When it comes to names that stick out in a scene, Pro-Pain are one of those in the hardcore world, one that has been around forever and are seemingly still fighting the good cause for the hardcore scene.
From what I can se this is their SIXTEENTH album!! Now that is an incredible number of releases for anyone, so, where does Stone Cold Anger fit into today’s scene?
It is as expected on opener Oceans Of Blood with some fast paced hardcore that has the unashamed punk element threaded into the sound the comparisons to other bands is a bit pointless as these guys were there at the beginning with them all anyway so are bound to mix in other sounds but its clear that 35 years of experience has let them form a solid sound that will not be changing anytime soon!
Survival Of The Shittest is definitely a fun one. Gurt brings three ruthless and hellraising floor fillers. This EP consists of two original tracks, Live Nation, Dead Scene and the title track Survival Of The Shittest which are both punchy and ruthless with an Imposing atmosphere.
It is as expected on opener Oceans Of Blood with some fast paced hardcore that has the unashamed punk element threaded into the sound the comparisons to other bands is a bit pointless as these guys were there at the beginning with them all anyway so are bound to mix in other sounds but its clear that 35 years of experience has let them form a solid sound that will not be changing anytime soon!
Stone Cold Anger has a bit more of the metal-ness sprinkled across the song and is more beatdown in nature but not the stupidness of today’s beatdown bands, it’s the more nuanced sound of the early NYC hardcore and it’s a glorious and violent throwback to a sound that never gets old or tired.
March Of The Giants then finds a bit of a middle ground, as again its more on the metal side of things but has a stomp and swagger that comes with the years or writing and touring, it allows them to cater to what they know is going to hit well with existing fans but also will bring new fans in, it has old school charm with a new school cutting edge.
Uncle Sam Wants You! throws back into the punk element and is a riotous and snotty fuck you to the corrupt system in the US and how they treat their armed forces, its direct and angry and sums up how it must feel to be a part of that whole unpleasant situation when it arises.
Demonic Intervention opens up the sound to the groove-metal world, its stomps and pounds around well enough and its all nicely done but it just feels a little too mid-paced and it never really picks up the pace and just sort of meanders all the way through, it’s not boring as such just lacking that killer edge needed to really make it shine and stand out.
Luckily on Rinse & Repeat they sort of pick up the pace again, but also don’t at the same time which if this sounds weird to read it sounds weirder to actually hear! It has gone back to the more standard hardcore sound, but it feels again like something is being held back and the song never really seems to get going enough.
It’s all decent enough but just missing something, thankfully Hell Or High Water kicks back into gear and really shows what they are capable of when they just let go of the reigns, metal clashes with hardcore and punk dips it toes in as well.
It’s an adrenaline rush of a song that just makes you want to get up and start a mosh pit wherever you are, rousing, reinvigorating and sorely needed to pick the mod back up! Scorched Earth then mixes a bit of the holding everything back style with some more hardcore punk parts and the mix is good but that’s about it, you’re never entirely sure what style you should expect, and it affects the flow of the track massively!
After this Jonestown Punch sounds immense, they again just throw off all the shackles and go straight for the kill, sharp and precise riffing mixes everything together and the groove elements is huge all the way through.
You just wish more of this had been on the record this continues into Sky’s The Limit which is probably the most anthemic song on the album and a savvy closer as it will get people moshing and singing along in the live setting and leaves you with an energetic rush to finish things.
It’s clear to see that Pro-Pain are here to stay and they don’t care if you like that or not, 35 years of writing, recording and releasing records is no mean feat and Stone Cold Anger will slip into their huge back catalogue and not get lost or forgotten, its bold, brash and angry as only hardcore can be and is well worth a listen. 7/10
It’s clear to see that Pro-Pain are here to stay and they don’t care if you like that or not, 35 years of writing, recording and releasing records is no mean feat and Stone Cold Anger will slip into their huge back catalogue and not get lost or forgotten, its bold, brash and angry as only hardcore can be and is well worth a listen. 7/10
Monolord - Neverending (Relapse Records) [Matt Bladen]
After an enforced break due to mental health struggles, during which their frontman released some ambient records, the the trio of guitarist/vocalist Thomas Jäger, drummer Esben Willems and bassist Mika Häkki reconvene under the Monolord banner, for their first full length since 2021.
On Neverending they reach further into the a galaxy of riffs than ever before, inviting the ambient movements of Jäger's solo work to further deepen the sonic hypnosis of Monolord. The colossal riffs of Inside A Collider are just what Monolord fans will want slipping into Crystal Bridge where that massive heaviness moves into psychadelic atmospheres.
Behind the producer chair Sylvia Massy (Tool/SOAD) gives Neverending a more contemporary slicker sound than some fans may be used to, the fuzzy repeating riffs are getting their edges sanded, to create an album that defines the band they have become after 13 years.
Fear not though as it doesn't mean Monolord have gone soft they've still got the volume and repetition to lock you into steady head nodding groove but with their most personal lyrics coming from recent history, Neverending has a taste to the maudlin, or the introspective which allows them play more with their identity.
No track highlights that more than the steamrolling doom dirge of It's Neverending which features Jörgen Sandström (formerly of Entombed) delivering snarling death vocals, the first time Thomas hasn't sung in a Monolord song.
The band and hopefully, it's audience, are more comfortable with each other after this time, as if there's and expectation to shake things up a little as you near big milestone years, Neverending is loud return for for Monolord but with a refined attitude to who they are. 9/10
Shooting Daggers - The Real Life Thing (New Heavy Sounds) [Mark Young]
Sometimes we just need simple things. Something that is unfettered with having to squeeze a million notes in and just wants you to dance.
