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Record Reviews

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Below are some recently posted reviews.

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PEACH KELLI POP:
Self-titled: LP
I was flipping through the new arrivals at my local record store and stopped when I saw this one. I knew the band name was familiar to me but I couldn’t recall where I’d heard it. It turns out they took their band name from the title of a Red Kross song. The cover photo of singer/guitarist Allie posing on the beach wearing her pastel-colored guitar covered with sparkly stickers took me back to the early ‘90s when we first started to see bands featuring young women playing pastel-colored guitars covered with sparkly stickers; the band Cub comes to mind. I liked a lot of that music back then and was pretty sure I would like this group today. This particular copy of the record was autographed by Allie inscribed to a chap named Bryan. I decided to take a chance and plunked down my nine dollars plus tax. It turns out that Bryan’s loss is my gain. This album features ten songs of ‘60s-style pop with Allie’s slightly distorted vocals drawing me in. The production is suitably trashy and lo-fi. The one slow song here, “Tough Stuff,” actually reminds me of The Kinks’ “Waterloo Sunset” which is high praise in my book. –Chris Peigler (Bachelor)


PAINT FUMES:
Sally Smoked Dope: 7”
This is a noisy and uncompromising three-song rock’n’roll platter from this North Carolina band sure to please any fan of the Goner/Hozac/In The Red Records rosters. Think early Oblivians or Cheater Slicks showered in reverb and turned up to eleven. Killer. –Mark Twistworthy (Slovenly, slovenly.com)


OBNOX:
Corrupt Free Enterprise: 2 x LP
Frantic, one man low fi project recorded with so much white noise that it’s impossible to pick out the weirdness going on beneath. It’s a shame, because this guy makes Jay Reatard sound chill. I wish I could play it without getting a fucking migraine. –CT Terry (12XU)


OBLIVIANS:
Desperation: LP
I have a story I love to tell about missing The Oblivians on what turned out to be their last tour during their active period. It was February 1997 and I lived in New Jersey. The Oblivians were scheduled to play at Maxwell’s in Hoboken on a weekend when I already told my mother I would come home from college to visit for her birthday. I didn’t want to spend the gas money, or time, to drive all the way to Hoboken from my parents’ house (probably thirty miles each way) after driving from my apartment to their house (probably seventy-five miles.) I figured I would just catch them on their next pass through the area... which didn’t happen until 2010! By that point, I was living in Indiana and had seen them play a reunion show in Detroit in 2009, but to be able to see The Oblivians at home, I had to make the trip! I love The Oblivians, have since first hearing them circa 1995. They had such an intense anger I identified with at that time. I’ll put it this way, and maybe it sounds dickish, but I never had a “hardcore phase” like many of my friends, and The Oblivians were the angriest band I listened to at that time. Some internet message boards that I frequent debate the merit of the sound of this new album. (As an aside, I find it one of life’s funny contradictions that people use the technology of the internet to complain that something isn’t “lo-fi” enough.)Desperation doesn’t sound like any other Oblivians album, just like Soul Food doesn’t sound like Popular Favorites. And none of these albums sound like the shit they did with Walter Daniels. The songs on Desperation are just as solid as any other album (I actually like Desperation better than Play Nine Songs...) and several songs are contending for a spot on my next road trip mix CD. “Pinball King” looks like the winner. A reliable source says that one of these recordings is actually left over from 1994. Just buy this record and enjoy the fact that you get to even listen to new Oblivians songs. –Sal Lucci (In The Red)


NONA:
Through the Head: LP
Now we’re talkin’. This record is great! Really solid and tuneful indie pop that fans of Lemuria will want to be all over. Hints of everything from the Spinanes to some of the Big Eyes stuff can be found here and it is excellent. This is what I would call a perfect Fall-time record, just right for those crisp October nights just before it gets really cold. Some of my favorite music of all time falls into this category and Nona are very much in that realm. I am an absolute sucker for this style and can never find enough, but even given that, Nona are truly an amazing band. Highest possible recommendation for this record for any fan of poppy, mid-fi tunes with fantastic melodies. –frame (Mandible)


