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Below are some recently posted reviews.

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Self-titled: CDEP
I’m an L.A. punker through and through, one who started sniffing around the scene when the whole beach punk/OC thang (we’re talkin’ China White, Adolescents, and Social Task, not Blink 182, Goldfinger, and No Doubt) was gathering a good head o’ steam, so stuff like this hits me where I live. Prime-grade thud punk here, with loud guitars ringin’, some great singin’, hooks aplenty, and a beat that goes STOMP STOMP STOMP in all the right ways. They keep things short ‘n’ sweet with only five tunes presented here, all of which bear the stamp of that early Southern California sound without sounding like a tribute or museum piece. Do the kids still scrawl their favorite bands on the backs of their shirts ‘n’ jackets these days? These brats are definitely worthy of such an honor. –jimmy (Modern Action)

Self-titled: CD
Ex-member of the Orphans transplants to the Bay Area and starts a band that’s pretty damn good. Think of the Avengers mixed with early Legal Weapon. Charged-up early California punk style that has enough edge and attitude not to sound like a nostalgia act. Five songs that rage without any moment spared for downtime. I find the song “Lurking the Loin” near and dear. I used to live there and remember well the businessmen and out-of-towners lurking the streets for prostitutes. “Fast & Loose” has a riff similar to “Ghost Rider,” by the way. I expect there is more coming from these guys soon? –Matt Average (Modern Action, vom.com/radio77/mar.htm)

Self-titled: CD
I’m sorry, words just can’t describe how incredible Neighborhood Brats are. Seriously, just go get this now! It’s on Modern Action records, which, as I’ve said before, seems pretty much infallible at this point. This disc went into my car where it plays over and over and over again. My only complaint is that five songs aren’t enough. Where’s the LP? –ty (Modern Action)

Here, Under Protest: CD
It’s been a long time since I listened to the Swiggin’ Utters. But it’s a nice change from what I have been listening to lately. They are one of those bands that I need multiple listens before I start to appreciate the songs. This is the case again. I have had this on repeat for most of the day. It’s growing on me. First track, “Brand New Lung,” reminded me of modern day Bad Religion. In fact, the whole album gives me a Bad Religion, Social Distortion-meets-Squeeze feeling. Another thing I noticed is that they seem to be a lot mellower. They’re focusing more on melodies with a cowpunk under current, focusing on the mid-tempo. But they do come through with a charging attack with the song “(You’ve Got To) Give It All to the Man.” The song shakes things up with punk rock fury. As with all Fat releases, the production is top notch.
–don (Fat)

Japanese Void: 7"
Holy thrash from hell. Here we have six tracks of totally raging hardcore that all break the speed barrier without resorting to blast beats or gimmicky sub-genre nonsense. The songs are great in a totally timeless way, as these tracks have the analog feel of ‘80s production, with the speed and intensity of the late ‘90s. If this thing didn’t have the year on it and I had to guess when it was recorded, I wouldn’t even know where to start. Lyrically, this record is great in a classic, snotty, sarcastic way. “Therapy Nightmare” includes the line, “Who bonds with these assholes?” Who needs poetry when you can say it out loud? Highly recommended listening.
–Ian Wise (Cowabunga)

Never Settle: LP
Wow. Twelve songs of the college town blues played with a punk heart and the ramshackle catchiness of ‘90s indie. I’m having a hard time knowing where to start, since so many things are striking me about this record. Sundials are based in Richmond, Virginia, a dangerous little city with a thriving arts scene based around a rapacious college. Richmond is one of those places where you can pay your rent by working three days a week in a restaurant and take your band on a sweet weekend tour in any direction except east. Sundials sing about the drawbacks of this charmed life: “I traded learning for a coffee shop, and I’m losing money in the long run. Can’t advance too far once the curve is done.” All three members write songs, and all have a knack for capturing a feeling without being verbose, dumbing it down, or not seeing beyond the beers in front of them. Other topics include gentrification, lost love, southern ennui, Native American plight, and —why the hell not—The Great Gatsby. Their sound mixes punk and indie in a way that has paid off for early ‘90s bands like Archers Of Loaf, the first couple albums by Alkaline Trio, Against Me!’s more intimate material, and the gruff underdog pop punk favored by Tip-Top Todd Taylor et Le Razorcaque Readershippe. I’ve been gone from Richmond for the better part of a decade, but some things never change, like the confederate monuments and the fact that the city still spawns awesome bands. Like I said, the college town blues.
–CT Terry (Toxic Pop)

