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stipulatedconflict · 18 days ago

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Band interview with Que Lindo(Oslo/Norway)

It has been ages since I posted anything here last time. it was actually 2017. so 8 years since yeah. but now i am back here again since my mate Erik gonna tour in Japan and I wanted to do an interview with him before Que Lindo is hitting the Japan tour. a Japanese translation will be up somewhere online within the scene in Tokyo.

As I recall, I met him first time via friends in indie rock scene. it was more like just an acquaintance and i dont remember if we actually exchange any words rather than name or even not name? but I came across him once again at Barrikaden at some point. in the beginning i felt weird to see indie pop guy in Barrikaden, but he was super friendly we started talking about music much more closely. at the time, I was still trying to get a band and talking to people about me wanting a band to play, and I think he was just recorded his hardcore punk project aka Que Lindo... and boom, now he is hitting Japan with his band.

Check their demo which released from Australian label Urge record here.

They gonna drop new LP which available only tape during the Japan tour at this moment, and they will drop it online in June ish as I heard.

Interview starts from below:

-Hi Erik, thank you for accepting an interview. So could you please tell me about yourself and the band Que lindo how it started and who is in the band?

Well, I made some hardcore demos a couple of years ago, but never really did anything with them. I mostly release music under the name Erik Lindo that`s more in the realm of indie-rock/folk-rock. I had the idea to start a project that was going to sound like a mix between Darkthrone and Negative Approach. I`m not really a drummer, nor a punk vocalist, but I figured I should just write and record the songs and take it from there. It seems like something changed in the Oslo punk and hardcore scene during Covid, and after that I started going to a lot more shows. Right where I live there used to be a place called Oslo Gate 35, where people lived, but they also put on shows. I remember seeing Teppebombe and Assistert Sjølvmord there, and being really inspired that something like that could exist five minutes from where I lived. Sadly, the place was shut down by the municipality and the people thrown out, even though it has not been used by anyone since.

After writing and recording the demo for Que Lindo by myself I got some friends to join for what was supposed to be a one-off live show. The demo got picked up by Australian Urge Records and there seems to have been some interest in the band, so we just kept going. Right now the lineup is Tibor on drums, Håkon on bass, and Eirik and Nikolai on guitars. Tibor, Eirik and Håkon also play in the hardcore/blackmetal band Blodkvalt, so they kinda fit in sound wise. Tibor and Eirik also play in Asinin, which put out a demo on Roachleg in 2023. I have played with Nikolai for years in a band called the Spelling Club, and before that Amber Clouds. I always appreciate someone coming from outside of the typical hardcore style. He usually plays with a rickenbacker and jangles up the sound in a way that makes the band sound less macho and more chaotic.

-how did the band name Que lindo come up? Is there any meaning on it?

Not really. I was in Portugal some years ago and had just released some music under Erik Lindo. They thought the name was strange for a Norwegian guy so they gave me the idea for Que Lindo (meaning how beautiful/how handsome in portuguese/Spanish). Again, I like things that don't sound like hardcore bands.

pic by mickmod

-I’ve heard that you originally had your solo indie rock project. Is there any relation to Que lindo?

As mentioned it kinda started there, but they are two very separate things. Sometimes the hardcore influence shows up in Erik Lindo, and the indie/folk-rock influence shows up in Que Lindo. At our first practice with Que Lindo I had all the guys from the Erik Lindo live band playing hardcore, but they all quit except Nikolai. Haha.

-how do you describe your band sound? Is there any specific influences to the sound you can mention?

Originally the idea was to combine Negative Approach and Darkthrone. Not really crusty, but slightly strange, dark and riff based. When I actually started writing the songs for the demo, they ended up less heavy and closer to hardcore punk with some garage influence. If there are two bands I listen to almost daily it's Hank Wood and the Hammerheads and Institute. Both exist within the hardcore scene, but do something strange and off that just makes them even better. Glue also. Japanese hardcore gives that same feeling. With GISM, or newer bands like MILK or Skizophrenia, it's like they try to play straight hardcore, but by changing one or two elements it ends up pretty weird and wild sounding. My favorite period in music is probably Boston in the 80`s, so that usually shows up whenever I try to write. Siege is also a huge influence.

