#12 - Tri-Subversion — Free Chopper Rides (Ubertroll Recordings)

 

With their third full-length outing, 'Free Chopper Rides', Leicester’s Tri-Subversion have effectively scorched the blueprint of their previous records to build something far more formidable. Recorded “live” in visceral single takes at Quad Studios by Bob Bryars, and shaped by the production of Stuart Robinson (Bo Bo Nomad), this release is a deliberate ramping-up from their earlier work. While 2021’s 'Project Fear' and 2023’s 'You Are The Carbon' nestled them among the pillars of modern anarcho punk, 'Free Chopper Rides' finds the band getting more agitated, but being able to contain that anger just enough to let the weight of their cynicism truly sink in.

The shift in delivery is immediately apparent. Tri-Subversion have never been the "bang-bang-1-2-3-4" franticness of their peers, opting instead for a heavier, more muscular approach. By leaning into a style defined by dynamics, they create a tension that feels far more threatening than pure velocity. This isn't just noise; it’s a "muscular, gorilla-of-a-grind" that allows room for Clive Wojcik-Hale’s guitar and Julian Palmer’s vocals to project a more focused, authoritative anger.

Even at seventeen songs long, Tri-Subversion do not outstay their welcome as they lyrically have plenty to say with their scathing, cynical autopsy of a "sick state of the world." From the bruising aftershock of the opener Eat Shit And Die to the drilling, speed-garage of Popcorn, the band stabs at societal decay with surgical precision. Tracks like Motherland showcase a "sludge bucket" of noise that remains rooted in their anarcho roots, while Four Days serves as an anxiety inducing reminder of how close we sit to the edge of collapse. And perhaps my favourite is the 'friggin in the riggin' cynicism of NGO War.

Big Brother isn't watching you, he's fucking with you.

Released via Ubertroll Recordings on 22.11.25, 'Free Chopper Rides' is the sound of a band reaching their "authoritative style." It is a heavy, demanding, and ultimately rewarding record that proves Tri-Subversion are at their most dangerous when they have the space to breathe. This isn't just a punk record; it's a "nerve-jangler" for 2026.

Tri-Subversion on Facebook

Ubertroll Recordings · Free Chopper Rides - Tri Subversion

#11 - System Of Hate – There Is No Madness Here

 

This has been on my hard-drive since its 2018 release and was regularly played on my show at the time. It was only last month that I realised I didn't actually have the physical copy. So, taking advantage of a Louder Than War sale, I parted with £3 (YES! £3!) and now own it.

'There Is No Madness Here' is a deliberately austere, confrontational record, one that commits fully to a cold, stripped-back goth sound and an explicitly anti-God stance. The music is built on bleak repetition: downcast guitar figures, rigid rhythms, and an atmosphere that favours oppression over release. It’s goth not as romance or decadence, but as severity and ritual, locking the listener into a narrow emotional corridor and refusing to offer relief.

Lyrically, the album’s hostility toward religion is neither symbolic nor playful. Its anti-God position is stated plainly and pursued with unwavering conviction, less an attempt to shock than a declaration of belief. That certainty gives the album coherence and purpose. Tracks often blur together, reinforcing the suffocating mood and compelling you to continue your hobby of sacrificing small children.

The vinyl release on Louder Than War Records suits the ethos well, though it comes with one baffling flaw: there is nothing whatsoever to indicate which side is A or B. No label cue, no run-out etching, no subtle hint—just trial, error, and mild existential irritation. It’s a small detail, but one that feels oddly careless on an otherwise deliberate release (I got it right first time btw).

Visually, the sleeve is far more assured. Its simplistic darkness mirrors the music perfectly: unadorned, oppressive, and confident enough not to explain itself. It’s the kind of artwork that doesn’t try to seduce you - it simply sits there, waiting.

And while the record itself projects severity, it’s worth noting one of the human hands behind it. Pat Crawford, despite his satanistic goat-burning sensibilities, is by all accounts a genuinely decent and approachable presence - an irony that only deepens the album’s tension between ideology and personality.

In the end, 'There Is No Madness Here' is best understood as a committed, niche statement. It doesn’t seek to persuade or entertain so much as to assert. Within its self-imposed limits, it succeeds; outside them, it remains impenetrable by design.

