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Below are some recently posted reviews.

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Self-titled: CD
Heavy, melodic Euro-crust that doesn’t bring too much innovation to the table, but I’m a sucker for this shit, and there are heaps of The Spectacle-esque chord choices and sprawling, epic sections that suggest an urgency found more in the anarcho-hardcore world as opposed to the too-often rehashed Wolfbrigade/Tragedy-clone side of things. It’s definitely the melodic sensibility here that sets it apart from a hugely oversaturated subgenre. If, like me, you’re always on the lookout for a band from this world that doesn’t blend completely into the background, then I recommend checking this out. Great stuff. –Dave Williams (Distro-y, distroyrecords.com)

Shit out of Luck: Cassette
As they say, hindsight is 20/20. I must admit that I have never really been a pop punk aficionado and had therefore managed to navigate around the Lillingtons and their body of work. Turns out that strategy was pretty weak as this, a cassette re-issue of their debut album from 1996, could probably rank as one of the finest examples of the genre. Buzzbomb guitars and tongue-in-cheek lyrics abound. This is an essential release and don’t be stupid like me—pick this up now if you don’t already own a copy. –Garrett Barnwell (Jolly Ronnie, jollyronnierecords.com)

The Distance Is So Big: CD
One of the interesting things about punk’s first few runs was watching which way the waves broke in the mid-’80s—at the risk of waaaay oversimplifying things for the sake of a lame metaphor, one direction went the way a crappy glam metal, one went the way of speed metal, and yet another laid the foundation of what became known as “alternative rock.” Those that chose the latter—Hüsker Dü, Soul Asylum, Die Kreuzen, Replacements, Minutemen, M.I.A., Washington DC’s hardcore faction, and many, many others—took the intensity and creativity that fueled so much of those early first waves and added liberal doses of art-rock, roots rock, and pop to come up with varied hues of sound with the only unifying factor being a desire to push beyond the boundaries that the puritanical hordes had tried to fence everything in with. Though not always with the exact same results, subsequent waves of punk have ultimately bred similar moments when clusters said “fuck the rules” and strived for something off the beaten path. Lemuria falls squarely in this tradition. Melding hardcore heft (you can almost feel the weight of them guitars when they kick in) with egghead structures, effective vocal interplay, and delicate pop hooks, they deliver a full-length’s worth of tunes filled with fun contradictions—heavy but light, intense but laid back, complex but accessible. I imagine Bridge Nine regulars looking for something to succeed the thick-necked virulence of Agnostic Front’s most recent endeavor will likely be put off by “wimpy” shit like this at first blush, but those who take a moment to actually digest what’s going might actually find much here to keep them coming back. –jimmy (Bridge Nine)

Kleb-Stoff Zéro-Deux: 12” EP
Word on the street is that this band contains at least one former Hatepink ((as if, somehow, all the hot pink duct tape on the cover wasn’t enough of a context clue)), which makes perfect sense, as La Flingue take the mess left us by the Hatepinks ((sort of a crash between a French Spits and a pink Zodiac Killers)) and mutate it into even more gloriouser heights of Franco-Anglo-Deutscho ‘70s punk retardo-insanity. If you’ve spent the last twenty-five years of your life looking for the next “Bummer Bitch,” I’m pretty sure “Hass Hass Hass” has just ended your quest gloriously. Viva l’eyefuck! BEST SONG: “Hass Hass Hass” BEST SONG TITLE: “Ton Cuir Noir de Merde” FANTASTIC AMAZING TRIVIA FACT: The front cover consists of the Sgt. Pepper’s Lonely Hearts Club Band cover, almost-but-not-quite covered in hot pink duct tape with a white duct tape border. The back cover repeats the process with the other side of the jacket, but this time it’s white duct tape with a hot pink duct tape border. I salute their even-handedness. –norb (P.Trash, ptrashrecords.com)

Broken Waves: 7”
Part of the current Profane Existence Records Limited Edition Single Series, this perfect record from Chicago crust kings Krang is absolutely essential. On the faster end of crust, there’s not a second that gets spared in this quick whirlwind of a record. Continuing to tour heavily, Krang is not to be missed if they play your town. Till then, this record won’t disappoint. Profane Existence proves once again that they have their fingers firmly on the pulse of all that’s magical in hardcore. –Art Ettinger (Profane Existence)

