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Record Reviews

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Below are some recently posted reviews.

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REAL LOSERS, THE:
Time to Lose: CD
I remember reading an issue of Creem at the library when I was a kid and a reviewer raped the hell out of the Saints’ first record, saying that it sounded like it was recorded in a cavern of tin foil. And I remember getting that record years later and thinking, “Man, you’re a fucking snob. That record sounds great.” I’m not a fidelity whore by any stretch of the imagination. Give me Supercharger on a barely working tape deck over Rush on a an audiophile’s hard-on stereo system any day. That said, this record made me almost go deaf. It’s incredibly tinny and recorded so hot it makes me cringe. We’re talking physiology—the body’s natural reaction to stimuli—not the music. The music, from what I can tell, is pretty damn great. Manic, pure breed energy that reminds me of a mix between the Saints and the Kill-a-Watts. Lightning bolts, cars with dire exhaust problems, thrown pint glasses with bloody fingerprints, close hugs with bad breath and shitty amps. That type of thing. In a good way. I wish my ears would stop ringing, though. –todd (Wrench)


REAGAN’S POLYP:
Love Overdrive: 2X CD
Ten years and two discs worth of obscure weirdo rock/punk from a bunch of southern miscreants claiming to be thee quintessential American band. Personally, my vote still firmly rests in the Devo camp when speaking of weirdo bands claiming such lofty titles. –jimmy (Trashfish)


RAW POWER:
Hit List: CD
Italy’s most famous hardcore unit, who continue to slog on after more than twenty years in the game, take a moment to stop and reflect on where they’ve been. All the hits from most of their albums are here (although there’s a noticeable dearth of tuneage from their awe-inspiring 1983 demo), and it will no doubt serve as a nice introduction to those who may have missed them first time ‘round. It’s also nice to hear the band’s sound progression take place in the span of one CD. This is highly recommended listening for any fan of hardcore and its assorted offshoots, and a good way for old fans to catch up with ‘em. –jimmy (Sudden Death)


RAT BASTARDS:
Self-titled: 7"
I’m mad, you’re mad, we are all mad! When you are feeling that way, the only complement to that emotion is some good ol’ thrash. Something that makes you clinch your teeth and makes your jaws cramp. Something that will make you tighten your forehead so hard that your eyebrows connect as one. This band from Chicago is the prescription for those needs. Fast and angry music that pummels its way out of the speakers. No pretend anger here. Fast bursts with stop-on-a-dime tempos that change with out a moment’s notice. Six songs that go by so fast that you barely sit down before you have to get back up to flip the record over. –don (Kangaroo)


RAPPRESAGLIA:
Sopravvissuto: CD
An Italian band rips off its best riffs from the Ramones and SLF and still manages to sound like middle of the road street punk tripe. Impressive in its utterly generic glory. –jimmy (www.tuberecords.it)


RAMONES:
Mondo Bizarro: CD
Dunno if it was the arrival on the scene of the young CJ or the promise of a new decade, but after the lackluster Brain Drain, the boys came roaring back with this album to suckerpunch those who began mumbling that maybe the Ramones had reached the end of the road. Like a mirror image of the preceding album, this release is a solid effort, short on filler and long on ball-on rock’n’roll, not to mention some class-A songwriting. Joey offers up the opening salvo, “Censorshit,” a bomb leveled at former Mrs. Vice-President Tipper Gore and her gaggle of Washington wives, the PMRC, who in the late ‘80s/early ‘90s were out to impose limits on free speech under the guise of little “parental advisory” stickers on music releases deemed “objectionable” (in one of history’s great ironies, the stickers actually helped the releases tagged by giving them “taboo” credibility and boosting their sales). From there it’s a veritable grab bag of late-period classics: “The Job that Ate My Brain,” “Poison Heart,” “It’s Gonna Be Alright” (a thank you to their fans), “Main Man,” “Tomorrow She Goes Away,” “Heidi Is a Headcase,” and “Touring,” a nod to both where the band had been, musically and literally, and how they got there. Added on here as a bonus track is their take on the “Spiderman” theme, icing on an already amazing cake. –jimmy (Captain Oi)


