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Record Reviews

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Below are some recently posted reviews.

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CANADIAN RIFLE:
Deep Ends: 9-song LP
Some things in life are pretty much figured out. Be wary of shenanigans like, “We’ve re-invented the pizza! This one doesn’t have dough!” Or “You thought you knew burritos? Try a wrap!” So why do dopes who are searching for identity through musical purchases fall for, “The re-invention of music! Kittens playing piccolos! You’ll shit yourself!” Oh, I understand the power of novelty, but c’mon, we’re trying to have some meaningful interaction between “lifestyle purchases” here. Canadian Rifle aren’t reinventing nothing, but they’re perfecting the ingredients, the recipe, the fire times, the delivery, the presentation. Up front is Jake’s gruff delivery (triangulated somewhere between Hot Water Music’s Chuck Ragan and Dan Padilla’s J.Wang), backed by strong, melodic, and much-happier-sounding-than-the lyrics bass and drums. By no way am I saying Deep Ends sounds generic or called in. Far from it. It’s like listening to craftsmen far past their apprenticeships and well into their mastery. You’re in good hands. Bummed-as-hell, dead-deer-smashing-through-windshield hands. But good hands nonetheless. They even add another option to songs to sing at funerals beyond Hickey: “Going to Get Fucked up When You Die.” No goals. No dreams.  –todd (Dirt Cult)


CAFETERIA DANCE FEVER:
…With Love: 2 x 7”
How bad ass would it be if the Beach Boys had recorded a punk album? That is what Cafeteria Dance Fever’s new double 7” reminds me of. In a world of punk bands who take themselves way too seriously, CDF is just fun music. As a side note, the theme of the cover art, a blood-soaked vintage prom a la Carrie, is continued on in a brilliant video for Night Of The Lepus, which I found on YouTube.  –John Mule (Hovercraft)


BÜMBKLÅÅTT:
Luctus: LP
Don’t know about you, but I periodically need music that pecks my brain clean. So clean I can barely think outside the music. So clean that it’s a black hole in there. Music that’s all claws and talons and beaks ripping. Separate the decay from the bone. Rupture corrupting thoughts. Lacerate. Birds of prey on mental carrion. Luctusis a gnarly album, but like a flock of crows interrupted mid-feast, there’s also a dark, glistening beauty to their action, their pure movements, their outspread wings in flight. It’s instinct—death is a part of life. In more musical terms, it’s melody-and-bulldozer-at-the-landfill hardcore, symphonic crust that stands shoulder to shoulder (both in time served as a band and recorded output) with Tragedy and From Ashes Rise. Bümbklåått is bi-located in San Diego and Tijuana and one of the most underrated-outside-of-their-hometown hardcore bands in the country. Put down that melting, dripping flavor-of-the-week popsicle and get in on a long-running dark feast.  –todd (Prank)


BUCK BILOXI AND THE FUCKS | BUCK BILOXI AND THE FUCKS / GIORGIO MURDERER:
Self-titled | Split: 7”
Angry, middle aged and stupid... like me! Near-perfect sonic assault, with the goal of dumbing down your senses, fuck you very much for asking. This is Shit-Fi, pure and simple. So much so that I can’t tell if the chorus of “Not Getting Stabbed” are “at the record store” or “at the liquor store.” Could be—should be—both. Who wants to get stabbed anywhere, let alone at your two favorite retail establishments? Total Punk scores yet another winner with the first of these two 7”s. Man, Total Punk is the place to be these days. Total scum-punk (if you don’t believe me, check the liner notes on the Holotrash record). I’m pretty sure Giorgio Murderer is Mr. Biloxi in disguise, playing a synthesizer. Probably why he needs his shit back.  –Sal Lucci (Total Punk / Holotrash, buckbiloxi@gmail.com)


BRAINDEAD, THE:
Welcome to the Revolution: CD
I believe it is my duty as a record reviewer of integrity and honesty to give each record I get a fair shot. This one was a case of true grit and extreme endurance. This is a live-in-the studio recording from 2005 from this Seattle outfit. Musically, these guys have some chops. The vocals left me cold. Cookie monster vocals just don’t translate to my personal enjoyment. They also cover a Venom tunes that has already been covered by over five bands. And when you are competing with The Meatmen, why bother? If this was my lump of coal for the holidays I will take it on the chin.  –koepenick (1332)


