Stockholm's Mangel (2000)

Stockholm's Mangel (2000)

Released in 2000, Stockholm's Mangel collects recordings by Swedecore legends Mob 47, Agoni, Crudity, Ptotes Bengt, Discard, and Rojers. Some of these bands are fairly well known, Mob 47 and Discard being the most popular by far. However, the lesser known bands such as Crudity and Protes Bengt offer just as potent raw punk.

The comp starts off with twelve songs by Mob 47. As far as i'm aware these tracks were not previously available before this comp came out...but the Mob 47 discography is bloody complicated. All you need to know is that the tracks here are raw, fast, and have d-beats! Mob 47 have a slightly 'cleaner' sound as opposed to the blown out style of their contemporaries. Don't let that fool you though, as Mob 47 are extreme in their own right. Influencing everyone. Even your nan. Why do you think she owns a leather jacket with 'No TV Sketch' painted on the back? Heh, okay. You get my point.

Agoni are next up with their early demo which i have already posted. Check out that post HERE. For the sake of this post i'll just say that the 7 songs here are brutal as fuck. Agoni really are an underappreciated Swedecore band. But then again, they did shoot themselves in the foot with their metal years.

Crudity are probably the biggest surprise here. Totally unknown band that rip like hell! They don't have the thick guitar sound of Agoni, but the chords, the speed, and the trebly tone make this band essential listening. Crudity are a bit lighter on the ears and could probably be appreciated by 77' punk fans with those melodic full chords they play. From what I can gather, this material was recorded in 1985!

Apparently this comp first came out in 1985! only with Mob 47, Crudity, and Agoni's tracks

Protes Bengt, featuring members of Filthy Christians, Rojers, and Mob 47, is a supergroup like Hell Yeah or something...only that they aren't fat, sellout, douche-bags who all previously played in shitty metal bands. This band is a bit notorious for their attempts to reach warp-speed...only to be thwarted by Captain Jean-Luc Picard in the same year of 1986! Protes Bengt flip-flop between Discharge pace to blast-beat insanity. If i had to compare them to other bands, I suppose they are a bit like early Asocial, SIEGE, Deep Wound in the speed department. However the vocals, by Per of Filthy Christians!, are much more gruff and Cal (Discharge) like. With that said, over the sixteen tracks they contribute, there are multiple approaches to vocals, guitar, and drumming. Impressive stuff, really. A totally unique band!

Next up is the great Discard. Many know of Discard due to them being, allegedly, the first band to be Discharge worship with Dis in their name, as well as being the first to copy the Discharge font.
The eleven tracks here are from their 1986 demo, which was released in 1990 as Death From Above This is some brutal stuff. Obviously it's Discharge worship but with a lo-fi edge. The vocals actually remind me of Anti-Cimex, especially some of the live material, with Jonsson's pain-filled bellows. The drums are d-beat crazy, while the guitars are adding a little bit of their own flavor to the Bones recipe.

Rojers end the comp with the least amount of tracks. Three in total. However, they offer an interesting sound. On their introductory song Soldiers From Hell, they start with a very Buzzcocks-like intro which then rips into fast as fuck hardcore. Run For Your Life is similarly crazy fast while Law Of Evil is Discharge paced.

This comp is fucking rad. Probably one of the best I've heard, and that's saying something.
The fact that this compiles some rare shit is absolute bliss. The only way to acquire this underground shit would have meant you were either there at the time or were a super keen tape-trader. If any of you like extreme music in any form, you should definitely check this out. Sweden has a great history of punk music. Especially with the raging crust that these groups spew out....but lets not forget the monster-riffage of 90s straight-edge hardcore as well!. Sorry. Couldn't help myself, crusties!

As Doom say: Hail To Sweden!

Linky, Link:

Direct: http://www.mediafire.com/?7r0s7o43jnd4wb7

Taken from the great Sentimientos Incendiarios blog: http://sentimientosincendiarios.blogspot.co.uk/2013/05/va-stockholms-mangel.html

Agony (Agoni) - The First Defiance (1988)

Agony (Post-Agoni) - The First Defiance (1988)

The final recording by Agony, formerly Agoni, The First Defiance. If you've checkout out their earlier material you'll see how they have changed from brutal punk to 5th rate thrash metal.

What's immediately noticeable is how tight they've become. On the previous demos, while still pretty tight, it's here that they've mastered their craft of thrash. The riffs are more cleanly executed, the drumming is on point with many strategically placed fills, the bass...i suppose holds down the rhythm end, nothing too exciting as per with thrash metal, and the vocals have grown out of the Baloff worship (well, Madness Reigns is an exception) from the previous demo.

My issue with thrash, and metal in general, is the overuse of riffs and trying too hard to be progressive/epic all the goddamn time. There's lots of stop-starts, space for fills, and unfortunately solos...Actually let me clear this up. Solos can be great, amazing even. But leaving long spaces in songs for doodling is not cool. If you're a guitar player, or someone like me who dicks about with guitars with retard fingers, no doubt you've left spaces in songs you've written so you can practice your soling. Cool, backing tracks are a good way to practice. But dooood, don't treat an actual song like a backing track. Chances are your amazing improvisations sound like shit, or are just not as amazing as you think they are.

