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Record Reviews

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Below are some recently posted reviews.

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NORTH LINCOLN:
Self-titled: 7”
Side A’s a barnstormer that would’ve fit perfectly anywhere in their final full length, Midwestern Blood. Side B’s got a restrained-then-raucous Gibbons cover (terrific band that also shared an awesome split 7” with these guys a few years back) and a slow, pensive number that closes things out. That last song really tends to color things with a bit of solemnity to it when you consider that this may be the last thing this now-defunct band ever releases. These guys—especially their later stuff and especially for a three piece—frequently managed to pull off a kind of, I don’t know, emo with muscles, you know? There were buckets of raw emotion in the music these guys laid down, but it was all wrapped up in a frayed coating of duct tape and peppered with shards of safety glass. I don’t know. Great band, pretty good last vinyl outing, if that’s what it proves to be. Bummed that I never got to see ‘em live. –keith (Kiss Of Death)


NOFX:
Cokie the Clown: CDEP
There are five songs on this EP. “Cokie the Clown” is top notch NOFX musically, but has some stupid lyrics about… a drug addict clown. “Straight out of Massachusetts” is a full band reworking of a song Fat Mike did acoustically for the kid’s show Pancake Mountain. It’s all right, but the novelty of the lyrics wear off pretty quick after the first listen. “Fermented and Flailing” and “Codependence Day” are two more rather interchangeable songs where Fat Mike sings about how cool it is to be a drunk and/or drug user. He really needs to stop going to that lyrical well because it’s sounding lame at this point. Finally, “My Orphan Year” is an acoustic reworking of the same song from the Coaster album. This actually may be the high point of the EP. The lyrics about the year Fat Mike lost both his parents are surprisingly heartfelt and serious, at least as far as NOFX goes. All in all, I would say this is two-and-a-half out of five. –Adrian (Fat)


NO BUNNY:
Raw Romance: Cassette
The introduction to this tape is the scene from Buffalo 66, where the dad lets himself get talked into playing his tape, then—boom—the beautiful rock and roll is delivered from No Bunny. Always right on time, always ready to party and blow the roof off a dive bar in Tijuana or a backyard near you. This definitely shows a lot more early ‘60s lo-fi rock and roll feel than the earlier ultra-Ramones influenced stuff, yet even the acoustic tracks really carry that strong fun energy. Fun lyrics, fun music, fun fun fun. –Rene Navarro (Burger)


NEW MEXICO, THE:
Inductive Reasoning: CDEP
Hell yeah to The New Mexico’s ability to spit out five songs in a little more than eight minutes. They actually could have skinned the fat off of their first song that has a 45 second intro of drums and then guitar following the drum beat. The highlight of this CD is the tune “Benjamin’s Cause,” where these guys splice a few seconds of radio friendly buttrock as an introduction and then the tune emerges with a pulled needle sound, then The New Mexico slam into their hardcore diatribe against such poser music. These guys know how to flawlessly lock their guitars in step with the drums to deliver some four chord punk. They sound like there’re influenced by the early ‘80s SoCal punk stuff like Youth Brigade. They’ve got some high energy, well-played tunes here. –N.L. Dewart (Live Nasty Dynasty, louisvillehardcore.com)


MONOTONIX:
Where Were You When It Happened?: CD
I caught this Israeli three-piece at the Knockout in San Francisco with Triclops! over Thanksgiving weekend about two years ago and was impressed by the wild man antics and stage show put on by the nearly naked, hirsute, and mustachioed front man, Ami Shalev. Singing atop the bar, pouring candle wax into his underpants, shooting fireworks out of his ass, it was certainly a sight to see. Didn’t actually remember much what they sounded like before picking up this here CD out of the review pile at HQ. What we have here is sort of a missing link between the doom and sludge of later Flag albums like Loose Nut or Slip it In, the head banging lumberjack big fuzz of Mudhoney’s “Touch Me I’m Sick,” and Nirvana’s Bleach:sharp blasts of rip roaring rock and roll interspersed with heavy jams that trudge along like clockwork. And for a band with no bassist, there is some serious groove to these tunes. As well, they do a nice job of filling out the sound; no emptiness or hollowness to the recordings. Definitely a band worth seeing live. And when they come to town, pick up this record. It’s worth your hard-earned dollars. –Jeff Proctor (Drag City)


