Amazing new band with the following band members: ex Refused Dennis Lyxzén,
David Sandström , Karl Backman -
Guitar of Vectors, Jens Nordén - Drums of Regulations !
AC4 debut is 15 songs of intense power. Fast furious Hardcore in the vein of Minor Threat,
Black Flag, Negative Approach, Jerrry kids etc etc.
The hardest challenge for the guys was not the regenerate the energy of being young but to
write lyrics that fits with being 35+ and still being a punk!

Greenlight the Bombers

From the streets of SF comes this powerhouse of a rock outfit. Tighter than a squadron of B-52s in formation, Greenlight the Bombers deliver five tracks of seamless post-hardcore with angular guitar lines, loud-to-quiet dynamics and sinister basslines in the classic vein of bands like Drive Like Jehu, Quicksand, Fugazi and Shellac. Title track "American Executive" is a stand-out with a wickedly haunting vocal chant over menacing bass and drums that kicks into a solid heavy churn before dissipating into some sparse June of 44 type spaciness and then coming back with the rock in the end. Definitely one of the better new upcoming bands in this city, and do these guys have the coolest band name or what?" - #16 on Elliot's top twenty releases of 2004, Aquarius Records

American Executive EP (2004)
The Almighty Bird Brain EP (2002)
Pocket Champion (1999)

Bird Of Ill Omen

BOIO was one of Florida's original masters of the hardcore/metal genre. Thick guitars, throaty vocals, and chaotic drumming sum up this much-missed FL staple. Lyrics deal with subjects ranging from everyday events to the burning desire to self-destruct. BOIO released 2 CD's with Eulogy. "Self, Dare You Still Breath" introduced the world to BOIO's twisted outlook. "When Love Would've Shown an Interest in Us Both" was the band's farewell to the world. Ex-members can been seen in As Friends Rust.

Self, Dare You Still Breathe? (1997)
When Love Would've Shown Interest in Us Both (1999)


The birth of Elliott was in the fall of '95 when guitarist Jay Palumbo left the band Empathy, moved to Louisville, and joined up with Chris Higdon (vox/ guitar) and Jonathan Mobley (bass). Higdon and Mobley had recently ended an accomplished run with the highly acclaimed band Falling Forward and been jamming with one another on an off since childhood. With the intention of sounding unlike a continuation of any of their previous hardcore bands, the threesome began writing and, with the temporary fill in drummer, soon recorded a 7" for Initial Records. The band's sound was developing into one that was quite their own: an extremely textured combination of melodic hardcore, rock, and emo that hits you smack in the face one minute and sways you into a daydream the next. In the fall of '96 they enlisted drummer Kevin Ratterman and the true focus of Elliott began.


Swiz was one of the most popular bands in the younger DC hardcore scene of the late 80s. Their singer, Shawn Brown, had been the original Dag Nasty vocalist, and they were on the Sammich Records label, which was distributed by Dischord Records. In 1995, several years after Swiz broke up, former members Jason Farrell and Dave Stern reunited to form Bluetip, with bassist Jake Kump and drummer Zac Eller (Worlds Collide). Bluetip had a serious work-ethic, they released 3 albums on Dischord Records, as well as several singles and split releases on various labels, and toured relentlessly, making many trips through the U.S., Europe, and Japan. Inner-band turmoil resulted in a number of line-up changes. Zac left shortly after the release of their first album, "Dischord No. 101", and was eventually replaced by Dave Bryson. Dave Stern left after the release of "Join Us" and was replaced by Brian Clancy, leaving Jason and Jake as the only original members. In 2001, when Jason moved to New York, the band eventually folded. However, Jason quickly resurfaced and has continued playing under the name Retisonic.

Dischord No. 101
Hot Fast Union
Join Us


"Car Vs. Driver played with Scout more than any other band during its existence, probably because our bass player was the older brother of their drummer. They were a band that definitely needed repeat listenings and shows to fully appreciate, as their music and presentation were so dense and layered it would be difficult for the casual observer to comprehend. One thing that was nice about their recordings is that they would always provide explanations for each of their songs, which cut through a lot of the abstractness and ambiguity and gave the songs a clear, deeper meaning. So few bands actually do this, so it is nice when a band lays it out like this, and this is a band that definitely benefited from this approach. Their songs had many noisy parts where the lyrics were spoken and buried in the sound, their song titles were cryptic, their drummer did most of the singing, and their songs were usually these huge orchestrated opuses that could sometimes sound like 5 or 6 songs put together. It was an overwhelming experience to see them play, but when we would tour with them, I would get into a groove and really start getting into their music. "

Eye for an Eye

Eye for an Eye began in 1988 as Jason Grotrian and Ravi Dhar playing guitars, Adam Doneas on bass, Thos Niles on drums, and Lloyd Stanley singing. By mid '89 Adam was gone and Kevin Norton was in. Ravi left before the year was up and the line stabilized for the lion's share of the band. We did what we did to have some fun and because we didn't know what else to do. By the time it was over Dean Baltulonis had joined on 2nd guitar. Out last show was at the 8 Ball Skate Park Somewhere, MA in the spring of 1991, but the cops shut it down before we played.


Omega Drone
100 Percent Unnatural


I think that the idea for Eulcid came about in 1996 when my friend Travis suggested that we play some music. My band splintered and his band piebald had been playing shows together here and there for several years at that point. It seemed like a good idea, but it took until the summer of 1997 to actually start to happen. We wrote the music to our first song on the evening before about 15 of our circle of friends were about to move to Boston from the Merrimack Valley. It was called "five months, ok" and would later appear on our demo. We were both excited to start, and the first week after the move to Boston began practicing with friend Kurt Ballou on drums.

