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Record Reviews

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Below are some recently posted reviews.

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UNKNOWN COMPONENT:
Arbitrary Ambiguity: CD
A one-man endeavor from conception to performance to production, Unknown Component is synth/program-heavy, reverb-saturated mellow rock. Calming and a bit soporific, but it is well executed and would’ve fit in nicely in 4AD’s stable of bands during that label’s heyday.  –jimmy (Unknown Component, unknowncomponent.com)


UNRESTRAINED:
Forward onto Death: LP
Unrestrained have been kicking around the hardcore underworld for some time now, churning out near-perfect ‘90s-style heavy hardcore over a slew of 7”s and comp tracks, and finally just recently dropped its first LP. It was well worth the wait. To my ears, the most obvious influence here is Harvest: the vocal style, the open chugs, the dissonant chords and melodic flourishes, all of it is reminiscent of Minneapolis’s finest (including the extended Harvest family—Threadbare, Krakatoa). Unrestrained isn’t a straight-up clone though. I’m hearing elements of Torn Apart, Kiss It Goodbye (whose frontman, the inimitable Tim Singer, guests on the track “Framework”), Trial, Strain, For The Love Of, One King Down, and plenty more of the somewhat less celebrated heroes of the era. That said, Forward onto Death doesn’t sound like a stale throwback either. The organic but clear production helps keep the record true to the band’s influences while avoiding the occasionally thin and tinny trappings of yesteryear’s more affordable technology. Honestly, I could go on about this record for a solid hour or so (for one thing, I haven’t even touched on the terrific, insightful lyrics) but I think I’ve done enough fawning for now. If the above name drops intrigue you at all, check this out as soon as you can. It’s phenomenal.  –Dave Williams (Trip Machine Laboratories, tripmachinelabs.com)


UNWED:
“Made Of” b/w “Pope”: 7”
I wasn’t sure what I was expecting when I first put on Unwed, but it was not what I thought it would be. To say I was blown away would be like describing a Cat 5 hurricane as a slight breeze. The two tracks on this 7” are dark, brooding, but also insanely damn catchy. After listening to both sides of this over a dozen times, I still wanted more. Each song is built on prominent bass lines, surrounded by layer upon layer of textured guitar riffs, including lots of reverb. It’s a perfect home for Neltie Penman’s simultaneously beautiful and creepy vocals. At times, Penman sounds like a possessed Debbie Harry haunting the building that used to be CBGB’s. It’s a dichotomy that perfectly fits the band’s sound. The rest of Unwed’s lineup includes Hot Water Music’s Jason Black, Arty Shepherd of Primitive Weapons, Jeff Gensterblum of Small Brown Bike, and guitarist Matt Kane. Unwed more than lives up to their collective pedigree, with tunes that I found both more nuanced and more enjoyable than many of the members’ established projects. –Paul J. Comeau (No Idea)


VAMPIRES:
Every Kind of Light EP: Cassette
Vampires wrench out a racket which hits the ethereal/atmospheric heights of Juno, the creepy yowling of David Thomas, the jagged guitar counterpoint of the Measure [S.A.], and the anthemic release of Hot Water Music, all without sounding like anyone but themselves. All this despite being a two-piece: guitarist David Dobbs has chops enough to pull off all of the above idioms and drummer Matthew Powers is aptly named. These guys slay. Release of the issue for me (and in an issue full of strong competition). Oh jeez, I’m gushing. You know what? Who cares? They rule. More, please!  –Michael T. Fournier (vampiresband.bandcamp.com)


VAN BURENS, THE:
Presidential Lovefest: CDEP
More horns? Is Blood Sweat And Tears making a comeback? What the hell is happening here? I do think the “presidential” concept is clever. I did crack a smile at the heads of state plastered on various bodies in dubious situations within the CD artwork. However—the slithering funk is slowly wrapping around my neck like a riled up anaconda trying to slowly squeeze the life out of me. Look, you guys look like you are hard workers. But I don’t think Razorcake should have been on your distribution list. Just sayin’. –koepenick (vanburenmusic.com, vanburenmusic@gmail.com)


