourning Tide but, unfortunately in a folk setting, it sounds like Kyle performing a duo with the Cookie Monster, or a misguided collaboration with Fucked Up. I was playing this record in the lounge room and the song made my wife giggle, which isn’t a good sign. Following that hiccup, awesome tunes like “Give Up! Hands Up!” and “An Unmarked Grave Of A Russian Dancer” get things back on track and overall Chasing Ghosts has delivered a bloody good folk record. I am eagerly awaiting album number two.

RATING: 71

REVIEW BY: NO SHOW

DAY ON FIRE - Apologies and Ghosts (Independent) CD So let’s get the obvious comment out the way straight up, just to avoid confusion. Despite having previously opened for both No Fun At All and The Flatliners, despite hailing from Adelaide and despite being featured within the mighty pages of Pee Zine,

Day On Fire are not a punk band in any way, shape or form; and nor do they pretend to be. Like some lost relic from the late 90’s/early 2000’s, Day On Fire play a brand of dynamic-heavy alternative rock which features bass so thick that at times you would swear they were nu-metal (although thankfully without the pitiful white boy rapping that characterised that genre).

While songs like “Emergency” and “Sleeping Dogs” largely sum up the group’s sound, it is “Machine Hearts” which really stands out as the album’s centrepiece; featuring reserved and soulful instrumentation, the addition of a fiery spoken word piece by none other than Charlie Chaplin blows the track into the stratosphere. Unfortunately, other songs like “If Yoda Doesn’t Like You, No One Does” are not quite so effective; not only is the title absolutely ridiculous, but the Chester Bennington-esque screaming adds little to the song’s purpose. On the whole however, Apologies and Ghosts is a decent album that serves as a good substitute for the lessthan-spectacular alternative rock which dominates the airwaves these days.

RATING: 70

REVIEW BY: WOODY

DEAD TO ME - Moscow Penny Ante (Fat Wreck Chords) CD The last time that Dead To Me released an album back in 2009, it was a vulnerable time for the group; the sudden departure of founding guitarist/co-vocalist Jack Dalrymple had left many fans wary of the musical direction that the band might take, so the last thing anyone was expecting was the creative tour de force that was African Elephants. With its experiments into dub, reggae and acoustic styles, it was a record created free of preconceived notions of what a “punk” album should be. It is for that reason that Moscow Penny Ante is such a disappointment. Rather than continuing with the creative evolution displayed on African Elephants, Dead To Me instead have produced a record which retreats entirely to the modern street/ skate punk sound of their debut, Cuban Ballerina.

While there is a certain simplistic charm to tracks like “Undertow”, Moscow Penny Ante largely comes off sounding like an exercise in satisfying the “punkerthan-thou” elitists who decried African Elephants for its originality. A much wasted opportunity from a band that can (and has) done so much better.

RATING: 55

REVIEW BY: WOODY

DEADLY VISIONS - Demo (Independent) CD This is a fairly decent demo from a new ozhc band. Pretty straight up sound of toughened mosh that brings to mind the sound of the Downpresser record ‘Perverted Justice’ and some of the earlier NY tuff guy stuff like Outburst and Raw Deal. It’s only a 10 min burst which these days is fairly stock standard. Definitely bound to be a crowd mover, these guys are pushing groove laden, old school hc full of frantic riffing, peaking breakdowns and spewing balls of hate. The only bit I didn’t get down with was the ‘Deadly Visions!’ intro that is becoming all a bit too common these days with every second band pumping one out. No offence guys, we all know who you are and what your band is. If anyone is gonna pull off one of these gratuitous s/t breakdown intro things these days it’s gotta be pretty fuckin’ amazing to excite me.

Apart from that minor piece of my critical knit picking this is pretty solid. It’s simple, it’s good and it’s early daze. Check these newcomers out when you get a chance. With a demo like this, things should be looking up for the future.

RATING: 84

REVIEW BY: MACCA

DEAFHEAVEN - Roads To Judah (Deathwish) CD Deathwish is well known for predominantly releasing hardcore band’s records, so the reason they’ve decided to release Deafheaven’s black metal sophomore record, Roads To Judah, is obvious: because it’s awesome. There’s only 4 tracks on this

album with an average length of 9 minutes, just enough time for you to absorb the bands swirling maelstrom of beauty and darkness. This record doesn’t have the standard lo-fi production many black metal bands go for. The mix is perfect; the drums are big and natural sounding with a focus on the cymbals, which blast their way into your ears, melting your brain into a trance. The guitarists play beautiful harmonies creating an almost space like ambience. The vocalist delivers an ugly and emotional scream, which sits low in the mix, blending in and adding to the music. Meanwhile the drummer is relentlessly pummelling you into oblivion, meshing the guitars and vocals together into an atmospheric gaze certain to have you captivated.

RATING: 100

REVIEW BY: BUF

DIAMOND SINS - Death Punk Baby (Independent) CD Self-described Adelaide “death punks” Diamond Sins play a brand of muscular punk rock that draws equally from hard rock and hardcore, while all the while dropping nods to the tropes of the horror punk genre. Confused?

Imagine early Danzig mixed with None More Black and you will be somewhere along the right track.

Their debut full-length Death Punk Baby rockets along like an out of control freight train through ten tracks in just over half an hour, showcasing a band that is high on adrenaline if somewhat lacking in dynamic variation. Four minute rager “The Rumble” serves as the record’s centrepiece, with its massive bonecrunching breakdown being rendered particularly memorable by its hypnotizing sliding bass lines. On the whole, Death Punk Baby is a damn good time, and would surely translate into a winning live show.

However, with little real musical or lyrical depth on offer, this is not music that is going to be changing lives any time soon. But then again, not all bands are out to save the world: some just want to have fun and write some good old fashioned rock n roll. It may not be Potemkin City Limits or Fresh Fruit For Rotting Vegetables, but Death Punk Baby is a success because Diamond Sins simply stick to what they know best.

RATING: 75

REVIEW BY: WOODY

DINE IN HELL - Orphans (Indelirium) CD Italy’s Dine In Hell puts forward the bands’ debut full-length ‘Orphans’; 10 tracks of intense, melodic, emotional and incredibly heavy hardcore. Opening with the track ‘Into The Misery’, immediately you are subject to something immense and ambient yet with striking similarities to bands such as The Ghost Inside, For The Fallen Dreams, Confession and Shai Hulud. Track 1 is slow and brooding but with amazing substance and emotion. Heavy riffs ring out and vocals shadow an intimidation sound and style. Track 4 ‘The Biggest Inception’ is the first track to really burst forth with pace and ferocity, although still maintaining a dominant dark and melodic, brooding presence. It’s within this track that the melodic ambience and brooding vocals become a little over powering and all too dominating in what could otherwise be an impressive and memorable moshcore track. ‘Accept The Good’ begins tamely in comparison. With acoustic guitars and a steady but soft intro on the toms, this track immediately loses the intensity, although ambient and emotional, the previous tracks retained. It serves as a break or interval between a mass of hardcore heaviness on either side. Track 7 ‘Circle The Crypts’ burst back in with steady pace and old school elements. The melodies are pronounced and dominant throughout and the track reeks of substance and deliverance. The breakdown in this track is huge! The last track is an epic 3:44 minutes and incorporates all that the band embraces in its music. It’s a roller

coaster ride of brutal break downs, melodic rhythms, ambience and intensity. Vocals are low and guttural throughout and it is a fitting ending to an impressive and extremely moody CD.

RATING: 90

REVIEW BY: JOHN MEANtime

DONE FOR - Run From Your Problems (Arrest) CD I’ve been hammering this excellent 6 track ep from Brissy lads Done For for some 3 months or so now and are still not even close to getting sick of it. It’s one of those stand out releases that is consistent throughout its entirety. In a time where it is so easy to sound same ol same ol, Done For have proven here that they are definitely a cut above many of todays young bands. There’s something really special that makes a band like this work so well. Constantly providing something more interesting than just following the well trodden paths of others is what these guys achieve seemingly effortlessly. ‘Hiatus St.’ kicks off in a very 90’sesque fashion which brings to mind comparisons to the hardcore and emo/rock bands that Revelation were once releasing in hordes ( if you own the epic Inflight Program compilation the label put out you know what I mean). Destinations’ heads in a similair direction but with a tad more pace and ventures further towards a more mid 2000’s Bridge 9 sound, think Verse, Have Heart etc. ‘Yelling Again’ has to have one of the most captivating intros to get stuck in my head of the last year. There is definitely stuff in the last 3 tracks that heads more towards bands such as The Effort and the finer moments of earlier material from ‘One Year Later’ era The Carrier. The final track ‘Runburn’ features guest vocal appearances from Stevie Scott (Fires of Waco) and Jay Maas of Defeater who also mastered the project. All in all this is a stunning release from a young band who obviously have a lot of talent. Done For are a band who deserve to be heard and their ep ‘Run From Your Problems’ cuts it every bit as well as their international peers, if not better. Get hold of a copy from your local punk retailer or online through the Arrest web store. Damn good. Word just got to me a few months after I wrote this review that Done For are apparently done for.

Why? I do not know. I will say this though. Don’t get bitten by the ‘defunct band bug’ and think you have an excuse not to seek out this pearler now the band has called it quits. Get onto it and pick this slickster up and hopefully get this mob doing their thing again. Done For dudes take note: your time is not up! We all need more shows and more tunes. This band has a lot more to offer, I guarantee.

RATING: 94

REVIEW BY: MACCA

DRIVEN FEAR - Contender (Pee Rec) CD I personally don’t put a whole lot of stock in what other people compare a particular band to. So when I see anyone and everyone comparing Driven Fear to Comeback Kid & Raised Fist, I let out an exaggerated ‘sigh’. I mean how many hardcore bands these days are compared to CK? They’re the easy, trendy band to compare one to. But honestly, those comparisons are spot-on for once. They aren’t a CK knock-off band but the style and sound is extremely similar in a good way. The likening to Raised Fist doesn’t hit as squarely but doesn’t miss either. One last band I think can help to describe the structure and tempo of this album is, Defeater. When you hear the evolution in songwriting that Defeater went through over their past few releases, you can hear a similar growth in Driven Fear’s new album from their earlier material. ‘Contender’ is solid from start to finish. Rarely do I find full albums that I can play throughout without getting bored, these days, but this band has managed to put one out. Do you like modern hardcore, such as those bands aforementioned? Do you like your hardcore bands to offer more song structures than just breakdowns and screaming? Do you prefer your bands to write meaningful, sociopolitical lyrics? If you answered “yes” to any of those questions…go buy this record. It’s that good!

RATING: 92

REVIEW BY: JM

DRIVEN FEAR - Contender (Pee Rec) CD Brisbane’s Driven Fear has already graced us with two mind blowing releases.

The bands’ debut ‘Society’s Finest’ EP was brutal, raw and full of integrity. The ‘Pale Fate’ split EP with Mouthful of Air, was amazing and easily the standout band on the EP, not that I mean to pick teams here… A band as relentless and intent on being consistent and cementing its heels in Aussie hardcore should in no way be ignored or taken for granted, and this debut full length only confirms how intent and intimidating this band is. ‘Contender’ features 14 full length tracks and each is as confronting and brutal as the next. Opening with ‘Sense to the Senseless’ featuring a confronting and assertive sample, it progressively builds into break neck straight up hardcore punk. Already it’s obvious all elements necessary to make a memorable release are bottled in this bands’ sound and this release. The production is perfect and the CD sounds impeccable whilst still retaining a raw edge that is a must for any release emulating this style of music. Track 2 ‘Growth’ has a subtle beginning, but frontman Tim blisters your ears within seconds with intense guttural growls.

Unlike many other hardcore bands out there, the emotion and integrity is evident in Tim’s vocals, not monotone in any way or monotonous. Track 3 ‘Wolf Tickets’ takes you back a few years with a sound reminiscent of old school hardcore; driving rhythms, upbeat tempo and subtle but impressive melodies.

Each and every track on ‘Contender’ is as confronting and compelling as the other. It’s not until track 8 ‘Pages’ that a fleeting idea of respite from this hardcore onslaught could be forthcoming… but it isn’t.

‘Pages’ for me is the standout track on the CD. Lyrically ‘Contender’ is equally intimidating and confronting. Lyrics aren’t your run-of-the-mill hate filled tirade… These tracks are provoking and mature in comparison. There is so much to like and love about this release; the packaging is amazing and looks great and these 14 tracks make one incredibly solid and unforgettable release. This is a must have for any hardcore fan. By far one of the most impressive and solid local releases I have ever had the pleasure of hearing.

RATING 100

REVIEW BY: JOHN MEANtime

DYATLOV - S/T (Independent) CD The dudes in Perth hardcore band Dyatlov chose a bloody weird name for their band.

Thankfully, the music is a lot easier to understand.

Dyatlov plays a brand of hardcore like a combination of Fall Silent and Death By Stereo with a tinge of southern metal (think early Pantera crossed with Clutch). At first I wasn’t sure, but I have to admit Dyatlov has grown on me. Opening track “Age Old” is a decent intro, while “Occams Razor” (which immediately made me grab my Crank album) is a ripper, as is “Preacher”. The seven tracks are over in less than 20 minutes, so the boys are here for a good time, not a long time. The recording is decent for a young band, no more evident than on the ETID-ish “Reasonable Doubt”, which is a catchy song and has quickly become my pick of the bunch. The main concern I have is from song to song, Dyatlov has a lot of ideas going but not much continuity. I think if the lads streamline things a bit more and work to their strengths, nobody will even realise how weird a name Dyatlov is.

RATING: 74

REVIEW BY: NO SHOW

DYS - More Than Fashion : Live From The Gallery East Reunion (Bridge 9) VINYL The early 80’s spawned a bunch of great bands to come out of the Boston area, many of which are still regarded as classic and highly influential.

