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Below are some recently posted reviews.

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Roman Nose: LP
What used to be a beautiful twist on punk, country music is now a weak, lily-livered album with no balls. I want to say this is the best thing I’ve ever heard because I know the band has it in them to put out some amazing stuff, but it comes down to heart—or lack of heart—should I say. Maybe it’s a bleeding heart and that’s why it sounds so sappy. Their last album, Restless Rubes, was great, but the entire thing was completely overproduced, which made it difficult to listen to. The beautiful human element that is Ninja Gun was erased and we were left with bland songs tucked into a beautiful record cover. This current release of songs may be nice to listen to in person, sitting in old lawn chairs on a southern night, but it isn’t translating nicely into vinyl due to the overproduction. I’ve had one person disagree with me on this and say it was their best work, but many others found this record to be boring and didn’t even recognize that it was Ninja Gun I was playing for them. If only the songs were recorded at a live performance. Get their first album if you are interested in learning about this band because it is truly their best recording. Bands evolve and it can be interesting to be a spectator, but, in some cases, it just saddens the listener because they lose something they held dear. I’m not sure Ninja Gun will ever be able to put out something as solid and honest as their first record. Although I do appreciate the hours of creative energy they have spent in a recording studio making their songs the best they can, someone should let them know that their organic sound is what makes them so wonderful. –Dan Glenn Fury –Guest Contributor (Sabot Productions)

We Own the Night: 7”
Here’s another two-song burner from the band that took my stereo by storm last year with their 12” EP on Modern Action. Relentless in their delivery and steadfast in their resolve to not give a fuck makes Neighborhood Brats one of the best bands going right now. The title track is the winner here, but the cover VKTMS “100 Percent White Girl” hammers it home. I want more! –ty (Abscess)

“Anxiety” b/w “The Creeper”: 7”
Though I’m probably not the most qualified to review this record, I really dig it! Pretty straightforward, bouncy garage rock with catchy melodies with the reverb turned up to eleven. My only complaint is that the production is almost too good for a record like this. I think the band would have benefited from a little more fuzz and a little more tape hiss. But it’s a minor complaint. Looking forward to hearing more from this band in the future! –Chris Mason (In the Red, intheredrecords.com)

Radical Rock and Roll Sounds of…: 7”
The B-side is where this record really gets interesting. The A-side, “Owner Operator,” is a good, generic example of the sort of punk rock’n’roll that was all the rage about ten years ago. The B-side, “Turn off Your Clock,” starts with a driving intro stripped from the Journey playbook (see “Separate Ways (Worlds Apart)”) and played through a filter of aggressive guitars. The intro segues into a gruff, heart-on-sleeves garage rock dirge that pulls as much from grunge and Dischord as it does the gunk punk undergut. I bet it causes those spinal chills when played live. –mp (Moon Eater)

Split: 7”
Have you heard of the Browns? For more than a decade, they’ve been wearing ski masks and writing sleazy yet catchy rock’n’roll with lyrics like “I’ve got a big cock.” It’s definitely don’t-play-it-around-your-mom music. The Moby Dicks are a bit subtler, particularly with “Intelligent Baby,” a sing-along paean to smart girls. That’s the side to play when your mom’s over. –mp (Handsome Dan)

The Donor: LP
Wow, this is all kinds o’ fucked up, and yes, that’s meant as a compliment. Take Black Flag and give them nothing but Saccharine Trust’s later free jazz/improv stuff to listen to for six months, turn the amps to “annihilate,” and let ‘em play a few tunes. Decidedly thinkin’ outside the box, a fuckload of tempo changes from one second to the next, Ginn-styled leads to further add to the chaos, and voila! The soundtrack to your next root canal. –jimmy (Sorry State)

Meltdown: CD
Mind Spiders is one of those bands that makes me both giddy and seething with envy. Fan-geek Jimmy is just happy as pie to gorge on the cornucopia of styles they bandy about here like nothing: punk, garage rock, power pop, and, at points, even veering dangerously into psychedelia and shoegazer terra. Then, halfway through, things veer off with a sharp left into synth-drenched Numanesque new wave land. Glorious. Hack guitar player Jimmy just boils with impotent rage at the fact that, like sister bands Marked Men and Potential Johns, they have that uncanny ability to make even the simplest chord progressions sound so perfect, like, “Well hell, of course they went that way. Why the hell couldn’t I think of that?” Fuck you, Mind Spiders for being so goddamned great, and please keep doin’ what you’re doin’. –jimmy (Dirtnap)

