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Record Reviews

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Below are some recently posted reviews.

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REPORTS:
Dinamo Cambridge: LP
Fuzzed-out, noisy alterna-punk from Boston. Strikes a catchy balance between stoned resignation and caffeinated tension. Lou Barlow-ish vocals, cascading drums, driving bass, and Eastern-sounding psychedelic guitar freakouts. I’m hearing Meat Puppets II, the trippier parts of Hüsker Dü’s Zen Arcade, and the rockin’er early Sebadoh songs. All with a rich melodic sense and a strong punk backbeat. Six songs on Side A and ninety percent of Side B is occupied by the title track, a twelve minute vamp. I’ve played side A four times in the last day, but don’t see myself flipping this record that often. –CT Terry (ridethesnakerecords.com)


RAD COMPANY:
Someone Should Be Fired: 7” EP
One thrashy pop punk tune, one that leans more in a Hüskers-influenced direction, and one more straight indie-pop punk, all with vocals that strain mightily yet only manage to dance around the correct note. Sorry, but I just ain’t feelin’ it. –jimmy (Smiling Handshake, myspace.com/smilinghandshake)


PUSSY DOGS, THE:
Ain’t Nothin’ but a Pussy Dog: 7” EP
Sloppy, noisy, trashy rock that sounds like it was recorded on a boom box. This has been done much more effectively by at least a thousand others, but those who eat this kinda shit up will likely do the same with this. –jimmy (Pissdrink)


PUSHER:
Our Beloved City of the Dead: CD
This is a pop punk album with a lot of late era, Clash-like futzing around peppered in. There are breaks with jumpy riffs, samples, and vague political sentiments. It is sort of brave the way they try to step out of bounds once in a while, but the more interesting interludes sound way too close to riffs taken directly from London Calling and Combat Rock. The title has the words “City of the Dead” in it. I hate to be such a dick about it, but “do not sound too much like The Clash” is on the first page of the punk rulebook next to “it is okay to sound like The Ramones.” It must be that way. –Billups Allen (Knot/knot_records@yahoo)


POTBELLY:
A Tale of Debauchery: LP
This suuuuuuuucks. Hard. Stupid, generic thrash music played by fat troglodytes with idiotic, purposely offensive lyrics about sluts and drugs that my eighth grade English class students wouldn’t even write. (And those kids are pretty dumb—some of them are ICP fans.) The cover art is pathetic and there’s even an enclosed comic book done in the same style. This is like Gwar, without the costumes and stage show, but if Gwar were severely unfunny. And untalented. And huffed glue to the point of mental retardation. (Umm, wait...) Sometimes they switch it up and add in an acoustic guitar or a “ska” part and sing about weed. Whooo. Seriously, this really wasted an hour of an otherwise beautiful and enjoyable Saturday. To the band’s credit, they admit in their last song that they suck and recommend using the record as a frisbee. Believe I’ll do just that.... –Ryan Horky (PIG, myspace.com/portnowentertainmentgroup)


POLICE TRUCK:
Under Custody: 7”
Police Truck play mid-tempo punk meets surf rock. While the shtick of the band members all being cops is silly, the music is quite good. What sells them for me is the sheer amount of guitar wankery in each song. The basic riffs are only mildly interesting, but the lead guitar parts are truly excellent. If you’re a fan of surf rock-fused punk, this just might be your new favorite thing. –Paul J. Comeau (Chubby Brats Eat Pizza)


PISS N’ BLOOD:
F.T.W.: CD
Great mid-tempo, pissed-off punk rock. I don’t know what else to say. If you like U.S. Bombs, the Pistols or The (Canadian) Subhumans, then you’d really like Piss n’ Blood. –ty (Piss n’ Blood, pissnblood.com)


PICK YOUR SIDE:
Survival Times: 7” EP
Ten songs that come off as one long, angry rant. Last one is a thrash cover of the Crucifucks’ “Hinkley Had a Vision.” –jimmy (A389)


OPPOSABLE THUMBS:
Self-titled: 7”
Can all three hundred of these records be so elaborately packaged?! The cover is two seven inch cuts of cracked and scratched glass taped together with blue duct tape with a couple photos taped to each piece of glass. Pretty cool, but pretty dangerous... sharp edges and all. And the music contained inside is excellent. The first thing that comes to mind is Monsula and late ‘80s/early ‘90s Dischord stuff. I really wish I knew more about this band, but no info was included. –Chris Mason (no info)


OBSESSORS, THE:
Excessive: LP
Dunno why, but my brain’s immediate go-to comparison here is Servotron, though without the robot spiel mucking things up. Could be the dual male/female vocals, could be the synth-tinged punk sound. Tunes are catchy ‘n’ fun. –jimmy (Braindart, myspace.com/braindartrecords)


OBNOXIOUS YOUTH:
The Eternal Void: LP
Driving hardcore with more than a smidge of rock wedged into their sound. Lyrics are pretty much silly, but the tunes themselves have a nice groove to ‘em in a mid-’80s speed metal kinda way. –jimmy (Adult Crash, adult-crash.com)


NOTHINGTON:
More Than Obvious: 7”
I am probably not the person for the job to review this record as I am not a fan of the band. But since we are going on my personal opinion, I’m going to have to say that it’s more than obvious that this record sucks. –Corinne (Red Scare)


NO WAY OUT:
Dead Ends: CD
Incredibly overproduced, double kick drum tom-douchery. The guy growling angrily over the top is just the icing on the cake. Sadly, there is no way out of having heard this. –ty (Pee)