RAMONES:
Brain Drain: CD
As the 1980s came to a close, it seems the brudders had pretty much run out of both steam and ideas, as evidenced by this album, which is eighty percent filler with some true Ramones gems imbedded here and there. The proceedings start off on a high note, with “I Believe in Miracles,” one of the best tracks they managed during Reagan’s tenure. From there, however, it’s a five-song trudge to the next oasis, “Pet Sematary,” written for the Stephen King movie of the same name. Three songs later, up pops one of the thrashers they developed a fondness for writing during the period, “Ignorance Is Bliss,” followed by a rather pedestrian rocker, “Come Back, Baby,” and then it’s over. Ironically, it’s a novelty bonus track tacked onto this reissue, “Merry Christmas (I Don’t Want to Fight Tonight),” that provides the most Ramonesy song on the last release to feature three of the four original members. It would’ve been a sad ending, indeed, if this has been their last word, but after this was recorded, Dee Dee was out (although he continued to write for the band right up to the end), CJ was in and the ‘90s were on the horizon. –jimmy (Captain Oi)


RAMONES:
Adios Amigos: CD
It was a bit tough listening to this, the last studio album the Ramones will ever release. I’ve been living in a little bubble of denial for years now, avoiding buying this or listening to any of it, as if my ignoring it would change the fact that one of my favorite bands of all time is now but a beer-soaked memory. But you gotta face everything sooner or later, I guess, and this is as good as any to say goodbye to one of the musical pillars upon which was built my youth and subsequent adulthood. By the time this album hit the stores in 1995, the band members had had about enough of each other. Joey and Johnny hadn’t talked to each other in years, and CJ and Marky had apparently developed a rift of their own (as evidenced in the bonus track, a cover of Motorhead’s “R.A.M.O.N.E.S.,” wherein CJ changes one line to “Marky takes it up the ass”). Still, they managed to crank out one last album of new tunes. Some really good work is put down here—a cover of Tom Waits’ “I Don’t Wanna Grow Up,” the bittersweet (and evermore poignant considering he lost his battle with cancer a few years after this was released) Joey-penned “Life’s a Gas,” “Scattergun,” and “Making Monsters of My Friends”—and CJ gets even more involved in the proceedings, penning a couple and singing roughly half the songs on the album. While it may not be the greatest album they ever recorded, it is one of the better ones of the latter period of their run, and definitely a nice way for them to head noisily off into the sunset. I loved ‘em and I will truly miss ‘em. –jimmy (Captain Oi)


RAMONES:
Acid Eaters: CD
A bit of a diversion, this is a collection of covers of psychedelic ‘60s tunes originally done by the Amboy Dukes, the Who, the Byrds, Love, The Jefferson Airplane and others. I remember not thinking all that much of this upon its initial release, but it sounds a lot more interesting upon hearing it again, and some of them, like “Somebody to Love” and “My Back Pages” are actually pretty rockin’. Also included is an outtake of them doin’ “Surfin’ Safari.” –jimmy (Captain Oi)


PRACTICE/ SMALLTOWN:
Split: 7"
What a perfect idea for a split—to combine a Japanese band with a Swedish one who’re both approaching music in similar ways. Practice wear the Clash influence a bit more obviously, but it doesn’t matter. They come across neither as an extended Clash medley nor do they sound like they’re just rearranging the ashes of long-ago written songs. It’s fun, great stuff. Fourteen songs down, from a slew of 7”s and splits, Smalltown has done no wrong. They make water-tight unpretentious, instantly likeable yet stronger on repeated listens songs. “Fifteen” is an ode to turning off the TV and going for a walk and “Jimmy” is a cover of the neo-mod band, The Purple Hearts. Great stuff that fans of prime Jam and Stiff Little Fingers would sit up and pay immediate attention to. What’s odd about Smalltown is that they don’t come off as a revival band. They’ve studied the past and sheared off the best parts, but have their fingers on a map that’s leading them into places few bands have ever found. I’m not sure how they do it. That’s why I’m all ears. –todd (Snuffy Smile)


