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Record Reviews

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Below are some recently posted reviews.

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BLACK BUG:
Self-titled: 7”
When I was in high school, there was a noticeable lack of punks around, so I usually ended up spending my Friday and Saturday nights at goth clubs, where the music pumping through the speakers was good enough, but not necessarily something I was in a rush to find out more about. The A side of this 7” sounds exactly like something I would have heard at one of those clubs: synth and drum machine-heavy, dark, almost psychedelic post rock with female vocals straight out of the Experimental Jetset-era Sonic Youth playbook. Just like those songs I heard back in high school, this is good, just not something I’d seek out on my own. The Side B is a thirty second instrumental that just as easily could have been left off. –Chris Mason (Hozac)


BIRTHDAY PARTY BAND, A:
Lead Sky: CD
A slice of solid post punk-informed punk from Poland. This immediately brings to mind middle period The Ex, but with a bit more garagey succinctness. ABPB favors clean guitar and vocals over noise most of the time, but with the driving rhythms and personal-as-political lyrics (or in the case of “Police Song” political-as-political) the music carries a sense of urgency. Lead Sky is a spot-on title, as many of the songs reflect a practiced critical—verging on cynical—viewpoint. There is, after all, a song on here called “Something’s Wrong with Everything.” Basically, you should get this if you miss the indie-tinged foreign punk that Touch And Go would occasionally traffic before their demise. –Adrian Salas (Nikt Nic Nie Wie, info@nnnw.pl)


BIG KITTY:
Florence: LP
Pretty strong alt-country sounds from this band, coming on a lot like Lambchop or Vic Chesnutt. Members of ADD/C, Future Virgins, and Sexy are on here and this is quite a sophisticated effort. Excellent job and a real surprise from Recess Records. Looking forward to hearing more from this band. –frame (Recess, recessrecords.com)


BABY J, (THEE ULTIMATE):
Looking for a Sign: 7”
I’d love to review this record without bringing Todd C into it, but he did record it, mix it, and play instruments on it, so I won’t. Hope she won’t mind the comparison, but I’ve always felt Baby J could be Todd’s opposite sexed alter ego. In fact, the first time I put on a Stoned At Heart (the band Baby J and Todd are in together) record, my wife asked me if this was the new Underground Railroad To Candyland record. That made sense to me. Okay, enough already! This record is fucking fantastic. The first few songs sound like really great, stripped-down Stoned At Heart songs, while the rest are a bit softer and laid back. If you’re a fan of any of the recent Recess Records output (how could you not be?!?) as well as the likes of Kimya Dawson, then this is your new favorite record. Get it! –Chris Mason (Water Under The Bridge)


AYE NAKO:
Demo: Tape
Shortly after I moved back to Northern California in 2009, I went to a house show in San Francisco in order to see the brilliant Onion Flavored Rings. I didn’t have any knowledge whatsoever about the other bands who were to play that night. One of the bands who played was Fleabag, a three-piece. The guitarist/vocalist was taking the front of the room for the second time that evening, as she had played bass in the first band that night. I thought the first band was pretty good, so I was thinking that this band with two other guys should be at least decent. They were much more than decent. Their songs were at the right part of the tricky intersection of punk and indie. I was blown away by their coupling of melody and intensity. Marilyn, the vocalist/guitarist, is not a physically large person by any measure, but her voice is immense and her guitar playing is sublime. I ended up getting a copy of the Fleabag tape from her in the mail not too long after the show. I listened to that thing like Muslims pray towards mecca. Those five sweet and poppy tracks with their lyrics telling of inner malaise are imprinted on my mind. What does Fleabag have to do with anything, you may be asking. Aye Nako used to be Fleabag, who was once Aye Nako before that. The first iteration of Aye Nako was initiated in the Midwest. Then Fleabag did time in Oakland, CA. Now the second coming of Aye Nako is Brooklyn-based. All that said, I was stoked to see this cassette come my way. Marilyn and Joe, the bassist, have been the constant two-thirds of all three units. The output on all three tapes has sounded like a raw, DIY take on some amalgamation of Superchunk and Tiger Trap. They have honed in on their craft over the course of their years, which has resulted in a more finely tuned (and dare I say polished) sound. While the Fleabag recordings will hold a special place with me, I must say that this cassette is a definite positive growth in song writing and recording (with a hardcore song thrown in the mix, which is okay for what it is, but totally caught me off guard. I just didn’t think that the emotional turmoil of the band would manifest itself in such a fashion). If the world worked the way it should, you’d already be listening to this. Wholeheartedly recommended. –Vincent Battilana (Self-released)