I'm not saying Agony fall prey to this to the point where it's a fault. They're just playing thraaaaashh, maaaan. Its just a flaw in a genre for me. You know what? I blame Metallica, fucking Master of Puppets. That record inspired way too many bands to start being progressive (read: repetitive) as opposed to the punky Slayer approach.

Sweet Mary mother of Christ, what happened?

All of this sounds like i'm slagging this band off. But i'm not, honest. Night of the Emperor has a cool change in dynamic half way through, which is good as the record starts to drag by this point. Mass Manipulation has a cool moment towards the end, with thumping quarter note bass notes, giving an almost circus-like atmosphere. Obviously Deadly Legacy, from the earlier demos, has a neat guitar hook, and becomes the highlight of the record. Pretty sad that one of, if not the, best songs was written before the newer material.

So there you have it. They never really got as original or powerful as they should have. This is decent, but it's not something i'll be attracted to listen to multiple times.

Linky, Link:
http://www.mediafire.com/download/zmjmzzmgnna/A-TFD88-BYTM.zip

Agony (Agoni) - Execution of Mankind (1986)

Agony (Post-Agoni) - Execution of Mankind Demo (1986)

Whenever the early demo tracks surfaced, which showed Agoni in full raging D-Beat mode and the transition into thrash merchants in 1985 with The Future is Ours, it took until 1986 for them to unleash this: Execution of Mankind

From the limited knowledge available, I assume this is the same line-up. Like I said on my previous posts, due to my bias, I think the early demo is the best thing Agoni ever released. However, their thrash work is still very good. The only problem is the lack of identity. Better than standard thrash, but it's obviously Exodus worship going on here; you can definitely tell that Bonded by Blood had crossed the water by this point (just listen to them fucking vocals). And that's the issue here. This is some cool thrash, but it doesn't blow me away. It doesn't set them apart from their puffy-sneakered constituents.While the early demo was, admittedly, generic for what it was. At least they were one in a few actually playing in that style at that time. As such, despite not being overly original, they leave a lasting impression.

That very criteria: Swedish, punk/d-beat, early 80s. Makes them so much more interesting. As opposed to: Swedish, thrash metal, mid-late 80s. I mean, how many thrash bands were there in the late 80s anyway? Answer: a lot, as record labels could capitalize on the success of the big four and the pretentious wankers who want something more underground, bruh!

Sure, they've gotten better at their instruments. There is more content here; longer songs, guitar harmonies, solos, progressive-tinted song structures, tempo shifts, et all. But It doesn't 'wow' me.

Two tracks here, Deady Legacy, and Execution of Mankind appear on their only LP The First Defiance and Bribed is a re-work from their previous demo The Future is Ours

Overall, a decent demo. But Agoni were forever cursed with being mediocre when they changed their style, and later name, to the metal side. Shame.

Linky, Link:
https://mega.co.nz/#!4AIVzbhb!mWspbQu3w_tzRXNR6h4S-qGd_NzmZIhgS7oKy5UmpQk

Agoni - The Future is Ours (1985)

Agoni - The Future is Ours Demo (1985)

So after the amazing d-beat mastery that appeared on Stockholm's Mangel, what does Agoni's next demo The Future is Ours sound like?

Like thrash metal. It's surprising that it's even the same band. I mean, when was that first demo recorded? It must have been pretty early since the musical growth is pretty big. However, i say that. Metal, although touted as technical, isn't THAT much harder to play than standard punk.

There really isn't much, if any, comparison to the d-beat Agoni. Obviously the drums are playing permutations of the d-beat fairly often. But guitar and vocal wise? Forget it. This is a different band altogether.

In terms of Agoni's 'metal years'. This is probably the best representation. Although I would say that because this demo doesn't outstay it's welcome. With three tracks, each being around the three minute mark, this isn't a long affair. Also, the fact that they were still searching for that sound makes this a bit more raw than the later material.

Check out this review of a show in Leeds, UK. Where Discharge headlined, in all their a-hem "glory", and Anti-Cimex + Agoni were on support.

So, not as powerful or as special as their first demo. As the live review states, this isn't anything special. But it's not bad, just not earth-shattering. Did Agoni ever get that bit more 'power and originality'?

Linky, Link:
https://mega.co.nz/#!wQwE2CZZ!UJkIr9cXPQnt0OX-Grm0bK_xQ8yLpjAoU0EQc28KW2U

Agoni (Early Demo)

Agoni - Early Demo (Stockholm's Mangel Tracks)

Agoni, later Agony, started out as a dyed-in-wool Swedish hardcore band. However, a few years down the line they started to crossover. Eventually becoming a full-fledged thrash metal band with 1988s The First Defiance

While the metal stuff is pretty decent, Agoni were an absolutely ripping Swedecore/Kang-punk/D-Beat band.