VARIOUS ARTISTS:
4-Way Split: 7” EP
As suggested by the title, a track or two each from Urban Waste, Notox, The Nasty, and Red Tape rounds out this platter. Thrash and hardcore of various hues rule the roost here, with each band putting in some fine work. I was especially chuffed to hear new music from the vets on this release, Urban Waste. If you’re a fan of the genre, this should do ye right nicely.  –jimmy (Pine Hill, pinehillrecords.bigcartel.com)


VARIOUS ARTISTS:
A Fist Full of Singles: 7”
Four-song compilation record of Portland, Oregon punk rock. Stumblebum kicks this sucker off with a killer tune in the early Vandals/T.S.O.L. vein. The Mormon Trannys are a little more hardcore skate punk a la Agression or The Faction. 42 Ford Prefect crank things up further with some high velocity punk rock’n’roll more akin to New Bomb Turks. Dartgun and the Vignettes close things out with a more mid-tempo rock’n’roll stomper with female backup vox. Love the four-song scene sampler 7” format, and at least the first two bands here are worth checking out further.  –Chad Williams (Volume Bomb, volumebombrecords.wordpress.com)


VARIOUS ARTISTS:
Bloodstains across Buffalo: LP
Wow, been a while since I’ve seen one of these. As with other volumes in this long-running series of bootlegs, the sonic emphasis here is on the “rock” end of the punk rock spectrum (though there are a couple of power pop/new wave stabs thrown in for good measure), this time from a cluster of now-obscure bands (only one I’ve ever heard previously is the Vores’ “Love Canal”) that apparently called the titular city home. The fifteen songs included in this volume—courtesy of Aunt Helen, The Jumpers, Secret Saviour, Pauline & the Perils, Lip Service, and the aforementioned Vores, as well as others—stick well to the series’ conventions, yet the compiler is wise to push to both ends within its parameters, balancing crude, simple thud-punkery with more sophisticated and nuanced fare. Hell, there are even synths being used non-facetiously buried in some o’ the tunes. In all, this is a nice addition to the series.  –jimmy (Extra-Evidence Productions, no address listed)


VARIOUS ARTISTS:
Captcha Records: CD
“One of the finest experimental/psych labels around…” Punk rock this is not. Pass.  –Chad Williams (Captcha, captcha-records.com, hbsp2x@gmail.com)


VARIOUS ARTISTS:
Drink, Fight, Fuck Volume 4: CD
I don’t respect G.G. Allin, nor do I hate G.G. Allin. I really don’t want to critique the cultural relevance or irrelevance of G.G. I simply think G.G. is funny because he ate shit and rolled around in it while singing songs about fucking the dog. I think watching footage of him can be pretty funny, too. For instance, when he’s in a flophouse beating his empty head against the wall, repeatedly chanting “I hate you motherfuckers”, or the one where he’s having someonepiss in his mouth for his birthday (Okay, I didn’t have the fortitude to watch the latter). Anyway, as evidence of how far along punk has come, I got this G.G. Allin cover album to review. I’ll get to it, but first, allow me to compare two of America’s seminal musical psychopaths. The first being a rapper from New York who’s name rhymes with ‘lazy’. Well, this self-proclaimed, “best rapper alive” started out selling crack to his own community, then ascended to pop superstardom by simultaneously, boasting and excusing himself for this life choice. In the meantime, he stayed busy as a shrewd business entrepreneur, taking chances like designing the for-profit “Occupy Everything” t-shirts for his clothing line during the Occupy Movement and eventually made him a billionaire. Critique such behavior all you want, but why does hip-hop get such successful psychopaths for role models, while the punks adore a man who ate his own shit and did time for putting cigarettes out on his handcuffed girlfriend? The fact that someone is ignorant or misled enough to put energy into a project like Drink, Fight, Fuck Vol. 4is depressing. For what it’s worth, it’s interesting to hear bands with a lick of talent do these songs, some of them are reinterpreted as legit garage or straight up punk. But why does G.G. get a pass? Why is a fanzine with an anti-racist, pro-women policy making an exception for G.G.? Why I am I making an exception for G.G.? Do we need an archetype of extremity to keep some kind of unspoken punk rock balance? Does his art engender some kind of dialogue? No, really, I’m asking but I just fell into a two-hour G.G. YouTube hole, myself, by way of writing this review. Yep, I just lost two hours of my life watching this rock-stupid, man-child drag women around by their hair, cut himself and throw haymakers and shit at drooling scumfucks while performing talentless hack-punk. Fuck, I said I wasn’t into discussing the cultural relevance of G.G. and now look at me. What you get with Drink, Fight, Fuck Vol. 4 is a bunch of racist, homophobic, and women-hating songs reinterpreted by sympathizers of an alienated, insecure, violent, psychopath. Knock yourself out.  –Craven Rock (Zodiac Killer, zodiackillerrecords.com)


