Tag Archives: Terminal Consumption

Terminal Consumption: The Best Punk on Bandcamp, January 2018

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In this installment of Terminal Consumption, our monthly reviews column focused on the margins of punk and hardcore, Sam Lefebvre considers the narcotic post-punk of Australia’s Exek and the madcap missives of Video Duct, plus new releases by Sister Anne, Runt, and Kaleidoscope. As the December edition of Terminal Consumption was a best-of, some of these releases are from December. Continue reading

Terminal Consumption: The Best Punk Albums of 2017

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In this installment of Terminal Consumption, our monthly reviews column focused on the margins of punk and hardcore, Sam Lefebvre recaps year’s best releases.

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Terminal Consumption: The Best Punk on Bandcamp, November 2017

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In this installment of Terminal Consumption, our monthly reviews column focused on the margins of punk and hardcore, Sam Lefebvre writes about the posthumous records of the Australian fanzine publisher and musician Brendon Annesley, plus the latest 12” by Lumpy & the Dumpers and tapes by newcomers Ecstasy and Petite. Continue reading

Terminal Consumption: The Best Punk on Bandcamp, October 2017

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In this installment of Terminal Consumption, our monthly reviews column focused on the margins of punk and hardcore, Sam Lefebvre brings attention to the punk scene in Santa Rosa in light of terrible wildfires in Northern California, and reviews new titles by Neutrals, Permission, and Patsy.

Acrylics, Structure 7” [Iron Lung]

At time of writing, mid-October, wildfires have scorched thousands of acres in Northern California, causing at least 40 deaths and destroying upwards of 5,700 structures. Much of the damage is concentrated in Santa Rosa, the largest city in the North Bay with a population of fewer than 200,000. Entire neighborhoods have been razed, leaving nothing left to sift through.

In recent years, the smallish, outlying city—usually associated with wine country and Peanuts creator Charles Schulz—has become an unlikely nexus of punk and hardcore in the greater Bay Area. That’s partially due to the affordability crisis in larger cities along the West Coast. North Bay punks who, not so long ago, would’ve fled their small towns to San Francisco or Portland, are instead lingering closer to their birthplace. They’ve made Santa Rosa a legitimate tour stop, and formed some of the region’s finest and most active punk bands.

Best-known among them is probably Acrylics, whose members are also involved in OVVN, Fussy, and Rut. The hardcore quintet’s discography started with a series of self-released tapes beginning in 2014, followed by last year’s gnashing eponymous 12”. The two tracks on Structure, the group’s second 7” this year for West Coast punk clearinghouse Iron Lung, foreshadow the sort of queasy, rhythmically askew hardcore surely in store for their first proper full-length on the same label. Rut debuted on vinyl this summer with Attraction, a more straightforward though no less explosive punk statement.

Acrylics left for a 40-day international tour the day after the fire started in their hometown, prompting widespread evacuations. The harm to underground music in Santa Rosa—considering the likely ruin of many places to perform, rehearse, and otherwise build community—is but one part of the city’s overall devastation. Supporting these worthy groups is one part of its long recovery.

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Terminal Consumption: The Best Punk on Bandcamp, September 2017

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In this installment of Terminal Consumption, our monthly reviews column focused on the margins of punk and hardcore, Sam Lefebvre spotlights Discos MMM and new records by Dame, Dauðyflin, Heterofobia, and Barcelona.

Discos MMM

Located in an unassuming home near California’s Russian River, in a small town north of the Bay Area, is the label Discos MMM, which has slowly become a hub of the international punk and hardcore scenes. Their discography, which is heavy on Spanish-language releases by groups such as Belgrado and Generacion Suicida, is a result of the relationships forged on tour by cofounders Josh Carman and Jose Gutierrez. “Almost all of the bands we met on the road,” Carman says. “So yeah, the label also ends up being about booking shows.”

Carman and Gutierrez met when they were in Born/Dead and Peligro Social, respectively, and later toured together in Ruleta Rusa. In Mexico, Carman metthe Guadalajara family band Los Monjo, and eventually released their chugging LP, La Vida Que Todos Envidian. In Colombia, the same thing happened with Secta Suicida. Spain’s tight-wound, wave-y La URSS, released Maravillas del Mundo through Discos MMM ahead of a U.S. tour last year, and Carman booked many of their dates on the West Coast.

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Terminal Consumption: The Best Punk on Bandcamp, June 2017

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In this installment of Terminal Consumption, our monthly reviews column focused on the margins of punk and hardcore, Sam Lefebvre reviews Xylitol’s militant meanness, Liquids’ fluid catalogue, Glue’s dour return, and debut tapes by New York groups Decisions and HVAC.

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Terminal Consumption: The Best Punk on Bandcamp, April 2017

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In this installment of Terminal Consumption, our monthly reviews column focused on the margins of punk and hardcore, Sam Lefebvre examines the latest inventive full-length by Los Angeles trio Behavior, plus new releases by Housewives and Exit Order.

Behavior, Bitter Bitter LP [Iron Lung]

Bitter Bitter is the work of three sensitive, clever players with an irreverent take on punk convention. The second album by Los Angeles trio Behavior, Bitter Bitter follows last year’s 375 Images of Angels. A spirit of possibility animates both records, but where Behavior’s debut reconfigures punk and hardcore tropes so that they sound alien, this one jettisons them almost entirely; if it’s post-punk, it’s post-punk not as a twist on punk, but as a challenge to its musical conservatism.

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Terminal Consumption: The Best Punk on Bandcamp, March 2017

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In this installment of Terminal Consumption, our monthly column focused on the margins of punk and hardcore, Sam Lefebvre interviews Daniel Stewart (Total Control, UV Race) about the latest full-length by long-running Australian foursome Straightjacket Nation.

Straightjacket Nation, Straightjacket Nation LP [La Vida Es Un Mus/Cool Death]

Straightjacket Nation are bitterly critical of hardcore—especially what they consider the sedentary politics of the genre’s unthinking flock of fans. One of the band’s first songs, “Herdcore,” goes, “Unity/fuck unity.” Instead, they prize asceticism; early in their career, they rehearsed a 20-minute set for six hours at a time and, in interviews, half-jokingly styled the band as a fanatical, separatist cult.

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