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Record Reviews

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Below are some recently posted reviews.

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GIRLS JUST WANT TO HAVE FUN:
Demo: Cassette
If you can get past how horribly mixed this is, this demo has some potential. The band has an intensity that is undeniable, and their songs are all competently played, if a bit uninspired. The vocalist does a great job screaming his lungs out, but the lyrics are a bit generic, even for bands whose songs are about girls and relationships. I think Girls Just Want To Have Fun could be a good band, but I’m lukewarm on them based on this recording. –Paul J. Comeau (Girls Just Want To Have Fun)


NO PROBLEM:
And Now This: LP
Pros and cons. On one hand, you’ve got a pretty smoking LP that sounds like a pitch-perfect melding of riff-heavy hardcore-leaning stuff like Career Suicide and early Fucked Up, and ‘70s Dangerhouse stuff. This is a seriously rad album, and fans of most of the rest of Deranged’s catalog will certainly be stoked. It’s solid. The questionable thing is that the album was produced by Jonah Falco—of, yep, Fucked Up and Career Suicide. Hell, And Now This was apparently recorded in the practice space those two bands share. I mean, both of those bands have penned some awesome songs, but it does beg the question just how much input Falco had in writing or arranging And Now This. I’d like to believe very little, but there are some striking similarities even beyond guitar tones and production styles. There are certain sonic tricks here that bring to mind both of those bands; certain repetitive lyrical phrasings and repetitions, the guitar line buried under the distortion in “Most Days.” What I mean is, these dudes really sound like Fucked Up at times. Hell, “Paranoid Times” sounds musically almost exactly like Fucked Up’s “Generation.” Taken solely on its own—and many would argue that as a reviewer that’s exactly what I should be doing—And Now This is a collection of undeniably great songs. But I’m also left to wonder just how heavily they’re wearing their influences here. –keith (Deranged)


CRIME WAVE:
Modern Lobotomies: EP
Decent punk rock from Houston. Mainly mid tempo and a growled voice (though not a hardcore bellow type thing). As much as I want to be dazzled by this, it falls short. Not terrible, but this lacks fire. A little more oomph could really help and send these songs over the edge. The title track, which is the slowest on here, is the best, and the one I go back and listen to often. “Jerry Falwell Is Dead” and “Houston Is Gonna Burn” are the other standouts of the five on here. –Matt Average (Agrowax, agrowax.blogspot.com)


NIGHTGAUN:
Absurdity of Meaning: EP
Crazed, out of control, raw hardcore punk with some great black metal-influenced vocals. Everything on here really is a mess: from the shitty artwork to the reckless disregard for “musicianship.” No plan. No structure. Just play to destroy. Sounds fucking great to me. –Juan Espinosa (Primitive Future, nightgaun82@gmail.com)


CREAMERS:
Modern Day: 7” EP
Back in the ‘80s and ‘90s there existed an L.A. band called the Creamers who, along with the Lazy Cowgirls, were one of the two bands in town adhering to a more “traditional” punk sound. Over a ten-year period they put out a slew of albums and singles sick with Ramones/Dead Boys-styled ragers and buzzsaw-pop stompers that predated the wild popularity of both the Queers and Green Day. Their male/female band member ratio skewed toward the latter, which was quite uncommon at the time, and their shows were raucous, memorable affairs with bassist Lenny just bouncing off the walls and into the crowds. While they never achieved the level of fame as, well, the Queers and Green Day, they definitely made their mark, and word is they’ve actually come out of hibernation and are playing around town again. This release, however, is not a new release from the L.A. punk band, but rather a band from Texas that has appropriated the name to mete out sloppy, primitive punk that, while not bad, ain’t especially memorable either. –jimmy (Jolly Dream, jollydreamrecords@gmail.com)


GIRAFFES, THE:
Ruled: CD
Apparently this band has been around for ten-plus years and are well known for their raucous, beer-soaked live shows. By listening to this CD, I would have never guessed that, as it’s full of over-processed/compressed guitar wanking, mainstream grungy rock tunes, and alternates between awful shouty and singy vocals. Although new, the record sounds dated and trite and would fit in well alongside any of the current crop of “alternative rock” bands that you could currently hear on mainstream alternative radio. Maybe this sounded fresher and more interesting when these guys were new on the scene ten years ago, but I’d be willing to bet against that, too. –Mark Twistworthy (Crustacean, crustaceanrecords.com)