On our upcoming LP we recorded it live in our practice space with Tibor on drums, nikolai on guitar and me on bass. Having them play, instead of me doing everything changed the sound quite a bit. This time it's more rock n roll, than the chaotic demo. I like hardcore when it sounds like things are slightly too fast for the band, or when bands mess with the straight up hardcore formula.

-what are the lyrics mainly about for Que lindo songs?

Hehe. I`m very into long distance running, so most of the lyrics on the demo I wrote while running. What I aspire to more than anything as a musician is to contribute something positive, first to myself and if anyone is interested then them too. I want the songs to be kinda wild sounding, but have lyrics that are positive and utopian. I find it very hard to describe what kind of ideal society I want to live in, but the abstraction of the lyrics makes it somewhat easier. Instead of literally writing “income cap at 1 million, affordable housing for everyone, no arms production, 6 hour work days”, I want to give myself and others the joy and energy to achieve those things in real life through music.

-Is there anyone who is deeply involved in any DIY punk activities like running label, writing zines, taking pictures, designing, organising shows etc in

Our friend Erik Egenes is currently making the second edition of his Fanzine “Armering”. I`m contributing some writing and photos to that one. Other than that, we mostly just go to shows, play shows, and take the occasional sweet photo. In the near future I want to book more shows, and especially try to get more Japanese bands to Scandinavia, and Norwegian bands over here. I think hardcore here in Japan and Norway have something in common, in terms of being kind of unhinged and weird sounding.

-Is there anyone who is deeply involved in any activities which is not any relation to DIY/punk thing? Art, Other type of music, publication, extreme sports or any other?

We all have different bands we play in. As mentioned, Blodkvalt is ⅗ of Que Lindo. I also play bass with them sometimes. Their full length came out through Fysisk Format, and if you`re into black metal with some 80`s hardcore I'd check them out. Nikolai has been doing the Spelling Club for some years, and all his albums are great. It sounds very krautrock, but with some 80's post punk thing + his great jangly guitar sound. Tibor is also opening a bar called “Kråka” next year, which should be fun.

-how do you guys compose the songs? Any main composer or jamming out?

I write all the songs, so in that sense it's not really a band thing. I kinda record as I write, so by the time we play them as a band it's mostly finished. I often start with drums, and then add the rest of the stuff.

-so, in March Que lindo will tour in Japan. How did you get this japan tour?

I moved to Japan last year. I didn't have any plans for playing here, but thought something might show up. After just going to a lot of punk shows here, it seemed like people would be open to us Norwegians too. I had kinda been talking to Takashi (Info Blackhole) before coming here. He's doing so much stuff here with booking, so when he said he was busy I just sent the emails myself and booked the shows. Naoki from Moonstep was really helpful and reached out to the other venues to set up the actual shows and find local bookers who would find bands to play with.

-what do you expect from the japan tour? Anything specific you are exited about touring japan?

I love hardcore shows here so much. It feels very similar to home, which I wasn't expecting. Hopefully people get into our music and show up, but who knows. It's also very inspiring to see people here being so hands on, with driving bands all over, and hosting them at home, making and giving out the flyers, just as a diy thing. I'm really looking forward to seeing the other bands we are playing with, and getting to travel outside Tokyo.

-have you toured anywhere else before?

With Que Lindo, only Norway.

-how is the Oslo punk/hardcore scene? Anything interesting going on there?

Yes! I feel like that's why I wanted to start a band in the first place. After Covid I really wanted to do something creative, but also do something more social than just making demos alone. Seeing friends of mine have bands that were just as good as any international band made me want to try it myself. The influx of young people, and also people outside the typical punk thing, has really helped the Oslo scene become this great. The combination of the hardcore punk thing with art students and younger kids who don't really listen to hardcore at all has made some really great new bands. Similar to Japan, I really like that if you go to a show you will always find someone to hang out with, even if you don`t know anyone there. That's an element that's not really present in the indie scene in Oslo. There`s just individual concerts, but no community. Whereas with hardcore, the social and political aspect is just as important as the music.

pic by mickmod

-any bands you would recommend to check from Norwegian hardcore punk scene?