NOMAD:
Self-titled: 12”EP
New York has always been a hotbed for stand-out hardcore bands. In the past few years it has proved it once again, overflowing in all areas of hardcore. Nomad is a great addition. Nomad nails the crasher crust/noise sound and leans it toward traditional d-beat. Kawakami would be fist pumping in his grave at the early Discharge perfection. I was pretty stoked on the lack of vocal effects, considering the majority of the newer bands in this genre have been overdoing it. It’s an overdone trend. This 12”EP is a breath of fresh nuclear air—raw d-beat and doing it right. Cutting like a saw, and buzzing—like your ears should be after listing to this. - Adam Mullett –Guest Contributor (Toxic State)


NOISEM:
Agony Defined: CD
Sweet fucking mercy. Why hasn’t anyone else nailed this so hard? Equal parts early Slayer, Scott Burns Florida death metal circa ‘89-‘92, and first-wave Swedish Sunlight Studios metal, all executed with such genuine accuracy and baffling talent (late-teens to early-twenties… fuuuck) that even the most jaded metal folks will be duly impressed. I could go on all day, but I won’t. If you dig pre-studio trickery, dark, brutal metal, go and get this shit immediately. –Dave Williams (A389)


NO MORE ART / DOOM TOWN:
Split: 7”
The term “world music” strikes me as racist; it’s a genre based on the premise that the U.S. is at the center and the “world” is out there somewhere. It’s all one world, no? No More Art: This is a slam dunk without even getting off the couch. Think Masshysteri, Vånna Inget, Assassinators, Knugen Faller, slower El Banda. (If you just had five question marks pop up in your thought bubble, please check them out.) The guitars lay out the spools of barbed wire, the bass builds the wall of the prison, the drums are the truncheon in a deranged guard’s hands, and the voice is like a dove of hope flitting above the gulag. Tension, forced captivity, iced-over earth, and that sliver of hope that keeps us all from offing ourselves right here and now. Doom Town: The Red Dons’ fingerprints are all over this but they’re not at the crime scene. (Haji mastered it, Will did the layout.) I’m fine with the osmosis, that eerie ethereality rebarred in heavy chunks of concrete, that paranoia and concision—all of it is all evident. Excellent split. –todd (Man In Decline)


NIGHT:
Gunpowder Treason: 7”
This is straight-up ‘80s-flick-workout-montage music. Those with a soft spot for The Scorpions, and others of their ilk, might find room for this record in your collection. I just can’t listen to music like this without imagining John Brannon standing in the corner of my room watching me and shaking his head disapprovingly. –Daryl Gussin (Gaphals, gaphals666@gmail.com)


NEW YORK WANNABES:
Loud and Proud: 12”
With this band name and the record titled Loud and Proud, I thought for sure this was going to be bad NYHC. I’m glad to say that I was very wrong! While this formula has been done before, not often does a band get it right like New York Wannabes have here. The band is a two-piece, male and female garage rock band from Germany that worship at the altar of Lux and Ivy. Musically, they play fucked up blues rock’n’roll, from the heart, without an ounce of pretentiousness. Anyone who is into primitive garage rock like Oblivians or the Gories should seek this out! –Mark Twistworthy (P.Trash, ptrashrecords.com)


NEW IRON FRONT:
Street Sessions: CD
This is a demo of songs that are going to be on their debut full length album, and if this is any indication, it sure will be one awesome set of songs. Song after song of hard-hitting, gritty punk rock that I just had to keep listening to over and over again. The band rages through these eight songs and really left me wanting to hear more from them. Now I really have to hear their full length. This is the kind of punk rock that really gets me going. I love blistering solos and angry vocals. It all feels like you are standing in front of the speakers at their show, swallowed by one giant wave of energy. –Rick Ecker (1332, 1332records.com)


