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Record Reviews

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Below are some recently posted reviews.

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Grudge: LP
Wow, loooooong has it been since I last heard anything from these guys, and judging from this release they haven’t “matured” much in sound, which is just fine. Sixteen tracks of rudimentary punk tackling some of the most pressing topical topics: would-be punks who just don’t have a clue, proper undergarment fashion choices, and the tragedy that befalls a man spreading salt on snow, to name but a few. If you’re looking for the fastest, angriest, catchiest, technically proficient and politically charged punk stuff around, yer gonna be sorely disappointed with this, but if you prefer occasionally sloppy punk from a buncha guys who are a lot smarter and funnier than they put on, this’ll go down nicely. –jimmy (Poorest Quality)

Glad to See You’re Back: 7” EP
Blunt, catchy, snotty, itchy OrangeCounty punk rock. The legacy’s all there from The Crowd to Shattered Faith to The Stitches and this 7” would have fit right in on Hostage Records and in the New Beach Alliance without a blink five, ten years ago. These three songs are also an understandable continuation of The Smut Peddlers—Gish and Julia are the bulletproof rhythm section. With another vocalist, the lyrics remain dark, but, this time out, are looking for redemption instead of reveling in being king of the fuck-ups. Solid stuff. It’s like a motorcycle with all the attention paid to the motor, not the paint. I’m looking forward to them opening up the throttle on the open road of a full length. Limited to 150. –todd (Bad Idea Music, badideamusic.com)

The Martyrdom of a Catastrophist: 2 x LP
Gloom pop re-imagined as arena rock, with tons of reverb and massive echoing bluster. The songs spread across the four sides are long, with shades of what occasionally sounds like Tears For Fears and other similarly gloomy ‘80s new wave groups blown up to epic proportions. Surprisingly, it works quite well, A lot of care has been put into this release, from the recording quality and delivery to the packaging, which includes a nice big booklet with lyrics and artwork highlighting each song, as well as two vinyl slabs the color of honey throat lozenges. Was a bit wary of this, but glad I took a chance on it. –jimmy (The Mylene Sheath)

2nd Generation Rising: 7”
According to the blurb on the back, Jackie Shark founded Riverside, California’s first punk band, Rabies, in 1977 and said band managed to play the Masque. Wanting a document of the band’s original tunes after it had broken up, Jackie enlisted the assistance of one Jeffery Blast and the result was the original pressing of this single, released in 1978 with a pressing of 250 copies. Naturally, collector geeks froth at the mouth for copies of the original pressing, but Artifix in its infinite wisdom has seen fit to repress it for those of us who are more concerned with hearing the music than paying the equivalent of a college tuition for one fucking 45. Is it worth the trouble, you ask? Well, if you’re big on punk history, Southern California punk history, Riverside punk history, or simply dig primitive rock’n’roll served up with heaping helpings of attitude, then yes, it’s definitely worth the trouble. –jimmy (Artifix)

Negative Dots: LP
“Don’t talk, don’t talk to me about Jesus Christ!” With lyrics like that you know this is a record to get! Punk rock that doesn’t aim to be warm and cute. This is catchier than the bird flu, with a style heavily borrowing from the late ‘70s, and features the singer from the Hate Pinks who brought the world “Kissing Cops With My Ass.” Irritones pretty much pick up where that band left off. Mainly mid tempo with some slow-burning tension and guitars that have a sort of gritty distortion. Songs like “Japanese Cars,” “Danse en France,” “Cannibal Kids,” and “Rejection Is All We Got” are just four of the many reasons you should get this white platter. The best band out of France since Magma. –Matt Average (P.Trash, ptrashrecords.com)

Are You With Us?: CD
Really good, straight-forward street punk in the vein of Reducers SF and Forced Reality with great choruses. These guys can really play their stuff. The timing is right on, the lyrics are good, and you find yourself not wanting to get too far from the stereo. Very solid three songs. I’m with you. –Rene Navarro (hounds and harlots.com)

Split: 7”
I can’t shake that I’m listening to the equivalent of Lomax field recordings, yet instead of recordings of musicians directly on the Mississippi delta in the early ‘30s, the tape recorders were set up in living rooms in Tempe and Las Cruces, 2010. To me, the effects are the same: sound technology capturing folks playing; celebration and preservation of local color; struggle against the homogenization of a dominant media culture through creative activity. This split is lo-fi, melodic DIY punk made by circumstance, not predominant aesthetics (and more Bananas than Leadbelly). Both sides are fun, honest, and memorable. Let’s hear it for fuck-ups, the fucked-over, and democracy. –todd (Dirt Cult / Margin Mouth)

