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Record Reviews

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Below are some recently posted reviews.

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CCR HEAD CLEANER:
Self-titled: 7”
Out of San Francisco, this five piece offers up four noisy tracks, two of which are new. Side A houses their previously released stuff off their self titled debut in ‘11. “53rd&420” rattles and clangs like it’s been kicked down a flight of stairs, while “Life of the Party,” rich in whiney feedback, clocks in under a brief minute. The flipside is a whole other ball game. At first I thought the record was playing at the wrong speed. “Cocoon” emerges softer, with a tangible rhythm that takes off midway with whirling Catherine Wheel guitar effects and warbly reverb. The last track, “Sanctuary City,” starts where the previous one left off and disperses nebulously as fast as it formed. –Kristen K (Cesar Cuts, caesarcuts.blogspot.com)


INSTIGATION, THE:
Demo: Cassette
Tokyo hardcore punk with vacuum cleaner blast vocals. The red accents on the cover and touches of super-catchy rock’n’roll show a strong sense of style that doesn’t override the impact of the music. Looking forward to hearing more. –CT Terry (Yakuzzi, spasticfantastic.de)


ILSA:
The Maggots Are Hungry: 12”
Ilsa could very well be the heaviest band on the planet right now (perhaps SSOS would give them a run for their money). This 12” is the first “official” version of their self-released debut recordings that I believe were only ever available on CD. Remixed and remastered for vinyl, this is Ilsa at its most raw and most primitive. That’s not to suggest that these tracks don’t show the promise of the absolutely crushing Intoxicantations LP, or even the vicious debut LP, Tutti Il Colori Del Buio (with which this 12” shares a few tracks), but compared to their more recent material (which is, in my opinion, some of the most exquisitely executed dark hardcore/metal of the past many years) this sounds like a band finding its footing. That said, Ilsa “finding its footing” far surpasses the output of most of their peers, and The Maggots Are Hungry serves as an incredibly impressive glimpse at the disgusting heaviness to come. –Dave Williams (A389)


CARTE DE VISITE:
I’ve Been Here Before: Cassette
I actually HAVE been here once before, as I reviewed these guys previous cassette release just a few issues back. Okay, so you know the “quiet—loud— quiet” formula of nearly every ‘90s Midwest emo band, right? If you took only the quiet parts from all of those songs and tossed out the “loud” parts, then you would be left with something that is similar to the four songs on this cassette. Unfortunately for this band, the variance between quiet and loud is what often made those ‘90s emo songs interesting, and without that crucial element you’re left with arty, pretentious indie rock with jazzy rhythms and little substance. –Mark Twistworthy (cartedevisitemusic@yahoo.com, cartedevisite.bandcamp.com)


I WANT TO KILL EVERY HUMAN:
Newfoundland: Cassette
This is just several minutes of white noise. Christ, if this is to be considered music (I hope not), I might as well record a running humidifier for five minutes and submit it for review. This is just dumb. –The Lord Kveldulfr (Bill Murray Tapes, BillMurrayTapes@gmail.com)


HOT WATER MUSIC:
Live in Chicago: CD
Culled from their two sold-out Chicago performances during their second reformation, this package contains two CDs and one DVD that demonstrate the band hadn’t lost any power during the preceding hiatus, break, or whatever you want to call it. The material contained is pretty career spanning, though perhaps favoring the output from their later years a little too much for my taste. Longtime fans will certainly find much to like here, though the band sounds a little ragged and loose in comparison to the superior Live at the Hardback disc from 1999. Everything that made HWM so great in the first place—the dual guitars tautly snaking around each other, heartfelt songcraft, and passionate delivery—are all in evidence here and really serves to remind me what an awesome band they were. It was easy to forget what amazing musicians bassist Jason Black and drummer George Rebelo are, but these discs reminded me very quickly. So, while I would be hesitant to call this set essential, it serves as a nice snapshot of the band up to that period. In that context, there is plenty to like on this release. –Garrett Barnwell (No Idea)


