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Record Reviews

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Below are some recently posted reviews.

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NOMOS:
Notes from the Acheron: 12"
I have yet to tire of listening to “The Fall.” It starts off with a mid-tempo intro then rips open with some full-on thrash. So fuggin’ good. Life affirming. Nomos, from Brooklyn, crank out some dark, noisy, and heavy hardcore. Comparisons have been made to bands like Poison Idea and Citizens Arrest. I sort of hear that, but those are lazy references. These guys are strong enough to stand on their own. If these guys are hip to the Swell Maps (as they cover “Vertical Slum”), then it’s obvious they’re not some typical band. The lyrics are opaque at times, but interesting nonetheless. It’s as though you’re sorting out a code. I like how they can deliver white-knuckled thrash, then switch over to something like “O’Fortuna,” which slows things down temporarily at the start, then it’s back to full-on, straight to the bottom of the deep end and the sound of facial bones crunching. Four records reviewed in this issue have reaffirmed/reignited my faith/love of hardcore. This is one of them. –Matt Average (Deranged)


NOFX:
The Longest EP: CD
So it’s come to this: I’m reviewing a NOFX album. For those of you who came in late ((i.e., the last fifteen years or so)), one of my first and most infamous columns for MaximumRockNRoll was a merry romp detailing my long-standing and permanent dislike for NOFX, from which i derived much of my early fortune. The deal, in so many words, was that i saw this band in 1986 when they were a three-piece ((famously standing up in the middle of their set, yelling “For THIS they took the Replacements off the P.A.???”, then leaving the building)), a few years later when they were a five-piece, and numerous times when they were their standard four-piece configuration. Three-piece, five-piece, four-piece, slam, i do not like them, Sam I Am ((hell, i barely like Samiam, come to think of it)). My contention is ((or, at least, was)) that they play a rather insipid style of what i used to call “generic hardcore” in the 80’s ((later mutating into a slightly more sipid style of pop-punk in the 90’s)) and now call “fake hardcore” in the 2000 AD’s, with “funny once, if that” lyrics to which people always feel compelled to sing along – not out of any legit desire to sing along, mind you, but just to ensure that YOU, THE OTHER PERSON LISTENING, UNDERSTAND THE LYRICS and thereby BASK IN THEIR GLORIOUS ALLEGED MIRTH AND WIT. Their album covers were ugly and un-punk-looking, and, to me, they were pretty much the poster boys for punk rock moving out of the record stores and into the skateboard shops, and, boys, that don’t move me. I’ll explain this “fake hardcore” thing: Listen to a NOFX song. Tap your foot and count out the beats, like a music teacher would do it: “One…two…three…four…” ((with a band like NOFX, it’s sometimes hard to figure out if you should be counting “one…two…three…four…” or “one-two-three-four, one-two-three-four” or “1234123412341234!” which is part, but not all, of the problem)). Make note of the counts at which the chords change. The vast, vast, VAST majority of the time, the chords change on “one.” In other words, any given chord almost always plays for exactly four beats—or some exact multiple of four beats— before giving way to a new chord. Now, listen to a punk record that doesn’t suck ((if you’re a long-time NOFX fan, this may be a challenging proposition)). Tap your foot and count out the beats again. Where do the chords change? HINT: ALL OVER THE FUCKIN’ PLACE. Four beats = one measure. It is SHIT BORING to listen to music where the chords only change at the beginnings of new measures. It’s fuckin’ garbage! Folk music has faster chord progressions than this! The ironic thing about this whole affair is that their acoustic numbers ((“13 Stitches” “My Orphan Year”)) and joke reggae number ((“Kill All The White Man”)) are actually pretty together. The punch line is that, in a lot of ways, NOFX don’t actually suck. They’re pretty good musicians, they are occasionally insightful and funny, and they are obviously dedicated to The Scene. They just suck at punk rock, the one thing at which we have reasonable grounds to expect them not to suck. That is all i have to say on the matter. How’s the tour bus running? BEST SONG: “13 Stitches (Acoustic)” BEST SONG TITLE: “13 Stitches (Acoustic)” FANTASTIC AMAZING TRIVIA FACT: Although i am straight and out of Green Bay, Wisconsin, i am not now nor have i ever been the titular punk guy in “Punk Guy.” –norb (Fat)