MOJOMATICS, THE:
Another Cheat on Me: 7”
“Another Cheat on Me” is a nice garage rock stomper that’d make Jack White shake in his boots with envy, while “Down by the Graveyard” has a bit more of a country feel to it. Nice bit of diversity in evidence while still keeping things close enough sonically that one sounds like a natural progression to the other. –jimmy (Douchemaster)


NERVOUS SYSTEMS:
Needs Medicines: LP
This sounds like something I would have heard in the late ‘80s, early ‘90s. Very much like something you would hear on Slumberland Records. Nervous Systems have a sound that’s a mix of post punk with synths, indie rock, and shoegazer music. There’s a familiarity about the sound, though I can’t point to any direct influence. The keyboards have a cold tone that floats and hangs in the air. The guitars hammer and churn; at other times they sound forlorn. The vocals took a couple listens to get used to. But the music is really good and has enough of a dark atmosphere for this to work properly and keep me listening the whole way through. “Sleeping Arrangements” is the definite standout song on here. The vocals sound very similar to Bernard Sumner, the music is slightly darker, and the lyrics about letting go are the best of the bunch. “Mains Hum” is a strong contender as well. These two songs would have made for a spectacular single. –Matt Average (Obscurist Press, obscuristpress.com)


NATURE BOYS:
Self-titled: CDEP
Lo-fi, muddy, and raw, this demo sounds like it was recorded in abandoned factory. “Scary Larry” will keep you up at night for many moons. But somewhere along the way I got lost. This shows promise, but I need more cash up front gentlemen (and miss!). I would like to know where you got these kick ass CD-Rs that look like vinyl on the back. –koepenick (Self-released)


MYELIN SHEATHS:
Self-titled: 7” EP
Wow, they sure ain’t afraid to cover a lotta ground. On the four songs here, they manage to touch bases in trash rock, art-damaged sludge rock, girl group fodder, and even throw in a moody, surfy instrumental for good measure. Mighty impressive and pretty danged good. –jimmy (Bachelor)


MODERN ACTION:
Self-titled and also Radioactive Boy: 7”
Another thing to thank punk rock for: its stubborn refusal to let the seven-inch single/EP format go the way of eight track tapes. The strength of the medium is that each release ostensibly forces a band to plop down at least one of their A-grade tracks for a given release if they have any desire for anyone outside their immediate group of friends to pay any attention to ‘em. The most memorable singles often had two A-grade tracks, and it appears this is a tradition Modern Action has paid close attention to not once, but on both of its first two singles. Four tracks of choice punk rock here, tight and wicked catchy, and though it’s clear they could’ve fit a couple more tunes on the second single given its brevity, they’ve wisely left listeners barely sated and hoping they don’t break up or fuck off for a couple of decades before dropping release number three into their laps. –jimmy (Modern Action)


MK ULTRA:
Discography: 2xLP
MK Ultra existed pretty much all through the ‘90s and released a series of splits and songs on compilations before calling it quits in the early 2000s. The band might not get the attention and reverence of their Chicago peers Charles Bronson and Los Crudos—and MK Ultra were admittedly less prolific than both—but they were at least as good as either. And for the time being, they’re the only band of the three that now has a proper “best of” properly committed to vinyl. This is an epic fifty-five songs, plus a live set from the Fireside Bowl that’s spread across two LPs. The songs are arranged in reverse chronological order, so you get to hear the band dissolve from the straight-forward Chicago hardcore of the late ‘90s (with Ebro of Bronson/Crudos fame on the drums) to the early days of heavier, Born Against-inspired hardcore with their original drummer. I liked the older stuff better, but that’s just me. The packaging is excellent and comes with a massive pro-printed book that reprints a good bit of the artwork and lyrics from the records as they were originally issued. –Ian Wise –Guest Contributor (Youth Attack, ihateyouthattack.com)


