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“Religión Hipócrita” is great trash with some vicious riffing, “Ciclo Vicioso” has some cool ’90s Mexican hardcore vibes, and “Death Trophy” is an instant moshpit-inducer classic. Thematically, the band lashes out against the usual sources of oppression: religion, misogyny, the trappings of a decaying capitalist world, only with a unique point of view, switching between Spanish and English. AUXILIÖ works the line between D-beat, thrash, and pure hardcore mayhem, and they do so by way of some great songwriting: violent riffs, driving bass lines, pummeling drums, and some truly great guttural vocals. Four songs, four punches straight to your face. This is an extremely pissed-at-the-world work of art. The moment the riff in “Mi Piel” starts playing, you know you’re gonna be bulldozed by the raw power of it. Do yourself a favor and find this record. But when that’s the worst part of your record, you’re doing something right. This album destroys! My one criticism is that the insert seems like a rushed afterthought. But with ARCTIC FLOWERS, it works perfectly. Alex is an awesome singer and doesn’t try to hide it, which sometimes doesn’t blend well with raging punk. As with the more recent recordings, some will almost find it jarring that the vocals are actually sung (as opposed to screamed, barked, or grunted) into the mic. More specifically, a self-released third full-length! After nearly a decade of existence, these Northwestern punks are still killing it! This album brings us more of the dark and catchy WIPERS-influenced punk rawk we’ve come to expect. In an era when most DIY bands can barely exist longer than a single album and tour, it’s actually quite special to see a band like ARCTIC FLOWERS put out their third full-length album. As they say, “I don’t want to die in the arms of a policeman.” It doesn’t matter if it’s Latin America or the First World, there is a system in place that seeks our death, ANTIFACES sings to life. Rather than wait to be devoured by the nothingness of it all, these songs demand us to spit, kick back, and dance in a mental pogo of catharsis.
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This is ANTIFACES’ bet: to unleash a storm of noise and create urgent songs dedicated to survivors of the system men and women who live on the edge, who fight and resist the terror of modern life, violence, and corruption of the soul. Six years of career, and several demos and LPs later, they have come up with a forceful sound: the angriest and sweatiest of melodic punk from Argentina and Spain with some sinister touches here and there. Their language is Spanish and their weapon of choice is direct and sincere melodic hardcore punk. Those who hate the lo-fi noises of early recordings should get this because AKTITUD 69 is a great band who has an OK record for you.ĪNTIFACES is a three-piece band from Miami. It is still enjoyable, but the length of the songs, the distance between the band and how their record sounds, and some of the writing solutions degrade it to background hardcore. This is the interesting conflict of the album, as it struggles to sound self-confident in a foreign role, but the best parts are when the music is about to fall out from the band’s hand, because they forget about themselves. Although here, the urgency is able to sneak fractions of songs out from the engineering dungeon. Shit-fi quality supports a great hardcore record- Zonas Marginadas sounds large, as it has the ambition to meet the virtual standards that no one actually ever sets, but when it’s pursued in a manipulated environment, it always traps the music. The sound of an album is the invisible instrument of the band. But song after song, something is lacking. They both can, and enjoy, performing this record. It’s fast, intense, frightening hardcore that flirts with tension building, epic atmosphere, and other unusual parts that vary from sheer brain hammering. Since this is all lost and found, there is no question that they rip. For context, their contemporaries were XENOFOBIA, SEDICION, M.E.L.I., ATOXXXICO, and SOLUCION MORTAL. Topping it with their singer who has the voice of a maniac leader, spitting his furious rants. MASSACRE 68 was in line with the tupa-tupa cave beat, occasionally chaotic-fast/ocassionally groovy-three-chords hardcore that was not afraid to torture some of the high strings with solos. Why does the cover have an AKTITUD 69 label stamped over probably a MASSACRE 68 logo, why did it take this long for the songs to resurface, why the name change? These questions should be answered by investigative journalism and not by dumb record reviews.
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AKTITUD 69 is actually MASSACRE 68 from Mexico, and these songs, despite being released in 2019, were recorded not long after the band’s great ¡No Estamos Conformes! LP (probably in 1991).
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