The “re-thrash” wave that began around 2000 produced bands that were almost clones of those that came before. Since some of the original masters changed their ways or were having difficulty reproducing the stellar quality they once maintained, it was kind of cool hearing young, motivated bands do their take on their thrash metal heroes. Didn’t like the latest offering from DRI? Check out Municipal Waste or Possuido Pelo Cao. New Destruction or Sodom boring you? Listen to Avenger Of Blood or Violator. Brazil’s Prophecy would like to remind you of how great Testament was on their first two records, as they emulate Testament’s signature big time crunchy riffs, speed to burn rhythms and wonderfully growled thrash vocals. If you told me this was a new Testament release, I wouldn’t have doubted it for a second. Imitation is the sincerest form of flattery, right? With that said, the new Testament is a pretty damn great record, so you should go buy that too.
Artist: Visions Of
Change Album: Visions Of Change Year: 1988 Genre: Punk / Hardcore
I don’t know how many reviews like
this I’ve written so far, but these are my favorites. Once again, my never-ending search for bands
I missed in the 80s and 90s has come through again! This time, the Airstrip One
compilation on Mystic led me to Visions Of Change. I’m sitting here kicking myself because these
guys should have been in my life much, much sooner. Before they were VOC, they were called The
Depraved, whose records I’ve owned forever.
I guess I didn’t pay close enough attention to what they did after they
were done. That’s a shame because this
album rules! Although they’re from the
UK, they sound like an American band that is wearing their Dag Nasty and Verbal
Assault influences prominently on their sleeves. There is not one shred of anything UK
influenced on this album, and that’s saying something for a band that was once associated
with the incredible Children Of Revolution Record label. If you told me this was a lost album that
Dischord was going to release, I would not have doubted that for a second because
this has D.C. style all over it; emotionally charged, guitar driven and
melodic. This is a gem and needs to be
sought out by anyone into powerful, melodic hardcore.
My god 1981 was forever ago. I was only 10 at that time and still thought the first eight Kiss releases ruled the world. Thanks to my older cousins I was also listening to some Boston, Queen, Genesis, Abba and J. Geils too. It was right about that time I caught the FM radio bug. The Detroit area had a wide variety of stations which included rock, jazz, classical, country and everything in between. The hard rock stations introduced me to Zeppelin, Sabbath, Triumph, Deep Purple, Van Halen and so much more. It was not long after that I started listening to what was considered Top 40 radio. This, along with the birth of MTV, which I watched anywhere I could until my parents got cable television, opened me up to a new world of music. Soon, I also knew who Rick Springfield, Pat Benatar, Hall & Oates, Blondie, Air Supply and many other were. In 1982 and 1983, my horizons were expanded because so called “new wave” artists were staring to get air time on both radio and that previously mentioned TV station which went from playing videos 24 hours a day to only featuring a plethora of horrible shows such as the one that glorified rich, bratty, spoiled 16-year-olds and their birthdays, or the one that tried to get Tila Tequila laid by everybody, and the one that made Ozzy look like a utter doofus, and on and on. Before MTV went to shit, music was new and exciting as they spun songs by so many cool artists including Prince, Duran Duran, The Police, Tears For Fears, Joan Jett, Soft Cell, The Human League, A Flock Of Seagulls, The Go-Go’s, Men At Work and the band I’m going to be writing about, Modern English. This is the era of music that is forever embedded in my head.
In 1982, the song “Melt With You” got heavy rotation on radio and MTV. Now, as a kid, I loved the song. Knew it back and forth, but never actually bought their full length record. One, I was still in hard rock / metal mode which was my primary focus. Two, I recorded it onto a cassette off the radio so I could listen to it whenever I wanted. Did anyone else have tapes made from the radio that had the DJ talking either at the beginning or end of the song? Ah, the memories. It wasn’t until I was older that I dove back into the full length catalogue of releases by a lot of 80s bands. Some were wonderful like Tears For Fears, Prince, Duran Duran and A Flock Of Seagulls. Some just ended up being one hit wonders to me like Big Country, Real Life, Berlin and Dead Or Alive. Not only do I believe the first two Modern English albums to be pinnacle representations of 80s music, I also believe them to be stellar examples of the new wave that was hitting the mainstream, with their debut, Mesh And Lace, being a prime example of the ingenuity happening in what would soon be titled "alternative" music.
