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Below are some recently posted reviews.

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No Hard Feelings: CD
I’ve known Sorry State’s vocalist Dave since the late ‘80s, when our respective bands were kicking up dust at assorted Eastside backyard punk shows. Dude has a long history of involvement in the L.A. punk scene—as singer of Last Round Up, he has shared a stage with danged near every band you can think of, and would occasionally pop up in the weirdest places (like the time I turned on the TV and caught him and bassist “Cyco” Mike Avilez (now of Bay Area punk institutions Retching Red, Strung Up and, of course, Oppressed Logic) guesting on The Wally George Show), not to mention his stint in the much-missed powerhouse band Media Blitz (not to be confused with that pack of San Fernando Valley new-Jacks using the name in recent years). By the sounds of this, his latest band, Dave remains as cantankerous as ever. He and his current cabal of sonic terrorists dish up twenty-seven tracks of no frills, pit-inducing hardcore here, keeping the songs tight, trimmed of excess fat, and appropriately aggressive as they gang-chorus through tunes about Gardena girls, life’s assorted pitfalls, and being loaded during the holidays. Coming on with the velocity of a locomotive, yet smart enough not to take themselves too fuggin’ seriously, these cats dish up a disc’s worth of stagediving hell-raising sure to work fans of hardcore into a froth. Tip my hat to you ‘n’ the boys, Dave; this is some fine work. –jimmy (Malt Soda)

Ajatus Karkaa : LP
First off, album covers rarely exemplify what’s to be heard on the vinyl. This is sure as shit not the case with Sokea Piste. The cover is a mishmash hallucination of watercolors, sinewy lines, and strange alien mathematics whereby expanded eyeballs seem to bleed black into a black hole. Somehow, Ajatus Karkaa sounds exactly like that. It is abrasive, controlled noise like Drive Like Jehu if they were Finnish. It would be an oxymoron to describe any of the songs as memorable, as they are performed with terse derangement like a preteen hopped up on Adderall, but the album as a whole leaves quite the impression. The LP comes with both the original Finnish lyrics as well as an English translation, which is a major plus. –Sean Arenas (Peterwalkee, peterwalkeerecords@gmail.com)

21st Century Loser: CD
Unfortunately, when one throws around phrases like “Irish punk” or “Celtic punk,” images of the Dropkick Murphys usually spring to mind. While I like the Murphys as much as anyone else, realistically, they play street punk with bagpipes. Sir Reg are what I would call true Irish punk in that they play Irish music at hardcore tempos. The mandolins and fiddles have center stage in this and it’s fucking great—I sometimes forget how much I love Irish melodies, and when they’re played like the fiddlers are on amphetamines it’s even better. Imagine the reckless abandon of early-era Pogues combined with the gentler poetic sensibilities of that band’s later incarnations. Awesome. –The Lord Kveldulfr (Heptown)

King of Dirt: LP
In what very might well be the grindcore album of the year from a band that may or may not even consider themselves a grind band, Sick/Tired have solidified themselves as legitimate contenders in a genre that has been left with a large void, due to the absence of heavy hitters and impact-makers such as Insect Warfare. It’s sad to say, but I’ve almost become desensitized to blast beats. Often, they’re meaningless and trite, showboat-y displays of lack of actual talent. But don’t fucking kid yourselves, folks; not all extreme music sounds the same. A large part of it, however, does end up sounding quite redundant and stagnant that it can be easy to dismiss it as “just a bunch of idiots playing as fast as they can.” Sick/Tired, however, have more than an earful in objection to that misconceived notion. Not since the aforementioned Insect Warfare have I been able to simply shut my eyes and smile to the delight of jackhammer drum wallops, earplug-melting bass cab rattling, and tree shredder jammed full of rusty buzzsaws-like guitar shredding. From Enslavement to Obliteration, Anticapital, The Inalienable Dreamless, World Extermination, and now King of Dirt: add another to the list of grindcore classics. –Juan Espinosa (Cowabunga)