Precious Moments: CD
Two main vocalists: one Fred Schneider-ish and one Larry Damore-ish. So, somewhere between an all-male B-52’s who cut their teeth on the Descendents and a tongue-in-cheek Pegboy. Depending on your knowledge of the bands mentioned, that’s a pretty fragile ecosystem. Lean too much one way, it’s too much of a dismissible joke. Go the other, it’s like the song will ask you to pick up a shovel and start digging and toiling along (instead of enjoying) the record. Thankfully, STOD! are trapeze artists of sorts (and look great in gold lamé short shorts). Precious Moments contains some of my favorite songs by them. They’ve also addressed a previous complaint: this recording sounds much more alive than previous efforts (and looks great draped in strings of portable, all-weather lights). Good stuff.
–todd (Mustardpack)

Devil Inside: LP
Hell f’n yes! A much-needed shot of adrenalin right here! The Steaknives, from Italy, are back with their debut LP that is nothing short of killer. Mix up early L.A. punk like the Bags with early hardcore and you get these guys. The songs have urgency, are delivered with convincing attitude, and the playing is as raw as it is razor sharp. They never really jump into super speedy assaults (“Big Money” is about as fast as they get and it still packs a wallop!), which allows them to retain the power and the punch of the music with mid tempos, and time changes to bring everything down to a knuckle-dragging lurch that reminds me of early ‘80s OC hardcore. All the songs are great. Not one clunker in the mix. The title track has a nice dose of urgency that shifts between fast to mid tempo without missing a beat. The vocal delivery kind of reminds me of Frank Discussion. Whoa! Decent cover of Bad Brains’ “Big Takeover”. However, I would prefer to hear another original song from these guys. Great record. Hunt this fucker down. I’m on the search for their debut EP from a couple years back.
–Matt Average (White Zoo, whitezoorecords.com)

Self-titled: 7" EP
Female-fronted pinhead punk that’s greatest strength is its cerebral-ality, ultimately manifesting itself to the lazy reviewer as a cross between Head and the Welders. Songs about drinking Schlitz® and getting your hair cut like Dee Dee Ramone, served up in a style that is not critically handicapped by undue musicianship. Messed me up so gloriously I went out and got my hair cut like a can of Schlitz® and drank a 24 oz. can of Dee Dee Ramone. Word. BEST SONG: “Tall Boys” BEST SONG TITLE: “Gimme A Dee Dee” FANTASTIC AMAZING TRIVIA FACT: I refuse to deem any sub-24-ounce can of Schlitz® a “Tall Boy,” as, in the 70’s, the original Schlitz® “Tall Boy” cans were, indeed, 24 ounces.
–Adrian Salas (Sore Subjects)

Incest & Pestilence: CD
This is a hard place for any band to be. 2000’s Fuhrers of the New Wave stands as one of the best punk records in the past ten or so years. It stands—as an album—as one of the definitive monoliths and testaments to the best of California punk rock. No gaps. No hesitations. It’s a conceptual whole, a united front, and an achievement. If all goes well for a band, with age comes depth. Smogtown’s at their best in their exploration behind the cinderblock walls, the gated communities, the sale and the harmful fiction of Orange County “paradise,” the cul-de-sac of suburbia’s “culture” that’s sold as a type of “freedom.” In reality, it’s where teenage animals are made and caged and where they often attack. Songs like “Subdivision Endproduct” are perfect examples of Smogtown continuing to X-ray and debunk these sacredly-held real estate and high capitalism illusions. In Incest and Pestilence, Smogtown branches out in several directions. In “Waste of Breath,” it’s sunny, pop-pleasure tackling organized religion. “Hear Nothing See Nothing Say Nothing” nods to Saccharine Trust-style horn skronking. In “Let’s String up the New Marketeers,” Smogtown addresses the world outside of their geography: “You can wear their shoes and steal their blues / let them clean up the waste.” But not all of the risks paid off for me. What follows isn’t a “You should never change; Bad Religion yourselves forever.” They aren’t even flat-out disappointments, but elements that are preventing me from unequivocal praise of the record as a whole and the ridiculously high and unfair bar I’ve set for the band. 1.) The song “Fuck My Chick in a Skate Ditch.” You can do better. 2.) The way-too-long sound clip about guns. (Sorta interesting the first listen; annoying every other time.) 3.) The last song on side two ends sounding almost like practice outtakes, then goes into an acoustic jam. The album ends with a whimper, not a cage breaking. Leave the acoustic jams for the compilation tracks. Uneven, yet still very worth picking up.
–todd (Modern Action)