Along with SS Decontrol and Negative FX amongst others, DYS became an

icon in the straight edge hc scene. The albums ‘Brotherhood’ and ‘Wolfpack’ and ‘DYS’ were recorded when these lads were in their early to mid teens. Fast forward 25-30 years and a much older DYS reunited and recorded these tracks. I say ‘these tracks’ because there is clear evidence that this is an edited recording, not a full uninterupted set. All that aside, the now 40 odd year olds have proven here they still definitely know how to bust out a lively , exciting show full of true hard core spirit. instead of sounding like a bunch of washed up has beens, Dave Smalley and co sound like they are still in their prime. ‘More Than Fashion’ contains a mixture of tracks spanning the bands career broken up with in between song banter from Smalley. They are all here, the title track, ‘Open Up, Late Night, Circle Storm, Stand Proud......etc etc’ .

The real highlights are the opening ‘More Than Fashion’ ,‘City To City’ ,‘Which Side Am I’ ,‘Brotherhood’ and of course their infamous anthem ‘Wolfpack’. Live albums generally can be a bit of a bore and there’s only a handful that actually come close to capturing anything close to being there. I am totally 100% stoked with this one, great sound, great track listing, and as I said earlier, plenty of true hard core spirit. Looking at the insert/poster , the line up for this show from August 29 2010 is enough to make any old school fan froth at the thought. Jerry’s Kids, Gang Green, FU’s, Antidote, Slapshot, Refuse Resist and The Revilers completed a stellar dream bill. What I would give to have been at Club Lido, Gallery East on 29.8.10. Normally a live album is something only picked up by super keen punters but here you have something that is not only a treat for long time fans but would be a great introduction for new kids to get a bit of everything on one album from a classic band.

Definitely a worthy addition to any hardcore record collection. You won’t be disappointed. About as close to a recorded show gets to the real deal.

RATING: 96

REVIEW BY : MACCA

FAIM - Dork (Independent) CD FAIM are a strange band to classify. While they seem to base their music around many of the standard conventions of punk rock, they nevertheless seem content to chuck in whatever extra elements of pop, rock and emo they see fit as well.

Combined with a singer whose vocal style falls somewhere roughly in between Bram from Yidcore and Benjamin from Billy Talent, it should be easy to see why some listeners are likely to be turned off by the group. More discerning listeners however are likely to be rewarded by FAIM’s poetic lyrics and interesting dynamic variations. \Dork’s two standouts come in the form of “Than I” and “Cyclone Me”, the former of which features a distinctive (and insanely catchy) chorus, while the latter is the closest thing to straight up punk rock attempted by the group on this EP. Overall, FAIM have a fairly unique sound that is sure to please and annoy in equal amounts throughout the punk scene.

RATING: 70

REVIEW BY: WOODY

FALLING IN REVERSE - The Drug In Me Is You (Epitaph) CD Fronted by former Escape The Fate front man Ronnie Radke, Falling In Reverse ain’t that much different.

Radke was booted from his former band and after a little jail time amongst other things, Falling In Reverse is his new venture and purpose for teased hair, make up and all that resembles the awesome 80’s glam metal era. ‘The Drug In Me Is You’ features of 11 tracks of melodic metal, poorly executed and performed. It resembles so much of Radke’s former band but falls short in so many aspects. There is no doubting this guy has a great voice and it is evident this bands songs are written and constructed with that as their basis.

Uplifting and highly melodic choruses in abundance are all that is worth noting, being a sucker for 80’s metal and inspiring choruses. Musically Falling In Reverse play nothing special and it falls short of being remotely impressive. Some riffs are no doubt catchy

and addictive, but it stops there. Lyrically it’s immature, smutty and vindictive. In all… these guys are all “look” and no “action”. I love any band that looks like LA Guns, Motley Crue or others alike, but a lot is needed to back that appearance up. If a poor version of Escape The Fate and Atreyu is what you are in need of, look no further. If you, like me, are looking for that next band that grasp something diverse and grab you by the short and curly’s then avoid this at all costs.

RATING: 20

REVIEW BY: JOHN MEANtime

FALSOS POSITIVOS - No Hay Tregua (Santa Mort) CD This Spanish outfit deliver 12 punchy tracks of melodic 90’s sounding hardcore performed entirely in Spanish. The language barrier prevents me from knowing anything this crew are saying but the promo slip indicates politics and war, vegetarianism and straight edge as being driving topics for these guys and girl (on bass). Youth crew hard core seems to have gone on the back burner a bit of late so its great to see Falso Positivos flying the flag for what they hold true. World wide hardcore for ever!

RATING: 70

REVIEW BY: MACCA

FGWMWS - Counter / Transference (Independent) CD The first thing I notice about this album is the cool artwork, which gives each track some personality, by partnering it with an old framed black and white photo. Each photo is framed and surrounded by hundreds of Panamax pills, a suitable drug for this style of music.

FGWMWS (Fat Guy Wears Mystic Wolf Shirt) consist of a drummer, guitarist and vocalist playing abrasive and grinding hardcore, surely to give many a headache, luckily you can get 100 Panamax pills (a cheaper alternative to Panadol) for about 3 bucks.

FGWMWS have put out a solid debut album, which is sure to leave its mark on the Australian grindcore sound. If you’re into bands like Agents Of Abhorrence, Pig Destroyer and Botch then go pick this up, and if you don’t like it, don’t worry the 17 tracks are done in about 15 minutes.

RATING: 70

REVIEW BY: BUF

FGWMWS - Counter/ Transference (Independent) CD Grindcore bunch Fat Guy Wears Mystic Wolf Shirt from NSW have been creating a bit of a buzz in local hardcore and grind scenes of late. They aren’t your typical grind outfit either, being more chaotic and more so on the mathy, spazzcore end of things.

Generally I tend to avoid most stuff in this style. I just don’t get down with it enough ,however having said that these guys are shredders in their field and are definitely a stand out in the current bunch of bands working this stuff. There are definite moments that compare with some bands I'm all over such as track 2 ‘ A Whole Host Of Things’ which brings to mind the mighty ‘Earth Water Sun’ era Agents of Abhorrence. ‘Template’ brings back memories of defunct Adelaide hardcore/ metal heroes The Rivalry. ‘Dialectics’ however enters total spazzed out fits of crazed mayhem which is where I start to lose interest very quickly. Fortunately track 7 ‘Exchange of Ideas’ and track 11 ‘Lesson Learnt’ enter early Converge territory and regained my interest. As much as FGWMWS are tagged as a grind outfit they will appeal to fans of the above mentioned bands along with those who get in to stuff like The Locust, Some Girls, Pig Destroyer and even power violence masters Iron Lung. Get over the insane name and check em out and make up your own mind. One things for sure these dudes play fast, intense and crazy stuff that’ll make everything else tame in comparison.

RATING: 70

REVIEW BY: MACCA

FOXXES - Forget The Rain (Strikedown) VINYL

GHOST ROBOT NINJA BEAR - S/T (Independent) CD

I gotta be blatantly honest.

This record did absolutely nothing for me. Foxxes are a UK outfit who play modern melodic hc in the vein of The Carrier and Killing The Dream. It reminded me a bit of Hopeless. I really like Hopeless though. They are a standout in this sort of stuff, they keep it interesting and they throw in amazing solos where they are needed which carries everything to another level. ‘Live With The Past’ is definitely a decent track and my pick of the four on this 7”. Actually the last track ‘Escape Myself ‘ is ok too.

Reverse to the norm, side 2 kicks side one’s butt and is not bad at all. These days I just find soooo much of this stuff sounds the same and therefore uninteresting, however Foxxes ended things on a better note than they begun and that that’s a positive.

Oscar Albis Rodriguez who calls Brooklyn, NY home is the man responsible for the ‘Ghost Robot Ninja Bear’ debut self-titled album. Oscar enlisted so me ver y talented friends to feature on bass, drums, guitars, synths and vocals and has knocked out 8 solid tracks featuring some gnarly guitar work laced up with melodic choruses. “I can’t decide” is a slower melodic packed track which stands out for me with its tightly crafted progressive guitar riffs. “In the helium mines” is a mesmerising instrumental track that got the repeat treatment and reminded me of the Mars Volta with its fast guitar and synths functioning collectively. All 8 tracks offer variety and with minimal pitch correction and editing, the finished result is a tight progressive punk record that peaks with the volume turned up loud. The artwork is impressive which makes this record more inviting to pick up off the shelf and with a total play time of just under 27 minutes, it’s over before you can blink. Overall an impressive effort and fans of The Mars Volta and Small Brown Bike could do no wrong bashing this one through the speakers.

RATING: 70

REVIEW BY: MACCA

FRENZAL RHOMB - Smoko At The Pet Food Factory (Shock) CD The masters of Australian punk rock Frenzal Rhomb have returned this year with a new record five years after their last.

Smoko At The Pet Food Factory could very well be the group’s shortest album to date (clocking in at just over 26 minutes in length), but they definitely get the job done over the space of its sixteen tracks. Blending the melodicism of Sans Souci with the hardcore fury of Forever Malcolm Young, Smoko covers topics as diverse and mentally engaging as getting swooped by Magpies (and an Ibis!), dead celebrities and masturbating teenage nazis. The group does however also manage to sneak a few more serious tracks into the mix, including standout tracks “Hungry Jacks Carpark” (about the prevalence of drug abuse amongst teenagers) and the rather melancholic “Knuckleheads”. Definitely one of the best records released this year, Smoko At The Pet Food Factory pretty much reinforces the widely held belief that Frenzal Rhomb won’t ever record a bad album (come on, Shut Your Mouth wasn’t that bad really).

RATING: 90

REVIEW BY: WOODY

FRENZAL RHOMB - Smoko At The Pet Food Factory (Shock) CD From a band I could have swore broke up and did a national farewell tour a couple of years ago, we now have a follow up to their ‘06 album "Forever Malcolm Young".

Recorded at the Blasting Room with punk legend Bill Stevenson the production is of course faultless for a punk record, and what you get with “Smoko..” is more short sharp, witty and equally humorously stupid, trademark Frenzal punk ditties. So Frenzal hasn’t really changed much in the five or so years since their last album, they still rip out their punk under or around the two minute mark, and they still shine the spotlight on social issues and shit cunts in their trademark style. If you were hoping for something wildly different you’ll be disappointed, the most you’ll get wet over is the ripper opening number “Bird Attack”. But an album of sameness from Frenzal Rhomb is as ok as another NOFX album that sounds just like a NOFX album. They may well be Aussie punk rock’s John Farnham band for taking suckers dough doing a sold out farewell tour, but a new album has made everybody happy now. Hasn’t it? Thumbs up cunts.

RATING: 89

REVIEW BY: PETE

CDR / BURNS / STREAMS / MP3 DOWNLOADS FROM LABELS WILL NOT BE REVIEWED. DEMOS FROM INDEPENDENT BANDS ACCEPTED

RATING: 87

REVIEW BY: DEANO

H2O - Don’t Forget Your Roots (Bridge 9) CD I have always found H2O to be a reasonably enjoyable but not particularly unique band, and as a result have never really expended much effort in checking out their back catalogue.

Their latest release is unlikely to change this trend. To put it simply, Don’t Forget Your Roots is a solid collection of punk rock covers that, while admirable in its conception, does little except make me want to go back and listen to the originals.

Don’t get me wrong, I certainly enjoyed listening to the record, it’s just that H2O have changed so little in their interpretations of these tracks that they are almost redundant.

Probably the only surprise on offer throughout the entire set is “I Wanna Live”, and even then it is only because one would have instead expected a cover of a more well known Ramones track like “I Wanna Be Sedated” or “My Brain Is Hanging Upside Down (Bonzo Goes To Bitburg)”. Overall, a good mix tape to chuck on at a party, but certainly nothing to phone home about.

RATING: 60

REVIEW BY: WOODY

HATCHET DAWN - Rebirth (Independent) CD So, here's the plan you're a 5-piece band playing relatively wellcrafted melodic metal, which fits in well with " what's in " as far as modern metal sounds go.

So how do you make yourself stand out from the current crop of metal bands around? - that's right, you make it SPOOOKY!!

Such is the grand plan of Melbourne's Hatchet Dawn, who've added a goth / horror / sci-fi vibe to their onstage persona, and to the music that inhabits their latest album "Rebirth". Like some sort of ghost-train ride at a dodgy carnival, it's a hairy ride of pummelling metal and angsty melodics, set to suitably ghoulish themes - "Toxic Oracle", "Necromantra", and "The Catacombs", just to name a few song titles. "Planet of Terror" strays into Korn/Coal Chamber-style downtuned spaghetti-string bass territory, with vocalist Bert Couzen's vocals ranging from gutteral metal growls to a more melodic delivery. Title track "Rebirth" takes a slow, melodic, A Perfect Circle-esque foundation, then hits you full-force with a metal blast, complete with strings and orchestral embellishes. One track to completely avoid though is "Burn The Cage", with it's irritating vocals and time changes - truly frightful! OK, admittedly this a fairly well-produced and slick production, However, "Rebirth" overall pushes the creepy angst-metal angle pretty heavily by the album's close, you'll be looking forward to reaching the end of

the carnival ride. I guess time will tell to see if Hatchet Dawn's spook-rock schtick sticks! (I like what I did there...)

RATNIG: 71

REVIEW BY: PANTS

HEARTSOUNDS - Drifter (Epitaph) CD San Francisco vocalists / guitarists duo Laura Nichol and Ben Murray have rounded out into a full-time four piece for their second album “Drifter” with Trey Derbes on drums and Kyle Camarillo on bass joining the party. Together they produce an explosive balance of extraordinary musicianship with catchy vocal melodies, remarkable harmonies and technical metal-influenced riffs making this album more appealing for me than their more melodic rock debut effort “Until We Surrender”. Signs of this heavier and deeper Heartsounds are apparent with “Uncomfortably Numb” and the opening of “Race To The Bottom” which show some noticeable remnants from Ben and Laura’s previous band, Light This City, with the band showing their technical proficiency and dabbles with some blistering beats and techie guitar finger work. The entire album is littered with technical melodic punk in the vein of A Wilhelm Scream and Strung Out. In fact if you were to throw both of those bands into a blender and add Bad Religion and Fifth Hour Hero you would have the smoothie that is “Drifter”. Standouts for me include “Elements” with Jason Cruz of Strung Out making a guest vocal appearance, the title track “Drifter” and “Every Second Counts”.