Tide: 7”
Simple and effective laid-back tunage heavily influenced by the clean-cut bands of the ‘60s, yet establishing what some are very eagerly considering a new California sound in real time. Spot-on job of laying down carefully crafted, somber verses and then just pulling the rug out from under it all as soon as the chorus hits. The melodies alone might make this record worth it, but it’s all pretty killer. –Daryl Gussin (Goner)

Central Time: CDEP
Promising debut from this group of Milwaukee rabble-rousers. If you like The Replacements, Slobberbone, and bands of that nature, then this may be one for you. Precise melodies, intelligible lyrics, and to-the-point guitar riffs. I bet this would go great with an icy cold one, or two. “Long Way to Go” is my favorite on this one, but they also have a great feel and groove. I’m setting the alarm in my head to Central Time! –koepenick (Good Land)

Jersey’s Best: 7” EP
Bittersweet. This 7” was released for the Measure [SA]’s final shows in New Jersey: an audio post card of thanks to their fans for seven years of support. It features the Golden Girls on the artwork non-ironically. The lyrics to the title track is like a meta-song for their last show, the story of the end, the echoes in the parking lot as people dissipate, going separate ways. It’s fitting: Lauren’s great voice, Fid’s inspired guitar, Mikey telepathic drumming. Legacies, nostalgia, the great void of—poof—part of what defined you for so many years gone; that’s a lot to deal with. Thanks for being a friend, Measure. Thanks for the ride. –todd (Don Giovanni)

Going Clubbin’: 7”
I always have high hopes when a new band shows up on the scene with the yarbles to have their “true” identities concealed beneath some sort of head-concealing wraps, be it in the style of pro wrestling masks or old school armed robbery panty hose headwear. Now I know plenty of pompous gasbags who think that that is the chickenshit way to play punk rock, that you’re supposed to be forthright and bare all in a show of naked punk rock piety. And that’s fine, but there are other, more exotic, flavors of truth that rash acts of juvenile anonymity bring out. But when you dare to don a punk rock mask, you are telling the world that you are of the same Herculean dissident punk lineage as such mythic figures as The Mummies, HeWhoCannotBeNamed, Henry Fiat’s Open Sore, The Rip-Offs, and The Mentors, just to name a few. So you better damn well be able to live up to the expectations that go with that noble cranial wardrobe. It’s similar to if you’re a new pro wrestler showing up with a shaved head, missing teeth and tangled tufts of Neanderthal hair adorning your body; you are instantly implicating yourself in the proud missing-link lineage of luminaries like Mad Dog Vachon, George “The Animal” Steele, Brute Bernard, Ox Baker, Maurice Tillet and Puppy Dog Peloquin. And there again: you’d better be able to deliver the damaged goods. Naturally, when I gazed upon this record and saw the Maxies in their dress shirts with red ties and their red and silver sci-fi masks, my hopes soared like a turkey buzzard. As we all know, oftentimes very good things come wrapped in clownish outfits. But I was somewhat let down. Cute, serviceable pop punk with a vocalist who has a practiced Jello Biafra warble might sound enticing enough, but, in reality, it registers on the satisfaction meter right at about the nocturnal emission level. Oafishly calculated attempts at political incorrectness— namely “funny” lyrics about the joys of clubbing baby seals—come across not as shocking and offensive, but hackneyed and pointless. Politically Incorrect Punk should be left to trained experts like Blag Dahlia and Tesco Vee, punk rock he-men who have proven that they can handle the nitroglycerine-like volatility of political incorrectness without having it blow up in their own faces. At the same time, I truly don’t want to discourage these masked Greenlandic desperados, because it’s not a hopeless case. There is some chuckleheaded potential here. Maybe the Maxies are just too raw at this point and need to stew in their own stupid juices a little longer. And here’s where I pretend I know what I’m talking about and offer up some unsolicited advice: don’t try so damn hard to out-politically-incorrect everyone else. Political Incorrectness is not a contest and if it doesn’t come from the heart, it’s just ineffectual and makes you look like an attention whore. Just drop the klunky affectations and let your natural inner sociopathic buffoon shine through. When that happens I will proudly and drunkenly climb aboard the Maxies bandwagon and once again publicly embarrass myself. –Aphid Peewit (It's Alive)

