GBH - Leather, Bristles, Studs and Acne (1981)

 

GBH - Leather, Bristles, Studs and Acne (1981)

Probably not the first band that comes to your mind in regards to Halloween or horror themed punk, but GBH had a fair share of Hammer Horror-esque lyrics in their earlier work. Especially here the dark humour shines through in tracks such as Lycanthropy, State Executioner, and my personal favourite,
Necrophilia.

For me, this and the debut LP, City Baby Attacked By Rats, show GBH at their best. Undoubtedly one of the forerunners of UK punk rock during the early eighties, GBH bring the bass heavy power of Motorhead and the senseless aggression of the Sex Pistols to create a unique style that has been much copied...but hardly ever surpassed!

Their later material isn't as potent when compared to the vitriolic power of Leather... and City Baby..., but GBH definitely deserve respect for their contribution to, not only punk, but music in general. And let's not forget to mention their defiant attitude to recording and touring throughout the eras, regardless of how popular (or unpopular) punk is at those specific times. 

Your hair is tied in a spiders web, you're dead!

Ghoul - 1984-1989 (2004)

Ghoul - 1984-1989 (2004)

Collecting the entire works of Ghoul, 1984-1989 has all the tracks from Carry Out Fucking, Jerusalem, Oi Oi, as well as their compilation appearances on Game of Death, and Hold Up Omnibus. So it covers the classic line-up as well as Masami's Ghoul II as the Game of Death comp came out in 1989. The strange thing is, is that the Sqwad tracks aren't featured here.

Obviously Carry Out Fucking and Jerusalem are crucial listening for anyone into this style. And the same could be said for the compilation appearances. The Hold Up Omnibus tracks, Death City and Flash Back, are very heavy and crazy. Both are from 1984, the same year as Carry Out Fucking, however, they sound quite a bit like Jerusalem. As for the Game Of Death tracks, it shows Ghoul shifting style once more. This time to a thrash metal direction. The production on these tracks is rough, but along with Masami's vocals, i think this adds to the punky nature of Ghoul.

Overall this is a great compilation. It's missing a few things here and there, notably the Sqwad flexi,

but the main material is here in all its glory. Mandatory punk.

Get rekt:

https://mega.nz/#!cM5hUDQI!ieY2qQKtGffVdvVt4Yrwnv5QLaTaksWBp3xhckFQKhg

Ghoul - Jerusalem (1985)

Ghoul - Jerusalem (1985)

While 1984's Carry Out Fucking is a clucking masterpiece of punkrock brutality, Jerusalem brings the rock to the winning formula. Masami's vocals are still grumbly and gruff, the guitars rock the funk out with a Motorhead vibe, while the drummer pounds the living shit out of the skins. The wonderfully named Bear Bomb has been replaced by a mysterious fellow named Ghost, whom has a less melodic but just as powerful bass style, laying down an iron-coated bottom end for the raging guitars to battle you ear cavity with.

While Carry Out Fucking's recording quality was a perfect mix. It had a lo-fi tint, as well as a bass heavy sound. Jerusalem is much more meaty and filled out affair. First off the bass isn't as loud. Instead of sticking out with melodic parts, Ghost's playing is much more functional with straight-pounding rhythms. However, Be Alive or Dead shows that he is actually very capable, with silky smooth fills that beg the question: is he playing fingerstyle? The guitars are higher in the mix, with added lead dubs that create a great atmosphere. The focus on soloing is neat...not the most impressive with some out-of-tune bends, but who listens to this stuff for amazeballs musicianship? No-one i hope! The drums are more controlled on this record. Don't get me wrong, it's still d-beats and monster fills. But the fills aren't crammed into every void of space. And, as shown in the title track, there's some interesting, dare i say funky, hi-hat work. Although i'm guessing it was more of an Iron Maiden vibe he was going for.

According to the fantastic kyoukinonihon blog, where the link for this record comes from, the vocalist from Gas, Narumi, done the piano parts on the title track!

Link, you motherfuckers

Ghoul - Carry Out Fucking (1984)

Ghoul - Carry Out Fucking (1984)

Fronted by the one-armed bandit motherfucker, Masami, Ghoul are one of the seminal Japcore bands.

Along with GISM, Confuse, GAI, The Sexual, (as well as many others) Ghoul are in the 'Japanese punk bands you must hear' category. However, i'd have to say that they probably aren't as well known as the aftermentioned bands. This is surprising considering Masami's infamy. Apparently he was known for being an 'ard bastard, fighting, causing trouble, and being a general badass. He kept Ghoul going in various permutations after the original band split up in 1985, releasing records under the name Sqwad as well as his own name. Unfortunately he passed on in the early 90s due to the 'demon drink', puking blood on stage, and going into a coma afterwards. As for other members, information is low on the ground. Bassist, Hitoshi Ebihara, known as Bear Bomb has played in a few other bands such as Last Bomb who put out some great records in the 80s, Final Bombs, and Shadow of Fear (with the legendary Kawakami!). I have no idea who the guitarist or drummer are or what they went on to do. Totally weird considering the guitar-work here...is stuff of legend and awe. According to Discogs the guitarist is called Max, and has done sweet F.A. since Ghoul. And the drummer, Tetsu, was on the Virgin Rocks 7' Shut Up from 1986.

