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Below are some recently posted reviews.

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Self-titled: 7” EP
This band is actually lightyears tighter and more competent than one’d imagine a band called “The Gay, Gay, Gay, Gay Bonerz” who do songs named “Trees are Bonerz” should be; then again, aren’t boners—er, bonerz—the sworn enemy of “tight?” I mean, in the grand Ro-Sham-Bo of sexual affairs, TIGHT compels MOUTH; MOUTH covers BONER, and BONER wrecks TIGHT. Where do these guys imagine they’ve heard different? And the line in “Trees are Bonerz” that mentions a “vagina in the sky”—dude, that is the most ass-backward thing i’ve heard since i booty-called Zatanna. Trees ARE bonerz, of course ((everybody knows that)), but they are fucking the EARTH. I mean, look at the top of any given tree. THAT is UNQUESTIONABLY the pubic hair part, not the dinghole part. AM I NOT CORRECT IN THESE ASSERTIONS??? Further, what kind of band calls themselves “The Gay, Gay, Gay, Gay Bonerz” and then has double-tracked guitar solos with a different guitar part in each channel? I’m no expert on the situation, but that doesn’t seem very Gay, Gay, Gay, Gay Bonery to me. Whatever it is this band thinks they’re doing, they seem to have mastered—all the same, i’ll probably give these bonerz a lick and a promise until they release a record worthy of their great promise—like a split with the Fearless Iranians From Hell or something. BEST SONG: “Precum” BEST SONG TITLE: “Trees are Bonerz” FANTASTIC AMAZING TRIVIA FACT: Band’s name is misspelled “Gay, Gay, Gay, Gay BONERS” on the front cover. Gay. –norb (Diva Haus)

Sweet Baby Jesus: LP
Full Of Fancy’s sound is a cross between The Muffs and Liz Phair. This album has a grand mix of straight-ahead power pop tunes such as “Los Angeles, Louisiana” and “Human Pudding,” to more indie-rock inspired tunes such as “Stone’s Throw” and “Hot Tub.” I love how Erin’s (bassist) and Miranda’s (guitarist) vocals harmonize. My favorite song is “Girls Don’t Cry,” a poignant tune about unrequited love with the sad confessional chorus, “I do I do I do anything you want me to. I do I do I do anything for you.” Full Of Fancy’s song writing palate even ventures into some harder-hitting numbers, thanks to Evan’s pounding drums on the track “Mikey Says.” There’s not a bad song out of the batch of twelve tracks here. –N.L. Dewart (No Breaks)

St. Sebastian of the Short Stage: 10”
Wow, if ever there were a case of one side of a record being really pretty good and the other side totally sucking, this would be it. Franz Nicolay used to be the keyboardist in Hold Steady and the accordionist for World/Inferno Friendship Society. The first side of this record (appropriately labeled “The Fun Side”) is heavy on the World/Inferno vibe, but the second side is slower and really, really not my thing. But I think the whole record might be redeemed by one song: “The Ballad of Hollis Wadsworth Mason Jr.,” about a character in Watchmen, a DC comic book series/graphic novel. If this were a cereal, it’d be kasha (a Russian cereal, in keeping with the general Eastern Europe folksy vibe of the first side (really and truly, just think World/Inferno on this one), followed by some sort of cereal that would indicate slowness, maybe something overly ponderous. Special K Vanilla Almond? My cereal references are failing me here. Oh, the tragedy. –Maddy (Team Science)

