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Below are some recently posted reviews.

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Self-titled: 7” EP
Mid-tempo hardcore from France. Yup, you read that correctly, and it ain’t bad, either. Five tunes with full-bore guitars, a hatred of religion, a yen for revenge, and a disdain for weekend punks. –jimmy (Build Me A Bomb)

Weed Seizure: LP
I love The Hussy. They’re my current favorite live band and their Cement Tomb Mind Control LP was an absolute scorcher. Weed Seizure is somewhat of a departure from Cement Tomb. The songs are still loud as fuck for a two piece, but this album isn’t as blown out as their first. Some of the songs are longer. Some are mid-tempo and more stomping. The bottom end is more present and Bobby’s guitar leads have a more hard rock feel to them. Vocals are reverb-heavy and spacey. Best songs: “Bang Bang” and “Stab Me.” I want Heather to play drums in my band! –Sal Lucci (Tic Tac Totally)

She: CD
Long ago an idea suggested itself to me and such was its seductive powers that I remained under its spell for quite some time. It was the notion of a kind of nomenclature of punk, suggesting that all punk bands more or less fit into a category based on the prototypical first-wave punk bands of 1977: Sex Pistols Punk, Ramones Punk, Clash Punk, and Dead Boys Punk. For a long time that idea nested comfortably in my head, until finally it collapsed under the weight of its own ridiculousness. On a related note, one of the ideas currently nesting in my head is that categorizing is akin to trying to mummify a still-living thing. But the proto-punk-category idea is still an idea I like to trot out every so often, almost as a sort of parlor game. So you’re probably wondering: where does the band Highway Gimps fit in this particular schema? I asked myself that question and ascertained that they fit, with a little help from my critic’s shoehorn, into the Clash Punk category. Which might boil down to meaning that this band has a self-conscious, slightly artsy feel to them. But in all honesty, that’s such a crude classification, that it’s practically useless. To be fair, The Highway Gimps are very much their own monster, with hanging boils and hairy patches and twisting horns that simply prevent them from fitting neatly into any category. As I listen to the disc right now, I’m thinking that it sounds a bit like a lighter, looser, janglier Hot Water Music with occasional surf guitar undercurrents. Sort of tough and dirty in some places, and a little college-radio alterno-cute in other places. So, you see, it’s not so much that it nicely fits the Clash Punk classification, but more that it just so obviously doesn’t even begin to fit any of the other categories. Whatever strain of punk you want to link them too, this musical sampling could benefit immensely from the flying sweat and the spit and the grit that the environment of a live performance brings. The bottom line is this: this disc is just a little soft around the edges—dare I say, even a little on the gimpy side. But I can easily imagine that, performed live in some stinking, cramped little cement letterbox of a room, this distant relative to the Clash could come across as something more dangerous than a mewling invalid. –Aphid Peewit (Self-released)

Rock You to Sleep: CD
I always look forward to hearing new Hextalls material, but I have learned not to drink orange soda while listening, unless I want it to spit it out on my keyboard. Devin’s lyrics are always hilarious and this record is no exception. But it is the music by Jeremy, James, Nicole, and Devin that keeps things steaming along nicely. I’m sure you will find your own favorite lyrical topics once you dive in. Devin’s current obsessions seem to be Kenny Rogers and Hulk Hogan. Quality songs here that should get them into the Canadian Rock and Roll Hall of Fame shortly. –koepenick (Self-released)

Parallel: 7”
I know there are a lot of people around my age (circling forty) who got into punk rock just a little bit too late to miss some of the greatest bands in their prime. So many of the bands that I love had already put out their classic records and packed it in before I could see them live or buy their records when they were new. Thankfully this isn’t the case with the Hex Dispensers. Sure, I had to pick up a few 7”s and an LP once I jumped on board with their killer second full length Winchester Mystery House, but since that moment I have been right there with them, getting to see them play a couple of times and collecting great 7” after great 7”. Well, another one can be added to the pile of greatness. Parallel tells the tale of a near-death experience and a ripple in time and space. It’s a tightly woven story that will jar you and stick with you musically for days. It wouldn’t be a Hex Dispensers record without a cover, and this time they give us two to round the record out. A creepy song by a band called Knife In The River that is unknown (to me), but I can’t wait to check out. If I’ve learned anything from past records, it is that if the Hex Dispensers are covering someone I’ve never heard before, I should really check ‘em out (Occult Detective Club and Haunted George for instance). They close this beauty out with a cover of Misfits’ Hybrid Moments. It’s instantly clear that Alex has the pipes and menace to knock it out of the park. Okay gang, that’s a few singles since Winchester. Let’s dig up a new LP! –ty (Red Lounge)

