HUFF RAID "Euro Tour Tape 2017"

This tape takes me back to a more innocent, almost virginal, time back when everything punk felt new, exciting, all gigs were existential moments, all bands were statements, all beers drunk were akin to showing the fingers to "the Capitalist System", all badges were worn like medals, stripes earned. I am not talking about the year 2017 when this tape was released of course. By then I could already be described as a slightly blasé purist (mostly for the pose), fatigued for the sake of claiming I was, eyes sharp, ears even sharper, the wit ready to bite, grading bands like my sadistic math teacher graded copies when I was 12. No, what I mean is that buying this cassette, the intention causing the act and more importantly the very reason why I waved the fiver at the distro table took me back to my formative punk years, when receding hairlines were the least of my worries and getting bald but a distant prospect that was about as real to me as getting a proper job. Little did I know.

When Huff Raid played in Paris during the Autumn of 2017, I went to the gig almost without checking it beforehand. I am saying "almost" because there were only a couple of songs uploaded on their bandcamp at that point - taken from the first recording - and if I remember distractedly playing one, I was rather unimpressed and only got off my arse to go to the venue because my best friend was putting on the gig and always made a point to "support the scene" because we are a "network of friends". And I think I owed him one. For my defense it was on a Monday night, basically the worst day for a band on tour, so my customary loyalty was a little challenged, I'll be honest. And let's frankly deal with the lexical elephant in the room: the name kinda sucked. In France we have a long, tedious, painful tradition of punk bands using puns for their monikers. Sometimes great bands shoot themselves in the foot trying to come up with a funny or - even worse - a clever name although more often than not, if the name has an awkward pun, the music is likely to be an ordeal rather than a revelation. So there were many deterring factors: an unknown band I have never heard with a bit of a crap name, a rainy Monday night and some of the filthiest beers served in the area. A potential recipe for disaster and yet Huff Raid played a blinder sending me back to my petty prejudices.

Witnessing their performance took me back to when I was 16, had no clue who the band on stage was and thoroughly enjoyed it nonetheless. This element of surprise and this feeling of discovery were part and parcel of what punk was all about in the early 00's because you could not check the bands online before and since I did not know much anyway, everything seemed awesome to me, each band was the best in the world and I would rush to the distro table and basically stare at the merch because I usually could not afford it. Still, I remember these gigs vividly and although I now realize that some of the bands I saw at that time were average at best, the emotion and the impression that they were undeniably the dog's bollocks has never quite left me. I am not claiming that Huff Raid stood as the best crust acts of the year or that they shook me to the very core (there was the disgusting beer for that), but just the fact of seeing a band from my general field expertise, that I did not know, and liking a lot more than I expected, so much so that I bought the tape right away, felt brilliant. It was a fresh experience and I recall going home light-hearted and thinking that I had been right to go and a twat for being judgmental at times. I have been to hundreds of gigs since then, some with higher profile bands on the bill, but have seldom experienced the same element of happy surprise. As a consequence Huff Raid to me symbolise a band that is unfairly unknown but nonetheless delivered quality crustcore.

This lot were from Toruń, Poland, a town apparently more famous for its gingerbread than crust music. I don't think they were around for long and only recorded twice. The first was for a demo tape self-released in early 2017 with six songs - three of which were added on bandcamp - that are really not bad at all when I could actually be arsed to listen to them properly and a second session, with eight songs this time, that was released as a tour tape, probably to have something to sell the punters while on the road, but also a split Lp with Non President, another crust band from Wojcieszów, a town that is not only much smaller than Toruń but also much more difficult to pronounce. Somewhat unusually Huff Raid (implying both fear and a discontent-fueled attack, let's get intellectual for the sake of appearances) sing in English rather than Polish. If it does seem a little odd at first because the vast majority of Polish crust bands sing in their home language, because Huff Raid do not sound at all like one - by which I mean that they do not stylistically use the traditional Polish metallic crust template as defined by the 90's wave (I have already approached the subject on several occasions) - it does not really matter. Had they tried to sound like or rely on Homomilitia, Enough! or Hostility, singing in English would have been, I feel, a mistake. However, given their scandicrust take on the genre, I don't think it is of much importance. 

On this twelve minute long tape, the band sounds absolutely relentless, hence my decision to leave the eight songs (all intriguingly entitled with one single word) on the one file, in order to reflect that implacable dimension. The music is fast, pummeling in the Swedish d-beat crust way, with solid riffs, not unlike 3-Way Cum, early Acursed or non-Scandinavian adaptations of the genre like Another Oppressive System. They are a bit heavier and darker than your typical käng band too, very much crust-oriented on that level, and I am reminded of bands like Nuclear Death Terror or Social Insecurity as well but the Poles never wander into metal. They hit hard, sound unstoppable and impactful and the tape leaves you craving for more. It's quality stuff and it's a shame they did not keep going and a shame they did not garner more attention at the time outside of Poland. The split Lp can still be found easily and you just should give it a try.

Did I mention they ripped live?

Huff Raid!

          

AFTERBIRTH "Robots of death" tape, 2005

For those of you who worried the last's review might somewhat signaled that Terminal Sound Nuisance might descend soon into postpunk refinement, rest assured that things won't go that far although you will be exposed to more postpunk in the future (because, you know, the 2010's and all that). But today we are going back to basics, to the source, to the perpetuation of what has made this blog great for years - or at least a decent and enjoyable read when you are in the bogs (the numbers tell me that this is actually the most sensible place to read about punk) - with a rather obscure recording: Robots of Death by Afterbirth. This thing is not even on Youtube, it's that cool a tape, one you will be able to use in punk trivia and act like an irksome and cocky twat in the process.

This album - as it is clearly an album rather than just a demo tape - was released in 2005, a time when crust was undertaking a transformation, definitely and irremediably leaving the 90's crust shores (beside some diehard and seemingly immortal bands like Visions of War or Profit and Murder) for the shinier, flashier neocrust or stenchcore revival sounds that defined the decade. To me it was a time of excitement, constant discovery, a time when tastes were shaped, formed, deformed, reformed, when your brain can still be considered as young and you are not a jaded bastard whining about Gen Z's (yet). It was a time when people still bought records from new bands before listening to them online, helped in their decision by the usually short description the labels or the bands themselves provided (needless to point out that some of them did lie about the quality of their production, a bit like your uncle Robert when he says he almost made it as a professional football player when he was a lad). These leaps of faith would sometimes result in amazing finds and lifelong love relations with Χειμερία Νάρκη or Coitus but could also end up being sore disappointments. At least surprise was of the essence which is not something that can often be said these days. But anyway, what about Afterbirth? How did they feat in the crust landscape of the mid-00's?

