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Record Reviews

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Below are some recently posted reviews.

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RAW NERVE:
Midnight: 7”
I’m going to go out on a limb here and say that this is the best record Raw Nerve has put out. I say that with a few weeks of listening to it pretty consistently, so that “newness” has worn off. They take complete advantage of the 7” format here, cramming eight songs on this little piece of wax, including a re-recording of their last single, “Nervous Habits.” The music is heavier than their previous records, and the tempos vary more, adding a whole new layer of intensity to their already chaotic sound. The lyrics on this record feel a lot more organic and fluid; the repetition of lines in the spoken word parts on each side sort of tie the whole record together as a whole conceptualized unit. I feel like if the band had tried to pull off another LP at this point in their development, it would have come across as overly ambitious and watery, but it’s nice to see that they channeled the energy and ideas that would have gone into a full length into a much less intimidating format. –Ian Wise (Youth Attack)


RAT COLUMNS:
Self-titled: EP
This is one of those records that is so great and engaging that it puts you right in the moment. Members of Burning Sensation, Rank/Xerox, and Total Control get together and create excellent post punk that draws influences from the greats. “I Wonder” is poppy, though a bit dark and moody, mixing New Order with the Church. It’s the sort of song perfect for rainy afternoons. “Keep Waiting” is fuzzed out and dark, similar to Loveless My Bloody Valentine. I like the minimalism of “Glass Coffin” and how it sounds like nothing else on the record, yet it fits. As the song progresses, they add more sound. It gets noisier and more disjointed as it goes. “Darkness” has a definite Joy Division Unknown Pleasures vibe: sparse guitars with a cold tone, driven by the bass and drums. Hearing this song made my day. It’s great; how it builds and reveals itself over the course of a few minutes. The vocals are somewhere between a whisper and a murmur. I know I’m making comparisons to some great bands out there, but the influences are influences, and this record is great. The more I listen to this, the more I’m of the opinion this is one of the best of the year. –Matt Average (SmartGuy, info@smartguyrecords.com, smartguyrecords.com)


RANK/XEROX:
Self-titled: LP
Excellent post punk from this outfit, who are definitely one of the current bands I’m stoked about. The songs have a minimal quality about them, allowing everything to have its own strong identity. They sometimes blur together when the music builds with tempos and jangly, clanging guitars. I like that the drums figure up front in the mix with the bass just below. Things move at a mainly mid-tempo pace, though they do kick up the speed on songs like “Discipline.” One song that stands out in particular is “You Might Follow.” It starts off with some odd sounds from a synthesizer; from there musically it goes into Pornography-era Cure. A bit more texture and darkness than the rest of the songs on an already dark and textured album. As I listen to this album, I’m struck by how truly great it is, and the fact this band is happening now. For fans of Airfix Kits, Section 25, and the sort. Actually, for fans of good music. –Matt Average (Make A Mess, makeamessrecords.com)


RAMSHACKLE GLORY:
Live the Dream: CD
Honestly, I really don’t care for “folk punk” all that much. Most of it comes across as either too discordant (some acoustic jerkwad crooning nasally) or—the opposite end of the spectrum—cutesy (some acoustic jerkwad crooning nasally about, say, dumpster diving), there’s a few bands that avoid all the pitfalls and just rule. The Taxpayers are one, The Wild’s another. They—and, as I just found out, Ramshackle Glory—are doing stuff that’s couched in folk sensibilities, is also smartly political without sloganeering, and still rock out pretty goddamn hard. Combining instrumentation as varied as banjo, piano, saw and violin, as well as the usual armament, Live the Dream’s got a great thing going on here. When done poorly, folk punk is some wincingly bad stuff. When it’s done well, the songs are as moving as any more “standard” punk anthem. This is a good record. –keith (DIY Bandits)


