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Record Reviews

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Below are some recently posted reviews.

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ANTiSEEN:
Falls Count Anywhere: CD
Much like how many of us wouldn’t know who Pol Pot was but for a certain classic Dead Kennedys song, most of what I know about wrestling comes from ANTiSEEN lyrics. Falls Count Anywhere compiles ten of their wrestling songs. Eight of the ten tracks are originals and all but their cover of “Badstreet USA” were previously released. This CD came out in conjunction with a rare ANTiSEEN performance at a wrestling event. Some of the very best, catchiest ANTiSEEN songs revolve around wrestlers, so it’s cool to have them all in one place. The tide is turning for ANTiSEEN, now in their thirtieth year as a band, as it seems that more and more folks are embracing them. Unique on so many levels, ANTiSEEN kicks as much ass as the wrestling characters portrayed in the songs on Falls Count Anywhere. –Art Ettinger (Rusty Knuckles, rustyknucklesmusic.com)


ANTAGONIZERS ATL:
Just My Luck: CDEP
The band advertizes their five songs here as “High Gravity Rock N Roll.” Whatever. It’s cheesy and boring. The only thing worth mentioning is that, apparently, the music was written and recorded by the original Antagonizers in Durham, NC, in 2010. Then, the vocals were recorded in Atlanta, in 2011. There is also a new lineup listed on the back cover. This all makes me assume that the singer kicked his band out of the band after they wrote and recorded all of these masterful hits, and then moved to Atlanta and got a new band together, or the singer quit the band, then moved to Atlanta and got a new band together. Either way, at least he was nice enough to mention the names of who actually wrote and recorded these songs. Maybe it was part of their agreement. Oh well, it still sucks. –Nighthawk (Self-released, antagonizersatl.com)


ABUSIVE STEPDADS / THE SHITHAWKS:
Split EP: Cassette
Sheesh. Abusive Stepdads sound like Matt Freeman yelling into a boombox over a very drunk high school band. They hate the Cape Breton Police, medical waste exposure, and lame high school attitudes. Their liner notes include this confusing gem: “Make a difference and murder a police officer and informant when you get told that you have cancer from living in Sydney. Make sure it’s in front of their whole family and play this tape.” The sound quality of the Shithawks side is so tinny and distant it sounds like your neighbor is listening to it. They have a song called “Shower Puke.” Gentlemen, I think I’m done here. –keith (Hamburger, hamburgertapes.tumblr.com)


45 GRAVE:
Pick Your Poison: CD
I was on a serious 45 Grave kick the other day. I kept listening to “Black Cross” and “Sleep in Safety” (the actual song from the Phantoms EP, not the album—although that’s cool, too—but the song “Sleep in Safety” is not on the album of the same name... weird, I know) over and over. Then, I went through the inevitable “YouTube search phase” where I compared the (superior) Consumers versions of hits like “Concerned Citizen” and “Anti, Anti, Anti” to the 45 Grave versions. As part of my research, whilst searching to see if there were any ancient live videos for the song “Black Cross,” I noticed there was a Red Hot Chili Peppers video of a song called “Black Cross.” It was, indeed, the same song. I’ll be the first to admit I’m not the biggest Chili Pepper advocate. I think they yoinked their entire career from the Minutemen. However, I feel that I have to admit this: Flea & Co. nailed it. Fucked up, right? Like, it’s a super rando cover. The worst part about the song is Anthony Kiedis. He sounds kinda wonky doing the Dinah Cancer “Owww, it really hurts” but it’s passable, I guess. The music is spot fucking on. Which brings me to this newest incarnation of 45 Grave. It sounds like low-volume coffee shop classic rock. It’s got some weird horns on some songs and some classical guitar noodling… even an acoustic/country style song. All of them suck. They re-recorded an older (not classic) 45 Grave song “Akira” for some reason, but that sucks too. It’s kind of gallopy. The verse riff on “Night of the Demons” was most likely lifted from “Fight for Your Right to Party” by Beastie Boys. Don’t even get me started on which Agnew played guitar on this record. The photo is too photoshopped to figure out if it’s Frank Jr. or Sr., but without using Wikipedia as a source, I’m gonna go out on a limb and say it was Jr. His performance on this record is probably the highlight, if there are any, but it does, in NO WAY, RIP IT UP. The only conclusion I can make from listening to this record is that Dinah Cancer, Frank Agnew, et. Al., must really have a serious disdain for punk and hardcore to make this record under the name 45 Grave and try to pass this bullshit off as a legit album. Then again, maybe this is some sort of AA rehab record. Then again, they haven’t put out anything worth listening to in like thirty years. Fuck this record simply because I’d rather listen to the Red Hot Fucking Chili Peppers than this record. I’m going on vacation tomorrow and I’ll be listening to nothing besides “Crash the Pose” by Gauze for a week in an attempt to get these bad ideas out of my head. –Guest Contributor (Frontier, frontierrecords.com)


