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Below are some recently posted reviews.

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Staring at the Walls: 7"
What we have here is a superb example of what present day hardcore ought to be: a sum of a band’s counterparts, where every component is just as crucial and key in the process of creating such vile yet endearing sounds. Walls are the kind of band whose members magnify each other’s presence instead of outshining either the instrumentation or the vocals. I was witness to this: they are fucking wrecking balls live. And the great part about this record is that the madness captured onto vinyl is just as intense as seeing them in person. Yeah, I heard Rorschach got back together and did some live shows. Walls are what Rorschach would have sounded like if they had decided to take it to the next level. –Juan Espinosa (Iron Lung)

40 Years... and Still Going Strong: Split: 7"
Another good split single from Longshot (and Contra Records in Germany). Volxsturm are from Germany, and—I’ve said it before—the German language just may be my favorite tongue to hear punk rock in. It just sounds cool. Harrington Saints are a little faster and sound good here, too. I don’t usually get down with the “lace up your boots and hit the streets” kind of lyrics, but the tunes are rockin’. Nice looking record, too. –ty (Longshot)

Do You Hear We?: By All Means: LP
Eight bands contributing two songs each of straight up Chattanooga punk rock. You get the more widely known outfits such as Future Virgins, ADD/C, and Hidden Spots as well as some lesser known gems like What If…, True Stereo, and more. There aren’t many cities that could pull this off this well, or many labels who it makes as much sense for as Do You Hear We? While outside of the city’s limits, Chattanooga might have a sort a cult following, it’s a pretty rabid cult, and if you like your punk with a little grime around the ears, Chattanooga has the sound. Incestuous? Definitely. Myopic? At times, but who am I to judge. Pure DIY punk rock? Without a doubt. –Daryl Gussin (Do You Hear We?)

Self-titled: 7"
This is a solid ten-song vinyl debut for Vile Gash. It’s a relentless, gritty, and raw barrage of ‘80s-styled hardcore with all the intensity and audacity of the first Negative Approach 7”. The band uses feedback to blend the songs together, which is motif a lot of bands are doing right now, but it sounds good on this one because they don’t turn the feedback into a focal point until the stops in the song “Incapable” where they let it ring out like an old Floor record. Other highlights include “Mind in Chains” and the ten-second “Who Are You Today?” The first pressing sold out immediately (as per the usual Youth Attack routine), but I think the repress is available now in stores and distros. –Ian Wise (Youth Attack)

Is it Broke Yet?: LP
A collection of indie punk bands from different parts of the country, though the lion’s share call Washington state and California home. A lotta diverse sounds coming from No High Fives To Bullshit, Atlas, Can Of Beans, The Damage Done, The Mark Sparkles, Stoned At Heart, Memoirs And Landmines, Young Generals, The Kobanes, Touch Me Satan, Why I Hate, and The Last Chucks. Can’t say I dug all of it, but I liked that it sounded like a bona fide compilation rather than yet another bullshit label sampler. –jimmy (Abandon Hope)

Coffee Stains and Cigarette Burns: CD
I think I just got mind fucked. This starts off on a blues kick. And it continues on as such. I’m digging it. It sets the tone to make me feel like I’m in a coffee shop somewhere in the Midwest, east of Chicago. It’s a good place to be. The energy gets taken up a notch with a rockabilly-ish band that kind of sounds like if Pretty Boy Thorson was actually just a skinny, angry nerd (basically, me). I’ve heard of coffee shops having shows in the later hours, so it still fits. Then it suddenly goes to noisy, bordering on nü-metal. That’s where I’m thrown. I like the first half of this, because, apparently, I hate punk rock. –joe (Chain Smoking)

Self-titled: LP
Fourteen tracks of scuzzy self-destruction punk, two of which are Gang Green and Mummies covers, from a Seattle band that has roots in the ‘80s Sacramento punk scene, if the accompanying booklet is to be believed. They know their style well and it shows throughout on songs like “Git Fucked Up,” “Legalize Murder,” “Ballad of Faggoty Anne,” and “Chemical Drain.” –jimmy (Wolf Dog)

