Cadaver Em Transe, Cemetery, Masquerade, Salome’s Dance, Horror Vacui, Era of Fear, Dekoder, Lost Tribe, Arctic Flowers, Crimson Scarlet – these are a few of the names you’ll see below.
2014 went by all too fast. An increasing difficulty in narrowing down a Top 6 list (a CVLT Nation convention; there are actually more than 6 artists below) is the current “category overlap” problem with a lot of bands. Bands like Arctic Flowers (who I decided to include below) aren’t so much raw deathrock as a hybrid of postpunk, deathrock and peace punk, something they admit themselves. Bands like Stranger from Boston, Annex from South Texas, Slimy Member from Dallas, Masses from Australia, and Haldol from Philadelphia could be included here – as they definitely have deathrock elements to their sound – but “dark punk” might fit them better (And I’ll include them on a future list under that imperfect category heading).
Crimson Scarlet from San Francisco photo by Em DeMarco
On the other hand, there’s no doubt that Italy’s Horror Vacui are a deathrock band, pure and simple. The tongue-in-cheek term “g-beat” (“goth-beat”) came about a few years ago to describe a trend among post-d-beat bands incorporating postpunk and deathrock influences into their songs (like Deathcharge and Dekoder [ex-Born Dead Icons and Complications]), kickstarting a development in the subculture that has fueled the current renaissance of underground, DIY goth-punk sounds. The current deathrock and postpunk revival was fueled by the arrival of bands like the Estranged, the Spectres, and others (even the Observers, I would argue) onto the scene — all bands from an underground hardcore punk scene that decided to explore other variations on punk besides crusty d-beat thrash. That period of rediscovery last decade, of punk reclaiming deathrock and certain styles of postpunk, has injected a new energy, interest, and vitality into the genre.
In the strictest and most pedantic sense, “deathrock” refers to the dark side of the late 70s and 80s punk and postpunk movement in Southern California, or the southwestern USA more broadly (for example, early deathrock bands Theatre of Ice were from Nevada; the Consumers and Mighty Sphincter were from Arizona; Burning Image were from the Central Valley of California; Altar de Fey and Shadow Image were from Northern California). Seen this way, deathrock was a regional phenomenon, centered around Los Angeles and its bands like 45 Grave and Christian Death the way that other regional styles of music, like Northern Soul, were localized around other geographic points. Over the years, “deathrock” has become a larger genre tag that is not specific to time or geography; current bands from Latin America, Europe, and Japan have eagerly adopted the mantle. There’s some debate over who invented the term “deathrock,” with Dinah Cancer of 45 Grave lately claiming some credit for it.
In 2004, Dinah Cancer explained to Alice Bag: “The first prowlings of deathrock came in the early ’80s before we were labeled as our other counterparts – the gothic movement. There were no Goths. The Deathrockers were splintered off from the punk/hardcore scene that was going on at the time. We played punk rock but we loved Halloween and we looked like vampires. So the phrase ‘deathrock’ was born. […] At the time when I was performing with 45 Grave, we were just playing music and we didn’t consider ourselves a pioneering movement. We were playing with bands like Christian Death, Black Flag, and TSOL, to name a few. And it wasn’t until later that we were named as part of the pioneers of the Deathrock culture.”
Whatever you call it, in the early 80s all across the West and Japan parallel and similar regional movements rose up. Was there something in the water? All at once, kindred musical beasts lumbered under different names: 1) “Siniestro” in Spain (Alaska y los Pegamoides, Paralasis Permanente); 2) “Positive Punk” in Japan (Auto-Mod and Phaidia); 3) “Depro-Punk” in Germany (EA80 and Fliehende Sturme); 4) “Coldwave” in France and Belgium (Leitmotiv, Clair Obscur); 4) “Zimna Fala” in Poland (Made in Poland, Siekiera); and the terms “positive punk” (Blood and Roses, Brigandage), “gothic punk” (UK Decay, Play Dead), and Batcave (Alien Sex Fiend, Specimen) were used in England. On the USA’s East Coast, horror punk (original Misfits, The Cramps, Mourning Noise), no wave (Lydia Lunch, DNA), and other outliers (the gothic punk of Monica Richards’ Madhouse band in the DC punk scene) also factored into this broad musical development.