Self-titled: LP
Wow, what a surprise! This is a lo-fi garage rock’n’roll record that sounds like it should be been recorded in the early ‘90s. Imagine early Oblivians mixed with the Spits through a 1992 budget rock filter. Make whatever you think that would sound like be from Greece, and whatever you’re left with is like Komodina 3. This was actually apparently recorded in 2005 and only first released now on vinyl for the very first time. It’s primitive, raunchy, and, honestly, really fucking good. –Mark Twistworthy (Slovenly, slovenly.com)

Not You: CD
I looked at the CD, I listened to the music. I would have sworn that this was a long-forgotten band from U.K. circa 1982 or ‘83. I was wrong. They are from Oakland and are circa now. With a little bit of internet researching I found out that some of the members have played in bands such as Filth, Neurosis, and Dystopia. I’ve never been a follower of those bands, but I know many who are. I think those same people would like Kicker. Hell, I really like Kicker. It’s angry. Like, really fucking angry! Sometimes life makes you need to smash shit. This is your new soundtrack to that. –ty (Tankcrimes)

Self-titled: 7”
This is some well played punk hailing from Puerto Rico. I especially liked how a specific song could go from being a singalong, into some off-beat vocals, then get really aggressive out of nowhere. It doesn’t stick to one über-specific genre of punk, which I really appreciated. I was hoping for a lyric sheet or insert, not just to decipher the vocals, but to get some more insight into what this band’s all about and see some more cool art. The wolf playing a flute on the cover is pretty great. Regardless, I really enjoyed this and it’s been on regular random rotation for a few weeks. If they swing through your town, go to the show and tell me what it’s all about. –Rene Navarro (Juventud Crasa, Juventudcrasa.bandcamp.com)

Self-titled: Cassette
If you know anything about Burger Records you’ll know that they’re pretty big on that huge Phil Spector-style production, which works really well with the kind of power pop and ‘60s revival bands they’ve made popular. So what if they put out a country band? Same fuckin’ thing—huge, shimmering, surfy (Surf twang? Country twang? Who’s counting?) reverberated guitars, with a steel guitar in the mix as well. The female vocals are high in the mix, lackadaisical and airy, and best when they all harmonize. It’s an upbeat, pleasant listen, in spite of the crying in your beer lyrics. –Craven Rock (Burger, burgerrecords.org)

Wires: LP
The music you’ll hear on Wires is instrumental post-rock or math rock, but if you feel like that’s a bled-dry, genre you just might be pleasantly surprised by The Joint Chiefs. They free the post-rock sound from its boring constraints by throwing all sorts of things into the mix. Be it electronics or a scattered horn through a song, or a jazzy bit here and there, they create a sound that’s always changing, never falling into the trappings of look-how-tight-we-are wankery or the soundscapey doldrums of what boring people fuck to. It’s intelligent music that’s also exciting and engrossing. The drummer is fucking insane sick; the only constant thing you can rely on while listening to Wires is his crazy-ass beats. It’s the perfect kind of music for writing or something equally cerebral. It changes things up enough to be mentally stimulating if you want more than background music but don’t want to be continually jarred out of your thoughts. If you’re into stuff like Explosions In The Sky but think they’re a one trick pony or you like Touch And Go, Don Caballero-type math rock, but wish they kept it more exciting you’ll probably like this. Even if you have the most passing taste for instrumental post-rock, but don’t care to dig through all the bird- and nautical-named redundancy, do yourself a favor and check out The Joint Chiefs Of Math. –Craven Rock (Ranch, ranchrecords.bigcartel.com)

White Glove Test: 2 x LP

It’s been well over twelve years since I first witnessed long-running powerviolence juggernauts Iron Lung opening up for Spazz’s last show at Gilman St. I can still remember how utterly amazed I was with the duo’s ferocity and tightness as well as being equally disappointed with the fact that they had no demos/records for sale. Luckily for me, they’ve been constantly releasing new records left and right since then, including a multitude of splits, two full lengths, and even some live cassette-only recordings pressed in insanely limited quantities. White Glove Test is the band’s third full length and their newest material since their Brutal Supremacy compilation tracks from 2011. Setting a new standard for innovativeness and maintaining the good name of the often tainted name of the powerviolence genre has been the Lung’s business ever since and this new album is continued evidence of just why Jon and Jensen are the undisputed kings. Twenty tracks of Crossed Out-styled stop/start beat-downs lovingly crafted and thematically centered around the unseen horrors of the medical/health industry, ultimately outlining why there’s absolutely nothing left for you to do but tag your own toe and shuffle on down to the morgue after you become gravely ill. Depending on how lucky you are, there are two versions of this album: the limited copies (this being one) come with a companion LP, which features some unsettling noise and sound collage arrangements designed to be played simultaneously with the first disc. An adventurous experiment if you’re so equipped with two turntables, but still worth owning for the first disc which should only be played at two volume settings: loud and seismograph inducing-ly loud!

