THE MESSENGERS – The Messengers

messengersThis self-titled record by Cincinatti punkers The Messengers was released on PunkCore Records in the spring of 2005.  Since PunkCore often leant more towards the aggressive mohawked end of things, with The Casualties as one of their flagship bands and a tendency to sign acts in the spirit ofThe Varukers, their support of The Messengers seemed somewhat of a sidestep.  The Messengers are a punk outfit, sure; they’ve got the speed and some serious chops, but their music leans far more towards the Californian punk-pop style.  Still, it could never be said that Punk Core’s faith in The Messengers was in anyway misplaced, since this self-titled release is an absolutely fantastic record.

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ANXIETY JUNKIES – Self-Sabotage

AJLPAt the end of 2014, Anxiety Junkies, a DIY hardcore punk from Georgia (US), released their third demo. ‘Sorry’ comprised four numbers that put across the band’s intents in a very succinct and fuss-free fashion. It’s rough around the edges quality of the recording only heightened the intensity, but even so, the band made firm plans in the new year to enter the studio to make a more complete sounding recording.  Their first full-length, the fifteen track ‘Self-Sabotage’ is the result.

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SHOOZE – Classified EP

shoozeIn the early 80s, the Midlands was home to a few reggae and ska bands with a disheartened view of life under the burgeoning Tory government. While the messages from those bands may seem to some to be relevant only to the times in which they were created, the political messages have endured the passing decades and – frighteningly, by the summer of 2015 – some seem as relevant as ever. The bulk of UB40’s first two albums are filled with biting political and social commentary, their ‘Madame Medusa’ arguably the most savage anti-Thatcher song ever. The Beat, meanwhile, mixed old ska classics with more of the same levels of anger – their ‘Stand Down Margaret’ choosing a more obvious message over UB40’s dystopian horror tale, but their upset regarded the same issues as the bulk of the young left in Britain at the time.   Over the years, many other bands mixed reggae with punk politics and anger – usually citing either the 2-Tone scene or The Clash as a vital influence.

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