These were never hard and fast divisions or categories (I’ve seen France’s Neva called a “French Batcave band,” for example; while Screaming Dead from England called themselves “horror punk” before the term really existed) and there was and is a lot of overlap. It’s easy to get too far into the weeds and lose sight of the bigger picture, which was that punk had triggered a near global explosion in underground dark music whose reverberations continue to be felt.
“Finland’s Siouxsie and the Banshees” is what Finnish national TV called Masquerade in an unusual profile of an underground group. Masquerade’s demo was on my “Best of 2013” list last year, and their recent “Blood is the New Black” EP is faithful, true-to-the-roots deathrock. The EP is solidly in the Voodoo Church/Your Funeral/Lost Cherrees-influenced vein of modern, revivalist gothic punk. Interviews with the band’s musicians have revealed them to be proper punk music geeks — fans of Scandinavian forebears like Kuudes Tunti, Musta Paraati, and Cortex — who are solidly grounded in the history and discography of both hardcore punk like Riistetyt and Black Uniforms and postpunk from abroad. The atmospheric synths on “Cry Like Birds” are a nice touch, and “I Will Stalk You” may be one of the most perfectly-made deathrock songs I have heard in quite some time. Masquerade have the chops; they’re good musicians, they nail every note, and frankly they have made an awesome gothy postpunk EP here.
Masquerade’s EP can be heard on the CVLT Nation Soundcloud page here.
TWO: CADAVER EM TRANSE – S/T LP (Nada Nada Discos)
Like their fellow countryfolk in the band Rakta, Brazil’s Cadaver Em Transe play a darker style of punk that blurs the lines between postpunk, deathrock, and plain old school punk. Also like Rakta, the band understandably doesn’t want to be pigeonholed as a deathrock or goth-punk band only. But listening to a track like “Running Like Ghosts,” it’s hard not to think of the classic days of spooky punk’s roots in the gloomy LA deathrock scene. The closest sonic similarity that comes to mind is France’s Ausweis, a still underappreciated band that blended the influence of Killing Joke, UK goth, and even California punk into a compelling whole. The Nick Blinko/Rudimentary Peni-looking cover art is a nice touch, and there’s even some Rudimentary Peni to be heard in the sound, come to think of it. This is a wonderfully dark, punky album!
Cadaver Em Transe’s excellent self-titled debut LP is available on mp3 for essentially free at their label’s page (“Name Your Price” = $0) but you should chip in and send the band some dough for this amazing product.
THREE: HORROR VACUI – The Return of the Empire LP (Black Water Records / Avant! Records)
Holy Sisters of Mercy! Horror Vacui are from Bologna, Italy, and this newer LP is much more gothic rock in sound than a lot of their previous stuff. There are still some fairly uptempo tracks on the LP (like “The Right Cure” and “Time”) but the LP as a whole is mainly mid-tempo, guitar-heavy trad gothic rock. There are still some other influences at play — for example, Track 4, “Time,” sounds like it really wants to be TSOL’s “Dance With Me” — but it’s mostly the old Leeds UK goth bands and their contemporaries, like Terminal Gods, that seem to figure largely in Horror Vacui’s sonic output here. That’s not a bad, thing though: Horror Vacui’s LP is one of the best representations of that genre, and the political bent of the band keep it from becoming another meaningless, self-indulgent goth wank fest. The band is careful to hold onto their DIY punk roots; the band’s slogan at their Bandcamp page (where you can hear and even download the LP for free) is “Punker than dark, darker than punk.”
FOUR: ARCTIC FLOWERS – Weaver LP (Deranged)
Arctic Flowers are not a purist deathrock band, and “Weaver” is not a purist deathrock release. Weaver, in true Arctic Flowers fashion, blurs the boundaries between classic punk, postpunk, and early gothic rock. Indeed, in an interview I did with Arctic Flowers several years ago, founder and guitarist Stan Wright stated, “Our sound is a mix of punk, deathrock, post punk, and goth. Aggressive but at times danceable and melodic.” That’s the genius of Arctic Flowers, though, on full display in this 2014 offering: their ability to recombine and synthesize, in new and interesting ways, the traditions of gothic rock and anarcho-punk into a novel, fresh whole. Stan’s nimble guitar is pushed to the fore in the mix of most songs. The rhythm section isn’t far behind: Cliff’s drums cover a wide expanse of tempos, from the slower gothic dirge of “Dirges Dwell” (which features a Joy Division-esque bass and guitar opening, harkening back to “Dead Souls”) to the uptempo barnstormer that is Side 1’s late track, “Anamnesis.” Bassist Lee’s work centers the band’s arrangements perfectly, like the magnetic pole around which one orients a compass. As always, Arctic Flowers’ playing is smart, thoughtful, passionate, centered, and succinct. It is at turns intricate and blunt, subtle and heavy. The long-running DIY background of the band’s members imparts to the songs an urgency one is not likely to find in the more disingenuous bands trying to hop on the recent goth-punk bandwagon. Weaver is simply an excellent LP.
