Studio Stuff


What happens when punk gets its big, tough, spiky dick caught in the trash compactor? He tries to pull away right? By doing so, he gets dragged closer and closer to a loud gory end, exploding chunks everywhere. This is what happens when the Dutch “GEWOON FUCKING RAGGEN” decide to make music.

They looked at hardcore punk and must have thought to themselves “this isn’t heavy or fast enough, let’s add something more”, so they added some powerviolent grind to the mix and boom! GEWOON FUCKING RAGGEN!

Having seen the band live a few months ago and remembering how it felt like a nail machinegun repeatedly shooting your ears, it is a great pleasure to review GFR latest trashcompactor, powerviolent, grindcore punk work, “Bruja”.

All it takes is 53 seconds. Starting with “Record Store Wallstreet”, 53 seconds of absurd violence slammed right in your face faster than a bullet, then dragging you across the room to throw your ears down the stairs and laugh as they roll down. You’re hooked already.

After this you realize, “there’s 18 more songs of this? Fuck yes!” Bu there is no time to realize such a thing, “Black Sheep” is already on your ass throwing punches, making every hair in your body stand at attention with incredible speed.

It just keeps pilling on and getting better, “Unsigned Paychecks” roughens your tender meat a little more. Have you seen fast short songs on windows media player? It looks like the time bar is struggling to keep up with the music. Anyway, if this is the soundtrack of what they will do to you if you don’t sign pay checks, I’ll sign all the pay checks, if someone else forgets, please let me watch that sexy justice happen.

Next is the first song that reaches one minute, exactly one minute. That’s right, It’s been four songs till now, none of them longer than one minute, all of them leaving me hooked and hungry for a lot more GFR and the longer than one minute songs are still to come. After all the ear beatings received from previous songs “Stench of Flesh” allows us to sniff our bruised meat before hitting it some more with several blunt objects of all kinds.

Now it’s time for one of those classic samples before sweet violent music, this one is straight out of Dirty Harry and leads us to “The Stash”, the first song that is almost two minutes long. The hardcore punk is strong in this tune, but things gets faster and more aggressive when they ask you with zero patience to take them to the stash.

“Drion” is another song that doesn’t last long but grinds your face off with a wall of fast, brakeless sound. The riffage just keeps getting more delicious. I like how at the start of the song, the riff tricks you into thinking it is going to be a certain level of fast, then its triple that speed, damn good.

“Razorface” is the part of the musical beating where you think you’re safe because you covered your face with razors. GFR don’t care about your face razors, they give you a moment to contemplate your situation and proceed to fuck your ears even deeper.

“Exclusion of Evolution” is a bigger song, it is when you realize you don’t deserve to exist because you thought covering your face with razors would save you from a beating of sound. This song starts in a way that could almost fool you into thinking this was something other than very fast, frenetic aggressive music. Then it hits you, it’s as if they took normal riffs and fed them tons of cocaine and they just went insanely fast. This applies to most songs.

That’s the end of side A. Side B starts with us getting “In Trouble Again”. Trouble finds you and lubs up your earholes before it violates them with hammers, sideways. That’s my way of saying it starts slowly, the songs stares at you grinning with psycho crazy intentions, then the mad speed comes back with a vengeance, not accepting its own absence from the music for over twenty seconds. Understandable when you realize twenty seconds is half of many songs.

“War of Confusion” starts even slower with delicious riffs being thrown back and forth and those awesome vocals howling in your head. It last for about two minutes, then a crust grinding speed erupts making your brain cells start a mosh pit that gets bigger by the second.

Another awesome sample from the movie Bloodsport precedes “Bad Guy Bolo” which starts with a riff that would be at home in a Doom video game followed by more intense, relentless, face shredding speed.

“Survivor” starts with a riff that vaguely reminds me of something classic, then the cocaine hits and GEWOON FUCKING RAGGEN. One of those great hits to listen while driving fast on the highway and flipping everyone off. It is very hard to stay completely still while listening to this song.