The band was from Edinburgh and the description provided at the time of acquisition it caught my attention for two reasons. First, it said that Afterbirth had members from bands I was familiar with, namely Paul who played in the 90's speed punk band Beergut 100 (mohawk required to get into this one) and the excellent heavy crust punk band Social Insecurity (that I wrote about ages ago here). That did make me feel at least a bit comfortable and "in the know" if not "part of the conspiracy". Second, it said that the band did a cover of Axegrinder, a band that I had gotten into recently and whose influence and legendary status I was starting to understand and grasp. Ironically Afterbirth covered "Grind the enemy", a song I had never heard then because I only knew the excellent '87 live recording they had uploaded on their long defunct website and the Lp that a friend gifted with Soulseek and an internet connection (those conferred a certains status in the 00's) had burnt on a cd for me. Little did I know then that it would remain, to this day, the one Axegrinder song that bands always cover (which stands as a little odd as I would tend to find "Final war" much more interesting to rework, although it does not have a boisterous chorus you can sing along to, which must be taken into consideration when the audience is predictably well pissed). Robots of Death was not Afterbirth's first endavours into the big scary world of punk music as they had recorded a demo in 2003, the songs of which appeared on a split Ep with Filthpact in 2004. As enjoyable as these three songs were, I see this tape as a significantly better offering. 

By the time of the recording of the tape, the band had an international lineup with Polish drummer Artur (previously fin Juliette and then also In Decades Decline), Leos from Czech on the bass guitar along with Paul Social Insecurity on the guitar and Scalezy formerly in the mighty Mortal Terror and Sawn Off on vocals. I remember playing the tape for the first time and thinking that the production was quite unpolished, very direct and somehow unlike the cleaner productions that were becoming quite common then. It probably impacted my perception of Robots of Death and of the band as a whole then and made me think that this lot were more direct and basically punkier than most of the modern crust. Listening to it now, I realize that it's really not that raw but I still find the simplicity and spontaneousness it conveys rather endearing. There are bits where you can hear the distinct 00's crust leads and idiosyncrasies but Afterbirth at that point in time relied more on fast d-beat hardcore punk (the guitar's sound remains rather clear) with dirty metallic crust moments, a bit like a date between Extinction of Mankind, late 90's Hellkrusher and the Final Warning Ep's. The last number "Lead lined coffins" is a top-shelf old-school Misery-like mid-paced metallic crust anthem that you have to listen to if you are into the genre and want to be able to look at yourself in the mirror. 

This is a humble, honest punk album that works on most levels and still stands the test of time. Afterbirth would recruit a second guitar player for the 2007 Lp Your Gods Vomit in Disgust, a decent work very representative of the crust sound of the time but that I thought didn't have the charm of Robots of Death. As mentioned at the beginning it was released on tape on Insane Society and on cdr on Crust Crusade which was the band's own label.

Robots of CRUST

 

 

An adventure in split Ep's! I have no gun but I can split: BESTHÖVEN / BETON "Different wars same victims" split Ep 2009

I did not realize how long Besthöven's discography was until I started writing this Pulitzer-level masterpiece. I was of course aware of the band's fecundity (it could more accurately be referred to as "a solo project", although Fofäo dislikes the term, or oxymoronically as "a one-man band" but then how do you even define what "a band" really is and what qualifies as one?) but not quite to that extent. I understood that I had not even listened to a lot of Besthöven's body of work. In general, I do check the band's new releases because I often like what I hear and because they are often split records a befitting format for the genre. But then, as you would, I get lost in that endless maze of new d-beat and käng bands that bandcamp and youtube have turned into and end up almost overdosing on war songs, cheap solos and studded jackets and basically quickly forget about what I have just heard, like a goldfish. But I suppose that's pretty much what modern kids have to deal with: fighting the desire to indulge in an infinite supply of cultural distractions in order to keep a shred of attention span. It is, like finding love without using cheesy filters for your profile picture, a losing a battle in 2024. 

It seemed fair to include a Besthöven work in this series since Fofäo (the obsessive Doctor Frankenstein to this monstrous project) has been contributing his limitless enthusiasm - bordering on the maniacal - for primitive d-beat raw punk (aka the "DIS-CIMEX style") to many shared records. With bands like Disclose (an achievement in itself), Warvictims or Disease. Or indeed with Beton. The format fits the music to a tee. Besthöven's story is quite fascinating and inspiring. It started as your usual noisy punk band in the early 90's but turned into a very prolific one-man affair in 1994 (Agitate did an interview with the man in 2006 that you can read here) which is pretty impressive indeed given the rather strict template Besthöven works on. Depending on your philosophical stance on dis-music, you will see the task as either piss easy because you consider that it's always the same song anyway ("who cares if you already used the very same riff 27 times, it has always worked and it's not like you have a demanding audience") or as very challenging since it is difficult to do the same thing on an on again without losing the passion, dedication and a sense of inspiration. If anything, Besthöven and its longevity, whether you like and rate the music or not, is an undying testimony to the validity and relevance of d-beat and käng as genre and aesthetics and an affirmation that it can be an actual way of life. Still bollox but still here.

This is not to say that all Besthöven records are exactly alike but Fofäo's work ethics have not changed: the goal is to produce raw and unrefined hardcore punk. The influence of Anti-Cimex always prevails of course but most of the 80's Swedish hardcore bands are invited to the table and in recent years I sense that Disarm and Avskum were regular guests especially with Fofäo's very distinctive vocals. What I love about them is that they are shouted and angry, respect the obligatory flow and prosody but still maintain some rough-hewn tunefulness like in the two aforementioned käng classics (Avskum's Gunnar is the master of such a vocal style) adding some gruff melodies and, dare I say, emotions. It's not as brutal vocally as what you could expect but I always felt Besthöven's approach was the right one in this case and it makes the band easily recognizable. 

The three songs on this split Ep are typical of what Besthöven do on a good day which is exactly what you want. Straight-forward and raw galloping d-beat käng with a purity and an orthodoxy that is both admirable and a little scary. I get a 90's dis-vibe on this one, there is a lot of Disclose-meets-Diskonto-at-an-Avskum-karaoke-night here here more of an 80's. It's difficult to call yourself a fan of the D if you don't own at least a couple of Besthöven records and many are fairly to find.