The seven tracks here eventually showed up on the great Stockholm's Mangel comp many years after they were recorded. This is some raw, mean sounding punk. The bass is filthy and distorted, the guitars rage in the typical Discharge worship of kang punk, the drums D-Beat their way to hell, and
the vocals are bellowed and powerful.

Apparently Agoni toured the UK in 1986 with Anti-Cimex. Although by 1986 they were a proper thrash metal band. Check out the poster at the top of the page. Anti-Cimex, Varukers, Agoni, Heresy, Napalm Death. Sounds like a hella gig, right? By that point in time, the only 'metal' band there would have been Agoni, who must have stood out like a sore thumb among the hardcore stalwarts.

There is even a review of a gig in Leeds, UK that calls Agoni 'average thrash metal' and 'nowt special'. I'll put it on the next Agoni post.

A neat bit of info: Brit crust legends Doom covered En Rost For Fred on their Hail to Sweden EP which also features songs by Discard, Anti-Cimex, Crudity, Rojers, and Mob 47!

Linky, Link:
Direct: http://www.mediafire.com/?drklurk8wpwfyjn
The awesome Under the Surface blog: http://utsurface.blogspot.co.uk/2013/03/hail-to-sweden.html

Asocial - House of Gore (1992)

Asocial - House of Gore (1992)

Let's just take some time to appreciate the record title here.

House of Gore

Holy hell, that's a cool as fuck title!

This record came out in 1992. A time when the Swedish death metal scene was probably
thriving. Why mention that, you may ask. Well, because the first two tracks are pretty much...death metal. The third track, one of my personal favorite Discharge tunes Q. And Children A. And Children, is a decent cover. A bit of a strange choice considering their new musical direction, but a welcome one.

At times, this really does sound like a different band. However, how many death metal bands cover
Discharge? And with that said, there is still a respectable amount of D-Beat left. Heck, it's not until a minute into the title track when the death metal riffs are first introduced. So it's not a complete left turn. While House of Gore is a mix between D-Beat and death  metal, Act of Violence is pure death metal, and Q. And Children A. And Children is total D-Beat.

Lyrically, you can expect that this is more gore related than political. Maybe that's why they chose Q. And Children...! 'skin peeled hanging in strips' has always been stamped into my mind since I first heard it. The guitars are meaty and riff-laden, the bass rumbles in the low-frequencies, the vocals are...actually quite hardcore, but to be honest, most Swedish death metal is, and the drums are using a mix of different beats...not just D-Beats i'm afraid!

As a fan of death metal, I think this is a cool record. This is a rad mix of D-Beat and death metal, more bands should do it (or make it more obvious). It would certainly be interesting to know how this record was received though!

To sum this up: rad death metal/D-Beat crossover from Swedecore legends!

Linky, Link:
https://mega.co.nz/#!kQwVkChT!GHqM2qAoxPTBzL_y0VKhS1tH4F0T9PX0xuBDoIec02s

Asocial - Religion Sucks EP (1986)

Asocial - Religion Sucks EP (1986)

Not quite as brutal as Det Bittre Slutet. Religion Sucks continues in the Discharge pace as opposed to the proto-fastcore/grindcore/power-violence blasting that occurred on How Could Hardcore Get Any Worse?

I think it's the recording and instrument tones that contribute to the less brutal sound. With that said, this is still some powerful and crucial D-Beat. The vocals are more panicked than on Det Britte Slutet, giving the tracks more urgency as opposed to sheer brutality. The same could be said for all of the instruments. It's got a real edge-of-the-seat feeling. The bass tone is more in line of typical
D-Beat. Nasty and distorted. And although the guitars lack the bottom end that the last EP had, the crisp tone, as opposed to heavily distorted, is pretty cool to hear in D-Beat. Drum wise, obviously there are D-Beats aplenty. What else needs to be said!

Crucial Swedish D-Beat!

Linky, Link:
https://mega.co.nz/#!1FgyzbjQ!sgVk3gDPQOkZCCl1HACb3NT29s5gpNfNEhhsgJEBkPc

Asocial - Det Bittra Slutet (1984)

Asocial - Det Bittra Slutet (1984)

Det Bittra Slutet is Asocial's first EP, which came out in 1984. Asocial must have had their shit together, because this recording is impressive. Not only in the way the band play, but how it sounds from a production standpoint. The vocals are super gruff, the guitars have the right balance between grit and treble, the bass has a weird (but cool) flange sound, and the drums rage like hell!

Like i've said on the previous Asocial posts. The 1980 demo showcased both melodic, fast, and brutal songs. While How Could Hardcore Get Any Worse was an exercise in playing at warp-speed, this record is all about the brutality. For one, the songs are nowhere near as fast as How Could Hardcore... and for two, the recording, as well as the slower tempo, make these songs more powerful and heavy.

