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Record Reviews

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Below are some recently posted reviews.

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STAR AND DAGGER:
In My Blood: 12”
Occasionally, you hear a band that is really ugly and domineering but somehow sounds like they could be poised for commercial success. I’m talking about the Baronesses and Fucked Ups of our time, bands that wrote songs that stuck in your head and had big production because they had an idea and knew how to pull it off, not because they were actively trying to sell more records. I imagine this will be the case with Star And Dagger, and not because they are easily marketable in terms of their “ex members” credentials, but because they just write really good songs. This 12” is three doomy stoner songs with female vocals that have a heavy focus on both the low end and the melody. The music is more reminiscent of early Sabbath/Jerusalem than more recent doom/stoner rock and everything is so methodic and in place it’s hard to nitpick. The guitar tone is perfect, the song structures are engaging, and the vocals fit the music perfectly. I didn’t really know what to expect from this record and I was pleasantly surprised. –Ian Wise (Last Hurrah)


SPITTING IMAGE:
Valley Floor: 7”
What a weird record. The music is sort of noise pop (think Shoppers) that is very informed by early Joy Division and other heavier elements of British post-punk. The closest point of reference would be early Iceage/Lower/I guess other Danish noisy punk bands, but it lacks the intensity or memorability of either of the aforementioned bands. It comes with a thirty-some page zine of artists from Nevada that is really cool and sort of overshadows the record. –Ian Wise (Negative Space)


SPIDERFACE:
Nobody’s Safe: CD
I have very discriminating taste when it comes to shock rock. You can’t just spit blood in my face and expect me to love your band forever. That may be shocking, but it’s not rocking. Spiderface brings forth the grimy, angry rock with straightjacket scum songs like “Death Dong 1” about declaring war on the asses of homophobes. I’m blasting it now. I hope my neighbor can hear it over all the shitty Christmas music she’s playing. –mp (Unrepentant)


SONSKULL:
Wiped Clean: 12”EP
Sonskull make noisy, jangly-sounding punk rock with female vocals. There’s plenty of feedback and grit in the sound of this, which I enjoyed. Vocalist Mary has a roaring voice that fits their loose-sounding style well. The long buildup of the title track makes the payoff of the song itself worth the wait. From there, each track, rips, rages, and wails from start to finish. The exception to this intensity is “Weeping Hole” on the B-Side of the record. This is a sparse lo-fi sounding track with one of the other members of the band singing in a quiet, monotone voice. It didn’t do much for me, but the rawness of the rest of this record more than makes up for this one hiccup. –Paul J. Comeau (Perennial)


SOFT DOV:
Deathblast: Cassette
Pure chaos. Shattered chords choked out of guitars, giving friction-filled birth to solos that scrape and cut. Drums shoving everything forward. Bass crawling into your gut. Vocals like a desperate warning. Must play again. –mp (Soft Dov)


SIDEKICKS, THE:
Grace: 7”
The Sidekicks play wimp pop with annoying vocals. For fans of Weezer and girls who sleep with the guy with the guitar at the party. –Craven (Red Scare)


SICK FIX:
Vexed: LP
Pretty cool, heavy hardcore that’s usually a bit too fast for my tastes, although I’m not exactly surprised since Sick Fix features members of Magrudergrind/Coke Bust/etc. I’m sure this is a total mindbomb live (Michelle’s vocals are positively insane), so while I usually like my hardcore to have a bit more groove to it, I’ll definitely check Sick Fix out at the A389 party in Baltimore this January. I’d say there’s a damn good chance I’ll be converted –Dave Williams (A389)


SHANKS, THE:
I’d Fuck Me: Cassette
This is a rarities and B-sides collection by Omaha-based garage rockers The Shanks. Their specialty is the seedier edge of the subgenre, very reminiscent of The Spider Babies. Fans of heavily distorted garage sounds with gritty, sexually-infused lyrics will dig them for sure. From the mildly perverted cover art to the nifty cassette shell, it is releases like this one that are making me a big fan of the tape resurgence. It’s also cool that a download card is included. Fun, sick, and mesmerizing, The Shanks are like Christian TV minus the Christians. How’s that for an endorsement? –Art Ettinger (Rainy Road)


