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Below are some recently posted reviews.

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SEX CULT:
Errand Boy: EP
With a name like Sex Cult, you get my attention. Then there’s the retro minimal punk cover art of the diagonal black and grey lines printed on a paper sleeve. So far, so good. Get home and put the record on the turntable, and I’m hit with some lo-fi punk rock that has a psychedelic side. The guitar has a tinny sound (think Swell Maps), but it works here and doesn’t hinder the power. Just check out the squalling sounds they get out of it on “Start to Wonder,” which is a mid-tempo plodder that goes out in to the outer realms and back again. The title track is a catchy burst. “Sid Visions” rises out of the heat with a nice cruising speed and a delivery with some attitude and urgency. It’s my favorite cut on here. I anticipate there’s more to follow? One for your want list. –Matt Average (Goner, goner-records.com)


SCUM AGAIN:
Self-titled: 7"
You certainly can’t judge this 7” by its cover, not that there’s anything wrong with its hilarious burger abortion artwork. Still, I wasn’t expecting a harder-edged version of Fifteen based on the graphical introduction. This Baltimore band’s five-song debut is fantastic. It comes with a download card for easy digital access when not hanging by the turntable. Sometimes sounding as much like a known singer as Scum Again’s vocalist does (he really is a dead-on Jeff Ott doppelganger) can be a curse, but who wants to listen to that silly born again dude from Fifteen anymore anyways? I’ll take Scum Again instead. –Art Ettinger (Toxic Pop, toxicpoprecords.com)


SCREAMING FEMALES:
Baby Teeth: LP
Originally self-released by the band in 2006, Baby Teeth returns to print thanks to Screaming Females’ label Don Giovanni. The Females’ first full-length is laden with the noodly guitar riffs and bass lines that made us all fans of theirs to begin with. Returning to this album in a fresh vinyl update is a lot like rekindling a relationship with an old flame and finding the sparks are still there. –Paul J. Comeau (Don Giovanni, screamingfemales@gmail.com)


SANOV1:
Delikatesy: CD
This Czech band will whip you into a frenzy when playing four-chord, ‘82-style metallic punk. I wish they did that more because the rest of the CD sounds like a ham-handed Faith No More with Cryptkeeper on the mic. –Chris Terry –Guest Contributor (Papagajuv Hlasatel, PHR.com)


RULETA RUSA:
“La Ley” b/w “Psoriasis”: 7”
Spanish-speaking band singing about bad cops and bad dandruff (as a metaphor for fucked medical care). The singer is convincingly spitty and bristling. The guitars are rock but crash instead of long-stroke wank the fretboard. If it wasn’t recorded and mastered so well, this could be slipped on in an early Killed by Death and few would be any the wiser. Sounds the equivalent to a stick-and-poke tattoo, a well-worn leather jacket, and mottled teeth. On point and achieving exactly what they’re going for. Strong. –todd (Modern Action)


RKL:
Greatest Hits: CD
RKL was one of those bands who managed to transcend Mystic Records’ notoriously shitty recording quality and release at great hardcore 45, It’s a Beautiful Feeling, at a time when the genre was getting to a point of generic ridiculousness, especially in the case of Mystic’s output at the time. Oddly enough, though I really dug that release and saw them at least once or twice back then, I never paid much attention past that. Outside of my go-to “I spent a helluva lotta time drunk as a muh-fuh back then” excuse, I’ve got no explanation why. I know they kinda popped things up after a bit and influenced peers like NOFX as a result, and that might actually go-to reason number two, but prior to this, I can’t think of a song of theirs past 1987 or so I’ve heard. No matter. This is, for the most part, a rock-solid live “hardcore” set recorded in West Berlin in 1988. The band is pretty much on-point—and it’s pretty goddamned impressive hearing just how proficient they were on their instruments—the sound quality is right off the board, so it’s purty sounding for all you audio fascists, plus there’s an unlisted plethora of what sounds like their later poppier stuff I’m guessing is heretofore unreleased, and the booklet identifies a link where you can watch footage of the band from around the time the live stuff was recorded. –jimmy (Destiny, destiny-tourbooking.com)