Self-titled: CD
There was a short-lived East Bay pop punk band from the early oughts, Fenway Park, that played some deliciously syrupy power pop that borrowed quite liberally from Elvis Costello And The Attractions, but added some strings and schmaltz to the equation. These three Pittsburgh dudes expand upon what FenwayPark started, adding even more intricate and floral orchestration. Heartfelt power pop and pop punk songs here benefit from addition of keys, glockenspiel, accordion, and cello. Some tracks are guitar-heavy pop punk, reminiscent of the Methadones; others recall the pub rock that preceded Elvis Costello. Later Faces albums come to mind. And in the more tender moments, there are bits of Cat Stevens. When I was thirteen I would have kicked myself in the dick for saying that and considering it a complement, but times have changed. There’s also a bonus track cover of Jawbreaker’s “Ache” that probably could have been left off, but that’s a minor grievance. Overall, this is a very lovely, lovingly crafted album. However, I am a bit curious as to how they pull the lush sound off live between just the three of them! –Jeff Proctor (Atomic Family)

Crayon World” b/w “Square City: 7”
The Flyboys’ story is tragic, and this tragedy has, quite possibly, kept them mainly as a footnote in Southern California’s punk rock history. Right around when their self-titled, seven-song 12” EP was released on Frontier, the keyboardist/vocalist, David Wilson (noted on this record as David Way), was killed in an automobile accident. Another version of the band, called the Choir Invisible, would later resurface. The drummer, Dennis Walsh (punk name Dennis Rackett), would go on to join the long-running Huntington Beach stalwarts, The Crowd (Razorcake #2’s cover band). This is a re-issue of their first 1979 self-released 7” (Flyguy Records) and it has the feel of a band that was comfortable straddling between the not-yet-concrete-wall separation between new wave and punk. Within half a year of this 7” coming out, and the bands existing within thirty miles of one another, the Knack would score a worldwide hit with “My Sharona.” The Flyboys remain largely obscure. What I didn’t know is that The Flyboys were the first day-glo punks in California—often called “the male Go-Go’s”—encouraging their fans to have fun, instead of acting disinterested or spitting at them. Great stuff. Well worth bloodhounding down. –todd (Frontier)

Brown Flag: LP + CD
Pure speculation: John Geek, the singer for the Fleshies, has found an inner happiness and resolve. This is the most posi Fleshies record, by a landslide. Also, the pseudopodal separation of Triclops! from the “don’t call it a comeback, we’ve been here all along” Fleshies has completed. Triclops! (a band that features many of the same members of the Fleshies) takes care of all the huge and loud and longer tangents. Fleshies takes care of the smart whips of weird pop sensibilities. Explanation: Fleshies have been grooming an AC/DC meets direct-to-the-central-nervous-system form of DIY punk for years. This is their most singularly focused effort. I’m making another assumption that the cover of this album is a close-up of some mold or fungus or something. It sorta looks like asphalt on first glance. But when it’s all blown up, the little details that you’d most likely miss if you glance at the mold at arm’s length start revealing intricate details and patterns and neat stuff. And that’s what this record sounds like, in a purely Fleshies way. Definitely recommended. –todd (Recess / Sugar Mountain)