NIGHT BIRDS:
Fresh Kills Vol. 1: CD
Hot damn! If there isn’t one band this year that I just can’t shut up about, it’s Night Birds. A bunch of great singles, a couple of great shows, and I am a fan for life! In case you missed my drooling reviews in previous issues of this very zine, then I’ll give you the lowdown. Some rad dudes from the East Coast decided to get together and play a very Southern California style of beach punk. There are flashes of everything I love in that department. The urgency of Adolescents, the tube rider twang of East Bay Ray, the raw “my beach, my rules” attack of Smogtown (or any number of Hostage Records stable). Through all of this, they manage to sound distinct. Well summer just got a little better because it’s getting too hot to stay cooped up listening to vinyl during the day. Thankfully, all of those shredding singles (and their demo tape) are collected here on a shiny, disposable disc to pop in the deck and head for the beach! This is my soundtrack until the new LP is out this fall! –ty (Grave Mistake)


CRACKBOX:
Self-titled: 7”
Punks are complex. Punks are the same people who break all their shit one night and work on their gardens the next morning. There’s a rocky grace to punk rock; this grace that compels the same punk who blacked out and tried to fight everybody the night before to bring a bottle of whiskey over the next night as an apology. Punks are assholes a lot of the time, dealing poorly with their own demons. This is because the punks are a fucked up lot. That’s what attracts people to punk; they have no place anywhere else. Few punk records, though, cover the breadth of the punk experience. If you want happiness or smarmy nostalgia, put on a pop punk record. If you need call-to-arms anthems, put on a Gorilla Biscuits record. If you’re feeling hateful, put on a GG Allin record. Punks themselves have always been more complex than the records they play, because the records usually only tell one side of the story. There’s some kind of unspoken law about that and the best punk records are the ones that break it. Some of these exceptions are bands like The Gits, The Dicks, Patti Smith Group, Citizen Fish, and Leatherface. If it weren’t for punk bands like these that speak of a wider range of human experience and emotion, well, I would listen to a lot less punk rock. I would listen to even more Leonard Cohen and Creedence Clearwater Revival than I already do. Crackbox does this for us. The first side starts with “In Love Must Mean Stupid,” a song about a fucked up relationship. On the second song, Corrina sounds like a demon as she sings “On My Feet,” a song so nihilistic that it comes up on the other side as positivity. Nobody knows like the punks do that not giving a fuck about anything, even dying, is the kind of desperation that leads to an exciting and momentous life. If everything is a struggle than struggle is everything. By the second side, it seems that some things have been worked out. These songs switch to shouted anthems. “Cop Out” is a vitriolic jab at jaded punks who fell off, with the chorus “fuck your cop out/our greatest fear is to shine not burn out.” I love that lyric, the way that it acknowledges the cynical urge but is dead set on resisting it. A line in the sand is drawn on this record between the healthy kind of not giving a fuck and the bullshit kind of not giving a fuck. It’s about the struggle of being human, to get by, but it’s in the language of punk. Maybe only punks will understand it. Punks are complex. –Craven (crackboxxx@gmail.com)


GENERAL BASTARD:
You’re Not Special!: CD
Neither are you, General Bastard. You sound like a poor man’s version of Godflesh or Pigface. –kurt (segmedia.com)


NARC OUT THE REDS:
“Pawnmower” b/w “Leak in the Disease”: 7”
Man, I hear a lotta folks comparing these dudes to the Foo Fighters, and I just don’t see it (or hear it, as it were). I guess the Foos are the only connection most people have to what we woulda called “alternative” music back in the ‘90s. For my money, NOTR sound a heckuva lot like Shudder To Think, if Shudder To Think rocked a lot harder, made way better use of dynamics, and laid off the movie soundtrack crap. Head honcho Chris Baratono describes Narc Out The Reds as “paranoid pop,” and while I’d quibble with the “pop” designation (this is quite clearly “rock” music, and yeah, there is a big difference, regardless of how melodic said rock may be), the vocals can certainly sound unbalanced (in a good way!). They occasionally remind me of long lost ‘90s band Ruth Ruth, who had similarly paranoid-sounding vocal stylings. I’m diggin’ this two-song 7” quite a bit more than their first EP (Last year’s ...Are on theRun, also on GTG records) and I think you can attribute that one hundred percent to the fact that this is an actual band recording, and not a studio creation like the last one. Baratono snagged himself a hell of a rhythm section (they cut their teeth in a thrash band together) and it really shows on these two songs. They lay down a nice tight bed for the songs to sit on and it makes all the difference. I believe they also recorded these tunes essentially live to tape, which is the way the good lord intended it to be. If you dig catchy rock and roll tunes with a lotta twists and turns to ‘em, then you oughta check out Narc Out The Reds. –Ryan Horky (Good Time Gang)


COUNTERPUNCH:
Dying to Exonerate the World: CD
Modern pop punk processed, packaged, and ready for Warped Tour over-saturation. –jimmy (Go Kart)