BOILING POINT:
Self-titled: 7”
Riffy, speedy Slovakian hardcore. Fans of 625 Thrashcore’s catalog will enjoy this one. Buzzsaw guitars and ripping drums with vocals shouted in English. The record begins on a serious note (“Disillusioned”), tackling the state of the band’s homeland: “It’s been more than twenty years since the socialism fell. New regime blessed the highest class while the poorest people live in hell.” That second part seems sadly familiar here in the so-called oldest democracy in the world… But most good music needs balance, and these guys do that with a humorous tip of the hat to us record collectors on “Wax”: “Touch the plastic, sniff the cover. Diagnosis: vinyl lover!” Ha! Excellent seven-song debut with fantastic packaging.  –Chad Williams (Analog Freaks, contact@analogfreaks.net, analogfreaks.net)


BLIND PIGS:
Capitânia: 10”
Capitânia is the new release from the long-running Brazilian streetpunk band Blind Pigs. Celebrating twenty years as a band in 2013, Blind Pigs embarked on a lengthy tour of Brazil and reissued their back catalog, as well as this new record. Catchy without being corny, and belting out their sing-song anthems in Portuguese, Blind Pigs are definitely on the happier, bouncy end of the street scene. Not unlike Klasse Kriminale, it’s taken Blind Pigs a lot longer than it should to gain international recognition. In South America, they’re achieving Rancid-like status, but “Joe Slow in the back row” types are just now hearing about them. I too was a blind pig, but now I see.  –Art Ettinger (Pirates Press)


BLACK GOD:
Three: 7”
Another killer release from these Kentucky punk/hardcore stalwarts. Very much in the same vein of their previous two 7”s: think heavy Greg Sage/Speedo riffage coupled with Rob Pennington’s unmistakable vocals. A dark, hard-rocking vibe with a hardcore spirit and the bleak, urgent sincerity that permeates this whole Louisville scene. Just awesome, as always.  –Dave Williams (No Idea)


BISHOPS GREEN:
Self-titled: 12” EP
More influenced by early U.K. bands like Stiff Little Fingers and Sham 69 than by North American punk, Vancouver’s Bishops Green hits the scene with this super six-song EP. Greg Huff’s vocals have such a refined high end, that it almost sounds like a studio effect at first blush. I bet he has a blazing stage presence. Even though Bishops Green is a new band, Huff is well known in Canada for being in Alternate Action, Subway Thugs, and Lancasters. Definitely a band to watch for; Bishops Green knows what it’s doing and is anything but green.  –Art Ettinger (Pirates Press)


BIO CRISIS:
En Memoria al Dolor: CD
Heavy-as-fuck, down-tuned, and dark hardcore from Tijuana, Baja California with a very bleak outlook on and contempt for the STD that is human life. It’s hard not to musically compare Bio Crisis to Tragedy (especially with the acoustic interludes) though they do an excellent job of affixing certain elements of their own to this style—such as an awesome acid-throated vocal delivery and varying drum beats—that keep the music from becoming stale and ineffective, as has become customary for most bands who think they can hold a candle to the Portland crust lords. For fans of Profane Existence bands and anyone who dares not wear a leather jacket to a Drop Dead show.  –Juan Espinosa (Bloodpact / Mundo En Kaos / Detesta / Culture War DIY/ Replenish / Negligent / Akracza / Tomorrow Belongs To Us, biocrisistj@gmail.com)


BEAVER:
Self-titled: LP
One of many DC punk acts lost in the wake of the Dischord Records juggernaut that continues to serve as the de facto face of that town’s scene, Beaver was a hardcore act that released a smokin’ EP before a member or two went on to massive fame in Government Issue. As these tales usually go, said EP quickly went outta print and remained criminally obscure until the whole punk rarities gold rush pulled it from oblivion and suddenly it started commanding the kind of prices most folks wouldn’t pay for a large screen T.V. In his inimitable wisdom, the good Doctor has seen what ails average punters like you and me who love the tunes but not the exorbitant prices and has reissued Beaver’s recorded output—the EP tracks, plus assorted demo tracks—as a limited edition LP on snazzy black vinyl (white, if yer lucky, punk). The lion’s share of what’s here is classic harDCore, with short tunes meted out with a taut delivery, all of which easily stack up against the better known names of that scene. Only five hundred out there, kiddies, so I suggest ye get moving pronto before you’re again having to sell yer washing machine to procure a copy.  –jimmy (Dr. Strange)


