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Record Reviews

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Below are some recently posted reviews.

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HEART ATTACK KIDS:
Self-titled: 7”
There is something distinctly youthful about Ontario duo Heart Attack Kids. Their self-titled’s short songs—only four of which are featured on the 7”, though it is packaged with a CD containing all six tracks—feature an imprecise urgency and winningly puerile lyrics, while Owen Marshall’s charming monochromatic album art is evocative of the shit you doodled in the margins of your notes from freshman Bio. Vocalist and guitarist Jared Ellul and drummer Nathan Stock may only be two men, but Heart Attack Kids conjure enough heft and speed to crush listeners under the weight of their thrash. Their frenetic brand of punk is a pair of defibrillator paddles pressed against the chest of the increasingly melodic and mature modern scene.  –Kelley O’Death (Speed City, mike@speedcityrecords.com, speedcityrecords.com / It’s Trash!, itstrashrecords.bandcamp.com)


HENRY FONDA / GETS WORSE:
Hardcore Is My Life, I’ll Carry the Name: LP
Germany’s Henry Fonda is up first on this split. The name of the game here is speed, although Henry Fonda does like to mix in some slower breakdown parts when they’re not blinding you with whirlwind thrashcore. Gets Worse steps up to the plate and swings wildly. It brutally unleashes song after song of savage grind/thrash with unpredictable stop/start moments. XBrainiaX anyone? The packaging is pretty cool with a photo of a Henry Fonda/Gets Worse tour T-shirt on the front and back cover. The dust sleeve has a photo of the same T-shirt full of holes and stains, presumably resulting from the end of a long tour. I really should mention that this is actually a one-sided split with two separate marked starting points on the record, one of which plays outwardly and the other plays the standard inward way. There are also locked grooves at the end of each band’s set of songs. Confused? You will be. –Juan Espinosa (Nerdcore)


HERIDA PROFUNDA:
Self-titled: CD
Crustcore similar in style to Phobia and Japan’s 324—who both at one point favored the crust more than the grind—which is what I’m mostly hearing on this disc. The band’s name translates to “deep wound” from, Spanish although they bear no resemblance at all to the mighty Deep Wound from Boston. I honestly can’t say I favor this CD much, although I don’t hate it. I did, however, thoroughly enjoy the song about killing Nazis.  –Juan Espinosa (283 Landsberg Hardcore Crew, heridaprofunda.bandcamp.com)


HEX DISPENSERS:
III: LP
Is it okay to review friends’ bands even if you were a die-hard fan of the band long before you became friends? I hope so. Putting it plainly, Hex Dispensers are not just one of my favorite bands of the last five or ten years, they are one of my favorite bands of all time. Everything about their music works for me. It’s been a long time since their last LP Winchester Mystery House came out and III is well worth the wait. Part of the record takes songs that came out on various (out of print) 7”s in the last few years, and re-records them with the new lineup of the band (long-time bassist Rebecca moving to second guitar and Drew Schmitz stepping in on bass along with, as always, Alex Cuervo on guitar and vocals and Alyse on drums). It took me a few listens to get used to the new versions of some of the songs such as “Parallel” and “Agatha’s Antlers” because I listen to the original single versions so often but then the album as a whole clicked in my mind and it became a slice of perfection. Brand new songs such as “Trapped in the Amber” and “I Hope the Sun Explodes Today” are ridiculously good. I guess it’s obvious how much of a super fan I am. Unapologetically, I will add. Just know this: Hex Dispensers are essential listening. I don’t care who the band is, I will only say that if I believe it one hundred percent. Go get this record yesterday! –ty (Alien Snatch)


HI FI NINJA, THE:
Take It to the Grave: CD
The Hi Fi Ninja is undeniably punk in their approach but they are far from being confined to punk’s most recognizable traps. The Sabbath-influenced rhythm section drops some serious riffs and grooves, providing the perfect vehicle for their vocalist’s screaming siren and the flashing lights of the guitar. The urgency and the emergency that these songs announce really has me feeling that the musicianship here is tops! When I leave the house later today, the Hi Fi Ninja will definitely be travelling with me.  –John Mule (Self-released)


HIGH ON FIRE:
Luminiferous: CD/LP
Matt Pike is back. The frontman for the three-piece metal band has put on a shirt, given up drinking, and become a conspiracy theorist. While some things have changed in his personal life, High On Fire’s mission to bring fierce metal hasn’t. The rhythm section is tight as hell and Kurt Ballou’s production helps the band to sound great. From album to album, High On Fire has generally played the same sludgy riffs with Pike’s gravelly growl leading the way. Each release provides just enough variation to keep things interesting andLuminiferous seems to display more diversity than the band’s previous efforts. “Slave the Hive” is a fast thrash tune, perfect for starting a circle pit, while “The Cave” is the closest the band will ever come to a power ballad (not very close, but it’s a bluesy, more introspective tune for the band). Meanwhile, my favorite track on the album is a trudging, slightly melodic piece about a falcon (“The Falconist”). Go figure. It’s difficult to say there’s a “best” High On Fire album, but Luminiferous shows a band not content with the status quo and that makes it worth checking out for any metal fans.  –kurt ()


