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Below are some recently posted reviews.

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We Have Nothing to Lose But Boredom: 10”
This record is a definite testament to the awesomeness of The Reaction’s live show. Unfortunately, you wouldn’t know it unless you had seen The Reaction before hearing this disc. Live, they attack you aurally with a loudness that will drown you in their brand of punk-tinged, druggy indie rock. While a few tracks convey Reaction’s radness, too many seem to fall victim to “advantages” of recording. Live, their instruments seem to form like Voltron or a chimera-like beast. Here, they seem too separate and clean. While not a bad record, it is not what I want from a Reaction recording. –Vincent Battilana (Let’s Pretend, letspretendrecords.com / No Breaks, nobreaksrecords.com)

Hat Creek: 7”
Post-punk weirdness in a Sonic Youth sort of way that has its subdued moments and its jammed out ones can be found on the front side. On the back, you get weirdo dub. Both sides are good, but I’m digging the B-side much more; it’s chilled out and subtly odd, great for making coffee to on an uneventful morning. –Vincent Battilana (Katorga Works)

Self-titled: CD
Goddamnit. I never think of myself of a person who has guilty pleasures, but I am. I won’t mention all of them, but I’ll ashamedly admit that I have a spot for Saves The Day’s Through Being Cool and The Desaparecidos’ Read Music, Speak Spanish. The reason that I name those two names is that I think that they are relevant to this review. I hear bits of both of those records in this one. Hell, I even hated this CD the first time I heard it, just like the first time that I heard Saves The Day. At first, it sounded like some poppy emo for that nobody over nineteen years of age would give a second play. Upon a more careful listen, JM have some interesting instrumentation and decent lyrics, showing an honest and heartfelt side. You should think about picking this up and hiding it from your friends. –Vincent Battilana (6131)

“Waiting on the Georgia Line” b/w “Lil’ Cross-Stitch Bitch”: 7”
I have never been one for blues rock. Part of me wishes that I could at least understand the attraction to it or could point to a bad introduction to the genre as my reason for disdaining it. Alas, I was born to hate blues rock. The A-side of this record is bluesy ala Bob Dylan when he got bluesy, with a worrisome and down-and-out feel. The B-side just makes me cringe and fill with hatred when I hear it, as I can’t even relate it to something for which I have some sympathy (like one of Dylan’s shitty periods). –Vincent Battilana (Ming Donkey)

Double Fantasy: Split 7”
Not in recent memory can I think of two bands better fitted to share a slab of vinyl. Stupid Party put out a rather excellent mini LP a couple years back, and BBR put out a fine LP last year. Both were grungy in their own ways: SP had a stoner punk ala Melvins thing going on, while BBR went the noisy and abrasive route. BBR reminded me of SP when I first heard them, and then I found out that they did a tour together. Neither band is a let down on this release—nor offer much of a departure from those efforts—but their LPs, mini or otherwise, are definitely where to start. That said, if you already have those and wonder whether you should get this split, the answer is “yes.” –Vincent Battilana (Mauled By Tigers, no address)

Moved On: CD
Half acoustic guitar, half horn of some sort, all suck. –Vincent Battilana (Paper + Plastick, no address)

Self-titled: 7” EP
Four songs of clean guitar stoner punk pop that are more about being clever, quirky, and writey than being a turbocharged engine of electro-hook virility, yet still sound more like a bunch of guys plunking around in a basement than the exoskeletal armor of some overly precious songwriterly guy who sits around all day four-tracking. I wouldn’t say this is a completely life-affirming necessity like Eric & The Happy Thoughts or Charlie & The Skunks, but “Party at the Batcave” is pretty cool and the other three songs are decent, so it’s a good thing Walgreen’s is right next door. BEST SONG: “Party at the Batcave.” BEST SONG TITLE: “Homicide” if you’re 999. FANTASTIC AMAZING TRIVIA FACT: Whilst “Zoltar” is the brand of animatronic fortune teller machine that transmutes Tom Hanks into a grownup in the movie “Big,” i always associate it with the villain from “Battle of the Planets.” –norb (Sundae)

