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Record Reviews

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Below are some recently posted reviews.

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SMOKEJUMPER / PILLOWFIGHTS, THE:
Split: 7"
Smokejumper: I’m aware they’re a new band, but my best way I can think to describe them is that I saw them in a New Jersey VFW Hall in 1998. They played with a bunch of generally pop punk bands, and played what I assumed was a cover (again, I can’t keep track of all of these covers these days). The Pillowfights: They played the same hall in 2003. A little more of a Jade Tree hardcore sound that veers more towards cutesy than chugga chugga, in the vein of Lifetime, or stretching, the Bouncing Souls. It mildly bothers me that their side seems to end with the “serious” song. It’s a fact that you’re supposed to end on the laugh (unless this is meant as the cliffhanger, in which case shame on me). –joe (Silver Sprocket)


SOPORS:
Golden Era #267: LP
Containing members of the Abi Yoyos, Parasites Go!, and Shakey Bones, Sopors are one of the Bay Area’s best new bands. With Matt and Spenser plucking away on their guitars and singing their strange songs, you just can’t find a more beautifully perplexing group of tunes. Some may say that I’m giving these guys too much credit, but I see Sopors as a mix between the hooky leads and cohesion of the Marked Men, and the blobby, noisy, questioning chaos of Fleshies. The guitars weave pop melodies into braids of sound while the lyrics plant literary references next to tales of self-seeking time travel, as well as your usual anxieties. It’s great to see these songs on vinyl after spending too long on poorly duplicated cassettes. –Daryl Gussin (Mongo Bongo Top Ten Hits)


SICK/TIRED:
High Life: LP
Sick/Tired sure do know how to blur the lines between the genres of grindcore, party thrash, and stoner sludge (I refuse to call anything stoner rock because it conjures up images of Fu Manchu and that’s a sandwich I’d rather not bite into again.) The word “blur” is by no means an understatement in describing the mayhem unleashed when the needle hits the record. B’s a plenty: blast beats, bile-spewing vocals, and bulldozing guitar riffage are crammed into every groove of this platter. However, I’m a bit sad to report that despite how good it looks on paper, I don’t see myself fishing this out of my collection too often. It’s a fun listen for sure and it’s not to say that there is anything particularly wrong with this album. You could definitely do a lot worse. You could be listening to Fu Manchu. –Juan Espinosa (To Live A Lie, tolivealie.com)


SENDERS:
Recovery: 7" EP
You may remember these guys from Gainesville, Florida; they did a split with Wavelets earlier this year. Self-described as stoner emo, these two new songs, “Cuffed” and “Near Freeport” show off their affinity to ‘90s alt rock, namely The Smashing Pumpkins. “Cuffed” sounds like an extension of Siamese Dream, citing transitions from “Today”,while “Near Freeport” has more guitar riffs and screamo vocals. If KROQ in the ‘90s is your thing, these should be enough to whet your appetite until their next release. –Kristen K (Kiss Of Death)


SELFISH / FORCA MACABRA:
Split: Cassette
Had some pretty high hopes for this tape. I think pretty highly of both bands here. Selfish have always been a devastating band, and early Forca Macabra is undeniably great in the fast and raw hardcore department. However, the recordings on this tape seem to have sucked the oxygen out of the room. Material from both bands is from live sets: Selfish on November 11, 2002, and Forca Macabra from November 2003. I didn’t think it was possible for Selfish to sound flat and dull. This tape does just that. Forca Macabra fair a little bit better. The sound is slightly fuller, but still flat and kind of just there. Ehhhh... If you’re lucky enough to see these bands live, awesome. I envy you. For now, I’ll just stick to the studio recordings and pass this tape on. –Matt Average (Not Very Nice, chaosnonmusica@gmail.com)


SEDATIVES:
Self-titled: LP
Hot on the heels of last issue’s 7” (or maybe it was the other way around and I just picked ‘em up in the wrong order) comes a full length from these guys, chock full of straightforward, mid-tempo punk with much thud and keyboard accentuations. A solid release all the way ‘round. –jimmy (Deranged)