Practices went regularly for the first month or so before scheduling problems began to take effect. Travis was in Piebald who were starting to really come into their own as an amazing band, and Kurt was finishing a class he needed to graduate as well as writing the final touches of his main band Converge's record "when forever comes crashing". Sometime around January Travis was replaced with former Kid Kilowatt drummer Matt Redmond, and Kurt moved to bass. This incarnation really only lasted two practices. I was nearly jumping out of my skin to get some songs out of my head and knowing Kurt would never be able to tour because of his other obligations former Splintered bass player Chris Raiche was recruited to fulfill the bass playing duties. Thus Eulcid really began in April of 1998.

The old line up left us with the shell of two songs and one complete one, but we wasted no time finishing these and adding two more to record our first demo with help from my roommate Steve Brodsky less than a month later on borrowed equipment. With four hundred copies of the demo pressed we played our first show back where it all started in the Merrimack Valley with Piebald. Every friend I could think of showed up to lend support. That summer four months after that we hit the road with the short lived and under appreciated "the never never" for ten shows and then six with the ire/cave in tour. It was amazing! The demos went fast and the shows were tremendous fun, I was broke from buying a van, but it was worth it. We all felt good to be in a band that was serious about creating music. A solo winter tour followed in December of 98 and "the crane ep" was released in March 99 on undecided records. Local shows, a jaunt to Canada with cave in, and more touring were to follow in the summer of 1999. This time the entire country rolled under the wheels of our van Mr. Bruno. With our roadie extraordinaire and professional napper Ryan Daniels (he slept through the entire state of Indiana) we played about 25 shows all around the U.S. Throughout this whole time though, one thought planted itself in my mind, that of our next record. When we returned home practicing became intense and sometimes shows were turned down in favor of practice time. Songs were being worked and reworked in my head, worked and reworked in practices, and then evaluated even more over and over again during my daily routine. Every factor was taken in to consideration that I could think of and every word labored over. Finally March 25th 2000 we began recording.

It seemed as though anything that could happen to make the process more difficult did. We had a terrible family emergency, the tape machine broke, I was sick, but all those months of preparation paid off, for the album was tracked and completed true to my vision of it! The Wind Blew All the Fires Out is something that was worked on for over a year, and consumed my life to a certain extent. But now when I sit here and think about all the work that went into it, the friendship the three of us have developed and the caring for our music it seems so easy. It seems easy to sit in a van for 15 hours, it seems easy to lose thousands of dollars, it seems easy to do twenty takes of a song in the studio until it is just right, and I guess most of all it seems easy to do it again. ( Mike Law. April, 2000)

Phleg Camp

Phleg Camp was a Canadian band whose music was clearly influenced by the Jesus Lizard, but whose stage show was not. One always felt very safe and secure at a Phleg Camp gig.

However, listening to the band’s only full-length release, the Steve Albini produced Ya’red Fair Scratch, I can’t help but notice how monstrously talented these guys were. Sean Dean, his bass deep and rumbling, hammered-out the foundation of the Phleg Camp sound—sloppy, confounding rhythm. Eric Chenaux, the guitarist/vocalist, added a layer of lazy, dissonant, post-hillbilly electric gee-tar jangle. With robotic precision, drummer Gavin Brown filled any remaining holes in the band’s wall of sound with pops of tightly-wound snare. Underneath it all: the muffled shouting of (mostly) indecipherable lyrics.

Aside from the Jesus Lizard (bass tone and bloozy guitar playing), other touchstones for the Phleg Camp sound include Nomeanso (bass tone and occasionally rhythm), Houses of the Holy-era Led Zeppelin (reverbed funkiness), the Coen Brothers (lyrics) and Fugazi (dissonance). The album closes with the band playing along to a ghettoblaster blasting the Neil Young song “Powderfinger.”

If this sounds appealing, buy a copy of the album. If you like what you hear, consider looking into some of the projects the musicians have been involved with since disbanding Phleg Camp in the mid-nineties: a veritable who’s who of the Queen Street West establishment, including Big Sugar and Hayden (Brown), Life Like Weeds and Crash Vegas (Chenaux), and the Sadies (Dean).

Then burn me a CD sampler. Queen Street West being part of Canada and all, I’ve always assumed its musical establishment was too “soft” for me to bother looking into.

David Sandström

David Sandstrom (born January 2, 1975) was the drummer for hardcore punk group Refused. His first solo release was called Om det inte hander nat innan imorgon sa kommer jag.. (If something doesn't happen before tomorrow, I will..). Om det is about David's grandfather, and was sung in Swedish. The second album, The Dominant Need of Needy Soul Is to Be Needed was released in 2004. His third album is Go Down! and was released in May 2005 under the name David Sandstrom Overdrive. In October 2008 the fourth album was released, titled Pigs Lose on Razzia Records.


This was a side project of Civ and Arthur who were previously in Gorilla Biscuits. The project is named after Civ's real name Anthony Civocelli. To date, the band has released two albums Set Your Goals in 1995 and Thirteen Day Getaway in 1998. Their first album included the radio hit "Can't Wait One Minute More". As of 2000, CIV is now on hiatus and there are no announcements if they may or may not reunite in the future.

Cast Iron Hike

With their formation in 1996 that resulted from the breakup of the Boston hardcore act Backbone, drummer Dave Green and guitarist Christian Pupecki got together Cast Iron Hike that same year with Jacob Brennen (vocals), Michael Gallager (guitar), and Peter Degraff (bass). Continuing the short, fast, and loud formula of their prior band, Cat Iron Hike immediately played a series of shows throughout the East Coast before their debut EP The Salmon Drive came out in 1996. The following year, Victory Records released the album Watch It Burn while Trustkill Records put out a self-titled EP in 1998.