Mesh And Lace, the third full length release for the groundbreaking 4AD label, is both beautiful and brutish. It's an experiment as much as it is a collection of songs. Modern English were young, raw and willing to take risks. Although a melodic nature persists throughout the album, a sense of angst seeps through the imperfect, emotionally charged performances; taking large cues from Joy Division on how to catch the listener's attention and remain coarse. Hints of proto-industrial elements lurk on the record in the form of keyboard interludes, instrumental noise and samples that connect many of the songs in an effort to give the album some continuity and flow which, for the era, was rather cutting-edge. As much as the record was riding that new wave crest, the band solidified itself directly into the annals post-punk history. At this stage, Modern English had more in common with the sonic rumblings of Bauhaus, Killing Joke, Joy Division, Wire, Christian Death, and The Chameleons (yes, they were later, but you get the idea); and they were easily as good as their contemporaries. Mesh And Lace is driven and moody. A touch outside the smooth “Melt With You” exterior they displayed on their follow up LP After The Snow; which, by the way, is another wonderful record that leans much more toward their new wave sensibilities, yet keeps a very independent feeling of creativity throughout the album. Remember, 4AD was not a major label, so “Melt With You” was actually an independent single that became huge and now is seen as a prime representation of “80s” music. And, although I listen to their debut much more consistently, you cannot go wrong with either of these records by this highly innovative band.
Artist:Crusades Album:The Sun Is Down And The Night Is Riding In Year:2011 Genre:Punk
I owe listening to this band to a dear friend of mine. Crusades play a style of punk rock that I will fall all over every single fucking time; raw, driving, brash instrumentation with hook filled vocals and a darker lyrical theme. The last record that hit me like this was AFI's The Art Of Drowning. Different style, but same effectiveness. I wouldn't label the singing as poppy, but it's almost guaranteed you'll be humming along after the first few listens. Crusades changes the tempos just enough that when you need that burst of high energy, they give it to you, but they also know when to hit the brakes and take it down a bit. This makes for a varied and interesting listen. The other positive is that the production is punk rock!No overproduced "Fat Wreck" tones here. It sounds like a bunch of guys plugged in, cranked the gain and went for it.Buzzsaw guitars, loud drums, gritty vocals....just like it should be.Highly recommended.
I have a dear friend to thank for introducing me to this band. Crusades play the kind of punk rock that that I will fall all over every single fucking time: raw, driving, brash instrumentation with infectious vocal hooks and lyrical themes that don't exactly rain down sunshine. The last record that grabbed me this hard was The Art of Drowning by AFI. The stylings are a bit different but both have the same impact. I wouldn't call the vocals poppy, yet after a few listens you'll almost certainly find yourself humming along. Crusades changes the tempos just enough that when you need that burst of high energy, they give it to you, but they also know when to hit the brakes and take it down a bit making for a varied and interesting listen. The other positive is that the production is punk rock!No overproduced "Fat Wreck" tones here. It sounds like a bunch of guys plugged in, cranked the gain and went for it.Buzzsaw guitars, loud drums, gritty vocals....just like it should be.Highly recommended.
Demon System 13, or for you more rad people, DS-13, were a hardcore punk band from the incredible land of Sweden. First, let’s address that name. I don’t know what it means at all but it’s so fucking cool. DS-13 played ultra-frenzied hardcore, bordering on all-out thrashcore, they blaze and slice through songs like nobody’s business, hitting the listener with their dislike of authority, cops, and society in mere seconds. That’s not a false statement; three songs on this release are literally under 10 seconds long. DS-13 did everything right on this 7” and I have to say it is a favored listen amongst their formidable catalog. I never got to see the band live, but the production gives me a sense of what it would be like. I love releases like this. Short songs require a short review. I'm going to take the next 9 minutes and 38 seconds and go listen to the 13 songs on Aborted Teen Generation. You should too.
Coming up with stupid things to stress myself out with is easy. Almost a month ago, I was talking music with a dear friend and the amount of physical media we both own entered the conversation. When we finished, I got an idea in my head: What if I could only own 100 records the rest of my life? To put my dilemma into perspective, at this current time, it would take me approximate 9.7 years to listen to all my records if I listened to one record every day. No CDs. No cassettes. Just vinyl. Then I began to think to myself about the ridiculousness of that amount of albums and time. Could I just live with 100 records the rest of my life and what would they be? I told the concept to my friend and he happily told me to fuck off with that in the nicest way possible. Looking back, I should have told myself to fuck off because I've been working on and intensely struggling with this for a month now. Even though I'm still questioning a few things that didn't make the cut, what I finally figured out is that I will never EVER be completely happy with this final list, This is as close as I'm going to get. Without further ado, my top 100 albums to live with the rest of my life.