SEA OF SHIT / WATER TORTURE:
Split: 7”
I have previously raved in these pages about the disgusting ugly mess that is Sea Of Shit, and this release finds them even more tight and concise. They build tension with exaggerated moments of syncopation and breakneck powerviolence before imploding back into sludge torture. They are one of the few powerviolence bands in recent memory that I really feel could hold their own on an LP because they write songs that adhere to the style without falling into generic gimmicks to put longer grooves on the record. Water Torture has one other 7” out that I somehow missed, so this is my first introduction to their recorded material (though their live show is phenomenal). They complement Sea Of Shit with a similar style, but the advent of more bass and awkward forays into feedback and noise that cut out in a second’s notice create a different landscape. I am so happy that the powerviolence trend has died so those left over are making music that is sincere but still pushing the music into new boundaries. While the influence is obvious, comparing these bands to Man Is The Bastard or Infest is like comparing Crass to the Ramones. The intent is different, the worldview is skewed, and the result is light years away, despite the application of the identifier. –Ian Wise (Diseased Audio)


SCRAP KIDS:
All That I Can’t Be: CD
Folk punk? Or is this just the latest installment of the bevy of acoustic punk sans percussion? Either way, I do like this sound on occasion (although I’m becoming a bit weary that this watershed has not yet been plugged) and I do like this record. In both music and lyrics, it reminds me a lot of Wingnut Dishwashers Union and similar Silver Sprocket releases, but it’s less diverse in the tuneage. The insert has written on it, boldly, “Militant rudeboy. Vegan fury,” which made me laugh derisively until the proverbial milk came out my nose. (There’s your vegan fury!) Either way, I liked it, and I’ll keep it around and enjoy it. On occasion. –The Lord Kveldulfr (Gox)


SASS DRAGONS:
New Kids on the Bong: LP
When you pick up an album called New Kids on the Bong, you pretty much lower your expectations and just accept that you’re in for a stoner rock album as stale as the pun that bears its name. But then Sass Dragons have you right where they want you. They exploit your presumptions by hitting you with a barrage of musical styles you did not see coming until you’re willing to accept whatever it is you’re hearing on this album. Thrash punk? Sure. Pop punk love songs? Why not. An acoustic sing-along featuring a banjo? Yeah, fine. A slow jam about a cat? Sounds good. A saxophone solo? Alright. Every song on this album sounds like it was recorded by a different band. Totally eclectic. Slightly weird. All unexpected. –Dan Ozzi (It’s Alive/No Breaks)


ROSELIT BONE:
Self-titled: Cassette
This duo has taken the time to listen to Hank Williams and the like, rather than concocting some sort of imagined version of what Hank sounded like, which is what I think a lot of bands of this ilk do. On top of their mournful, dusty country, they layer lyrics that are often sick and upsetting, delivered without tongue in cheek or wink of the eye, but with a wail and snarl that makes you wonder how long it’s going to be before they do something really bad. –mp (Sunscoured Shehog)


ROOFTOP VIGILANTES / MANNEQUIN MEN:
Split: 7” EP
Rooftop Vigilantes: Solid popsmithing here—sick hooks, singalong choruses, wholly memorable results. Mannequin Men: Maybe a bit darker hues in their palette, and their side sounds like hints of paisley jangle in there somewhere as well, but the results are no less impressive than their vinyl mates. Good, good work on both sides of the fence here. –jimmy (Replay)


