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10
Jan
mrmadeo
2.6/5 (5 Stimmen)

Progression was a fanzine published in Berlin at the end of the 1990ies with  Felix Heiduk and Katrin Lindenmann being the two editors.  I remember seeing three issues being distributed by different labels and distros all over Europe. Of course, it was also largely available at shows of that time. 800 copies were made of the second issue, which featured interviews with Trial, Morning Again, Outlast and Serpico - all of them with well thought-out questions that set the zine apart from your standard interview question. I found the one with Serpico's John Lisa memorable as it was the first thing that came to my find when I found the zine im my "immense" (big laughter) fanzine archive a couple of days ago.

It was then Serpico's last tour and the band would eventually disband after the last European show at Cologne. John talks about his memories and why he is fed up with hardcore and that they wanted to end the band so they could "go out with style instead of making it pathetic" - in fact, he had said everything he wanted to do say in music and that he had had a great time with it.  Later in the interview he doubts that people with still talk about his band ten or more years later: "Unfortunately there's a lot (of) bands coming out after us that are doing the same thing we're doing and some of them do it a lot better than us." Well, dear John, we are in 2010 now and there is still people talking about you and your band....

The rest of the zine contains some short colums and essays plus records and fanzine reviews. You can read it in every line that these are not two 14years old writing for the first time making this zine a pleasure to read even 12 years later.

 

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05
Jan
mrmadeo
3.0/5 (2 Stimmen)

This is the first issue of the seminal 90ies Hardcore Fanzine. You can find it in various places over the net, but this version is reader-friendly as it's one single pdf.

HeartattaCk issue 1

 

 

 

 

 

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04
Jan
mrmadeo
3.0/5 (2 Stimmen)


This is issue number two of the infamous H8000 Fanzine, covering the at that time flourishing and uprising Belgium's (Metal-)Hardcore-scene. The secondf issue covers interviews with bands such as Integrity (a fairly poor one as usual for Dwid & bandmates) and H800 locals Regression, as well as with Jose of Desperate Fight Records from Sweden. Inbetween you'll find a good doze of fanzine and band reviews as well some showreviews ( Congress, Nations On Fire, Integrity, Ringworm to name a few). One of the colums deals with violence and hardcore (for which the H800 area was famous for).  The printing quality is fairly good for xeroxed mid90ies hardcore zine in contrast to the quality of writing, which is to speak the truth quite poor. While you could valuably argue that this represents  your typical, almost a-political, lifestyle-oriented (see the supernintendo  trading adverts inside) spoiled upper-class-kids hardcore fanzine that anticipated iwhat had to come with "emo" and MetalHC" shortly later, the compassion and sincerity put into the making of this fanzine are out of doubt. I guess you could feel biased about this zine and the scene it represented.  I remember enjoying reading about Desperate Fight, Integrity and Nations On Fire but at the same time being left with a somewhat discomposed feeling afterwards. That was not my zine (nor scene) but I found it nevertheless interesting for historical purposes.

H8Z issue 2

 

 

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03
Jan
mrmadeo
3.0/5 (2 Stimmen)

 

Inside Front Ausgabe Nr. 9 aus dem Jahre 1996, mit einer 7' als Beilage mit den damals angesagtem Bands aus dem Good Life Records-Umfeld CONGRESS, SHORTSIGHT, LIAR and REGRESSION.  Auf Papier gibt es neben ausführlichen und zum Teil wirklich inspiririerenden und polarisierenden Kolumnen (in welche ich mich wirklich zu vertiefen pflegte soweit es mein Englisch damals zulies...)natürlich auch den üblichen Fanzine-Standard aus Band Interviews ( mit Congress und den wirklich empfehlenswerten Timebomb aus Italien) sowie Fanzine-und Plattenkritiken.
Im Orignal bei Armed With Compassion "erschienen".


