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Below are some recently posted reviews.

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Night on the Town: 7”
Porter, former front man to The Regulars plus a slew of other Michigan outfits, has reunited with former band mates to form The Tucos. Back in the saddle, they deliver three solid tracks on glacier blue vinyl showcasing their range from power pop to country. The title track is straight up fun with Porter’s vocals reminding me of Beck at times, plus hurtling drums and ebullient rhythm; everything a night on the town should be, right? “Ain’t My House Anymore” is the game changer with a jangly bluegrass guitar structure and Porter sounding more like Tom Petty, where “Galveston,” the bonus song that comes with the MP3 download, is a country-inspired love letter. Recommended for those who appreciate the Telecaster’s twang. –Kristen K (Magwheel, magwheel.com)

Rat City: LP
Listening to any of Jack Oblivian’s songs makes me think of noir author Jim Thompson: songs from the wrong side of the track, about people a little past gone with no hope of coming back. But these people have some heart, if only anyone would listen (“Girl with the Bruises,” “Dark Eyes.”) The man can wring a searing tone out of his guitar (watch how he bends those strings next time you see him live). Some real boogie blues, but don’t think Grand Funk Railroad. This here is a solo Jack O. record but features members of his on-off band, The Tennessee Tearjerkers. –Sal Lucci (Big Legal Mess)

Party Lines and Politics: LP
Near the tail end of our grade school years, my friend Jon and I took our music nerdery to a whole new level. We created the Boppin’ Barney and Matter-of-Fact Matt radio show. Of course, this was not a real radio show. This was us sitting in his basement bedroom making goofy DJ voices and gabbing about tunes into a tape recorder. In between our banter, we added songs by holding the tape recorder up to his boombox and playing our favorites by Exodus, Anthrax, Metallica, S.O.D. and whatnot. If Boppin’ Barney and I had gotten our hands on this new In Defence record, I have no doubt that it would have gotten many spins on the show. Seeing two songs with “mosh” in the title, how could we have passed it up? Our still-developing music nerd brains probably would have described it as a moshterpiece of thrash. “Perfect for the pit!” we would have said, having never actually experienced a pit before. We probably would have spent a lot of time “practicing” our headbanging to songs like “Life in the Thrash Lane.” We probably would have jumped around until we were dizzy. Then we would have eaten a box of mac and cheese, gone out into the woods and shot some other kids with BB guns, all while this album ran through our little brains. –mp (Profane Existence)

Self-titled: Cassette
Precise, ferocious hardcore that loses none of its momentum for the fact that it’s recorded very well. A Milwaukee band made up of people from Protestant and Enabler (among others), Impatience is playing a dark, pummeling variant of hardcore easily on par with bands like Tragedy and Totalitär. Moody, atmospheric, and a little bit scary; this is a fine release. –keith (Sacred Plague)

Funny/Not Funny: 7” EP
Very late-’80s Midwestern influence, much like the stuff falling on the alt-rock side of things when that much-ballyhooed and strip-mined genre was just breaking off from punk. Vocals are a bit amateurish without being annoying; the songs are catchy and creative without being pretentious. –jimmy (Answer Key)

Haunter: CD
For a very brief period before it was swallowed whole, gutted, and repackaged by the corporate music leviathan as “indie rock,” a term so oxymoronic anymore it makes the brain swim just thinkin’ about thinkin’ about it, the so-called “Alternative Nation” was free to explore different combinations between punk and whatever could be mooshed in to soften that tired warhorse’s increasingly rigid boundaries. From Dead Milkmen to the Replacements to Teenage Fanclub to the Vaselines to Tad to the Butthole Surfers to REM to Babes In Toyland, and so on, a lotta interesting ground was covered before it all went to shit when the money and drugs got ever more seductive, the lights went out, and it all became less dangerous, to paraphrase some old Northwestern band who ultimately went nowhere. Hospital Garden sound like they just time-warped from the moment that whole scene hit its apex, when the edges were coated with a perfect amount of pop to make the poison go down. You get Hüsker-aggressive guitars, laid back Stipe-ish vocal delivery, and a blend of harmony and dissonance that recalls both the punkier edge of early grunge and bands like Poster Children. I could be totally cynical and opine that in this era when the corporate overlords are trying their best to force-feed a starving populace the hollowed shell of grunge to make yet another quick buck because no one’s buying the latest swill they’re cookin’ no matter how cheaply priced it is, a band like this should handily find a place on the revival circuit. Lord knows I’ve said much worse before in other weak attempts at a cheap joke. Problem is, though a song here and there might go on just a teensy bit longer than it should, these guys are pretty goddamned good at what they do and—Mahfü strike me down!—they sound so much like a sincere, real band that they stick out like a leper at junior prom. I seriously love ‘em to pieces, but they haven’t a hope in hell in these times. Here’s hoping they don’t give a flying fuck and continue to do what they clearly do so well. –jimmy (Hospital Garden)

