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Five albums with punk rhythms released in 2018.
"is an annoying but inflated sentence." Of course we all know by now that the Sex Pistols were a scam and the Ramones a kind of boy tape, but we don't know the solidarity and desire for rebellion of a myriad of young people who from one day to the next had the courage and voice to shout their anger in the face; and in any case there was also the politically engaged and flawless Clash who taught subsequent generations.
The point, however, is different: this punk has died, changed and can no longer be issued today because it is frozen in its most superficial stylistic elements: burrs, nails and safety pins. Not everything is lost, but the way one dresses and plays can change and modify according to influences, but mistrust, resentment and the desire not to adapt are always the same, from generation to generation.
2018, which by the way was a year full of reasons to get sick, gave us scarce pearls of fresh punk, rich in content and various influences that perfectly fit us children of our time, to whom some things do not belong, and the desire to spit everything out.
That' s why we have chosen the five punk albums released this year that best express the discomfort that we unfortunately won't leave behind with the past year. Slave is the veteran of the new punk scene. They held on to the violent rhythm and pissing that marked them from the beginning and channelled everything into a punk that was purest of all and closest to hardcore.
Laurie Vincent (guitar, bass, vocals) and Isaac Holman (drums, vocals) enjoyed creating an ironic portrait of our self-centered society consisting of bursting families, depressions, loneliness and loneliness, all wrapped in the shiny wrapping paper of consumerism. The guitar riffs fit perfectly to the hammering drums and create the typical perfect sound for a club fight.
We had the pleasure to see them live, they play in two, but it seems that they play in twelve. These are six people from Stockholm who got to know each other thanks to the common tattooists who decided to form a punk group after a hangover. In 2018 Street Worms released their first album on YEAR0001, a Swedish label known for the sad case of Yung Lean.
They play a punk full of influences and strange distortions (screams and cries), in which you can hear a saxophone from time to time (but always in time), very much road blue. Very insecure and crackling, his voice is sung by Sebastian, while his companions play this kind of highly danceable and hypnotic post-punk.
It is a new reality from which, if all goes well, we will still hear. Born from the head of Gareth Liddiard, former front man and permanent actor of Drones, one of the liveliest alto-bands of the Austrian scene, they belong to the most interesting revelations of the year 2018. A punk of arts in which mad experimentation and oppressive bass and guitar riffs coexist, forming an unexpected and disturbing combination.
The will is to portray the complexity of existence through the rotted voice of Liddiard, who spasmodically dialogues with another softer female voice (Fiona Kitschin), in an action that leads to an unexpected end, darker and softer. This is not canonical punk, but the attitude and themes are definitely rotted.
Unexpected and absurd solos, hammering riffs and metallic sounds that hit the ear and pull the listener into a hypnotic and fascinating vortex. They play practically for themselves and mix post-punk, punk and alto-punk. Front man Charlie Steen is too angry for the clean face he's in, spitting poison out of the microphone that blows between the clean guitar riffs and John Finerty's angry and constant bass.
These are still slightly immature tracks, but given their age and the result they have already achieved, we can hardly wait to hear new material. They couldn't miss one of the best albums of the last year. This is their second album, released by the London label Partisan, on which they once again show how much they have to say and how compact they are.
As one of the most critical bands towards society and at the same time more interesting, especially for the content they offer, conveyed through the perfect medium, as well as hard-core punk, to whom they have explicitly removed the prefix of mail. A " materialistic " album that, starting from the structure and the most specific situations, criticizes everything that is the dominant system.