NIGHTLIGHTS:
So It Goes: CD
Here’s another entry in the “recreate 1997” sound. Ironic song titles, bland vocals, name that evokes childhood in some way, all the elements are here. Where do all these bands come from and how can people write up one sheets saying they are unique? RIYL Latterman/Iron Chic with no teeth and no tunes. At least the disc and booklet are marked “promo” in black marker so they can’t be sold. That move is as 1997 as this album. –frame (Eulogy, eulogyrex@gmail.com)


NIGHTINGALESONG:
St. Sunday: Cassette
Mid-tempo-y, melodic post something. (I don’t know if I’d call it post punk or post hardcore, so post something seems right.) Best I can think of it is to say it sounds like Hot Water Music to me, since I like a few Hot Water Music songs. –joe (Baldy Longhair)


NAW DUDE / FLESH LIGHTS:
Bummer Bitch: EP
Half decent, and half blehhh... Both bands cover the same song (“Bummer Bitch”) with very different results. Naw Dude slow it down and suck the oxygen out of it. Their originals are slightly better, but pass by without much notice. However, Flesh Lights crank up the energy with punky pop similar to early Redd Kross. Sort of bubblegum, but gritty and raw. Their version of “Bummer Bitch” is cool, but their original, “Waves” is the reason to own this. –Matt Average (12XU, 12xu.net)


MULTICULT:
Open Fire: 7”
Noise rock—dense, atonal, and, well, noisy. –jimmy (Amplified Noise, myspace.com/amplifiednoiserecordings)


MULLTUTE:
Self-titled: 7”
Primal, guttural German hardcore. Though they don’t really sound like ‘em, this brings back fond memories of early Midwestern U.S. punk bands the Fix and Negative Approach. –jimmy (Mülltüte)


MOUNTAIN CULT:
Self-titled: 7”
There’s a scene in a lot of movies where the protagonist, either at a party or a club, takes some unknown drug, or downs a spiked drink without realizing it. The character then proceeds to spend the rest of the party wandering around while the camera distorts everything going on around him and the familiar tune that had been playing in the background becomes a warped, surreal piece of audio texture. Mountain Cult would be a great band to play during that scene in a movie. Beyond that, I see no other situation where this noise needs to be played. –Bryan Static (Self-released)


MOBIUS STRIP:
Escalate: 10”
These guys are from Washington DC, and it shows in their sound and the slick and fully developed aesthetic. My only complaint about this record is how varied the songs are. Sometimes, Möbius Strip sounds like youthful ‘80s punk/hardcore, and then the next song might sound like it’s more influenced by ‘90s emotive/screamy bands like At The Drive-In, followed by a much slower power ballad type tune. I always think that punk bands including ballads on their records need to be careful, and often should reserve those songs for the longer full-length format where the ballad doesn’t stick out like a sore thumb. Ultimately, of the six songs on this record, the best three would have made a completely great 7” EP. Unfortunately, the other three songs distract from what could have been. –Mark Twistworthy (Left Out, leftoutrecords.com)


MNMNTS:
The Good Life: LP
Emo-inflected hardcore. Yawn. –jimmy (Adagio 830, adagio830.de)


MIGHTY FINE, THE:
In Revival: CD
I find one-sheets that accompany CDs endlessly entertaining. This isn’t the worst one I have read by far, but at one point I was encouraged to call this “literature rock.” I wouldn’t call it that. I also wouldn’t call it “vintage rock-n-roll.” The “recommended if you like” section includes Against Me! and Hot Water Music. I could see that, as I am not a fan of those bands. Vocalist Brook Thompson does well with the gravel-laced vocals and the music is well recorded and competent. It doesn’t stand out to me, but if you are esoteric about Hot Water Music, you might enjoy this “well-crafted take on vintage rock-n-roll.” –Billups Allen (Solidarity)


MEAT SLUTS, THE:
Self-titled: 7” EP
Rudimentary rock/punk with titles like “Skank Yank,” “Cut that Rug,” and “My Baby Is a Ding Dong.” Can’t say it was all that mind blowing, but I’m guessing they come across much better live. –jimmy (The Meat Sluts, facebook.com/themeatslut)


MEAT MIST / WHITE SLAVE:
Split: 7”
The Meat Mist side of this powerviolence record is so full of malevolence that I was actually able to catch the malevolent drippings in a cup and mix the red slop with bananas to make a delicious smoothie. When I flipped the record over, I kind of regretted chugging the smoothie. I should have poured it over the White Slave songs. They could have used a little more oomph. –mp (no info listed)


MAGNETIX:
Drogue Electrique: CD
I want to like this more, but it’s a pretty mixed bag. When they’re on, they’re really on, but then they have some clunkers that drag the whole thing down. The title track, “Greenlight,” is some heavy and a bit fuzzed-out garage punk that sounds like it could have easily been the soundtrack to 1968 horror / sci-fi film The Green Slime. Keyboards provide the otherworldly effect. The guitars are spacey and surfy. The low end is fuzzy and akin to seeing alien tentacles grasping in all directions. Then there’s the instrumental, “Darktide,” that sounds like a lost track from David Lynch’s movie Wild at Heart, but they lose steam with songs like “I Drink (But My Guitar Doesn’t), “Spider in the Corner,” and that noise stuff tacked on at the end should have been left off. Trim the excess and this would be a really good album. –Matt Average (Slovenly, 702records.com)


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·SECOND WIND #2
·Featured Record Reviews from Issue #88
·MELVINS, THE
·GET UP AND GO
·SOME GIRLS
·BENNY/BABY LITTLE TABLETS
·CELLULITE
·Mostly True
·Bad Religion, Sparta, the Unmutuals


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