CALIFORNIA X:
Self-titled: LP
Huh. This sounds like Gumball or Overwhelming Colorfast without the big budget production. What I mean is, if this band had been around twenty years ago they would have been considered “alternative rock” and vied hard for a video on 120 Minutes or something. The Don Giovanni website keeps talking about how irrefutably punk their sound is, but I’m really not hearing that at all. Though they also mention that the band could also pass for contemporaries of Dinosaur Jr. and Sonic Youth with nary an eye blink, and that makes a lot more sense to me. Not necessarily bad, but not exactly captivating either. –keith (Don Giovanni)


HOMOSTUPIDS:
New York Jammin’: 7” EP
Homostupids are one of them bands I’d only known by name up to this point. Based on the raw sonic quality, I’m guessing the three tracks here are recorded live. The band sounds like a seasoned backline laying the foundation while the guitarist adds spoonfuls of coffee grounds to the Jell-o—short, choppy, sloppy, and a wee bit arty without being too pretentious. –jimmy (HoZac, hozacrecords.com)


HEAVY CREAM:
Super Treatment: LP
If Ty Segall hasn’t already invented it, he should invent the “Ty Segall Effects Pedal.” If you’re familiar with Segall, you know what I mean. Super Treatment, produced by Segall, is a sonic departure from Heavy Cream’s straight-ahead, Runaways-inflected debut LP Danny, but not in a bad way. Still retains a skuzzy Nashville aesthetic (I think I just made that up) that label Infinity Cat has nurtured. I haven’t seen Heavy Cream live in a few years so I don’t know if they sustain the Segall-esque sound on stage. I hope their new drummer keeps up that Ramones beat—I like the new, punchier Heavy Cream. –Sal Lucci (Infinity Cat)


BURNING BRIDGES:
Self-titled: 7”
This 7” came with some great extras beyond the record itself. There’s a zine, which includes all the lyrics and some great resources like lists for local suicide and rape crisis hotlines, and a recommended listening list. There’s also a rad fold-out poster, a black and white collage of all sorts of grainy photos of a political nature. While all the extras in the sleeve were great, I was a little lukewarm on Burning Bridges musically. Lyrically, Burning Bridges are right on. Their topics range from Christian genocides over the years, to calling out rock star mentalities in the DIY community, to a song about one of the band member’s cats. Regardless of their subject matter, their lyrics are all smart and earnest. The mid-tempo melodic punk over which the band scream and shout their lyrics didn’t really move me. While I couldn’t find anything to dislike about Burning Bridges, I can’t say I liked this enough to play this on my own time. –Paul J. Comeau (Solidarity, info@solidarityrecordings.com)


GOD’S AMERICA:
Our Bones Will Bleach in the Sun: 7” EP
Lo-fi, grindcore blurt-blurt-blurrrrrrrr. –jimmy (A389)


BURIED IN LEATHER / TENAFLY VIPERS, THE:
Split: 7”
A two-band split with both bands exhibiting some hard, guitar-driving punk rock’n’roll. Buried In Leather comes more on the British hardcore side of things and Tenafly Vipers lean more towards a Turbonegro vibe. It’s all pretty decent stuff. –ty (myspace.com/thetenaflyvipers)


GINO AND THE GOONS:
Self-titled: LP
My favorite impulse buy since the last time I loved a record I bought on pure impulse. Seven Budget Rock-dumb style Ramones-y numbers (plus one Ramones cover). You can tell that these guys actually know how to play their instruments but are dumbing it down for the fun of it. Do yourself a favor and play “Repeat It” on repeat. –Sal Lucci (SunWray)