Self-titled: LP
I’ll fully admit that I live in a music bunker. I’m not being a dick when I say I have no opinion about, say, today, Lady Gaga. It’s just that I don’t care, like I don’t care about fast food chains or I don’t care about Fox News. That shit’s ninety-nine percent designed to accelerate your death through constant radiation. Paradoxically, by being everywhere, these systems are designed to keep everyone isolated and alone. I hate the systems of control so much that I don’t even know the current players. So, pardon me if I’m all pissy about the music company that’s attached to a multinational that’s currently trying to privatize the rain that’s falling down on Bolivia and don’t know a current hit or artist. But by not being “plugged in” to a 24/7 influx of distractions, I can sit in my room—most often by myself—and listen to records and read books. If I like the records—this one’s fuckin’ great—chances are I’ll go see them if they come through town. Chances are I’ll be, “Oh, fuck, I know that dude. He was the bassist in the Carrie Nations.” Chances are, if we talk, I’ll learn a bit about Cleveland, Mississippi, write down where the best BBQ is in the area. The Hot New Mexicans play ragged, melodic, approachable DIY punk that reminds me of scuffed floors, long drives, cracked-open beers, proportionately incorrect tattoos of bands from the ‘90s, cracking-open-the-sky sunsets, secrets and stains rolled up in frayed carpets, hairy dogpiles, body odor, and the really beautiful parts to Tortilla Flats. Like when the house burns down and no one gets too mad because it’s just a house and not the people inside of it. –todd (Houseplant, houseplantrecords.com / Recess, recessrecords.com)

Benefit Sheesh: 7”
“It sounds like Latterman!” I declared, entering the room with the gusto of a more confident man. My friends, visiting from out of town, agreed, but also disagreed as the comparison was apt, but not necessarily the most accurate. “Damn, Razorcake must like you if they send you stuff this good. It sounds like something I would have listened to in the ‘90s,” Matt decided. “Bryan, you should put that in your review. Everyone needs that sentence as a frame of reference.” And so I did. –Bryan Static (Eevil Weevil/Weird Skull, weirdskull.com)

Self-titled: 7”
Dunno when this was originally recorded, and there’s precious little on the record itself, but it could easily pass itself off as some long lost punk gem with song titles like “Disco Bitch” and “Nasty Nazi,” not to mention the full on skronky punk attack of the music itself. –jimmy (Going Underground)

Sunday School Massacre: CD
As can be expected from the Dwarves’ guitarist, this sounds like more recent Dwarves fare, just as demented (cf. “Duct Tape Love”) with maybe more rock/glam influences than usual. It ain’t even close to Blood, Guts, and Pussy, but if you’re a fan of the (at least musically) kinder, gentler Dwarves of the past decade or so, this’ll get you going nicely. –jimmy (MVD Audio)

Wretched. Filthy. Ugly.: CD
On the dirt roads that crisscross the fires of hell, rusty pickup trucks drag trailers full of the hay that’s used to keep the flames burning high. Once in a while, when Satan is feeling uncharacteristically sadistic, he hires a band to ride on the bales of hay playing music to make the damned smile, to taunt them with a moment of horrific joy before they are forced to go back to their eternal torture. That band is Harley Poe, and they do their job graciously, grinning sardonically in the heat as they pound on their keyboards, bash their acoustic guitars, and watch demons dance circles around them. –mp (Chain Smoking)

Fight Dirty: CD
To call this a split would be misleading. It’s more of a collaboration, I would say. Folk punk collective Mischief Brew’s only constant member is band leader Erik Petersen, and in this case he joins up with Guignol, who I guess could best be described as a muso-world-punk ensemble. I was excited to hear this album since Guignol contains a couple of key past and present members of the World/Inferno Friendship Society: Peter Hess and Franz Nicolay. Also, the Mischief Brew split with Joe Jack Talcum is pretty great. This album could probably be called a klezmer-folk-gypsy-jazz-punk extravaganza without too much of a stretch (it has a completely reworked Iron Maiden cover to boot, so I guess I could throw metal into the mix, too). I know I am making this album sound like a sloppy mess, but it’s really the exact opposite. The musicianship is tight and it’s a fun listen. Only about five of the sixteen songs feature vocals (mostly by Erik Petersen, which I guess makes them slightly more on the Mischief Brew side), but the instrumentals are really great, too. They sound exciting and intriguing, like what I always hope world-fusion music will sound like, not the watered down soundtrack for a Volvo drive that most of it ends up being. A few of my favorites are the creepy, lurching, circus instrumental “The Tardy Barker,” vagabond-ish life lesson “Fight Dirty,” and the unrecognizable but awesome instrumental Iron Maiden cover “Hallowed Be Thy Name.” This is definitely one of my favorites from the last couple months. –Adrian (Fistolo)

