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RUBRICS:
Apathy Makes This an Institution: Cassette
This release from a three piece out of South Carolina is Apathy Is an Institution plus a handful of covers from a benefit for Get Better Records tacked on and minus a few quick sound bites. Ninety percent of this release marches on with their DIY hardcore thrash, while “This Music Is My Life” and “Violators Will Be Prosecuted” swerves into melodic territory with Rancid-flavored punk. Kerri, the female vocalist/bass player takes over in “Never Grow Up” and can be heard in gang choruses, lending texture to the otherwise burly vocals. The extra cuts are do-overs from label mates The Ergs!, Pinhead Gunpowder, Noah Eagle, Kimya Dawson, and Super Famicon. Highlights being Famicon’s folk metal “Throw Like a Girl,” which they turn into a boiling bucket of sweat. Recommended. –Kristen K (Get Better / Let’s Pretend)


ROUGH KIDS:
The State I’m In: LP
With all the “hardcore” talk surrounding this band, I was expecting some crazed, thrashy stuff akin to Negative Approach or Septic Death. This ain’t that kinda dance, though. They’re definitely “hardcore,” but more in the late 1979 beach/OC kinda sense of the term—less emphasis on hyper-speed tempos and more on catchy, thuddy brilliance. The band is tight as fuckin’ nails here, seamlessly working each track to a fine punk rockin’ froth that shimmers with bits of the thug-pop glory days of bands like Der Stab, Social Task, Convicted, and the Cheifs, delivering the goods with both enough heft to facilitate the inevitable circle of sweaty boys proving their masculinity, and with enough pop sense layered in that this could’ve been released on Dirtnap and no one would’ve blinked an eye. Sum this whole thing up into a single word? Fan-fucking-tastic. –jimmy (Sorry State)


ROCKERS, THE:
Self-titled: 7”
This re-release of their only recordings has been long sought after and is highly prized by collectors. It’s been remastered and put out at a price us commoners can afford. These four tracks of British Invasion-influenced power pop really harkens back to that era with a nod to the Beatles. Three of the four songs really stood out. The last song, “Comeback” is slower paced and not as immediate as the other three. Really tight playing and with an obvious love for the era, this was a really cool re-release that is worth seeking out. –Rick Ecker –Guest Contributor (Cheap Rewards, cheaprewards.net)


RIVAL MOB:
Mob Justice: LP
There are some people in this little world of hardcore and punk who are just good fucking creators of sounds. Take Jeff and Mark from the Marked Men, for example. They can craft something that you and I could never do, over and over again. In Boston there’s a small group of dudes who pretty much dominate the hardcore scene in bands like Boston Strangler, WW4, No Tolerance, Give, Magic Circle, Battle Ruins, Free Spirit, and all come together in the Rival Mob. I’ve heard plenty of bleating about how their stuff goes for outrageous sums on eBay. Waa fuckin’ waaa. It’s supply and demand, fuckers. This band brings the truth and all kinds of nerds are feeling it, from the yoked-out windmill kids to the sketchy skins. This ain’t no trip to the library, this is well-crafted fuck you mosh music. Taking cues from SS Decontrol, Warzone, and even U.K. oi, this band brought the hammer on their 7” of eons ago and upped the stakes on the legendary Revelation Records (who, in all fairness, haven’t released a record this good since their heyday in the ‘80s). Songs about justice, revenge, and stomping you the fuck out. This is the soundtrack to my life. Best LP of 2013? Sure, I’ve called it. Mob rules all. –Tim Brooks (Revelation, revelationrecords.com)