VARIOUS ARTISTS:
GC Records 15 Year Anniversary Comp: LP
Though I’ve never heard of GC Records before getting this compilation, I’m happy I have now. After fifteen years of experience, they’re branching out from their typical roster of punk and hardcore bands. This compilation features two facets of local Las Vegas—one side features “punk rock in its purest form” and the other is a hodgepodge of pop, dance, folk, and experimental music. There’s a forty page zine included with each page dedicated to the bands on the record, complete with professional photos. For the most part, I enjoy the b-side of non-punk stuff but it’s a bit of a gamble. There’s some nice folky autumn feeling at the first half of the second side, but you also get slow tempo electro pop of Boiis, which features lines like, “With the touch of your hand / tonight I’ll be your man / like scorpions in the hot desert sun.” The last track leaves you with Kill The Scientist, a performance artist / sound collage one man band who talks about gamer nerds and prolapsed rectums over electronic beats. There’s something for everybody! –Kayla Greet (GC, gcrecords.com / Yum Yum, yumyumvinylrecords.com)


VARIOUS ARTISTS:
Shake/arama ‘14: Cassette
This compilation brings you the who’s who in Canadian talent, ranging from synth pop to stoner psych and back again. As if that’s any surprise of a tape made up of bands who played the first year of Shakearama, a new three-day festival in June put on by Shake! Records. Personal favorites include the cuts from Crosss, Hag Face, and Soupcans. Looks like I’ll be heading west next year.  –Alanna Why (Shake!, records@experienceshake.com, experienceshake.com)


VARIOUS ARTISTS:
Something to Dü: 7” EP
Full disclosure: Hüsker Dü is one of those “this is about as close to being religious as I’m gonna get”-type of bands for me. I fuggin’ adore ’em in ways previously reserved solely for tacos. With that said, this should be tailor-made for a schmuck like me, but I reckon picking this up for review was probably a mistake. On first spin, I flew into a tizzy, howling and ranting at perplexed strangers on the unforgiving streets of Alhambra about the profanities and sacrilegious cacophony contained within this record’s grooves. When I’d calmed down four days later, I decided it might be best to sit on it and revisit it again in a couple of weeks. I’m a bit more clear-headed now and… I still don’t like it much. No, it’s not about the profaning of some choice tunes by a revered band, and some of the bands responsible—Unfun, Tenement, Crow Bait, Bent Outta Shape, Dauntless Elite, and Your Pest Band—are not known for putting out utter crap. No, it’s more about execution. The first two tracks, easily the strongest overall, are completely blown out production-wise, while the remainder suffer from lackluster performance, flat vocals, or a combination of both. I cannot stress enough how much I really wanted to dig this, and by the look of the packaging alone I’ve no doubt whatsoever that all involved had nothing but the best of intentions, but I just ain’t feelin’ it. For the inevitable collector-geeks, this is a one-time pressing of eight hundred copies on various colored vinyl, and four alternate covers.  –jimmy (Dead Broke)


