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Record Reviews

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Below are some recently posted reviews.

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GAS CHAMBER:
Modern Vision of the Erect Nightmare: 7”
Continually pushing against boundaries and exploring the outer realms, Gas Chamber are one of those bands where I know I’m not going to hear a band do the same thing over and over again. Each record of theirs makes the past release seem puny in comparison. This may very well be my favorite from them. The noise at the beginning is excellent! Seriously, my favorite part of the song. When they kick in to the main body, they bring to mind Dystopia, but a little more direct and to the point. The vocals are shouted with a sense of pain and disgust. The second side of this record paints a scene of hell—with sounds coming in and out of the dark—and the vocals shouted with a shredded throat rasp over the din. Rightfully so, as the lyrics are bleak, detailing the fall of civilization. The acoustic playing at the end comes out of left field and is a great way to go out. It puts a very different mood on the whole thing. Excellent record, to say the very least. –Matt Average (Nerve Altar, nervealtar.blogspot.com)


GALLUCI:
Click to Switch: USB Card
The first half of this is mostly guitar-only, instrumental experimental/post-rock from Australia. This is actually okay, but in a kind of music for musicians type of way. Or maybe in a “put on in the background” type way. I mean, it is fairly pretty music and never devolves into sounding like those wanky wannabe Randy Rhoads/Stevie Ray Vaughn guys that are in every Guitar Center I’ve ever been in. About halfway through the album, some rhythm instruments show up, and some songs start getting lyrics. The music still stays in the same kind of arty, indie vein, but it does pick up a little—shall we say—”umph”? Maybe a little too ethereal for its own good at times, but never anything offensive to the senses. Two things of note: these guys name a song “Song for D. Boon to Sing,” and get Mike Watt to throw down some spoken word on a track called “Ode to the Ship ‘Tainer” and some bass on another songs. Not to mention there is some Steve Mackay saxophone contributions. So these guys are cool in my book. –Adrian Salas (Diepunkdeath, diepunkdeath@yahoo.com)


FROGS OF WAR:
All Said and Done: CD
The late 1980s was an interesting time for hardcore and punk. It went from being loud, fast, and short to something a bit more tuneful, melodic, and poppy. At the time I didn’t really give it much thought. Maybe it was a gradual change, or maybe I was just stoked to hear new music. Hearing and seeing how punk was growing and changing was pretty damn amazing at the time. Granted, when Frogs Of War first came on the scene, the U.K. had bands like Ripcord, Heresy, Napalm Death, and more. But these guys seemed more influenced by Snuff, and maybe Thatcher On Acid (whom they remind me of, especially on the song “U.S.A.”), and bands like Soul Side, and Naked Raygun. The music is driving and catchy without being sappy or saccharine. You can hear the bass pushing everything through and the guitars riding over the top. The vocals are sung and not screamed, while the backup vocals emphasize the melodic elements. Political and social commentary without being heavy handed or blatantly obvious. This CD collects their LP (which is the title of this collection), a four song session from 1991, and The Gunpowder Plot Noodle demo from 1990. It definitely sounds dated by today’s interests, but that doesn’t mean this is not worth listening to. As much as I love the early hardcore sound, I’m also hoping today’s participants look around for different inspiration. If you’re looking at what punk of the past did, you might want to look here for something a bit different from today. Glad I got this! –Matt Average (Boss Tuneage, bosstuneage.com)


FRIENDS OF CESAR ROMERO:
“Red Headed Strangler” b /w “Tammys of Tomorrow”: 7”
Out of Phoenix, AZ, Cesar Romero’s friends issue another bag of pure sunshine for your turntable. Pressed on slate gray vinyl, this single of ‘60s-era garage pop brings up the jangle and fancy footwork of The Strokes. With a bouncy lo-fi riff, “Red Headed Strangler” conjures up shag hairdos, while “Tammys of Tomorrow” rides the wave between surf and psychedelia with a dyslexic snippet of the track played backwards. Reminiscent of those lazy, hazy days of summer. They ain’t on Snappy Little Numbers fer nuthin’. Recommended. –Kristen K (Snappy Little Numbers)