Self-titled: 7” EP
There are certain masterpieces of din that, on first blush, lead the listener to legitimately question whether there is or isn’t any legitimate underlying attempt at ROWK, as we have come to understand it, beneath the squalling and chaos and the white noise and the what-not ((the first time i heard the second Guitar Wolf album comes immediately to mind))—racket on such a molecular level that it seems to transcend ((or, in some weird way, precede the creation of)) such muso rubbish as structure, notes, melody, or, heck, any type of discernably discrete sonic quanta, really. This might be such a time. Took me at least two spins to realize that they were actually playing songs under all the echo and the bashing and such, and playing them rather rapidly ((as far as i can tell)). Further excavations have led me down the path of suspecting that this might sound like NoMeansNo minus the funk crossed with the first Meat Puppets ep played underneath a sea of semisolid Cramps echo with a little red square badge of the Urinals’ third single while trying to recreate “Land Speed Record” in an empty swimming pool, but, ultimately, i’m not really sure. There are words on the lyric insert and slight fluctuations in the echo that lead me to believe they may be singing them at various points, but, again, i’m not really sure. Unfortunately, none of this record’s alleged four songs have really grabbed me ((yet)), but the band’s spunk must surely be unquestioned. BEST SONG: uHHhhh… BEST SONG TITLE: “NBA Jam.” QUALITY OF 3D EFFECTS: Not bad. –norb (Girls Of Porn)

Space Hate: 12” EP
Seems like a racketocious five-piece or something, with a clean right ear guitar, a fuzzy left ear guitar, a possible bass which might actually just be some leftover drum resonance or a passing balloon, drums, keyboards and/or a theremin, but then ya look on the back cover and it’s just three guys making this Mick Farren-ish extra-terrestrial Benzedrine racket, so they must either be incredibly dexterous or have multi-tasking down to a fine fucking art on their home planet. Flanger on the guitar yet! I thought they banned that the same time they banned the Space Piledriver. Really sounds more like aggressive stoner proto-punk from the mid-to-late-70’s ((maybe if Rock Bottom & The Spys eventually released their own “Sandinista!”?)) than it sounds like anything current, except for little chromatic things in “Unbreakable Song” that would have been disallowed under the rules of that period. I can’t truthfully say that i, for one, completely welcome our new insect overlords, but maybe that is just because they look more like the Bee Gees with smiley faces pasted over their mugs. BEST SONG: “Moving Up At The Speed of Sound” BEST SONG TITLE: “Space Hate” and “Unbreakable Song” are both pretty great. FANTASTIC AMAZING TRIVIA FACT: Mixed at Red Lantern, the most violent of the Lantern Corps! –norb (Tic Tac Totally)

