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Record Reviews

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Below are some recently posted reviews.

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TOYS THAT KILL:
Fambly 42: LP
Okay, I see there are several other reviews for this record in this issue. They explain the sound, so if you’ll indulge me, I want to step back and offer a larger view. Let’s unpack what DIY punk can mean on its best days. 1) DIY punk is some of the best music in the world. Ever. TTK is an excellent example of workable, long term DIY punk on a sustainable level. I’m not here to sell you a bandwagon to jump on. (There is no bandwagon.) 2) Real bands are made up of human beings, not heroes. Heroes are for political manipulation, television dramas, and the history of civilization. TTK, however, are all extremely talented musicians. I’ve seen them so many times, that, often, I’ll just watch one of them the entire set and still not understand how the fuck they do what they do. 3) There’s something wicked about hearing a brand new song—”Oh, that sounds like TTK”—and then having the song surprise you, having the song show new depths. On one hand, you know what you’re getting. On the other hand, it’s a new revelation, an organic growth, a new light in the color spectrum. How often does that happen? And their songs have legs. The Citizen Abortion’s over ten years old now. It’s now on automatic recall for me, like The Big Lebowski. 4) Repeat this a couple of times: “Don’t take great local bands for granted. Don’t take great local bands for granted.” Unequivocally, TTK’s one of L.A.’s best punk rock bands. 5) The road to true democracy is paved by imperfect democracies existing in tyrannical times. TTK—partially via Recess also—operates like the life of the band depends on controlling its music, from recording, to distribution, to touring. They’re buying in (the initial dividends are always smaller) instead of selling out. Let’s talk about bands like this more instead of the all-too-regular, all-too-predictable next wave of bands that’re going to be seduced by “increased exposure” via corporate fucklords. 6) Although it’s been six years since the last full-length, Shanked!—don’t forget their split LP with Grabass, URTC, and Stoned At Heart—it was worth every second of waiting. Instant gratification doesn’t build lighthouses. Fambly 42 is a beacon of light for punk rock in 2012. It’s not going to be outshone by ten other records this year and it’s gonna help a bunch of people with tons of shit in their lives from crashing onto dark rocks. Mark it, dude. The power of DIY punk. –todd (Recess, recessrecords.com)


TOYS THAT KILL:
Fambly 42: LP
Twelve years ago (damn near the day, even), I first heard TTK. My tastes were strongly rooted in meathead-y ECHC, oi, and street punk at the time, but new friends all had a burned copy of the yet-to-be-released Citizen Abortion playing nonstop, and I was quickly hooked. There was something there that I never found in F.Y.P., something less silly, but still refusing to be too serious. Since then, I’ve seen them potentially hundreds of times and picked up every release. For the most part, every show is better than the last, and each record has topped itself, but in a slow grow. When the clear green vinyl (yeah, nerds, go get it) first hit the table, I liked it. Liked, not loved. Within a day, it was beyond a craving. I couldn’t get enough. I was seriously reading liner notes from other TTK albums while listening to Fambly 42 because I wanted to have it even more. I don’t know if it’s in the recording (it’s a little rougher—they recorded it in Todd Conge’s Clown Sound studio themselves instead of at Sweatbox as the previous albums) or just a hint of a different approach, or (ugh) growth, but there is something here that’s pure fucking magic. If it’s left the record player, it hasn’t been for long, and I don’t anticipate that changing any time soon. Easily a Top Ten of the Year already. –megan (Recess, recessrecords.com)


TOYS THAT KILL:
Fambly 42: LP

This record is so ridiculously TTK and still so breathtakingly original. It’s like in the last six years they uncovered another level of what it means to be Toys That Kill. And within the level they found the ability to be both harder and softer than they had on previous records. The ability to get even weirder, but never straying too far that it would seem unnatural. In the context of the last five years, Fambly 42 fits in perfectly with albums like New Animals, C I V I L W A R, and The High Hate Us. Sometimes a great record can take awhile. There’s no rush, because in the end these records will be remembered for a long time.