POISON IDEA:
Feel the Darkness: LP
This is a reissue of Poison Idea’s classic 1990 album. If you’re a fan of the band, you know you need this album. If you don’t know Poison Idea, Feel the Darkness is a good introduction. It shows the band at their best—blending straight ahead rock’n’roll elements (like being able to play their instruments amazingly well and texturing songs with guitar parts that flirt with the idea of a solo without once wanking off) and punk rock (in the gruff vocals and raw honesty of the lyrics). On a first listen, Feel the Darkness gives you a lucid insight into where bands like Turbonegro and the New Bomb Turks got so many good ideas. On repeated listens, you’ll just think, man, I need to own more stuff by Poison Idea. –sean (Farewell)


PLEBE, LA:
Exploited People and Conquista 21: CDEP
Hardcore punk from la Misión, with a wholly unnecessary horn section. While I can totally relate to some of the sentiments expressed here (being a Chicano raised in abject poverty in East Los, I find myself nodding in agreement when they speak of barrio and lower class hardships), I have a hard time swallowing lines like “don’t call me addict ‘cause the drugs help me heal.” I’ve seen too many good people, including myself, fall for those lies and end up embodying the stereotypes that others have created to pigeonhole us (Chicanos and punks alike). Which is not to say that I’m some fuckin’ teetotaler who walks a straight line or anything, but there’s a fine line between having a beer or a toke with the boys and using alcohol and drugs to drown out life’s pain. My suggestion is to take a little time and read Rudolfo Acuña’s Occupied America and learn why you are in the position you’re in instead of focusing too much time on “healing.” –jimmy (www.laplebe.com)


PLEASE MR. GRAVEDIGGER:
Here’s to the Life of the Party: CD
The singer of this band seems to have some sort of glandular dysfunction which causes his mouth to produce too much saliva, which in turn comes flying out of his mouth into the microphone as he screams his atonal lyrics. It’s kind of like that drunk guy you stood next to in that club the other day, who was trying to shout something in your ear, but all you got out of it was a wet ear. It’s too bad, ‘cause the rest of the band has got some really interesting stuff going on, including an occasional farfisa organ bleeding through the fuzzed-out guitars and the pounding drums and bass. I gotta think one of the other guys in this band could do the singing, they’d each get a larger cut, and they’d be a decent hardcore band. –brian (Pluto)


PLANESMISTAKENFORSTARS:
Up in Them Guts: CD
More just heavy than metal, more Sabbath than Maiden, more doom, cataclysm, and urgency than pussy, pills, bottles, and a cheap fix. More darkness of twilight than the light of dawn. More bruises and welts and slashes than clear skin and perfect teeth. Unkempt hair, viking style. I’d admit that I don’t listen to this type of stuff that often, but I’ve got to hand it to Planes Mistaken For Stars for creating their own non-ironic ecosystem of songs. Everything fits—from the whispery, nail-punctured screaming to the atmospheric (instead of needlessly intricate) guitaring to the booming of the drums. It all sounds so big picture and scorched earth. Much like an epic movie is effected by scenery, the entire tone—every note—of this album is spot-on and reinforces the initial drive and theme. I can’t say that it’s really my bag, but you’ve got to hand it to them for following their own vision and making a powerful record that doesn’t reek of a wispy fad or mere style. –todd (No Idea)


