Foundation Vinyl Newsletter

Welcome

Hello and welcome to this week’s edition of the Foundation Vinyl newsletter!  This will be the last of the year, so I just wanted to say a quick thank you to everyone who has bought a record, read a review, or dropped me a note, as well as to the bands and labels who have have kept us so well stocked with great music over the past year.

No new records this week.  Instead, we have a short blog exploring successful community resistance to state-led gentrification in London.  This is discussed through a new book, Disrupting The Speculative City: Property, Power And Community Resistance In London, and complemented with lyrical contributions from Industry, Lágrimas, Negative Gears, and Qlowski.

Then, we have a quick reminder regarding the ‘A Mutual Aid Benefit For Gaza’ compilation series and an updated London gig listing – 2025 is already looking to be a very busy year!  And to round things off, a quick heads up on the cracking new records that we will be kicking off with in the New Year, including releases from Indecision, Iron Lung, Maple Death, Mendeku Diskak, and Toxic State.

The online shop will be running as normal over the festive period and the newsletter will be back from mid-January.  Thanks for reading and have a great Christmas break!

Hope Springs From Haringey

The Wound by Qlowski / Moraliser by Negative Gears / Split by Lágrimas and Habak / A Self-Portrait At The Stage Of Totalitarian Domination Of All Aspects Of Life by Industry / Disrupting The Speculative City by Amy Horton and Joe Penny (clockwise)

‘My landlord called in sick today, My landlord has anxiety, My landlord has nowhere to stay, He calls me up just to say…Your rent will rise, By 300 percent, Starting next week, Extract wealth and die’ (Extract Wealth And Die, Industry)

It is difficult to be positive as to what the future holds at present.  Internationally, levels of militarised violence, state oppression, and climatic breakdown are accelerating at an alarming pace.  Closer to home the degradation of public services, entrenchment of socio-economic inequality, and the trappings of the surveillance state continue unabated.  Even when a government is elected who claim to be ‘progressive’, it soon becomes clear that they remain wedded to the worn-out doctrines that dug us into this hole in the first place.  As I say, it is difficult to be overly hopeful.

Yet, amidst the prevailing gloom, you do still come across examples of community action that restore your belief that an alternative future can be realised.  And one such story is vividly brought to life in the excellent study, Disrupting The Speculative City: Property, Power And Community Resistance In London.  The book explores how a community-wide coalition came together in the London Borough of Haringey to defeat one of the most rapacious ever planned programmes of state-led gentrification.

‘I grew up in this city, this is my home, soon I will not be able to live here’ (I Can’t Afford It, Lágrimas)

From London (Qlowski) to Sydney (Negative Gears), by way of Berlin (Industry) and Los Angeles (Lágrimas), the story of cities being subjugated to the demands of real estate capital are starkly consistent.  The specifics of each city’s experience are, of course, coloured by local history and politics, but the driving forces that connect the lived experiences and patterns of urban development across major cities are readily identifiable.  Housing is no longer recognised as a social good by which society can redistribute its wealth, but rather as an asset through which wealth can be further accumulated and extracted by capital.  This process which has been unfolding over the past forty years, manifests itself in the stigmatisation of working-class housing, the wholesale privatisation of public land, and the return of an exploitative private rental market wildly out-of-step with the economic realities of work.  The ripple effects of insecure housing on people’s lives in terms of health and wellbeing are difficult to overstate.

‘Rotting in my own bed, Black mould crumbling through my mattress, Drowning in my defeat’ (A Vision, Qlowski)

In London, this dynamic has seen many of the city’s councils seek to exploit housing through speculative development vehicles – land is now a financial asset to be exploited, homes a ‘unit’ to be sweated for investor gain, and inner London’s working-class communities are no longer deserving of a place in this new landscape.  One such vehicle was The Haringey Development Vehicle (HDV), which sought to exploit the aftermath of the 2011 riots sparked by the police shooting of local resident Mark Duggan, to unleash an unprecedented programme of demolition and gentrification that would dispossess large swathes of the local community, while enriching one the one world’s largest property developers, Lendlease.  And, for the council, deliver an ‘improved’ resident profile and a more affluent electorate.

‘Yeah, there’s cracks in the roads, disposable shitholes they call affordable homes’ (Ain’t Seen Nothing, Negative Gears)

However, Haringey’s Labour council massively underestimated not only the scale of the local opposition, but even more importantly the skill with which the community would co-ordinate its resistance.  And this is the story that Disrupting The Speculative City richly animates as it examines how the community contested the plans through street protest, electoral challenge, and planning / legal contestation.  It also details how the campaign developed a broad coalition spanning local residents, housing activists, and political campaigners from across the left of centre spectrum to maximise their support.  After a bitter six-year battle the plans for HDV were cancelled in July 2018, the council leader, Claire Kober, having been forced to resign several months earlier.

As you will have gathered from the title, the book itself is an academic one having been written by Amy Horton and Joe Penny from UCL.  However, they wear their detailed research lightly and the narrative unfolds with a satisfying clarity of argument as to what defines the speculative city, whose interests does it serve, and how did the residents of Haringey succeed in defeating it.  The authors ensure that the momentum never dims, even for the lay reader.  A community victory to put a spring into even the most jaded of steps.

Disrupting The Speculative City is available from UCL Press, including as a free download, at www.uclpress.co.uk.

'A Mutual Aid Benefit For Gaza' Compilation Series

The Three Compilation Cassettes Comprising The ‘A Mutual Aid Benefit For Gaza’ Series

This is the European press by Symphony Of Destruction of a series of three benefit compilation tapes co-ordinated by Philadelphia punks, The Dissidents.  All profits are donated to non-profit organisations delivering on-the-ground humanitarian aid in Gaza.  Each tape comprises typically rare, or previously unreleased, tracks contributed by bands drawn from across the hardcore punk community.

Side One The Mob, Mižerija, Oi Polloi, D.O.V.E., Scarecrow, The Dissidents, Part 1, Rat Cage

Side Two Uzu, Peace Talks, The Ire, Behind Enemy Lines, Toxic Rites, Zanjeer, Zowiso, Dogma, The Pist, Commoners Choir

Side One Alien Nosejob, Miss España, Blessure, Hooper Crescent, Dark Thoughts, Apsurd, Interrobang, Soup Activists

Side Two Collate, Belgrado, Eraser, De Rodillas, Prison Affair, Tiikeri, A Culture Of Killing

Side One Vaaska, Khassarat, Neutrals, Nuevo Cuerpo, Quarantine, Golpe, Mujeres Podridas, Nightfall, Hellshock, Piñen, Nightwatchers, Disappearances, The Masochists

Side Two Burning Kitchen, Pura Mania, Class, Aus-Rotten, Fairytale, Alement, Chain Cult, Rogo, Gurs, Zounds

All profits are donated to the following non-profit organisations: Gaza Soup Kitchen, Gazaesims, Palestinian Children’s Relief Fund, ANERA, Palestinian Red Crescent Society, MSF / Doctors Without Borders, Palestinian Legal, 1for3, and Heal Palestine.

For further details on the wider project and full track listings, check out: www.thedissidents.bandcamp.com

Shows And Tours

Harrowed and Hellscape play The Bird’s Nest on Saturday 11th January

This section lays no claims to being a definitive listing!  It is simply gigs coming up in London that catch my eye and that I think people who read this newsletter might be interested in.  I will always try and highlight where a show forms part of a wider UK tour.

