Mini-Harvesting #1: You’re making me Peter Out!

This is a mini-harvesting for all you harvesters out there that haven’t gotten your daily doses. I promise to make this a continual experience for you all, but until I’m done with the main harvest, you’ll have to enjoy the mini-harvest instead. There’s a lot of these coming your way too and this is the first edition of the mini-series that I will be doing on a regular basis. In this edition you’ll get this: The Peter Out Wave and Monument. Both released by the eminent Peter Out Records, which you should check out if you have the time, they release some good stuff.

VA – The Peter Out Wave

An all-out flirt with the darker sounds. Starting out with The Death Notes and their song “In The Spider’s Web“, which has a perfect intro that surely phases you into their post-punk sound. Their combination of soulful indie-rock sounds and goth makes this feel like a nostalgic piece with their own touch to it. But the overtly expressed alternative rock sound is as prevalent as the other genres they’ve combined. Somehow the singer seems to epitomize the great about all genres and the good sounding goth-loving that would be preferred. With a hard edge to their baseline and an almost outright contemporary drumming, which brings together the unconventionality and fuels the sound-scapes splendor and greatness even more. Even though the singer sounds pretty remote from what they’re trying to convey, I must say that I appreciate her addition to it. It feels a little bit like they’re trying to cope with the great sound of early Witching Hour but at the same time they’re scratching on the walls of The Pixies. Combine that, and you’ve got something to strive for. The fact that the singer is so far away, but so close from anything they’re doing, makes this a great song to listen to and really enhances the listening process even more.

As I move further into the compilation, there’s a band called Der Noir and their song is called “Desire“. They’ve got a whole other combination going on, moving from pop to the wonders of cold wave. Feeling like the melodies entwine with each other and the chorus, which is an experience that needed to be felt. With their own take on the minimalistic drum-machine, riffing away into oblivion but at the same time containing the catchy pop-melodies and rhythms that makes the whole sound-scape breathe and open up itself to the listener. Bringing together the darker elements of the mix and fusing it with the angelic synth and pop-vocals of Manuele Frau. It feels like they’ve conveyed the catchiness of the “new-wave” of cold wave sounds that are out there. Besides having the almost impersonal edge of cold wave brutality, lightened up with a fuse of the sphere that makes that kind of music and the more lighter bedroom pop side of it. Pretty unconventional, but it works for me. Yet another genre that had to prove itself in combination with my favorite cold wave, which it did and got me even more hooked.

Let’s move on to the next song, which is by Agent Side Grinder and it’s called “Telefunk“. I don’t think I’ve ever heard them in this shape or form ever, which makes this even more interesting. The harsh post-punk vibes are melted together in a steel factory filled with the minimalism of electronic body music and including the minimalistic wave music in the middle of it. There are lots of interesting things going on, like short-circuited synths and a trembling bass. All fitted with an arpeggio synth that phases into the sound-scape like no tomorrow, which also makes the rhythms feel more sinister. Also, the desperation in the vocalists voice makes me feel like the visual picture of this is based in a factory, where they continually pluck the bad elements out of this mix and melt the other together. Both a visually enhancing and musically sinister experience of the highest degree.

Now we’ve come a little bit lower on the steps, time to introduce Monument and their song “Teeth and Tails“. Like a playful mix of the most eclectic vibes you could ever find in a post-punk haven. Together with some almost naive synths and an interesting singer, within a minimalistic sound-scape filled to the brink with both distortion and the generic post-punk bass you’d find in any goth song of the last century. Since everyone seems to want to compare anything even remotely “gothic” with Siouxsie, I’ll have to say that this isn’t the case. It’s more of the eclectic combination of Skeletal Family‘s singer Anne-Marie Hurst and the strong but delightfully dark voice of Eveghost from Christ vs. Warhol. Even though there are some uninteresting moments within this song, I must say that they’ve done a great load of work on it. Because at the same time, there are some really interesting passages. At all times, there’s always something dark lurking behind the next corner. The lyrical content is also intriguing and makes me press my headphones closer to the ears, just to get the joy of hearing the lyrics. Since this song is a wee bit down-tempo, we’re going to bring this to a closure.

