It’s very rare that a record label gets a description incorrect of one of its bands. They know them best, theiy know their secret likes and all that goes into the wiritng of their songs. So when their record label, lavidaesunmus, describe Mystic Inane as “Freaked out FLIPPER meets RUDIMENTARY PENI acid punk from New Orleans who channels the weird vibes of earlier SACCHARINE TRUST and battles them against modern distorted hardcore creating a hybrid soundtrack to a bad trip.” there is no point in me arguing for something else.
It drifts along at a fuzzed out speed as indeed is as confusing as it is exciting
POISON IDEA RESURRECT AMERICAN LEATHER IMPRINT AND RELEASE NEW VIDEO
Hardcore punk legends Poison Idea have recently resurrected the American Leather Records. the band’s own DIY label that initially released the hardcore punk essential Feel The Darkness, along with Blank, Bl ackout, Vacant and a slew of singles throughout the late 80’s and early 90’s.
The label presents the latest bulletin of classic punk shredding from the band, following their full length comeback record, 2015’s Confuse & Conquer for Southern Lord.
One of the first records to see light of day on the imprint is a 5-song limited edition 12” EP of new material, which is available at the band’s official online merch store.
The band are also bringing out a new live LP, the limited edition Company Party, which comes out on Portland’s finest independent doughnut shop/record label, Voodoo Doughnut Recordings, and is pressed on hot pink wax. This jam-packed live set, recorded at the Star Theater on February 2nd, 2015, will satiate your cravings for high-energy Poison Idea antics, and comes with extensive and insightful liner notes from Jerry. A sweet treat for those who devoured the live sets included in the recent reissues of PI classics.
Poison Idea have also released this video for one of their brand new songs ‘Calling All Ghosts’ (shot and cut by Brett Roberts and Colin Jarrell, G+E- Jake Lyon)
Southern Lord have released the blazing debut album Rutiinin Orja from incendiary Helsinki hardcore punk band Kohti Tuhoa. There’s no time wasted on this record as it speeds past in under twenty minutes. Irresistible pogo beats and pit parts pile on top of each other with reckless abandon, and thick waves of drum rolls provide a dangerous velocity over which Discharge influenced guitars chug and wail.
Helena’s wide ranging vocals delivered in the band’s native language are unmistakeable and intimidating even to non-Finnish natives, layered up an intense degree and teetering between fearsome and fascinating. Recognisable traits of other bands, such as the Japanese masters of noise dbeat attack Framtid and Hispanic kings of the fast ‘n’ angry Los Crudos, find their way in to the Kohti Tuhoa sound, and fans of Oakland’s RAD and Chile/Austria’s Ruidosa Immundicia will have an instant infatuation with the sheer might of Rutiinin Orja. Punk bible Maximum Rocknroll are already shouting their name, and you are well advised to hear the furious sounds of Finnish hardcore punk at its current best – barbed, destructive and viciously catchy.
Aug 1 1992
Dec 30 1990
Suburban Rebels, Violent Phobia
Morty was the aforementioned editor of Sunny Days fanzine so when he asked could his band play Dublin with another Cork band I was only too happy.to be involved and to be one of the 30 people to pay in and see them
Dec 9 1990
Whipping Boy, House Of Byron, The Grown Ups
Benefit for Rape Crisis Centre
The Therapy?? gig in the Attic was absolutely packed. You could sense at this time that there was a buzz around the band. People who were rarely at gigs came out to this one. The Attic wore its title well. Situated upstairs in the small WHITE HORSE INN it could fit 30 people comfortably and 100 people very uncomfortably. All Health + Safety regulations went out the window the day Therapy? played there. Lenny was very worried that his pub would be closed down but still continued to serve beer. This gig, along with the other 4 in the series provided something completely different to a normal Sunday afternoon in the lead up to Christmas.
The Whipping Boy played the following week and almost drew an equally good crowd. It is ironic that both Whipping Boy and Therapy? then went on to sign major label record deals. We had decided that ‘Hope’ would not work with a band on a major record label. My main reason for wanting ‘Hope’ to go down this road was in reaction to the way that record
labels went about their business and how they were linked into other businesses (namely the Arms trade). I also felt that the music business has enough people working for it and if a band subscribes to the business they have the option of utilising that machinery. If Hope’ could stay outside the machine as much as possible we could show people inside and outside bands that there was an alternative. So major label bands were turned down and not approached. It wasn’t a snub or a judgement. It was just something we wished to do. It also left us open for contradiction – something people were only too willing to point out.
Jan 20 1992 Slunk, Tension Barnstormers
Jan 21 1992 Slunk Bolton St.
Jan 24 1992 Slunk, Onion Breath, Arnheim Fox + Pheasant
Slunk wrote to me and asked about coming over. They were really persistent and I admired their ethic. They just wanted to play music and see as many places as possible. A record shop in Arklow, Co Wicklow had been taking copies of React and James, the manager of the shop, said he could get a venue to put on gigs there.
He asked if there were any bands interested in travelling to Arklow. I immediately passed the word on to Slunk and they were very keen. Anhrefn were also coming over to do some gigs in Belfast and Cork (they had made their own contacts since their first trip to Ireland) so they played Arklow on the night as well.
The Dew Drop Inn in Kill were unwillingto do more gigs and the person who was doing all the work there was tiring of it. Hence Arklow became the new Kill. About an hour’s drive from Dublin, it was possible to get bands to play in the city on Saturday afternoon and then, circumstances allowing, head down for another gig that evening. Unfortunately however, Charlie’s lost interest in afternoon gigs and the manager decided to renovate the bar and to stop gigs for a while.
Slunk also got to play in the Anarchy Night Café with Tension. The people running the club were more than willing to allow a travelling band to play on the night. They paid whatever they could afford at the end to the evening. Slunk’s tour was rounded off by a gig in Bolton Street and trips to Cork and Belfast as well as an appearance at the Fox And Pheasant – 6 gigs in 6 days.