“Alexandre Cruz “Sesper” sempre manteve um processo criativo musical paralelo à banda em que canta a mais de duas décadas, oGarage Fuzz.
Atualmente muito do que foi produzido pelos projetos anteriores está sendo reciclado e apresentado com versões alternativas assinadas como “Acruz Sesper” que, agregadas a um repertório de novas músicas, gera um sentimento de extensão e continuidade.”
“Proto-JOYA Extended Player straight from the vault and finally realised.”
Recorded by Henry Withers at Soundsavers.
“Our first and classic album ”high tempo flight ”, Released on September 2015 .
one hour of an high energy rock n’ roll mixed with punk rock, stoner, heavy rock, middle eastern and psychedelic vibes. 9 roads, travel, love and rocking philosophy songs and 3 jams that together crate the ‘high tempo flight ” which is our story from the moment before we started the band till making this album, receding the music live in ”street music” studio in tel aviv.”
“In the summer of 2009, Appleton, Wisconsin punk group Tenement prepared to embark on yet another trip across the United States in their 1986 Dodge short bus. Like their recording sessions of the time period, their method of travel was often grueling and economical. They played with brutal honesty and they lived with brutal honesty. After a violent incident that resulted in a lot of blood, a lot of broken glass, and the dismissal of half of the rhythm section from the group, this behavioral pattern would ultimately lead to the demise of the first major lineup of the band, and usher in a new era of introspection and experimentation.
In 2011, their first two full length records, Napalm Dream and TheBlind Wink, were released only a few months apart and lead to Tenement’s widespread recognition as one of America’s most notable melodic punk bands. Four years later, they released what many critics, from The New York Times to Rolling Stone, viewed as their major statement and first big achievement- Predatory Headlights. Their new singles collection, brought to you by Grave Mistake Records and Toxic Pop Records, represents the time between the release of their early LPs and their 2015 sprawling double album.
Bruised Music, Volume Two is not only a collection of singles, but really a collection of transitional tunes that would form the basis of their present sound and distance them from their early juvenile aesthetic and more simplistic approach to the punk idiom. Eric Mayer joined the group on drums at the onset of this period, and two original members Amos Pitsch and Jesse Ponkamo, on guitar and bass respectfully, continued as the melodic force. Much of the material heard within was recorded at home on 8 track machine and cassette recorders; though a small portion of it was engineered and mixed by Napalm Dream and Predatory Headlights’ production mastermind, Justin Perkins. These selections have a distinct sheen and lend a signature quality to the record as a whole.
You’ll hear the first inkling of Tenement’s interest in the fusion of classical stringed instruments and pop music in “Wouldn’t Let You Go”, an instrumental piece called “Jet Slug” that sits somewhere between Pavement and Ferrante & Teicher, the chunky blown out punk/pop of “Blast Exhaust” and “Taking Everything” which seem too aggressive to label simply as “pop punk” yet too melodic to label as “hardcore”, the acoustic ballad “Your Sway…” with Nick Drake-esque chord patterns. You’ll hear the twinkling pianos of “Perverse Universe” and the jangling, sparkling guitars and lush vocal harmonies of “Paper Airplanes”, and it will sound so achingly familiar yet so hard to generalize or pin down. This is the very sorcery of Tenement, and on Bruised Music, Volume Two, the spell is stronger than ever.
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Fourteen Tracks in all, including material compiled from the TakingEverything EP, split 7″ w/ Culo, split 7″ with Cheeky, Freak Cast in Iron”Sick Club” 7″ single, Puke and Destroy Vol. 2 7″ compilation, and split 7″ w/ Screaming Females. All material has once again been mastered for this release by Daniel Husayn at North London Bomb Factory.”
“Debut three track disc from FRIED EGG, the latest and greatest hardcore punk offering from Central Virginia. This is a total punk smasher, with a sound rooted in golden era HC punk filtered through modern depression and alienation, executed in just a few minutes. The four brainfried individuals behind FRIED EGG have also done duty in CRETINS and ANIMAL PLANET so the playing here is no slouch — tight, fast, and to-the-point. The composition of the these tracks shows a bit more depth as well, with screaming guitar leads and fuzzed, walking bass lines jumping out at you, reminiscent of recent groups like Brown Sugar and Wiccans. Have a taste of the EGG and see for yourself. Limited to 250 copies with artwork by Lumpy.”
