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Record Reviews

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Below are some recently posted reviews.

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BLACK COBRA:
Invernal: CD
Despite the wicked fantasy art and song titles like “Crimson Blade” and “Obliteration,” this actually sounds eerily similar to Ministry more than anything else. A dense, nearly-industrial wall of noise with shouted vocals over it. Even when they slow things down, like the intricate beginnings of “Corrosion Fields,” it’s never for very long, which is too bad. After repeated listens, these songs really just blend right into each other. –keith (Southern Lord)


BIG EYES:
Self-titled: Cassette
A four-song cassette EP that rocks pretty solidly from start to finish. Big Eyes have a big, full, meaty sound despite being a three-piece. The tunes are mid- to fast tempo rock’n’roll with hypnotic female lead vocals intertwined with spectral backup harmonies. Big Eyes remind me of a lower-fi version of Beretta 76. I wish this weren’t on cassette—I’m afraid to play it too often (to my great dismay!) because the ogre that lives in my tape deck will undoubtedly desire to eat it soon. Also, the cover art appears to be influenced by Gahan Wilson. Nice. –The Lord Kveldulfr (Tankcrimes, bigeyesband@gmail.com)


BIG EYES:
Hard Life: LP
I first saw the name “Big Eyes” right around the time that I saw the name “Big Soda.” Don’t ask why, but I gave both bands a big whatever due to the fact that they both had the word “big” in their names and I first saw them both at about the same time. Time passed, and then this LP came to my door for review. So I slapped it on, and it turned out to be pretty good. I took a look at the insert, and a name seemed familiar. Turns out that Big Eyes is fronted by Kate, who used to be in Cheeky. Big Eyes has spunk, but they are not as spunky as Cheeky. Big Eyes have a pretty cool sound that is like a sped-up, punk take on old rock songs, like ones from around the time Hairspray was supposed to have taken place. Only one song (out of twelve) kind of falls flat. –Vincent Battilana (Don Giovanni)


BIG EYES:
Hard Life: LP
Give this record one listen, just one listen, and I promise you will be hooked on Big Eyes. Featuring tons of wailing and noodling guitars by guitarist/vocalist Kate Eldridge, and backed by the solid rhythm section of CJ Frederick and Mark Bronzino on drums and bass respectively, the result is a collection of some of the catchiest tunes I’ve heard in a long time. Tracks, like “Your Lies,” and “I Know You’re Wrong,” have a frantic energy and tons of guitar leads, but the band also gets slow and meandering as in the tracks “Different than I Thought,” and “Why Can’t I?” Floating at the perfect point in the middle of the mix of all these songs are Kate’s hard-edged vocals, singing, and occasionally screaming, about love, loss, and attraction. While I can say that I hear influences ranging from ‘60s rock, and ‘70s punk and surf, simple genre descriptions only sell this band short. Their sound captures the best of rock music from several decades, in a way that can only be described as timeless. –Paul J. Comeau (Don Giovanni, bigeyesband@gmail.com)


BARRIKAD:
We Make the Nihilists Smile Again: CD
From the label’s website: “The three tracks on this CD are each a collaboration between Barrikad and Kriminaaliset Metsanhaltijat, Fear Konstruktor or Government Alpha.” What that translates to is you get three tracks of noisescapes with lotsa low end to make you feel uncomfortable, lotsa grinding to make you feel tense, and the occasional release before it starts up again. –jimmy (Phage Tapes, phagetapes.blogspot.com)


BALLOON FLIGHTS:
Tales from the Basement: CD
Couldn’t find much info on these kids, but it appears they hail from Spain and are fond of playin’ pop punk. They steer clear of the heavy NOFX influence for the most part, opting to fiddle with ringing chords instead of Ramones power-chord worship. Songs are pretty solid, but it’s clear very early on that English ain’t their primary language. –jimmy (Balloon Flights, balloonflights04@gmail.com)


