"40 Hells feature ex-Black Cougar Shock Unit personnel (drummer Joel Perdue), a band I didn't really enjoy on record but thought were pretty good live. So now you get a chance to find out what Joel is doing on this split release from the band’s own label Anything But Radio and the Welsh-based Newest Industry Records (home to the aforementioned BCSU).
Whilst 40 Hells have a similar "dirty" sound to BCSU, which was often likened to Black Flag, overall this is a much more straightforward group of songs in terms of their structure and delivery, including an element of tunefulness and even a hint of melody. 40 Hells take on a more Hüsker Dü-type (before they hit the big time) approach but were adding more melody and cleansing themselves of some of the noise." PunkNews.org
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"Naked Raygun was a huge inspiration for me. Along with Fugazi and Leatherface, they helped create the bedrock that defines the "Gainesville sound". As much as I discredit the root idea that such a sound even exists or is quantifiable to such a finite point, I will at least concede that there are certain key influences for many a young (at heart) local miscreant. I digress. The fact that twenty-one years after NR played a legion hall in Gainesville, we are putting out a record that not only stands shoulder-to-shoulder with the best NR album, but perhaps surpasses, well, this blows me away. I have a hard time finding words that express how much Pezzati's voice shakes me to the core. So I'll abandon words entirely and quote the man himself "Whoa Hey Ho". Yes. This record means that much. Crafting the music and bringing the workhorse/powerhouse ethic are Jeff Dean, Mike Soucy, and Pete Mittler, who have truly risen to the occasion. They have been in countless Chicago bands, and continue to split their time with several noteworthy, exceptional bands, including The Methadones and Four Star Alarm. Energy. Focus. Intensity. As if it could get any better, the album was recorded by J. Robbins, who also makes appearances on various songs. He really brought out the best in the band and songs, amplifying and directing, especially in the vocal harmonies and melodies. Pezzati turned in vocals on the last Paint It Black album, and Dan Yemin returns the favor here. Bob Nanna also lends his inimitable pipes to the mix." - -Var (No Idea Records)
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The Magnificent started in late 2006 in Leeds, UK. We've played together in various bands since 1995, Buzzkill, Eighty Six, The Pedantics to name a few. The Mags is just an excuse to hang out, have fun and play simple songs about girls, drinking and growing up.
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"Hip to Death’s first proper CD, Punk Will Never Die But You Will (random Mogwai reference intended), buries spooky punk inclinations under layers of loops and vertiginous currents of noise. Had this album been recorded in Los Angeles circa 1979 it would be revered by the Killed By Death contingency as a creepy cousin to the Bags, the Weirdos, or Chicago proto-punk savants Mentally Ill, albeit it less spastic. But it wasn’t, so it's bound to fly under the radar as the group’s dark and defiantly outsider leer doesn’t have many close neighbors in 2011 Atlanta. But at the trio’s blackened heart of hearts, it appears to be OK with that, and even thrives on it as pure, unadulterated contempt drives songs like “Black Mirror” and “Washed Out.” Unsettling samples of disembodied voices that constrict around the clap of thunder, fuzz and gloomy pop structures are splattered all over the CD.
If you’re familiar with Hip to Death’s previous demo, Live in a Dive at the 529 Club, singer/guitarist John Breedlove’s hostile snarl doesn’t come off so much like he’s throwing rocks with his words anymore in “Skate Morals.” The tantrums have been tempered, and when weighed against wife/bassist Kasey Breedlove’s slow, gothic swoon in “White Sands,” the aural extremities are laid bare. The album’s strengths lie in the harsh and spiraling collage of noises that serves as both the backbone and connective tissue. Its major flaw is its inability to break free from the form that’s established within the first 30 seconds after pressing play. But there are compelling hooks hiding in the din, waiting to be realized. The album is bleak, jagged, and honest to the point of surpassing comfort levels. As such, PWNDBYW is not an album that’s easy to meet halfway, but if you’re really feeling sinister, Hip to Death has your number." - Chad Radford / Creative Loafing Atlanta
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