Posts Tagged ‘fierce’

Portuguese grindcore masters BESTA return this autumn with their fiercest work to date. Their reimagined album John Carpenter Redux will be released October 4th via Raging Planet in an exclusive limited vinyl edition.

Originally unleashed in 2013 and mixed by Steve Austin (Today Is The Day), the record has now been completely re-mixed and reimagined by the band itself, with long-time frontman Paulo Rui re-recording all vocals to deliver the most unhinged and powerful version yet.

As the ultimate homage to the master of horror, John Carpenter Redux bridges feral grindcore and politically charged punk, channeling the same tension, anger, and resistance that fuel many of Carpenter’s timeless films. The result is raw, uncompromising, and urgent, a soundtrack to chaos that feels both cinematic and confrontational.

This is BESTA at their fiercest: a band with over a decade of grinding, raging, and raging against the system, now paying tribute to one of cinema’s most visionary rebels.

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The Los Angeles-based punk band Sour Tongue was formed in the early days of the 2020 pandemic by Satori Marill and John Murphy, the mission of the alternative rock, grunge and riot grrrl influenced quintet remaining the same ever since their inception: “when it stops being fun, we’ll end it.” Fusing disco with grunge, hardcore punk with country, plus much more, Sour Tongue utilise humour and a degree of sonic absurdity to convey a deeper message of angst and desperation.

Having developed a global fanbase via four previous singles, an EP, plus a US tour with industrial rock heavyweights KMFDM, the band’s bright and breezy new single ‘I Thought You Liked Me!’ was written about a near universal experience felt by girls. “I wrote the song about being manipulated and lied to, getting fed up and reversing the roles,” states vocalist Marill. “I wanted to talk about reactive impropriety, but with a feeling of guilt tucked beneath it, because I think a lot of people are ashamed to admit when they do something out of spite. I think anyone who has ever had their heart broken and done something stupid in return can relate to it.”

The single is taken from a forthcoming EP entitled Final Girl, their most personal set of songs to date. Told as a story in four parts, it is about the intersection of grief, betrayal and heartbreak, yet loving through it all. It’s dark, it’s angry, it’s funny, it’s heartbreaking. It’s a horror comedy.

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31st January 2025

Christopher Nosnibor

Whether they like to admit it or not everyone likes to have the opportunity to say ‘I told you’. And so Leeds feminist punk four piece Helle, who describe themselves as ‘a flurry of blistering riffs, unflinching lyrics and explosive live intensity’ and ‘an irresistible firestorm of grit and glamour that takes no prisoners’ drop their fifth single at the end of the longest month in history. And while revelling over witnessing one of their first gigs, supporting Weekend Recovery three years ago, and being blown away, leaving absolutely convinced – and rightly so – that this was a band to watch, I find myself wondering where the fuck has the time gone?

But there’s no time to wallow, and ‘Hyper Bitch’ goes a few steps beyond merely blowing away the cobwebs.

It starts with some dialogue, some chatter, it’s probably staged, but is the perfect representation of the superior music snob wanker who lectures at gigs, not only between bands, but talks over them because his opinion is so much more important. And yes, it’s always a him and it’s always some middle-class white twat who knows he knows best and could do far better. And then – BAM!

This is punk done proper: guitars, bass, drums all going all out – nothing fancy, just full-tilt, four-chord aggression, providing the perfect foil for vocals which bring that same, angry energy.

There’s some sass in the lyric department, too, constructing lines with a patchwork of movie titles in a fashion that we might have nodded to as an example of postmodern referencing and intertext not so long ago: the chorus hits with ‘I don’t wanna be a Mean Girl / I don’t wanna be Clueless like you’ as their tear into the object of antagonism.

It could be that I’m simply more aware now than before, but it seems that masculinity got even more toxic of late, that the shittiest, twattiest representations of the males of the species are pushing back against all of the progress made by feminism in preceding decades, presumably because the idea of strong women makes them feel somehow emasculated, or, put straight, scares them and wounds their pathetic egos and deflates their pathetic dicks. But what’s not necessarily worse, but harder to fathom, are women who are complicit in this, and who go out of their way to undermine others. I suppose this song is for them. But as a package – and a fiery one at that – Helle are part of a new wave of strong female bands who rock harder and rage harder than almost any of their male peers and are all about taking no shit, shouting up, and kicking ass.

