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Record Reviews

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Below are some recently posted reviews.

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DEZERTER:
Underground out of Poland: LP
I don’t think I have listened to this since the late ‘80s when this was originally released by Maximum Rock and Roll. It was part of my brother’s collection and I think I had moved out by that point, so I didn’t get frequent listens. It’s so long out of print, I don’t think I actually have seen a copy pop up too often in the used bins through the years. Like most good things, someone saw the importance and reissued this. It’s good to hear this again. It definitely has the sound of many eastern bloc countries of the time who interpreted punk from smuggled cassette tapes that they got from tourists and through the mail. You can tell that a lot of what was influencing them was the punk out of the U.K.: simple and straight forward mid-tempo punk. But what captivates me from that time period was that they even pulled off recording. You can hear the crude recording production but also you can hear the magic that was captured. It is what it is and more important that it is being documented. It’s not like today where it’s so easy to record on a computer and get great recordings. Glad that history is not forgotten and made available for both newcomers and people who missed out to be given the chance to hear this. –don (Nikt Nic Nie Wie)


DESPITE ALL THIS:
It’s All Worth Fighting For: CD
More of the Woozley Farm/Sharpie Fumes Collective kids get together—Starla and Brad Religion and all the rest. Names I’ve read probably a dozen times from half a dozen different bands I’ve reviewed over the years—or at least it feels that way. It’s more scrappy, sing-a-long punk shot through with hope and tenacity and a stubborn unwillingness to give in. Like The Wild if they sloughed off the banjo and Americana leanings, or Shotwell if they had male and female vocals. Or maybe The New Dress if they veered a bit away from the solemnity. Good work, and heartfelt. –keith (Despite All This)


DEFIANCE, OHIO:
Midwestern Minutes: CD
Defiance, Ohio seem smart enough to know that they’re dancing on sharpened swords. They see that the edges are honed and so shiny they’re reflective. These swords can be melted down into plows that will irrigate future fields of highly productive records that’ll bloom bountiful and beautiful. They also can see that these swords can be turned into guillotines. Or can remain swords and people get stabbed and gutted and beheaded by swords. Oh, folk punk, what a mistress, what a double-edged sword. Defiance, Ohio are dancing on the sharpened swords of folk punk and they’re one of the best bunch of dancers on the planet right now. Do they supersede a made-up label—that they didn’t ask for—slapped to their side like international luggage going through customs? What do I know? I know that Midwestern Minutes is a well realized record that’s super duper pleasant, played with traditional instruments and high levels of conscientiousness and preciousness. –todd (No Idea)


DEFEKTORS:
The Bottom of the City: LP
Wow! I have the two singles, and they’re pretty good, but this album totally surpasses any expectations I had towards these guys. The music has become more urgent and direct, shedding some of the instrumental touches but gaining more power. There’s definitely an early Wipers influence in the music, with the jittery rhythms and skirting the territory between punk and post punk. The influence is really apparent on the “Burning Light,” which goes off into “Youth Of America” territory with its duration and surf guitar sound. Songs tend to stay in the mid-tempo range, but can get really lit up, as on “Kickfirstone,” which starts off much in the same way as the others, then it’s fast and in your face. Head on over to the last record store in town and get it. –Matt Average (Nominal / Grotesque Modern, recordsnominal.com)


DEAD MECHANICAL:
Addict Rhythms: CD
Second record from this Baltimore trio. So many things spring to mind while listening to this recording. Since the band has two primary singer/songwriters, I tend to think of bands that reached for the brass ring and got it like Hüsker Dü and Mission Of Burma. Not because Dead Mechanical sounds like those bands. Just that the inner dynamic of having two writers/singers in the band just takes it into the upper stratosphere of excellence. Plus, bassist Dan Bress co-writes on a few tracks, proving he is a step above Greg Norton. But seriously, on some tracks here the vocal interplay recalls Fugazi at their fiercest, but without being overly preachy at any point in time. Guitarist Lucas Carscadden’s brittle vocals and guitar lines mesh so well with drummer Matt Dorsey’s drum patterns and subtle vocals that you may not even notice it until it’s too late. Then you will never get Addict Rhythms out of your head. This is an excellent situation to be in when all is said and done. –koepenick (Traffic Street)