Self-titled: 7” EP
Blam blam growl growl rooooooaaaaaarrrr chugg chugg blam blam!!!!! Repeat three more times. –jimmy (Honduran, nothonduran@gmail.com)

Split: 7”EP
Milwaukee and Japan grapple it out via split 7”. Holy Shit! seems a little slower but the songs definitely benefit with a little more melody and memorability. Still cranking out the fast’n’spastic hardcore. Some of the best stuff I’ve heard from them. Plus the best song name I’ve ever encountered. Ever. I recently saw some video of Your Pest Band and it was mesmerizing. Shirtless Japanese dudes wailing on their instruments and putting everything they got into it. It was an inspiring sight and I’ve definitely been enjoying these songs since then. They carry the torch in that Japanese tradition of doing what Americans do with double the proficiency. In this case, it’s wicked guitar licks and slurred early-Replacements vocals. –Daryl Gussin (Small Pool / Snuffy Smiles)

Self-titled: CD
Little bit o’ tribal sleaze and a little bit o’ rock, sorta like the Birthday Party trippin’ on glam or somethin’. Dunno where they hail from but with a different set o’ production values and a time machine that’ll take ‘em back to 1989, they would’ve been the fuggin’ toast of the Hollywood’s grimier corners. –jimmy (Big Neck)

Let’s Get Wild!: CD
Lynchpins of the sputtering Green Bay music scene ((and living maybe two miles from me)), Holly and the Nice Lions politely append a rhythm section ((consisting of two members of Beach Patrol)) to a core nexus ((consisting of one member of Holly Trasti)) to yield a sort of quasi-punkily electrified variant on the alt-pop female singer/songwriter theme, occasionally veering into the alt-countryisms for which i’ve always assumed the genre was known ((although i’ll admit i have no idea what i mean when i use the prefix “alt-” and i was more of a Mac guy anyway)), but usually sounding more like Chrissy Hynde’s cute little sister ((er...i guess that would be more like “Chrissy Hynde’s cute daughter” at this late date)) fronting the Dead Milkmen or something, except for “Biologies (us vs. art)” which just sounds like Holly after being punched in the head by D.J. Lebowitz and suffering temporary but severe brain damage, and “Ode To A Young Girl” which sounds like some kind of attempt at a feminist Led Zeppelin, but I always thought Robert Plant sang like a lesbian anyway, so in the grand scheme of things that’s really nothing noteworthy. The lack of overt ((i.e., monied to any degree of noteworthiness)) production values usually doesn’t hurt the overall project, as Holly’s guitar chops and adorably plugged-up singing voice aren’t really sonically wowing enough to be the music’s selling point in and of themselves ((put in a slightly less insulting way, “it’s all about the tunes, dude”)), but the album’s two standout tracks—”Coyotes” and “Two Way Street”—are veritably crying out for some serious lovin’, recording-budget-wise. The marchy beat of “Coyotes” evokes delirious campfire visions of some sorta female Adam Ant rocketing to MTV superstardom circa 1982 ((or maybe if Chrissy Hynde was the maid in the “Goody Two Shoes” video and kicked Adam in the nuts and stole his microphone)), but “Two Way Street” is legitimately amazing—i had heard the song live tons of times, but had always assumed it was some Stax/Volt thing that i was too lame/caucasian to know ((especially since they were playing that Stax/Volt box set all afternoon long at the last barbecue i went to at Holly’s house)). Apparently it’s actually an original? Who knew? And where did Holly learn all this stuff about all-night-do-right men and testifying and stuff anyway? I always assumed she just sat in her room listening to Sleater-Kinney and practicing guitar and reading Batman graphic novels! Cripes! I mean, seriously! This song’s so great it sounds like a cover! Take that as backhandedly as you wish, but if i ran a real record label ((i mean, a REALLY real one, with money and hookers and A&R guys and stuff)), i would throw a fucking PILE of cash at this song, and wait for it to throw piles of cash back at me. Or, if i was one of those guys who runs around trying to get famous singers to record songs written by songwriters whom i represent, i’d be shopping this one in tenacious and persistent fashion until either some big famous person recorded it and made us all a gob of money or they all kicked me in the butt so many times in rejection that they fractured my coccyx and i could not continue my pimping. As neither of these scenarios are the case, the band will have to settle for me playing it repeatedly in my car as i drive to the Red Owl® for peanut butter and horchata mix. So long and thanks for all the Sun Chips®! BEST SONG: “Two Way Street” BEST SONG TITLE: “Stop Sobbing,” because it sounds like that Kinks song the Pretenders covered. Actually, it’s really “Tight Tight Tight” but i didn’t want to go there. FANTASTIC AMAZING TRIVIA FACT: Holly and the Nice Lions were originally called “Holly & The Non-Italians,” but changed their name after a guest appearance by the original drummer of Holly & The Italians ((who, oddly enough, currently resides in Wisconsin, although he has never invited me to any barbecues)) somehow made shit too real for the Holly & The Italians people, who hit Holly #2 & crew with a cease and desist regarding the name, which should go far in explaining this liner note item: “Steve Young does not appear courtesy of Holly and the Italians, but rather the Queen of England.” –norb (Memorized Dictionary)

