The Livermores’ 2019 self-titled disc follows a couple of EP releases (including a fun split with Proton Packs), is advertised as a full album but still only clocks in at a length that some bands would still consider an EP. In an especially lean twenty four minutes, though, this band smashes their way through a full thirteen tracks of speed-driven punk, creating a listen that’s both enjoyable and incredibly energetic.
Two years on from their ‘Joyride’ full length, Red Light Rebels sound as if they truly mean business on their ‘Rewind Erase’ EP. It isn’t really that the band have toughened up, or even changed their sound dramatically; it’s more a case of everyone sounding ever more confident as their musical journey progresses. Having long established their sound and put in some hard yards on the live circuit supporting The Ataris, Teenage Bottlerocket, Swingin’ Utters and others, on ‘Rewind Erase’, these Gloucestershire based lads present their finest studio recordings to date.
Always keen champions of cult music, Rum Bar Records is home to several great bands you might never have heard. Fully believing that a label can’t exist without its fans, they’ve got a gift for you to kick start the new year…and it’s their biggest gift to date.
When you think about Canadian punk, there are a few names that instantly spring to mind. NoMeansNo and D.O.A. are the most famous of punk’s first wave; Comeback Kid and Cancer Bats are among the top tier of the twenty first century crop. Whilst Propagandhi are arguably the most famous exponent of Canadian punk in the 90s, The Black Halos made an impact in Vancouver between 1993-2009 – enough to get signed to the then very much in vogue Sub Pop label and to work with legendary producer Jack Endino.
The Black Halos looked more towards Johnny Thunders, New York Dolls and The Stooges for their core influences – something which, during that period, was very much a sidestep from the usual Ramones or hardcore influences dominant in the punk scene. The love for trashy rock so obviously helped guitarist Rich Jones become a natural fit with Ginger Wildheart’s band upon his relocation to the UK after the band’s split.
Naming themselves after a Gallows song, it should come as no surprise that Denver’s Victim Culture hone a sound that owes a great debt to that much loved UK/Canadian hardcore outfit. This debut album is tough and raw; it’s overall sound carrying the brickbats of a stomping hardcore sound that fuses a metallic chug with rousing street punk choruses.