Yes! I honestly think it's better than anywhere else, with the amount of great bands for these past few years. Teppebombe, Asinin, Assistert Sjølvmord, Resept, Shament, Molbo, Problems, Invisible Hand, Anemisk, Accelerator, AG-3. There's probably some that i`m forgetting too. Urbanoia is probably one of my favorite bands, but they quit some years ago.

-you have been in Tokyo for a while. How is the life in japan? Any differences? did you have any cultural shock?

I moved here last year, and have been here for 7 months now. This is my first time here so a lot of things were different and new. I also expected things to be very different, so I haven't felt that much of a shock really. Navigating smaller towns without speaking Japanese was somewhat challenging, but also very fun. I have spent three months learning japanese, but it's still on a very basic level, though it definitely helps being able to read and understand some. I was a vegan before I came here, but on our first night a friend took us to a soba restaurant in Nakameguro. As Japanese people know, it is usually served with miso soup that has dashi in it. The food culture here is definitely not that convenient for vegans, but if you`re a vegetarian that also eats dashi you`ll be good most places.

Within two weeks I really felt like I wanted to conform to Japanese culture, and it seems that the culture here wants people to be very similar. Of course there are also many people living very alternatively. As an outsider it is hard to understand the politics here, but given that Japan has had a nationalist right wing government for so long, I do wonder why politics are not discussed more. At first glance, everything works so well here, with culture, food, social services and infrastructure. But so many of the people I know here spend most of their day at work, and get very little back. Personally I love living here, but for many people Tokyo is a very expensive city.

-is there any difference in punk scene in Oslo and Tokyo?

As mentioned it's surprisingly similar. I think for subcultures people draw so much from things they don't see in their own culture (the internet, books, older bands), that some of the elements are common everywhere. The few “regular” concerts I have gone to here at bigger venues have been really quiet and well behaved, with people standing safely in their own space. The punk shows are just as rowdy as in Oslo, and maybe even more so. I did notice that the venues here are pretty much the same size as home, which is kinda strange considering Tokyo`s 14 million people vs Oslos' 1 million. I also really like that people line up after the shows to hand out flyers for the next shows. The physicality of this is a great way to get people more involved themselves, and not just listening to hardcore online.

-any favorite bands from japan?

MILK is my number one. Hardcore with clean guitar is the greatest/dumbest idea. I haven't seen them live yet, but hope to do so soon. Skizophrenia is also great, and their sound is slightly weird in their own way. I saw SIBAFU and Ferocious X in Osaka. Two very different bands, but really good. Kagami for newer 80s style hardcore, KLONNS and Life for heavier stuff. Of course the classics like Gauze and Gism always sound great. Les Rallizes Denudes is one of my favorite bands, and their recordings are always an inspiration to listen to. Fishmans and Flippers Guitar likewise. A lot of these bands sound so atypical to anything else, and in a way that seems very uniquely Japanese. Even though Les Rallizes Denudes has a typical rock band setup, it sounds like they did everything wrong when recording and ended up with something really strange sounding. Fishmans also sound so free in how they approach songwriting and recording. The guitarist in SUBAFU has a band called GOFISH that's more folk-rock/indie that's great. Shintaro Sakamoto is another favorite. And older bands like Off Course and Happy End. ワインの匂い by Off Course might just be the greatest record of all time.

-so any last words to Japanese audiences or for japan tour?

Our upcoming album is for the moment only available on cassette during this tour, so this is your chance to get one before they sell out. It will probably be out on the internet in may/June.

If you have a punk/hardcore band and want to play in Norway/Scandinavia - hit us up!

#Interview(EN)#Bandcamp

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0-coordinates · 3 years ago

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(929) 900-5949

#roachleg records

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goodbysunball · 5 years ago

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Quarantine rock, pt. III

Another long overdue update from the indoors. Hope you and yours are hanging in there - if nothing else, there’s no shortage of great music to keep you company. Here’s my take on some recent favorites.

