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Record Reviews

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Below are some recently posted reviews.

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DAG NASTY:
Dag with Shawn: LP
These nine songs were recorded before Dag Nasty’s 1986 record Can I Say? with the band’s original singer Shawn Brown at the helm. After the band went through a lineup change, these tracks were shelved and have appeared only as a bootleg. Although all nine songs appear on Can I Say, these versions are rougher with more defined back ups. Brown’s vocals bring gruffness to the band’s signature melodic sound that is unprecedented in their discography. I’m a fan of the band’s first two albums, but I don’t go too far with melodic hardcore, and I wasn’t sure this was going to be essential, but I’m glad I took the plunge. –Billups Allen (Dischord)


CUSTODY BATTLE:
Self-titled: 10"
There’s an interesting dichotomy at work here—Custody Battle is couched somewhere firmly between the snarling, poppy, sweat-stained T-shirts and duct-tape everywhere approach of Shang-A-Lang and Future Virgins, but with flourishes and occasional structures and melodies that’s much more suited to stuff like Savant or even Here Comes A Big Black Cloud. Meaning these songs are lo-fi and fuzzed-out but scattered among some slow, dirty, droning, crazy shit. It works, but there’s a grace period involved; it took me a few spins to get locked into. The outside of the record’s pretty uninspired, but there’re some nice interlocking moments between the dissonant and jamming here. Not a jawdropper, but not bad. –keith (no address)


CRUMBS, THE:
Gator Kicks: LP
The nice thing about repetitive choruses is that you’re pretty much guaranteed to sing along by the end. That’s what this record was made for. They won’t win any points for originality here, but I’ll award them plenty for having fun, and also a pretty sweet cover of The Who. It won’t change your life, but it will probably change your mood, which means it’s definitely worth a repeat listen or two. Grab a beer and dance; The Crumbs want you to have a good time. I want you to have a good time! Put on this record. Also, thumbs up on the candy green vinyl. I wanted to eat it. –Candice Tobin (Livid, lividrecords.com)


CROSSTOPS:
The Ego That Ate the World: CD
The closest I’ve ever come to liking dirty southern punk is Zeke, but as a general rule, if any GG Allin influence is apparent, I’m almost immediately turned off. So what do I think of the Crosstops? Well, I’m not a fan, but let’s disregard that for moment. Do they deliver their promise of comedy? It’s definitely along the lines of older comedy punk bands like Dayglo Abortions or Fearless Iranians From Hell, in so much that it would definitely offend somebody’s grandma, specifically because they have a song about a grandma giving head to her grandson. –Bryan Static (Rockstar)


COUNTDOWN TO ARMAGEDDON:
Eater of Worlds: LP
I thought the Turn into Shadows tape they released earlier was pretty good. But this album surpasses all they’ve done prior. The songs have a darker and more ominous tone and a stronger dynamic structure. The title track is a great example of this. The drums roll through with an avalanche in slow motion style, while the guitar rings out like a siren, and then there are some really cool accents from the bass. The cold and bleak feel of their music really comes through here. Plus, the recording is much more solid. Everything has more “oomph” to it. The opener, “Hymnal 238,” is fuckin’ epic! “The Scourge” is an absolute ripper! Fast and tight execution. I like how clean the drummer pulls off the rolls and makes use of the kit. Then they transition from that song into “Turn into Shadows,” and it’s pure godhead! They also re-record the excellent “Like Animals” (which also appeared on the Turn into Shadows tape). The closer, “Construiremos De Nuevo,” is perfect and wraps up the record with an even more ominous feel. Seriously, some of the best d-beat crust I’ve heard in a long time. –Matt Average (Aborted Society, abortedsociety.com)


COUGS, THE:
Self-titled: Cassette
The Cougs play really lo-fi rock’n’roll. It seems like there might be some decent songs on here, but they’re hard to decipher through the poor recording and cruddy cassette tape sound. Not an incredibly memorable release. –Ryan Horky (People’s Republic Of Rock And Roll, thepeoplesrepublicofrockandroll.com)