RUBELLA BALLET:
Never Mind the Day-Glo: CD
Rubella Ballet were/are one of the longest surviving of the initial cluster of U.K. anarcho-punk groups that spawned Crass, Flux Of Pink Indians, Poison Girls, and all the others who are now T-shirt and patch staples, starting off at roughly the same time as that lot and managing to stick it out in various forms to the present day. While they definitely shared many of the same concerns and lyrical subject matter as their contemporaries, Rubella Ballet set themselves apart by donning day-glo clothing instead of the de rigueur black and opting to tinge their musical racket with pop and what would now be considered “goth” sensibilities. This, the second of a two-part reissue of their recorded output collects the IF and At the End of the Rainbow LPs, 42f and Arctic Flowers EPs, and serves as a one-stop source for what apparently was the band’s most prolific and commercially successful period. The production may be a bit cleaner than on their earlier works, and become more so as the disc goes on, but the songs are no less catchy and edgy, alternating for oddly dark yet danceable tracks with bubbling bass lines to the obligatory punk ravers. Myopic simps looking only for stuff that mirrors the cacophonous caterwauling of later Crass and Flux will be sorely disappointed, but for those with more nuanced tastes, this’ll more than handily deliver the goods. –jimmy (overgroundrecords.com)


RON EMORY:
Walk That Walk: CD
Solo debut from T.S.O.L. guitarist. Some of these songs are over twenty years old, but it flows together quite nicely. Emory’s vocals have a Lou Reed vibe, but the music definitely rocks harder. Mike Roche helps out on a few songs, and Tiny plays drums on the whole release, so the T.S.O.L. feel is present. Some guests contribute—some welcome (Fletcher and Dexter)—and some not (Tim Armstrong and Mark McGrath). But Emory doesn’t need guests to make these songs shine out. “Alone in the Dark” is cool enough to carry the load. The only misstep is the bonus DVD. Although it’s okay to talk about how God saved you from your addictions, there was a little too much Jesus talk for me. I just felt like I was being preached to half the time. But you can buy it without the DVD, so keep that in mind. –koepenick (Self-released)


ROBB BLAKE:
Ain’t Got No Soul: CD
Polished and unshitty ska-based post-new-wave pop music that wouldn’t sound out of place on MTV circa ‘83/’84 ((say it with me: “when they still played music videos!”)) between Madness and the JoBoxers or somebody like that. It seems like the guy has completely disregarded the last quarter-century of ska and ska-flavored products, and that’s probably for the best. I don’t know that i generally crave this type of checkered nectar myself, but if somebody else put this on during a long car trip in which i wasn’t driving, i’d be fine with it. I know, i know, you’re welcome for the ringing endorsement. Any time, mate. BEST SONG: “Hit the Bottle” BEST SONG TITLE: “Nothing But Rubble” FANTASTIC AMAZING TRIVIA FACT: Most of the JoBoxers were in Subway Sect before that. Weird. –norb (Do The Dog)


RESOLUTION 242:
Self-titled: CD
Reggae’s most obvious influence on punk reveals itself in the punk ska bands of the past and present. The U.K.’s Resolution 242 takes it a step further by producing traditional reggae with a slight punk influence. The confrontational, radical lyrics are well researched and entertaining. Forget pretentious “stoner rock” a la Eyehategod. There are other non-hippies partying, too. Sans patchouli and everything! –Art Ettinger (Do The Dog Music, dothedog.com)