HULLMEN, THE:
Expensive Taste: LP
Tough one—this has great packaging, beautiful marbled red vinyl, with solid production… but to these ears it sounds like a slow and ass-dragging Flesheaters, or a bit dirtier Brick By Brick-era Iggy Pop, not the man’s most fevered era. I spent most of these six songs wishing they’d just speed it up a bit, or do something to wrench free of the mid-tempo doldrums that most of Expensive Taste sits firmly within.  –keith (Golden Key)


HURULA:
Betongbarn: 12” EP
Here are four new songs on a 12” and all I can think is, “Man, there’s so much more space for more killer songs!”After that initial let down, I’m able to appreciate these new tunes as a continuation of Robert Hurula’s infectious songwriting. Like their last LP on Deranged, Hurula crafts haunting pop rock with Robert Smith black mascara. The choruses are more driving and repetitive this time around, imbuing a Buzzcock’s power pop vibe. Sadly, synth is noticeably absent, however, the guitars have more room to tremble like a teen’s legs at a talent show. This 12”EP is solid (as it’s simply more Hurula), but the full price of admission isn’t worth the four song tease. Hopefully another full length is around the corner.  –Sean Arenas (Deranged, derangedrecords.com)


INSTITUTE:
Catharsis: LP
Institute have taken large amounts of influence from the late ‘70s and early ‘80s U.K. anarcho punk and post-punk bands, and then mastered that sound, resulting in a great ten-song LP that sounds straight out of England, 1980. I wanted to get a different opinion on this record before I wrote this review, so I asked a friend who is very knowledgeable about contemporary bands but has never really listened to any anarcho punk stuff like Crass or Crisis (two bands which seem to have possibly influenced Institute the most) to see what she thought of this record. Her responses were interesting, and really helped me see this record in a completely different light. “This kinda sounds like Protomartyr with a less confident vocalist,” was her response to the first track, referring to the great Detroit band of recent years. Additional comments and comparisons were also interesting, with references made to a wide variety of bands, including longtime L.A. post-punk band SavageRepublic, Siouxsie And The Banshees, and even the experimental krautrock band, Can. While I don’t necessarily think that Institute sound exactly like any of these bands (although I do admit the Protomartyr comparison was pretty astute), I can see where she was coming from in each instance. This is a record that sounds like something else without sounding like a clone, which is hard to get right. Institute have done this perfectly, creating a modern record with a vintage sound that should be in the collection of every fan of the genre.  –Mark Twistworthy (Sacred Bones, sacredbonesrecords.com, info@sacredbonesrecords.com)


JACKS, LOS:
Toledo Ponkers Vol. 1: CS
On the cover, a longhaired skeleton in a leather jacket sings along to a boombox on his shoulder. The tunes on this cassette are appropriately rollicking. It’s punk en Español with the sort of guitar riffs that wrap around you like vines and force you to dance. You’re gong to look spazzy while you do it because the rhythms are unpredictable. There’s a controlled chaos thing happening here. No, not just controlled chaos. This is orchestrated chaos, and these guys are master conductors.  –mp (Self-released)


JAROMI SABOR & PRECHEUR LOUP:
You Shall Use Your Time… And Your Mama’s Too: CS
All of my friends in the service industry know there’s a particular amorphous genre of engaging but not obtrusive music which works best in restaurants—unabashed but not overbearing, varied, with an edge but not edgy, if that makes any sense. This cassette fits the bill: tons of talent evident throughout, poppy arrangements, plenty of drone and vocal harmony.  –Michael T. Fournier (Frantic, franticcity.free.fr)


JIM TABLOWSKI EXPERIENCE:
Self-titled: 7”
The Jim Tablowski Experience plays ragged pop punk that labels like Farmhouse, Very Small, and Liquid Meat were releasing in the mid ‘90s. Fans of bands like Hickey and Krupted Peasant Farmerz would probably like this release a lot. The band is from Wisconsin and I hear a little of that Yesterday’s Kids/Obsoletes tunefulness here, though the lo-fi recording style gives the sound a different feel.  –frame (Huge Major Label)


JJCNV:
Leathered, Weathered, and Feathered: CD
Incredibly diverse to the point of noncommittal indifference. The sound never coalesces into a greater whole, leaving the listener with a jagged, aimless, and indulgent record. And that’s a shame, really. On paper, this should be a good record. The sounds are there, but the record itself seems so lifeless. Hazarding a guess, I’d say this would probably be a much better record if it was recorded again. That’s the way it goes sometimes. Grade: C.  –Bryan Static (Flab Fjord, no address listed)


