Adelaide trio Patriarchal Death Machine return to their socio-political best with their EP “Yes!”. Old school punk hardcore with songs that are highly political and delivered with passion and conviction. For fans of Good Riddance, Propagandhi, Dead Kennedys and Cro Mags.
500 x CDs

dB Magazine #518
For many years, there are a few things which immediately spring into my mind whenever Patriarchal Death Machine are mentioned; the usually placid Eddie playing his bass vertically, vitriolically screaming his message into the microphone, PDM always recognising the traditional owners of the land they were playing on before they started every show, and the odd fact that it would seem that Eddie has existed in the Adelaide musical community for all of eternity. These facts have not changed, however, after the first time I put their new independently released EP ‘Yes!’ into my stereo on PDM appropriate volume (really, really fucking loud, but a bit louder than that), PDM’s name now brings forth another instant thought. PDM are have honed their skills as a musical force which has made their songs and sound comparable to a lot of bands who I have always liked and respected for their songs and message. ‘Yes!’ represents both a crisp and very insightful look into PDM’s mindset, message and sound. With PDM’s raw, abrasive sound remaining intact, but recorded with equipment slightly surpassing a lying P.A system, comes an uncomfortable clarity. Their vocals still sound passionately angry and confronting and the music behind it sounds like it should, but this time you can’t help but hear what they’re saying. Their questions and concerns resonate in your mind, and after reading and seeing the awesome but shocking artwork. The questions and concerns have become yours as well. The issues that are destroying and dividing the world we live in are now things you are consciously aware of. I guess that was quite a philosophical examination of a brilliantly crafted local punk release that I really liked, but I did just reread the insert.’ The resistance will never end’ – PDM.

Razorcake #62 [USA]
Patriarchal Death Machine is from Adelaide, Australia and plays old fashioned New York hardcore with radical left political lyrics. The cover / album art is awesome and features a cop on fire, among other images of protest. Out of hand, gleefully overlong song titles include, “A Vulgar Display Of Brute Force, Ignorance And Colonial Imperialism” and “Yes, I Will Continue To Mask Myself And Indulge In Molotov Cocktails For As Long As I Can See Clubs, Shields And Tear Gas”. It’s interesting to hear this type of hardcore played with such overt political lyrics, instead of the expected personal content. Strong vocals and a clean recording round out this recommended release. PDM is definitely the most in-your-face Australian artist since Olivia Newton John. Review by: Art Ettinger

PEE #47
Adelaide based three piece Patriarchal Death Machine play hardcore like it is supposed to be: short, hard and political. After spending a number of years in the musical wilderness, the group have returned with a brand new EP through Pee Records entitled “Yes!”. Blending 80’s style hardcore in the vein of Millions of Dead Cops and the Dead Kennedys with thought provoking lyrics concerning contemporary Australian issues such as animal rights and binge drinking, Patriarchal Death Machine are a breath of fresh air amongst a generally apathetic and unoriginal music industry. The EP’s absolute highpoint however is definitely its opener, “A Vulgar Display of Brute Force, Ignorance and Colonial Imperialism”, a song which rails against the continued interference of the federal government in the affairs of Indigenous Australians. Despite the many years it took to finally arrive, “Yes!” is a lyrically confronting and musically dominating affair that was well worth the wait.
Rating: 85 – Review by: Woody