MURDERER’S ROW:
The Bully Breed: CD
This is some really badly played street punk with double guitars. Said guitars do solos and leads, all of which suck. They steal a Bruce Springsteen quote here as well, “I got bills no honest man can pay.” These guys throw in “and debt,” but that doesn’t fix it. If anything, it proves they don’t know what bills are. In this same song (“Piss Poor Working Class”) the singer yells out, “The wife is always bitching, says I drink too much.” You probably do, which is why you’re broke. These guys are just delusional: “they call us modern Vikings.” No, they don’t. Nobody has ever called you that. Your songs are about having a shitty job, staring at the clock, and being a drunk... do you honestly believe that’s what being a modern Viking is? Man, Zimmerman was right. The times are a-changin’. There are Vikings rolling in their graves, but not the ones who got sent out in boats and then burned, because they don’t really have graves. –Rene Navarro (Durty Mick)


COOTIE PLATOON:
Crazy Happy: CD
Crazy Happy is seven songs of surfy, punky, Ramones-esque music with female vocals. It’s pretty run of the mill and nothing special. Every time I listened to this, I kept thinking of how much I’d rather hear the Misfits, so that’s what I did. Oh, I’m not saying they sound like the Misfits per se; I just really wanted to listen to Glenn Danzig and company. –kurt (Self-released, cootieplatoon@gmail.com)


MISSING MONUMENTS:
Painted White: LP
King Louie’s been in so many bands that it probably would be quicker to just name the bands he hasn’t been in, and yet, even with this gigantic treasure trove of previous data from which to draw reference material, all i can really think to say is that this sounds a lot like a Gentleman Jesse album ((which is, of course, a good thing indeed)), except the singing sounds a little bit more like Blitz, the playing is slightly less refined, and the whole shebang is just a few handfuls of buckshot rawer than a Gentleman Jesse offering, which, to me, suggests that this rootsy and indelicate power-pop ((i guess)) offering is the first Romantics album to the slick Get the Knack of the Gentleman Jesse & His Men album. And THAT, King Louie, is what i like about you. Well, that and the fact that you were great in The Jungle Book. BEST SONG: I was originally thinking the hit, “It’s Like XTC,” but now i am nudging towards the rocker, “Hot Class.” BEST SONG TITLE: “It’s Like XTC” BEST LINE: The one about the crickets kissing, or maybe the thing about the slashed brakeline. FANTASTIC AMAZING TRIVIA FACT: Louis Prima was the voice of King Louie, because Disney thought that using Louis Armstrong’s voice for an ape mighta come off as racist. –norb (Douchemaster)


GAS CHAMBER:
Self-titled: 7” flexi
I remember back in the ‘90s when powerviolence bands started experimenting with noise. Mainly, they were following the footsteps of Man Is The Bastard / Bastard Noise. The results were pretty forced and subpar. More than ten years later, hardcore bands and the like are starting to try their hand at it. And this time the results are better. This is the Gas Chamber from Buffalo, NY who put out the dark stuff doing noise. This is pretty good. One piece with a cold drone that borders on white noise. Tones rise and fall, with some sounds hovering like alien space craft. The sort of music to zone out to, contemplate, and eventually come back down when the song is over, or until you tire of moving the stylus back to the beginning. –Matt Average (Warm Bath)


CONTROL:
Punk Rock Ruined My Life: CD
Reviewing discs like this are a bit problematic. On the one hand, it’s a decent bit of “street punk” fare, with catchy songs about punk rock, those who’ve been around punk for a good while and are still here slugging it out, getting shit for being a skinhead, and having “rebellion in my blood,” as well as others with more substantive, pointed, and topical subject matter about the state of the U.K. government, dickhead politicians, street violence, and putting a hurtin’ on convicted child murderer Ian Huntley. On the other hand, the music is so conventional, rote, safe, and devoid of any challenge to the status quo of its own pigeonhole that it ends up faceless with precious little to set it apart from the literally hundreds of other bands swimming in the same small pool. Put another way, I guess, is rebellion starts at home. I really wanna like these guys, but more importantly I wanna hear what they sound like, not what the tried and true punk template dictates they should sound like. –jimmy (durtymickrecords.com)


COMPLAINTS:
Falling Down: EP
These guys seem to be putting out an EP every few months. I’m not complaining, just making an observation. Continually upping their game with every release for sure. The opener, “Falling Down” is a high energy cranker; reminds me of the early Stitches / Smogtown level of quality. Though I think “Action / Consequence” is the total rager of bunch. The delivery is in your f’n face like a sugared-up ten-year-old. “Bad Decisions” slows down a tad, but the assault doesn’t ease up. Three EPs so far, so I have to ask, “When’s the album?” –Matt Average (Complaints, sfcomplaints.com)