RockNRoll Trash: CD
…meaning no disrespect to anybody up or down the food chain, but i’m kinda viewing the whole Poison Arrows/Cute Lepers fatal OD thing as kind of the Altamont for this kind of music ((and when i say “this kind of music,” i apparently mean some kind of post-Exploding Hearts punk/glam/rock & roll dealie-do where everyone has tight pants, studded belts, chain wallets, and creepers. And really nice guitars. Oh, and hair brushes, too)). I mean, the Poison Arrows played in Green Bay about a week before that whole deal went down, and, even then, you could tell that people were just sort of…i dunno, for want of a better word, smirking at the whole Renaissance Faire aspect of the whole deal. Don’t get me wrong, it’s not an inherently bad look—hell, i freely admit that if i could honestly pull off the whole “looking like a Bay City Roller as drawn by John Holmstrom” look, i’d probably do it, too—it just doesn’t seem like this is the way productive, vital cogs in the rock’n’roll bioorganism look right now, it seems, at this second, that it’s more like people being tethered to/frozen into whatever aesthetic template they decided was Boss and Gear after they heard “Guitar Romantic” or something ((and if OD-gate is this music’s Altamont, i’m thinking the Exploding Hearts tragic van crash is more like Elvis going into the Army than it is Buddy Holly’s plane going down, but these analogies are beginning to verge into the realm of the pointlessly insensitive so fuck it)). Anyway, enough high level shit. I neither hate nor wish to hate this record, but, for the cry-yi, could you POSSIBLY have thought of a more generic band name? And could you POSSIBLY have come up with a more generic album title?? I mean, i’d be depressed if i found out that “Fast Boys” and “RockNRoll Trash” were anything other than the result of some software program designed to scientifically and mathematically calculate the most generic possible results to the queries of “CREATE BAND NAME” and “GENERATE ALBUM TITLE.” Still, this record isn’t bad—it’s rehashed, generic and overplayed, but it still isn’t bad—and in between the mewling about “rock ‘n’ roll trash” and—i dunno, was it “Main Street” or “The Boulevard” or am i just assuming there’s a song that mentions “Main Street” or “The Boulevard” because it would be some kinda violation otherwise?—there are a few sorta memorable tunes ((“Wanderer” appears to mention a jukebox, “Grown Up Blues” is kinda good, and “Won’t Let Me Kiss Her” would be really good except that it’s sorta wrecked by some, frankly, awful backup vocals)) and the album does seem to pick up steam as it shambles along…but that plug is swiftly pulled when the band opts to include, for whatever reason, a humdrum cover of “New Rose” towards the end of side two. DUDES, WHAT THE FUCK??? You don’t cover a fuckin’ completely ubiquitous punk classic on your album! Ya put something like that on the b-side of a three-song 45! What’s your big idea for the next record, start side one off with “Blitzkrieg Bop???” I mean, JESUS! Couldn’t you even hit us up with “So Messed Up” or something??? You gotta do the HIT??? What fuckin’ RockSchool did YOU fail outta??? Well anyway…yeah. Pretty Boy, Nasty, Cocoa, Fitz and Mikey, i salute you: “RockNRoll Trash” is officially the first record of this genre’s post-Altamont era. Good luck with that. BEST SONG: “Won’t Let Me Kiss Her” minus the bad backing vocals. DUMBEST SONG TITLES: “Fast Boys DTK” “Rock N’ Roll Trash” “Late Nights” “Gettin’ Off” FANTASTIC AMAZING TRIVIA FACT: “Recorded at Crystal Rain in South Carolina by a mullett (sic) -headed jackass” –norb (Zodiac Killer)

Self-titled: LP
It’s a singles collection of the most-if-not-all-sold-out Estranged 7”s (and an unlisted track. I believe it’s off their debut LP, Static Thoughts). At the moment, I’m putting the Estranged in the camp that’s occupied by Eddy Current Suppression Ring, Hex Dispensers, The Young Offenders, and the Marked Men. Stylistically, they’re nothing alike, but their approaches to the heart of music are similar. Oh, one could say, “That’s nothing new,” and they wouldn’t be wrong. But they’d be more wrong than right. (It’s not squeaky intergalactic balloon music played with vacuum cleaners in a tonal range that’s aimed at making your pancreas quiver. Or a “whathaveyou.”) The Estranged are exploring the dark ventricles of music that was usually accompanied with a brooding synthesizer. Think Bauhaus or Sisters Of Mercy, but by died-in-the-wool punks shorn of spookiness and frilly-edged shirts. Artful pretense is replaced by hard-edged instruments and scuffed boots. And, away from the comfortable trappings of an already created subculture and the genre limitations that come with them, The Estranged make music that is pumping intriguing, rare blood in real time. I’m super glad that these songs are staying in print. I figure the more people getting into The Estranged, the better. –todd (Dirtnap / Black Water)