MICKEY:
She’s So Crazy: 7”
From the grimy north side streets of Chicago comes Mickey, a ramshackle five-piece rock’n’roll band who deliver a swaggering blast of glittery gutter glam and an earnest “this is who I am, warts and all” ballad. “She’s So Crazy” is damn near perfect: a maddeningly catchy guitar hook, bouncy bass line, superb drumming, and vocals, a la Mac Blackout, that sound far crazier than the accused “She” in the title. The desperate obsession of the chorus seems to indicate that maybe, just maybe, the singer is projecting his insanity onto his object of desire: “and when she walks in the room/I go into a trance/if she would just give my love/just give my love one chance/but I ain’t stalkin’ and I ain’t stuck on you.” What does stick is this tune. In your head. For weeks. The B side, “I Am Your Trash, I Am Your Man,” sways along sweetly while the lyrics detail the heel-like behavior of the singer. He talks about drinking, getting into it with his girl, being rotten and not understanding why she loves him, finally exploding with the defiant proclamation “I am your trash/I am your man.” A touchingly menacing masterpiece. –benke (Horizontal Action)


MESS FOLK:
Something I Remember: 7”
Great single. I can always depend on HoZac to deliver great, trippy punk rock with their roster of The Functional Blackouts, Wizzard Sleeve, Woven Bones, Blank Dogs, et al. And, sure enough, Mess Folk fit right in, as they tightrope walk the fine line of weird punk, combining meandering drone-y vibes with really tight corners and sharp edges. They have a messy feel, like each member is working out their own take of the song with singing washing over it all, and it really works. Phillip Tarr is the mastermind of the band, starting it as a solo project that has morphed into this group. Mess Folk hails from Sydney, Nova Scotia, appropriately known for toxic waste dumping. Canada breeds some great punk, but Nova Scotia grows a special strain of noise. –mike (HoZac)


MDC / RESTARTS:
Split: LP
MDC: Nothing tops the Millions of Dead Cops LP for me. That record is as equally powerful today as it was when I first heard it when it came out. Only the Multi-Death Corporations 7” came close. I have to admit that everything afterwards has just been okay with me. This, surprisingly, sounds real good to me: charging punk rock that they basically wrote the instruction book on. The only thing I wish is that the guitar sounded heavier. They are a bit clean for my liking. I would put this as number three on my list for their output. Restarts: I tend to favor this side of the record from these U.K. punks. This side definitely got more repeat listens. I remember first hearing them off their System Error CD that Havoc Records put out awhile back. UK82 meets today without sounding like a carbon copy. They continue that tradition and what stands out for me is that they still know how to carry a melody. They play songs that are catchy and infectious, yet still know when to put forth some aggression. This side gets my beer-raised salute. Overall, a good release. I did like the record nerd touch of the vinyl being split brown and white, matching the color scheme of the cover. –don (Rodent Popsicle)


MIGHTY HIGH:
Drops a Deuce: 7”
Surprisingly rockin’ and muscular for a band that professes such love of marijuana. The A side, “Cable TV Eye,” is a solid rocker, and the B side, “Hands Up!” is a live track that’s live in the sense that Kiss’s Alive II (or was it Alive?) was live. Musically (and artistically, for that matter, looking at Bjerke’s cover art), this record is like the art of Robert Crumb meets that of Peter Bagge: groovy ‘60s psychosis meets a hard-edged ‘80s and ‘90s aggression. I liked it. –The Lord Kveldulfr (Mighty High / Mint Deluxe)