Self-Titled EP
Watch It Burn


Kick ass hardcore in the best traditions of 80s finish hardcore-like a tighty wound early Riistetyt. This hos somewhat richer production with thrilling originality in the guitar changes of pace it boasts loads of power while making for distinctive, original compositions. All song a well under two minutes, and makes you ache for an albums worth of this stuff.Strongly recomended

Reagan Youth

David Rubinstein was born in 1964. He formed "Reagan Youth" with guitarist Paul Bakija when both were in high school in Rego Park, Queens. While they were still in high school, the band played the punk clubs of Manhattan. In fact, David's science teacher became a roadie for the band (That high school teacher was so into the punk scene that he shaved his head and as a result almost go fired by the school administration).

As the members graduated from high school, Reagan Youth was performing regularly at C.B.G.B.'s and an established band on the country's budding punk rock scene. They recorded a single, then an album. They toured cross-country many times, performing with all of the great hard-core punk bands of that era. At the "Rock Against Racism" shows in the early 1980s, Reagan Youth shared the bill with the Dead Kennedys, the Bad Brains, and others.

Reagan Youth recorded its first album and signed a simple contract, hand-written on the back of a poster for a gig. That album sold over forty thousand (40,000) copies. The band also appeared on several compilations albums, including Live at C.B.G.B.'s. They were a mainstay at C.B.G.B.'s Sunday afternoon hard-core matinee concerts.

Reagan Youth's music was ironic and political. They preached the gospel of "peace punk." David was known as "Dave Insurgent." The name "Reagan Youth" was ironic, given David's family background as holocaust survivors. The cover of their 2nd LP featured a photo of Hitler shaking hands with an emissary of the Pope. Their song titles included "Jesus Was A Communist" and "New Aryans."

By the late 1980s, the members of Reagan Youth were frustrated and worn out from years of touring and drug abuse. They had never made any money in the music industry. When Ronald Reagan left the White House, they officially disbanded. David and several other band members continued to play music together, although their new group never achieved the same success or momentum as Reagan Youth.

By this time as well, David had developed a serious heroin addition. He was also dealing drugs, although he was not very shrewd at it. David had the bad habit of consuming the drugs he was supposed to be selling. He was a loudmouth. When a supplier would ask him for money that was owed, David would sometimes reply, "You'll get you money when I say you get it."

In a drug deal gone bad, another drug dealer violently beat up David with a baseball bat. He was hospitalized for weeks. When he got out, he returned to his parents' home. There, he continued to use drugs, smoking pot in his bedroom as his parents tried to help him recover. Eventually David left his parents' home and moved back to the lower East Side. By now, between the violent assault and his continued drug use, he was no longer an energetic anarchist. He had become a bit disheveled, and many of his friends from the punk scene no longer associated with him.

David began dating Tiffany B., a prostitute who worked on Houston Street. David had told his parents that she was a dancer. Tiffany supported the couple and their drug habit by turning tricks. David would often hang out on the street with Tiffany, waiting while she serviced a customer, and then going with her to score drugs.

Around this time, David's mother died in a freak car accident. One night, David and Tiffany were waiting on Houston Street when a familiar customer pulled up in a pick-up truck. Tiffany got in, telling David that she would return in twenty minutes. She never came back. David called the police with a description of the truck and went to all the hospital emergency rooms in the city searching for Tiffany. A few days later, on Long Island, the police pulled over a truck and found Tiffany's body in the bank. They arrested the driver, Joel Rifkin, Long Island's most famous serial killer, who was later linked to killing numerous prostitutes.

Depressed and alone, after the unexpected losses of his girlfriend and his mother, David headed into a downward spiral. One month later, David Rubenstein p/k/a "Dave Insurgent" committed suicide.

Dottie Danger

Dottie Danger is St.Petersburg (Russia) indie rock / surf punk / post-hardcore band.


Uyt Ruin (Comfort of Ruins)


1986 - 1991

Insted was created in the spring of 1986. After writing a handful of songs they began playing backyard parties and garage gigs. By the end of the yearthey had developed a following in Anaheim and decided it was time to record a demo. In 1987 they caught the attention of local hardcore label Wishingwell Records, ran by Pat Dubar and Pat Longrie of Uniform Choice. They signed a deal with them later that year, wrote more songs, and began opening for some of the bigger bands at venues all across Southern California. By the time they finished the recording of what would become the "Bonds of Friendship" album, they had opened shows for national acts and expanded their following throughout Orange County. Before their first record was released, the band line up was solidified and they we’re ready to take their show out on the road. This would bring us to the summer of 1988, in a time when the straight edge-hardcore movement was growing. Insted embarked on their 1st national tour and began their system of touring, coming home and writing new songs, playing locally, recording, and then going back out on tour.

These were the key ingredients that defined Insted and would earn them an important spot in the hardcore punk scene. In the spring of 1989 they flew to New York to do some dates with Vision and strengthen their relationship with the East Coast. That summer they released the "We’ll Make the Difference" 7" on Nemesis records and were back in the van for another full U.S assault.

That summer they shared the stage with bands like Gorilla Biscuits, Bold, Uniform Choice, Slapshot and Reason to Believe. Upon returning home, they were offered a record deal from Epitaph Records in which they accepted. Insted’s following had steadily grown and they were now headlining 1000 seat venues and drawing massive crowds. During the recording of "What We Believe" they made plans to expand their borders and tour Europe. But at the end of 1990, shortly after "What We Believe" was released, America went to war with the Middle East. Due to the circumstances they were unable to ship equipment over seas and decided to stay in their homeland. In the spring of 1991 they did another national tour. They were now sharing the stage with bands like Judge, Snapcase, and the Cro-mags. The hardcore sound of the early 80’s that they were so familiar with was changing. It was turning into a hard metal edge sound and the attitude of the scene reflected it. Bands that they looked up to like Uniform Choice and Youth of Today were broken up and their old time favorites Minor Threat and 7 Seconds were long gone.