Blodorn: CD
You can’t ignore music that is so intense sonically that it blasts your eardrums. This band from Oslo, Norway does not fuck around. They play a technically executed mixture of crust, d-beat, and metal. Gruff vocals lead the charge, backed by crunching guitars, forceful bass, and hard-driving drums. The production is key here. It’s well recorded and nothing is out of place. What they master—that a lot of bands cannot achieve—is the underlying, memorable melody that keeps me listening. Their power is unmistaken. From start to finish, this is one enjoyable listen. I get the same feeling listening to this band as I do Skitsystem or Wolfbrigade. All I hope is one day is that this band tours the States and I can experience this live. –don (Kjepp Kjappesens Raske Skiver, diger.tigernet.no)

Split: 7”
Measure [SA]: A slower, shimmering song about isolation, ice, and creativity followed by a quick blast. For me, Lauren’s voice is like a suture on a serious wound, holding and guiding the songs together with a fierce tenderness. Ergs!: Oh, yes, my friends, the Ergs! are still dead. This was recorded before That’s It… Bye! A fast one and a slow one, giving this 7” the feel of a late Sunday morning instead of a late Saturday night. I’m waiting for the future where records come with morning coffee and a nice, sunny day. Until then, I’ll just have to use the ol’ imagination. Two DIY punk bands—even when they slow it down—at the top of their form. –todd (No Idea)

Pomp! Pomp!: 7” EP
Ragin’ two-guitar rocky punk that sounds like a youthful, non-Angelino version of those cocaine & whiskey ne’er-do-wells of the ‘90s like the Humpers and, uh, those guys that kind of all sounded like the Humpers but weren’t the Humpers. Except for the feedback and the vocals, which just sound like some highly motivated Italian kid trying to get stinkier. I don’t really hear any massive hits here, but i’m a sucker for that one-note rapid-fire BINKBINKBINKBINKBINK piano like they have in “Bite My Ass” so i bang my veiny pink gavel and find in their favor. BEST SONG: “Bite My Ass” BEST SONG TITLE: “Chalk Outline,” because “Bite My Ass” isn’t nearly as good as it could be if it were “Bite My Shiny Metal Ass” instead. FANTASTIC AMAZING TRIVIA FACT: Donald Thompson was a former Oklahoma district judge who got four years in jail for masturbating with a penis pump under his judge’s robes while presiding over murder trials.And they say America’s a free country! –norb (Tornado Ride/Surfin’Ki)

Split: 7”
I always wonder what people mean when they say, “That band owns.” If they mean that bands around them get blown out of the water, that they’re a hard band to follow, that they can take a space over and make it their own, then Dios Mio owns this 7”, hands down. Bring That Shit! fails to do what their name implies: seven short songs delivered in English and Spanish which fail to push the “lose your mind” button, or even entertain, really. Even their side of the layout left something to be desired. I was left bewildered as to why Dios Mio doesn’t list a bass player, even though there’s one in the live shot. Both bands seem to aim for brutally punk hardcore, but Dios Mio really hits the spot with great lyrics that remind you why you’re pissed off and the hooks and choruses to back it up. The energy conveyed is very reminiscent of Avail’s Dixie in its raw and honest approach to hardcore. –Rene Navarro (Bezerker / Give Praise)

Balagan: CDEP
Di Nigunim is an anarcho-klezmer punk collective from San Diego. Politically and musically radical, Di Nigunim plays an intense brand of punk rock inspired by traditional Jewish music employing an expansive rotating roster of musicians who rip shit up on accordion, piano, sax, trumpet, and a fuck ton of drums. Think a more dynamic and rougher Gogol Bordello and you’re on the right track. Traditional songs such as “L’Cha Dodi” and “Havenu Shalom” are sung in Hebrew with vocals from everyone, creating a sonic atmosphere of a socially lubricated and riotous Jewish wedding. Throw this one on at your next socially conscious dance party.                 –Jeff Proctor (Drunken Goat)