Grind Hell: 10"
Unholy Grave are one of those grind bands like Godstomper or Agathocles that have about twelve million records because they’ve been around forever and will put out a record with just about anybody. This 10” is the latest in a long string of releases dating back to the early ‘90s and is just a live set. The quality of the recording isn’t the best I’ve ever heard, but it doesn’t matter because you can still pick out the few instances of melodic guitar riffs thrown into the mix. All the songs are great as usual, with “Overprotected Law” being a standout. Unholy Grave are easier to listen to than a lot of straight grind bands because they have more mid-tempo heavy stuff and even some hints of melody, so it’s not just a constant blur of thrashing. As a result, the songs are easy to distinguish and they stick with you more. A few of these can actually get stuck in your head. The artwork is great and the print job for the sleeve and jacket are top notch. Severely limited release, but definitely worth hunting down for you international grind freaks. –Ian Wise (Death Agonies And Screams)

Split: 10"
This thing was recorded in 2005, but it just came out a few weeks ago. I don’t know what happened. In any case, the Towers side of this thing is about as good as any Towers record, which means it’s fucking awesome. The production is a little bit raw, but it suits the style, which is sort of a heavy, Melvins-inspired interpretation of the more interesting side of late ‘90s punk. Kinda. They remind me a lot of early Refused. None of this is making any sense, but the heavy riffs on songs like “Training to Be a Cage Fighter” are great, but it’s the spacey parts with minimal guitar work that really flesh out the band’s sound. Sadly, the Take Down Your Art side does absolutely nothing for me. It sounds weak and uninspired, and they have lyrics about the phoenix and drowning in the sky or something, which is screams “teenage art school student” so loud that it makes my ears bleed. –Ian Wise (Somberlain)

The High Hate Us: LP
This record is pretty much useless. It won’t change the fact that the guy I have a crush on doesn’t have a crush on me. But when I listen to “Make Like a Tree and Fuck Off,” I realize that he won’t ever call me a stupid cunt, either. It won’t fix my leaky toilet but “Shit Your Pants (A Rock Opera)” makes one’s trousers seem like a viable, and even cool, alternative. It won’t cure my homesickness. But “Get Your Gentrification out of My Aburguesamiento” reminds me of the time “Slayer” a.k.a. Tiltwheel got banned from Scolari’s in San Diego. It’s now The Office, a better-smelling haven for the shiny-shirted where the sweet sound of distortion rings no more. So maybe what I am homesick for might not be there when I get back. But San Diego folks being San Diego folks, they’ll come up with something even cooler. This record won’t stop the United States from increasingly accumulating the features of a developing country but “Teach Your Children Hell” is the perfect answer to people who lament that punk has become too much about partying. Rather than attacking the politics that will become stale, it goes after the roots of why politics suck. I guess I really don’t have anything to complain about. I didn’t even pay for this record. I downloaded it from some site in Chile where “Talkin’ About Eating Pussy and Drinking a Bucket Full of Cum in a Town Full of Pig Pens” is translated as “Hablando de Comer el Coño y Beber un Cubo Lleno de Semen en un Pueblo Lleno de Plumas de Cerdo”But when the day comes that I am reunited with my record player, I’ll certainly snap up the burrito-swirl colored-vinyl version. ‘Cause all the songs are pertylike and magic poetry. –Lisa Weiss (ADD)

Mythic Maps: EP
Glad as hell I picked this up. Sounds like Om meets Tarantula Hawk and Yeti. Apparently this is only a duo, yet they sound like a full band. There’s a heaviness that’s undeniable, and there are solid riffs throughout. Sometimes I think I hear a keyboard in there, but it’s only a guitar. “Mythic Maps Pt. 1” has some of the best lyrics I’ve heard in a while, “Earth—wormholes within reach, gates to psychic journeys through the endless unknown space,” makes me wonder if they have consumed heavy amounts of 1970s science-fiction. All the songs are based around space travel, and they really hit their mark on “Van Gogh’s Ear”, which has a strong drive, but the real strength is in the break where the vocals harmonize and the music quiets down before lurching back into the main riff. Impressive that a prog band can put out a four-song EP with as much power as it has. Makes me wonder what they could do with a full LP. Hope I get to find out. –Matt Average (Red Tape, redtape.dk)