NEW BOMB TURKS:
Tape Worm Blues: 10”/!!Destroy-Oh-Boy!!: LP
Man, unreleased tracks from the Turks! This is the second 10” I picked up in less than a month, which is cool ‘cuz I likes me some 10” records. It’s a blast being able to listen to demos that would go on to be future NBT releases, in their original slower incarnations. I remember an old Crypt Records catalog (circa late ‘90s) that used the same artwork as the cover of Tape Worm Blues. Liners by “Irving Azlik, Jr.” himself, who was Crypt’s favorite fictional whipping boy for all things they hated music biz-wise back then. I love !!Destroy-Oh-Boy!!, think it’s one of the great punk albums of all time, but NBT always shined brightest as a live band (and I actually think their best album was the Pissing out the Poison singles comp.) NBT still plays the occasional show, and I got to see their recent twentieth anniversary gig celebrating the release of !!Destroy-Oh-Boy!!, in their hometown of Columbus, OH. In case you were wondering, NBT still kills it live. –Sal Lucci (Crypt)


NASALROD:
Steward: 7” EP
There was a time when punk bands strove to sound completely different from the bands before and after ‘em on a given bill, and it’s clear that these cats are very much on that wavelength. Working from a punk base, they slather on heaping gobs of free jazz, art rock, and a buncha other shit and end up with songs dense with rhythmic shifts, time changes, and the ability to make what they’re doing sound both partially improvised and worked out to the smallest minutiae. I imagine folks will inevitably trot out the Fear comparisons ‘cause their drummer is none other than Mr. Spit Stix, but, honestly, these cats have a sound all their own, and I for one am chuffed they do. –jimmy (Nasalrod, nasalrod.com)


MR. ELEVATOR & THE BRAIN HOTEL:
“Dreamer” b/w “Are You Hypnotized”: 7"
A trio of keyboard, drums, and bass, Mr. Elevator And The Brain Hotel have an aggressive psych-pop sound that could double as the soundtrack to a haunted house. Both songs have a carnival feel with Nuggets-style riffs and the vocals are snotty and upbeat. Anxious to hear more. –Billups Allen (Resurrection)


MORTO PELA ESCOLA:
Raiva Do Mundo: 7” EP
Brazilian hardcore that starts at a relatively mid-tempo seethe and builds up as it goes along. As the title, which translates to “rage of the world,” would imply, the lyrics and music are laced with anger, but the band maintains a level of sophistication to their attack with well structured tunes and lyrics more poetic and less blunt than others might employ. –jimmy (Zuada, eduardo_maia@hotmail.com)


MIKE KROL:
Trust Fund: 10”
This certainly isn’t your parents’ power pop, but it surely could be your siblings’. Channeling Wavves, The Thermals, and The Oh Sees, Mike Krol’s new record, Trust Fund, allows blistering, fuzzy guitars and bass soaked in disdain (and distortion) to provide cover for what, at their heart, are a set of raw and unguarded songs. If Mike has a leather jacket, I guarantee you there is a cassette of the Promise Ring in the inner pocket. From the well executed and attractive but purposely obtuse cover (the lyrics are entirely in English, where much of the sleeve is written in Japanese) to the rough and tumble sound coating every corner of this work, the first things we notice about this piece of art seem to be a bait and switch to either hide the gooey center or to help wrench it out. If you are planning to throw on your cardigan and punch a hole in the ceiling in distress over your current state of affairs, this could be a great soundtrack. I wouldn’t blame you either. –Noah W.K. (Counter Counter Culture)