Time for the next song by The Gaa Gaa’s which is titled as “Hypnoti(z)ed“. With a great deal of wailing and a tempo that cannot be disliked, these up-tempo knights of the dark seem to have found some elements from dark cabaret and a lot from the post-punk sphere. There’s also some goth rock involved in this mix and the sinister sound of the wailing singer, with overtly ridiculous throwback 70’s sound in the sound-scape, you just can’t dismiss them. I also love the eclectic climax which is noticed further into the song, but in the meanwhile I’m traveling on catchy riffs and in melancholic realms. Add a little bit too much fuzz and you’ve got this band summarized with fewer sentences. No, I admit, that was a little bit too cruel of me. I love the fuzz that’s been added to the vocals when he reaches a climax even I can’t ignore, and you shouldn’t even walk in my shoes. Listen to this and feel at home, that is if you like it on the darker edge of things but with some familiarity from older times.

Time has come for the death-rockers whom go by the name of Belgrado, and their song “Clockwise“. They’ve tried to make the traditional death-rock sound their kind of thing, blended with heavy rock-influences. But they’re not the kind of band that just copies, no, they’ve got their own thing going. It’s by all means the most traditional thing I’ve heard on this compilation so far. The almost naive but delicate sound of the singer’s voice as the up-tempo washes me away with the sheer speed of it, makes this more enjoyable to listen to. A combination of the down-tempo elements and the up-tempo that create a moving rock that grows bigger the further in you get. Take all the traditional death-rock and fuse it together with the uniquely sounding Belgrado and you’ve had your dose of today. Perforating the shell between traditionalists and newcomers, which means; not dividing but uniting.

Now we’re heading into other territory, as we step into the band Wieze Fabryk and listen to their song “Poczucie Zagrozenia“, which I would say is polish. The singer is wonderfully eclectic and I love when a band sing in their own language, since it makes things a little bit more freaky than it would’ve been otherwise. The English language is pretty good for either death-rock or goth-rock, but I must say that they’ve got a contender and they’re called Wieze Fabryk. At times it feels like the singer went into the wrong studio, since he packs a punch like the Oi-Punk guys with a lot of stomach, but it’s useful in this sound-scape too. He gives everything and the sound-scape forms after the shape of his vocal chords, it seems. Pretty good song overall but the vocalist is definitely the man that keeps you listening to the song, the sound-scape feels secondary without him.

Since we’ve come through the thick of the almost non-electronic sphere of this compilation, we’ve arrived at the more electronic one. The band Led Er Est shows off their song “Lonesome XOXO“, which would be the epitome of naive. With a minimal wave kind of thing going on, the singer is eclectic but at the same time utterly naive. It feels like the music is his stepping stones and he’s afraid of stepping wrong. There is a sense of melancholy to it, it feels like he’s going to take the same steps for an eternity. At times it feels like I’ve taken the time-machine back to the 80’s quirky minimal wave, but with a more underground touch of course. They’ve got all those qualities and a little bit more, but it feels a little bit ridiculous at times. However, the vocalist is doing his own thing and for that I must applaud him. Quite an interesting song if you count that factor out of the music.

Which makes us delve even further into this sphere, with the band Naked On The Vauge and their song “Circling Eyes“. An experimental dose of fractionated minimalistic wave, covered with some industrial over it. Featuring a heavy bass and some really scary samples, combining the lighter sense of the sound-scape with the bombastic. Not really my type of thing when everything comes around, but it’s pretty intriguing with all the experimentalism going on around me. Feels like my chopper is going down and something else besides a rescuing-crew has found me. Which could be translated into the fact that the sound-scape is provocative at hand, making it feel like its fighting for its own survival when it comes down to business. Like taking its last breath and trying to survive on artificial life-support. Don’t know if I should say that it’s malplaced, but every compilation need its experimental dose of the day.