–Daryl Gussin (Recess, recessrecords.com)


TOYS THAT KILL:
Fambly 42: LP
I really like food metaphors. That’s probably because I like food a lot. Well, I know for a fact that once you find a restaurant that makes your favorite dish, you like to go back. Sometimes the chef, being an artist, will change things up a bit. If the chef is any good, you will be opened up to some amazing new flavors and if not, you’re pissed. Toys That Kill are master chefs. This record is the aural equivalent of a culinary masterpiece. My first thought was, “It sounds a lot more like Underground Railroad To Candyland than the last one” but why wouldn’t it? Three quarters of the band are in URTC and this is the first TTK record that they’ve recorded at their own Clown Sound studio. The next thought was, “That’s rad!” On repeated listens (of which there has been many), the magic of Toys That Kill took over: the seemingly random yet important lyrics, every little underlying sound and voice that is there on purpose. It all fits together in a way that only these four guys could pull off. I especially love how the record is paced. Todd sings then suddenly there is Sean, right when you’re looking for him. And when they both sing together it’s like mystical cheesecake from the sky falling right into my mouth! As I flip the record again, I can only hope they don’t take as long a break as last time. –ty (Recess)


TNPAH:
Reborn Chaos: CD
Wow, this is terrible. Overly technical metal that noodles and noodles into oblivion. As the disc goes from song to song, my attention span wanders over everything from what is Eva Green starring in these days, to checking social networking statuses, only to realize this album is still going... Whew! Someone open a window. This stinks! –Matt Average (Tnpah, wod-prods@mail.ru)


TIMMY’S ORGANISM:
Scum Revolution: 7”
The A-side here, “Scum Revolution,” sounds like it crawled outta the same sludgy, slimy pit where the Stooges previously plucked perennial faves like “I Wanna Be Your Dog” and “1969.” Definitely the kinda tune that makes you feel like you need a shower after a couple o’ listens. The flip, “When the Bottles Break,” is an acoustic number, decidedly tamer than its companion, but is somehow unsettling in its own right. –jimmy (Hozac, hozacrecords.com)


TIMMY’S ORGANISM / JOHN WESLEY COLEMAN III:
Split: 7”
Timmy’s Organism: Starts off with a bit of psychedelic delay-drenched guitar, then cashes that in for a trashy rock stomper. John Wesley Coleman III: A potent slice of ‘60s-influenced minor chord pop. –jimmy (Goner)


TIM BARRY:
40 Miler: 12”EP
Formerly of Avail, Barry has turned from hardcore to country punk. Festooned with harmonica and tambourine solos, the title of his latest solo effort on ivory and gold vinyl alludes to a freight train rider who prefers short rides close to home. Living in a shack in the backyard of his girlfriend’s house, Barry laments over hipsters at designer markets, train hopping, and hobos. And booze; can’t forget booze. Barry’s lyrics leave a poetic sting as heard in “Wezeltown” and “Bankers Dilemma,” signifying he hasn’t lost any of the piss and vinegar from his Avail days. Julie Karr, a fellow Richmond, VA singer/songwriter, shares vocals with Tim in “Adele and Hell,” a bluesy break-up to make-up duet. If folk punk is yer thing, you best pick this up. Recommended. –Kristen K (Chunksaah, chunksaah.com)


THETAN:
Welcome to Whine Country: 7” EP
Down-tuned grind stuffed with lots o’ wham-bang, screamin’ ‘n’ carryin’ on. –jimmy (Anti-Corp)


TENEMENT / CHEEKY:
“Blast Exhaust” / “So Bored”: Split: 7”
Cheeky: Now why did you have to go and break up? There’s a nice bit of see-sawing on these two songs between more dissonant, throat-chopping hardcore directness (“your shit sucks”) and tones of the more aching punk-with-melody variety (Bananas, not managers, publicists, and Pro-Tooled hair gel). A punk gang with lots of heart? That’s what I think. Tenement: Disarmingly confident in exploration, Tenement’s an exciting progression in this post-Ergs! world. The ability to pull simultaneously from punk’s deep heritage and make it sound like it never had a care in the world, that they’re kids with their arms out a van window on a summer’s night—that’s a thing of beauty. I have a deep love for Midwestern punk—Dü, ‘Mats, ChiTels, D4—and if Tenement stays together as a band and keeps releasing records, they’ll be no mere blip on a radar, but a rock in the stream that other bands flow around. Two excellent songs on their side. –todd (Let’s Pretend / No Brakes)