7 Seconds - New Wind
7 Seconds - Soulforce Revolution
7 Seconds - The Crew
A Flock Of Seagulls - A Flock Of Seagulls
The Accused - More Fun Than An Open Casket Funeral
Acid Bath - When The Kite String Pops
All - Breaking Things
Anacrusis - Screams And Whispers
Atheist - Unquestionable Presence
Bad Brains - I Against I
Bad Religion - Against The Grain
Bad Religion - No Control
Bad Religion - Suffer
Black Sabbath - Master Of Reality
Boston - Boston
Brutal Truth - Extreme Conditions Demand Extreme Measures
Well, here we are. The fact I typed the year 2026 and it is associated with a new Megadeth record is an accomplishment to be added to the mountain-sized stack of well-deserved accolades the band has earned. This is especially true since they never took a reprieve from their career in music. Of course, when I use the all-encompassing “they,” we all know I’m truly focusing on founding member and metal legend Dave Mustaine. Regardless of whether this final album is good and whatever debates exist about the band’s catalog of releases, you cannot deny Megadeth’s legacy and achievements. I’m going to review this in a way I’ve never done before. We are going to roll with a PASS/FAIL system with a cumulative opinion at the end.
Tipping Point – PASS
It’s never good to start with the best song on the record. If a band does that, the rest is usually a letdown if the quality doesn’t stay at the same level. I had no clue “Tipping Point” would be the preeminent song on the record until I got through the whole thing. Yeah, you can see where this is going already. It’s a strong song that should’ve introduced a formidable album. It has fire, cohesive parts and the best vocal performance on the record. With that said, some producer should’ve told Dave the “push me I’ll push you back” line is silly and unnecessary.
I Don’t Care – FAIL
Oh boy. Dave is making his best effort to channel the spirit of 80s Lee Ving. Lyrically this reaches a level of embarrassment where someone so established shouldn’t stoop. It’s such a strange attempt at a unifying, antiauthority battle cry. Nobody is going to regard this as a new youth anthem and hold their fist or middle finger in the air while this is blasting through the speakers. The intensity and music is nowhere near the opener. What do the kids say? Cringe? Yeah, big cringe.
Typical, color-by-numbers thrash. More horrendous lyrics. “On the day I was born a guitar in my hand.” Ok. Next, you’ll be a cowboy riding a steel horse. What I will give this song credit for are the guitar solos and overall energy. This doesn’t mean it’s a great song, but certainly not a complete bottom feeder.
Puppet Parade – FAIL
Intensely bad. This makes me think Dave is trying to do what he successfully achieved on “In My Darkest Hour.” The problem is there is no emotion behind it and it comes off hollow and plods along like a overweight cow in a pasture. That means it’s fucking boring. What is that chorus? It’s trying to be melodic but he forgot to put melody in it. So weak and the worst song on this record.
Another Bad Day – FAIL
I was wrong. This is the worst song. This song and structure harken back to the time I started to dislike Megadeth’s trajectory. This song sounds like it should have been shelved during the Countdown To Extinction era. The guitar solo is the only bright spot on a dark pit of a song.
Made To Kill – PASS
Dammit if this song doesn’t start off pretty good. The vocals aren’t anything to write home about, but the opening music is strong. Then it happens…more garden variety thrash riffs. Why do I have such a problem with these? Because any band can pull this off. The guitar parts don’t have that unique Megadeth style imprinted on them at all. Yet, not a bad song. For this album that isn’t saying much so far. This would be a filler track on any stronger recording.
Obey The Call – FAIL
Heavy main riff that reminds me of something between slowed down Anthrax or Exodus, but then the chorus comes in and sends a decent idea straight to the trash can. The speedy ending makes no sense. This is where I have a huge issue with the songwriting. Megadeth were masters of building songs by creating tension and then giving the listener the payoff. This song is three ideas stapled together without the use of transition or creativity.
I Am War – FAIL
I tried as much as I could to stay away from this critique because it could apply to every song so far, but Dave just sounds old and tired on this song. The goddamn song is called “I Am War” and it’s so weak and mundane. Zero fire or intensity. Glam metal bands in the 80s used to have heavier riffs.