RAMMA LAMMA:
“Gimme Gimme Gimme Gimme” b/w “Rock’n’Roll Lady": 7”
…Ramma Lamma are my favorite Wisconsin band right now, although that could be a matter of damning them with faint praise at this juncture. They answer the age old ((okay, day old)) question of what it would be like if a less-annoying Suzi Quatro fronted a three-piece version of Slade and played Mud covers, or Cichlids covers, or something deep like that, as well as the question of what would happen if someone spelled “Rama Lama” with extra M’s. They continue their jaunty strut to bang-shang-a-lang-gri-la by creating that rarest of fowls, a Christmas 45 THAT DOESN’T SUCK. Unless you bothered listening closely to the lyrics, as so many young people do, you wouldn’t really know it was a Christmas 45, and that’s the kind of sugar cookies Santa likes. The A-side chorus of “Christmas time is a time for givin’, so give me everything you got / don’t bother givin’ me nothin’ baby, unless you’re gonna spend the night” manages to completely fit the whole “Christmas” bit into Ramma Lamma’s standard agenda of Rockin’, and…and Lovin’, and…and…Rockin’ some more, instead of the other way around—fitting the Rock Agenda into the Christmas paradigm—and that is exactly As It Should Be. The synth interlude is properly unexpected, and the real or imagined sleigh bells add a respectful dollop of surrendering without giving oneself away. The b-side is a little more heavy-handed in its Christmassyness, but they have the good sense to steal the riff to “Gudbuy T’Jane” so it’s all good. Throw in a sugarplum fairy or two and we’ll call it a deal! BEST SONG: “Gimme Gimme Gimme Gimme” BEST SONG TITLE: “Gimme Gimme Gimme Gimme” FANTASTIC AMAZING TRIVIA FACT: I recorded one Christmas song about twenty years ago, which was called “Gimme Stuff.” In light of recent events, i should have called it “Gimme Gimme Gimme Gimme Stuff.” –norb (Certified PR)


RALPH CARNEY’S SERIOUS JASS PROJECT:
Seriously: CD
Ralph Carney is a multi-instrumentalist who’s been associated with bands in what seems like damned near every corner of the new wave—B-52s, The Waitresses, They Might Be Giants, Talking Heads, Jonathan Richman, and the list goes on. As the band’s name and the title suggest, this is jazz, specifically along the lines of small-group, ragtime-derived early swing (hence the “jass” spelling, I’m guessing). The lion’s share of stuff here are run-throughs of standards (like “Echoes of Harlem,” “You Took Advantage of Me,” and “I Wish I Were Twins”), and they handily do them justice—solid musicianship, choice soloing, and a sense of respect not so bogged down with reverence that no room is left for some playful bounce. If traditional jazz is yer chosen poison, this’ll go down nicely. –jimmy (Smog Veil)


PRUMYSLOVA SMRT / RAPSOD:
Split: 7”
The Cthulu-inspired tentacled monstrosity on the cover pointed me in the right direction: this one’s chock full of dark, metal-influenced hardcore. Rapsöd’s got oodles of those little metallic guitar dives peppered in between yelped vocals, with the second song relying heavily on gang vocals; it’s somewhere between crust and metallic youth crew stuff, which actually sounds better than it reads here. Prumyslova Smrt is significantly crustier and doom-heavy, with a drummer that clearly adores his double-bass pedal. Think Armistice or the harsher moments in the Awakening discography. Both bands sing in Czech with English translations, with “fuck you all” apparently reading as the same in both. –keith (PH)


PROTESTANT:
Stalemate: 10"
Great follow-up to their Judgments LP. In fact, I’m of the opinion the material on here surpasses the previous. They definitely fall into the realm of bands like Tragedy and Artimus Pyle (more towards the latter end of the spectrum with the heavy and crushing, rawer style). It’s a sound that has been done to death, but when a band is good, it doesn’t matter. They breathe much-needed life into the genre and pretty much make it their own. Not to mention it seems like they really believe in what they’re singing, instead of hiding behind opaque lyrics and playing to the masses. There are the crushers, like the opener “Nothing Left,” which stays close to form, but it’s when they start to break out and add melody and more texture is when they stand strongest, especially on the last two songs, “Regrets” and “Swindle.” Pairing the two contrasting styles—the harsh and melodic—really brings the power of the music out, highlighting the heaviness, darkness, and sheer drive of the music. The changeup in “Misplaced” is a good example. The song whips you around for the majority of the time, then they switch up into a catchier riff that gets more melodic as the seconds tick by. Then you have a song like “Corners” that has guitar work that reminds me a bit of Iron Maiden, and it’s an awesome song. This record has you stopping whatever it is your doing and makes you just listen. Fuggin’ great! –Matt Average (Halo Of Flies, halooffliesrecords.com)


