Atari Teenage Riot‘s return after four years is both exhilarating and frustrating. Exhilarating for the sheer brilliance of their new album Reset, which sounds as urgent, desperate and blistering in its anger as anything Alec Empire and then comrades Hanin Elias and Carl Crack created in their formative years in the early ’90s. Frustrating because ATR’s key themes – their raison d’etre – battling neo-Nazism, government control and spreading their anarchic punk views, are more relevant now than they’ve ever been.
Atari Teenage Riot were founded in 1992 Berlin as a reaction to a growing Neo-Nazi subculture, but today they’re no less relevant: tragically their fifth album ‘Reset’ with its venomous attacks on government, censorship and humanity, speaks a maligned truth. With ‘Modern Liars’ dedicated to all “hackers, DJs, activists and riot girls,” atop pounding electronics and the Matrix-baiting dance-hall euphoria of ‘We Are The Internet’ Atari Teenage Riot aren’t just spitting at the void, but offering real hope. Whether it’s self-belief through trance or the simple idea of questioning authority, ‘Reset’ is a ten-track doctrine of radical change.
You know about the big releases each week, but what about those smaller albums which may have passed underneath your radar. Don’t miss out on the smaller, lesser-known gems which might become some of your favourites. We’ve rounded up seven of the best new album releases from this week: discover Crushed Beaks’ joyous noise, the prayer-like songs of Ibeyi and more.Ibeyi – IbeyiNineteen-year-old French-Cuban twins Naomi and Lisa-Kaindé Díaz admit they spend most of their time screaming at each other, but when penning their soothing songs, they’re on the same twin-telepathy wavelength.
Now with their teenage years most assuredly behind them, Atari Teenage Riot are back with a fifth studio album. The band – founded by Alec Empire, Hanin Elias and Carl Crack way back in 1992 when the internet was just an academic curiosity and the members of Anonymous were in short pants – continue to be an enigmatic, confounding mass of sloganeering cyberpunk and activist angst. After a difficult and uncertain period in the musical wilderness, marked by the death of Crack and the departure of Elias, 2010’s Is This Hyperreal? was a furious, impatient, cathartic detonation that split critics and reintroduced ATR to the world of the digital quotidian.