Brick Rain: CD
Ultra Violence was a N.Y. hardcore band whose initial output was peppered across nearly every one of Big City’s ‘80s compilations their first time ‘round. Nothing wrong with that at all, as some of the best bands from that period never got past “compilation band” status, but now they’ve managed to release their first proper album some twenty-nine years after they first stomped terra. What you get here are ten new (circa-2009) recordings of older tunes that sound like they could’ve easily been recorded back in the band’s heyday. Tacked on after the recent recordings are their original recordings from the 1980s, all in their original states of dubious sound quality, which will no doubt offend the sensibilities of the kids who’ve grown up in the ProTools and CD world, but will give older folks a moment to pause and reflect on what measures bands would go to just to be heard back when the term “punk” didn’t come with a copyright symbol and a sponsor’s logo next to it. –jimmy (Welfare)

Hanging around Here: 7"
A great batch of fuzzed-out ‘60s garage punk from Sweden (I think). Serious fun going on here. I picture sweaty dudes in suits losin’ it on stage and getting plenty of action afterwards. More, please! –ty (Ken Rock)

Baton Rouge, You Have Much to Answer for: 12" EP
Thou somehow manage to consistently put out fully realized records with obviously thoughtful artwork and meticulous packaging. And they do so at a pace that makes me embarrassed of how slowly my own musical endeavors come together. This release, their most recent 12” EP (it’s four songs, but each side is about fifteen minutes, so “EP” is sort of misleading) sums up most things I love about the band. Their earlier releases were heavy, but focused on slow parts with really pretty-sounding guitar harmonies. I loved it, but recently they’ve picked up the pace a little and have gotten much, much more dissonant in their sound. This record is no less abrasive than the “Smoke Pigs” track they contributed their split with Black September, but they have some spacey, jammy parts that go well with their sludge aesthetic and help the record flow better as a long player. The tracks here also seem less disjointed than songs on Tyrant or Peasant, both of which had some awkward changes. Of course, the packaging is great, as the band partnered with the always diligent Robotic Empire, the only people who may actually be nerdier than Thou about vinyl packaging. –Ian Wise (Robotic Empire)

The Paul EP: Split 12"
TMIBH: These three new songs just exemplify what I think is so great about their most recent LP; Public Square. The stew may be boiling over the edge of the pot, but it doesn’t matter because the magic works best at those scalding temperatures. And when they get to the stoney part of the song, they really let you know. This band has got the fucking riffs! Bridging the gaps between rockin’ garage punk and dirty hardcore is no easy task, but TMIBH has been killing it for years. Sun God: people from 9 Shocks Terror and Homostupids playing poppish, textured punk that has more in common with Zen Arcade than Zen and the Art of Beating Your Ass. Mature in the sense that all the songs come off as thought out and meticulously executed. Like how you might describe Pegboy as mature. Fucking awesome split. The songs are long, loud, and the packaging is amazingly silk screened. –Daryl Gussin (Smog Veil/Snax/Pizza Pants)

Give Me Pink: LP
Rudimentary, reverb-drenched garage rock with flat vocals that bring to mind Redd Kross’s Jeff McDonald. –jimmy (Telephone Explosion)

Uptight!: LP
I liked this Houston band enough to mail-order their 7”, which was cool pop punk far less boilerplate than their band name would imply. This album—apparently their first, last and only—is a bit harder to digest, though. It’s eleven uniformly mid-tempo ((“we promised we’d never play faster/one year later it’s a fucking disaster”)) poppish punkers with a vague ((though not unexpected)) ‘70s U.K. influence…sort of like if you took the Clash’s “Give ‘Em Enough Rope” LP, and subtracted everything from it that could possibly remind you of Rancid ((which would be just about everything)), then used that as a framework off of a which a band that melds the angstiness of the Connie Dungs re-directed towards youth politics with the occasionally ho-hum pop-punk chug of, say, Parade ((or am i thinking of Pariah? Well, some band that starts with “PAR” and isn’t the Parasites)) can cobble together their intended swan song magnum opus ((although the only Clash album referenced in the lyrics is the first one, so go figure)), i think. Not a terrible plan, really ((if you understood any of that)); my main complaint is that some of these songs just seem awkwardly constructed, following sometimes bizarrely-accentuated lyrics of a decidedly atypical narrative bent. I mean, not like i was there peering over their shoulders when they wrote this album, but it really seems to me that their lyrics guy just wrote a bunch of stuff out on notebook paper, then tried to write music that would follow along to the lyrics, as opposed to the more conventional approach of writing music and then putting words to it. Not that i’m any kind of produce manager of note, but that’s rarely a good way to run a supermarket. Still, overall a pretty interesting listen, though i sort of wish the band would have called themselves “There Goes Norman” instead. BEST SONG: “Our Last Song” BEST SONG TITLE: “I ((heart)) Lora Logic” FANTASTIC AMAZING TRIVIA FACT: Ray Luhan was in Parade, Pariah, AND the Parasites. See? I TOLD you it was fantastic and amazing. –norb (Team Science)

