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Record Reviews

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Below are some recently posted reviews.

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SHIN 2 SHIN:
Self-titled: LP
Shin 2 Shin is essentially Aaron Melnick’s (of Integrity fame) four-years-in-the-making solo project, featuring his incredibly distinct approach to metallic hardcore accompanied by different vocalists. It’s impossible not to compare any of Melnick’s output to his time in Integrity, as his style and tone are so uniquely his own, and such is the case here. The songs are terrific, the performances classic Melnick, but I’m left to wonder how much better this would be with Dwid up front. Still though, killer stuff.  –Dave Williams (A389)


SHATTERED FAITH:
Mirrors Reflection: 7”
This is the second 7” by a band formed in 1978, featuring a guitarist of U.S. Bombs. Easily identifiable as Orange Country by sound alone: melodic vocals, driving drums, classic guitar tone. My only complaint is that this one goes by too fast.  –Michael T. Fournier (Hostage)


SHAPE BREAKER / FUCK MOUNTAIN:
Split: 7”
Two post-punk jammers with traces of goth and hardcore. Philadelphia’s Shapebreaker cover the A-side with “Spellbound” while Dublin’s FuckMountain defend the rear with “Idle Hands.” Both songs are equipped with simple riffs, intense solos, and delayed vocals. Listening to this makes me want to break some glassware and kick a door down, preferably at the same time.  –Alanna Why (Gary, garyrecords.com, garyrcrds@gmail.com)


SCAPHE:
Self-titled: 7”
This sounds like a bunch of crusty kids got obsessed with free jazz or the Minutemen or something. Yes, there are drawings of dudes in straightjackets, but there’s also a Wizard of Oz reference in the first song. This record is simultaneously dirge-y and spastic. Spurts of noise give way to bass grooves punctuated by weirdly timed drumbeats. I don’t think I’ve ever heard anything quite like it.  –mp (Insides Music, insidesmusic.com)


SANDS, THE:
Hotel & Casino: LP
The goofy band name/album title pun (the band’s name is “The Sands” and their album is called Hotel & Casino, get it? Yeah, me too) and could-be-anything packaging (on closer inspection, the album cover is actually a black and white photo of an old pachinko machine) had me fearing that this was going to be eight songs of dire stoner rock at worst, or, given the band’s Bloomington, IN, origins, a shoddy Gizmos retread at best. It was not. It is fan-fucking-tastic power pop. The Neighborhoods! The Beat! The Strangeways!Maybe the Raspberries! I can’t remember now! This is one of those records that just clears the tedium out of your brain like isopropyl alcohol clears the gunk out of your pot pipe, leaving you wondering what the hell all these other bands were thinking when they made all these other records which are clogging up your home. It’s one of those rare occasions when it strikes you that your life must have been a remarkable series of correct choices, just because it has led you to listening to this record at this moment, so how could you have possibly gone wrong along the way? Fucking outstanding I say, and, with a mere two hundred copies pressed, the reader would be well advised to move quickly on this one, lest existing supplies drain away like… heh… sandsthrough the hourglass. Yup, I just said that. BEST SONG: “Catch and Release.” BEST SONG TITLE: “Damn Heavy Heart.” FANTASTIC AMAZING TRIVIA FACT: This is the first new album I’ve gotten in the last twenty-five or thirty years where the inside of the jacket was unbleached tan, not white.  –norb (Houseplant/Let’s Pretend)


SALTEENS, THE:
Whiskey & Records: 7”
Well, this just fucking rules! Five tracks recorded in the mid ‘90s from Minneapolis, MN’s The Salteens. This band features members that went on to be in bands such as The Soviettes, Cleveland Bound Death Sentence, and The Gateway District. This is a pop punk time bomb that’s taken twenty years to detonate. A blinding explosion of bouncing, wild-eyed energy via youthful punk being fueled by the Twin Cities basement circuit. How have we survived this long without this 7”? No joke, this is mandatory listening for anyone who likes the bands mentioned above, Dillinger Four, Dear Landlord, or newer bands like Lipstick Homicide.  –Daryl Gussin (25 Diamonds)