When they returned from tour they began working on new material but felt out of place. The band had built its reputation on respect and integrity. In July of 1991 they decided to do a final show and bow out gracefully. Spanky’s Cafe in Riverside was one of their favorite spots and a perfect host for their humble grand finale. They made sure to include on the bill a few of the promising up and coming local bands.

Over the years Insted traveled throughout the country making friends and building a legacy that ingrained them into hardcore history. To this day the friendships they built are still in tact and their legacy lives on.


Flagman was a PA/NJ area band that existed from 1991-1994. They are slowly becoming one of those “obscure” hardcore bands, and I don’t want that to happen.

Alec, the drummer of Flagman, gave me a very detailed history on the band. Thanks to Alec for being so supportive of this!

“Flagman originally started out in 1989 as a band called Loud and Clear, in Bensalem PA. At the time, the band consisted of myself, Sean McCabe, Sam Pinola and John Shearstone. We had started playing music together for a pure and simple reason. We were 4 of about 10 straight edge kids in out entire town. We figured it was our job to get Bensalem on the SxE music map. So we bought some equipment, and that was that. Cutting school in favor of band practice, and playing a show or two at peoples houses that was about all we did with Loud and Clear.

Guys in the band started not getting along, and my brother (Dave) had gotten a pretty nice bass set up (peavey bandit amp, and a no-name basssweet!). Plus he knew a kid named Ed Zielanski that was supposedly pretty good on guitar (and had a Fender Strat no less!) so Sam left the band, and in came Ed and Dave. John our former guitarist was moved onto the microphone. We changed our name to Flagman at that point, because we felt we had changed the band around and were heading in a new direction (This btw was the name of our demo that we recorded at Jake Hains Unisound studio, in Reading PA under the new band name) Plus we had seen a Flagman sign on the way down the shore one day. It all seemed to make sense (or at least then it did)

WellI am sure you never heard the demo. There is a reason for that: It SUCKEDReally bad. So we didnt release too many of those. We should have known when we saw the Unisound studio set up was a bunch of microphones from the 1930s, rubber banded to cymbal hardware.

If anything good came out of that recording, it was that: A: we were able to get some shows at the Unisound. And B: We realized that we didnt like John singing. So we got Sean McCabe to start singing for us. It was much better this way, because everyone was much better friends with Sean anyhow. Our first show as Flagman had us opening for 4 Walls Falling and Burn, at the Unisound. After that, we had gotten a couple more shows, however Sean at this point decided to take a jaunt down to North Carolina with some girl we all went to high school with. We had 2 shows booked that weekend he left, and we wound up having to cancel them. Also, Seans commitment towards the band was kind of questionable. When playing shows up at the Unisound, we had befriended this kid that sported glasses, and always wore a Celtics Larry Bird jersey. We went up to the Unisound that weekend to the one show we had to cancel, and saw the Celtics jersey kid. later found out his name was AJ Edminston, and we asked him if he wanted to be in our band. Later that week, we practiced with him, and he played an Earth Day concert at our High School as a test run. Everything went well. We played our first real show with AJ up at the Unisound with Mouthpiece, Lifetime, and Ressurection. The show was awesome, and halfway through our set, the band got asked if we wanted to release something on Watermark records. This is the way things got done at the UnisoundYou are halfway though playing your set, one of the Jordan brothers pulls your singer aside to ask if you want to put out a 7. Well, of course we were like FUCK YEA. And that was that. Signing with Watermark, did not only include a luxurious record deal, but also came along with the services of Joel Jordan. We needed a 2nd guitarist, and he was funny as hell and fit right in.

We recorded the Restraint 7 at Dome Studios in Royersford PA in 1991. Our 7 did not actually come out until 1993. We had many, MANY problems with Watermark, and had actually even started recording our 2nd 7 with Consequence Records, at Why Me studios during the Watermark hiatus. Before we started recording the Consequence 7 we kicked Joel out of the band, Dave moved over to guitar, and we got Josh Brown playing bass for us. He was a great addition to the band, and turned out to be an even better friend. This is the lineup that would remain until the end of Flagman.

Many shows, and stories later, we recorded our final 7 on Low Orbit records (which was owned by friend Eric Zimmerman), At Why Me. We played our last show in Massachusetts, with a ton of other bands at a HC fest. To be honest, playing this show as our last was one of the most regrettable things with the band, at least for me. The whole existence of Flagman was very personal, and this last show just did not have that feel to it. Luckily the band was all about great memories of growing up together

…Everyone is a child of their past - To Reflect “Its for Life Comp”

Members of Flagman were/are also members of following bands: Crud is a Cult, Mouthpiece, Savanah, Mandella Strikeforce, Ink and Dagger, Ruby Keeler, Laurel, Battery, Lenola, Like a Fox, Favourite Sons, Hamsicle, The Series…And more that I am probably forgetting

When Flagman was not playing shows they could be seen: At Taco Bell with the Grease, playing CRUD shows, shooting BBs into imitation Les Pauls, making crank calls, running scams, cruising around suburban Allentown for girls, saying MIEW, hanging out in Ocean City, and pissing off truckers and Virginian rednecks on the CB. ”


Alex & Chris from Chain Of Strength put forward a project that leans much closer to the Dischord sound of the mid 80's as opposed to the Minor Threat influenced Chain. The presence of early post hardcore DC bands' influence doesn't stifle their own energy. Track down the "Something To Say" demo, later released on Ambassador Records under the name Statue, this demo predates Filter The Infection and is the bridge between that release and their days in Chain Of Strength.