Vocally, I say fuck you to anyone who doesn't think punk had an influence on extreme metal. There are plenty of guttural punk vocalists, mostly in Euro and Jap bands, and the vocals here are no exception. I'd like to hear a 'metal' band tear up their vocals like this in 1984!

Over within 9 minutes, this record leaves a better impression than Asocial's earlier material. While the demo was a band experimenting with different sounds, and How Could Hardcore... straight blasted for 10 minutes, Det Bittra Slutet is like an assassin...with a mace. Quick and brutal!

Essential Swedecore!

Linky, Link:
https://mega.co.nz/#!sB4kGDKD!0KhvsRrshdmg4pnoekcPNgFMr6C8hwel-hccRDWBTsY

Asocial - How Could Hardcore Get Any Worse? (1984)

Asocial - How Could Hardcore Get Any Worse? (1984)

Released in 1984 as a split with Bedrovlers, but actually recorded in 1982. This is a fucking ripping set of songs. While the 1980 demo alluded towards both fast and heavy songs, this record focused solely on fast songs. There are actually many moments that sound like power-violence. Take Nar Kriget Ar Har. It has one of those breaks, where the whole band apart from the bass, stops. And then the bassist plays some sloppy line-ensuing the band to crash in with total blast-madness.

Probably because some punk fan edited a Wikipedia entry on blast-beats. Asocial have become a bit infamous with their ridiculously speedy songs. As such, some cite them as playing the blast-beat before anyone else. Yeah, yeah. I hear you naysayers farting on about jazz drummers. But i think the worlds are a bit too different. The drummers in the early extreme bands are usually just Discharge worship. So the blast-beats you hear in Asocial, Napalm Death, ENT, are just sped up punk beats. Chances are, the drummers in these bands were not jazz fans. They were probably just pushing the speed for the sake of it.

Anyway, this is a great record. A bit lo-fi, but a really cool document in punk and extreme music.

Linky, Link:
https://mega.co.nz/#!VEYU2ZTR!bdj1CAlus81zQcTwg1jTc5YbF6Fj198xvMfv0SAQH_A

Asocial Demo (1980)

Asocial - Demo (1980)

Not quite as mean as they eventually became as few years down the line. Asocial were a Swedish hardcore band, D-Beats and all. While this demo doesn't have the best sound, it's a nice insight into
the early years of one of the finest Swedecore bands of the 80s.

Although they don't have the unique identity they carved out with their later work, the songs here are very interesting. With some tracks being melodic, some being brutal, and some being fucking fast for 1980...seriously, this challenges any American band. It's pretty funny how some songs such as Meninglost Liv are fairly melodic, while other such as Vi Behover Inte Er sound like the singer is getting his intestines pulled out. Crazy shit, indeed. And it's not just the vocals that are extreme for the time either. The whole band is absolutely raging through these tracks. To think that Discharge unleashed themselves with Realities of War in the same year! Not only can they be praised for their sheer extremity for 1980, but the actually playing is impressive. With stop-starts, solos (the guitarist ain't too shabby), drum fills, tempo shifts, general band dynamics, song-writing, and just managing not to be one-dimensional playing D-Beat is a feat in it's own.

So, this is a cool demo. Later on Asocial would experiment with some of the approaches they show here. Particularly the speed and brutality. For those who like Swede punk, give this demo a try.

Linky, Link:
https://mega.co.nz/#!lIpxiJLC!n5Z3mIytm5v_38WeTBrkyKRqmwFXMTYEQXmW4sgUESw

Gods of Masturbation - Words of Wisedom From The Gods of Masturbation (1984)

Gods of Masturbation - Words of Wisedom From The Gods of Masturbation (Demo 1984)

First off, what a cool fucking name. Gods of Masturbation. Damn those decadent Swedes!
GOM were a (fairly) early Swedish hardcore band who released this one demo in 1984 and nothing else. Which is a bummer because this demo seriously rips!

GOM offer a much more melodic take on hardcore as opposed to the full-on approach of their punk rock contemporaries. Throughout the demo the bass stands out with it's melodic, bouncy, and catchy riffs which burst into hardcore fury at the drop of a hat. The drumming uses a cool mix of different beats, so it's not all D-Beat. But don't worry, there are D-Beats aplenty. I mean, it wouldn't be Swedecore without them! While the rhythm section handle the dirty work, the guitars race around in a 77' punk meets Discharge style. And it's that which makes this demo really enjoyable. It's very 77' punk, but it's also got a bucket load of Discharge riffs chucked in for good measure. The opener Slaktad i ett Korthus is a good representation with it's bouncy bass intro that eventually breaks into Discharge riffs. I'd say the most melodic they get is on the last 'real' song, X-tra, which feature Oi! style chants. With that said, track like Deluded are damn catchy in their own right!

I'd say this is one of the best Swedecore demos. Heck, one of the best punk demos. Fuck, one of the best demos of all time! It's a mystery why this tape isn't available, either as a download, or a physical re-issue. Fans of Swede punk, get on this.

Oh, an interesting bit of info: Nils 'Nillen' Andersson, who was the vocalist for Anti-Cimex from 81/82 (and became the vocalist for DNA!), plays the drums here. Rad!