Carry Out Fucking is Ghoul's first record. Is it their best? That's a tough one...Ghoul only put out two

EPs in their original form as well as a few single tracks dotted about. What's really admirable is how they changed in direction multiple times, but somehow kept the same vibe. Carry Out Fucking is a veritable feast of punk. Sakevi-like creepy laughing, heavy riffing, fast-but not to fast-pace, prominent bass, d-beats, burly shouts, and menacing vibes all around. This record slays. Jerusalem, Ghoul's second record, is much more rocking.Very Motorhead influenced, but also having a definite metal influence in areas. Altogether a different beast.

The guitars here are a magnificent mix of fast punk, Motorhead'n'roll bendy leads, and frenetic bursts of speed. The bass has a surprisingly clean, clicky tone that punctures through the bands sound, while the drums d-beat to hell, ripping fills at any given chance. Altogether, Ghoul are a bit like GISM, minus the super crazy, delirious, and all around sick sound.

Link from the ridiculously awesome kyoukinonihon blog because MEGA is pissing me about: 

http://www.mediafire.com/download/bkp2x0sp2dddnau/Ghoul+-+Carry+Out+F*ck*ng.zip

G-Zet ADK 12''

G-Zet

G-Zet are a pretty powerful band. The influence of Motorhead is obvious with the double-kick drumming, mid-pace, bass heavy sound, and slow and meaty (when compared to their contemporaries) guitar rhythms. In fact, Dog Eat Dog reminds me of Iron Fist and G-Motor-Zet sounds conspicuously like Motorhead's eponymous track!

The guitars, courtesy of Tam from The Stalin, are powerful without being loud.And maybe it's just me. But I hear a lot of Black Sabbath sounding riffs dotted about. Especially in the opener ザ・クロウズ, which-according to Google translate, means The Crows) The bass, along with the drums, really drives home the Motorhead vibe. It bumbles and rumbles, overpowering the other instruments, while the drums thud mighty beats. There are plenty D-beats, Motorhead style double-kicks, bass/snare, and impressive fills. Overall making the drums a big part of G-Zet's mighty sound. Much like Motorhead, the drums and bass carry the fast tempo while the guitars sluggishly follow, thus giving a weird sensation of heaviousity and speed.

Surprisingly, a fair amount of Jap punk bands were reviewed in American punk-zine, Maximum Rock'n'Roll. I wouldn't be surprised if Pushead had some influence, as he is/was known for his fascination with Japanese punk.

Like GISM, G-Zet straddle the line between metal punk and speed metal, but definitely tend more toward the metal side. Moreover, their guitars aren't as piercing and their vocals aren't as demented, making this a less impressive effort all around. Headbangers should go for it; others won't be as enthused.

-Jeff Bale (from Maximum Rocknroll #16, August 1984)

Maniacal Japanese speedcore with a lot of bass, driving some outrageous power to the forefront with a mayhemic beat. Metallic guitar riffs, garroting drum pulsations, and that sonic bass blistering. Both songs are instrumentals and each has its own charisma, nothing lost without the vocals.

-Pushead (from Maximum Rocknroll #20, December 1984)

Linky Link:

Link coming soon...

Lance Lot - Eat The Dream (1986)

Lance Lot - Eat The Dream (1986)

Lance Lot are another obscure Japanese punk band. However, over at 7 Inch Punk blog a commenter, Yoshi Chiba, claiming to be the bass players brother left a couple messages in 2008:

"Hello, I’m a brother of the base player of Lance Lot. Lance Lat was playing around mid 80’s at Boredom Market in Sendai-city with Vomits and “Eat the dream” was recorded in/around 1986. All memners of Lance Lot were 16 years old when recording. Ha Ha Ha. They were just local punk kids in Ishinomaki, Miyagi, Japan."

"Hello, I’m a brother of the base player of Lance Lot. Actually, they were playing as Lance Lot in/around 1984-1988, and “Eat the Dream” was recorded in 1986 in Ishinomaki, Miyagi, Japan, which is their home town. When “Eat the Dream” was recorded, they were just 16years old. Ha Ha Ha. On the other hand, they were mainly playing with Vomits at Boredom Market in Sendai-city. Do you have any question?"

The fact that these guys were 16 when they recorded this is impressive. I mean, it's easy to compare to today when you can see toddlers shred Yngwie Malmsteen tracks after '2 seconds of practice, lol'
But when you consider this is mid 80s, in a country where many punk bands were playing fast and unintelligible GAI worship, the record is an impressive feat in itself.

The vocals are a nice mix of burly shouts, snotty blurts, and chants. Not quite Sakevi, but still powerful and mean sounding.The drums are probably the most impressive, with a variety of beats, tempos, and fills. Along with the drums, the guitars are impressive. I'd assume there is a bit of a Motorhead influence here. Especially with all those bendy solos.The bass is nice and heavy. Laying down a wrought-iron base for the guitars to churn over. I know i keep saying that these instruments are impressive, but they are. It's a crying shame that Lance Lot only recorded this, as well as two tracks for Hardcore Showcase (1989), because this is some crucial ripping, meaty hardcore punk.

Linky, Link:
https://mega.co.nz/#!hQYBmKpJ!TzR0tXd_ybuaYm69yeEJTyD2xVtutzcIDGZB35Et35o

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 - 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