Wednesday, December 12, 2012


Sometimes I get the feeling that I'm being partial to my friends' bands whenever I realize that the only bands I enjoy any more are from the Pittsburgh area ... and then I realize that I only like Pittsburgh bands lately because only Pittsburgh bands are genuinely heavy lately.

This is a project featuring Joe Bonnadio who has done vocals for Built Upon Frustration in the past and currently plays guitar for Path To Misery. This is just the beginning for this band and I'm telling you from first-hand experience that the songs they have written which are yet to be recorded are even better.

This is pissed.


Monday, December 3, 2012


This post is a long-time coming. Let me tell you a story...

Imagine a time when people didn't understand what Mp3s were. I can remember my first downloading experience being Metallica's track from the Mission Impossible movie, "I Disappear". This is essentially what prompted Lars Ulrich and the boys to file that huge lawsuit against Napster back in 1998/1999. Mp3s had a very strange stigma attached to them at the time. With many people being afraid to download from Napster, a site arose with the simple URL of was relatively monumental at the time of its creation. It was a FREE service that allowed ANY band to upload two songs in Mp3 format. An obvious pre-cursor to MySpace and BandCamp, was THE destination to find new bands online at the time. Prior to this your only hopes at finding new bands were through the liner notes of the discs and 7"s you actually bought (crazy concept, right?). IF you were internet-savvy you could MAYBE track down some bands on sites like GeoCities, Tripod or Homestead. Chances are, however, if you managed to find these sites the bandwidth usage limit had already been reached due to more than one person downloading the Real Media file that month.

Mp3 allowed smaller independent bands to "compete" with the likes of any other band out there. I know this first hand as my shitty high school hardcore band made it to Number 1 on the Metal Charts for two days in a row (we beat out Zao and Evergreen Terrace). You could make "radio stations" which were the pre-cursor to podcasts. Later in its lifetime you could even make your songs available for download. It was a really monumental thing.

Now that I've gotten completely off-track, I'll get to the reason why I'm making this post. My first true love from the era was a considerably obscure band called Peacekeeper. Considering the band never responded to the e-mail I sent them on, the only information I could ever find on the band was that they were centered around the Minneapolis area and that they had a track on a Burning Records compilation.

The band never went on to release anything other than a demo that I spent a solid 13 years searching for. Thanks to the combined efforts of Jordan from Too Pure To Die and Evan from Nehemiah, the Mp3s of this 7 song demo finally landed in my e-mail inbox a few days ago. I've been listening to it non-stop ever since. The band had Christian overtones and a very emotional metalcore sound that most would compare to early Poison The Well. I obviously think the band has it's own uniqueness to it, but I could go on for hours about the perfection of this demo and the era in which it came from.


Monday, October 22, 2012

One King Down

The two best One King Down songs performed in an amazing atmosphere. Had to share as this is a rather ideal hardcore show atmosphere.

One Path For Me Through Destiny

I've posted about this blog before, but wanted to reiterate how unbelievably awesome it is. This is the ONLY blog that consistently uploads releases that I somehow do not already own. The extensive nature of Edwin's collection is awe-inspiring ... ESPECIALLY when you consider the fact that he was piecing his collection together in the early-mid 90s from the Netherlands!!! That is true dedication to music and hardcore right there. Check out his blog ... it's somehow moreso obscure than mine!


Sunday, October 21, 2012

XAPHAN: Demo 2012

Followers of the blog know that I rarely post about new bands ... because most new bands suck. Xaphan is a new band. They don't suck. They're awesome, actually. Joel from Disembodied managed to somehow replace the irreplaceable members of Disembodied with the likes of those from Threadbare. This is what results. Damn.

I promise this demo is worth a small donation ... but it's free if you're that big of an ass.


Sunday, September 9, 2012


Monument to Thieves is a southern California hardcore band consisting of several notable members including the following: Keith Barney (Throwdown, Eighteen Visions), David Richardson (As Hope Dies, Force Of Change), Matt Horwitz (Adamantium, The Agony Scene), Marc Jackson (Force of Change, Throwdown), and Dave Itow (The Mistake, Amendment 18).

While the band name was obviously taken from the very influential band His Hero Is Gone, the music doesn't quite share much in common as this project is reminiscent of Disembodied, Harvest and past projects of the current members of the band. While passing on the traditional messages of hardcore, Monument To Thieves also dives heavily into current events, social struggles/issues and political injustice.

On these 7"s, Keith Barney played guitar while David Richardson provided vocals. By the time the full length was to be recorded, however, David had quit and Keith Barney would move to vocals while bringing in Marc Jackson from Throwdown in to fill the guitar vacacy. Matt Horwitz would play drums with Dave Itow providing bass for the entire duration of the band.

Included in this download are their first two 7" releases. The LP is actually readily available for purchase for only $5 HERE. You also get the CD and download included! That's a pretty awesome deal for a pretty awesome record. If this download doesn't whet your appetite ... I don't know how else I can convince you.


Saturday, September 8, 2012


Just wanted to let everyone know that I added a pretty amazing feature to the blog. Right underneath the top banner there is a drop down box that allows you to translate the entire page into almost any language thanks to Google. It's truly an amazing feature if you really think about it.

I also went through and got rid of the cBox (which was always cluttered with spam) and added a "Recent Comments" section which now lists the most recent comments regardless of which thread they are posted under. Also pretty awesome.

I also updated all the old links ... so if anyone has any links to any blogs that are currently awesome (and still updated) ... let me know as a comment on this update.

Oh yeah ... in addition to the Search Box in the top left hand corner (which only searches this blog) ... the Search Box that is found on the right hand side (underneath the About The Blog section) searches this blog AND all of the blogs that I have links to. Between the Path To Misery blog and the 10-15 other blogs that I have linked up ... we should have links to just about everything you'd need.

Thursday, September 6, 2012

ACME: Discography

I know that essentially every blog worth it's own weight already has a write-up on this band ... I simply decided I needed to validate my blog by including a short post on this offering.

Everything that needs to be said about this band has been said. This CD is their only official release which is merely a compilation of their demo, a few compilation tracks and a live song or two. This band was simply a group of teenagers from Germany who never understood the scope of what they were doing.

Simply put: check this out if you think you like heavy metalcore.


INTEG2000: Discography

This band remains a bit mysterious to me. For those of you who haven't heard (or maybe don't remember) ... Integ2000 was a short-lived endeavor fronted by Dwid of Integrity around the dawn of the millennium. With the Melnicks deciding to start In Cold Blood, Dwid was left without a backing band and decided, in turn, to experiment with a bit of a new sound.

The first offering from the band, if memory serves me correct, is the self-titled full length. Released by Victory Records, this album is honestly one of the most aggro full lengths I've ever heard; a surprising offering from a band typically known for it's brooding, strangely melodic music. The album has more than a few guest vocal spots by Jayson Popson of, at the time, Mushroomhead fame. Speaking of which, Integ2000 featured the guitar work from two of the original members of Mushroomhead; I digress. This record may as well have listed Popson as a second vocalist. This is far from a complaint as the album features perhaps one of the most grueling, unspoken vocal competitions of all time as both vocalists offer up some of their finest work for this album. This session is extremely down-tuned as was most "nu-metal" of it's day (1998). I'm not sure if I can properly express how marine this shit is. No kidding ... this is one of the few albums that gets played in its entirety during one of my workout sessions. It's a shame that Victory didn't know how to push an album like this at the time as it surely could've went toe-to-toe with any other metal album that was going platinum at the time.