FIVE: LOST TRIBE – Solace LP (Mass Media / Avant!)
Lost Tribe’s long-awaited 2014 LP delivers the goods. “Solace” features what a lot of people think of as “old school” goth-punk or deathrock, in a raw DIY 80s sense, but it’s really not that simple. The album is an epic odyssey through the graveyard dimension of punk, drawing inspiration from early crust (Amebix, Acrasy), 80s California deathrock, UK anarchopunk and the more tribal side of postpunk bands like Killing Joke. Solace combines piercing bass lines with earthquake-like drumming, strong vocals, darkly atmospheric synths, and razor-like guitars to weave a spell of death, lamentation, and destruction. It’s punk rock from the wrong side of midnight. Singer Davey Bales has said Lost Tribe’s sound is “a mixture of UK and Scandanavian dark punk bands, and ’80s UK postpunk and goth bands.” JK’s Goblin-inspired synth work adds a touch of psych rock to the mix. There are also hints of Samhain and TSOL in the music.
SIX: SALOME’S DANCE – self-titled (self released)
Salome’s Dance hail from St. Petersburg, Russia, and their debut self-titled LP combines the influences of Christian Death, Killing Joke, Play Dead, Ritual, and German cult deathrock band Evil Speaks. The “positive punk” appellation – the strange term coined by Richard North, and adopted by others (including David Tibet of Current 93!) in NME and Sounds in the early 80s to describe the bands that would become the early UK gothic rock bands – probably does fit Salome’s Dance the best. The band’s sound is a seamless fusion of California deathrock and early British goth-punk. Songs like “August” and “Cyrhet” remind me a little of the dark burliness of Lost Tribe, or even slightly lesser known older goth-punk acts like Arch Criminals and Vex, two other bands cited by members in an interview I did recently.
“When we made up Salome’s Dance we wanted to follow Part 1 and Rudimentary Peni,” singer Vadim explained. “[M]any people in Russia took us for a copy of Anasazi and Lost Tribe…. To say that we were not inspired by these bands would be a lie, though. As time flew by, despite all the difficulties within the band, we were drifting to more British 80’s goth and the dark side of an anarcho-punk oriented sound.” Melancholy and experimental in the uncharted way that postpunk traditionally was inclined towards in the early 1980s, Salome’s Dance have delivered one of the finest, purist deathrock and goth-punk LPs of 2014.
You can hear their self-titled 2014 LP on Bandcamp here.
6 NOT ENOUGH!? WELL HERE’S MORE!!
SEVEN: CRIMSON SCARLET – Athens Cave Sessions (Doomed to Extinction Records)
Crimson Scarlet‘s only release in 2014 is a good one, basically a 4 song EP on cassette and also available to listen or download for free at their Bandcamp page. As bassist Jason told Laura Camerato for an MRR interview, the band “started when we were at a bar in Santa Barbara. There was a deathrock band playing and Chuck and I were pretty much like, ‘Yeah we can do this! We think we can start a band like this but better!’” “Crimson Scarlet” was the gothiest name they could think of, and a new career was born. Really, all of Crimson Scarlet’s releases have been great. Their combination of punk, goth, and deathrock, like Goldilocks’ porridge, is just right. The Cave Sessions cassette also contains a great, I dare say club-ready, version of Joy Division’s “Interzone,” which is also to be found on the CVLT Nation Sessions’ Joy Division – “Unknown Pleasures” project. Chelsey’s vocals always hit the right mark in that old Rubella Ballet anarcho-meets-goth style. In that same interview with Laura Camerato, guitarist Chuck explained the punk roots of the band: “I initially wrote riffs that I liked and I wanted to bring a varied group of people together from different genres to be on the same vibe and have fun, not segregate ourselves, which is really important to me. We’re not a Gai/Confuse style band but we all love those bands and are influenced by them, just the same way as we have friends into raw punk that are noise addicts, deathrockers, goths and people who are into indie and pop that are into us, and now there’s space for it.” Adds singer Chelsey: “I think this is only possible because people are opening up. For a while it seemed like mostly D-Beat, but it runs the risk of becoming mundane and uniform. I remember when Spectres and Bellicose Minds first appeared and it blew everyone’s minds!”