ASSAILANTS, THE:
Self-titled: CDEP
The intro buildup to this EP is nothing short of epic. When the band finally breaks into the first song, “Money to Bleed,” the result is a raging ska punk track with leftist political lyrics. There’s a mix of tunes on this EP ranging from more frantic punk tunes to more laidback ska jams. While I haven’t really been a fan of ska punk since the ‘90s, the more raging songs like the aforementioned “Money to Bleed,” and “Burning Both Ends,” helped make this recording grow on me. –Paul J. Comeau (The Assailants, theassailantsbc@gmail.com)


ARRIVALS, THE / THE ARTERIES:
Split: 7"
I picked this up for The Arrivals and wound up a big fan of The Arteries. Go figure. It’s not at all as if The Arrivals’ songs aren’t rad, because they are. It’s The Arrivals, man! I’d never heard The Arteries and was instantly impressed. The two bands aren’t unlike. In fact, seeing them play together would be pretty great. I might have to go looking for the other volumes in the split 7” series. –ty (All In Vinyl)


ANGIE OASE:
Pistol Shot: 7"
The packaging and arrangements are minimalism at work. No dust sleeve, blank labels, two 5” x 8” pieces of cardstock with art and lyrics, one woman with an electric guitar. That’s cool, but the songs are begging for more. Angie Oase’s songs straddle punk, power pop, and glam and would be perfect in a movie about badass women living in the city and trying to make it in a rock band. And she does it without the cheese or lowest common denominator lyrics and riffs that you’d assume come with such a thing. The problem is that these songs sound incomplete without booming drums leading up to the choruses, soaring leads, and rumbling bass to move the hips. Here we have Jem. Let’s hope she finds her Holograms. –Guest Contributor (myspace.com/oaseblues)


ANDY THE DOORBUM / YARDWORK:
Split: 7"
Andy The Doorbum: The first song’s a pretty decent little folk punk (acoustic guitar with a beard—what else can you call it?) indie rockin’ ditty about taking too much medication. I kinda dug it and thought to myself, “Hey, maybe this won’t suck.” The second song sorta sucks. Can’t win ‘em all, Andy. Yardwork: (Or is it Yard Work, two words? I have no clue.) Eh...it’s okay. Sorta indie-ish in that lazy Pavement way. (Y’know, good at their instruments with decent melodies but too cool to really make it hang together right or play tight.) I’m sure there’s a better comparison to make here in 2011 but I’m probably the wrong guy to make it. The more I listen, the more I can enjoy the tunes but I wouldn’t see myself going back to this once I’m done reviewing it. It’s just not my thing. –Ryan Horky (Self Aware, selfawarerecords.com)


AMOEBAS:
Self-titled: 12”EP
Who are the current kings of releasing the snottiest, ripping punk rock around? Why, Modern Action of course! Another winner in the form of Amoebas. I could list a bunch of bands to put you in the right neighborhood comparatively, but it’s not really worth it. Just know that this record is mind-numbingly good and you should get it now if you don’t already. –ty (Modern Action)


ALL OR NOTHING H.C.:
All of These Are Days of the Dead: 7"
This 7” was released a couple of years ago. Not sure why it’s just getting in to us here for a review, but here it is. All Or Nothing H.C. Plays a style of hardcore that I just don’t dig. They’re the kind of band that is heavily influenced by classic hardcore without really adding anything new to the style or saying anything particularly interesting. The tunes are all well-played and the politics are dead-on, but what’s the point in one more group like this? If you are an absolute hardcore fanatic you might be into this. Those of us with more eclectic tastes won’t be able to separate it from the herd. –Ryan Horky (On The Rag, ontherag.net)


