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<\/figure>\n\n\n\nNegative Approach \u2013 Negative Approach (1982)<\/strong><\/strong><\/p>\n\n\n\n Hardcore when it\u2019s raw, raging, aggressive and primitive. Negative Approach comes out like a pack of bloodthirsty wolves on this one. \u201cCan’t Tell No One\u201d is one of the best hardcore songs I\u2019ve ever heard. The art is pretty creepy somehow, and does very much fit the bill.<\/p>\n\n\n\n As only three of ten songs are over one minute long you\u2019re flipping the sides fast, and when the B-side has played out it\u2019s real easy wanting to flip back to the A-side and begin the race to finish again.<\/p>\n\n\n\n Modern Life Is War – Modern Life Is War (2002)<\/strong><\/p>\n\n\n\n This is the first release by the band, preceding \u201cMy Love. My Way\u201d (2003), and I think this has a more punk feel to it. Not relinquishing that much of the hardcore they would career. The two tracks on the A-side would end up re-recorded on the following full length \u201cMy Love. My Way\u201d, and they kind of don\u2019t fit in on that album, but it\u2019s nice to see where they took this 7\u201d to grow into what the would become.<\/p>\n\n\n\n Operation Ivy – Hectic (1988)<\/strong><\/p>\n\n\n\n The first Op. Ivy EP (and first release) shows a punk band more than the ska punk band they\u2019ve been known as, the opening song “Junkie’s Runnin’ Dry” is a straight up punk song though. After that however, the ska punk kicks in. But, “Here We Go Again” is far from their best, after that they kick in punk gear again, but then “Yellin’ in My Ear” comes on, one of the best ska punk songs ever. So yes, their full-length \u201cEnergy\u201d may showcase them at their best, but this EP paves the way in a great way.<\/p>\n\n\n\n Discharge \u2013 Never Again (1981)<\/strong><\/p>\n\n\n\n After releasing three 7″s (“Fight Back”, “Realities of War” and “Decontrol”) all in 1980 \u201cNever Again\u201c comes in the next year, making it the release before the iconic \u201cWhy\u201d (1981). While I do believe their sound was perfected in \u201cWhy\u201d and \u201cHear Nothing See Nothing Say Nothing\u201d, this seems as their best 7\u201d release taking the band to a more fulfilled D-beat sound, and I think it rivals but doesn’t trump \u201cWhy\u201d.<\/p>\n\n\n\n Bonus: Quoting John Heartfield: “The Meaning of Geneva, Where Capital Lives, There Can Be No Peace.” This German visual artist is behind the dove of peace impaled on a blood-soaked bayonet in front of the league of nations that prides this records cover art.<\/p>\n\n\n\n The Misfits – Bullet (1978)<\/strong><\/p>\n\n\n\n The Misfits in their beginnings didn\u2019t have the most linear of careers record wise, they recorded \u201cStatic Age\u201d in 1978 but didn\u2019t release it back then, so \u201cWalk Among Us\u201d (1982) became their first full length. This 7\u201d was recorded and released in 1978, and so boasts some of the best songs of \u201cStatic Age\u201d years before it\u2019s release, a record that didn\u2019t end up being released in it\u2019s entirety until 1996.<\/p>\n\n\n\n So, as far as I\u2019m concerned, this is the best Misfits record in the bands early stages (\u201cHollywood Babylon\u201d as the second song on the B-side being the weak spot to me, the rest are killers).<\/p>\n\n\n\n The Dicks \u2013 Hate The Police (1980)<\/strong><\/p>\n\n\n\n For whatever reason the opening lyrics \u201cMommy, mommy, mommy. Look at your son. You might have loved me, but now I got a gun\u201d pops into my head more often than I suppose it should.<\/p>\n\n\n\n A band with an openly gay singer in the 80\u2019s sporting a band with a communist style band logo with the hammer and sickle in the time of the cold war between the west and the Soviet union, and doing so in the southern parts of Texas. I haven\u2019t read up too much on The Dicks in terms of all of that, but man, that spells controversy and then some, and then some more.<\/p>\n\n\n\n The title track stands out in every way, then on the songs following the lyrics for a band with this kind of title and logo grows somewhat weak, Floyd on vocals going \u201cHa ha ha ha\u201d as a chorus with lines as \u201cBaby, baby, won’t you take my life?