RATING: 77

REVIEW BY: PETE

HIGH DIVE - S/T (No Idea) CD High Dive are the new project from Defiance Ohio’s Ryan Woodas, an indie-punk band that have released a self titled debut album full of joyous little bop-pop numbers which never overstay their welcome. The difference is the subject matter as many of the songs focus on the problems born of being openly gay in today’s society. For this reason, taking High Dive’s music on face value alone will present a bright sunny journey through rough cut, power chord driven rock numbers. Closer inspection will pull at you moral values and present some dark situations. That is not to say the record is devoid of hope, Tennessee, which is one of the album’s highlights, is a good example of the positive side of the vocalists situation.

Another standout is the cover of Tommy James & The Shondells’ I Think We're Alone Now which the band have truly made their own and the piano driven, Restless. For all of the positives there are also some negatives, the lack of diversity throughout the tones can make the end of the album a little graining, especially considering the excellent use of space in the songs which is let down by the lack of well though out sounds. The music itself certainly isn’t that original but there is clearly a passion behind it which makes High Dive worthy of a listen.

RATING: 70

REVIEW BY: LC

HIGHTIME - Ishi Prende (Pee Rec) CD Self confessed Adelaide “party punks” Hightime have just released their long awaited debut album, and by all accounts it was well worth the wait. With a sound that falls roughly somewhere in-between NOFX, Bad Brains and Sublime, Ishi Prende demonstrates how comfortable the group feels playing everything from 50 second hardcore ragers (like the anthemic “Beer Garden”) to long chilled out reggae numbers (such as album highlight “Plug Your Feet”). While attempting such a wide berth of genres within a playtime of half an hour can often be a recipe for disaster, Hightime have managed to craft a record that successfully balances variety with cohesiveness. Topped off with just the right amount of political commentary, songs

about alcohol and A-Town references, Ishi Prende is a release that is sure to be fuelling many a drunken party this summer.

RATING: 85

REVIEW BY: WOODY

HIGHTIME - Ishi Prende (Pee Rec) CD After catching Hightime live a few times, I was keen to hear how it’d translate to disc on “Ishi Prende”. I’m happy to report the fellas (and chick) have offered up a great 13track effort of ska and reggae influenced chickfronted punk that’ll have you bouncing around the house. The scorching 60-second opening salvo of “Beer Garden” makes you sit up and take notice before the follow-up effort “Lag Behind” shows Hightime can blend punk and ska seamlessly in a ridiculously catchy fashion. However, it has nothing on the infectious manner of tunes like “Don’t Move Away”, “To Spoil” and “Reject”; or the breakneck beauty “Figure This Out”. On the other side of the coin, “Lay Low” shows that Hightime can blend the subdued with an energetic chorus quite easily; hell, there’s even a rockabilly feel by the end of the song. “Plug Your Feet” has a great reggae vibe happening and is my pick here, as it’s a bloody catchy tune. I can imagine this album being played non-stop coming summer and to be honest, I can’t help but love a band whose singer is happy to take the stage straight from a wedding wearing her bridesmaid’s dress. You can’t go wrong with this one.

RATING: 89

REVIEW BY: NO SHOW

HOSTILE LITTLE FACE - The Architect (Spokesman) CD ‘The Architect’ is the debut full length album from Western Australia’s Hostile Little Face, twelve tracks that combine various alternative rock elements into the one style. Opening track, after the opener, Superhero, is an up-tempo jam that throws nods to band’s like Bodyjar and Funeral For A Friend. Things slow down a little for Without You, which is musically a very passionate song but is let down by its chorus which is a little bit too “3 Doors Down” for this reviewer. The mellow vibe continues through the album’s title track which isn’t an issue as the band seems comfortable in this particular style and performs it with ease, as the drum and guitar parts constantly compliment themselves extremely well. The pace picks up for the slightly pop-punk tinged Chain Reaction before smoothing out for Steady My Arm, a song which sounds like it could have found a home in the heyday of Something For Kate and Jebediah except for that damn “3 Doors Down” style chorus which appears again. The guitar work in the folky string backed 27 Verses makes it an album highlight, before the shining once again in Why So Serious? The Perfect Sin features some catchy melody lines and interesting lead riffs set to a bright acoustic guitar. The record ends on the soft and atmospheric Wait, which features one of the finer vocal performances on the record. Hostile Little Face really do toggle between the rock genres but hit their strengths in their softer moments. ‘The Architect’ is an impressive debut from a band that have a very promising sound, one that will improve as they shake off the likeness to a certain American rock group whose name we won’t mention again.

RATING: 65

REVIEW BY: LC

HOT WATER MUSIC - Exister (Rise) CD Most people who know me understand there are few things in life I love more than Hot Water Music.

After an eight year absence, the Gainesville quartet has returned with its eighth full length album “Exister”, its first record since 2004’s “The New What Next”. I found that album quite restrained and contemplative after the rocking “Caution” and, considering where the band

was at, it makes sense. But, now in 2012, we find the lads more relaxed and happy; hell, when listening to “Exister” you can sense the guys had a great time being back in the studio together. One thing that draws me to HWM is every album, whilst still sounding like HWM, sees the band continually evolve. “Exister” is HWM’s most melodic and accessible effort, as well as its best sounding record, thanks to the legends at Blasting Room. Having said that, there’s still plenty of pedal to the metal tunes, such as catchy opener “Mainline”, the roaring “State Of Grace” and the brilliant closing salvo “Paid In Full”, which Chuck Ragan absolutely dominates. On the more melodic side of things, it’s hard to look past the catchy “Pledge Wore Thin”, the driving “Take No Prisoners”, the bluesy “No End Left In Sight” and the brilliant “Drag My Body”, while “Wrong Way” will eventually get stuck in your head… it’s inevitable. Musically, it’s hard to look past “The Traps” to see how HWM has progressed over the years. Have a listen to the bridge and argue that one. After almost 20 years, I’m happy to say Hot Water Music continues to amaze, surprise and inspire me. I don’t care if you find that sappy, we all have that kinda band. If you’re a fan, you’ll bloody love this. If you’ve never gotten into HWM, now might be the time to do so.

RATING: 98

REVIEW BY: NO SHOW

I, APPARATUS - Ebola And The Botanist (Hotfoot) CD Imagine you’re at sizzler and you’re really stoned, you smash down as many different types of posthardcore flavoured pizza as possible, until you know you’re full but you can’t help but eat some of the different metal salads and potato skins.

You wash it down with a glass of sick production cola and chill for a minute before thinking ‘I paid for all you can eat so what they hell!’ and head over to the desert bar to mash together the noise-core ice cream and hardcore brownie topped with caramel emo and sprinkles of rock. The next morning you expect to shit a mess, but instead you poop an intriguing blend of last nights efforts in one clean snap. That’s pretty much how I feel about this album. But it’s not shit.

RATING: 70

REVIEW BY: BUF

JET MARKET - Sparks Against Darkness (Pee Rec) CD Sporting a tech-punk sound that has just the right amount of thrash and hardcore thrown in for good measure, Italy’s Jet Market are definitely onto a winning combination with their Pee Records full length debut. While many of the group’s contemporaries seem to be unable to escape the quagmire of their own selfpretentiousness, Sparks Against Darkness never sounds overdone or deficient in spirit. While the record’s title track may very well be the strongest on offer this time around, Jet Market make sure to shake things up a bit with the inclusion of slower and more introspective songs like “You Can Always Make My Day”, as well as shorter bursts of hardcore like “Don't Say You're Sorry, Because You're Not”. On the whole, a convincing album that stands out from the plethora of other half-baked acts currently crowding the techpunk scene.

RATING: 75

REVIEW BY: WOODY

JOHNNY BOOTH - Connections (Hotfoot) CD Just when I thought my Poison The Well, Dillinger Escape Plan, Architects, Every Time I Die CDs (including even the newest masterpiece ‘Ex-Lives’) were facing a grave due to overuse, my Laptop becoming tired from consistently watching The Chariot live on the internet and my own suffering from still not seeing Safe Hands perform in Adelaide and tear us a new one respectively, Pee has come to my rescue with Johnny Booth’s debut album ‘Connections’. Holy hell, where

has this Long Island five-piece been? This is a mighty sounding release and a memorable debut. If to fault it at all, and trust me this is very difficult to write (evidence of how impressive this record is can be found on track Ink And Sky which features Between The Buried And Me’s own Tommy Rogers), is just with the lack of experimentation with the actual sounds emitted by this outfit to make them an individual and standout from the pack. Whilst JB are flirting with the idea of being a more Noise-orientated band, and have some sensational clean and crisp interludes on songs like Pills For The Havoc and Connections, it has been done and better by Dillinger. Their disorientated breakdowns have been perfected by many bands before them, most notably Architects from the aforementioned list, but as far as I’m concerned you cannot have too much of a good thing, no matter what the rest say.

RATING: 89

REVIEW BY: WILLY-O

KDC - Demo (Independent) CD This little 3 track demo cd comes from Puerto Rican mob KDC. I searched online to find out a bit about these guys and couldn’t find much apart from a twitter page and facebook page. The band has been active since 2004 and appears to have at least one proper release under their belts. This demo is pretty solid but more tracks would have filled it out nicely. ‘Color Hostage’ builds before exploding into an all out frenzy of hardcore assault. My pick of the 3 tracks for sure.

There are dark moments of moody sludgyness such as the beginning of ‘Sargento’ which bring out the slower side of the band who really mix things up a bit.

What more can I say? I’m actually a little stuck for words on this one coz there’s not a lot of material to digest. A decent offering though from a band on the other side of the globe.

RATING: 64

REVIEW BY: MACCA

KILL THE MATADOR - Flight And Terror (Scotch & Harps) CD Firstly, I must apologise for the delay in this review appearing in Pee. Being the douche I am, I lost my copy of “Flight And Terror” and had to source another one, so please accept my sincere apologies, KTM! Now, on to the tunes: “Flight And Terror” offers three tracks of intense and passionate rock music, somewhere between The Nation Blue, Young Livers and Trapdoor Fucking Exit, with excellent thoughtprovoking lyrics. Opening track “The Gutless Sword” takes a swipe at racist and inconsiderate “patriotic” Aussies with sniper-like accuracy and includes the lyrical gem “courtesy curtsies to no one but herself in this modern world”. Love it! Follow-up tune “The Standing Ovation” doesn’t let the momentum wane for a second and by this time it’s clear that, like many people, KTM is not at all pleased with elements of our society. Closing track “Hell Hath No Fury Like A Planet Scorned” threatens to steal the show. Musically, it’s my favourite song as it ebbs and flows nicely with the quiet moments building tension, whilst vocally it attacks how we have treated our planet, comparing Earth with an abused lover. The artwork is great, the recording is sensational. It really is the complete package, except it only goes 10 minutes, so you’ll play it a fair few times. Once again, sorry for the delay KTM, but I hope the wait was worth it as you have one devoted new fan. Now record more songs, please.

RATING: 90

REVIEW BY: NO SHOW

LOCAL RESIDENT FAILURE - A Breath Of Stale Air (Pee Rec) CD They may have taken their sweet time, but Local Resident Failure have finally released their long awaited debut album.

Fittingly titled A Breath Of Stale Air, it is a record which sees the group add an extra layer of spit and polish to their well

established Frenzal Rhomb-meets-Blink 182 brand of skatepunk. Instrumentally, the album finds the group in absolute peak form, with Smitty in particular laying down drum tracks that would make even Jord of Propagandhi weep out of jealousy. As usual however, it is Local Resident Failure’s ability to weave compelling tales through their colourful lyrics that continues to put them head and shoulders above most of their peers. While the group still have plenty of humour left to offer the listener (like on “Nowhere To Be Scene” and the provocatively titled “Defamation By Defecation”), it seems that Dal and the boys have been a bit more preoccupied with issues of human rights, racism and the state of Australian society than soccer players or being Greenday lately. This is most apparent on tracks such as “The Opener” and “Sad Beginning, Happy Ending”, where the band’s usual sneer is completely abandoned in favour of solemn earnestness. Topping the whole affair off however is “The Funeral”, a reggae tinged epic that finds the group pondering the nature of the punk rock lifestyle with little to no regret whatsoever. It may have taken forever, but the wait was definitely worth it.

RATING: 85

REVIEW BY: WOODY

MANHATTAN JINX - Death.Savor.Life.

(Independent) CD It’s not every day an album is recorded and released months before a single show has even been played. That is exactly the case for Adelaide’s Manhattan Jinx. Initially a one man project, MJ have now entered phase two and become a 4 piece outfit. An incredible feat to write an album and then record every instrument for an initially one man band. To the music. Definitely a wild mixture of influences shine through on ‘Death.Savor.Life.’ There is definitely a punk vibe present but heads down a much more guttsy rock path. ‘Backlash Heart’ brings to mind Cog whereas ‘Punk Stuck Love’ is entering ‘Say What You Want’Sommerset territory. ‘Happy Dazed’ with it’s foot stomping thump and catchy, tough chorus, is definitely one of my picks here( in fact probably my favourite) and the clear Bronx influence is evident. ‘One Kind Of Rat Pack’ is a complete change of direction and re enters Cog territory with it’s melodic, melancholy vibe before building to an intense and abrupt end.