Jak Powstrzymalem III Wojne Swiatowa, Czyli Nieznana Historia Dezetera: 2 x LP
When I think of punk in Poland, I think of Dezerter. I had heard them off their Underground out of Poland LP, something else that my brother has, various comps like the World Class Punk tape and We Don’t Want Your Fucking Poor LP, and Jak Punk to Punk LP. This band started out around 1981 and, from what I hear, continues on to this day. They played two shows in the U.S. last year on the East Coast that I was drooling over and was super jealous that I couldn’t attend. From what I can tell, this is not a discography but more of a compilation of songs ranging from 1981-1993. You can hear their early, raw, straight forward punk beginnings to their progression to faster hardcore leanings and bringing in outside influences like reggae. My copy came on awesome white with grey swirl vinyl and was wonderfully packaged in a gatefold cover with a huge foldout poster lyric sheet. If you have heard my latest podcast, you know my current obsession is Polish punk. This is a welcome addition to the library that I’m currently accumulating.                 –don (Pasazer)

Quisnam Vigilo Vigilo: CD
Well-produced and well-played UK punk ((and by “well-produced” i of course mean TURN THE FUCKING KICK DRUM DOWN, TOM)) that seems to be utterly obsessed with government surveillance, as if Dale Gribble joined GBH circa 1983 or something, then they fast-forwarded fifteen years or so into the future ((note clever Vibrators reference)) and recorded in the same studio in which the Libertines would record five years later, and cut an entire album based on the song “Brand New Age” by the UK Subs, although i suppose one could argue that “Brand New Age” by the UK Subs is already an entire album based on the song “Brand New Age” by the UK Subs, so perhaps there goes my entire argument. I haven’t been able to get into much UK punk since 1982 or so ((with a few exceptions)), and i generally don’t respond with vast effusions of gushiness in the presence of three-and-a-half-minute, big production punk songs, but, all things considered, i can’t say i’ve heard anything better in this genre in years—and they cover the Vindictives and X-Ray Spex and totally nailed that saxophone part in the X-Ray Spex cover—so if that’s your kettle of cod, buy with confidence and wave to the eye in the sky on your way out of the shop, mate. BEST SONG: “Spy In The Sky” BEST SONG TITLE: “Rule Nanny Britannia,” perhaps. FANTASTIC AMAZING TRIVIA FACT: Liner notes thank someone or something called “Barbie’s Dead,” which is also a song off the UK Subs “Brand New Age” album. –norb (Rowdy Farrago)

Plain Language: LP
Imagine a sped-up Weakerthans, with the high prairie Canadian cold being swapped out for a floating-on-air excitement. Perhaps a couple of balloons, for good measure. Fronted by two high-register twin brothers from Ohio, I get quick flashes of the wide-eye wonder of everything from early Redd Kross to Defiance, OH, and… well, it goes back to the Weakerthans. There’s a nice, supple poetic feel to the pretty straight-forward pop punk songs that gives them a gentle, heart-felt aura without them sounding like treacle or being overly slick. Sounds handcrafted and gentle without being precious. I like it. –todd (Salinas)

Not a Pretty Sight/Stop Killing Me: CD
Another long out-of-print Canadian band sees the light of day! Death Sentence were a Vancouver band who put out two LPs in the mid-’80s, both of which are seeing the light of day on CD for the first time now. Their debut, 1985’s Not a Pretty Sight, is their best known material with staple tunes like “Death Squad,” “Dawn of the Dead,” and “R.C.M.P.” Where most bands were leaning to the metal side of things during this era, Death Sentence sounded more like DOA’s prime years, with a bit more British punk and a dash of rock’n’roll thrown in. Stop Killing Me came out in 1988 and is a slight departure from the previous record. The metal started to rear its ugly head. There’s reverb on the vocals and some flange effects here and there. Thankfully, the tunes (for the most part) are still better than most of the ‘80s hardcore bands that decided to grow their hair out and get their guitar wank on. This disc is fully re-mastered and sounds great. Picking this up is highly recommended not only from a historical standpoint, but for the fact that it truly rips! –ty (Lazy 8)

