La Agonia De Vivir Punk | Hardcore 60 Items

Madrid-based 90’s punk rock nostalgics “weak” is back to the fray with their second album “A Guide for Adult Despair”. You can tell they grew up with Nofx, Lagwagon and No Use for A Name tapes blaring on their Walkmans as their sound could be defined as a passionate homage to the Californian punk rock bands of the nineties. On this new album the band decides to go one step further in terms of composition and recording quality and hits Ultramarinos Costabrava Studio with the mighty Santi García in charge. The result is a much more elaborate and consistent album, combining the speed and rage of punk rock with slower and super melodic pop style cuts. Although it is not a concept album, everything is wrapped in an atmosphere of sadness and despair in which many of us have been trapped in these past years. A Guide for Adult Despair is a deeply personal album, which revolves around the ups and downs that each member of the band has experienced during these last turbulent years. Nevertheless, the album also leaves room for some fast and direct songs loaded with social and political criticism. Recorded between the past months of December/January at Ultramarinos Costabrava by Santi García, this album is definitely much more consistent and emotionally engaging than the previous one.

Limited to 300 black vinyl copies. After a demo where I played bass, this is the first album of this band from Tel Aviv with people from Not On Tour, Dir Yassin, Aason... 18 songs that sound like a brutal mix of dark crust, sludge, doom, powerviolence...sung in hebrew. Political stuff about animal liberation, the society in Israel…

Tano!’s third album is finally here! They are an experimetal posthardcore band from Girona, living the concept of writing songs with the motto “let’s put something here which no one would expect next”. Eleven songs recorded live and mixed by Santi Garcia and at Ultramarinos Costa Brava, mastered by Victor Garcia and wrapped up with Xavi Forné’s artwork (Error! Design).

This fine 12-track album by the popular Swedish punk band is now back on vinyl for the first time since its original release in 2000.

Duricies a L'Anima / Xoc De Mermats / Amb La Rancunia Propia D'un Lletraferit

So happy to put out for the first time ever on vinyl; 22 Jacks Uncle Bob debut album from 1998. One of the bands of the mighty Steve Soto (Adolescents, Agent Orange, Joyride...), forming a super band with people from Face To Face, No Use For A Name, Foo Fighters... a super fresh album between punk rock, power pop and some surfrock vibes. Steve Soto in loving memory.

The 25 minutes of the 8 songs that make up Éramos felices y no lo sabíamos have all the necessary elements to become generational anthems: memorable lyrics, guitars capable of shaking an entire room and choruses to chant with fist in the air. Recorded and mixed by Santi García -Standstill, Nueva Vulcano, Toundra, Madee- at Ultramarinos Costa Brava, who has achieved the dreamed sound for an album like this. For fans of Cala Vento, Yawners, The Get Up Kids, Marietta, Cap’n Jazz, Modern Baseball and all the underground emo bands of the last 20 years.

Madrid-based 90’s punk rock nostalgics “weak” is back to the fray with their second album “A Guide for Adult Despair”. You can tell they grew up with Nofx, Lagwagon and No Use for A Name tapes blaring on their Walkmans as their sound could be defined as a passionate homage to the Californian punk rock bands of the nineties. On this new album the band decides to go one step further in terms of composition and recording quality and hits Ultramarinos Costabrava Studio with the mighty Santi García in charge. The result is a much more elaborate and consistent album, combining the speed and rage of punk rock with slower and super melodic pop style cuts. Although it is not a concept album, everything is wrapped in an atmosphere of sadness and despair in which many of us have been trapped in these past years. A Guide for Adult Despair is a deeply personal album, which revolves around the ups and downs that each member of the band has experienced during these last turbulent years. Nevertheless, the album also leaves room for some fast and direct songs loaded with social and political criticism. Recorded between the past months of December/January at Ultramarinos Costabrava by Santi García, this album is definitely much more consistent and emotionally engaging than the previous one.

