Immoral Discipline / Dead On The Streets Split EP

IM DOTS 7 Inch Artwork FRONT

This week Rebel Sound unleash the 7” Split between Immoral Discipline and Dead On The Streets, two US bands raging with Oi punk voracity joining for one raw and enjoyable fury. Uniting a band born in the heyday of the genre with a new protagonist for an uncompromising rapacious front, the release makes a proposition which does not push boundaries or hold startling surprises but certainly brings forward another thoroughly satisfying and invigorating slab of street punk to stomp along with.

First of the antagonists Immoral Discipline is a quintet from Washington D.C. which formed in 1986.From their first days the band was making a strong imprint on the Oi punk scene with their presence and sound, one which has still lingered over the years since their break up in 1989. Their demo Boots and Braces, Stars and Stripes in 1987 set a marker for the band and following genre bred bands, which in the following year the EPs Battlefield and a self-titled successor replicated. Live the band also earned a formidable reputation as they played with the likes of Agnostic Front, Half Life, The Adolescents, Leeway, Biohazard, Forced Reality, Best Defense, Uniform Choice, Warzone, Black Market Baby, Youth of Today, The Exploited and many more. Several line-up changes occurred across the years before the band called it a day, that was until founding member Shawn Garard Leahy brought Immoral Discipline back in 2011 as attention and a potent buzz around the release of a retrospective CD continued to grow. With past members placed in different parts of the country, Leahy with their blessing recruited a new line-up going on to play festivals and shows with band such as Stormwatch, Steel Toe Solution, Broken Heroes, Hub City Stompers, Pharmacists, Unit Six, The Traditionals, Iron City Hooligans, Warrior Kids, and Offensive Weapon. Currently working on a new album, the band uncages a couple of new tracks for this release, two shots of caustic might which shows they have returned harder and fiercer than ever.

     Riff RAF hits ears first, the bleating of sheep within a sonic swarm the key to a belligerent stride of snarling riffs and thumping rhythms. It is prime punk rock, the vocals of Leahy a raging protagonist which rile against thoughts whilst inciting great anthemic lures of group shouts. Production wise it could have been kinder to the frontman’s attack, it lacking the depth of bite expected, but it does not prevent his incitement hitting as hard as the irresistible hooks and the perfectly stirring basslines which course through the tempest. The song feeds expectations yet opens up a freshness and voracity in sound which makes their forthcoming album something to keenly anticipate, something the following Stay at Home Skinhead adds to. Once again the guitars surround ears with a sonic breeze before striking the flint to a stomping rampage of rabid beats and scarring riffs speared occasionally by searing melodic enterprise. It is a full-on punk anthem taking no prisoners as it ignites the passions. Listening to the two songs it is easy to understand that though they did not get the full recognition at the time how Immoral Discipline has inspired future Oi sounds and bands since, Dead On The Streets we would suggest one example.

Hailing out of Pittsburgh, Dead On The Streets emerged with their animosity last year, thus a band as fresh as newly baked bread and just as flavoursome. They also enrich their invention with the origins of the genre, creating honest and straightforward contagiously potent incitements. Early Grave is their first offering, a track which beats out a rhythmic coaxing before spreading out a bruising of coarse riffs aligned with catchy hooks. Walking with a more punk rock fuelled gait, the track merges old school simplicity and again raw snarling vocals to dirty rock ‘n’ roll revelry. It also is not a surprising encounter but a thrillingly magnetic one left in the shade a little by America Today. Stabbing riffs and a delicious almost psychobilly like bass bait opens up song and eager attention initially, before the song casts a masterful blaze of grazing persuasion and virulent hooks. The bass constantly seduces across the song, its charm and growl irresistible, but equally the guitars flirt and enthral ears with an adventurous flame of enterprise. Whereas its predecessor was pleasingly yet predictably sculpted the second of their songs is a thrilling intrigue and imaginative fired riot showing more of the diversity and strength of the band’s sound.

Dead on the Streets is a band to keep a close excited eye upon and Immoral Discipline an inspiration which has returned to more than likely set new seeds down for future emerging artists. Together they make for a highly enjoyable and enthralling encounter with their split, of which more of the same would be very welcome.