Reset 2: CDEP
According to the label’s site, the band’s name is a broken English approximation of “ham and eggs,” which immediately warms my blackened little heart to these Croatian electro-rapscallions. A synth-based sound, with more traditional instruments rounding things out, is the order of the day here, with songs that show evidence of no shortage of ‘80s post punk and assorted new wave singles crammed into their respective collections. While not ratcheted up to the levels of, say, the Screamers or Nervous Gender, the bulk of the five songs here are aggressively delivered, with a detached vocal style that occasionally sounds like Devo on a cold wave bender. –jimmy (Geenger, geengerrecords.com)

Self-titled: LP
This one opened with an intro jam that sounded like a punk take on something that fell off one of Ride’s early EPs, and it was decorated with samples of Bukowski reading “Born into This.” I could have gone for at least half an LP of that, but was stunned at the divergence that followed. After the intro, Happy Noose (like “happy news”?) steers clear of anything like shoegaze territory, save the kinda heady punk outro. Between the bookends are eight tracks of slackerific pop punk, with vocals that at times have a slightly despondent and unaffected charm that fit really well. Definitely one of the best things I’ve gotten for review—of which I didn’t have any prior knowledge—in a while. –Vincent Battilana (Dead End Social Club)

3 EPs, 2 Splits, 4CDRs, 2 Tours, 4 T-Shirts, & Now a Tape: Cassette
Self-described “slop punk” from Los Angeles, CA. As the title suggests, this release collects all their previously released recorded material on one handy dandy yellow cassette. Painfully honest and heart-felt lyrics that warrant no explanation, yelled and sung by co-ed singers who both rip shit up in their own right. You wouldn’t know it from the rough and tumble, DIY-as-fuck quality of the recordings, but at least one of the members is a classically trained musician specializing in Balinese gamelan. But as you might have guessed, it isn’t the guy who plays the two-string bass. This tape is long sold out from the band but I’m willing to bet a vegan baguette that their French homies from the label that put this out might still have some copies. –Juan Espinosa (Orange Juice, mat.demuylder@gmail.com)

Split: 7”
The Libyans play some really straightforward punk reminiscent of early Dead And Gone and the finest moments of Spitboy. Something with bared fangs is emitted from my speakers here. The kind of punk that sounds loud no matter how low you turn it down. The God Equals Genocide side is great. The gang vocals on “We Speak for Ourselves” rule, the lyrics rule, everything they have done rules. God Equals Genocide is still my favorite current punk band. This 7” just gives me another reason. If you like legit, no-bullshit punk played nasty and loud, look no further. –Rene Navarro (Shock To The System / Dirt Cult)

Life as a Monument: 7”
Mellow yet impassioned acoustic folk stuff. Guitar playing is quite nice and the songs are catchy. –jimmy (86’d)

Kill Shelter, Yes!: CD

Me, in my room: “Hey man, that sounds like Rookie Sensation Mike Wiebe!”