MISCHIEF BREW:
The Stone Operation: CD
I’ve known of Mischief Brew for years, actively listened to their recent pseudo-split/collaboration with Guignol, and even have a couple of older albums I remember liking well enough, but this release has taken my admiration of the band to a new level. To sum up the sound, the best approximation is circus and gypsy-inspired folk punk. Think World/Inferno’s busking-inclined cousins, especially with all the old world style instrumentation that shows up: banjos, fiddles, and accordions. The one-two punch of album openers “A Lawless World” and “Three-Chord Circus” is supreme, with the latter song definitely getting a place on my best of 2011 list. Lyrically, the band—and singer Erik Petersen in particular—really keeps things in the tradition of left wing protest troubadours of the past like Woodie Guthrie and Pete Seeger, had they been raised on punk records. There’s not a lame track on this album, so this is definitely worth picking up. Extra punk points for covering one of Nick Blinko’s ramblings from Cacophony. –Adrian Salas (Fistolo)


MIKAL CRONIN:
Self-titled: CD
A solo release by a guy in an OC band called the Moonhearts. Its base is trashy ‘60s rock, I reckon, but he tosses a lotta great ingredients into the pot to sweeten things up—punk, surf, maybe a bit o’ Jesus & Mary Chain/Medicine type noisemongering, and even some Beach Boys harmonies. Songs are strong and well executed. Good, solid listen all the way ‘round. –jimmy (Trouble in Mind, troubleinmindrecs.com)


COATHANGERS, THE:
Larceny & Old Lace: CD
The Coathangers unleash some Georgia art punk that sounds like the more straightforward sister band of the departed Mika Miko. You got the multiple singers, the gangly riffs played with pawn shop instrument tones, and the bonus of a keyboard. The difference is that where Mika Miko had a more frantic post-punk vibe, the Coathangers have a bit more (sometimes demented, i.e. “Johnny”) garage rock in their blood. This falls on the “solid” side of things. There’s a feeling that this band is a lot more fun to see live, because as much as I want to say I really like the songs, a lot of them don’t rise above the fray often enough in memorability. The best track, “Tobacco Rd.,” actually happens at the end when the band breaks from their normal sound and goes for an acoustic, American gothic, folk number. I would put this track on summer mixes. –Adrian Salas (Suicide Squeeze)


FUEL INJECTED .45:
Past Demo-ns: CD
The ‘90s are well represented on this disc. Kozik-style artwork and a metallic punk sound with vaguely industrial sounds in places. Apparently, there are members of Strapping Young Lad, Grip Inc., Fear Factory, and Bif Naked in the lineup. Yup, the ‘90s happened, and this AmRep meets Babes In Toyland sounding-band will be right up your alley if ya dig that sorta thing. –frame (Alternative Tentacles)


MIDWEST BEAT, THE:
Back to Mono: 7”
I present to you the song “Back to Mono” as your new power pop anthem and the best song you’ll hear this summer. Goddamn is that a song! I’ve heard raves about The Midwest Beat but never heard ‘em until this EP. Released on Eradicator Records from Bloomington, IN (my town), so hopefully they’ll swing through here. They even cover The Hussy’s “Sexi Lady.” The Midwest is alright! –Sal Lucci (Eradicator)


CLAP:
Have You Reached Yet?: LP
I hated this record the first time I listened to it. Demo-quality recordings that sound too thin, with inconsistent mixing to say the least. On side one, the low end is almost non-existent and the bass is either too blown out or too trebly. Side two is a little more bearable. The singer is a little whiny, but you get used to it (think King Tuff.) On second listening, I was less angered and let myself get into the songs. Many of the leads are discordant and the first song is completely out of tune. The packaging is nice, heavy stock, with detailed, knowledgeable liner notes by Phast Phreddie Patterson (of Back Door Man Magazine).According to Patterson, the original record goes for internet silly prices ranging between a few hundred dollars and $1700. I appreciate the influences more instead of thinking Clap is straight ripping songs off, although the chorus of “Have You Reached Yet” sounds like The Chocolate Watchband’s “Are You Gonna Be There (At the Love-In)?” “Sweet Smell of Success” and “Stop Torturing Me” are mid-paced Stones-y rockers. “My Imagination” might be the best of the bunch. –Sal Lucci (Sing Sing, singsingrecords.com)


MEINHOF:
8 Drops of Blood: CD
Gruff female vocals, a sly adherence to the Discharge template (took a couple o’ songs before I noticed that’s what they were doin’), and a production that keeps the guitars loud and the tunes punchy. –jimmy (Nikt Nic Nie Wie)


MEERCAZ:
Self-titled: LP
This LP collects demos from a young rock prodigy named Muslim Delgato. According to the liner notes, Delgato has covered a lot of ground with a lot of different musicians. I am sometimes dubious of records that have too much story behind them or that cite The Stooges and MC5 as influences, but this album does contain a load of overdriven, Detroit-influenced rock and roll. Nothing particularly stands out, but the whole album sounds awesome when turned up loud. Fuzzy guitars and raw innocence make this album a keeper. –Billups Allen (Tic Tac Totally)


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