RUST:
Rough Ready & Razored: 7”
When I saw a record with combat boots, skulls, and shaved heads, I expected to find street punk or oi on the inside. Although they borrow many elements from both genres, Rust is neither. Straight up rock ‘n’ roll with a heavy Motörhead influence, Rust powers through formulaic AA BB rhyming couplets, split up with ripping guitar riffs and gang vocals on nearly every chorus. Sticking loyally to the rock mantra, there are songs about murder, being a punk, and prostitution which, strangely, includes some jazzy guest female vocals. “The Curse of Rock N Roll” is like a two minute who’s who music history lesson with a whopping total of eleven musicians referenced. Fans of Lemmy, New Bomb Turks, and AC/DC’s brand of rock will enjoy this fast-paced record, though it’s not anything you could ever love. Rust makes a fair attempt at replicating a classic genre and putting a punk twist on it, but I just can’t see anyone singing along to lyrics like, “Up in the morning and I play some ska / Drink my coffee from a jar / Got me some kids, got me a wife / Skinhead anthems a way of life / Boots, buckles, Motörhead, punk rock, skinhead” without feeling totally embarrassed.  –Kayla Greet (Longshot Music, longshotmusic.com)


ROSS JOHNSON & JEFFREY EVANS:
Vanity Session: LP
This duo has a lot of Memphis pedigree. The sessions on this record are covers and originals created during Johnson and Evans’s longstanding barroom act, which I know nothing about, but sure hope to seek out. Lots of cronky rock’n’roll with the seams showing. The barroom feel comes across on the record. The highlight for me is a wilting version of “I’ve Had It.” It sounds really out of control in the best way. If you close your eyes and hold a beer under your nose, you can imagine you’re in a sleazy nightclub in Memphis.  –Billups Allen (Spacecase, spacecaserecords.com)


RITUAL CONTROL:
No Affinity: 7”
This is scathing metallic SF hardcore punk at its finest. Everything you’d expect from a band consisting of members of No Statik, Condition, and Effluxus among others. No Affinity is clean, tightly wound, a kind of immaculate chaos; chaos that gathers, writhes, explodes with depths of rage, then—just as fast as it begins—it ends. Ethan’s vocals are harsh, tough as nails, but adds a certain emotive quality that lingers and leaves me a bit uneasy. Which is the point. It gets you slightly off kilter. Anything that pacifies has questionable motives.  –Camylle Reynolds (Residue)


RITUAL CONTROL:
No Affinity: 7”
Four tracks of gate-crashing Bay Area hardcore. The female vocals screech and wail over the dense, heavy instrumentation. The tempo changes will satisfy fans of both thrashy and sludgy hardcore. Features members of Cønditiøn, No Statik, and Effluxus. As you can expect, nothing but the highest quality from Residue.  –Daryl Gussin (Residue)


RITUAL ADDICT:
Obediently into Nowhere: LP
Ritual Addict play snotty and fast hardcore punk and they are awesome at it—seriously one of the best bands playing this style at the moment. Made up of ex-members from many Seattle bands, this is some real Bay Area style hardcore: fast, snotty, and great. Folks who buy the majority of releases from labels like Prank, Life Is Abuse, and Six Weeks are going to want to snap up this LP on the double. Reminds me of many bands on the great European label Kangaroo as well, just a great band that is influenced by Poison Idea, Verbal Abuse, and the like. Top recommendation for this record and I am hoping to hear more from Ritual Addict.  –frame (Enemy Closer, ritualaddict.blogspot.com)