Next up for Integ2000 was the split with Fear Tomorrow on East Coast Empire. While only featuring two songs, this split contains, what I would assume would be, the closest-to-realized sound that the band was trying to capture. I mean, I wasn't there when the band got together or inside anyone's head or anything ... but the tracks sound what the name infers: an updated version of Integrity. The first song actually features a few riffs you may have heard before in songs such as Systems Overload whereas the second song has a vibe closer to that of the debut full length. Whether or not this was an intentional move, it definitely walks the line of the older Integrity material and the "modern" sound of the time of it's recording.

The final offering from this outfit was a 10-track record which would also be released on East Coast Empire. While only featuring 4 original tracks, the album features 6 very interesting cover songs which include Hot Stuff, Dancing With Myself, Bad Girls, Cars and South Of Heaven. I can't speak too highly of this album outside of it's comedic value. The original songs on this album don't really peak as high as the "earlier" Integ2000 but still have their moments. I'm not too sure what the explanation was for the significant drop-off between albums, but I'd love to hear it if anyone knows it.

The "band" would dissolve not-long after the release of this final album. Next up for Dwid would be his Angela Delamorte project, which would eventually be released as the Closure album under the Integrity moniker. I'll probably post this up in the near future as well.


Wednesday, September 5, 2012


Be there. Not to mention Integrity.

Thursday, August 30, 2012

CORRIN: Discography

Not much to be said about this band from Rhode Island that hasn't been said by their biography from the OneDaySaviour site...

"In my opinion New England was at the forefront of the metalcore scene in the mid 1990s. Bands like Overcast, Barrit, Cave In, Converge were all building up steam and it was not long before they would become a household name in the hardcore market. There was however one band that fell by the wayside during the frenzy and their name was Corrin. Fronted by Jesse Leach (former Killswitch Engage, Nothing Stays Gold and now Seemless) Corrin were certainly as good as the latter bands mentioned, though for one reason or another, they went completely overlooked. When I first arrived in Providence in 1996, Corrin were a sound that I had never heard before. Yes they were heavy, they clearly had metal and hardcore influences, but what made them different was that they sounded altogether evil. Similar to Overcast, Corrin were musically far more melodic and Jesse's vocals had a far more simple approach than his recent bands display. A sound that seemed to be a staple in the New England area at the time, Corrin would roll through mid paced metal chugging and seamlessly fall into dark melodic instrumental intros and outros. Often the band sounded rather unhinged, not clearly letting a particular part or pattern breathe for too long. Its a listen that while not compelling, is certainly unique in both style and form. Corrin would release a 7" entitled "Despair Rides On Angels Wings" on Hydra Head in 1995 and a split 7" with Arise from the same recording session. They would go on to record 4 more songs in 1996 that would never be released until the release of the CD "Plutonian Shores" on Infidel which compiled the last material as well as the previously released material from the 7"s and various compilations."

I included their 1995 Demo in this upload as well. Enjoy.


DAY OF MOURNING: Discography

When posted back in 2008, I initially had this post focused on the Your Future's End album (by far the band's finest work). With the somewhat recent re-issue on A389 Records, however, I decided to revamp the post into a discography (minus the obviously still in press EP). Some of the following information is probably inaccurate, but information on this band is relatively hard to come by. Feel free to post comments with corrections.

In a similar manner to A Death For Every Sin's monumental EP, Day Of Mourning played a style of driving, evil, mid-paced, Cleveland-inspired hardcore. However, unlike their Canadian counterparts, Day Of Mourning actually progressed with their creativity and awesomeness throughout their career. Taking influence at any given time from All Out War, Merauder, Integrity, Ringworm, Agnostic Front, Entombed and others of the like ... Day Of Mourning carefully crafted one of the more evil personas amongst hardcore at the time.

Their debut offering was a demo in 1998 entitled Guilty Innocence Roaming. With two out of six tracks being covers of Cleveland hardcore bands of the past, the band wasn't exactly hiding their cards as to where their influences came from. They apparently pressed this multiple times for different tours until the release of their Reborn As The Enemy debut was available through the efforts of Canadian label, Upheaval Records. Relying on the distribution of a smaller Canadian label at the time, the album didn't receive much fanfare down here in the states. Still to this day, the only copy of this album I have ever seen was in Jamey Jasta's distro he would bring with him back in 2000. I obviously and thankfully bought that copy.

Not long after the release of this epic full length, the band put out a split with Hardtime entitled “Penitence Towards The False Prophet” thanks to the efforts of yet another Canadian label, the Sounds Of Revolution. This effort would feature two offerings from their debut, Guilty Innocence Roaming demo: a song entitled Eroding Edict and a cover of Integrity's "Kingdom Of Heaven". While the album had considerably better distribution in the US with this album, the band was still shrouded in obscurity for the most part.

In May of 1999 the band would lay down three songs for a split with Red Sky from Edinboro, PA. Two originals and a cover of Agnostic Front's Eliminator. Presumably this is around the same time that the band would record an unreleased EP which contains some of my favorite Day Of Mourning material, to be honest. While one track would be featured on the West Coast Worldwide compilation put out by Mikey Hood ... the rest of the songs are otherwise unreleased to the extent of my knowledge. There is a bangin' cover of Earth AD (probably better than Earth Crisis') as well as a re-recording of Breathe Life Into A Dying Day ... but the other three songs were original tracks that had no release otherwise.

It would be only a month later in June of 1999 that the band would enter the infamous Mars Studio in the outskirts of Cleveland, Ohio to lay down their second full length entitled Your Future's End. It finally seemed as though they were about to break free of the constraints that being a Canadian band inherently had at the time. Featuring guest vocals on this offering from both Dwid of Integrity and James of Ringworm, the album was surely to attract the attention of the hardcore world at large. Alas this was not the case.

For whatever reason, the full length was split into a 6 song EP (that would eventually become Your Future's End) and a 5 song split with Clenched Fist out of Memphis, TN. Rumor has it that the split was initially supposed to also include Pitboss 2000 and Empire Falls as it was supposed to be released by Use Your Head Records. For whatever reason, this was not the case and the split forged ahead with only the offerings from Clenched Fist and Day Of Mourning. While the release is a solid offering from Day Of Mourning, the songs would have better served as the final stamp of proof that the band was capable of writing a full length every bit as vital as any of the US bands playing heavy hardcore at the time.

Unfortunately for the band at the time, the distribution capabilities of the label were still as big of a hindrance as the US Border presumably was. To my knowledge, the band only made several treks into the US throughout the existence of their band. I'm not sure what eventually dissolved the band, but the band went out without any type of bang ... at least here in the states.