On the other side, two songs of Beton (meaning "concrete" just like in French for once) from Bratislava await the listener. To be quite honest, I mostly grabbed this split Ep for Beton (although I am always up for some Besthöven) as I am a bit of a fan of heavy crust punk from Central Europe and they are certainly up there when it comes to delivering groovy Swedish-inspired hardcore heaviness. I would not say I really missed out on the band. When they first came to life in the mid 00's, I remember downloading their 2005 demo on a blog (from crust-demos probably) and being pleasantly surprised. Well, surprised might not be the most accurate term as even though I did not know current bands from Slovakia, there was no reason for the country to be deprived of smelly punks keen on making a crust racket when neighbouring Czech and Poland definitely had their fair share of this strange species that baffle anthropologists to this day. So when I first bumped into Beton, they basically made sense even before I listened to them and because their take on the genre was rather akin to that heavy dark vibe that characterized 90's and 00's crust bands from Central Europe, Beton felt very natural.

Prior to that 00's generations, the one Slovakian band I was significantly aware of was Nonconformist from the Eastern town of Košice. It would be a lie to claim that I am fully conversant with the band's discography - on other occasions it is a lie I would certainly embrace - but their Open Your Eyes Ep from 1994 is a cruelly underrated jewel that fans of female-fronted anarcho crust-punk should revere. Still, despite strong suspicions, I was pretty clueless as what had been and was happening there but the arrival of Beton, Deadissexy (I absolutely loved their demo of cavemen käng crust) and Roxor, whose 2006 demo was an equally convincing heavy crust effort, was pivotal. You had your Slovakian crust Big Three. But then things grew kinda quiet (Beton did release a split Ep with national grinders Čad in 2007 though) and it wasn't until the late 00's/early 10's that Beton and Roxor really started to record and release things. But as I said, caught in the constant flux of novelties, I did not pay enough attention to what they were up to until a few years ago when I took the time to.

When Beton reformed in 2008, they turned into a different animal, more powerful but still feeding on things of the D, more accurately the leaves that one can find on the Scandinus Crustus tree. By that time the band had absorbed three members of the aforementioned Deadissexy and their first endeavour in the studio with that team was devastating indeed. The two songs included on this Ep are perfectly executed examples of what heavy and dark metallic crust-käng should sound like. Use the mean metallic hardcore side of late Anti-Cimex (the song "Konvoj" is actually a tribute to them) and early Wolfbrigade as your dow and the dirty crust vibe of Warcollapse and Mass Genocide Process as your filling and serve warm with a can of lager. The two songs do exactly what they are supposed to do and I love the fact that the production manages to highlight the heaviness and the raw aggression as well. Of course the choice to sing in their mother language also adds to convey the dark anger permeating the songwriting. A really good job.

Both bands are still going, Besthöven doing what Besthöven do and Beton evolving into something more metal-oriented. This was as collaboration between several labels: the local Totalitarianism Still Continues, I Feel Good (from Britanny!), Rabia Contra el Sistema from Spain and Dist & Confuzed from Sweden.   

BESTHÖVEN vs BETON

Adventure in split Ep's! I have no gun but I can split: DYSPNEA / NAKOT "S/t" split Ep, 2007

This is a record I actually bought fairly recently, out of nowhere really, at a local punk gig that had rather melodic bands on the bill. I always check out record stands in case something decent got lost in the midst of all the usual crap (or fast food punk as I wittily call it) and, as the night proved it, you never know what you are going to come across. To find this Ep, 17 years after its release, was unlikely and I imagine it had been sleeping in the box since it came out after a record trade. It might seem curious but then some distros have been sleeping for ages and only see the light day every three years or so and beside the genre that Dyspnea and Nakot engaged in not being really popular in France it is not all that surprising. It has to be said that some of this split's jail mates - some of which had been doing time in the box for well over twenty years - were bound however to remain buried there for eternity. Still you've got to love sleeping distros, they're always a fun, albeit frightening at times, trip into the past that will have you reminisce about bands that should not be reminisced about sometimes. Who needs to remember third rate Ekkaia wannabes?

I vaguely remembered Dyspnea as being "kinda neocrusty" but my memory of Nakot was much more accurate, or rather I remembered accurately quite liking Nakot even though I had not played their split with the brilliant Дажд/Dažd (a cruelly underrated band whose first album I rate very highly) for a while. So when I bumped into this great-looking humble record for a mere three euros, I didn't mess about and grabbed it. I saw surprise but also gratefulness in the eyes of the bloke running this tiny distro. Mind you, this Ep may have traveled more than me. The context of the release of this Ep was quite specific as it showcased two contemporary, modern, young bands from the Balkans which was not so common at the time, especially from my perspective as I still did not know much about the Greek scene (about which I have written extensively) and even less about bands from Yugoslavia. As I recall it, this collaboration between Dyspnea and Nakot excited my curiosity because I had not quite figured out yet that the classic 00's crust/d-beat/scandi sound had reached the Balkans. No, as you can see, I haven't always been the quickest kid on the block.

It strikes me as a little strange that Dyspnea, from Tyrnavos, almost always slips my mind when I reflect upon the Greek crust mythology, an activity I engage in often, deeply and with statuesque intensity. Still, I know I must have come across the name right when the band started through the then active blog scene of the late 00's, quite possibly thanks to Crustcracker or Crust Demos (the latter surviving until 2020), two blogs that were run by punks from Greece that I checked regularly and focused on obscure contemporary international bands of the fast and punishing variety. Those, among others, were great sources of information and inspiration as it reinforced the idea that punk was an unstoppable DIY international movement and that youthful talentless people from all over the world, be they from Chile, Indonesia or Slovenia, could also try to sound like Discharge or Doom and that's the real beauty of punk-rock, what unites us all. 

