ENTOMBED

"left hand path"
Year:  1989
Label:  Earache
Format:  CD, LP
Tracks:  12
Time:  41 min.
Genre:  rock
Style:        Death Metal








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"clandestine"
Year:  1991
Label:  Earache
Format:  CD, LP
Tracks:  9
Time:  43 min.
Genre:  rock
Style:        Death Metal








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"wolverine blues"
Year:  1993
Label:  Earache
Format:  CD, LP
Tracks:  10
Time:  35 min.
Genre:  rock
Style:        Punk Hardcore

swedish band started in 1987 under the name "Nihilist", which changed to Entombed in 1989. They started as extreme metal band, but they evoluted mixing all sort of music styles such as: garage rock, punk rock, hardcore, thrash metal, heavy metal and rock'n'roll. Sometimes they have not well accepted by the ortodox metal-heads but just the opposite for those who are not Metal followers. This "wolverine blues" could be their best example to show their attraction to bristish legend band Discharge, and in general all scandinavian punk hardcore bands as: Anti-Cimex, Driller Killer, Disfear, Mob 47, Totalitär, etc. If you like Discharge ‎"hear nothing see nothing say nothing" or "never again", it's your are going to love this album.

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"DCLXVI to ride, shoot straight
and speak the truth"
Year:  1997
Label:  Music for Nations
Format:  CD, LP
Tracks:  14
Time:  39 min.
Genre:  rock
Style:        Punk        Heavy Metal

This is the fourth album by the band Entombed, released in 1997. DCLXVI is 666 in Roman numerals. The cover art features a statuette of the Aztec god Mictlantecuhtli. This album shows a continuation of the metal punk sound previously established on 1993's "wolverine blues", but eschews most traces of hardcore and death metal in favor of a punk rock, garage rock and heavy metal influenced sound. Entombed are the originators of that extremely low, evil guitar sound, that became a trademark for Swedish death metal and many bands who also wanted that sound. It was year 1990 when the band's debut album 'Left Hand Path' came out, sending waves for years to come. But Entombed themselves began to include more rock'n'roll and punk music influences on their third album already, the legendary platter 'Wolverine Blues'. Brilliant album

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"same difference"
Year:  1998
Label:  Music for Nations
Format:  CD, LP
Tracks:  13
Time:  40 min.
Genre:  rock
Style:        Alternative Rock

"same difference" is the fifth full-length album by swedish band Entombed. It was released in 1998. This album shows the band moving into alternative rock and grunge sound, and is generally considered the band's weakest moment both by fans, and by the band's former vocalist, LG Petrov. Why is it alternative rock? Well, because there is that rock and roll feel throughout the entire album, provided by the paced drums, the pummeling repetitive guitars and the swingy mood they convey. Apart from that, there is that heavy down-tuned feel portrayed by the atmosphere created around every single track, one that will resemble something in the vein of a slowed down Nirvana, Pearl Jam or Soundgarden, 90's era (the songs “Clauses” and “Kick in the Head” being fit examples), or even a spaced out Foo Fighters from their early 90’s works (in songs like “Same Difference” or “High Waters”). You will eventually find yourself nodding confidently to these tunes, because they invade your brain and linger inside addictively. Despite all, I definitively like this album.

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"uprising"
Year:  2000
Label:  Threeman
Format:  CD, LP
Tracks:  12
Time:  40 min.
Genre:  rock
Style:        Punk        Heavy Metal