According to the write-up that can be found HERE, "at the time the band broke up in 2001, they were working on their third album to be titled “Onwards to Tragedy and Contempt” as well as a split with Leval Blessing." Unfortunately, we never had the chance to hear those.

So here it is ... the entire Day Of Mourning discography ... minus, of course, their best material ... Your Future's End ... which is still readily available for purchase at A389 Records.



It took me a little longer than I would have liked but I finally got all of the links updated. There's over 100 posts on this site!!!

The Vegan Metalcore Bible post is going to take quite some time to get up and running again (I spent a month on it the first time around) ... but there are also going to be a lot of additions this time around!

So anyhow ... I got myself back into the swing of blogging by going through and updating this. I added a few new ones as well as updated a few of my older posts of a single album by making them full discographies as certain albums have went out of press in the last couple years.

Hope you enjoy ... let me know if you find any dead links.

Wednesday, August 29, 2012

HOW IT ENDS: Discography

These guys referred to themselves as the heaviest band in the world when they first got together in 2001. I don't think they were far off.

I was lucky enough to see How It Ends in its original form once at the Bunion Bowl in Baltimore, MD in 2001. Bad Luck 13 played and beat Jesus with a barbed wire baseball bat while shooting roman candles into the faces of their fans, but that is a story for another time.

No one at the fest would give How It Ends a chance at the time. The outwardly "nu-metal" apprearance of the vocalist played second in the crowd's disapproval only to the fact that they were not covering Dysphoria songs (their pre-cursor band). Sadly, these were two rather typical sentiments of the hardcore scene at the time. If you didn't dress the hardcore part or if you tried doing something different musically (or in How It Ends' case, both), you weren't going to get any sort of recognition.

While I was always "into" Dysphoria, I felt a new level of intensity within How It Ends that never caught my attention in the years of their former project. The new tuning to G Sharp, the new vocalist, the emphasis on the live sound; this combination could not be topped in my eyes. Not many people had the chance to see this original line-up, however, due to their complete reformation after the release of their first full length.

Replacing the original vocalist and second guitarist were Gravity (of Dysphoria) and Dave Heck (of Palehorse), respectively. A more traditional hardcore sound was taken up for the second full length, Beloved, and while it is every bit as innovative and heavy as the initial release, I remain partial to the original recordings solely due to it being more my style ... and by "my style" I mean that it reminds me of Disembodied.

(Editor's Note: The break approximately three minutes into Dying Eyes can not be topped).


Tuesday, August 28, 2012


Grind songs that actually have listenability is something you're not going to come across too often. Drummers who can legitimately pull off gravity blasts without the convenience of triggers is an even rarer phenomenon.

Commit Suicide were the next step in the musical evolution that was going on in Pittsburgh around this time. Taking the technicality and song-writing a step past their counterparts before them such as Circle Of Dead Children, Fate Of Icarus, and Sadis Euphoria (all on Willowtip), Commit Suicide was always a cut above the rest in my eyes for multiple reasons.

This discography post includes their original 3 song demo that I picked up at their very first show (opening for Martyr AD and Burnt By The Sun at Roboto) along with both of their full lengths and a split with Misery Index that all were released in the early days of the infamous Willowtip Records.

The band has talked on-again-and-off-again about potential reunion shows ... but until then, you should pick up a copy of Human Larvae as it is an enhanced CD that has video of a full live set included with it. Plus its one of the best sounding grind albums due to the fact that they recorded with Bill Korecky (Integrity, In Cold Blood, Premonitions Of War, a lot of other albums that matter).


Tuesday, August 21, 2012

ADVENT: Unreleased Demos

I initially posted an unreleased Advent demo from 2006. I always had two other sessions of recordings that I never uploaded because the band had always planned on releasing a short-run press of their original demos.  Well, as you may or may not have heard, the band unfortunately called it quits a year or two ago now and at this point I think it's safe to assume said CD will never go to the presses. In turn, here is the original post along with the updated download link containing ALL THREE of the band's original demo sessions (as well as some other treats).

Sorry about the one track cutting out halfway through ... trust me, it bothers me more than it bothers you.


It may seems as though I dwell in the past due to this blog. While bands today are nowhere near as good as in the past, there are a handful of bands who still get me every bit as excited as I used to when I first started going to shows. Advent is one of these bands. While these un-used songs are better than pretty much anything else from any other band, they still pale in comparison to both full lengths; especially the most recent effort entitled "Naked And Cold".


WOODWORK: Demo 2012

While going through my e-mail and sorting out all of the junk that accumulated in the past couple months, I came across one meaningful message. A young band from France had messaged me a month or so back humbly requesting for a link to their demo that they just recorded. I checked it out and was impressed enough to post about it. These guys seem like they're putting a lot of heart into what they're doing so I just wanted to pass the word along. Here is their own description of their sound.

We are a band from Toulouse, France; influenced by the music and the ideas of bands/collectives/authors such as Unbroken, Indecision, Catharsis, Outspoken, Trial, Morning Again, Burn, Inside Out, 108, Noam Chomsky, CrimethInc, Alexander Berkman, Elisée Reclus.... We put out our demo on tape (orange & white) and CD-R. Hit us up if you want one:"

Here's a direct download link:

ALL ELSE FAILED: Discography

All Else Failed was formed in the summer of 1995 by Patrick Shannon, Luke Muir and Steve Wiegand. Originally, the youngsters were long on ambition and short on skill; early shows often times consisted of trashed equipment and interband fist fights. The band quickly developed a unique sound, however, one that at the time was called "metalcore" (back when that term actually applied to bands that took equal influence from hardcore and metal). The band cut its teeth in the burgeoning East Coast scene, sharing the stage on numerous occasions with such legendary bands as Ink and Dagger, Deadguy and Vision Of Disorder.

A 7-song demo was laid to tape in late 1995 in which 4 of the songs were used for a self-titled 7" in early 1996. This recording session is featured in its entirety (for the first time ever) on the compilation album entitled Good Enough For The Girls We Roll With (along with other unreleased demo tracks) which was released in 2006 on Thorp Records. I digress.

They released their debut album, "A Most Bitter Season", in 1997 on Temperance Records. The album was heavily influenced by Deadguy's signature raging "noise-core" with its own brand of insane mood swings. The album boasts a subtle groove underneath all the fury. This offering would be followed up in the summer of 1999 with the In Times Of Desperation EP released on Alone Records. This album was re-mixed as part of the 2006 release on Thorp I mentioned in the last paragraph.

They signed to Now Or Never records in 2000 and released their second album, "Archetype", in 2001. The album was produced by notorious Dillinger Escape Plan guitarist, Ben Weinman. The band took their first forays into extensive touring, seeing the band share stages with the likes of The Dillinger Escape Plan, Darkest Hour and Mastodon. The touring took its toll, however, and the band once again was reduced to the three original members.