MIGHTY CAESARS, THEE:
Beware The Ides Of March / Acropolis Now / Thee Caesars of Trash / Wise Blood: LP
With the addition of these four LPs, I now have seven Mighty Caesars albums. This is one more album than I have of Headcoats albums. Billy Childish, what are you doing to me? Thee Mighty Caesars and Thee Headcoats are two of his most notable acts, and other Childish bands like Thee Milkshakes, Buff Medways, and Spartan Dreggs all take up much space on my shelves. Childish has been one of my favorite musicians for many years (my one and only tattoo is based on one of his art pieces) and it is near impossible to keep up with all of his recorded output. In the ‘80s, Thee Caesars served as inspiration to garage punkers the world over to move past the “paisley underground” dreck and Troggs it up. 1980’s and 1990’s garage punk was all the better, sonically, for it. (Think: The Mummies, New Bomb Turks, Crypt Records.) Even for a Childish-o-phile like me, it’s hard to distinguish between some of his bands. Thee Caesars lead into Thee Headcoats logically, but Thee Caesars use some extra instrumental flair and were less angry than Thee Headcoats. You can hear the band progress through these re-releases as the guitar and bass develop increasing bite (Beware… has the muddiest mix, almost drowning out the frantic drums.) I won’t tell you who did the originals of all the covers. Part of the fun is finding out for yourself. –Sal Lucci (Damaged Goods)


MARTIN REV:
Self-titled: LP
As one half of rock’n’roll’s most confrontational acts, Martin Rev was recognized as dangerous in an already dangerous scene. While The Ramones quibbled with each other on the CBGB stage, Suicide brandished bicycle chains at the audience. They combined the abrasive aspects of punk and electronic music into a sound that’s still ahead of its time thirty years later. Rev’s solo efforts carry on where Suicide left off with overdriven electronic riffs framing minimalistic poetry. Rev’s deadpan vocal delivery over electronic pings and swooshy keyboards is reminiscent of the best of the dronier aspects of the Silver Apples. He’s not afraid to let the music spin out of control into a noisy mess. Rev captures a late night quality with his music that could be the soundtrack to shopping in an overnight deli. –Billups Allen (Superior Viaduct)


MANIPULATION:
Untitled: LP
I feel like Manipulation is the odd-band-out on the Sorry State catalog. Like the rest of the bands the label puts out, they have that total “we are hardcore record collector nerds putting out music for hardcore record collector nerds” vibe that seems to be the one common tie that binds the label’s aesthetic, but instead of trying to push a lot of different influences into one big meta grinder and seeing what comes out, Manipulation have honed in a pretty specific idea and are picking it apart. While the varied sounds of the other bands on the label seem to work for them, for Manipulation trying to break away from a sound that they already do so well may be detrimental, so I’m happy they don’t try to please too many people. For a band that isn’t “crust” in terms of fashion or cookie-cutter politics, they’re a band that does the style at least as well their contemporaries ingrained in the genre. There’s a fresh approach to the sound, and while they may not craft the best individual songs, every individual record they’ve put out has held up well as a whole, clearly better than the sum of its parts. I was a little apprehensive going into this because I didn’t know if the ideas presented in their 7”s would translate to an LP, but I’m happy to say they’ve pulled it off. –Ian Wise (Sorry State, sorrystaterecords.com)


MAKE-OVERS:
“Surfbored” b/w “Will It Ever Grow Back”: 7”
I’m gonna throw my hat in the ring for stupidest thing ever said in a record review by claiming that this sounds like a garage rock version of Bikini Kill, except when it sounds like the Urinals ((not just the Urinals, but “Surfin’ with the Shah,” no less!)), which is mostly just at the beginning and the end. Oh well, i guess you can take the Urinal out of the girl, but you can’t take the girl out of the urinal. BEST SONG: “Surfbored” BEST SONG TITLE: “Will It Ever Grow Back” FANTASTIC AMAZING TRIVIA FACT: Unless i’ve been cruelly misled, this band is from South Africa. –norb (Hozac, hozacrecords.com)