C. Lavender, Myth of Equilibrium (Editions Mego)

Admittedly had not heard of C. Lavender until her collaborative cassette with Aaron Dilloway dropped earlier this year, but it’s safe to say that the tape was strong enough to blindly buy her new LP on Editions Mego. Myth of Equilibrium has been one of the best surprises from this year, drone at its core but opening up to something much more soothing over repeated listens, despite the jagged edges and tendency to embrace caustic noise. It came as no surprise to find out that C. Lavender embraces sound as a healing medium, as Myth of Equilibrium takes a deep, buzzing bass tone and twists and stretches it until individual packets of sound are weightless and ethereal. “Remedy Potion Extraction” is the most obvious example of this dark-to-light transformation C. Lavender excels at, but mostly the tracks present a satisfying puree of sound over shorter durations (”Engulf the Mystery,” “Dimly Lit Exit”). The brevity is a strength, and in that way C. Lavender reminds me of French duo Femme or even some of Tim Hecker’s work, but without the startling track-to-track transitions of the former or the diaphanous shroud of the latter. The bass keeps Myth of Equilibrium tangible and firmly grounded, and the rest of the sounds conjured by C. Lavender weave a very heady, very rich tapestry. The best respite from 2020 money can buy; soak it in. The LP is sold out from Editions Mego but those in the US can order it direct from C. Lavender for a very fair price.

Kobra, Confusione (Iron Lung)

Alright, I’m admittedly not a huge fan of the cover art for this record, but it’s an easy enough barrier to jump over when the music rips this hard. Kobra is from Italy, and they traffic in a mid-paced, pounding strain of punk that is right up my alley. Sounds like Una Bèstia Incontrolable meets Mecht Mensch to these ears: like the title track, which starts out like “Zombie” and then flips into a UBI-level groove, sax bleating and moaning on top of it all. This is punk through and through, the blown-out drums always there to remind you that this is presented by Iron Lung Records, but there’s a definite early post-punk/art-rock vibe present, too - check the groggy “Fogna” that opens up side B, which kinda sounds like Kobra doing their best impression of the Circle Jerks in Repo Man. The guitars don’t riff as much as they slash and chop, fragmented stabs landing among the onslaught of drums. The vocalist uses a menacing speak-scream (most effectively on ”Sogni Illusioni” and closer “C.P.D.M.”), and if I could speak or read Italian, I’m sure the lyrics would be intelligible amongst the din. Confusione is loaded with hits, but when the band clicks and all the parts come together, Kobra whips up a maelstrom; hard to deny the power of “Dentro Agli Schermi” (my favorite track) or “C.P.D.M.,” and though both of those tracks feature the saxophone, I’m glad the band wields that weapon sparingly for maximum effect. One of the most memorable and exciting punk releases of 2020, for sure, a formidable, brawny brew that’ll flex your pencil neck and have you involuntarily pogoing in no time. Highest recommendation! Confusione is sold out direct from Iron Lung, but Sorry State, Feel It, Grave Mistake, etc. all have it in stock.

Oily Boys, Cro Memory Grin (Cool Death)

The best musical news this year, hands-down: NEW OILY BOYS. Not only was an Oily Boys LP drop completely unexpected, I am completely steamrolled by this record every single time I drop the needle, from the opening “UGH!” on “Given” to the nearly nine minutes of caustic self-loathing on “GTrance.” There’s a definite metallic edge to the way Oily Boys approach punk, from the riffing to Drew Bennett’s brutally intense vocal performance, but while most punkers approach metal as a gimmick and end up sounding pretty tame, Oily Boys just sound absolutely mad - the 1-2 of “C.B.D.” into “My Sex Life,” especially the wild guitar theatrics on the latter, carry an intense, teeth-clenching physicality. If that was all Oily Boys did on this LP, it’d be a success, but the band throws curveballs and mid-tempo fits across Cro Memory Grin’s 13 tracks. “Heat Harmony” was the most jarring inclusion at first, relatively tuneful dark punk that could’ve been lifted from drummer Yuta Matsumura’s other band Orion. It definitely works, and the slightly softened approach of the band thankfully has no effect on Drew Bennett’s vocals. “Lizard Scheme” is another detour, swelling noise and Bennett’s barking (”Stupid is as stupid does, jazz boy!” is a choice lyric), reminiscent of Gutter Gods’ dizzying “Allan.” Probably the two most pummeling tracks here slow the tempos significantly and close out each side: “Stick Him,” my favorite track, and “GTrance,” the exhaustive closer. “Stick Him” is absolutely ferocious, the band emphasizing the quiet-loud dynamic with saxophone, the loud parts lurching into place like heavy machinery turning on, Bennett screaming the title with a violent ferocity. Where “Stick Him” is feral, the screed unleashed on “GTrance” by Bennett feels therapeutic, expelling every bit of toxic bile into the song without a break, and even if there is no resolution, the end result is a momentary peace, the same kind afforded by pushing to the full extent of one’s mental or physical abilities. That kinda seems like the point of Oily Boys, from the self-effacing name to the poisonous lyrical content to the absolutely ferocious performance: know your enemies, push back against the lowering boot of the world, fuck the rest. 2020′s best punk record, no contest, and maybe even the best record/soundtrack to the perfect storm of this year. Sick artwork/inserts on this LP, a nice job as usual from Cool Death. Cro Memory Grin is still available direct from them, and Goner still has it domestically.