ART YARD:
The Law: 7”
A very little bit of history about this Boston band, based on the info contained on the insert: The two tracks here date back to a cassette compilation released in 1981, which looks to be the only release they were involved with back when they were active (the two songs here and two more also appeared on 2007’s Boston Underground 1979-82 compilation, according to the Kill from the Heart website) and this release is dedicated to one of the members, who died in 2010. “The Law” is a whip-smart slice of sophisticated pop brilliance that recalls a less abrasive Mission Of Burma. “Something in Your Eyes” is a bit slower, more experimental and akin to 100 Flowers, maybe. Both, however, retain a sense of freshness and vitality that often eludes the lion’s share of their peers, which I guess translates to the fact that this has that much-ballyhooed “timeless” factor to it and I’d bet dollars to donuts that folks would shit their pants if this were a contemporary band. Looks like this is limited to three hundred copies, but it’s definitely worth the mad dash. –jimmy (Ride The Snake)


ARMED SUSPECTS / BROKEN HEROES:
For the Punks & Skins: Split: LP
Two of the East Coast’s longest-standing, most adored oi bands are celebrated here on a nifty, unexpected split 12”. Broken Heroes arose from the wonderful Headache Records scene and are known for mixing comedy with boot beats, whereas Armed Suspects play it straighter. Both bands prove here that they haven’t aged at all, and that’s a good thing. Some of the songs are new altogether, whereas others are re-recordings of classics those in the know already love. Oi! The Boat is a label that’s keeping the fire alive, and at domestic prices, too. For an added good time, check out the Armed Suspects music video that’s surfacing online. Maybe some of Broken Heroes’ sense of humor is wearing off on them. –Art Ettinger (Oi! The Boat)


AMPERE:
Like Shadows: CD
It’s taking every ounce of nerve I have to not listen to the little David Spade inside my head going, “Yeah I like Ampere. But I liked them better when they were called Orchid.” I do admit, however, that Ampere are a bit more structured and deliver more of the kind of hailstorm-of-bricks heaviness that is crucial when playing such emotive and chaotic hardcore. It’s over before you know it and most songs don’t last any longer than a minute. It’s good, it really is. Maybe in time I’ll come around and listen to more Ampere. –Juan Espinosa (No Idea)


AMERICAN HEIST:
Self-titled: LP
The American Heist from Houston is my kind of band. They’re definitely firmly planted in their punk-as-fuck roots, but they also aren’t afraid to borrow from folk music traditions. They remind me a lot of Hudson Falcons, but with slightly harsher vocals. From the maroon vinyl and super cool bank robbery cover art on down, this LP is a labor of love. There’s no heist going on here, as these guys are doing all of us a favor by putting out a record. You can line up seven of your average dwarf oi bands and six would be called “dopey.” The last band standing is called The American Heist. –Art Ettinger (Cutthroat, myspace.com/cutthroatrecs)


AMEBIX:
Knights of the Black Sun: 12”
I think my pal the Reverend Paul Putrid put it best: “Who knew the trajectories of the Amebix and Killing Joke would cross to the point where you can’t tell one from the other?” While maybe a bit more “rock” than even Jaz and the boys might dare to venture, the tune hear nonetheless bears traces of the same Killing Joke stamp as much of their other recent output. Not to say it’s a bad thing, especially when one considers that stamp could be found to varying degrees from the beginning, but it is interesting to note that the more they’ve progressed, the more that influence has become prominent. Also interesting is that this twelve-inch slab of wax has, count ‘em, one track on it, with an etching gracing the other side. Sure, it’s a good song, and the etching’s purty ‘n’ all, but a bit of a burn when one factors in the cost per song ratio, not to mention it’s a bit of a waste of a petroleum-based product, no? –jimmy (Profane Existence)


ALPINIST / MASAKARI:
Split: LP
Crusher of a split here! Alpinist and Masakari both crank out the dark and heavy stuff. Some would call it “epic crust.” Either way, the correct way to listen to this record is fuggin’ loud. Masakari are incredibly heavy. So much low end in their sound! I love how thick the bass is in the mix, and the seriously pummeling effect of the drums (check out the opening of “Progress”—rare that drums are so effectively recorded in the punk world). The vocals are a dry growl, without being completely Cookie Monster style. The songs range in tempo, using time changes effectively to give everything more punch and keep you interested throughout. The transition between “Hexenhammer” to “Modulation” is great and a perfect way to end the record: fast, huge in sound, and a total stomper. Alpinist, from Germany, are little less heavy, though no less effective in pulling you into the darkness the music creates. If anything, their songs are actually catchier (in a good way). The songs blaze, yet the crunching rhythms and slight time changes give the songs depth. “Subjection” uses a tried and true headbanging break that works every time. A little abrasive noise is added for texture as well. Pretty damn good. Nice artwork from Alex CF graces this as well. –Matt Average (Halo Of Flies, halooffliesrecords.com)