‘Hyper Bitch’ encapsulates all of this perfectly.

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Rare Vitamin Records – 5th August 2022

Christopher Nosnibor

It almost goes without saying, but I’ll say it – again – anyway: we live in pretty bleak times. Everything is fucked. But perhaps with the many things which have deteriorated, diminished or otherwise been eroded in recent years, from various freedoms and basic rights to quality of life, be it access to medical and mental health care to how far paychecks go, one of the most depressing in many respects is the rise of anti-intellectualism. It’s not even a question of dumbing down, so much as a culture that seems to mistrust, and even dislike intelligence, debate, and even artistry and creativity. To question the motives of funding of an individual or organisation is healthy: to denigrate and dismiss all ‘experts’ is insane.

England, in particular, has a uniquely worrying and ultimately debasing attitude which stems from members of its ultra-privileged, ultra-capitalist, right-wing government, which is disconcertingly open about nits agenda to attack the arts and culture, not only in having a minister for culture who has precisely none, but also an education department hell-bend on defunding and cancelling degree courses in the arts on the premise that they don’t dovetail into careers that pay. There’s clearly something wrong here, since the music industry generates billions of pounds a year in the UK – or at least it did, before the double whammy of the pandemic and Brexit screwed both grassroots venues and musicians alike.

The arrival of The Battery Farm’s ‘A Working Class Lad’, then, is something of a breath of fresh air. Taking its title from a poem from A. E. Houseman’s A Shropshire Lad collection (1986), it’s a song which addresses the uniquely British issue of class, and how class division can affect a family.

The Manchester four-piece may describe themselves as ‘gutter punk’ and promise ‘a ferocious, muscular, gnarly track that ebbs and flows with purpose, precision and venom’, but they’re unafraid to be open with their literary allusions and reflect on issues without lapsing into the common political / anti-government tropes through a bunch of half-baked slogans that are standard punk fare.

With a jet-propelled drums and a robust, chugging riff behind the sneering vocals, The Battery Farm prove in three minutes that it’s possible to be punky and abrasive but not dumb. Just as the song tackles duality and (inner) conflict while at the same time being a seething roar of vitriol, so ‘A Working Class Lad’ showcases some savvy songwriting beneath the fire of a throat-grabbing rager. It’s a rare joy to hear a song that actually says something, but is equally fine to take on face value as something to most around to and pump your fists at the raw energy.

With a brace of EPs under their belts and ‘A Working Class Lad’ being the first single from their debut album, out in November, The Battery Farm are a rare thing – the perfect combination of brains and balls, they’re a band worth getting excited about.

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3rd June 2022

Christopher Nosnibor

The best music is timeless. This four tracker from ‘lady fronted, post-hardcore influenced’ quartet, Fantømex, hailing from Asheville, North Carolina could have been released any time during the last thirty years or more, and that’s definitely a positive.

It slams in with the raging, angular grunge of ‘Fantomcatz’ that’s got strong echoes of early Hole or Solar Race, but amidst the screaming fury, there are some neat dynamics and a solid structure. ‘White Hole’ is lighter, popper – I mean, it’s all relative, it’s hardly fucking Beyonce – but it’s got something of a 90s Sonic Youth vibe to it, but then it goes full-tilt histrionic punk, before leaping back to being more Sonic Youth / Pavementy, and the guitars even jangle a bit, albeit briefly.

‘Gaslight’ is appropriately disconcerting, disorientating, and perhaps the most disjointed of the four tracks, but in context it works. It’s no sleight to draw a line to The Pretty Reckless with its more overtly ‘rock’ sound, before they round it off with a jarring slew off guitars that’s like a mathy mess squished into a melodic tune delivered with punk attitude, but at the same time, when she’s not spilling her guts, Abigail Taylor proves she’s capable of delivering a melody that can really tug at the heartstrings.

And so it is that in the space of around eighteen minutes, Fantømex whip together a whirlwind of musical styles and emotions, and do so with both style and force.

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