BEAT, THE / MAXIES, THE:
Split: 7”
I’ve never had anyone bring up a review of mine as often as Paul Collins has brought up my ((uh, shall we just say, “non-positive?”)) Razorcakereview of the Flying High album. And, while I hardly imagine the King of Power Pop was losing sleep for the past five years trying to figure out how to get me back on board again, whatever he’s been doing has been working out pretty well for all parties concerned; I’ve quite enjoyed his last half-decade of live and recorded output. Hooray for the power of positive insults! In any event, The Beat deliver a Buddy Holly-ish number called “Baby I’m in Love with You” and a pretty rippin’ re-make of the Collins-penned Nerves/Breakaways classic, “Walking out on Love.” My only gripe these days is that I wish some munificent glottal deity would roll about a quarter-century of mileage off the odometer on Paul’s throat. The Maxies have a pair of tunes on the flipside, and sound like what the McCrackins might have sounded like if the eggs were from Greenland. Why neither of their songs was called “Walking out on Suaasat” is not clear to me. Still, I think Paul claims victory once again. BEST SONG: The Beat, “Walking out on Love,” duh. BEST SONG TITLE: “Seal Club Sitta.” FANTASTIC AMAZING TRIVIA FACT: There are three Wisconsinites on the cover of this record! And none playing on it! I admit it is safer that way.  –norb (Radius, radiusrecs.com)


BEAST:
Dead or Alive: CD
Nugent. Sabbath. Priest. Black Flag. These T-shirts make one or more appearances in the band/touring photo collage on the inside CD layout. Beast play a more MC5 song structured (as opposed to The BellRay’s more Stooges’ attack) NWOBHM-solo-peppered (but much, much more Swedish) metallic rawk. There is no argument, while less throaty soul belting than Lisa Kekaula, that Maria can sing, her vocals easily being the most commanding thing about this release. Bands like Beast walk a fine line between staying engaging and becoming boring bar rock. Being from Sweden, they either have their tongues planted firmly enough in cheek or are playing with such conviction they command you to don the denim vest, grow a moustache, crack a Falcon beer, and throw the horns.  –Matt Seward (Gaphals, facethebeast.com)


BE MY DOPPLEGANGER:
Artless: LP
So this took a long to get out to the masses, but hell yeah if it was not worth the wait. Think Dead Boys or The Zeros but with even more melodic goodness jammed into every sweaty crevice. “A to B” rocks from note one and the manic pace is maintained until the very last fade. “Floor to Shoulder” and “In Love” are so good it really made me put down by adult beverage a couple times to do a quick rewind. Forget what you’ve heard and start here.  –koepenick (It’s Alive, info@itsaliverecords.com)


BÄDDAT FOR TRÜBBEL:
Self-titled: 7” EP
Clean-channel guitar rock/punk stuff with a singer whose voice has that rare quality that makes you wonder if yer playing the record at the right speed. Songs are short in duration, two of ‘em peppy and two slow to keep yer experience nice ‘n’ rounded.  –jimmy (Skrammel, skrammelrecords.se)


