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Warcycle have been ripping up punk shows around Perth, Australia for a few years now.
They originally came on my radar with their scorching debut 7", Legalized Slaughter, wand have released some demo material and a cassette split with Zudas Krust since.
The band delivers a focused and driven take on the wall-of-guitar, chaos crasher sound of bands like Framtid.
Manifesting Barbarity is a pummeling monster of a hardcore record that is a must listen for anyone with a taste for heavy, distorted punk.
Art by the crust master Xavier Gillard
Our take: This new EP on Desolate Records is the first I’ve heard of Perth, Australia’s Warcycle, though they have an earlier 7” and a couple of tape releases under their belt already. Their stated influences are “Framtid, Bastard and D-Clone,” and their bruising and noisy sound certainly has a lot of Japanese hardcore in it. I also hear some of Sacrilege’s hooky chugging parts on “Lethal Rhetoric,” and while “Erasure” owes a lot to D-Clone’s techno-dystopian howl, its focal point is a knuckle-dragging mosh riff. The recording is huge and bristling with energy… if you’re intrigued by the bad-ass cover artwork, I don’t think you’ll be disappointed.
They originally came on my radar with their scorching debut 7", Legalized Slaughter, wand have released some demo material and a cassette split with Zudas Krust since.
The band delivers a focused and driven take on the wall-of-guitar, chaos crasher sound of bands like Framtid.
Manifesting Barbarity is a pummeling monster of a hardcore record that is a must listen for anyone with a taste for heavy, distorted punk.
Art by the crust master Xavier Gillard
Our take: This new EP on Desolate Records is the first I’ve heard of Perth, Australia’s Warcycle, though they have an earlier 7” and a couple of tape releases under their belt already. Their stated influences are “Framtid, Bastard and D-Clone,” and their bruising and noisy sound certainly has a lot of Japanese hardcore in it. I also hear some of Sacrilege’s hooky chugging parts on “Lethal Rhetoric,” and while “Erasure” owes a lot to D-Clone’s techno-dystopian howl, its focal point is a knuckle-dragging mosh riff. The recording is huge and bristling with energy… if you’re intrigued by the bad-ass cover artwork, I don’t think you’ll be disappointed.