I Was a Teenage Teenager: LP
I was first set hip to Ephrata’s ((Moses Lake’s???)) finest circa 1984, when long-tenured punk scenester and all around bon vivant Pat Smick mailed me a copy of some demo or another ((from which i have been known to fruitlessly request the smash hit “Brain of My Own” to this day)). There wasn’t really much noticeable change in the band’s anthemic, vaguely Anglo, faintly political, Generation X-styled-vocals over a blockier, slightly rock’n’rolly, early-80’s-not-quite-hardcore guitar-based backbone in the fifteen year span between that cassette and the original release of this album, and there hasn’t really been that much change to speak of between 1999 and this reissue, either. We like that, because we like Moral Crux, and we don’t really want them to change much over twenty-seven year periods, and they don’t, which pleases us. So, bearing in mind that any given Moral Crux album probably sounds plus-or-minus 15% as good as any other Moral Crux album —that is to say, all other things being reasonably but not quite equal—a young punk lad or lass, when confronted with reissue wave forty-six of Moral Crux albums one, four, three, eight and twelve, might wonder if, given that this one has got probably the best cover of the bunch, and pretty much the best album title of —oh, i don’t know, EVER— if this particular platter should not be The One Moral Crux Album That One Should Buy, Were One Only To Be Buying One Moral Crux Album. To this, i’d respond “eh, probably not.” Great title ((and relative overall homogeneity of quality of output)) aside, this one always seemed like one of the band’s more slapped-together releases ((as these things go for Moral Crux)): It’s a lot of songs from a lot of different recording sessions spread out across a several year period—with a rare lineup change in the middle—and includes songs released on a number of compilations, a split single, and a cover of “Teenage Kicks” ((which is not at all a bad version; then again, if you’re gonna put “Teenage Kicks” on an album, what comes next? “Blitzkrieg Bop?” “Louie Louie?” “Chopsticks?”)). Basically, half the album is miscellaneous odds and ends, covering the period of the mid-90’s where it seemed like the band was finally out of gas, and following thru to their triumphant half of the Moral Crux/Boris The Sprinkler split, whereby their side’s concise Ramoneyness kicked our side’s ass but good, sparking a sort of neo-Renaissance ((or, at bare minimum, a second wind and/or new leash on life)) and a veritable tizzy of activity and interest, though, again, the band really doesn’t make bad records, and there are a number of standout tracks ((the raucous “Booked On Suspicion,” “Breakdown” from the “Punk USA” comp, and the compact and boffo “Don’t Need You” from the aforementioned split)). So anyway, if you’re only buying one Moral Crux album today, i’d probably direct you to their 1987 debut ((i know, what an original thought, right?)). If, as with Schaefer beer, you’re having more than one, then you might as well pick this one up, too, because god DAMN that is a good album title. BEST SONG: “Don’t Need You”  BEST SONG TITLE: “Single Bullet Homicide”  QUALITY OF 3D EFFECTS: Underwhelming ((although the 3D aspect of things did provide me with the revelation that this album is possibly the band’s “Anthem For A New Tomorrow”)) –norb (Jailhouse!)

Self-titled: CDEP
Milwaukee has, of late, ponied up a fine rivulet of cookie-throated femme-fronted poppity types ((the Sugar Stems, the Flips, i guess Ramma Lamma to a certain extent)), and i don’t know if i’m just remembering things incorrectly or there was some manner of sea change in the band’s aesthetic manifesto, but i seem to recall the Datelines being a bit more Junior Varsity/Kung Fu Monkeys kitschy when i saw ‘em live a while back. This stuff sounds a bit meaner than i recall—like, i half expect them to bust into that Jimmy Reed number about partner-swapping that the Del-Monas ((or somebody)) covered, when i might’ve been initially expecting lyrical content involving a milkshake—but, then again, maybe i didn’t take good notes the first time and my observations are roundly invalid. Either way, things are more “(I’m Not Your) Steppin’ Stone” than “Look Out (Here Comes Tomorrow)” at present, but, with parentheses like that, i should worry? One thing i don’t understand is how all these female songwriters wind up with all these guys whom, apparently, treat ‘em so poorly—since every guy i know thinks that, all else being equal, girls in bands are cooler than girls who aren’t in bands, one would assume there would be no shortage of better-behaved potential suitors for these wronged lasses. I can only conclude they don’t know where to shop, male-wise. Alas. BEST SONG: “Gossip”  BEST SONG TITLE: “No No No” if you’re a Generation X b-side  FANTASTIC AMAZING TRIVIA FACT: Forty percent of these songs begin with the phrase “you’ve got me” –norb (International Dateline)