\u201d should be paired up with something equally as strong, but isn\u2019t. It sounds good though, same goes with \u201cNight Fever\u201d with a more traditional punk chorus. But I\u2019d wish the cover of the record would match it\u2019s lyrics more than it does on those two songs. But as stated, the music itself is solid.<\/p>\n\n\n\n As for the faces pictured on the right (not left) side of the cover art I do think I know my Marxist\/Communist history well enough to say it features Marx, Engels, Lenin, Stalin and Mao. As for the faces on the left side I have no idea who that’s supposed to be. It could be the band for all I know (please send me an e-mail if you know).<\/p>\n\n\n\n Inside Out – No Spiritual Surrender (1990)<\/strong><\/p>\n\n\n\n The band, fronted by Zack de la Rocha (later of Rage Against the Machine) only released this one record. Not at all saying this has anything much to do with Krishna-core (forgive me for spacing out), and I\u2019ve pretty much stayed away from the whole Krishna-core thing (but I do of course have a few examples in my record collection), guitarist Vic DiCar did leave the band to become a Hare Krishna monk (and would later found Krishna-core band \u201c108\u201d), and on an altogether different note Alex Barreto went on to Chain of Strength.<\/p>\n\n\n\n So, getting back to that, the lyrics aren\u2019t really any indication of spirituality, at least to me, I see them (the lyrics that is) as pretty bland. Sure \u201cI lost my faith, I lost my stride\u201d gives a feel for a search of something. But I won\u2019t pretend I care too much about the lyrics being somewhat spiritual or whatever, I don\u2019t think they are and I really don\u2019t think there\u2019s too much to analyze there. Their old school hardcore is however great, I think it holds up on pretty much every account. Ranging from the opening down temped opening of \u201cBurning Fight\u201d to the more fast pasted \u201cBy a Thread\u201d and finishing with the somewhat more extravagant and iconic \u201cNo Spiritual Surrender\u201d.<\/p>\n\n\n\n The Middle Class \u2013 Out of Vouge (1978)<\/strong><\/p>\n\n\n\n I\u2019ve almost on a compulsorily manor returned to this record during the years, and I\u2019ve come to the conclusion that it\u2019s both easy and hard to pin this down as the first hardcore-punk record. They started the band in 1976, this EP was released by Joke Records in January 1978, and it kicks off with the title track \u201cOut of Vogue\u201d, it does play fast, but first hardcore-punk song? Maybe, but it\u2019s just one song. But then it does happen again: \u201cYou Belong\u201d kicks in even faster than the title track, so are the first two hardcore-punk songs to be recorded on the A-side of this record? I\u2019d say yes.<\/p>\n\n\n\n Flip to the B-side in comes \u201cSituations\u201d, sounding like a great kind of British type punk song with a really nice touch on the bass in the intro and a stronger melodic touch. The record finishes with \u201cInsurgence\u201d, clearly following the faster tracks on the A-side.<\/p>\n\n\n\n So, what have we learned here? Well, \u201cBlack Flag – Nervous Breakdown\u201d (1979) is one of the hardcore-punk \u201cfirst\u201d contenders, having released it the following year. Then there\u2019s \u201cD.O.A. – The Prisoner\u201d (1978), to me not qualifying even though it\u2019s a great punk release, not but a hardcore-punk record.<\/p>\n\n\n\n I believe \u201cThe Middle Class – Out of Vouge\u201d is the first hardcore-punk record, \u201cOut of Vogue\u201d is a really great first track, but \u201cYou Belong\u201d really kicks it into gear making this the definite fist hardcore-punk record.<\/p>\n\n\n\n The Damned \u2013 New Rose (1976)<\/strong><\/p>\n\n\n\n The first 7\u201d punk single (my beat up 7\u201d of the first pressing on the photo) kicks off with the incredible \u201cNew Rose\u201d, and I wouldn\u2019t want this to be just a token entry in terms of this being a single from the following \u201cDamned Damned Damned\u201d (1977) album, and it isn\u2019t. The two albums have two versions of \u201cNew Rose\u201d, so now that\u2019s taken care of.<\/p>\n\n\n\n So that\u2019s a plus, although I\u2019m not so sure the B-side with the Beatles cover of \u201cHelp\u201d has too much of what the A-track has. It isn\u2019t bad, and it sounds like a Damned tune, but it just strikes me as an odd choice. I get why they wouldn\u2019t cover The Who, but really, I\u2019d much like to see a speedy punk cover of The Kinks \u201cAll Day and All of the Night\u201d and I thought about this for about 1 minute and I still think it would\u2019ve been better.