RESONARS, THE:
Crummy Desert Sound: LP
Matt Rendon’s a time-traveling wizard miner with eight arms (or how ever many it takes to play all the instruments on this record). It’s bittersweet. I sure as fuck love the Resonars. Crummy Desert Sound is ‘60s British Invasion gold filtered through lonely-shack, isolated-DIY contemporary Tucson. Think of the rocket vapor over saguaros of Lenguas Largas. In 2013, he’s far from alone in his sound. Chicago’s Treasure Fleet also instantly comes to mind, which is pretty awesome. And I know I’m in the tiny minority when I say that I wait around in the back alleys of musical acceptance, hoping to hear a band that translates The Monks as fluently as The Knockout Pills, but fuck it. I am. Play this for your mom and dad (or are we at grandpa/grandma time? Decades, they pass fast.) and say it’s a long-lost pre-mastered Zombies or Animals record. Give them time to chew it over just to fuck with them. Because, at the root of it, most of those records of the ‘60s, by the time the vinyl got poo’d out and pressed into a disc, after they were fully digested through the intestinal tracts of the recording industry, they lost some of the raw grit and electrical zap of the live performances. Resonars gives you both: the glittering of found gold and the dirty fingernails and glorious sweat of digging in an isolated mine from a sealed-off time. Fuckin’ miner wizard. –todd (Burger)


REJECTION FETISH:
Embrace the Whorror: CD
Racine, WI’s loudest band returns with their second platter. Full-throttle punk with a touch of metal to keep it interesting. Solid playing all around, cool vocals, and excellent songs make this one a keeper. “Five Bullets” and “Circus Punk” were a pair of my favorites. But if you like it ragin’ full on, then you will dig Whorror from start to finish. Pick this up post haste. –koepenick (Self-released, rejectionfetish.com)


RED HEX:
Shoulda Known: 7”
Dark, vaguely lo-fi rockin’ goin’ down here. There’s some muscle behind the tunes these Tacoma kids are offering up, not quite punk, not quite grunge, not quite garage, yet a little of all the above. Good stuff. –jimmy (Negative Fun, negativefun.com)


RED DELICIOUS:
The First Cassette by Red Delicious: Cassette
Five tracks of jangly rock from this New York-based trio. What struck me first were the intelligent lyrics followed by the general consistency of the tracks. Not a dud in sight. The first track, “Rust,” reminds me of The Clash’s “Spanish Bombs” as played by LaSalle, which might sound odd at first, but it works. The other four tracks don’t veer very far from this template but probably don’t need to. They rely on the strength of the material as well as the honey-sweet stylings of dual vocalists Jamie and Eric. All in all, this cassette is a pretty tasty debut from Red Delicious (sorry, I couldn’t resist) and I look forward to hearing what comes next from these guys. –Garrett Barnwell (One Percent Press, onepercentpress.com)


RAW NERVE:
Every Problem Solved: 7”
How pretentious could this review be? “Raw Nerve’s swan song, four songs of intense disgust for everything: for their culture, their scene, and themselves. Layers of feedback and noise interspersed with raging moments of hate before curling back into a ball to quietly seethe.” Does that sound like something I would write? Yeah, kinda. But what is this record, really? It’s hard to write about Raw Nerve because I can’t really think of very many bands in the last ten years that have been so divisive in a matter of simple aesthetics. It took, I believe, a fair amount of audacity for them to not only continue forging a style that so many viewed as obtuse or pretentious, but to hone it. They made it their own. This record is not a rager like Midnight, but there is somehow more tension. It’s a reflection of the state of the band as people at the time, trying like hell to hold onto what they had made for each other. The lyrics on this recording are the best the band had written, as Ralph’s style of writing bleak, minimalist rants finally came through into something cohesive and pointed instead of vague and distracting. Raw Nerve were not the greatest hardcore band of the last twenty-five years, but they were the perfect five people in the same spot at the same time, and in the end they fell apart just like all their songs. –Ian Wise (Youth Attack, ihateyouthattack.com)


