ANTAGONIZÖR RELEASES “DCXPC LIVE & DEAD VOL. 4” WITH LIVE AND STUDIED SONGS

By Roadie Music and Antonio Mendes Brauna

With the punk crossover power trio Antagonizör, the heat is on the faces of the scrotum and idiot macho men. The power trio from Gainesville, Florida (USA) is openly feminist, queer, leftist and anti-fascist, therefore, in their lyrics there is attack, defense and retaliation against all the evils that neoliberal society tries to shove down people's throats. In this way, Sarah (guitarist and vocalist), Tzu-Wei (bass) and Michelle (drums) use music to express their art. Recently, the new album “DCxPC Live & Dead Vol. 4” was released in full on Soundcloud.

The work is the result of a live recording of a show that took place in Orlando with the participation of the band Killed by Florida. From this gig, eight songs were recorded that left those present very excited. You can see this energy in songs like “Heavy Metal Bootlicker”, a chilling execution of proportional speed and sonic violence. In “I Hate You” the bass sound becomes monstrous in this song, which is one of the most rhythmic of this first phase of the album. The production of the live songs on the album was excellent. Good for those who put their heart and soul into the pogo.

The second part of the album is made up of eight studio songs and, identically, super well produced. The beginning with “Impaled By Middle Finger” shows more of the metal side of the band, but its influences, as can be seen, range from names like Discharge to Nuclear Assault. And maybe a little bit of Obituary fits in here, as the riff of this instrumental is a bit reminiscent of the also instrumental “Redneck Stomp”, from the album “Frozen in Time” (2005), by their neighbors from Tampa, Florida. However, death metal in general doesn't even fit into the theme of girls who attack with speed in “Trump Cult”.

In the vinyl format, the live part is on side A, while side B follows the studio part. Although only the two tracks mentioned above are not on side A, it is difficult to choose which side is better. This doubt arises because the energy that Sarah, Tzu and Michelle convey here is of colossal proportions. On the one hand, riffs that resemble razors cut the peace with a desperate vocal, on the other, the rhythmic session with the majestic bass marking meeting the heavy crunch of the drums, completes the atmosphere of destruction. Here, if you usually listen to stuff like Kenny G., your ears bleed.