Although Tel Aviv (and Israel in general, for that matter) has quite an intimate punk and hardcore scene, there has been a lot of new bands popping up lately. Not just ones with members of already established bands but actual NEW BLOOD. One of them is possibly one of the youngest hardcore bands EVER - Social Virus. With an average age of about 15, these 4 friends have already been getting attention for their age alone but as their debut self titled EP proves, the hype is not totally unwarranted.
Social Virus might be young but they have some actual hardcore chops. Consisting of 3 songs in English and 3 in Hebrew, the music on this EP incorporates the musical simplicity and aggression of old school hardcore punk mixed with the more lower tones and breakdowns of more modern tough-guy hardcore. Sticking to what hardcore should be, the songs are all quite personal and from the honest point of view of a teenager, as opposed to just being random songs about hardcore, unity and other such clichés.
Although the song HaShomeret Bat Zonah (The Bouncer is a Bitch), written about an incident involving the boys being refused entry to a punk show, has already gained a huge following alone, I personally wouldn't consider it the EP's stand out track. The 30 second long Still Here might be super short but is the best song by far, from its frantic intro by drummer Guy right to singer Atir's "Bleh!" (which is a bit of a cliché but I'll let it slide). I Was A Kid is also a highlight, not only for the catchy "So much different, so fucking different" chorus but also for the relatable content. Even at the age of 15, you start to realise that life isn't all that easy.
The overall production is more "demo" quality than sounding like an EP. In a way, it works well with the material as it makes the songs sound a little "gritty" but you can't help but think that they could sound even better and fuller with a higher quality mix.
Social Virus as a band are definitely going places but have a bit to learn. One suggestion I would like to make (not that my word really means anything) - you don't need to swear so much to sound "punk" or even more "adult". Obviously, it helps accentuate our frustration but if it gets overused, it can get less effective and cheapen everything. That was advise I was given which I've learned to appreciate more with time.
3/5
Every decade has its stand out genres; the 60s had motown and garage rock, the 70s had glam rock and disco, the 80s had punk and synth pop and the 90s had Brit Pop and grunge. For the late 90s and early 2000s, kids were starting to get into rap-metal and nu-metal. Although it may seem dated now, it still has its fans and none are more obvious than this band.
Hailing from South Israel (Arad/Beer Sheva), Hotbox, the country's answer to Californian outfit Hed PE aka (hed) Planet Earth aka (həd) p.e., have done a lot for the Israeli underground scene, teaming up with bands of various genres to put on guerrilla shows and even their own festival using their own equipment. After some wait, the band have released their new EP, White Trash.
Most of the songs on White Trash (and the band's repertoire in general) have that same bouncy groove and macho flavour as the aforementioned Hed PE. In particular, first full track, Rap Guillotine, has a riff that sounds identical to that of Killing Time. I won't say it's a rip off, as I am fully aware that these things can sometimes happen (I once realised I had almost totally rewritten a TAD song and pretty sure I hadn't even heard it before) but many may see this as a little unoriginal. I happen to love Hed PE, so it's hardly a bad song to bare similarities to, in my opinion.
The rest of the EP stays with that Juggalo-metal type vibe with lyrics mostly containing expletives (motherfucker, shit, bitch etc..) and both sexually explicit and aggressive language in general. The band's MC, Cise2 (or..Dave), certainly has a fast Bionic Jive-like delivery but the lyrical content tends to be a little cliché most of the time. It's only by the last two tracks, Ugh! and Use A Friend, where a little bit more thought seems to have been put into his words. Whereas the former is still an angry track which anyone who's ever hated their job would relate to [raises hand], the latter is a more heartfelt ode to a friend who passed away. I say friend, there are signs that it is in fact about an actual pet dog as a opposed to "my dawg". Either way, the more meaningful lyrics teamed with a passionate vocal delivery on top of a laid back yet still heavy groove make Use A Friend the EP's stand out track.