Linky, Link:
https://mega.co.nz/#!1AhnCLbB!MWpK1Fdx31dJ3T5UTliHLOlnQ8XWL3kSwN-uvPC4pA0

The Shitlickers (1982)

The Shitlickers (1982)
Is there much of a point in posting about the Shitlickers?
Probably not. They're of such legend that their noise is readily available to download illegally from your own nan...okay probably not that well known, but still. The Shitlickers work isn't the most hard to obtain in mp3 format...physical release however, will set you back a good chunk of moneh.

ShitFi has many a good article on the Shitlickers as well as Anti-Cimex. Easily one of the best is the interview with the grand Shitlicker: vocalist Lasse. There's some fascinating stuff about how they recorded the guitars and the general way the band prioritized themselves. No wonder they were one of the first and best of D-Beat. All about who they were and what they did is in this interview. So i suggest you have a read if you're interesting in learning more about this seminal Swedecore/raw-punk/D-Beat band. Go HERE for more.

Other than that, Kawakami, a legend in his own right, wrote about the Shitlickers in a jap fanzine called Crust War. Which you can find HERE

So on to the record: There's not much to really say. This is some crucial stuff in punk and extreme
music in general. Without Shitlickers you can kiss bands like Napalm Death goodbye, you can kiss crust goodbye, and you can bet that death metal probably wouldn't be the same (or exist at all).

For those not in the know. Shitlickers recorded 2 EP's that are well circulated. However, apparently there are demos and live recordings that have yet to see the light of day. A cool tidbit of information: The Shitlickers featured Tomas 'Freke' Johnsson, eventual vocalist for Anti-Cimex, on bass.

Degenerik posted a decent collection of both the EP's on his blog, so for the Linky, Links:

Direct Download: http://www.mediafire.com/?6d335bf9wwe6gyb

Degenerik blog post: http://degenerik666.blogspot.co.uk/2013/01/the-shitlickers-shitlickers-1982.html

Set Me Free to The Smell of Silence

Well then, this marks the end of my Anti-Cimex posts for now. I thought i'd share a few odds and sods for all of y'all. Cheers!

Bohman Brinner (Pre-Cimex)

Problem Child Zine issue 2 1985

PC: what are the groups personal favourite groups?

Anti C: It's difficult to say, but it's something like this:

Jonson - Discharge, Disorder, Chaos UK, David Peel, Nazareth

Jocker - Generation X, Mott the Hoople, Alice Cooper, Discharge, Black Sabbath

Konrad - Residents, Throbbing Gristle, Stranglers, Misfits, Husker Du

Charlie - Discharge, (Early) Slade, Venom, Metallica, Disorder

Live at Bensham Working Men's Club, Gatesheed, Tyneside, UK. JUNE 1986

Check out the ShitFi's Anti-Cimex/Shitlickers Archie HERE

Live in Nottingham, UK Part 1 of 3

SET ME FREE!!!

Avfall (Pre Anti-Cimex)

Image is actually of another pre-Cimex group Bombhot

Avfall: Delerium Tremes Tracks

Before there was Anti-Cimex there was...a few bands actually.

The most documented is Avfall who appeared on two Delirium Tremens comps with 3 tracks selected each. Apparently they recorded 20 songs, however, the majority of these have not surfaced as of yet.

Stylistically Avfall are not a million miles away from Anti-Cimex. If there is one thing that's totally distinguishing it's that Avfall are a bit more melodic. Also, the guitar isn't so Discharge influenced with the riffs. Although this could easily be considered hardcore, apparently the consensus among Swede punks is that the Shitlickers were the first true Swede hardcore punk band.

According to ShitFi:

"Members were Tomas Jonsson (drums!), Magnus Nilsson (vocals), Håkan Hedström (bass), and Jimmy Lindqvist (guitar). As we know, Jimmy turned up in Skitslickers along with Jonsson.

The recordings are a bit rough and ready, and that's saying something when concerning Anti-Cimex/Shitlickers, but this is some very cool stuff.

Check out ShitFi's post on pre Anti-Cimex groups Klaok, Avfall, Bombhot, and Bohman Brinner

HERE

Linky, Link:

https://mega.co.nz/#!xZo1SLTR!8zUB7UPodW_ZNScQbZd84MwNJp10NvzTLfP54gQEHGU

Anti-Cimex - Made in Sweden (1993)

Anti-Cimex - Made in Sweden (1993)

Apparently recorded on the 1st June 1990, this is a mix of self-titled mini-LP to Absolut Country of Sweden songs.The recording is actually pretty good, if anything, the bass is a bit low in the mix but it's still audible. Around this time Cliff Lundberg was playing guitar, so it's pretty interesting to see how he plays Criminal Trap, one of the tracks when Joakim Pettersson would 'show off' his 'solo skills' when he was the guitarist. As expected, Lundberg shreds, and the low-fi (when compared to the studio records) recording quality gives his guitar a grittier sound that was missing on the studio LP's. Freke is sounding pretty mean here, obviously he had perfected his craft by this point as he is consistent throughout the set. And the drumming and bass playing is solid. Overall, a decent record.