Split: 7’’ EP
Shark Pact is two members of Hail Seizures!, one on drums and one on synthesizer. These two have a couple of the most moving and emotive voices in punk right now and their passion just pours off the record. I’ve been following Olympia punk pretty closely these days and it’s partly a result of what these two have been contributing to its sound. I had been playing Shark Pact’s last album a lot before getting this 7” to review and I wasn’t disappointed. I love the darkness of their lyrics that are confrontational to the head-in-the-sand positivity of their liberal arts town. They’re unafraid to deal with real depression and despair. Their sound is odd. It isn’t pop new wave, nor is it noisy like Nervous Gender or the punk-without-guitars sound of a band like The Screamers. It’s kind of like if the band Europe were dirty punk with crashing, grandiose keyboards, vigorous shouting and fervent, angry, drumming. It’s not catchy. It takes some time to digest. At first, it might seem like a dis to compare them to Europe, but think about it... a punk-as-fuck Europe? C’mon, you’re curious. Sometimes I spin the Custody Battle side and sometimes I don’t. I’m definitely not as enthusiastic about them, but there’s nothing wrong with their three songs of drunken, filthy punk or their despondent, hungry lyrics. They sound like one of those short-lived Chattanooga bands that slipped through the cracks and that’s fine with me. –Craven Rock (Ditches, sharkpact@yahoo.com)

Evil Death: LP
Ready to feel kind of icky? Check out these lyrics: “Rip it! Wear the flesh! Climb inside you! Become one! See through your eyes when I cum!” That’s from the song “Buffalo Bill,” inspired by Silence of the Lambs. Those aren’t even the most fucked up lyrics on this record. It gets much worse when they get into the songs about John Wayne Gacy and Jeffrey Dahmer. This sickness is set to choked-out vocals over thrashy hardcore. Don’t be surprised if you find yourself headbanging and vomiting simultaneously as you listen. –mp (Blind Spot)

Upward Hostility: LP
An unbelievable alliance of international hardcore powers (a Yankee, a Swede, and three Englishmen walk into a bar…) yields some ragingly brutal hardcore punk. The influences are quite obviously that of classic American staples (Negative Approach, SSD, Cro-Mags) but there is also a hint of later-period Voorhees belligerence staring you right in the eyes. Try as many may, few can succeed in delivering a full-length’s worth of pure hardcore delight such as Sectarian Violence effortlessly do with repeated blunt force blows to the heads of timid hardcore wusses. I listened to this over and over and kept looking over my shoulder to make sure no one was going to sucker punch me in the neck. Not recommended for Touché Amoré fans: get da fuck outta here with that shit! –Juan Espinosa (Grave Mistake, sectarianviolence@gmail.com)

Stay Afloat: LP
In 2013, it’s become disarmingly clear that “beard punk for the conveniently jaded” has become a punk subgenre. Do not make the mistake of lumping Rumspringer in with such hosers. Sophomore full-lengths are fraught with danger, especially after your first record was Empty Towers, a record that has been played at Razorcake HQ hundreds of times. Stay Afloat covers two main expectations. First, it sounds unmistakably Rumpsringer—bright music tones and heavy emotional shading in the lyrics. Shit, Stay Afloat’s a veritable barometer of music. The hydrostatic pressure caused by the weight of existential considerations palpably envelops the room when the record’s spinning and music fills the air. Invisible but omnipresent. The second challenge bested is that dreaded conversion from initial expectation and promise as a band to maturation (without being boring or pretentious). Stay Afloat is a brave record with exquisitely pretty parts. The music Wes, Mikey, and Matt crafted takes its time to inhale deep breaths and calm down. There’s more space on Stay Afloat than in Empty Towers. It’s also an explicitly anti-slacker, anti-insta-jaded record. (Three quick lyrical examples: “I don’t want to be bored forever.” “You can stay afloat or stay in bed.” “…somewhere between acknowledgement and giving a damn.”) As a result, it’s a profoundly questioning record, one that I’ll be spinning for years to come. Here’s to the curse of the quiet beauty of Arizona sunsets setting the tone of a record... and DIY punks making some of the best music on the planet. –todd (Dirt Cult, dirtcult.com)

Blank Language: LP

Some uneasy listening here—lotsa racket-making, varying tempos from thrashy to more brooding, screaming, and a dense, almost inaccessible delivery. Soundtrack to yer next migraine.