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02
Jan
mrmadeo
3.0/5 (2 Stimmen)

This Review is offered by blogged & quartered and can be found here:

File revised on Dec. 12, 2009 for far superior sound quality on all the studio tracks. Trust me, it's worth the download.

I figured i'd finally put together a collection of all the best sounding Straight Ahead recordings i could find. First off is the entire 12 song demo. 9 of these 12 songs were released on the End the Warzone compilation 7" on One Step Ahead Records in 1986, alongside some other great bands (Larm, Pillsbury Hardcore and Attitude Adjustment). The entire demo included here sounds great and has a nice loud, full sound, and is by far my favorite material by this band. Fast and chaotic, short but memorable songs. Just perfect, no bullshit hardcore. Also included is a nice sounding rip of the classic Breakaway 12" ep released in 1987 on I Risk Records (and bootlegged countless times since), and a set recorded live at CBGB in March of '87. Of all the live sets i've heard by this band, this is my favorite. Good sound quality, great performance, and they play just about every song they ever wrote, including 3 unreleased songs, Knockdown, The More Important and Take Control. There's also a couple of songs from the NYC Mayhem days (actually, most Straight Ahead songs are just modified NYC Mayhem tracks), and Amount to Nothing is a re-working of Nothing Song. To top it off there's a cover of Agnostic Front's "Friend or Foe" with Vinny Stigma singing along on stage. Ending the collection is an interview with the band recorded live on WNYU's Crucial Chaos. Enjoy.

Straight Ahead Collection

Tommy Carroll - vocals
Craig Setari - bass
Rob Echeverria - guitar
Armand Majidi - drums

According to various sources, Tommy Carroll played drums on the Straight Ahead demo (credited as XXX), and Armand played on the Breakaway 12". I've also seen Gordon Ancis (NYC Mayhem) credited for playing guitar for Straight Ahead. Maybe the demo?

Besides NYC Mayhem, members of Straight Ahead also played in Youth of Today, Sick Of It All, Rest In Pieces and Agnostic Front. Probably many more as well.

Supposedly there is a session recorded live at Don Fury studios from 5/20/87 with the unreleased songs. For reasons i'll never understand, it seems nobody is allowed to hear it, as it's under "lock & key".

There are many other recordings of live Straight Ahead shows. The ones i know of are: CBGB 3/16/86 (first show), Albany 6/22/86 (i have 3 songs from this one, it sounds ok, but the bass is very overpowering), CBGB 7/20/86 (there's video of this show as well), CBGB 3/21/87 (possibly the set i posted although mine was labeled 3/1/87), CBGB 5/3/87 (last show). If anyone has any decent quality rips of these shows, please get in touch. I'd love to make a second collection.
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02
Jan
mrmadeo
1.0/5 (1 Abstimmung)

This Review is offered by blogged & quartered and can be found here :

 

American Standard were a great punk rock band from New Jersey. They were kinda grouped into the NYHC scene (the song "Away" even appeared on the "Sunday Matinee: The Best of NY Hardcore" comp LP released on Another Planet Records in 1994), although the band's sound was pretty far removed from the NYHC scene. They took influences from the DC scene, and the emo sound that evolved from Rites of Spring, gave it a bit of a harder rock edge, added some pop hooks, and created some unique and catchy music. This is a collection of material recorded prior to their amazing first album "Wonderland". Thanks to Jon Shiver, Jeremy Dean and Scott Bilbrey for the music. Enjoy.

American Standard: 1987-1988

William "Bill" Dolan - vocals
Matt Dolan - guitar
Scott Bilbrey - bass
Jay "J" Colangelo - drums

The "Thank You" demo (tracks 1-5) was recorded at Inner Ear Studio in Arlington, VA sometime in early 1988. These are my favorite versions of these 5 songs, and the sound quality is excellent. Versions of these tracks appear on other demos posted here, and all 5 were re-recorded for the "Wonderland" LP in 1989.