Crimson Scarlet remain faithful to the DIY ethic and are one of the foremost, most premiere, bands infusing the new darker side of punk with the original spirit of the movement that undergirded the development of postpunk, deathrock, and gloomier takes on the punk sound. Highly recommended.
EIGHT: VARIOUS ARTISTS – Killed by Deathrock, Vol. 1 (Sacred Bones)
Sacred Bones’ 2014 “Killed by Deathrock, Volume 1” anthology collects, Nuggets-style, some of the less well-known dark postpunk, gothic rock, and deathrock bands from the 1980s. Although the internet and mp3 filesharing have dramatically changed what’s thought of as “obscure,” it’s fair to say that in the big scheme of things, the bands that Sacred Bones have collected here are indeed gathered from the more obscure recesses of deathrock’s history. The collection takes as its inspiration the “Killed by Death” series of compilations of obscure punk bands, and Sacred Bones label head Caleb Braaten had been working on this compilation for years – as least 4 or 5 – before it saw release. This is essential listening, here – and it’s essential listening for fans of dark music of all stripes. This compilation is a good representative sample of bands taking the punk DIY ethos to heart to make their own statements and their own voices heard in an 80s Cold War era of Reaganomics and bland, MTV top 40 pap. The highlights are the tracks by Glorious Din, Your Funeral, Taste of Decay, and Move.
Rumor has it that a Killed by Deathrock, Vol. 2 is in the works, and that this one will, unlike Vol. 1, actually have liner notes…. I can’t wait! This could be a great, authoritative, foundational series, much like Cleopatra’s Gothic Rock series of compilations was a much-needed anthology for its time. Whatever the case, Sacred Bones have outdone themselves here and this is a great start to a hopefully long term project.
NINE: READERSHIP HOSTILE - self-titled EP (self-released)
Los Angeles’ Readership Hostile explore the legacy of LA deathrock and keep that scene alive along with their kindred spirits in current So. Cal. deathrock bands Christ vs Warhol, Fangs on Fur, Catholic Spit, and others. This is rockin’ dark punk that sometimes reminds of bands like Red Scare or Legal Weapon, but at other times has more the atmospheric subtleties of another contemporary California deathrock band, Screature. Singer Adrienne Pearson’s smoky vocals sound like they’d be just as at home in a hardcore punk band as in one of the classic 80s California dark punk acts – at times her delivery reminds of Nyna Crawford of the VKTMs (from San Francisco), Eva O., and there’s even a dash of Wendy O. Williams. My favorite track is probably “Damaged Parts,” which appeared in the CVLT Nation Deathrock 2014 Mixtape, Part 1. It has a slight Plasmatics vibe. The production and musicianship is above average for this style of music. This is dirgey, dark, gritty deathrock that is aware of its Los Angeles barroom rock ‘n roll roots. An excellent release and a band I bet are pretty amazing live. (I haven’t seen them live yet, but can’t wait to.)
You can hear their EP on Bandcamp, here.
TEN: DYSTOPIAN SOCIETY - Violations EP (Mass Media)
Italy’s Dystopian Society are a power trio whose core members are singer Max Skam and guitarist Sara Red Hexe. They’re one of the more political deathrock bands out there, if such a thing could be said to exist. They use the musical form of deathrock but couple that with politically and culturally astute lyrics, usually sung in English. In an interview I did with the band a few years ago, Max noted, “Our sound can be described as a gloomy and rough mix of punk and goth, with some hardcore punk influences.” He cited influences like “old Christian Death, Dead Kennedys, Killing Joke, Theatre of Hate and some of old-school anarcho-punk. [But] we did not calculate to sound like other bands, even if it is clear enough what we like most we prefer the listener to make the comparisons. When we make music, we try to sound like Dystopian Society.” The “Violations” EP is a hard hitting slab of wax that reminds a little of the Siniestro music of bands like Paralasis Permanente but finds its own way through Sara’s innovative guitar playing and Max’s intelligent, incisive lyrics.