PUFFY AREOLAS:
Gentleman’s Grip: 7”
This recording comes across as chaotic noise punk where echo-laden vocals are framed by overdriven guitars. “Gentleman’s Grip” has an infectious repetitive riff. The echo on the vocals causes the singer to hover a bit over the recordings. That sort of thing in generally a negative for me, but in this case it works as a growl-howl over chaos. I don’t know if this is what the band sounds like live, but the recording is interesting. The guitars are so overdriven that it creates a din as if Karp took a Butthole Surfers record to the studio as a reference. “Psychomania” has the same sort of dynamic though the song is more structured and metal-sounding. I might be over thinking the experimental nature of this recording. Whether it is intentional or not, it works. –Billups Allen (HoZac)


PROLETARIAT PUNCH:
Resistance Is Our Right: Cassette
Reminds me of Mouth Sewn Shut for the fact that they vacillate between crusty hardcore and pretty convincing reggae. I know most people would positively despise a combination like that, but I personally think it’s a fun formula. (I think Citizen Fish is great, too.) Proletariat Punch attacks both genres with surety. Stridently political and nicely balanced. I dig. –keith (Recluse)


PRETTY BOY THORSTON AND THE FALLING ANGELS:
21 Songs, Rarities, Live Songs and Unreleased Tracks: CD
I might have squealed like a little girl when I received this to review. I’m not ashamed to admit it, and think any self-respecting PBT & FA fan would have done the same thing. Great covers and excellent live recordings that demand you sing along in your best whisky-soaked, cigarette-stained growl. Pick this up if you already know and love the band. It’s great to have on shuffle. It’s like you win with whatever song is chosen! Extra love for the picture of Jesse Thorston in the booklet wearing an “I’m Still Straight Edge” shirt. –Samantha Beerhouse (ADD)


POISON PLANET:
Bleed for Me: 7” single
Apparently, this was pressed up for their recent European tour. I was hoping for some new material from these guys. Instead, we’re given a couple Dead Kennedys covers. They chose doing these to illustrate how relevant the lyrics are some thirty years later, and while I tend to agree, I think it would have been better to write a song or two of their own that would inspire today’s generation to think and question, much in the same way the DKs did for some of us thirty years ago. Performance-wise, Poison Planet does a decent job. It’s strange hearing these songs a bit heavier, faster, and thrashier. I’d say this is for completists, really. Limited to 250 copies (and on green vinyl). –Matt Average (Third Party, thirdxparty.blogspot)


PINK REASON:
Shit in the Garden: LP
Pink Reason is not a shape changer. True, if you pick any two Pink Reason songs at random, chances are they are going to sound completely different. Well, completely different, except that they’ll both sound one-hundred percent like Pink Reason. Because Pink Reason is not a shape changer. Pink Reason is a hunger that consumes sounds and makes them its own, shapes them into songs unlike anything you’ll hear on any other record. Sparse acoustic guitar work collides head-on with walls of harsh electronic noise on “Sixteen Years.” Instruments that I can’t even name (Rusty fences being opened and shut? Amplified wind? Exploding computers?) are paired with sounds that have appeared on vinyl since vinyl first appeared, sounds that come and go with logic and no logic at all, and it’s all Pink Reason, and somehow it’s even more than that. These are songs that desperately need to be heard, but don’t care if they’re ever heard or not. –mp (Stiltbreeze)


PENTRATORS, THE:
Gotta Have Her: 7” single
Originally released in 1976 on Fred Records, this Syracuse outfit cranked out some righteous proto-punk that today would be lumped under the KBD umbrella. “Gotta Have Her” has a surf rock influence running throughout. I like how the singer opens the song with introducing the band to Syracuse listeners, then, as the song goes on, he talks between verses, pushing the song along and gives it more attitude. “Baby, Dontcha Tell Me” has a bit more snarl in the delivery. As it should, from the title. The words are almost growled at points and convey the frustration of being told what to do when you don’t want to hear it, ya know? Limited to five hundred. –Matt Average (Windian, windianrecords.com)


PEGS, THE:
Nobody’s Listening Anyway: 7”EP
“Bad life decisions” punk. No matter where music tastes take me, I need my monthly dosage of intravenous, fucked-tooth, pants-uncomfortably-tight, no-thinking, probably-bleeding-somewhere—maybe internally, Orange County degenerate punk to cleanse the palate and watch the bad tattoos spread across my skin like happy magic. If you’ve heard the Stitches mixed with the Crowd, you’ve heard the Pegs. If you like Hostage Records, you’ve heard the Pegs. And that’s not a bad thing and this is a good 7”. I mean, for fuck’s sake, when you go to a restaurant, go for the shit you’ll most likely like, right? Not some fucked-up fusion with capers and fennel and indie pop sticking out the side like a flaccid dong about to poke you in the eye. Don’t tell me I’m alone on this. –todd (Rapid Pulse / No Front Teeth, nofrontteeth.net)


