Austerity – Brighton, England, United Kingdom Introducing Austerity. Hmmm, well isn’t that a profundity rich topic in this age of the exponentially increasing Punk music cornucopia. However, despite the looming threat of my incessant waffle, I should think now, a few sentences in, it would be rude to stop and not very “Punk” to simply
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Bruise Control – Manchester, England, United Kingdom Bruise Control and their Self-Titled enter into a 2020 that, for lack of a better everything else, has kept full-capacity in-ear live gigs to a recurring maximum. In other words that aren’t quite so ridiculous and do have some functional meaning when collated into a sentence, 2020 is
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GagReflex – Cheltenham, England, United Kingdom The bass and drums approach to Punk music is one more common than you’d think. GagReflex and their What We Owe To Each Other EP enter into 2020 via a blast of societal disdain that not only pertains to the wealth of this aspect of the Punk-scene but is
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TANKENGINE – Newcastle, England, United Kingdom TANKENGINE – TANKENGINE TAKENGINE is a collection of words denoting to the cliché (but apt) description of the words “powerhouse trio”. In fact, couple those very words with a cacophony of eerily inviting groove, playful Noise Rock “why nots” and complicated, spasmodic Post-Hardcore energy and it actually becomes a
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Comminor – Västerås, Sweden Comminor and Answering Machine For Broken Dreams are characters denoting to a band and album respectively that breathe the musical freedom of Punk music. Was that a cliché statement? Perhaps, but it doesn’t make it any less true. Firstly a little more about the band themselves. Prior to Answering Machine For Broken
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THVS – Belfast, Northern Ireland, United Kingdom Loud, a word perhaps best used to preliminarily describe the following words denoting to both a band and a release: THVS – Fevers. Enough to draw you in? I hope so. THVS have been abrasively and violently deconstructing the sound barrier since 2014, with an accosting mix and
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Riviera Kid – Kent, England, United Kingdom Relatively new to the game, relatively, Riviera Kid Hail from the Kent coast and have recently been re-invigorated by one Hell Hath No Fury Records. The fledgeling and steadily growing label have re-released the band’s stellar four-track EP comprised of four songs blasted out in just a little
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Hallan – Portsmouth, England, United Kingdom. If you mosey on over – Here – you’ll find piece via Ear Nutrition on Hallan. A band categorising themselves as Post-Punk, Indie and Alternative. The Portsmouth four-piece in many ways quite obviously come under said descriptions but then again to quote the band – they are ‘forever mutating’. Mutating indeed
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Horror On The High Seas – Worcester, England, United Kingdom. Being another one in the long line that evolved from the initial Punk explosion, Indie-Rock has morphed way beyond the “rock” in it’s moniker in some circles and embraced it in others. This is where Worcester four-piece, Horror On The High Seas become relavent for
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Hoi-Poi -Thessaloniki, Greece The development of Post-Hardcore was an event in the Punk-Rock history book that would affect the genre’s time-line in ways that would only catapult it off to the varied and exceptional set of sounds it now calls it’s own. The initial ground-work laid down by Fugazi, Rites Of Spring and the like
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