In 2002, however, Dave Davies was introduced on guitar and breathed some fresh air into the band. At this point, the band began piecing together material for their third record, 2004's "This Never Happened". Still without a full time drummer, the band enlisted Chris Pennie from the Dillinger Escape Plan to perform the lion's share of the drum tracks for "This Never Happened". Soon after that record's release, Chris introduced the band to one of his students, Jimmy Rhodes, who has been with the band ever since. They hit the road again, sharing the stage with bands like Lamb Of God, A Life Once Lost and the Minor Times. After a hiatus in the later part of 2005, the band decided to lay down three new songs in May of 2006 for the "demo compilation" album put out by Thorp Records. Nothing formulated amidst the recording of the new tracks ... until 2011, that is.

The band decided to play a one-off reunion show at This Is Hardcore Fest in 2011 that I was fortunate enough to witness. The intensity displayed was exponentially more sincere than anyone else of the weekend and was a true testament to the era and area in which the band came from. The band also recorded several tracks again in 2011 as a limited EP that I did NOT get a chance to pick up. If anyone has a link to where I could either download or purchase ... please leave a comment with said info.

With a live show not capable of being denied or ignored, I have no fucking clue why I slept on this band for so long. Don't get me wrong, All Else Failed has been one of my favorite metalcore bands for at least five years now, but I went at least five years prior to that knowing full well who they were without truly appreciating the insanity that the band encompasses. While I had the entire discography as well as many missed opportunities to see the band live, it wasn't until the band was long gone that I really "got it".

Some of the band's earlier material takes a while to digest; especially if you're not from the fine state of Pennsvylania. While some native to the area are partial to the band's earlier material, the band's musical progression truly took off around the time of the Archetype album in 2001. Personally, my favorite tracks from All Else Failed come in the form of tracks 1 through 3 on the final CD released by Thorp Records. These were the final three tracks to ever be recorded by All Else Failed as the band split sometime in 2006. In fact, I decided to simply post a video of one of their final shows as opposed to trying to describe the intensity of the band. I'm going to leave the post at this and simply hope you enjoy yet another criminally underrated metalcore band from the east coast.

DOWNLOAD -  A Most Bitter Season (1997)
DOWNLOAD - Archetype (2001)
DOWNLOAD - Split with Bad Luck 13 Riot Extravaganza (2003)
DOWNLOAD - This Never Happened (2004)
DOWNLOAD - Good Enough For The Girls We Roll With (2006)

LASH OUT: Discography

Considering the best description that I can really write up on this band is "fucking awesome", I'm going to let the experts at Wikipedia handle the early years of the band as I'm simply copying and pasting what they have written.

"Lash Out arose from the remains of former hardcore bands based in the scene in and around the city of Molde, Norway. The former four-piece, by now five-piece band, got together in the last months of 1992 and recorded their first demo tape. This recording gave them a deal with the German label Stormstrike Records. Since then the band have released a 12"/MCD entitled "The Darkest Hour" (November 1993) and donated a track for a split 7" with labelmates Contention (January 1994). Both releases sold very well and have been given solid reviews worldwide, describing the band's output playing moshy, metallic hardcore.

In the summer of 1994 Lash Out recorded six new songs. Five of them appear on the "Worn Path" 12"/MCD and represent Lash Out as a more mature band dedicated to an even heavier and more melodic sound. The remaining track from the 1994 recording sessions appeared on a compilation of European hardcore bands on Conquer the World Records in the US."

Apparently from this point the band would go on to record several more split 7"s and EPs before culminating with an LP that remains unreleased to this band. Before breaking up in 1999, the band replaced their original vocalist in 1997 with a man named Ole Anders Olsen who would later go on to call himself Andy LePlegua while fronting the bands Icons Of Coil and Combichrist. Also, apparently some of the other members of Lash Out went on to form JR Ewing (screamo), Thunderbolt (considerably epic metal) and the infamous Sportswear (youth crew revival). Quite an interesting group of musicians, I would say.

The band followed through on promises to release a self-funded, double CD discography that also includes the previously unreleased full length. The band released the album, entitled The Judas Breed, for their shows they played with Integrity in 2011 in their home country of Norway. As far as I know the discography is no longer available and was only printed in a very small quantity. Luckily I had some friends in attendance who managed to grab a copy for me. The discography can be downloaded below.

DOWNLOAD - The Judas Breed Disc 1
DOWNLOAD - The Judas Breed Disc 2

On a side note ... I found this through some internet research on the band. It is a blog ran by one of the former members of the band ... it's pretty self-explanatory if you read the blog before reading the letter pictured at the top of the page. Enjoy it HERE.


Whenever I went to re-upload this post, I realized I had come across a few more unreleased Earth Crisis songs since the gathering of the original collection I put together. I have updated this entry along with the extra songs.

As you should know by now ... Earth Crisis will forever be my favorite band for obvious reasons. Despite the fact that the band offered up a new album a mere year and a half ago, I can't seem to get enough new material. While I am by no means bored with the classics, I simply yearn for some new tracks that I don't already have memorized by heart. It got me thinking to myself, "I should dig through the crates and pull out some "unreleased" tracks from the past". In turn, I put together a mini-compilation of 10 tracks which you probably already have if you are a diehard Earth Crisis fan; but not otherwise. Here's the tracklisting...

1 - The Order That Shall Be (taken from the Ceremony Of Fire/Stones To Mark A Fire compilation put out in 1994/1995 to benefit imprisoned eco-defense warrior Rod Corronado)

2 - Sunshine Of Your Love (taken from the live album The Oath That Keeps Me Free on Victory Records from 1998 ... this is a Creem cover but they made it so fucking heavy that it might as well be their own song)

3 - Smash Or Be Smashed (taken from the live album The Oath That Keeps Me Free on Victory Records from 1998 ... never recorded in the studio)

4 - Fate Of The Neo-Gods (also taken from the live album The Oath That Keeps Me Free ... also never recorded in the studio)

5 - Standing Corpses (recently released live track from 1998 on the re-issue of Breed The Killers ... never recorded in the studio)

6 - Panic Floods (the last song recorded before disbanding in 2001 ... featured on the posthumous release, Last Of The Sane, which was otherwise a collection of cover songs)

7 - State Of Fear (bonus track from the Japanese edition of To The Death)

8 - Not One Remains (another bonus track from the Japanese edition of To The Death)

9 - Into A Sea Of Stone (bonus demo track from the deluxe edition of Neutralize The Threat)

10 - Void (another bonus demo track from the deluxe edition of Neutralize The Threat)

I am sure there are some more tracks floating around out there. If anyone has anything to share, feel free to do so. I am also including the infamous Firestorm Demo session from 1993 which you can download HERE. I know this is commonly floating around on the internet, but it is usually labeled incorrectly. This demo features 4 tracks that were never re-recorded for an official release (unless you count the 7" Seventh Dagger put out to coincide with the release of To The Death which contains two of the unreleased tracks).


New Blog Recommendation

While I was working on getting the blog up and running again ... I was messing around with Google's new "Dashboard" which allows you to check out who follows your blog. After a few clicks, I came across the CHAOS & PAIN blog which is very well-maintained and updated. Aggro music infused with strength and fitness talk by someone who legitimately knows his shit. It might not be up your alley, but if it is ... well, it's pretty fucking awesome.