12th December Alvilda, Music City, Zeropolis (The Waiting Room)

17th December Terror, Nasty, Combust plus more (229 / UK Tour)

11th January Harrowed, Hellscape, Mortal Karkass (The Bird’s Nest)

17th January Reality Unfolds Weekender featuring Wristmeetrazor, Dry Socket, Long Goodbye, Vicarage, Hour Of Reprisal, Closed Hands (New Cross Inn)

18th January Reality Unfolds Weekender featuring Ringworm, Bitter Wood, Broken Vow, Malignant, No Relief, Impunity, Imposter plus many more (New Cross Inn)

19th January Reality Unfolds Weekender featuring Stormo, Sorcerer, Shooting Daggers, Perp Walk, Cassus, Hidden Mothers plus many more (New Cross Inn)

23rd January One Step Closer, Dynamite, Life Of One, Uzumaki (New River Studios / Sold Out)

1st February Trail Of Lies, T.S. Warspite, No Relief, Impunity, Violent Offence (Downstairs at The Dome)

6th February Grief Ritual, Harrowed, Worn Out (The Black Heart)

8th February Surowica, Daughter, State Sanctioned Violence (The Bird’s Nest)

9th February Bent Blue, Major Pain , Without Love, Chainlink, Swear Down (New Cross Inn)

14th February Adult, Spike Hellis, Sacred Skin (Corsica Studios / UK Tour)

15th February Negative Gears plus support (New River Studios / UK Tour)

22nd February Vultur, Deathfiend plus more (Helgi’s)

24th February Love Letter, Heavy Hex, Hell Can Wait, Supernova (New Cross Inn / UK Tour)

7th-8th March Damage Is Done 4.5 Weekender (Line-up and venues to be confirmed)

8th March Misantropic, Nujorvik, Wreathe, System Of Slaves, Traidora (New Cross Inn)

16th March Ignorance plus support (New River Studios / UK Tour)

15th April Thou, pageninetynine, Moloch (Scala)

19th April Disaffect, Haavat plus more (New Cross Inn)

Coming Soon

Unrelenting Forced Psychosis by Suffocating Madness

Armor ‘More War’ 12-inch (Mendeku Diskak)

Atomic Prey ‘Atomic Prey’ 12-inch (Iron Lung)

Bent Blue ‘So Much Seething’ 12-inch (Indecision Records)

Corker ‘Hallways Of Grey’ 12-inch (Feel It / Restock)

Enyor ‘Catalunya En Blanc I Negre’ 12-inch (Mendeku Diskak)

EVA ‘II’ 7-inch (Chicken Attack)

Faucheuse ‘Rêve Électrique’ 12-inch (Symphony Of Destruction / Restock)

Faze ‘Big Upsetter’ 12-inch (11PM)

Forced Humility ‘Forced Humility’ 7-inch (Mendeku Diskak)

Gaoled ‘Bestial Hardcore’ 12-inch (Iron Lung)

Golpe ‘Subisci. Conformati. Rassegnati.’ 7-inch (Static Shock)

G.O.O.N ‘God’s Only Option Now’ 12-inch (Convulse)

Heiress ‘Nowhere Nearer’ 12-inch (Indecision Records)

Ignorance ‘Nothing Changed’ 7-inch (Iron Lung)

Impotentie ‘Zonder Titel Deze Keer’ 12-inch (Mendeku Diskak)

Iris Paralysis ‘Dormant Visions’ 12-inch (Hieb & Stich)

Killing Frost ‘Years In Permafrost: Recordings 2021-2024’ 12-inch (Mendeku Diskak)

Lasso ‘Parte’ 12-inch (Sorry State)

Laura Agnusdei ‘Flowers Are Blooming In Antarctica’ 12-inch (Maple Death)

Life / Destruct ‘ To Stop The Conflict’ 12-inch (Desolate)

Paprika ‘Paprika’ 7-inch (Iron Lung)

Pest Control ‘Year Of The Pest’ 12-inch (Quality Control HQ)

Prey ‘Loathing’ 12-inch (Doom And Gloom)

Rotary Club ‘Sphere Of Service’ 12-inch (Iron Lung)

Suffocating Madness ‘Unrelenting Forced Psychosis’ 12-inch (Toxic State)

The Losers ‘Land Of Opportunity’ 12-inch (11PM)

Träume ‘Wrzask’ 12-inch (Quality Control HQ)

Tv Dust ‘Transition’ 12-inch (Maple Death)

Unbroken ‘Life. Love. Regret. – 30th Anniversary Edition’ 2×12-inch (Indecision Records)

Undertow ‘At Both Ends’ 12-inch (Indecision Records)

X2000 ‘Gótico Tropical’ 12-inch (Symphony Of Destruction)

Yellowcake ‘A Fragmented Truth’ 7-inch (Not For The Weak / Restock)

Zikin ‘Bala Galdua Zure Buru Galduan’ 12-inch (Mendeku Diskak)

Foundation Vinyl Newsletter

Welcome

Hello and welcome to the latest edition of the Foundation Vinyl newsletter!  We have a stacked line-up, so lets dive straight in.

To kick things off, we have four cracking featured new arrivals.  First up on La Vida Es Un Mus, the frantically claustrophobic self-titled debut album from Second Death, who feature members of Permission, Subdued, and Last Affront.

Then, we take a rather mellower turn with the the hazy dreamscapes of The Green Child on Looks Familiar, a co-release between Upset The Rhythm and Hobbies Galore.

To round things off with a bang, we have two new albums on Symphony Of Destruction – the politically charged blackened hardcore of Rogo on their debut LP, In Un Mondo Senza Violenza, and the return of the searing raw hardcore punk of Inferno Personale on La Scelta É Tua.

Also courtesy of Symphony Of Destruction, we have the European press of a series of three benefit compilation tapes raising funds for humanitarian aid to Gaza.  Bands contributing typically rare, or previously unreleased, tracks include A Culture Of Killing, Alien Nosejob, Belgrado, Burning Kitchen, Chain Cult, Class, Fairytale, Golpe, Gurs, Hellschock, Miss España, Mižerija, Neutrals, Nightwatchers, Quarantine, Rat Cage, Rogo, Scarecrow, The Ire, and Uzu.  For full details of the contributing bands and beneficiary non-profit organisations, check out the feature below.

And as always, we end with an updated London gig listing, which includes a just announced Negative Gears European tour (London 15/02).  Plus, there is a quick run down on some of the cracking records heading our way over the next few weeks.

Featured New Arrivals

Look Familiar by The Green Child / In Un Mondo Senza Violenza by Rogo / Second Death by Second Death / La Scelta É Tua by Inferno Personale (clockwise)

‘Blood sucking parasites, Grasping for the spotlight, Social games to be played, Again and again, Feast on one another, Until they’re all the same’ (Sycophant)

Permission are to my mind at least, perhaps, the most undervalued hardcore band to have emanated from these shores in the past decade.  So, I was more than a little excited to see that members of that band, plus Subdued and Last Affront, had a new enterprise, Second Death.

And their self-titled debut is an absolute stormer.  Many of Permission’s defining attributes remain firmly in place.  The utterly claustrophobic atmosphere is tensely fraught and uneasy.  The guitar is often blisteringly fast, with the rest of the band enveloped in a frenetic race to keep up with the unremitting pace.  It feels utterly chaotic, the flares of melody swallowed in waves of discordance.  As the album unfurls the level of intricacy and complexity that propels the relentless barrage becomes ever clearer.

Yet this is no simple reworking and Second Death rapidly establish their own identity.  Firstly, they have relaxed the rigorously enforced prism that defined Permission – very fast, always very, very fast – and are prepared to allow their songs to breath just a little, to lean into more of a mid-paced groove.  On occasion, there is even scope for a fleeting yet bruising breakdown.

The second evolution is vocally.  The urgently breathless growl has become a still desperate but more roared expression as the vocals explore darkly allusive reflections rooted in a sense of isolation, distrust, and uncertainty.  This shift is most likely both a cause and effect of Second Death’s more varied pacing and works a treat.

The frenzied The Burning Light kicks proceedings off in style with further stand out tracks including the pounding Sycophant, the choppy riffed ferocity of Caving, and the swaggering, bass-fuelled closer, Stripped.  Abrasively compelling, this is hardcore without artifice.  Permission may be dead, but Second Death is quite the resurrection.

On first listen, Look Familiar is an album built on a certain spartan simplicity and the momentum of looping repetition.  Yet as you immerse yourself deeper into its rather bewitching embrace, its delicately subtle secrets reveal themselves almost imperceptibly.

Look Familiar is the third full-length from Melbourne-based The Green Child, and the follow-up to 2020’s Shimmering Bassett.   Brightly shimmering guitar and a metronomic rhythm section that locks into driving motorik beats and more limber, supple cadences with equal understated relish, provide the album’s bedrock.

Glistening synths intertwine recurring melodic motifs throughout, while the flourishes of lead guitar are, at times, surprisingly strident, and further depth is added by flares of sombre violin.  It would be easy to become lost in this dream-like reverie.  Each track, however, retains its own vivid charms, especially, perhaps, the chiming propulsion of the opening Wow Factor, the vibrantly layered Easy Window, and the gently escalating dissonance of Year Of The Books.