FRANTIC FLINSTONES:
Freaked Out & Psyched Out: CD
I gotta tell ya, I don’t know a hell of a lot about the world of rockabilly, or psychobilly or any of those other billies. It’s not that I don’t like it—because I do—I just don’t go rabid for the stuff like a lot of people out there. That said, I like this disc. I can’t give you any good reason. It sounds like a lot of other bands like this. They sing about zombies and drugs and… Well, that’s pretty much it. –ty (Drunkabilly)


FLESH LIGHTS:
Too Big to Fail: 2 x 7”
“Oh man, the Flesh Lights are awesome!” “What? Gross. You use those things?” “Uh… I meant the garage rock band.” So the conversation has gone, I’m sure, a few times as this band rises in infamy. They’ve put a very distinct handicap on themselves by creating a name that turns away the weak at heart and makes it hard to justify buying a T-shirt at their shows. A name like the Flesh Lights demands that your band has a hell of punch to your rock. Is it any surprise that they actually deliver? Struts like protopunk, soars like hardcore. Kind of like if the Adolescents tried to play something like Reigning Sound. Highly Recommended. –Bryan Static (Super Secret, supersecretrecords.com)


FIGGS, THE:
The Day Gravity Stopped: 2 x LP
Though my own knowledge of their existence dates back only a couple o’ years at most, The Figgs have apparently been twangin’’n’ sangin’ for nigh on two decades and have released an impressive number of records over the years. This latest is a double album featuring twenty tracks chock full of modish pop, country twang, and points between. The tracks remain surprisingly consistent throughout, and are a bit of a treat in an era when so many wading in the pop end of the pool seem so hellbent on sounding like carbon copies of each other. –jimmy (Peterwalkee, peterwalkeerecords.com)


FANG:
Here Come the Cops: CD
Something has to be done. Somebody get a telethon going. We need to eradicate the world of the terminal illness known as S.T.S. (Suicidal Tendencies Syndrome). S.T.S. overtakes once great punk rock and hardcore bands and compels them to write and release wishy-washy cheese metal. As of now, there is no known cure for S.T.S., but with your help that could change in our lifetime. Bands like Fang are counting on you. Operators are now standing by. –ty (Malt Soda)


FAMILY CURSE / WHITE MURDER:
: Split 7”
Hmmmm.... Family Curse crank out some wound up tighter than tight punk rock with a style that reminds me of the Tyrades, Night Birds, and more recent bands. I like it quite a bit. The energy is infectious, and I like I get pulled into it. The only thing I don’t really like is the chorus of “Middle Age America.” The attitude of the delivery sounds forced. Other than that, pretty good. Maybe it’s something that has to grow on me, like a mold. White Murder are a little less stabby in sound, but they have a smash and burn style with a urgent delivery. Even in their tempo changes, the song flows and keeps the tension constant. Kind of like an updated version of the Bags. So fucking good! Only one song? I need to hear more. –Matt Average (Doormat, drawingroomrecords.com)


FAKE LIMBS:
Man Feelings: LP
The songs on this record fuse ‘90s Dischord-style staccato with pseudo-stoner metal riffs. The singer is kind of interesting in “more hoss than vocalist” sort of way, but the music never reaches much of a pace for me. It plods along in the one Black Sabbath riff it nearly rips off note for note. The one-sheet also makes too many outrageous claims. Here are a few I agree with: “These four dudes play,” “post-hardcore flavoring,” “includes digital download.” Here are a few things I don’t agree with: “on par with the legendary likes of Jesus Lizard, Pere Ubu, and The Stooges,” “finest frontman since D. Boon,” “this is the record for [me].” –Billups Allen (Blvd, blvdrecords.com)