REVENGE OF THE PSYCHOTRONIC MAN:
In Session from Maida Vale: 7”
A recent BBC session from a seasoned Manchester band. I might have pegged them for Californians, considering that these four tracks sound like they’re pulled straight from the hardcore side of ‘90s skate punk. The frontman spits out snotty political lyrics at lightning speed, about fifteen syllables per second, while the rollicking basslines recall the first couple of AFI albums. Simple and straightforward, but fun.  –Indiana Laub (5 Feet Under, kontakt@5feetunder.com, 5feetunder.com / Boss Tuneage, bosstuneage.com / Entes Anomicos, recontrapunk@hotmail.com, freewebs.com/entes / TNS, info@tnsrecords.co.uk, tnsrecords.co.uk)


RESURRECTIONISTS:
Working Class Since 1832!: 10”
Very strange, goth-infused, slow, and brooding, this 10” is the sort of creative experiment that can give a conventional listener nightmares. Very well executed, from the recording on down, I don’t really understand what Resurrectionists are going for, but I’m not entirely against it. The cover artwork pays tribute to the early days of rock’n’roll, but the music is anything but danceable. Simultaneously interesting and frightening, Working Class Since 1832! is a hard nut to crack.  –Art Ettinger (Resurrection, getresurrected.com)


RECENTLY DECEASED, THE:
Never Trust the Living: CD
I thought horror punk had to include some rockabilly horseshit or a direct Misfits bite, but maybe all you have to do is have some spooky art and sing about being dead or whatever to pass, because with The Recently Deceased you mostly get clean metal licks while two singers trade off singing parts, sticking to those macabre themes. They try out all sorts of vocal styles, biting everyone from Danzig to Lux Interior to Dio and fail at all of them, sounding like a choked Bruce Springsteen, a vigorous karaoke singer, or, at their very worst, Homer Simpson (really!). The galloping power chords switch to gothic power ballads about being in love with the undead or some shit. All are well-played but don’t really succeed on any level. As someone who already thinks horror punk is shticky, cheesy, and trite, The Recently Deceased certainly didn’t sway my opinion, but they’re not completelywithout charm. I’m not reaching for something nice when I say this two-piece really seems to love what they’re doing, snotty critics be damned. Sure, I could say this about plenty of sucky bands I’ve reviewed here but I don’t. They really do stand out in that way, not enough to make me listen to it more than once, but there is that. They dedicate this album to their former band member and buddy who “(chose) a family and a life of saving lives over playing music” by joining the Baltimore City Firefighters. That’s kind of sweet.  –Craven Rock (1332, therecentlydeceased.com)


RAMBLIN’ JEFFREY LEE:
Self-titled: 2 x LP
If you’re looking for a Gun Club record, you may be disappointed by Ramblin’ Jeffrey Lee. As Cypress Grove, Jeffrey’s collaborator on Ramblin’ Jeffrey Lee, points out in the liner notes—Ramblin’ Jeffrey Lee enters into vanity record territory. Instead of his usual blues-punk hybrid, Jeffrey performs straight blues interpretations on Ramblin’ Jeffrey Lee, covering songs by Howlin’ Wolf, Skip James, Charley Patton, and Don Nix (“Goin’ Down”). Jeffrey was at his musical peak when this album was recorded (1992), and his desire to do a blues record was a reflection of his reverence for the genre that gave him a career. If you’re a seasoned Gun Club fan, this reissue is an absolute must; Jeffrey’s version of “Go Tell the Mountain” is worth the price of admission alone. Bang! did a great job with the packaging (double LP gatefold).  –ryan (Bang!, bang-records.net)