BAD SAM:
Working Class Holocaust: LP
Every issue I end up waxing lyrical about the “good old days” of the late ‘80s on that mean little isle called England. When I very first got into punk at the tender age of thirteen, I used to scour MRR from cover to cover, then fire off letters to bands. That’s what you did back then. I wrote to lots of people, many who are still friends. My favorite band at the time were the Cowboy Killers from South Wales—who sounded like nothing else from where I was—Dead Kennedys meets FOD with the craziest singer I have ever seen. Beddis from the CK’s would send me his old shirts, records, and giant packages of tapes where I discovered bands like Really Red, Dicks, and the Big Boys. There was no Internet downloading, no fancy reissue; it was tapes from other punks or nothing. Without that friendship I’m not sure I would have ended up where I am today (a grand assertion, but most likely true). The Cowboy Killers imploded in the ‘90s and since then I have waited for Beddis to get something else rolling. After jail time, kids, and realizing he couldn’t resist the pull of DIY punk, we have Bad Sam, featuring Kip the original CK’s drummer, some members of Dub War, and other elder statesmen of the South Wales scene. No disappointment here whatsoever. A similar sound to the Killers, maybe slightly more metallic with Beddis’s deranged vocals and songs like “Black John Wayne” (about Obama), “Snake with Tits” (about Thatcher), “Dicks with Dogs,” etc. This disc was self-released with only three hundred copies, so I would suggest getting out there and grabbing one before it’s eBay time. One of my favorite releases this year by far. Magic.  –Tim Brooks (Kriminal, kriminalgood@gmail.com)


BAD DADDIES / LOGNHALSMOTTAGNINGEN:
Split: 7”
There’s something in the water out in the desert wastelands of Northern Cali, all those fucked up bands from Sacramento. Bad Daddies can be added to the list: super scrappy femme-fronted punk. Bratty and loose, like riot grrrl on drugs. Flip it over and shit gets even weirder. Lognhalsmottagningen have really got to do something about their name. Music is more scrappy lo-fi weirdo punk, like some long-lost Swedish treasure from the late ‘70s or even modern stuff that throws back like the Secret Prostitutes.  –Tim Brooks (Emotional Response)


ATLANTIC THRILLS:
A Day at the Beach: 7”
I refuse to believe this band is from the East Coast. I’m from the East Coast, lived there damn near thirty years, and bands didn’t sound like this when I was actively playing music there. Atlantic Thrills sounds like some landlocked, stuck-in-a-basement Midwest shit. I know this, ‘cuz I’ve been a landlocked Midwesterner for some years now. The bouncy energy, the fun-seeking, good time vibes... You can dance to this, and shit for sure ain’t like this back home. People in, say, Passaic, New Jersey don’t know how to fucking dance! Atlantic Thrills should tour with Indiana’s Vacation Club. Cover art by Humanbeing Lawnmower zinester Ari Spivak.  –Sal Lucci (Almost Ready)


ANTISEEN:
Live Possum!: CD
In 1994, I thought that punk was ancient since the Ramones were on a twentieth anniversary tour, but now punk is turning forty, with hardcore-era bands like ANTiSEEN having thirtieth anniversaries. 2013 marked ANTiSEEN’s thirtieth year as a band, which, of course, included a big anniversary show with special guests. They also played several gigs with classic lineups from their past, including the Eat More Possum and Here to Ruin Your Groove rosters. This isn’t ANTiSEEN’s first live album, but it’s a great one. Playing songs not just from the fan favorite Eat More Possum LP, they rip through many other hits, especially from their earlier years. A sad fact about live records is that they’re usually only for diehard fans, with a handful of exceptions to that rule. But this album does not disappoint and is so chock full of energy, it could serve as a nifty introduction to ANTiSEEN to the uninitiated. ANTiSEEN remains steadfast in a scene that that’s given them mixed levels of support over the years. Don’t fear ANTiSEEN!  –Art Ettinger (Jailhouse)


ANTI NOWHERE LEAGUE:
We Are the League: 12”
I literally laughed when I saw this record sitting in a pile because it brought me back to my teenage years just looking at the cover and I thought it would be a fun listen, like watching an old movie thinking about how strange it was that you used to take it so seriously. Instead, I got a half an hour of kicking myself because I had forgotten just how fucking catchy all these songs are. While this is a far cry from an “essential” punk record by “rock” standards (I’m talking about London Calling and Road to Ruin), it really stands out as a great genre piece. Though it’s typically passed off as a cute piece of smarmy early punk in lieu of the more serious bands like Blitz or the 4-Skins, the League wrote songs that were somehow more accessible than their peers. While they certainly weren’t changing anyone’s mind about the world we live in thirty years on, this record probably provides a better time capsule about what it was actually like to be a punk in the U.K. in the early ‘80s. The reissue sounds good and is certainly geared towards the “audiophile” crowd in punk collectors rather than the history buffs, as there is a lack of contextual liner notes (something any of these reissues should contain, in my opinion).  –Ian Wise (Drastic Plastic)