It's quite difficult to make music like this in this day and age, so Hotbox certainly get credit for not giving a fuck and playing what they love. Alongside punk and hardcore, I have a soft spot for rap-metal, so I see them as bringing something a little different to the scene out here. White Trash has a decent production and is fun for those who already love this genre. However, if they actually want to get anywhere and gain any recognition based on their music, they need to start bringing something new to the table.
3/5
Finally! After years of perfecting their sound and playing shows, tough Tel Avivian hardcore outfit, Eternal Struggle, have released their debut EP, Breaking & Entering. Filled with five tracks of hardcore and groove metal inspired heaviness, this release is refreshing for both the Israeli hardcore and metal scene.
Proclaiming to take influences from hardcore big names such as Hatebreed, Terror and Madball, I also can't help but think of bands like London kings Knuckledust, Dutch hardcore outfit Born From Pain and even NY beatdown veterans Bulldoze (just a little bit). Although there is still a fair bit of standard one chord chugging here and there, it still sounds a lot heavier than most of the djenty "breakdowns" that so-called "hardcore" bands nowadays do. Most notably, in the track Lost, guitarist Omer plays a slow and heavy, hummable palm muted beatdown which will certainly cause ninja antics over in Europe if not in Israel, where it's not really the norm.
Throughout the EP, every song is groove heavy which makes me very happy. There's no "hardcore d-beats" on here, though. The fast bits seem to be mainly a simpler beat with the snare on every full beat and kick on every half (hopefully drummers know what the hell I'm on about. I don't know if there's a name for it.) It unfortunately makes a lot of the EP a bit samey and not as interesting as it could be. Normally, it could be a sign that the drummer is not up to it, but as the impressive fills in the likes of final track Pride Kills show, drummer Ori (aka Shiny) is certainly a more than competent drummer.
Vocalist Ori (aka Franko) has a very rough voice, reminiscent of previously mentioned bands, as well as sometimes touching upon the more shouting style of Lou Koller of Sick Of It All. Both the vocals and the lyrical content are not really anything new or ground breaking. There's even some pretty cliché sing along attempts, like in opening track Freedom Denied. Despite that, Eternal Struggle musically fill a gap that has long been empty in the Israeli scene.
For me personally, Breaking & Entering brings back memories of going into Camden almost every week to see the London tough guy bands and their European or American friends all playing crushing, groove based hardcore with beatdowns that saw everyone punching the air and spin kicking. I've sort of missed it. Hopefully, Eternal Struggle will reach the hardcore scenes across Europe and even stateside. They certainly have the music to do so but could do with a little bit more originality.
4/5
As already mentioned when I posted one of their songs, it's always nice to discover a local band purely by accident. Especially in this very small punk, I was surprised to discover a band I hadn't even stumbled across before.
Skid 24's first EP, Home and Away, consists of 4 tracks of pure early 2000s pop punk rock. If you think of bands like Blink 182 and The Offspring, then you're close to what this Israeli punk 4 piece do.
Opening track, Stop The Planet, has quite a The Kids Aren't Alright (The Offspring) sound to it musically, but the vibe changes when vocalist, Leo, begins. His vocals are very much more in the vein of Blink 182 and New Found Glory but due to his strong accent, some words come out sounding strange. Despite that, the song itself is catchy with a fairly serious tone.
The rest of the EP has a more Blink feel over all. Actually, it's not just a feel but even sound like total replicas. The EP's title track is pretty identical to Rock Show and closing song, Swings, is reminiscent of more poignant numbers like Stay Together For The Kids and Adam's Song. It even verges on the Angel and Airwaves use of the "disco" beat, which makes the chorus easy to dance to. Rock City is possibly the most anthemic. With fast delivery, the song's chorus will be stuck in your head for a while, as will the song's main riff.