JOHNS:
Grift Marks: LP
Like Destruction Unit, Buffalo, NY’s Johns feel like more of a doomsday cult than a band. Heavy with weaving guitars and layers upon layers of ominous vocals, it’s a foreboding sound. It is a sound that mirrors our darkest reflections. Rocket From The Crypt’s massive group-effort sound meets Murder City Devils mischievous caterwauling, with an obsessive preoccupation with the dark days that lay ahead: the wasteland coming, the winding steps to nowhere, and here comes the snake; bleak and adventurous.  –Daryl Gussin (Peterwalkee)


KALASHNIKOV COLLECTIVE:
L’Algebra Morente Del Cielo: LP
You know when you hear a song from a musical and it’s performed with this wink that makes it seem like the style of music has quotation marks around it? Kalashnikov Collective do just that, basing their eclectic songs around “metal” “punk” riffs with super clean vocals, and some Eastern European/”Gypsy” breaks. It’s way too antiseptic. The second song had a part with “new wave” synths over “ska” guitars and I caught my hand creeping toward the Off button. Give it a whirl if you can tolerate Gogol Bordello, The Indelicates, and Refused at their glitchiest.  –Chris Terry (kalashnikovcollective.bandcamp.com)


KENT STATE:
Samsara: 7”
L.A.’s Kent State self-describes their music as “psychedelic death pop,” which reminds me of the long ingredient list on package of processed food—this might be the best candy bar I ever tasted, or it could be Cheez-Its. For me, it’s a bit of both. “Samsara” is undeniably catchy. A couple core phrases fight the fuzzing guitar and make the verses sway. The chorus, over which singer Nick Vance croons “waiting for the world to end,” with his part oldies radio part K Records or Matador Records groan, will be stuck in my head until I get assailed by my neighbor’s radio, which always plays The Doors. The sole other song on this EP, “Planetary Wounds,” might be one of those tracks that, on an album, I could grow to love as that cloudy passage between more melody, more purchase, more whatever. By itself—and maybe this is my philistine side talking—”Planetary Wounds” sounds like a guy talking through a two-way radio while his friend hits a couple guitar notes through a flanger pedal. Next time I’m at Subway and I’m ordering The Kent State Samsarsamwich, I’ll get extra peppers, oregano, and the usual shredded plastic, but I’ll hold off on the planet sauce and wound cookies.  –Jim Joyce (Debt Offense, debtoffensiverecs.bigcartel.com / Debt Offensive, debtoffensiverecs.blogspot.ca / Paranoid Futures, paranoidfutures666@gmail.com)


KING ELEPHANT:
Exhaust: LP
One of my favorite records of last year was Hi Ho Silver, Away!’s Chore. This record out of Missoula reminds me of Chore a lot. With members of Goddammitboyhowdy and Suicide Victim, the songs are so raw and heartfelt. They are what I would call Peter Panthems: songs that make you remember your promise to never grow up. “MSLAWEIRD” on the B side of this record does just that—it describes drunken fights amongst friends, with a reprise chant to “keep Missoula weird.” Two songs later comes the track “In D” with lyrics like, “My brain is in shambles now / a million things to do and I can’t find my way to the bottom of these barrels…. I can’t be responsible, I won’t be responsible.” A part of punk that keeps me reigned in is the freedom of expression. The acceptance of a community of sweethearts. The notion that any moment can turn into a party with your best friends. That love you get from your friends as they sleep off their hangovers on your floor. The comfort in knowing they’d do it all for you at the drop of a hat. King Elephant has all of these moments in musical form. Lyrics from “Getaway Driver” express, “We are more than this place can hold / We are more than what we are told.” Their jangly, bright guitar, pounding bass, crashing symbols, and vocals that always sound like they’re on the verge of breaking make up this awesome group from Montana. I feel like we’re already buds. Maybe we are.  –Kayla Greet (Minor Bird, minorbirdrecords.blogspot.com)


KÜKEN:
Self-titled: LP
Hot on the heels of a kickass single comes this full-length of swaggering thud-punk sure to warm the cockles of Dirtnap fans the world over. Eleven tracks that gleefully stomp right on through with the subtlety of a rhino at a tea party. Once again: fuck yeah.  –jimmy (Bachelor)


KULTURKAMPF:
What Remains…: CD
“The Score” leads off What Remains… without a hook, just a metallic, plodding street crust track that leans too much on the far superior His Hero Is Gone catalog. Kulturkampf translates to “cultural struggle,” and luckily these Watertown, NY cats struggle within their genre and deliver a mean mash up for the other eleven tracks. Equal parts Tragedy, the last three Napalm Death releases, and thrash breakdowns, Kulturkampf will do your denim- and leather-studded soul good. The back cover art, doomed society collage style, makes more of an impression than the overly “metal” front cover art and band logo, so just flip it over and stick with that.  –Matt Seward (All We’ve Got, allwevegot.com)