Afterwards we have a great time listening “A Miserable Time”. It kicks off with a nice groovy rhythm getting faster as it goes, making your head think it’s a flail. One of the smaller songs of side B so far, shot and sweet.

“Ghostfuck” starts twice, which means your mind gets hit very hard twice and then keeps getting hit. Another small and delicious track that subliminally informs you that you wish to fuck shit up.

Then it’s time for “Kruiskade” with another slow groovy start that blows up and spreads sound shrapnel all over the place. First they want you to dance, then they want you to kill each other, that’s how it sounds like, just beautiful.

After experiencing all this, we get to experience a “Heavy Mental Breakdown” which is actually a slow song in total. No speed here, just the drums beating your sanity and the bass and guitar riffing among them like two different sides of your conscience discussing your descent into madness like a comic book and it feels great.

“Stressed” closes the ep. If the previous song was a contemplation of your descent into madness, this is the exploding realization of that feeling. Starting with a speedy groove, the riffs start laughing in your face and screaming amazing sounds to aggravate you even further. It gets faster of course, as the band is screaming wildly in your face that you are stressed while the riffs keep on laughing. The whole thing ends with a blast of speed and an echo saying “Bruja”, to remind you of what just happened to your brain.

A collection of short, brutally fast songs that will fulfil any thirst for musical violence. If you’re looking for some straight to the point, no bullshit, in your face sound, then this is a most excellent. GEWOON FUCKING RAGGEN!!!


Text by J.P. Alves

Ghoul – Dungeon Bastards

Finally! After five years, something new has crawled out of the smelly, putrid, noxious, rotting, maggot infested hole that are the catacombs of Creepsylvania. “Ghoul” have returned from the graveyard to melt your face with the sheer force of sound that is “Dungeon Bastards”. I have waited a long time for this and now I get to tell you why you should take a listen, or several.

Starting off with an eerie 80’s movie style warning in which we are told that the                Creepsylvanians, idiots as they are, have elected some random antichrist figure as its ruler, we get a nice groovy intro with “Ghetto Blasters” nicely preparing our earholes for the massive pounding that is to cum.

If you have never heard of “Ghoul” you should know that this is more than music, they have a whole damn comic book mythology going on, their work is mostly gory, hilarious comic books is music form and “Dungeon Bastards” is no exception.

Driven from the city and into the graveyard, the fleeing hordes of indigent peasants are pursued by acidthrower wielding gangs of shock troops. The shrieks of melting villagers fill the freezing air. Down in the catacombs, oblivious, Ghoul tucks in to dinner.

Just as Ghoul in the song are quietly sitting for dinner in the harmony of their catacombs, a sudden blast of violence falls upon both. To them in the form of the frenzied escaping villagers who cause a cave-in, to us is the immediate, relentless explosion of “Bringer of War”.

The lyrics in “Ghoul’s” work has always painted a nice, vivid picture of what is going on, and this album opens beautifully with the discovery of the OMICRON PROTOTYPE 77-Y, the return of familiar characters like Baron Samedi and the introduction of Commandant Dobrunkum(the self-entitled Bringer of War), all to the frenetic grind thrash sound we have come to expect from the band. This one kicks off in great shape.

Baron Samedi’s commands to retrieve the Omicron Bomb fall on deaf ears, as Ghoul retreats deeper into the Catacombs muttering half-hearted assurances; that is, until Samedi unleashes an army of revivified corpses to persuade them otherwise.

A brutal mosh pit of epic proportions opens up in the catacombs among the dead with the groovy sound of “Shred the Dead”. You can really feel them being thoroughly shredded with skateboards and rusty axes as the music goes in your ears, you can picture the four hooded Ghouls having a fun time as they tear their way through the hordes of corpses. You can almost smell them.

After scaling the Wall of Death, Ghoul descends into the sewers of Creepsylvania, sneaking their way towards Svatoplunk Square and the bomb… but shifty eyes espy their descent.