PYPY:
Pagan Day: CD/LP
CPC Gangbangs were a Montreal institution. As a matter of fact, the same goes for any other Roy “Choyce” Vuccino’s projects. Namely, Red Mass; who began to appear as if they were slowing down, given the extreme pace of releases they unleashed over the last number of years. Yet—coincidentally, while Red Mass are back at it on tour with King Khan & The Shrines—it all makes sense now, with the launch of PYPY. To top it off, the work that went into this album really shows. Vocal duties are shared, almost equally, with ex-Dutchess Says members, which makes Pagan Day even more dynamic. It’d be easy to compare them to Thee Oh Sees or The Stooges, but the latter makes much more sense. The apple doesn’t fall far from the tree for Choyce. Point being, anyone familiar with his work won’t be shocked by the outcome. It’s extremely well recorded. Not far from Red Mass’s self-titled album on Semprini. Yet, these tracks still have enough calculated grit to make it far from clean. A fine line that’s hard to achieve, and they’ve nailed it. One of the best releases of the year, thus far.  –Steve Adamyk (Slovenly, slovenly.com)


POWERBLESSINGS:
Quick Guide to Heart Attacks: LP
Coliseum rock…the band, not an arena. Ripping guitar leads and dark, obtuse lyrics. Some screaming (good), some singing (eh….). The songs have enough hook to interest, but may fail to burrow into memory without repeated listening. The production sounds thin at times, which could have delivered the dynamics to make this a slam dunk, but may prevent those repeated listening. Solid effort and a band that I imagine would deliver live. I’d like to put the LP and live pieces of the puzzle together and call myself a fan.  –Matt Seward (Manhattan Chemical And Electronic, manhattanchemicalandelectronic.bigcartel.com)


PLAN OF ATTACK:
Stick to Your Guns: LP
Tattoo flash-styled album art of a pirate ship. Gorgeous red/orange/black splattered vinyl. Gruff, thick-necked oi with a propensity for wanky guitar solos. Lamentations about the workaday world, backstabbers, and binge drinking. Contains the immortal song title “Glass Half Fucked,” which has to be one of the funniest things I’ve ever read in my life. This label has some truly fantastic, convincing bands on their roster (Stranglehold, The Ratchets, Smalltown, Bombshell Rocks, Downtown Struts to name just a few) but Plan Of Attack unfortunately has some work ahead of them to reach that stature—Stick to Your Guns is a competent enough aping of the streetpunk genre (and maybe that’s all they’re shooting for) but for this listener, they’re gonna need a little something-something to separate them from the bevy of other bands that are tilling this particular field.  –keith (Pirates Press)


PITFALL:
Self-titled: 7”
Tough-as-nails hardcore from Illinois. It’s muscular and pounding, but retains a tunefulness that pushes the gang vocals into oi territory. I’m hearing ‘80s NYHC like Life’s Blood, maybe a couple pre-Rollins Black Flag riffs, and the sound of cinderblocks turning to powder. That’s Ebro from Charles Bronson on the mic…and drums. I think this is their demo, missing a couple songs.  –Chris Terry (Deranged)


PEOPLE PROBLEM:
Maximum Perversion: 7”
A foray into the trusty sound of crusty hardcore that was all the rage (at least among my group of degenerates) in the early- to mid-’90s. If that’s your bag, you probably can’t miss with this. This is a solid record if only because it’s got a sound that I like, at least in spirit, even if I’ve heard it before. Green vinyl!  –The Lord Kveldulfr (Coffincut)


PARASOL:
Not There: LP
Really good, sleeper of a record. There are a lot of adjectives at work here: scrappy, searching, yearning, nuanced. Heartfelt and careworn. The vocalist sounds eerily like Lauren from the Measure/Worriers and the woman from Siren Songs. The songs are melodic and punchy and just a little ragged at the seams. Recommended for fans of the aforementioned bands or labels like Salinas and Kiss Of Death. Actually, screw that: it’s just across-the-board recommended. Give it a shot. This one’s gotten a lot of plays recently, and don’t see that stopping any time soon.  –keith (Lauren)