<\/p>\n\n\n\n Still, \u201cNew Rose\u201d is a total banger of a song, it\u2019s the first ever released punk 7\u201d, and I feel fine overlooking the Beatles cover.<\/p>\n\n\n\n Black Flag \u2013 Nervous Breakdown (1979)<\/strong><\/p>\n\n\n\n So as a fan of speedy hardcore-punk \u201cNervous Breakdown\u201d isn\u2019t too fast compared with \u201cDamaged\u201d (1981) with Henry Rollins having taken over on vocals (including when Ron Reyes took over from Keith Morris on the great \u201cJealous Again\u201d (1980)), but all the same. It\u2019s short and on point, Morris charismatic vocals, the grinding guitars showcases simple hardcore-punk almost in a Ramones style way.<\/p>\n\n\n\n The A-side features the title-track and it sets the tone in a big way, stripped down hardcore-punk with a great Morris on vocals going kind of bananas. The B-side has \u201cFix Me\u201d, \u201cI\u2019ve had it\u201d and \u201cWasted\u201d where the songs are a little more varied compared to \u201cNervous Breakdown\u201d, they all follow the same basic recipe but all add their own kind of spice and pacing to it.<\/p>\n\n\n\n All and all it\u2019s no fluff, just plain good old hardcore-punk that does boast some of the best this band would come to produce, all on their first ever release (as well as the first release on guitarist Greg Ginn\u2019s SST Records being founded with this release, in the immediate years following releases by Minutemen, Meat Puppets, The Dicks and H\u00fcsker D\u00fc).<\/p>\n\n\n\n Menace – G.L.C. (1978)<\/strong><\/p>\n\n\n\n So, first of all. What\u2019s the G.L.C. and why are they so full of shit? Well, if Menace has any say in it, seems it\u2019s the Greater London Council who\u2019s full of shit (as seen on the cover of course, currently the Greater London Authority.).<\/p>\n\n\n\n I\u2019m not going to dig much deeper into that, but the lyrics are I guess are both a youthful sneer with a hint of humor and somewhat an attempt of being political in the sense that \u201cDown a cell, live in hell\u201d supposedly doesn\u2019t necessarily mean the boys have all been jailed, but there seems as if there’s a problem lurking there.<\/p>\n\n\n\n The A-side is however nothing short of a kick ass punk anthem with the good old classic verse-refrain-verse-refrain recipe but done oh so well. The B-side \u201cI\u2019m Civilised\u201d is just that, a B-side, the song doesn\u2019t stand out too much but I must say a good listen all the same, and the \u201cCivilized?\u2026 or cannibalized\u201d verse line is a nice touch.<\/p>\n\n\n\n On another note, Menace released five 7\u201d singles between 1977-1980 without releasing an album, this being their second, \u201cScrewed Up\u201d (1977) being the first one.<\/p>\n\n\n\n Born Against – Born Against (1990)<\/strong><\/p>\n\n\n\n This record has one of my all time favorite openings of a punk song (\u201cHalf Hast\u201d, more on that later on), and as far as Born Against goes this EP to me all holds their best songs released before their two full lengths came out, well way better than them. If \u201cJanelle\u201d would\u2019ve been the 6th<\/sup> song on this EP this would\u2019ve been perfect in terms of this band.<\/p>\n\n\n\n So, this 7\u201d is fast, somewhat melodic at times, chaotic at most times. I\u2019ve always liked this record, don\u2019t know how well liked it\u2019s by you guys. That being said, yeah I\u2019ve always really liked this 7\u201d for it’s speedy mess of political left-wing hardcore-punk so here it is.<\/p>\n\n\n\n Getting back to the intro of \u201cHalf Mast\u201d, it\u2019s from the opening of \u201cFace The Flag\u201c taken from western movie icon John Wayne\u2019s \u201cpoetry\u201d album \u201cAmerica, Why I Love Her\u201d (1973). (A record that probably shouldn\u2019t have been released as it\u2019s pretty much unlistenable, but I\u2019m sure John Wayne (if still alive) would\u2019ve said the same about Born Against, so I\u2019ll call it a tie but still a victory.)<\/p>\n\n\n\n Going somewhat off the rails in justifying this 7\u201d being listed here, parts like \u201cwhen freedom is in hiding from morality when you’ve finally scrubbed this great land clean of those values you hold in such high esteem\u201c, very much makes this 7\u201d stand out in vocalizing the bands political thought in a pretty good way, and it does continue.