In the song that gives the album name, we witness the return of another character, Kreeg from the “Hang Ten” EP. Under awesome riffage, Kreeg’s horde of wretches are ordered by their commander to cut down Ghoul (and don’t ask why) but as usual, the Creepsylvanian horrors outmatch any adversity, cutting their way with metal thrashing death grind through the masses of “Dungeon Bastards”, killing the big boss Kreeg and acquiring for themselves a nice little army of…

“Ghoulunatics”! A nice ambiguous song that gets you riled up before it explodes in your face like buckshot with awesome riffs and rhythm. The four Ghoul’s contemplate their shambling army of retarded morons who can’t even spell Dobrunkum. Although looked down upon by Ghoul for their inferior weak state, they are crazy about them and will do anything for their undead overlords. The ambiguous part comes in the end, when the lyrics make a sudden, discreet reference to the Ghoulunatics being the actual, real life fans of “Ghoul”.

Meanwhile, the denizens of the ghetto deemed suitable for experimentation are marched into Smolek Sanitorium, where they will be subject to the bizarre, sadistic machinations of Dr. Zabor Zongo, M.D., Ph.D., D.V.M., D.M.V.

Drumming sets off this vile experiment where Frankenstein meets nazi concentration camps. A sweet catchy tune takes us along as we are introduced and say goodbye to Dr. Zabor, who experiments heavily on the people and animals of the ghetto. This all goes very fine and dandy at the beginning, with the doctor directing orders to his shambling creations of obedience and servitude. A sweet bass line, along with some wild screams and laughter takes us from the fist and whip to the concatenation of “Blood and Guts” that the doctor becomes after he has been handled by his unwilling experiments.

Commandant Dobrunkum struts and preens in his headquarters high above the city as he watches the bedraggled slave force hang the Omicron Bomb from the iron hand of his gargantuan effigy. He is the master of all he surveys, and his…

“Word is Law”! Yes, Ghoul being nowhere to be found at this point, Dobrunkum takes this opportunity to play us a nice fascist catchy tune to show off how much of a fucking badass mother rapist he is. The entire song is sung by the Commandant and his cannibals, it serves as a threat for any who would dethrone him and a pat in the back for himself. His singing is slightly like rap since in recent years, the government as thought of rap music as a way to reach young kids with important lessons. This issue was entitled, don’t fuck with the guy who has a giant statue of himself holding a real super powerful nuclear weapon ready to drop and explode in the middle of town.

Viltek Novotny, a lonely, drunken goat salesman, emerges from a local tavern with a belly full of vodka, a head full of regret, and pants full of last night’s borscht. What he would witness, he would never forget.

“Death Campaign” is the tale of a drunken man who wandered off from the tavern for almost three minutes. In that time he witnessed a widespread horror show filled with eye gouging, brain smashing and dismemberment, an epic battle oozing with gore and dangerous chemicals as Ghoul and their army faced off against the forces of the Commandant. The song itself sounds as if the lyrics are describing what would happen if it were played live, there is no slowing down the “Death Campaign”. If that is not the kind of stuff you are into, stick to the taverns like Viltek when you visit Creepsylvania.

The overrun statue comes crashing down on the city and thousands of villagers are instantly ground to paste. The massive arm of the statue breaches the city wall and flings its deadly cargo groundward. With a flash of weird blue light, the Omicron Bomb explodes in the swamp as if in slow motion. The breathless citizens of Creepsylvania await their surely impending doom.

“Guitarmaggedon” is slow at first as the creeping rhythm drags with itself a man ranting about nuclear devastation. Then the Armageddon begins as the guitars and the urgent intensity of the rant build up together getting better and better by the second and culminating in a delicious, ghoulish solo.

A rift is opened in space and time as Omicron Energy is unleashed in the mystical deeps of Creepsylvania’s swampland, and someone… or something… slithers its way through.

“Abominox” is the final boss song as can be clearly discerned by the lyrics. A sexy and eerie bass line after the head banging start, takes us into the description of something that would be at home in a Dark Souls Boss fight as the song takes its shape. Ghoul play off their album with no conclusions or endings, just a giant mass of horror summoned by atomic devastation erupts from another dimension and its appearance is enough to ensure everyone that their race is properly fucked. As the song fades away, we can hear “Abominox” rolling without a care in the world as gunfire and devastation fill in the background.