RED DONS:
Fake Meets Failure: LP
Okay… so this is the new Red Dons LP. I should start by saying that Red Dons could very well be the best punk rock band on Earth. Death to Idealism is without question one of my favorite records of the modern era, due in no small part to its unique (and not universally loved) production. But mostly it is the songs—logical extensions of The Observers melancholic take on ‘80s East Coast punk rock, with a deeper injection of the East Bay Ray or Mike Palm lead style—that seat Red Dons atop the heap, and Fake Meets Failure boasts the band’s best songs to date. The production on the record is noticeably more aggressive than that of its predecessor, and the songs themselves are both catchier and angrier. Whether intentional or not, Doug even channels Jello on a few spoken lines on the record, perfectly complimenting the ominous, middle-eastern scale leads found throughout. Lyrically, Red Dons remain painfully jarring, both in- and outwardly, and Doug’s vocals are more haunting and pure than ever. In a year already full of great punk rock records, this is by far the best I’ve heard so far, and it’s going to be incredibly difficult to surpass. Phenomenal. –Dave Williams (Deranged)


RED DONS:
Fake Meets Failure: LP
From what I manage to find online, this appears to be a “collective” founded by a member of The Observers and a member of Clorox Girls, and features a rotating lineup of members from those bands, Born/Dead, Scott Baio Army, and others. The music, for the most part, stays firmly in mid-tempo, but they pull out all the stops and crank out some grade-A quality punk rock with much intelligence and rock solid songwriting in evidence. We’re roughly past the year’s half-way mark, but I can totally see this making its way onto a lot of top ten lists come December. –jimmy (Deranged)


RAW POWER:
After Your Brain: LP
Getting the vinyl reissue treatment after twenty years?! I always thought this would be one of those evergreen records. This is their third studio LP, and while this is not as awesome as the first two albums, this is still pretty good, and one that should be part of any hardcore fan’s collection. “What For” with its insane growly voice at the beginning and the manic speed the song moves in still rages after all this time. There’s really not one bad song on here, and they all hold up years later, although the electric drum used in “What Have We Done” sounds dated. Other than that... I would urge you to get this instead of the crappy hyped-up hardcore on today’s boutique labels. –Matt Average (Toxic Shock, toxicranchrecords.com)


RAW NERVES:
We Must Be Dreaming: 7"
This is the band Raw Nerves from Portland. I caught these guys in Birmingham a couple of weeks ago and thoroughly enjoyed their set. I picked up this 7” because it was their most recent release and I was a little let down. The four songs here aren’t bad if you’re into the bands on the Rodent Popsicle roster (I honestly hear a lot of early A Global Threat in their sound, but I’m not sure how they’d feel about me saying that), but, ultimately, the songs just don’t stick with me. They do a decent Youth Of Today cover (though I’m not really a fan of YOT) and the other songs are okay (though they all feel a little too long), but I wish they’d make a little more use of the fact that they have two guitars and a singer who can actually sort of sing. –Ian Wise (Inkblot, inkblotrecords.net)


RAW NERVE:
Self-titled: LP
This is the band Raw Nerve from Chicago. I’ve been waiting for this record for a while. I heard the first 7” they put out on Video Disease and put “Teens in Heat” on about a hundred mixes. The guitars and vocals on this one (like the 7”) have tons of reverb on them and give the recording a thick feel. Most of the songs are great and hover around the thirty-second mark, but it’s one of the longer songs, “Hemlock” that stands out on the record, with a great old school all down-stroke punk beat and catchy riff. Everything else is Void or Government Issue-style hardcore with the obligatory droney-riff segment on “Skinned.” The energy is high throughout the whole record and it’s over before you have a chance to get bored with it. My only complaint about this record is that the band seems to take itself too seriously, and the lyrics try too hard to stay within the confines of some hidden artistic agenda. On the 7”, the sparse lyrics still seemed thought out and pointed, but here it feels like they are trying too hard to be mysterious and intentionally misleading. –Ian Wise (Youth Attack)


R.O.C.:
The Sum of All Beers: 7"
Lightning fast thrash from Vancouver B.C. Relentless drums and searing guitar is the order of the day. Not really all that decipherable in the lyric department, but judging by song titles like “Thrash Your Way to a Better Life,” “Burger Shots,” and “Rape the Pavement,” these boys like to skate and have fun. The ten songs on here just fly by. Flip up your brim and give it a play. –ty (R.O.C.)