<\/p>\n\n\n\n Bad Brains – Pay to Cum! (1980)<\/strong><\/p>\n\n\n\n The first release by this legendary Washington D.C. hardcore-punk band. With a Lo-Fi feel Bad Brains kicks in the highest gear on the A-side with \u201cPay to Cum\u201d, the track seems to end almost before it begins. It\u2019s fast (and of course super-fast in early 80\u2019s standards). Flip over to the B-side and \u201cStay Close To Me\u201d opens with some basic reggae chords that might not suck, but doesn\u2019t quite do it for me, to then progress to a power chord chorus, and so it goes (this was to me better re-recorded on the \u201cOmega Sessions\u201d (1997)).<\/p>\n\n\n\n This is a one side single, as \u201cPay to Cum!\u201d is cool as shit, but the B-side kind of sucks. The Rastafarian stuff the Bad Brains was into was their absolute downside if you ask me (and I\u2019m no expert, so take this for whatever, but that to me is somewhat homophobic and anti-feminist to boot, rendering me a hard time connecting punk with the Rastafari religion).<\/p>\n\n\n\n As to the title track, obviously it has little to do with \u201cpay to cum\u201d in the sense of this song being about paying for a prostitute, it\u2019s more of a paying for everything to compete kind of a societal deal. As the lyrics states, one \u201cpay to write, pay to play, pay to cum, pay to fight\u201d, and as it continues \u201cthe right to sing, the right to dance\u201d finishing off with \u201cthe right is ours\u201d.<\/p>\n\n\n\n I\u2019m not saying these lyrics are by any means deep or in need of translation, the opposite in fact, they\u2019re not too great and easily interpreted. I\u2019m just stating the obvious that this is a somewhat dystopian political song, although ending on a somewhat inspiring note (\u201cand so it’s now we choose to fight\u201d, \u201ca peace together, a piece apart, a piece of wisdom, from our hearts\u201d).<\/p>\n\n\n\n Night Birds – Night Birds (2010)<\/strong><\/p>\n\n\n\n At times I get the feeling that if the Dead Kennedys and early Adolecents had a kid it would\u2019ve grown up to be the Night Birds. Stupid, of course. But as stupid as that might be, I do feel that I\u2019m partially right somehow in that alternative reality. The Night Birds are great in their own right of course, their blend of fast (non SoCal hc-punk being from New Jersey but pretty much sounding SoCal anyway) hardcore-punk with surf-punk influences gets me every time. It\u2019s nothing short of awesome.<\/p>\n\n\n\n This is the bands first real release, and as any band with any luck, work and skill they would progress and evolve, but this release marks an incredibly great start-off from a band that almost sounds all but having their sound down from the very get-go.<\/p>\n\n\n\n To me there\u2019s nothing not to like here, the vocals are good (maybe not great but fits in great with these tracks so I\u2019m close to call them great in this context), the bass are somewhat low mixed but does shine thru and is really well played, the drums are at times relaxed and at times riddled with fills, and with the obvious, the guitars a really driving part. Overall, this melodic hardcore-punk record might be the bands first 7\u201d, but I\u2019m sure I would\u2019ve not change a thing.<\/p>\n\n\n\n 7 Seconds \u2013 Skins, Brains & Guts (1982)<\/strong><\/p>\n\n\n\n Released two years before the great \u201cThe Crew\u201d (1984), this strikes me as a very juvenile release in terms of it\u2019s lyrics, despite of (I guess then to be) front man Kevin Seconds being 21 at the time. The lyrics are straight forward and hold a nice message overall sure, but they\u2019re delivered in such a crude and basic way. And yeah, 7 seconds where never an all too deep band lyrically, like most hardcore-punk bands I guess (that might\u2019ve been harsh though), but these lyrics are just that: Somewhat juvenile.<\/p>\n\n\n\n As for the music, in spite of the overall production being not that great, this makes a great listen to, I would say especially with Kevin Seconds on vocals (with Kevin\u2019s brother known as Steve Youth also on vocals on this release).<\/p>\n\n\n\n The last song on the b-side would be re-recorded for \u201cWalk Together, Rock Together\u201d (1986), marking that release\u2019s version far more well known as the original recording.