Incest & Pestilence: CD
After more than a decade of constantly playing their assorted releases, I think I’m well versed enough with their oeuvre to say with some authority that, by my reckoning, there are two Smogtowns: Compilation Smogtown and Album Smogtown. Album Smogtown (which, for the purposes of this discussion, includes Singles and EP Smogtown ‘cause otherwise we’re just chopping things down into tiny little bits and lose the whole point of discussion), is responsible for some of the best punk/hardcore/whatever to come out of OC over the past decade, doozies of releases like Beach City Butchers, Fuhrers of the New Wave, Domesticviolenceland, and the legendary Smog on 45 EP. Utterly faboo stuff for the listener, but one helluva line of nine-hundred-pound gorillas for Compilation Smogtown to get over, and let’s be honest, if we were talking about damn near any other band, the B-list songs these cats hand off for their compilations would be grade-A contributions. When stacked up against “Bad Vibrations” or “I’m a Jerk,” however, a tune like “I Wanna Fuck My Chick in the Skate Ditch” just doesn’t have a hope in hell. Both Smogtowns make their presences known on the album under discussion and they make for an album that, given the monsters it has to live up against, is uneven by comparison. A number of factors no doubt come into play—this is their first full-length in a good long while, lineup changes resulting in only half the original lineup being involved all the way through, and the fact that it was recorded by their own admission “over a long period of time”—that likely mucked up the process of coming up with enough tunes to satisfy both Smogtowns, so a melding of the two became a necessity here. What all this blathering boils down to is this: While this is by no means a shitty album, the boys have, to their detriment, set the bar pretty goddamned high for themselves. Some truly kickass moments are in abundance here, like “Subdivision End Product,” “If We All Have Guns We Can Melt All the Love,” and the “stray way the fuck off the beaten path” brilliance of “Hear Nothing See Nothing Say Nothing,” to name just a few. Peppered here and there, however, are songs that are clearly B-listers, and as a result, this falls just shy of their own standard, making it “good” instead of “mind bogglingly great.” Could I recommend this release? C’mon, dude, this is Smogtown we’re talking about. My adoration remains unchallenged and I have yet to run into a release of theirs that ain’t working miles ahead of their peers, this one included. I just wish they’d left the comp tracks where they belonged and had been content with unleashing another doozy of an LP (albeit it a shorter one) on the unsuspecting public, ‘cause there’s one definitely in evidence here.
–jimmy (Modern Action)

Fell & Found: CD/LP
I knew that The Casket Lottery had a connection to Small Brown Bike (they did a split together) but having never listened to SBB before this release, I didn’t realize how much the two bands sound alike. Thankfully, for someone such as myself, that’s quite all right, as I also really enjoy The Casket Lottery. Without knowing their back catalog or history (except that they’re from Michigan) I can only judge the band on this album. This is their first full-length album since they broke up in 2004. Recorded and produced by J. Robbins, Fell & Found’s eleven songs clock in at around forty minutes. Thanks to Robbins’ contribution, the recording sounds great. The band has three vocalists, all of which contribute fairly and complement one another. While not quite as broad of a contrast, there are similarities between the vocalists from Dillinger Four. Of the three, one is cleaner sounding while another is a little more scratchy and deeper. It serves as a nice distinction. Musically, the sound is very reminiscent of the indie rock stylings of… ah, fuck it. These guys sound just like The Casket Lottery and I love it. This album has the quality you’ve come to expect from No Idea’s releases, the fine production work of J. Robbins, and the sound of a band with nothing to lose and no care as to what anyone else thinks. Songs like “On Repeat” had me after the first listen: great lyrics, driving music, and an emotional sound that isn’t stagnant or sappy. And the whole album is like that. It’s as if the band took my favorite indie rock/post-punk stylings from my college years (late ‘90s and early ‘00s) and made an album meant to take me back there. And that’s okay by me. Thanks, Small Brown Bike!
–kurt (No Idea)