Leading me into the band Dr Arthur Krase and their song “Deported Soul Deprivation“. A remotely sounding and heavy path of quirky, but menacing industrial. The theme of this song seems to be insanity, which they’ve managed to pull out with excellence. At times, the singer sounds a little bit like Andrew Eldritch, almost copying his barytone on the spot. But with a whole other edge to it, a detached but at the same time personal voicing. The edgy drums are combined with a somewhat quirky synth and a minimalistic approach when it comes to the singing. With a drooping and hopelessness to be found within the sound-scape, as if they’ve given up on everything. As the song fades out, I’m reminded about how fragile the human mind can be.

This takes me to whole other realms as I tune out and tune in for the band Lost Tribe and their song “Forever“. A song which could be perfectly played in a catacomb, far beneath the premises of the earth and cities as whole. It also marks the shift from the more electronic to the non-electronic and more death-rock/goth rock oriented music. Once again, I’m stomping my feet to an overtly distorted and interesting sound-scape where there’s loads of things going on. Even though the singing might not be my cup of tea, it quickly develops into something obscene. Hinting to an even more punk-rock influenced sound-scape as a whole. Caressing the earlier death-rock influences and making it more punk and even more up-tempo than some of the more delicate sounds I’ve heard earlier from other musicians on this album. A great song overall, but there’s a lot of repetitive elements, which can be charming at a low frequency. I guess we’re not completely through with the electronica, since the band Linea Aspera continues along that path with the song “Detachment“. I must say that it sounds like a combination of the slimewave from Seacrypt, but at the same time the angelic feeling I get from the wonderful Xiu Xiu. With a hectic and up-tempo sound clashing in between the singer’s sincerity. Like a minimalistic wave song gone berserk on so many levels, conjuring one of the most catchy sound-scape but at the same time taking a little bit of my own focus from the singer’s modesty. Continually paving its way through with a spastic feeling to it, which I feel doesn’t really match the singer that well. But at times, when both collide, there’s always a great feeling coming out of it. Pretty good song, repetitive and packs a lighter punch – but still makes it in my book. Even though it has to drag itself over here.

Next up is the band Long Bone Trio with their song “Peek-a-Boo Widow“, which amounts to a great degree of ridiculousness. I don’t know if they’ve attempted to do a psychedelic rock song or if they’ve tried something else. This is probably the weirdest song I’ve heard on this album so far, but at times it can be catchy and actually give something. Only thing I don’t like is the weird lo-fi sound-scape, the singer and the weird lyrical content. Amidst all of this, I must say that something about it is catchy. There’s always something in me that can’t take this seriously for some reason, even though it should be pretty obvious by now if you’ve listened to it. However, I’m fascinated by both the weird sense of the sound-scape and the lo-fi sound-scape quietly making itself heard. So, let’s move on to the band Joy/Disaster and their song “Suicide“. I thought for a second that this would be Joy Division, but I needed to adjust my eyesight and found out that it wasn’t the case. I’ll have to say that this song is one of the least intriguing songs on this album, there’s something so basic about it and the singer is overdoing his singing at times. Like a pop-song trying to be something else then it should be, trying to move into post-punk territory and claim to be something it isn’t. Only good thing about this song is the potential it could’ve had, or the potential it shows sometimes when you listen through it. But I really didn’t like it and there was a missing sense of personality, nothing really special about it. The singer had some potential in him but squabbled it away in the end.

We’re heading on to the Swedish sphere, or yeah, one of the few Swedish bands on this compilation. Their band is called Svarta Hundar and their song is “Mörkt Vatten“. Actually reminds me of one of the punk-bands I had on this blog a while ago, their name is The Dead, and this is their counterpart. At least when it comes to the punk-rock vibe this song gives me, and it also reminds me of the old school new-wave/post-punk bands from Sweden. When it comes to the singing and the sound-scape as a whole, they have some kind of 80’s sound incorporated within the mix. They have some of the old-school Reeperbahn feeling to it, which would make them a new-school variation on Nürnberg 47 (the old name of Reeperbahn). I think they have the same ambitions and have learned to express them well, together with the post-punk edginess and the old meets the new. So there’s a little bit of a throwback sounding, moody punk vibe to this band and almost borderline goth at times. The rhythms and melodies are excellent, the band is unique in the sense that the formula they’re concocting haven’t been tried successfully for a while. I like their own personal touch to it too, it makes it stay afloat so they don’t drown in nonsensical nostalgia.