Subdued, Over the Hills and Far Away (Roachleg)

With last year’s Bad Breeding LP still fresh and prescient as ever, and the political climate seemingly spiraling into reality TV while people mercilessly struggle and suffer all over, it seemed like scoping this new LP from the UK’s Subdued was more than appropriate. It’s reductive and maybe a little offensive to mention UK compatriots Bad Breeding in the first line of this review, but the similarities are hard to ignore: both bands create fiery politically-charged punk that flirts with metal and noise, delivered in screamed vocals with a heavy British accent. Subdued don’t fly off the rails as much as Bad Breeding; there’s more of a Crass/Rudimentary Peni vibe, with the emphasis on vocal delivery and riffs rather than conjuring a visceral tornado of noise. Sometimes the riffs can be a little clunky (particularly the end of “The Joke,” even though “Is hope the joke?” is a pretty powerful lyric), and for how much room the vocals are given, the lyrics can tread into oft-used clichés. Doesn’t make the message any less true, and I think the longer I spend with Over the Hills and Far Away, the more I come under its spell. “Problem of Evil” is probably the best song here, a near-perfect blend of deathrock, stomping riffs and barked vocals, and when it turns into the sprint of “No More,” Subdued are an undeniable force. Not sure if it just takes me until those two songs to warm up to Over the Hills, but the B-side of the LP seems to be more memorable - like the world-beating metallic riffs of the title track, or the frenetic guitar solo that finishes off “Call to Suffer.” There’s more than enough at play on Over the Hills to keep me coming back, and overall it’s a strong debut LP, and a great reason to check in with what Roachleg Records is bringing to the US punk scene. Cop the LP direct from Roachleg, and if you’re lucky you might have a chance at one of the limited-to-100 hand-screened covers. La Vida Es Un Mus put out the LP for the rest of the world, another solid co-sign for Subdued.

Aviador Dro, Nuclear, Sí 7″ (La Vida Es Un Mus) // Algara, Enamorados Del Control Total 7″ (La Vida Es Un Mus)

I don’t think these two 7″s have much in common other than the fact that they’re both put out by La Vida Es Un Mus, they’re both sung in Spanish and they’ve both been ruling my turntable this year. The Aviador Dro record is a reissue, one that came out last year, and it’s a gem: sci-fi keyboard punk from the '80s, the titular track one of the best songs I’ve ever heard, a slinking, funky beat driving the song into your brain forevermore. The B-side feels more edgy than the A-side but it’s all undeniably great; Paco did us all a favor by repressing this record, and continuing to keep it in print. Fast forward to 2020 for Algara’s 7″, their debut, which came out way back in pre-pandemic January. The cover art caught my eye, and the spindly, groovy drum-machine post-punk within is immediately addictive. The label says Crisis and Joy Division are in Algara’s musical DNA, and that sounds about right; the sound is spare, you can kinda dance to it, the bass lines carry the weight and the wiry guitars smear into each other (”Miedo a Perder”) or stitch single golden threads into the tapestry (”Dopamina y Producción”). Algara’s a 4-piece now, and they’ve got an LP coming soon on LVEUM, so 2021′s lookin’ bright. Both 7″s are mandatory, widely available from distros and direct from La Vida Es Un Mus. Scope the feature that Lulu’s wrote on Algara while you’re at it.