FAKE BOYS, THE:
Pig Factory: LP
Pure radio rock. Moments of competent songwriting mixed in with bits that remind me of why mainstream rock records are unappealing. I truly detest the production. The moment when this record lost me was when the guitar pulled itself to the forefront of a particular song and all the other instruments dropped out. All alone, the guitar decides to go into a flanger-induced blender noise that just made me think of the Foo Fighters. I get that the band is trying to go for a Dinosaur Jr./Hüsker Dü alt rock sound, but the execution doesn’t fit. The grit isn’t there. Dinosaur Jr. works because of the noise—the levels between the vocals and the instruments. Here, the style is too clean cut. I’m sorry, but this just doesn’t work. –Bryan Static (Animal Style, animalstylerecords.com)


EVENING MEETINGS:
Self-titled: LP
Some kind of Northwestern super group with heads from the A Frames, Lights, and Intelligence; you probably know where this is heading. It’s music by the kids who pulled apart stereos and ate aluminum foil. Drug music. Multilayered fuzzed out jams… feedback… drunken, slurred vocals. Kinda like the UV Race from Oz…or hell, the Gun Club for an easy reference. The ex punks lap this shit up… same people who went gaga over Hozac. I get it… but where’s the hooks, maaaaaan? –Tim Brooks (Sweet Rot)


EFFLUXUS:
Life Destruction: LP
This album is as simple as rice and beans, yet as crusty as a two-week-old baguette. Gymnasium vocal effects with doomsday lyrics and uptuned Tragedy riffage. Song titles like “Shadows of the Sun,” “Darkness,” and “Desolation.” Fans of malt liquor, industrial wastelands, and amateur quilting will enjoy this head banger. –Matthew Hart (Headache Hardcore)


EDDY CURRENT SUPPRESSION RING / THE UV RACE:
: Split LP
Recorded at Missing Link Records, Melbourne in 2008 and originally released in a three-hundred run of cassettes through Mikey Young’s Aarght label, this is an awesome-sounding live set by two of Australia’s finest bands. As one who celebrates the entire ECSR catalog (that’s available in the States, which is all but the earliest singles), I’m stoked. Live energy and on-point playing make up for brief lapses in fidelity (as should be expected and embraced for any authentic live recording). The day the egg cracked for me with ECSR was a long desert drive with Primary Colors on repeat in the player. The songs stood up to the large vistas; painted them. The blip-blip-blip of close-by cacti matched the tick of the guitar. That’s a lot of space and time to fill without being bored. The UV Race don’t slouch. More blunt and harder than their compatriots, yet distinctly in the loosely defined New Wave of Australian Garage Rock (NWOAGR), it’s a great pairing of two brother bands. It’s rare that I’ll say that both completists and folks new to the bands can rejoice over a live record. In this case, it’s true. Cool stuff. I’m glad it got the vinyl treatment.  –todd (Almost Ready)


DRIPFEED:
Unit B Sessions: Cassette
Crust is in a fucking coma. Pull the plug. –Craven (Less Art)


DOWNTOWN STRUTS:
Victoria!: CD
Chicago band’s new release is a breath of fresh air from the current crop of records flooding the market. Elements of The Clash and The Replacements pop up in small doses. But the band’s songwriting skills are evident on each song. “Back to N.Y.” and “Mexican Graffiti” should have fans singing along to the words in no time. A solid album that will hopefully make a big splash. –koepenick (Pirates Press)


DOUBLE NEGATIVE:
Hits: 7” EP
Focusing less attention to the thrashy, “Poison Idea” side of their equation in favor of a more “Black Flag”-tinged approach, Double Negative dish up three tracks of churning, grating hardcore like only they can. According to SorryState’s site, this is the last recordings with vocalist KC and the first with new drummer Bobby. Should be interesting to hear where they go from here, ‘cause this is already pushing quite nicely against the boundaries they’ve already established for themselves. –jimmy (Sorry State)