Filter The Infection


South Florida hardcore unit Strongarm formed in the early '90s out of the ashes of various loud and local outfits. It featured guitarists Nick Dominguez and Joshua Colbert, vocalist Jason Berggren, drummer Chris Carbonell, and bassist Chad Neptune. With only a few demos and a self-released EP to its name, the band was snapped up by Seattle indie Tooth & Nail, and the Atonement LP appeared in 1995. The album featured a more expansive sound and vision than the typical hardcore bluster, incorporating odd time signatures, unpredictable chord progressions, and the band's Christian beliefs into the music's usual stomp and aggression. The Advent of a Miracle LP followed in 1997, and solidified Strongarm's reputation (alongside South Florida compatriots Shai Hulud) as a driving force not only in the straight-edge and Christian music communities, but in the larger hardcore scene. Unfortunately, the realities and complicated logistics of being in a band got in the way, and Strongarm disbanded soon after its release. Colbert and Neptune went on to form the emo-ish Further Seems Forever with vocalist Chris Carrabba, but Strongarm did reunite every now and again for reunion shows.

Strife & Snapcase & Earth Crisis

The California Takeover is a split album by the American metalcore bands Earth Crisis, Strife and Snapcase, which was released in 1996. The album was recorded live at The Whiskey in Los Angeles, California on April 12, 1996.
Great bands=great show

Children Of Fall

Children Of Fall was formed out of the ashes of many now since long defunct bands from the 90's era. Since then many things have come to pass and change, people have made entries and exits and we've moved endless miles geographically and "spiritually" (not to be misunderstood or misinterpreted as being an indication of potential religious belief). We've sworn in blood to seek to inspire others to explore their own passions and pain for this world. To reach beyond our own everyday boredom and find outlets of expression suitable for each an everyone of us. We gather around a system of loose Anarchistic ideas and beliefs. We hold no faith in religions and/or the organized spiritual world, but we have faith in the act of (wo)man and our own potential as human beings. Music has been made one of the languages we speak although most of us have other platforms or ambitions as well. But this medium of blended words and chords has proven to give us the freedom we most desire in our pursuit to give expression to the inner most of all. We're now some 350 DIY shows down the line and just fullfilled our ambitions for our 3rd fullength album "Bonjour Tristesse". In the process of this many things could be said about progress and regress, pleasure and pain but that..s left for the outside world to interpret and judge... We encourage you all to take a deep dive into our music and lyrics and find what needs to be found subjectively to each and everyone. No borders and no boundaries. No pain without a purpose. This is music and the love for it...


Bughummer, a band from Savannah, Georgia, enjoyed a five-and-a-half year run from 1992 to 1998. Originally formed by guitarist Jon Proctor at the Savannah College of Art and Design as a quartet, the group underwent different line-up changes and settled with Proctor, guitarist Keeley Davis (now of Engine Down), and drummer Brian Lackey.

The band was challenging and mercilessly aggressive in their approach to music. As a result, Bughummer's sound, which was always on the far fringes of pop, is complex and technical. Bughummer also augmented their live show with frequent improvisation and experimentation. Not concerned with crafting music that fits into preconceived notions of the conventional rock song, Bughummer blended keen lyricism and emotion with a structure punctuated by sudden stops, starts, and silent passages.

In their eventful tenure as a band, Bughummer cultivated a strong sense of community in Savannah and performed with such recognized acts as Fugazi, Karate, Frodus, and Sweep the Leg Johnny. Their final recording, The Get Away With, is a rough-hewn gem that many more will have the opportunity to hear and discover.

The Van Pelt

Members of BLONDE REDHEAD, NATIVE NOD, and GREYHOUSE formed THE VAN PELT and began to spread its gospel to the world. On the band's 1996 debut album Stealing From Our Favorite Thieves, "His Saxophone is My Guitar" is a straightforward rocker not too far from the screamy, emotive hardcore roots of the band's founders. Chris Leo's flurry of spoken word vocals swims in a sea of guitar lines on their second full-length, Sultans of Sentiment. The myriad of tempos and moods make songs like "My Bouts with Pouncing" tough to figure out but certainly easy to listen to... over and over and over. This band doesn't come from a blueprint, but was born out of intelligence and emotion. THE VAN PELT broke up in 1997, with two members then forming THE LAPSE and another joining JETS TO BRAZIL.

Chris Leo - Guitar & Vocals
Brian Maryansky - Guitar & Backing Vocals
Toko Yasuda - Bass Guitar & Backing Vocals
Neil O'Brian - The Drumset


Picturesque was a rock band from Minneapolis, Minnesota. In 1997 drummer Mike Paradise and I, fresh from the demise of our previous band, Threadbare, began writing again with the aim of building on some of the more melodic and “post-hardcore” tendencies displayed on the final Threadbare recordings. After recording a demo of five instrumental tracks we began the process of seeking out bass and vocals to round out the lineup. Brad Senne came on board first as vocalist/lyricist, having played with Mike in Reach in the early 90’s, pre-Threadbare. I then convinced my iron-livered friend Chris Dales to come on board (which required him to forsake his chosen instrument of guitar for a bass). And thus, Picturesque strode forth o’er the earth.

We started playing shows around the Twin Cities with a handful of short trips around the midwest, and quickly cut another 4-song demo. I was good friends with Harvest, also from Minneapolis, and when they had a stop back home in the midst of a tour in support of their first record on Trustkill, I gave a copy of the demo to Trustkill boss Josh Grabelle, who was along for the tour. This was back in the pre-Myspace days when it wasn’t completely unthinkable for an unsolicited demo to do anything more than circle the proverbial drain. Instead, perhaps goaded on by the Harvest guys, Josh called from the road to ask if we’d like to put some records out on his label. Shortly thereafter the deal was done and we began work on our first EP.

