When a band describes themselves as ‘Loud as fuck,’ and is known for insane live shows it’s a pretty clear indication that some serious slaying is about to take place on record. And as Feed The Rhino’s ‘Burning Sons’ roars into action with ‘Flood The System‘, the faint hearted should hide away from the stampede that’s inevitably about to take place.
Instantly the sincere heaviness of the record hits you with the force of a freight train, Lee Tobin’s ferocious vocals lead the way for a crushing assault whilst Chris Kybert’s intense work behind the kit pounds your ears drums. But it’s the grooving guitar work and bass lines that separates ‘Burning Sons’ from the ever growing pile of metal and hardcore cross over bands. Riffs that are tinged Southern Hardcore flair places homegrown Feed The Rhino alongside honorable names such as Every Time I Die and Cancer Bats.
Before the intensity of the album gets a bit much, Feed The Rhino mix things up with a moody, down-tempo number, ‘Razor‘. The track could easily fall into place on a Mastodon or Baroness record. This is where Feed The Rhino really shine. When experimenting with a more dynamic format, such as on ‘Tides’, listeners are treated to a truly thorough performance.
Slightly more variety and perfected production would have seen ‘Burning Sons’ go down as a masterpiece, unfortunately this time around Feed The Rhino have just fallen short of a classic. However the band have still delivered a valiant effort that will surely take their live show to the next level with such powerful new guns being added to their already heavy arsenal.
Axewound, heralded as ‘the supergroup to slay all supergroups’ have announced details of a debut full length and UK tour.
The band, lead by Liam Cormier of Cancer Bats, Matt Tuck of Bullet For My Valentine on guitar/backing vocals, Mike Kingswood of Glamour of the Kill on guitar, Joe Copcutt formerly of Rise to Remain playing bass and Jason Bowld of Pitchshifter on drums, were unveiled on May 1st 2012 via BBC Radio 1 Rock Show when their debut single ‘Post Apocalyptic Party’ was aired.
After a string of successful festival appearances this summer, AxeWound have announced their debut album Vultures will be released on October 1st via Search And Destroy/RCA (Search And Destroy being the new label from Sony Music and Raw Power Management that also has Bring Me The Horizon, Don Broco & While She Sleeps under their trusted wings). Matt Tuck has also revealed that Avenged Sevenfold guitarist Synyster Gates will guest on one song on the upcoming album, adding more superstar names to the mix.
In support of the album release, Axewound will perform the following dates:
OCTOBER 2012
1st – Nottingham, Rescue Rooms
2nd – Glasgow, King Tuts
3rd – Manchester, Academy 3
4th – Wolverhampton, Slade Rooms
6th – London, Underworld
7th – Bristol, Thekla
Converse Represent got off to a flying start yesterday with singer Plan B opening up proceedings. The event which runs nightly between 30th July and 10th August at London’s iconic 100 Club gives a nod to past legends by including nights headlined by UK Subs, Toots & the Maytals and Paul Weller. The best of the new breed are also showcased with Pulled Apart By Horses, The Safety Fire, Santigold, Best Coast, Japandroids and The Bots also featuring.
The highlight of the event has to be Blur’s ridiculously intimate gig on August 2nd. For a chance to be at this incredible show, fans will need to visit www.converse.co.uk/blur between 9:00 AM – 6:00 PM on Wednesday 1st August.
For those unable to get their hands on sought after tickets, Converse are kindly streaming the shows online here, you also stream the shows by scrolling to the bottom of the page.. The full line up for Converse Represent is as follows:
July 30 – Plan B, L Marshall, Jacob Banks, Yuna
July 31 – UK Subs, Discharge, Anti-Nowhere League, Goldblade, Ed Tudor Pole, Dumbjaw
August 1 – Paul Weller, Spiritualized, Japandroids, 2:54, Towns
August 2 – Blur, The Bots, Savages, Swiss Lips
August 6 – SBTRKT, Rudimental, John Talabot, Man Without Country
August 7 – Santigold, Django Django, Best Coast, Citizens!, Friends
August 8 – Toots & the Maytals, Natty, The Heatwave, Janice Graham Band
August 9 – Overkill, Pulled Apart By Horses, The Safety Fire, Wet Nuns
August 10 – Nas, Kano, Speech Debelle, Spoek Mathambo, Children Of The Night
On September 11, 2012, ShopRadioCast (an online store specializing in new and limited run vinyl records) will release the first official vinyl reissue of Quicksand’s major label debut, Slip, since its original pressing in 1993.
Fronted by Walter Schreifels (also the driving force behind Gorilla Biscuits, Youth of Today and Rival Schools) and known as major players of the 90’s NYC hardcore scene where they found their roots, Quicksand’s Slip is spoken of as classic, an influential release for current hardcore bands.