But to get back at Dyspnea they always stood for that time and the discovery process attached to it in my mind, they epitomised the type of bands that I would get to know through a blog: pretty local, pretty raw and pretty typical of the era (three criteria that are in no way bad things). I used to download a lot of music from these blogs (and I still do download a lot of music) and I loved the fact that they often promoted bands that were local to them. This recording is pretty raw, if not rough, even by 00's standards and if I did not know better (or if I could not read) I would have thought that they had been around in the early 90's rather than the late 00's. In any case Dyspnea cannot be described as being "neocrust", although they do have the odd melodic leads, an intensely dark vibe and a logo that is not dissimilar to Tragedy's (but you get five eagles instead of just one, it's a bargain). The vibe is dark, very dark, anguished even and the low gruff vocals sound pretty desperate indeed. Of course the Greek language works brilliantly with this kind of atmosphere (only the first song "Βολικοί Στη Σιωπή" is sung in Greek though, the other one is in English). The first number unleashes raw, bleak, fast crustcore with a slow-paced metallic break toward the end while the second is a groovy mid-paced one with a filthy tone and a singer sounding like he uses uranium as mouth wash. Beside ace Greek old-school metal crust bands like Ανθρώπινος-Λήθαργος or Βιομηχανική Αυτοκτονία, it reminds me of Czech gruff crust bands like Mass Genocide Process and neo(ish)crust geniuses Leadershit. Dyspnea would appear years later in 2014 on a split Lp with fellow countrymen Unfit Earth, using the same recipe but with a much cleaner and heavier production. It was well executed but did not have the charm of those two songs. 

On the other side are Nakot from Belgrade, a relatively short-lived band formed in 2005 that is still remembered - as far as I can tell - more for their relevance probably than their music because they stood for a new generation of punks ready to spit in the face of the powers that be in the difficult context of post-war Serbia. I was not aware of many Yugoslavian punk bands at that point in time - I was absolutely clueless about the buoyant scene of the 80's with the Ljubljana hardcore scene and the tons of national postpunk bands - and in fact, apart from Nulla Osta from Pula that played in 2006 in a squat in Paris (a band made even more exotic because they played with two bass guitars, crazy bastards), I would have struggled to name a Yugoslavian punk band. A friend of mine assured me that she had heard Serbian punk tapes so I at least knew the theoretical existence of punk music in that part of the world. But I'm sure a grindcore fan my age would have had a different perspective and vaster knowledge of the scene there because of the sheer number of grind/fastcore bands there. You could say Nakot, along with the aforementioned Dažd and Anaeroba from Slovenia - because their records could be found relatively easily on Western distro tables - opened a few doors on that level and expanded my punk multiverse. 

Nakot were also appealing because, to put it quite simply, they played a style I already liked and wore patches similar to mine (I assumed). They were basically a gruff scandicore band, a familiar genre that was accessible, and used typical - albeit drawn brilliantly - visuals with skulls, desolation, suffering and the good old Crass font. It felt like going to see a Serbian relative on vacation. Even if you had never met him, it was still family. Nakot's music on this split Ep was fairly simple, heavy and direct käng hardcore, a little lacking in terms of power because of the production (their next record largely solved this), but still delivering the goods. Picture Hellkrusher and Dread 101 partying hard while listening to Driller Killer. You can tell the band is genuine and they mention that when they sing about war, it comes from experience and is not "punk fetishism". 

Shortly after the release of this split, the remarkable efforts of some dedicated bloggers allowed me to explore the prolific 90's Yugoslavian DIY hardcore punk scene and discover dozens of tapes (they almost always were tapes) from the likes of Krvavi Mandat, S.m.c, Verbalni Delikt, Fight Back, Bad Justice, Intoxicate, Hoću Neću! or Totalni Promasaj. The continuity between those bands and Nakot ten years after made sense but also highlighted how much of a 00's band - sonically and visually - the latter were. It has to be said that the gloomy screen-printed artwork, expertly done by Doomsday Graphics, is one of the record's strongest points in spite of the rather common themes it depicts (but then that's what we are all looking for, right?).

A modest yet interesting record to be sure released on three Greek labels, Alcoholic Desaster, We don't Fight it! and Scarecrow, now a well-established label and record store, of whom it was the very first release.       

Dyspnea vs Nakot

An adventure in split Ep's! I have no gun but I can split: GLOBAL HOLOCAUST / MASSGRAVE "Revenge" split Ep, 2006

I recently listened to Hard Skin's song "Not messing around", a banger telling the story of a proper skinhead, quite likely a supporter of Millwall FC who is faithful to the traditional way of life. Most of all it's about a simple man who strives to live his better life and if it must include dancing the tango and the foxtrot, drinking whisky instead of bitter, then so be it. Once a bootboy always a bootboy as the saying goes. Inspiring shit indeed. Working-class heroes ain't messing around and if this song doesn't motivate you to get off your fat arse, what will? 

Do you know who else are not messing around? Global Holocaust and Massgrave, that's who. While the latter have made a name for themselves since their inception in 2003, the former has largely remained a band that would be best defined, as Mel Brooks put it, as a world-famous band in their home country. Local "legends" I guess. I first heard of GH through the Montreal Crust-Fucks compilation cd. It would have been released in 1999 or 2000 (the band Oppressed Conscience mentioned John Paul 2nd's 2000 speech in which he apologized for the heinous crimes of the Church - it was a bit late for that mate) and I remember ordering it from a distro called React that was active in the 90's and 00's and had a lot of pretty obscure noisy delicacies from all over the world. To be honest, I picked that one because it was cheap, everything seemed to be on this distro, and I was curious about Montreal crust bands - I only knew Hellbound and After the Bombs which I both loved - and the compilation, with its rather transparent title, promised just that. It is a fun record, still crusty but with some diversity, and along with Disagree (the best band here), GH definitely won me over. 

After a quick research I understood GH were pioneers and had been rather crucial in the making of the Montreal crust scene (assuming the very term "scene" is relevant to refer to 30 people). It's fair to say that the name and the vintage crustier-than-thou font give the genre away. They formed as early as 1989 which made them a second-generation crustcore band although they arsed around in the studio for a while because their first recording, the demo tape Hope?, was only released in 1993. From 1995 to 1999 they certainly made up for lost time, or started drinking more reasonablu, and no less than six Ep's, among which four splits with fellow Montreal bands Oppressed Conscience, Obnoxious Race and Urban Trash and another Québec-based band Fierce. 

During the 90's GH enjoyed a stable lineup with Simon, on drums, being a tireless musician (he also played in Préjudice, Disjonction and three of the aforementioned bands GH did splits with) and running Tobacco Shit Records that released most of GH's records and other Canadian bands. Sonically they were in line with the decade had to offer as far as the genre was concerned: gruff crustcore with a thrashing grindcore influence like Destroy! dating Toxic Bonkers at a Fleas & Live gig. One of the strongest points, if not the strongest, was Fred's vocals, instantly recognizable, that able to sound raucous and coarse but also very pissed and discernible, on the verge of dementia. Really good work here. The band then stopped in 1996 after being "banned in the city" whatever that means. I could not find any details about this ban. Did it involve some of rioting that ended up with police forbidding them to play in Montreal? That'd be legendary so I guess we would be able to find stories about it online. Were they just kicked out after a particularly poor gig? If you know the full story, let me know and I'll add the thing here.

