INEPSY: Tankcrimes To Reissue Entire Catalog From Notorious Quebec Speed Metal/Punk Act; All EPs And LPs Now Streaming + See You In Hell And Rock N Roll Babylon Physical Preorders Posted

Photo by David Champoux

Tankcrimes has partnered up with Montrealâs MÃ¶torcharged crust metal punks INEPSY to reissue the bandâs back-catalog.

INEPSY notoriously existed from 1999 to 2011, unloading a barrage of EPs and LPs in their twelve years of activity. Now, Tankcrimes honors the bandâs ravenous legacy with physical reissues of their See You In Hell debut EP (2002), the Rock N Roll Babylon debut LP (2003), the City Weapons LP (2005), No Speed Limit For Destruction LP (2007), the Madness And Overkill EP (2010), and the Lost Tracks EP (2017).

Preorders for the first two titles are currently available. See You In Hell is available in three variants: Black / Green Half n Half (200), Crystal Clear (300), Green (1000).

Rock N Roll Babylon is available on CD as well as LP including a 24×24â poster of the cover art in four variants: Black / Beer / Sea Blue Merge w/ Silver and Aqua Blue Splatter (200), Crystal Clear w/ Sea Blue, Aqua Blue, Brown and Silver Splatter (300), Sea Blue (1250), and an Australian exclusive variant on Sea Blue w/ Silver, Brown and Black Splatter (250).

INEPSYâs See You In Hell and Rock N Roll Babylon will be released on December 6th. Find preorders for the records and merch at the Tankcrimes webshop HERE and stream the entire catalog at Bandcamp HERE.

See You In Hell Track Listing:

Germ Warfare
Itâs A Time Bomb
Hammer Hearth
The Reaper Watches The Game

Rock N Roll Babylon Track Listing:

Whoâs Next
Lost The Ride
Rock âNâ Roll Babylon
The Aftermath Of Progress
Street City Kids
Conspiracy WWIII
See You In Hell!
If Youâll Die Iâll Die
Born For The Road
We Are Here To Climb

Tankcrimes will continue to release each physical 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. âWe need to go to Warm Water Cove todayâ¦ there were just the cutest bunch of Canadian punx in here playing there later.â That was my first introduction to the Montreal juggernaut known as INEPSY â filthy, loud, rock ‘n’ roll rampagers blasting a wave of destruction across the North American continent. The face-melting combination of MotÃ¶rhead, Sodom, and Voivod rammed headlong into Discharge, GBH, and Varukers. An auditory representation of the visual landscape presented in Mad Max films â desperate, raw, angry, and primal.

Warm Water Cove was a perfect first introduction â 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 werenât 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. MotÃ¶rhead levels of everything louder than everything else loud. It was unreal. The perfect soundtrack for the urban landscape â 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 â 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 Controlâ¦ They were legends.

Decidedly leaning more into a rÃ¥punk/Scandi style on the demo, the first real hints at the MotÃ¶-charge style they would come to define appears on their first EP See You In Hell â a lurching gallop of tight riffing marrying Venom-esque snarl with the punch of Anti Cimexâs Absolut Country Of Sweden setting the table for their devastating first LP, Rock âNâ Roll Babylon.

Itâs hard to truly convey the impact of the first listen of that record â UK82 melodic sensibility piledriven through filthy, loud as fuck rockânâroll 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 Holocaustâ¦ 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 â70s-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, canât 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 â that is their legacy. Whoâs Next?!”