CORPSE, THE:
Fight against the Rules: CD
From what I can tell, this is a CD reissue of a tape-only release by this pissed-off Polish hardcore band that existed from 1985-1989, though a lot of the information in the liner notes is in Polish (the lyrics and an interview conducted in 2007 are thankfully translated into English), so don’t quote me on that. This isn’t normally my thing, but this band is definitely as good as, if not better than, a lot of the western crossover bands that existed at the time. Plus it’s always amazing to me that bands like this existed in the Soviet bloc. A really neat piece of history! –Chris Mason –Guest Contributor (Refuse, refuserecords.nfis.aplus.pl)


CONTRAST ATTITUDE / SEE YOU IN HELL:
Split: EP
Contrast Attitude gives us two blazing, noisy, blown-out d-beat-thrash songs, “Mind of Devil” and “No Line.” Distortion permeates everything, creating a white hiss similar to bands like Gloom and Disclose. My favorite song is “No Line.” Starts off with a scratchy guitar, explodes into a rager with a quick pause, then bridge, then back to the chaos. See You In Hell, once again, are the band to really pick this up for. They definitely have a classic Japanese hardcore punk influence, but they do it well and put their own angle on it. “Anonym” is a semi-speedy number, with lyrical matter either inspired by a horror film or about blackmail. Either way, it’s interesting. “Celisti” has more of a Scandinavian influence; raging music, but catchy at the same time. Awesome stuff, once again! –Matt Average (Insane Society, insanesociety.net)


COMPLAINTS:
Secrets: EP
I would say they pretty much pick up where they left off on their Wanna Be Bored EP. But there’s just a little more fire going on with these new songs. Stylistically, they’re the same, and they recorded with the same person at the same studio as last time, but these four songs have a little more punch and urgency to drop jaws and bug out the eyes in surprise of those who have listened to the first record. Speedy punk rock with some catchy choruses. The two songs on the B-side, “Sound of Truth” and “Born Bored” slow things down a tad, but lose no momentum in the process. You gotta breathe at some point. I can’t decide if “Secrets” or “Bail Me Out” is my favorite on here. It’s not like I’ll listen to one over the other. Fuck it, put this on, and let it rip! –Matt Average (Meaty Beaty / No Front Teeth, longshotmusic.com/mbr)


COME AND TAKE IT:
Forget It?: 7"
Swaying between somber and rage Come And Take It offer four tracks of unbiased frustration directed both inward and outward. While I can easily see them getting grouped in with other sad-sack pop punk bands, you get a good mix of blood-boiling aggression (Born Against cover anybody?) and down-to-earth humor (a slice o’ pizza is actually a pretty fucking great idea for a band logo). If you’re into scrappy, brooding Pegboy-influenced DIY pop punk, check them out. –Daryl Gussin (Twistworthy)


COME AND TAKE IT:
Forget It?: 7"
It’s pretty hard to avoid Hüsker Dü comparison with this record and, with complete honestly, you shouldn’t. This band, much like the Dü, is a power trio with two singers playing alternative rock-inspired punk, but they sound like Hüsker Dü the same way that The Ergs! sound like Descendents. This is one of those situations where the influence is very obvious, but the boys in the band are good enough songwriters to pull it off. I am so into this record, you guys. I really wish it were a full-length, but you can’t win ‘em all. –Bryan Static (Twistworthy, twistworthy.com)


COLA FREAKS:
Self-titled: CD
Cola Freaks have yet to let me down, and I figured this would be good, but this goes way beyond any expectations I had. They’ve fleshed out their minimal punk sound with a keyboard, more low end, a darker side (maybe some goth influences?), and thrust in the songs. The opener, “Uppers & Downers,” hits the listener right between the eyes from the first note, then they take you on through the remaining ten tracks varying the tempos, messing with textures, and they keep the energy at a constant boil. They slow things down a bit with “Kniven,” “Slå Ihjel,” “Eder Ord,” but then they pick up the pace with total rippers like “Hva Dü På?” and “Skibet Synker.” In the past, it would have been easy to make comparisons to older bands from the ‘70s and early ‘80s, and while Cola Freaks still have that sound, this album shows they’re expanding and making a style that’s all their own. Awesome album the whole way, and a high point in an already flawless catalog. –Matt Average (Hjernespind, hjernespind.com)