DOPAMINES:
Vices: CD
Well, I guess it’s about time I have an opinion on this band one way or the other. I met the Dopamines once. They were playing the back patio of a bar in San Antonio and I told one of the Jons how my friend wanted to come down because he loved the line “drink a little sake and get a little cocky.” The Jon looked me at me, pondered seriously for a moment, and tried to remember if that was actually a lyric that they really sang at one point. This anecdote illustrates the ridiculous, but forgettable, quality about the early parts of their discography. The earlier records had moments that stand as great pop punk moments, where others stand in mediocrity. If I put money on it, I would probably say this is the best thing I’ve ever heard by them. As someone who’s been watching them since their debut years ago, this is the first records of theirs that I could see coming back to more than half a dozen times. For the longest time, it had to do with the fact that the Copyrights filled the same basic functions as the Dopamines, but I think this album marks the official point where I can really say that a band can sound like the Dopamines or The Copyrights, with clear distinguishing marks between the two. –Bryan Static (It’s Alive, itsaliverecords.com)


DOOM GHOST / WAR PARTY:
: Split 7”
A new release from Turkey Baster Records, who I don’t remember seeing anything from for a while after their Texas punk output in the late ‘90s. Both bands play lo-fi garage stuff of the sort that Mortville Records used to release. –frame (Turkey Baster)


D.O.A.:
We Come in Peace: CD
It should go without saying that D.O.A. is a legendary band, responsible for classic albums like Something Better Change and Hardcore ‘81. They’re even credited with originating the term “hardcore” to define the second wave of North American punk music. Beyond those early releases, I also have a fondness for their more mainstream, rock-sounding 1985 album Let’s Wreck the Party, and an appreciation for the populist political perspectives reflected in the band’s lyrics. With We Come in Peace vocalist/guitarist Joey “Shithead” Keithley and company return with an album brimming with political fervor and a slew of guest performers including Jello Biafra, Ben Kowalewicz, Hugh Dillon, and more. While I can easily get down with the political messages, and love hearing Biafra’s voice on any recording, overall I found this to be mostly boring mid-tempo melodic punk, spiced up at times with moments of street punk and punk’n’roll-sounding parts. There’s even a very ska sounding track, “Walk through This World.” Which takes me to my biggest complaint about this album: there’s not much cohesion to it. It sounds to me more like a compilation of bands trying to be D.O.A. than it sounds like the band trying to be themselves. One place where the band does succeed is in their rendition of The Beatles’ “Revolution.” While cheesy, I think D.O.A. made a better go of it than most bands, punking it up and making it their own. While I appreciate the lyrical themes present on this recording, I expected more from this. –Paul J. Comeau (Sudden Death)


DINOSAUR JR.:
I Bet on Sky: CD/LP
Dinosaur Jr.’s third album in their re-united form, and their second for Jagjaguwar, continues to show that their reunion is no fluke. While I Bet on Sky is likely the band’s cleanest sounding album, it by no means signals the band mellowing. The group’s signature sound of ‘90s college rock mixed with J Mascis’s guitar solos continues to work. Interestingly, the ten songs on here include two tracks penned by bassist Lou Barlow (Sebadoh, Folk Implosion), with him on vocals. However, these songs, too, contain Mascis guitar solos. Like the cleaner music, Mascis’s vocals are also fresh—there’s no scratch in his voice and, instead, there is just his mellow delivery. Lest there be any doubt, Dinosaur Jr.’s still got it: songs like “Watch the Corners” and “Pierce the Morning Rain” are solid rockers and just as good as most of the band’s material from their earlier years. While it would be hard to imagine any Dinosaur Jr. album topping the magic of You’re Living All Over Me, I Bet On Sky shows a band that knows how to age gracefully. –kurt (Jagjaguwar)