D.O.A.:
Talk-Action=0: CD
The fact the album title is a retread notwithstanding (previously used, albeit in a slightly different form, for a live album they released some years ago), I am pleased as punch to say that this, this, my friends, is a release worthy of the DOA name. Sure, Dimwit, Biscuits and the “classic” lineup(s) are missed, but Joey ‘n’ his latest batch of cohorts dish up some tunes that sound like DOA: zippy, catchy yet abrasive, topical but not preachy, rough yet tempered with their signature snotty charm. The second half might not be quite as consistently strong as the first, and there are a couple of spots where their later “rock” sound sneaks in, but you’ll be hard pressed to find an original here that flat-out sucks. Nice to see, and hear ‘em, back in fine form and without all the bad ska in tow. –jimmy (Sudden Death, suddendeath.com)


D.I.S.:
Critical Failure: CD
Formerly known as Destroyed In Seconds in their infancy, this band changed their name prior to their debut with the shortened initialed version of their name. Appropriate, since the musical stylings are influenced by Swedish d-beat with a heavy overtone of metal. A band also has a heavy-hitting roster of former and current members of Phobia, Eat The Living, Mange, Exhumed, Intronaut, and Semtex Vest. Sonically, the music is pure anger that is loud and thick. Seeing the band live on many occasions, they blow you away since they bring along plenty of amplification. On this debut, they were able to replicate that loudness and power that they have in their live shows. Production is top notch without sounding sterile. Levels seem to be all in the right place so that not one person is being drowned out. If bands like Skitsystem or Wolfpack/Wolfbrigade tickle your fancy, this band should satisfy your taste buds. –don (Deep Six)


CONGA FURY / SHITSTORM:
Split: EP
I had the extreme pleasure of seeing Japan’s Conga Fury play at a place called El Taco Nazo in Pomona, California. I was definitely much more interested in many of the other bands playing that night and was curious to see Conga Fury. But I had no idea about the treat I was in store for. The four songs on their side of this split are reminiscent of their live set experience: loud, distorted fastcore with awesome, distinct vocals. It’s been a few years since I’ve heard anything about CF so I’m definitely glad they’re still around and screaming. Shitstorm have definitely picked up on the lessons contained in their Assuck and early Napalm Death records. And that’s a good thing because it seems as if there aren’t too many grindcore bands these days that can follow the simple formula of short, fast, and chaotic. Throw in a picture of some third world kids smoking weed with rocket grenades on their shoulders and you’ve got yourself a winner. –Juan Espinosa (To Live A Lie)


CZOSNEK:
Sometimes: CD
Back when I was a wee lad reading Thrasher Magazine and just getting into punk rock, I was like a sponge trying to absorb everything I could about it. There were always lots of bands featured in the magazine I was dying to hear. There was one ad that used to run in every issue for a compilation called World Wide Punk and the artwork was an angry punk rocker with a globe for a head sporting a big mohawk. It claimed to have bands from thirty-three different countries. I never managed to get my hands on the comp., but I’ve got to say, it was the first thing I thought of when I listened to Czosnek. This Polish (I think) band is exactly what I expected the bands on that compilation to sound like. Angry and desperate. I am a firm believer that hardcore is that much angrier when screamed in a foreign language. I love that I can’t even begin to pronounce the song titles but they thoughtfully translate the liner notes into English for me. Yep, they’re angry punk rockers, all right. They’ve probably got more to be angry about than I could ever imagine. I, for one, am glad that they decided to put it to music. Of the two vocalists, I prefer the female to the male. He’s too growly for me and she is perfect. I love this disc. Now to search out World Wide Punk to see how it compares. –ty (Nikt Nic Nie Wie)