I mean, I found out about some Euro band called WORDS OF CONCRETE who wrote a song called "Power Like John Cena" ... I'm stoked.

Sunday, August 19, 2012


As previously stated, Mediafire deleted my account and I lost all my uploaded music. I'll mostly be going through and simply updating the links on my old posts. I was never really happy with my Creation Is Crucifixion discography posts, however, so I'm going to take the opportunity to revamp everything ... not to mention with a VERY seriously awesome amendment at the end. Check it.

Growing up in "the scene" around 1999-2001, I had the opportunity to see many of the local grind bands on a regular basis. It wasn't rare for me to see either Commit Suicide, Fate Of Icarus, Circle Of Dead Children, or Sadis Euphoria on any given weekend. There was one band, however, that I never had the pleasure of seeing. That band, regretfully, was Creation Is Crucifixion. I'm not sure what it was that prevented me from seeing them at first as it was the time when the early Willowtip bands were regularly playing all across the city. I know towards the end of their stint I purposely passed on seeing them once or twice due to the rumors floating that they would potentially show up to "sit on the ground and play with a computer" as opposed to grinding. I must admit that said premise wasn't exactly my cup of tea at the time but looking back I obviously regret my decision to pass on "the noise". Redemption was granted to me in the form of an impromptu, somewhat secret reunion show that I was lucky enough to witness last night. I digress.

Creation Is Crucifixion was born from the band Chapter (who I posted a discography of HERE) who were based out of Greensburg, PA. Technically the first release from Creation Is Crucifixion was a self-titled, self-released 7" of what were actually the final two recorded Chapter tracks. While said songs still jammed, the band had yet to even begin to hit their stride as a new outfit free from the constraints that may have been there as a part of Chapter.

Dethrone Or Devour was the first effort to feature the playing of Paul Nowinski, formerly of Abnegation, on guitar. The musical progression is noticed immediately on this recording as this was the first effort put to tape recorded with the intent of being released as "Creation Is Crucifixion". The inclusion of noise tracks are first heard on this release. Their first two 7" releases I just spoke of can be downloaded HERE.

The band would continue to release several split 7"s with the likes of Fate Of Icarus, Suicide Nation and Unruh (in that order). The material contained on these recordings truly commemorate the band hitting their stride. Containing only one track per release, the band ultimately decided to re-record their own material from the splits down the road and release as a limited "Re-Recorded Vinyl Splits" EP. You can download that HERE. You can also download the splits in their original, entire form below.

DOWNLOAD - Creation Is Crucifixion & Fate Of Icarus
DOWNLOAD - Creation Is Crucifixion & Suicide Nation
DOWNLOAD - Creation Is Crucifixion & Unruh

The first full length album released by the band was is in_Silico. Releasing a full length allowed for the band to fully exercise their creativity whereas the split 7" format did not. Intermittent noise pieces were found throughout the roughly 40 minutes of intensity placed on this album. A few tracks from the Dethrone Or Devour 7" were re-recorded for this album and once again, the band's continual progression can be evidenced through these songs. Originally being released by the infamous Cyberdine 243 (who would also release Luddite Clone and killtheslavemaster), the album would later be re-mastered and re-released by Scorched Earth Policy in Europe. The original version on Cyberdine 243 can be downloaded HERE while the re-mastered version on Scorched Earth Policy can be downloaded HERE.

The second album is the Automata "EP", which for whatever reason is not considered to be a full length despite the contents of 10 tracks. This release features equal parts noise and music and has a slightly more raw edge to its recording. Somewhere between the release of in_Silico and this album, guitarist Scott Mellinger would leave to join his local friends to play in Zao. Despite having written some of the tracks, his playing did not appear on the album. Willowtip Records (the label who helped release most of the band's earlier material) was in charge of this release; more than likely due to the instability of former labels, King Of The Monsters and Cyberdine 243. You can download Automate HERE.

The third and final album, Child As Audience (Where Technology And Anarchy Fuck) was to be the last "full length" release from the band. Also recognized as a split release featuring two other contributors to the Hactivist collective (Carbon Defense League and Critical Art Ensemble), these 7 tracks are split between several musical offerings paired up with a spoken word attack on the capitalist system of "education". Postulating that the education system is nothing more than a preparation for a lifetime of enslavement through the capitalist system, the three think-tanks involved with this project go to great lengths to compare this to the nature and objectives of the Jesuit sect of christianity. "Give them to me until they are twelve and they are mine for life" is the catalyst for this release, it appears. Seeking to use the re-programming of a Nintendo GameBoy system as a representative figure, this album comes with a 200 page booklet giving both full reasoning and instruction on how to do so in several different languages. If this intrigues you, I suggest you download it HERE.

Towards the VERY end of the band's tenure, they released several very rare and limited efforts which primarily focused on the noise side of the band. While I haven't been able to even track down all of these efforts myself, I HAVE acquired a split they did with a band called UUM, a "remix" album entitled Destructivist, and a release entitled "Broadcast No. 1" which was a 79 minute improvisation recorded for a local radio station in Spain; released on cassette. You can download the following below.

DOWNLOAD - Creation Is Crucifixion & UUM split
DOWNLOAD - Creation Is Crucifixion - Destructivist
DOWNLOAD - Creation Is Crucifixion - Broadcast No. 1

This used to be where the post ended. After last night, however, I am excited to say that I finally had a chance to witness the band live as they decided to perform a nearly impromptu set at the end of a show that I luckily caught wind of. I decided to film the set for everyone who was not fortunate enough to have been there or heard about it. It turned out surprisingly well for an iPhone recording (technology, eh). Nathan, their vocalist, did quite a good job at summing up responses to any and all criticism the band had faced in the past ten years and explained quite thoroughly (and succinctly) what the band was all about after all these years. Enjoy.

Site Overhaul

I decided to check on this site before I went out to This Is Hardcore Fest where I set up my distro to make sure everything was running still. Well, it wasn't. Apparently Mediafire deleted my account because some of my file names had expletives in them. Really? I spent hours on the phone with them trying to sort it out. They wouldn't help me out. It sparked a fire under my ass though. I'm currently in the process of re-uploading 3 years of work. It's going to take me a while but this site will be alive and kicking soon enough. I also came across some gems that I plan on sharing. Should be a fun couple of weeks. Spread the word once the posts start popping back up!

Wednesday, July 11, 2012

XAPHAN: New Songs

Almost immediately after announcing that Disembodied was donezo, news about Xaphan started floating around. Xaphan was set to feature both guitarists and bassist from Disembodied coupled with the drummer and vocalist of Threadbare. Couldn't think of a heavier combination myself.

Keeping in mind that Disembodied has always been one of my favorite bands largely in part due to the contributions vocally and percussive; I had high expectations of the Threadbare members set to replace said Disembodied members. As expected, they did not fail. The band has finally released two tracks for streaming.

While the band is obviously a slight departure from Disembodied ... it is NOT a departure from heavy. This obviously has slightly less "hardcore" influence and moreso that of this new wave of what I like to call "guys with beards music" ... there are still plenty of signature midwest metalcore sections and parts reminiscent of all past projects involved.

