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Below are some recently posted reviews.

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Songs for Nobody: 7”
I just got done taking a shit while reading the Maximum Rock ‘n’ Roll issue focusing on Steve Ignorant’s tour with a Crass cover band. All the punks are up in arms, “Oh my god, the legacy of Crass! What does this say about the heroes we worship, blah, blah, blah.” The whole thing reminded me how laughably flawed this whole punk rock thing is. Hell, I even bought the issue to see how the mess would unfold. I ended up just having a laugh, but, I, myself, am guilty. After reading, I played Songs for Nobody again. Out of my speakers came the ugly, alienated, discordant punk that brings it all back home. It reminds me of a time when a sellout was shrugged off as a sellout and the punks had better things to do, like cut themselves and put their fists through glass. Punks had real stuff to deal with like crippling depression and self-doubt. Alienation and hatred of their surroundings. This was before they were old enough to recognize that these feelings would always be there and found better ways of dealing with them. Before they were so easily distracted by trivia like the justifications of some smug, old fart anarcho wanker from England. On the record, Johny’s voice is ugly, sounding like he hasn’t slept for weeks. It sounds like he drank black coffee and stared at the wall for weeks. The guitar sounds like a buzzsaw, raw and ripping through the songs. These are songs for nobody. They shout into a void. Each song, a raw, furious soul grenade. It’s wretched, anti-melodic and the core of what punk is about. Or what punk was about... before the scene got too big, too comfortable, and made time for bullshit. –Craven (Cannibal Friends)

Still Sick: CD
A new thirteen-song album by this long-running Santa Rosa, California band featuring members of Fifteen, American Heartbreak, The Upsets, and Cropduster. The Invalids do a tremendous job channeling ‘77 punk with a snot rock sound and attitude that bears a strong resemblance to acts such as Sloppy Seconds, Screeching Weasel, and the Vindictives. The only missteps on the record occur when they deviate from the formula by slowing things down, like the fourth track, “The Party,” that briefly kills the infectious energy prevalent on the rest of this record. They nearly make the same mistake on the seventh song, “Bad Muse News,” but it saves itself with an appealing doo wop-influenced chorus. However, these minor flaws can be forgiven in the context of eleven other songs that come off without a hitch. –Jake Shut (Saint Rose)

Epitaph 1982-85: CD
A compendium of recorded material from a N.Y. band that existed during the period identified in the title. The opening salvo of tracks, from the Grudge Against the World demo, stick primarily to the tried and true circa-’82 thrash-o-rama sound, and they’re quite proficient at it, zipping along nice ‘n’ tight. The remaining stuff, from ‘85’s Pilgrim State LP, shows marked progression in structure without sacrificing speed when they get a good head of steam going. Lots of tempo changes, creative structuring, and a clear effort are made to not to fall into the dreaded “generic hardcore” well of misery. One o’ those bands that managed to slip by my ears back in their heyday. It was nice to get a chance to catch up on what I missed. –jimmy (Welfare)

Party Lines and Politics: CD
I’ve teetered on both sides of the fence with these guys. The first release, a split with Guns ‘n’ Rosa Parks, did fuckall for me. The next one I came across, Don’t Know How to Breakdance, was a tad more appealing, but ultimately swayed me in neither direction. This one has me grudgingly admitting that yes, they are pretty good at what they do. The metal is ratcheted up much more than I remember it being prior, which is usually a detriment with me. In this case, however, the result is an album that comes off as a less quasi-xenophobic heir to SOD’s Speak English or Die, tempering pointed commentary about things like Monsanto’s attempts at copyrighting and monopolizing the process of growing food, homophobia, and the corporate-welfare state with humor, as well as odes to old ‘80s new wave bands and gay heavy metal heroes (cf. “The Police Are Fuckin’ Rad!” and “Reinventing Rob Halford”). Lotsa good, zippy, angry fun to be found here. For what it’s worth, you’ve won me over, guys, and yes, your allegiance to tacos played an integral part in my conversion. Play often, play loud. –jimmy (Profane Existence)