Recorded at Gark Studio with renowned engineer/soundman/tour manager Dave Pinsky, Shine In Eyes was knocked out in a weekend in one of those rare studio sessions where everything goes right the first time. The EP was released on March 1,1998. At the same time, Brad began playing 2nd guitar live, adding further depth to the live sound. Favorable reviews for the EP started rolling in, including a nod from CMJ as their “Pick Of The Week” the same month as it was released. We spent the summer of 1998 writing for what was to be the first full length. We had begun a round of preproduction on seven new tracks when Brad left the band in the early fall of 98, wanting to pursue more acoustic, pop-based music.

Without our frontman and chief lyricist, someone who was such a integral part of our sound, there wasn’t much time left for Picturesque. With the support of Trustkill we auditioned vocalists for a few months but were unable to find that perfect fit, and it just didn’t feel right. Defeated, we stuck a fork in the band that winter. Despite the positive reviews for the EP, we hadn’t had a chance to tour widely beyond the midwest, so our demise was hardly an earthshattering loss for the music scene of the day.

Brad went on to release a solo record and is now leading his new band, Beight, to great reviews and a strong following. Chris and I formed Seconds Before in the summer of 1999 (with Chris back on guitar), with Mike joining us in 2005. Thanks to the magic of the interwebs, you can check out some of the unreleased Picturesque demo and pre-production work right here. Some of the tracks never had vocals recorded, but you’ll get a sense for the direction the shelved album might have taken. The Shine In Eyes EP is still available at online music stores like iTunes. And there you have it.

-Carl Skildum, March 2007


In 1992 Jeff Fabb (Drums), Brian Langan (Guitar), and Brian Green (Bass) started an unnamed punk metal band out on the Eastern End of Long Island. They enlisted a local skater kid Scott Jarzombek to sing. The band was originally named Godhead, after the song by the New York Hardcore band Burn, a major influence of the bands singer.

The bands geographic location, the eastern sticks of Long Island, automatically made them outsiders to the LI and NY scene. The band began to organize and play shows with their friends in their small town. These shows were in local basements, recreation halls and garages. For the most part they were more parties then shows, a handful of skaters, metal heads and geeks from the local area high schools coming together to hang out. The show line ups were always with their friends Grid and a mix of side projects.

Over the first year of their existence the band went through numerous member, style and name changes. Existing for a short time as the side project Offsides, with Scott moving to bass and his best friend, Ross Milligan, on vocals. Sometimes the band would play under the name Offsides and other times as Tripface. Sometimes they would play together, sharing a set. It was Ross who gave the band the name Tripface.

Offsides would give birth to the first recorded line up of of the band. Austin Macdonald, Offsides guitar player moved to bass, Scott back on vocals and a friend from school, Rory, on guitar. It was with this line up that the band would play live on WUSB’s Riptide. The set was recorded, and released as a split cassette with their friends Grid. After a kind review in Artie Philly's Paranoid Zine section of Under the Volcano, long Island began to take notice of the small “East End” hardcore scene.

After a handful of shows and a failed attempt to record a demo, this line up ceased to function. Their popularity continued to grow thanks to the circulation of their live split. Jay May, a fellow East End resident who had been doing sound at local LI shows and had recorded the unreleased “Offsides” demo, approached Scott and Austin about reforming the band with him on guitar.

The band was reborn, recruiting Dave Allen to play bass and Pete Ruland on drums. This would be the final and most productive line up of the band. Playing a cross of Snapcase meets Judge; the band grew in popularity in their home scene of Long Island and began to make a dent on the east coast.

After only a few months of having the new line up together the band recorded the “Closed In” demo. This included the newly written title track, a song written by the original Godhead line up, “Brotherhood” and the Offsides song, “I’ve Lost”. The band played WUSB again, and another cassettes split was released, again with their friends Grid. Austin soon left the band over musical and ideological differences.

This final line up was the most productive and well know version of Tripface. The band would stay a four piece, with Ryan Motive filling in on bass for tour. The band would go on to play such legendary clubs as CBGBs, The QE2, Right Track Inn, The PWAC and The Wetlands where they shared the stage with bands like Warzone, Sheer Terror, Agnostic Front, Hatebreed, and Outburst. They only did one East Coast tour, with NYHC legends Indecision, and did long weekends with bands like Marauder, Blood for Blood and Earth Crisis.

The band was picked up by Artie Philly’s new subsidiary of Wreakage Records, Exit. They were also taken under the wing of Tyler King at King-sized booking, who can be credited with much of the bands later success. The band recorded a 7-inch “This Foundation” in 1995 and then their full length CD "Some Part Sorrow" in 1996. They were also featured on the From the Ground Up Compilation (Eyeball Records), The Mindset Overhaul Compilation (Wreakage Records) and the Release DVD (Victory Records).

In 1997 Scott Jarzombek left the band over internal differences. School, work, distance and lifestyle changes had driver a rift between band members. After Scott’s departure the band recruited Tommy Corrigan from Silent Majority to form the short lived Advent. Even after their break up the band continued to get critical acclaim for their recordings. "Some Part Sorrow”, was voted as best NYHC Album of the Year by In Effect Fanzine and was featured on a list of AP's “Essential but Obscure Long Island Records”.

Dave Allen would later go on to play bass in Glassjaw, Jeff Fabb currently plays in In This Moment and Scott Jarzombek does the online fanzine Bystander . The purpose of this myspace account was to promote the forth-coming release of their discography “Some Part Hope.” This will feature a remasted version of “Some Part Sorrow,” the original recording of the bands debut E.P., the “Closed In” demo and select tracks from their live at WUSB recordings.