In short, the obvious similarities and strong accent aside, this is personally quite enjoyable punk rock with added nostalgic value. The production quality is of high standard for such an unknown band and the songs are generally quite memorable. The vocals even grow on you after a while. I now sort of see it the same way I see Japanese punk; the accent acts as another instrument and just makes the whole thing sound more interesting.
Skid 24 might not be exploring any new ground as such, but they're playing what they like and doing it to a good standard, which has to be respected. For anyone interested in downloading the EP FOR FREE, there are special codes to use via the band's bandcamp. The band has kindly given me a few to allocate as I wish. Go to http://skid24.bandcamp.com/yum and use any of these codes:
r2kk-3g37
uxmr-gkz3
vq85-b994
78nb-x96m
ludm-et96
If all of these have already been used and you cannot access the free download, get in touch and I might be able to get hold of some more, but essentially this is a first come first served basis.
3.8/5
(Yes. That's really 3.8. It's seriously better than 3.5 but not quite a 4.)
Formed by 3/4 of the original Fourfunzies line-up, Copout from Rosh HaAyin, Israel, have recently released their first 7", Spray Paint.
As much as I loved the guys and did enjoy a few Fourfunzies' songs, there was always something a little bit too experimental with them which I didn't always get. With Copout, long term friends Uri (guitar/vocals), Omer (bass/vocals) and Nir (drum/vocals) still keep the essence of interesting, non-typical punk chords and slight jazzy arrangements but somehow wrapped up in a more hardcore punk package.
With 8 tracks in total, this record runs for a little under 8 minutes. The songs are short and mostly pretty fast, with the whole band joining in on vocals and putting all their blood and sweat into the playing. Oh No! kicks things off with a joyous ditty about time wasting. Anyone who hates having deadlines for either college papers or work will relate to this track. It might not be long enough to really be considered an "anthem" but its "Procrastination is the one thing I do great" chorus is catchy enough to be memorable and sung at shows.
There are other melodic parts throughout which could be considered hooks, such as in Where Is Your Mind? and closing track Tied Down. The latter is the longest, most melodic and most structured song here. The others are all still good short blasts of punk, which I guess is what they're going for. The song writing is at least relatable and doesn't touch too much on politics. Personally, that's great. The record as a whole needs to be listened to a few times for the songs to get inside your head, but they will.
Copout take the style and structure of acts such as Lifetime/Kid Dynamite/Paint It Black/basically anything with Dan Yemin, mixed with the energy of old school hardcore like Black Flag and Minor Threat and try and put a more technical spin on it. The band even include an impressive cover of Black Flag's Spray Paint, hence the record's title. They speed it up a bit more, utilise switching vocals and generally play it a whole lot tighter than the original. The tightness might lose the tracks initial intensity but only a tad. It's pretty hard to out-angry Henry Rollins.
I'm certainly looking forward to hearing a full Copout album but I've not been totally blown away by this. As a side note, they are a tight and impressive band to watch live, so if you ever get the chance, go do so.
4/5
Every now and again, I am fortunate to get my blog noticed simply via the wonders of the internet and a bit of facebook promotion. Recently, I got sent a 2 track EP by Diabolus. Hailing from Andover, UK, Diabolus play a mixture of first wave black metal and death metal with just a hint of hardcore reminiscent of bands like Liar and Arkangel.
The title track, which already starts off sounding like a very professional recording with a spooky sample of, what sounds like, a dripping tap, creaking doors, girl screams and some intense build up music, is about 4 minutes of pure evil. For those into black metal and death metal, this is familiar territory. Vocalist Luke (if indeed it his him doing all parts) supplies brutal low pitched growls and the slightly more "possessed by the devil" style shrieking. It's so good that it makes you wonder if he's actually Scandinavian. There's fast riffing (Adam - lead guitar, Tim - rhythm guitar) and thunderous drumming (Kurt - drums), as is signature of death metal, but there is also slow heavy grooves, including a pretty heavy "beatdown" and a keyboard accompanied melodic section near the end. The melodic part, instead of making them sound like any other black metal band, is more reminiscent of an old British band called As She Screams, who used to incorporate keyboard into their mixture of death metal and hardcore.