The vocals emerge, semi-chanted, enigmatically melodic, floating above this sonic tapestry in ethereal synchronicity.  Their intense yet hazy, trance-like quality, and the wider psychedelic glow that envelopes the album, reflect lyrical themes that delve both into family memory and more contemporary concerns, evoking our increasingly fragile grasp of what is real and what is not.

The title track itself refers to a ‘monumental haze’.  Yet the album sweeps forward with an unwavering impetus, conjuring a hypnotic, ever-shifting patchwork of both memory and chimera.  The warming colours and spectral figures of the beautiful artwork, taken from a 1991 painting by Raven Mahon’s (bass / vocals) mum Jane, are a perfect fit.

‘Sei venuto da oltreoceano, a svoltare la tua situazione, cos’hai trovato? Stanchezza solitudine rabbia malessere e un paio di occhiaie’ (Illusione) ‘You came from overseas, to turn your situation around, what did you find? Tiredness, loneliness, anger, discomfort, and a pair of dark circles’ (Illusion)

Hailing from Rome, Rogo (Pyre) feature members of both Sect Mark and Education.  On this their debut album, In Un Mondo Senza Violenza (In A World Without Violence), they unleash an utterly uncompromising blackened hardcore onslaught.  Erupting into life through waves of squalling feedback and discordant electronics, the opening track Perdidos (Lost) perfectly encapsulates all that follows – a visceral blend of barrelling hardcore ferociously fused with the buzzsaw riffs of early 1990s’ European death metal.

The band are notably adept at cultivating an inexorable sense of anticipation, leaving the listener hanging expectantly for just long enough, so that when they finally deal the killer blows, they land with a breathtaking ferocity.  From the crushing breakdown on Illusione (Illusion) to the infectious malevolence of the stand out Salvador Blanco (White Saviour), and from the savage Bagliore (Glow) to the venomous riffage of La Tua Condana (Your Condemnation), there is not even the merest glimmer of respite.

The guttural, growled Italian / Spanish vocals, with harrowing screamed backing, explore the lead singer’s own immigrant experience since arriving in Italy on tracks such as Illusione and Salvador Blanco (‘They will speak for me, and fight for me, without asking my opinions’).  He then widens his critique to the atomisation of Italian society on La Tua Condona (‘Separated and argued, there is no union, talking without doing, will bring extinction’) and Malcontento (Malcontent / ‘Entire neighbourhoods of unfortunates, gentrification and evictions’), before ending on the more tentatively hopeful note of El Di De Me Muerte (The Day Of My Death / ‘And to be happy for a day, and my smile will return’).  And you finally have a chance to draw breath again, before plunging straight back into the abyss.

‘Noi soli con noi stessi, La tua forza é in te stesso, Riazlzati fazzo adesso, La scelta é tua’ (La Scelta) ‘We are alone with ourselves, Ready your inner strength, Get off your knees now, The choice is yours’ (The Choice)

Inferno Personale (Personal Hell) are Bremen-based, but call upon members from Argentina, Colombia, and Italy as well as Germany. Their self-effacing claim to be ‘just another raw punk band’ is true in its simplest interpretation, but few bands execute this style with such an explosive intensity.  As on their fierce 2002 debut In Ira Veritas (In Anger Truth), they call primarily upon the traditions of 1980s’ Italian hardcore, seasoned with just a dash of Japanese crust by way of the cymbal awash drumming.  The first wave of mid-1980s’ thrash metal is also suggested, not least in the band’s deftness in just about holding their more chaotic impulses in check.

And while it is, of course, the unbridled ferocity that firsts draws you in, it is this very deftness that keeps you coming back.  Whether it’s the searing riffs that fuel Stammi Lontano (Stay Away From Me) and Alienazione (Alienation), the stomping rhythms of Schifo (Disgust), the thunderous bass that propels La Scelta, or the piercing clarity of the melodic flourishes laced through the battery, this is an album rich in memorable moments.  Meanwhile, the howled Italian vocals confront the corrosive individualism and fractured social relations fostered by our current economic paradigm.

'A Mutual Aid Benefit For Gaza' Compilation Series

The Three Compilation Cassettes Comprising The Mutual Aid For Gaza Series

This is the European press by Symphony Of Destruction of a series of three benefit compilation tapes co-ordinated by Philadelphia punks, The Dissidents.  All profits are donated to non-profit organisations delivering on-the-ground humanitarian aid in Gaza.  Each tape comprises typically rare, or previously unreleased, tracks contributed by bands drawn from across the hardcore punk community.

Side One The Mob, Mižerija, Oi Polloi, D.O.V.E., Scarecrow, The Dissidents, Part 1, Rat Cage

Side Two Uzu, Peace Talks, The Ire, Behind Enemy Lines, Toxic Rites, Zanjeer, Zowiso, Dogma, The Pist, Commoners Choir

Side One Alien Nosejob, Miss España, Blessure, Hooper Crescent, Dark Thoughts, Apsurd, Interrobang, Soup Activists

Side Two Collate, Belgrado, Eraser, De Rodillas, Prison Affair, Tiikeri, A Culture Of Killing

Side One Vaaska, Khassarat, Neutrals, Nuevo Cuerpo, Quarantine, Golpe, Mujeres Podridas, Nightfall, Hellshock, Piñen, Nightwatchers, Disappearances, The Masochists

Side Two Burning Kitchen, Pura Mania, Class, Aus-Rotten, Fairytale, Alement, Chain Cult, Rogo, Gurs, Zounds

All profits are donated to the following non-profit organisations: Gaza Soup Kitchen, Gazaesims, Palestinian Children’s Relief Fund, ANERA, Palestinian Red Crescent Society, MSF / Doctors Without Borders, Palestinian Legal, 1for3, and Heal Palestine.

For further details on the wider project and full track listings, check out: www.thedissidents.bandcamp.com

Shows And Tours

Love Letter Play New Cross Inn, 24th February (plus Brighton Daltons 25th and Leeds Boom 26th)

This section lays no claims to being a definitive listing!  It is simply gigs coming up in London that catch my eye and that I think people who read this newsletter might be interested in.  I will always try and highlight where a show forms part of a wider UK tour.

7th December Svdestada, Wreathe, Head Of The Baptist (The Dev)

12th December Alvilda, Music City, Zeropolis (The Waiting Room)

17th December Terror, Nasty, Combust plus more (229 / UK Tour)

17th January Reality Unfolds Weekender featuring Wristmeetrazor, Dry Socket, Long Goodbye, Vicarage, Hour Of Reprisal, Closed Hands (New Cross Inn)

18th January Reality Unfolds Weekender featuring Ringworm, Bitter Wood, Broken Vow, Malignant, No Relief, Impunity, Imposter plus many more (New Cross Inn)

19th January Reality Unfolds Weekender featuring Stormo, Sorcerer, Shooting Daggers, Perp Walk, Cassus, Hidden Mothers plus many more (New Cross Inn)

23rd January One Step Closer, Dynamite, Life Of One, Uzumaki (New River Studios / Sold Out)

9th February Bent Blue, Major Pain plus more (New Cross Inn)

14th February Adult, Spike Hellis, Sacred Skin (Corsica Studios / UK Tour)

15th February Negative Gears plus support (New River Studios / UK Tour)

24th February Love Letter, Heavy Hex plus more (New Cross Inn / UK Tour)

7th-8th March Damage Is Done 4.5 Weekender (Line-up and venues to be confirmed)

8th March Misantropic, Nujorvik, Wreathe, System Of Slaves, Traidora (New Cross Inn)

16th March Ignorance plus support (New River Studios / UK Tour)

15th April Thou, pageninetynine, Moloch (Scala)

Coming Soon

Atomic Prey by Atomic Prey 

December

Atomic Prey ‘Atomic Prey’ 12-inch (Iron Lung)

Golpe ‘Subisci. Conformati. Rassegnati.’ 7-inch (Static Shock)

Ignorance ‘Nothing Changed’ 7-inch (Iron Lung)

Paprika ‘Paprika’ 7-inch (Iron Lung)

Pest Control ‘Year Of The Pest’ 12-inch (Quality Control HQ)

Träume ‘Wrzask’ 12-inch (Quality Control HQ)

January

Bent Blue ‘So Much Seething’ 12-inch (Indecision Records)

Corker ‘Hallways Of Grey’ 12-inch (Feel It / Restock)

Faucheuse ‘Rêve Électrique’ 12-inch (Symphony Of Destruction / Restock)

Heiress ‘Nowhere Nearer’ 12-inch (Indecision Records)

Lasso ‘Parte’ 12-inch (Sorry State)

Suffocating Madness ‘Unrelenting Forced Psychosis’ 12-inch (Toxic State)

Unbroken ‘Life. Love. Regret. – 30th Anniversary Edition’ 2×12-inch (Indecision Records)

Undertow ‘At Both Ends’ 12-inch (Indecision Records)

Yellowcake ‘A Fragmented Truth’ 7-inch (Not For The Weak / Restock)

Foundation Vinyl Newsletter

Welcome

Hello and welcome to the latest edition of the Foundation Vinyl newsletter!  I managed to catch two very different shows last week.  On Thursday night, that all-too-rare luxury of a gig that I could walk to, with the first night of the Attempting Something weekender being held at Spanners in Brixton.  Housed in a half-sized railway arch, Spanners is small (capacity can’t be more than 50 people) yet perfectly formed and proved an excellent setting for a show focused on electronic-leaning acts.