QUEST FOR FIRE:
Self-titled: LP
You know what sucks? Ignoring a band for years and then accidentally stumbling into a random Minneapolis basement for one of their last shows, only to find out that you have been missing out on something super awesome. Is there a way for me to take back all those times I ignored my friends when they would say, “Quest for Fire is playing. You should go.”? No, but at least I got the fucking consolation prize. The band’s awesomeness is captured on this, their last recording. This music isn’t metal or punk or hardcore or thrash or any of that. It’s a silver sword gleaming in the sun before being plunged into the heart of a giant serpent. It’s the serpent’s hot blood spattering across the faces of the peasants standing idly by as their god is killed. It’s the melting flesh dripping from those peasants’ faces onto the desert sand. –mp (Chain Smoking)


PULSES, THE:
10 Song Demo: 12"
Straightforward, stripped-down, garage-y sound mixed with a bit of art- and math-rock, and really satisfying—sometimes four-track recordings are as refreshing as cold beer on a hot afternoon. This record is ten songs from a ten-year-old, out of print thirty-song demo, and it reminds me of early Invisible Men 7”s, only less trashy, more musically sound, and a bit more avant garde-ish. All in all, there really ain’t much more to say since this is such a what-you-see-is-what-you-get type of record. The chorus of the last song pretty much says it all: “processed sound makes me ill.” Colored vinyl, too. –The Lord Kveldulfr (Wolf Dog)


PTL KLUB:
Complete Discography: CD
Another band that’s more or less been lost to time as far as most punker punters are concerned, PTL Klub were a Massachusetts band active in the mid-’80s that took their name from the scandal-plagued christian TV show run by Jim and Tammy Faye Bakker, and specialized in frantic, angry hardcore. Collected here is virtually all of their recorded output—the Psalm #7 demo, the 13 Commandments LP, a compilation track, and the Living Death, Living Death 2 and Nobody Cares Anymore 7”s. If you ain’t hip to ‘em yet, there literally is no better place to start. –jimmy (Welfare)


PSYCHO:
Studio Recordings 1982-86: CD
Psycho is one of those bands that, for some odd reason or another, have never gotten the attention they deserve. Over their nearly thirty-year existence they’ve managed about a billion releases chock full of some of the best thrash you’re gonna find, and they’re still alive and kicking. If you have yet to hear anything by ‘em thus far, consider this a prime starting point. Collected here are their early works from the years in the CD’s title: a 1982 demo, 1983’s 8-Song EP, two demos from 1984, the Son of 8-Song EP, and the Hosebags from Hell LP along with tracks from assorted split releases and compilations, for a total of forty-five tracks. The tunes run the gamut from almost poppy punk to full-bore hardcore, with no shortage of anger or humor. Nice to see these guys get some long overdue respect. –jimmy (Welfare)


PROMISES:
Hopeless Sons: CD
Decent “old-school” hardcore with that kinda updated West Coast sound. Y’know, that sorta serious Go It Alone/Another Breath-type aesthetic—black and white cityscape artwork, atypically (for the genre) personal lyrics. This stuff doesn’t really hold my attention for very long anymore, but I imagine there are a ton of kids who are down with the Panic/Rivalry/etc. scene who would be wild about these dudes. Well-executed, but just not a whole lot brought to the table that’s gonna have me going back for more. –Dave Williams (Pee)


PRETTY BOY THORSON / THE ANCHOR:
Split: 7"
Jesse Thorson has a beautiful singing voice. There. I said it. If John Cougar let a mean streak out in his music, was a DIY punk, and had a Civil War monkey farting as his insert’s illustration, he’d sound like Jesse. One original, one Cock Sparrer cover. I like the original better. The Anchor: Make me think of dueling throat polyps and barnacles. They didn’t make the boat they’re sailing on, but it sounds like they’ve been hanging on for a long time, underwater, and aren’t letting go any time soon. Kyle, you’re right. The blue/grey vinyl with the silver label looks snazzy. –todd (Muy Autentico)