Saskia, Eeuwig Op Reis 7″ (Stroom)

The record collector sweat starts when you read about a 7″ reissued from a “highly intimate cassette” limited to ten or so copies in 1983, circulated only amongst friends and family. My eyes typically roll at such uncovered “gems” or whatever, but these two songs definitely deserve a wider audience. “My Lips Get Hot” splits the difference between the foggy late night atmosphere conjured by Chromatics and a breezy Balearic vibe, topped by sensual, high-pitched vocals that really drive the whole woozy, lovesick message home. The flip has the instrumental “You Left Your Soul Behind,” wherein said Balearic vibe is now at the forefront. It’s a strong track on its own, but kinda just serves as the comedown from “My Lips Get Hot” in this presentation. Stroom continues to unearth overlooked records with unnerving ease, and this Saskia 7″ might be the one that makes the label a more common name. One copy of this record is left at Stroom’s Bandcamp as of this writing - move quick.

Glen Schenau, “Jhumble” b/w “Jearnest” (self-released)

Glen Schenau is at the forefront of Brisbane’s experimental musical scene; he’s done time in Kitchen’s Floor, Bent and has even self-released a few things under his own name. The solo stuff I’ve checked by him was restless, frantic guitar and bass lines seemingly swimming against the current of his Bryan Ferry crooning. While there’s no denying that it was singular, it never really coalesced for me in the same way that this new 7″ does. That same restlessness is still at play here, obvious from the beginning strumming of “Jhumble,” and Schenau seems to still relish the vocal stylings of Ferry, though his vocals also remind me of some of the alterna-rock radio I was subjected to while working in a warehouse during summers between school. Normally that sort of vocal homage would send me running to the hills, but it really works here: the busy guitar line and the drums lock into an undeniable groove on “Jhumble,” and whatever Glen is singing, the melody is stuck in my head for days. “Jearnest” is my pick, the more difficult foil to “Jhumble”’s pop leanings. The sprightly guitar at the beginning is submerged into this rubbery goo, which eventually takes over the song while a whistle floats in to carry a melody over the tarry pit. Can’t say I’ve ever heard anything like it, but it doesn’t just float along on that claim; this is a highly potent brew served up on both sides of this single. Glen self-released this record and it’s limited to 150 copies; mine came with a hand-written note and drawing, which was a nice touch. High marks all around. I’ve got to echo Matt K.’s sentiments when he reviewed this record: “Seems like every Australian band gets their own album without much delay, so I have to ask: where the hell is Glen Schenau’s?!”

#C. Lavender #Kobra #Oily Boys #Subdued #Aviador Dro #Algara #Saskia #Glen Schenau #Editions Mego #Iron Lung Records #Cool Death Records #La Vida Es Un Mus #Roachleg #Stroom

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alotofboring · 3 years ago

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Playlist #27: Noisy noise punk

#punk #music #playlist #alotofboring #Bandcamp

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genericrecordreviews · 5 years ago

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Subdued, Over The Hills And Far Away (La Vida Es Un Mus / Roachleg, 2020)

I usually like my punk with as little metal in it as possible. But I found out you can get away with a few long-haired shenanigans to my ears if you just pay attention and follow a few simple rules: sick riffs; keep the soloing discreet; crunchy trebly guitars, please, none of that bass-heavy bullshit; no growling; no hi-pitched squeals.

That's easy, see? Subdued had no problem fulfilling all my requests. When they go back to grabbing you by the hair to drag you to the end of side A, after the cool, atmospheric, bleak intermission following “Death or Lies”, they do so with two straight-up punk bangers: the mean gothic stomp of “Problem of Evil” and “No More”, a 1 minute and 44 seconds masterclass in no-bullshit classic 1-2 UK hardcore.

