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Scandinavian jawbreakers Harmagedon offer up a nightmare future on their debut album Dystopian Dreams, with a refreshingly modern concoction of melodic death metal and crust punk.

Three piece riff machine from Stockholm Sweden, Harmagedon is a raw festering carcass of dynamic grind and roll. Featuring members of Martyrdöd and Freedom raising hell once again, Harmagedon’s debut record Dystopian Dreams is a fusion of heaviness that is difficult to pin down but makes all the damn sense in the world! With focus on primal minimalism but maximum animalism, Dystopian Dreams is the ground zero of an explosive power trio summoning raw energy into being. With no frills and no gimmicks, just relentless heaviness, Harmagedon is a matured brew of “crust punk” or “d-beat” (“kängpunk” for the diehards) infused with ravishing death-metal. Dystopian Dreams is made by adepts of distortion and grime to be imbibed by connoisseurs of rage and chord-fury.

Recorded live at their own studio, Dystopian Dreams was conjured with the help of Fred Forsberg of Mass Worship at the controls, capturing Harmagedon’s wildfire and blending this dense stew together. With the addition of Magnus Lindberg of Cult of Luna mastering it, Dystopian Dreams has that exceptional flavour of a future classic, where all the cogs and wheels of this merciless weapon fire on all cylinders.

Black Sabbath, Entombed, Neurosis & High on Fire spring to mind, as the calibre of Harmadgedon’s riff whirlwind is of the finest quality, the antithesis of royalty but epic and majestic in delivery. Dystopian Dreams’ hulking magnetism leads you expertly to headbang and worship at the altar of timeless metal, without the slightest remnant of doubt.

Songs like Reptilian and Controlled Chaos groove and churn, but pack a hell of a concrete punch, with nihilistic, gravelled guitars and spewing vocals of molten brimstone.

Guitarist and vocalist Tim Rosenquist says:

“Controlled Chaos is about propaganda actions and distractions but Reptilian is about how hard work makes you into this emotionless beast of a being. That song is best served blasting on the factory floor or in the car on your way to the office! Reptilian’s themes are at the core of what Harmagedon is about”.

Look to the masters to deliver true heavyweight metal when the current scene lacks enough muscle and teeth. From a band made up of underground titans, Harmagedon is drawn from the well of eternal heaviness, living in death forever, what nightmares are made of.

Harmagedon is:

Tim Rosenquist - Guitars & Vocals

Magnus Berglund - Bass

Jens Bäckelin - Drums

Scandinavian jawbreakers Harmagedon offer up a nightmare future on their debut album Dystopian Dreams, with a refreshingly modern concoction of melodic death metal and crust punk.

Three piece riff machine from Stockholm Sweden, Harmagedon is a raw festering carcass of dynamic grind and roll. Featuring members of Martyrdöd and Freedom raising hell once again, Harmagedon’s debut record Dystopian Dreams is a fusion of heaviness that is difficult to pin down but makes all the damn sense in the world! With focus on primal minimalism but maximum animalism, Dystopian Dreams is the ground zero of an explosive power trio summoning raw energy into being. With no frills and no gimmicks, just relentless heaviness, Harmagedon is a matured brew of “crust punk” or “d-beat” (“kängpunk” for the diehards) infused with ravishing death-metal. Dystopian Dreams is made by adepts of distortion and grime to be imbibed by connoisseurs of rage and chord-fury.

Recorded live at their own studio, Dystopian Dreams was conjured with the help of Fred Forsberg of Mass Worship at the controls, capturing Harmagedon’s wildfire and blending this dense stew together. With the addition of Magnus Lindberg of Cult of Luna mastering it, Dystopian Dreams has that exceptional flavour of a future classic, where all the cogs and wheels of this merciless weapon fire on all cylinders.

Black Sabbath, Entombed, Neurosis & High on Fire spring to mind, as the calibre of Harmadgedon’s riff whirlwind is of the finest quality, the antithesis of royalty but epic and majestic in delivery. Dystopian Dreams’ hulking magnetism leads you expertly to headbang and worship at the altar of timeless metal, without the slightest remnant of doubt.

Songs like Reptilian and Controlled Chaos groove and churn, but pack a hell of a concrete punch, with nihilistic, gravelled guitars and spewing vocals of molten brimstone.

Guitarist and vocalist Tim Rosenquist says:

“Controlled Chaos is about propaganda actions and distractions but Reptilian is about how hard work makes you into this emotionless beast of a being. That song is best served blasting on the factory floor or in the car on your way to the office! Reptilian’s themes are at the core of what Harmagedon is about”.