Brendan Wells of Uranium Club played a mesmerising set, the abrupt end to which shocked you into realising just how much you had been drawn into his reverie.  I’m not entirely sure what instrument he was playing, but the closest I can come to describing it is a non-wind bagpipe channelled through a series of effects boxes and pedals.

And earlier in the evening, Fiscal Harm aka Al Aldous, fused saxophone and percussive electronics into an insidiously entrancing dub-meets-jazz deconstruction.  The tracks when he was joined by a flautist were particularly haunting.  Both sets were also an intriguing insight into the travails of the solo performer in juggling all of the elements of their performance, not least the need to shed your shoes to ensure sufficient precision in pedal / button toe pushing.  A big thanks to Another Subculture for organising Attempting Something – it sounds like the whole weekend went off in style!

And then on the Friday I was off to The Dome for Unbroken’s final (and only second ever) UK show.  As I headed up to the gig, it struck me how few times I have had to endure this rather soulless hangar, bearing in mind its impressive longevity – Bolt Thrower (a rather different venue in those pre-refurbishment days!), Burn, and Static Shock Weekend IV.  But if you were picking a band to make short work of it, Unbroken would surely be near the top of that list.  The skate punk-emo magpies Shooting Daggers warmed things up in spirited fashion, before Deaf Club unleashed a typically visceral set.  If there is a band who seem to be the physical manifestation of their own music, it is Deaf Club, as they twist and writhe in convulsive unison with their acerbic hardcore assault.

And then, it was to the main event.  Unbroken were in rampantly imperious form and the chance to hear, indeed feel, tracks like Razor and In The Name Of Progress live again was utterly intense.  But what the show reminded me of most is the sincerity and generosity of spirit that has always defined the band.  Their music is the embodiment of the understanding that the personal is political, that how we live our own lives shapes the society around us.  And also, perhaps sharpened by the tragic loss of Eric Allen, the appreciation of the courage that is required to recognise, rather than to suppress, our own vulnerabilities.  An absolute privilege.

And so, what do we have lined up this week?  We have two great new releases from Maple Death Records – the euphoric melancholy of The Wound from Qlowski and the darkly enticing, cosmically inclined folk of Sprecato from James Jonathan Clancy.  Then we have the bleakly contagious debut album, The Abandoned Flesh, from Zuletzt on No Front Teeth, before we round things off in style with the triumphant return of Straw Man Army with Earthworks on La Vida Es Un Mus.

As always, we end with an updated London gig listing, which includes just announced dates for Adult (14/02) and Ignorance (16/03).  Plus, there is a quick heads up on some of the cracking records heading from our way, including new releases from Atomic Prey, Golpe, Ignorance, Inferno Personale, Paprika, Rogo, Second Death, and The Green Child over the next couple of weeks!

Featured New Arrivals

Sprecato by James Jonathan Clancy / The Wound by Qlowski / The Abandoned Flesh by Zuletzt / Earthworks by Straw Man Army (Clockwise)

‘Rested on easy laurel swamp oak, Dreams must mean the most, They must always mean forever, Fixation guides us all’ (Out And Alive)

Having previously recorded in the guise of His Clancyness and Brutal Birthday, Sprecato (Squandered) is the first release under his own name by Jonathan Clancy, who also runs Bologna-based Maple Death Records.  And working with a collective of fellow-minded instrumentalists, the Canadian Italian singer songwriter has crafted an album of darkly enticing, cosmically inclined folk.

The backbone to the compositions is Clancy’s own richly nuanced vocals and warmly strummed guitar.  These are then layered and braided with a broader palette of instrumentation from eerie flute to assertively serpentine saxophone, by way of skeletal piano and looping, noise infused electronics.  Meanwhile, the underlying rhythms segue from the languorously acoustic to the more driving, clinically programmed.  The song structures are lushly detailed, intriguingly constructed, rarely evolving quite as you would expect, and the skill in weaving each of these elements into such a cohesive whole is captivating to watch unfold.

Both sides of the album are conjured into life by two shorter, insidiously contagious tracks, the hauntingly beautiful Castle Night and the joltingly compelling Fortunate.  What follows in each instance is an entrancingly evocative dreamscape, the hazy, blurred lyrics reinforcing a sense of frustration at the opportunities wasted, both real and illusory.  Clancy sweeps from the beguiling I Want You to the mesmerising A Worship Deal, with its thrillingly discordant, saxophone fuelled climax.  Then from the ethereal Had It All to the swirling dissonance of Out And Alive.  It is a journey that provokes a sense of deep-seated comfort and spectral unease in almost equal measure.

‘And still you might say we are resolutely in the camp of the defeated, but you should know, defeat has nothing to do with surrender’ (Liner Notes, Qlowski)

Inspired by an interview with the late Palestinian poet, Mahmoud Darwish, this statement is included in a series of short thought sketches that accompany The Wound.  It captures the very essence of the themes that Qlowski have set out to grapple with.  A grief, a trauma, an overwhelming despondency arising from the unrelenting social corrosion of late-stage capitalism.  Yet a belief continues to burn that collective action and community co-operation can still build an alternative.

This is the London band’s second album, following on from 2021’s Quale Futuro? (What Future?).  Formerly a duo, comprising Cecilia Corapi and Mickey Tallarini, the ranks of Qlowski have expanded by three new members – Christian Billard, Lucy Ludlow, and James Luxton – in a revamped rhythm section.  Tautly angular post-punk guitar and pulsing darkwave synths are underpinned by dancefloor inflected bottom end, while Tallarini’s desperate, gothic tones wrestle back and forth with Corapi’s brighter, more hopeful urgings.   The atmosphere evoked can only be described as one of melancholic euphoria.

The title track and Surrender share not only an utter infectiousness but are in many senses lyrical companion pieces – the former suffocating in its sense of powerlessness (‘We’ve spent all the words, we’ve raised all the flags, It looked grandiose, It was already gone’), while the latter bristles with a renewed defiance in defeat (‘Can you hold it your heart? Can you hold it in your hands? Can you hide it in the dark?’).

The rentier capitalism that has ravaged London’s housing is the focus of the jarring A Vision (‘Rotting in my own bed, Black mould crumbling through my mattress, Drowning in my defeat’) and the inhumanity of Europe’s treatment of migrants is that of the deceptively upbeat In Cold Blood (‘Choose the hand that holds your head, Under the water’).  Meanwhile, the darkly intoxicating Praxis (‘You were a fire that never expires’) teases out the power of personal grief as a force for change.

‘Which way does the spiral spin, inside out or outside in? It’s a choice and it’s always been…, Feast and famine back-to-back’ (Spiral)

Which way indeed.  This is a question that fundamentally pervades our current predicament.  Society increasingly untethered, militarised conflict escalating, the earth’s vital signs alarmingly erratic, and institutionalised inequality breeding a sense of hopelessness that change can ever occur.  Our hearts hope that such volatility could yet be a harbinger for positive change, yet our heads tell us that things are only likely to get much worse, as the spiral spins out of control, eating itself in a frenzy of exploitation and extraction.