MINDS, THE:
Knifed: 7” EP
What a difference five or so years make. Half a decade ago, it was a three-way sprint between the Epoxies, Briefs, and Spits to the swirling vortex of the middle of my record player’s spindle. The Minds were that perfect vanilla/chocolate/Crustie-O’s swirl of the Epoxies’ ray-gun synthesizers, Spits’ fiery, fungusy snot, and Briefs’ duffle bag of tight-fitting hooks. When punk was beating up new wave, then putting its arm around it, giving it a too-close hug, then taking another close punch. Well, Cerra Bella Palsey, Bobby Brains, The Cortex, The Thinker, and one of my favorite bashers Mikey Mind (aka Bloodbath and Beyond’s Mikey Napkin) haven’t mellowed, haven’t tamed any demons, and come out like a Moog on fire while casting sharp-hooked lures into the eyeballs of their audience… and that’s a supreme compliment. (If you can find it, The Minds Plastic Girls full length is well worth your time.) –todd (Plastic Idol)


MARKED MEN / THIS IS MY FIST:
Split: 7”
This Is My Fist: Gave these kids a spin ‘cause, let’s be honest here, they’re working at a severe disadvantage being coupled with the band on the flip of this and I wanna give ‘em the fair shake they deserve. “All That Is Wrong” is a nice’n’solid, catchy bit of punky pop. “Bad Seed” starts off at a gallop then slows things down a bit midway through, with a structure a bit more complex than most. Can’t remember if I’ve paid much attention to ‘em before, but plan to do so in the future ‘cause this is some good stuff. Marked Men: At this point I seriously wonder if there’s any praise left for these guys that hasn’t already been heaped on them. If you happen to be one of the three people on the planet that has yet to hear ‘em, they specialize in a brand of frantic pop that sounds butt simple until you either try to play it yourself or really pay attention to what’s going on and find the treasure trove of obscene hooks buried deep into every note. Two tunes this time ‘round, short, to the point, and so catchy you almost wanna beat ‘em up for being too goddamned good. I once proclaimed ‘em god, and this doesn’t sway that opinion one iota. –jimmy (No Idea)


MANIX, THE:
Van Activities: 7”EP
In this post-Rivethead / Banner Pilot, Dear Landlord-ascending world with the Dopamines peeking over the cinder block wall like Kilroy, The Copyrights’ show the previous night still ringing in the air, and Jesse Thorson driving the van telling them of all the things they’re doing poorly, The Manix Minneapolis-icity/Midwestern pop punk-isms are undeniable. They play ball bearing tight with no irony in sight: songs about the simple life and the nine-to-five version of death that so many Americans punch themselves in the face with every day. The dividing line between “Yeah, it’s all right” and “Flip it over. Play it again,” in pop punk is the thinnest of lines if you’ve been listening to it for more than five years. The Manix have both the compressed “we’re in it together” feeling and that electrical spark that keeps on zapping through all four songs. Well played. –todd (Whoa Oh, whoaohrecords.com)


MARVELOUS DARLINGS:
“Teenage Targets” b/w “Lagoons”: 7”
(The following is inspired by the atomic testing photos on the b-side of the 7”.) In 1956, Howard Hughes produced a movie with John Wayne playing Genghis Kahn called The Conqueror. Huge-ass budget. Big-ass stars. Rich-ass dudes. Think of this movie as the major record industry, 2007. They had everything going for them, but the movie was a dismal, almost unwatchable failure run by people who believed they controlled the universe. The Marvelous Darlings are the antithesis of that. They’re a small band, hugely talented, that have fused power pop and glam seamlessly; this time reminiscent of the warm smolder of early Kinks. The Conqueror was filmed in St. George, Utah, downwind from another group of people who believed they controlled the universe: the United States government. The deleterious effects of Operation Upshot-Knothole’s above-ground nuclear testing would go on to infect a little under half the cast and crew of The Conqueror who contracted violent, aggressive forms of cancer via radioactive dust that fell all around them during the filming. (They also carted tons of the dirt back to the studio for close-ups.) So ask yourself this. You wanna give a second listen to the forms of mega powers that’ll kill you (large corporations, stupid large-stage bands, “officials”), or do you want to do your own diggin’ for audio gold in your own mine? Marvelous Darlings deserve your attention, as does Plastic Idol Records. –todd (Plastic Idol, plasticidolrecords.com)