So now it’s time for some more electronica, in the shape of the band Lebanon Hanover and their song “Fuck The Future“. Which is quite a German way of saying: fuck off, I don’t want to live in this world. The drunken singing and the continual stomping of the electronic elements are a perfect catalyst for the depressing lyrics. With a lot of focus on reverb, minimalism and sampling, combined with the awkwardness of the sound-scape as a whole, they manage to create a dimension that I, myself, wouldn’t even step into with one toe. A scary reminder of how things are and how the future isn’t looking that nice to begin with. Giving me a shitload of angst while listening to it, which is probably what they tried to purvey with the music. A stalemate between deciding how things should be yourself and the force-fed nothingness of total apathy. Moving to the last song on the album which is created by the band M!R!M and is called “O-Dio“. It’s a strange symbiosis between punk and synth, a strange romance between the two of those. Stressing on the same level as the track before this one, but keeping it up-tempo and making it a fairly interesting endeavor. Almost reminds me of the seriousness in KaS Product and the total anarchy of Atari Teenage Riot. Instead, they’re stepping stone between regular punk and the post-punk with a driven baseline that is distorted beyond imagination. Delving into an almost listenable musical creature which is in between unmistakeable noise and catchy synth-punk.

Overall, I think this compilation is well worth to buy. There’s something for everybody and I believe there’s a huge variation of both underground and more well-known bands. So head over to their bandcamp and order the physical CD for 15 euros.

Monument – Teeth & Tails 10¨

An interesting release from 2010 which borders on goth rock and finds itself with post-punk. Starting off with the first song on this record, which is titled as “Jennifer“. It starts off in a great fashion and delves within both spheres of post-punk and goth rock, however, I think the singer is on the border of being ridiculously close to the generic symphonic metal bands when it comes to singing. Even though she strays away from this further into the song, I hear a hint of it anyway and that is basically what annoys me a little bit. But I like how the drum-machine sounding beats converge into the riffs and the singer’s ambitions of sounding a little bit like the more traditional death-rock and goth bands. She doesn’t make it all that way up, but she picks off a little bit on the scale that could potentially take her there. It seems like this is some kind of almost pop-oriented version of the traditional sound, or at least an offspring that is running in that particular direction. However, the sound-scape is getting held up by the slowly-paced baseline which fills up the rifts that can be heard. They have a pretty long way to go, but I can’t say that this song didn’t intrigue me, because then I would be lying. But there’s a lot of ground to be gained before they’re on the top of the hill.

In the next song “Drenched In Blood“, this ambition can be heard even more. They’re trying to be something they cannot accomplish just yet. It actually feels like she’s deliberately trying to sound like Siouxsie, instead of making her own use of the influences she’s taken from her. It feels pretty impersonal to say the least and there’s a rift that’s opening, getting wider and wider. Some of the sounds in the sound-scape sound like they’re heading the “right” way at times, but there’s a lack of something uniquely defining in this song. I mean, they’ve got everything going for them and the sound itself is pretty unconventional, but there’s something about the sound-scape that turns me off. It’s like they’re trying to combine elements that don’t belong within goth rock and that they’re leaning more to the alternative rock side of it. Which I don’t like as much, since I think it sounds too basic for the average listening experience of the traditional goth rock sound. But hey, the further in you get into this song, the more potential they have of turning the whole ship around. So there’s not only negativity involved when I listen to this song, they’ve actually got some potential that could be developed into another sphere. There are lots of influences that collapse and go for each other head on, which makes it pretty ghastly at times.