Linky, Link:
Direct: http://www.mediafire.com/?6664ys6a48vg8i1
Degenerik blog post: http://degenerik666.blogspot.co.uk/2012/12/anti-cimex-made-in-sweden-cd-1993.html

Anti-Cimex - Raw Live 84-86!!!

Anti-Cimex - Raw Live 84-86!!!

This record lives up to it's name. Think about it. Raw Live 84-86!!!
There are two sets, one from 84, probably around the time of Victims of a Bomb Raid, and one from 86', where there are songs from the self-titled mini LP. They are certainly live recordings. But most of all, this is R.A.W, RAW.

Probably a bit too raw to be a pleasant listening experience. Especially on the 86 set, where the rhythm guitar and bass parts are a bit inaudible. However, the leads come through well and the vocals and drums dominate the mix. For the first half, the 84 set, the guitar starts off as inaudible but eventually, along with the vocals, becomes fuckin' loud. In which they both drown out the rhythm section!

Not a whole lot to say about this really. It's a decent document of Anti-Cimex in a live environment. Obviously it would be funner to experience it as opposed to listening to it some 30 years later. Sigh.

Linky, Link:
Direct: http://www.mediafire.com/?ypcy432q1gx4b2q
Degenerik blog post: http://degenerik666.blogspot.co.uk/2012/12/anti-cimex-raw-live-84-86-cdr.html

Anti-Cimex - Fucked in Finland EP (1992)

Anti-Cimex - Fucked in Finland EP (1992)

Released around the time of Scandinavian Jawbreaker this is actually a pretty cool live recording of Anti-Cimex during their Lundberg guitar slinging era.

Maybe it's just the raw way they are recorded, but the songs are much more potent here than how they appear on the last two full-lengths: Absolut Country of Sweden & Scandinavian Jawbreaker

To be fairly honest, chances are, Anti-Cimex were one of those bands better experienced in a live context rather than on record. Maybe us young'uns, as well as older folks too, fetishize the shitty records of the past. Maybe we want to connect with, or appreciate, the aesthetic so bad that we fool ourselves into thinking that this music is the shit...or maybe the records are fuckin' rad and I shouldn't read too much into it. Yeah, that sounds like a good idea.

Anyway, not much is different from the studio versions here. Only that the vocals sound particularly nasty (in a good way) and that the guitar and bass sound raw as fuck. Decent record, but not mindblowing.

Linky, Link:
https://mega.co.nz/#!xYohUbyC!odt8Dji7D9Hd0I0BuIc9N9pW8pGoNiJ2-Vmw-ugXt88

Anti-Cimex - Live Birkagarden (1985)

Anti-Cimex - Live Birkagarden (1985)

Recorded in 1985, Live Birkagarden is a pretty cool document of Anti-Cimex during the mid 80s. What's interesting is they choose the slightly metal-damaged Criminal Trap (listed here as Depressed Brain) to set off the record but then rip into the fan favorites Game Of The Arseholes, and Desperate Hours. You'd think they'd save the most controversial track till later really. But It works just fine. This 7' ends like it started, with a new song from their, yet to be released, self titled mini-LP.
Like Depressed Brain, Silence Is The Only Thing Left (soon to be slightly re-worked as Smell of Silence) has a few guitar leads here and there. It's very interesting to see how Prelude in E-Minor/Criminal Trap and Silence... sounded prior to being recorded. And if anything, I think they come across better here than on the studio versions.

Linky, Link:
https://mega.co.nz/#!kBIxkKhL!s0AMuA0zTFaXnPp9CZE5eloDdR8U21VWtFVwHS_vI_0

Anti-Cimex - Scandinavian Jawbreaker (1993)

Anti-Cimex - Scandinavian Jawbreaker (1993)

Continuing in the same vein as 1990's Absolut Country of Sweden, Scandinavian Jawbreaker is a decent slab of metalpunk.

Yet again, another member has bit the dust. This time in the form of Conrad, bassist from 85'-90. Who was replaced with Lefty, known for his later band Black Uniforms. While the metal influence is still present, the hard rock'n'roll style of Motorhead is prominent as well. With that said there is still moments of D-Beat here and there, but the tide had certainly changed by this point.

So while the vocals on Absolut... were very Lemmy-like, the guitars follow suit in the Motorhead vein as well. I wouldn't be surprised if this era of Anti-Cimex influenced the Motorpunk that was getting popular (well, kind of popular in regards to punk) a few years ago.

I'd say that this is an improvement on Absolut Country of Sweden. While it's still not the band that recorded Raped Ass in 1983, at least they dialed back the metal, shortened the song lengths, and play in a more straightforward style here. A decent record overall. But don't be fooled, this is much more Motorpunk than D-Beat.