–jimmy (Adagio 830, adagio830.de)

Apathy Is an Institution: LP
I luckily dragged myself out of my home coma to catch Rubrics touring through Alabama with Burning Bridges last year. Their show was in a short-lived storage warehouse where they played to about fifteen kids and one creeper old guy (me). I’ve been looking out for this full length to be released with only a split 7” to tide me over, but the LP has been worth the wait. Rubrics blast out an exuberant noise that would have sat well on a Very Small comp (somewhere between Econochrist and 23 More Minutes would have been good) and keep their lyrics on the ideological Fifteen side of things. You may agree on many, but not all (the song out child immunization sticks out for me) the stances Rubrics have decided to take up, but there’s enough energy, passion, and thought behind them that you’ll applaud them for doing so. Grab one of these up and get moving. –Matt Seward (Lost Cat, lostcatrecords.org)

Terminal Hangover: CD
Just going off the band’s name, photo, song titles, and packaging ((Zapf Chancery! Comic Sans! Myspace!)), i assumed that this was going to be a bunch of incompetent slobs playing beer punk for their ten friends and weird girlfriends. Oddly, it’s nothing of the sort—it’s actually a quite competent mish-mosh of Bay Area style ska-punk and Chicago style pop punk, with breakdowns and a twangy bass and a guy who probably doesn’t want to be told he occasionally sings like Billie Joe occasionally singing like Billie Joe. I suppose a couple of these songs could be on the radio, if they still play songs on the radio. I’m not crazy about this, but i do give them credit for not appealing to me in completely different ways than in the ways in which i had initially assumed they would not appeal to me. BEST SONG: “Make It Bleed” BEST SONG TITLE: “Sloppy Joel” FANTASTIC AMAZING TRIVIA FACT: I honestly do not remember the last time i saw Zapf Chancery used to typeset a link to a band’s MySpace page. –norb (1332, 1332records.com)

Riley Versus Jason in the Battle of Gracious Living: LP
Sincerity is difficult to measure, but, when it is heard, it’s a statement more powerful than any back patch, denim jacket, or neon pink mohawk. Chris Gordon, aided only by his acoustic guitar, oozes earnestness on every track of his first full length—appropriately released by Plan-It-X. The album was wisely recorded in one sitting and the raw urgency of each song is driven by Gordon’s spastic and melodic voice that is often painfully sympathetic. It would be an oversimplification to call it folk punk—as he never dabbles in gruff Tom Gabel impersonations, and it’d be too easy to compare him to other Plan-It-X songwriters like Paul Baribeau or Chris Clavin—because Gordon possesses a wide range of vocal hooks. Furthermore, Gordon’s lyrics aren’t ambiguous or riddled with cryptic metaphors. Given that he resides in sunny and conservative Yorba Linda, CA, the songs are all rooted in a sense of place. He is critical of his hometown and of how he has spent his time in the Land of Gracious Living. Gordon sings about Yorba Linda being the birthplace of Richard Milhous Nixon, the home of a million damn Mormons, and a place of complacent, wealthy youth, yet it is also the location of an admirable group of friends and musicians. The album is as much a personal history as it is a testament to a cardinal principle: Even if your hometown is a hellhole, it doesn’t mean you have to become an asshole. Chris Gordon is living proof of punk perseverance overcoming ignorant adversity. The LP includes a zine that provides an extensive history of Roman Candles and lyric explanations. –Sean Arenas (Plan-It-X, planitxrecords@gmail.com, plan-it-x.com)

This tenth anniversary of Rise Against’s “breakthrough” album, Revolutions Per Minute, doesn’t really seem that special. It’s got some additional liner notes and the CD version comes with the demo versions of all the songs on the album tacked on right after the original album. The demos sound pretty close to the original versions, so it’s like hearing the album twice in a row. The LP comes with a digital download for the demo tracks. Otherwise, you know what you’re getting with Rise Against: passionate, political, melodic punk rock. While I normally like those constituent parts, this just isn’t my thing. Regardless of whether you’re a fan, this doesn’t really seem to be worth your time or money unless you’re obsessive about owning everything the band has released. –kurt (Fat)

“Tonight Alright”: 7” EP
Total burner! “Tonight Alright” is a great slab of power pop; fans of Alex Chilton and Shoes pay attention. Rich Crook (Lost Sounds, Lover!) is a hell of a songwriter. “Tonight Alright” is kind of Baroque pop. The B side includes a Swamp Rats cover (“I’m Going Home”). Four songs—all well arranged—played at 33 1/3. Probably the biggest no-brainer of the bunch. Well worth the price of purchase, whatever it is. Pressed on red vinyl, to boot. Fuck, man, this 7” rules. –ryan (P. Trash, ptrashrecords.com / Ghost Highway, ghosthighwayrecordings.blogspot.com)