Pretend to Be Nice: 7" EP
This band is about twelve-trillion times better than name and packing would imply. It’s like half girlie indie-pop, half “Psychocandy” Scot-pop fuzz, half Cramps-like drum pounding, and a third strawberry-oat porridge. Anyone who complains that the math on that adds up to something like 167 percent should just bust out their wallet and count their fucking blessings. SLUTEVER delivers VALUE!!! Value!! value! BEST SONG: “No Offense” BEST SONG TITLE: “So Prone” FANTASTIC AMAZING TRIVIA FACT: “Antoinette Westphal College of Media Arts and Design”
–norb (Bantic Media, banticmedia.com)

Look Busy, Do Nothing: 7"
Four burly punk tracks with a tough garage edge. I’m sure it’s not what they’re going for, but they honestly remind me of French oi from the ‘90s, but with that total Deranged/Grave Mistake Records vibe (fans of 86 Mentality will go nuts for this). The vocals are so slurred that they’re a little hard to follow, which is a shame because the lyrics are above par for a band of this variety. But I guess when you’re making a racket it doesn’t really matter if you can pick out every syllable.
–Ian Wise (Cowabunga)

Self-titled: Cassette
Slam Dunk sort of sounds like what I would imagine Eyehategod would sound like if they wrote minute and a half long songs, but a little faster and a little less riffy. At times I hear a bit of later Caustic Christ (when they got a little weirder and a little slower) influence. Comes with a download card. Cool shit!
–Chris Mason (Let’s Pretend, letspretendrecords.com)

Vanishing Point: EP flexi
I like noise/experimental music. Always have, always will. The reasons vary. Mainly, because it goes far beyond all the hardcore bands saying shit like “destroy all music.” Well, noise bands—or individuals—certainly destroy all preconceptions of music. I always want to hear something new, something that widens my view of the world and broadens my horizons. Noise and experimental music is the perfect vehicle for getting there. And, often times, I like noise because it can slow down my mind when thoughts are racing faster than I can comprehend. There’s nothing like a few minutes of blasting white noise and ungodly distortion to get me grounded. Like today, feeling overwhelmed, slightly burnt out, and just not “in the mood,” I put on this Sissy Spacek flexi. Short loud blasts of drums, noise, and someone in the background with a raspy scream. Played it over and over for a while. I feel better now. Thanks.
–Matt Average (To Live A Lie, tolivealie.com)

Split: 7"
Shinobu has always confused me. I’ve seen them play multiple times, I own many of their records, and they still manage to defy any kind of rock-solid description. It’d be a disservice to simply call them “indie rock” and be done with it—they’re too smart, too literate, and at times, way too catchy. And to call them a pop band wouldn’t work either—their stuff can be downright challenging sometimes, bordering on dissonant as hell. The two songs here—one a dense, brooding number and one a stumbling, charmingly awkward ode to getting fucked up—aren’t their best work, but they’re still good and manage to add yet another facet to the indefinable quality of the band. The Albert Square, on the other hand, almost sounds like a power pop band, similar to Role Models or a streamlined, bare-bones Tranzmitors if they were a three piece. Their two songs are great, brimming with confidence and, like Shinobu, showcasing a vocabulary that rivals Greg Graffin. Having never heard of ‘em before, they came as a hell of a pleasant surprise. Damn nice split, you guys.
–keith (Phat N Phunky)

Skate Assassin: 7” Flexi
Calgary’s now-legendary skate rockers return with their final release. A little bit of full disclosure is necessary here. These guys are friends of mine and our bands have toured together. That said, I would also never stretch the truth in reviewing some skate rock, so here it is. Heaviness abounds. Izzo and the boys deliver another couple songs with the power of mainlining an energy drink. Great to get the blood pumping before raiding a construction site for lumber to build a ramp. My complaint: A flexi-disc? Really? It sounds great and all, but it just feels... weird. A release with such an amazing cover painting deserves a proper vinyl release.
–ty (Handsome Dan)