Their first show is tonight ... I wish I was there. Worth mentioning: said first show is opening for Black Breath and Enabler ... two of the few "new" bands that have gotten me excited in recent memory. If only MPLS wasn't over 10 hours away...

Want to hear two songs? Check them out ...

Wednesday, May 23, 2012

FIRST BLOOD: Silence Is Betrayal

I recently had the privilege of filling in on drums for First Blood for the past five weeks. Getting to play with one of the bands who inspired and influenced me is a rare luxury. It's even rarer for me to find bands at this juncture that excite me enough to warrant wanting to go grind it out in shitty venues and sleep on wooden floors all across the deep south and midwest.

While most of the shows were good overall, there was a pretty obvious disconnect between most of the kids we were playing to and the newer material we were performing (from the album Silence Is Betrayal). Considering I've been a fan since the day the demo was released, I feel like my opinion holds merit when I say that the newer First Blood material is by far their strongest, most relevant and focused material they've ever written. There's only one thing that's a shame ... not many people have been having the opportunity to hear it.

The album was "released" on the fledgling Bullet Tooth Records which formulated as a result of the dissolution of the former hardcore powerhouse, Trustkill Records. Unfortunately for First Blood, the motivation and dedication that drove Trustkill Records to the forefront of the hardcore scene in the late 90s and early 2000s is no longer prevalent in the new label endeavor. The new album, Silence Is Betrayal, has essentially been buried. The band wasn't even able to obtain copies of the album for the headlining, full US tour in support of it.

That being said, despite the album still being "in press" ... I'm putting this album up for download. Carl has been quoted as saying that the album should be heard by any means necessary ... and if the label isn't making this a possibility for the band to distribute the album ... well then, I'm taking it upon myself to post the album for the world to hear.

While this is by no means a substitute for the full album liner notes (which are quite amazing, by the way) .. .at the very least I am hoping it will allow the band to have at least somewhat of a better reaction to the songs when they're being played out on the road. It's a shame to see someone put so much effort into the creation of an album only to have it buried for political reasons (higher profit margins on iTunes purchases as opposed to physical copies).

Do your best to track this album down and just remember ... my opinions are my own and do not reflect that of the band. Fuck off.


Thursday, February 16, 2012


I apologize in advance for there not being any Mp3s involved here for you. This is more of a narrative post but I feel as though it's important enough of an issue to stand side-by-side with Hatebreed re-recordings from Under The Knife.

As some of you may know, there is a long-standing venue in Pittsburgh called The Mr Roboto Project. The project has touted itself as bring a "cooperatively run" venue that's been an integral part of the DIY scene here for over a decade now. I personally served as a board member for the final 4 years of its existence in its original location from roughly 2006-2010 before it took a temporary leave of absence to search for a newer, "better" location.

The venue was my go-to spot for any show I was booking at the time and I spent more hours at the original spot than I'd probably like to admit. I had two relatively major shows coming up in the near future that I was planning on bringing to the Project that had recently re-opened in hopes of diversifying, supporting and introducing a new generation to a new Roboto location. Unfortunately, however, the venue and myself had a bit of a personal disagreement that has led me from moving both of my shows to a more "neutral" location. Allow me to digress to explain the relevance of this story.

The reason, in my mind, that Roboto was always so great was that is was simply just a room. There weren't really any established rules other than the rhetoical "no racism, sexism or homophobia" that has become commonplace in punk rock. In turn, the room was truly whatever you wanted to make it for the night. Whether you wanted it to be the spot for an intimate Bastard Noise show or an arena for the cheap-shot-mosh spectacle you were guaranteed to witness at a Stout show, Roboto was your place to go. I liked that. Just a room. No established guidelines on how a show had to play out. Just a room ... whatever you wanted to make of it for a night.

Now, this is only how I, personally, chose to view the space. Unfortunately this perception was never fully embraced by the entire hardcore community. You see, the people involved with running things during the first few years of Roboto took it upon themselves to lay out a moderately stringent "code of ethics" that they expected of others who wanted to partake in their club. They'll halfway admit to it in their own book they recently released, but will never fully incriminate themselves for the exclusiveness they portrayed in the formative years of the space. While I definitely felt this same alienation that prevented others from allowing themselves to attend the spot, I had already fallen in love with the "charter" that the venue had written up and handed out as membership packets. Despite both acknowledging and disagreeing with the overall aura of the venue, I was determined to not allow "them" to deter the fun and involvement I was planning on having with the space. While their actions most certainly were not representative of the promises they made to everyone in their charter, I'm the type of person who goes by the handbook and always assumed this membership packet would protect my rights as a member regardless of the personalities currently involved with the day-to-day operations of the space. I guess you could consider me a Roboto Constitutionalist.

Over time and largely in part to the unreciprocated respect shown by those who choose to spinkick, hardcore became accepted by Roboto. Whether it was because we continually proved that our shows were an asset as opposed to a liability or simply because all of the "founding members" had abandoned the space in favor of the bars and art galleries which became more fitting for their personalities and fan bases, hardcore was there and hardcore was what was paying the bills.

During the course of my tenure on the board of directors, I gradually fell out of love with the space. Perhaps this is the case with anything in life that becomes a duty as opposed to a hobby. God knows it became a certified hassle during the final two years of the original location's existence whenever Brian Gruetze and I were the only two members on the board of directors who ran the place or gave the slightest shit about the spot. Regardless, it was the moving process from the original location that truly pointed out a lot of the flaws, in my mind, of a cooperatively ran venture of any sort; not just The Mr Roboto Project itself.

Without going into the fine details of my discrepancies with how the move was handled, I made the decision that volunteering a large percentage of my time to project that valued message board accounts' opinions the same, if not moreso, than active, paying members of the actual venue was no longer worthwhile to me. I also grew to realize that sometimes in this world, some peoples' opinions are simply worth more than others'. HOWEVER, being the Roboto Constitutionalist that I am, I realized that treating everyone as an equal and tending to everyone's precious feelings and uneducated opinions is part of the game I signed up for as dictated by the membership packet. These are the guidelines of the cooperative and, in turn, I shall abide by them as a member of this project. My evolving (Warrior) philosophies no longer meshed with the ideals of a co-op by this time and that is why I chose to end my service as a board member with the closing of the original location.

Now, you see, I'm a firm believer of the "my house, my rules" concept. As stated above, I acknowledged that the guidelines set forth by the Mr Roboto Project membership packet were no longer coinciding with my own personal beliefs. Instead of trying to CHANGE THE RULES TO SUIT MY OWN BELIEFS, I simply allowed my seat on the board to become vacant to someone who could be more in-line with the concept of a cooperatively-ran venture. I happily demoted myself to the role of a "standard" member as opposed to member who was serving on the board of directors. I was happy with this role and chose to support in alternative ways considering the typical show being booked at the new location had zero interest to me. This history lesson brings us to current day.

I was recently asked to book two considerably notable bands amongst the hardcore scene; Terror and Shai Hulud respectively. While the new Roboto location was decidedly too small to allow me to even make my money back with a sold out crowd, I decided that I wanted to show a pledge of support to the new location which had been severely lacking in diversity up to this point in time, in my opinion.