ALICJA-POP:
“I Play the Fool” b/w “Water Death”: 7”
The A-side is great, it sounds like what would happen if you took a Holly & The Nice Lions song, gave it to Jem & The Holograms, and told them to play it in a way that would make Muppets slam dance. The b-side, with its predominant cheap drum machine, sounds a little bit more like Helen Love’s depressed little sister. Altogether, i was always curious to know what would happen if the Thing’s blind girlfriend married Iggy, so this record does me right fine. BEST SONG: “I Play the Fool” BEST SONG TITLE: “Water Death” FANTASTIC AMAZING TRIVIA FACT: Cover art depicts the most flowers, pineapples, and magic potions of any Certified PR release to date. –norb (Certified PR)


ABSTRACT ARTIMUS:
Rite of Passage: CD
This is one of the weirder things I’ve gotten to review, lately. Online research makes this guy sound like some kind of hip and current version of George Thorogood or Stevie Ray Vaughn. Say what you will about those guys, but at least they listened to the blues. I take that back, I have no idea whether or not Abstract listens to the blues, but it sounds like he put Alice In Chairs Jar of Flies EP on repeat, took bong rips, then recorded his guitar noodlings and half-assed attempts at singing. You know that dirty apartment that everyone has been to at some sad or impressionable point in their lives? The one with Pantera and Pink Floyd posters on the wall and the particle board coffee table that’s bloated and warped from countless beer spills? You probably don’t remember the guy who lived there, but this is that guy’s CD. –Craven (Dire Life)


A FIGHT WITH SLEDGEHAMMERS:
Dogmatic Deception: 7"
Hardcore punk that is a little too sludgy for me. Well executed but just not my thing. –ty (suburbanwhitetrashrecords.com)


25 MINUTES TO GO:
This Time’s for Serious: CD
There are pluses and minuses to being older than most of the local punk rock scene. One of the major minuses is that it is really easy for me to slip into a mindset that looks at bands and rationalizes that “I’ve seen this before” or “I know what’s going to happen next.” A lot of times my instincts turn out to be true and sometimes that’s not a good thing. So, when I expect things to take a turn for the worse and then they don’t, I’m plenty stoked about it. Case in point: 25 Minutes To Go. Judging by the histories of most punk rock bands that last longer than a couple of years, they should be sucking hard right about now and they just aren’t. A lot of bands who find a certain level of success in the punk rock scene try to become slicker and more professional in hopes of attracting a wider audience. When I first pressed play on this CD, I was expecting a slicker departure from their earlier sound, but, happily, they went backward! This is the rawest recording they’ve ever done! This recording does a really good job of capturing their live sound. There are no other real surprises here except for the acoustic, country version of one of their older songs, “It’s Go Time.” They play this style of music fine too, but it’s not the type of music I normally listen to so I won’t play it as much as I do the other nine songs here, which carry on in the harder rocking Social Distortion/Pennywise style that this band is known for. Somehow they still manage to sound fresh and inspired. I look forward to their continuing to prove me wrong again and again. –Chris Peigler (twentyfiveminutestogo.com)


YOUNG GOVERNOR:
Where It’s Quiet: 10" EP
I’m glad fifteen-year-old me isn’t listening to this me because, the fifteen-year-old me was a punk fascist. Since it’s Young Governor (cover of Razorcake #63), I’m going to let this record settle long after this review is written. Here’s why. Havana 3 AM. The Brigade. Any music video put out by a one-time punk band that featured people who looked like they were extras in Beyond Thunderdome, but were heavy on the fluorescents and feathers. The hair metal, Joe Wood TSOL. There is a time in almost every band and musicians’ arc where you, as a fan, have to seriously decide stuff like: “Am I willing to follow them… to this? Am I ready for post-________ (fill in the blank) adult if I keep listening? I hate electric-sounding-clicky-tambourine-y things and synthesizers.” Some bands proved absolutely worthless beyond lawsuits, copyright infringement, and fan confusion. (The TSOL debacle.) It’s partially prickly because what we ask and expect of musicians can often be contradictory: “Don’t change too much. That’s scary. Don’t release the same record again and again. That’s boring.” So, as the fifteen-year-old me has already snapped this record over his knee and is attempting to light the now-toothy vinyl on fire, the thirty-nine-year-old me is just hoping that the electro poppy “Dancing with a Friend” is not Ben’s final direction. Because we all know that the first several Clash records are the monuments and Big Audio Dynamite is the shadow. Harsh. And some times you gotta get other stuff out of your system. Really like the three other songs, for sure. –todd (12XU, 12xu.net)