Only Two Can Play: 12” EP
Well, this comes outta left field. These kids are well versed in trebly U.K. post-punk, twee pop, West Coast proto-pop punk, and how to meld them all together in such a way that it not only works, but it sounds fresh, fun, and relevant. Results sound like some long-lost U.K. minimalist group covering the Simpletones. Weird, yet stunning release here. –jimmy (Three Dimensional, facebook.com/threedimensionalrecords)

Martyrs and Prisoners: 7”EP
Are those blind basket weavers on the cover? I think so. Is that a city laid to ruin on the insert, but someone is standing at the crossroads of the rubble with an umbrella? I think so, too. Rations follow suit. This is music made from an earnest place, a place of struggle and concern. I don’t think those blind basket weavers are having the best time, but it looks like they’re making something useful and they’re not shackled. It takes a certain amount of skill and patience to bend the reeds, but then there’s always another basket to be made right after you finish. It’s a craft as much as work, bending these notes together. Even if the landscape is decimated by medical malpractice, rampant militarism, all the leaves are off the trees, and there’s so much decay, it does good to appreciate the little things that haven’t been stripped away. Not getting sunburned. Keeping the rain off your head. Not giving in. Decades ago, Strawman threw a stone into a pond. Rations are a ripple from that rock bouncing onto shore. –todd (86’d sent this to us, plus a boatload of labels)

Cinderella Sizzle: 7"
Some fairly strong Slumberland Records-style twee on this single from Hozac Records. Fey vocals and strong melodies with just the right amount of organ/keyboard. I would be very interested in hearing a full length from this band to see if they could maintain this level of great songs. This is well above average for synth pop, and there has been a ton released in recent years. Highly recommended for fans of Pains Of Being Pure At Heart, The Clean, and ‘80s soundtrack music. –frame (Hozac, hozacrecords.com)

Something Wild: CD
Listening to Radiator Hospital’s album Something Wild makes me want to slam adult sodas and go for a Frisbee date in a midnight Walgreens parking lot. At its best, the band offers up that summertime yay music, the type that mixes light guitar fuzz and nonthreatening dude vocals of the Clap Your Hands Say Yeah and more upbeat Weakerthans variety. Still, for all thirteen tracks, Something Wild stays a few degrees lighter than the pop punk that it, at times, recalls. In fact, you could probably slice the album into two different mixes. One mix for folked-out twee pop (I mean, they have a foppy acoustic rock song called “Big Cloud” about being bummed and strolling under rainclouds with more rainclouds in your head) and the other mix for tracks like “The Great Escape” and “Ghost Story,” songs that’d sound inline alongside the likes of Scared Of Chaka, Big Eyes, Pink Razors, or Swearin’, as Allison Crutchfield drops in to give some guest vocals. If you wear a lot of black T-shirts and want the rock, Radiator Hospital might not be your thing. But those who are looking for music that is feelings-heavy while still having occasional kicks of lo-fi pop punk will want to check this out –Jim Joyce (Salinas, salinasrecords@gmail.com)

Failed States: LP
It’s been said before that this band defies genre classification. Failed States further emphasizes this point. A seamless blend of punk, hardcore, and thrash, Propagandhi perfects what was begun on Potemkin City Limits and Supporting Caste: the melding of their early melodic punk origins with their even earlier thrash metal-worshipping youth. Failed States is as musically aggressive and progressive as the previous two records, but differs slightly in the more personal nature of the lyrics. Perhaps it’s the fact that the venerable Jesus H. Chris (Hannah) is now a father, perhaps it’s the sign of men reaching their forties, perhaps it’s one Canadian winter too many. No matter, songs like “Devil’s Creek” and “Things I Like” are two of the most direct, personal sets of lyrics this band has ever committed to tape. When you begin a song with “I like Kurt Russell as Captain Ron,” and you’re a much respected ultra-leftist political activist and songwriter, that line had better lead somewhere other than Municipal Waste style comedy-thrash (and that is not a dig on the Waste). And of course it does, giving the listener an intimate account of what makes him tick, all weaved into a flowing, heavy punk rock epic. Other songs like “Status Update,” the riffy sub-minute thrash-punk masterpiece, get back to hardcore basics: fast and loud. The usual Propagandhi humor and wit are deftly incorporated into these songs, be it a concise study of self (“Failed States”) or an autobiographical recounting of a bicycle accident as analogous to a particle accelerator (“Hadron Collision”). Failed States perfectly melds everything into cohesive, aggressive, urgent, heavy music with riffs and lyrics that only a band with Propagandhi’s pedigree and musical ambition could even attempt to write. This musically varied and deeply engaging effort just might be their best yet. And without a suitable name for this subgenre of heavy music, I propose that “crossover” be redefined, with this record as its flagship. –Chad Williams (Epitaph, epitaph.com)

