I’m a firm believer that music can be used as a weapon of protest against the fuckers that want to downpress the poor of all colors around the world. In the world of corporate greed and apathetic youth, it’s rad to know that bands like COP PROBLEM have not given up the good fight. Their new EP Buried Beneath White Noise straight brings the ruckus and turns up the fury past 10! Today CVLT Nation has the honor of streaming COP PROBLEM’s new song “Bear Witness” below…If you reside on the east coast, make sure to check out their upcoming tour starting on Nov. 1st, plus stay tuned for something very special that we have in the works with them…PROTEST & SURVIVE!!! Buried Beneath White Noise will be released digitally on Oct. 24th via their bandcamp, and by the end of the year on 7″ via The Compound (North America)/Prejudice Me (Europe)/Earsplit.
The Southwest Terror Fest is almost upon us, and today we’re getting you ready for it with a killer mixtape from Los Angeles’ infamous ACxDC. Sonic Cathedrals Vol. CXXIV ACxDC was curated by Sergio Amalfitano and it’s an A to Z of what you need to listen to!
I’ve been going to shows since about 98-99. Ever since I started going I’ve been collecting vinyl and taking in as many shows as I could within my means. It’s a little bit difficult coming up with a mixtape when I just want to share my entire music library from the last 15 years of gathering music. Hell half the music I have isn’t on a computer. So I narrowed it down to some stuff I think either are basics everyone into extreme music should know or are overlooked gems that might not see too much exposure. Its an eclectic mix of grind, sludge, hardcore, thrash, d-beat, powerviolence, etc. Some of it’s old, some of it’s new. Either way this gives you a pretty decent incite into what I’m into. Its what happens when you grow in a scene like LA.
Text & Photos by Darryl Reid
I’ll just quote a previous CVLT piece on Proxy to give you an idea of what this band is all about:
“featuring members of Inepsy and Truncheons. To describe their sound think stahlhelm helmets, Motörhead, Coitus, Charged GBH, Panzer tanks going to war and filthy ratbikes! No poser punk here this is dirty aggressive fuck off punk. Tough grating guitar, hoarse vocals, catchy bass and bashed out drums.”
That is the best summation of this band my lazy ass could find.
These pictures were taken at the Kent Legion (Ottawa) and on a river boat floating down the Ottawa river (300 punks crammed on a fucking boat).
These guys are fucking sick live. Pure oldschool punk insanity at it’s best; Proxy will make you wanna throw bricks at cops and burn shit while drinking shitty beer until you pass out in the gutter. Fun. Fucking. Times.
…or at least listen to.
There have been a lot of new dark postpunk and deathrock releases lately. Sometimes it’s hard to keep track. But here are some of the recent singles, EPs, and LPs that deserve your attention.
Like their fellow deathrockers in Fangs on Fur and Christ vs Warhol — two bands that, like Catholic Spit, are from Southern California — Catholic Spit inject their take on deathrock with a fiery punk sensibility and energy. This 6 person (!) band has been fairly prolific compared to other bands in the genre. (The most prolific band has to be Blue Cross, who have released 3 LPs in just over two years.) Catholic Spit’s 7-song Pact with the Devil LP was released in late 2012 and was followed only a few months later with the uptempo “I’m Your God Now” 2-song 7″. And now comes this split, which you can stream for free at the band’s Bandcamp page. Ericka’s vocals shriek — in a good way — through watery, flangey guitars (think John McGeoch), backed up by Nick Townsend’s andrenalized, uptempo punk-style drumming and Kaleb’s rock solid bass. (Townsend also did the band’s recordings for this release.)
The Catholic Spit contribution to the split can be heard at this Youtube video below.
We’re very excited and honored to be part of the Cvlt Nation Mixtape Series!! We all love slow and heavy music and while there have been a lot of great bands cultivating lots of great mixes of styles, we feel that grind and crust are underrepresented. So we would like to present to you our mixtape of Things That Grind and rock the D-Beat!! Enjoy!