‘Anarchos’ is a bruising and edgy blues influenced rock beast. Closing track ‘Howling Indian’ takes on yet another Manhattan Jinx persona with a bluesy country burst that brings to mind Social Distortion ,in particular ‘Prison Bound’ era. Definitely a unique sounding band.

Definitely a broad range of influences. A band to check out when they bring it to the stage especially considering the commitment that has gone in to Manhattan Jinx long before anyone has seen boo of them. I anticipate a tough, raw and loud assault to carry this classy bunch of tracks over.

‘Death.Savor.Life.’ is an accomplished album with a satisfyingly raw yet polished finish that is bound to gain attention.

RATING: 90

REVIEW BY: MACCA

MERE THEORY - Walking In Storms (Independent) CD Adelaide rock band Mere Theory has led a strange life. I remember going to shows around the time “Towering Sun” was released and being completely blown away by their passionate brand of rock music. A lot has changed since then; hell there was a time it seemed the band had more exvocalists than albums! There have been different vocal styles and record labels, as well as wavering public love. One thing that hasn’t changed is the awesome guitar sound of Nigel Black, which is still as distinctive and brilliant as it was when Mere Theory first wooed Adelaide fans back in 2002. The band (previously on Boomtown Records) has self-released “Walking In Storms” and, after being more than slightly disappointed with “Catalan Atlas” (their previous fulllength), I cautiously chucked their newie on to see what the boys are doing these days. I’m not sure whether Mere Theory has rebounded, I’ve matured, or a mixture of both; but I am a fan of where they’re at

now. One listen to “Searchlight” (complete with spoken word from John Scott!) is perfect proof Mere Theory is firing on all cylinders, as are tracks such as opener “El Nino Lifts Its Wings”, the catchy “Black Honey”, the brooding “We All Stand In The Same Room” and the aptly titled “The Closing Scene”. The only track that hasn’t won me over is the sombre “We Can Start Over”, so that’s a good strike rate. I haven’t caught Mere Theory live since 2005 but, on the back of “Walking In Storms”, I’ll be sure to catch them the next time I can. I hope they still play “Some Day Soon”!

RATING: 77

REVIEW BY: NO SHOW

MINUS TREE - The Lake Will Bring Everything To Light (Chorus Of One) VINYL Italy might not necessarily be the first place that one would associate with punk rock, but lately it seems that the place has become an international Mecca of hardcore scene.

Minus Tree are just the latest group to burst forth from these fertile fields, bringing with them their latest 7 inch entitled The Lake Will Bring Everything To Light.

Instrumentally, Minus Tree are solid, displaying a brand of punk not too dissimilar from other acts like Strike Anywhere or Stolen Youth. The drums are galloping, the guitar work is pretty good and the band are full of energy. However, it is the group’s vocals which ultimately let them down; rather than attempt to incorporate any semblance of melody into proceedings, a conscious decision seems to have been made to try and deploy the gruffest hardcore bark possible. In small doses this would have worked well, but even over the space of this relatively short four track set the vocals get a bit grating. All in all, a decent listen that is probably really for fans of modern hardcore only.

RATING: 60

REVIEW BY: WOODY

MIXTAPES - A Short Collection Of Short Songs (Animal Style) VINYL I've said it before in PEE reviews and I'll say it again, band's that release on vinyl only automatically get points. So even before listening to Mixtapes new 7" 'A Short Collection Of Short Songs,' they were on 10. Upon listening, their points quickly went higher as their brand of slightly sugary pop punk infected my ears. The title doesn't lie, these songs are short, with six tracks clocking in at around sixteen minutes, but in many ways this adds to the appeal as they never overstay their welcome. The dual male/female vocals are a strong point, and they use that asset as much as possible, especially in opening track Birthday Party Summer Camp (hellooo meggann), a song title that really does sum up the sickening little bright, happy nature of this band. They are seriously a couple of steps away from being a Wiggles video but for some reason it all works out fine.

The main reason for this is the punk rock tinges that appear every now and then on songs like the follower The Real Hotel California, and opening track for the bside, I'm Like. The guitar tones can become quite harsh which blend well with the constant driving rhythm section. Whilst on the b-side the band opt to end things slowly with acoustic driven numbers Whits End and Anna Maria, two songs that show a stark contrast to the other tracks on the release hinting that this band can be quite diverse and shine from many angels. It's a little hard to tell this for sure of course due to the lack of length in this release but it offers a promising note for this group in the future.

RATING: 80

REVIEW BY: LC

MY ECHO - The New Approach (Independent) CD They say that everything moves in circles and the same can be said about the Melbourne music scene.

A wave of new bands seem to be embracing the classic pub rock sound that has only been (poorly) represented of late with joke bands like Airbourne, kinda. My Echo’s new seven track EP offers a sound that modernises the genre, mixing elements of The

Living End with something along the lines of Trial Kennedy, in a rock driven, pop tinged concoction worthy of your ears.

Opening track For Old Times Sake is the perfect example of this with its catchy “La Di Da’s” mixed into some full toned rock guitars. Second track The Makers Taste dances easily between laid back, effortless rock riffs and aggressive bass driven verses that attack as hard as the chorus swings. The pace quickens for the drum and vocal driven Slave before the clanging verses and super catchy chorus of Open Air, one of the EP highlights.

Things become very “classic rock” on the title track which is upstaged by its follower, and another EP highlight, All Made Up, a song that not only has the most exciting structure of all the tracks, but seems like an original take on the sound the band are trying for the entire EP, basically this song seems like My Echo’s future. Things finish off on a softer note with On & On, a track which features some beautiful guitar work and vocal melodies, showing a different side to the group. This is a solid effort from My Echo who seem to be quickly on their way to shaking off their influences and making an original sound that people should respond to quite well.

RATING: 75

REVIEW BY: LC

NEKROMANTIX - What Happens In Hell, Stays In Hell (Hellcat) CD After 2007’s rather lacklustre Life Is A Grave And I Dig It!, it’s fair to say that many people were starting to lose faith in Nekromantix. Peaking in 2002 with Return Of The Loving Dead, the group lost both their guitarist and drummer and ushered in an era of revolving line-up changes and inconsistent songwriting. After just one spin however, it’s obvious that the group are determined to reverse this trend and return to their rightful thrones as the kings (and queen!) of the psychobilly scene. Opening with the retardedly glorious “Bats In My Pants”, the record features a good mix of tempos, strong production values and some very fine instrumentation. As usual, the group doesn’t always hit the mark lyrically, but their strong vocal melodies largely make up for this. Most importantly however, the group never once fully cross the line into self-parody or cringeworthiness, something that definitely cannot be said for all of their records. Overall, What Happens In Hell, Stays In Hell is a strong (although not entirely perfect) release that hopefully is an indication of good things still yet to come from this highly mercurial outfit.

RATING: 85

REVIEW BY: WOODY

NEW FOUND GLORY - Radiosurgery (Epitaph) CD “Radiosurgery”, the US quintet’s seventh full-length album, is only immediately recognisable as a NFG album due to Jordan Pundik’s unique vocal delivery. While Pundik’s high-pitched vocals remain, other NFG trademark elements are long gone. The band’s famous uptempo pop-punk sound, which spawned many followers, has been replaced by a saccharine pop-rock foundation comparable to The Plus Ones (remember their brilliant “It’s A Calling” record on Asian Man Records?). I remember complaining when I reviewed their last album (“Not Without A Fight”) for Pee that Pundik sings about lost love far too often, almost as much as Kris Roe, for crying out loud.

Pundik’s up to his old tricks again here but thankfully it doesn’t detract from the overall product. The title track is a contagious opening salvo (reminiscent of Ozma for some reason) and a great indication of what follows. I don’t think NFG has released an album with this many highlights since 2004’s “Catalyst”. Tracks

like “Drill It In My Brain”, “Ready, Aim, Fire!”, “Anthem For The Unwanted”, “Map Of Your Body” and “I’m Not The One” are fun slabs of bouncy and infectious poprock. “Radiosurgery” proves that, apart from Pundik’s lyrical fascination with relationships, NFG has moved on to greener pastures. At least now he has the perfect musical base for his lyrics.

RATING: 87

REVIEW BY: NO SHOW

NIGHTLIGHTS - So It Goes (Eulogy) CD Daytona Beach, Florida residents ‘Nightlights’ hammer out a promising debut full-length ten track album titled “So It Goes”.

The album opens with “When You Grow Up Your Heart Dies” showcasing energised and catchy guitar and bass lines along with rough yet finely tuned vocals. The album consistently delivers a dark and heavier pop punk sound that provides plenty of alluring hooks and choruses to sing-a-long to. “That John Denver is full of shot” is another track that is upbeat, kicking off with a deferred introduction before settling into transcendent rhythm and simple time signature for the listener to fuss over. This record packs a melodic punch with unconventional heavy and sterling vocals and combines a few different genres to keep the listener on their toes. It’s a well put together debut album and I cannot fault ‘Nightlights’ for playing to their obvious strengths but it would have been nice to change up the tempo with a slow song or something.

Nevertheless, I enjoyed this one and it’s a solid debut record worth getting your mittens on.

RATING: 79

REVIEW BY: DEANO

NO TRIGGER - Tycoon (No Sleep) CD It’s been six long years since No Trigger released their debut album, Canyonner.

With the group’s former record label collapsing and no word explaining the lack of new material or shows, many assumed that they had broken up and were content to simply fade away into the shadows. The release of Tycoon finally proves otherwise. Despite their lengthy absence, No Trigger sound just as energised as when they left off all those years ago, with tracks like “Maple Boy” and “Skyscrapers” reiterating why the group has been so missed in the melodic hardcore scene. While it is true that the dynamic “New Brains” is the only song on Tycoon which really seems to stretch the band’s musical horizons, that is hardly the point; given their time away, No Trigger rightly realised that they needed to focus on regaining their old fanbase with a throwback to their debut before they could ever start worrying about bringing new listeners and sounds into the fold. In this regard, Tycoon is a resounding success, a record that proves that Canyoneer was no fluke. With the sophomore album finally out the way however, only one question remains; will there ever be a third, and if so, what musical direction will it see No Trigger take next?

RATING: 80

REVIEW BY: WOODY

NO WAY OUT - Dead Ends (Pee Rec) CD Melbourne’s No Way Out is in many ways becoming pioneers of the local hardcore scene with many other local bands calling it quits. ‘Dead Ends’ is the bands’ second full length and features a band showing no signs of calling it a day or in any way relenting in their vicious assault. Opening with ‘No Stone Unturned’, this track begins with brute force. The sound and ferocity of this track is huge and not long before some intricate subtle melodies showcase a heavy but layered sound as

opposed to straight up, flat out hardcore. Track 2 ‘Witness’ begins hesitantly but soon places you back where the opening track left you. My only gripe at this point is that the vocals sound the same pitch almost consistently throughout the opening tracks. I can’t help but feel a little more emotion could be heard if some change in pitch or even contrasting backing vocals could be tossed into the mix. Then again, that may very well detract from the sheer aggressive sound No Way Out produce. This is cemented in heavy hardcore / metal core territory, drawing comparisons to Bury Your Dead, and Day Of Contempt. The breakdown in track 5 ‘Machines’ is testimony to those comparisons and this bands heaviness. No Way Out have taken an already intimidating and brutal hardcore style and wrung its neck of all possible intensity.

Lyrically, ‘Dead Ends’ is as matured as it is musically.

It is confronting and in-your-face. In all, this is a solid release and impressive package. With 9 tracks in total, it could be a little longer, though how much ferocity can one endure? It’s awesome to see Pee Records adopting something local on the heavier scale; a band intent on delivering the goods and chock-full-of intensity and integrity.

RATING: 95

REVIEW BY: JOHN MEANtime

NOFX - My Stepdad’s A Cop And My Stepmom’s A Domme (Fat Wreck Chords) VINYL In the lead-up to the release of their 12th full length later this year, NOFX have slapped together a new 7 inch to tide fans over in the meantime. The title track “My Stepdad’s A Cop And My Stepmom’s A Domme” is fairly amusing, but the vocal melody is a little sloppy and it’s structure a little underworked. The record’s b-side is on the whole a lot more satisfying, with a vicious bass intro helping to draw the listener in from the get go. Lyrically, the track is dark but serious, bringing back memories of other long forgotten NOFX classics like “She’s Gone”.

The only downside is that Mike’s vocals once again bring the track down a little, with the singer sounding a little flat throughout. Overall, the record is satisfying, but is further a testament to the fact that the group are now such a well oiled machine that they can pull almost anything out of their bag of tricks and it will sound good, however little effort went into it. Fans of NOFX and the skatepunk genre will find lots to like about it, but it is what it is: a stop gap until the next full length gets released.