Meet Redondo Beat: CD
I strongly associate Dionysus Records with producing records by bands that, on the surface, should probably appeal to me on some level, yet always wind up making records so sanitized and dead-sounding that they never actually do. I mean, Redondo Beat, hmm, with a name like that you’d figure they oughtta be a Californian version of the Barracudas ((whom themselves were about as Californian as an English band gets)), which should, by rights, be decent, even though the band is actually from Germany, which should maybe be even better, shouldn’t it? Yet, no matter how many times i listen to this, nothing ever “gets home” ((as we say in football cities where pass protection is a common discussion topic)), and i can’t help but thinking that if these songs were recorded by Del Shannon or the Plimsouls or someone ((or, in the case of “From The Start,” been one of the downtempo numbers on Stiv Bators’ “Disconnected” album)), they woulda come out much better, though i can’t give you any specific reasons why. This label’s offerings are almost invariably devoid of some critical spark of life to elevate them above “OK i guess” status, and, tragically, Redondo Beat uphold the company tradition admirably. BEST SONG: “The Sweetest Sound”  BEST SONG TITLE: “Shoop Shoop”  FANTASTIC AMAZING TRIVIA FACT: “Shoop Shoop” is not to be confused with “The Shoop Shoop Song,” which is a completely different bunch of shooping. –norb (Dionysus)

Dangerous: LP
…well, in MY day, if you bought an album with a guy in a giraffe mask in the bathtub on the cover, and it wasn’t what you expected, it was probably some kinda art-rock like Yes or Genesis or Pink Floyd or something. Turns out that the album is, instead, some kinda raging, super-speed, leather-lunged chore-core to which i cannot cock an honest ear. I give ‘em points for general intellectual nuttiness, but, on the whole, this strikes me as the kinda thing that maybe people who really like NoMeansNo but not necessarily their funkiness would adore. I will allow said individuals to form their own opinion, unencumbered by further commentary on my part. BEST SONG: Pass.  BEST SONG TITLE: “Birth, Sports Illustrated, Death”  FANTASTIC AMAZING TRIVIA FACT: Record spine reads as follows: “Pitelet käsissäsi Hero Dishonestin uusinta erootillsta novelikokoelmaa: Sateen jälkeen keltaista linimenttia ja sinot unohdin eli Sodoman ja Gomorran kinkerit, juustokestit! …Buy cheap drugs at herodishonest.com/cheapdrugs” –norb (If Society)

Self-titled: 12” 45
Frantic garage/street/punk, kinda like if the New Bomb Turks wrote songs that actually had choruses, or if the Radio Reelers got out of the whole shaking racket, and more into decimating. Bad-ass, fast and short, like second-generation Mexican wrestlers. Not quite as flamingly rabid as i remember Los Ass-Draggers as being, but on a similar trajectory. The only parts where my interest wanes are when they slow it down a trifle and bash tambourines like the Mullens or someone, though i love the Mullens. Other detours like the “Got The Time”/”Bad Brain” type breakdown in “Waste Away”—with bongos or something? I think?—work to perfection, and keep the record as a whole from sounding like twelve doses of monochromatic one-note combat. When i listen to this record, i always have this mental picture of a bunch of one-legged pirates stiffy and frantically pogoing in a gigantic popcorn popper while a bunch of colored wooden dodgeballs bang around off the walls to add additional franticness. And, believe you me, THOSE PIRATES ARE DAMN GLAD TO BE THERE. BEST SONG: “Waste Away.” I’m queer for the breakdown. BEST SONG TITLE: “She’s So Easy” FANTASTIC AMAZING TRIVIA FACT: I looked everywhere and can’t find the phrase “Rama Lama Fa Fa Fa” anywhere. Hmm. –norb (Dead Beat)

Cryin’ Blood: 7”
Fuckin’ spring-wound ass-kickin’ pedal-to-the-metal female vocal punk, with just enough concessions to tunefulness to be interesting, like if the Loudmouths really wrote all the songs on the first Donnas record, and the Donnas could really play like Heart Attack, and weren’t the Donnas at all, they were the Action Swingers, but they had one or two people from the Busy Signals in the band because Ned got on everyone’s nerves. I did not get a bad 45 to review this month, which is fucking amazing. I wonder if i played that second Girlschool album on 45 and pitched it down to a normal frequency if it would sound like this. I’m sure many people do. BEST SONG: “Cryin’ Blood”  BEST SONG TITLE: “Under The Bus”  FANTASTIC AMAZING TRIVIA FACT: My copy came in a hand-lettered sleeve, is presumably a test pressing, and is numbered “2/3.” Ain’t i some pumpkins. –norb (Win)