It’s all very dreary. The lyrics have a sort of dry gothic style, halfway between a 1940s American noir, an anarchist pamphlet and 19th century romantic poetry. The 16 page booklet, illustrated by the band’s drummer Nicky Rat, is dismally beautiful. Comparing this record to the latest Bad Breeding LP (which is kind of what the label blurb prompts you to do) I feel like the latter have a more earthly, concrete approach to the politics. Subdued sound more vague in their stance, adopting an aestheticized, poetic point of view on despair that leaves you wanting a little more substance. Still, some of the lyrics hit the right spot: “Is hope the joke?” is a line that will make any punk vocalist mad at themselves for not having thought of it first.

On Over The Hills And Far Away Subdued do it all. Mid-tempo punk stompers, breakneck hardcore ragers, top notch metalpunk, melancholic goth atmospheres—on “War Cry” even in one song. While music nerds will no doubt love to pick them apart and point out that this riff sounds just like this, the drumming is straight up lifted from that etc., I’m too ignorant and disinterested to play the game. While it won’t be the most original-sounding album of the year, it will probably be one of the best.

Click here to listen to Over The Hills And Far Away on Bandcamp.

Follow GRRAWR on Instagram to get a weekly record review every Wednesday in your IG feed.

#grrawr #recordreviews #subdued #lavidaesunmus #anarchopunk

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magick-knives · 3 years ago

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Poison Ruïn: Not Today, Not Tomorrow / Parade Of Phantoms / Edifice.

7" on Black Vinyl.

Roachleg Records.

#poison ruin

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boaws · 3 years ago

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Fat Tracks for Fulci - Show 210

Cactus - One Way...Or Another - One Way...Or Another - 1971 (ATCO) Visitors - Visitors - Visitors - 1974 (Decca) Ian Carr with Nucleus - Bull Dance - Labyrinth - 1973 (Vertigo) / 2022 (Be With) Rich Ruth - Angel Slide - I Survived, It's Over - 2022 (Third Man) Galcher Lustwerk - Overpay, Overstay - Information - 2019 (Ghostly International) Black Lodge - A Cross Inverted - Bitter Blood (A Collection of Archival Recordings) - 2018 (Disciples) Hogg - Burn - Breaking at the Edge of the Frame - 2022 (Self-Released) Boris - Nosferatou - Heavy Rocks - 2022 (Relapse) Chalk - Power of Justice - Demonstration - 2022 (Self-Released) Doom Beach - How to Love an Insect - Copperhead - 2022 (The Ghost is Clear) Black Beach - Bear Witness - Giallo - 2021 (Blade) 00_ - ClaUdia - Ca-yptra - 2022 (Ramble) Hysteric Polemix - Queer Goetais - Songs for the Solstice - 2022 (RoachLeg) Backwards into Paradise - Hope - 86-88 - 1988 (Hope) Died Pretty - Round and Round - Free Dirt - 1986 (Citadel) / 2022 (Sorcerer) Tony Molina - Leave This Town - In the Fade - 2022 (Run for Cover) Lemonheads - Clang Bang Clang - Creator - 1988 (Taang!) Khaliq Al-Rouf & Salaam - Libra - Elephant Trot Dance - 1979 (Nilva) Sir Edward - Peace, K.D. - The Power of Feeling - 1973 (Encounter) / 2022 (Jazz Room) Khan Jamal - Lovely Afternoon - Infinity - 1984 (Jambrio) / 2021 (Jazz Room) Goon - Lyra - Hour of Green Evening - 2022 (Démodé) Balafre - Boxing Song - Boxing Songs - 2022 (Moment of Collapse) Madelines - Barely Breathing - Your Motives Kill Me - 1996 (Sudden Shame) Lifeguard - Fifty Seven - Crowd Can Talk - 2022 (Born Yesterday) Polvo - When Will You Die for the Last Time in My Dreams - Exploded Drawing - 1996 (Touch & Go)

#indie-rock #noise-rock #experimental #rock #post-punk #jazz #soul-jazz #jazz-funk #electronic #noise #ambient #dark-ambient #mix #mixes #industrial #alternative

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evolstak · 7 years ago

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URCHIN PEACE SIGN 7"EP ROACHLEG RECORDS ROACHLEG U-02 2nd ep of Urchin from New York! raw Anti Cimex influenced discharged punk core shit! fucking awesome!