The band reformed in 2006 with a new guitar player and let's get real: they did not change much. The grindcore moments were pretty much gone but in terms of production and textures, the two songs on this split Ep could have been recorded in 1996, as if time had had no effect on these thick-skinned crusties. We're still heavily in thrashing crustcore land and I am reminded of Brazilian thrashing hardcore legend Armagedom. Simple and rather good, I think the split Ep format fits the band very well here. GH would released another split Ep with Dehumanizer Earth the same year and a full Ep in 2008 with seven (!) different covers, six of which being (loving) rip-offs of other bands like Antischism, DS-13 or Tragedy. Granted those were very limited pressings but that cracked me up. You've got to love punks with a cheeky sense of humour.

On the other side the listener is treated with three songs from the mighty Massgrave from Vancouver (not to be confused with the short-lived but excellent Japanese Massgrave). I am not sure it would be correct to claim that MG were ever a trendy or a high-profile band (on the punk scale being a high-profile act means to have a queue of at least seven people at the merch table, it's simple maths really) but they have clearly become an established band and even people who are not into crust or grindcore (also known as posers) are at least a little familiar with them (if not with the actual music at least with how much they stand for the genre). They have been one of the very few contemporary bands to be able to totally appeal to both crust and grind crowds. Depending on the size of your town, there may not be a difference between these crowds. Actually in small towns everybody go to "the punk gig" whether they are into metalcore, melodic punk or neocrust because it would be pointless to form silly little scenes. But in bigger places where silliness is key, as far as I can see, a division has grown and solidified between the d-beat/crust audience and the full-on grindcore one. It's the case even in Paris, a town that has never been famous for either genres (that's an understatement, we're infested by oi music) that don't draw many people anyway unless you bring a bigger name. But MS are something of an exception in the sense that they are a solid DIY punk band, first and foremost, playing music that not only appeals to more but also, as an openly political band, avoids the tastelessness and stupidity that too many grindcore bands intentionally embrace. They are basically a good band with a delicately hairy font.

I first heard about them when a good friend of mine ages ago, far more into grindcore than I ever will be, mentioned that Stormcrow would appear on a split Lp with Massgrave to be released soon on Agipunk. Not being aware of the existence of said band, I proceeded to ask about their identity. He described them as "kinda like Disrupt or State of Fear but more manic and with more blast beats, even " and he was quite right. He then added that "even someone with shit tastes like you should enjoy it" which somehow negatively impacted the discovery. Oh well. By 2006 MG had already released two albums, a split cd with Neckbeerd (that involved a member of MG) and a strong full album entitled ...People are the Problem, and four Ep's, three of them being, in true DIY grindcore fashion split records with Warfair?, Pretty Little Flowers and Poser Disposer (I like the name of that one and the spoof Anti Cimex cover). The three songs on the present split are vintage 00's Massgrave, absolutely furious and relentless grinding cavemen crustcore with dual tradeoff vocals reminiscent of late Disrupt, 3-Way Cum or Deformed Conscience. The band sounds absolutely unstoppable and ferocious here, the production is amazing, powerful in that it relies on the energy and aggression of the songwriting to create that vibe of brutal and angry hardcore punk savagery and still provide significant changes of pace. They were at the top of their early game and this is one of my favourite recordings from the band. Short and sweet to be sure and with a limited amount of blast beats which suits me well. What a slap in the face. 

The vocalists are perfectly complementary and manage to recreate an argument between angry cavemen about who did not watch the fire properly. The riffs are top notch too and show that Sweden was certainly a country that the guitar player looked up to while the very sound and tone of the guitar is quite specific and makes the band easy to recognize. Back when the band started the traditional dual vocals crustcore style was slowly vanishing and it would soon go out of fashion after the mid-00's (Visions of War standing as the immortal heroes of the (sub)subgenre). I would venture that the fact that MG was significantly connected with the grindcore scene (most of their collaborations were with grind bands) that value brutality somehow made it easier for them to develop their specific grinding crust attack and build momentum. I had the opportunity to see them twice (I put on the second gig myself) and I had a blast. 

This record was released on Unrest Records when the label was still in its infancy. Little by little it would become a well-respected label responsible for records from the likes of Disrupt (well, that one made sense), The Accüsed, Driller Killer and even Morus. The main flaw of this Ep is the cover, a little confusing visually and without any reference to the bands included, unless you know the record beforehand, it's not one you would necessarily want to check on the distro table. Let's call this a punk tradition.

Global Grave    

An adventure in split Ep's! I have no gun but I can split: AGAINST EMPIRE / HOLOKAUST "Threat to Existence / S/t" split Ep, 2004

This Ep is so quintessentially from the noughties that playing it again after some time was a bit like time traveling to a different era altogether when the internet was not completely taken for granted yet and still felt new. At the time being on Myspace was an issue in the scene which shows how far we've gone. This Ep made me realize how much I am, too, from the 00's and how I grew, as a punk and a vaguely promising young man, throughout this decade. In 2000, streetpunk seemed to me like the ultimate way of life, a happy land where you could be happy just by drinking beer "with the boyz", walking a lot on the streets, wearing too many studs and giving the fingers to "the system" and by 2009 I had formed a semiological critique of neocrust and its use of Nature as a personification of purity and of a paradise soon-to-be-lost to man-made industrialism, very much like 19th century romantics used to do (yes I was already a sad bastard) and I was patronizing enough to look down on people who had no knowledge of Philippine punk too. An exhilarating bildungsroman and a potentially ace biopic indeed. I should talk to my mate Thimotée Chalamet about it, he'd make a smashing me.

I was certainly not late to the party as far as Against Empire and Holokaust were concerned. What I especially liked about those two bands was that, not only were they both relatively new by the time I heard about them, but they were also the members' first bands as far as I knew (let's be kind and not count the Rage Against the Machine cover bands that they probably did in high school). New, fresh and clearly for my generation. I was enthusiastic and had no idea that 20 years later I would be sitting in front of a computer screen reflecting upon the subjective and objective significance of the record. Actually, at the time I had no idea that there would even be a "20 years later" with me in it. I see both AE and Holokaust as being particularly representative of Bush-era anarcho and crust punk, although the latter kept going in the 2010's and are still more or less active as I have seen recent gig poster promoting them. It's true that the rule of Bush Jr covered almost all the decade so that it is tempting to associate 00's bands as Bush-era bands but whenever I hear a 00's political punk bands from the States, the very production reminds me of the president. 