VARIOUS ARTISTS:
Sounds of Sodium: CD
This is a comp of bands in and around Salt Lake City in the year of our Lord 2014, and a part of me wants to move to Utah just to hear some of these guys play. Twenty-two different bands on here, plus an unnamed bonus track, and most of the tunes are really, really good. Of course, there are a few songs that trip over themselves, but that’s standard fare in CompilationLand. All in all, this is one of the most solid comps I’ve heard in a long time, and rarely have I heard one so solid that showcases a single scene. Lots of the songs are straight-up punk rock fury, but there is some diversity along the way—some songs with more of a pure rock’n’roll feel, some that are more melodic (and remind me somehow of Denko’s-era Dag Nasty), and even a decent ska song in the Bosstones vein. Faves on this include All Systems Fail’s “Aging Anarchist,” Die Monster Die’s “How Many People Do I Have to Kill,” and Decibel Trust’s “The Longest Hallway,” is easily my favorite song on the record. Salt Lake City seems to have it going on these days; I doff my cap to all of you! –The Lord Kveldulfr (Pariah Music Club)


VARIOUS ARTISTS:
This Is West Coast, Hella Tight Fer Dayz N Shit: Cassette
Ken Fury of F.Y.B.S. Records and lead of Rat Damage has been a bastion of DIY punk in Sacramento for more than twenty years. Sac’s punk community is what it is today in part because of Ken, with bands from all around the world coming through, so I knew when I picked up this comp (one year in the making) it was not going to disappoint. Two tapes teeming with West Coast punks all up and down this side of the Pacific. So who’s on here? Rad, Conquest For Death, Side Effects, Nudes, The Light, Iron Lung, Trenches, Replica, Charles Albright, Crude Studs, Bad Daddies, Ennui Trust, and Ruleta Rusa, just to name a few. Mostly concentrated in central Cali, and EastBay, but has a smattering of punks from SD all the way to Seattle as well. So look, I’m not a lover of tapes. It’s not my favorite medium. Usually because the tape quality is shitty, made even shittier by crude recordings played on a dilapidated tape player. Three wrongs don’t make a right, ya know? What I can say for This is West Coast is that the quality is ace. The comp flows from one song to the next with surprising levelness of volume and clarity. Includes an insert with contributions with drawings and lyrics from most of the bands.  –Camylle Reynolds (F.Y.B.S.)


VEUVE SS:
O.P.L.T. & O.S.C.: EP
I remember their 12” being okay, but this doesn’t do much for me. Modern era hardcore that sounds like they ingested a steady diet of late 1990s Ebullition catalog offerings. Slightly metallic and sludgey here and there, but overall dry and dull. Topped off with pretentious cover art and design (white ink on white paper, center label without a hole; I guess there’s delusions of collectability for this record).  –Matt Average (Echo Canyon / Flower Of Carnage, veuves.bandcamp.com)


VIDEO:
“Cult of Video” b/w “City of Hate”: 7”
If you have their Leather Leather LP or 7” on Total Punk, then you’re gonna buy this. Video is a band made for punk record collector nerds to go crazy over and need to own every release. The songs stomp, the guitar sears, and there’s that mysterious something that bands from Denton, TX seem to have. Don’t deny yourself, join the cult today.  –Sal Lucci (No Good, nogoodrecords.com)


VIDEO:
“Cult of Video” b/w “City of Hate”: 7”
Video is another in a long line of bands that I discovered through my review records from Razorcake. It would have only been a matter of time; I’m sure since the members of the band are also in a few of my other favorites. Their last 7” was my first taste, and I was hooked. I ordered this new 7” (and their amazing LP Leather Leather) as soon as I could. Stripped down and mean is the best way I can describe it. The title track of this record could very well be my favorite Video song. It just keeps building and building until BOOM! You almost get whiplash while rocking out and your spine feels like someone attached a set of jumper cables. You don’t even get a breather before “City of Hate” kicks in on the B-Side and delivers the knockout punch. I fully submit to the Cult of Video. So should you.  –ty (No Good, nogoodrecords.com)


VIVID SEKT:
From Ruin: 7”
Incredible, dark, melodic anarcho punk rock that just reeks of Flux Of Pink Indians, Crass, and Rudimentary Peni, with a hearty dose of Sage-steeped melancholy Portland vibes. Some definite Antischism-isms peppered throughout as well. So, so good. –Dave Williams (Black Water)