Link, Link:
https://mega.co.nz/#!ZQonSCKS!Nbq-e4pXUEeOsH85fI-zk8zWCfn-BSUjDV20g1i4Bi0

Anti-Cimex - Absolut Country of Sweden (1990)

Anti-Cimex - Absolut Country of Sweden (1990)

Released in 1990, fours years after their metal-flirting self-titled mini LP. Absolut Country of Sweden is an interesting record.

First off, guitar mainstay Joakim Petersson doesn't play on this, or Scandinavian Jawbreaker for that matter. Which is a bummer, as his riffs were killer. Instead Cliff Lundberg, mostly known for Driller Killer, takes up the role of guitarist. And he does a fine job, technically more advanced than what Petersson done with the Cimex material for sure. But it's a completely different style and it would be unfair to compare the two just by what we hear on recorded material.

Unlike the self-titled mini LP, where there were little hints of metal/rock, Lundberg brings the metal...in shovels...that are wedged deep in a dump truck made of metal...that is also full of metal...parked in a metal car-park for a company that create titanium. Okay, sure. It's not THAT metal. But when compared to the early Anti-Cimex work, it is very noticeable.

Infinitely cooler artwork

I suppose you could say that Absolut... and Scandinavian Jawbreaker are important records in that they pioneered the metalized crusty Swedecore present in the 90s with Lundberg's other group Driller Killer. And don't get me wrong, great music and all...but this is not the same band that recorded Raped Ass in 1983. And that, for some reason, bugs me.

But don't get me wrong, this is a good record. Still hardcore as fuck, but the metal-damage (or should I say Metallica-damage) is all-to-present for a 45 minute ride. And it's that reason I don't revisit this record much. It's very long for what it is.

Linky, Link:

https://mega.co.nz/#!RQIj3DaZ!_LXz_TvIIr7_1URGIkeBaLqK3SImcjjVIi44oZtijGU

Anti-Cimex - Mini LP (1986)

Anti-Cimex Mini LP (1986)

Two years down the line from 1984's Victims of a Bomb Raid came this self-titled mini LP in 1986. One can only wonder how this record was received back in the day. It's no secret that the mid 80s was the time of crossover, punks could play metal and vice versa. However, nothing is ever that black and white. There were a fair amount of 'haters' when it came to the cross-pollination with metal...and rightfully so in some cases. While this record certainly isn't 'metal', there are moments here and there, especially with the lead guitar, that could make you think so.

Don't let that put you off though. The basis for the whole record is D-Beat. From the drumming to the riffs, not much has changed since Victims of a Bomb Raid. I mean, they even re-record Set Me Free from Victims...

Whether or not Discharge's musical direction 1984-onward was an influence can only be speculated. But there are definitely similarities in tracks like (the second half of) Criminal Trap, Time To, and more obviously, Pain Killer. Considering that the line-up is the same (as far as i know) the musical progression is impressive. They've all become much better at their instruments, which is always nice to notice.

The production on this record is much more cleaner than their previous records. It's probably not that much of an exaggeration to say that Anti-Cimex were becoming pretty popular in Sweden...well, as popular as punk gets. Which no doubt meant that fancy recording studios were becoming available for them to use. The guitars are pretty meaty, the drums are punchy, the bass has a rad distorted tone, and to top it off, the vocals are still aggressive...not quite as venomous though. it must be said.

This is a very good record. You could argue that it's slightly metal-damaged. But sometimes that's not a bad thing.

Linky, Link:
https://mega.co.nz/#!hNgEiajQ!r_2AO38ehYyLqiHxmPV_hPxb_Ye4WxLksL8SEP2Im7s

Anti-Cimex - Victims of a Bomb Raid (1984)

Anti-Cimex - Victims of a Bomb Raid (1984)

How does one follow Raped Ass?
Okay, okay. That wasn't the most tasteful way to start this blog post...

Let's start again:

Victims of a Bomb Raid came out in 1984, and while it isn't as potent as 83's Raped Ass, it's still a devastating chunk of punk. I've already talked about the Discharge comparisons in the previous posts-so I don't want to make myself any more redundant than I already am.

These four tracks show Anti-Cimex running with the style they carved out on Raped Ass. You can tell they're more confident in their instruments with some rad stops, tempo shifts, drums fills, guitar solos, and that apocalyptic intro to the title track.

Anti-Cimex would continue pushing the limits of this style on their self-titled Mini LP in 1986.
Showing that Discharge wasn't all that they were about. However, they would soon leave behind the one-dimensional land of D-Beat for something more musically satisfying with their comeback Absolut Country of Sweden in 1990.