AGAINST EMPIRE:
Thieves and Leeches: LP
To see a band in their early stages, go through line-up changes, and still continue to stay together after a good amount of time warms my heart. Not many bands make it past the one or two year point. Many others don’t even make it out to play beyond their local scenes. This band has accomplished more and can add U.S. and European tours under their belt. I think the first time I saw the San Fernando Valley-based band was back in 2005 as a five piece. Currently, they are a trimmed-down force as a three piece. Musically, they used to fall into a cross of crust and anarcho punk, but this time around their sound has strong leanings of ‘80s hardcore. It’s a more direct approach in sound that takes the music into higher energy territory than in the past. The songs are precise, yet played with a bit more speed, which adds gusto to the music. The complexity is now in the chord progressions and work with more layers that gives the songs the epic feel. Production is on the clean and bright side of the spectrum, which better suits the new direction of the music. Clarity helps define each element. Lyrically, they continue on with their social political commentary of what disturbs them. They also add in a cover of Crucifix’s Another Mouth to Feed. As much as I love this new record, I am even more proud of what the band has accomplished. –don (Profane Existence)


ADOLESCENTS:
The Fastest Kid Alive: LP
This album has been a long time in the making. Me? I’ve been waiting with bated breath ever since the release of 2004’s OC Confidential came out, proving that the Adolescents were back and as relevant as ever. Right off the bat, as was the case in 2004, you can tell that the Soto/Reflex songwriting team has come a long way since the early ‘80s. These songs smack you in the face and drag you around the room, not necessarily with breakneck speed, but with hooks and melodies that can’t be resisted. It is very obvious in the lyrics that the Adolescents are very concerned with where the world is and the place where it is heading. From hating children to trying to save them, all in thirty years flat! It’s a change that suits them. I can proudly place this record along with my other Adolescents records. –ty (Concrete Jungle)


ABSUM:
Demo: CD
Picked this demo up out of the free box at my sweet Local Record Shop, a few months ago and just got around to checking it out recently. I wasn’t sure what to expect, but was totally stoked to find out that it didn’t suck, and, in fact, ruled quite hard. Absum are a four-piece thrash/punk band hailing from CT. The three songs on this demo, an early promo for their debut 7”, call to mind thrash legends Suicidal Tendencies. The riffs are all blazing fast. There are some brief spots of guitar wankery and epic amounts of crew vocals sure to spawn massive sing-alongs live. I listened to this on repeat close to twenty times (not hard when the three songs on this clock in around five minutes) and didn’t get tired of it. While some of the riffage starts to feel repetitive, the creative use of gang vocals and sing-along parts helps keep all three of these songs interesting. The song “To Whom It May Consume,” is by far my favorite of the three, as it’s got the highest quantity of guitar wankery. Overall, this brief demo is a solid intro to Absum, and I’m stoked to check out their record. –Paul J. Comeau (Absum, absumCT@yahoo.com)


XAXAXA:
Tango Revolucioner: CD
The name of this band means HAHAHA in Cyrillic. This band is from Europe and plays their brand of tightly-knit, punk-influenced rock pretty well. I specifically liked the bass playing, which tended to lead things a bit. From what I researched, people really want to compare them with Hüsker Dü, which I simply don’t see. If this was the early ‘90s and this music was sung in English, they would have been immediately labeled college rock. There are ten songs, most under three minutes. The energy is steady and doesn’t fan out towards the end or slump on some slow songs. Unfortunately, this caused me to zone out a lot and I had to re-listen to the album a lot to really feel I’d heard it. Through some research, I found out this is basically a band called Bernays Propaganda without the female singer, so if you like this, that might be up your alley as well. –Rene Navarro (Moonlee)


WICCANS:
Skullduggery: LP
East Coast-influenced hardcore from the western part of the U.S. At least that’s what I’m assuming since some of the band members also play in Wax Museums and Bad Sports (both from Texas). The vocalist does a better job of doing Roger Miret vocals than Roger Miret and, aside from the fact that they’re not exactly breaking any new musical ground in the world of hardcore punk, this isn’t bad at all. My only problem with this record is that a full length is a bit too much to handle in one sitting. You know, kinda like when you order a large pizza but all you really wanted was a slice or two. Sometimes there really can be too much of a good thing. –Juan Espinosa (Katorga Works)


WHITE ORANGE:
Self-titled: CD
The hippie-dippy cover art and the “RIYL” sticker on the back point in the direction of stoner rock, and I can totally see where they might fit into that pigeonhole, what with the loud geetars and sludgy tempos. I do think it might be a bit of an uneasy fit, though, ‘cause based on the songs presented here, they’ve also got a knack for marrying hypnotic chord progressions to some occasionally potent pop hooks. The resulting songs sometimes sound more along the lines of a noise rock band shoving their inner pop darlings through a very rough sieve. Dunno if the pot-addled Sabbath freaks’ll find this to their liking, but they do have the seeds of something potentially interesting going on here. –jimmy (Made in China)