COKE BUST:
Lines in the Sand: CD
Playing hardcore punk is kinda like playing the blues, in that it’s deceptively simple. Sure, anyone with a rudimentary grasp of how to play an instrument and the mechanics of the genre can string together enough chords and conventions to crank out a tune, but it’s a helluva lot tougher than it looks to do it well, and it’s a friggin’ hat trick of another sort to put together enough consistently solid tunes to make a good 7” EP, let alone a full-length. Coke Bust turns in seventeen tracks of ADD-length bursts here, the bulk of which vacillates between warp factor nine thrash and full-bore grind, with little of the metal trappings that often accompany similar bands’ music. While it does begin to become a bit of a blur after a while, especially with the inclusion here of a number of additional tracks from assorted comps and EPs, they manage to pull off said hat trick, and the infusion of what sounds like righteous anger and their willingness to push a little at the conventions of a number of genre’s sub-pigeonholes keeps them ahead of the pack. If you’re a fan of the granddaddies in this field—DRI, Deep Wound, Siege, et. al.—you’re gonna find loads to get excited over. –jimmy (sixweeksrecords.com)


CLOSET FAIRIES:
“Popular Science” b/w “Painted in a Corner”: 7”
So this is the last Closet Fairies release, eh? While they’ve always been a band I liked (especially their split with Party Garbage), they always kinda seemed like a band in transition. And while Razorcake has flubbed up their band name in the past, let’s set the story straight here. Closet Fairies play flawless Toys That Kill/Marked Men worship. Garagey, poppy, punk that’s always well put together. Who can’t get behind a line like “Don’t let them paint you into a corner of another rich man’s dream!”? –Daryl Gussin (Shock To The System)


CLOSET FAIRIES:
“Popular Science” b/w “Painted in a Corner”: 7”
I’m imagining a movie from the ‘80s that’s set in the ‘50s, and this is the band at the prom that storms the stage with a new form of music—rock’n’roll—and everyone rips their shirts off and loses their shit. Teachers, janitors, virgins, the mascot, cheerleaders, and the awkwards all learn to not give a fuck and loosen the shackles of conformity. To DIY punks, my Ouija planchette hovers around Space Cookie, Scared Of Chaka, Dick Army, and The Sneaky Pinks. Catchy, low-ish—not turd-ish—fi, party songs that ain’t afraid to cunningly slip some class war on the B-side into the lyrics. –todd (Shock To The System)


COCKSPARRER:
The Essentials: Box Set
You know, kids, there’s fandom, there’s overkill, and then there’s, “Holy shit, I have no idea what the hell these folks were thinkin’, but I think I just peed myself with excitement.” This, my spiky-coiffed friends, is the utter bee’s knees, thee ultimate wet dream for anyone who has more than a passing fancy for punk rock legends Cocksparrer. What you get for your listening pleasure are the Shock Troops LP, the Running Riot 84 LP, the Guilty as Charged LP, the Two Monkeys LP, the Here We Stand LP, the True Grit Outtakes LP, the Back Home double live LP, the Live-N-Loud LP (with a bonus double-sided tour poster), the Runnin’ RiotUSA double live LP and the Back in SF double live LP (plus a DVD of the show to boot), all of which are presented on colored 180 gram vinyl. You also get copies of the Run Away red silk-screened 10”, the England Belongs to Me 7” single, the SF2000 rectangular picture disc, and a laser etched copy of the Spirit of ‘76 7” single. As if the sheer volume of all that tuneage weren’t enough, they’ve also seen fit to include a copy of ‘Sparrer drummer Steve Bruce’s biography, Best Seat in the House, to read whilst rockin’ out, and a limited edition Cocksparrer pirate skull metal lapel pin to let the world know just what kinda fanatic it’s dealing with when you leave the house. Now, I could review every bit of music on here album by album, track by track, but who the fuck am I kidding here? With a limited, one-time run of 250 copies of this box and a price tag of $325, it’s a safe assumption that the odds of someone picking this up on a whim are nil and that those who do make the investment will likely be well aware of what they’re getting themselves into. I will say, though, that those who fancy themselves punk rock fans but are as yet unfamiliar with the band or its significance would do well to immediately acquaint themselves with the band by starting off with a copy of Shock Troops, as it’s one of those can’t-miss classics, a damned near perfect album packed full with jaw-dropping, hook-laden anthems and serves as the perfect gateway into the career of one of the best, woefully underrated, and still active (with all but one original member still slogging it out) bands to come out of England’s first wave of punk. Bruce’s book is also a hoot, deftly balancing humor and a knack for telling a good tale or two to pen the definitive, infinitely readable recounting of the band’s history, from its humble beginnings through punk’s formative years, right up to their finally getting the respect they deserve as one punk’s most influential acts. Sure, the price tag’s more than a bit steep, especially for the average punter, but I’d be lying if I said you weren’t getting more than your money’s worth here. Now if you’ll excuse me, the opening chords of “Because You’re Young” just rang out, and that means this fanatic’s gotta crank up the stereo and bounce off the walls for a bit. –jimmy (piratespressrecords.com)