Linky, Link:
https://mega.co.nz/#!tIpDCATR!Edc3-IW1nIaid2y8EuhvA01XAkNg5zjtFNJ_XWmD2LM

Anti-Cimex - Raped Ass (1983)

Anti-Cimex - Raped Ass (1983)

While in 1981 Discharge were asking Why(?) Anti-Cimex rebuked with Raped Ass in 1983. Don't be fooled though. Anti-Cimex weren't some immature 'dick joke' band. With song titles like When the Innocents Die, Warmachine, Total Silence, and Cries of Pain it's obvious that Anti-Cimex were

wearing their Discharge influence on their sleeves. Heck, just look at the lyrics for Raped Ass:

You talk about the freedom

But we have no freedom

You talk about the rights

But we have no rights

This fucking system is liked a raped ass

The Discharge influence is obvious here. While Anarkist Attack (1982) was a band finding their footing, Raped Ass is a band who were truly hitting their stride.

One of the many reasons Anti-Cimex are so highly regarded is their incredible rawness and extremity for their time. While Discharge had the luxury of having, i'd assume, fairly well equipped recording studios, leading to the fat guitar sounds and thudding drums, Anti-Cimex made do with what they had. The result is a raw-as-fuck production. The rhythm guitars are buried, the lead guitar is louder than everything, the bass pokes out, the drums splutter about, and the vocals blurt out at the top end. 

And that's what so fucking cool about this era of the band.

In a weird way, although the production isn't fat and meaty. Anti-Cimex's sound is powerful it's own way. For me, Raped Ass is the best Anti-Cimex ever sounded. While the later records, after much success and respect in their homeland, had flawless production. The whole aesthetic of their early years is what draws me towards them. With that said, their later records are masterful and are well worth checking out.

Call it raw-punk, D-Beat, hardcore, Swedecore, blah, blah, blah, the only real definition for this record is fuckin' rad!

Linky Link:

https://mega.co.nz/#!JZRxmSQK!IlykLAqzhgu6Z5JUaPmjGHybf3f0nU58QE_MjddPD5A

Anti-Cimex - Anarkist Attack (1982)

Anti-Cimex - Anarkist Attack (1982)

What can be said about Swedecore legends Anti-Cimex?
Not a whole fucking lot since, while their artwork is adorned on patches on punk everywhere, hardly any detailed info exists about them.

So here I go:

From Sweden with love, Anti-Cimex, apparently named after a pest-control company (Thanks Wikipedia, derp), were one of the first D-Beat bands. So what the fuck is D-Beat? Aping Discharge, that's what it is. And much like anything, the original is usually better. Unless, of course, the copy-cats bring something new to the table.

Whether or not Anti-Cimex were trying to ape Discharge directly is up to a certain
amount of speculation. Certainly a few years down the line with Raped Ass (1983)and Victims of a Bomb Raid (1984) the influence is hard to escape. But I'm sure that part of Anti-Cimex's charm is that they were amateurs. Okay, okay. Many D-Beat bands aren't really virtuoso's at their instruments. But considering that Discharge carved out their sound over a sequence of records from 80-84 (not including their demos from 77'-80) it could be argued that Anti-Cimex were doing the very same thing. Working within their means. Finding out ways to play their instruments. Creating their own unique style.

Are Anti-Cimex Dis-clones? or did they just happen to create similar music around the same time?                                                                    !!!CONSPIRACY!!!

Illuminati!: the government is trying to tell us that Discharge are the defining d-beaters because you can buy brand new reissues of their records, while the degenerate Swedes and Japs
don't bother re-issuing bcuz they are tru ponx. Gvrnment try 2 make muney frum us. Dischurge
are capitulist scums in league w/Burruk Obomba

In all seriousness, Discharge is most probably the template they were copying (especially considering they covered No TV Sketch on their demos). But what sets Anti-Cimex apart from the crowd is how they moulded their own identity within the very limited aesthetic of Discore. When you hear them, you know it's them.

Is Anti-Cimex as important as Discharge? Yes! Sure, Discharge had the fantastic, massive, impenetrable guitar sound (Particularly on 'Hear Nothing...'), the awesome production values, the great guitar-work, and general cohesive band dynamics. But Anti-Cimex, along with the related Shitlickers (as well as a host of Euro and Jap bands), were original in their own right. No 'one' band creates a genre. It takes a host of others to
make a genre what it is.

D-Beat bands take note. Stop mindlessly dis-cloning and let anything and everything influence you.

I've been rambling long enough...
Anarkist Attack is a decent record. Anti-Cimex hadn't carved out their sound yet. It would be a few years down the line with Raped Ass and Victims of a Bomb Raid where they would record their defining moments that make them so loved around the world.

Linky, Link:
https://mega.co.nz/#!UE4FDAwA!BXk_gQ0XmSRxoOV1-pjWMpEp0a88ZOUdJCivkY6YzEk

Adolf Christ - Dead Punks (Demo)

Adolf Christ - Dead Punks (Demo)

UK Satanic Edge-Crust

FFO: GISM, Amebix, Axegrinder

Adolf Christ are a malevolent force of fuck off. Forged in the flames of hell, Adolf Christ blaspheme incoherently about hell, death, and the edge. We live in hell, motherfuckers.
- Adolf Hitler 

The best demo of the year thus far. My home boys have come far! Crust Punk straight from the ghetto. We live in heaven, bothers.
-Jesus Christ