Taken from PunkNews.org:
“Many would agree that we are in the midst of a punk rock renaissance, and damn it is a great time to be alive. We’ve witnessed a resurgence of interest and influence so prodigious that punk has expanded far past the parameters set by the ‘greats’ in the early days—in spite of the extensive taxonomic ranking of sub-sub-genres that were born out of necessity in an attempt to categorize it all (while arguing fruitlessly over each nuance like a couple in Home Depot trying debating if a paint color is more ‘salmon’ or ‘coral’ while narrowly avoiding divorce in the aisles…), the last few years have given fans a wealth of innovative and previously unimagined music.
At a time when invention and creativity are key driving forces behind punk’s renewal, it takes a different kind of ballsy self-assurance to tackle a particular ‘classically’ punk sound that has been a staple for years, clearly defined in the eyes of fans who are not actively seeking additions to the classic repertoire—like a well-worn pair of favorite jeans, there is no reason to actively seek out a new pair of the same denim until the previous pair is defunct. The Exhausts do not reinvent the classic garage/pop punk wheel with their debut full-length release Leave the Suburbs!, but that is in no way a complaint; instead, the album’s ability to inject new life into something so familiar is no small feat.
Clocking in at a quick 22 minutes over ten tracks, The Exhausts clearly subscribe to the ‘play fast, end quickly’ playbook of punk, because they have a mission to accomplish and do so with efficiency and precision. Each track is quick, to the point, and with little ‘fat to trim’—making the ‘meat’ of the songs both heavily relied upon and the reason Leave the Suburbs! stands out as such testaments to The Exhaust’s songwriting abilities.
Thematically, Leave the Suburbs! is about the grind, the day to day struggle of making it as far as you can to get what you want—even if it’s not the finish line, it’s the next step. The honesty is less brutal than relatable, but the thinly-veiled tongue-in-cheek smartass-ness of the album is everything you’ve wanted to say but didn’t have the balls to in any number of situations—whether that translates as vulnerable, naively hopeful, not having a fuck left to give, or just good old fashioned honesty varies from song to song, but the message is clear: we’re here to do what we want, because at the end of the day it’s the only thing that matters.
“Journey to the Call Centre of the Earth” is the working man’s anthem that anyone punching a clock (with a time card and not a fist…) can relate to. Between the cleverly crafted title pun coming to fruition in the opening “May I help you?!” to the Poe-esque spiraling madness of the bridge repeating “we’re sorry about the wait on the line / we’re experiencing a very high volume of calls / we’re experiencing a very high volume of calls” you can hear the ‘fuck you’ in the vocals without The Exhausts’ ever having to say the words. But it’s not all doom and despair—the chorus sums up The Exhausts’, and Leave the Suburbs! mission succinctly: the walls are so grey / and I gotta get away / ‘cause I don’t wanna waste another day / the sky’s so blue / and it’s time for me to choose / exactly what I wanna do”.”
“Ich sah sie live und war spontan verliebt: DAMNED STREET SEVENTEEN machen auch auf dem selbstbetitelten Album Nummer drei alles richtig. Mit ihrem räudigem, abgehackten Rumgeriffe klingen sie ähnlich energetisch wie DEAN DIRG (oder meinetwegen die HIVES).
Der Bass knurrt wie auf alten MISFITS-Aufnahmen, die Gitarren spielen euphorisch Send & Return. Dazu gibt es herrlich-windschiefen Gesang wie in „Five & dime“ (der ihnen eine leichte PAVEMENT-Indie-Note verleiht) und Group-Shouts.
Textlich wird ordentlich beziehungsweise vernünftig gewettert. Mittendrin darf ein Highspeed-Polizei-Hass-Song, wie „Savage cops“ nicht fehlen und zum Abschluss wird bei „Nightclubbing“ noch mal das Tempo rausgenommen und man stampft sich ins Finale.
Tolles, kurzweiliges Album!”
“CULT SYNDROME – Demented hardcore punk of the darkest order from London. They do that plodding 1-2-1-2 beat to death….but they do it right, and when they’re hitting on all cylinders (like “Banality” or “Psychic Violence” for example) CULT SYNDROME are just unfuckwithable. Just a few tasteful hints of the modern goth punk resurgence, but without any of the lame-o trappings that make that shit a yawnfest for rockers—these punks play the dark shit punk as fukk, and it’s a welcome injection. Yes. Good shits. (Robert) MAXIMUMROCKNROLL “
“Huge sounding kitchen-sink garage punk from the Pacific Northwest. There’s a heaviness to it all that keeps me from focusing on the sparking clean sound, which is a major savior. The mood is an even split between frustration and inspiration, with the latter actually emerging victorious. Kinda cool! The odd winner of the lot is “A Song For Mick Jones”, which is legit, heartfelt, and not at all what I expected to hear today (or any other, really). A decent EP, and probably lotsa fun live. (missed ’em recently…bummer)” MC, Maximum Rock N’ Roll.