Cement Tomb Mind Control: LP
I’ve gone on record as saying that one of the things i will miss least about the 00’s is two-person bands ((ESPECIALLY mixed-gender two-person bands)), but there is enough stuff i like here for me to consider The Hussy as the harbinger of the Next Big Thing ((mixed gender two-person bands, yay!)) as opposed to the last dregs of last Next Big Thing That Was ((mixed gender two-person bands, ick!)). The frequent spatial loneliness my eardrums often feel at the hands of two-person bands is anticipated and often counteracted by fairly frequent guitar/tambourine/etc. overdubs, and the performance and songwriting plows a swank trench somewhere between Shannon & The Clams and what Davila 666 songs might sound like if they were played by a two-person duo consisting of a male guitarist and female drummer ((hmm…no examples come to mind)) and sung in Wisconsinese, in which i am reputedly fluent. I recommend you pick up a copy for personal use; nobody likes someone who’s down with Other People’s Hussy! BEST SONG: “Wrong/Right” BEST SONG TITLE: Maybe “Odd Duck?” FANTASTIC AMAZING TRIVIA FACT: The little superscript crosses that are used in place of asterisks on the back cover have been cleverly inverted. –Adrian Salas (Slow Fizz)

Self-titled: CD-R EP
Four piece punk rock from New Haven, CT that pays homage to the classics but still puts its own spin on the sound. “Worker’s Song” has a Clash-like feel. “Everything Changes” is my favorite tune on this too-short release. The last song is a slight reworking of a Cock Sparrer favorite. This mini-album shows promise. Keep on fightin’ the good fight gentlemen. –koepenick (Self-released)

Self-titled: CD
I seriously don’t know whether it’s the mood I’m in lately, or that I somehow lucked into a small knot of above average poppy punk stuff, but this falls definitely within said knot. The feel is more mid/late-’90s or maybe even early 00s, with “whoahs” in effect with guitars more in barre chord mode instead of the odd fingering currently in vogue. Can’t say I’m all that hip to the perpetually strained vocals, but more often than not they work in the context of the songs, which themselves are pretty well thought out with interesting changes and hooks aplenty. –jimmy (Red Scare)

Split: LP
Gunnar Hansen: Final recording from this short-lived Hamilton, Ontario, Canada band that broke up in 2008. Only previous output was their debut 7”. Sad since they had that hardcore energy of early Fucked Up that I liked mixed with an energy akin to Negative Approach meets Cause for Alarm-eraAgnostic Front. A dual guitar attack that uses hard-charging chords to their advantage mixes well with the thundering and precise-sounding bass. U.T.I.: Readers who follow my lackluster writings know I love female vocalists. So a gold star from me. But the vocals here really blew me away. The best I could describe it would be a female Nick Blinko from Rudimentary Peni. So manic and over-the-top delivery. Having a solid band behind her also captures my attention. Fast-charging punk rock that can change speed on a dime. Good recording production adds to the power. They had an appearance on the Toronto’s Burning comp from the same label. I need to reexamine their tracks. Hate to pick sides, but this one was clearly the winner for me. Hope more is in the horizon. –don (Schizophrenic)

Intolerancia: 7”
Angry, bilingual (Spanish and English), and very straightforward punk rock from Miami. The guitar playing could use a bit of work, but the vocals sound like they’re going to jump out of the stereo and choke you until your eyeballs pop out of your head and explode at the ends of their stalks. I think I bruised my Adam’s apple listening to this. –mp (Suburban White Trash)