New York’s Straw Man Army are back.  Earthworks is the duo’s third album, following on from 2020’s Age Of Exile and 2022’s SOS.  The stripped back, anarcho-punk backbone to their endeavours remains firmly in place, but each release has seen an incrementally more expansive palette brought to bear, without compromising the strident immediacy of their song writing.  Leanly structured, tightly executed, the underlying richness is revealed in the subtle detailing.

Spryly bouncy bass lines and tautly crisp drumming are intricately interwoven.  In contrast to this rhythmic density, there is a spartan directness to the brightly angular, enticingly melodic guitar.  The insistent, cleanly enunciated vocals unveil a sardonically eloquent, poetically rhythmic exploration of the linkage between neoliberal economics, colonial legacies, and the environmental decimation of our planet.

The urgent Look Alive sets the scene perfectly, calling out our own lethargy in the face of a world unravelling (‘Prisoners of comfort, we dig our heels, forever stuck!’).  This theme is reinforced on the delicately, slow burn Rope Burn (‘In the country that can do no wrong, you’ll go along…’), and interspersed with the rollicking vitriol of Spiral (‘Is this all that’s left for us these days? Apathy and rage!’).

Urban dispossession forms the focal point for the roiling Staring At The Sun (‘What does it take to get locked away? Being poor in a public place’) and our disintegrating sense of community on the juddering Mass Production Of Loneliness (‘Our lives are mass produced, To break the link from you to me’).  Meanwhile, the roots of our continued refusal to engage with the looming environmental catastrophe are probed throughout the album and delineated with particular clarity on the forcefully compelling Extinction Burst (‘Chasing our extinction and we wonder why?’).

‘A broad daylight attack on my optimism, A public execution, A broad daylight attack on my enthusiasm, A public execution, I’m only liberated to be incarcerated’ (Perpetuated Misery)

With members spanning London and Munich, the debut album from Zuletzt (Last) deals in post-punk that brims with an aura of ominous drama.  The pulsing synths, resonant bass lines, shimmering guitar, and crisply punchy percussion are all given room to unfold with striking clarity.

Yet there is also a restless invention that permeates through the album.  This is post-punk in its broadest iteration, calling upon darkwave, cold wave, anarcho-punk influences, even flourishes of new romantic pop, and then refracting them through the band’s own anarchic lens.

But, perhaps, it is the vocal delivery that proves the defining factor.  The lead vocals lean into a sonorous baritone and passages of austere, mechanical detachment.  They are then layered almost continually with supporting vocals that skitter with a vibrant melodic energy.  The result is an almost boisterous austerity as bleakly allusive themes of social atomisation, dystopian futures, and personal isolation are rendered.

It is telling that, across the album’s fifty-minute run time, the band’s propulsion barely dims for even a moment.  Personal stand out moments are the raucous Trains In My Tunnel Vision, the brooding Time Without Purpose, and the darkly pulsating Non-Linear Future.

Shows And Tours

Despize And Imposter Play Peckham Audio This Friday

This section lays no claims to being a definitive listing!  It is simply gigs coming up in London that catch my eye and that I think people who read this newsletter might be interested in.  I will always try and highlight where a show forms part of a wider UK tour.

29th November Big Problem, Silica, Hellscape, Snub (The Shacklewell Arms)

29th November Despize, Imposter, Disengagement, Infinite Wisdom (Peckham Audio)

29th November Pitchshifter, Black Gold, The Sad Season (The Garage)

30th November Poor Old Dogs, Dead Raze, The Fish Mittens, Inner London Violence (Magdalen Hall)

7th December Svdestada, Wreathe, Head Of The Baptist (The Dev)

17th December Terror, Nasty, Combust plus more (229 / UK Tour)

17th January Reality Unfolds Weekender featuring Wristmeetrazor, Dry Socket, Long Goodbye, Vicarage, Hour Of Reprisal, Closed Hands (New Cross Inn)

18th January Reality Unfolds Weekender featuring Ringworm, Bitter Wood, Broken Vow, Malignant, No Relief, Impunity, Imposter plus many more (New Cross Inn)

19th January Reality Unfolds Weekender featuring Stormo, Sorcerer, Shooting Daggers, Perp Walk, Cassus, Hidden Mothers plus many more (New Cross Inn)

23rd January One Step Closer, Dynamite, Life Of One, Uzumaki (New River Studios / Sold Out)

9th February Bent Blue, Major Pain plus more (New Cross Inn)

14th February Adult, Spike Hellis, Sacred Skin (Corsica Studios / UK Tour)

24th February Love Letter, Heavy Hex plus more (New Cross Inn / UK Tour)

7th-8th March Damage Is Done 4.5 Weekender (Line-up and venues to be confirmed)

8th March Misantropic, Nujorvik, Wreathe, System Of Slaves, Traidora (New Cross Inn)

16th March Ignorance plus support (New River Studios / UK Tour)

15th April Thou, pageninetynine, Moloch (Scala)

Coming Soon

Second Death’s Self-Titled Debut LP

December

Atomic Prey ‘Atomic Prey’ 12-inch (Iron Lung)

Faucheuse ‘Rêve Électrique’ 12-inch (Symphony Of Destruction / Restock)

Golpe ‘Subisci. Conformati. Rassegnati.’ 7-inch (Static Shock)

Gurs ‘Gerran Bizi Gara’ 12-inch (Symphony Of Destruction / Restock)

Ignorance ‘Nothing Changed’ 7-inch (Iron Lung)

Inferno Personale ‘La Scelta É Tua’ 12-inch (Symphony Of Destruction)

Paprika ‘Paprika’ 7-inch (Iron Lung)

Pest Control ‘Year Of The Pest’ 12-inch (Quality Control HQ)

Rogo ‘Rogo’ 12-inch (Symphony Of Destruction)

Second Death ‘Second Death’ 12-inch (La Vida Es Un Mus)

The Green Child ‘Look Familiar’ 12-inch (Upset The Rhythm)

Träume ‘Wrzask’ 12-inch (Quality Control HQ)

January

Bent Blue ‘So Much Seething’ 12-inch (Indecision Records)

Corker ‘Hallways Of Grey’ 12-inch (Feel It / Restock)

Heiress ‘Nowhere Nearer’ 12-inch (Indecision Records)

Lasso ‘Parte’ 12-inch (Sorry State)

Suffocating Madness ‘Unrelenting Forced Psychosis’ 12-inch (Toxic State)

Unbroken ‘Life. Love. Regret. – 30th Anniversary Edition’ 2×12-inch (Indecision Records)

Undertow ‘At Both Ends’ 12-inch (Indecision Records)

Yellowcake ‘A Fragmented Truth’ 7-inch (Not For The Weak / Restock)

Foundation Vinyl Newsletter

Welcome

Hello and welcome to the latest edition of the Foundation Vinyl newsletter!  Upset The Rhythm laid on a belter of a show at Number 90 on Thursday evening, with a Hygiene and Uranium Club double header.

Hygiene opened proceedings and it was certainly the first time I can remember them hitting the stage swathed in dry ice.  From then on it was a classic Hygiene set of tightly crafted, choppily melodic post-punk that weaved a stark yet sardonically observed montage of the degraded public services, skewed economic priorities, and political corruption that have come to define our hollowed out society.  Set stand outs were, perhaps, the title track from their recent 15 Minute City EP and Replacement Bus from 2019’s Private Sector full-length – never have the words ‘No one told me about the planned engineering works’ been uttered with such forlorn frustration!

And then, it was my first chance to catch Uranium Club live and I was intrigued to see how their singular brand of precise yet inherently experimental punk would translate to a live setting.  And its fair to say that my high expectations were comfortably exceeded.  The rhythm section forced itself to a more prominent position with spry flair, while the constantly interchanging vocals were brought more vividly into focus as the band’s modern day parables were wryly revealed.  But the highlight was the jousting guitarists as they unleashed an infectious layering of the powerfully repetitive with thrilling eruptions of virtuosic flair.  Quite the show.

And so what do we have in store this week?  First up, we have two much anticipated represses – the second pressing of Love Letter’s searing debut album from earlier this year, Everyone Wants Something Beautiful, and then a fresh run of Habak’s hauntingly beautiful 2020 second full-length, Ningún Muro Consiguió Jamás Contener La Primavera.  Then, we get our fuzz on – we have the second full-length of desolate metallic-tinged death rock from Human Trophy, Primary Instinct, and the bruising return of Armor on Afraid Of What’s To Come.