CLOROX GIRLS:
Demos, Rarities & Early 7”s: Cassette
I had to take some large steps back when these guys first came out. I remember buying their first LP amid all the hype that was heaped upon them by some starved folks supposedly in the know. It was okay, but nothing earth shattering. The hype put them at a dangerously high level they had no way of actually living up to. Some years later, I get this for review and after the dust has settled, I can fully appreciate the Clorox Girls, and sort of understand the initial hype. I can’t tell you which early 7”s are on here, or what’s rare, but I can tell you this stuff is pretty damn good. Punk rock with a great rough recording that gives the songs some serious bite. They can be tough and dirty with songs like “Hitman” then suddenly blow you away with some power pop, like “Eva Braun”, and “In My Mouth.” The songs on the second side have a bit more refined quality about them, but still retain the teeth of the early material featured on side one. I’ll hang on to this tape forever, perhaps. I kind of wish I would have kept that first album... –Matt Average (Burger, burgerrecords.com)


CLASS OF 1984:
Self-titled: CD
Sometimes you have to go backwards to move forwards. This is surely the case for Victoria B.C.’s Class Of 1984. Playing fast paced skate punk is one thing, but adding the old school flavor really puts the icing on the cake. Being from my town, I know that these guys have been skating and punk rocking in one band or another since about 1984 and their experience shows. Great songs with very Kevin Seconds-esque vocals. I could see myself listening to this when I’m at the skatepark not skating. –ty (Bullitt)


CHICAGO THRASH ENSEMBLE:
Self-titled: 12” EP
The name of the band says it all. Consisting of members from various Chicago-area bands (Authority Abuse, Hewhocorrupts, etc.) make up this group, er... uh, ensemble and crank out thrash metal that’s not ironic or nostalgic. Instead, this stuff is a wall of sound with pummeling drums and crunching guitars topped off with strangled vocals. All fast and no slow, so don’t expect “Doom Noise” to slow down into Sabbath territory. Who is Dennis Thorneater? –Matt Average (Plastic Airlines, plasticairlines.com)


CAT PARTY:
Heartache over Headache: 7” EP
I understand there’s little justice in this world when it comes to music, but if one out of every ten people who own a Joy Division or Bauhaus T-shirt gave Cat Party one listen, I’m absolutely certain the pressing of this record would sell out in a week. Cat Party play icy, bleak, exposed wire post punk on par with the best of prime Factory records… and playing in an almost absolute void. –todd (myspace.com/birdsofpreymusic)


CASPIAN:
Tertia: 2 x LP
It’s interesting how music affects your state of mind. It’s like drugs or alcohol. If you’re willing to give yourself over to music, some interesting things occur. Caspian play instrumental music very similar to God Speed You Black Emperor. It’s as quiet as it is loud. At times the songs are driving and soaring with the guitars going full blast, then other things get introspective and pensive. There’s an innocence here as well. Though it’s not pure. There’s a forlorn tone, and yet through it all there’s a feeling of hope and closure. I have sat and listened to this record, really listened to this record, for a few nights. These songs take over and haunt my thoughts. Everything on this album is connected. There is no random assortment. You’re taken from the beginning of “Mie” all the way through to the final “Sycamore” which ends with only the drums and a sense of things opening up at the end. Listen to this one in the dark. –Matt Average (The Mylene Sheath, mylensheath.com)


CAPTAIN, WE’RE SINKING:
It’s a Trap: 7”

Four songs of driving emo-punk. Two vocalists who push it harder than the instruments. They mix the beery weariness of old Hot Water Music and Planes Mistaken For Stars with Dillinger 4’s ability to pile on complicated parts without losing the catchiness. Sounds like summer to me. I do wish they’d included some lyrics on the incredibly ugly cover, because I want to know what a song called “Crushed by Milwaukee’s Best” is all about.