I picked up Entombed's "uprising" at a used record store on a whim fairly early in my metal-listening career, recognizing the name as a heavy metal band. Upon playing it at home, I was deeply surprised to, instead of metal, hear a particularly abrasive, raw, and heavy form of rock music instead. I definitely liked it, that much was sure: there seemed to be something more 'real' about this rock music than what was heard on the radio, something more emotionally resonant and, in some way, more metallic than what one would hear ordinarily. But really, my appreciation for it never quite moved beyond an aesthetic level: it was a pleasing listen, but I'd moved on to bigger, better, and more complex things in the meantime. It's only in recent time, after numerous plays, have I begun to really grasp what separates Entombed from most rock music, what unifies it with heavy metal, and what makes it a truly great album in the field of both genres. In short, "uprising" is the combination of metal's ideology and passion with rock music's rawness of emotion and basic musical template. What we have is quite possibly the perfect bridge between the two genres, taking parts of each but existing comfortably in neither. "Uprising" is too heavy, brutal, and non commercial for rock music; "uprising" is too emotionally naked, musically humble, and earnestly blue-collar for heavy metal. It's a record of massive alienation and discontent, thus representing both genres, and one of the attempt to reconcile ones' neuroses and ambitions with reality, representing neither. Frustrating? Yes. It's an album that's ABOUT frustration, and insanity, and depression, an and a level of hopeless loss and confusion that any grunge or noise-rock band could hope to emulate in absolute honesty and purity of delivery. heavy metal, rock'n'roll and punk as fuck.  (*review by Noktorn ).

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"morning star"
Year:  2001
Label:  Music for Nations
Format:  CD, LP
Tracks:  12
Time:  37 min.
Genre:  rock
Style:        Death Metal

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"serpent saints"
Year:  2007
Label:  Candelight
Format:  CD, LP
Tracks:  10
Time:  41 min.
Genre:  rock
Style:        Death Metal







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"back to the front"
Year:  2014
Label: Century Media
Format:  CD, LP
Tracks:  11
Time:  55 min.
Genre:  rock
Style:        Death Metal








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"dead dawn"
Year:  2016
Label:  Century Media
Format:  CD, LP
Tracks:  10
Time:  50 min.
Genre:  rock
Style:        Death Metal







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"bowels of earth"
Year:  2019
Label:  Century Media
Format:  CD, LP
Tracks:  11
Time:  40 min.
Genre:  rock
Style:        Death Metal








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THE JAM

"in the city"
Year:  1976
Label:  Universal
Format:  CD, LP
Tracks:  12
Time:  36 min.
Genre:  rock
Style:        Mod Punk

"in the city" is the debut studio album by british mod band The Jam. It was released in 1976 by Polydor Records (Universal) and featured the hit single and title track "In the City". Weller's guitar style on the album is very much influenced by Pete Townshend and Wilko Johnson. The album includes two cover songs, "Slow Down" and the theme to the 60s television series, "Batman", the latter of which had also been previously covered by The Who, The Kinks and Link Wray. The band was the most well known of the british mod revival happened from 1977 to 1982, and they were inspired in the 60's music but also strongly influenced by punk rock in some aspects as: speed, raw sound, simplicity and conscious lyrics, social issues, working class, etc. In their third album The Jam became closer to classic pop and new wave.

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"this is the modern world"
Year:  1977
Label:  Universal
Format:  CD, LP
Tracks:  12
Time:  36 min.
Genre:  rock
Style:        Mod Punk

"this is the modern world" is the second studio album by British band The Jam, released in November 1977. The album was released less than seven months after their debut album, In the City. The front cover photography was by Gered Mankowitz. As its predecesssor this second The Jam album keep quite similarities both, of 60's music and punk rock as their congenres. It's difficult to choose one of them, because both are very similar.

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"all mod cons"
Year:  1978
Label:  Universal
Format:  CD , LP
Tracks:  12
Time:  36 min.
Genre:  rock
Style:        Mod Punk

The Jam continues here with their usual lyrical themes: love, scooters, social issues, working class pride, etc. but strictly musical they started to move to sounds softer, smarter and cleaner than their two first albums. This is also an essential The Jam album no doubt.