<\/p>\n\n\n\n On another note, or rather two, of the 9 songs 5 of them clocks in under a minute, on the other note, the band name was derived from early LA punk band The Dils single release \u201c198 Seconds Of The Dils\u201d with Kevin Seconds saying (in AMP magazine) \u201cI wrote ‘197 seconds of The Dils,’ I miswrote the title. Over time, everything else faded, but the 7 Seconds part was there\u201d.<\/p>\n\n\n\n The Partisans \u2013 Police Story \/ Killing Machine (1981)<\/strong><\/p>\n\n\n\n I really like their first two 7\u201d releases, this being their first, \u201c17 Years Of Hell\u201d (1982) being their second. Back then they already had their sound figured out, they would however slightly pick up the pace at times and melodies on one of my favorite punk albums \u201cThe Partisans\u201d (1983).<\/p>\n\n\n\n Bur for this one, it\u2019s stripped down fast British punk (I guess South Wales punk to be specific) with lyrics that aren\u2019t too special, but the 7\u201d is great overall.<\/p>\n\n\n\n Propagandhi – How To Clean A Couple O’ Things (1993)<\/strong><\/p>\n\n\n\n This is probably my most played 7\u201d. I can\u2019t say exactly when I bought it, but maybe around \u201895 from the Burning Heart Records mailorder, and I would spin this on a weekly basis for like a year and from there it kept on rotating for a good while (and still occasionally does). The A-side \u201cPigs Will Pay\u201d is a nice \u2018gandhi song. It\u2019s well played melodic skatepunk (although I\u2019m not too sure the band would agree with that label). But the keeper here is the B-side \u201cStick The Fucking Flag Up Your Goddamn Ass, You Sonofabitch\u201d that still is one of my all time favorite Propagandhi songs to date (and yes, that is a biased thing to say I know).<\/p>\n\n\n\n Blitz \u2013 All Out Attack (1981)<\/strong><\/p>\n\n\n\n This EP was released in 1981, followed by the bands first full length \u201cVoice Of A Generation\u201d released the following year, being the release they would be most remembered by. Having said that, all the tracks on this EP would end up being re-recorded on that full length, including what I imagine is the most covered song by the band in \u201cSomeone\u2019s Gonna Die.<\/p>\n\n\n\n Overall the feeling I get on the EP compared with the full length is that they’re somewhat sluggish in comparison, where the re-recorded songs have a feel of being played faster even though that\u2019s not at all always the case. The production is however way better.<\/p>\n\n\n\n That being said, this is where the band started, and this 7\u201d very much holds up in terms of a nice Oi (or \u201cstreet punk\u201d, a genre too generic for me personally, but I guess it’s gotten pretty self explanatory all the same) record (with the band appearing on the \u201cCarry On Oi!!\u201d comp in the same year (1981), a comp that was however filled up with punk bands not closely related to the Oi or skinhead scene, but that\u2019s a topic for another time I guess).<\/p>\n\n\n\n Agnostic Front \u2013 United Blood (1983)<\/strong><\/p>\n\n\n\n Early Agnostic Front gets me every time, wondering why I don\u2019t listen to them more than I already do, especially this EP and Victim in Pain (1984). It\u2019s the kind of fast hardcore with the obvious punk influences that plays oh so well with me. It\u2019s nothing if not straight to the point (with some really nice tempo changes).<\/p>\n\n\n\n Luckily as seen out of a diversity point of view, only one song on this EP (“Last Warning\u201c) would be re-recorded on the following full length, something I really appreciate.<\/p>\n\n\n\n All and all, this is fast played hardcore-punk in short bursts of fury with lyrics that at times strengthens that sound, with lines like \u201cTalk about unity. Then talk about conformity\u201d, spoken with conviction by a band (although the lineup has had it\u2019s changes, sadly in some cases due to the death of some of it\u2019s members) that\u2019s been around for more than 40 years.