ZYGOTEENS:
Sleeping with the Stereo On: 7” EP
‘90s style pop punk from Milwaukee ((which kinda makes retroactive sense, given that Milwaukee really didn’t have any pop punk bands of its own in the ‘90s, unless you’re counting Alligator Gun, which i’m not)) which is, at bare minimum, a bit more tuneful than current standard-bearers/dead-horse-beaters like Teenage Bottlerocket or the Manges, yet not really transcendent enough to move into the rarified straits of cross-platform striped shirt stalwarts like the Yum Yums or whomever. Nice cover art and meritoriously loud production; despite the absence of any top-drawer smasheroo to serve as the straw that stirs the drink, you could ((and very well might)) do worse further up the alphabet. BEST SONG: “See You Later” BEST SONG TITLE: “Sleeping with the Stereo On” FANTASTIC AMAZING TRIVIA FACT: This band is the last band on my iTunes alphabetically, except for the bands whose names start with numerals. –norb (Timmeheiehumme, myspace.com/timmeheiehummerecords)


WOLF-FACE:
Self-titled: CDEP
Six songs of a bad attempt at punk rock. The lyrics are about Teen Wolf. This is not very entertaining. It sounds like your friend’s first band in high school, but they’re so shitty you don’t even wanna go to their shows. –Nighthawk (Self-released)


WHITE COFFIN:
Before the Cut: CD
This is really bad. Beginning with the back cover, with its Hellcat Records-style—photoshopped to look cut’n’paste aesthetic—and the band member’s eye shadow darkly standing out in fake photocopy. The music is really shitty goth rock. I know deathrock has always been kind of clean-sounding, even as far back as The Damned, but I’ll just say, if you ever wondered what Poison would sound like if they covered “Bullet,” check out track eight. What color of coffin? White, dude. –Craven (Coffin Tone)


WEIRD TV:
Self-titled: 12” EP
Sprouting out of a vibrant Olympia, Washington music scene, Weird TV is one of my favorite new bands. Their fuzzed-out garage punk sound includes tons of guitar wankery and had me hooked on this record from the first track. Guitarist John Root and bassist Erika Santillan churn out salvo after salvo of catchy riffs that get your head bobbing, and the frantic raging of Ben Trogdon on drums keeps the rhythm going as Root’s shredding threatens to bring everything down in a crash of wailing guitars. Through the roar of guitar, bass, and drums, vocalist Lizet Ortuño holds court, sounding to my ears like a more raw and gritty Poly Styrene from X-Ray Spex. Her singing, mixed with a banshee-like howl which she lets loose on tracks like “Intro/TKM” and others, seals the deal for me. It’s a fantastic EP that has only left me wanting more. Full-length soon please? –Paul J. Comeau (Perennial)