Every Good Boy Does Fine: 7” EP
This looks deceptively more lo-fi/lo-budget/lo-talent than it actually is; the record actually feels more like a contemporary cross between some sort of American indie club rock that never gets punker than the Buzzcocks ((though it does not sound Buzzcocks-like in the least)) and some kinda late 70’s punk/mainstream fence-straddler like Willy DeVille singing some song about how he wants some girl whose first and last names both end in a vowel to come down and meet him on the street corner or something, plus a few showy flourishes like doo-woppy bits and modern dissonance-pop chunks and breakdowns where all the music cuts out except for an unplugged electric guitar in the corner and the vocals suddenly coming out of a little tinny speaker. Took a couple spins but i really warmed up to it. They’ve indeed done fine, i tell you!!! BEST SONG: “Barracuda” BEST SONG TITLE: “Barracuda” if you are Heart or DMZ or someone i guess. FANTASTIC AMAZING TRIVIA FACT: The lyrics include the phrase “The Frozen Tundra” so you should obviously purchase a copy at once. –norb (Hang Up)

Take an Ice Cream Scoop out of My Brain: 7” EP
Each demi-decade or so produces its own Area Of Where-It’s-At-Ness—pop punk, lo-fi, garage punk, whatever—that sort of defines the direction whence that particular mini-era’s Shit Of Interest® is likeliest to come. If there were any quandaries in my mind over where exactly the Immediate Now’s Area Of Where-It’s-At-Ness is at, Charlie and the Skunks have cleared them up nicely: The Immediate Now’s Area of Where-It’s-At-Ness is clearly a sort of low-maintenance hybrid of simp-pop, lo-fi, garage punk, the last half of the 50’s, and the last half of the 60’s ((see also First Base, Eric & The Happy Thoughts, etc.)). At some point in time, someone either has or will give a name to this stuff, and we will all be good to go. “Pay No Attention To Time” could be a Chocolate Watchband cover ((minus the ringer)), maybe, but “Red Hot Cinnamon” could be Buddy Holly headbutting Tommy Roe in Johnny Hench’s basement ((the one with the keggerator)). The last time i was in Indiana i got called a “faggot” because i was wearing pink women’s pants; not sure what these guys get called but i can’t imagine it’s late for dinner. Undeniably swell. BEST SONG: “Red Hot Cinnamon” BEST SONG TITLE: “Ooh La La La La,” because they will see the Faces’ “Ooh La La” and raise them two! FANTASTIC AMAZING TRIVIA FACT: I almost never wear a t-shirt under a button-up shirt any more, but i used to. –norb (Eradicator)

Self-titled: CD
Synonymous with China’s “No Beijing” noise movement, this male and female duo were picked up by Einstürzende Neubauten’s Blixa Bargeld in 2007. Blixa signed them up for Neubauten’s ’08 Europe tour and produced this full-length debut. Part IDM, part experimental noise, White partakes from everyone from Current 93 to Aphex Twin’s ambient stuff, while their manipulation of Chinese dialogue and sound effects goes back to early industrial. This contrast of melody and discord asks, “What is music?” “Space Decay” and “Spring House” are spatial, minimalist bliss in comparison to “Conch Crunch,” which consists of the title being rhythmically repeated over a cacophony of metal on metal and guitar squeaks. “Roswitha Strunk” builds to a crescendo with horror movie screams and fast forward sound effects that progress to a found instrument percussion jam. Another feat in percussion comes in “Train Song” where the rhythm of riding over train tracks is beautifully mimicked. Fans of noise or experimental industrial should check this out. Recommended. –Kristen K (Maybe Mars, maybemars.com)