NOFX:
The Longest EP: CD
I love NOFX comps, like this and the 45 or 46 Songs b-sides album from a few years ago. This CD collects EP tracks and out-takes from throughout the length of NOFX’s career, from 1987 (The P.M.R.C. Can Suck on This) all the way up to 2009’s Cokie the Clown. With the exception of the really rough and kind of shitty P.M.R.C. EP and “S&M Airlines,” most of this stuff is gold. NOFX seems pretty odd on the edit function, as most of their full length albums have at least a couple of real clunkers on them (cough, “Anarchy Camp,” cough ,”My Heart Is Yearning”), yet awesome stuff like “Jaw Knee Music” and “Glass War” end up as outtakes or b-sides. The strength of this CD is that Fat Mike didn’t feel as obligated to fill up the run length of the separate shorter releases comprising this with baffling filler, so this actually is pretty tight. Cut off the last five tracks and you have one of the better NOFX releases. –Adrian (Fat)


NOFX / SPITS:
Split: 7"
Not necessarily a split that I’d ever envision hearing, but it really works. And that’s not all the cocaine on the cover talking! NOFX really set it off with the ripping “Hold It Back” and keep the heart racing for the duration of their side. The Spits are doing what The Spits do. Fucked up, creepy, awesomeness! I can’t get enough Spits, ever! I think it’s pretty great of Fat Mike to put this out, knowing that it would get a lot more people checking out The Spits who normally wouldn’t listen to them. It’s also pretty funny that there’s a rolled up dollar bill next to The Spits’ name and either a hundred or thousand dollar bill next to NOFX. –ty (Fat)


NICKEL SLOTS:
Self-titled: CD
Completely benign, moderately toe-tapping pop country rock for the genteel set. I can hear this playing unobtrusively in the background of a carefully constructed lounge where I don’t belong, or playing in the background of some TV show I don’t watch. –thiringer (Self-released)


NEIGHBORHOODS, THE:
The Last Rat: CD
Finally a new CD from this killer Boston outfit, from one of the last shows presented at The Rathskeller on October 24th, 1992. Two discs of vintage ‘Hoods that’s meant to be cranked up loud. “Diane,” “Hoodwinked,” and “Prettiest Girl” stand out, but with thirty-one tunes, you can pick your own crowd pleasers. You’ll be surprised by the handful of covers presented in the set as well. This is great to listen to in the basement with a couple cold ones. But if you are in the Boston area, check your local listings; they are playing live again with some frequency. Now bring on those studio reissues! –koepenick (Ram Van, no address listed)


NEGATIVE APPROACH:
Self-titled: 7"
I have never understood why this 7” has been unavailable for so long while the band’s far inferior (but far from unlistenable) Tied Down LP has remained in print. Now this record has been reissued, and it makes even less sense. I heard this for the first time when I was thirteen years old and listening to it again on this reissue makes me feel the same way I did back then. The thin, raw production sounds just as fresh and caustic as it before I heard 10,000 other bands (and started about one hundred of my own) trying to cop this sound. The song “Nothing” makes more sense to me than Jean Paul Sartre, and I love it. My only complaint is that the “updated” cover art (a Photoshop rendering of the original Exorcist cover) looks terrible. –Ian Wise (Touch And Go)