VIRGIN WHORES, THE:
Whiskey Girl: 7”
It’s not dopey to like dopey punk. Why do fans of fashion punk always come back for more? My answer is because dopey bands are hilarious and are generally in on the joke. Minnesota’s Virgin Whores are no exception and their exposed, non-high concept blasts of young energy are a refreshing anecdote to the wannabe artsy bullshit that so many bands of today strive for. The record’s sides are labeled with one cherry and two cherries as opposed to “A” and “B.” If you roll your eyes at that brilliance, skip this band and have fun outgrowing fun. The rest of us will continue having a blast. –Art Ettinger (Two-Bit)


VENENO LENTO:
Self-titled: 7” EP
Decent enough Brazilian streetpunk-influenced stuff—mid-level tempos and a raspy singer belting out tunes about mistrust, not fitting in, and street life in general. None of the bullshit trappings that plague this subgenre in evidence, which is a relief. Worth a spin or two. –jimmy (Nada Nada, info@nadanadadiscos.com)


VARIOUS ARTISTS:
Tor Johnson Records Ten Year Anniversary Omnibus 2012: 7”
Tor Johnson Records has been a consistently great label, not only because of the great bands and releases they’ve put out over the years, but because of founder Paul Dechichio’s unflagging dedication to his local scene and community. It is rare that labels and those who run them get the credit they deserve. This 7” and accompanying download is a celebration of dedication to keeping the Providence, RI scene vibrant, and supporting the great bands that have been on the label over the years. Side A of the 7” features a previously unreleased track by Saint Jude, “The Great Finality,” and a cover of the Misfits “We Bite,” by Now Denial. Now Denial has the distinction of being the longest-running band on Tor Johnson, and the track was taken from a live radio recording. I reviewed their most recent Tor Johnson Release Fuck Now Denial in a previous issue. Saint Jude was not only one of my favorite bands on the label, but also one of my favorite bands from Providence in the ‘00s. A group of good friends playing great heavy hardcore punk, their Tor Johnson release Always Hard is absolutely worth picking up for anyone who likes heavy hardcore punk. Side B includes a track from an early Tor Johnson band, Pretty Faces, and an unreleased track from A Fine Boat, “That Coffin.” If that weren’t enough, a download card with each record features additional great jams including unreleased tracks from Weak Teeth, Jesuscentric, Closer Than Kin, and The Defeat. The Closer Than Kin and The Defeat tracks are from each band’s unreleased Tor Johnson albums, and it’s great to see tracks from those lost records finally making it to listeners’ ears. This record is worth picking up not only because it marks a milestone in the history of an independent DIY label, but because it’s also crammed full of great music. Do yourself a favor, check out this record, and discover some great new bands. –Paul J. Comeau (Tor Johnson, torjohnsonrecords@yahoo.com)


VARIOUS ARTISTS:
Dekalb, Brawl City: CD
In an era when “compilation” is synonymous with “here’s assorted dreck from my label’s shitpile of crap releases,” it’s always faboo when something comes along that recalls the medium’s glory days. Seventeen bands, presumably from the titular city, grace this bad boy, dishing up assorted hues of punk, hardcore, and points between, the results varying from downright catchy to blissfully grating. As with other similar releases, my only gripe here is the lack of band info provided (though an insert with web address for each band is included, I’m a right lazy bastard and want it all handed to me on a silver platter, goddammit), but I reckon one can overlook such slights in this case, considering all this glorious racket-mongering is available for the princely sum of “$3 or else,” or so says the back of the release. All smartassery aside, this is one solid bit of work here. –jimmy (Don’t Panic)


VARIOUS ARTISTS:
Dead Broke Rekerds Tape Comp Vol.4: Cassette
With some obvious exceptions, no one likes a comp. My favorite comps were put out by Sacramento’s Secret Center Records in the 1990s, usually on cassette. I don’t know to what degree the fact that this is on tape is what is reminding me so much of those classic Secret Center releases, but this collection of sloppy pop is filling me with joy. Besides Stoned At Heart, Gordon Gano’s Army, and God Equals Genocide, most of the bands included were new to me. If you’re looking to check out a slew of fun, fresh bands, it doesn’t get much better than this. I’m digging out Yahtzee Punks Fuck Off now to relive my cassette compilation past. Viva la tape comp! –Art Ettinger (Dead Broke)