CLAW TOE:
Ingrown Ego: 7”
Interesting. Deep, deep bass on the title track with guitar playing that rings out—not chords, just notes that shimmer a la Keith Levene. Definitely influenced by Pere Ubu and Metal Box. Lo-fi as hell with ominous sing-speak vocals. Sounds like doom or a more realized version of Catholic Discipline. The guitar playing on both sides of this 45 is formidable. Definitely would be into hearing more, pending no further releases have a swastika on the cover. (I was always somewhat conflicted with the Electric Eels over this tactic. It didn’t infuriate me so much as it seemed like a dumb misappropriation. Their music was grating and brilliant enough…) As for this 7”, it’s impressive. Glad someone has the nerve to put this type of music out on vinyl. –ryan (Criminal IQ, criminaliq.com)


CIVIL VICTIM:
No False Hope: LP
Civil Victim are from Germany but sound influenced by American hardcore with some Scandinavian stuff to put some weight to their punch. I hear some Poison Idea in here, but it’s not some by-the-numbers type shit. Their music is beefy hardcore punk that has catchy and tuneful elements side by side with a dark and gritty edge. Songs like “Sorry for Being Broke,” “Personal Riot,” and “Workmares” blaze by in a white-knuckled flash, then you get a song like “Room Full of Christians” that switches back and forth between mid tempo and full on thrash. The vocalist has a shredded throat style; at times he sounds like Dez Cadena. Check out the title track, where his voice has a little more space instead of being buried under a roaring guitar. “Where’s the Healing?” is my favorite of the twelve songs on here. Starts off with a hellish bang then attacks religion (a target always deserving of ire). The song has a little more noise going on and may be a little darker. Another primo record from Loud Punk. –Matt Average (Loud Punk, loudpunk.com)


CHOOSE YOUR POISON:
Laid to Waste: CD
What the fuck? A four-song CD? I know CDs are cheaper, so I’ll skip the whole, “You should have put this out on vinyl,” argument in favor of the, “You need to put more songs on this shiny piece of plastic,” argument. Of course, such an argument would not even be necessary if this chaotic, screaming Wisconsin hardcore wasn’t so good that it leaves me wanting much more after this measly ten-minute dose. –mp (myspace.com/chooseyourpoison)


CHILLING WINSTON:
Self-titled: 10”
Banner Pilot-esque punk rock from Australia. If you like Banner Pilot, you’d probably be into this. Plus, you could say, “I have a record from Australia that sounds like Banner Pilot!” –Maddy (Sewing Circle)


CAPITALIST KIDS, THE:
Too Big to Fail: CD
Texas trio that plays power punk with true grit. With titles like “Let’s Go Waterboarding” and “Gay Marriage is OK!” you would be right if you guessed Green Day mixed with The Queers. “Magic Alarm Clock” is my favorite tune on this record. I’m just glad there are no horns on this platter to turn it into a ska-punk turd, ‘cause then I would have to compare them to Less Than Jake and that would be really, really bad. –koepenick (Grackle)