Daryl, in his: “Yeah.”

Me: “This isn’t the new Gamblers record.”

Daryl: “No, Ghost Knife.”

Me: “It’s not what I was expecting. Didn’t they dress up as Juggalos for a Fest?”

Three weeks later, we flipped to as who’d review it. It was sitting on the CD player. Expectations can be corrosive agents. Musically, they can cauterize ears. But with dudes like Weibe and Ben Snakepit and Severed Head Of Chris, I just take the shower in their sprinkler of songs and let it wash over me before I open my yob. After several listens—largely steered by Wiebe’s voice and lyrics, this is a straight-up indie pop record made by straight-up punk rockers. And I really like it. See, I’m a fan of the entire Gamblers catalog. I like it when they staple the crowd’s collective nuts and vags to their foreheads, but I also think that Wiebe’s one of the best songwriters and lyricists in our corner of the world, so I also enjoy the slower stuff… because I like reading and meaning. Kill Shelter, Yes! is slower, more lush stuff. There’s a song sung from a cat’s perspective (or is that purr-spective?). The record kept me thinking that if Joe Meno novels if they were set to music. Creative, detailed, kind, paced. My only small “Huh?” is that the graphic design’s confusing. It’s all Tiki and fancy Polynesian drinks that have little bearing on the tone of the record, but the songs aren’t listed in order and some of the lyrics are chopped off. “Hey Man, who stuck their Antioch Arrow/Built To Spill/Modest Mouse into my punk with a dirty finger? Ghost Knife.” I’m going to keep this one spinning. Learn some new shit.

–todd (End Sounds)

Shut In: 7” EP
ADD thrash here: loud, flailing, and fast as fuck with slower breakdowns allowing one to catch a breath. –jimmy (To Live A Lie)

Land of Sodom II & O.D.R.I.E.P.: EP + CD & Flexi
As anyone who’s ever been privy to experiencing their Negotium Perambulans in Tenebris album can attest, one doesn’t so much listen to Gehenna as be assaulted by them. Void is the only band I can think of at this moment that can swim the dark mooshy waters between hyper-speed hardcore and metal in such fucked up ways and not only get away with it, but somehow carve a psychopathic cubbyhole all their own. Wave after wave of bludgeoning sonic virulence comes crashing down on you in short, sharp wallops, and just when you think you’re coming up for air, here comes another to drag you gasping down to the bottom. Collected here is a “redux” of an earlier release that apparently had some availability issues when first released, plus a CD with the Upon the Gravehill album in its entirety accompanying the tracks from the vinyl. The flexi, a limited edition item available only by ordering the EP directly from the label, consists solely of a barnburner of a cover of DRI’s “Yes Ma’am,” recorded during the sessions for the aforementioned Negotium album. –jimmy (A389)

Last of the Pariahs: CD
A step back here from the more “rock” direction of their previous release and a return of sorts to the melodic punk that’s been the staple of Doug’s bands since forever. The songs here are top notch, the hooks infectious and are so stuffed to the gills with that pitch perfect blend of “sugar oi” and early ‘80s L.A./OC hardcore that, at times, they veer very close to sounding like Bad Religion in all the best ways possible. Kinda bummed this came in September, ‘cause every damned track is prime summer listening material. –jimmy (DC Jam, dcjamrecords.com)

Some Easy Magic: CD
Garage rock with an extra slice of reverb. The feel is psychedelic—surf music made by dudes who live nowhere near a beach—which might be just about right, as these guys come from the middle of Texas. Fungi Girls are not as aggro as some of their Nuggets-punk compatriots like Ty Segall or The Black Lips. With the hazy vocals and Danelectro-sounding guitars, these guys mine the same high energy, slacker side of the spectrum that the Soft Pack reside on. Think a little bit of Slumberland and Mexican Summer mixed in with their In The Red diet. The eleven tracks on here aren’t exactly the model of variety, but they get the job done. All in all, a fine listen whose cool vibe almost screams for you to throw on some Ray Ban sunglasses. –Adrian Salas (Hozac, hozacrecords@gmail.com)