–Juan Espinosa (Iron Lung / Prank)

Get It: 7”
Sloppy, poppy, raunchy fun. Moments of minuscule connection and blasts of dangling emotions. These are not songs to consider; they say what they mean to say and leave quickly before anyone has a chance to object. The songwriting is barebones even if there is a keyboard, a usual sign of a song wankery. These simple tunes echo the likes of White Lung or God Equals Genocide. There might be a few times where you can guess where the song is going with complete accuracy, but the delivery does each predictable move with justice. Never underestimate a road that has already been mapped. Grade: B+. –Bryan Static (Shake, experienceshake.com / No Front Teeth, nofrontteeth.co.uk)

Ready to Die: CD
There are some subtle differences between this and The Weirdness, the last Stooges record since their reformation. Iggy is front and center on the cover and the back. Way in the back cover photo, and out of focus, are two figures who I can guess are Scott Asheton and James Williamson. Mike Watt? You have to open the insert to see any sign of him. Okay—first, Mike has played in the band for ten years now. Second, this is an ex-Minutemen we are talking about for chrissakes! Okay, I’m calmed down now. The music certainly has more texture than the rough-as-hell Ron Asheton era. Whether that is a good or bad thing is up to the fans. Williamson is still on his game, but I’m not hearing a riff as memorable as “Penetration” here. “Dirty Deal” finds Williamson mining old territory to good effect. Sax and backing vocals are more prominent, but the music still has bite. There’s even acoustic guitar on “Unfriendly World.” It all fits together, but it’s not the same band, I guess is what it comes down to. Worth checking out, but you are not going to play this more than Raw Power, that’s for damn sure. –koepenick (Fat Possum, fatpossum.com)

Pagan Hiss: LP
I think the 10” actually came out before the album, even though the album has a song called “Clothes Mountain Pt. 2.” Sonically, Clothes Mountain sounds like it could have come between The Hussy’s first two albums, Cement Tomb Mind Control and Weed Seizure, stomping fairly straight forward and blown-out. The artwork puts me in a time machine and takes me back to 1997. I don’t know why, exactly. Is it the color scheme? Maybe the Dobermans? “Beanbag” has weird tape shifts and changes that I find disarming, which I’m sure are the band’s intentions. Pagan Hiss continues with the sound layering experiments I first noticed on the Weed Seizure LP. The Hussy continues to mix proto-punk riffage, psych elements, and damn catchy pop-informed tunes. “Rezhand” and “Hate This Town” stand next to “Stab Me” (from Weed Seizure) and “Sexi Ladi” and “Wrong/Right” (from Cement Tomb) as certifiable road trip mix worthy singalong jams. Bobby Hussy is able to wrangle some scorching tones out of his guitar, which makes the band really stand out among its garage/punk/psych peers. I really think they should be on In The Red. Vocals are a little less drowned in reverb than their previous album (not a criticism, just an observation). As great as these records are, The Hussy really should be experienced live. –Sal Lucci (Southpaw, southpaw-records.com / Red Lounge, redloungerecords.net)

Cone Johnson: 7” EP
A reissue of this venerable Ft. Worth band’s sole solo wax release (their track on the Cottage Cheese from the Lips of Death comp and other assorted comps and bootlegs notwithstanding), originally released in 1981, and again available in all its gritty glory. Those lookin’ for something akin to the musically learned, well produced pap that seemingly assembly lines its way out in droves these days will be immediately put off by the first note of the first song, “Zyklon B,” these kids (word is they were maxing out at the ripe ol’ age of sixteen when this was recorded) serve up here. You’ll find the shit’s raw, sloppy, and utterly brilliant if you hunker down and just let it sink its teeth into you and, yes, you will go back for seconds. And thirds. As is the way with these reissue-type thangs, this is limited to five hundred copies, so start scrambling. –jimmy (Cheap Rewards, cheaprewards.net)