RATING: 70

REVIEW BY: WOODY

OATHBREAKER - Maelstrom (Deathwish) CD Ah ha yes. Finally after an eternity a Deathwish release lands in my hands again. The label very rarely disappoints me and whilst being one of the most prominent international labels, the quality of the underground releases they put out are nothing short of superb. Belgium’s female fronted Oathbreaker unleashed the dazzling ‘Maelstrom’ mid 2011 and in doing so gained many new fans. ‘Maelstrom’ is an exercise in vicious, metallic hard core that will appeal to extreme metal audiences as much as fans of raw, darkened hard core. The snarling vocal attack of Caro Tanghe consistently makes for unsettling listening and coupled with the heavy, blackened backing of the band makes for a satisfying dose of raw, scathing aggression. It’s great to see hard core based bands pushing the envelope further and delving into less chartered territory. This 9 track masterpiece rips through each track in flawless succession, opening and closing like a well written book. For the half hour duration of ‘Maelstrom’ you are taken on a journey of many moods. ‘Origin’ kicks off into a metallic punk frenzy blending Integrity’s technical riffing with the rolling magic of Discharge drumming. ‘Heirophant’ blazes its way through, building on itself before an abrupt end that marks the beginning of the more

WHO CARES WHAT WE THINK?! Reviews are only the personal opinion of those who wrote them... so for the artists sake go have a listen for yourself, make up your own mind and quit moaning about what’s been written!

thrashy ‘Fate Is Nigh’. ‘Sink Into Sin’ is a 2 part beast, part one continuing where ‘Fate Is Nigh’ left off before part two, featuring Colin H. Van Eeckhout of fellow Belgian atmospheric, doom masters Amenra on vocals. This track could well have been lifted off Amenra’s Mass 4 album. If you are unfamiliar with Amenra you best be checking them out. Oathbreaker did a split release some time back with Amenra ,a release I am yet to hear but Mass 2 and Mass 4 are some of the finest, truly underground metallic releases in my collection. The relationship between the two bands is close as Lennart Bossu is also guitarist for Amenra. Track 7 ‘Black Sun’ is a standout and as Caro roars “Wash away the doubt” you imagine her coarsened throat shredded and bleeding. Closing with acoustic title track ‘Maelstrom’, the listener is treated to the other side of Caro’s vocals. A haunting yet beautifully soft approach as the snarl disappears to make way for a cleanly sung finale. A fitting way to end a devastating album. Noteworthy also is the incredible and creepy cover art. Something about it freaks me out. Challenging, unsettling, heavy and brilliant.

RATING: 94

REVIEW BY: MACCA

PANGEA - Hollow Hearts (Hotfoot) CD This is my introduction to New Hampshire’s Pangea.

Hotfoot Records has an impressive roster which continues to grow and grow so any hesitancy in listening to this release is out the window. The band recently called it a day after 4 years, which is an eternity these days with an abundance of bands calling it quits or restructuring after a spell. ‘Hollow Hearts’ consists of 10 raw and intense hardcore songs… on the darker end of the scale, not unlike This Is Hell, The Banner, Converge and Trash Talk. The music sounds incredibly heavy with raw subtle melodics but shadowed by intense riffs and a barrage of evil rhythms. There are pockets of ambience and experimentation as well as hints of traditional pummelling hardcore beats and tempos. Tracks like ‘Sirens’ cut at your flesh with razor sharp riffs and bass lines, whereas ‘Thesis’ offers a little insight into the lighter side of the bands’ sound with ambience, emotion and intricacy.

There’s a sludge element to Pangea’s sound and an overwhelming raw edge which is refreshing in comparison to a lot of hardcore bands’ sound today. Track 6 ‘Shapeshifter’ begins with a heavy, almost doom / sludge laden Sabbath intro, complimenting the latter description. There is so much to like about this band and this release. The intensity is immense and there is nothing predictable or generic about what this band has produced. Sure you can compare to bands above, but ‘Hollow Hearts’ stands aside for its own reasons. It is raw, emotional, heavy, ambient, dark and passionate. It does what all great releases should, it grabs you and draws you in until the very last chord…compelling.

RATING: 98

REVIEW BY: JOHN MEANtime

PANGEA - Hollow Hearts (Hotfoot) CD This band are from L.A. so I’ve never seen them live, but I imagine Pangea to be one of those bands that would play really small venues and house shows to a certain clique of friends who always go to the same small shows, get really drunk and have a great time pushing each other around. When I first received this CD I was expecting some My Chemical Romance type drivel thanks to the horrible cover art, however, Pangea pleasantly surprised me; somehow they’ve managed to deliver a really fun album with a dark feel to it. Barking vocals, energetic drums and crunchy riffs. Not a bad release at all, although it’s probably only worth a couple of spins for me.

RATING: 60

REVIEW BY: BUF

PENNYWISE - All Or Nothing (Epitaph) CD Having been around for 24 years, Pennywise is an awesome, but hardly surprising, punk band. Over its previous nine full lengths, punters knew precisely what they would get for their hard-earned dollar. However, the departure of long-time frontman Jim Lindberg

threw a spanner in the works. The remaining Pennywise lads brought Zoli Teglas (of Ignite fame) into the fold and return with “All Or Nothing”. The artwork is a clear indication that it’s business is as usual as far as Pennywise is concerned. After giving “All Or Nothing” a few dozen spins, I can say comparing Pennywise circa 2008 to Pennywise circa 2012 is akin to drinking Corona with or without lime. It’s still beer, you still love it, but hell, the change is refreshing! The opening title track is a ripper, as are super-catchy gems “Let Us Hear Your Voice”, “We Have It All” and “Waste Another Day”. The great gang vocals on “Stand Strong” deserve a mention too, as do the great ‘whoa’s’ on “X Generation”. Hearing Zoli sing on the album offered a slight surprise. I was expecting his vocal delivery to be similar to what he produces in Ignite but it’s more subdued here and I think “All Or Nothing” benefits because of it. Listen to “Revolution” and disagree. I could go on forever, but every song here is great. Easily the best Pennywise album since “Full Circle”. Get it now!

RATING: 96

REVIEW BY: NO SHOW

PENNYWISE - All Or Nothing (Epitaph) CD With their tenth album All Or Nothing, Pennywise have delivered exactly what they promised: a consistent, straight-up punk rock record.

Although the departure of lead singer Jim Lindberg continues to loom large over the band, his replacement Zoli Teglas does a sterling effort of fitting into the veteran outfit.

True, there are moments (like in “We Have It All”) where Zoli’s voice strays a little too far into pop-punk territory, but his efforts on key tracks like “Revolution” and “Seeing Red” more than make up for it.

Compared to Pennywise’s back catalogue, All Or Nothing is most reminiscent of the group’s first two albums, generally favouring a mix of blistering skatepunk thrashers and mid-paced melodic numbers.

Most importantly however, the band has managed to avoid one of the major pitfalls that has plagued pretty much all of their records since Straight Ahead; it doesn’t go on for too long. At 12 songs and 37 minutes, the record is a concise and well rounded listen that never rambles on too long. Overall, All Or Nothing is unlikely to win Pennywise any new fans or see them rocket to the top of the pop charts, but it might just be the catalyst that they needed to bring back some older listeners into the fold.

RATING: 85

REVIEW BY: WOODY

PIRATE - Left Of Mind (Independent) CD Hmmm… how to describe this Aussie bands’ sound?

Some refer to it as progressive, some ambient, some experimental and others call it “arty”. It is definitely alternative and definitely different.

Unfortunately for me, it makes me cringe… maybe I am not “arty” enough for this or maybe my PC speakers aren’t delivering this that way it should be. Pirate sounds like an overly deflated Closure In Moscow overshadowing elements of The Mars Volta. This release is lacklustre, boring and scarred with an unending void of empty ambience. If this is what “arty” or “art-rock” is, I want nothing more to do with it… Eject…

RATING: 1

REVIEW BY: JOHN MEANtime

POLAR BEAR CLUB - The View: The Life (Bridge 9) VINYL This nice heavy 7” chunk of grey vinyl from Polar Bear Club landed here late last year with the EP serving as a teaser I guess for their following album “Clash Battle Guilt Pride”. As far as hyped bands in our scene go you don’t get much bigger than PBC, so is it all deserving? Well, their music is pretty bloody good. But with two of the three tracks on this EP appearing on

the following full length I guess this one is really for the loyal PBC fan base more than anyone, the fans who’ve had a two year dry spell since their last release. Opening side A is the rolling mid tempo “Killin It” which is packed with whoa whoooooa’s and has frontman Jimmy Stadt’s raw vocals instantly grabbing your attention. Sharing side A is the head bopping sing-along “Screams In Caves” (which also follows “Killin It” on the “Clash Battle..” album) which is my pick for the 7”. Side B is owned by the only exclusive song for the EP, another mid tempo thumper called “Close Knit”. It’s another top song no doubt, all three are upbeat and vibrant, melodic and still somewhat raw, but with the full length out now featuring two of these three songs I’m not sure one track’s enuff. Still, almost every PBC fan reading this will already own it and it’s certainly a damn fine EP anyway. Points off for not including an MP3 download code with the 7” though... c’mon B9!!

RATING: 75

REVIEW BY: PETE

PROJECT MAYHEM - Rock Up Fucked (Independent) CD Having already released a handful of records over the course of their career, Perth based punk rock ‘n’ roll outfit Project Mayhem are continuing their steady stream of output with a brand new single. “Rock Up Fucked” serves as a reiteration of the hard rocking style that the group have become known for. Boasting a muscular garage rock-like production, the track features a pretty memorable guitar riff and a chorus that is catchy without crossing the line into pop territory.

Unfortunately however, it must be said that the song’s lyrical content is hardly original; drinking, taking drugs and trashing an unsuspecting friend’s house pretty much sum up the track, and while enjoyable, it’s not like there aren’t a hundred other bands in Perth alone doing the same thing right now. Although it is admirable that the group simply want to pump out enjoyable tunes that will make a strong impression in a live setting, “Rock Up Fucked” as a single fails to make a lasting impression largely because of its generic nature. It will be interesting to see what move the group makes next, and whether this track might ultimately make more sense within the context of an EP or full-length.

RATING: 65

REVIEW BY: WOODY

RISE AFTER DEFEAT- Maieutica (Strikedown) CD The first thing to grab my attention with this release was the cool artwork (Francesco Liori). I’m not sure which sub-genre of heavy music I’d lump RAD in with but if I had to choose I’d probably say that they sound like a bunch of metal dudes trying to play hardcore who’ve created some weird hybrid of music which probably falls closest too simplified noisecore, but fuck that’s a mouthful. RAD have some really cool ideas but the songs sounded pretty disjointed and the vocal phrasing is weird and doesn’t flow like it should for the most part. Whilst this release probably won’t blow you away it’s definitely not a terrible EP and is probably worth checking out if you’re into heavy music which is a little bit outside the square.

RATING: 35

REVIEW BY: BUF

RISE AFTER DEFEAT - Maieutica (Strikedown) CD The whole off time/ chaotic metal core sort of stuff drives me totally nuts. With the exception of the few masters who really do it well, Dillinger Escape Plan and Converge obviously , i really have no time for the whole style. Having said that , there is a lot more structure to the tracks that Rise After Defeat have released on their 4 tracker ‘Maietica than much of what is released in these circles. In fact , a lot of it is just metal core riddled with tempo changes once you get

past the opening track ‘Dreams Become Old Memories’ that is revoltingly reminiscent of revolting bands like Norma Jean. Painful listening to say the least. ‘The Price To Pay’ is just plain boring and ultimately annoying.

‘What Will Remains’ takes a different approach, and has moments of black metal styled sound amongst all the other bits and pieces. Track 4 ‘The End of My Perfect World’ is probably the one i could stomach the most but by no means did it excite me in any way.

Now the review is done, I’m just glad i can shelve this and never play it again. Gear like this doesn’t leave you wanting a change of album, it makes you crave total silence. This sorta stuff does my head in and makes my skin crawl. No thanks.

RATING: 50

REVIEW BY: MACCA

SET YOUR GOALS - Burning At Both Ends (Epitaph) CD I know a lot of folks weren’t a fan of Set Your Goals’ second full-length “This Will Be The Death Of Us”, but I bloody love that record. I remember commenting that SYG had found the perfect balance between hardcore and pop-punk on that album when I reviewed it, having not personally been a huge lover of fan-fave debut “Mutiny”. However on album number three, SYG has moved even further towards melodic punk with “Burning At Both Ends”. There are still plenty of shoutalong moments and catchy choruses, but the energy evident on the first two albums is nowhere near as prevalent here. “Start The Reactor”, “Exit Summer”, opening track “Cure For Apathy”, “Happy New Year” and “Trenches” are all decent tunes, but this group of songs has quite a Drive-Thru Records vibe to it. Now, if you are of the same vintage as me, and remember DTR bands like Midtown, The Starting Line, early New Found Glory and even Fearless Records boys Dynamite Boy, this isn’t necessarily a bad thing. The hardcore edge is definitely gone, but “Burning At Both Ends” is a collection of well-written and sincere melodic punk songs. The only real complaint is “Product Of The 80s” which reeks of something Bowling For Soup or Fountains Of Wayne would write to get mainstream attention. Skip that song and you have a solid set of tunes.

RATING: 79

REVIEW BY: NO SHOW

SHACKLES - Maunder (Arrest) CD Alrighty! Time for some killer thrashy power violence influenced hard core. I love this stuff at the moment. It’s just what I wanna hear. Angry, moody, intense bursts of violent, spewing, spitting hard core. Think early Trash Talk, Mind Eraser, bits of Infest, Get Destroyed (esp. their swansong offering Shut In), Suffer and similarities to fellow Aussies Rort (whose 7” on Crucificados absolutely destroys) and you will be getting an idea of what Byron gang Shackles are dishing up. Arrest is a label that is covering a wider range of hard core bands. This has to be one of the labels finer releases and will appeal to anyone into the above bands as well as Extortion and Hatred Surge followers. The Maunder 7” contains 11 blazing tracks of untamed aggression guaranteed to get you in a destructive frame of mind.

I’m assuming the majority of the vocals are done by Mark with the drummer Edward offering his vocals for backing but lets say the vocal delivery is superb and is everything this sorta stuff needs. Deans bass is poundingly heavy and spot on and the guitars spit out some crunching riffs that will have you losing your mind. Get hold of this record, it destroys. Tour please.

RATING: 93

REVIEW BY: MACCA

SILENT ROSE - Scar & Divide (Independent) CD I have a love-hate relationship with Aussie metal…

distinctly metal, not hardcore, punk or anything outside the general metal genre. I haven’t liked most Aussie progressive metal bands… to me they come across sounding like Taproot, Spineshank, Stone Sour or similar. It’s just not my thing, it sounds dated and lacking in punch and intensity. Melbourne’s Silent Rose, come all too close to repeating my past experiences with Aussie metal. This band borders on progressive metal, numetal and alternative metal… all too similar to a style of music that had its time. Local bands such as The Butterfly Effect, Mammal and the long gone Superheist all produced the same sound and style. ‘Scar & Divide’ contains 7 lengthy tracks. Opening with ‘Hong’ you are immediately graced with a distinct nu-metal vibe; similar in style, sound and structure. It peaks and drops in momentum, with spoken style vocals combined with intense high pitched screams before building into an infectious and uplifting chorus. I have heard it all before… I’m not saying this is shit… it’s not.