Split: 7”EP
God Equals Genocide: What works for GEG is contrasts that balance. Sweet-but-unsatisfied. Snarly-but-uncomplainy. They play wonderfully dirty and sloppy yet their intentions couldn’t be more clear, their conscience more clean. When they play live, Danny and Adrian hootenanny between guitar and drums, marking the middle of their set. On record, it happens within seconds! Who replaced the logo of the Bananas where the dove is supposed to be at the end of the bayonet on my Discharge record? Never Again! Libyans: Gnashing, beaks-a-pecking, smart-not-damning hardcore with flourishes that give hints that not only has Crass been a consideration and guiding hand, but so are Wire and the Wipers. Has a nice strangulated-yet-gallopy tension. Sorta like reaching really high on the top of a ladder for some high-hanging fruit and not fully retaining your balance while wearing a well-worn Bags T-shirt... as a band sound. Some of the strongest tracks ever from both bands. –todd (Shock To The System / Dirt Cult)

Racey Roller: LP
First off, it is aesthetically necessary for you to realize that this band’s name is not pronounced “GWEE-da,” nor is it “gee-OO-da,” “GWI-da,” “gee-eye-OO-da,” nor any such thing. The band’s name is pronounced “JOO-da,” and is, apparently, Italian for “Judas” ((which begs the question of whether fans occasionally yell “DYLAN!” their way during periods of moral disgruntlement)). Their bag, if you will, is to strip-mine the velvet tinmine of early-to-mid 70’s glitter rock, which isn’t a half-bad idea, because i’ve always liked bands like Sweet, Slade, Mud and T. Rex ((well, except for “Find Yourself A Rainbow” by Slade, i carved that one off my copy of the “Old, New, Borrowed & Blue” elpee with a steak knife when i bought the album as a cut-out as a fourteen-year-old, several years past its expiration date in 1979)), and my dad would never let me watch SuperSonic on whatever weekend late night it was on, probably because, quite frankly, he thought it was kinda too gay to have on in the house, and households usually only had one teevee back in the 70’s, so what can ya do??)), so, like most other Americans my age or younger, the whole UK glitter thing is a scene which i have, in large part, observed thru the rear view mirror of history ((and someone else’s rear view mirror at that)). And, further, whilst various musical ensembles often STATE that they want to, er, rip these bands off ((in the nicest way)), it is kinda rare that these bands are ripped off effectively or successfully, really. I state emphatically, and with gusto, that Giuda have done a fuckin’ SUPERLATIVE job of ripping these bands off! From the magnificent faux-import packaging ((what, no Jem Records sticker??)) to the spot-on faux Chapman-Chinn ((Phil Wainwright?)) production-isms and the title itself ((name-dropping both late-stage Chapman-Chinn prodigies Racey and the Bay City Rollers, don’tcha know)), this glorious slab captures the outward form of its subject matter as well as anyone’d have a right to expect ((except for the Arial Black on the front cover. Fuck you, Arial Black)), and, as far as i can tell, this kinda music is about as what-you-see-is-what-you-get at it gets, so he who controls the outward form controls the entire situation, IMO. So far so good. Now, where it starts to get slightly weird is here: This album is, indeed, an album ((stop me if this is going too quickly for you)). Amazingly, there really is not a great UK Glitter ((“Junkshop?” ok, if you say so)) Rock album from the 70’s that acts as a template for The Way Things Ought To Be in these cases. There just isn’t. The first album from Sweet – a band whom i consider the gold standard for all else of their ilk – was a bunch of wuss pop songs on which i don’t think they even played most of their instruments, Monkees-style. They then released a string of the fabbest glitter-glam singles known to man – “Little Willy” “Wig-Wam Bam” “Blockbuster” “Hell Raiser” “Ballroom Blitz” “Teenage Rampage” ((stretch a little bit and you can toss the Japanese b-side “Rebel Rouser” in there for good measure)) – and, by the time they released their second album, they were already veering towards a “we’re sick of releasing strings of the fabbest glitter-glam singles known to man” hard rock vector. In other words, NO ALBUM WAS ACTUALLY RECORDED during Sweet’s most vital period, circa 1973. The blueprint for “Racey Roller” was never actually created. We have to go off hunches and approximations. So, looking at my hunch/approximations – T. Rex’s “Electric Warrior,” Slade’s “Slayed?,” Sweet’s first US elpee ((itself a compilation of various singles, like their first UK album, but unlike it in that said singles did not suck)) – i can say with some assurance that the only thing this record lacks is one really, really, really, really, REALLY good song. I mean, they’ve got the “Bang A Gong”-ish cockshaker, they’ve got “Back Home” which, by dint of dink-dink-dink piano, sounds like a glam version of the Boys ((without sounding like the Hollywood Brats)), they’ve even got the title track instrumental which sounds like what would’ve happened if Chapman & Chinn would have gotten their hands on one of those instrumentals from the second Buzzcocks album ((“Walking Distance” i’m thinking)). But the BIG HIT – the crème de la crème de la slam de la glam – is, on obviously highly meticulous inspection, absent. These guys have no “Ballroom Blitz,” no “Gudbuy T’Jane,” no “Tiger Feet.” They try to position “Number 10” – the “Bang A Gong”-ish cockshaker of previous mention – as a legit album-leader-offer song; the song is great and all, but it’s not THAT great ((and what is “you’re a number ten” supposed to MEAN, anyway? Do they mean, like, a PERFECT ten or something? I don’t know about where you come from, but where i come from, a “number ten” means “a full 1/4 pound of fresh sliced medium rare roast beef, provolone, lettuce, tomato, & mayo”)). And wasn’t “Bang A Gong” the leadoff track on side TWO of “Electric Warrior” anyway? Dude, from what little we know about Glittery Junkshop albums, they ALWAYS have a big hit starting out side two! Meanwhile, Guida’s side-two-leader-offer, “Tartan Pants,” is merely ordinary, and sounds, minus the Bay City Rollers reference, like the kind of songs Sweet were trying to write when they weren’t interested in trying to write songs like the songs Giuda are trying to write. In any event, i am currently in the process of growing out my bangs like Dave Hill of Slade in this album’s honor, but i’m holding out on growing the Noddy Holder muttonchops until they DELIVER MY DAMN SOUL next time. BEST SONG: Tough call, but i think i’m in love with the title track. BEST SONG TITLE: “Tartan Pants” FANTASTIC AMAZING TRIVIA FACT: Some of these guys used to be in TAXI, so you know Jim Budds has gotta approve. –norb (Dead Beat)