SYNTHETIC ID:
Self-titled: 7”
Synthetic ID sound like Greg Sage, D. Boone, and Colin Newman fabricating the house band for the International Space Station. Or better yet, spending three days in close quarters on an uncharted trek to the Sea of Tranquility. Anxious paranoia dripping from the walls. It’s jerky, derailed, and draws heavily from early post-punk, but chugs along at a classic punk tempo, blasting out totally agitated lyrics the whole time. Space madness? Or just a need to escape the surface of this planet, even if it just be through the act of playing two minute punk jams? Either way, it’s exciting and different. –Daryl Gussin (Satellite Visions, crucialvibez@gmail.com / Cut the Cord That…, ctct-records.tumblr.com)


SUFFERING MIND / PROTESTANT:
Split: 6” EP
I have a few odd size records, like the 5”, or the 10” and 8”, and most of them are pretty disposable—more about the novelty of size than the actual music. Not the case here! This six incher is a crusher! Protestant don’t disappoint and just get better and better with each new release. Their two songs here are definitely some of their best material. They open up, go for it, and cause a lot of damage in the short amount of time allowed for the format. Heavy and fast, with a good dose of low end, the sinister atmosphere doesn’t bog down the delivery. These two songs have a way of working themselves into your memory with only a couple listens. I just know I’m going to be mentally referencing “No Peace” sometime in the next week, “Dig deep! Dig deep!” Suffering Mind are more on the grind side, with the pummeling percussion and abrasive dual attack of guitars and vocals (one high, the other throaty and gurgly). I’ve set my standards for grind incredibly high in recent years due to the sheer amount of shit bands playing this style. Suffering Mind definitely stands out above the pack and should appeal to anyone who likes music that is a bit heavy and, well, brutal. Their two tracks go by in a blur, but it’s a damn nice blur. –Matt Average (Halo Of Flies, halooffliesrecords.com, To Live A Lie, tolivealie.com)


STOP WORRYING AND LOVE THE BOMB:
Haunted EP: 7”
DC’s Stop Worrying And Love The Bomb have awesome dual male/female vocals and are an ideal example of a mainline, straightforward formula working incredibly well. A lot of male/female vocal bands suffer from one singer outshining the other, but both voices here are similarly snotty, complementing one another nicely. Maybe I’m a softie, but it’s records like this one that make me want to go out and shake negative scenesters who think that there isn’t amazing music being created today. Even the most jaded listener would have to concede how darn energetic and magical this 7” is. We’re talking pure punk perfection here. –Art Ettinger (Big Neck, bigneckrecords.com)


SPITS, THE:
Erste Deutche Original Aufnahme!: 12”
The Spits are one of those bands that never do what you expect (unless you expect them to self title each new LP, I suppose). Weird costumes. Weird show antics. A goddamn children’s book and record set! Well, in honor of their current European tour, they’ve done it again. Four classic Spits songs sung in German by none other than King Kahn. Let’s just say that the music of The Spits lends itself very well to being sung in German. Perfectly, in fact. You might ask yourself ,”That sounds like a great seven inch,” but you’d be wrong because it’s a twelve inch—a beautiful red and black splatter slab housed in an amazing gatefold sleeve. Overkill you say? That’s The Spits alright. –ty (Red Lounge)


SORCERESS:
Cum in My Kitchen: 7” single
Definitely influenced by ‘70s proto punk, and while that’s a much used and abused genre, Sorceress do a pretty damn good job of making it sound fresh and alive. They throw in some glam rock influences for that extra zing. Doing so raises the songs head and shoulders above the groping bands who think they’re the next Heartbreakers. The title track is fuggin’ great. I think it’s the straightforward drumming that makes it work. Could be the riff? Maybe a combo of both. But gawddamn, this song is a cooker. The structure is simple and they repeat the lyrics over and over, working up the frenzy with each pass. So damn good. I felt a little lost when it was over. Like, “Hey, come back. We’re just getting started here!” The flipside, “Young, Doomed & Fine” shifts down in mood to something like a Sunday morning hangover balm. The sort of music you put on to slowly ease yourself into the day. The delivery is all swagger and bluesy. I hear a bit of T-Rex just underneath the surface. I like the changeup at the end, as it picks up the pace and gives the songs a bit more life. You would be very wise to grab this record from the bins the next time you’re at your local record peddler. –Matt Average (Puta!, putarecords@gmail.com, putarecords.com)