PRETTY BOY THORSON AND ‘LIL HAPPINESS:
“I Can’t Get High” b/w “Keep on Waiting”: 7”
Why do I keep flashing back to episodes of Simon and Simon? Is this 7” what’d be playing on the jukebox of a biker bar in my eight-year-old mind? Does it sound like a brown and orange Power Wagon slowly solving a mystery? Is this fair to Jesse and the dialed-in MPLS band he’s rodeo’d into this little spinner? “Really, dude, you’re comparing our band to a show that wasn’t as good as Hardcastle and McCormick or Cagney and Lacey? C’mon.” The B-side of my copy of this record is warped, but the A-side plays just fine. That doesn’t happen very often. There’s something heavy-work-pant, pretzels-make-beer fancy about Jesse Thorson-helmed bands that makes the songs both go down real easy and worth listening to repeatedly… on the jukebox… of an eight-year-old kid’s mind… Just put it on an MP3 player or something. –todd (ADD, addrecs.com)


POWERBLESSINGS:
Self-titled: 7”
I don’t know if it’s intentional or not, but this band really has a Jesus Lizard vibe going on. And, hey, that’s A-okay with me! This four-song 7” features angular guitar riffs and driving drums with snotty shouted vocals that somehow remind me of a cross between David Yow and Chad Malone (from Brother Inferior). Good stuff that’s warranted repeated listens. –Chris Mason (Manhattan Chemical and Electric, manhattanchemicalandelectronic.bigcartel.com)


PIZZA HI FIVE / INFERNAL STRONGHOLD:
Split: 7"
Pizza Hi Five: Eight songs of precise, brutal grindcore with some pretty goddamn hilarious lyrics. Part of “Neglegent DJ” (sic) goes, “Dude what is this shit you’re playing? Please put on some grind tunes. It’s the least that you could do. Could you do that shit for me? I need blast beats in my ears.” Or my personal favorite, the end of “Extreme Make Over,” regarding the fallacies of the cosmetic surgery industry: “Surgery’s your only hope. Did not work. Still ugly. You’d look better with your face ripped off.” You charmers, you. Infernal Stronghold: Lots of double bass, muted guitar, and growled vocals—this is some wire-tight, apocalyptic thrash with some serious metal flourishes. Nowhere near my preferred genre, but these two bands seem like a good pairing. –keith (Sit & Spin)


PINE HILL HAINTS:
The Evening Star: Cassette
Here is another banjo-shredding release from folk punk/bluegrass favorites, The Haints. This limited edition cassette with an awesome silk screened cover is comprised of new tracks and rare 7” releases, but don’t stress, the LP version is widely available. Recorded in 2007, the same year as Ghost Dance, this could almost be an extension of those jangly banjo rhythms and numinous ballads. “Black Casket,” their latest single, is also thrown into the mix. While this isn’t anything new from The Haints’ repertoire, it goes to show: if it ain’t broke… Makes me wish I could carry my boom box around like in the ‘80s blasting fiddle tunes. For those who love a good ghost story, here’s something to warm your bones. Recommended. –Kristen K (45RPM, calimucho.net)


PINE HILL HAINTS, THE:
Welcome to the Midnight Opry / The Evening Star: LP / LP
The future and past are filled with ghosts. Ghosts of memory. Ghosts of potential. The Pine Hill Haints somehow interconnect and harvest those two ghosts like sheets made out of smoke. To call them “old timey” music is a disservice because, although they play traditional music amplified, there’s no fuzzy mittens of nostalgia in their music, no regression to a time that exists as mere fable. One of the largest issues I have with new music is the motherfucking robots—with their bloodless computer brains, microchips, software, social programming digitized—making it. The Haints have the ability to continually remind me that all music’s worth listening to is based on the human heart. The valves. The pumping. The thrum in your ears. The pulse at the wrist. The thud, thud, thud, that it you listen to it closely, that if you listen to it for long periods of time, you can swear that you see a simple beat twining above you into this thing called a soul. In my book, music that does that is rare. Welcome to the Midnight Opry is a full-length of new songs. The Evening Star is a collection of previously released songs and it’s nice to have them all in the same basket. –todd (Opry, K, krecs.com / Evening Star, Black Owl Radio)