ADAM WIDENER:
Make Out!: 7”
Five songs of extra catchy garage pop, a bit like the early (pre-BYO) output of the Clorox Girls crossed with Joe Jackson’s power pop and skinny tie years. Instantly enjoyable, Mr. Widener has written some incredibly fun, stellar pop gems and, impressively, provides for all of the instrumentation on the record by himself.  –Jeff Proctor (Fuzz City)


CARBELLION:
Headliner: CDEP
This new EP from these Midwest rockers would fit perfectly as a soundtrack behind a high energy car chase. The album opens with the Clutch meets Lamont rocker “Never.” Straight-up American heavy rock’n’roll at its finest. Other songs like “Risky Business” rip through the gears at a furious pace while mid-tempo tracks like “The Deafening” and “Unsafe Behavior” (complete with an almost minute-long rippin’ guitar solo!) still have enough horsepower to push you back in your seat. Their cover version of Mountain’s “Mississippi Queen” pretty much stays true to the original but with a lot more muscle in the instrumentation and production. Due to its shortened length, the album does indeed leave you wanting more, so in the meantime spin that volume knob; I’ll meet you on the louder side.  –Brent Nimz (Indie 500, indie500records@indie500records.com, indie500records.com)


WAY TO GO GENIUS:
Egg: 7”
This four-song 7” is another killer release from L.A.’s garage rock kings Way To Go Genius. Each track is exceptionally catchy, and the lo-fi recording suits the vibe tremendously. The packaging is hilarious and includes a salt and pepper packet to season the titular egg. Limited to just three hundred copies, this 7” is a must for fans of fun, catchy, garage punk. Way to go, Way To Go Genius!  –Art Ettinger (Self-released, waytogogenius@hotmail.com)


VORTIS:
Modern Savage: CD/LP
I haven’t heard anything from Vortis in over ten years, since I reviewed an album of theirs for my old zine. Back then, their singer was a fifty-nine-year-old professor at PurdueUniversity named “Fellow Traveler.” Now they’re down to a three-piece (with two vocalists and music critic Jim DeRogatis still drumming) and play fast, short, punk songs: seventeen songs in twenty-five minutes. It’s much better than the last time I heard them and any band that can keep me engaged for seventeen songs deserves some credit. Modern Savage has the brevity of the Ramones, with an occasional Big Black abrasiveness, and the aggressiveness of Dead Boys. It’s certainly not the best thing ever, but it’s much better than their last offering and the production is quite good. It didn’t blow me away, but it’s solid.  –kurt (Latest Flame)


VARIOUS ARTISTS:
Columbusblood: LP
In all honesty, I had no idea it was a compilation until about three songs in. And believe me I really tried to figure out what the fuck was going on, but the back cover just has a big red plus sign with a bunch of names (of songs? of bands?) all on the border, and no insert. But hey, confusion is half the fun of reviewing? Look, I avoid country-bar-rock like the plague, so after the first song, “Drink and Fuck,” I was hoping this was some sick joke? Next up, Day Creeper and Sick Thrills offered a needed change of pace, from terrible to completely bearable. Day Creeper dish some ‘70s punk with distorted guitar riffs. Honestly, I really like their song but it could be the simple relief of the last song ending. A true ray of sunshine on the A-side is Dead Girlfriends’ song, “Ed Gein,” whose female vocals are pretty perfect. The B-side begins with a slow rock ballad with country tinges to a more Stooges-style ‘60s vibe from Hexes. Next up, The Girls! features lovely, subdued vox a la Stevie Nicks, into the lo-fi indie sounds of Connecters. It ends with Nom Tchotchkes indie-Americana progression, sung with a reminiscent drawl of Neil Young. After a bit of online snooping, I learned Columbusblood is a release of local “rock’n’roll” bands of ColumbusOhio for Record Store Day. Kinda cool. It’s really all about supporting your local scene!  –Camylle Reynolds (Break-Up)


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·VARIOUS ARTISTS
·ACTS OF SEDITION
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