Single Life: LP
At long last, the LP that should have been released years ago. Sometimes watching 7”s steadily trickle out of a band is an overwhelming and alienating experience. For the last several years, Marvelous Darlings have been doing just that. And it may have left many people on the fence, but with the release of the Live at Gales LP and this here collection, any non-believers should be effectively won over to their brand of power pop-infused punk. In the interview in issue #63, Darling’s frontman Ben Cook credits the band’s infectiousness to the songwriting skills of guitarist, Matty D. That may very well be true, because it seems like the lead guitar is constantly wailing, but Ben’s vocal delivery is as convincing and powerful as one can expect. In a genre where bands commonly posture better than they play, you gotta hand it to the ones that know how to deliver. Firestarter’s Living on the Heat, Exploding Hearts’ Guitar Romantic, Marvelous Darlings’ Single Life. Pure pop. Totally punk. –Daryl Gussin (Deranged)

Whatever I Want & Whenever I Want: LPs
Here we have two new Mark Sultan records, released simultaneously. Mark Sultan—this generation’s Billy Childish? There are some obvious concerns about releasing two albums simultaneously. Maybe some can’t afford to buy both, maybe some can’t handle that many songs from one artist at once. I was excited about being able to get both albums at once, but as someone who has been a fan of Sultan’s music since his Spaceshits days, I had a hard time paying as much attention to the individual albums as they deserved. I find myself listening to them back-to-back but I really should break up the flow with another band. There are differences in the songs, sometimes subtle, but enough to warrant two different albums. Neither Whatever nor Whenever are straight ahead rock’n’roll—I’ve learned to expect the unexpected with Sultan, whether he’s one-man-banding it or sharing with friends. You get good time party jams (“Livin’ My Life,”) ‘50s Buddy Holly-isms (“I Turned Them All Down,”) ‘60s psych/fuzz (“See Them Wave Goodbye”) and wild jazz skronk (“For Those Who Don’t Exist”). Some of the drumming is a little timid but I can look past that because Sultan’s voice and knack for simple, yet beautiful hooks have always been the driving force of any of songs. My favorites: “Pancakes” (Apparently a cover. I gotta find the original!) and “Party Crasher” (with its eerie “Paint It, Black”-ish riff) off Whenever; “Livin’ My Life” off Whatever. Mark Sultan’s manifesto is both of these albums. –Sal Lucci (In The Red)

W.W.B.L.O.: LP
These Czech punks prove the theory that bands benefit from having one member who is a not-so-secret metalhead. The hesher will have stronger musical chops, but be prevented from utter wankery by the comparatively low skill level of his bandmates. In the case of Mad Pigs, the undercover headbanger is the guitarist, whose melodic leads add a triumphant Iron Maiden/Burton-era Metallica feel to the band’s anthemic hardcore punk. Their formula is one that gets monotonous after half an LP, but if I ever star in a war movie, I’d like to have one of their songs, maybe “Tohle Je Brno, Ne L.A.,” playing during a scene where I jump out of a chopper. The gatefold sleeve boasts silver embossed lettering and a tattoo-style drawing of the grim reaper welcoming you to a post-apocalyptic urban graveyard. Maybe the guitarist drew it? –CT Terry (Voltage)

Self-titled: 7”
Can a band be both contemporary and ahead of their time? Yeah. The Screamers were. The Urinals were. The Lost Sounds were. It’s pretentious and douchey to say that the “right” people were hip to the Lost Sounds when they were active, so let’s say that those people were justly rewarded, both live and on recorded output. The Lost Sounds sound like a fight and lust, only with creative musical instruments and a synthesizer pounded and actively striking back. Cages rattled, fidelities challenged, and a welcome post-Lost Sounds release. RIP Jay. Long live Alicja. The midpoint between Billy Childish and TV Smith? It’s a fun one to contemplate. –todd (Goner)