ThePunkSite [USA]
Patriarchal Death Machine – just the sound of the title feels like it could be thrown around regularly in an elitist masters student’s study group. The sociologically inspired term swings the moralistic hammer of postcolonial judgment. Based on the Australian group’s commitment to their anti-racist content, they’re clearly a band dedicated to furthering and publicizing the body of work that challenges oppressive contemporary governments. “We have a racist government that is controlling the lives of indigenous people in the northern territory, you need to be aware of the lies that exist, and the lies that are continuing, you can’t apologize one the one hand, and continue racist laws on the other.” Australia has a long and controversial history of turning a blind eye to the displacement of the continent’s initial inhabitants, and Patriarchal Death Machine spares no expense at bringing that to light, speaking in opener “A Vulgar Display Of Brute Force, Ignorance, and Colonial Imperialism,” of a history that eliminated communities and displaced many people. Beneath their angry, dissonant hardcore exterior, the band backs up their passion with education and academic research. The second track actually serves as a solute to defiant student protests across the country. Granted, these are radicals singing praise to forceful solutions and violent displays against what they call the “fascist right” and “police state,” but so is the language of academia. The band is big on highlighting irony of themselves and others. On “The Irony Of It All” they underscore the flaw of promoting violence for anti-violence, and on “Destroy This System” the irony of pet owners passively condoning animal testing. A favourite quote comes from “The Scourge,” which finds a disgruntled foreigner being chastised for refusing a drink at a bar, only to have him fight back, pointing out the lunacy of taking offence over something so trivial while brushing aside major injustices. In an addendum on the detailed liner notes (which also deserve a shout out) the band points out how readily accepted social drinking is in Australia, to the point where “four Australians under the age of 25 die due to alcohol related injuries in an average week,” and while it can serve a social lubricant, that there is a “fine line between lubricating and liquidating.” Musically the band plays in a manor quite fitting their Pee Records roster. In “The Irony Of It All” the band sums up their approach with rampant acceleration, screeching halts and forceful shouts slammed down with pounding riffs. It brings to mind the lively Australian hardcore scene along the lines of Driven Fear and Strength Approach. If it wasn’t for the blunt and specific nature of the group’s strong-minded ideals, they might fade into the scene, but with a voice this loud, I doubt they’ll ever stand to get lost in the backdrop. For a pretty standard wedge of Australian hardcore, Patriarchal Death Machine stands out fairly well. Yes brings a battle cry to an intellectual war that manifests itself as a struggle for control of the outback. While the album might be a good history lesson, it’s still a much-needed reminder that such a legacy still haunts the present, and should never be buried.
Rating: 3/5 – Review by: Bobby Gorman

Lights Go Out zine #13 [UK]
Aussie socially aware old school punk meeting hardcore. Loving the music but I’m not really digging the main vocals which is a shame. They’re too old school for me, with stuff like this I like to hear the vocals spat out more crisp like. More Propagandhi like. But it is refreshing to hear another band who have a conscience and are willing to make music about their beliefs. The gang vocals are sweet on here too. Just a shame about the main vocal for me because all the ingredients of awesomeness are here otherwise. Review by: Mr. T

With a name as subtle as a sledgehammer, it should be pretty obvious to even the most casual of observers which side of the political divide Patriarchal Death Machine fall on. The follow up to their 2006 album Familiarly Breeds Contempt, Yes! is just as uncompromising, just as musically visceral, and most importantly, just as politically biting as their much lauded debut. Opening with the absolutely furious “A Vulgar Display Of Brute Force, Ignorance And Colonial Imperialism” is definitely a smart move by Patriarchal Death Machine; not only is the tune musically punishing, but the group’s scathing criticism of the still sensitive and controversial Northern Territory Intervention is a perfect introduction to their no-hold-barred approach to politics and social critique. Despite the intense start to the EP, the group somehow manage to maintain the same level of passion and anger over the remaining six tracks. Each focuses on a separate socio-political issue, with racism, gambling addiction and animal rights all getting touched upon. A particular mention should also be made of “The Scourge”, a song which highlights the destructive tendencies of alcohol abuse within Australian society. Perhaps what is most startling about Yes! is not the outrage that is expressed within its lyrics, but the way in which it is presented; Patriarchal Death Machine show real intellectual depth in their critiques, something that many hardcore punk groups often lack. Additionally, the EP’s booklet includes a short description of each song which helps develop the group’s stance on particular issues, further reinforcing the integrity of their arguments. Bottom line, if there is anyone out there who has been waiting for an Australian band to successfully channel the socio-political fury of international acts like Propagandhi and The Dead Kennedys, that wait is now over. Not only is Yes! a pummelling ride instrumentally, but it is accompanied by a message that is both timely and well articulated. Review by: Matthew Woodward

Ox-Fanzine #96 [Germany]
Seven of the hardcore songs – band from Adelaide, Australia. On offer is a solid hard-core board with political unpeinlichen texts. The unwieldy name of the band is exceeded by song title in length novel yet – strange habit. But those who can revive in a mixture of SICK OF IT ALL and PROPAGANDHI should listen here.
Rating: 7/10 – Review by: Ollie Willms

27 Jan 2011

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CAT #: PCD039
Recorded at: Capital Sound Studios
Engineered & Mixed by: Anj
Mastered by: Evan @ Broadcast Studios

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