To round things up, we have an updated London gig listing, including a just announced Thou / pageninetynine show (15th April) and a ‘hold the dates’ for the return next year of the Damage Is Done weekender (7th-8th March).  Plus, there is a quick heads up on some of the great records soon heading our way!

Featured New Arrivals

Everyone Wants Something Beautiful by Love Letter / Ningún Muro Consiguió Jamás Contener La Primavera by Habak / Afraid Of What’s To Come by Armor / Primary Instinct by Human Trophy (clockwise)

‘Everyone needs a place to go, capsized lives sink to depths unknown, drones circle above while flesh and homes turn to ashes below, the watchers’ eyes remain stoic and cold’ (Late Stage Harm Reduction)

During the bloom of melodic hardcore that shaped much of the US scene in the noughties, there was perhaps one band above all who defined this period for me – Rhode Island’s Verse.  Releasing four albums across Rivalry and Bridge Nine, of which perhaps 2006’s From Anger And Rage was the definitive release, they captured all of the key elements that characterised that particular era – a re-engagement with the musical and political roots of US hardcore, while still calling upon more contemporary metallic influences.

And as Love Letter’s debut album, Everyone Wants Something Beautiful, develops you can’t but help draw comparisons with Verse.  This is not simply due to their powerfully distinctive shared vocalist, Quinn Murphy, but the arrangement of the songs itself.  Hardcore can be forged in many different ways, from the distorted low-end driven to the unbridled guitar barrage.  But Love Letter, as with Verse, craft their songs with the clear intent of pushing the vocals to absolute front and centre.  And this is a weight that Murphy has always proved very adept at carrying.  We live in an age of manufactured, synthetic outrage, which is used to distort, rather than inform, debate.  Yet Murphy serves as the antidote to this – their fiercely rhythmic vocals burn with a palpable, heartfelt sincerity and seethe with an unvarnished rage at the inequities that define our society.

But this is no one person show.  The balance of the band comprises former members of Defeater and Death Of A Nation (including Jay Maas on guitar), and they unleash a furious yet nuanced onslaught.  The cleaner than, perhaps, expected guitars unfurl with a gleaming fluidity, while slab-like eruptions of metallic fury are entwined with bleakly dark melodies and passages of reflective, at times almost post-metal tinged, introspection.  A fluently supple rhythm section expertly harnesses these oscillating dynamics and forms a lock-step partnership with Murphy’s vocals, while inventively layered backing vocals and occasional flares of electronic dissonance add further texture.  Stand out moments are myriad from the cathartically surging Wellness Checks And Dear Friends to the haunting spoken word of Settlements, from the searing Meds And Taxes to the swirling, bristling Late Stage Harm Reduction.

The causes and manifestations of social and economic inequality form the album’s coruscating lyrical core as does a cry for us to recognise the human needs that we all share.  Misanthropic Holiday Or Vacation examines the devastating role of ‘Big Pharma’ in US society (‘Tailored pharmaceutical fits to suit you, until the side effects rip you apart at the seams’), before Popular Memes delves into the twisted logic of the alt-right (‘You conquer and divide to expand the grift – sleep well’), and Unhousing Projects explores the human costs and slow violence of homelessness and the relentless financialisation of housing (‘Eviction sealed fates – a new section-eight waitlist dates lock your mind in a prison’).

Meds And Taxes (‘Can’t pull yourself up by bootstraps you’re under heel’) and Late Stage Harm Reduction (‘We work for less in the name of faux progress – we’ve normalised apathy and callousness’) focus on the relentless exploitation of our economic system.  Settlements (‘An impossible world to love’) then details the horrors of illegal land grabs in Palestine and the dehumanising day-to-day realities of a segregated society – which have, of course, subsequently taken an even more horrific turn.

Something beautiful certainly, but equally something deeply sobering.

‘Construimos sus prisiones, capturamos nuestro tiempo. Malgastando nuestra vida, siendo presas de su juego. Educadas y engañadas para aceptar su autoridad, subyugar los cuerpos, apenas poder respirar’ (En Defense Del Ocio Creativo) ‘We build their prisons; we capture our time. Wasting our lives, being prey to their game. Educated and deceived to accept their authority, subjugate our bodies, barely being able to breathe’ (In Defence Of Creative Leisure)

Originally released in 2020, Ningún Muro Consiguió Jamás Contener La Primavera (No Wall Has Ever Gotten To Contain The Spring) is the recently repressed second full-length from Tijuana’s Habak.  Darkly melodic crust defined the band’s 2015 debut.  However, it is the shimmering post-metal woven through Insania that now becomes a much more dominant influence on this hauntingly beautiful follow-up.

The guitars are bright and frequently clean.  The riffs are given time to fully evolve, the melodies the space to conjure their mesmerising power, intertwined on occasion with flourishes of darkly stirring cello.  Distortion lends heft to the searingly cathartic hardcore eruptions, while two instrumental interludes are stripped back to an entrancing, meditative reverie.  The rhythm section strikes a fine balance between the delicate and the destructive, vividly demonstrating the potency of subtlety and precision.  The album’s sweep is an expansive and inherently satisfying one, perhaps, reaching its crescendo on No Acepteramos Con Pasividad El Exterminio Al Que Nos Han Conedo (We will Not Passively Accept The Extermination To Which We Have Been Condemned) and Encierro A Cielo Abierto (Open Air Confinement).

The smouldering instrumentation is ignited by the defiantly roared Spanish vocals and the solemn spoken word invocations that embody the fury that fuels Habak.  La No Violencia Es Un Privilegio (Nonviolence Is A Privilege) confronts patriarchal violence and Encierro A Cielo Abierto the corrosive power of the surveillance state.  Then, Hasta Que Vivir La Pena (Until Living Is Worth It) and En Defense Del Ocio Creativo (In Defence Of Creative Leisure) tackle the stultifying, dehumanising controls of our economic system.

‘When the fruits of labor have been drained, to the bone, devotion hangs on, swaying from the rope’ (Devotion)

As his track record of solo projects exploring the more saturnine recesses of post-punk bears testament to, Reuben Sawyer likes to work alone.  Primary Instinct is the second full-length of his current project, Human Trophy.

Fuzz drenched rhythm guitar fuels the metallic-tinged death rock that revels in its own viscous desolation.  The gloom is pierced by the bracingly dissonant lead guitar as it weaves its entrancing, melancholic spell.  Meanwhile, the fluid, deftly understated rhythm section delivers a limber, driving momentum and, perhaps, a more warmly organic underpinning than the icily mechanical beats of 2021’s debut, Corpse Dream.

Sawyer’s darkly resonant, baritone vocals emerge as an unwavering monochrome incantation, skilfully accented with flourishes of gothic theatre, saturated in despair.  Bleakly lyrical meditations on isolation and mortality are draped in the spectral imagery of faith and myth.  The funereal atmosphere is evoked with particular intensity by the hauntingly contagious Tears Of Eros, the sombre discordance of The Cabin, and the hypnotically coiling Bright Like Perspex.

‘Paranoid circus machine, maintain control through monotony, smiling ear to ear, blissful in your deceit, mass psychosis, menticide’ (En Mass)

Tallahassee’s Armor are back with a new six-track 12-inch, having caused quite the stir with their debut EP, Some Kind Of War, back in 2019.  The kernel of the band’s sound continues to be rooted in d-beat.  This is then overlain with a more fuzzed out groove that is in turn melded with stomping start-stop dynamics, and a healthy penchant for breakdowns of the most bruising hue.

Burly, guttural vocals explore themes of the surveillance state (En Mass), the dehumanising repercussions of militarisation (Fodder and Proper Treatment), and our ability to build our own self-imposed constraints (Freedom and Unlucky).  Stand out moments are, perhaps, the innately swaggering Fodder, and the more expansive yet still utterly bludgeoning closer, Proper Treatment.

Shows And Tours

Another Subculture’s ‘Attempting Something’ weekender is this week at Spanners in Brixton on Thursday, Avalon Cafe in Bermondsey on Friday, and The Ivy House in Nunhead on Saturday – read more here.

Unbroken and Deaf Club play The Dome this Friday – read more here.