Self-titled: Demo CD-R
The map’s creased at all the edges. On that map are little illustrations. Frankie Stubbs is wearing a raccoon hat and is holding a cocktail slightly askew. There’s also a little icon of Paul Curran doing finger flips over a picture of a sun. At arm’s length, the shape of California looks suspiciously like a slouching burrito humping Nevada from behind. What all this secret-decoder stuff means is that, as a demo, Dantien are set up right. They take cues from Leatherface, Crimpshrine, and the EastBay, but there’s enough of their own sunshine and self-awareness to keep the map just that: a template of adventures to take, not a jail cell of previously-made music to nervously pace. The compass needle’s pointing true north, intrepid explorers. Keep trailblazing your own path, get this thing mastered, and travel through Burritofornia and worlds beyond. –todd (Self-released)

A Collection, An Erection, Not Perfection: LP
In this roulette of time, circumstances, and finances, Dan Padilla—J.Wang, Gene Doney, and Davey Quinn—have released these songs in some way, shape, or form since the formation of Dan Padilla, a band named after a man who is not in the band. And although I have versions of these songs on split 7”s, the Burrito CD, and the limited-run Foosball Club CD that was made due to touring Japan—knowing that it’s solid financial concept to sell things on tour in a foreign land—it’s a comfort to have them all sidled up next to one another in a long-playing 12” slab of colored vinyl that looks like streaked carpet underlayment. There’s something entirely reassuring about this collection—that you’ve finally alphabetized your records, all your socks are matched up, the puke stain’s finally off the ceiling, all the empty cans are in the recycling bin—and most, if not all, of your Dan Padilla songs have a nice place to roam around together. What’s it sound like? Gruff-voiced, cuddly underbelly, hard-earned DIY punk with secret, catchy-yet-twisted, and drought-hardened guitar lines that scrape like running through a dense copse of chaparral. Includes three covers: Pretty Boy Thorson, Jesus And Mary Chain, and Old Crow Medicine Show. Orient your map to that. Meet you there. PS: Totally fucking with you on the Erection part of the album title. –todd (Little Deputy)

You Don’t Have to Belong to the Religious Right” b/w “Any Danger Love: 7”
I’ll fully admit I’ve been lazy in collecting the pieces of the post-Briefs (or “Briefs-on-hiatus”) puzzle. I’m of two completely different minds with the Cute Lepers. Mind Number One: This should be sending me to the moon. Phil Spector-ish production, Elvis Costello-meets-slow-early-Clash sounds, the Elvis Presley green and pink color scheme for the name in the corner, the co-ed vocals. Oh-la-la. Someone did their homework. I definitely have a soft spot for dancing-in-the-front-row power pop stuff like this. And this 7” is definitely not bad or lacking. It’s actually quite good: every “t” is dotted, every “i” is crossed. Mind Number Two: Forgive me for bringing up past transgressions, but some of those Briefs dudes were calculators immaculately dressed as true believers who wrote some catchy-assed songs. They’d previously nailed grunge with Green Apple Quick Step (anybody remember “Space Cocksucker”? How about their track on I Know What You Did Last Summer?). They landed two separate major label deals when the gettin’s were somewhat good. The Briefs also yanked their entire past Dirtnap catalog and re-released it on BYO when it was still available on Dirtnap. So pardon me if I handle this with oven mitts, with a bit of caution, even though I like it. –todd (1-2-3-4 Go!)