NATURAL CHILD:
Self-titled: 7"
I’ve had this 7” for a few months, picked it up at my local record store because it had a sticker saying “Ex-Horribly Wrong.” The Horribly Wrong is my absolute favorite Bloomington, IN band. They came and went before I moved to Bloomington, but I’ve been lucky enough to see them twice at reunion shows. Natural Child hails from Nashville, TN, and features Horribly Wrong bassist/co-singer Seth Murray. The man is something of an enigma. I only met him a few times before he left Bloomington. He’s certainly friendly enough every time I talk with him, but for some reason, Natural Child has not played Bloomington and there is no mention of any Horribly Wrong connection on the label’s website. A damn shame! Four sing-a-long, tongue-in-cheek dumb rock’n’roll songs about teenage crack smokers, pity fucking, and horny mothers. Definitely not polished but not as low-fi as The Horribly Wrong. Hopefully I’ll be able to see them live soon. Natural Child seems to be picking up steam, as they tour frequently and played some of those Scion-sponsored garage rock shows. –Sal Lucci –Guest Contributor (Infinity Cat, infinitycat.com)


NEW LABOR:
Self-titled: 7"
Back in the early days of hardcore, Lee Ving used to brag that what made Fear stand out from all the other three chord punk bands at the time was that the members of Fear were “musos.” In other words, they could actually play their instruments. Now, I’ve managed to forge a reputation as a half-witted connoisseur of trashed-out, two-chord tard punk— the Grabbies being a primo example—so it might seem a bit incongruent that I would be so impressed by a band like New Labor. But impressed I am. This is a band of musos, no doubt, and they know more chords than all the other bands I like put together. Stylistic comparisons could be draw with Fear, Jesus Lizard, the DKs, Nomeansno, and the Minutemen, but this band is a unique brute of its own. The songs here aren’t overly mathy, but feature pushy riffs, all full of angles and elbows, and vocals that are a cross between a rutting sasquatch and a perverted televangelist venting his spleen to his flock. I don’t know if the magic hypno-glasses on the cover actually have me somehow mesmerized, or if I’ve just grown a few more neurons lately, but for some reason I like this a lot. Musos or not, this is one barrel-chested, cauliflower-eared, mean brawler of a record. And it’s surprisingly catchy, to boot. –aphid (Self-released, thenewlabor.com)


NARCS, THE:
I Want Dope, I Want Pussy, I Want All That Shit: 7"
Low–fi punk in short, one-to-two-minute bursts of negativity. The vocals are tastefully overdriven and both the guitarist and bassist take a run at the scales once in a while. The band is tight and reminiscent of more rockin’ Dwarves material, but some of the songs sound as if they were recorded at different times causing an occasional miss out of the ten songs featured on the 7”. Not a home run, but more good than bad and definitely a solid band to look out for. –Billups Allen (Reel Time)


NARC OUT THE REDS:
Are on the Run: CD
Punky pop not far down the road from folks like Foo Fighters. They peddle their wares quite well, tempering the polish with some added verve, the tunes are strong, and the whole thing’ll no doubt get ‘em some buzz. –jimmy (no address)


NAILS:
Unsilent Death: CD
While I was skeptical about ex-Terror guitarist Todd Jones playing grindcore, this recently re-released album gets a resounding “Hell yes!” Blazing fast at points, and slow and heavy at others, this rager is everything I’d ask for in a grindcore album. The vocals are a little more intelligible than the norm, and features many parts that make you want to scream along. With ten tracks clocking in at just under thirteen minutes, and songs ranging from thirty seconds, to nearly four minutes, the band demonstrates that they can blast out short numbers with the best of them, and also flex their song-writing abilities on longer songs. Grind fans everywhere will appreciate every second of this. I know I do. –Paul J. Comeau –Guest Contributor (Southern Lord)


MUT!NY:
Black E.P.: CD
Somebody’s audition tape to get on Warped Tour ‘96 somehow made its way to me. Lucky for them, I went ahead and forwarded this to Kevin Lyman. If anyone wants to pass it along to them, he says they can play the Nobody Gives A Shit stage. –Jeff Proctor (myspace.com/mutinypunx)