Musically this sounds cohesive and well produced… just a little dated. Track 2 ‘Crazy Panda’ is chaotic in comparison, yet still maintaining that distinctive dated sound. In parts, this track reminds me of old school thrash metallers Death Angel, but unfortunately not often enough. Track 3 and 4 are much of the same.

Song structures are almost identical as are vocal arrangements. The mammoth choruses have the potential to be addictive and incredibly memorable, and in some tracks alone could be enough to draw you back, but it’s what happens on either end that lets the music down. Lyrically it is mature and deep, but I can’t help but feel it needs a much bigger foundation to stand upon. Not my cup of tea unfortunately. Anyone reminiscing and still in awe of seeing Limp Bizkit at Soundwave may dig this however.

SONS OF YOUNG - Not In Trend (Moon) CD

RATING: 40

Let’s be honest: if you didn’t like the last album by Star Fucking Hipsters, you probably won’t like this one either. While still falling well within the confines of “crack rock steady”, From The Dumpster To The Grave is sure to leave those hoping for an Until We’re Dead Part 2 disappointed. On the other hand, if you are one of those listeners who simply enjoys high speed crust punk mixed with insane ska beats, this one is going to be right up your alley. The record’s title track is simply blistering, as is the hardcore rumble of “The Spoils of War”. On the other hand, Stza and co. have managed to once again throw some completely random elements into the mix just to keep the listener on their toes, with the almost happy sounding ska fest of “iOtra Vez!” and the surprisingly effective hip hop of “From 9/11 ‘til Infinity” once again reinforcing the group’s commitment to pushing musical boundaries. It may not be a Fuck World Trade Mark II, but this is still another massive record from Star Fucking Hipsters.

REVIEW BY: JOHN MEANtime

SLEEP MAKES WAVES - ...And So We Destroyed Everything (Bird's Robe) CD Musically, Sleep Makes Waves new record, '...And So We Destroyed Everything' is really good, it's just such a shame that the recording quality isn't.

The whole album sounds like it was recorded under a blanket which really ruins the experience and dulls the amazing sounds that the band are creating.

Instrumental bands such as this (along with whom I would include acts such as Laura, The Burning Sea, Battles etc.) seem to be stirring underground, building a small scene which accepts this particular genre extremely well, arguably making it the most popular it has ever been. The really exciting thing about this new musical revolution is that the musicians in these bands are all really freaking good, and the scene will probably never break through to a point where it will be polluted by mainstream numbers. This being said, Sleep Makes Waves have the potential to be situated with the leaders of this genre, if they can just find a better place to record. Whilst the early moments of songs like In Limbs And Joints sound fine, the build ups and the power that should absolutely slam the listener into a wall of sound just don't have that effect.

The band refrain from ever being too heavy, instead they play post-hardcore music as gently as it possibly can be played, this is not to say the group are soft however, on the contrary there are plenty of heavy moments on this record, they are just created by building and stacking sounds rather than relying on masses of distortion. Opener To You They Are Birds, To Me They Are Voices In The Forest, seems to suffer the most from the poor recording quality, a true shame as it will be many people's introduction to the band.

Hopefully a majority of them stick around and appreciate that this record is merely a stepping stone to bigger and better things for a very talented group.

RATING: 65

REVIEW BY: LC

CDR / BURNS / STREAMS / MP3 DOWNLOADS FROM LABELS WILL NOT BE REVIEWED. DEMOS FROM INDEPENDENT BANDS ACCEPTED

Hmmm… I never liked The Cramps, Nick Cave or anything that sounded remotely similar…

Unfortunately Sons Of Young fall into this category… for me anyway.

From South Carolina, this band plays a raw, southern, garage style of punk rock. It does nothing to hold your attention, it is full of dead space and pockets of potential, but for the most part it resembles a bad soundtrack in a poorly produced and written horror film.

No thanks…

RATING: 20

REVIEW BY: JOHN MEANtime

SONS OF YOUNG - Not In Trend (Moon) CD Seriously, was this sent in as a joke? Was someone secretly filming my reaction as I listened to this? If so, then good one Pete. You got me. Otherwise, um, yea. This is fucking terrible fellas. Don’t think I’ve ever suggested this to a band before but next time run autotune over your vocals during mixing, although that mightn’t be enuff coz after all you can’t polish a turd. Sorry. Tell me I’m wrong: facebook.com/ sonsofyoung

RATING: 1

REVIEW BY: BOB

STAR FUCKING HIPSTERS - From The Dumpster To The Grave (Fat Wreck Chords) CD

RATING: 80

REVIEW BY: WOODY

SUBLIME WITH ROME - Yours Truly (Fueled By Ramen) CD Despite getting a US release over seven months ago, Sublime With Rome’s debut album is only now seeing the light of day down here in Oz. Featuring both Eric Wilson and Bud Gaugh of the original Sublime line-up along with newly recruited singer/guitarist Rome Ramirez, Yours Truly was always going to be a contentious record; given the cult of worship that has sprung up around Bradley Nowell since his death from a heroin overdose in 1996, it is hardly surprising that many decried Wilson and Gaugh from the outset for wishing to resurrect Sublime without the charismatic singer. For those who can get past the absence of Nowell however, Yours Truly is a surprisingly enjoyable record packed full of mellow reggae beats and the occasional punk rock blast.

While it is true that Sublime With Rome lack much of the darker edge and underlying danger that

characterised the original Sublime, in many ways this is a good thing because it helps the listener to differentiate between the two acts. Highlights include the raucous ska-punk of lead single “Panic” and dubby closer “Can You Feel It”, both of which play up the group’s musical and compositional strengths.

Definitely recommended for fans of reggae and third wave ska, although hardcore Nowell fanatics are guaranteed to hate it.

RATING: 75

REVIEW BY: WOODY

SURRENDER - One Day (Independent) CD WA band Surrender play modern melodic hardcore in the vein of a lot of the Bridge 9 sorta stuff and mix it with melodic metal like bands such as Darkest Hour and Killswitch Engage. Not really my thing at all unfortunately.

There once was a time where I would of appreciated a band like this but for me, those days are long gone. Not having a go at the band but this style of polished, melodic metal/hc has been done to death and I think it all sounds a bit too nice. I like it dirty, raw and not so sharp. This is the part about reviewing that I hate. Having to be honest is a must otherwise what's the point if you give biased reviews? Surrender are a hard working band who have released their debut album themselves and toured South East Asia off their own backs which is an achievement in itself. Its this kind of commitment and work that keeps the underground rolling. No doubt these guys can play and play well, they’ve shared the stage in support of bands such as Cancer Bats and La Dispute. Many kids will lap these guys up and soak up the emotional energy and catchy riffs but for it doesn't excite this old salty. If you dig bands like The Carrier and even Killing The Dream you should check out these dudes too.

RATING: 64

REVIEW BY: MACCA

THE CAULFIELD CULT - Leaving Cemetery Junction (Independent) CD This 11-track effort from Singapore trio Th e Caulfield Cult ended up being a pleasant surprise. I first heard “Leaving Cemetery Junction” whilst driving my work car through the hills and could hardly hear the vocals or any distinguishing instruments. I was all set to write a scathing comment about the recording but, whilst the recording isn’t great, neither is my work car stereo! Repeated listens at home have allowed the great elements of The Caulfield Cult to come to the fore. TCC is by no means a one-trick pony, which is refreshing. Opening track “White Pills” is a cross between North Lincoln and Planes Mistaken For Stars, “Everyone But Me” reminds me of “This Time Next Year”-era The Movielife with a bit more aggression and the surging and unique “Sundown” benefits from quiet vocals before building to a great climax. My personal highlights are the aforementioned “Everyone But Me”, the intense “Burden” and the brooding “The Black Plague” (which evoked memories of the criminally underrated heartfeltself… damn, I miss that band). If you dig this kind of No Idea Records-style punk rock like I do, grab it for just $10 through the Pee mail order. Absolute bargain. I visited Singapore as a teenager and loved the place. I’ve always wanted to go back and if I do, The Caulfield Cult better be playing shows, because I’ll be upfront with a Tiger Beer in hand!

RATING: 84

REVIEW BY: NO SHOW

THE DECLINE - “Are You Gonna Eat That?”

(Pee Rec) CD What more needs to be said about The Decline other than their second album is just as good as their first? Playing a brand of skatepunk that conjures up images of other established acts like Frenzal Rhomb, NOFX and No Use For A Name, Are

You Gonna Eat That? is an engrossing album that keeps the blood rushing from the opening vocal harmony of “A Crash Course In Emotional English” all the way to the slow fade out ending of “Addison”.

While the group’s instrumental attack is a little more restrained than what was previously apparent on their mighty debut “I’m Not Gonna Lie To You”, they more than make up for it with their increasingly poignant and hard hitting lyrics and vocals. Are You Gonna Eat That? is further proof that apart from the aforementioned Frenzal Rhomb, few within Australia are currently producing skatepunk to anywhere near the level of quality displayed by The Decline.

RATING: 85

REVIEW BY: WOODY

THE DECLINE – Are You Gonna Eat That?

(Pee Rec) CD Mid to late 90’s pop punk was responsible for getting me into the whole punk/ hardcore scene. Beer soaked memories (and lack of!) from countless times watching the funnest skate punk shows with bands like Millencolin, No Fun At All, No Use For A Name, Lagwagon, Strung Out, Snuff, NOFX, Ten Foot Pole....and of course local heroes 99 Reasons Why amongst others. A carefree time of no responsibility, continuous good times and lots of beer. Yeah, The Decline bring those vibes back some 15 or so years after I got into all that stuff. While I don’t play this stuff nearly half as much as I used to it still has a very welcome spot in my library of tunes. I've gotten older and get into more of the angry stuff these days. So there you have it, this latest release from Perth lads is very much the sorta stuff Fat Mike was releasing in hordes a decade or more ago. Another band of later times doing this stuff extremely well was Tassie’s Ballpoint who had a very similar sound to The Decline.

Laden with humour but also plenty of social consciousness, a smile should at some point be triggered. ‘Excuse Me’ addresses the ethical (or unethical) treatment of animals before leading into a sample of some sick prick telling someone off for flushing stool matter prior to his inspection. What the??? Haha it sounds funny though. Following the same track is a sample regarding cooking a dog.

Again, WTF? Again, disturbingly funny. ‘You Call This A Happy Meal’ continues on the animal welfare line with a track about ignoring the facts. ‘Worlds Apart 2’ addresses human welfare and slave labour. ‘Addison’ is a little acoustic number in honour of vocalist Dan’s baby girl and the joys of entering fatherhood. There you have it, humour filled, message filled fun pop punk. Nice to see no mention of MILFs, farting or dicks, although turds got a look in.

RATING: 82

REVIEW BY: MACCA

THE HEADLINES - Wake Up (Goodwill) VINYL Blending late 90’s era pop punk with the occasional rock ‘n’ roll flourish, The Headlines are a group that definitely won’t be for everyone; the lead singer has a whiney voice, they’ve got a chick doing back-ups, and their forth member specialises in saxophone and harmonica. If these three things are too much for you, get out now. For everyone else though, I’ll let you in on a secret: The Headlines are actually pretty good. Sure, there is a distinct lack of danger in the group’s rallying cries of “Revolution, revolution!”, but they know how to write a catchy tune and they know how to have fun. The four tracks which make up Wake Up all have their own peculiarities, ranging from the upbeat party-vibe of the title track to the more sombre groove of “Inside”. All in all, a fairly complete package for anyone who isn’t afraid of a bit of melody and (dare I say) poppiness in their punk.

RATING: 70

REVIEW BY: WOODY

THE LODGE - Downloaded (Independent) CD After the first few listens to Queensland hardcore / rock outfit The Lodge's EP " Downloadead ", I was ready to dismiss them as fairly generic, straddling some sort of line between hardcore and Oz pub rock (is hardcore becoming the next generation of Oz pub

rock? There's a question for you to ponder...) .

However, despite not really breaking new ground, The Lodge's EP sits adequately and comfortably within contemporary hardcore / rock standards, is well executed and a competent release. 5 short and sharp tracks of energetic guitar, a solid rhythm section, and James Thompson's enigmatic vocals - tracks such as " Baby Phone " and " P vs A " have neat hooks that reel you in, then hit you with a punky blast. The Lodge should also be commended for making this EP available absolutely free through their website at wearethelodge.com .

Obviously not a money-making venture, the band just want to get their music out to the masses as quickly and cheaply as possible - no pressing of thousands of CD's that will end up sitting in boxes underneath someone's bed. Well done guys!

RATING: 75

REVIEW BY: PANTS

THE MEMORY - Call It A Comeback (Indelirium) CD Believe it or not The Memory are an Italian Hardcore band and trust me if you heard this EP you would find it very difficult to believe that also, but this is a stellar effort.

Six tracks of abrasive, energetic and diverse hardcore in the vain of Champion, Verse, Youth Of Today and even some of the “mosh” driven parts of Casey Jones; it’s not the most original output that’s been released, but it’s definitely one I and I’m sure many others will come back to, often. Even if these five Italians are just interpreting the bands they love without focussing on their own sounds and lacking direction, they do it quite well.

RATING: 76

REVIEW BY: WILLY-O

THE MENZINGERS - On The Impossible Past (Epitaph) CD I have to admit that, prior to receiving “On The Impossible Past”, I had never even heard of Pennsylvania punk band The Menzingers. Upon further research, I’ve learnt “On The Impossible Past” is the band’s third fulllength effort. I’m not sure I’ve ever quoted my wife in a review for Pee, but she summed it up quite well when we listened to this album on a big drive when she said “It started really well but after a while it all sounded the same and it wasn’t really catchy”.