RACCOON:
Demo II: Cassette
One of the enduring passages from my history of reading zines is by one of the guys from (if memory serves well) Go Metric who said in a Punk Planet interview, that they sold the demos they got to review as Richard Hell live bootlegs. It was a perfectly indirect and perhaps unintentional summing up of the fine line between genius and slop that punk often walks, and one which the influence of a few pretentious rock writers can add value to or take away from as they please. I got the joke because, as a teenager, I was stoked to order a Richard Hell And The Voidoids live tape along with the seminal Bad Brains tape from ROIR Records. Expecting to hear “Love Comes in Spurts” the same way I heard it on Pump up the Volume and “Blank Generation” the same way I’d heard it on a Time/Life punk and new wave compilation, what I got was a shit recording of a shit show that had no business being released. I didn’t become a fan of Richard Hell until years later when I found a best-of tape in a cut-out bin. I think of that quote when I listen to Raccoon’s demo. It’s kind of slop, nowhere near the genius of Richard Hell’s larger work, but far better than that horrible, junked-out, live tape and probably the exact sort of demo the guy from Go Metric was thinking of when he made that quip. I’m not sure where I’m going with all of this, but this tape is pretty rockin’. –Craven (Self-released, 35lbraccoon@gmail.com)


PURITY CONTROL:
Adjusting: 7”EP
Throwing out the Infest card is too easy, but these Canucks have definitely fucked with that, make no mistake. Another good vantage point would be Left For Dead, which is timely, as their LP is reissued and reviewed in the issue somewhere. Unforgiving blasting hardcore, which may have me reaching for the ‘powerviolence’ label. No hints of metal, just a punishing one-two to the neck and face. Six depressive blasts of intense hardcore that barely gives you enough time to take a breath. Keeper for sure. Limited to 313 so don’t sleep –Tim Brooks (Purity Control, puritycontrol.bigcartel.com)


PLIMPTONS, THE:
The Life and Death of Colonel Plimp: CD
After existing for approximately thirteen years, Scottish band The Plimptons are disbanding and The Life and Death of Colonel Plimp serves as their swan song, although it’s really just a retrospective. There are nineteen tracks in fifty-two minutes and almost all of them are overwhelming in their annoyance. I haven’t been forced to skip past so many tracks on a CD in a long time. It’s either the weird organ that sounds like it is from a circus or the vocals that kept reminding me of comedian/talk show host Craig Ferguson, but either way, I couldn’t handle this. Although Nardwuar is a fan of the band, I can’t in good conscience recommend it. They may have a cult following, but I’m not drinking the Kool Aid. –kurt (Self-released, theplimptons.bandcamp.com)


PERSPEX FLESH:
Self-titled: 7” EP
An interesting take on hardcore here. The couple o’ tunes that rev up the tempos are good, but the real gems come to light when they slow down. Things take on a hue of anguished fury that recalls both the intensity of the finest of Scandinavian fjordcore and the brute simplicity of Midwestern hardcore. Best of all, when the last of the four tunes here winds down, you’re left with that aching feeling that what was given you was nothing more than a snack to tide you over ‘til they decide you are worthy of another sampling. –jimmy (Video Disease, videodisease77@gmail.com)


OPEN SEX, THEE:
Self-titled: Cassette
Meandering between psychedelic and shoegaze, this five piece out of Indiana makes me want to crack open a beer or smoke some weed. These are sweaty, sunshiny summertime tunes with Miss Mess on vocals, sounding like Grace Slick meets Kathleen Hanna circa Le Tigre. Her nasal cry floats from orgasmic to indifferent, while prog rock chords ebb, crest, and crash. “Gimme Away” veers into garage with a ‘60s Chuck Berry pogo structure while “Light of Love” and “Live Dead” show off their musical chops. The latter is an epic, six-and-a-half minutes of scat singing, rife with “oohs and ah ahs” that gently escalates to what I can only imagine must resemble a religious rapture if seen live. Not your typical debut, this is well crafted rock’n’roll at a comfortable 25 mph, much like The Velvet Underground. Recommended. –Kristen K (Let’s Pretend)


ODDCZAR:
One Word: LP
Noisy, emo-tinged hardcore fulla screamin’ and hurt feelin’s. Blech. –jimmy (Bitter Melody, bittermelodyrecords.com)