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0-coordinates · 3 years ago

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SUPPORT THE CAUSE - ROACHLEG RECORDS

#RoachLeg Records

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0-coordinates · 6 years ago

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ROACHLEG RECORDS

#roachleg records

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0-coordinates · 3 years ago

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PUFFER - DEMO

#roachleg records

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0-coordinates · 4 years ago

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#roachleg records

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goodbysunball · 3 years ago

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Best of 2021

What a freakishly dark year. Amidst our dystopian descent, one where D-beat and grindcore record covers seem particularly apt, independent record labels and artists keep providing and grinding, delays and inflation be damned. What the fuck else are ya gonna do? I wince reading headlines - the world is dying, tribalism reigns, someone just burned down the Planned Parenthood blocks from where I live - but music remains a constant source of elation, solace, rejuvenation and invigoration for me. It's helped me through a lot this year, and turned into a form of self-care in a way, given that increasingly rare free time was almost always accompanied by immersion into music. When I survey the past 12 months, these are the records that resonated. Grown man photographs his precious belongings, 2021. Take care of yourselves and each other, support the music venues and artists suffering through the pandemic's never-ending coda, and I hope this list can introduce you to something new even if I gave away the top dog months ago. Damn, what an amazing time for new music - happy digging.

Nusidm, Hatred of Pain (self-released)

Cube, Drug of Choice (Alter)

Monokultur, Ormens Väg (ever/never / Mammas Mysteriska Jukebox)

Nightshift, Zöe (Trouble In Mind)

Quarantine, Agony (Damage United 82 / La Vida Es Un Mus)

Heimat, Zwei (Teenage Menopause)

Mortiferum, Preserved In Torment (Profound Lore)

Lea Bertucci, A Visible Length of Light (Cibachrome Editions)

The Body, I've Seen All I Need To See (Thrill Jockey)

N0V3L, NON-FICTION (Flemish Eye)

Six more:

Cerebral Rot, Excretion of Mortality (20 Buck Spin)

CIA Debutante, Dust (Siltbreeze)

Jean-Luc Guionnet & Will Guthrie, Electric Rag (Ali Buh Baeh / Editions Memoire)

Maraudeur, Puissance 4 (self-released)

Emily Robb, How To Moonwalk (Petty Bunco)

Waste Man, One Day It'll All Be You (Feel It)

12" / 7" / cassette

CIA Debutante, Music For Small Rooms 12" (ever/never)

CIA Debutante, Pier 7" (SDZ)

Earwig Deluxe, It's An Emergency To Them CS (Striped Light)

The Fulmars, The Lost Ones 7" (Hüüpnootsche Platen Un Kassetten)

Horrendous 3D, The Gov. and Corps. Are Using Psycho-Electronic Weaponry To Manipulate You and Me... 7" (Whisper In Darkness)

Sial, Zaman Edan 7" (La Vida Es Un Mus)

Suffocating Madness, s/t 7" (Active-8 / Roachleg)

Stomachache, Good Machine CS (self-released)

Taphos, Blood Plethora 7" (Night Shroud)

Treasury of Puppies, Lollos Dagbok 7" (I Dischi Del Barone)

Rap

Separate category because I'm a tourist at best. Here's what I was listening to that hit a nerve.

Armand Hammer feat. Earl Sweatshirt, "Falling Out the Sky"

Bigmutha AKA BbyMutha, Muthalificent 2 and Bastard Tapes Vol. 3 (self-released)

Boldy James & the Alchemist, Bo Jackson (ALC)

Flint & Detroit Rap 2021 mix by the best @thehotboxsocial

MIKE, "Disco!" (10K)

Pooh Sheisty feat. Lil Durk, "Back In Blood"

R.A.P. Ferreira, the Light Emitting Diamond Cutter Scriptures (self-released)

Starlito, Funerals & Court Dates and Insomnia Addict (Grind Hard) Not new, but it's never a bad time to revisit my favorite rapper's discography. The two albums I listened to most this year in any genre or form.

Young Nudy, Rich Shooter (RCA)

Young Slo-Be, Red Mamba and Slo-Be Bryant 3 (KoldGreedy / Thizzler on the Roof) - thx @raygarraty

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