SLICES:
Still Cruising: LP
Must confess, I have purposely avoided listening to this band for the past few years due to all the hype. All too often, the hyped bands I’ve heard in recent times have been pretty underwhelming. While I’m definitely not a frothing-at-the-mouth convert, this album is pretty good. Somewhere between hardcore punk and noisy rock (Am Rep and late ‘80s Touch & Go). Instead of allowing themselves to stand in one place as the world keeps moving forward, I hear a band that is decidedly taking some chances and messing with a tried and true formula. The results aren’t always good, but when they hit they hit. When they fall short, they’re still better off than playing it safe. I like the juxtaposition of “Human Resources” and “Why Do You Make Yourself So Sad,” from noisy and disjointed music to something slightly more straightforward (there is that break in the middle that gets slightly abrasive, then comes the tweaked guitar solo). Chaos reigns supreme here and it sounds like every song is on the verge of coming apart in one avalanche of sound. I find myself preferring their more stretched-out songs like “Horserace” over the short and brutal blasts that are placed here and there. “Classtime” is a total rager with near rapid fire delivery. My only real complaint here is the pacing is sometimes off, like with the aforementioned “Classtime” followed by “All My Life.” They’re both good songs, but you go from one rager that is not too short, then into something a bit more down and slower. So the mood is manic. Had “Classtime” followed something like “Hurt on the Job” then was followed by “Mustard,” then closing out with “All My Life,” it might have more flow, and I wouldn’t have written this ridiculous sentence. Other than that, get this. –Matt Average (Iron Lung, lifeironlungdeath.blogspot.com)


SIDETRACKED:
Wrench: Cassette
Loud-as-fuck, thrashing-mad powerviolence recorded in what sounds like a bathroom stall or storage shed. Seriously, the recording is raw as all hell but it works out quite well when the audio damage is done. Crossed Out/No Comment-style insanity captured on a cassette that has the same amount of space on it as a cassingle. Would have worked better as a one-sided 7”, but I suppose tapes are much cheaper to manufacture these days. –Juan Espinosa (To Live A Lie, myspace.com/sidetrackedhc)


SIDEKICKS, THE:
Awkward Breeds: CD
Oh shit, have The Sidekicks gone alternative? Fuck yeah. I mean, it’s still very much The Sidekicks, who used to be just slightly folky rock-playing kids. I mean, it’s not it’s drastically different, but there’s a slow evolution to it compared to some of their earlier stuff. For example, the whole thing starts with a mess of feedback and the singer is kind of starting to sing like he’s in Weezer (who I’m normally not into, but it doesn’t bother me here). I’m into it. –joe (Red Scare, redscare.net)


SICKOIDS:
Self-titled: LP
You want to know how I can tell a record is good? When I shake my head in disbelief and look towards my turntable from where I’m sitting, as if to say, “Fuck you for being so good!” This sort of feeling I was not expecting. I’d only heard of Sickoids in passing and decided I’d ignore the band with the goofy name. Big mistake: from this Philly three-piece, this is seriously some of the best hardcore I have heard in quite some time. The first song violently grabs you by the collar and continues to pummel you for a full length’s worth of untouchable manic hardcore flawlessly executed in the great tradition of modern Midwest and East Coast heroes such as Manipulation and Double Negative. Can’t say enough good things about this record: go find, now! –Juan Espinosa (Residue)