This section lays no claims to being a definitive listing!  It is simply gigs coming up in London that catch my eye and that I think people who read this newsletter might be interested in.  I will always try and highlight where a show forms part of a wider UK tour.

20th November Deaf Club plus screening of ‘Don’t Fall In Love With Yourself’ (The Black Heart)

21st November Undying, Cauldron, Sentience (New Cross Inn)

21st November Attempting Something Weekender featuring Brendan Wells’ Plant Music, Fiscal Harm, No Home, Megzbow And Vinegar Tom (Spanners)

22nd November Unbroken, Deaf Club, Shooting Daggers, Hellscape (The Dome)

22nd November Attempting Something Weekender featuring Gimic, Gamma, Ritual Error, Sublux, Rubber (Avalon Cafe)

23rd November Deviated Instinct, Agnosy, Verrat, Rank, Traidora (New Cross Inn)

23nd November Attempting Something Weekender featuring R.Aggs, Holiday Ghosts, Dean Rodney And The Cowboys, Vaiapraia, Marcel Wave, Grazia plus more  (Ivy House)

24th November Grief Ritual, Wreathe, Cady, Jotnarr, Grim Harvest (Signature Brew)

29th November Big Problem, Silica, Hellscape, Snub (The Shacklewell Arms)

29th November Despize, Imposter, Disengagement, Infinite Wisdom (Peckham Audio)

29th November Pitchshifter, Black Gold, The Sad Season (The Garage)

30th November Poor Old Dogs, Dead Raze, The Fish Mittens, Inner London Violence (Magdalen Hall)

3rd  December Coliseum, Harrowed, Ritual Error, No Bueno (New Cross Inn / Cancelled)

7th December Svdestada, Wreathe, Head Of The Baptist (The Dev)

17th December Terror, Nasty, Combust plus more (229 / UK Tour)

17th January Reality Unfolds Weekender featuring Wristmeetrazor, Dry Socket, Long Goodbye, Vicarage, Hour Of Reprisal, Closed Hands (New Cross Inn)

18th January Reality Unfolds Weekender featuring Ringworm, Bitter Wood, Broken Vow, Malignant, No Relief, Impunity, Imposter plus many more (New Cross Inn)

19th January Reality Unfolds Weekender featuring Stormo, Sorcerer, Shooting Daggers, Perp Walk, Cassus, Hidden Mothers plus many more (New Cross Inn)

23rd January One Step Closer, Dynamite, Life Of One, Uzumaki (New River Studios / Sold Out)

9th February Bent Blue, Major Pain plus more (New Cross Inn)

24th February Love Letter, Heavy Hex plus more (New Cross Inn / UK Tour)

7th-8th March Damage Is Done 4.5 Weekender (Line-up and venues to be confirmed)

8th March Misantropic, Nujorvik, Wreathe, System Of Slaves, Traidora (New Cross Inn)

15th April Thou, pageninetynine, Moloch (Scala)

Coming Soon

Look Familiar by The Green Child

Next Week

James Jonathan Clancy Band ‘Sprecato’ 12-inch (Maple Death)

Qlowski ‘The Wound’ 12-inch (Maple Death)

The Green Child ‘Look Familiar’ 12-inch (Upset The Rhythm)

Zuletzt ‘The Abandoned Flesh’ 12-inch (No Front Teeth)

December

Atomic Prey ‘Atomic Prey’ 12-inch (Iron Lung)

Faucheuse ‘Rêve Électrique’ 12-inch (Symphony Of Destruction / Restock)

Golpe ‘Subisci. Conformati. Rassegnati.’ 7-inch (Static Shock)

Gurs ‘Gerran Bizi Gara’ 12-inch (Symphony Of Destruction / Restock)

Ignorance ‘Nothing Changed’ 7-inch (Iron Lung)

Inferno Personale ‘La Scelta É Tua’ 12-inch (Symphony Of Destruction)

Paprika ‘Paprika’ 7-inch (Iron Lung)

Pest Control ‘Year Of The Pest’ 12-inch (Quality Control HQ)

Rogo ‘Rogo’ 12-inch (Symphony Of Destruction)

Second Death ‘Second Death’ 12-inch (La Vida Es Un Mus)

Straw Man Army ‘Earthworks’ 12-inch (La Vida Es Un Mus)

Träume ‘Wrzask’ 12-inch (Quality Control HQ)

January

Bent Blue ‘So Much Seething’ 12-inch (Indecision Records)

Heiress ‘Nowhere Nearer’ 12-inch (Indecision Records)

Lasso ‘Parte’ 12-inch (Sorry State)

Unbroken ‘Life. Love. Regret. – 30th Anniversary Edition’ 2×12-inch (Indecision Records)

Undertow ‘At Both Ends’ 12-inch (Indecision Records)

Foundation Vinyl Newsletter

Welcome

Hello and welcome to the latest edition of the Foundation Vinyl newsletter!  Friday night I popped along to a belter of a Quality Control HQ gig at Number 90 in Hackney Wick.  The blackened crust of Traidora got the evening off to a lively start and we were then treated to an utterly rampant Stingray.  Such was the anticipation, the pit exploded into life during the sound check and did not let up for the duration.  Trench Demon, perhaps, the highlight of an absolutely stellar set.

Then it was the rare privilege of catching Iggor Cavalera in the flesh with his current project Petbrick.  I had the pleasure of seeing Sepultura a couple of times in their very early 1990s’ heyday and, while the hair may be a touch greyer, it is fair to say that Cavalera has lost none of his remarkable virtuosity and power as he laid down a remorseless percussive barrage to propel the waves of dissonant electronics conjured by his co-collaborator Wayne Adams.

And then to round the evening off, L.O.T.I.O.N Multinational Corporation, whose last planned London show was scuppered by the pandemic.  Their set steadily ramped up its intensity, hitting its full stride with the crushing climax to Cybernetic Super Soldier.  From that point on, we were mercilessly engulfed by their pounding, clanking fury.  The band were also joined on stage by Lulu of Fairytale for a euphoric rendition of their Cybernetic Super Lover remix.

And this week’s line-up?  We have four cracking new arrivals.  First up, debut full lengths from Alambrada with Ríos De Sangre and Bato with Human Cancer.  Then, we have a repress of Mižerija’s self-titled EP and State Manufactured Terror’s 7-inch, The US Government Is A Kleptocratic Doomsday Cult.

Plus, we have an updated London gig listing, including a just announced Bent Blue / Major Pain show (09/02), and a quick heads up on some of the great new releases coming our way with records from Love Letter, Habak, Human Trophy, and Armor landing next week.

Featured New Arrivals

Ríos De Sangre by Alambrada / The US Government Is A Kleptocratic Doomsday Cult by State Manufactured Terror / Human Cancer by Bato / Mižerija by Mižerija (clockwise)

‘Camina la muerte entre el silencio, de cadáveres que la patria reclama, no hay funerales los muertos no entierran, y su libertad se tiñe de sangre’ (Silencio Sepulchral) ‘Death walks among the silence, of corpses that the homeland claims, there are no funerals, the dead are not buried, and their freedom is stained with blood’ (Deathly Silence)

Alambrada unleash another rampant slab of hardcore punk from Bogota.  Featuring members of Ataque Zero and Muro, Ríos De Sangre (Rivers Of Blood) is the band’s full-length debut and follow up to 2021’s Muerte Preventiva (Preventive Death) EP.  And it is one of absolute whirlwind intensity and an unhinged, fiercely off-kilter energy.

The constants are riffs that are unremittingly fast and Spanish vocals that are utterly feral, but otherwise this is an album that constantly writhes in unexpected directions through a battery of savage tempo changes and dense, unexpected rhythmic patterns.  The lead guitar throws in some particularly flamboyant flourishes, frantically inventive, vibrantly melodic, at times, almost jazz tinged.

The murderous legacy of the narcotics war and extrajudicial violence that continue to scar Colombia are the focal point for tracks, such as Marco Estado (Narco State), the title track, and Silencio Sepulcral (Deathly Silence).  The latter two are particular stand outs.  Meanwhile, the scapegoating of migrant communities and the consequences US foreign policy in Latin America are confronted on Primer Mondo (First World) and U.S. respectively.