PARASITE DIET:
God Hates Parasite Diet: 7”
Silly pop punk on the Queers side of things! Hooray! Songs about girls, girls, and buying a rocket! Plus, for those who care about such things, they include a Daniel Johnston drawing on the back cover. Bonus points! This could’ve (and would’ve) been on Mutant Pop back in The Golden Age, but it wouldn’t have been as good as, say, the Proms, but it wouldn’t be as bad as, I don’t know, the Connie Dungs late-period emo-ish bullshit! Information note: the band is from Kentucky. One song features a girl singer, perhaps out of a desire to emulate the Joe Queer/Lisa Marr pairing. Marketing note: If I were this band, I would hope to appeal to the Teenage Bottlerocket enthusiast! One complaint: Most of these songs are too long. If this were a cereal, it’d be Apple Jacks. All of the essential ingredients are there, and it deserves to be in the cereal rotation, but it’s not at the Cinnamon Toast Crunch level. –Maddy (Pug Face, thePugFace@gmail.com)


PANGEA:
Living Dummy: LP
Sleazy but friendly, poppy but rocky tunes that have finally crawled their way out off the most homogenous shadows of suburbia and gotten some long overdue recognition. While a couple tracks conjure visions of hipsters absent-mindedly bouncing their youth away, there are songs on here that puncture your soul with harpoon-esque procession and pull you onboard. Over the years, this band has seen many transformations, and I can proudly say I was there for them. And while they often left me scratching my head, there’s no denying they give the people what they want. Catchy, danceable pop music firmly rooted in the underground. Somewhat fucked up tunes, for somewhat fuck ups. I often wonder and worry that all my friends and all my favorite bands are just a phase, and one day I’ll wake up they’ll all be gone. And while in the past the remedy for such worries might have been something from the Pangea demo that was handed to me in a backyard in North Hollywood circa 2004, now I drop the needle on “Haunted,” a song that embraces the present and future with equal skepticism and knowledge that nothing is certain. But you are in total control of your life. This record isn’t for everyone. It’s not even really punk, but there is some great shit on here. –Daryl Gussin (Burger / olFactory)


P.S. ELIOT:
Sadie: LP
I must say that I was stoked to see this in my box of review materials, as I found P.S. Eliot’s Living in Squalor 7” to be rather splendid. While Sadie is good, it is a departure from LiS. This LP is a good record, but I was looking forward to an LP’s worth of their angsty alternapunk that I heard on the Freedom School 7”. The LP’s tempo is comparatively slower. A few songs have power pop-sounding guitar slowed down to the pace of coffeehouse indie rock (I don’t mean that to be pejorative in this case). While nothing on here sounds like it is the victim of restraint, the overall feel of Sadie is subdued. This will be getting more spins on my turntable in the future, but not as much as the Squalor EP. –Vincent Battilana (Salinas)


OVENS:
Self-titled : 7”
The searing pop genius of your favorite Weezer album to be sad to meets the unchecked shreditude of your favorite Steve Vai record to get high to. Eight songs on a 45 RPM 7”. Anti-Christian imagery everywhere you look. This band has been churning out the hits for years; listed as The Peels on the Letters from the Landfill comp, released an undeniable classic on Riisk Records, this 7” is so punk that probably no one will like it. Hammers. –Daryl Gussin (Catholic Guilt, catholicguiltrecords@gmail.com)