Last songTeeth & Tails” is a more moving piece, where they show how they want it to be. This is how they sound when they’ve realized the potential they’ve got. It’s not as up-tempo as the other songs, but it lacks the more mainstream kind of thing that goes on in the other songs. Here, the elements are on the right path with each other, which form a minimalistic head that paves the way through the different riffing and the added effects. I also like the singer a lot more here, since her voice reeks of sincerity and the lyrical content is up to par with the sound-scape as a whole. Also, the sound-scape folds together both the traditional sounds of older bands an the more new sound which have clear influences from other bands. So there are many reasons for them not to head on to this path, since this seems to be the path that fits them the best. Until they manage to get the rhythms and sinister melodies of this song, they’re unfortunately not heading anywhere. Even though I’ve already said this, the album might attract the alternative rock fans more than anything else. Because I don’t think they’ve managed to convey the sound they want, it feels like they’re still searching.

You should buy this album from their bandcamp if you’re interested in that side of the coin. Either buy the digital download version or the physical limited edition 10¨ vinyl.

V/A – Hotet Från Skogarna

Hotet Från Skogarna is a brand new compilation out of the wild jungle of Östersund. A hardcore and punk compilation, featuring a bunch of newer bands and some older. It’s a 100% D.I.Y-compilation, with a little help from Sensus, Estrad Norr and Ösd Mangel. With the purpose of enriching the music climate in Östersund and the region as a whole. So, now that you know the background story, lets get to it!

First, let me tell you how awesome this cover is. It’s made by Maya Westlund and surely fit the songs like a glove. A depiction of “betongdjungel”, as we call it in Swedish, blended in with a more traditional Norrland-feeling too it. Makes me want to go there even more, since I haven’t been there for ages. With clouds coming in from above, darkening the picture even more. It’s understandable why it got this depiction, and I understand it even more when listening to the songs on the album. It looks inviting and represents it’s name well. Generally you can be turned off by the cover, but luckily this isn’t the case at all. I generally feel that the cover art manages to blend simplicity and detail, making the cover enjoyable to look at. I’m hoping to see more of her work in the future. Kodus to you, Maya.

Side A

As I’m somewhat of an outsider – this review will be conducted from that point of view. It’s interesting to note that the first track “Lev Som Förr” (Live Like Before) by Grundskolan kicks it off in a humorous vein, with the drummer doing something wrong. Accompanied by some well-thought breakdowns throughout the song, and a singer with a hoarse-kind of voice that reminds me of the more oldschool vein of hardcore. With that said, the singer complements the music very well. The drummer kicks it up a notch and gives us some well-tempered mangle. “Lev som förr – lev på riktigt!” – “Live like before – live for real!“.

The transition in between the first song and the second is really good. Second song, “Valfrihet” (Freedom Of Choice),  starts off in a really fast tempo, with the singer shouting: “Inga val – inga bekymmer!” – “No choices – no worries!”  – changing the tempo somewhat, firing off the armada of insane riffs with a right in-your-face attitude. I’m starting to like this already. Surely, these two first tracks are a good introductory to what this is all about. Sounding like the D.I.Y-compilation that it ultimately is, with a soundscape that transgresses lo-fi but doesn’t sound too polished.

Now, moving into another territory, Brottskod 11 kicks it off with an almost black-metal inspired (or sounding) song by the name “Samma Brott” (Same Crime). With an even more distorted bass, shrieking vocals and a soundscape that would give the words “raw” and “primitive” the shivers. The more it progresses, the more you can decode the black metal (but mainly crusty) influence. Good riffs overall and good variation in between the drops and change of tempo. The middle section of the song is my favorite, when the stampeding drums are waiting in mangle-position for the riffs to fly in and kick some ass. This song surely manages to kick some freakin’ ass, all the way from Östersund to good ol’ USA.

Lets move into the next section, from the same band, with a song titled like this: “Övervåld” (Assault). This song have a somewhat sharper sound, making the cymbals sound like big chunks of ice hitting the floor. Or a glass-shattering piece of equipment, may be a better description. If the first song was hell, this would be when you’ve completed hell and entered ultrahell. Because, this song has it all. Blending in all the influences and creating magic, straight-up furious and hard-hitting crusty hardcore the way you’d want it. I’m (in particular) fond of the overall soundscape, it sounds raw like hell and almost everything is hearable, a big plus.