GET HIGH:
Demos: LP
Get High is one of my favorite hardcore bands ever. Hands down. The self-titled LP on Big Wheel Recreation/Espo is one of the most original, inventive releases of the ‘90s/’00s hardcore scene, and, on a personal note, quite possibly the most influential record on my own playing/writing, be it for Crusades, Last Communion, whatever. It is a unique, somewhat challenging record that is something of a sore thumb amongst its Massachusetts peers of the era (Converge, Cave In, Barrit, etc). Now, many folks insist that Get High’s 1996 demo (recorded two years before the debut LP) is their strongest material. I’m personally inclined to disagree, but no doubt that the demo (which comprises the A-side of this record) was fantastic as well. These songs are somewhere between vocalist Kevin Rheault’s previous band Dive (also incredible) and Get High’s full lengths, so a bit more “hardcore” and a bit less dynamic, but goddamn it’s terrific. The B-side is a handful of tracks from Get High’s two LP sessions, and while I think they were rightfully cut from the full lengths, it’s still strong material from a band that wasn’t afraid to expand on the hardcore formula. Essential listening. –Dave Williams (Painkiller)


GEHENNA:
Negotium Perambulans in Tenebris: LP + 7” EP
Most metal-tinged hardcore—or hardcore-tinged metal, whatever—does fuckall for me. Too often it’s too pretentious, too quasi-macho, or too boneheaded for me to spend more than a few minutes paying attention. Gehenna’s 2000 debut album has always been one of those exceptions for me, something that shits all over both worlds and ends up its own feral beast. From the opening salvo of “First Blood” to the final assault of “One Way to Die” eleven tracks later, Negotium… is an unrelenting shower of caustic slivers of rage set to tempos that rival DRI in their pre-Crossover prime. Yes, the metal is there, but instead of an endless barrage of chugga-chugga-guitarsolo-chugga-chugga, it blackens the core of what would otherwise be another exercise in speed, adding seething virulence and heft instead of wankery. This time around they’ve included their version of DRI’s “Yes Ma’am,” an outtake from the session previously available as a limited edition flexi, and a three-track bonus EP limited to three hundred copies that contains a couple o’ comp tracks and an alternate version of “Bite It.” If you missed it the first time ‘round, I highly recommend you get it while the gettin’s good. –jimmy (A389)


BUCK GOOTER:
Witch Molecules: LP
Was a bit apprehensive ‘cause a handle like “Buck Gooter” conjures images of nouveau alt-country hell. What’s here, though, is minimalist skronkin’ wrenched outta guitars, drum machines, and other devices that create sound. While much here tends to bleed together, there are some interesting moments and sounds, like “Butterfly Collector,” which is almost mesmerizing in its repetitiveness. This ain’t for all tastes, but not a wasted effort or listen by any stretch. –jimmy (X-Mist, x-mist.de)


BOTOX RATS / DURBAN POISON:
Split: 7”
Botox Rats: Another dose of Stitches-meet-Modern-Action styled punk rock about a gossipy girl. Durban Poison: Lewd lyrics set to a glam-punk backbeat. –jimmy (Shake!)


GARY WRONG:
“Mayhem Troopers” b/w “Heroin Beach”: 7”
There’s something in the water down south, and these cats from Alabama have sure been drinkin’ it. Ex-Wizzard Sleeve (if that means a shit to you), drugged-up kids on the Hozac tip. I dunno man, imagine if all those obscure Killed By Death records were influenced by Can and Hawkwind and a handful of PCP. It’s drug music, dangerous music, music to kill or be killed by. It’s punk music. Dig in freaks, this one is worth the admin price. In case you have any idea what I’m talking about, one of the two songs is a Cortex cover, twisted synth psych. This shit is fucked up. –Tim Brooks (Bat Shit, batshitrecords.bigcartel.com)


GARDEN CITY REFUGEE:
When Language Runs Dry…: CD
This one man band out of Oregon specializes in disillusioned, acoustic folk punk. With a voice a shade lighter than NickCave, he laments over lost girls and big business oppression, spewing words as fast as the disclaimer of any pharmaceutical commercial. While I think what he’s got to say is worthy of listening to, I can’t help but wish the tracks had more cadence. One of my gripes with acoustic stuff is that without a huge rhythm section, the singer has to be able to convey rhythm or it just sounds like a stream of words with someone strumming disjointedly in the background. Just my opinion. Your mileage may vary. –Kristen K (Self-released, gardencityrefugee@gmail.com)