1971: LP
Finally a full length. Been waitin’ for this forever… and I don’t know how I feel. I have a rule about saying I’m disappointed about a record, book, movie, whatever. I try to have low expectations of everything I buy and if it turns out to be awesome, I’m that much more pleased with my purchase. Plus, I’ve always thought critics claiming they’re disappointed about something they’ve barely gotten to know sounds douchey. I sound douchey enough as it is! Anyway, I was expecting more upbeat rockers like on Natural Child’s two preceding 7”s, but most of the songs are slow ‘70s-ish jams, more in the vein of “White Man’s Burden” from the second 7”. There is plenty of good, though. 1971 keeps the gang sing-a-long vibe, it’s recorded loud as fuck, and the bass is very prominent, almost to the point that I thought my speakers were crapping out. I hope my speakers aren’t crapping out… I built my stereo cabinet to the exact dimensions of them! The sound is kinda Southern rock-ish, some Sabbath riffs, and some Stones (Let It Bleed, but not because of the name). Sleazy in the rock’n’roll as a metaphor for sex way (“It’s Natural”). Natural Child want to keep the good times rolling. A soundtrack for the existential crisis that is everyone’s twenties? I don’t know if I’d call it stoner rock. There are a bunch of pot smoking references, but I don’t know if it’s part of their shtick or what. A quick search of the internet shows several pictures of the band members with some MJ. Yes, they do like to smoke pot. Natural Child is probably best witnessed wasted at a house party. The band and the crowd, that is. –Sal Lucci (Infinity Cat, infinitycat.com)

Regreso A Balbilonia: Cassette
Tapes are a really good format for bands like this, which play unpretentious, loud punk rock. They have more of a live sound, so the band’s energy comes across through the recording. Somehow, I don’t think that I would like a mixed and mastered version of this album as much because a more polished output would lose the fun, rowdy feel that these songs have, and probably draw attention to some of the less-ideal aspects of the band that are practically unnoticeable with such bad recording quality. –Lauren Trout (T-K, lcodrnr@hotmail.com)

This Machine: EP
I wonder whether this band got its name from the John Steinbeck novel or the Explosions In The Sky song? Interesting. The packaging for this EP is pretty cool; red paperboard with a three-color screen-print of people dancing in front of machine gears. The Moon Is Down plays some lo-fi punk rock; a la This Is My Fist. They have the right drum beats and guitar rhythm to fit into the folk punk genre (there’s even a harmonica solo in one song.) Sadly, there is one thing I couldn’t get past and it is that throughout the album, the singer sounds exactly like the vocals of Dead Milkmen singer Joe Jack Talcum in the song “Stuart.” And that’s a pretty ridiculous, memorable voice. Honestly, every time I listened to a song off this EP I would tune out and start thinking about burrow owls and gay Martians and, “POW! He was decapitated!” Sorry if that sounds like I’m just looking for a way to make fun of the band, but it’s the truth! –Lauren Trout (The Automaton Records Media Conglomerate, myspace.com/thearmc)

This Machine: CDEP
Admitting his theft of The Mountain Goats’ catalog and others, Glenn Maloney defines himself from the lo-fi folkers by using lightning drum cracks and harmonica. TMID is John Darnielle with a face-eating beard and harmonica. This latest seven track EP from this one man band and supporting musicians is more scratchy vocals and folk punk high jinks, like a sound byte of children pleading, “I really need to urinate” tacked onto the end of a song. It’s pretty clear Glenn Maloney has a lot of fun creating music and is a talented guy, however aside from “R2-D2,” most of these songs are homogenous and aren’t distinct enough to stand on their own. –Kristen K (Automaton Records Media Conglomerate, myspace.com/thearmc)

A Short Collection of Short Songs: 7”
Kind of late ‘90s/early ‘00s darling indie rock-inspired pop punk. Makes me think of bands like Weezer and The Get Up Kids, or whatever used to be on Drive Thru records (in that it’s fairly slick and polished) whenever that was actually a thing. There are also dueling male/female vocals which I always enjoy, plus this record is six songs on a 7”, which also means they’re honest. –joe (Animal Style)

Midnight Sky: CD
Technical, super-tight, thrashy, melodic old-school hardcore. Reminds me of somewhat recent acts like Verse or Miles Away, but with a bit of the Set Your Goals or Four Year Strong pop-hardcore thing thrown in the mix. These dudes can really play, and if this gets good exposure, I think a ton of kids will probably flip their lids. Not really my thing, but well done. –Dave Williams (Pee)

School Yard: 7” single
Very poppy dance music here. I wouldn’t be surprised if I heard this in a club. It has mass appeal. I like synth music quite a bit, but this is too fluffy for me. The flipside, “Graveyard,” is a droner that eventually deteriorates into a noisy mess. Nothing worth a second listen. –Matt Average (Katorga Works, katorgaworks@gmail.com)

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