SICK SICK BIRDS:
Gates of Home: LP
What if The Cure were from Baltimore? What if Robert Smith sang almost-short-story songs about isolation, the ethereality of cultural status? What if songs were jotted with a marker, waiting for a bus instead of melancholic bubbles of smoke? Not to overstate the origami, but the folds in the paper are this: take punk and figure out how to age gracefully, how to not sound like a joke, a disaster, or shame. Make it a cool design. It may not change the world, but it takes ordinary materials, crafts them carefully, and aesthetically reshapes how we regard them. Gates of Home is a more complex response than a total divorce from the previous music made by Mike Hall (The Thumbs) or complete suburban/”I have a kid” amnesia when the “real world” gives punks their mid-life crises. The respect-worthy answer is Gates of Home. It’s a revisitation to melodies with serrated edges. It’s not glued-up-mohawk circle-pit punk. It’s not sweater-pill fluff indie. It’s, thankfully, in-between the two and simultaneously far from both. My only complaint? Some of the songs sound too similar to one another. I think a little more adventure would pay big dividends. –todd (Toxic Pop)


SHORES:
To Volstead: CD/LP
The nod that Shores gives to bands such as (early) Pedro The Lion, Codeine, and Bedhead is unmistakable. The ten songs coming in at forty-one minutes are tried and true slowcore and while that may be unusual for an album on No Idea, the sound does not stray far from the path that the genre has set out to define. A lot of this type of music had its run through the ‘90s and early ‘00s, so it’s interesting to hear a band taking up the sound as we make our way into the second decade of this century. While Shores plays competently, one thing I always enjoyed about slowcore was that some of the bands seemed capable of the occasional explosion and breakout with their sound. I’m not hearing much (if any) of that on To Volstead. Instead, this is an album of music played competently, but without anything to cause it to stand out from the crowd of other slowcore bands that have predated it in decades past. –kurt (No Idea, noidearecords.com)


SHARP OBJECTS:
Self-titled: LP
And the hits just keep on a-comin’ from Modern Action. There’s maybe a wee bit darker tone to the overall sound than on previous Sharp Object releases, but these cats are still dishing out some tasty and insanely catchy tunes that recall the best of California’s thud punk glory days while not sounding a bit like some mothball-laden rehash bullshit. Plop this puppy on and don’t be surprised if you find you’ve already pretty much trashed your immediate area by the middle of the first tune. Fuck yeah, this is recommended. –jimmy (Modern Action)


SECTARIAN VIOLENCE:
Self-titled: 7” EP
Gruff, sinewy hardcore very much in the Negative Approach/Out Cold end of the pool. Tunes are tight, topical, and packin’ all the requisite thud. –jimmy (Grave Mistake)


SABERTOOTH:
Making Light of a Shitty Situation: LP

I’m not sure why, but listening to this makes me think of the ‘90s and early 2000s. Poppy punk with a hint of melodic hardcore from Calgary, I think it’s the raw Kid Dynamite-esque vocals and the hint of hardcore rage mixed in with the pop hooks in the riffs that made me dig this. If you like your punk melodic but with screamy vocals, this is definitely something you’ll dig.

–Paul J. Comeau (Sabertooth, sabertoothpunk@gmail.com)


RVIVR:
The Joester Sessions ‘08-’11: LP
Three previous vinyls—Dirty Water,Life Moves, and Derailer—are corralled onto a long player, with the addition of a new song, “Elizabethan Collar.” I like to think of 7”s like kittens. They’re fun to play with, but they’re a lot of work. LPs are cats. You can let them be for a bit, have them go on adventures without constant attention. Gives you time to reflect on both the songs and what’s going on in your own life. Time to stew. RVIVR’s powerful. There’s no denying they’re passionate, seething, opinionated, and savagely determined. They’re melodic. Their delivery is nice and raw; blood-filled. It’s great to hear people believing so hard in what they do and be able to translate that into meaningful songs. When this record spun, I sat down with the lyrics again. This isn’t wide-eyed idealism. It’s deep scars. Lost friends. The world’s far too often flawed and broken, nasty and shallow. And those are all reasons to be more resilient bastards. Otherwise, the banks, cops, organized religion, “community planners” and all the nasty “isms” win. Lifelong DIY punk is a faith-based enterprise that we all pay using a currency more precious than money. RVIVR is one of its most compelling working examples of what good can come of all this; that flowers can grow in the cracks of concrete. I’m on board. They still give me occasional chills. –todd (Rumbletowne, rumbletowne.com, rvivr@rumbletowne.com)


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