MANIPULATION:
Self-titled: 7”
Five galloping, rampaging, crusty hardcore blasters from some super-old people in Chicago. I tend to think of hardcore as the domain of people ages roughly sixteen to twenty-four, but, lately, a lot of the stuff I’ve been liking is played by rockers who are twice that age. Case in point: Manipulation. At least sixty percent of this band is over the age of thirty, and they’re still so pissed. It’s awesome, because I’m pissed too! For those of you keeping score, this band features Jordan from The Pedestrians, Bryan from Chronic Seizure and Waffle Annie from This Is My Fist. –CT Terry (Fashionable Idiots, fashionableidiots.com)


MAD TRUCKER GONE MAD:
Self-titled: CD
Driving (no pun intended) power punk with a moderated psychobilly and hillbilly bent. Strong choruses, crisp musicianship. Hailing from Wisconsin, it makes sense that I hear the faintest traces of Rust Belt bellwethers like Chicago’s Three Blue Teardrops and Detroit’s Elvis Hitler. Pat Moriarity art. –thiringer (Crustacean)


LOVE COLLECTOR:
My Baby Goes Waaah!: 7”
Hyper garage punk meets power pop! Yay! I could see this band being on a split with the Marked Men. I could also see myself playing this record at the annual Punk Rock Dance Massacre (an annual Valentine’s Day themed dance party in Minneapolis)! If this were a cereal, it’d be Trix! If you hear this and don’t want to dance, you are lame! –Maddy (Big Action)


LOADED NUNS, THE:
Self-titled: CD
Once I was able to get past the truly appalling cover art, I realized there is a really good band here. Straight ahead, no-bullshit punk rock. Think The Heartbreakers with Cheetah Chrome on guest guitar. But the gritty vocals of Mayo Baltimore (who at times sounds like SOA-era Rollins) propels this band above the pretenders to the throne. Now if they could convince their labelmates The Living Wrecks to reform, I would pay at least ten bucks to see a double bill tour by these two rabble rousers. –koepenick (Zodiac Killer)


LITTLE LUNGS:
Living Hell: 7”EP
When it was happening in real time, I didn’t spend a lot of time with K Records or Kill Rock Stars in the late ‘90s. But, over time, and with great suggestions, I’ve been able to retroactively cherry pick some great stuff that seemed either too sweater-vest-precious, overly hyped, or fragile at the time. And it sounds like Little Lungs has (conceptually) done the same. They sound like a contemporary, punk-spirited band reshaping the candy glass pieces of early Sleater Kinney, Tender Trap, perhaps some of the slower, bubbling bits of Bikini Kill. Think melodies, smarts, and bites that won’t break the skin; from former members of Cheeky and The Latterman. Not bad. Not bad. –todd (Salinas)


LIMBS BIN:
Demo & Live: CD-R
Why, lookee here, boys. We got ourselves one-a them one-man noise bands. You like what you do, boy? You like hollerin’ and making all-a that goddamned racket with your, what’s that thing called? Little Jimmy, get me that piece of paper that came with this feller’s music… Ah, there it is, your Zoom Rhythm Trak 323. The hell is that, boy? One-a them samplers or something? Back in my day we played with bands, son. You got shitfaced with your buddies, forgot all the parts to the songs right before you played but still managed to have a good time because nobody gave a shit anyway. You, you sound like you’re wallerin’ around in broken glass while your little Rhythm Trak makes a bunch-a bleeps and goddamn bloops behind you. Ain’t how we do it here, feller. You look like a decent kid and all that, but those is the rules. So finish drinking your pop there, take your CD-R in your manila envelope and hit the highway. I mean it. I see you here tomorrow I’m teaching you a bar chord, god damn it. –keith (Limbs Bin)


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