The Last Note – FAIL
And the extinguishing flame continues for the last ever Megadeth original. This album goes out with a whimper. An acoustic solo? Really? It doesn’t give it dynamics; it just sounds fragile. What is supposed to come off as emotionally charged end up as pretentious drivel.
Ride The Lightning – FAIL
This should never have been a concept in the first place. Dave calls this a tribute to his past with Metallica, but it was all ego that initiated this shit-fest of a cover song. Did he really think “Ride The Lightning” was how he could prove how much better Metallica songs would have been if he were still in the band? I don’t care what he wrote with them. Good god. This song is iconic and no one should cover it. He would have been so much better off choosing something from Kill ‘Em All to play with an unbridled fury. This is just a horrible idea and what happens when your unattended jealousy gets the best of you. Maybe Dave should’ve competed with one of his own better albums instead of the band whose shadow engulfed him since 1983. This is making all their other bad cover song choices look pretty great now.
This was not an easy review on two different fronts. The first problem is the album is not good and listening to it was a rough experience. The bigger problem, though, is the internal argument it sparked between my 15-year-old self and my cynical, yet trying my best to be reasonable, 55-year-old self. The 15-year-old year old is screaming out about how bad this album is and that if it were released in 1986 he still would’ve hated it. It happened at various times with other albums that people give high praise such as And Justice For All, Practice What You Preach, Pleasures Of The Flesh and Frolic Through The Park. Meanwhile, the 55-year-old is trying to present some logic with that bratty teenager, urging him to be more open-minded and respectful of a record made by a founding father of thrash metal; a musician with a 40-plus-year career who clearly put time, talent, and effort into creating something for his massive fanbase. In the end, the 15-year-old won because this album mostly sucks rocks. There are 3 decent songs on this record and 8 underwhelming compositions I never need to subject my ears to ever again. I didn’t even review the extra songs that are floating around out there because they’re no better than anything that made the final cut of the record.
Yet a couple of silver linings do exist on this lousy album. Dirk Verbeuren is a phenomenal drummer that turns in a rock solid performance. Don’t let the fact that the drums sound like they are covered with a wet blanket deter you from appreciating his effort. The absolute highlight of the album is guitarist Teemu Mäntysaari. Unfortunately, his astounding playing cannot save this record. His solos deserve the spotlight they got in each song as he strikes a perfect balance of melody and technical ability. I’m sure the bass player did a wonderful job, but I can’t tell.
The final struggle I had with reviewing this is similar to dealing with loss, in that a band that electrified me in the most sensational musical time in my life is going to be extinct. When I look at it from that perspective, it doesn’t give me pleasure to degrade their final output. Don’t get me wrong, this album is awful, but this is also the band that gave me Peace Sells and Killing Is My Business, which is something I have been and will continue to be grateful for because those albums continue to be a huge part of my life. I, like the hundreds of thousands of Megadeth fans, owe the band and Dave Mustaine sincere gratitude for giving us their gift of music. With that said, I’m going to hit up the first 4 Megadeth records and enjoy the memories.
Before buying this album, I only knew of The Accused’s existence through a short interview they did with Disorder Fanzine in 1986. Even today I remember the interview because I used to study those better than homework. The Accused were intriguing and I needed to hear them. Since they weren’t on any compilations I owned, I went on a focused hunt for their music. I had zero luck locating any of their albums until I ran across a cassette copy of their newly released More Fun Than An Open Casket Funeral at my local Harmony House record store while shopping with a couple friends. Side note…best album title ever? Yeah, I still think it is.
The artwork was wonderfully disgusting, so I scooped it up and then forced my friend to put it on his stereo when we got back to his house. I had no clue what we were in for, then, the first song, “Halo Of Flies,” melted my brain. I’m very confident they enjoyed it a whole lot less than I did. By 1987, I had heard some of the fastest and heaviest music around to that point, but I had not heard anything like The Accused. It was just sick. I immediately fell in love with what they were doing. Their metal/punk fusion reeked of aggression and attitude with an aural assault of speedy riffs, frantic push ‘n pull drumming and Blaine’s incredible “horror movie” throat. For my money, Blaine Cook remains one of the most original vocalists in all of punk, metal and hardcore. His style is both motley and venomous, spewing words and nearly incomprehensible racket with such conviction and force that it almost makes you duck out of the way when you‘re listening to him. Pure genius! The lyrical content is just as twisted as the perfectly imperfect performances. More Fun Than An Open Casket Funeral is the definition of crossover; thrashing metal structure combined with punk talent and attitude. The Accused are special and are beyond unique; no band has ever come close to their splatter rock ways. 39 years later, this album holds a distinct dank and gory place in my heart.