OBNOX:
Smoke Woody Haze EP: 8-Cut 12” Maxi Single

Lamont “Bim” Thomas has been in two powerhouse bands, from the duo Bassholes with Don Howland (the song “Daughter” still stops me cold), to the peace-through-superior-Cleveland firepower of This Moment In Black History. All bands are very worth seeking out in both past and present tense. Obnox is Lamont front and center on vocals and drums. This EP matches Lamont with different hip-hop folks providing the beats, rhymes, and production. I mean, fuck, how many examples do you need of a guy who gets it right musically so often? Great songs crush the empty boxes of flimsy musical genres. You want the hollow rattle of a spent cartridge of something merely shiny or a loaded chamber racked when the purist police and big industry come knockin’ your front door down? Lamont’s been cleaning his weapons, smoking weed, got his Arts and Sciences degree. His answer’s written on the door, plain and simple. Definitely worth your time and purchase.

–todd (12XU, 12xu.net)


NIGHTMARE BOYZZZ / YOUNGER SIBLINGS:
Split: 7”
My pal George and I were lucky enough to catch the Nightmare Boyzzz for the first time this last March, on a multi-billed gig with Los Vigilantes at a warehouse show out in the SouthBay here in Los Angeles. Motherfucker! I know our own Todd here at HQ had reviewed something they did not too long ago, but why the hell haven’t I ever checked this band out the last two years they’ve been at it?! Without a doubt, thee best band happening out of Alabama as we speak (Muscle Shoals, to be exact). Imagine if Radio Birdman and The Marked Men had bastard children that were raised by The Beach Boys, and instead of sending the little heathens off to summer camp, The Beach Boys would ship them off to their Uncle Johnny, Joey, Dee Dee, and Tommy’s house for the summer. Well, those same little heathens have grown up and are now the Nightmare Boyzzz. My favorite “Surprise, Dale! You big fuckin’ dummy!” band of the year so far and I can’t recommend ‘em highly enough. Oh, that other band on the split? The folks at Fat Sandwich really should’ve tossed those two throwaway tracks so the Nightmare Boyzzz could’ve pressed more than just “My Body Breaks Down” and “Devil III.” Nab this and anything else the ‘Boyzzz have available. Immediately. –dale (Fat Sandwich, fatsandwichrecords.com)


NIGHT BIRDS:
Maimed for the Masses: 7”
Night Birds have got to be one of the best bands going right now. I haven’t found anyone who doesn’t like them yet. Their debut LP The Other Side of Darkness and their 7”s get played a lot around here. Now they’re back with some new tunes and a new guitarist. It has to be a bit stressful to come back after replacing a key member of the band. Will the songs change? How about the style? I’m not sure if these things went through the heads of the remaining Night Birds, but I’m happy to say that they needn’t worry about it. New guitarist PJ is up to the task and adds a new element to the songs while distinctly sounding like Night Birds. They cover a wide range of topics on the record (pro wrestler Mick Foley, medication, auto-erotic asphyxiation) and it closes out with the instrumental “Boat Trash.” It is obvious that with time the comparisons that follow the band are fading away and now they just sound like Night Birds. That’s fucking awesome! –ty (Fat)


NAZI GOLD:
A Message of Love: LP
From what I’ve been able to gather, this is the debut long player from an Austin-based band comprised of members of Fleshlights, Dead Space, and Swans. My experience with Swans is limited to their early material, and I know fuckall about the other two, but what’s goin’ on here is on the indie/post-punk tip, with the dissonance reined in a bit to showcase a bit more tunesmithing than flat-out skronk. Nice bit o’ work. –jimmy (Super Secret)


MOIRA SCAR:
Scarred for Life: CD
Performing in what they describe as “homemade shaman masks,” this trio out of San Francisco sways from doom to electro punk. Some may dismiss this as experimental noise or just plain weird, but for those that stick it out will hear Nina Hagen’s endearingly screechy antics in “Miss Funcktion” and the verbosely titled, “Magician’s Rant///Ossuery Querry///Spilt Potion.” Changing it up, the three set their trajectory for the stars with the aptly named “Space Time Resonators,” with Man or Astro-Man? keys. The title track is a disorienting house of horrors, falling back on operatic vocals and a chunky bass line fit for an execution which turns disturbingly maudlin. “Telepathos,” probably the most accessible track, ties in early Siouxsie Sioux banshee cries stretched over synth pop keys. High on the creep out factor, this could be a lo-fi soundtrack to a Dario Argento flick; perfect for spooky punks. –Kristen K (Resipiscent)