The re-mastered record is to be pressed on limited edition 180 Gram vinyl and housed in a gatefold jacket which includes a Euro inner sleeve. The vinyl colours and track listings are as follows:
Vinyl Colors
First Pressing
180 Gram Red/ Black Swirl (LTD 500) – Shop Radio Cast Exclusive
180 Gram Green/ Yellow Swirl (LTD 500) – Shop Radio Cast Exclusive
180 Gram Black (LTD 500) – Dine Alone Records Exclusive
Track Listing
Fazer
Head to Wall
Dine Alone
Slip
Freezing Process
Lie and Wait
Unfulfilled
Can Opener
Omission
Baphomet
Too Official
Transparent
How Soon Is Now? (The Smiths cover)
The pre-order launches on Tuesday, July 31 at 2pm EST here.
With a chorus catchy enough to entice a bit of a sing-a-long but with a tempo slow enough to make sure you don’t have to put a lot of effort in, ‘Toucan Surf’ (released Digitally 27.08.12 via Rattlepop) is the soundtrack to a lazy afternoon in the sun. In fact, soundtrack is quite a key word here, because Jaws produce the sort of sound that doesn’t instantly demand your attention but is inviting enough to give you an overall uplifting feeling. ‘Toucan Surf’ is background music that will slowly manifest in your mind and eventually come through and repeat permanently in your conscious.
Dazed vocals, resounding jangling guitars and lo-fi synths give off impressions that the track was born in Florida, California or another suitably sunny location, a sizable achievement when it actually originates from the less than appetizing Birmingham, UK.
‘Surf-pop’ is a trending genre at the moment, but Jaws aren’t just any old band, they are the leaders of the pack, these guys are the ultimate chill-out indie band and ‘Toucan Surf’ is sure to propel the band to where they ought to be.
Sadly The Dome is dishearteningly only three quarters full tonight for this rare London gig from classic Texan hardcore outfit Dirty Rotten Imbeciles, touring to celebrate thirty years’ service to hardcore punk and thrash. D.R.I. are, without doubt, one of the most important and influential hardcore bands to have spewed out of America in the early eighties. So where was everybody?! Their first EP released in 1982 crammed twenty-two songs onto one 7” EP and it redefined hardcore. The songs were intensely short and fast, bristling with anger and venom. Likewise, their first full album ‘Dealing With It’ came armed with a better production but was just as pissed off and vengeful.
After that the band, like most hardcore bands of the early eighties, started incorporating more metal and rock elements into their sound. Some did this more successfully than others and thankfully, D.R.I. made the transition better than most, alongside bands like C.O.C., Ludichrist and The Crumbsuckers, they spearheaded the ‘Crossover’ movement within the thrash metal scene and combined the socially aware lyrical content of punk with longer, more complex songs influenced by the first wave of thrash bands such as Metallica, Exodus and Anthrax.
Tonight’s set is drawn from every era of the band’s long career, although thankfully it leans heavily on their early material, which despite some good moments on later albums, it’s still the first few recordings that pack the most punch. Tonight, with original singer Kurt Brecht still pacing the stage and spitting out the lyrics with the attitude and venom of a man half his age, D.R.I. play for over an hour and half, a set that includes god knows how many songs all played at hyper-speed and with ultimate precision. Not bad for a band in their 30th year. On top of that, original guitarist Spike Cassidy has recently made a full-recovery from a terrible brush with cancer and plays every song with a look of pure joy on this face. This is a man that probably never expected to get to get the chance to play these songs again and his happiness infects the whole room.
Despite the venue not being as rammed as the band might have liked it to be, those in attendance go completely crazy and and respond to classics like ‘I Don’t Need Society’, ‘Couch Slouch’ and ‘Snap’ with a tornado of energy at the front of the stage as the band feed off the crowd’s lunacy and respond accordingly.
Still dirty and rotten after all these years. Long may these imbeciles reign!
Not many underground bands have such a buzzing hype around them as UK newcomers Proxies do, and what’s more, it’s well deserved. Proxies are one of those bands who have turned their passion into something tangible through hard work and dedication, actually getting off their arses and doing something rather than waiting for the industry to fall into the palms of their hands.
Producing records in their bedrooms, recording vocals under bunk beds, relentlessly networking and gaining the right contacts has put the band in a promising position at the start of their career. We catch up with keyboard player/programmer/vocalist/general-busy-body Jordan Fish to find out more…
Hey Jordan! First off can you explain how the formation of Proxies come about?