PEER PRECIOUS:
Bless This Mess: LP
Think Fifteen, Crimpshrine, J.Church. Think of people swarming over the band as they play, crawling over frothy waves of shaken beer to grab the mic. But as the guy whose seen the bands they’re influenced by (perhaps knowingly or unknowingly), I hope for the following. 1.) That they would let the songs breathe. It’s a lesson to be learned from the Carrie Nations’ Be Still. Because if someone new to the band isn’t rapt in the content of the lyrics, most of the songs, well, they really blend into one another into a solid chunk. “Roomies” is in the right direction with the long instrumental part before the same-singing-voice-mid-tempo-of-most-of-the-record sound that follows. 2.) Really learn your songs before recording them. I’m, by no means, an audiophile or looking for pro-dudes, but there are several songs that sound unintentionally shaky and falling-out-of-tune (which is fine live, but vinyl’s as close to “forever” as I can conceive). The charm of DIY punk is that—although rough—its intention is crystal clear. (Think cutoff shorts. The edges—no matter how raggedy-assed—don’t matter half as much as the length.) 3.) The good and bad news is that the most instantly memorable song on the record is a Crimpshrine cover. The definite upside is that there’s a ton of room for improvement and there are flashes of much stronger music possible at their fingertips. Shit, man. Sorry I’m not a cheerleader on this one; it’s just that I’ve seen variations of this band hundreds of times over the past twenty years. And they’re the band that’s opening up for the band I’m waiting to see. –todd (Anti-Civ, anticivrecords@yahoo.com / Dirt Cult)


PAPER FLEET:
Prairie Fires of the Great West: 7”
A two-song 7” by a four-piece band from New York that comes packaged with a nifty four-page comic book and includes a download coupon to get both tracks on the record, along with five bonus tracks I didn’t have time to review. The first song in the record is a bouncy and fun little number entitled “Out West,” which is some lighthearted melodic punk tinged with garage rock. However, to quote Public Enemy, the B Side wins again and again with a tune entitled “Plane Crash,” being stylistically similar, but more energetic and powerful than the lead track. –Jake Shut (Ottomen, ottomen.com)


PACIFICS, THE:
Play Favourites: 7” EP
A self-described ((or, more correctly, liner-note-described)) “beat” group from Dublin’s fair city, one’d expect this bunch to sound more or less like a different flavor of the Kaisers, which, i suppose, they do—though the playing and the sonic frequencies and the repertoire and the what-not are more evocative of either a more-solid Statics or Thee Headcoats minus Billy Childish, for whatever that’s worth. I’m not against any of this, nor am I opposed to an EP consisting of entirely cover songs, but the songs they chose to record ((“You Can’t Judge a Book By Its Cover” by Bo Diddley, “Lucille” by Little Richard, “Baby It’s You” by the Beatles and “I’m Talking about You” by Chuck Berry)) are just so common and basic that there isn’t a lot to whole-hog excite me here. It’s kinda like if someone released an EP of 70’s punk covers, and it wasn’t anything more imaginative than “Blitzkrieg Bop,” “God Save the Queen,” “New Rose” and “Teenage Kicks.” I’m gonna need to see what else these guys got under the hood before they challenge my Atlantics album to a battle of the bands. BEST SONG: They’re really all kinda ‘bout the same, but I’ve always liked “Baby It’s You” so I’m going to make that surely-unpopular choice. BEST SONG TITLE: “Lucille” because of all the L’s. FANTASTIC AMAZING TRIVIA FACT: Band misspells “its” as “it’s” in the title of “You Can’t Judge a Book By Its Cover,” but correctly spells “it’s” as “it’s” in “Baby It’s You.” –norb (Bachelor)