High & Tight: LP
The songs on this album employ a variety of retro-style riffs. The bubblegum influence works at every speed. “Lone Wolf” moves at the pace of The Queers. “Keep Me Around” and “Wandering Eyes” have more swing to the pace and a hint of ‘50s song structure. Primitive Hearts keep the musicianship high. Guitar, bass, and drums are all solid. The vocals have high-pitched sincerity with a hint of attitude and are backed up with lots of good oooing and aaaing. It’s a good record for those who like the rock’n’roll with the punk and whatnot. –Billups Allen (FDH)

Self-titled: 7”
I’ve been hearing a lot about this band lately, so I’m glad I finally got the chance to check this out. I just gotta say, “believe the hype!” This instantly perked my ears up. It’s got that jangly, snotty combination that seems to crawl out from the moss-covered rock up in the Pacific Northwest. I want more… I need more! –ty (Jonny Cat, facebook.com/pages/JonnyCat-Records)

No Party: Cassette
Some great mid-tempo punk residing somewhere between the good company of Marked Men and Bad Sports. Coincidentally or not, these songs also happen to be recorded by Mark Ryan and Jeff Burke of Marked Men. That’s not to say these fellas can’t rely on their own merits, no sir. The songwriting seems to reach the level of outstanding on the second side when traces of the Dead Boys’ menacing punk anthems are woven into their already infectious style. I’m looking forward to hearing more from Pink Smoke because I know it’s only a matter of time before they’re offered a proper release. –Juan Espinosa (Jolly Ronnie, kurtbaker.bandsonabudget.com/pinksmokeband)

El Valiente: CD
Getting releases like this reminds me of why I love reviewing music in the first place: The opportunity to hear and be blown away by music from unexpected quarters. In that context, Piñata Protest deliver the goods with nine tracks of punk-infused, Texas-style border music. This disc literally drips with the steaming humidity of San Antonio on a sweltering day mixed with the taste of sweat and warm Lone Star. Some tracks are in Spanish while others are in English and the band isn’t afraid to tackle the odd Mexican classic either. Having a cookout on an hot, sunny day with a cooler full of beer? This is your soundtrack. –Garrett Barnwell (Saustex, saustex.com)

Rhetoric and Hands: 7” EP
I’m often exasperated at the myopia that plagues L.A. punk history. So many creative people, bands, and musical experiments get lost in the shuffle and the populace is treated to yet another Circle Jerks or Black Flag reissue while mountains of wicked cool stuff collects dust in some dank corner, unknown and criminally unloved. Water Under The Bridge has been kind enough to shine a little light into San Pedro punk’s historical dark corners, (re)issuing crucial recordings by the Reactionaries, Minutemen, Saccharine Trust and the release currently under discussion. An obscure act (my recollection is one track on an SST comp and that’s about it), this, along with the four tracks included with the complementary MP3 download code, comprise the sum of their oeuvre, with what’s on wax apparently being an EP that New Alliance never quite got around to releasing back in 1981. The sound is somewhere between the erudite, flanneled “Thinkin’ Joe” hardcore of the Minutemen and the art-punk minimalism of 100 Flowers, translating into “aggressive but still pretty goddamned weird.” Being old enough to remember and appreciate the musical melting pot L.A. punk once was, it’s great to see/hear some lesser-known talent getting some long-overdue love. –jimmy (Water Under The Bridge, waterunderthebridgerecords.com)

Somethin’ Ta Tell Ya: Cassette
Right out of the gate, the bass and the drums are pure energy; the guitars are loud and maybe even a little proud that there are so many really good riffs throughout the album. Better still, it seems like everyone in the band sings on every track, which for me is an undeniable invitation to sing along, as well. Even though this is sonically cheery and bright, lyrically I found it to be pretty bleak. That said, isn’t it more interesting to hear people sing about sad shit with energy and power? I think so. If I were in a pit of despair, this would be the soundtrack to my triumphant escape from it. –Bianca –Guest Contributor (Reality Is A Cult, realityisacult@gmail.com, realityisacult.com)

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