WE’RE WOLVES:
Energy Crisis: EP
Loud and bombastic rock’n’roll that’s hard charging as well as message orientated. Something you don’t hear too much of these days. Check out “Screamin’ Murder” with its throttling tempo, asking “where’s your rage” in relation to an apathetic society. Then there’s the closer, “Sinker” that does some self reflecting amid raging guitar solos and crushing drumming. Think of Mountain crossed with Annihilation Time. One of those records that is meant to played at loud volume, while you rage on air guitar, with foot firmly planted on a chair—err, uhh—floor monitor.  –Matt Average (We’re Wolves, werewolvesandyouaintshit@hotmail.com)


WHAT TYRANTS:
“Hanging Out in Havana” b/w “Far Out”: 7”
It’s probably got a lot to do with the shows I’ve been going to, but it seems like Minneapolis has had an influx of bands that want to “Be-ah your rock’n’roll savio-ah!” This MPLS three piece is no exception. I am totally bored with fuzzed- out surf guitar garage rock. When did everybody decide they wanted to be Jon Spencer or some shit?. My dislike of this particular genre aside, What Tyrants are good at what they do, and this is a well- recorded 7”. If this sounds like your bag go on, check it out.  –Jackie Rusted (Self-released, whattyrants.bandcamp.com)


WHITE WHALE:
Demo: Cassette
Post-punk with some slight gnarl to it that feels half out-of-date (like early ‘00s punks trying to be Gang Of Four), half short-burst Total Control. When they get closer to TC stylee (“Three”, “Complicated Medication”), it works alright. Fine for what it is; not fresh, but decent. I’m smiling while I’m shrugging. –Matt Werts (Subject, subject1.bandcamp.com)


WIDE ANGLES:
Smile More: LP
There isn’t anything discernibly bad about Wide Angles except that they’re not particularly discernible. If faced with the challenge of picking them out of a police lineup, I would be hard-pressed to distinguish them from other gruff pop punk stalwarts like Iron Chic, Dan Padilla, Tiltwheel, or Banner Pilot. It’s the type of sound that’s synonymous with PBR, the smell of stale cigarettes, and self-loathing. These are stereotypes that I’m sure Wide Angles deplore, but unfortunately, their brand of anthemic punk begs the comparisons. Here’s a band that would be awash in The Fest lineup. Sure, I might just be scratching the surface of what Wide Angles is truly offering, but sometimes, surface features are too thick to get past.  –Sean Arenas (Dead Broke, deadbrokerec@gmail.com / Dirt Cult, dirtcultrecords.com, dirtcultrecords@gmail.com)


WILD BILLY CHILDISH AND CTMF:
Punk Rock Enough for Me” b/w “Zero Emission”:: 7”
On his latest single, Billy Childish stays true to the lo-fi garage aesthetic he’s been rocking since the ‘70s in all those Thee bands. This 7” features two straightforward, plodding new tracks. On the first, Childish rattles off a few dozen things that are punk rock enough for him over three chords. So there’s that, if you’re interested. For the second, his wife Julie takes over lead vocals, which lends a more straight-up ‘77 punk feel to the whole affair. Billy Childish has more than established his sound by now, so the odds are you know what you’re getting when you pick this up. By the way, Damaged Goods is what all your records are gonna be if y’all can’t throw in a dang paper sleeve. –Indiana Laub (Damaged Goods, info@damagedgoods.co.uk, damagedgoods.co.uk)


WILD HEX:
II: Cassette
Yes! I always love the first album in a stack of reviews that brings a smile to my face and Wild Hex wins this round. Call it whatever you want—it’s rock and fucking roll. The rhythm section is tight as can be and the riffs make you wanna shake it all out, all over the garage. Good, good shit here.  –John Mule (Don’t Touch My Records, donttouchmyrecords.bandcamp.com)


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·PIONEERS OF SEDUCTION, THE
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·ESCAPIST ARTIST, THE #32
·FREEDUMB
·Things we learned getting The Boys banned in China
·MESRINE / SAKATAT
·DEAD TO ME


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