#10 - Head! – Tales Of Ordinary Madness (1994)

Doing an A-Z of my collection had me in an AC/DC padded cell, and I was only three headbanging albums out of eight in... So I randomly picked out this one, having never played it before. 

Head! (from Bristol) released 'Tales Of Ordinary Madness' in 1994, and some years later it was picked up by myself from Cob Records in Bangor for £2.95, and to be honest, I feel short changed. 

Not even sure why I bought it. Maybe a punt as it was so cheap? Maybe because I knew Nick Sheppard was in the band; he had been in that semi-disastrous (Cut The) Crap version of The Clash (although he's not on this Head! album). Or I may have asked them to play me a track in Cob Records and I was allured to the Mike Patton-esq vocals? 

The striking sleeve is probably the best thing about it.

I've only played side one, and can't bring myself to flip it over for fear of launching either it, or myself out of the window.

What works against 'Tales Of Ordinary Madness' is it certainly failed to make a strong first impression. The sound sits firmly in the mid-’90s alternative moment: loose, trying to be overly clever, and more concerned with atmosphere than impact. Instead of sharp hooks or a sense of danger, the record trundles along at a low simmer, which can feel understated or simply flat depending on your patience (I've lost mine).

The songwriting isn’t actively poor, but it’s underdefined—tracks blur together, ideas arrive and move on without leaving much of a mark. Repeated listens may reveal a certain moody cohesion, yet the lack of standout moments makes it hard to fully invest. Time hasn’t been especially kind to the production either; some textures now feel dated rather than evocative.

Ultimately, side one comes across as a low-key, uneven record that rewards commitment more than curiosity, and I doubt side two, if I had the courage, would change my mind. It’s not without merit, but it asks a lot from the listener and doesn't really give anything back.

Here; try it out for yourself and let me know in the comments below...

#9 - AC/DC - Let There Be Rock

 

AC/DC - Let There Be Rock

This, the band's fourth studio album is the one that propelled them into the realms of rock royalty, which, like Hell, ain't a bad place to be.

I mean, you only have to jump on the title track and let it gallop away with your senses and your life is just about complete. It's a dirty filthy riff laden rock and roll album that ends on an absolute high with 'Whole Lotta Rosie'.

I was too young [sic] to catch the Bon Scott era band, but so glad I did eventually catch them live (even if some cunt stole my wallet).

#8 - AC/DC - Dirty Deeds Done Dirt Cheap

 

AC/DC - Dirty Deeds Done Dirt Cheap

The band's third studio album (released 20th Sept 1976) and my favourite. Although, admittedly I've not heard all their releases, despite having many of them - this will be corrected in due course. However, I seriously doubt they'll top this, after-all, Bon Scott is not with them anymore is he!!

OK, I was about 13 or 14, and although my roots were firmly embedded in punk rock, a lot of my mates were heavy rockers. Motorhead were a given for any punk rock kid, and I did have a penchant for AC/DC. This was mainly due to Mike Devlin having this album and he'd play 'Big Balls' very loud while we all sniggered at the content.
His mother wasn't so forgiving; 'Michael, turn that dreadful song off!'

I always fill my ballrooms, the event is never small, the social pages say I have the biggest balls of all.

Also, the thrashing 12-bar blues on speed of 'Rocker' and the chilled hangup of the excellent 'Ride On' - yeah!!

#7 - AC/DC - High Voltage

 

AC/DC - High Voltage 

Album released February 1975. Being heavy rock curious in my teens as most of my school mates were into it, I picked this original Aussie release from the second hand record shop in Rhyl around 1985. Unwittingly unaware of the importance of this particular version I sold it for silly money during the eBay wars. Still regret that now...

It was AC/DC's debut album, with a different track listing to the internationally released version (early 1976), which featured the pick of this and it's follow up TNT. So my copy is that international release - the sleeve is missing and the b-side is fucked. Praise the devil for iTunes...

Favourite tune has gotta be 'Little Lover' - I put that song on many a compilation cassette so I could sing along with my Walkman while I was hitch-hiking my way across the UK and beyond.

My Collection #6 - Abominable Soul - Believe In Yourself & Aliens

Abominable Soul – Doncaster garage-punk band (c2016–2019), feat; Thom Smith (voc,gtr), Brad Woolrich (gtr), Luke Panks (drms), Richard Cook (bass), Liam Morrison (bass).