Opening track “Good Things” is okay but my pick is follow-up tune “Burn After Writing”, which is catchy one. For the uninitiated, The Menzingers sound like a blend of Alkaline Trio, The Loved Ones and Lawrence Arms, so if you like that raw and passionate, yet melodic punk sound, this might be your kinda thing. I kinda feel bad I haven’t got onboard with this one as, on paper, it should be my bag. However, knowing The Menzingers are supporting Pennywise soon in Australia, I’m more worried they’ll be blown off the stage. I just hope they’re better live.

RATING: 67

REVIEW BY: NO SHOW

THE MIGHTY FINE - In Revival (Solidarity Recordings) CD So yer old Uncle Pants is sitting in his rocking chair on the verandah, and he's thinkin', " Why does today's punk and hardcore have to be so serious?

Why can't those pierced kiddies with their loud guitars just have a little bit of fun? " Well, when he pops the latest album from California's The Mighty Fine into his CD player (cleverly disguised as a gramophone player), what he hears comes as welcome surprise. It's passionate, anthemic, arm-in-arm, beer drinking punk, not quite Dropkick Murphys, more like Rancid meets Gaslight

Anthem or Hot Water Music - it's a punk band ENJOYING themselves and their music! With such a dynamic, tight sound for a 3-piece, " In Revival " is quite the complete package - soaring guitars with wellcrafted, heartfelt lyrics delivered passionately through vocalist / guitarist Brook Thompson, combined with Mikey Castillo's creative, dynamic basswork and the definitive punch of Chris Scott's drumming. Album opener " Revive " sets the pace and tone for the album " - fast, urgent punk, perfect to mosh to (well not for old fellas like me!). Tracks such as " To Indiana " and " Heroes on TV " contain such memorable guitar lines you might swear you've heard them before, but unlikely. It might be said that the album may have a degree of slickness to it, that it borders on some sort of commercial punk-pop territory, but frankly, the vibe of the album is so uplifting and energetic that you'll completely forget any such notions. Uncle Pants lights his pipe, leans back in the rocking chair, and with a grin exclaims to himself, " Not bad, not bad at all...there's hope for those youngsters yet! "

RATING: 91

REVIEW BY: PANTS

THE REVELING - Tributaries (Black Numbers) CD The Reveling are a Brooklyn-based quartet that play catchy punk rock, which sounds reminiscent of the days when the music scene wasn't shit. I am referring to a time roughly ten to fifteen years ago when rock bands had a strong scene and weren't anything like Nickelback. Opening track Revival is a short but powerful little anthem complete with a foot stomping, fist pumping Nickelback. Opening track Revival is a short but powerful little anthem complete with a foot stomping, fist pumping bass drums and a rhythm section that will make you want to hang over your mate’s shoulders and group sing. Second track Charlotte Thompson sits the band somewhere in the area between Gaslight Anthem, Greenday and Smoking Popes. Vocalist Sean Morris manages to cover off all of the topics under the negative sun which is offset by the relatively bouncy music. Lyrically Morris hits his peak in Black & Tan, a tune about a family member moving far away that is describes an everyday topic which many face, with heart wrenching honesty. It is funny how many Australian bands spring to mind when listening to this band, like Bodyjar in Left At Forkright or Something For Kate in Plaster Saints.

The record ends with its most punk rock moment, Last Act, and the glittery, Ataris-like Invitations To Alleyways. Some may think these guys are a few years too late but personally I hope they are joined by many more and this particular brand of punk rock is brought back to life.

RATING: 80

REVIEW BY: LC

THE SHELL CORPORATION - Force Majeure (EFM) CD This debut full length for Californian punk quartet The Shell Corporation pumps out some great punk that mixes things up from the passionate kinda hard rocking punk rock embodied by Hot Water Music and your more classic 90’s Epitaph skate punk with a little folk occasionally thrown into the mix, all blended nicely without the album losing direction or structure. There’s elements of A Wilhelm Scream, HWM, Against Me! and passionate vocals ala Strike Anywhere or Jawbreaker showcasing a healthy dose of attitude and humour whilst still taking aim lyrically at all the usual socio-economic subject matter (government policy, corporate greed etc). Variety is the key to this album’s thumbs up rating, with the aptly titled opening track “Fuck ‘Em” serving as a thumping short sharp mission statement with the great closing lyric “and if you can’t take a joke, well, fuck you too”, whilst the slower “Broken Hearted Loser” and “All Of The Best” highlight the album’s ability to effortlessly mix up tempos. Although that said, closing with the acoustic folk track “Dust To Dust” kinda let the album whimper away for me, but that’s probably coz I’m no fan of acoustic closers. Regardless of this limp ending and the complete lack of booklet and lyrics to accompany the solid little digipak, I still recommend this impressive debut for anyone who wants their punk

rock with a dose of punch, melody and solid lyrical content.

RATING: 90

REVIEW BY: PETE

THE STORY SO FAR - Under Soil And Dirt (Pure Noise) CD Pop-punk may actually be better than it ever has been at the moment, it's just not as popular so people haven't noticed.

Look at bands like Transit, Man Overboard and The Wonder Years, newer bands who love their pop punk and perform it well.

The Story So Far are another group who can be listed in the same company as those previously mentioned. It could be the fact that this "new" version of pop punk has a harder edge, incorporating elements of post-hardcore, which makes it more appealing to the older pop-punk fans, like myself, whose musical tastes have matured over the years. It could also just be the fact that these band's are damn good songwriters. Opening track States & Minds is a short but aggressive little number which to me, encompasses and pays homage to the bands that paved the way for music like this to be made. It is amazing how much emotion can be conveyed with a tiny, mostly instrumental, piece of music. The typical subject matter is covered lyrically, growing up, breaking up, activities that result in throwing up, all of the important stuff basically. This is all set to fast paced drums, chugging guitars and extremely well crafted melody lines which place this as far as possible from radio-friendly whilst still sounding pretty. Roam is a stand out, a powerfully emotional track that drives with guitars and drum locked into a swinging rhythm.

Things pick up a faster punk-rock pace complete with gang vocals and rumbling bass lines in Swords And Pens before things get slow and heavy in Daughters.

The record ends with uplifting guitars lines and syncopated rhythms in Closure, which also sees vocal and guitar lines tussling against each other beautifully, "I invest my ideas but get swallowed in debt." The Story So Far have released a strong debut full length which puts them up there with some of the frontrunners of the pop-punk scene at the moment, let's hope a few more people take notice.

RATING: 85

REVIEW BY: LC

THE UNDERGROUND RAILROAD TO CANDYLAND - Knows Your Sins (Recess) CD Underground railroads not so fun, in fact, kind of creepy, Candyland’s sounds like a something that would be a lot more fun.

So for The Underground Railroad To Candyland’s second record ‘Knows Your Sins,’ let’s focus on the latter part of their name because their music is much more suited to it. These guys give pop punk an indie rock feel and top it off with the energy of a raging kegger party. The band is mainly made up of members from Toys That Kill and whilst mild similarities can be heard between the two groups, that is about as far as it goes. The small parts that are evident would be due to the fact that frontman Todd Congelliere is/was the main songwriter for both groups, however in this new project the vocalist is able to flash his love of punk a little more. Anyone looking for anything too serious on this record will be severely disappointed as the tracks are short, simple, heavily melodic, catchy and made to be sung along to without having to think too hard. The melodic moments are extremely memorable, especially in tracks like My Number’s On The Stall and Jimmy V, two songs in which the vocal lines (and harmonies) are complete standouts. Aside from the melodic punk, there is quite a lot of surf style rock to be found here, mainly in the instrumentals Run! Chicken! Run! And 2010, which are enough to drag a smile, but any musician who thinks that this style of music will ever make a comeback or be used for anything more than a Brady Bunch Hawaiian Special montage is kidding themselves.

Then again, it is clear that this band is not to be taking seriously, nor are they really thinking straight, which I guess adds to the fun.

RATING: 70

REVIEW BY: LC

THE WILD - A Collection (Asian Man) CD Five piece band ‘The Wild’ who hail from the southern city Atlanta, Georgia have released a 14 track record titled “A Collection” which compiles all the bands work including single releases, EP’s, splits along with acoustic and live tracks. Two refreshingly featured instruments that appear in most tracks on this album are the banjo and harmonica which give ‘The Wild’ a unique and impressive folk rock sound with plenty of vocal variation from both lead male/female vocalists. ‘The Wild’ play to a simple formula that is effective and catchy. The opening track “Mudlines” really sets the scene for what is to follow and displays light single guitar lines before the banjo and harmonica are powerfully introduced in combination along with emotion charged raw teamed vocals. “We will drive these warlords out” is another track that stands out for me with its straightforward time signatures and story book lyrics and vocals. With influences ranging from Billy Bragg to Todd Snider, it is certainly difficult to pigeonhole an exact band that sounds the same which is why I won’t attempt to. “The Wild” offer their own interpretation of punk folk rock regardless of their influences and would be a welcome addition to your collection.

RATING: 90

REVIEW BY: DEANO

TOPNOVIL - Same Old Story (Independent) CD Despite its apparent musical simplicity, crafting strong and memorable street punk really is a difficult task.

The main reason for this is because underneath all of the distorted power chords, gang vocals and ripped tartan pants, good street punk actually has a great deal of subtlety and nuance. With their latest full length, Wollongong-natives Topnovil have successfully managed to traverse the many pitfalls that usually befall modern street punk outfits. On the whole, Same Old Story is highly reminiscent of both Let’s Go by Rancid and The Gang’s All Here by The Dropkick Murphys; all of the songs feature well crafted choruses, high tempos and a great deal of energy.

However, it is Topnovil’s willingness to diversify their sound by occasionally incorporating folk instruments and elements of ska that really pays off; indeed, high tempo skank-fests like “All Over” and “Burn Out” are amongst the best tracks on the record. While it is true that Same Old Story is not entirely original, that’s hardly the point. It is simply a high energy record perfect for rowdy get togethers and drunken gigs.

RATING: 75

REVIEW BY: WOODY

TOUCHE AMORE - Parting The Sea Between Brightness And Me (Deathwish) CD Touche Amore is one of those bands I had heard so much hype about but had never actually heard before Pete handed me a copy of “PTSBBAM”. When I chucked it on the stereo, I was pleasantly surprised to hear a late 90s screamo vibe going on, not similar to anything I have heard recently in hardcore circles. I’m no expert when it comes to screamo, or hardcore for that matter, but on “PTSBBAM” I hear elements of Saetia, Modern Life Is War and (a less hectic) Love Like… Electrocution. The 13 tracks are gone in less than 25 minutes, but after a shitload of listens to “PTSBBAM”, I never feel shortchanged. What Touche Amore serves up is emotionally charged, dynamic and intelligent music. As much as it seems like laziness, I can honestly say this isn’t about highlights, it’s an album that really needs to be heard in its entirety. However, if you really need to hear a song or two before buying, I’d recommend checking out “Crutch”, “The Great Repetition” “Wants/ Needs” or the brilliant “Method Act”. Overall though, this is one of the best hardcore albums I have heard in a very long time. Hell, there are even

handclaps on “Sesame” and the line “I need a week’s rest desperately”, which I know I can relate to.

RATING: 94

REVIEW BY: NO SHOW

TOY BOATS - Diamond Teeth (Resist) CD Following in the footsteps of numerous other hardcore frontmen, Hugo Costin-Neilsen has decided to expand beyond his punk rock roots into the world of folk and indie rock.

Performing under the name Toy Boats, Costin-Neilsen’s endeavours have culminate in the release of his first EP, Diamond Teeth. Although those familiar with The Dead Ends might be left scratching their heads somewhat, Diamond Teeth is a fairly convincing effort that shows a love for the genre and for songwriting in general.

While similarities with other acts like Bon Ivor, Jose Gonzalez and perhaps even Triple J up-and-comers Boy and Bear are sure to abound, Costin-Neilsen works hard to differentiate himself from the norm. The result is a surprisingly warm and melodic record that may well find Toy Boats a following outside of the normal folk-punk circles. Well worth a listen, and hopefully a harbinger of exciting things to come.

RATING: 80

REVIEW BY: WOODY

TRAVELS - Life (Independent) CD This 8 track ep from Brissy melodic post hardcore noise merchants Travels is a fuckin’ ripper debut. Opening with a rolling minute and half rolling instrumental serves to slowly build up your anticipation of what’s to come, you could be forgiven at this point for thinking that what’s to follow may possibly be post hardcore tunes that sit on the indie rock side of the fence. That is until track two “The War We Lost” bursts that bubble as Joshua Richards’ passionate and pained vocals suddenly scream at you with the line “We might save it but we’re dead inside, we’re all built to die” shredding that preconceived genre the intro had them pegged for. With their soaring atmospheric guitars overlaid with throat shredding yelled vocals, layers of heavy melodic post hardcore and dark quieter moments all coming together brilliantly making for an intense and compelling record.

I can barely fault the whole 28 minutes [which is a lot of play time for an EP!] of moody hardcore on this release. You can grab it as a free download at their travail.bandcamp.com site but if you can get ahold of the physical product I suggest you do so coz it’s a neat looking d.i.y digipak. With all the passion and urgency of hardcore bands like In The Face Of War and Safe Hands it’s no surprise that this has been on repeat for days here. Recommended.

RATING: 89

REVIEW BY: PETE

VANITY - A Thousand Feuds (Arrest) CD Another release from Arrest! What a bloody busy label. I’ve had this one on my pile for what seems like yonks. This 4 track ep kicks out 8.27 minutes of screaming metallic hardcore. It’s pretty impressive gear too.