Sugar Mountain: LP
Pardon the genealogy and history lesson. It’s a good record, instantly likeable. Bouncy. Pop-informed without inflicting musical diabetes. Huff Stuff Magazine sound like if Tenement grew up in Oakland in the late ‘90s and shared a house, or at least a practice space, with Bent Outta Shape. Definitely not what Tommy Deadbeat’s been concentrating his efforts on lately (a lot of high quality, high-revving garage releases), but don’t forget that Tommy cut his teeth on his Viva La Vinyl! comps. The first one in 1994 featured Tilt, J Church, Sicko, Bouncing Souls. So, it’s not too surprising that Huff Stuff Magazine sounds like the upper tier of Lookout! before it turned its back on pop punk and bet the farm—and lost—on The Donnas ($40,000 music videos with a tiger) and boring nonsense like The Oranges Band. (Punk empires fall at the sound of unpaid royalties. It’s an old tune.) Engaging and sloppy-tight, Sugar Mountain, takes its name from where it was recorded, Hammy’s (Fleshies, Pigs) studio. Features Barker of Ringers (RIP) and Neon Piss (RIP). –todd (Deadbeat, huffstuffmagazine@gmail.com)

Chapter One: CDEP
At the end of the day, when the horses are corralled and the circus clowns have all gone home, Hemorrhage plays hardcore. Apparently not content with being just another hardcore band, they bandy about some interesting song structures and throw in some woozy guitars here ‘n’ there. Could also possibly be the first band I’ve come across to reference Game of Thrones, if “Winter Is Coming” is indeed a reference. Pretty danged good all ‘round. –jimmy (Abduct Tape, abducttaperecords@gmail.com)

Human Overdose: LP
The first time I heard Hatred Surge I felt like my mind got blown out of the back of my skull. All that stuff I’d heard coming out of Texas in the early 2000s was right there in their sound, but it was some sort of mutated version of it. Imagine the scene in Teenage Mutant Ninja Turtles II where Shredder pumps those poor animals full of ooze and they come out these fucking insane, lumbering beasts. Well, Reason Of Insanity and Race Against Time were the sweet little animals and Hatred Surge were their mutated counter parts, at once evolved and degenerated. But what struck me about Hatred Surge is that they kept fucking pummeling me with every release. The split with fellow Texans Insect Warfare was just the beginning of their Gulf Coast assault, and a couple years later I heard this insane collaboration record with Iron Lung. What a monstrosity! And here we have their latest outing. I’ve missed their last two EPs, but if I had been paying attention I may have seen this coming. Is this some bid for commercial success? Are these riffs dumbed down for a reason or did they just phone this in? This record sounds fantastic, the production is massive and so clean and crisp, but the riffs are more metallic, more simplistic. They remind me a little of Mammoth Grinder, but Mammoth Grinder own this style. Why ape it? The B side is has a different feel, and seems to make more sense as a Hatred Surge record. Is this a band at odds with itself? I just looked the band up and found out they now share a member with Mammoth Grinder. I hope that, eventually, they can integrate their styles in a way that sounds fluid, but for now this feels rushed and undeveloped. –Ian Wise (Iron Lung)

“Rome Is Burning” b/w “A Product of the Modern Age”: 7”
When I was a kid, skinheads had the best taste in music. I mean, the best. They owned soul music, obscure British mod rock, ska music that sounded like it was recorded inside a tin can, and the late-’90s crop of U.S. oi like The Trouble, Patriot, and the Templars. But as the years wore on, the older guys moved on and a lot of the people who replaced them were, sadly to say, less than zealous. For a subculture that was supposed to be a cut above the rest, we sure did churn out a lot of really lame clunkers. The past couple of years has seen a little bit of a resurgence of oi and, while there are still plenty of lame “drink beer, have sex, fall down” coming out to satiate the masses, I’ve noticed a few really great releases in the past couple of years that I don’t feel embarrassed to share with my friends with more hair than me. Hammer And The Nails put out one of those records in the form of a 12” EP a couple of years ago, and I have (along with a lot of others) been waiting on the follow-up since. This sucker is only two songs, but drives the point home harder than if they’d pulled for more tracks in the grooves. The A side is a dense, lyrically-driven track that is at least as good as any of the more thought-out “high art” punk, without the pretense, while the B side is driven more by the beat than the lyrics. The best thing about this band is that for all the nods they give to bands like Section 5, Sledgehammer, Breakdown, and a lot of others that you’ve probably never heard of, they have a sound that is cohesive and unique. You can pick up odes to old styles in their sound, but they don’t pander. If you pick up one band from this oi revival, let it be this one. –Ian Wise (Rock n Roll Disgrace)