Split: 7”
When did bands from Ottawa get so good? I don’t know, but I’m not complaining. This split 7” features four songs with fist-in-the-air choruses and driving guitars. There are also whoa-ohs, which makes it an automatic winner with me. This makes me eager to see each of these bands live as soon as possible. And they’ve thoughtfully included a lyric sheet, which makes me very, very happy. Good job, lads! –jennifer (Fucking Scam / Scared To Death)

Don’t Need a: 7” EP
My introduction to this band was the terribly great We Are album that came out a few years ago and I haven’t really looked back or heard a bad song since then. Three songs are on this disc, one of which is also featured on their latest album Lost Art. The other two are exclusive to this release only. I would dare to call this hardcore, though I’m sure some would say differently. It’s fast but not thrashy and it’s tough but not agro. The energy and passion is definitely there and that’s more than I can say for what passes as hardcore these days. Let me also take time to thank the fine folks at Grave Mistake for including a download coupon for the songs on this record. Spending as much time in my car as I do, I appreciate the convenience of having the songs burned onto a CD-R when I just can’t wait to get home to listen to the vinyl. –Juan Espinosa (Grave Mistake)

My Roaring Twenties: LP
The Cheap Girls was a shiny beacon of clarity in the drunken haze that was North Park Awesome Fast. They were easily my favorite set of the weekend. I’ll admit that I’m a bit of a sucker for a good power pop trio. Everyone in my house fell in love with their first album. Their second effort, My Roaring Twenties, came out a few months after NPAF and I jumped on it. The rhythms are tight. The melodies and lyrics are beautiful. The guitar solos are distinctive without being masturbatory. Sometimes they take the place of choruses until the final verse. Cheap Girls remind me of the music I listened to in the 1990s. I don’t mean god-awful grunge bands like Candlebox, but music they used to call “alternative” or “college” rock. They conjure up memories of spending idle time at coffee houses on rainy afternoons. These songs make me long for a cigarette and I quit smoking a year ago. “Hey Hey, I’m Worn Out” and “One & Four” are the tracks that follow me for days. –Joe Dana –Guest Contributor (Paper+Plastick)

The Big Gulp!: CD-R
Hooooly shit! “A pleasant surprise” would be the understatement of the year. I put this on, expecting the usual CD-R fare that I get a bunch of in every batch of stuff to review. It’s usually NOFX ripoffs or weird outsider stuff from the Midwest or whatever. However, Captain Black is an entirely different story. This is amazing in every way. It takes me back to the mid-nineties. Back when No Idea was still a zine and I was just getting into bands like Radon. I guess that doesn’t say much about the actual music, but what I’m getting at is that it has that kind of feel to it: a slack, quirky, heartwarming goodness. It’s so passionate that it could only be played by people who are down for life. A life in punk, that is. It will make you immensely happy, slap a smile on your face after a long day of work, and remind you that punk is its own fucking reward. The lyrics are just amazing. They often relate the personal to the political. For instance, they sing about how they like to go fishing but find it harder and harder to get out of the urban sprawl to do it (possibly the first folks ever to attempt to rhyme fishing with gentrification.) But usually it’s just stuff about living life to the fullest and how, in spite of all the bullshit we go through, it’s worth it. Best punk release of the year! Hunt down this CD-R or just wait until they put out a record. You’ll know when every Razorcake reviewer is going nuts about it. Or don’t. I don’t care what the fuck you do. I got my copy. Hell, this is the kind of band that breaks up before a record can even be put out anyway. Look, just find it and have another reason to be alive and punk. –Craven (Self-released, myspace.com/captainblackahoy)

To Whom It May Concern: LP
Releasing demos can be a dicey prospect, but TKO’s release of early Channel 3 demos is a real triumph and entertaining beyond the realm of just history. The range of playing spans slower, more rocking versions of classics like “I Got a Gun” and songs like “Late at Night” that are more in congress with what was evolving as the Southern California sound. The back of the album has a note from the band describing the record as “family snapshots,” but the album holds up and is pretty essential for anyone wearing grooves into their Adolescents records. Bad Brains’ Black Dots set a standard for essential “demo having.” To Whom It May Concern keeps that standard alive nicely. –Billups Allen (TKO)

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