Emerging from the South Yorkshire underground, this trio delivered a gritty, high-energy blend of garage rock and psychedelic punk often described as "nursery rhymes for goth kids." 

They became a staple of the Yorkshire circuit, frequently appearing at festivals like Tramlines Fringe and supporting touring acts such as Malta's Fuzzhoneys. 

Released in 2017, Gray Pride was a standout EP that helped cement the band’s reputation for "lo-fi, high-velocity" garage rock. The title was a playful, tongue-in-cheek nod to the often bleak, overcast aesthetic of South Yorkshire towns, matching the band's gritty, distorted sound.

Their recorded output peaked with the 2018 cassette release Believe In Yourself & Aliens, an album that had that raw, distorted sound, with a some cool unrelenting songs - kinda sound a bit like Nosebleed in parts.
Split in 2019 but members of Abominable Soul have been active in several other projects within the South Yorkshire and North of England DIY scenes.

My Collection #5 - Abominate - Diseased

Abominate – Liverpool sludge/death metal band (2016–2019), feat; Dave Ballantyne (voc), Hadyn Kirkwood (gtr), Stuy Crosbie (drms), Lea Cross (bass), Joe McKenna (gtr). 

Emerging from the Mersey scene with a crushingly heavy sound that blended death metal speed with sludge-heavy grooves, they quickly became a staple of the "L1HC" (Liverpool Hardcore) and underground metal circuits. 

Their Diseased EP, self-released on 27th October 2017, served as their primary calling card, featuring tracks like "Parasitic Infection" and "The Black Death," showcasing a visceral, filth-ridden production style. 

Following the raw intensity of Diseased, the band put out the Witchburners EP on November 26, 2018. The five-track release, recorded at Vulcan Studios, pushed their sound further into a bleak, sludge-heavy territory while maintaining a frantic death metal edge. Tracks like "Crushed Amongst The Gears" and the six-minute title track "Witchburners" became live favourites.

Despite a series of brutal live performances supporting international acts like Devour, the band split in 2019, with members moving on to various other projects like FiftyxBrick and Acid Edge.

The CD version was 'album length' with three additional bonus demo tracks (100 copies made).

Gig review here

My Collection #4 - Abjects - Gone EP

 

Abjects – London garage-punk trio (2013–present), feat; Noemi Santiago (voc,gtr), Yuki Ishii (voc,bass), Alice Notaristefano (drms). An international outfit with members hailing from Spain, Japan, and Italy, they became staples of the London DIY scene with a sound blending 60s garage-rock, jagged post-punk, and surf-infused psych. 

Their Gone EP, released in May 2015 via Bristol's Stolen Body Records, featured the standout title track alongside "Love Hate," "Ratrace," and "Mine," garnering them a reputation for "effortlessly cool" and raw performances that eventually took them to SXSW and tours across Japan.

The EP Gone came out on a transparent blue 12″ vinyl on a limited run of 300. Obviously long sold out, but was later repressed on pink vinyl.

Bandcamp

My Collection #3 - A - Hi-Fi Serious

A – Suffolk alt-rockers (1993–2005, 2008–present), feat; Jason Perry (voc), Adam Perry (drms), Giles Perry (kybd,voc), Mark Chapman (gtr), Daniel P. Carter (bass,voc). 

The band formed in the coastal town of Lowestoft, Suffolk, where the Perry brothers and Chapman originally started out in a progressive rock outfit called Grand Designs before rebranding as A. They became the town's most famous musical export of the era, eventually trading the Suffolk coast for global tours and Top 10 success with Hi-Fi Serious. Despite their move to the big time, they’ve often been associated with the local East Anglian scene that later produced bands like The Darkness.

They exploded into the mainstream with their third album Hi-Fi Serious (released 4th April 2002), which shifted away from their quirkier pop-punk roots toward a polished, heavy alt-rock sound. It reached No.18 in the album charts.

The record spawned their massive Top 10 hit "Nothing" and the follow-up anthem "Starbucks," earning them a Kerrang! Award for Best British Band and a headline slot at Brixton Academy.