POST REGIMENT:
Czarzly: LP
Nice! A re-press of their second LP by this legendary band from Poland. My love for Polish punk with female vocals does lead back to this band. To actually own a copy is a treat. I missed the boat the first time around due to it not being on my radar at time of release. But I did manage to get a download. From what I can tell, there was great care to re-release it with the original artwork for the cover. Not sure about the liner notes though. I have nothing to compare it to. But what is important is the music. It’s one of those few records where you can play from start to finish, flip it over, and listen over and over. It’s charging hardcore punk that does not lose its melody while straying beyond the boundaries of the conventional to add to the originality. Matching the dynamic attack of the vocals is the supreme musicianship of the guitarist. You get an aural experience from the textures and emotions he brings to the songs. Listening to current bands like El Banda, Slowa We Krwi and Eye For An Eye, also from Poland, you can hear how influential this band was. –don (Nikt Nic Nie Wie)


PERE UBU:
Bring Me the Head of Ubu Roi: CD
There are parallels between Pere Ubu and The Fall that simply don’t exist between any other two groups of the post-punk era: Both “bands” have been around for more than three decades; Pere Ubu and The Fall have one sole constant member (David Thomas in the case of the former, Mark E. Smith in the latter); both “front men” have really transcended basic rock music, branching out into scoring plays and writing lyrics that owe greater debt to the novels of Philip K. Dick and Dashiell Hammett than to the pop songs of Chuck Berry. And in this recent outing, David Thomas has paid tribute to someone he’s looked up to for quite some time: French playwright Alfred Jarry. Thomas has called this album a radio play—a throwback to the pre-television era when radio was the main source of mass communication and entertainment in the home (think of Welles’ rendition of War of the Worlds)—and it’s certainly apt. What Thomas and Pere Ubu have done is set Jarry’s seminal play Ubu Roi to music and the results are astonishing. Lyrically, Thomas was dealing with one of the most important works of the avant garde. Jarry’s influence can’t be overestimated: dada, Surrealism, Situationist texts, punk—they’ve all been influenced by Jarry—Greil Marcus has written at length about these obvious connections. Of course, this production could’ve fallen straight on its face had Pere Ubu not interpreted and arranged the music to Jarry’s play so well. Vocally, Thomas is his usual, caustic self, sounding like Beefheart’s lost son. The complexity of Pere Ubu’s music on Bring Me the Head of Ubu Roi is acute—odd time signatures, incredible dynamics, and guitar playing (at times) reminiscent of its Dub Housing years. Simply incredible. It’s interesting to note that this album will likely alienate Pere Ubu fans simply looking for more material in the vein of the group’s late ‘70s work. There really isn’t much of an audience for this record. And the amount of effort put into it is astonishing. In the words of Alfred Jarry: “Shit.” –ryan (Ubu Projex, ubuprojex.net)


PINE AWAY:
The Barefoot Feel: Cassette
This tape is really something. It’s really nice, warm-sounding stuff that becomes a bit intangible when you try to put your finger on it. It’s punk in spirit but a little bit too tricky to fit into that box. You could label it post-punk, but that’s just a shitty cop-out term. It’s too cheerful to be called emo although what it reminds me of most is those more upbeat One Last Wish songs. While it’s not quite pop, it is lively and melodic. Each song has a whole lot of lyrics that lack choruses giving the listener a nearly whole narrative. If they had just a bit more information in the songs, they would make great pieces in a personal zine. Instead, you just get some great songs about living life. I could see this band being appreciated by pop punk fans, hardcore kids, punks, and even some indie rockers, yet, it sounds like none of that stuff. I guess it is still possible to make something that sounds completely new. –Craven (Fully Intercoastal)


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