OUT ON A LIMB:
Drowned: LP
Out On A Limb are from Germany and play slightly-slower-than-mid-tempo post punk. The band claim Joy Division as an influence, which I hear a little bit, but the danceable drum parts remind me of the Cure for some reason. The feel of the record itself leans more towards bands like Heroin/Unwound/other early ‘90s Gravity Records offerings, but the post punk influences creep up and become a lot more apparent at times, which makes the listening experience more interesting. The vocals are clean and sort of just hint at melody, and fit in well with the music. I kept feeling that the vocals sounded a lot like another band I couldn’t place until I decided that the accent just reminded me a lot of the Peacocks. The production on the whole record is very subdued, which fits the sound, and the mixing is excellent. –Ian Wise (Taken By Surprise)


ORGANIZED SPORTS:
I’m So Proud of Him: 12”
Speedsters Organized Sports crank out nine tracks of unrelenting hardcore punk, blending the timelessness of Jerry’s Kids’ Is This My World? and the intensity of current flag bearers Direct Control. It’s nothing new musically, for sure. Aesthetically, there’s a bit more to be desired in the artwork department: a black and white photo of some teen that I imagine is some sort of hero to the band. It doesn’t do much for me, especially when the lyrical matter is so bleak and misanthropic. It just goes to show there’s no accounting for everyone’s taste, but maybe you’re a bit easier to please. –Juan Espinosa (Bulkhead / HIV Town, bulkheadrecords@gmail.com)


ONION FLAVORED RINGS:
Unraveling the Past: The First Two Records on One Tape!: cassette
At last! Another way to listen to one of the best bands in the past decade! Two albums on one cassette! My enthusiasm is not muted by the fact that one of these albums has already been released on cassette! No, this band is so amazing that the mere existence of anything Onion Flavored Rings is the cause for great rejoicing! If you haven’t heard this band, allow me to suggest that your present situation is not unlike that of a person who has not heard Dillinger Four or Radon or Screeching Weasel or, dare I say it, Hüsker Dü. You have not heard Steve Funyon sing about quantum physics (“Now we’re in a universe expanding/And it might expand until forever/Or it might collapse back into nothing/But what did the Big Bang bang on?”)! You have not heard the perfection that is Mr. Funyon’s vocals, Erick Lyle’s (formerly Iggy Scam) drumming and Paul Curran’s bass playing and back-up vocals. The general pop-driven nature of this band might lead a casual listener to overlook the dark lyrical content (for example, “I like you to think I hate everyone/But I just hate myself.”), but that’s what makes the Onion Flavored Rings more than just another SF punk band. You can listen to this when you’re happy and want to host an impromptu one-person dance party or you can listen to this when you’re so depressed that you don’t even want to eat Lucky Charms. It’s dark, it’s poppy, it’s introspective. It’s one of my top ten favorite bands of all time. Did I mention that I love this band? –Maddy (Dead Broke)


OBSERVERS, THE:
So What’s Left Now?: LP
Recently re-issued by Taken By Surprise, it never really seemed that hard to find in the States (courtesy of Vinyl Warning), but if there’s a record that deserves to stay in print, it’s this one. Top 10 record of the ‘00s without a doubt. Hauntingly flawless melodies mixed with driving, rallying punk rock and intelligent lyrics. And in the end, as much as I love this record and find myself listening to it years later, one of my favorite things is that these guys are still playing in absolutely killer bands. If you don’t have this, I highly suggest putting down this magazine and getting your hands on it. And while you’re at it track down all the Red Dons, Defect Defect, and Artic Flowers releases you possibly can. –Daryl Gussin (Taken By Surprise)


OBN IIIs:
Mark on You: 7”
At first glance at the cover, I was expecting just another low-fi garage rock band and was mistaken. Intense and a little off-kilter, OBN IIIs seem like a band that can’t be contained to vinyl and need to be seen live. Mr. OBN III himself is quite the prolific Texan (he plays in The Bad Sports and was on the John Wesley Coleman Bad Lady Goes to Jail album too.) The guitar tone on “Mark on You” is searing. “Heavy Heart” is a driving, punk-y garage number. My only complaint is that there are only two songs on this record. –Sal Lucci (Tic Tac Totally)