<\/p>\n\n\n\n NOFX \u2013 Fuck the Kids (1996)<\/strong><\/p>\n\n\n\n At the time this 7\u201d was released the band had put down quite a few releases, including \u201cRibbed\u201d (1991) all the way through \u201cPunk in Drublic\u201d (1994), yet this is a release hard to nail down. In terms of the sound this 7\u201d kind of at times sounds close to a more polished version of the bands first three 7\u201d releases between 1985-1987. Whatever the year this might place this in time in terms of sound, it\u2019s constitutes one of those rare moments where you\u2019d go \u201cI wish they\u2019d sound more like they did back then\u201d, and BAM! This is that kind of release. To further that point, listen to this and then to \u201cHeavy Petting Zoo\u201d released the same year (I believe this 7\u201d was released after that record) and tell me it doesn\u2019t sound years and years apart.<\/p>\n\n\n\n Dead Kennedys – California \u00dcber Alles (1979)<\/strong><\/p>\n\n\n\n The first release by the Kennedys and I for one have a tendency of looking too much on their later records, most notably \u201cPlastic Surgery Disasters\u201d (1982), when listening to this and their first album (\u201cFresh Fruit For Rotting Vegetables\u201d (1980)), which is unfair to say the least. Their sound isn\u2019t as explosively incredible and unattainable as it would be, it would be pretty weird had it been.<\/p>\n\n\n\n The A-track marks the bands beginning and is nothing short of a killer track, political and melodic with a sharp edge. The B-side however is much more of a pretty standard punk song if it hadn\u2019t been for the guitar on the chorus and the \u201cAnd I’m gonna crack your mask\u201d part.<\/p>\n\n\n\n Seeing as how this is the bands first release, with the A-side standing out, this is a killer 7\u201d outmatched by few.<\/p>\n\n\n\n Gorilla Biscuits – Gorilla Biscuits (1988)<\/strong><\/p>\n\n\n\n I wasn\u2019t going to include this one, it\u2019s one of my favorite 7\u201d releases, but this list is getting at little too hardcore heavy at times. Especially so with a release like his one. But here we go none the less. So, this is the first release by this New York hardcore band, if you\u2019re into hardcore you\u2019re well familiar with this band (or at the very least recognize the band\u2019s name), and for a reason. This might be their first release, but they\u2019ve got all the ingredients and it\u2019s put together into a well executed dish. Something that would be replicated over and over again throughout the years by bands to come.<\/p>\n\n\n\n The music is super-solid for a debut, even more than so, it\u2019s fast, at least somewhat melodic at times, got all the nice breaks and the slow-downs. The lyrics aren\u2019t too much of a read, there\u2019s passages that I like in songs like \u201cNo Reason Why” but overall it\u2019s juvenile but why shouldn\u2019t it be? Sometimes viewed as a positive hardcore band, they might\u2019ve been seen as just that, as a band, but I don\u2019t think the lyrics fit that shoe too much on this one. Again, that\u2019s not a complaint.<\/p>\n\n\n\n Musically, this is is a dream to me, it\u2019s no \u201cStart Today\u201d (the band\u2019s follow-up full-length release in 1989) but it\u2019s pretty much the same thing where the full-length is more solid. And that\u2019s not a bad thing at all.<\/p>\n\n\n\n Also I would think worth mentioning, even though Revelation Records might\u2019ve gotten some flack in later years, this was the fourth release of the label, having previously released Warzone and Sick of it All, and would soon release Youth of Today, Bold and Judge. The band, and foremost the label, would spearhead the youth crew movement, in which GB certainly was and still is centric.<\/p>\n\n\n\n Buzzcocks \u2013 Orgasm Addict (1977) and Ever Fallen In Love… (With Someone You Shouldn’t’ve?) (1978)<\/strong><\/p>\n\n\n\n One thing I might have mentioned (or should have) is that I don\u2019t want 7\u201d on this list where the A-track is the \u201chit single\u201d off that record, and then some B-side that nobody really cares about. This is kind of a way to get around that. \u201cEver Falled In Love\u201d is one of the best punk songs ever, so in that context it should be on this list, exept for the fact that it is a single off \u201cLove Bites\u201d (1978).<\/p>\n\n\n\n So, how to remidy that? \u201cOrgasm Addict\u201d (1977) was the first ever release by Buzzcocks and that 7\u201d kicks ass. It\u2019s no \u201cEver Falled In Love\u201d, but it\u2019s still Buzzcocks obvously at it\u2019s their best early on. It\u2019s great poppy punk, I might be wrong, but the following full length \u201cAnother Music in a Different Kitchen\u201d (both full lengts where released in 1977, \u201cAnother Music in a Different Kitchen\u201d was their first full length release) sounds a little more punky, whereas \u201cLove Bites\u201d sounds more pop punk. So there you have it, two records on this one.