Photo by David Champoux
City Weapons, the second full-length from Canada’s legendary d-beat rock ‘n’ roll crust metal punks INEPSY, initially released in 2005, will be available on CD and limited-edition vinyl via Tankcrimes on April 11th.
INEPSY notoriously existed from 1999 to 2011, unloading a barrage of EPs and LPs in their twelve years of activity. Now, Tankcrimes honors the band’s ravenous legacy with physical reissues of their entire catalog.
Writes Bandcamp Daily of City Weapons, “It’s a Mad Max apocalypse in audio, populated by burned-out cars and gleaming chrome motorbikes; grimy guitars and blitzing drums; Iron Maiden atmosphere and Amebix attitude.”
The City Weapons vinyl will be available in the following color variants:
Orange Crush/Yellow Merge w/ White, Yellow, Orange Splatter (200)
Orange Crush w/ White, Yellow, Black Splatter *Australian Exclusive (250)
Orange Crush Cloud (550)
Orange Crush (1000)
Order yours today at the TANKCRIMES webshop HERE where the band’s See You In Hell debut EP (2002) and the Rock ‘N’ Roll Babylon debut LP (2003) can also be purchased.
Stream the entire INEPSY catalog at Bandcamp HERE.
City Weapons Track Listing:
- Invading City Weapons
- City Weapons
- M.O.A.B.
- Ride Till I Die
- Inferno Machine
- The Fury Of Destruction
- Break The Chains
- Bombshell Rock!
- No Order! Disorder!
- The Last Call
Tankcrimes will continue to release each INEPSY title in chronological order until everything is back in print. Watch for the next installment to post soon.
Longtime Tankcrimes supporter and former Maximum Rocknroll editor/current Razorblades & Aspirin editor Mike Thorn writes:
“It was a phone call from my partner Anandi from behind the counter at the legendary Mission Records in San Francisco which opened the door for me. “We need to go to Warm Water Cove today… there were just the cutest bunch of Canadian punx in here playing there later.” That was my first introduction to the Montreal juggernaut known as INEPSY – filthy, loud, rock ‘n’ roll rampagers blasting a wave of destruction across the North American continent. The face-melting combination of Motörhead, Sodom, and Voivod rammed headlong into Discharge, GBH, and Varukers. An auditory representation of the visual landscape presented in Mad Max films – desperate, raw, angry, and primal.
Warm Water Cove was a perfect first introduction – a desolate park along the eastern coast of San Francisco colloquially known as Tire Beach thanks to the large quantity of dumped tires, amidst other refuse from the time before gentrification and tech money reached its arms that far down the Dogpatch. Punks gathered amidst the trash, abandoned warehouses, broken glass and shattered dreams to watch these black clad French Canadians pile a mountain of amplifiers to the sky and blast through a roaring set of burly punk metal that made all our ears bleed. I mean that was the thing – shows at Warm Water Cove weren’t typically loud. Sure, it sounded okay, as well as it could be given it being a park on the water amidst the industrial dreck and cacophony of ships, but INEPSY was loud. Motörhead levels of everything louder than everything else loud. It was unreal. The perfect soundtrack for the urban landscape – this vital and intrinsically linked reflection of a life spent on the edges of civilization, feeding off the scraps.
There were, of course, all the rumors – they were squatters dwelling in fortified, abandoned factories in the center of Montreal. Tales of Chany (or maybe it was Steve? Or was it Sam?) crossing the US border by sneaking through the woods to avoid Customs & Border Control… They were legends.
Decidedly leaning more into a råpunk/Scandi style on the demo, the first real hints at the Motö-charge style they would come to define appears on their first EP See You In Hell – a lurching gallop of tight riffing marrying Venom-esque snarl with the punch of Anti Cimex’s Absolut Country Of Sweden setting the table for their devastating first LP, Rock ’N’ Roll Babylon.
It’s hard to truly convey the impact of the first listen of that record – UK82 melodic sensibility piledriven through filthy, loud as fuck rock’n’roll riffing backing up a lyrical canvas evoking the desperation of a post 9/11 world, the return of the possibility of nuclear horrors, and wild punx out raising hell amidst the ruins of society.
From that point, the war on civilized society was on as they unleashed City Weapons, No Speed Limit For Destruction, Madness & Overkill, the split with Toxic Holocaust… each building on the foundation of loud, fast, metal punk set forth by Lemmy and cutting a path of chaos and destruction across the land. Albums filled with thunderous riffs, each leaning more into a ‘70s-heavy outsider rock tradition while remaining with their feet firmly planted in d-beat hardcore punk.
And then as quickly they arrived, they slipped off into the night, like the rampaging filthy pirates and agents of mayhem that they are – their impact, however, can’t be overstated. You can hear them all over the current era of filthy raw punk and metal in the same way you hear Lemmy and Bones dripping from their recordings. Bombastic and roaring punk galloping straight through your cerebral cortex that hits like a locomotive – that is their legacy. Who’s Next?!”
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