NOTHINGTON:
Borrowed Time: CD
I saw Nothington so many times around the release of their first album All In. Part of it might have had to do with working as an intern at their label at the time, BYO, but I also really liked the band. Then they released a second full length and got kind of quiet. I honestly thought that they had possibly broken up, so I was pleasantly surprised, though a bit wary, to see that they had some new releases on Red Scare. My concern turned out to be completely unfounded because they sound just as strong, if not stronger, than before. They’re still doing gruff-voiced punk rock with a tinge of Americana flavoring in their sound, but, if anything, they sound more assured than before. The opener, “Captive Audience,” really sets the pace for the rest of the album. “Hopeless,” with its slow build, is quite the jam, and probably my favorite. There is not really a duff track on here, as even the tracks where second vocalist Chris takes lead sound more forceful than before. I’m glad to know they haven’t watered themselves down like former scene-mates, the Gaslight Anthem. Well, hello, Nothington; it seems like you’re back. –Adrian Salas (Red Scare)


NOODLE MUFFIN:
Karmic Bitchslap: CD
The synths and the general “rock” feel of this won’t exactly scream “PUNK!” to those whom that word is synonymous only with a certain set of predetermined and preapproved musical templates and value systems, but there is a clear influence in the anarchic way these cats gleefully bounce from one musical subgenre to another in a way that comes off as part reverent, part creative ribbing, often danceable, and completely demented. This is the third release I believe I’ve come across by them in the past twelve years, and it’s nice to see they’re still flying their freak flag with pride, considerably lighter on the politics this time ‘round, but no less unique in their vision. –jimmy (Fyoog State)


NOFX:
Self-titled: 10” EP
There’s no information included here whatsoever, but this consists of the band running through nine covers of songs originally by Agnostic Front, Necros, Urban Waste, Social Unrest, Battalion Of Saints, Sin 34, Rebel Truth, Stretch Marks, and a tune called “Race Riot,” the origin of which is somewhere in the recesses of my noggin but I just can’t seem to drag out. Decent performances here, nothing revelatory, but, in all, some nice run-throughs of songs that once seemed ubiquitous when we were all kids running around fucking shit up in backyards and crappy Hollywood dives with sticky floors and roaches running in and out of the PA speakers (::cough:: CATHAY:: cough::), but are now oddly obscure. Getting old sucks, but this doesn’t. –jimmy (Fat)


NIGHT BIRDS:
The Other Side of Darkness: LP
Hardcore that really resonates with me has been made by outcasts. And I don’t mean one-dimensional, “They don’t understand my crew,” looking-for-sponsorship outcasts. I’m talking about people who truly don’t look or fit the part making fast, hard, palpitating music. I’m talking about misfits within misfits, even at the band level, yet they’re all on the same page at the same time, if even just for the length of a record, the duration of a set. They’re all in the same chemistry lab, comic book store, record store, and thrift store for that twenty or so minutes. They draw from obscurity and edges and fringes. Look at old Dead Kennedys, Zero Boys, and Void photos. Look at Out Cold. Regular haircuts. Regular T-shirts. Regular-looking. Not funny-looking. Then listen. It’s what’s trapped inside that’s worth listening to for the long haul. They saved all the weirdness and anger and head ventilation for the music. Night Birds run deep—obvious over—and undercurrents are the surf guitar, the breakneck speed, and the smart lyrics. Inside is melody and Woody Allen references, origami-like guitar leads (fancy cuts, intricate patterns), and a drum that jounces and hollers instead of getting locked like a monkey inside the 4/4 cage. They’re looking at hardcore punk laterally—approaching it from the side—and that sounds so much better than a band you can hear flooring it in a straight line through a suburban cul-de-sac with nowhere else to go. Excellent. –todd (Grave Mistake)


NIGHT BEATS:
Self-titled: CD
The Night Beats clearly have a core stored deep in the garage. Piled on top, though, are healthy heaps of psychedelia and surf, which turns what could’ve been just another exercise in faceless ‘60s nostalgia into a moody and sometimes downright swampy excursion into some of rock’s darker corners. Definitely worth the search. –jimmy (Trouble In Mind)


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·GOLDEN
·Featured Record Reviews From Issue #83
·AMA-DOTS
·NOCTURNE
·DRIVER
·SIEGE FIRE, THE
·TOTAL CONTROL
·PHARMACY
·ALL GIRL SUMMER FUN BAND


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