FREEZING HANDS:
Self-titled: Cassette

It’s funny how close punk rock gets to the original version of rock’n’roll. In the modern era, the distinction becomes almost non-existent. Bands that mimic the original sounds become punk by recording it to match the production of ‘50s and ‘60s acts. In Freezing Hands, I hear Beatles, DelShannon, and first wave psych rock bands. The result of this concoction may be familiar to you, as it lands pretty close to bands like Lenguas Largas and the Treasure Fleet. Features members of the Knockout Pills, or so I’m told.

–Bryan Static (Burger, burgerrecords.org)


FOUR SLICKS, THE:
Four on the Floor: LP
Four reasons why i love the Four Slicks: One, they love rock’n’roll. Not just ANY garden variety rock’n’roll, but, very specifically, the non-instro, non-Perry-Como sounds of 1958-1962, as filtered thru the Purple Onion and/or Estrus-o-Scopic two-color prism of the early ‘90s garage thing ((of which, obviously, guitarist Jon Von was a part)). THEY HAVE FOUND THE FORMULA, AND THE FORMULA IS GOOD. Nine of the album’s thirteen songs’ lengths are within eighteen seconds of each other ((1:33-1:51)). A la classic monotonists like the Ramones or Head, they are not afraid to beat the listener over the head with umpteen variants on a single theme, and I appreciate this. Two, like expert Rock Plunderers such as the Polecats or Swingin’ Neckbreakers, the band’s ability to stockpile obscure covers matching their style ensures a wealth of top-notch material, with little to no negative impact on the perceived quality of the finished product ((I mean, let’s face it: When’s the last time you heard anybody say “Heavens, no—not another Bracey Everett cover!”)). This album contains all of three originals ((written, on an apparent strict annual basis, in 2010, 2011, and 2012)). Does it matter? Three, Jon Von’s guitar playing is awesome, because he plays how i imagine i would play if i actually tried to play guitar in a band and practice and stuff: Bang on suspended chords for a minute, play a two-finger lead after the second chorus, bang on suspended chords for another twenty seconds, the end. I’ve never really found anything else about playing guitar to be any fun whatsoever ((okay, except for pickslides. I’d do more pickslides. I cannot lie)). Four, you can download this album from the band for any price you want to pay, up to and including zero. If you need more than those four reasons, you are an oaf and a cad and likely cannot drive stick. Good day, sir. I SAID GOOD DAY! BEST SONG: “Hey Little Girl.” BEST SONG TITLE: “Baby Come On.” FANTASTIC AMAZING TRIVIA FACT: Both copies of this album that I own are signed “Cheers! Jon” on the back of the shrink wrap. –norb (Slick, music.fourslicks.com)


FORWARD:
Just Go Forward to Death: LP
My first encounter with Forward was nearly ten years ago when they toured the U.S. alongside fellow land of the rising sun countrymen, Paintbox. I was besides myself in disbelief as to just how these over forty-years-old Japanese hardcore veterans (members of Deathside) could still manage to bring down the house following Artimus Pyle’s and Sunday Morning Einsteins’ crushing performances. It’s probably also why the venue lost power for a brief moment and why Paintbox’s gear kept fucking up during their set: Forward literally sucked the energy out of the building! This LP is a re-issue of an album originally released in 2000 and boy does it ever hold up some thirteen years later. Dose after dose of their patented “burning spirits” hardcore, though not with as many shredding guitar solos as on their subsequent releases. Every song is a crushing blow to the skulls of ageist nay-sayers and fake hardcore wimps. There’s some progressiveness strewn about with the addition of harmonicas and some dreary female back-ups to accompany the onslaught of Motörhead-esque drum charging and earth-rattling bass lines. For anyone not already privy to these maniacs, this is the perfect entry level record. Now if you’ll excuse me, I’m off to dig out my copy of Fucked Up!! to further reacquaint myself with my very own “burning spirit” within. –Juan Espinosa (Prank)