WAR OF WORLDS:
Dim World Act III: LP
Anthemetic hardcore with loads of posi-sounding backup vocals. The riffs are not straightforward HC all the way. The album is reminiscent of a time when bands were trying to get away from power chord dominance. Not quite “GO!,” but “PRO-CEDE!” People into post-speed Revelation bands would probably dig this. Not my thing, but well executed. –Billups Allen (New England Standard)


VOIVOD:
Warriors of Ice: CD
I don’t think I’ve ever listened to Voivod before, but I’ve heard about them for years. That being said, I don’t think this album was made for me. As is the case with most live albums, my guess is that this is for the diehard fans. Voivod is a Quebecois act and the album was recorded live in Montreal in 2009, hence almost all of the banter in between songs is in French, even though the band sings in English. The fifteen songs on here clock in at about seventy-five minutes, so if you’re a fan you will be getting your money’s worth. However, I can’t say this did much for me—it’s what you’d expect from a metal band that never quite broke through, that has been around for almost thirty years, and aren’t Slayer. –kurt (Sonic Unyon Metal)


VICTIMS:
A Dissident: LP
I’ve somehow slept on this band for a long time. I have their split with From Ashes Rise (which is great), but just never picked up anything by them since, so I can’t make comparisons to their albums in the interim. However, I’m happy to hear that not a whole lot has changed since that split in 2003, and these guys are still churning out heavy, melodic crust. The production here is pretty slick, but with all the guitar parts swelling in and out and playing off each other, it’s justified. The songs are typical d-beat fare, but if you know what you’re getting into it’s a good listen. –Ian Wise (Tankcrimes)


VARIOUS ARTISTS:
We’re All in This Together: LP
A hardcore punk comp here with four tracks each from Triple X, MDC, Hanker Hoax Haphazard, Asspiss, and Crackbox. Music’s good, but the advertisements stuffed in for good measure—one for the Institute for Anarchist studies, one for Asspiss’ Fuck Off and Die seven-inch, one for the label’s other releases, an Asspiss stencil, and a patch with the label’s logo on it ostensibly so some punker can give ‘em some free advertising at a show—seems a bit capitalist-overkill, considering this looks to be some sorta anarchist-themed release. Then again, the white vinyl and great cover art’s gotta get paid for somehow, I guess. –jimmy (Suburban White Trash)


VARIOUS ARTISTS:
Kill Rock Stars: LP
This is a special limited Record Store Day version of Kill Rock Stars’ first release, to celebrate the twentieth anniversary of the record and the label. That many of the bands on this comp are now considered “legendary,” or “classic,” is a testament to how smart the folks at Kill Rock Stars were at putting together a collection of some of the best bands of the era. Featuring tracks from Melvins, Bikini Kill, Nirvana, Nation Of Ulysses, Mecca Normal, and others, this album is more than just a document capturing a particular era of music, it is also a collection of some of the best music of all time. Fans of great independent music of any stripe owe it to themselves to add this comp to their collection. I can’t recommend this enough –Paul J. Comeau (Kill Rock Stars)


VARIOUS ARTISTS:
Crack Rock City Volume II: CD
Seriously, if there’s a Crack Rock City Volume III, I’m buying a gun, finding some kinda bell tower, and people are gonna die. (So, yeah, I wrote the previous sentence like a month ago, and it seems mighty fuckin’ insensitive in light of recent events in Norway. I obviously wouldn’t shoot anybody over a bad record. If you’re offended, get a life. This CD still sucks though.) –Ryan Horky (Pirated)


VARIOUS ARTISTS:
City Limits: Down and Out in Toronto and Montreal: LP
Twenty-three songs by twenty-three bands who all hail from the fair cities of Toronto and Montreal, Canada. Plenty of household names (Career Suicide, Inepsy, Urban Blight, Brutal Knights, School Jerks, Burning Love) some eyebrow raisers (Mad Men, Foreign Bodies, Mature Situations) and um, the rest. Such is the curse of a compilation album with this many bands on it: too much filler. At first glance, the better-known bands make this record seem like a steal because, yes, the good songs are really fucking good. But upon closer inspection, the intent of giving some seemingly deserved, lesser-known newer bands some exposure doesn’t quite meet the standards set by their predecessors. Also, the fact that all the best songs are almost all on the first side of this platter makes me wish this were a single-sided LP. –Juan Espinosa (High Anxiety / No Idea)


TOUGH TITTIE:
Stomach Transplant: CD
Seriously, you’re going with that band name? Sigh. Well, all right. Oh, wait, you’re going with the artwork with the weird looking gnome guy who has arms for legs and hands for feet? And you’re calling the album Stomach Transplant? Really? You sure about that? Because you’re really not doing yourself any favors with any of this. All this being said, you can understand why I was crushed when it wouldn’t play in my CD player. –kurt (Self-released)


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