I feel like I should be isolated in a video booth like they used to do on those horrible MTV reality shows. It’s now true confession time. As cool as I would like to play this, I didn’t let Depeche Mode into my life until my early 20s. I used the word “let” with intention. Depeche Mode has lurked around me since my mid-teen years. My sister was heavy into them and my first real high school girlfriend and her crew were huge fans. I denied their existence because my metal-thrash-punk personality was too rad for some wussy keyboard band. Yeah, I wasn’t, and all I did was miss out on years of loving some of the best alternative synth pop in existence. By the time Violator was unleashed on the planet, I was still too stubborn to admit to its awesomeness. I was already working in a record store so I heard the album consistently and there was no way to avoid their videos on MTV or in clubs that catered to the alternative crowd. Even though industrial music was a huge part of my life at the time, I just didn’t make the connection with Depeche Mode and their synth pop ways. Like too many other bands I was pigheaded about, one day it kicked in and I’ve been listening intently ever since.
Depeche Mode has a vast catalog and I admittedly only love a slice of it. I view their run of studio albums between the years 1983 and 1990 as the pinnacle of their output. Just like their most popular contemporaries The Cure, Duran Duran, Pet Shop Boys and New Order, I don’t think they ever bottomed out with any album. No, not all their records resonate with me and I don’t listen regularly to any releases after 1993, but I truly appreciate their tenacity and the artistry of everything they create. Even as they ascended with each album in the 80s, Violator soars above anything that came previously or after. I know the Black Celebration and Music For The Masses supporters would like to have a strong word with me after that statement.
What Depeche Mode achieved on Violator is profound. Simply put, there isn’t a single misstep on the album. The songs are so smooth and streamlined and pulsate effortlessly from the first note to the last, swaying back and forth between downcast moods and other moments that are lighter, and even border on gentle. All you have to do is listen to the back-to-back combo of "Halo" and "Waiting For The Night" to know what the album is all about. Their fusion of darkwave and pop is effortless as they never let either personality take over. Listening closely to the music, there is a formula that Depeche Mode utilizes that isn’t overly heady or complex. But it is THEIR formula, and although the genius of Martin Gore’s songwriting may seem simplistic, it’s not and no other artist has been capable of successfully replicating it. As he has shown time and time again, David Gahan has the ability to vocalize words and melody so surgically that the songs become instantaneously etched in the listener’s mind. All of this gives Violator sustained playability. I never tire from hearing these songs no matter the number of repeated plays. Sure, there are times I think to myself, “Do I really need to hear ‘Personal Jesus’ for the 150th time?” The answer is an emphatic “yes!” as then I soon find myself tapping along to its infectious rhythm, just as I do with the rest of the album. Violator lives in the top tier of new wave / synthpop music which includes Please by Pet Shop Boys, Rio by Duran Duran, and the self-titled album by A Flock Of Seagulls; all bulletproof albums which set an almost unreachable standard for the genre. Their exemplary consistency on Black Celebration, Music For The Masses and Violator (other fans may even add Some Great Reward and Songs Of Faith And Devotion) easily exceeds anything those other classic bands ever achieved. My younger, obviously more immature, self may have dismissed Depeche Mode out of an allegiance to aggression, yet, Violator finally found a permanent home with me. Decades later, it still sounds timeless and essential
Biohazard Divided We Fall CenturySign Of The Storm Scorpion ChildI Saw The End As It Passed Right Through Me 7 SecondsChange In My Head
I had a strange feeling about
2025. For months, nothing grabbed me. It wasn’t until May that I finally
stumbled onto a release that even had a shot at making my yearly Top 6, and
that was a remix of an album I already loved.It wasn’t looking good for quite a while and even with all my searching
and hoping, I only ended up with 5 releases I felt were worthy of a coveted
spot in my beloved Top 6 post.Yeah, I
know, nobody really cares, but I’m not going to fake liking a record if I don’t.So, off we go with the 5 winners.
My 2025 album of the year was an
easy choice. I’ve written in the past
about how difficult it is for me to get hyped about new releases, let alone one
from a band that existed in my teenage years.