Capricorn One (Singles & Rarities): CD
I thought the band was done with their farewell release Remain in Memory. I guess the popularity of the band justifies one more last hurray for those who need just something more. This release compiles tracks from their early singles and splits, unreleased demos, an outtake, and comp tracks. I seem to have everything that was released minus the split with Ensign. I did not know they had released that. Put that on the want list. The outtake and demo tracks are what intrigued me here. Hearing something new from a band that was thought to be defunct is a treat. They were one of my favorite bands during the ‘90s which I still listen to often. A great collection filler. –don (Fat)

Party of Three: CD
An album by a Spanish pop punk trio released by a Japanese label. What a global age we live in. The cover art successfully evokes a spirit of fun, graphically relying on hot rods, UFOs, witches, surfing, ‘60s girl groups, food, and zombies. Basically all the coolest shit. Musically, Fast Food maintains its excellence with sixteen tracks of above-the-bar, sweet, melodic punk. What sets them apart from most of the sweet, melodic punk you already listen to is that all the lyrics are in Spanish, somehow cranking up the fun factor of the music by at least 130 percent. The only words I could discern in the English language were “Spiderman” and the phrase “gabba gabba hey,” which was invoked in three different songs on Party of Three. The entire album is basically a loving Spanish re-envisioning of the Ramones and Screeching Weasel and Fast Food are not shy about acknowledging their obvious influences. Besides all the “gabba gabba heys,” they also do a note-for-note cover of Screeching Weasel in Spanish by the moniker of “Fantasia de Supermercado.” Upon further research, I found out that Fast Food had been around since the mid-’90s and the new record is the best tunes off their previous two records recorded with a suitable recording budget. In any case, mucho gusto Fast Food, you have made my summer a bit more bouncy and enjoyable. –Jake Shut (SP, sp-records.com)

TAQN: 10” EP
Yes, you read that correctly, we’re talking about THAT Eyes, the ‘70s L.A. punk band spearheaded by Joe Ramirez and at various times featured DJ Bonebrake (X), Charlotte Caffey (Go-Go’s), David Brown (Screamers, Dangerhouse Records co-founder), Joe Nanini (Wall Of Voodoo, The Bags, Black Randy & the Metrosquad), and Jimmy Leach amongst its ranks. Outside of tracks on a few comps and a single on Dangerhouse, I don’t think they much released anything else. That said, I dunno what pact with the devil Greg Artifix has made, but here he’s not only re-released the original 1979 Dangerhouse masterpiece single (“TAQN” and “Topological Lines”) and comp tracks (“Eniwetok” and “Disneyland”), but he’s also managed to wrangle two heretofore unreleased tunes, “Research Bee” and “Go Go Bee,” from the same session out of the Dangerhouse vaults, giving us a total of six tracks of tasty, poppy punk from one of the finest of L.A.’s first-wave bands on glorious vinyl. Just to stress how fuggin’ awesome this release is, I predict that all copies bought will be worn to the nubs within a week’s time and those purchasers will forever be cursed to find themselves singing “Disneyland makes me communist/Makes me plant the bombs in the trash can lids....Blow up Disneyland/Blow up AnaHEIIIIMMMM!!!” every single time they visit that magical kingdom of talking mice and wallet raping food prices. Put more succinctly, this is worth every penny you shell out for it, and then some. –jimmy (Artifix)

Wasted Monuments: CD
I am a huge fan of the New Mexican Disaster Squad family of bands, and Gatorface is no exception. Actually, y’know what? I’ll say I wasn’t completely wild about the EP. I thought it was good, but I didn’t love it like I loved the Virgins LP or the No Friends stuff. But goddangit, this full-length is a slayer. It’s certainly still in the post-Adolescents world that these dudes seem to kinda like, but I’m not complaining. It’s no coincidence that my undying love for Adolescents/Flower Leperds/Abandoned/ADZ/etc. has a direct correlation with my love for everything these central Floridian gentlemen churn out. That said, it’s not derivative even for a second. I can’t really think of anything outside of these fellas’ other bands to compare Gatorface’s writing to, and I think it has something to do with the kinda start-stop, off-time writing/riffing style. If you pay attention, there’s something very unique about the structure of a lot of the main riffs in these songs, and I find it creates a totally different mood than a more straightforward hardcore approach would. It’s cleverer, more thought out, and that makes it a lot more interesting and ups the replay value significantly. Anyway, it’s just fucking fantastic. –Dave Williams (No Idea)