CANDY SNATCHERS, THE:
Down at Delilah’s: CD
The Candy Snatchers are one of those bands that have consistently put out rock’n’roll records that make one flail recklessly about like some coked-up, snake dancing son of a bitch. No, that’s not a bad thing; that’s just the real spirit of rock’n’roll shaking your soul loose. Embrace. For this reason alone, I’ve loved the ‘Snatchers for many, many moons. Dean Rispler, long-time friend and producer of the band, has captured the ‘Snatchers lightening in a bottle, yet again, with Down at Delilah’s. It’s a fucking supernatural whirlwind of a rekkid from front to back, but the songs that especially get me frothing at the mouth like an epileptic crackhead? “She’s a Real Asshole,” “Huffer,” “9-1-1,” “All the Way to Denver,” “Doin’ Time,” and “The World Is Wrong.” The disc is also available as a picture disc. This album was the last to be recorded with co-founding guitarist Matthew Odeitus, who passed away back in June of 2008. Matthew is sorely missed by those who knew him, but this and the many other recordings he made with the band will never fade away, let alone be matched. Viva, Candy Snatchers! –dale (drugfrontrecords.com)


CAPTIVES:
Unspeakable Truths: Cassette
It’s too bad that this thing sounds like it was recorded inside of a troll’s fishing bucket, because there’s some serious potential here. Nice Motörhead swagger in the guitars and the lyrics are dark and fatalist and really, really smart. I mean, “give Greg Graffin a run for his money in the vocabulary department” smart. Reminds me at points of a faster Born/Dead or a less technical Propagandhi, but again, the sound quality is so buried that a lot of the band’s strength is lost because of it. Would definitely be interested to hear more from these guys, though; Captives are brimming with possibility. –keith (Captives)


CARPENTER:
Sea to Sky: CD
I loved All State Champion (ASC), a Vancouver, BC, post-punk, and dare I say emo, band. Unfortunately, they broke up a few years back so I was stoked to see that Carpenter features vocalist Daniel Sioui from ASC. Carpenter still carries a lot of the same sound as ASC, too, but that’s to be expected since it’s primarily Sioui’s project. The songs are often romantically inclined, but much of the basis for the music and lyrics come across as being heavily influenced by Sioui’s love for John Mellencamp’s American Fool. Back then, he was known as John Cougar and the album provided us with hits such as “Jack and Diane” and “Hurts So Good.” Being from Indiana (Mellencamp’s life-long home), this album was right up my alley. Not only did it take my appreciation for Daniel Sioui’s voice but it intertwined it with my love of John Mellencamp. Songs like “Just Another Friday Night”—with its catchy choruses, back-up vocals, and use of slide guitar sound like a true reinvention of 1980s Mellencamp. “Long Hard Day” seems like another song from the Coug’s playbook, with its take on living the life of fun after a “long hard day” of doing something or other. I was too ensnared by the catchy hooks of the song to pay much attention to the detail of the lyrics. Of course, a song like “Joan” is a much more straight-up indie/emo tune with the mournful tale of trying to help out a friend. But that’s not to say it isn’t good, it’s just one of the few tracks to differentiate from the straight-ahead rock’n’roll sound the band typically evinces over the course of the ten tracks that comprise Sea to Sky. With Sioui’s great vocal range and the ridiculous catchiness of this album, this is surely its own version of a champion. –kurt (goldstockrecords.com)


BUYER’S REMORSE:
A Thorough Analysis: 7” EP
Some grade-A, thinkin’ man’s punk rock here. The tempos are firmly rooted in second gear, but they’re sporting some impeccable musicianship and intelligent lyrics married to well structured songs that hint at influences that reach back into emo’s earliest, best, and most creative era, yet pack enough punch to get heads bobbin’. Dunno how often they make it to a nearby stage, but I’d be willing to lay down some cash they can make even the most seasoned headliner work hard for their guarantee. Clear vinyl, creative packaging, and good fuggin’ listening can be found here. –jimmy (vitriolrecords.com)


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