Kind of by accident in that we never planned to be a band. I had begun exploring electronic music with a couple of friends, who way more talented than I, mostly for fun but also to see them in action and learn from them. I knew Joe from college and it turned out he was doing something sonically similar around the time and suggested working on a song together. So we did. Then we worked on some more. Alex lives down the road from my parents and I asked him if he could play the songs so we could try and reproduce them in a live environment, we tried them a couple of times in Joe’s university house and had fun with it. We didn’t ever expect to play live, so when a couple of our friends that liked our music asked us to support them at a few shows, we were a little on the spot. I asked my friend Josh to play bass live for us, he played in a band I’d actually stumbled across via YouTube a while back. He added some vocals in rehearsal and as officially joined a couple of months later. A little while after that I think we realised we were a band.
Proxies Live
Proxies mix many different styles and genres together, what artists have influenced Proxies?
So many. Each of us have such a wide variety of influences that when you include all of our influences together it begins to sound ridiculous. I think we’d all agree on artists like Brand New, Manchester Orchestra, Muse and Daft Punk being amongst the most influential. I know Joe listens to a lot of pop punk, particularly that New Jersey pop punk kind of sound and we share a lot of favourite bands. I listen to a lot of electronic music lately, but mostly am a rock music fan at core which might explain our sound a little. As a rule I could say everything Rob Swire and Gareth McGrillen work on is golden, the first Panic! At The Disco record is a masterpiece and Katy Perry‘s singles are only ever the best pop songs… I don’t know if that’s relevant.
Considering Proxies are a relatively new band you have toured with some high profile artists and worked with big names such as Sean Smith & Gareth McGrillen. What has led to your involvement with these credible acts so soon in your career?
We had to pay them one million pounds in hookers and drugs and cash and sexual favours. We got the cash by selling our insides to The Church Of Scientology. Not really. Our band has been really fortunate that super talented people have taken us under their wing and helped us out. Gareth has been a friend for a while and liked what we were doing. Gareth introduced me to Sean a while before our band started and the feature came naturally – we all knew each other and Gareth and I were kind of on the same brainwave with the song and both had Sean in mind to do the additional vocal on it and kind of mentioned it to each other at the same time. Gareth is the nicest dude on the planet and we wouldn’t be where we are now without his help.
You have created an impressive online following and are well known for networking with fans via social media. But the internet often comes under fire with regards to illegal downloading. Do you think the internet is the future or the demise of the music industry?
The music industry is changing a lot, so in that respect the internet probably does bring about the demise of the old model. That said, our band would not exist at all without the internet. That’s really simple. It has been how people discover our music, how we’ve distributed music, how we keep people that care about our band informed on what we are doing. Beyond word-of-mouth and the little touring we have done, it has been the only form of communication we have had. Online merch orders have come in from Chile to Argentina to all corners of the US and Australia. Those people will only know about our band because of the internet. YouTube makes an almost level-playing-field for the discovery of music and great undiscovered content goes viral every day thanks to sites like Reddit. So it is the demise of an old model but it is also the future of the industry. The faster bands (and labels) can adapt to the internet generation instead of trying to control and dictate it, the quicker that will be realised I think.
‘Lost Tapes Volume 1’ epitomizes a DIY attitude to music by self producing the EP and hand-making the physical copies. What are your thoughts on the EP now that it’s complete and out there for people to hear?
I’m really glad we did it. The response has been overwhelming. To hear people singing along at shows to songs we wrote and recorded in our bedrooms is really strange and makes us even more proud of it.
'Lost Tapes Volume 1'
It seems Proxies never stop working! Do you have plans to release new material anytime soon?
Yes! We started working straight away on a sequel to the free EP, which we are recording in our bedrooms and producing ourselves once again. It will be released in the next few weeks. We have also been working for a while with back with Gareth and another producer Andy Gray on an official release. So that’s on the way too.
Selling out physical copies of your EP in seconds and being announced for Reading & Leeds are impressive achievements, how does it make you feel?
I am convinced it is a big elaborate prank that one of my friends has planned and everybody is in on the joke. It definitely has just crept up on us and been a huge surprise. We’re all a little bit shocked but determined to try and make the best of it.
So finally, after an impressive start, where do you see Proxies in 5 years time?
Haha, wow. Hopefully we will have put an album out properly. I’d like to be able to perform a headline tour too. But I don’t even know what we’ll be doing in 5 months time, 5 years is such a huge scale. Maybe Joe will be working on a solo experimental acapella folk punk album and Alex will be trying his hand at movies. Maybe people will say they liked us better when we recorded EPs in our bedrooms and struggled to survive, before we sold out and recorded in one of those “mainstream recording studios”. Or maybe nobody will care. Regardless, I like to think we’ll still be making music.
Make sure you check out Proxies at their up coming UK dates and of course at this years Reading & Leeds festival.