–CT Terry (Kind Of Like, kindoflikerecords.com)


CAPTAIN BLACK NO STARS / RASTA4EYES:
Split: CD
Captain Black No Stars and Rasta4Eyes are both British bands playing third-wave ska. I am not well versed in the current ska scene (I don’t know which wave we are on), but it is well produced with lots of bass and on par with the Moon Ska sound (as well as I’m familiar with it). Each band has horns and the song titles containing words like “dub” and “herb.” I looked up the record label and it appears to me that Do The Dog is out to keep the sound alive. Seen? –Billups Allen (Do The Dog)


BLACK WINE:
Self-titled: LP
Man, I’ll totally admit to liking grunge before it got a name, around ‘89/’90. The basic idea was take Black Sabbath and Black Flag, fuck around with it, and wocka wocka, new takes on what was mostly becoming stale hardcore or “maybe this Sunset Strip butt rock isn’t so great to jump onto right now” bands. (Fugazi and Big Drill Car being quick-to-remember exceptions.) It wasn’t punk rock’s proudest hour, to be sure. But, through a distillation process, Black Wine are celebrating the good stuff of what would come to be labeled as grunge. I imagine Jeff Schroeck’s brain to be like that vodka still in TV’s M.A.S.H., taking simple potatoes and making rocket fuel. For the precise, direct heat on the record, I imagine Miranda Taylor’s drumming like a Bunsen burner. It’s also far from ponderous shoegaze and that’s evident in the “Mmmm, delicious stew!” bubbling of J Nixon’s bass. Black Wine are somehow able to arrow through the bummerisms of early ‘90s “we’ll wear our hair down and put away our dude makeup” rock, shake out all the dubious shit, and reveal these shiny, glistening gems. It feels like I’m listening to Tad doing a duet with non-”Ouch! Hot stove of oppression!” Babes In Toyland. This is a sneaky record in a musical world rife with landmines. I look forward to future listens. –todd (Don Giovanni)


BOMBON:
Las Chicas Del…: LP
It’s a bit of a shortcut to say “Surf rock done by three ladies,” but it gets us to our destination quicker. It’s a shortcut to say “surf” because there’s some really nice horn work that lends to a fantastic spaghetti western vibe on a track. It seems like there’s something pretty major going right beneath the waves besides tons of reverb, an organ, and an affection for The Ventures and the 5,6,7,8’s. Since it’s been over a decade since we were last awash in any sort of surf revival tidal wave, I’d throw mid-period Man… Or Astroman? into the mix of comparisons. Bombon aren’t afraid to add space, landscape, soundscape, and breadth to their songs. Las Chicas… is pleasant as all hell and a good record to put on when you still want to talk and not yell, but still have a great time, set a mood, and hang out with a bunch of folks. Movie soundtracks of the future, watch out. –todd (45 RPM)


BODIES, THE:
Angel on the Nine: 7”
Seriously, how long have The Bodies been promising a new 7”? Eight years or so, I think. I never thought the day would come, but here it is in my hands. I’ll tell you this: It would be easy to think that these two songs were recorded way back whenever they released something last. They sound exactly like they did a decade ago. The good news is that is the BEST THING EVER! I love The Bodies so much! The bass-driven songs that bounce around in your skull for weeks at a time and you don’t get mad about it. Abe’s vocals jumping all over it, rattling with precision. The shout-back choruses... THE BODIES ARE BACK! Now let’s have an LP, preferably before I start collecting my old age pension. –ty (Modern Action)


BROOKHAVEN:
When the Chorus Walks: CD
You know that scene in High Fidelity where John Cusack catches those thrasher punks stealing stuff, and its all like, Sigue Sigue Sputnik or whatever? Okay, now pretend it was Yo La Tengo and Tristeza records. Then at the end when the party’s bumping and they finally play, it’s just horribly boring shoegaze not nearly as good as the aforementioned bands. You find yourself skipping ahead to the part where Cusack (aka Nick Hornby) wraps up his defense of mediocrity as love, but you just can’t get there. You watch in bored horror for a minute at a time then skip ahead, but never get to it, not even a single lyric. It’s like that, and it took them two years to record it. –Rene Navarro (Expel)