RITES OF SPRING:
Demo 1984: 10”
What an artifact! I’m not sure if this record is necessary listening, unless you’ve listened to the ROS LP constantly for years. But if you have, then it’s absolutely necessary. These takes aren’t half of what they would eventually be, but hearing demo versions of what became classic songs can be very humanizing. Guy’s voice is raggedy and a little snotty, the guitar sound is pretty terrible at parts, but it’s still these timeless songs I’ve obsessed over for years. My only complaint is that now when I listen to the LP version of “All There Is” I can’t help but hear the ear-piercing squeal from the demo version. But it’s worth it. –Daryl Gussin (Dischord)


RINGWORM:
Stigmatas in the Flesh: LP
An impeccably recorded (and played) live set from one of my all-time favorite bands. Caught a few years back at A389 Records’ sixth birthday bash (AKA The Show That Ends The World), this is Ringworm in perfect form. Vicious, tight as hell, and killing a setlist that runs the gamut from The Promise up to (and including) The Venomous Grand Design. One of hardcore’s greats at the top of their game. –Dave Williams (A389)


REVILERS:
Self-titled: CD
All I can say is holy hell! I went into this review not knowing anything about this band, but I am so glad that I have heard this album. You have a four piece band from Boston who has been around since 2008 who have put out their self-titled album after releasing a bunch of singles before this and it’s really good. The album starts off with the song “No Bullshit” and keeps on building until the last one “BCR” with a cool Jerry Lee Lewis cover of “End of the Road” thrown in the mix. These guys have the right mix of hardcore, punk, and street punk that most bands cannot pull off. All the styles blend together really well and make for a great bunch of songs. They rail away against politics, shitty jobs, about being a punk when you were young and being one when you’re older, and just being sick of all the bullshit in the world. You get two different vocalists on here, both doing some heartfelt hollering. The guitar, drums, and bass all accent each other perfectly and create a racket to piss off your uptight neighbors. The album has thirteen tracks and not a duff one on it. The production is really good, with everything mixed together very well and dirty enough to make it sound like it’s an older release, not all prettied up like a lot of newer releases. Now I must try to beg for their older releases because I need them and you need them.  –Guest Contributor (Patac, patacrecords.com)


RAZORCUT:
Self-titled: 7”
Longshot Music continues to discover and release top notch oi bands from around the world. RazorCut are from Australia and play aggressive, U.K.-style early oi, sans hardcore U.S. influences. What sets RazorCut apart is that two of its members are women, so there are dual female voices backing up the frontman. All four of these songs hooked me instantly. I’d hate to be a skinhead in post-Romper Stomper Australia, but it’d be awfully hard to keep one’s hair growing with rad bands like RazorCut around. –Art Ettinger (Longshot)


RATIONAL ANIMALS:
Gabrielle: 7”
I feel like my opinion of Rational Animals records would be much higher had I not seen them before listening to them. There is an energy in their live set—that I’ve been lucky enough to see a few times—and I never felt it translated to their recorded material. That being said, I’ve never had to objectively review their records so it was easy to pass them off as one of those, “Well, you had to be there” bands that are forever stuck in one place and time, to a very specific group of people who were lucky enough to see them. So I’m listening to this 7” trying to push out any memory I have of seeing them. These two tracks are slower and heavier (the B side especially) than I remember from their other records, with a late ‘80s SST slant on modern punk. The guitars are punchy and evil in a good way and the beats are somehow danceable. Maybe giving them a more attentive listen has yielded better results, or maybe this single is just better than the stuff I heard previously, but the songs, while not really “catchy,” do have a character to them that I feel their earlier material was lacking. However, they fall short of the expectations they create even in these songs, as I just don’t want to listen to it again. I can’t think of a time when these two songs would pop up on a mix tape or DJ set and I would get excited. The song “Gabrielle” is fantastic lyrically and creates a haunting mental image, but I don’t hear the voice of the character in the music. It’s hard to be negative about something when it’s obvious that this record was created with pure artistic intentions and you can really feel that they aren’t holding anything back, but after a few listens, I feel no connection to these songs. Maybe in a little while I’ll be able to share these songs with someone in one of those late nights of flipping through records with a friend, the way these records seem to come up because they just haunt us like “Gabrielle.” “It’s been a long time since I’ve heard this record. The A side is this really sad song, I think it’s maybe about his mom…”, but right now I just don’t feel it. –Ian Wise (Cowabunga)


