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Record Reviews

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Below are some recently posted reviews.

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PINE HILL HAINTS / TRAINWRECK RIDERS:
Split: 7"
Pine Hill Haints: Punk can be a weird cat. Give the tattoo-sleeved, spiky-haired, leather-jacketed fellow or maiden a couple of years and chances are about even that they’ll turn into a Republican asshole selling insurance and denouncing their youthful indiscretion. The Pine Hill Haints play traditional music with traditional instruments (bucket bass, banjo, mandolin, accordion, guitar) that’s haunted, honest, and eerie. They also just happen to believe, live, and breathe in DIY and not fucking others over. So, what may not sound “punk” to those on the periphery is ten times more genuine a gesture than a receding hairline mohawk interpretation of music. Trainwreck Riders: fans of Ninja Gun, Two-Cow Garage, and Drive-By Truckers take note. Jumpy, pleasant, faded denim, comfortable shirt traditionals played with songwriting savvy and current-day snap. –todd (Let’s Pretend, letspretendrecords.com)


PERCULATORS:
White Trash: EP
Three spastic and energetic songs fueled by pills and booze on the first side of this 7”. Not unlike Henry Fiat’s Open Sore, but with male and female vocals trading off. Side B is where the reckless highs become dark and paranoid lows making for a much more interesting listen. I do love it when bands demonstrate split personalities in their music the way Perculators do. Limited to 300 copies and well worth seeking. –Juan Espinosa (Ken Rock, myspace.com/theperculators)


PEACE CORPSE:
Terror of Quincy: LP
If memory serves, Peace Corpse evolved from a joke band called Moslem Birth, whose primary purpose was to take the piss outta Christian Death. Fronted by Toxic Shock head honcho Bill Sassenberger and featuring over the years members of Thee Undertakers, Insulin Reaction, and Man Is The Bastard, the band’s sound evolved over time from solid mid-tempo and slower punk with snotty vocals to something a bit more evolved and complex in delivery, while retaining the slyly topical, smart-assed-yet-intelligent lyrical content throughout. Collected here are all the tracks from the Life Death and Quincy 7” EP on side one and selected tracks from their later Terror of History LP. Nice hearing this stuff again, especially old favorites like “Jocko Macho (Quincy Punks).” –jimmy (Toxic Shock)


PANIC ATTACK:
Rick Moranis: EP
I feel like Quebec City is on another continent completely. One hears very little English being spoken whatsoever when walking the distinctly European-looking streets (which is quite untrue of its closest neighboring major city, Montreal). Also, the independent music community in Quebec City has always seemed truly independent, i.e. existing separately from any other major musical epicenter. This could be due to the language barrier, or simply that QC isn’t exactly close to any English-speaking capital cities. Regardless, I recently had the immense pleasure of playing in Quebec City with three incredible local bands (and that band from San Diego… what’re they called again? Oh ya, Tiltwheel), and was totally blown away by the quality of songwriting and musicianship in each band, but it’s safe to say that the opener, Panic Attack, was my favorite of the night—perhaps the entire tour. Upon receiving a copy of this EP, I was informed by the vocalist/guitarist Frank that the recording quality is somewhat subpar, but I wasn’t concerned. The songs I’d just heard/seen would be great no matter what. Crazy catchy, upbeat, somewhat rough pop punk taking some serious cues from the Green Day songwriting school, but with enough aggression and a youthful approach that totally sets them apart and makes them charming as hell. I can’t wait to hear these boys’ first proper record. It’s going to be a doozy, no doubt. –Dave Williams (Self-released, myspace.com/panicattackqc)