See you all on the road this October!!
Stream Sonic Cathedrals Vol. CXXIII THEORIES:
CVLT Nation has a few special projects in the works, and we’re calling them The CVLT Nation Sessions. We are working with some of our favorite bands to cover seminal albums in full, and although we can’t give you too many details right now, we can reveal one of the albums we are covering – Discharge’s Hear Nothing See Nothing Say Nothing! Sydney, Australia’s DARK HORSE just submitted their original recording of “The Nightmare Continues,” and they created a rad music video to go with it! This is a sneak peek of Discharge: The CVLT Nation Sessions and a great representation of how each band is paying special tribute to the band and song with original recordings. Check it out below, and stay tuned for more news soon…
Text & Photos by Darryl Reid
Asile in Action over the past three years.
I’ve shot Asile about a half dozen times over the three plus years I’ve been shooting bands/shows. These pics range from basement shows from three years ago to recent gig at Ottawa Sucks. They are one of my favourite live bands.
Powerful, angry Anti-cimex worship D-beat at its finest filled with go for broke furious trade off lead riffs and furious French vocals; Asile is one of the best bands working in the genre. Check out their album Kichesippi Toxique out on Rust and Machine records.
Southwest Terror Fest 2013 is in less than a month, and the lineup is all fucking killer and no fucking filler! Four days of epic bands is what is going to whip through the Arizona desert like a massive sandstorm of awesomeness. Bands like…well, there will be so many good bands there’s no point in me naming my favorites…just check out the lineup below and stay tuned for some rad features on CVLT Nation and maybe a giveaway if you’re lucky? More info and RSVP here!
In April 2011, Steve Ignorant’s “Last Supper” tour received a contentious welcome in San Francisco. Ignorant fronted the seminal English anarcho-punk band Crass until their disbandment in 1984, but decided to tour the group’s early material once more in 2011.
With no original members but himself, the decision pitted fans vehemently against each other. On one hand, the San Francisco date sold out. On the other, a cadre of indignant detractors in the city organized an opposing show nearby and protested what they perceived as Ignorant’s calculated scheming and exploitation of Crass’ identity. They stationed a school bus outside the concert venue Slim’s and encouraged attendees to defect and attend a guerrilla show organized down the street. In an age of music squabbles annexed to the Internet, the street-level tactics were refreshing, bold, and resembled the clever subversive activities Crass itself engaged in during the late-70s and early-80s.
Upon formation in 1977, Crass vowed to break up in 1984 as a nod to the Orwellian totalitarianism it likened to England under Prime Minister Margaret Thatcher. The catalog numbers on Crass records even counted down to the year. Despite rising to prominence amongst the so-called “anarcho-punk” scene and arguably releasing its best work late in the band’s lifespan, Crass followed through with its promise. More so, Crass’ activities as an art collective, political pranksters, record label, and group of roommates living communally outside London at Dial House reflected the venom for authority, militarism, and consumerism asserted in lyrics and artwork.
Via. The Appendix
Written by Chris A. Smith
The chant began less than two minutes into the first song. An undercurrent at first, just a few hecklers. But it got louder with repetition, each wave building on the last. Soon the chant threatened to drown out the band itself.
“Fuck you! Fuck you! Fuck you!”
It was tough to take. But it was entirely in keeping with everything else about this disastrous tour. The angry crowd in Long Beach. The broken-down van in the Sonoran desert. Sixteen tickets sold in Portland. Now, onstage in San Francisco, the members of Discharge—the fastest, meanest, most uncompromising English hardcore punk band of the 1980s—must have wished they were somewhere, anywhere else.
It was quite a comedown. On the band’s previous North American tour, in 1983, Discharge had played sold-out shows to thousands. Up-and-coming thrash metal bands Metallica and Slayer, both of whom would be headlining arenas soon, cited the group as a prime influence. Iconic punk fanzines like Flipside, which could make or break reputations, pronounced them “fucking great.”