A Lonely Man Does Foolish Things: LP
It’d be easy as pie to shorthand this as noise rock. Given the echoes of Butthole Surfers and other groups not exactly known for being averse to skronking things up a bit, I’d say it’d be the natural go-to for most looking for a two-words-or-less descriptive. Things become a bit more problematic; however, the more one listens. While they are definitely adept at ratcheting up the racket, they are also just as versed in the dynamics of when to ramp things up, and have the sense to bury in their sound shades of the Gun Club’s swampy blues, swinging rhythms, and even a cello. The resulting songs retain a singularity and sophistication that is too often lost in the underground’s “play to a pigeonhole/template” overarching mentality. Don’t let the cheesy quasi-metal cover dissuade ye, this is definitely worth a spin. –jimmy (12XU)

Old Wild Hearts: LP
While fans of The Soviettes and Rivethead will get exactly what they are wanting musically from Gateway District, two things bring Old Wild Hearts to the top of the heap. The packaging on this LP is so simple, it’s stunning. The simple diagram graphics are hypnotic, keeping the cover glued to my hands while the wax is spinning. The only things that break that spell are the lyrics. A typical listening experience is following along with printed lyrics sheet as the songs unfold and blare through the speakers. I started this LP that way, then found I couldn’t marry the words to the tunes. I kept reading straight through. They are poetry or short chapters of a book I can’t put down. I actually read the lyrics sheet without the music playing after spinning the record. Just fantastic. –Matt Seward (It’s Alive, itsaliverecords.com)

Human Rights: 7” EP
Chicago hardcore that’s raw as all get out, almost to the point of sounding like some obscure Scandinavian hardcore gem, zippy without being silly about it, and pretty much unintelligible. They keep things short, endearingly sloppy and full-tilt, as well they should. –jimmy (Beach Impediment)

Split: Cassette
This is a cool lo-fi garage rock split from a Buffalo-based label. Each band is a three piece, with two overlapping members. Garbage Day may or may not take its name from Silent Night, Deadly Night Part 2, but I’m going to pretend it does to make this tape seem even hipper. Solid packaging, a pro made cassette, and a free online version seal the deal. –Art Ettinger (Ut)

Self-titled: LP
Frozen Teens aren’t one thing. Fancy people piss themselves over the complexities of wine. (Tastes like: “Raspberries, oak, chocolate, and NPR’s high rotation music.” No thanks. I’ll take the spacebag that tastes like: bad decisions, headaches, forgetting, bruises, and armpits.) Fancy people can fuck themselves. But I like it when punk bands are pulling from several parts of the musical spectrum and they stitch the bubbles together. I think this band’s pretty young, but they’re wizened. Musically, the holes in their shirts weren’t there when they bought them. Sure, I’ve heard little bits of Frozen Teens before in the Replacements, Drunken Boat, and Bent Outta Shape, but it’s more of a spirit, a general sense of journey than, “Whoah, that sounds a lot like ‘Alex Chilton’ or ‘Rudes and Cheaps.’” It’s not like that. There’s a bittersweet, smoke-like quality that surrounds Frozen Teens. You put your music pants on in the morning, and sure as shit, you can smell the Frozen Teens songs all around you, as real as you’d been sitting next to a campfire. It’s this fluidity, this happy sadness that I take away from Frozen Teens and I both like and appreciate it. It’s one of those things I don’t want over-explained, over-precious-ized. It’s just really, really good music, you know? –todd (Mauled By Tigers / Do Ya Hear We)

State Dependent Learning: CD
While they show a lyrical astuteness and fearlessness to question the world around them that puts them in stark contrast with the lion’s share of their contemporaries, the mélange of modern pop punk, modern ska, and assorted uninteresting stops in between sounds like waaaaay too many others and renders this virtually unlistenable. Noble attempt to mix things up a bit, but you gotta start out with Kool-Aid that ain’t already watered down if you want it to taste like Purplesaurus Rex and not stale water. –jimmy (Irican, iricanproductions.com)

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