OUR BAND SUCKS:
Pic’n’Save: CD EP
OBS was an East L.A. punk band formed in the late ‘80s. Funny, caustic, flamboyant, they would go on to release a record on Nemesis and get banned from a long list of clubs in the Southland. Their music was a mix of first wave English punk—aware of it or not, they channeled a ton of Cock Sparrer—and “pushing buttons” punk like Fear, the Angry Samoans, and the Meatmen. As seems to be an unfortunate pattern in East L.A. punk, someone in the band got mad, someone quit, someone’s feelings got hurt, drinking and drugs caught up, someone felt ripped off, and OBS came to a screeching halt in the late ‘90s. They were selling these CDEPs at their twenty-year anniversary show a couple months ago. The show was wonderfully dysfunctional and theatrical. Fat. Old. Sweaty. Out of breath. Perfect. These four songs fit right into their nineteen-song set without a hiccup. Glad to see ‘em back and here’s to hoping that it’s not just a time capsule, but the start of another run for these guys. –todd (Self-released)


OI POLLOI:
Ar Ceol, Ar Canan, Ar-A-Mach: CD
A 2006 album getting the reissue treatment, significant because I believe it’s the first full-length the long-running anarcho band did while keeping all their lyrics in Gaelic. Well, twenty-five years after the band’s inception, Ar Ceol, Ar Canan, Ar-A-Mach finds them still sticking pretty firmly to their roots—crust with the occasional streetpunk/oi jab thrown in. Strangely enough, this album also has moments of indelicate, kind of bumbling electronica and keyboards scattered throughout, though to their credit it’s always tempered with a fevered sense of immediacy and speed. I like these guys. Their lyrics have always come across as a little simplistic (anarcho punk as a whole could be called out on that one) but I like their ideas and their willingness to tackle difficult subjects unflinchingly, and that they see things through a slightly sharper lens than many of their compatriots. English translations are provided, as are contacts to radical resources and language preservation websites. –keith (Nikt Nic Nie Wie)


NUDE BEACH:
Self-titled: LP
If Bent Outta Shape hadn’t existed would Nude Beach have ever have come to be? I’m in no position to make that decision, but Nude Beach definitely know how to play their goddamn instruments. And it sounds like they love The Boss as much as those Bent boys. If you get all weak in the knees at the idea of three dudes from Brooklyn playing Springsteen meets the Clash, welcome to your new favorite record to listen to while you get drunk. –Daryl Gussin (Mandible)


NU SENSAE:
TV, Death, and the Devil: LP
This is an auditory ass whoopin’. Nu Sensae still have the jagged feel and throat-shredding shrieks and yells, but now they’ve added more low end for an even more sinister and menacing feel. Melody has also raised its ugly head, only to give this duo even more power. I hear people throw the “grunge” tag on these folks. I wish “grunge” was this good. I might have listened to that crap a little more. Nu Sensae are punker than hell, more hardcore than a fourteen-year-old kid in bootleg Black Flag shirt, and have a sound so gloriously dirty it’s almost beautiful. The punch and kick of “Sweet Thing” is great. The words are spit out with venom, then contrasted with an almost sing songy “You are...” response. “Total Drift” on the first side is a total ear grabber with a great melody and catchy rhythm, especially after the hammering of “New Lies.” Great stuff all throughout the record. But the one song that really stands out head and shoulders over the rest is “Passing the Word.” The song slows down to a mid tempo lurk, with the words being a combination of spoken and singing. It has a Southern California feel, like something that would have appeared on the Hell Comes to Your House compilation. Need I say more? –Matt Average (Nominal, recordsnominal.com)


NOMEANSNO:
Tour E.P. No. 1: 12"
I’m sure that the majority of Razorcake readers know who Nomeansno is, so I’ll cut to the chase. A new four-song 12” EP from one of Canada’s all-time greats. This is great news! There are two types of Nomeansno songs: the mind-boggling punk rock blasts with layers upon layers of intricateness or the slower, dirge-like tunes of equal intricateness that boil just under the surface. The tracks here are of the later group. Within the locked in rhythm there is an uneasiness floating through the songs. Loneliness has long been a theme with the band, and these songs seem to continue to chart those waters. A very good outing, but I need more of the upbeat stuff to keep me going. –ty (Wrong)