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"setting sons"
Year:  1979
Label:  Universal
Format:  CD, LP
Tracks:  10
Time:  34 min.
Genre:  rock
Style:        Mod Pop






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"sound affects"
Year:  1980
Label:  Universal
Format:  CD , LP
Tracks:  11
Time:  33 min.
Genre:  rock
Style:        Mod Pop








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"the gift"
Year:  1982
Label:  Universal
Format:  CD, LP
Tracks:  11
Time:  36 min.
Genre:  rock
Style:        Mod Pop








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"Tribute"
Year:  1996
Country:  various
Label:  Flavour of Sound
Format:  CD
Bands:  16
Tracks:  16
Time:  40 min.
Genre:  rock
Style:        Mod        Punk





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"Tribute"

Year:  1999

Label:  Ignition

Format:  CD, LP

Bands:  12

Tracks:  12

Time:  36 min.

Genre:  rock

Style:        Indie Rock

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SCARBORO

"here comes the hangover"
Year:  2017
Country:  US
City:  New York
Label:  WTF
Format:  CD
Tracks:  14
Time:  28 min.
Genre:  rock
Style:        Punk        Hardcore

After a demo and EP, this Brooklyn three-piece Scarboro is back with a brand new offering of fourteen hardcore punk tracks. Their full length debut Here Comes The Hangover follows on the heels 2014’s four-song EP, The Safeword Is “Yes” and it is an album not so concerned with capital “P”. Instead, these guys vent more about scene politics, debauchery and douche bags, drinking all-night and vomiting, and sorting out who fucked whom. As grim and juvenile as that subject might sound, it comes across as at least a little refreshing that someone, in this case axe wielding vocalist Shi Heng Shi, can ponder the virtues of malt liquor and black lipstick in the era of autocratic rule and alt-facts. My place isn’t to tell these earnest drinkers that some pencil necked poser puking on their oxblood Doc Martins isn’t song worthy. In fact, in my evolving theory of art and commerce in the Donald Trump is that these types of songs will, before too long, be welcome respite. The New York punk scene has been a hot bed of pissed off creativity since the movement began in the late 1970s. While Here Comes The Hangover harkens back to those classic days of Bowery life and characters, it falls short of placing the band into that pantheon. The record is decent, but it is woefully inconsistent. The most memorable tracks, “One Heart One Mind” and “Downward Spiral” to name a couple, actually feel more LA punk influenced, like early Rancid records really had a bigger influence. The best songs are those exhibiting more developed, fleshed out ideas, like “Archangels” and “Panic At The Cisco” but too often the band spews volume instead of quality. Here Comes The Hangover won’t come off as drab to the true hardcore fan. It’s vibrant, pissed off and undeniably loud but it’s not going to re-write the rules (*NOTE: this review was written by Eric Mertz )

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ED GEIN

"smoked + bad luck"
Year:  2017
Country:  US
City:  Syracuse
Label:  Hex
Format:  CD, LP
Tracks:  16
Time:  30 min.
Lyrical themes:  social issues, politics
Genre:  rock
Style:        Grindcore

It’s always nice to see that cover art isn’t a dying detail in today’s downloading-obsessed times, and this latest from grind/hardcore guys Ed Gein entices with not only an excellent album title, but very cool art as well — showing humans with Mack trucks as heads. This New York-based trio are armed with a political lyrical edge to boot, which helps give an extra push to their tunes. With an equally skilled take on grind, hardcore, punk and sludge, Ed Gein tend to keep their songs short and sadistically violent. (The band’s motto, after all, is "Go fast!”) With all three members singing, the urgency of the frantic music is escalated into realms of AmRep-style noise rock and angry punk; while no one player sticks out as being particularly proficient on his instrument, the three no doubt gel together perfectly. With cool, angular, driving bass lines keeping the rhythm underneath the noise, this never degenerates into something too unhinged; although the listener would be hard-pressed to remember one of these songs when all is said done, it still resembles music. Somehow managing to pay homage to both Unsane and Napalm Death at once. The band's lyrics, primarily written by bassist Aaron Jenkins, are politically charged and features social commentary, on topics including racism, sexism, homophobia, animal liberation, etc. this bass-heavy, extremely cathartic release is highly recommended.