Warlord: EP
Of all the metallic crust/punk bands out there, I’d have to say Hellshock are my favorite. Their music has a ton of drive and energy. Even when they allow themselves to plod, they still do it with undeniable force. Mix the masters of Japanese and Scandinavian hardcore, and you get something like Hellshock. They draw on a rich well of influences and create something so fucking sonic it’s addicting. This was originally released back in 2005 (reissued now in a pressing of 300) and holds up. The title track begins with the slow-build intro that wavers between forlorn and prepared-for-battle type stuff, then rips into a quick gallop and the war is on. This is the type of music that runs through my head as I roll dice and cleave goblin warriors in two with my battle axe, and I mean that as a sincere compliment. “Legion,” on the backside, is a little more quick to get down to business—with the war drums at the beginning and everything falling in line—then ker-fuggin’ pow!! Thunderous mayhem with a riff that storms the gates, directed by gruff vocals and a guitar lead that comes out of the darkness then races back into the shadows. It’s been at least a couple years since I’ve heard anything new from these guys. Hope there’s more to come. –Matt Average (Profane Existence, profaneexistence.com)

Self-titled: Cassette
Catchy Ramones-core pop punk from the capitol of the Confederacy (aka Richmond)! My Internet sleuthing tells me these guys have released a record or two since putting out this demo tape, but this is still well worth checking out. Five songs of three-chord pop punk. Nothing fancy, and that’s the way it should be! Sample lyric, “Jimmy says he’ll skip the show/He’s got his headphones/Jimmy put on ‘Ill at Ease’/’Cause he likes The Methadones/Jimmy eats pizza every night/Under the TV light” and so on and so forth! I feel like I’m contractually obligated (as a pizza-eating, pop punk dork) to like this! Fortunately, I DO like this! And so should you! If this were the year 1996, this band would definitely have a seven-inch on Mutant Pop! And if this were a cereal, it’d be Honey Nut Cheerios—take the basic three-chord Cheerio structure, add sugary melodies, and enjoy! –Maddy (Self-released)

Gå Hem Över Himlen: 12”EP
It’s nice to hear Swedish people talk about this band with pure admiration. They truly deserve it. They obliterate molds with their radiating power. Glowing and solemn, these songs turn minutes into seasons; invoking a beautiful isolation. Hannah Hirsch’s records should be cherished crevices of one’s record collection. Interestingly enough, this record contains two covers. One by the Smiths and the other by Southern California’s own Gabriel Hart of The Jail Weddings, Starvations, and more. Both are translated and sung in Swedish. –Daryl Gussin (Adagio 830)

Stone Street: LP
Wow, ex-Measure dudes playing, like, Americana? Stone Street’s got its many-tentacled arms in folk, bluegrass, an occasional Murder City Devils swagger, and even a whimsical, story-telling quality akin to The Decemberists or something. Very interesting. A five-piece, dense with piano, harmonica, horns, and with a few vocalists at work, the sound is rich and varied. While the previous description might make it sound a little schizophrenic, there’s an undercurrent of solidity here; the songs never lose sight of themselves. This is also a beautifully physical record—heavy chipboard packaging, an accompanying zine, and possibly the most striking piece of colored vinyl I’ve seen in some years. I was not expecting this at all, but goddamn, it’s a nice surprise. It’s clear, especially on songs like “Mio Secolo,” with its compacted structure and story-like quality, that much of Stone Street will take repeated listens to discover and unfurl. That’s definitely something I’m looking forward to. A challenging piece of music in some ways, but a recommended one. –keith (Psychic Volt)

