Total Con

Reviews

Total Con Idolatry EP

Short songs. Big anger. Zero patience. Leeds’s TOTAL CON wastes absolutely zero time in getting the deal done—ten tracks in ten minutes, and every second is pure hardcore hostility. This is UKHC stripped down to the fucking bone, fast and politically venomous. Sounds like HERESY getting dragged through the UK82 sewer, with RIPCORD rattling around in the engine room. The targets of anger are plentiful, and Idolatry unloads on all of them with glorious contempt. Riffs, rage, and a boot straight to the teeth of the oppressors.

Total Con This Whole World is Gonna Pay cassette

Relentless hardcore punk attack from this one-man band. What if WHITE CROSS was from the Midwest, and the only tape they listened to before making a record was BGK? Well, this might be the answer. Proper fucking punk here, against the establishment in all its forms, pissed-off, and empowering. I tend to have a bias against one-man bands, but holy shit, this ripped my face clean the fuck off—UKHC is just full of every kind of awesome shit.

Total Con Who Needs the Peace Corps? EP

Highly anticipated vinyl debut from the UK’s TOTAL CON, the brainchild of Bobby Cole of the ANNIHILATED and ANTAGONIZM amongst other things. To get directly to the point, Who Needs the Peace Corps? absolutely smokes and will certainly be remembered as one of the year’s great releases. A breathlessly pure expression of hardcore aggression that is as authentic as a punk record can be in 2025, it acts as both an aggro diatribe against corporate and capitalist exploitation and a love letter to the genre’s greats, following in the footsteps of bands like KORO, BATTALION OF SAINTS, and URBAN WASTE. Highlights include the breakdown on “You Don’t Exist,” the frantic guitar work on “Death to Capitalist Hardcore,” and the million-mile-an-hour vocal delivery on “Repugnant Slime.” Each song maintains a manic level of intensity that is wrapped in perfectly lo-fi production that makes it sound about 40 years old. While there isn’t enough column space to dig much more into each of the nine tracks here, I’d be remiss if I didn’t mention the band’s take on the DOORS’ “Riders on the Storm,” a cover that has no right to work as well as it does. When put into the context of a hardcore punk song, the lyrics hit with a much higher intensity, giving the philosophical, romantic, and violent nature of Jim Morrison’s admittedly overplayed hit a breath of fresh air. It’s a surprising way to end and worth the price of admission alone. Very recommended and an album of the year contender, to be sure.