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THE METHADONES

"not economically viable"
Year:  2004
Country:  US
City:  Chicago
Label:  Thick
Format:  CD, LP
Tracks:  12
Time:  39 min.
Genre:  rock
Style:        Pop Punk

The third full-length from The Methadones and second from the solidified lineup of Dan Vapid (Screeching Weasel / Riverdales / Sludgeworth), Mike Byrne (ex-Vindictives), Pete Mittler, and Mike Soucy finds the band taking a somewhat different route than the band's past endeavors. "not economically viable", an album loosely based on the movie Falling Down (in which a disgruntled office worker takes revenge on those causing his disposition), takes cues from both classic punk (yes, they still channel the Ramones a good deal) and the mature side of 90s pop, both likely due to Vapid's past projects, and is a little more guitar-driven this time around, with scattered solos thrown about, and devoid of any post-20th century influence whatsoever. Hower, despite the album being overall a strongly solid, forty-minute chunk of pop-punk, there's some noticable filler in the early-to-mid setting, . Nearly every track on the disc is catchy, even if the record ends up suffering from "every-song-sounds-the-same" syndrome as a result. "bored of television," "mess we made" and "million miles" are three of the best examples showing off the band's inherent ability to hook you like sidestage cane antics, but to be honest, it's tough to say how much lasting value the record as a whole has. The first couple spins I found myself relatively enjoying the album, if not drifting off around the aforementioned filler parts. Flash foward several listens later, I still drift off towards the same parts, and the ones I enjoy just seem less overwhelming than they were at first. The themes the album claims to have loosely attached itself too are even then a bit abstract to be noticeable - except for "Suddenly Cool," with its comments towards "climbing the social ladder" - and don't do much, if anything at all, to reward close attention to such. "not economically viable" is a brilliant album and perhaps the band's best effort (*Review by Brian Shultz).

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THE BROKEDOWNS

"life is a breeze"
Year:  2014
Country:  US
City:  Chicago
Label:  Red Scare
Format:  CD, LP
Tracks:  16
Time:  36 min.
Lyrical themes:  politics, parody
Genre:  rock
Style:        Punk  Rock

"To describe The Brokedowns as just another Midwestern pop-punk band would be to sell the Elgin, Illinois four-piece extremely short. Yes, they are from the Midwest, and yes, there are more than enough hooks and sing-along choruses to check all of the pop punk boxes, but there's so much more too, from impassioned shouts to clever, pointed lyrics, and it's all deftly assembled on Life Is A Breeze. The record shows a band that, after a period of evolution, has figured out a sound all its own, and is now making the most of it. If you are familiar with the band's past output, then you are already aware that after starting out with a heavier sound on early records, The Brokedowns infused much more melody, to great effect, on their previous full-length, 2010s Species Bender, and on a number of subsequent split 7-inches. On Life Is A Breeze, the band sticks with that sound and seems quite comfortable doing so. The record kicks off with Joliet, the Maui of the Midwest, which serves as a sort of a tourism jingle for the band's home region. It lays an effective foundation before the record launches into a series of standout tracks. The Gospel of Mustafa, Life Is A Breeze, "murder junkie/CPA" "everything is immoral" are all as good, if not better, than anything on "species bender", and "murder junkie / CPA" specifically hearkens back to that record with its similarity to "loyal looper" (theme from renegade), which is no bad thing. Unfortunately, there's little time to come up for air, as the next handful of tracks, starting with Born on the Bayou Too, are just as strong. In fact, the quality stays high all the way through to the closer, "a child's guide to Black Metal". As a whole, Life Is A Breeze is an extremely satisfying follow-up to Species Bender, taking everything that was great about that record and building on it. The one shame is that, coming so late in the year, Life Is A Breeze is likely to miss out on a spot on many year-end lists. It's certainly an honor lost, though I'm not so sure The Brokedowns care about that sort of thing (*Review writen by Adam Eisenberg)

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