So – by now when you’ve had your dose of mangle, you might want to turn it down a notch. I think the placement of the “waking-up” section, i.e. Grundskolan and Brottskod 11 was a good one. Making up for a return from hell and into more humane regions. Enter the world of Moron Express, a nice blend of college-punk with a twist of the more primitive side of punk. But their first song “Endless Road” is in the more melodic vein, with good build-ups and a good singing voice that fits in the overall picture. Lets call it: toned-down mangle. But that wouldn’t be deserving for their first contribution, since the overall feeling of it is a blend of the more raw and primitive – but without a total chokehold. The chorus is really, really good.

Sure, it might be a softer sound – but fear not, because here come their second song named “Prick“. Delivering us into the more primitive, but yet melodic field that they’ve displayed. Only thing is – this song gives more room for the raw and primitive vein of it. Maybe not as good as the first one, but it surely deserves the mention.

Before you know it, the harder vein strikes back in the shape of News From The Front, which I accidentaly mixed up with Moron Express to begin with. Their first song “Välkommen Till Helvetet” (Welcome To Hell), conveniently returns you to hell. Even though it’s the slower form of hardcore, it’s raw and primitive but not too much. Making the anticipation higher for each drop and they manage to settle it down a notch, before turning the heat up and hitting the nail on the head each time. When you think it’s going to get boring – think again, this is nothing else than a synergy of the best elements of punk, hardcore – somewhat threading into the doom-section. “Välkommen till helvetet, välkommen till verkligheten” – “Welcome to hell – welcome to reality!“.

Returning to the human realm, we’re faced with yet another challenge from hell, namely the second song “F.O.I“. Accompanied by a crunchy and mildly distorted bass in the introductory passage of the song, the slowly driven riffs and drumming blends into a rhythm that feels like a Salsa-section (don’t ask me why). Though I loved that section. After that, all hell is unleashed. With the singer shrieking: “Oskyldiga offras” – “Innocent sacrifice” (roughly), but I can’t really depict the rest of it. They also utilize a back-up singer that makes the variation more explicit and noticeable, which turns out to be great. Later on, a more rock-inspired riffs lay the foundation of it. I really like the blend of slow and saturated riffs in contrast to the faster ones. The soundscape is a bit lo-fi, but it adds to the mysterical and more ghastly experience of listening to it.

So – all in all, Side A is quite enjoyable. It seems like the order of the songs are placed with care, making it even better to listen to. Everything feels like it’s in place and the variation is great. From crusty blackness, college-punk, primitive punk into a more doom-metal inspired hardcore mayhem. Therefore, this side of the record receives a well-earned 8 out of 10.

Side B

Time to enter stage B. Within it, the first song is “Knivens Kamp” (The Knife’s Struggle) conducted by Djävulskap. They pretty much sound like a more lo-fi sounding version of News From The Front. But since that won’t bring them any justice, they also manage to pull of their song with vocals from the depths of hell. Introducing, once more, black metal-influenced riffing – and later on also drumming. Say what you want, but I think it sounds like they’re trying to climb the ladder out of hell, struggling as they make their escape for a less forsaken place. Somehow, the singer reminds me of Kvelertak, but that could be because this sounds like Norweigan if you’re not concentrated. Great song overall and not so many flaws, perfectly reasonable introduction.

Well, this could very well be Kvelertaks little brother, using it as a compliment. The more rock-induced second song “Osd Blodbad” (Östersund? Bloodbath) makes the singer pull of a pretty humouros piece: “Låt blodet rinn-ahh” – “Let the blood flow-ahh“. A pretty interesting rock-themed song with vocals fitting for a dead rockband returning from the grave. Somehow it feels like a blend of death metal and deathrock vocals, humorously put into rock. But I like it a lot, the build-ups are great and the flow is streaming on even better later in the song, with appropriate solo-riffing. Or guitar-wanking, as some people like to call it.