Mass Media Records from Santa Ana, California, have been on an absolute roll lately with this type of energetic deathrock type stuff, and this one’s another winner. You can listen to the “Violations” EP on Bandcamp, here.
ELEVEN: DEKODER – Flowers to Blossom LP (Chaos Rurale)
Dekoder’s second 12″ is a 6-song mid-tempo combo of old school gothic rock, anarcho-punk and plain old ’77 style punk, influenced by the more thoughtful side of the punk musical spectrum (more on the Penetration/Pauline Murray side of things than, say, the Blatz side of things). As with a lot of the female-fronted bands working in this contemporary peace punk-meets-goth milieu, the stand-out quality here are the vocals. The vocal talents of bands like Pleasure Leftists, Blue Cross (who are label mates with Dekoder), and Masquerade comprise one of the more noteworthy aspects of all this Epic postpunk/anarcho-goth revivalist stuff. Megan’s vocals are just great, and make the band what it is: Think Gitane Demon with just a dash of “Love is a Battlefield”-era Pat Benatar. The band’s rythm section contains members of such formative hardcore punk bands as Born Dead Icons and The Complications.
In an interview I did with Dekoder in 2012, vocalist Megan stated, “I feel like we take a bit from peace-punk, goth-punk and post punk. We have all played different music before so its probably a mix of a lot things.” And bassist Pete Beaudoin added, “I just say [we’re] ‘post-punk.’ It’s a general term, but I’m not sure we fit any specific category.”
Dekoder have a Bandcamp page here.
TWELVE: ERA OF FEAR – split with Dystopian Society (Paranoiac Activity)
Era of Fear are a great, doomy Greek deathrock type band. This split with Italy’s Dystopian Society essentially compiles Dystopian Society’s “Violations” EP (which I already talked about, above) with an EP by Era of Fear. It’s the Era of Fear stuff I want to focus on here, which is fantastic. It’s got creepy organs and synths and guitar-driven mid-tempo gloomy postpunk to go along with it. From the city of Xanthi, singer Petros’ vocals exude an urgency and desperation matched by the perfect playing of Stavros’ spindly guitar. A with Lost Tribe, it’s the synths and organ sounds that really bring out the unsettling, eerie, almost psych rock aspect of the band, imparting a sort of garagey feel to the songs. Era of Fear are great and all their stuff is worth tracking down.
This split can be heard on Bandcamp, here.
TWELVE: ANNEX – self-titled EP (Threat to Society Recordings)
Annex hail from McAllen, a border town on the Texas/Mexico border, and they play an impassioned form of darkwave and postpunk-influenced punk that may be better categorized as “dark punk” rather than deathrock. Whatever: I’m putting them here, anyway. Featuring ex-members from the hardcore bands Bastard Sons of Apocalypse and Porkeria, the band has played with Rikk Agnew and Gitane Demone (a show I was at, thankfully), where Gitane praised the band for their different take on early style gothic rock. Annex singer Nikole Valdez mentioned, in an interview I did with them a few months ago, “I think the sound we have is different from the majority of bands playing here in the scene. Typically, we fit in more with the darkwave, Goth scene that’s alive and kicking in the Valley, even though we’re mostly tied to the DIY scene. I think our sound has elements from punk to post-punk and dark-wave, that gains the attention of people who listen to different genres.”
“Nightmares” is my favorite track on the EP. Also, check out the band’s cover of Joy Division’s “Day of the Lords” on the CVLT Nation Sessions’ “”Joy Division – Unknown Pleasures” covers project. The band is slated to release its debut LP in 2015 on Mass Media Records!
THIRTEEN: CEMETERY – Collection 12″ (Mass Media)
Chicago’s Cemetery are of the better-sounding bands that are part of the new revivalist deathrock and goth-punk movement that includes Lost Tribe, The Spectres, Deathcharge, Arctic Flowers, Crimson Scarlet, Belgrado, and others. The creepy, Christian Death-sounding quartet slowly amassed followers due to word of mouth praise and the dubbed circulation of their 2011 cassette demo, which was released on guitarist Desmond Knuska’s Occult Whispers label. Finally, Mass Media collected all the band’s material and issued it on vinyl in early 2014. My favorite track is still probably “State Ward,” combining as it does, somehow, the sounds of early Christian Death with Saccharine Trust’s creepy “A Human Certainty.” The whole collection should be considered a modern deathrock classic.