Self-titled: LP
Dark, distorted hardcore with powerviolence tendencies from Buffalo, NY. It’s no surprise that members’ previous bands have had records released by 625 five or ten years ago. And while I do enjoy getting the shit kicked outta me by the music, I’m really digging this black dust sleeve. I’m sure these guys are pretty well-known in their immediate vicinity, but if you’re looking for some raw hardcore from people who have been doing it for years, Gas Chamber awaits. –Daryl Gussin (Warm Bath)

Hellbound: EP
I’m honestly baffled why this did not officially come out in 1982, when it was recorded. This is fuggin’ awesome hardcore from San Jose. If you like bands like Social Unrest, Sick Pleasure, and Code Of Honor, then you must pick this up. Hell, if you like Fallout Boy I strongly suggest you pick this up so you can hear what good music is. Executioner had the classic hardcore sound wired. The songs are a mix of mid to fast tempos, with a great guitar sound that is distorted but not overdone, with a bass that has a lurking and crawling sound. The vocals are delivered through gritted teeth, and everything comes across loud and clear. “Riding in the Flatlands” is a great song that moves at a mid tempo, telling the tale of life after the bomb drops. The perfect song for driving through the streets late at night. The whole record is perfect, actually. One of those records I can put on in twenty years and get the same rush like I did the first time I listened to it. –Matt Average (Patac, patacrecords.com)

Skutki Ubonczne: 2 x LP
One impulse in DIY punk rock circles is to go for the obscure because there is safety there. It’s safe because the odds are heavily against a larger audience, and with that, the lessened possibility of widespread exploitation. The obscure can be a highly regarded secret. You know the story. Thousand-dollar 7”s. Publications that laude intimate knowledge of those obscure bands, their knowledge measured by the cache of exclusion. (i.e. “I have this. You don’t. I’m better.”) And don’t get me wrong, I love a lot of stuff that happens to be obscure, not because it’s obscure, but because I think it’s freakin’ great and underappreciated. El Banda is a current Polish punk band. They’re melodic. They’re hardcore. They’re much more than that; adventurous as shit. They have been one of my favorite bands during the last couple of years. Since they sing in Polish, the chances of them becoming popular in America is minimal (which is a shame). With Side Effects (all the lyrics are translated in a gorgeous gatefold with full-sized inserts in both Polish and English), El Banda have put out a dark, epic, “you’re in their world now” concept album. The four album sides are broken into suites. Its pace is more varied than their previous LP, Przejdzie Ci el Banda. It’s more like a hand-held drill that slowly twists into the cranium, splitting skin, cracking skull, worm-driving deeper and deeper. Bleak. Weathered. Wintry. Murderous. It’s like you, as the listener, are slowly dissolving into the acid of the record. I’m going to enjoy soaking in its notes for years to come. (Fucked Up’s Hidden World comes to mind when I listen to this.) So, I’m willing to stake a lot on this record and this band because they reaffirm that punk’s as strong, as adventurous, as crucial, as meaningful as ever. And I’d bet you a dozen donuts that their own locals don’t know how good this band is. Yet. I rarely give advice, but don’t sleep on El Banda. It’ll get expensive if you do, and I’m not talking about the money. –todd (Pasazer)