<\/p>\n\n\n\n Against Me! \u2013 The Disco Before The Breakdown (2002)<\/strong><\/p>\n\n\n\n This is a one-off release by Against Me!, as \u201cCrime As Forgiven By\u201d (2001) and \u201cThe Acoustic EP\u201d (2001) was pretty much lo-fi punk played acoustically (but still with songs like \u201cWalking Is Still Honest \u201d and \u201cReinventing Axl Rose\u201d that ended up on the bands first full length \u201cReinventing Axl Rose\u201d (2002)). This is something they never quite came back to, songs without much of the punk recipe of the good old verse-refrain-verse-refrain. And so, the difference between \u201cReinventing Axl Rose\u201d might not be all that big sound wise, the songs does stand out like they hadn\u2019t done before and never did again being more linear and not that standard punk-ish.<\/p>\n\n\n\n Minutemen \u2013 Paranoid Time (1980)<\/strong><\/p>\n\n\n\n This one is all over the place, is it even punk? Well, yes, or maybe? I think yes for sure. (The artwork was made by Raymond Pettibone, punk right?) Strange, yes. What stands out to me right away is the bass, then comes the rhythm, the breaks. This is a hard record to figure out, \u201cValidation\u201d stands out as it\u2019s pretty punk styled. The rest of the EP is harder to pin down. They would release \u201cDouble Nickles on the Dime\u201d (1984), and continued this weird journey. I\u2019ve heard Minutemen compared to Wire, which is just a really bad comparison (I think). I\u2019m thinking that \u201cMission to Burma\u201d Vs. <\/em>(1982) might be somewhat of a comparison in it\u2019s post-punk. Meat Puppets in their \u201cUp on the Sun\u201d (1985) and Flipper with \u201cGeneric Flipper\u201d (1981) comes to mind as well, but I would argue the Minutemen is their own weird machine. It\u2019s kind of like punk on some weird drug that screwed it in a way where this was the result.have the first pressing of it, and \u201cNew Rose\u201d is a real killer of a song. So yeah, it made this list for sure.<\/p>\n\n\n\n One Man Army – She’s An Alarm (2012)<\/strong><\/p>\n\n\n\n The opening song I.T.I.A.L.S. is nothing short of an awesome punk song with some great layers to it. It\u2019s not linear, builds up nicely, got some nice breaks, some really nicely played melodic punk, and ends out with a great guitar powered outro. And, on top of that comes Jack Dalrymple\u2019s vocals. Man, this hits the sweet spot with me.<\/p>\n\n\n\n Obviously I got hung up on the first song, so, this band released their first full length record in 1998 (“Dead End Stories”) and this is their last record. Released in 2012. As for the remaining three songs, they\u2019re simple and kind of fast and melodic (listen to \u201cPlastique\u201d), kind of low temped with simple drumming still with nice melodies (\u201cAny Minute\u201d) and really melodic and kind of varied (\u201cI Got Hung Up\u201d). Overall, this really is a super solid release, too bad it\u2019s their last (?). I could listen to this a bunch of times (I have) and not get bored.<\/p>\n\n\n\n Regulations \u2013 Destroy (2003)<\/strong><\/p>\n\n\n\n This EP kicks off with guitars that are kind of half distorted, reminds me of Dean Dirg, PlasticHeads and Carbonas. It\u2019s fast but melodic, doesn\u2019t really sound like a record released in 2003, I\u2019m thinking it sounds like a 80\u2019s record from a Germs inspired band. That\u2019s obviously not the case though, and mentioning Germs is a pretty bad reference (but I must say that the song \u201cUntitled\u201d does have some resemblance to the riff in “Germs” – “Lexicon Devil”).<\/p>\n\n\n\n This is a relentless hardcore-punk 7\u201d from Ume\u00e5 northern Sweden. It\u2019s fast and nice, musically driving punk, great on the cymbals at times, great fast riffs. This is great harcore-punk front to back.