Poison Idea/strong>
The Fatal Erection Years
Southern Lord
Southern Lord have come up with a treat on this monster collection of early Poison Idea, that collates their ’83 debut ‘Pick Your King’ EP, ‘84’s ‘Record Collectors Are Pretentious Assholes’ LP, compilation tracks, and then a 20 song live set from ’83, in their hometown, Portland, Oregon.
The 13 tracks on ‘Pick Your King’ barely shade a minute average running time and are plain fucken blitzkrieg, fire and anger, slashing guitar lines and in singer Jerry A’s a true heavyweight of boiling over barked belligerence…. a genuine classic record… then, now and forever. Period.
P.I. followed up with the snappily titled ‘Record Collectors Are Pretentious Assholes’ album, 8 tracks of ferocious heaviness that were a step up from their earlier material, and brutally fused the primal energy of The Germs, early ‘Flag, D.C. Hardcore, fused with the filth and power of Discharge and GBH. The encroaching shadow of Motörhead was never too far away, as a creeping metallic edge took root. And the cover of the LP was true a Punk collector’s wet dream, with a stack of guitarist Pig Champions prized vinyl on display.
The compilation tracks are ‘Laughing Boy‘ from the ‘Drinking is Great’ EP, and P.I.’s 3 tracks from the Pushead compiled ‘Cleanse The Bacteria’ album, a 1985 collection of new/fresh worldwide Hardcore. Their ripping Stooges cover ‘I Gotta Right’ was included on a bonus 12” that accompanied the first pressing. I’ve still got mine, righteous vinyl!
And, to close, a live set that is just what you’d hope P.I. would be nailing it like in ’83, rabid and pissed, hateful and loud. It ends with one of my favourite songs ‘Marked for Life’, that would eventually surface on the ‘War All The Time’ album, in ’87.
No shit, this remains some of the most raging Punk committed to vinyl, and the legend of these hallowed records continue to be passed to subsequent generations of young Punks. They’ve suffered tragedies, bust-ups and mishaps along the way, but singer Jerry A is still out there doing it. Not giving it up.
Unfortunately, another piece of sad news to bring you… Independent record label Walnut Tree Records announced yesterday that they will be putting out their final release this summer and then closing doors.
No clear reason for the closure was given in the company’s statement, though with the music industry and general economy coming under increasing pressure, it’s not a shock that another label has suffered. The full statement reads:
“After five years, working on 27 full and 14 distributed releases that featured 68 bands in total, Walnut Tree Records will be calling it a day. I’m working on one final release that will see the label out at the end of the summer, bringing together all of the bands that I’ve been proud to represent since 2007. Thanks for your support.
Tom, Walnut Tree Records – Losing Sleep. 2007-2012.”
Walnut Tree Records have worked with some great names in the industry such as Burn The Fleet, Don Broco, Four Year Strong, Francesqa, Samoans, The Maple State, The Wonder Years, Tiger Please and many more. Here at Crossfire HQ we are sad to see the label go, it’s yet another bold reminder that its important to support independent music.
See Walnut Tree Records out with a bang and pick up one of their releases here.
Southern California’s Of Mice & Men are constantly growing in popularity. The band -who are currently on the Vans Warped Tour- have quenched fans’ thirst for new material with a 2 disc deluxe re-issue of their critically acclaimed album ‘The Flood’ featuring 4 new tracks.
The bonus tracks start with a tantalizing instrumental piece ‘The Calm’. The reverberating clean guitars are a beautiful yet eerie experience to behold, clearly implying the saying ‘The calm before the storm’…
As ‘The Storm’ picks up tempo, Austin Carlile’s strained and emotional screams kick start a typical ballsy Of Mice & Men riff. On the original release of ‘The Flood’, ‘Ben Threw’ and ‘Ohioisonfire’ showed Of Mice & Men’s capability to produce intense riffs and rhythms whilst maintaining an underlying bounce, but they are nothing in comparison to the punishing assault of third bonus track, ‘The Flood’ and final new number, ‘The Depths’. It seems that after the departure of Shayley Bourget, clean vocals have been left to one side with the band focusing on a new level of heaviness.
Presented with flowing continuity, the bonus tracks are an impeccable addition to ‘The Flood’. The production of the tracks is highly commendable in its own right, the magnitude of the atmospherics are on the same level as Bring Me The Horizon’s ‘There Is a Hell, Believe Me I’ve Seen It. There Is a Heaven, Let’s Keep it a Secret’. With its new additions, the re-issue can be appreciated by fans from across the metal spectrum with influential elements of artists such as The Devil Wears Prada, We Came As Romans, Pierce The Veil & even Slipknot shining through.
If first time around, ‘The Flood’ begged to differ that metalcore was a dying art, the re-issue demolishes any ideas that the genre is dated and builds a platform from which Of Mice & Men can dominate the current scene. The flood is coming again.
On September 11, 2012, 