Mostly in Sickness: LP
Fuck yes. Harkening back to the pained desperation of such Crimethinc stalwarts as The Spectacle and Zegota, The Gift have created something that I haven’t heard for some time. A bleak, tormented record just oozing a fervently DIY attitude. Harrowing female vocals that range from death rock moans to soaring darkwave melodies to blackened-crust howls. Effective, repetitive (in a great way) instrumentation that builds to feverish, furious climaxes and perfectly conveys the emotion set forth in the vocals. This should appeal to both fans of modern crust (ala Appalachian Terror Unit/etc.) as well as ‘90s “emo” hardcore (ala the aforementioned bands, as well as Shotmaker, Drift, Anomie, etc.). An incredible record. Wow. –Dave Williams (Amor Y Lucha)

Dumpster Rules : 7”
Pummeling, twisted hardcore from the scorching soil of Tempe, Arizona. Sometimes noisy, sometimes fast, always demented. I saw them play and the guitarist had about a million effects pedals so I started to get worried, but he actually knows how to use them! And he knows how to use them really well! Pigeon Religion, Avon Ladies, Elders, and now Gay Kiss? Man, the Tempe/Phoenix area is fucked. Get on this shit. –Daryl Gussin (Anxiety Machine, anxietymachine@gmail.com)

Corpse with Levity: EP
Wow.... Listening to the second side right now, and I’m in total awe. The music is morose as it gets. The mood dominates the whole record, but it really starts to get heavy after the second song, “Pigeon,” on the first side. The bass comes to the fore and sets the mood. The music really draws you in. To the point where you don’t want to leave. It goes from brooding to fast and aggressive without pause. Manic, indeed. I really like their LP, but find this is even better. The whole second side is perfection. Gas Chamber are a band that is moving forward musically, and I plan to follow them to where ever they go with it. This sounds like something that would have come out of the Bay Area nearly twenty years ago. Think of Neurosis mixed with early Dead & Gone. Taking this one to my grave. Get your own. –Matt Average (Warm Bath)