Limited to 300 black copies. A few weeks ago, the first planetary defense test was successfully carried out: the Dart probe diverted the orbit of the asteroid Dimorphos. With this Nasa operation we know, once again, that when we humans play god we are unstoppable, that we are not going to become extinct like the dinosaurs as long as progress makes us move. However, while this space shock was brewing 11 million kilometers away, here, more specifically in Torelló (Barcelona), a disc was being created that is like the Trojan horse of asteroids. Sin has made a crater or is going to do so; we are talking about Meant to collide of Wud. The second album of the band arrives three years after the debut Okeanos (2019), three are also the nuclear components that currently form it (and not the five before) and, again, three are the letters with which the name of the band remains (wud), previously they were called Wood. It seems that many things have changed in three years and that's right, the group has grown while it has been reduced and this new album testifies to that. The eight songs concisely concentrate the soul of the project. Although what they continue to love is the structured edginess of math-rock, they want the work to have punk-rock and pop constantly on the horizon, which makes the computation more digestible for all kinds of ears that like sharp-guitars music. Behind the songs we find Marc Fernández, Aleix 'Jimmy' Vilarrasa and Rai Costa, three friends of Torelló who for the last, almost, two years have been carrying out the recording. A long and arduous process that has gone through different studios, such as Fontderola by Jordi Casadesús and Jordi Torrents, or Lluerna by Èric Fuentes, but above all it has been hatched in their rehearsal room where they themselves have persevered in the attack to record a good part of the instrumental. The trio's bizarre ideas have been grounded with millimeter precision, faithfully capturing the centennial hyperactivism that accompanies them wherever they go. On the one hand, the songs trot lively and directed with a hardcore soul and rounded pop, on the other, if we look a little, we notice how the details of each cut are infinite, that the structures could be applied to the Sagrada Familia, that, in definitely, there is a lot of hard work. That the process has been laborious is also noticeable in the guitarist's lyrics, words spat out with the impatience of someone who doesn't want to waste another minute in the loop of self-destructive thought. Meant to collide is a fight between the two opposite and complementary parts of oneself, and I say two to simplify. Between the adrenaline side that wants to end everything through romantic escape and the other, the one that wants to reconstruct the fragments of memory to heal from serenity. From this very personal dispute comes a more than possible collision which, deep down, is what makes the group's creative drive advance and, above all, what makes the feeling that the songs are alive because they are lived intensely. Are we talking about emotions? Yes, thank God, because there such of this on the album, all the time, even in the instrumental interludes. The dreamy piano of “Barnum’s Circus”, the spectral autotune of “Lost Stars” or the Queens-of-Stoneagian guitar solo of “Cul-de-Sac” are at the service of the emotional magma of the musicians. The influence of highly emotional groups such as Delta Sleep (the English band performed one of the most memorable concerts for the wud crew at Torelló’s Arundo Fest in 2018), Algernon Cadwallader or Faraquet is noticeable. Over the years we are discovering where exacerbated technological progress is leading us: that's right, to collapse. Meanwhile, but, this band warns us that they have already arrived there and that humanity can be taken in abundance from there, in fact, there is nothing more human than collapsing.

Bullitt (Sant Feliu de Guixols) released their first album in 2008, 15 years later this B Major is their 5th studio album and they sound better than fucking ever. With Santi García in charge of the recording and production, they continue to deliver their great mix of melodic punk rock, indie rock and power pop.

Limited to 500 pink and blue splatter copies. Disaster Jacks are a trio (Angie, Marle and Dave) from Barcelona and this is their third release, for sure their best stuff til now. 8 new songs of punk rock, hardcore and skatepunk that sound fresh and honest.

Limited to 300 black copies. It includes booklet. This is Ka’tzon La’tevach (Tel Aviv) second full lenght. This time is Gutzy from Not On Tour on drums who make it more straight forward album. They still continue delivering some dark and slow parts but with a more hc/punk/dbeat approach. This is neocrust as its finest. You will love it if you are into His Hero Is Gone, Tragedy, Wolfbrigade or Ekkaia. Very political lyrics in hebrew (english translations included) about life in Israel. Antizionism, antioccupation, pro animal liberation…DIR Yassin former member.

This is only one track but a 29 minutes one. There are elements of crust, screamo, hardcore and much more on display here! The most impressive thing about Territorios is, however, how one movement flows into the next, without ever feeling like one song has ended and another has begun despite how different one part is to the next. To have a track continue in this vein for so long without relying on glacial tempos to fill the run time is no mean feat. On the contrary, this record boasts d-beats, frenetic screamo passages, blast beats and two-step hardcore beats underneath fuzzed-out guitars, thick bass and larynx abusing vocals between the sections of inventive and invigorating riffs and hooks they pepper throughout the piece. In its essence, Tenue do allow a little room for respite however, around the halfway mark, they begin stripping back layers of instrumentation before building in intensity and ripping it up all over again. Once you reach the epic climax of the track, it’s hard to believe that the journey started nearly 30 minutes ago, because with so much to keep your attention they manage to keep you guessing where they are headed next and the time really flies by as a result.