DIME RUNNER:
Recharged Rejects: 7”
Snotty punk rock and Orange County, California go hand in hand. Dime Runner fits the bill nicely. The over-the-top swagger of The Stitches or Broken Bottles comes to mind, but not in a rip off kind of way. It’s natural. The title track nails it then they close it out with a Joy Division cover. My only complaint is that I want more. –ty (Wanda)


DICKS, THE:
These People: CD
It’s not easy under any circumstance for a band to pick up pretty much where it left off when—for some reason or another—an entirely new lineup needs to be recruited. Add to the mix that the previous lineup was in itself a legendary powerhouse responsible for some of the finest punk rockin’ put to wax and the odds get better for you getting hit by a giant meteor made of salamander poop than it is to match, let alone top, your game. While These People does fall just shy of the benchmark set by previous works, it is by no means a bad album. More than anything else, I would say its shortcomings lie more in the production than songwriting or execution. Here, the thuddy sound that SST house producer Spot utilized to great effect in showcasing the band’s gritty blues undertow on Kill from the Heart is replaced with Klaus Fluoride’s more trebly sonic environment, one that worked well for Dead Kennedys, but here sounds much too sterile. One need look no further than the tracks from the Peace? single attached on this reissue to hear the difference. Outside of that, the album showcases a band that may not have quite exceeded the brilliance of the original lineup, but it handily picks up where their predecessors left off and—if this record serves as any indication—were on their way to some interesting uncharted waters had they not decided to throw in the towel. Bands with the fearlessness, and flat-out greatness, the Dicks displayed are hard to come by, and thanks are due to Alternative Tentacles for making their music again available. –jimmy (Alternative Tentacles)


DEVIATED INSTINCT:
Liberty Crawls…: 12”
I have to admit that I wasn’t the biggest fan of the band back in the late ‘80s. I only have the Guttural Breath LP, which hasn’t been spun in probably over twenty years. When I heard the band was touring the West Coast a couple of years ago, I was intrigued. I was going to check them out. Also, I had corresponded with their guitarist Mid through the internet, which made it more appealing to meet him in person. I caught the first day of the tour and was floored by the sheer power of the music. They were way better than I remembered from that LP from years past. It worked out that I would be in the Bay Area a few days later to celebrate my birthday and caught them. Once again, it was no fluke and they killed it. I was officially a new fan. A band whose last release was over twenty years ago comes back with a 4-song EP that shows why they are regarded as one of the forefathers of crust. It’s a release I would have easily dismissed, seeing as so many reformed bands have not been able to perform to the level of their status in punk rock history. But Deviated Instinct bring elements of both punk and metal and perform it with precision and ferocity. Vocalist Leggo delivers the lyrics with a harsh and charged delivery. Mid shows that his guitar playing has matured and charges forth with his bar chord fury. Bassist Snapa pounds out the low notes and provides that cohesiveness to push the music. Rounding of this collective is Tony on drums—who I witnessed first-hand—hard hit with a fury to drive home the message. From the musicianship, the production, and to the mastering, this record has that power that appeals to my ears, even though I have been on a different kick lately genre-wise. It one of those records that really gets me pumped up when I listen to it. I was so giddy about this record I also bought the European release just to see if I could hear sound differences due to different pressing plants. That is my next project for the nerd in me to explore. –don (Profane Existence)


DANI BAND TRAVELING BAND:
Shut Up & Go Die!: CD
Using a variety of tropes across the spectrum of punk (including a ska song), Dani Band delivers a one man EP of varied delivery. In all honesty, I’m not familiar with Dani Band. I think he’s in Mall’d To Death, and if that’s correct this EP isn’t terribly removed from that school of punk. This disc normally works like an Osker record and branches out from there. It’s a very personal record that shows its sole performer showing off all of his talents. Some tracks work much better than others, but as a project that’s not necessarily trying to be anything other than a personal record, this is quite formidable. –Bryan Static (Self-released)


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