Western Problems: LP
Ever feel like crying, smiling, laughing, and yelling along at the same time to a band? That’s what the Future Virgins do to me. It’s sort of beautifully unnerving how many overlapping layers there are in their musical onion. When taken as a whole, as complete, it seems so simple, so natural. When looked at closely or unfurled: they’re employing these closely interlocking veins; this complex fleshy forgiveness. When it’s cut and examined, they emit a sweet, sharp, poetic juiciness. The Future Virgins have that intangible band magic that is as much human DNA, life experience, the alchemy of electrical currents going through musical instruments, long-range, beyond-”progressive” thinking, and the collective thought of a supportive region (Chattanooga). The thirteen-year-old, isolated me would hold this aloft like an amulet, wishing for it to take me to a better place. The thirty-nine-year-old me is glad that it’s currently doing just that, that we’re not just standing around, waiting for the past or for nostalgia to collapse over us like a concrete tidal wave. That there is a future dawning every morning and we’re an integral part of it. The Future Virgins have made some of the best ramshackle-gold DIY punk in the past ten years, bar none. Fuck, man, I’ve still got a lump in my throat at how beautiful this record is. Definitely a top ten of 2011. –todd (Plan-It-X South, planetxsouth@hotmail / Starcleaner, starcleaner.com / futurevirgins@yahoo.com)

MCMXCV Masterbation Sessions: LP
Jesus. The Fuckin’ Boneshakers make The Mummies sound like they studied at Julliard. To call this album lo-fi would be polite; this thing’s a sloppy, trebly mess—there might be a bass in there, but if so, I can’t hear it. If Bradley from Almighty Do Me A Favor filled up a pair of Hasil Adkins’s boots with moonshine and drank ‘em both, decided to play a set one-handed, and someone recorded it with a Strawberry Shortcake tapedeck down the street, it’d sound pretty similar to this. It’s rough, to say the least—not even mentioning the fact that there are apparently three people in this band. To their credit, there’s a certain authenticity to this album as well—there seems to be very little posturing here. The recording’s in the red and bright as hell, and yes, they sound like the Cramps trying to do “Surfing Bird” with their hands glued to their pelvises, but I’ll freely admit they also sound like they’re having a fucking blast. –kurt (Certified PR)

12”: 12”
Long-lost recordings from the unreleased Fratricide/Neuroot split that Pushead originally was going to put out on his Pusmort label back in the mid-’80s. I thought I had heard there were test pressings floating around and a track or two popped up on comps. Schizophrenic Records saves the day and the entire side is rescued so that it doesn’t go into obscurity. I would have eaten this stuff up back in my skateboarding days right out high school. This falls right in the gap between Cryptic Slaughter, No Mercy, Heresy, and Excel that was on heavy rotation at the time. Crossover was the term of the day, which meant speed metal to some or fast punk with metal overtones to others. But it also meant both scenes at each other’s shows. I truly believe if this had been released, they would have the same stature in history as those other bands and be lauded today. What was captured is equally as strong in material and powerful in delivery as others of their time. –don (Schizophrenic)

Towards the End of Cosmic Loneliness : 7”
Indie pop fodder, with cover art that’s markedly more interesting than the songs. –jimmy (Puzzle Pieces)

No Sensation: 12”EP
Eight tracks of poison-tipped ladypunk darts aimed directly at your neck. The music is as tight as a noose and the vocals cut like piano wire. This is the pure shit, one hundred percent uncut punk. Fan of The Bags, Avengers, or, recently, the Neighborhood Brats? Then consider yourself a fan of the Foreign Objects and get this record. –Daryl Gussin (Vinyl Rites)