LAURICE:
Best of Laurice, Vol. 2: LP
Cheapo one-color album cover art and semi-ridiculous pedigree (“Canada’s number one male dance vocalist for two years running?” “Conquered the world of smooth jazz?” TOM JONES???) had me initially believing I was participating in an elaborate hoax of some sort. Not so. Laurice—best known in punk circles for that glam-ish song that goes, “When Christine comes around, I’m gonna smash her face in” he recorded as Grudge circa 1973—is a real human who did these very things of which he was accused! He also wrote and recorded a bunch of pop-rock-ish songs in the late ‘60s and early ‘70s, usually as a session writer/singer/producer. I’d say it sounds like Marc Bolan fronting the Archies, but that falsetto rightly demands its reference to the pre-RSO Bee Gees (Laurice’s “Boston City” as much as admitting this, given the Bee Gees having that song “Massachusetts” and all), who actually weren’t that bad. Either way, I’m pretty sure this guy speaks to the pompatoose of love. BEST SONG: “Dark Side of Your Face” BEST SONG TITLE: “Flying Saucers Have Landed” FANTASTIC AMAZING TRIVIA FACT: Includes Laurice’s attempt at writing the theme for the Diamonds Are Forever movie.  –norb (Mighty Mouth)


LE ALMEIDA:
Paraleloplasmos: LP
Cover of the month goes to Le Almeida. A poppy beach collage with two boys in trunks bent over. One looks to be sniffing the other’s butt. I love it. The cover had me interested and the music didn’t let me down. Le Almeida is from Brazil and sing its songs in Portuguese, which I really appreciate. It sets bands apart when they sing in their own language and gives them more character. The lyrics are translated in English on the insert, but if you’re like me, you will tend to avoid those and make up your own translation. Their sound is fuzzy and sort of melancholy, reminiscent of bands like Sonic Youth and Autolux but more homemade. The vocals stay just above a whisper while the music plays mid-paced with a good degree of pop to it. I’m really enjoying this record.  –Ryan Nichols (Pug, contact@pugrecords.com)


LEGENDARY WINGS:
Do You See?: LP
Opener “Best Friend” reminds me of Shang-A-Lang’s “Summertime.” Both distill a moment so perfectly that I’m gifted a sunny disposition every time either song begins. Legendary Wings harness nostalgia without a hint of irony or cynicism: “It’s just a beautiful day with my best friend.” Do You See? is comprised of ten (brief) songs of lo-fi poppy punk (think North Trolls and M.O.T.O.) with enough aching sincerity to fend off saccharine sickness. Legendary Wings sink in their talons and carry you to a wonderful, impermanent place rich with fleeting melodies and choruses. I’m going to shelf this one right next to Shang-A-Lang’sSad Magic.  –Sean Arenas (Dirtnap, dirtnaprecs.com)


LEVITATION ROOM:
Minds of Our Own: CS
Being outside of a trend sucks a little. There’s a ton of this stoned-out beach pop and I don’t enjoy any of it. It’s not the music’s fault. It probably just reflects a different mentality. Me, I never learned how to slow down and chill out. That’s not how my brain is wired. Slow music can make anxious and bored. That’s partially why I gravitate so heavily towards punk rock and it’s sonically similar subgenres. That being said, this record is fine. If someone who likes this kind of music told me these guys were the hottest shit this side of the Atlantic Ocean, I guess I could believe them. Grade: C+.  –Bryan Static (Burger, burgerrecords.org)


LIME CRUSH:
Graveyard: 7”
This here is a three-song 7” from a band from Austria. It basically splits the difference between early Bratmobile and the HoZac records catalog—kind of garage and fairly snotty. The three tunes go by in a flash and are pretty solid, but they seem like the kind of thing that would be much better live. The A side song “Graveyard” is the standout, with the very Bratmobile-like big E string guitar part, which I always love.  –frame (Fettkakao, fettkakao.com)


LOOKOUT MOUNTAIN DAREDEVILS:
“Gin Drunk” b/w “Nova SS”: 7”
The second release from this southern punk supergroup does not disappoint. A follow-up to their recent five-song CDEP, it’s a pleasure to hear them on vinyl, even if only for a two-song single. Featuring members of popular bands including Hellstomper and The Stovebolts, Lookout Mountain Daredevils play catchy, dirty, garage-infused songs. Both tracks included here rip; in the true sense of the concept of ripping. Yes, there’s a serious rip-ability factor going on here. Expect a full-length soon. I, for one, can’t wait!  –Art Ettinger (Mystery School, mysteryschoolrecords.bigcartel.com)


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