WRECK OF THE ZEPHYR:
For Helen: LP
Housed in a one hundred percent handmade, twelve page, hard cover book, this release is a monumental statement against all that is bullshit about every so-called “independent” scene within the confines of the often great city of Los Angeles. A city that has so much, yet it seems like so little good makes its way out. Wreck Of The Zephyr are an absolutely breathtaking band, building concepts and ideals on blurring, vertigo-inducing shredding, and a drummer in the back that never seems to tire. Whether it’s considered indie, or punk; it’s undeniably DIY to its deepest, darkest core. Without a doubt, one of the most overlooked L.A. bands, in my opinion. –Daryl Gussin (Pass The Fist)


WITS END:
Self-titled: 7"
Loud, hard, and fast. To many, that is the formula for punk, and for many punk bands, it’s a great equation. Wits End manage to break the mold, providing four songs which are undeniably punk and hardcore, while not being hardcore punk. It’s very heavy on the bass lines, emotional vocal delivery, and sparse lyrics, which leave you reaching for conclusions which aren’t there. I really dig how this is recorded. It sounds just muffled and distant enough to make you really listen and pick up the heavy, urgent vibe. These guys are from Oslo, Norway, which might be why this music is so fitting for these cold and windy nights. Something you might want to cuddle up with if you want to grind your teeth until you drift off. –Rene Navarro (Adagio 830)


WHITE MURDER:
Self-titled: 7"
Solid 7” featuring ex-members of Neon King Kong (Mike D’Amico) and Red Onions (Paul Gonzalez, currently fronting Death Hymn Number 9). Two ladies (Hannah “HB” Blumenfeld and Mary Animal) up front with the mics. Guitarist Reuben Kalban brings an Andy Gill-like minimalist approach to guitar. Should appeal to fans of ‘78-’81 punk/post punk (think Kleenex and the Au Pairs). –ryan (Tru-Vow)


WEAK TEETH:
What a Plague You Are: LP
While their output of releases is small, Weak Teeth have shown a dramatic evolution as a band. That evolution hits its pinnacle on their debut LP, with an album that feels like the mature release of a band that has finally found their sound. Leaving behind their early d-beat vibe, Weak Teeth have embraced a sound that is simultaneously more melodic and more dissonant and noisy than past efforts. There is a strong vibe of early ‘00s bands like Modern Life Is War, but Weak Teeth never sound like a clone of those bands. This is melodic and noisy hardcore with catchy riffs and strong hooks, complemented by tight and technical drums, and excellent lead and backing vocals. Add to this the smart, sarcastic, and perhaps a bit cynical lyrics by vocalist/bassist Mike Pagano, and the result is a superb hardcore record. –Paul J. Comeau (Tor Johnson, weakteeth@gmail.com)


WAX MUSEUMS:
Zoo Full of Ramones: LP
Wondering how and why I missed picking up this stuff when it was originally released as singles and EPs. Won’t die wondering though, since it’s all collected here, not to mention the inclusion of three unreleased tracks (“Livin’ in the Eyeball,” “Let’s Get Dumb,” and “Slime”). I is sto-ho-ked! Wax Museums played/play garagey punk that mixes up some Metal Urbain with Ramones to make for an interesting and adrenalized listen. It’s noisy, recorded lo-fi and dirty, and not out to make any grand, profound statement. Fun without being wimpy or precious. I can’t help think my shitty existence is somehow a tidbit better for hearing songs like “Billy’s Room,” “Stop... Don’t Stop,” “Jakoff Rat,” “Catacombs,” “Worm,” and “X-Ray My Brain.” Punk fuckin’ rawk! –Matt Average (Tic Tac Totally, tictactotally.com)