‘All our rights are being pulled back, with no end in sight, the wall between church and state, keeps on growing thinner and thinner’ (No Place Here)

Hailing From Virgina Beach, Bato return with their debut full-length and follow-up to 2019’s Ravages Of Time EP.  The band’s base template of blisteringly fast, densely precise hardcore – which draws inspiration primarily from 1980s’ US hardcore, while also being laced through with a discernible mid-2000s’ youth crew spicing – remains firmly in place.

The riffs are fired off with a relentless intensity, an equally remorseless rhythm section ensuring that everything remains locked-in tight.  Bato’s grip on the pacing dynamics is resolute yet fluid.  Each riff is given just enough time to land its hook before barrelling off in a fresh direction, with deft tempo changes, flaring solos, and subtle instrumental accents ensuring that the energy levels never diminish.  The band’s fiercely honed songwriting is, arguably, best captured by the ferocious opener Legacy, the mid-paced fury of No Place Here, and the seething Pecking Order.

The vigorous, urgent vocals are the perfect fit as they explore the social malaise gripping US society from economic inequality (Legacy, Useless Debt, and S.O.S) to religious extremism (No Place Here), and from the insidious impacts of social media (Echo Chamber and Model Life) to the hollowing out of democracy (Milk).

‘Rakovi boce i morske ljage, i puno puno po kamenu smeča, na grobu mome umjesto svijeća, florescentna plastika držat će stražu. More zna svu našu bol’ (Gradski Cvjetovi) ‘Bottle crabs and sea urchins, and lots and lots of trash on the stone, on my grave instead of candles, fluorescent plastic will keep watch. The sea knows all our pain’ (City Flowers)

How to make a great record in three steps. One – lay down a limber rhythm that bounces with an insidious danceability.  Two – overlay these crisply pounding beats with beautifully crystalline guitars that brim with an entrancing, infectious melancholy.  Three – inject semi-shouted anarcho-punk vocals that bristle with a defiant vitality and, when required, a gratifyingly knowing sneer.  You’ll be bellowing along in no time, whether you know Croatian or not.

Welcome to the world of Zadar’s Mižerija (Misery).  I must admit that I missed this release first time round, but thankfully Doomtown Records have had the eminent good sense to run a second press.  The band’s name may belie their boisterous sonic energies but it is rather more in tune with the darkly poetic lyrics as they tackle themes of loneliness, the patriarchy, and environmental degradation.

There is almost a brittleness to each of the five tracks, yet the sheer velocity of the band’s delivery ensures that everything holds together with a rollicking vigour.  From the utterly raucous opening two tracks Izolacija (Isolation) and Lanci (Chains), the flipside takes a rather more ominous turn on Crni Grad (The Black City) and Gradski Cvjetovi (City Flowers), before the unhinged, noise infused closer, Kraj (The End).

‘Media surveillance corporations, feeding off our unique selves, commodify our interests and experiences, broken mirrors sell us back our dreams’ (Biometricks)

State Manufactured Terror’s debut EP instantly transports you back to the mid-to-late 1980s when crust punk and metal were first being brutally fused together.  The earliest iterations of Bolt Thrower and Napalm Death come most readily to mind, injected, perhaps, with a dash of Nausea’s hardcore swagger.

The New York band’s delivery is undeniably raw.  Individual instruments merge into a frenzied blur.  Bulldozer riffs and visceral solos occasionally flare, alongside the rasping anarcho-punk leaning vocals, amid the discordant chaos.  Yet there is an organic looseness that lends the onslaught an almost live dynamic that proves particularly vivid on Biometricks and Gentrification Displacement Machine.  The band’s politics are similarly uncompromising with surveillance capitalism, urban dispossession courtesy of real estate capital, and the recent horrors in the Middle East all firmly in focus.

Shows And Tours

Deaf Club Touring Europe This Month

This section lays no claims to being a definitive listing!  It is simply gigs coming up in London that catch my eye and that I think people who read this newsletter might be interested in.  I will always try and highlight where a show forms part of a wider UK tour.

14th November Uranium Club, Hygiene plus more (Number 90 / UK Tour)

16th November Future Of The Left plus support (The Garage / Sold Out)

20th November Deaf Club plus screening of ‘Don’t Fall In Love With Yourself’ (The Black Heart)

21st November Undying, Cauldron, Sentience (New Cross Inn)

21st November Attempting Something Weekender featuring Brendan Wells’ Plant Music, Fiscal Harm, No Home, Megzbow And Vinegar Tom (Spanners)

22nd November Unbroken, Deaf Club, Shooting Daggers, Hellscape (The Dome)

22nd November Attempting Something Weekender featuring Gimic, Gamma, Ritual Error, Sublux, Rubber (Avalon Cafe)

23rd November Deviated Instinct, Agnosy, Verrat, Rank, Traidora (New Cross Inn)

23nd November Attempting Something Weekender featuring R.Aggs, Holiday Ghosts, Dean Rodney And The Cowboys, Vaiapraia, Marcel Wave, Grazia plus more  (Ivy House)

24th November Grief Ritual, Wreathe, Cady, Jotnarr, Grim Harvest (Signature Brew)

29th November Big Problem, Silica, Hellscape, Snub (The Shacklewell Arms)

29th November Despize, Imposter, Disengagement, Infinite Wisdom (Peckham Audio)

29th November Pitchshifter, Black Gold, The Sad Season (The Garage)

30th November Poor Old Dogs, Dead Raze, The Fish Mittens, Inner London Violence (Magdalen Hall)

3rd  December Coliseum, Harrowed, Ritual Error, No Bueno (New Cross Inn)

17th December Terror, Nasty, Combust plus more (229 / UK Tour)

17th January Reality Unfolds Weekender featuring Wristmeetrazor, Dry Socket, Long Goodbye, Vicarage, Hour Of Reprisal, Closed Hands (New Cross Inn)

18th January Reality Unfolds Weekender featuring Ringworm, Bitter Wood, Broken Vow, Malignant, No Relief, Impunity, Imposter plus many more (New Cross Inn)

19th January Reality Unfolds Weekender featuring Stormo, Sorcerer, Shooting Daggers, Perp Walk, Cassus, Hidden Mothers plus many more (New Cross Inn)

23rd January One Step Closer, Dynamite, Life Of One, Uzumaki (New River Studios / Sold Out)

9th February Bent Blue, Major Pain plus more (New Cross Inn)

24th February Love Letter, Heavy Hex plus more (New Cross Inn / UK Tour)

8th March Misantropic, Nujorvik, Wreathe, System Of Slaves, Traidora (New Cross Inn)

Coming Soon

Ningún Muro Consiguió Jamás Contener La Primavera by Habak

Next Week

Armor ‘Afraid Of What’s To Come’ 12-inch (11PM)

Habak ‘Ningún Muro Consiguió Jamás Contener La Primavera’ 12-inch (Alerta Antifascista / Repress)

Human Trophy ‘Primary Instinct’ 12-inch (Iron Lung)

Love Letter ‘Everyone Wants Something Beautiful’ 12-inch (Iodine Recordings / 2nd Press / Restock)

Later In November

Faucheuse ‘Rêve Électrique’ 12-inch (Symphony Of Destruction / Restock)

Gurs ‘Gerran Bizi Gara’ 12-inch (Symphony Of Destruction / Restock)

Inferno Personale ‘La Scelta É Tua’ 12-inch (Symphony Of Destruction)

James Jonathan Clancy Band ‘Sprecato’ 12-inch (Maple Death)

Pest Control ‘Year Of The Pest’ 12-inch (Quality Control HQ)

Qlowski ‘The Wound’ 12-inch (Maple Death)

Rogo ‘Rogo’ 12-inch (Symphony Of Destruction)

Second Death ‘Second Death’ 12-inch (La Vida Es Un Mus)

Straw Man Army ‘Earthworks’ 12-inch (La Vida Es Un Mus)

Träume ‘Wrzask’ 12-inch (Quality Control HQ)

Zuletzt ‘The Abandoned Flesh’ 12-inch (No Front Teeth)

December

Bent Blue ‘So Much Seething’ 12-inch (Indecision Records)

Heiress ‘Nowhere Nearer’ 12-inch (Indecision Records)

Lasso ‘Parte’ 12-inch (Sorry State)

Unbroken ‘Life. Love. Regret. – 30th Anniversary Edition’ 2×12-inch (Indecision Records)

Undertow ‘At Both Ends’ 12-inch (Indecision Records)

Pagination

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