Split: EP
You’re going to want this because it’s Systematic Death, but prepare to be blown away by See You In Hell. I find myself listening to their two songs over and over. Featuring an ex-member of Mrtva Budoucnost, and having been around for a number of years, See You In Hell crank out some heavy and powerful hardcore punk with a definite Japanese influence, but they’re not a clone band by any means. The bass has an awesome sinister tone at the beginning of “Od Narozeni” that only hints at the blazing power in the rest of the song. “Krize II” is a total ripper that starts off with a soundtrack from a thunderstorm then rips wide open with a crushing force. So f’n awesome, it just about blows my mind. Systematic Death are back from the dead and just as awesome today as they were back then. Fast, tight, and catchy hardcore punk that leaves the listener agog. “Life” is an instantly memorable song that shifts back and forth from mid to fast tempos, and a repetitive beat that hooks you in. “Switch” is fast, wound up, and races at a break neck speed with some stop go parts that border on sending everything into a wild tailspin. This record was put together for their joint European tour from earlier this summer. I can only imagine how awesome the shows were. –Matt Average (Insane Society, insanesociety.net)

Self-titled: Cassette
I was hesitant to throw this on, because A.) I haven’t had a cassette player since I stopped driving a Toyota Paseo in 2005, and B.) The cover art made me think this was gonna be some kind of sleazy trash rock, which is a genre I usually just find irritating and bereft of ideas. Thanks to an included download card I was actually able to give this a listen, and I’m glad I did. My first thought upon listening was, “Wow, this sounds a lot like a lower budget version of the last Clorox Girls album.” I was disappointed with J’aime le Filles at first, since I was expecting it to be more like the first two Clorox Girls LPs, but once I realized that I should look towards the record more as a full-on power pop album rather than a fifteen-minute punk album, I realized it was great. Once I looked up the band, I realized it was composed of lead Clorox Girl and Ex-Red Don Justin Maurer, one-time Clorox Girl and Red Don Daniel Husayn, Chris from another one of my favorites, The Briefs, and James Sullivan of the Ripchords, who I admit I have never heard. So, basically, this is eight tracks of no frills, garagey, power pop greatness. “17 Television” is the greatest dark pop song the Adverts never did. “Change Your Mind” could easily fit between Buddy Holly and the Sonics in someone’s DJ set and the cover of the Crystal’s “Then He Kissed Me” is quite sublime. Really there is no daft tracks among the eight songs here, so check these guys out if you can luck into the original singles or one of the two hundred cassettes made up. –Adrian (Ggnzla)

We Chase the Waves: CD
Side project from Chris McCaughan of The Lawrence Arms. Although I don’t count myself as a member of that band’s fan club, I actually dig this record. “As The Crow Flies” could actually be a long-lost Son Volt song. But I’m pretty sure seeing McCaughan perform these songs would be more exciting than seeing Son Volt live, since Son Volt is a total snoozefest. These songs also celebrate baseball and living in the Midwest. It’s real and it’s honest. Hopefully that’s enough of a reason for you to give this a chance. –koepenick (Asian Man)