It was sometime after I had already reserved my dates that it was decided that my personal conduct amongst "the community" was worthy of being brought up at the monthly Roboto Members Meeting. Without going into full detail, I have consciously made a handful of incendiary comments in recent past to several different groups of people who apparently care so much about the well-being of Roboto that they didn't even show up to the meeting in which they demanded to be held concerning my personal conduct and beliefs. Why I've chosen to battle with said groups is no one's business but my own. Regardless of what I said or why I said it, it was a situation that involved me as a person; nothing involving the shows I was promoting or the bands who were playing. Either way, my accessibility to the venue (which I nearly single-handedly ran for several years) was being called into question ... and the current board of directors had the audacity to actually hear these detractors out. I had already decided to move my shows the second I realized these people were being given the time of day.

I chose to attend the meeting with membership packet in hand. I asked for any board member to take the packet in an attempt to show me where it says within the Roboto charter that the promoter himself has to be in good-standing with other members (let alone non-members) in order to be eligible to book a show. After several unsuccessful attempts to manipulate and twist their own wording in their own pamphlet, it was agreed upon that an amendment would need to be made to their membership packet that would note that it is now the expectation of the venue that EVERY SINGLE MEMBER OF THE MR ROBOTO PROJECT BE A "PROPER" REPRESENTATIVE OF THE IDEALS AND GUIDELINES SET FORTH BY THE VENUE ITSELF.

Now, here is where I want you to pay close attention to my wording. While I firmly believe in the concept that if I'm living under "your" roof that I have to play by "your rules" ... I also find this to be entirely contradictory to the concept of a "collective". A collective, in my mind, is a culmination of the COLLECTIVE ideals of the members in which make up its core (and its bank account). If there was a screening process that dictated who and what was to be accepted amongst its prestigious members, then maybe they could better retain the image they want to project of themselves. Unfortunately, however, the only prerequisite for becoming a member to Roboto is a $15 (refundable, btw) investment into the club and a $10 yearly renewal fee. It says so right in the packet. Trust me, I read it.

Nowhere in the charter does it give the slightest mention to the personal character or integrity of the member him or herself. I'm not too sure when anyone decided (or voted) on what exactly the "code of ethics" for the new location should or shouldn't be ... but I know for sure there wasn't a meeting held on the subject like there was for me. Actually, I'm lying, I know EXACTLY who decided the new-found ethos of Roboto, when he did it and why he did it ... but I don't have the physical evidence to prove it so I'll keep it to myself. I only present subjects to you in this writing that I can back up with written documents. I digress.

My purpose in writing this is NOT to dissuade anyone from supporting this venue. This is my blog where I share my personal outlooks to those of you who think enough of me to take the time to read my thoughts and consider my opinion. If you see nothing contradictory with a collective having a prescribed code of conduct expected upon not only it's board of directors, but it's standard members as well ... then please, by all means, continue to support the club. If you're down with Roboto, then stay down with it. No sarcasm. Good for you and I wish you well in your future endeavors. I obviously think it's great that you can get a fully-inspected and legal venue with a working PA system for only $65. Roboto is great for what it is and I know that a large majority of those who are currently involved with the space will see nothing wrong with anything I've mentioned above. I'm sure most of you fall in line with the belief that everyone needs to feel "safe" at all times and in the rare event that you maybe DO find yourself in a slight disagreement with the practices or ethos of the venue that you are willing to just keep those thoughts to yourself for the convenience of having an awesome place to book your shows. If that's the case then I genuinely urge you to keep on keepin' on and supporting a place that I feel (obviously politics aside) to be the best venue in the city for small shows.

If you're like me, however, and feel as though you have a right to have your expectations and guidelines known to you and placed in writing (or, you know, genuinely voted upon by the members) ... then I urge you to be wary of the binding contract you are currently unknowingly entering into by becoming a member of Roboto or, apparently, even attending shows there. I'm not a fan of hidden charges when I buy things nor am I hidden expectations or agendas with organizations I've unknowingly been a part of for almost a decade.

As promised to the board of directors, I will not blindly trash the Mr Roboto Project nor try to convince others out of their support for the new location. I DO, however, have very strong opinions on the matter which is why I took 30 minutes out of my evening to bring up my concerns with the current hypocrisies I see between what is promised and what is done. Throughout my time I spent at the monthly meeting (where are the Minutes, by the way?), the one resolution we ("we" meaning the two or three reasonable board members and I) came to from my attendance was that as long as an amendment is put into place in an updated membership packet that CLEARLY states the expectations of the moral code of conduct from its members, then we're all good and on the same page and I will drop my qualms with the way the venue is currently being ran (as a concerned member). Knowing how long these changes in method typically take amongst quarreling cooperatives, I took it upon myself to write up my own suggestion in an attempt to speed up the process and to quell my beef zone. My suggestion is as follows:

"Jay Hart's Law

It is expected of any and all members of The Mr Roboto Project to be in relative good standing with not only the other members of the collective but also with those who may or may not be directly or indirectly involved with the space regardless of current involvement or location as it relates to The Mr Roboto Project. Membership privileges, such as renting the space, may be revoked at any time due to current moods, feelings or opinions of those not necessarily involved with the space irregardless of past contributions to The Mr Roboto Project by said member.

Each case is subject to review at our monthly members meetings."

Or something like that.

My only point that I choose to make through this entire writing (and ordeal in general) is that I simply want everyone to be on the same page. If the collective membership of Roboto had ever chosen to put the Jay Hart Law (or something similarly worded) up for a vote and it happened to pass, I would've accepted the fact that I was in the minority of the collective on the matter and, in turn, would not have deemed the venue to be an option for me to book my upcoming shows. It's really as simple as that. I don't expect the world to see things my way and I DEFINITELY would never expect the rules to be changed to suit my own personal likings (take a note, dickhead). I simply ask that we be honest with ourselves about what the REAL intentions of some of the board members are ... or maybe the club as a whole. I don't know which terminology to use because there has never been anything put through a vote or into writing about what the full expectancy of the members are.

Maybe they don't want to admit what they're after. Who knows?

Overall, as promised in my meeting, all I want or suggest for The Mr Roboto Project is to be up front about what they want or expect from their members. Not just their board of directors or the bands who play at their space (which ARE clearly defined in the charter) ... but for the simple folk who maybe just want to have a place for a band to play for the night or just someone wanting to attend the space to see an act they enjoy. While I personally think overall membership, attendance and diversity in shows will drop moderately if this amendment was ever put into writing (aka "admitted to"), I think the people who DO stand in line with what Roboto is about (still not sure what that is, exactly) will be much more happier with their club. Maybe those of us on the outskirts of said club will sleep easier at night knowing that we should simply take the club for what it is and just attend on occasion without any hopes or expectations that we will be accepted for who we are regardless of conflicting political or personal ideals. When everyone is operating under truthful circumstances, the world is a happier place. The only reason I'm currently butthurt is because I was given a false impression of what the place was unfortunately. Had I known I had to play patty cake with everyone in order to do what I wanted, I never would've been interested in the first place and I wouldn't have wasted so much time convincing other people that "Roboto's not like that".