FORT BS:
1986: LP
FortBS were a Polish punk band who recorded and illegally released this material in 1986 in their country on tape. I think this may be the first time these songs are on vinyl. Something that’s interesting about this record is how each side of the record has a different style. The A side is more along the lines of dark wave, but definitely not typical of the style. The songs have a dreary and morose tone which takes over the room. The saxophone is haunting—it comes in and out—making the sound colder and darker. The instrumental “Monuments” is fantastic. Despite the warm tone from the bass, the sax and guitar keep everything cold and gray, even with the constantly building tempo. Great song, from the way it starts to the way it ends. The B side is solidly planted in punk rock. These songs sound heavily influenced by the UK Subs—and similar English bands from that era—but FortBS keep the sound raw and minimal, creating their own sound. It’s mainly mid-tempo, tuneful, and all around good. “Trojka” is epic! It’s as though King Crimson went punk on this song! The accordion, or maybe organ, generates the main riff, while everything else comes in and creates this galloping tempo with dynamic breaks. Definitely one of my favorite records I’ve reviewed for this issue. –Matt Average (Pasazer, pasazer@pasazer.pl, pasazer.pl)


BORN UGLYS:
Pictures of Ugly Babies Sell Records: 7” EP
Metallic thrash from a band comprised of members of Cross-Stitched Eyes, Word Salad, and others. More Battalion Of Saints or Accused than Metallica, meaning they keep things tight and to the point instead of meandering about for eight minutes about things that can be better addressed in under two. –jimmy (Prank)


FLAG OF DEMOCRACY:
Shatter Your Day: 2 x LP
For every Black Flag, Misfits, and Dead Kennedys—pretty much world-wide known punk bands—there were “regional” punk bands that could toe up the to the heavyweights on any given night. Battalion Of Saints in San Diego, Toxic Reasons in Dayton, OH, Articles Of Faith in Chicago. Flag Of Democracy ruled Philadelphia (technically Ambler, PA). First show in ‘82, they opened up for Minor Threat and Agnostic Front. Through whatever machinations—luck? Secondary market? Drugs? Starting families? Van troubles? Someone’s flakiness?—who knows why the roulette wheel’s ball of worldwide recognition didn’t end up in F.O.D.’s slot. It definitely can’t be from lack of persistence. Lead singer/guitarist Jim McMongale’s been at it for thirty-one years and 2010 saw the release of a new record (of which I had unreleased demos, from 2005? 2006?). Nope, they’re not resting on laurels. They ain’t rock stars in paupers’ clothing or 40oz. dirtbags with 401(k)s. Their twenty-fifth anniversary was held in the FirstUnitarianChurch. Shatter Your Day was F.O.D.’s debut album in 1986. It’s fast-as-hell, noisy, and strange. Jim’s voice is strangulated, cartoony—comparative to Jello Biafra’s—but not a put-on. Some folks just have unique voices when they start yellin’. What I unabashedly enjoy is that in 1986, so much of American hardcore’s foundation had been cemented—shit, by that time, a lot of it had started to crumble—and F.O.D. sound so fucking exuberant, like there’s this joy in marking up a sidewalk of freshly poured concrete. Another thing strikes me is how, beyond the blur of speed there are all these wound-up melodies and flitting guitar notes. It’s not slash-burn-chest-beat-caveman-rawr. What makes this packaging superior? Thirty-three bonus tracks. The Chinese Food and Love Songs EPs in their entirety, comp tracks, live tracks, demos, previously rejected versions of songs, sticker sheet (!), big-ass button, mini-poster, MP3s. It’s obviously a labor of love, an act of unmitigated appreciation, and a punk public service. SRA, thanks for putting this out. F.O.D. is an American punk rock building block. –todd (SRA, srarecords.com, flagofdemocracy.com)


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