NOMEANSNO:
0+2=1½:
Back in 1991 Nomeansno recorded their amazing record 0+2=1. It was going to be a double album, but for some reason or another they pared it down, saving the rest of the songs they recorded for a future release. Not long after, guitarist and vocalist Andy Kerr left the band and the Wright brothers didn’t feel comfortable with releasing the songs, so they disappeared. Mostly. Several of the songs wound up being re-recorded as a duo or with new guitarist Tom Holliston, but these original versions have never been heard outside the band until now. Andy Kerr found the tape of the songs in a shoe box and he and the band decided that it was time share it with the world. I love all of these songs, especially the one never-heard-before song “Now It’s Dark.” It’s a ripper! These guys are amazing musicians and the demo stuff is all top notch quality. The finished songs are great, too, as they are ever-so-slightly different than the versions that wound up being released. This is a great supplement to a great era of the band. The best part of all is that Nomeansno wants everyone to hear it. It is available for free download on their site (wrongrecords.ca/oneandahalf). I highly recommend getting it. –ty (Wrong)


NOIA:
Self-titled: CD
Pretty good, dancey, instrumental stuff with a lot of 8-bit synthesized beeps and bloops made by a couple of French-Canadian dudes with awesome names. I like that the music. While experimental, it stays driving and structured-enough-sounding so that it doesn’t just seem like a dude wanking around with the dials on some electronic limiter for twenty minutes then shitting that out on tape. This also has just the right bit of bounce that it wouldn’t kill the atmosphere to stick this on at a dance party. Due to the real bass and drums, it still sounds organic enough that it isn’t like some lame ass DJ Tiesto house mega-mix album. Extra points for one of the dudes wearing a Municipal Waste shirt in the band picture. –Adrian (L’Oeil du Tigre, promotion@loeildutigre.com)


NO FRIENDS:
Traditional Failures: 12" EP
Heavy mid-’80s hardcore influence here, but they counteract any overactive sense of nostalgia with razor sharp delivery and an abundance of catchy hooks. Really, really good stuff here, on purty purple marbled wax, to boot. –jimmy (Kiss Of Death)


NIGHT BIRDS:
Self-titled: EP
You don’t hear many bands take a stab at surf-inspired punk and it’s for a good reason. Night Birds make it work though. Agent Orange? Nah. The Birds prefer Agression. I’m all but convinced that Mikey Erg can do no wrong. –Juan Espinosa (Grave Mistake/Dirtnap)


MUCH WORSE:
Proper Execute: EP
These guys have somewhat raised the bar for what I’ve come to expect from present day hardcore bands. They have a Japanese ‘80s hardcore influence, but are definitely from the Midwest. The music is fast, heavy, raw, and burly—all the ingredients you need in pursuit of what makes a quality hardcore band. The lyrics are sometimes strange (check out “Mudbrain”), but never dull, nor derivative. “Need New Sights” has a great mid-’80s style breakdown to offset the manic thrash that makes up the majority of the tune. The songs are often on the fast side, but they use tempo changes wisely to accentuate the power. Certainly a band to get excited about. Pass Judgement only pressed 300 of the first edition up, and these are now sold out, but fret not, the repress should be out by the time you read this. –Matt Average (Pass Judgement, passjudgementrecords.com)


MENZINGERS, THE:
Chamberlin Awaits: CD
It seemed like certain quarters were pushing these guys so hard as the best thing going right now in the world of punk that I was kind of turned off from them for a while. Have I come around to thinking the Menzingers are the saviors of modern punk? No. I don’t think this would make even my top five albums of the year so far (although, maybe the upper reaches of my top ten). But, I do give it to these guys that they are a pretty damn good band. First off, the main singer (is it Tom May or Greg Barnett?) has a pretty distinct voice. It’s kind of an over-enunciated mush mouth that’s always on the verge of breaking into a scream. Musically, the band is tight in a Lawrence Arms / Smoke Or Fire type way that plays up melody over aggression. The song “Time Tables” is what nudges this over the bar for me. It’s quite an excellent song about what may or may not have been an old fling. That would probably make it onto my 2010 highlight reel. “Rivalries,” too, is quite a charmer of a ditty. Not everything is that strong on here for me, but to look past the hype, this is a pretty solid release. I’ll probably actually want to listen to the record after this review is done, which is a good enough accomplishment for me. –Adrian (Red Scare)