Yeah Buddy: LP
It took me a while before I finally broke down and bought this record. I wanted to get it to show some New Jersey pride, but every place I’ve seen it it’s been so goddamn expensive! And is a double LP necessary? Everything about this record is over-the-top, egotistical, a giant “fuck you” to the world... and it’s fucking glorious. Combine KBD-type punk, lo-fi garage, The Dictators, and The Angry Samoans and you have Liquor Store. Vocals so snotty it gives the singers of either The Crucifucks or Vindictives a run for their respective money. Dripping with hubris but totally self aware. Post-whatever era we’re in now. PC clowns, stay away. –Sal Lucci (Almost Ready)

Action Paint Me!: LP
The French have a good track record of producing bands who crank out punk that straddles the garage spectrum, or bands that crank out garage that straddles the punk spectrum. It’s up to you, the listener, to decide. The sound is straight ahead and essentially primal. No frills, no tech solos, just 1-2-3-4- go! This reminds me of the Irritones, only with a more poppy style, and a little reserved. I like how you can hear the bass in all the songs and it never gets buried when everything and everyone else come in. It’s what gives these songs the thrust they need. For the most part, these songs are mid tempo and go for more a (somewhat) bratty swagger than slash and burn. Songs like the opener, “Lost Boys,” and “Sickness” stand out for their speedier side, and the urgency they gain as a result. –Matt Average (Scanner, miguie.zorlna@free.fr)

Let’s Talk about Feelings: CD
Look, I went to high school in the suburbs during the late ‘90s/early ‘00s. I’m not going to pretend I didn’t own this the first time around. At the time, I bought this because I was just getting into punk rock, and from what I could gather from the internet, Lagwagon was a band you were supposed to like, and I’d heard one or two other songs of theirs that were pretty good. While I couldn’t really get into most of the other records, I thought this was solid—which, looking back, it’s fast, melodic songs about being super depressed, which is basically a good chunk of what I listen to today, minus the skate punk part. This reissued version comes with more extra material than the length of the original album, though it’s a little hit or miss. Again, I won’t pretend I won’t throw this on every once and a while, both my modern and high school self grinning the whole time. –joe (Fat Wreck)

Hoss: CD
In 1994, I drew a line in the sand. A friend and I were in a Richmond skateshop when this catchy, snotty punk came on the stereo. I asked the guy at the counter, “Is this NOFX?” He got a get with it look on his face and said, “No dude, it’s Lagwagon.” I thought, Whatever. I’m gonna go spend my money on the new Fugazi, and skated to the record store. From there on out, I preferred artier punk, and dismissed Lagwagon as one of many slick and generic Fat Wreck bands: the band on the T-shirt of the kid at the show who doesn’t know pit courtesy; the sticker taped to the window of a new car to keep it from damaging the paintjob. Near twenty years later, I meet people who have a soft spot for Lagwagon, and sometimes wonder if they were a hidden gem on the Fat roster, like Snuff. Enter this deluxe reissue of Lagwagon’s 1996 album, Hoss, and a litany of questions: Who is the audience for this? Who still buys CDs? Will grown-up skaterats buy this on a nostalgia trip and pop it into their car stereo and dream of carefree days on the commute to their dead-end job? Will they be excited? Let down? Will this bring Lagwagon to a new audience of young people? Do young people even still buy CDs? Fat improved in the mid-’00s when they started releasing music by some of the slicker bands that you’d hear at The Fest, so why are they looking back? I popped the CD on, hoping to hear a glimmer of what made them a teenage favorite for so many of my friends. It was better than I would have guessed back in the ‘90s, but not much of a thrill. The CD’s presence inspired a stronger reaction than the music contained within. Hoss sounds like mid-’90s skatepunk with a touch of the same melancholy that the Lemonheads felt in the ‘80s. Maybe I had to be there the first time around. –CT Terry (Fat Wreck)