Second track, The Bay Harbour Butcher, starts off soft and melodic but then the blasts and growling join in and it's a scary ride from there on. As well as sounding far more black metal than Wasted Air throughout most of it, it also keeps in with modern metalcore, with the use of a slow, simple yet effective spacious groove which would make some people want to break things.
There's definitely something here which is a bit new compared to other bands out there, at least as far as I'm aware. As well as being perfectly suited to a black, grind or death metal show, they have something about them that would also go down well with hardcore fans, especially those of the early more metallic European sound. This EP is brutal and just polished enough to sound both professional and gritty at the same time. Although this isn't what I'm normally into and I'm not 100% taken in by the name, I'm hoping the band get themselves an album out soon and more people will become aware of Diabolus.
4/5
Last month, Tel Aviv based duo, Mongar, finally released their first EP, Spectra Visions. I first experienced Mongar at a show at Koro back in November 2014 (see review). I say "experienced" because it's not just seeing them and hearing them but being amazed by how much creative musicianship can come from only two people.
As witnessed in the live show, Mongar, made up of Roman (guitar/effects) and Hagai (drums), play experimental, instrumental post/math rock. This record, although only 4 tracks, shows off their style pretty well, as well as showing their versatility.
The EP starts with the quite bluesy sounding Sheriff Goodman. With its twangy guitars, steady drumming and a few "spacey" effects, it has the potential to be a theme tune to some sort of sci-fi Western. Whereas Sheriff Goodman has very much a set style and even theme to it, the other three tracks on here lean towards the 65daysofstatic/Alright The Captain style of experimental instrumental music. They all still stay quite futuristic and calming despite a few shots of heaviness.
Doklyn is a trippy track that experiments with time signatures and rhythm patterns. It's relaxing but gets more punchy as it goes on. Zoltar and Chocky are more metallic, with the former fusing doom-like blasts with smooth electro and samples and the latter taking more from the Meshuggah school of playing.
For those who don't really like instrumental and/or experimental music, the tracks are still short and comprehensible enough that they should be considered enjoyable by lovers of music in general. Mongar manage to show an ability to even make soundtracks and soundscapes, which is a very admirable and respectable quality. I am glad that, on top of being impressive live, they also pull off great recordings with slick production and a lot of professionalism. I'm looking forward to an album and more shows!
5/5
From the land of fried mars bars, haggis and bagpipes, new Edinburgh hardcore outfit, Deceit, have dropped their first EP, Disconnected.
With a majority of "hardcore" nowadays being more of the slow, sludgy beatdown kind a la Desolated and Nasty, Deceit draw influence from more of the 90s/early 2000s tough guy hardcore that I grew up listening to in my teens. Made up of former members of War Charge and Frontline, they're actually very reminiscent of other UK bands, such as Knuckledust and early Stamping Ground.
From the very first track, Worn, Deceit deliver a mixture of grooves, tough vocals and cool riffs. The vocals throughout are very similar to those of Pierre of Knuckledust, only a tad more coherent but with also a little less aggression. On final track, Control, there is even a hardcore 'OOF', which, although used by a fair few tough guy bands, was almost identical to those of Pierre.
Personally, this EP takes me back to the hardcore that got me into hardcore and therefore pleases me a lot. The songs are mostly along the same context of the struggle within today's society which can be very relatable. It might musically have its similarities to other bands but it doesn't hide the band's talent. It's also nice not to hear shout outs about a crew or "being hardcore".
Fans of 90s/00s UKHC will definitely love Deceit, whereas those into newer bands might find it dated and unoriginal. There's no surprises or experimentation on here but the songs still manage to not sound the same. Control is certainly the EP's highlight for me, with its crushing groove and gang vocals, but every song is enjoyable and the production quality all round is impressive for an unsigned band.
4/5