MAX LEVINE ENSEMBLE:
Them Steadily Depressing, Low Down Mind Messing, Post Modern Recession Blues: 7" EP
I’ve been into these guys for a while now, on a casual basis—I’ve caught them live a couple times, and always enjoyed them, but never really listened to them on record. I’ve always enjoyed them, but chalk it up to being in different sub-scenes (with them more likely to be attending a political rally of some sort, myself more likely to be sitting around watching sitcoms and eating pizza). Listening to them at home, I feel like this is the bridge between Southern/Rocky Mountain sounds like ADD/C or Sexy and mid ‘90s skate punk, injected with their own politics. While the elements sound familiar, the final product ends up sounding like its own animal, which is a good thing. –joe (Asian Man)


MASAKARI:
The Profit Feeds: LP
I have read a few reviews of this before a copy finally dropped into my hands. I read references of His Hero Is Gone, From Ashes Rise, and Tragedy. I hear a little bit of that but for me I hear more HolyMountain, Trap Them, and Iron Lung on this release. It’s a major growth from their debut 7”. A delivery of Southern, down-tuned heaviness—even though they are from Ohio—mixed with a hardcore, crust, and d-beat rage. Vocals that are screamed with an intensity that make me picture bile is being sprayed out of the vocalist’s mouth. Their guitars go past the basic chords at times to create a more aggressive picture. The drummer seems more heavy-hitting on this one with his pummeling hits and fast fills. The bass sounds so good this time around, too. A good mixture of really low tones mixed with a mid bass that cut through. Overall, the energy is never lost in these songs. Whether they are playing slow, mid-tempo, or fast, the execution of energy never dissipates. –don (Halo Of Flies)


MASSHYSTERI:
Self-titled: LP
I’ll admit that I was shy on embracing Masshysteri after The Vicious broke up. It’s like a relationship that ended too suddenly. I didn’t want to go huggin’ someone new else right after the split. The Swedes up in Umea and the Danes in Copenhagen have a knack of forming great bands that have a tendency to break up right as their records make it to America. What’s undeniable is that Masshysteri have a lot to offer. For ‘77 punks, there’s a swift, blunt kick backed with melody reminiscent of the Adverts and X-Ray Spex. For those in the early-Blondie and Nerves camps, there are subtle, tasteful musical additions—produced, but not excessive—of saxophone and keyboards. For us DIY punks who’ve never accepted that punk’s a dead-end lifestyle over thirty years into the game and aren’t into dressing up like Confederate dead or the Raider Nation of punk rock, who also miss both DS 13 and Gorilla Angreb, Masshysteri are probably the best of all worlds. They’re a present-day band that can stand shoulder-to-shoulder with any punk band from the past you can throw at them. They’re easy to listen to, haunted, fangy, infection-laden, electrifying, and instantly recognizable as punk by their sheer energy. Highest recommendation. –todd (Feral Ward)


MARVELOUS DARLINGS:
“I’ll Stand by Her” b/w “Friend of a Friend': 7"
You’ve got me. I have no idea what’s distracting people on a large scale from great music because, by all accounts, Marvelous Darlings would fill stadiums in previous decades. In an underground lousy with garage bands deconstructing a perfectly good genre with “art concepts,” Marvelous Darlings are the glitter platform boots with live gold fishes in ‘em. They’re the strutting aliens of power pop, with the angels and devils of Little Richard, Chuck Berry, and Eddie Cochran tattooed on ‘em as guides. Marvelous Darlings are fun, tight, delightful, catchy… you know, powerful rock’n’roll with pursed lips and style. –todd (Plastic Idol)