Self-titled: CDEP
These two new tracks from Seattle’s goth/grindcore trio offer up more hellfire for the damned. First up, “Kill Me,” is angst-encrusted and guitar-driven. The drums are protracted, while the vocals have a screechy quality not unlike Andy Sex Gang. “It Would Not Be Enough” takes it back to early L.A. goth circa 1984 combined with an organ and fuzzy guitars. If you think buckle boots are hot and have a monochromatic wardrobe, this might be for you. –Kristen K (Hipster Death, hipsterdeath.com)

Two of Me: CD
Out of New York, this trio led by frontman, Korb, has switched out the acoustic guitar for electric and has incorporated effects pedals. While “Bell Jar” borrows from Sigur Ros’s soaring guitar notes, the likeness ends there. Korb, who has an impressive voice, uses contrived vocal structures and boring guitar arrangements to populate this eleven track album. This is more like Rufus Wainwright without the piano and poppy tunes. As I’m not a fan of singer-songwriter formulas, your mileage may vary. –Kristen K (Winged Disk, wingeddiskrecords.com)

Wombat Juice: 7”
Here are the latest four tracks on virginal white vinyl from New York’s DLP with programming by Sean Monistat. Building bridges from punk to electro trash, these sleazy dregs of marsupial nectar have been hitting airwaves via WFMU since February. “My Life Hurts” has a straight-forward coked-out power pop melody while “Pink Amnesia,” “Kill Kill Carol Malone,” and “Garden of Eden,” are salty morsels frothing over with testosterone and frenzied guitar hooks. Fun stuff. Can’t wait for more. Recommended. –Kristen K (NMG)

Split: CDEP
Out of Sydney, Australia these two outfits showcase the breadth of their DIY label, Tenzenmen. To further compliment the collaboration of this split, HH and Little A each wrote a song for the other to perform. Kicking things off, Hira Hira blends emo and prog rock, creating a mixture of Mars Volta, At The Drive In, and HawthorneHeights. Solid, ear-catching guitar work and vocals throughout in contrast to Little A’s minimalistic, electronic repertoire. Better known as Amy Wilson, Little A, falls into the vein of Björk’s Medulla, suggesting isolative contemplation with down tempo beats and glitchy vocals. If the aforementioned are your flavor, pick this up. –Kristen K (Tenzenmen, tenzenmen@tenzenmen.com)

Live at Generation Records: 7”
The new super group fronted by Keith Morris (from Black Flag, Circle Jerks), with a few live songs from an in-store set in Manhattan. It’s exactly the same kind of ‘80s L.A.-style hardcore that you would expect (though a little tighter today than back then), and while it’s easy to complain, “These dudes are too old for this,” would you rather listen to them play some slow, boring indie rock in an attempt to prove how they’ve “matured”? Or keep on with the same kind of stuff they’ve been doing all along? –joe (Vice)

“Moves” b/w “Drug Deals of the Heart”: 7”
A single from symphonic indie rock band’s latest album, plus an unreleased b-side. There’s a little bit of a gimmick here, since it’s based off a prop from the a-side’s music video (which, if you’re a comedy nerd, is worth checking out since it’s packed with cameos of SNL, Daily Show folk, other stand ups, and more). That may lean toward the gimmicky side, but the b-side is pretty good, plus it comes with downloads for the songs and the video. Neat! –joe (Matador)

All Eternals Deck: LP
I’ve decided The Mountain Goats are a great band to listen to when you’re struggling between getting older but still feeling like a kid. Musically, they (or, just John Darnielle) are fairly mature, yet they often reflect the problems of young dudes plagued with problems. While I want to call it folk rock, that does it a disservice. This one is a bit more dynamic and nuanced than some of their (again, or John’s) older material, which helps keep it feeling really fresh. People like stuff like Defiance: Ohio, and that Plan-It-X stuff, right? Then you’ll like this. –joe (Merge)

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