Split: 7" EP
STOD: I want more splatter. Their tracks are well-played and well-recorded. But I can’t shake the icy feeling of Jawbox or the cooler climes of “calculation rock.” Because when I saw them live, it was like that part in the Green Berets where John Wayne’s fellow marine gets whacked by a bamboo booby trap. Jungle sneaking. Snap. Eek. Blood and bullets flying. That’s the image I have of STOD in my “happy rock place.” Android Hero: I want more anxiety. Their tracks are well-played and well-recorded, in the vein of Nomeansno, where the complexity is a gateway drug to tension. But where Nomeansno seems about to become unhinged at any second and have your stereo explode, the edges to Android Hero are well defined. Anxiety will be the loose, nervy wiggle that turns into a hook for repeated listens. I do, however, have a soft spot for any songs about thrift stores. –todd (Mustardpack, mustardpack.com)

We Chase the Waves: CD
Side project from Chris McCaughan of The Lawrence Arms. Although I don’t count myself as a member of that band’s fan club, I actually dig this record. “As The Crow Flies” could actually be a long-lost Son Volt song. But I’m pretty sure seeing McCaughan perform these songs would be more exciting than seeing Son Volt live, since Son Volt is a total snoozefest. These songs also celebrate baseball and living in the Midwest. It’s real and it’s honest. Hopefully that’s enough of a reason for you to give this a chance. –koepenick (Asian Man)

What’s in the Big Black Bag?: CD
Basic bowling night punk that holds out the promise of being more interesting than it actually is—not to mention more Crampsy than it actually is ((which is “not at all”))— on accounta it’s got a hot Bettie Page type chick on the cover. A few songs sound like Americanized versions of U.K. Riot City Records-type punk circa ‘82, a few others sound kinda like those Ramones songs where Dee Dee sang, and “Liar” sounds the most like the Sex Pistols, although it is, curiously, not the Pistols song of the same name. The record contains not one but THREE songs—”I Wanna Go Back,” “Middle Earth,” “Taken Too Young”—which are essentially big lists of bands and/or punks and/or records they used to like back in the day. I’m not necessarily opposed to a little nostalgia trippin’, but if there’s a way to achieve greatness by association via invoking the past, this ain’t it. The kick and snare drums sound triggered sometimes ((though not all the time)), which i hate, even if i’m just imagining it. Tony has a cool guitar strap. The girl looks nice. BEST SONG: “Sex Doll” BEST SONG TITLE: “What’s in the Big Black Bag?” FANTASTIC AMAZING TRIVIA FACT: Don’t bother to sit thru the eight minutes of church bells at the end of “Religious Right.” There is nothing at the end but a fade out. –norb (Unrepentant)

You Can’t Kill Joey Ramone: 7"
Unfortunately, you can kill Joey Ramone, but the reemergence of Sloppy Seconds these past couple of years is making a lot of us very fucking happy. Sloppy Seconds were pop punk before there was pop punk. They were one of a handful of progenitors of the now-familiar sound that grabbed the underground by its then sagging scrotum, only to be quickly co-opted by the mainstream. The scene cruelly turned its back on pop punk, despite its deep resonance with a half generation. Sloppy Seconds retains creds for being one of the first of its type, as well as one of the best. Especially known for incredible live shows, their records aren’t too shabby either. This 7” contains “You Can’t Kill Joey Ramone” from the 2008 album Endless Bummer, backed with a cover of “Can’t Stand Rock’n’Roll” by the Anti-Nowhere League. Not as essential as the recent souped-up vinyl reissue of Destroyed, this 7” is still one that collectors won’t want to miss. Is it blasphemy to admit that I’d rather listen to Sloppy Seconds than the Ramones most days? –Art Ettinger (Wallride)

Volume One: Drug Sounds: CD
I was expecting something really weird here, especially when I tried looking up the label to find more info, only to find a site that makes it look like the whole thing is just a tax write-off or money laundering scheme. The songs have influences ranging from later-era Smiths to some of the mid-to-late ‘90s Epitaph garage/rock’n’roll, in part due to its slick production. However, the whole album is practically repeated in “demo” form, which, to me, sounds like the exact same versions but with a whole ton of gain added so everything sounds distorted and “rough.” I can’t really decide which versions I like better, though it’s probably a better idea to leave the straight-up goofy demos off there. –joe (NMG)

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