Tracks 6-9 are rough mixes of the Wonderland sessions recorded at Chung King in 1988. The opening track "Grin" is the only track exclusive to this session, as "It Comes Around" and "Building Blocks" are on the "Thank You" demo, and "Without Asking Why" is on the 1987 demo. Still, these are great renditions of these tracks, and definitely worth hearing. I cleaned up these tracks as best as possible.

Next up (tracks 10-16) is a great set recorded live on Pat Duncan's show on WFMU in East Orange NJ (at the time, the WFMU studio has since moved to Jersey City, NJ). This version of the set is strictly the music. I cut out all the in-between song banter because while de-hissing the set made the music sound much better, it made any talking between tracks sound much worse. You're not missing much though, the band introduces a few of the songs and makes one show announcement. The music sounds much better than any of the other copies you'll find, and that's all that counts. To me anyway.

Tracks 17-21 were the band's very first recordings, known as the "Paul Noser Demos". Some great exclusive tracks on this demo like "Blind Leading Blind", "Shadows" and "Love and Trust".

Scott Bilbrey on the "Paul Noser Demos":

Paul Noser was a friend and musical mentor of the band (and amazing musician) who had a small studio in his basement in suburban NJ, not far from where we lived and formed as a band. This was recorded in early 1987. Just some context, Matt and J were 16 years old -- juniors in high school. We were still finding our way musically and as a band, so go easy! :)

We played all of these songs in our real early shows (1987) but by mid-1988 the only one that survived was Away -- which we played pretty much to the end.

This is actually a rough mix of the demo, so there are a couple glitches (vocals fade in on Shadows; a clown horn that Bill was goofing with can be heard on Away -- was supposed to be edited out).

Blind Leading Blind was the first song we ever wrote.

I know we played Shadows at our first CBGB's gig in January 1988 (with Swiz) but I don't know if we played it much beyond that.

Away made it onto Wonderland -- this is the first recorded version.

This version of Where'd They Go is pretty much how we played it live, unlike the other version from the first Inner Ear Demos, which was a bit experimental. We played it live only a few times.

To read the full story behind the demos, check out the comments section of this post.
Also check the comments section for the original upload of the "Paul Noser Demos" (before i cleaned them).

Last in the collection are 4 demo tracks recorded at Inner Ear Studios in 1987. The quality varies from track to track, but considering these tracks were buried under so much tape hiss, i think they came out really well. The original '87 demo had 5 tracks. I didn't include the song "Thank You" due to horrible sound quality that was beyond repair. But that song is already in this collection twice, so no harm. Thanks to Scott Bilbrey for the info on all these recordings.

Matt Dolan on American Standard:

Washington DC. That was where our biggest influences were- the DC scene. Dag Nasty, Fugazi, bands like that. We were really inspired by that because it wasn't as 'aggro' as the New York scene was. There starting to call bands Emo-core now, and they were calling them Emo-core back in '95.

You can read the entire interview with the band here.

And check out the American Standard page on the Maggadee Records site for lots of great band pics.

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Ein Standpunkt außerhalb des Empires
mrmadeo
5.0/5 (1 Abstimmung)

Letzter Abend hier in der Toskana bevor es morgen früh wieder nach Hause, d.h. erstmal München, geht. Sind heute in Grosseto gewesen und peinlicherweise habe ich Grosseto mit Volterra verwechselt, d.h. ich habe in meiner Erinnerung den geopraphischen Standort beider Städte vertauscht, sodass wir statt in einer mittelalterlichen Stadt auf nem Berg plötzlich an einer Küstenstadt mittlerer Attraktivität gelandet sind. Letzlich egal, weil es den Kids egal ist, uns auch, nur dem Busfahrer scheint das richtig zu beschäftigen. Und weil er ohne Navi total überfordert ist, muss er seinen Frust - wobei er ja genaugenommen ja nur zum fahren da ist- an dem einzigen der dieser „Scheißsprache" mächtig ist, auslassen.

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