Yet, once the new album by Coroner was announced, I admit I gained
a whole lot of that youthful “I cannot fucking wait!” anticipation back. I’m generally skeptical of bands that rise
from the dead after decades away so why trust Coroner? The simple answer is
their musicianship and the strength of their earlier work. I just couldn’t
imagine these guys resurfacing only to put out something mediocre. Their first
four albums are nearly flawless and even their very last record, Grin,
although a departure from their typical output, was strong as compared to what
metal turned into in the early 90s. I
believed if any band could deliver a stunning comeback record, it would be
Coroner… and I was right! Dissonance
Theory surpassed any expectation I had for the band and sounds as if it
should’ve followed their 1991 classic, Metal Vortex. The band is absolutely surgical in its
songwriting as the structures and dynamics are pretty close to perfect. It makes sense since they had 32 YEARS to
write this record. It’s definitely the
heaviest record in their arsenal but still showcases the technical ability that
set them apart from the pack in the first place. This is how you do a metal comeback
album. More bands should take notes from
Coroner. Also, Dear Coroner…I most
likely won’t be around in another 32 years, so could you get your next record
out a little quicker than that? Thanks! For those not in the know, I’ve already sung
my high praises in a review about the new Biohazard album, Divided We
Fall; a ferocious return-to-form that proves age hasn’t dulled them one
bit. Biohazard albums are hardly ever
bad, but they are also rarely at the top of my list. The band found its fire again and are
stepping on the heads of the countless bands they inspired. Nearly 40 years in, they’re still effective and
Divided We Fall is a raw and heavy reminder that they are NYHC royalty. Sweden’s heavy metal outfit Century
was a wonderful new discovery this year.
I’m loving this band and if you are into everything about straight-up,
no-frills classic heavy metal, you’ll love them too. This band does “retro” the right way. They don’t sound like a carbon copy of their
predecessors, but more of a homage to the masters they obviously worship. The singer brings the songs home with
his rough, melodic delivery which fits seamlessly with the music. Listening to
Century feels like stepping back into the era when the New Wave of British
Heavy Metal swept across the underground scene and reshaped the genre. If the names Tank, Warlord or Satan mean
anything in your music world, you need Century in your life. Austin, TX’s Scorpion Child also have
a previous review floating somewhere on this blog where I strongly praised them
for keeping rock alive. Hard and heavy
rock may be becoming a rare creature in today’s music landscape, but Scorpion
Child are doing an exceptional job protecting that flame from becoming
extinguished. I will admit that when I
first heard this album, I wondered whether my excitement came from simply
finding something to satisfy my desire for some strong, new hard rock or if it
would truly stay with me. I’m happy to say it wasn’t just a short-lived thrill.
This album still absolutely rules. If
you’re a fan of The Cult, Guns N’ Roses, or anything that lives in between that
space, I Saw the End as It Passed Right Through Me will have you hooked. That brings me to my final pick. It’s not possible for me to fully express the
importance of 7 Seconds and their New Wind album. In 1986, New Wind initiated a seismic
shift for me musically and personally.
From that moment on, 7 Seconds became the most important band in my
life. Even though I was a fan of
crossover thrashers DRI, COC and SOD previous to discovering Reno’s biggest
hardcore export, 7 Seconds kicked opened the door to everything in the punk and
hardcore realm. Their lyrics influenced
me to be an aware person and showed me it’s ok to be a good man. All the songs I wrote many years later in my
band Rebel Spies have their thumbprint on every note. As my singer once said
about our band, “It’s our love letter to hardcore and punk.” Well, for me, it
really was my personal thank you to 7 Seconds.
When Change In My Head was announced, I was ecstatic! Since I’m not sure we’ll ever get another original
7 Seconds record, I’m grateful for anything they release. I was especially excited because of what Change
In My Head contains. Earlier this
year, it was announced that the legendary Ian Mackaye, yes, that Ian
from Minor Threat and Fugazi, remixed and reimagined the New Wind
recordings using alternative takes, adding compilation-only songs from that era,
and a new track list, making it a unique reissue. I was stoked because as big as a place as New
Wind holds in my heart, the original production, although charming, is not its
strongest element. Change In My Head
brings everything into balance. I love
the sound! Everything just feels more
cohesive now with the guitars sitting perfectly alongside the other
instruments. Adding the two songs from the 4 Bands That Could Change the
World compilation was a great choice as they balance the faster and slower
songs. Although it gained more
appreciation and respect as time passed, New Wind was initially heavily dismissed
by their hardcore fans as a sellout record.
It makes me wonder if this was the version of the album that was
released if the punker crowd would’ve been happier with it? With that, 2025 is done. Have super happy New
Year everyone!
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