Self-titled: LP
Fourteen infectious tracks of Danish pop-psych fortitude. This record is living the dream. And god bless the studio magic that this band has summoned to make this two-piece sound so full and powerful. I had already digested this record when I found out Glowkit contained members of Cola Freaks. Makes total sense. The sound seems more De Høje Hæle than Cola Freaks, though. Romping garage-is-punk, punk-is-garage tunes. Snatch this shit up. –Daryl Gussin (P. Trash / FDH / Kanel)

Leaving Atlanta: LP
Sophomore album from Gentleman Jesse Smith. Thirteen power pop gems, including a song about murder (“What Did I Do”). That doesn’t really surprise me because the lyrical content of many of Jesse’s songs is dark (heartbreak, depression, living in a hellhole town). Sounds as great as his first album (well, the first album is mastered louder) but the songs are shorter and the tempo is more upbeat. According to the liner notes, these songs were recorded in early 2009, so I don’t know why they took so long to see the light of day. Douchmaster’s website says Jesse had a bad turn in his personal life for a while, so here’s to the hope that he’s okay and back to stay. “We Got to Get Out of Here” is the best of the bunch and “You Give Me Shivers” makes me think of Nick Lowe’s “Heart of the City.” –Sal Lucci (Douchemaster)

No Sex on Paul Fashion Street: 7” EP
Seventies-sounding punk stuff, with trebly, slashy guitars and an early Damned feel for a hook, though not quite as, um, speedy. –jimmy (Ken Rock, myspace.com/kenrockrecords)

Split: 7”
French Exit: A suburb of Los Angeles, Illinois, called Weezernirvana. This can be way dangerous territory. One slip and it’s punknews.org/AP land and your review is placed adjacent to a Chevy ad after a positive review of a Victory 2012 sampler. Next step: constipated band photos, questionable neck tattoos, gel, guyliner. However, since I know these dudes and they understand dangling carrots always come with a stick, I’ll “woo, ooo, ooo” along. Undeniably hooky, tight, and laser-focused. Think early Alkaline Trio, swapping out spooky lyrics with suburban sprawl and first dates that didn’t go so well. Good stuff. Signals Midwest: Pleasant, hummy, punk pop that owes small debts to Hot Water Music, Smoking Popes, and other bands that weren’t afraid to dent, kick, and counter-attack the conventions of already-ossifying genre constraints. –todd (On The Real, ontherealrecords.com / Solidarity, solidarityrecordings.com)

Are Still a Band: 12” 45
Got the band’s “Dangerous Game” 45 a while ago, and didn’t put it together that they were the band who had the album on Rip Off about ten million years ago ((Red and black cover? Ringin’ any bells?)) until the album’s title compelled me to google that shit to uncover the savory truth of its genesis. Indeed, it is to the planet’s benefit that the Flip Tops are still a band, as this fast-acting 12” 45 is the year’s first real ass-kicker album—fast punk with pop ruckus, tight playing, cool guitar bits, and colorful yelling, guaranteed to outrace your feeble attempts gain sturdy comprehension thereof. “Enslaved Outraged” sounds like someone kicking the living shit out of some Undertones song on “Hypnotised,” whereas “Boyfriend Street” is a chordy, riffy ascension to a higher spiritual plane where you wind up getting the living shit kicked out of you as well. I salute the band’s tenacity and dedication to their craft, in the face of overwhelming odds of artistic foreclosure! I also salute the blue, pink, orange and red color scheme on the front cover! Best of all, my top flipped an even number of times, so it wound up back on how it was when i left the house! –norb (Bachelor)