How many bands had radical and highly detailed anti Bush lyrics at that time? It seemed like all the bands had a song directly against the Bush administration, the Patriot Act or the war in Iraq. That thick as shit man was seen as a danger for humanity and to be honest a lot of what is still tragically going in the Middle East are consequences of the man's work. He was the Reagan to our 00's, he outreaganed Reagan, even as a Frenchman I felt like it was my duty to hate the idiot and wish for his beheading, and no one thought that the US would ever get a worse a president. Time proved that punks were not exactly the most clairvoyant bunch, sadly. Paradoxically I cannot really think of an anti-Trump punk song, I am sure there are some but he is clearly not as inspiring in spite of being even more hatable. Let's not depair, I am sure he is going to start new cool American wars by 2025 that will give us the opportunity to write antiwar anthems again. But then, to be quite honest, maybe it's not such a bad thing that there are not too many anti-Trump songs. The bastard is already everywhere (even outside the US of A) so I can understand why US bands would choose to keep his name out of our music. 

I liked AE a lot at the time. I loved the name, I loved the imagery, I loved the lyrics and I kinda wished I had a band like that if you know what I mean. I first heard them through their The One Who Strikes the Blow Forgets... The One Who Bears the Scar Remembers album from 2005 but I  got hold of this split Ep shortly afterwards. I definitely played the Lp a lot when it came out so that I still know all the songs. They have not all aged well and some parts do sound quite dated (or typical of the era if you want to put it nicely) but I don't really mind since, after all, to sound dated is to sound like your time, like you were part of your time and some dated things are very enjoyable. I loved their brand of passionate anarcho metal-crust, they did not belong to the stenchcore revival but still appealed to that crowd and their more melodic, melancholy riffing made them listenable to the then booming neocrust population. I remember people saying that the Lp was overproduced (a criticism usually coming from people used to 90's production or people who collect Japanese records) but compared to a lot of contemporary bands, it is actually a rather direct record and this Ep, the band's first vinyl appearance, is even rawer but just as angry. 

It is a pretty straight-forward affair illustrating what AE were good at: a balanced mix of US-styled anarchopunk and crustcore. At first, the opening song "Empire against environment" sounds like it would be very much at ease with 90's anarchopunk bands like Aus-Rotten and Deprived with its fast-paced angry vocal flow and a blatant Antisect-loving riff but then the band uses a full-on neocrust emotional riff on the chorus which I had completely forgotten (although there were some indeed on the album). I don't think it works that well and I would have wished for a simpler hardcore riff but then such endeavours were common in 2004. The second number is a traditional US crustcore monster with super gruff cavemen vocals (a little too forced maybe?) that owed a lot to bands like Disrupt (of course) or React and also Swedish classics like 3-Way Cum or Warcollapse. A Very good cavecrust effort with a brilliant scandicrust riff. The following AE record would be the aforementioned Lp blending metallic gruff crust with 90's US anarchopunk and some "epicrust" (or something?). A split Lp with Iskra in 2007 followed that saw the band with a different lineup include black-metal influences which did not really impress me (the whole record did not to be honest) and the year after the rather good Destructive Systems Collapse came out with a more dynamic and direct production and a solid 00's crustcore style (the band must have listened to Consume a lot). At that point I started to loose interest in AE for some reason and did not grab the split Ep with Auktion (I did get to see them on their European tour in late 2009 and they were quite good). By the time the second Lp Thieves and Leeches was out in 2011 I was surprised they were still going and I don't think I listened the Lp in its entirety.

Holokaust, from Moreno Valley close to Riverside, is a three-piece orchestra that I listen to more regularly than AE and some of their records I still rate quite highly. I am going to use the present tense as I think the band is more or less active and does play the odd benefit gig and festival. In retrospect the choice of their moniker feels a little odd. If anything, Holokaust is the modern band that epitomizes what Discharge-influenced peacepunk was all about. As a Southern Californian band, they are the direct heirs of this specific 80's tradition and sound popularized by brilliant bands like Diatribe, Body Count and obviously The Iconoclast. I cannot think of many bands that kept that sound alive (intentionally or not, this is not the point) after the 80's beside the mighty Resist and Exist (especially their late 90's period) and the cruelly underrated Armistice, a band I love that I will be writing about in a more or less distant future, both of which were actually already around when the OC crust scene was kicking in. As a recent incarnation of peacepunk, which is pretty specific, you would have thought that Holokaust would have heard of Holocaust, a band from Los Angeles that was around between 1989 and 1992 (we already talked about them here because of their inclusion on the SI One compilation Ep), was highly influenced by Crucifix or Final Conflict and very much part of the late 80's/early 90's peacepunk and peacecrust wave. Holocaust were by no means a high profile act so it was clearly coincidental but it is strange that they were not told by an elder that "it's already taken boys". But then, maybe they were told indeed and just though "fuck it, we'll just replace the "c" with a "k"".

Like AE, I got into Holokaust since the band's inception with their self-titled Ep from 2002, a record that I instantly got into and still love. It is the perfect blend of UK-styled Discharge-loving hardcore punk like '83 Antisect, Anti-System and early Hellkrusher and of traditional Californian peacepunk like The Iconoclast or Diatribe. Great stuff with a very pure old-school production that sounds very natural and not self-aware. Just good old-school pre d-beat Discharge-loving hardcore. The Ep was released on After The Bomb Records the label run by Adam from Masskontroll and Deathcharge (which makes sense). A split with Dissystema followed in 2003 (with a brilliant cover of Anti-System's "Dying in agony") which was poorly distributed in Europe and that I never grabbed and then our present 2004 split record. The basis are similar here with "Holy wars" starting with a metallic Final Conflict-like introduction before offering a classic Anti-System-style (they do love that band a lot and the vocals are quite alike) and "Genocide factor" and "Famine" being stellar early Discharge-loving hardcore like Varukers, The Iconoclast, Antisect, before d-beat was a structured thing. You know what I mean. The production is raw and powerful and I love how impactful the very pure d-beat drumming is in the mix as it confers a proper old-school feel. Holokaust's style sounds very spontaneous as they go for a classic sound in a way that few can achieve. The band went on to record a full Lp, that was unfortunately not as good, and three split Ep's with Wörhorse (not sure when this one came out actually, it could have been before AE's), Rattus and Armistice (that was an obvious one). A fairly quiet but delicious peacepunk band.