P.L.F.:
Devious Persecution and Wholesale Slaughter: CD
“I barely listen to grindcore at all anymore, but when I do I listen to P.L.F.” (Referencing that beer commercial.) But yeah, I think the majority of grind these days is pure crap. However, P.L.F. stand head and shoulders, miles ahead of the pack. They don’t come close to reinventing the wheel, but what they do is bring some much needed intensity to the genre that hearkens back to the glory days of this kind of music. Like when Earache was putting out records you would actually be excited about. Their music is sonic, with a huge wall of sound, and dual vocals, one low, and one sort of “vomity.” I prefer the low vocals, as it blends in better with the heaviness, while the vomity vocals are sort of like hearing some sand blasting at four in the morning. Then they do things like incorporate a Motörhead-style rhythm amongst all the pummeling riffs, such as in the title track, then there are the riffs that are relentless, such as “Port of Chicago Disaster.” There’s a reason why these guys have a following.  –Matt Average (Six Weeks, sixweeksrecords.com)


OWLS:
Two: CD/LP
Two is a complex follow-up to the band’s debut thirteen years ago. The lineup is still the same (Cap’n Jazz minus Davey von Bohlen) and the sound is similar to their self-titled album, but it doesn’t seem quite as accessible. Yes, it’s a little Cap’n Jazz and a little Joan Of Arc (considering the Kinsellas are involved, that’s understandable), but the lyrics seem more obscure than even that which is usual for Tim Kinsella (“I’ll never be some scientist hero action wizard” or “a waiter with bad breath / he dropped your chilled pickle in hot sand”). The guitar playing is creative and the bass keeps things tight and rhythmic. Mike Kinsella’s drumming could’ve stood to be more creative, though. Much of it seemed formulaic and didn’t match the creativity of Victor Villareal’s guitar or Tim’s lyrics. While, on the whole, the parts seem good, put together they just come out to be average. There’s nothing that amazed or enthralled, but one can’t deny that the band is creative and intelligent. It’s these types of albums that are the hardest to review and Twoproves no exception. This is an album that, while solid, is probably best left to hardcore devotees of the Kinsellas.  –kurt (Polyvinyl, polyvinylrecords.com)


OCCULTONOMY:
Self-titled: Cassette
You’re out skating alone late at night. You’re lost in the tunes blaring out of your walkman. Suddenly you notice that the moon is closer than it should be. The wheels of your board are rolling through the night sky. You’re in space. It’s peaceful, but peace isn’t really what you’re looking for. You want to shred. You pop this tape in and turn it up. The weirdo thrashcore melts your ears as you carve through the stars. You sing along: “I just wanna thrash someplace in outer space!” It’s a good night.  –mp (Reality Is A Cult)


OBSESSOR:
Obsession Collection: LP
Incarnated as the one-man recording project of Brandon Ferrell, Obsessor worships at the altar of thrash metal. It’s not new territory, but Obsessor succeeds at paying homage to all that have come before, while scorching their own brand onto the face of the genre. Ferrell demonstrates not only his technical chops with each instrument, but also a keen ear for song-writing. From the opening thunder of the track “Obsession,” to the end of the A-side, there’s nothing but one ripper after another. It’s clear that in addition to good song-writing, a good amount of thought was put into song order, bearing the vinyl format in mind. After the quiet of flipping the record and the hiss of the groove as the needle catches, the B-side opener “In Fear of the End” has a nice feedbacking fade-in before the furious riffing of the song itself takes over. Subtleties like these make for a better listening experience than merely jamming songs in an arbitrary order. Lyrically, Obsessor doesn’t stray far from the topical norm of the genre. Songs about living and dying by the sword, mental instability, the evils of political leaders, and the end of the world all feature on this record. While it’s not new ground, I found the lyrics pretty solid. There’s no overabundance of clichés or the kind of lines which cause head-shakes, or inward groans. Tankcrimes is a label known for their quality vinyl packaging, and this release is no exception. The artwork throughout is badass. Pick this up, and you too will be Obsessed!  –Paul J. Comeau (Tankcrimes, scotty@tankcrimes.com, obsessor666@gmail.com)


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