Would Like a Few Words with You: CD
Formerly named Fuck It, We’ll Make Our Own Helicopter (the one from Saskatoon, not Philly. The Philly one won the lawsuit, then became I Can Make A Whole Row Of Thirteen Year Old Girls Cry Until Their Shirts Are See-Through), Egghead is three loveable dopes. Okay, not dopes. That’s not fair. Dorks. Geeks. Nerds. The ones that get shit done. The ones that are now being productive members of society after college, just like Revenge of the Nerds promised. And although I’m going to say pop punk™, then take it back, and put it back in like the hokey pokey, it’s all true. 1.) Egghead are pop punk in the fact that they play punk rock that’s poppy. (Like catchy Flag Of Democracy.) The two main vocalists, John and Johnny, have prototypical pop punk voices. Sorta whiney. Sorta snotty. Sorta strained. “Good/not-really-good” voices, like Ramones not-really-good, not Genesis/Styx/Tarkus “good.” Their voices, up in the mix, may be a hurdle for some. 2.) Egghead aren’t pop punk™, in the sense of the diminishing returns pop punk™’s been seeing the last ten years, where instead of bands only capable of replicating a single Ramones song for their entire catalog, far too many pop punk™ bands are now doing that to either Screeching Weasel or the Queers. Egghead’s focus is too far broad for such tracing paper chicanery. I scoured this thing. No bubblegum references. Sure, there are songs about girls, but the predominant one has the refrain “My daughter can fuck up your daughter.” 3.) Egghead, really, are pop punk in the rich history of Stiff Little Fingers, The Dickies, and a suburban-parenting version of Sloppy Seconds. They mix in speed and style shifts of a band that couldn’t care less about the fragile, ephemeral, ever-smaller boxes pop punk™ seems more than happy to squeeze into these-a-days. It’d also be safe to say that fans of The Dead Milkmen and the bright spots in Camper Van Beethoven’s catalog will find a lot to like in Egghead. I’m definitely a fan. –todd (Knock Knock)

Dirty Rotten: LP
Dirty laundry time. When I was in high school, a couple years after I’d discovered punk, the DRI logo was one of the easier logos to draw: the pedestrian dude running, inside of a circle. I got a jean jacket from Goodwill. I bleached the back panel, then painted the logo. Not satisfied with its punkness, I also found a tan leather dress jacket. I cut the sleeves off the denim jacket and tried my best to sew on the tan arms of the leather jacket. I couldn’t ever get it right. Every time I raised my arms, I’d rip the seams. So, after a lot of not getting it right, I tore the sleeves off and wore the sleeveless denim jacket. It was about a year before the bleach ate through the entire back of the jacket and it totally disintegrated. I got my fair share of crap for that ratty jacket. Why the fuck am I telling you this? It’s good to know that DRI’s Dirty Rotten twenty-two-song EP (originally on 7”) fared much better than my stupid jacket from twenty years ago. When I first heard DRI, I could understand only a couple of their lyrics. I knew I was getting blasted in the face and that they hated Reaganomics and nuclear war. That was good enough for me. We parted ways with Crossover, but I’ve got no ill will. They helped me through a difficult transition and were a great soundtrack to punching holes in walls of my adolescence. Thanks, BeerCity for making a great-to-look-at, true-spirit-of-the-original reissue. –todd (Beer City)

Dealing with It: LP
A vinyl reissue of DRI’s second long player (or their first LP, if you consider its predecessor merely a twelve-inch repress of their Dirty Rotten EP 7”, no matter what its covered said), wherein Kurt and his Imbeciles cleaned up the recording process and tightened up the playing all the more, yet didn’t let up on the throttle one whit. Here they took the speed and brevity that got them all the attention in the first place and honed it into something wholly original—there was no shortage of lesser bands cranking shit out just as fast, but there was no mistaking a DRI tune when they came on in a given rotation. Some think of this as that “bridge” record between DRI the punk band and DRI the metal band, and there are no doubt legions of fans who will vehemently disagree with me, but I prefer to think of it as the last truly great thing they’ve released to date, ‘cause that slide into “crossover” metal was just plain bad and I’ve yet to hear anything from them since that comes close. –jimmy (Beer City)

Expect the Worst: CD
These dudes are like the Gallo wine of punk rock. With the passing of time, they just get better and better. Orson Welles would be stoked. Great songs, cool song titles, and hummable melodies stock this record up to the brim. “Public Domain” sports a great chorus while I’m hoping “Dick Simmons” is about a certain asshole bass player. But maybe not. There are two songs about dates, so you know these guys are pretty deep. And “3244” is the best number song since “2541.” So go out and buy this when you see them on tour, which I will be doing next week. –koepenick (Paper & Plastick)

Pure Hate: 7”
Do you remember a time when thrash didn’t equal metal? I do, and I can guarantee that Dogends do, too. This E.P. dishes out the flipped hat skate thrash like it was 1985. I’d go out and bust a boneless one on the curb if my back didn’t spasm at the thought of it! Oh well, I’ll keep listening to this and dream about when I could still skate. Good job, boys! –ty (Flat Black)

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