MURDERESS:
The Last Thing You Ever See...: LP
Dark and haunting metallic crust that paints a picture of a dark world. A fitting soundtrack for a modern day horror house. There is an element I just can’t pin down that makes me think of witches. The vocals are pulled back in the mix a bit and use a liberal amount of reverb or echo to recreate a sound of a women screaming in an abandoned church. The guitar riffs add that black metal tone to create textured ambiance that sounds like fear amongst the heavy chords that are played. The drums drive and accent the notes to accentuate the power. There is a bit of dirtiness that I like coming from the bass that you can hear it on its own while still adding to mix. The band has a sound that I would compare as a mix of Kylesa meets Agrimonia. The ability to create a musical soundscape with emotion catches my attention and to do it consistently sells me every time. A solid release. –don (Aborted Society)


MUNLEY & THE LUPERCALIANS:
Petr & the Wulf: CD
A Slim Cessna member offers his take on a tale most famously recounted in a symphony by Prokofiev and a Disney cartoon. The music here is dark, rootsy, and banjo-driven, with each tune offering a soliloquy of sorts for each of the characters in lyrics angled more at adults than children. This is apparently the first of an effort that will unfold over multiple discs. –jimmy (Alternative Tentacles)


MULTICULT:
Self-titled: LP
Super-disjointed rhythms, chaos everywhere, nothing seems to flow right, and yet it all somehow makes a song. Obvious comparisons would be bands like Birthday Party and Scratch Acid, but Multicult is not dark or nihilistic. At least they don’t sound that way to these ears. Sounds crash, space opens up then is filled with more noise. A lot to take in in one sitting. There’s so much going on that not one thing stands out besides how busy and cluttered everything is. A little more space would make a difference. –Matt Average (nskrobisz@gmail.com)


MOVIE STAR JUNKIES:
A Poison Tree: CD
Has a wandering gypsy feel with lush layers of maudlin musicianship, very much akin to NickCave’s dark orchestrations. The brooding of Bauhaus and complexity of early Cure put this in regular (albeit sparing) rotation. Stand out tracks: “The Walnut Tree,” “Hail,” “Under the Marble Fawn.” –thiringer (Voodoo Rhythm)


MODERN ACTION:
Molotov Solution: CD
This is something to behold. This is punk rock in its purest form, in my opinion. The music bounces and throws you around. If you’re not outright jumping around the room, your legs are bouncing and your hands are tapping. The words have something to say, but know how to balance with some fun. I’ve got a hunch that I’d be gleefully picking pieces of my skull out of the back wall upon seeing them play live. It makes sense that there are members of The Bodies involved. You can hear it. Everything about this disc rules. I’m going on the hunt for more Modern Action now! –ty (Modern Action)


MODERN ACTION:
Molotov Solution: CD
The tunes Modern Action lay down here and on their two singles (and it appears all the tracks on said singles are here as well) reek of not only late ‘70s/early ‘80s Southern California punk rock, but of specific bands I couldn’t quite dig outta my noggin. When Todd mentioned that the band was comprised of former members of the Briefs and the Bodies, however, it all fell into place: they sound like a synthesis of both those bands—poppy without resorting to pop punk clichés, a rock solid rhythm section and catchy hooks up the yin yang. While the Briefs’ occasional predilection for the sly, artier strain of bands like the Deadbeats is sorely missed, Modern Action retains all the muscle and the instant likeability of their predecessors while adding enough “new” to carve out the foundations of their own legacy. –jimmy (modernactionrecords.com)