VACATION:
Candy Waves: 7”
On this record Vacation execute three tracks written by Chicago, IL’s Al Scorch. Applying a hefty amount of reverb on the vocals, playing some straight up rock’n’roll riffs, and the occasional garage-guitar-thudding, there’s definitely a departure from earlier recordings. But collaborations like this can be just what some bands need, a little experimentation to throw you off your usual routines. Definitely more of a garage record than a pop punk record. –Daryl Gussin (Let’s Pretend / Drunken Sailor)


ULTRAMAN / DOT DASH!:
Split: 10”
Wow. St. Louis’s classic Dag Nasty-ish Ultraman return with this neat split with a French band called Dot Dash! Dot Dash! are more power poppy than Ultraman, but the two bands very much complement one another. Ultraman is one of those groups that is still remembered regionally, but is often overlooked by those not in the Midwest. They’ve always felt like St. Louis’s Naked Raygun in that they’re catchy, but not obnoxiously so. The lesser known Dot Dash! are very likable, too. Have your French friends over for a mixer and check this nifty platter out. –Art Ettinger (Chanmax)


THROWAWAYS, THE:
Self-titled: 7”
This three-piece from Calgary play fun longing-for-summer, girl-fronted Ramones-style pop punk with lots of woah-ohs. Think of a faster Tacocat and you’d be getting pretty close. Fun, energetic stuff from a very young-looking band. –Craven (J.A.W.)


TEMPLARS, THE:
Dans Les Catacombs Du Studio de L’Acre 1993-1999 20th Anniversary Edition: LP
The Templars are hands down the greatest American oi band of all time. This reissue of their collection Dans Les Catacombs, released in conjunction with the band’s twentieth anniversary, adds the two-song Milites Templi 7” to the existing seventeen-song edition, for a total of nineteen tracks of Templars goodness. Known for their unique, stripped down, lo-fi approach, The Templars are an absolutely incredible band. Their live shows are amazing, as are their records. I’ve always contended that Dans Les Catacombs is their finest release, since it includes so many classics like “Police Informer,” “The Sixties Are Over,” “The Templars,” “Subculture Kid,” “I Believe in Myself,” and “Victim.” Fancy packaging and excellent-sounding vinyl add to the awesomeness. The Templars will turn even the snobbiest anti-skin punk into an oi fan. It’s true. Social science research conducted by yours truly indicates that ninety three out of one hundred punks love The Templars upon a first listen. Don’t miss out! –Art Ettinger (TKO)


TEENAGE SOFTIES:
Brunch: 7”
Thoughtful, spirited pop punk with male/female vocals and the unfortunate tendency to extend a song’s refrain a bit longer than seems necessary. Five tracks, all of them well played, though the recording seemed a bit thin and the first side of the record tended to skip. Still, there’s serious potential here—Brunch makes me think of either Astrid Oto or a more frenzied Oswald Five-O, both of whom had some pretty cool songs in their catalog. –keith (Meth Mouth)


SWINGIN’ UTTERS:
“The Librarians Are Hiding Something” b/w “Rude Little Rooms”: 7”
Cockney Rejects meet John Cougar Mellencamp. Who knew there’d be magic? The Utters are very continental in their Americanness and very San Francisco in their Britishisms. The Utters could have easily turned into cornpone oi or liver-damage anglophile sad sacks lamenting drained pints, shagged birds, and deflated weather balloons of careers. Instead, the Utters are reliable, always worth a listen, and are aging with defiant, honorable dignity. One question. How the hell can a table legs ever be illegal? I’ll take my answer off the air. Worth the wax. –todd (Fat, fatwreck.com)