‘Expired’ acts almost as an extended intro leading into the thunderous pounding of ‘Wolves In My House’. Screeching vocals, super low bass, drumming that will have feet stomping and intense riffing make this song a belter leading into ‘The Precursor’, a very similar track. ‘Naivety, No More’ closes off the ultra short offering and leaves you reaching for the repeat button. Pretty unique sounding stuff here. Solid as. I dug the demo these dudes put out a few years ago and this release has seen the band continue their initial sound whilst improving it.

They also released ‘Hitting Home’ between the demo and this most recent cd ep. Edgy, aggressive hard core that is bound to generate mosh madness.

Powerhouse.

RATING: 91

REVIEW BY: MACCA

V/A - CARRY THE TORCH / SIGNS OF HOPE (Goodwill) VINYL So many reviewers on American webzines these days are a bunch of uptight jaded cunts, fair dinkum.

The amount of bullshit “did nothing for me” and “meh, nothing new” reviews I’ve read online about this great little 7” split makes me sick. What’s worse is the fuckers responsible for editing this shit even bother printing or posting their “can’t be fucked” dribble once they’ve submitted it. A quick search of the writers other reviews always shows their lacklustre opinion is served up to every bands release, unless of course they’re some “amazing” completely unknown underground band who the reviewer owns a t-shirt of (and wears the fucking thing to every show he goes to). Their unsubstantiated whiney dribble contributes nothing. Rant over… this red 7” released last year brings the two U.S east and west coast hardcore champions together with two songs each from Connecticut's Signs of Hope and Sacramento, CA's Carry The Torch. Signs of Hope deliver their trademark old-school, posi-core heavy melodic sound with the right dose of sing-alongs, pit stirring breakdowns and rolling drum beats. In contrast the Carry The Torch songs sound faster and more metallic hardcore than their ‘08 Detonate EP “Dead Weather”. Their songs “Color Wash the Devil Gold” and “Arches and Angles” are more chaotic, erratic and riotous whilst still maintaining all the venom from their previous release. Although I preferred the SOH tracks more personally, both sides of this record get thumbs up. Points off again though for not including an MP3 download code with the 7”

RATING: 80

REVIEW BY: PETE

V/A - MARK MY WORDS / SUFFER SURVIVE (Arrest) VINYL International split 7” EP between Mark My Words from the Central Coast of NSW, and Germans Suffer Survive delivering two hardcore tracks a piece.

Starting with the band I don’t know, Suffer Survive who are obviously influenced by No Warning going by not only their band name but by the hardcore they play. From the limited info I can find on the band this split appears to be their debut release, and although the two tracks they contribute to the split are solid hardcore songs, they just get completely blown away by the two Mark My Words tracks on the flipside. Those two MMW tracks not only sound better production wise, but are far more catchy and well written with beats that you can’t stand still to. These songs are the best I’ve heard the band sounding, can’t wait to hear their album that’s in the pipeline. Their track “No Justice” which also appears on this issue’s sampler CD is my pick. Overall a great 7” split worth picking up for the Mark My Words tracks alone… that doesn’t mean the Suffer Survive tracks are stinkers though. They’re just overshadowed on this one by MMW brilliance.

RATING: 83

REVIEW BY: PETE

V/A - THE END BEGINS NOW (Pee Rec) CD Nothing beats a great split release or compilation.

‘The End Begins Now’ features four bands; Time Has Come (Brisbane), Trainwreck (Melbourne), Out Cold (New Zealand), Change Today (United States) and Queen City Crew (Philippines).

Beginning with Time Has Come is fitting, being a current Pee Records band and opening with a slab of intense authority. These guys have a huge sound similar to Hatebreed and Confession but with some obvious original hardcore and metal elements. Their breakdowns are huge, their riffs are immense and the band is best when vocals are alternating from deep guttural growls to emotive higher pitched screams; track 1 ‘Defeated’ depicts this perfectly. With 3 tracks from each band, the intensity from Time Has Come will

you have endured a full length. The end of their last track ‘Eat Your Words’ is epic and I would love to hear more of this diversity in the bands future recordings.

Next up is Melbourne’s Trainwreck and being unfamiliar with this band, their style and sound is pleasant to the ears, almost reminiscent of 90’s style Melbourne hardcore. Their sound is distinctly similar to that of early hardcore punk bands such as Wrong Body, Self-Reliance, Gorilla Biscuits and more. At best when pummelling along at a steady, moderate pace, expelling inspiring amounts of emotion, Trainwreck should ditch the breakdowns and just stick with heartfelt emotional hardcore punk. I can’t help but sense there is an abundance of emotion and uplifting pace and tempo bursting at the seams in their sound, like a racehorse being held back during the early stages of a race. Three solid tracks but I can’t help but think there is so much more to this band. Next up are Kiwi’s Out Cold, and these guys and initially their sound takes you back to that of Time Has Come. Not before long, the band kick into a more up tempo traditional hardcore style; upbeat tempo, subtle melodies, pummelling base lines and harsh, coarse vocals not unlike that of Mindsnare. With gang vocals to boot and some shuddering breakdowns, this band sound like so many others doing the same thing, but they are doing it well. Their last track ‘Be The Exception’ is their standout featuring all the elements mentioned above. Great to hear a band with a raw edge and integrity. Change Today hail from the United States. For me unfortunately, these guys are where the compilation reaches a low point. I get their raw and intense sound and style and have heard it many times before, but for me, it drags… there is a weight to their sound and vocal delivery. Musically there are too many pockets lacking in dynamic energy, which is what I feel I should be hearing. There are some catchy and great melodic hardcore riffs, but nothing backing it up. Vocally, I hear strain and in return strain to listen to it. Coming up the rear and last of all is Queen City Crew from the Philippines. Again with a sound that is distinctly like 90’s hardcore and bands such as Mindsnare, Fallout, No Grace and others, this band mix it up a little delivering a crisp style and sound with an immense amount of intensity. My only gripe is that it sounds a little too crisp for the brutal elements they throw in their mix. The track ‘No Place For The Insincere’ is bordering on 80’s thrash metal with a riff as shredding and intense as Exodus or Vio-Lence.

Despite their size and cheeky warm smiles, these Filipino’s deliver a packed punch. The final track, and this bands last, ‘Not Alone’ would not feel out of place amongst tracks from D.R.I., M.O.D., Municipal Waste and other crossover, thrash bands. In all, an impressive compilation and nothing better than one band standing out and drawing you to them and their music. For me the standout on ‘The Ends Begins Now’ is Queen City Crew, but the intensity of Time Has Come leaves me yearning for another solo release from them. Solid release and great split.

RATING: 90

REVIEW BY: JOHN MEANtime

WALK THE PLANK - S/T (Independent) CD If Walk The Plank had released their self-titled debut EP five years ago, they would have been ahead of the curve, a melodic yet hard hitting punk rock band exploring unknown territory. Arriving in 2012 when the scene is already flooded with a glut of similarly minded tech-punk outfits however, the group comes across as talented but unoriginal. While clearly all extremely talented musicians, Walk The Plank unfortunately do not do anywhere near enough to try and stylistically separate themselves from their peers. They play fast and incredibly tight punk rock with powerful vocal melodies, but the simple fact of the matter is that the group have not yet managed to find that certain indefinable quality to make their music unique. Indeed, it is only really during the EP’s closing track “Shadow Play” that Walk The Plank really start to hit home runs. The song’s breakdown in particular finally sees some of the group’s heavier tendencies shine through, resulting in an impressive display of borderline metal fury. On the whole, fans of the techpunk style are sure to find something to like about Walk The Plank, and should definitely check them out.

Only time will tell though if the group are able to expand their sound in the future into something a little bit more distinctive that casual listeners will also be

able to enjoy and relate to. (Extra points for the CD’s packaging however, which is actually quite stunning and unique).

RATING: 70

REVIEW BY: WOODY

WE SINK - S/T (Chorus Of One) VINYL We Sink are a heavy, darkened hardcore crew outta Italy. Style wise there is elements present from bands such as His Hero Is Gone, Tragedy and Integrity. An edgy blend of crust, hardcore, punk and doom. I’m glad to have my faith renewed in Chorus of One after my previous encounter with the label had me being tortured by the incredibly awful garage outfit Boozed. This 2nd offering from We Sink follows on from their ‘Old Stories’ ep. While this 6 track 10” is a solid effort I think it is still early days and the bands best days are still to come. ‘Puke’ which kicks off the b side is a notable highlight with its slightly faster approach. On the more hardcore comparison side of things I would liken moments such as ‘State of Meditations’ and ‘Parodies and Lies’ to ‘Isolation’-era Carpathian while I can see We Sink appealing to fans of d-beat punk such as Victims and our own craft masters Teargas. Check it out for a dose of what’s going down in the Euro scene.

RATING : 70

REVIEW BY: MACCA

WILLIAM ELLIOT WHITMORE - Field Songs (Anti) CD Let’s face it: one of the main reasons why people hate contemporary music is because of the industry’s obsession with over producing records.

The result is that many music lovers have become completely alienated by modern music, much of which often comes across as lifeless, shallow and plastic. That is why it is so exciting to hear a record like Field Songs. Composed and performed entirely

by William Elliot Whitmore, it suffers from none of the pretension or falsity that characterises much of the music which currently dominates the radio. Instead, Whitmore focuses upon the basics; strong songwriting and solid yet minimalist instrumentation. In doing so, he has succeeded in creating something personal and emotional that is sure to resonate clearly with a great deal of listeners. With its simple lyrical themes and stripped back approach, Field Songs is an easy listen that is nonetheless revolutionary in the way in which it contrasts with the work of contemporary “stars” like Kanye West and Lady Gaga.

RATING: 80

REVIEW BY: WOODY

YOUR DEMISE - Brothers In Arms (Independent) CD Tassie outfit Your Demise has unleased its debut fulllength “Brothers In Arms” and it’s a great collection of 10 melodic and upbeat punk rock tunes. After a few spins, I had to dig out Your Demise’s EP “This Road Takes Me Home” because I was sure I remembered the outfit having a rawer and more aggressive sound. My memory served me correctly, but having said that, I prefer the sound offered up here. The guys have gone up a notch in the songwriting stakes, penning some catchy and slightly polished punk in a Seraphs Coal, Slick Shoes or Nearmiss kinda way. The lads should be very pleased with the overall finished product as it’s also a huge step forward recording-wise from “TRTMH”. Opening track “Another New Year” is a ripper while “The Middle” will get stuck in your head instantly. The title track is another highlight, while “Magnetic North” is my personal fave along with closing track “The Wrong Side” which revisits Your Demise’s more hostile origins. Overall, good stuff from these Tassie punks. If you’re a fan of this kinda punk, chances are you’ll like it as much as I do.

RATING: 83

REVIEW BY: NO SHOW

BP #32 A4 $10 P.O Box A1412 Sydney South, NSW 1235 danhelen@idx.com.au This issue of BP arrived here about the same time the last issue of PEE zine came out last year, yea forever ago. The good part about that is it must mean issue #33 isn’t far off now, huh Dann? The first thing you always notice with BP zine is the quality of the printing, that and the nice thick paper stock. Must cost a fortune to print and post! Inside this issue, featuring Amanda Palmer twiddling her ukulele on the cover, you’ll find a shit load of articles on everything from Dann’s tales of his first ever live punk rock experience: a Sydney gig featuring the Vee Bees, Blurters and U.S punk sickos The Murder Junkies (GG Allin’s backing band) in which the drummer ended the show by shoving his drumsticks up his arse. As you do. There’s an interview with voluptuous and totally rootable pommy porn star Sophie Dee (who’s hot bod also features on the back cover), Dann’s thoughts on Ben Elton’s shithouse live ‘comedy sketch show’ getting the boot from channel 9 after just 3 piss weak

eps (I couldn’t even sit thru one!), a tribute to the hot looking late star of 60’s sleaze film “Faster, Pussycat!

Kill! Kill!” Tura Satana, and a bunch of articles on wrestlers I didn’t read coz I don’t watch WWE, F or any other wrestling series. There’s stacks more in here including Dann’s email convo with comic artist Erik Larsen in which he tells him everything that’s wrong with his Savage Dragon superhero comic and why after over ten years he won’t be buying another one, blurbs on street art, underrated porno, an interview with Dann himself about BP from a few years ago and like every issue of BP, there’s tits, butts and the occasional dick on every other page. It’s all top stuff if you have a sense of humour, dig reading about porn, music, wrestling and Dann’s thoughts on it all. Steer clear if you’re an uptight pc nazi.

REVIEW BY: PETE JUST SAY YO! FANZINE #5 A4 $4 8 Avenue Georges Pompidou, Appt 3, 31500 Toulouse, France papernab@gmail.com justsayyo.wordpress.com Just Say Yo! is a French hardcore zine written in English and lovingly slapped together by southern France h/c band A Bridge To Many’s guitarist Nab in a desktop publication / cut ‘n paste kinda style. The quality of the 60 or so pages of indepth interviews, column and reviews here is great, I read a review of a previous issue which made me want to get in touch with Nab and get my mitts on a copy to check out for myself and I reckon you should do the same (you can find it available thru d.i.y zine distros world wide). Issue five begins by offering up some interesting columns by contributing writers who’s opinions I didn’t always agree with, and that’s more than fine. Nab’s personal columns on his struggle with dealing with death, and the other on his hatred of the American flag being used as much as it often is by U.S hardcore bands were the most interesting writings here for me. There’s interviews with bands such as Birds In A Row, which turned out to be a pretty good read considering they find doing interviews “boring”, chats with Unveil, comic artist Mitch Clem, part one of a pretty detailed U.S tour diary for Chile hardcore band Remission, a Silent Majority retrospective, a stack of zine and music reviews and shit loads more. Only criticism I could possibly make would be to suggest some of the text in interviews could be reduced to a smaller but still easily readable font size so that JSY! could fit even more inside what’s already a decent sized issue. Check this one out.

REVIEW BY: PETE