WAX IDOLS:
No Future: CD
This is some end of the year top five material right here. Wax Idols—and specifically main songwriter/singer/multi-instrumentalist Hether Fortune—traffic in garage punk that has an appreciation for ferocious power pop melodies. There are hints of the Pointed Sticks, The Vivian Girls, The Slits, and Jay Reatard in evidence throughout and it makes for a potent mixture. Album opener “Dead like You” impressively squeezes a couple of scrappy ear worm hooks in, while building up the tension in the chorus from hypnotically languid to satisfyingly shattering. The gem is “Gold Sneakers.” It’s a thing of rare beauty. This song is a glorious bit of concise power pop perfection like the Ramones’ “She’s the One” or the Undertones’ “Here Comes the Summer.” The hand-clap abetted, sunny catchiness of the song is something that is deceptively simple, yet only adds to its primal joyousness. In addition to the succinct numbers on here (including a cover of the masters of succinct, Wire), there are several tunes where the band meditatively stretches out things a bit, such as “Human Condition” and “Grey Area.” If “Gold Sneakers” is the song for the sunny weekend at the beach, then the deliberately paced “Bad Future” is what happens when you’re stuck in traffic trying to get to a shitty job the following Monday. All in all, this album and the band’s preceding All Too Human single have been near the top of the rotation lately, and some of the most rewarding listens to pick up this year. Grab them. –Adrian Salas (Hozac, hozacrecords@gmail.com)


WACO FUCK:
Paranoia Is Total Awareness: CD
This is some thrashy ass hardcore punk, right smack dab in the vein of DS13 and Pulling Teeth. I liked it so much I wanted to hear more and checked out their myspace page, because I think myspace is rad. They haven’t checked their page in months, but it was still cool to see all the old fliers for these guys. They played a lot of good punk shows in San Diego, none of which I was fortunate enough to attend. Looks like I completely missed the boat, even though I always knew I’d like this band. Their album title has become my anthem. It makes me feel a bit more normal about the fact that I constantly bite my lips and occasionally forget to breathe. I’m merely a parrot that’s finally realized this world is not a home. It’s a fucking cage. –Rene Navarro (Life’s A Rape)


VULVALARD:
Self-titled: CD
The cover of this demo initially intrigued me. The artwork is a Viking riding a horse, holding a sword and shield, with sunlight gleaming out from behind it. This is probably a generational thing, but the first thing I did was check it out for signs of a white power agenda.Then I realized that the warrior was riding a unicorn. Then I checked for signs that this was a spoof of a white power album. None of this panned out for me, so I Googled the name of the band. Nothing came up that wasn’t related directly to the band. Now that I fully don’t get what is going on, I decided just to listen to it. The album is heavy all the way through. I don’t actively listen to this sort of street punk/metal hybrid, but these guys are solid. I particularly got into the fourth song. “Bad Student” had a surprising doom break that made me nod along. “Contrast,” the fifth song on the demo, reminded me of the rockin’ Entombed album Uprising that metal heads reject because of stupid conformist metal agendas. All in all, I’m glad I spent some time with this demo. It is solid and has a lot of above average moments. However, if I was confused before I put it on, the final song “Just Cut ‘Em in Half” did not answer my questions. These are without a doubt my favorite lyrics for today: “Panic Machine/frantic goals/time now short/unhinged patrols/freaked out mission gone away/wide eyed patients whisking by.” Yes… I see. –Billups Allen (Self-released)


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·SNACKTRUCK
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·New Tales of Old Palomar #1
·VARIOUS ARTISTS
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·DUMBSTRUCK


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