After an enforced break due to mental health struggles, during which their frontman released some ambient records, the the trio of guitarist/vocalist Thomas Jäger, drummer Esben Willems and bassist Mika Häkki reconvene under the Monolord banner, for their first full length since 2021.
On Neverending they reach further into the a galaxy of riffs than ever before, inviting the ambient movements of Jäger's solo work to further deepen the sonic hypnosis of Monolord. The colossal riffs of Inside A Collider are just what Monolord fans will want slipping into Crystal Bridge where that massive heaviness moves into psychadelic atmospheres.
Behind the producer chair Sylvia Massy (Tool/SOAD) gives Neverending a more contemporary slicker sound than some fans may be used to, the fuzzy repeating riffs are getting their edges sanded, to create an album that defines the band they have become after 13 years.
Fear not though as it doesn't mean Monolord have gone soft they've still got the volume and repetition to lock you into steady head nodding groove but with their most personal lyrics coming from recent history, Neverending has a taste to the maudlin, or the introspective which allows them play more with their identity.
No track highlights that more than the steamrolling doom dirge of It's Neverending which features Jörgen Sandström (formerly of Entombed) delivering snarling death vocals, the first time Thomas hasn't sung in a Monolord song.
The band and hopefully, it's audience, are more comfortable with each other after this time, as if there's and expectation to shake things up a little as you near big milestone years, Neverending is loud return for for Monolord but with a refined attitude to who they are. 9/10
Shooting Daggers - The Real Life Thing (New Heavy Sounds) [Mark Young]
Sometimes we just need simple things. Something that is unfettered with having to squeeze a million notes in and just wants you to dance.
The Real Life Thing is in their own words a ‘mini album’ and is 7 tracks of punk/hardcore/melodic infused guitar driven music that makes no attempt to stay in one lane.
And why should they? Adrenaline is a cracker, one of those songs which could make anyone dance (even me). With that sub three minute run time it’s a perfect example of what an opening track should be about.
It’s when they launch into My Oh My which changes their sound completely, going from the bounce to a more restrained and thoughtful approach its plain to see that they can make great music and still contain a message of hope.
They know how to build songs and how to deploy them to great effect. That positive undercurrent runs through this, underscoring it. T.R.L.T. picks up the pace once again, providing that bouncing momentum that Adrenaline started with. Its purpose built for an audience that wants to move, to just enjoy a night out.
After the 28 second We Just Wanna Play, they roll out Loud Mouths (ft The Menstrual Cramps) and it’s a blast. If someone asked me to describe what Punk sounded like I’d probably point them in this direction.
It feels that with this, a lot of the posturing that I associate with Punk/Hardcore and generally puts me off is missing and I love it.
As mentioned, they don’t sit still going from that classic punk sound to the beauty of Le Soleil. This variety makes this release such a great one as they move effortlessly between these different lanes.
GLOW (ft Dennis Lyxzén) wraps things up for the three piece. The guest vocals fits in so well without overshadowing Sal. Taking the release as a whole, there is a lot to appreciate here, and if I had to pick any one song as a jumping on point, I would be hard pressed to do so.
They don’t do the same thing every time, they just do what they think is right and you either like it or you don’t . What you can’t escape is how good these songs are, and I hope that they make their way north for a gig or two. Give them a go, they could be your new favourite band. 7/10
Gurt – Survival Of The Shittest EP (Self Released) [Cherie Curtis]
Gurt – Survival Of The Shittest EP (Self Released) [Cherie Curtis]
Survival Of The Shittest is definitely a fun one. Gurt brings three ruthless and hellraising floor fillers. This EP consists of two original tracks, Live Nation, Dead Scene and the title track Survival Of The Shittest which are both punchy and ruthless with an Imposing atmosphere.
The vocals are scathing and unruly in the best way, complimented by repetitive and sludgy riffs that may have gotten boring if they weren’t executed with effortless and raw intensity; simple composition but very effective in building tension and maintaining it for an entire track that’s all buzz and no chill.
These tracks are great energizers and it’s easy to listen to, but the obvious star of the show here is their cover of 2 Unlimited’s 90’s club classic, No Limit.
Gurt’s cover of No Limit has what it says on the tin, no limit. It starts out burning hot and like the other two tracks on the album, it just stays there (which I'm starting to gather is one of Gurt’s main attributes).
Gurt’s cover of No Limit has what it says on the tin, no limit. It starts out burning hot and like the other two tracks on the album, it just stays there (which I'm starting to gather is one of Gurt’s main attributes).
This cover is bouncy with classic prickly riffs to mock the Synths from the original which amps us up and knocks us down with the signature beat we all know and love.
It’s exactly what you need after a couple drinks on a night out but it can be a little off putting at first if you're a fan original, but after the dust settles you do realize (if your anything like me) it's a good song made better because its aligned with your taste.
Gurt adds what the original couldn’t provide; what we all didn't know we needed - blood pumping metal.
I can safely say i would pay good money to have this played in a club and to hear this played live would be so unexpected it would have me losing my mind, it's almost a shame i heard it here first and not for the first time at a gig.
On the whole this one is solid; it's a well-rounded riot and listening to it was a breeze. It’s mixed well and the band clearly have a knack for their art and more importantly, especially to me, it was fun. Listening to this one was an immediate mood booster, but it didn’t give a lot to think about, but it doesn’t need to.
On the whole this one is solid; it's a well-rounded riot and listening to it was a breeze. It’s mixed well and the band clearly have a knack for their art and more importantly, especially to me, it was fun. Listening to this one was an immediate mood booster, but it didn’t give a lot to think about, but it doesn’t need to.
The EP was over and done with before i finished my coffee which works and makes you want to revisit it a few more times and every time you do it hits even harder. 7/10.
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