Tripface - Some Part Hope (1993-1997)




Shift was a New York Post-Hardcore band. They started in New York City, some time around 1990, when they were freshmen and sophmores in high school. Their initial goal was to get their friends to dance during the “mosh parts” of their songs at the high school talent show. They did and they knew they were on to something. They started to play clubs around town, and recorded a pair of demo tapes that they sold at shows. Soon they signed to Equal Vision Records and released “Pathos” in 1994 and “Spacesuit” in 1995. Next they moved to Columbia Records and put out “Get In” in 1997 before breaking up in 1998. They toured the U.S. numerous times and Europe twice. They were proud to share the stage with Quicksand, Sick Of It All, Jawbox, Rocket From the Crypt, Foo Fighters, The Offspring, Clutch, Tad, Texas Is The Reason, Shelter, Into Another, Burn, Orange 9mm, 108, Civ, Earth Crisis, The Promise Ring, NOFX, Face To Face, L7, Our Lady Peace, Supertouch, Endpoint, Avail, Killing Time, Local H, Stillsuit, Mind Over Matter and many many other great bands over the years. Samantha has gone on to play drums for Hole, Motley Crue, Eagles of Death Metal and currently, Peaches. Josh formed Big Collapse and released 2 albums. He has new project in the works.

The Meatmen

Что может быть круче чем The Meatmen?
Tesco Vee For President!

Chinese Telephones

Awesome sloppy and catchy punk rock for fns of old Dillinder Four, Off With Their Heads, and Banner Pilot

Self-Titled 7 inch
Split with Dan Padilla
Split with Potential Johns
Split with Anti-Justice
Split with Dear Landlord
Self-Titled LP


I could rant about their history hailing from the early 90's post hardcore band Kosjer D. or their fascination with Joy Division, Dischord, Native Nod & the Dutch soccer player Michael Reiziger or about their jobs in the social sector, their deal with Stickman ... but no ... let's try to focus on their impact on the listener by means of a couple of statements. Reiziger touches your emotion. Easily switching from subdued melancholy to youthful enthusiasm, from restrained contemplation to razor-sharp paroxysms of anger, shifting from feather-light poptunes to a massive dead swing sound but nonetheless always keeping their specific touch. Reiziger was a band. No exasperating individualism, no freaky soloing, the whole is much more than the sum of 4 individuals. Reiziger was beyond a band. Managing to combine escapism with harsh realism & in that sense reminding me of that other great band from Limburg Siglo XX! Moreover 3 of them work at the same floor of a mental institute, they spend their free time together ... rehearsing, touring, hanging out & sharing more or less identical socio-cultural views with other unique belgian bands Reiziger is Reiziger Unique in sound, unique in word, unique in style. RIP 1995-2001
Меланхоличный инди рок родом из Бельгии

Robot Whales

At times, hardcore as a music format seems to stagnate - trends come in, a sound is "it", and all of a sudden the trade off is originality and new ideas. In the face of this, Robot Whales debuts with a sound all their own - blending a groove heavy sound with an atmospheric quality without leaving behind the influences that ground them solidly in the hardcore realm - think Inside Out and Burn colliding with Handsome and Quicksand. The sense that you are listening to something unique and new is present - rarely does a record come out that strikes as hard to your brain as "Vehicle" - infectious is the starting point, addicted is where it leaves you. For anyone who's grown weary with the retread records, Robot Whales delivers.
Ребята играют хардкор в духе поздних Burn, Into Another и у них это неплохо получается:)


Tom Capone (Beyond, Bold, Quicksand) - guitar; Jeremy Chatelain (Insight, Iceburn, Jets to Brazil,Cub Country) - vocals; Pete Hines (Murphy's Law, Cro-Mags, Alloy) - drums; Peter Mengede (Helmet) - guitar; Eddie Nappi (Enemy) - bass

Frank Turner


in the mid 90..s there were alot of cool bands around in the uk,in what you might call the "post hardcore/emo" section i suppose? all forgeing there own unique sound,some more mellow,some more screamy,& some were a bit more rock sounding,& thats the sound we were after,hardcore/emo with a rocky edge to it! over the few years tribute played,our sound did change,but we still tryed to keep those ideas involved,& with 2 different line ups,we started as a 4 piece band in 93/94,heavly influenced by US indie/emo bands,but even then,we had chuggy bits! but after doin a demo & a few gigs,that tribtue split up after a couple of years,but then a new one began,quite quickly,inc a new bass player,& 2nd guitarist,& things started to really take shape! playing quite a few gigs in different citys,at different shows,it was a cool time,having a few record releases,compilations,even a flexidisc! playing with lots of cool UK bands,like baby harp seal,bob tilton,polaris,to name just a few....& US bands too.....but after only a few more years.i think it was sometime in 97? or maybe early 98? it came to an end,after the last split 7" release,which was unfortunate,as we were supposed to be doing a new recording,for a 6 track cd that was planned,we had it kinda organised? but regretably it never did happend,because of many factors,but mainly because the members at that time were spread all over the country,with moving away to uni or new jobs etc,so things wasnt going so good & we just couldnt practice attall,& with time going passed,before we knew it,it was all over.....(с)

Final Exit

The members of Final Exit and Final Exit as a band where known for their uncompromising lifestyle (straight edge) and their hard, fast music. They where around since 87, from the beginning of the Umeå Hardcore scene.
В этом году на Monument Records будет переиздание дискографии (Det egentliga Västerbotten) на виниле + DVD с последним концертом.