Not sure how I ended up with a copy of this as it's not really my thing; almost bordering and crossing over to that whiny stuff that causes acid reflux within me. Plus, A is an absolutely rubbish name for a band, possibly the worst in the history of shit band names. That said, the album is OK, even if it's not really my bag.

After the peak of Hi-Fi Serious, the band struggled to maintain momentum when their label, London Records, was caught up in a corporate buyout, shelving their 2005 follow-up Teen Dance Ordinance for a year. The delay killed their commercial buzz, and they were dropped by Warner Music shortly after its release, leading to a hiatus due to financial strain. During the break, Jason Perry became a successful producer (McFly, Don Broco), and Daniel P. Carter became the face of BBC Radio 1's Rock Show. They reunited in 2008 and have since remained a "sporadic" live act, playing festivals like Download, and are currently slated to release their first new studio album in over 20 years in 2026.

My Collection #2 - Abrazos - Nothing Gets Changed By Being Polite

 

Abrazos – Southampton/South Coast punk band (2017–present), feat; Alan Marshall (bass,voc), Tony Whatley (drms,voc), Nath Haywire (gtr,voc).

Originally started as a solo outlet for Tony Suspect (Suspect Device fanzine/records) to vent about modern life, the project evolved into a "no-frills" DIY trio featuring lifers from the South Coast scene. 

The members have a massive collective pedigree, having played in bands like Haywire, Whole In The Head, Armoured Flu Unit, Portiswood, and Pilger. 

Released in April 2022, this album Nothing Gets Changed By Being Polite is a 21-track blast of high-speed, social-realist hardcore that clocks in at under 20 minutes and plays at 45RPM. Reviews praise its "righteous fire" and ability to distill complex issues—from animal rights and the cost of living to the vacuousness of modern TV—into short, sharp shocks of vitriol tempered with a sense of "shared fun" and classic anarcho-punk hooks. They recorded it in eight hours! - 'We arrived at 2pm, started slowly setting up, mic'ing up the gear and by 10pm all the music and vocals had been done.'

Listening back to this howitzer volley of songs, I've just realised that my pronunciation of Abrazos has been wrong on my radio show for all this time (and I've played the band many times!). It's pronounced AB-RAZZ-OSS (which means 'hugs' in Spanish - listen to the album, they'll tell you this).

The post paid price is £13.50 (get in touch for details - suspectdevicehq@hotmail.com).

It's also available from their Bandcamp page - ABRAZOS

ABRAZOS blogspot

My Collection #1 - Abolition - Complacency

Abolition – German hardcore/screamo band (1991–1994), feat; Corey Von Villiez (bass), Jens Wagner (gtr), Andreas Huyhammer (gtr), Bernd Bohrmann (drms), Miguel Andrade (voc).

Their only full-length album, Complacency, was released in 1994 as a joint venture between Equality Records and Homemade Records. Recorded over four weekends in late 1993 in Bad Dürkheim, the record is often described as "mosh metal" infused with melodic guitar work and "screamo" style vocals that avoided the "whiny" tropes of the era (I can't stand the whiny shit and thankfully this record is void of it).*

Although the spine of my sleeve has almost disintegrated, the elaborate packaging inside remains in good condition. Included is a thick booklet, the Contaminated fanzine, and hand-written symbols on the inner sleeve, and a bilingual lyric booklet (the songs are screamed in English, and the lyrics have been translated for the sake of German listeners / readers).

Reviews from the underground scene at the time (and retrospective ratings) generally praised the songwriting and the band's ability to blend aggression with technicality, though some noted the production on the opening tracks felt more like raw demo recordings compared to the rest of the LP. And yeah, I'd agree with that. Like a lot of my records, I got it, played it a couple of times and filed it, so it's good to hear it once again and, admittedly, it may as well be for the first time!

Formed in 1990, the band were a key fixture in the German DIY hardcore scene, releasing the 7” Jesus Was A Fuckin Dick as well as this album. Members were also heavily involved in the "Confrontation" fanzine and the labels Equality and Homemade Records. 

Following Abolition's dissolution, Corey Von Villiez and Bernd Bohrmann formed the band Stack, which continued in a similar musical vein. Von Villiez later left the music scene to pursue her studies. Bernd Bohrmann remained active in the DIY community, eventually founding the label Scorched Earth Policy.

* I would actually rather listen to S Club Juniors than any Emo band.