Worst Case Scenario: 7”EP
On the cover of this 7”, there are four sets of legs, a cinderblock wall five blocks tall, and a cat walking by. In the middle of the background is a can of Tecate on its side. Most telling is that they’re standing on what first looks like dying grass. Until you look under the cat’s front paws and see a seam in the grass. They’re standing on well-worn astroturf, filled with leaves. Who has an outdoor vacuum cleaner these days? French Exit is from Chicago, California. They’re standing on the formidable shoulders of bands like the Lawrence Arms (anthemic, self-effacing / self-loathing, catchy crunch) and Weezer. (And since we’re all standing here naked with a couple minutes before anything happens, I’m not the biggest Weezer fan, but I pretty much dig punk bands roughing up their rag doll pop as an influence.) French Exit are definitely growing on me with each successive spin. They come across as a band that, if they stick around, will get tighter, more powerful, and are, ultimately, a much better idea than laying astroturf in your backyard in an effort to save money on water… because that shit gets sad and depressing. Brittle, dirty astroturf. –todd (Solidarity, solidarityrecordings.com, frenchexit.com)

Get Split: LP
When the Energy’s First Album came out, I distinctly remember being drunk at a party one night endlessly spouting off about that record and this band and how great they are, coming off like a weird version of the Adolescents with a strange, mostly monotone vocalist whose lyrics come off like reading a case study on psychopaths and sociopaths. Get Split is their second, LP, and it builds upon the first but with better production, and specifically, much louder guitars, which in turn makes this more of a “rock’n’roll” record than the first LP. If I were back at that party again drunkenly spouting off about this record instead, I would probably say that they’ve thrown a little Detroit guitar wankery into the mix, and it works well. The Energy, along with fellow Houstonians MuhammadAli (of which the Energy contains one ex-member of) are two of the best bands in Houston right now, and this record will only help put Houston on the map. –Mark Twistworthy (Team Science, teamsciencerecords.com)

Single 2011: 7”EP
Mellow, shambolic, staggering proto indie rock. It’s charming and pleasant stuff. It sounds like a shanty when the organ kicks in. It also sounds non-calculating, small-fi, and small-audience. Having originally been recorded in ‘82 and ‘84 in New Zealand; that all makes sense. It features Robert Scott, who went on to be in The Clean and The Bats (see the interview in Razorcake #62). It reminds me of cave paintings, at the dawn of independent rock’n’roll when it was just first being called “college rock”: crude strokes scratched along the uneven surfaces of culture. But their intent is crystal clear and surprisingly resilient. Thanks for making this much more available—and on vinyl for the first time—Spacecase. Goodonyah. –todd (Spacecase)

How to Abuse Everything: LP
Everyone knows Dude Jams. They write catchy songs, their occasional live shows are a blast, and after many 7”s and split singles, this record will officially put them on the map. Musically, Dude Jams is like the equivalent of the drug-using, throw-up-on-yourself, drunk, “bad” little brother of Off With Their Heads, except snottier, drunker, and shittier… and I mean that in a good way. The songs are short, fast, and hook-filled, and anyone into quick, brash punk songs about drinking and drugging will probably love it. –Mark Twistworthy ((A.D.D., addrecs.com)

Hardcore Confusion Vol. 1 & 2: 7”
Apparently the opening two salvos of what is promised to be a four-release set, these guys know how keep the hardcore hordes drooling—one track on each side here. If you’ve somehow managed to miss out on them prior, Double Negative are one of those rare bands that can take the hackneyed hardcore template and make it sound fresh and interesting. Their sound has some serious heft to it—with the tempos ranging from four-alarm inferno to slow burners—all of it coming on like a juggernaut. One can hear echoes of the heavyweights of the genre—Poison Idea, Negative Approach, SS Decontrol—buried in the clamor, yet they maintain a sound and style all their own. Folks in the know will be talking about these guys with reverence long after they’ve gone. –jimmy (Sorry State)

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