MODERN DAY RIPPERS:
Rip it Up in a Modern Way: CD
Catchy punker ditties with clichéd titles like “I Believe in Pills,” “Abortion (I’m An)” and “I Want Your Hole” performed by folks named Richard Bastard, Chris Shitface, and Germ. –jimmy (Sexy Baby)


MODERN ACTION / SWINGIN’ UTTERS:
Split: 7”
I can’t say enough good things about Modern Action (both the band and the label). First as a band: They continue with that super catchy, punk rockin’, bouncing up and down thing (street pop?) that they started with The Bodies, and add to it. You feel the songs. My only complaint is the infrequency that new stuff comes out (although compared to The Bodies, they seem pretty prolific). As a label, Modern Action does a great job of not only putting out stuff by bands I know and love (Smogtown, The Bodies, The Briefs) but have introduced me to some of my new favorites over the last couple of years (Neighborhood Brats, Amoebas, Sharp Objects, Modern Pets). Now here they are joining forces with stalwarts Swingin’ Utters. While I have always appreciated the Utters, I’ve never really gone crazy for them like a lot of my friends do. Upon hearing the song on this split, I may have to rethink that. It’s a great tune. It sticks in my head (actually both band’s songs on this record do), and I love it. Great job once again. I’m off to flip the record. –ty (Modern Action)


MIDAS FALL:
Wilderness: CD
Sarah McLaughlin on an ambien(t) trip. –jimmy (Monotreme)


MEAT WAVE:
Self-titled: Cassette
Okay, I’m about so say some crazy things, so let’s set this straight: This is the best piece of music I reviewed this month. It reminds me as much of Nirvana as it does the Red Dons. I tried to tell a friend it hits somewhere between The Marked Men and Shellac. The music ranges from chaotic to straight-forward punk melodies. It hits a weird spot, one where the formula of rock’n’roll sort of spirals out of control and the connections between itself and other music becomes confusing. Original, interesting, and endlessly comparable, yet still unique. Oh, here’s another one: The Brokedowns meets Les Savy Fav. Okay, I’m done. –Bryan Static (Let’s Pretend, letspretendrecords.com)


MAX LOAD:
Self-titled: LP / CD / DVD
An aptly-titled release, as this LP + CD + DVD package is likely the max load of Max Load—KBD-era art-punks from the Illinois part of the St. Louis sphere of influence—that could possibly be collected together in one place without adversely fucking up Earth’s gravitational pull or something. While the band’s original “X-Rod” b/w “Magazine Sex” 45 is a nice complimentary piece on compilations of its era, i couldn’t really call it a “classic” in good faith, which kinda calls the gravitas surrounding the additional twenty-two demo cuts which round out this package into question. I mean, it’s interesting enough—in an “Unnatural Axe buys a keyboard and gets really, really into it” kinda way, crossed with a second side of those Rodney on the ROQ albums kinda way, occasionally almost crossed with a first Kings album but not really kinda way—but i see this more as a historical courtesy than a Rock Imperative. That said, “Va-Va-Va-Vicky” reminds me more of “B-A-R-B-R-A Barbra” than it does “L’L’L’Lucy,” so i think we’re all all right, as Robin Zander once opined. BEST SONG: “You’re a Blur.” BEST SONG TITLE: “Rapidly Expanding Universe.” FANTASTIC AMAZING TRIVIA FACT: In direct defiance of Rock Orthodoxy, the record cover depicts a number of horizontally-striped-shirt-wearing band members, although the cover is composed of individual photos which may not have been taken at the same time. –norb (BDR, RerunRecordsSTL.com)


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