Loser: LP
Fistula manage the tough act of being sludgey and semi fast at the same time. Not a lot of bands can do this, and even less can make it sound good. Fistula do it like a bunch of pros. They make it sound effortless and every song is a crusher. The bass and drums work together like a blunt, yet sharp, instrument that is stabbed into your skull over and over. Yet, instead of being in pain, you’re actually stoked. Perhaps this is a blood-free form of aural trepanning? Copious amounts of low end buzz and ooze, then the drums will launch into some hyper speeds, and you can hear the avalanche happen through the din of distortion. Then, suddenly, it’s back to a near-glacial pacing for a more introspective attack. I can’t get over how awesome the drums are on this. They’re so fuggin’ heavy and it sounds like Nate Lineham is out to annihilate every single piece of his kit. There’s pummeling bass drum, then you have the rapid attack off the snare and other toms. If you like Weedeater and Buzzoven, then this record will be of much-needed attainment. –Matt Average (Patac, patacrecords.com)

Party, Party, Party: Cassette
America, it is time to admit defeat! We have been bested by a CASSETTE TAPE released in Canada! Three lo-fi bubblegum pop songs on a yellow piece of plastic that has been overheating in my car stereo for days! ‘60s pop = punk rock! One gripe: when a release is this good, I want it on a record, not a shitty tape! Fortunately, First Base has at least one seven-inch I’m aware of, and it includes a cover of a tune by (the ridiculous and amazing) Personal And The Pizzas! More, please! –Maddy (Hosehead, hoseheadrecs@gmail.com)

Bury Me Standing: LP
I’ve never listened to this band before, but I know plenty of people who were really into them ten years ago or so. Their story is a familiar one: Punk band jumps ship from a respectable independent label to a major label and then breaks up after the major label drops them. This album was recorded five years ago and was going to be on a major label before the band got dropped. It’s a pretty slick punk/pop record with some obvious ‘77 punk influences. There is one song in particular which sounds like a Clash cover, but it isn’t. This isn’t your standard major label garbage, and after actually enjoying this record, I’m definitely interesting in hearing what those older records sound like. –Mark Twistworthy (Chunksaah, chunksaah.com)

Bite Down Hard /Impact Time: LP
Seemingly unknown but deservedly reissued is an early years retrospective collection by Exit Condition from the U.K.. Side one is their demo cassette with side two compiling an EP (originally released by Pusmort/Pushead) and various compilation appearances with all tracks spanning from the years of 1987 through 1992. One cannot help but be reminded of fellow country men Heresy—who are also friends of theirs as it so happens—with both bands sharing an affinity for U.S. hardcore, though Exit Condition aren’t quite as concerned with breaking any speed barriers. And while Heresy was looking towards the East Coast sound (Straight Ahead, Adrenalin OD), it is quite clear that Exit Condition were steering to the west (7 Seconds, Insted). File under: sometimes it works, sometimes it doesn’t. The opening demo songs are presented here first with their subsequent recordings following on the flip side. In the liner notes it is mentioned by a member of the band that they were not as happy with their debut 7” as they were with their demo tape and I couldn’t agree more. The demo recordings are far more captivating and intense than their proper 7” release. It could have something to do with a hardcore band transitioning from a simple 8-track recording to a larger studio and the overwhelming conditions it can create. Also mentioned is how the EP received much more favorable reviews than their demo, which made the band feel as if “we had sold ourselves short.” Having given this record two back-to-back listens, there is no doubt in my mind that the songs still hold up some twenty years later in both execution and quality: all ragers and not a dud in the lot. Included on the insert is a letter from Pushead to the band expressing his interest in releasing their material as well as a lengthy diatribe about which way he felt the recording industry was headed towards and how the market was “dwindling” in 7” sales. I could go on and on about how someone releasing a hardcore band’s record with the intent of moving units is fucking ridiculous, but, to be fair, the DIY community has changed drastically since then and I’m sure Pushead could care less now, what with the residuals from his skull designs for Metallica shirts keeping him quite happy. It is now your job, nay, duty in putting a smile on Exit Condition’s faces by picking this up, stat! –Juan Espinosa (Boss Tuneage, Drunken Sailor, bosstuneage.com, drunkensailorrecords.bigcartel.com)