Immoral Discipline / Dead On The Streets Split EP is available now via http://www.rebelsoundrecords.com/ on 7” vinyl (300 Black vinyl, 100 Red vinyl, 100 Milky Clear vinyl with Blood Red Splatter) and digitally (including an extra track from each band).

https://www.facebook.com/ImmoralDiscipline

https://www.facebook.com/DeadOnTheStreetsOi

8.5/10

RingMaster 01/07/2014

 

Power Trip – Manifest Decimation

photo by Ken Penn

photo by Ken Penn

Like in those nightmares where however much you fight and try to escape you get nowhere and are stuck in front of the impending dark threat, Manifest Decimation the debut album from US metallers Power Trip is an insatiable and unrelenting predator which just keeps coming with no chance of evasion. A riff built tsunami of rapacious energy and carnivorous hunger, the album is an incessant juggernaut of force and attitude but unlike those unwanted dreams this is one consuming ravage you will want to return again and again.

Dallas-based Power Trip, create a tempest of spiteful intensity through an invigorating fusion of thrash and hardcore, their crossover maelstrom, certainly on the album, unleashed through a collection of tracks which prey and drag the senses from their perch like a pack of rabid wolves. The past five years since the release of their impressive early demo of 2008 has seen the band as hungry as their sound in gigging, with other striking releases and splits alongside.  The promo accompanying the album declared the band as ‘Channelling the old-school energy of legendary acts like Cro-Mags, Nuclear Assault and Leeway through modern thrash warfare,’ a description which tells you all you need to know about their sound though there are other references you could offer. Recorded with Arthur Rizk and Daniel Schmuck and produced, mixed, and mastered by Rizk, the Southern Lord released Manifest Decimation is eight tracks of muscular mayhem honed into a tornado of passion and aggression all thrash and hardcore/punk fans will devour greedily.

Opening with the title track, Manifest Decimation initially breeds an emerging ambience which scrubs and ignites the ear before pt-e1365797198596swooping from within its sonic midst with massive boned rhythms from drummer Chris Ulsh and equally heavily weighted slow to explode riffs from guitarists Blake Ibanez and Nick Stewart stalked step by step by the intimidating bass sound of Chris Whetzel. With a demon borne spiteful cry from vocalist Riley Gale the track settles into a rabid and intense attack, energy searing the air and riffs echoing and stalking within the drum assault like cavern bone vultures. Across its destructive confrontation though there are flames combining sonic heat and melodic acid for compelling inventive shards but ultimately the implacable growl of riffs steers song and passions.

Both the following Heretic’s Fork and Conditioned To Death continue and elevate the rabid onslaught, the first with thrash intent and immovable riffs eroding the ear and beyond to again uncompromising incessancy and the second bleeding in from its predecessor through an initially steady gnaw upon its victim before firing up another furnace of thrash and hardcore voracity. In many ways to this point and through to the end the album, it is like one continuous unquenchable piece of savagery, everything flowing in their distinct ways into the next greedy bite of the listener whilst holding an umbrella of uniformal ceaseless riff driven malevolence. This means at times a little work is required to spot the unique aspects of each song but a willing effort such the might of sound and release.

As Murderer’s Row with its growl throated bass intro opens the gate for another senses plundering from riffs and rhythms, realisation dawns that the hollow trait of sound and production is to stay for every song. It provides a resonance and cavernous voice to the record which did take a while to decide upon and for personal tastes is the only thing the album maybe falls down on. To be honest there is nothing wrong with it but it does detract and remove some of the potent malnourished greed which all bestial and voracious metal needs. It does not stop this, and other tracks from nevertheless rioting until full energy is spent in submitting to their impressive demands.

The excellent Crossbreaker and Drown continue the mulish chug fest whilst final songs Power Trip, another exciting and invigorating thrash brawling, and the outstanding The Hammer of Doubt leave a legacy of need to indulge in the violence once again. The closing track, and arguably best on the album though all make a strong claim, is the most animalistic antagonistic fury on the release, its unslakable ravaging of the senses heightened to an intensity and corrosive energy which sucks air from the lungs.

Wrapped in the excellent art of Italian artist Paolo “Madman” Girardi, Manifest Decimation feeds all expectations and hopes placed before it with passion and craft making Power Trip a band set to bring an impacting mark on metal if maybe not with this release but a future one.

https://www.facebook.com/powertripTX

8/10

RingMaster 10/06/2013

 

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