Hopefully you’d made it this far by now, and now one of my most anticipated bands for this compilation make their entry. No more, no less: The Dead with their song “Ta Din Plats” (Take Your Place). A pretty short but interesting song, I really like the dialect this band is using. I don’t really know where to place it, but it sounds like everyones favorite The Kristet Utseende. So maybe they’re dialectally from the same place. Short, but good punk-piece with the vocals being the most enjoyable part of it. Not that the rest of the song is bad, but it reminds me of good times.

Their second song “Dom Som Tjänar Mammon” (They That Serve Mammon) is a good ol’ piece of mangle with a punk-rock touch. Not too much can be said about this one, but it overshadows the first one pretty much. This one also being short, but even more up-tempo than the first one due to the vocals. Or at least, it feels more up-tempo. I really like the scrawny bass in this one and the build-up before shouting: “Dom Som Tjänar Mammon“. I’ll gladly serve mammon after this, or… I mean: The Dead.

Ok, now it’s time for the swine from Heroinmissbruk to shine bright. Their first song “Aprak Och Full Av Hat” (Shit-faced? And Filled With Hate) break the more calmer punk-rock atmosphere. This is total hate, this is total mangle and this is fury from below. As many times before, I’d love to have some other words for total hell. But this surely is total hell, unleashed at it’s prime. I dig the crustiness and switching song is a bid no-no.

The second song is pretty much in the same vein, titled: “Blandmissbruk” (Mixed Abuse?). But it sounds good and has a lot of variation, fast drumming and everything you can expect from mangle. I really dig the vocals too, it’s hard to describe it though. Mixing both background growls with hardcore-screaming. The riffs are pretty insane and distorted, see you in the mosh!

Now we’re going to enter the world of Thräshers, in their first song “Skrotåldern” (Junk-Age?) they put good use to the widespread hardcore-“GO!” in the beginning. With clear 80’s hardcore influences, mixed with a faster pace of 90’s hardcore. Their second song “Ät Skit Och Dö!” (Eat Shit And Die!) is even faster and goes straight in the oldschool swedish hardcore vein, but with a hint of 80’s american hardcore. A recommendation for every kid out there in need of discovering that face of hardcore needed to understand the geniousness of this one. All-in-all pretty straight-forward and filled with attitude, short as it should be but still adrenaline-pumping. Side B deserves a 7 out of 10.

The Conclusion?

Well, this is the first time I review a compilation. It took some time, but I’m finally done with my decision. This compilation is really good, normally compilations of this size only hold about a maximum of 2-4 really good tracks and the rest is a “meh”-experience at best. So, they’ve outdone themselves in this compartment. I also like the blend of different sub-genres, like regular punk, crust, black-metal influenced hardcore, regular hardcore, college-punk and oldschool hardcore. So that’s a plus. The only negative thing about this compilation is that the mangle sometimes can get the best of you, but that’s just because I’m a wuss. But yeah, on a more serious note, it can become quite overwhelming at times. Otherwise, I think this project and compilation deserve all the praise it can get. A very good end-result with something you’ve probably struggled to make as good as possible, kodus to you for doing this and making it this good. Hopefully the rest of the country will be inspired by this and create their own D.I.Y-project. I’m looking forward to future releases of this kind, and hopefully it won’t be too long until there’s a vol. 2 of this compilation. If not, then I’ll at least hope for another compilation made by the same people. Good work, guys and girls!

Album Art: 8/10

Music: 8/10

8.5 out of 10 is the final verdict.

Interview with The Dead!

The Dead is a punkband from Härjedalen in Sweden. They’re about as secretive as the other two bands that already have been published. They’ve managed to record some songs up until now and are preparing material for their upcoming album. This is the sixth band in the Hotet Från Skogarna-interviewserie. I spoke to them about the origins of their bandname, what the best venue would be, where they draw their inspiration from and much more. Check this out before you’ve all gone astray!

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