Just another average Monday in Creepsylvania brought to us in a grind death thrash package that is utterly irresistible. The album cover tells it all, “Dungeon Bastards” is a great, solid work in every direction and you would do well to listen, as well as read those fine ass lyrics.


Text by J.P. Alves

Timestalker – Arrival of the Stalkers EP

I always enjoy when a tracklist makes me think of a story, particularly when you have an intro taken out from an 80’s antihero film trailer where everything’s gone to shit. Isn’t it nice when a piece of culture freshly created makes you learn a bunch of things? Or when you jump from your chair screaming ‘That’s fuckin’ Snake Plissken!!’.
Yes, “Timestalker” went to the past and brought me something different.

Is it full of holes or is it a great work from a pioneer of the Swiss Synth Scene?
I don’t know and I couldn’t care less, you thought this was a review? It isn’t. I just listen to it repeatedly while twisting my mind just for you.


An asphalt jungle, an urban skyline of fear, waiting, watching, destroying…

This first track deserves an aerial shot of New York City just as Detroit had one in 87, but no need for a news report, we already know we’re fucked. Gangs are everywhere doing gangy things, like gangcriming, gangraping, gangdrugging and who could forget about gangbanging? Yeah, I’m talking about those 80’s felons, but the sounding is teleporting me 50 years ahead and making me materialize a BFG 9000 in my arms.

Run, skate, drive or hide cuz’ the Pariahs just rose and they make me wander those infested blocks, evaporating the wicked with my green projectile without caring of collateral damage. I’m not thinking straight, these sounds give me the urge to get in this Roaring Interceptor and just flee the scene, giving me hope for better aim and more vile screaming from excruciating pain along the way. Good thing I found a Sawn-Off inside with free refills…

This is it! The outbreak of Evil gets me. It accompanies me while I insanely mop-up what I can find while I kid with these pedals. The majority of drivers always bitch about automated gearboxes, but how the fuck are you supposed to shoot pedestrians accurately while managing a clutch ? This is easier, and let’s be honest, these are hard times. I’ll take every perk I can, even the Bloody Mess…

The Call for Vengeance gets my finger soft. I’ve decided to relax a bit during my drive, since these blocks do not have empty husks in need of forceful holes in the thoracic vertebrae. I’ve decided to kewl off at the BCBG hell hole. This awful place reminds me of home, without the Streets of Rage villainy silhouettes. Heard it used to be a Punk rendez-vous kind of place. Dunno much about that but what a weird sounding this is, never thought it could be so enjoyable as I almost tapped my feet synchronized with this off rhythm bit. I just witnessed some guy getting his head crushed by a RoadHouse kick…

I cannot bare to see this Ultra-Violence going on without engaging. I don’t care if I lose as they always taught me that the important thing is to participate. The struggle is what counts, it’s what makes you better as a whole, not some kind of gratification. Head-butts, roundhouse kicks, some visit to the dentist, New Rocks head crushing and sawn-off pointing. Seems I win again. I get off there and find myself aching for more. Lucky day, Punk…

Seems I shouldn’t participate, sometimes. Another group was waiting outside, next to the V8. They used up my BFG on the local shops, for local people. There is nothing for me there. I shot in the face the one they call Poison for having fun with my gun. Nobody gets fun with my gun without getting sprayed.
Took my knife from the New Rocks while they jumped over, they got me in a sandwich of bloody ribs but I got some jawbreakers in my knuckles and eyepoppers in my blade. The whole thing stopped for they were not ready to participate. I can see they never came out of kindergarden as I have many years of teaching. The rest just ran off letting three of their mates all over my ride and one in shock repeating the same senseless numbers ‘404’. A lot cleaner than pints of blood all around and as far as desensitization goes, a lot funnier. I have to say, the improv’ reddish paintjob gives the Mad Mobile some rage.
I just go without worrying of those bodies, as they’ll fall on the way.
Feels good to be The last survivor of any dire situation.

Text by Flama Jiberish