I want to be clear on the fact that I have no ill-will towards Roboto as an entity. Some of the weasels who are using the venue to fulfill some personal issues they should probably talk to someone about ... yes. Roboto itself as an entity ... no.

I WOULD like to point something out in closing, however, that I think should be seriously considered by those of you who think everything I just said was total bullshit:

Path To Misery has never had our ideals censored at ANY christian venue we've ever played or by ANY christian band we've ever played with. I thought the christians were the bad guys who always wanted to silence opposing view points in fear of them overriding their own contradictory stances? That's what Roboto always told me, at least.

Tuesday, January 31, 2012


There are two things you should know about this blog ... firstly, I don't post music that is still in press and readily available for purchase and secondly, Hatebreed will always be my shit.

That being said, I've spent countless hours searching for these rarities that I present to you now. I caught wind a few months ago that Hatebreed offered multiple editions of their most recent, self-titled release from early 2010. Here is the breakdown:

Wal-Mart Edition (no longer carried) included two bonus tracks entitled Lay It All To Waste and Preservation Of Belief which are living proof that even Hatebreed's throw-away B-sides are better than mostly everything else that exists within heavy music today.

iTunes Pre-Order Only Edition (no longer available for purchase) included re-recorded versions of the final two songs from the Under The Knife sessions that were yet to be re-worked. Filth and Kill An Addict have always been two of my favorite Hatebreed songs and it's awesome to hear them finally recorded in a session where you can hear things other than the china cymbal.

There was a "Deluxe" edition that included a DVD with two live shows and live recordings of To The Threshold and As Diehard As They Come but that is still available for purchase from several retailers so I chose to not include these for download.

I literally spent well over 5 hours searching online for these tracks and gladly would have paid for them if purchasing these tracks were still an option. It's a shame that material this good fades into obscurity due to exclusivity deals these major retailers (Wal Mart and iTunes) force upon bands in order to push their releases.

Fuck buying music from Wal Mart and/or iTunes ... here are the bonus tracks from the various "Special Editions" from Hatebreed's self-titled masterpiece. Just as a bonus, here is a link to the YouTube video I made for the ALMOST as rare re-recording of Severed (another Under The Knife classic) from the UK Edition of the Supremacy album.


Sunday, January 29, 2012


Lately, I've been engaging myself in quite a few political debates; something I haven't been doing for the past few years. I'm typically quite the isolationist when it comes to ... well, life in general. With our country's upcoming election, however, I decided to take the time to at least find out a little bit about what the new direction of our country is going to be taking (whether we like it or not). Personally, I'm of the persuasion that the voting process is merely a schmoz designed to keep people dormant and as content as possible and that even if the elections WERE legitimate, the two parties simply take different paths to the same destination anyhow.

That being said, I'm not one for politics. Running the hamster wheel never appealed to me. I've always been moreso interested in being a person of high moral character and respect regardless of party affiliation or minute differences in political or religious beliefs. Subscribing to a set of ideals inherent in one party or another always seemed rather submissive and mindless to me. I've always respected those who held themselves accountable for their own destiny, chose to work hard for what they had and took pride in themselves, their work and their country.

A while back I did a post about a little-known band from New Jersey called Tears Of Frustration. At the time, I posted about them in comparison to One Life Crew; a band with similar politics yet without the work ethic or respect that Tears Of Frustration was known for. That's not to say I'm anti-OLC, but the band obviously stooped considerably low and took part in some questionable activity in order to get a rise out of the hardcore scene at the time. Tears Of Frustration, on the other hand, took their message and music extremely seriously.

Typically taken as a "political" band, frontman Joe Falzone has went on record many times to clarify the fact that their lyrics were moreso based around personal outlook as opposed to playing into a Left v Right game or subscribing to either conservative or liberal values. Being in Path To Misery, I've always related to this sentiment. Allow me to digress to speak on the band for a bit.

Tears Of Frustration played a rather standard style of hardcore, yet managed to perfect the craft of doing so. The songs are simple riffs within simple structures while harnessing every ounce of energy that a hardcore band is capable of doing. The songs are short and to-the-point which contributes to their catchy nature. The choruses and vocal hooks are every bit as memorable as your favorite Hatebreed line while the verses drive every bit as hard as a Terror banger. While the band takes on a more traditional style of hardcore than either of the comparisons I made, their songs' ability to stay in your head rival that of both previously mentioned bands.

While I could put words into their mouths like everyone else chose to do (despite being considerably more educated on the band than the detractors), I decided to take the time to rip their section from the Guerrilla Warfare video zine series that were put out in the early 2000s to document the underground NJHC scene. Here you go:

I made my one and only trip to CBGB's in NYC to see their reunion show at CBGBs in 2006. The soundboard recording was actually utilized for a live 7" that band chose to use the picture on the left as the cover for. Yes, that's me singing along back when my scar was the only hair I was missing on the top of my head.

The band did not disappoint in the slightest at the reunion show and actually played another show when they opened up the Superbowl Of Hardcore in 2008 (which I unfortunately did not attend). They made promises of playing out more frequently on top of recording new material but unfortunately have not followed up with anything since this show (at least to my knowledge).

While I typically can't stomach listening to most bands who play this style of hardcore these days, Tears Of Frustration stays on the top of any hardcore playlist I make from time-to-time. In my original post on the band back in 2009, I only made their self-titled demo compilation available for download. This time around, however, I've chosen to include their Lost Identity full length as well as high resolution scans of the booklets so that you can read along with the lyrics. While I've obviously been considerably praising of their music, the lyrics and attitude of the band is truly what keeps me interested in what they're about well over a decade after their demise.


Quick Apology Post

I just wanted to drop in and make a quick apology to the long-time readers of the blog. A couple years ago I had an anti-One Life Crew post up. I took it down not long after posting simply because I had to remember that everyone in hardcore has a right to speak their mind regardless of whether it aligns with my personal beliefs or not.

I recently got into a mini-squabble online with the PC mediators of Pittsburgh "Hardcore" (I call it punk) and it brought back bad memories of my One Life Crew post. The situation definitely made me reflect on my OLC post again.

The older I'm getting and the more of the world that I'm experiencing, I'm starting to see the grey areas and the different aspects that can arise to shape someone's world view. While I may not agree with all of what OLC was saying, I definitely am into the way they went about challenging the rigid and sterile 90s hardcore scene.

Challenging and being challenged is the only true way for people to grow in their beliefs. One Life Crew was essentially the flip side of the Racetraitor quarter ... so I need to respect them as well.

In celebration of my new-found respect for One Life Crew (and in apology for my previous bashing) ... here is their discography.

If you hate them so much, then download this and listen to their lyrics for yourself (as opposed to buying into someone else's heresy), tell me what you hate so much and I'll gladly have it out with you on it. I'll probably actually do an entire blog write-up once I read all the hate mail.

Not to mention that Cleveland bands from the 90s wrote the hardest shit (sorry, NYC).