Self-titled: Cassette
I like the cut of your jib here, fellas. Awesomely frantic hardcore ala old thrashmeisters like DS-13 or Sugar Pie Koko mad-libbed through seminal ‘80s L.A. punk ala the Adolescents. Solid, grouchy punk that’s gleefully malevolent and snarling in all the right spots—the sonic equivalent to throwing a pair of meerkats in a bathroom and closing the door. Five quick tunes, nice packaging, and I bet they can flatten a goddamn room live. I would love to see this band play someday, and I look forward to hearing whatever they decide to release next. Worth seeking out. –keith (Feral Babies, noreprieverecords@gmail.com)

Laugh Now… Laugh Later: CD
Solid return from this recently reactivated band. Danny Thompson is a new recruit on drums and Chad Yaro returns on lead guitar after a long hiatus. The songwriting duties are handled by bassist Scott Shifflet and frontman/guitarist Trever Keith. Eleven songs that slide into this band’s esteemed back catalog with ease. How many bands do you go see live and end up singing along to almost all the songs? I can count them on one hand probably, but I thank these guys for coming back again to help us through these dark days. Now if I could only convince them to cover Mötley Crüe one more time, the world would be a better place. –sean (Antagonist)

“If The Devil Had a Guitar...”: LP
2000 was an interesting time for us kids who got into punk during the great Green Day boom of 1994. By 2000, we were in our early twenties, our high school pop punk bands had broken up and our musical tastes were branching out, but we still had a ton of youthful energy. This lost album, recorded by Long Island’s Explosivo! in 2000, captures that era well. The vocals are hoarsely sung and the music is based on melodic punk, but the riffs and arrangements have a special complexity that recalls the chaotic hardcore of that era. Sure, you could draw lines between Explosivo! and Hot Water Music or Planes Mistaken For Stars, but this record doesn’t sound typical or derivative, even a decade later. Catchy music played with hardcore ferocity, still-true song titles like “Metallica Died with Cliff Burton,” and the kind of cartoony post-zine art that DIY records had back then. Nostalgia trip or not, I present this record as a rebuttal to anyone who finds hardcore tuneless or pop punk toothless. –CT Terry (Dead Broke)

I’m Gonna Be Everything: 7”
Old punk scums from Mississippi from 1978. You may have the original, or you, like me, were exposed to these guys via a KBD comp. Last Laugh has reissued this so you don’t have to shell out your monthly grocery money or rent just to hold a physical copy in your hands. Two songs of the snotty and dirty stuff. The A side is good, but “You Sucker” on the flip is the reason to attain this. Such attitude. The delivery is primo. Great lyrics as well. This is primal classic punk, the kind that hits you like a jolt of caffeine. Comes cranking through the speakers and, suddenly, everything is cool. –Matt Average (Last Laugh, lastlaughrecords.com)

DYS: More Than Fashion:
Live from the Gallery East Reunion: LP/Digital
Sometimes a band from the 1980s reunites not because one of the band members wants cash to send their kid to private school, but because they love the work they did before so much and draw energy and satisfaction from presenting it to new audiences. How many bands also put their first reunion show out on a record right out of the gate? Not many, my friends. The precision, the tightness, and the ferocity are all here on this recording. You can tell that all of the players are totally charged to be playing this material again. This is thirty-three-plus minutes of immortal hardcore that is meant to be played loud. I have a feeling that this is not just a one-off for this band. I was lucky enough to catch them at two shows after this one and new material was being worked into the setlist. Plus I hear that Franz Stahl (of Scream) has just joined DYS to replace departed guitarist Ross Luongo. Expect greatness. –koepenick (Bridge Nine)

Bowling with Jesus: CD
Dunno a thang about this band—the label appears to be Finnish in origin; that doesn’t necessarily mean the band is as well—but they lay down some tasty, anthemic punk here. The gruff vocals initially set off all kinds of alarms, but they actually ended up working just fine, once it was clear this was to be more of a ride down Schleprock Street and not Rancid Road. Catchy, to the point, and memorable in all the best ways –jimmy (Airiston Punk-Levyt, aplevyt@hotmail.com)

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