”Sinkin/Risin” b/w “Joanne”: 7”
This trio from just north of New York City released this record on their own label. Magic Sleeve Records’ first release is the band’s second 7”. “Sinkin/Risin” is a slightly sloppy garage rock tune. For a trio, they have a very full sound, and the vocals sound like they might have been run through an old guitar amp. The drums have a loud crash to them, the bass definitely walks up and down the track, and the guitar leaves you with a very rich, heavy feeling. “Joanne” is a slower tune, allowing the band more room to fool around on their instruments. It sounds like it could have been recorded in the late 1960s. This record was done on a 5-track in a basement, giving you a pretty good idea of what they might sound like live. These records are hand-numbered, out of 150, so don’t sleep on this one. –Nighthawk (Magic Sleeve, MagicSleeveRecords@gmail.com)

Split: 7” EP
Enabler: Shouty metal stuff with thrash and blastbeats a-plenty. Drainland: One long noise-dirge with the occasional thrashy freakout to break up the monotony. –jimmy (Halo Of Flies, halooffliesrecords.com)

Vol. II-Expansive Sound: CD
Finally! At long last, more songs from the post Generation X outfit on CD. Although this had been available via MP3s for awhile, I was jonesing for a hard product. And the fine folks at PPP deliver. There are five different band lineups to wade through here, but it is well worth it. The mainstays here are Bob “Derwood” Andrews and Mark Laff on guitar and drums, respectively. Twenty-one songs: outtakes, demos and live tracks. Great postpunk guitar work from Andrews makes this a must-have. I can’t wait for the Andrews autobiography. Maybe we can get some Empire reunion shows to celebrate? Only time will tell. –koepenick (Poorly Packaged Products)

Angels of Darkness, Demons of Light II: CD
I have not heard Angels of Darkness, Demons of Light part I in its entirety, but the two albums were recorded at the same time, and—based on what I have heard of the first—this is a natural extension. The groundwork of this: spare, ever-building riffs, atmospheric cello, and cavernous but sparse drums. The five tracks that make up the forty-five minute runtime of this instrumental album have really given me an appreciation of why the appellate “stoner metal” came to be. This album is about the setting of a mood and place, and as such I would say it is a triumph of production. It is probably best enjoyed in either the grips of full audiophilic immersion (possibly aided by someone’s dispensary prescription), or as background music. In short, this will not get the heart racing, but maybe it will get certain people’s heads working if caught in the right frame of mind. –Adrian Salas (Southern Lord)

Split: 7” EP
Horror Squad: It’s not an uncommon punk dilemma. A lot of your idols have turned into clowns. And if not clowns, super fucking questionable, mumbling shadows of their former selves. There’s no doubt that Horror Squad has had a longtime love affair with Rancid and I’m glad to hear that they’ve taken a couple of steps back from that mirror and started to listen to themselves as a band. The great news is that they’re developing their own identity, their own sound—and they aren’t a new band. That takes some nuts. Anthemic, breathless, and punk-as-life, not punk-as-uniform style punk that’s worth a new listen. Dudes Night: This one’s easy. They like NOFX, Hot Water Music, beer, not showering, and not singing in any sort of key; parts are interchangeable like a partying Voltron (missing a part or two), depending on the situation…”No, dude, that’s your puke.” –todd (On The Real, ontherealrecords.com)

Keep It Lean: CD
I can honestly say it’s been a while since a punk full length grabbed me like this. This album will stay in rotation. A keeper. It’s the kind of album you bully people into borrowing, just to say, “I told you it fucking ruled.” Fire-charged and jam-packed full of tight bass lines, these guys tear it up proper. Fourteen songs in twenty minutes that leave you salivating for more. The lyrics are right on and, like the music, powerful and concise. The musicianship here is just top notch. You can tell these songs weren’t created, they were crafted. Definitely recommended for fans of early Metallica, Black Flag, Motörhead, and the Business. –Rene Navarro (Dusty Curtain Face/ Kibou)

Self-titled: CD
I’ll start with the disclaimer that none of this is in English, and I personally have struggled with more than one intro language course. That said, I think this is either Finnish or Polish, and for the first ten seconds it sounds like weird Sonic Youth worship until it turns into yelling-lady anarcho metal. This is made funnier by the fact that according to internet searching, a Delicje is some sort of chocolate cookie biscuit. Again, I don’t know how to make the connection, but it’s interesting, for sure! –joe (No Pasaran)

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