This was released on Threat To Existence which I think was a label run by an Against Empire member.  

Against Holokaust 

An adventure in split Ep's! I have no gun but I can split: DREAD 101 / FASTARD "Bez Víry / Heavy Mental" split LP, 2001

France, Paris especially, is sometimes seen, from abroad, as a place of sophistication, of culture and of complexity, a country where love, sentiments, melancholy somehow merge romantically with existentialism and poststructuralism (and accessorily with promiscuity, then known as "free love"). Charismatic philosophers, fit and smart poets, pipe-smoking Marxist singer and profound intellectuals would all be rubbing shoulders at conferences, engage in heated yet challenging debates, smoke far too much and get angry with self-righteous passionate class. 

And, even though I personally evolve in such an intellectually glamorous world (I was told Terminal Sound Nuisance is "intrinsically sartrean" - whatever that means), the truth is mostly very different. This morning I saw on my facebook feed (this is the most depressing sentence of 2024 so far) that a young American, self-proclaimed "foodie" (whatever that means as well) and Tik Tok influencer, filmed herself crying because, while traveling in Europe doing whatever wealthy foodies do (taking pictures of their plates I assume), she stopped in Lyon for a couple of days and did not make any friends there as sociable, easy-going and eager to make some as she seemed to be. So here she is, crying live on Tik Tok (wearing a French beret which is the most glaring sign I can think of that you are a naive tourist) and basically complaining and sniveling that French people are rude ugly bastards that will scoff at you if you are not familiar with every single traditional French meals. I felt bad for her because indeed, people in Lyon are notoriously known for being cold and uppity, and because if you believe what you see in Emily in Paris or Amélie is for real, you are in for a major disappointment. French people are dirty wankers that have been marinading in their own sense of superiority for centuries, relying on a reputation of intellectualism and refinement in order to make foreigners feel inferior. If you are in a room full of French people, you can bet that every single one of them thinks he or she is smarter than everyone else. And that's a scientific fact.

The equivalent of such heart-breaking dumb silliness in punk-rock is that non-francophones are unaware of our national propensity to love using terrible puns when they pick a band name. A lot of them cannot be translated which is actually fortunate as it spared everyone the embarrassment but just know they are similar to the worst dad jokes, if the dad in question is something of a slimy twat. Bands reveling in such puns belong to a lot of different genres as well (ska bands, of course, with an act like Les Skarottes being real), sometimes actually good bands with something worthy to say, so that the choice of silly monikers is like shooting yourself in the foot. Bands like Jodie Faster, Youssouf Today or Michel Platinium were indeed good. And I mean just take a look at the name of my own series. We're just doomed.

But what is the connection between French punk's depressingly hopeless tendency to go for shit names and today's Ep? Well, Fastard of course. It would be a little unfair to say that the name is gross like some fastcore/grindcore names can be, but it is nonetheless a hardcore dad joke and one that I can imagine being very popular among the French population. I am surprised our local lovers of fast hardcore, a subgenre generally keen on such lexical amusement, did not find that one first. 

Let's get to the actual record. We've already significantly talked about Czech crust with the review of the split between Gride and Lies & Distrust in December so I am not going to dick around too much. Dread 101 basically formed after Lies & Distrust's demise and two members went on to start this new project so that I very much see the band as the logical follow-up to Lies & Distrust, which might not be that relevant in terms of personnel but is as far as the chronology and evolution of Czech crust is concerned. Dread 101 was probably the first Czech band I knew through the 2002 split with Edinburgh's Social Insecurity and I think they are still my favourite. While L&D were heavily rooted in 90's eurocrust, Dread 101 had more of a Swedish metallic feel, even though they certainly did not give up on mid '93 Hiatus love (up until the mid 00's, very few European crust bands did to be honest). The production still has that distinct 90's raw yet hard-hitting crust feel, not unlike Polish bands' maybe. As I mentioned I am sensibly reminded of Swedish juggernauts like Skitsystem or late Wolfpack but also of the metallic sound of early Filth of Mankind. The grinding vibe that L&D sometimes had is gone here and Dread 101's songwriting can be said to correspond to a sort of template for simple, heavy and metallic Scandi-inspired Czech and Slovakian crust that still exists to this day. It could be argued that the presence of Ethan, who would form the well-respected Cimex-loving Guided Cradle, on the guitar might have brought that beefy Swedish influence or it could have been the start of Wolfpack's long-lasting influence in the region. Dread 101 was a solid band indeed with a deep connection with Scotland (Fastard were from Aberdeenshire) and while I still play the split Lp regularly, I have a certain fondness for the raw urgency of this particular early work. Following the split of the band, as mentioned Ethan would do Guided Cradle, Dan would join Non-Comittal and Angry Brigade along with Svatopluk (who also did Spes Erepta), Stříbro would join Telesa Ohnepal and Kukučka V.I.R. 

On the other side you will find the deliciously silly-yet-punishing Fastard. I have no idea what was meant with the gladiator-themed cover but at least I remembered it. I am not especially well-versed in grindcore or fastcore and I have never claimed to but the five minutes of music, with no less than seven songs, are pleasant indeed. The music has an obnoxious cavemen feel, we're not dealing in technical grindcore here at all and I enjoy the groove Fastard demonstrate in their filthy crust metal moments, maybe not unlike Confrontation on that level. I guess fans of savage punky grindcore like Warsore (the band's primary influence I guess) would enjoy the band and I think the traditional polyphonic grindcore vocals (ranging from mad high-pitched shrieks to bear-like growls) confer a welcome atmosphere of cheeky dementia. This is a wild entertaining ride. As is often the case with the genre, each number is introduced, or concluded as it is sometimes hard to tell in all this furiousness, by a fun sample from a movie, which is a little distracting and I would have wished for more fluidity at times in order to keep the pressure and the intensity. But then, it is after a prerequisite of the genre, like macho dancing is to New York hardcore or expensive shirts are to oi. The lyrics are aptly ridiculous as Fastard pretended to be into gory satanism, torture or just plain horror. Goofy. I'm sure they were fun to see live. The band also released a split Ep with Obsolete from Finland. After Fastard, some members would form the more serious "total crust violence" band Filthpact and Andrew would even do a stint with TRIBE alongside members of Sedition and Scatha (among many others).