MANIPULATORS, THEE:
Ease Up on the Breakdowns: LP
I knew nothing about this Vancouver band when I saw them except that it has some members of a couple of punk rock bands I used to do shows with. I wasn’t prepared to have my head blown off! Thee Manips took the stage and destroyed it! Five piece garage punk trash with minimal organ that had the seething, drunken, electrical charge of prime New Bomb Turks or Rocket From The Crypt. Yes, they were that good. I bought an LP without hesitation. When I laid it on the turntable, my feelings were mixed. No, it’s not that there is anything wrong with the record. It is excellent. The thing is that a lot of that amazing, frantic on stage energy isn’t on the record. Luckily, the songs are amazing. With the organ way up in the front, they come off more along the lines of The Mummies than the Turks. That’s pretty damn good to me. I would travel to see this band play again! –ty (Neptoon)


MALL’D TO DEATH:
Can’t Make a Living: CD
This is one of those instances where I hope that reviews actually do help sell records, because Can’t Make a Living is great and it’d be a total shame if it slipped under the radar. Take the playfulness of The Invalids and the simple melodies of early Off With Their Heads and you’re on the right track. Ten songs of way-simple punk stuff with just a smidge of ska here and there, a vocalist who couldn’t sing his way out of a paper bag, topical lyrics (war profiteering, illegal downloading, even an homage to J Church! Yes!), and a crashing, resounding sense of fun threaded throughout. One of those bands that defy description to me—they’re just punk, you know? Super awesome and totally worth your time. –keith (Geykido Comet)


MAKER:
I-91: 7"
Maker’s poppy hardcore is fast, tight, dynamic, and catchy with emotional lyrics. I was drumming along on my thighs, thinking, “This is like the good parts of hardcore, pop punk, and emo,” then I looked at their MySpace to get answers and saw, in big letters under their band name, “Pop Punk, Hardcore, Emo.” I was right! This record is the little brother of Lifetime’s Jersey’s Best Dancers. It makes me want to drive out the Mass Pike to a VFW hall and see some bands. –CT Terry (Animal Style, animalstylerecords.com)


MAKEOUTS:
In a Strange Land: LP
The enclosed press bio states that this band started out as mere Rip Offs clones—which i think i might vaguely recollect—but have now honed their craft into some kind of marginally more highbrow garage/pop/punk blend, influenced by Nuggets and Back From The Grave and King Khan and so on and so forth. And, while i guess i can see that—kinda—i’m still feeling a bit of a credibility gap between “showing their new sophisticated influences” and “doing something really noteworthy with their new sophisticated influences.” I mean, yeah, there is a Nuggets-like tambourine-boinker or two on here, and there is a definite nod to a sort of BBQ/King Khan-esque candy-ass doo-wop thing going on in places, but their best songs are still the Rip Off Records clones, circa 2000 ((or at least their songs where they sound like the Kidnappers, minus the cool logo)). I do enjoy the European garage-pop FULL BLAST MONOTONE singing voice, though. It fills me with great respect for their currency. Their next album may or may not be great. Bet the farm on it! BEST SONG: “Never Let You Go” BEST SONG TITLE: “Sound of Crime” FANTASTIC AMAZING TRIVIA FACT: Chicks dig the fully-printed inner sleeves. Well, i do, anyway. –norb (Bachelor)


ZERO HEROES:
Self-titled: 7” EP
There are just some things that can never been disproved. Among them is that any band that picks up, plugs in, and funs-out on pieces of Teengenerate, The Ramones, and female-fronted Motown groups can never be bad, especially in 2010. Zero Heroes sound like a car without chrome, without anything fancy, that’s kinda tore up and needs just-right kicks to get things to start, but it’s lovingly kept together by some magical force, careful layers of dirt, semi-regular maintenance, and the car itself somehow knowing that you need it to keep on working or else you’re fucked. Super solid and well worth a listen. –todd (Arkam)


WOVEN BONES:
I’ve Gotta Get: 7”
Much better than their LP, which was good. But the two songs on this single have more punch and focus, and are less droney. I like the surf-style guitars, which at times recalls bands like Crystal Stilts, but more noisy and less refined. The title track moves at a good pace, with a solid low end that holds the mess together, while “Hey Kid” asks, “Where did we go wrong?” No idea. But I do think this is a good record, and if you’re curious about these guys, this record is the best place to start. Hoping their next LP is as good as this. –Matt Average (Hardly Art, hardlyart.com)


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