MAGUMA TAISHI:
Self-titled: 7”
If Bloodbath And Beyond is a burrito… gah, I can’t do it. Magauma Taishi features Hideo and Matthew of Birthday Suits, Mike Park of Asian Man Records, and Paddy Costello (who named the Strike record, Conscience Left to Struggle with Pockets Full of Rust, also in the Arrivals and D4). I like the idea of Mike Blind Shake recording them, too. But, really, it sounds like someone else is in charge of the remote on a TV tuned to a language I can’t understand. When things get interesting—“that Orca’s gonna fuck up that seal…”—onto the next song. This took only three hours to record and it sounds like it. I wish they fleshed it out, spent an entire weekend, perhaps a little preplanning. So, in summation: Melt Banana cutting off Cleveland Bound Death Sentence mid-sentence? A pop punk-leaning Merzbow? I’m just grabbing at straws now. –todd (Asian Man)


M.O.T.O.:
Golden Quarter Hour of MOTO: 7” EP
The low-rent genius and Crusher-like good looks of Paul Caporino returns for eight songs recorded on four tracks pressed onto seven inches of vinyl, which is 1.143 songs per inch, 0.875 inches per song, and 0.571 tracks per inch per song. To keep things streamlined, Mr. Caporino has eliminated some of the clutter of past recordings, including backing musicians, recording studios, and verses, delivering his clever and hopelessly catchy bits directly into the listener’s nervous system with a modicum of fillers and buffering agents. Song subjects include the usual fare: Rock ((“Rock Rock Rock Rock Rock Rock Rock the Nation” “Dial M for Rock”)), pussy ((“Tight Feline Vegetation”)), and the great unknowable ((“AC7YIAR”)). “Suck on this lump of coal and make me a diamond?”Balderdash! This diamond comes pre-sucked! BEST SONG: “Rock Rock Rock Rock Rock Rock Rock the Nation” BEST SONG TITLE: Yeah, you guessed it: “Rock Rock Rock Rock Rock Rock Rock the Nation” FANTASTIC AMAZING TRIVIA FACT: Rise up in dismay, this record clocks in at barely fourteen minutes!!! –norb (Rerun / Blast Of Silence, rerunrecordsSTL.com)


LIVIDS:
Your House or the Courthouse: 7” EP
When the New Bomb Turks packed their bags for good, it marked the end of an era. The aforementioned garage punk pioneers left a significant footprint, leaving many wondering if they’d ever surface in another form. Off hand, I can’t think of any ex-NBT side projects at all, for that matter. Either way, after hearing rumors of Livids playing around Brooklyn for some time, frontman Eric Davidson is back in the fold. The mid-tempo, title track has a solid hook, not terribly distant from something most ‘Turks fans would hope for. “Zilch,” is over in the blink of an eye (around thirty seconds) and hits you harder than you’d expect. Tight and catchy enough to put the needle back on the same grooves again, to spot what you missed the first time around. The flip finishes off with a cover of Iggy Pop’s “New Values,” hand claps and all. Fans of Davidson’s previous work won’t be ready to bury this single in the back pile. Strong enough to make you wonder what’s next. Slovenly’s a consistent label and this 7” fits right in with the standard. - Steve Adamyk –Guest Contributor (Slovenly, slovenly.com)


LIVIDS:
She Likes Zits: 7” EP
Lotta history packed into the members of this garage supergroup, and it shows on this wax slab. The three tunes here strut, swagger, and stomp with equal parts trash, punk, and high-octane rock’n’roll and leaves ye jonesing for more, more, more. Was starting to believe this genre had seen its best days fade in the rearview mirror. This just shut my big mouth up right quick. –jimmy (Twistworthy)


LIPSTICK HOMICIDE / TURKLETONS, THE:
We’re Gonna Need a Bigger Coat: 7”
Two bands playing catchy pop punk with hooks galore and energy to spare. Lipstick Homicide has the leadoff spot and hits two winners out of the park with their female vocals and propulsive beat. The Turkletons have male and female vocals and are every bit the equal on this split single. A definite keeper that makes you love pop punk all over again. –Rick Ecker (It’s Aliveitsaliverecords.com / John Wilkes Booth, johnwilkesboothrecords.com)


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