RADICAL DISCHARGE:
Party On Dudes: 7”
Metallic punk—or punky metal, take yer pick—of the variety that was all the rage circa 1986. –jimmy (Radical Discharge)


RAD PAYOFF:
Amazing Blaze: 7”
In the Summer of 2011, my roommates and I traveled to the fantastical land Chicago to enjoy the sights and sounds of the second city. While there, I took the effort to find a local punk show happening in the week we’d be around. In a warehouse turned living space/concert hall, we watched Rad Payoff play to a crowd of thirty or so when they looked like they were in front of three thousand. The pedigree is high, with members’ previous experience being test in Sass Dragons, The Treasure Fleet, Das Kapital and others I’m sure I’m forgetting right now. The music is familiar enough to anyone who’s heard the Sass Dragons before, mostly due to Jason’s unmistakable screams. Ultimately, this is four guys who know how to play their instruments playing catchy punk rock songs. Get this. You may not heed my advice now, but one day the LP will drop and I hope you all remember the name Rad Payoff. –Bryan Static (Let’s Pretend, letspretendrecords.com)


PURPLE 7:
Self-titled: One-sided 12”
Containing members of Defiance, OH, Hot New Mexicans, and Landlord, Purple 7 lay down five plump, bottom-heavy tracks, kinda dirty and muddy, but in a glorious way. Midwestern basement pop rooted in an analog way of life. The back cover mentions it was recorded to ½” tape, and really does sound like it. It’s got such a massive body to it, it’s vibrating the speakers. And while all the songs are good, the last track truly is the clincher. “W.T.P.T.M.” is as solid as a song gets. All the elements are there: questioning, anthemic, gang vocals, the pristine guitar lead, the breakdown. It kind of overshadows the other tracks, or maybe I’m just a total sucker for songs like this. Imagine the Compulsive Gamblers covering “If the Kids Are United.” If you were already a fan of Hot New Mexicans and Landlord, you gotta get your hands on this record as well. You will not be disappointed. –Daryl Gussin (Let’s Pretend)


PORCHARITAS:
Get Wasted With…: 7” EP
The tiger-striped fruit of the perennially-fertile Bobbyteens tree blooms once again in the bendy-straw-enhanced form of this three-girls-and-a-guy-drummer Hunstville quartet. Song topics include—not particularly surprisingly—pillow fights, drinking, and love’s labors lost. For some reason, the band is unable to sell me on attitudinal claims like “IT’S GONNA BE A MAKEOUT NIGHT!” with full sincerity; “Get Wasted,” however, beams forth with full authenticity. I’ll drink girlie drinks to that! BEST SONG: “Get Wasted” BEST SONG TITLE: “Pillow Fight” FANTASTIC AMAZING TRIVIA FACT: Record comes complete with Porcharita drink recipe and conveniently attached bendy straw. –norb (Vertical House, theverticalhouse.com)