<\/p>\n\n\n\n Gorilla Angreb – Gorilla Angreb (2004)<\/strong><\/p>\n\n\n\n This Danish punk band is kind of hard to pin down somehow, and that\u2019s a very good thing. This is their first release and sound wise, if I\u2019m to compare their sound with another band, I\u2019d say that they sound a little bit like \u201cX \u2013 Los Angeles (1980)\u201d kicked into the 2000\u2019s of Denmark with that early not too distorted guitars kind of The Jam-style but played much faster. Sounding like whatever band, this one holds up super well on it\u2019s own unique merits of course.<\/p>\n\n\n\n So yes, It\u2019s nice to hear a band that stands out, Gorilla Angreb does, the vocals of Mai and Peter completes one another and one obvious comparison to me as a Swede would be (sound wise contemporaries The Vicious but more so) Masshysteri. But enough with that. Punk sung in Danish is a plus (even though Danish sounds kind of weird to me as a northern Swede being similar to Swedish yet kind of hard to understand at times), I really like the fast and pretty basic but melodic guitar riffs and the low distortion, the bass follows along real nice with some nice patterns of it\u2019s own here and there, and the drums have some super nice high-hat based patterns as well as more active ones.<\/p>\n\n\n\n Overall a super solid Danish punk 7\u201d, and the first record from Denmark on this list (took a while I guess). (As a side note, \u201cGorilla Angreb\u201d translates to \u201cGorilla Attack\u201d.)<\/p>\n\n\n\n Masshysteri – Monoton Tid (2008)<\/strong><\/p>\n\n\n\n There are very few Swedish bands on this list, in fact there are currently one at the time of me writing this (Regulations), and no Swedish speaking ones. In comes northern Swedish band Masshysteri from Ume\u00e5. One of my favorite punk bands from the first time I heard them. The dual vocals with guitarist Robert Hurula and bassist Sara Almgren are nothing short of fantastic, the choruses makes it\u2019s way into the verses in a way that I really love. It\u2019s fast and really catchy, melodic and vocally driven. The lyrics are somewhat straight forward from a punk perspective, but I get a sense of urgency and sincerity in them, and maybe it\u2019s me hearing my own native language from my neck of the woods that makes it somewhat more real. All the same, super great first 7\u201d of this band and hopefully something non-Swedish speakers can enjoy (I’d be highly surprised and slightly offended if it wasn’t).<\/p>\n\n\n\n D.R.I. – Dirty Rotten EP (1983)<\/strong><\/p>\n\n\n\n I was somewhat hesitant to add this to the list, half the time I don\u2019t know what\u2019s going on here. First of all looking at what it is in plain sight, 22 songs in 17:38 minutes, having only four songs clocking in over 1 minute. Obviously this is a 33 rpm record to fit these all in, despite of the running time of the individual songs being as short as they are.<\/p>\n\n\n\n Backing up a little, their first album \u201cDealing With It!\u201d came in 1985, this is their first release however, and it\u2019s way more unpolished compared with their first album, as said filled with songs under one minute long. When you get going it’s songs are like a primitive shotgun blast that misses some parts of your body but still hits enough to wound you, of fast hardcore punk.<\/p>\n\n\n\n I\u2019m not too sure it\u2019s 22 songs (A side has 9 songs, B side has 13) printed on a 7\u201d is that great of an idea, more like it\u2019s a slightly insane one, with music to match however. If you like fast hardcore-punk in a pretty weird, and in that for what it is an original package this is for you.<\/p>\n\n\n\n Myself, I would\u2019ve stripped this down to it\u2019s best 10 or so songs, but maybe I wouldn\u2019t been writing about it? So somehow it\u2019s strength is all of these tracks assaulting your speakers all in a row, it does make this release stand out.<\/p>\n\n\n\n To me this is highly enjoyable, and they do slow down a little at times giving this some variance, for a few seconds.<\/p>\n","protected":false},"excerpt":{"rendered":" I started compiling this list in blog form, adding records on pretty much a weekly basis. Some 30 weeks later I had 30 of them, I thought about going for 50 but I thought I’d be watering down the list if I just keep on adding, and I wanted to start something new. So, for […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-514","page","type-page","status-publish","hentry"],"aioseo_notices":[],"yoast_head":"\n![\"\"](\"https:\/\/punkrecs.com\/wp-content\/uploads\/2022\/11\/IMG_0217-1024x768.jpg\")
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