This entertaining split was released on Insane Society Records and was dedicated to the Ladronka squat in Prague that was evicted in 2000. On the grand scheme of things, we're not dealing with some sort of forgotten masterpiece but the record is convincing with Dread 101's hard-hitting Swedish-flavoured metallic eurocrust being nicely complemented with Fastard's demented cavemen punky grindcore. And honestly, sometimes that is all you need.         

Dread the fastards

An adventure in split Ep's! I have no gun but I can split: VICTIMS OF GREED / SCUM NOISE "Fight for freedom / The power has no power..." split Ep, 1999

This is the last post of the year for Terminal Sound Nuisance and it makes sense to say goodbye and fuck off to a particularly atrocious 2023 with a punk message of protest and an international collaboration showing a spirit of togetherness and solidarity in noise. There is more to humanity than the sound of bombs falling and the cries of grieving families, thankfully. 

From a personal perspective, 2023 has been a strange year. Not only did I start working at a job center, ironically enough since my philosophy has always been to work as little as possible without raising suspicion, but I also celebrated my fortieth birthday. Twenty years ago I pictured my 40 year old self as a spectacularly successful man graced with many records and notoriously class and envied crust pants, one who would command respect in "the crust community" (I know, I know, don't judge me) and whose name would be uttered with admiration. 20 year old me was convinced that he would definitely look up to my future 40 year old self which on some level is both adorably stupid and positive. And well, if I could contact 20 year old me tomorrow, I would first tell the little fucker to stop buying trendy neocrust and grab as much Disclose materials as possible, and second I would tell him that twenty years from now he would have the most massive collection of Antisect shirts in the country and if that does not convince that indeed he will succeed in life then nothing will. I would not tell him to enjoy his sumptuous thick hair because time does what it does. I'm not so mean.

So here I am again, sitting on my arse and writing about some rather obscure Japanese crust and Brazilian raw hardcore. Which is quite fine when I compare it with what my colleagues do on their free time, binge watching mediocre American Netflix series while mindlessly scrolling on their phone and thinking what snacks they are going to eat next. Without punk, I could be like them and I like to think that 20 year old me would be proud that I still believe and have faith. Socially, it is rather frowned upon to not have children, not own a flat, not earn more than the minimum wage and still spend most of my money on poorly recorded records, noisy gigs you cannot attend without wearing ear protections and vegan delicacies. Not to mention spending hours in a tiny vehicle to play 20 minutes before a couple of old but lovable fuckers. As a half-wise man once said to me: "Punk-rock ruined my life but I wouldn't change a thing". 

But let's get to work, shall we? As we have seen numerous times, the Japanese 90's crust scene was intense and prolific and the decade put the town of Osaka on the map. Osaka became the birth place of a crust genre that was all its own - one we have come to name "crasher crust" - and although it did spread around the world, marginally, it is still closely associated with what Gloom or Crust War Records built so that when I am told about an Osaka crust band I immediately think about manic seriously distorted savage crust. Punk towns all work this way and conjure up a specific land-base sound and contextual aesthetics. But they are also relative and closely tied to our own personal mythology. PDX punk to me is Hellshock and Black Water and Whisper in Darkness, to others it will be Red Dons. Tragically Paris punk is now synonymous with Ben Sherman collections and constipated oi music and I haven't been able to achieve much in terms of local propaganda. 

But basically Victims of Greed were from a 90's crust band from Osaka. Granted, they may not have picked the best moniker as it is a very common signifier that could point to any punk style but they are worth your while. I actually already talked a little about VoG in a previous post from the Noize Not Music is a Fine Art because they appeared on the very good and under-appreciated 'No Hesitation to Resist' compilation 10". VoG are everything you could expect from a Japanese crust band: they are fast and intense with a crunchy distorted sound, extreme polyphonic vocals (from the traditional low gruff growls to the snotty punk shouts) and pummeling. Typical cave-crust done the Japanese way with that distinct production, a bit like Gloom covering Hiatus. There are some heavier metallic mid-tempo moments for good measure and I think the different vocal tones bring some variety and the four songs in four minutes and a half fly too fast (a full VoG Ep would have been brilliant). The lyrics mostly deal with animal liberation and veganism, not unlike Battle of Disarm at the time (although they were not an isolated case). Convincing 90's crust here. The band gets some extra points for including a verse in Portuguese in the song "Authority and rotten" and translations of their (and Scum Noise's) lyrics in Japanese. Pretty old-school.

On the other side are Scum Noise from Sao Paulo, Brazil, a familiar name if you have been around for a bit of time. I don't know what Brazilian punks drink in the morning but their bands definitely live long as Scum Noise have been playing, more or less actively, since 1990 (likewise Subcut have been going since 1992). I suppose that's what you call dedication and being for real. SN belong to that category of bands that I know without really knowing, even though I have had the 2001 reissue of their self-titled first Ep for ages and play it from times to times. We're not quite intimate but have been bumping into each other regularly if you know what I mean. In spite of being often described as a crust band, SN clearly did not belong to the crust genre. To me they epitomize what genuinely raw Swedish-flavoured hardcore punk should sound like. 

The first song "The Hell is near" is a masterclass in käng with its simple riffing and direct sound, its knowledgeably orthodox vocal flow and perfect drumming. Just fast raw punk the way it should be. The second number "The world around us" is yet another gem, this time dealing with the classic groovy mid-paced Discharge-inspired formula with a primitive thrashing vibe. The Brazilian hardcore influence and its raw anger and typical vocal style does pop out and you can tell SN definitely listened to Armagedom a lot. The last two songs are a little more anecdotal for me, one more direct käng endeavour and an all-out fast hardcore thrash attack but the Ep is worth grabbing for the aforementioned opening tracks alone. Think a title match for the Cimex raw-punk title between '92 Hellkrusher and early Diskonto with '86 Armagedom as a special referee. The raw, thin even, production confers a genuine 80's feel to the music, something that few 90's got to replicate as well. Third-world hardcore punk indeed. The singer of the band actually ran No Fashion Hardcore Records, a label that was of course part and parcel of the Brazilian DIY punk scene but also released Disclose records.

It is unclear when the SN or the VoG were recorded but the Ep was released in 1999 on FFT Label, standing for Fuck Fashion Town, that was run by Koichiro from Argue Damnation. This Ep goes for cheap and is typically a dollar bin bargain. 

 Scum Greed