SWEET PUPS:
Self-titled: Cassette
As simple as it may sound, you don’t come across too many bands who play some fun punk much like the Go-Go’s did in the ‘80s, but Sweet Pups sure do sound like they’ve been doing it forever. There’s some doo-wop and ‘60s bubblegum pop influence lurking about, and it comes through big time with the soulful vocals provided by ladies who appear to be very comfortable with their singing abilities. The Soviettes go garage? Bow Wow Wow as a real punk band? Three songs is such a tiny morsel to savor. Give us more! –Juan Espinosa (Self-released, sweetpups@yahoo.com)


SWEATER GIRLS:
Sweater Girls Were Here…: LP
Cardigans drawn on a chalk board, sack lunches, algebra books, and paper airplanes populate the album cover. Equipped with handclaps, toy keyboards, and xylophones, this twee five piece out of L.A. present their debut album for the class. That perfect shade of shy awkwardness that reeks of teen spirit is heard throughout the twelve tracks. In the same department as Tiger Trap and Shonen Knife, Sweater Girls employ female harmonies to ride a pink cloud of infatuation and nostalgia, cooing “and my parents don’t know” in the chorus to “Fingers Crossed.” Impressively produced, especially for a debut, with guitar hooks worthy of any gym room dance, Sweater Girls are head of the class. Recommended. –Kristen K (HHBTM, hhbtm.com)


SUGAR STEMS:
Like I Do: 7”
Perhaps it’s somewhat unfair to review this single when the rest of my review materials consisted of raging hardcore releases, but I’m confident that I can remain objective. That said, I’m really not feeling this at all. Don’t get me wrong, I’m not hating on the sweeter side of punk rock (I was in The Steve Adamyk Band, for Pete’s sake), but Sugar Stems are just a bit too, I dunno… twee for my liking, I s’pose. I’m sure there are a shit-ton of pop punk nerds who’ll be drooling all over this, but I guess I just don’t see how this even begins to fall under the punk umbrella. Meh. –Dave Williams (Certified PR)


STREET DOGS:
GOP: 7”
Menace performed at the 2012 2000 Tons of TNT festival in Hartford, CT. Watching them play their classic punk anthem “G.L.C.” was a childhood dream come true. Queer Pills Records released an awesome repress of that classic 7” in conjunction with the show, with another four Menace 7” represses promised for the near future. Is the Street Dogs cover of “G.L.C.,” altered to be about the Republican party, worth checking out? Of course it is. Former Dropkick Murphys vocalist Mike McColgan’s Street Dogs are always a good time and this record is no exception. The B-side is a live version of their popular “Not without a Purpose.” Twenty thousand copies of this 7” were originally pressed as a flexi to hand out to Republicans outside of election year Republican events as an educational act of protest. Now the true vinyl is available. Hopefully some young Street Dogs fans check out Menace as a result, an outcome even nobler than changing the face of lame mainstream politics. –Art Ettinger (Pirates Press, piratespressrecords.com)


STRANGLEHOLD:
Self-titled: 7”
Ahhhhhhh, I see what’s going on here. Well, no, I’m not affiliated with this band despite having the same name. It wouldn’t be a bad thing though because I like what’s going on here. Solid mid-tempo punk rock whose singer had an amazingly raspy voice. Does she gargle with razor blades and whiskey? The thing is she sounds great, as does the rest of the band. Three straight-up, catchy originals and a Stiff Little Fingers cover. Stranglehold approved! –ty (Longshot)


STEAMY WOLVES:
Moist Lord: Cassette
Five tracks of some seriously fucked gabber/electronic/experimental noise immersed in paranoia and sacrilege. This isn’t music to listen to anywhere but in your room alone or with like-minded individuals, though, at times, I can picture it being blared at some shitty club full of soulless clones when suddenly the security sprinklers start to shower everyone with piss. Recommended for anyone who’s looking for anything but a good time. –Juan Espinosa (Self-released, steamywolves.web.com)


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