POISON IDEA:
The Fatal Erection Years: CD
The sideshow cavalcade of human oddities in punk rock has always featured an unsettling array of freaks of earnestness; some punks pickled in jars of their own self-righteous juices, others with rigid dogmas pounded into their heads like the nails hammered into the heads of sideshow blockheads and human pincushions. Take Ian MacKaye, for instance. MacKaye was not only very, very earnest, but he also seemed like a very somber chap. Like a very serious librarian or a Mennonite or Norman Mailer. But Poison Idea was every bit as earnest as Ian MacKaye. The main difference being that they did let a certain very dark nihilistic sense of humor shine through—the “Violence Is Funny” clips on their Mating Walruses DVD immediately spring to mind as a good example—but it never tempered their intensity or earnestness one iota. They were possessed of a rendering plant level of earnestness, which was fitting for a band that, if you were to put their carcasses through a giant meat grinder, would produce more pounds of ground beef than three normal bands. Not to mention that they would probably make a hamburger that you could get drunk off of. They were Rabelaisian giants and they were to hardcore what King Kong Bundy was to wrestling. Brutal, massive, stroke-inspiring. Looking at them, you’d think they’d be ponderous and elephantine like Crowbar, but they weren’t. With a Bobbitted Ibanez Iceman in his hands, Pig Champion’s ham hock arms moved as fast as Bruce Lee’s. Poison Idea combined heavy and fast like no other band dared. The Fatal Erection Years gives you a veritable feast of mid-’80s Poison Idea all on one CD, including Pick Your King, Record Collectors Are Pretentious Assholes, compilation tracks from the Drinking Is Great 7” and the Cleanse the Bacteria LP—PLUS previously unreleased live tracks from Portland in 1983. And if the release of this CD wasn’t in itself good news for modern man, word on the streets is that Southern Lord is going to be re-releasing several more Poison Idea classics on CD, including the long lost Ian MacKaye recordings. I just hope that these wonderful plans don’t go up in a cloud of bong smoke; I glanced over the Southern Lord website and they seem to be big purveyors of stoner metal and that does cause me some concern. Short-term memory lapse might be fairly commonplace at that particular office. The best laid plans sometimes just don’t happen, I’d wager. I also really, really hope that the brain trust at Southern Lord has the fog-free horse sense to re-release the Ian Mackaye recording using the original uncensored cover photo—which is a sort of Poison Idea’s hairy proctological valentine to the Messiah of Straightedge, Mr. Mackaye himself. Poison Idea were behemoth motherfuckers— to borrow an apt designation by Tad Doyle, himself a connoisseur of things large, loud, powerful, and dangerous. It’s doubtful we’ll ever see another band quite like them. –Aphid Peewit (Southern Lord, southernlord.com)


POINTED STICKS:
Xmas: 7”
My love of Canadian punk rock and Christmas punk has finally been merged. Living legends of the early Vancouver punk scene Pointed Sticks have brought forth an early gift to put under the tree. For those not in the know, the Sticks could very well be described as Canada’s answer to the Buzzcocks (or for a better, more detailed description, check out Sam Sutherland’s amazing Canadian punk tome Perfect Youth). The single kicks off with “Power Pop Santa” and it is the catchiest Christmas list I’ve heard in a while. They name check a lot of bands and people all while reminding us how to pogo. The flip side gives us “Xmas Time Again,” which is easily the lesser of the two tracks. It’s still pretty good, but just can’t keep up to the former track. It’s a bit slower with piano accents. For some reason it reminds me of a mid-era Stiff Little Fingers B-side or something. This slab of festive green vinyl is a very welcome addition to my ever-growing Xmas punk collection. –ty (La-Ti-Da)


PLAGUE DOGS:
Self-titled: 12” EP
Pretty damn good metallic crust from these guys. They successfully blend in some rock elements via Motörhead influences into their sound, which helps them stand apart from the masses making a stab at this stuff. They keep things mainly at a somewhat mid-tempo simmer, allowing for the urgency to come through nice and strong. The raspy vocals work well and never grate or turn into one big growl. You can make out what is being said, which is sort of rare. The guitar work on here is pretty good. They definitely know how to play and the metal-style soloing is an asset. Not to mention the drummer can smash the hell out his kit! All six songs on here are pretty solid and will do the job nicely. If you’re a fan of Hellshock, Tragedy, Inepsy, and the type, then you should pick this up as well. –Matt Average (Sit & Spin, sitandspinrecords@gmail.com / sitandspinrecords.blogspot.com)


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