Men's Recovery Project

In the early 1990’s, the independent/DIY music world was a very serious place. Enter MRP, intent on pulling the pants down and spoiling the soup of all that was well and good. When no one wanted guitars to sound like puking pigs, they did it ... when synthesizers were being thrown out and ridiculed, they dressed up like Patrick Henry and ate them. The world was retarded and they were the geniuses.Formed in 1993 by Sam McPheeters and Neil Burke , M.R.P. was a signature live act of the Parkinson’s Generation.Men's Recovery Project have released over 200 songs on thirteen records and have toured seven times across the lower 48, Alaska and Japan. They are, to be frank, one of the most beloved bands in all of popular music.The group split in 2002 after Burkes' asthma made touring imposible
Тотальное безумие от бывших участников Born Against!


RORSCHACH featured future members of DEADGUY, BEAUTIFUL SKIN, COMPUTER COUGAR, KISS IT GOODBYE, RADIO TO SATURN, AMBUSH (on and on and on) They were active from 1989 until 1993 and played a significant role in the shaping of metallic hardcore music and its aesthetic as it exists today. Charles Maggio, frontman for the band, is the founder of the Gern Blandsten record label.

Police & Thieves

Featuring members of Youngblood alumnus WORN THIN, as well as members of BALBOA and BLEEDER RESISTOR, they carry on the tradition of melodic hardcore that DC put on the map. These four songs offer incredibly energetic and well played hardcore in the vein of VERBAL ASSAULT or DAG NASTY.

Follow Fashion Monkeys

Хардкор, хардкор! и никакого метала:) Хит! напомнили мне Dead Kennedys, Agent Orange(без серф рифов) Одна из наиболее влиятельных панк рок групп Пенсильвании(Lehigh Valley) середины 8о-ых.Выпустили один лонгплэй в 85(на Clymer Records) В 87 записали новые песни для второй пластинки, но группа расспалась и новый альбом так и не вышел...

Follow Fashion Monkeys were a punk/hardcore outfit out of Bethlehem, PA that helped to influence and define the Lehigh Valley, PA scene. They self-released their self-titled first album in 1985 on Clymer Records. In 1987 they recorded what was to be their 2nd album, “The Diving Bull,” at Inner Ear Studios but the band broke up before it could be released. Two of these tracks made their debut on a couple of compilations


GODSPEED rose from the demise of TURNING POINT and released 6 of the most well structured songs that fall somewhere between emotional hardcore and slower post hardcore tunes. GODSPEED existed for a very short period, played some amazing live shows and parted ways This documents what was done and leaves most wanting more.
Godspeed - группа бывших участников Turning Point (Frank "Skip" Candelor и Jay Laughlin)
группа просуществовала совсем немного, и Swimmer's Ear это их единственный релиз.Отличный пост хардкор.

Crime - San Franciscos Doomed

It's criminal that this band has been so neglected in the annals of punk rock. If you've never heard of them, don't worry about it; they're never mentioned along side names like the Ramones, the Clash, or the Pistols, yet CRIME was every bit as energetic and raw as those groups. It's sad that bad punk bands like Alice Bag have been immortalized on film while CRIME has been mostly forgotten. Sounding more like their British counterparts than the Ramones, the Dead Boys, or hometown contemporaries such as the Avengers and the Dead Kennedys, CRIME was badmouthed by critics and scenesters alike.

The only places you'll find a trace of their existence other than this record are old San Francisco police reports, old copies of Bay Area newspapers, and a small credit beside "Hot Wire My Heart" on Sonic Youth's Sister. CRIME was everything punk stood for: a grating, hard-rocking, passionate rock'n'roll band. They loitered about the Bay Area in SFPD uniforms, attracted violent audiences, and broke up before they had a chance to become "significant". This collection has it all - the great straight-ahead punk of songs like "Frustration" and "San Francisco's Doomed" to the chaotic "Murder by Guitar". Punk rock is dead as hell, and this album drives that fact right home; listening brings on feelings of both melancholia and exhilaration. I recommend it, but with a caveat: look back, but don't stare.

(Mark Kemp)

Great stuff!

Crime Page

Release - The Pain Inside

AWESOME Youth crew hardcore from New Jersey (1988-1990) Band Members: Rob Fish(108, Resurrection, Judas Factor): Vocals, Chris Zusi(Ressurection, Judas Factor, Floorpunch) : Guitar, Greg Shafer : Bass, Chris Caponegro : Drums, Joe Coia : Guitar

Do It!

Instängd - Mitt Svar Pa Ingenting EP

Крутейший панк рок родом из Швеции!В духе скандинавского панка 80-ых(Headcleaners,Huvudtvatt,Missbrukarnac)C самим Махамедом Али в составе!(ну и Денис из Refused=барабанщик:))
Maximum Rock N Roll review

Descendents - Milo Goes to College (1982)

One of the best punk records ever made
No comments :)

Do it!
Buy it!

Meth And Goats - Attack From Meth & Goats Mountain

In a sea of shitty and overpackaged demo CDrs and lame as hell press kits complete with glossy promo shots, you can always find that diamond in the rough worth salvaging. For me that diamond was the midwest's Meth And Goats. I was already familiar with Meth And Goats from their split seven inch with Ten Grand, but haven't heard much from them since. After listening to some of their home recorded tracks on repeat all day I had to wonder why. After subsequent conversations with them about a possible release I knew I had to be involved with their debut full length. Meth And Goats prove that punk rock doesn't have to be overproduced and glossy on "Attack From Meth And Goats Mountain". They rip through 42 minutes worth of post-hardcore dirt-rock comparable to bands like Transistor Transistor, At The Drive In, and The Blood Brothers, but with an originality all of its own. Meth And Goats marry an art damaged punk sound with an absurd amount of spaced out jams, numbing feedback, and distorted screams that reeks of beer and body odor. Raw, rough around the edges, and catchy as sin.

Отличный танцевально-хаотичный шумный рок, с влияниями таких комманд, как: The Blood Brothers,ATDI,Sonick Youth,The VSS.