Singer Danny moved to NYC, but word from Desmond K. is that Cemetery may continue as a Chicago project. I interviewed Cemetery last year, here.
FOURTEEN: SLIMY MEMBER – demo cassette (self released)
Slimy Member are a new Dallas quartet named after a Rudimentary Peni song that appears on that band’s seminal Death Church LP. That’s the guiding light for the band’s sound sound, too. Slimy Member’s subject matter, as with Rudimentary Peni, alternates between the political and the macabre, and even the purely social commentary stuff comes filtered through a kind of graveyard fog of Lovecraftian allegory that recalls their kindred spirits in the creepy occult-obsessed anarcho-punk band Part 1. Or the Sinyx. A song like “Flesh and Blood” is pretty much a perfect deathy punk/deathrock song, while track 2, “Prisoner,” is an uptempo rager that recalls early 80s Southern California punk, like early TSOL or maybe even a hint of Final Conflict. The band as a whole is powered by a rhythm section schooled on Scandinavian and Japanese hardcore, but this is not a d-beat band; rather, it’s a more measured and deliberate approach to punk that successfully tries to capture the vibe of the darker side of UK anarcho-punk. ”Slaughter the Pigs” is a tad reminiscent of Rudimentary Peni’s “Hearse.” All in all, this excellent demo is a great mix of songs for folks who like the muddled middle ground between early Southern California hardcore punk, deathrock, and 80s British anarcho-punk. It’s on Bandcamp, here.
FIFTEEN: INFIDEL – demo (self-released)
Vancouver’s Infidel seemed to come out of nowhere last February with this spellbinding demo of echoey, gloomy goth tunes awash in reverb and atmosphere. There are some hints of bands like Blank Dogs, Blessure Grave, and even The Now Dead, but Infidel are their own thing. There’s just the smallest tad of indie rock influence; overall, however, the demo is a stunning pallette of concisely made songs that are the right balance between aggression and moodiness, danciness (“Ministry of Hate”) and mopey-ness. A compelling demo that’s left me on the edge of my seat, wanting more, wondering what the band’s going to do next. There some elements of shoegaze and 80s gothic rock. Hopefully there will be more where this came from. The band’s demo is on Bandcamp here.
SIXTEEN: GUILTY STRANGERS – Pulling Teeth from the Muse (self released cassette)
This San Antonio four piece band have unfortunately broken up, and this was their last release. “Pulling Teeth from the Muse” has a heavier guitar sound that did most of the Strangers’ past stuff, the best known of which is the LP Oracle. The opening track on “Pulling Teeth” employs a mutant variation of the guitar riff used on Christian Death’s “Spiritual Cramp.” The band’s sound has garnered a lot of comparisons to Lydia Lunch’s Queen of Siam period, and that’s not inaccurate. Singer Christine Terry’s vocals do remind a lot of 13.13-era Lunch, with Shawn’s guitar alternating between power chord aggression and more intricate, Steve Spon postpunk type playing. A wonderful release from a Texas band that will be sorely missed. Although this cassette appears to be sold out, you can still listen to it on their Bandcamp page, here.
NOTE: SHADOWHOUSE’S Hand in Hand LP just came in for review on the cusp of the deadline for this piece. Could be one to look out for in a revised “Best of 2014” list. That LPis on Bandcamp here.
Best labels of 2014 that are putting out this kind of music:
- No Patience
- Mass Media
- Sacred Bones
- Occult Whispers
These bands aren’t especially deathrock, but if you are into deathrock, you will probably dig these groups and their releases:
- CRIMINAL CODE- Salvage 7″, No Device LP
- POPULATION – Beyond the Pale LP
- MOTH – First Second
- DEAD CULT - Ghosts Still Dance 7″
- HALDOL – Exhumed Songs
- NEMESISTERS – Not All People Are God’s Children
- V/A – City Baby Attacked By Bats (a compilation assembled by Chi of Anasazi [“DJChi2”] )
- MASSES – Horde Mentality EP
- KUUDES SILMA – split with Maailmanloppu 7″
- STRANGER – Demo
- NEW MODEL ARMY – Between Wine and Blood
- LIÉ – Consent
- BÖRN - Þú skuldar mér að vera sexý
- SIERPIEN – Zawsze Nasze
- RAKTA – 2014 7″