ONIONS, THE:
“Alien Astronaut” b/w “Till the End of the Night": 7”
…I like head onion/onion head Brad X ((you might remember him from such movies as Last Sons of Krypton and The Smuts)). He’s kind of an abrasive fuck, but he lives his life solely for purposes of getting wasted and creating rock ‘n’ roll, and that is a noble state of being, as far as i can tell. “Alien Astronaut” sounds like Crime doing a post-first-two-albums UK Subs cover; “Till the End of the Night” is a smashy cock-rock number about how Brad likes to drink beer, smoke weed, and drink shots. Nice sleeve. I think I’ll wear it on Halloween and scare the neighbor kids. BEST SONG: “Alien Astronaut” BEST SONG TITLE: “Alien Astronaut” FANTASTIC AMAZING TRIVIA FACT: This record is on colored vinyl, but i would be hard-pressed to state what exactly color it is. –norb (Certified PR)


OILTANKER:
The Shadow of Greed: LP
All the raw fury Oiltanker brings to their live performance has been captured by this studio recording. From their powerful riffs and furious leads, to thundering drums and growling vocals, the result is first-rate crust in all its gritty glory. Finding highlights on such a good album is tough, but a few that stand out are: “Who’s in Control,” with its driving riffs and repeated chorus; “Blight,” and “By Death or By Force,” for some of my favorite riffs; and “Ignorant Bastards,” for its sick leads. If you’re a fan of crust, this album is a no-brainer. –Paul J. Comeau (No Funeral, oiltankercrust@hotmail.com)


OGRESSA:
Warts and All: CD
This is perhaps the most stoner rock-looking and -sounding record of all time. There is no way a person could look at or hear this band and have any doubt about what they were getting. Sometimes you can judge a book by its cover and be right. Heavy riffs and killer guitar tone, huge drums, great rock vocals—this is some great stoner rock. Riff rock. Desert rock. Whatever term you wanna use, Ogressa does it just right. Scott Reeder from Kyuss even turns up on a few tunes. This is just great and well done for anyone with a massive amount of Man’s Ruin Records. –frame (Dalis Llama, dalisllamarecords.com)


OBN IIIS:
The One and Only: LP
Since I snagged this from the box, it has been on fairly consistent rotation in my dark dwelling. When I’m out in the sunlight, it has received more than its fair share of play on the iPod (this comes with a download card). Not familiar with their back catalog just yet. Working on it, though. What you get here is some damn good punk rock that draws from the Stooges, Heartbreakers, and Radio Birdman (especially on “New Innocence”). The opener, “If the Shit Fits” runs a bit long, but after that, nothing to complain about. How can you not like songs like “Can’t Wait for You to Shut Up”? These are the kinds of songs that make punk great: attitude, and a total “fuck it” approach. But the song that really grabs me is “New Dark Age,” which brings to mind early Iggy Pop solo material. It has that great guitar sound that slinks in the darkness, revealing itself in flashes, and the vocal delivery is right on. This song could have gone on for another ten minutes and I wouldn’t complain. –Matt Average (Tac Totally, tictactotally.com)


NIGHTMARE BOYZZZ:
“Say What You Mean” b/w “Backyard Coffins”: 7”
What is it with the DIY South lately? True Stereo has me self-doubting that I actually have missed out on some good ‘70s stoner rock and Nightmare Boyzzz have me appreciating a band that appreciates The Beach Boys. There’s definitely a lot more mixed in; this 7” is both sunshine and the little bits of dust that look like gold as they flit from shadow to light. Or the curling smoke of a stubbed-out cigarette in an ashtray made from a flipped-over, old piston. In no hurry, almost casual. Repurposed and serving a new purpose. A very listenable two songer. –todd (Arkam)


NATURAL CHILD:
1971: Cassette
The Stooges is one of the blasphemy bands that other bands should never be compared to, but elements of Natural Child include a reliable slab of Detroit-style proto punk complete with jingle bells and overdriven bass. When they slow down, the songs become mellow Southern rock nodders with vocals reaching into the Rob Tyner stratosphere. Just the stratosphere. Don’t go getting a big head about it. Fans of Goner bands or MC5 should definitely check it out. Especially the format. This album should be enjoyed on cassette. Pick it up and save it for an overnight drive into the deep South. If you have an old car, drive it. If you do drugs, do them. –Billups Allen (Burger)


NAM JUNE PSYCHE:
The Archive Volume I: Cassette
This seems pretty high concept, with a release based on a tour based on recording noise and other stuff (I think there’s one track that’s mostly a rubber band?). It comes in a DVD case with a poster and zine. If you have some sort of tiny Etsy/indie boutique, this is probably for you. –joe (Self-released)


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