MISS CHAIN & THE BROKEN HEELS:
On a Bittersweet Ride: CD
Although this verdict is clearly not the result of any intensive mental deep-knee-bends, i’m going to go on record as saying that this sounds “kinda like the Muffs or maybe the Pandoras” but minus any Muffsish or Pandorasish evocation that the record might, in a fit of drunken pique and/or estrogen-fueled whimsy, leap up and punch me in the nose occasionally. Although i’d be hard-pressed to point to anything i specifically dislike about this album, i don’t take it as a particularly fortuitous augury that, after two full play-throughs, the only song that has made any manner of real impression on me is the album-ending ballad “Save Me,” and that’s mostly because the harmonica reminds me of “Just Like A Woman” by Bob Dylan, a tune over which i’ve never found myself overly nuts. If “hey, at least nothing here reminds me of ‘Sad-Eyed Lady of the Lowlands’” sounds like a recommendation to you, however, then, by all means, eat til thy belly be full. I’ll keep the Kleenex™ in abeyance for nosebleeds administered via alternate means. BEST SONG: “Bluebird.” BEST SONG TITLE: “Chords and Wine.” FANTASTIC AMAZING TRIVIA FACT: I am holding one of three hundred copies pressed! Consider myself lucky, chump! –norb (Sonic Jett)


MEMPHIS MORTICIANS:
1,000,000 Delinquents: CD
NYC’s Memphis Morticians can do no wrong—reliable, good fun that never disappoints, reminiscent of the Devil Dogs. The only departure on this album from their usual loose, trashy garage/American psychobilly mix is “Spook Factor,” which reminds me of the Guana Batz. There are only seven tracks, and they’re all standouts. –thiringer (Space Hearse, memphismorticians.com)


MEASURE, THE [SA]:
“Get It Over With” b/w “Van Houten”: 7"
This review is just a thinly-veiled excuse to let you know that the Measure [SA] broke up, and that makes me sad. I raise my glass to all of the stuffed-beaver memories, the accidental urination, the warmth they’ve shown over the past several years, the great catalog of music they’ve left behind, and Lauren’s on-going friendship. This was their eighteenth release. –todd (No Idea)


MAYDAY!:
Self-titled: EP
I’m really liking that the current punk scene is not afraid to experiment with styles. Mayday! are certainly punk, but they have a strong surf guitar style that sets them apart from most of what’s happening out there. The guitar is really, really, really good. The first song, appropriately titled, “Intro” is complete surf rock, where the second song, “Illegal Alien Vs Child Predator” has a Spanish flamenco influence. Who ever thought you’d hear a punk band use that as an influence? “BludBeach” is the most straight forward punk song on here, and even then it’s still not some by-the-numbers type stuff. The male vocals remind me of Fred Schneider of the B-52’s. When he says, “Let’s have a pool party and catch some rays,” I think of “Boys in bikinis, girls on surfboards...” I was fucking around with my Ouija board the other day, and I asked if Mayday! was going to be one of the bands that puts out many great records and people clamor for. The planchette went directly to “yes.” Damn thing better be right. –Matt Average (Feral Kid, xFeral_Kidx@yahoo.com)


MATTERHORN:
Vol. 1: The World Began without Man…: CD
Instrumental metal. Solid musicianship and good riffs, but not quite enough lead and melody to justify the lack of vocals. It sounds like something’s missing, like the metal band next door is in the basement running through a couple numbers while the singer is upstairs paying the pizza guy. My girlfriend disagrees, and says, “It’s nice to not hear some dude screaming.” Too bad she doesn’t write for Razorcake. –CT Terry (Thinker Thought, thinkerthought.com)


MEAN JEANS / WHITE WIRES:
Split: 7"
Mean Jeans: Could probably handcuff me to a gorilla and shit on my chest (Mean Jeans and/or the gorilla) and I’d still forgive ‘em because their music’s so fun, so the right type of stupid, so bouncy, so punch-a-disco-ball and find out that thing’s really cut glass and you’re bleeding great, that although they’re the obvious descendants of the Ramones, it just means they know how to party. Mean Jeans are awesome. White Wires: If anyone hasn’t said it already, I’d like to stake the claim that the White Wires are Canada’s new millennium punk answer to The Carpenters. And those who know their music history, know how glossy-PG-13-on-the-surface, totally-fucked-gorilla-shit-at-the-core The Carpenters were. (Said as a compliment.) I’m no sociologist, but if White Wires become more popular, their tunes will probably be whistled by serial killers and soccer moms with equal relish, and I can’t deny this song is catchy as all hell. –todd (Dirtnap)


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