Look to the masters to deliver true heavyweight metal when the current scene lacks enough muscle and teeth. From a band made up of underground titans, Harmagedon is drawn from the well of eternal heaviness, living in death forever, what nightmares are made of.

Harmagedon is:

Tim Rosenquist - Guitars & Vocals

Magnus Berglund - Bass

Jens Bäckelin - Drums

On their new album Wild Life, DC dance punks Light Beams paint a surreal portrait of a world filtered through front person Justin MOYER’s recent experiences as a protest reporter (and a member of a Pulitzer Prize-winning team that covered the Jan. 6 attack on the United States Capitol). The shadow of the attack looms large over the record as the quintet acutely distills nine songs into a twenty-five-minute package that voyages through insurrection deep into the bittersweet heart of 21st-century America. From their self-titled debut album through 2020’s Self Help, Light Beams have eschewed traditional melody instruments in favor of Moyer’s minimalist samplers and vocals, SAM LEVINE’s drumming and Arthur NOLL’s basslines. On Wild Life, they expand this palette with the addition of Leah Gage (vocals, rototoms) and Erin Mccarley (vocals, timbales, samples). The result: bigger sounds, bigger themes, and a bigger canvas.

Remastered with bonus tracks. While all Hangmen albums sound unmistakably like The Hangmen, each are distinguishable from the rest. Recorded and mixed over a couple of days on a tiny budget ‘Last Train To Purgatory’ is characterised by its warped rockabilly leanings and unsettling ‘gallows’ humour. It invited and defied listeners to enjoy unsavoury visions set to a crude and trashy soundtrack at a time when such things were never more alien in the world of music. It still received favourable reviews in unexpected places, glossy horror mag Samhain and metalhead weekly Kerrrang! (giving it a high ‘K’ rating) complimented accolades and bemusement in the more musically aligned press. The album also wraps up the bands formative period, gathering up the last of their fledgling works in all their unrefined charm to sit alongside those that followed. Whether you got on board ‘The Last Train To Purgatory’ or not, everything about it was off the rails.

With a mission in mind, Speed is setting out to put Australian hardcore on the map. Formed in 2019, the Sydney-based band has a no-holds-barred approach and enticing sound that makes them standouts in the genre. Composed of vocalist Jem, bassist Aaron Siow, guitarists Josh Clayton and Dennis Vichidvongsa, and drummer Kane Vardon, Speed showcases a tough exterior, but amplifies their sense of identity, and community in everything they do. Following the release of their demo in 2019, the band teamed up with U.S. label Flatspot Records for a two-song EP in 2020 and they joined forces again for Gang Called Speed. Recorded with Elliott Gallart at Chameleon Studios, the six songs on the EP are centered around recognizing who you are in this world, taking ownership of that identity and not letting anyone tell you otherwise. Drawing influence from old-school acts like Biohazard and Merauder just as much as bands like Trapped Under ICE, the band is putting forth pit-ready music.

For over 30 years, THE Slackers have remained one of the most prolific musical combos in the game. In the course of drawing from a seemingly endless well of songwriting creativity, the band has released music on some of the biggest labels in independent music, as well as on much smaller boutique ska & reggae labels across the entire world, including NYC’s Special Potato, which has served as home to many of the band’s home-brew releases over the decades. 2008’s Self Medication LP was one of the latter releases, initially released on CD through Indication Records, and a single pressing on black vinyl from Special Potato/ Indication. The record has been out of print for the ensuing 15 years and a tragically overlooked chapter in the band’s history. In the spirit of the title, Self Medication reflects the band’s DIY roots. Recorded by a longtime friend of the band, King Django (skinnerbox, Stubborn All-stars), at New Brunswick, New Jersey’s Version City Studios, this record is primarily an in-house affair, with overdubs overseen by singer/multi-instrumentalist Vic Ruggiero & guitarist Agent Jay Nugent at their own Studio Slack & Crazy Baldhead Studios, respectively. The sound of this record is that of a band who have the talent and the confidence to chart their course. Experimenting with a diverse sonic palette including elements of ska, reggae, swing, rock, and a lot of psychedelia, that nevertheless feels distinctly and unmistakably like them. And, of course, the band’s combination of earnest humanity and wry humor shines through in the lyrics, right from the opening line, “Every day is Sunday when you’re unemployed…” Indeed, this is the sound of THE Slackers as dictated by THE Slackers.