BLACK TRIANGLES:
Mannequin: 7” EP
Rusty-knived hardcore. Chipped-tooth, chipped-concrete hardcore. Angry Samoans without the dick jokes hardcore. Melodies-in-anguish hardcore. Staring-into-the-void and we-like-Void hardcore. This 7” sounds like it comes with its own jail, abusive security guards, and swinging batons. Watch the bruises go black. –todd (Stress Domain)


BITTER END, THE:
Fuel for the Machine: CD
I saw the tattoo-style lettering on the cover and thought, “I wonder if this band sounds like Kid Dynamite.” Then I heard the fast, melodic hardcore with youth crew riffs and snotty vocals and knew I was right. The Bitter End is faster, though. More “Pause” than “Never Met the Gooch.” Look through your record collection. If you have more than three albums with tattoo lettering on the cover, you’ll want to look into The Bitter End. –CT Terry (Stik Man, stikmanrecords.com)


BIG EYES:
Demo: CD-R
A young New York/New Jersey trio playing dirty power pop, with a hint of Fastbacks worship (and maybe a Fastbacks cover? I can’t keep track of this stuff anymore). It’s great, I’m looking forward to more, and I’ll say this: Even if other bands I like keep breaking up, only to form new bands like this, I’ll gladly cope. –joe (Self-released)


BASTARD NOISE / ENDLESS BLOCKADE:
The Red List: LP
The Bastard Noise side of this starts out with intense-as-all-hell jazzy drum and bass hardcore punk with what sounds like an oscillator built on a 555 timer IC with a photocell (noise nerd points!) dropped on top of it. The time changes on the opener constantly catch you off guard and keep it interesting. The vocals here are polished and produced and, honestly, sound better than anything on any of the Man Is The Bastard records. The song “Mutant World of Shame” seems to incorporate the analog noise element better than the first two tracks, but it all works together. The best part is that after listening to the first side, you get to flip this fat slab of wax over and hear the Endless Blockade lay down an absolute epic (fourteen minutes!) hardcore track. The band is obviously influenced by Gism (hence the name), but there is plenty of old, angry power violence in their sound and large doses of noise. Endless Blockade use more than just analog circuitry to make up the noise segments, and there is a lot more layering during their noise parts, which adds more depths to the signal. This is a great pairing for fans of completely blown-out, noisy hardcore. –Ian Wise –Guest Contributor (Deep Six)


ATTENTION SPAN:
Faceless People: CD
One of my biggest pet peeves is when a band appropriates a name, logo, photo, cover art, slogan or whatever, from another, often older, band and they attempt to pass it off as their own (exceptions exist, of course, such as when it’s done in parody, satire, or in an attempt at irony). It happens way too often, nothing says “zero creativity” and “we don’t get it” more, and bands that do this shit are automatically working at a supreme disadvantage they often never transcend because said dearth of creativity usually also manifests in their musical output. In this case, the band has taken Fear’s “I Don’t Care About You…Fuck You” sticker, placed their logo over the original and slapped it on the booklet and the CD itself. Seriously, all that work put into a bitchin’ logo and you couldn’t come up with a witty layout and original saying to go with it, or at least cop something that wasn’t so goddamned obvious? By all rights, this should be teeter-tottering on the top of a very high shit pile, but I gotta say, they’ve got themselves quite the band here. Pumping out taut, no-frills Midwestern hardcore with above average lyrics (spelling errors notwithstanding) and enough angry conviction to put them in the running as one of the better bands in this genre, they manage to make it over the line by the skin of their teeth. Kudos to ‘em, but here’s hoping they put more effort into their visual presentation in the future ‘cause they’re really doing themselves a disservice otherwise. –jimmy (Homesick)


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