Double Plaidinum: CD

LAGWAGON: Double Plaidinum: CD



I’ve always had a funny relationship with Double Plaidinum. I should mention that Lagwagon is easily in my top ten favorite bands of all time. It was the first I’d heard a punk band tossing NWOBHM-style leads into the mix; “Island of Shame” was the first video on the life-altering Cinema Beer Goggles video compilation (also my first encounter with Tiltwheel’s “Sappy”!); and Hoss was the first cassette I ever shoplifted. The Joey, Chris, Shawn, Jesse, and Derrick lineup on the first three records remains, in my opinion, one of the most solid collections of musicians in the history of the genre. And therein lies the Double Plaidinum conundrum. The Flippin/Dewey guitar work just isn’t there. And even more noticeable is the lack of Derrick’s incredibly distinct drumming. So it’s not that the songs aren’t great. They are. “Alien 8” is classic Lagwagon, and a few others are amongst their finest moments—but it all sounds, y’know, different… significantly so. And, as a result, I’ve just never had the love for DP that I do for the first three Lagwagon records. That said, I got the vinyl box set as a gift this past December, and I’ve vowed to really delve deeply into the post-Hoss LPs, so I may need to revise this review in the coming months. But for now, I’ll say that Double Plaidinum is a really, really great record that still sounds just a little bit off to me. –Dave Williams (Fat Wreck)

Solid Gold: EP
Such a great record! Four songs of post punk/goth that captivates from the first listen. It’s bass and guitar driven, with the vocals sitting just underneath the drum machine that keeps time; dark and cold with a little bit of warmth from the bass. The approach is minimal, very much like Joy Division’s Unknown Pleasures (but more jagged), then there’s some contemporary references to be thrown about. Blank Dogs comes to mind. However, Koban is not a tepid knockoff band. They are certainly shaping their own style. Although, the beat of “Solid Gold” reminds me of This Mortal Coil’s “The Last Ray,” just played faster. Other than that, the guitar is screaming and ringing out, while the bass is ever so cool. The way the guitar comes out of the darkness in the opening of “Turn Him On” is fantastic. The vocals from Brittany Westgarth sends it over the edge. I play this record over and over, wishing it would never end. I’m of the opinion that if you don’t have this record you’re really missing out and making a mistake. Correct it while you can. An “absolutely must own” record. –Matt Average (The Broadway To Boundary, thebroadwaytoboundary.com)

Copsucker: LP
Raw, smoldering, aggressive hardcore punk from Pittsburgh’s Kim Phuc. Completely devoid of any modern trends or clichés within hardcore, Copsucker is a unique record. The band is tight and excels at inserting flourishes amongst the blunt but captivating rhythms. Here is a band that’s relying on themselves and their musicianship, instead of tricks that so easily get played out. Here is a band with style and a desire to create truly fucked punk. Unfortunately, it’s all too easy for bands like this to be underappreciated. Hopefully that doesn’t happen with Kim Phuc. If you’ve ever daydreamed about a hardcore Toys That Kill, check this band out. –Daryl Gussin (Iron Lung)

Lost Sputnik: 7"
The title track sounds like it’s based on a variant of Cocksparrer’s “Running Riot.” The flip, “Atomic Reaction,” is a nice bit of buzzin’ thud punk. –jimmy (Wrench)

Nose Before Toes: CD
If I would have got this CD around 1995 or ‘96 I’d have gone apeshit over it: galloping drums, soaring guitars, and pissed off-sounding vocals to counter the melodies. Well, I may not be losing my mind over it right now in 2012, but it’s still pretty damn good. I wish I could read the lyrics, but the size and color of the font is hurting my eyes. I’ll definitely listen to this some more. –ty (Warbird)

The Wringer: 7”
More of that cool punk rock’n’roll from this awesome band. Can’t wait to hear a full length and, hopefully, there will be one in the near future. Features Greg Kuehn from the Joneses on keys and the band sounds a lot like another Jeff Drake outfit, the Vice Principals. Fans of Humpers, Lazy Cowgirls and the aforementioned bands will wanna find this. –frame (Rankoutsider, myspace.com/rankoutsiderrecord)

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