PIGMY LOVE CIRCUS:
The Power of Beef: CD
Wow, there’s more chugga-chugga metal in their sound here than I remember them having. If my mind is playing tricks on me and I have blocked out the fact that this is what they sounded like back in the ‘80s, I am flabbergasted that they never managed to break into the Sunset Strip scene all them years ago so Michael could assume his throne as the “King of L.A.” –jimmy (Go Kart)


PERVZ, THE:
Pieces of You: 7"
Saw this band recently and I was probably the only one impressed with this Las Vegas trio. They had the terrible option of opening to a total of six people, but they rocked harder than anyone on the bill that night. That took a lot of cajones to do. They play punk that is equal parts Dead Boys and Iggy Pop from the past, to modern day bands like the Stitches or the Briefs. When you see them live you expect you are going to hear a Green Day cover band because of how young they look. But before you blink, they kick you in the groin to bring you back to reality and rock you a new hole. –don (Wood Shampoo)


PEACOCKS, THE:
It: CD
Well, if you took everything that was wrong with Social Distortionesque faux-shitkicker rock (i.e., lots) and spliced that onto everything that was wrong with Sonic Iguana-spawned pop punk with the chord changes every eight beats (i.e., everything), you might get the Peacocks. You lucky lady! Band further compounds matters by singing every other song about bands who, in their own dizzying world view, are their tragically more popular inferiors. The leadoff track states “We’re too good for the charts!” Dudes. I got news for ya: You’re not even too good for a Mutant Pop CD-R. There may, however, be spots open for you on Hunter S. Thompson’s ranch. BEST SONG: “This Time” BEST SONG TITLE: “I Can Do a Lot For My Size” FANTASTIC AMAZING TRIVIA FACTS: 1) “Love Song” is not the Damned composition; 2) “Warning” is not the Green Day composition; 3) “For You” is not the Anti-Nowhere League composition; 4) The insert indicates that “Last Words” is the name of both track #2 and track #13 but it’s really only the name of track #2; and 5) Bands mentioned in the “CHECK OUT THESE BANDS” list include both Screeching Weasel and Rancid. Thanks for the tip, Slick. –norb (Asian Man)


PAULSON:
Variations: CD
Initial’s normal year offers about one decent release—this year offers two with the forthcoming Guilt collection and Black Cross’ Widows Bloody Widows compilation. Paulson thus presents an interesting problem because, while it’s better than normal Initial fare like the Harkonen release which came out earlier this year and the Ultimate Fakebook record which was really completely unnecessary, it isn’t even close to the awe-inspiring sonic brutality of Black Cross. Paulson veers between skittering drumbeats which wouldn’t sound out of place on a jazzy jungle 12”, moody keyboard-driven atmospheric music which cribs from Three Mile Pilot / Black Heart Procession and unusual electronic effects which fill in the gaps between post-core riffing and attempts at more experimental fare. Ultimately, this record sounds like it was made by a band that had too many musical and stylistic ideas to blend and wanted to try to do too many different and irreconcilable things at the same time. While this is a criticism of sorts, it is—at worst—a gentle one because at least Paulson is attempting to do something that is creative, somewhat innovative, and unexpected. That is something to be praised, not scolded, particularly considering how many bands seem to take the easy, three-chord path out of the muse’s woods. –scott (Initial)


PARTISANS, THE:
Idiot Nation: CD
Dr. Strange has the uncanny knack of picking out older bands from the brink of obscurity and releasing top notch material that stands up to their classics. The Partisans are a perfect example. Formed in 1978 by fourteen-year-old kids and English label mates with the newly formed Blitz, the Partisans sounded like an amalgamation of the Professionals, Sex Pistols, Peter and the Test Tube Babies, the Buzzcocks, and most obviously, The Clash. Their first album, self-titled, came out in 1983 (It’s been re-released as Police Story.) The summer of ‘84 saw their second LP, Time Was Right. Then, pow, aside from reissues, nothing until they self-released an EP in 2002. The only strange thing that happened in the interim is that the bassist, Dave Parsons, went on to form Transvision Vamp, then joined Bush, of all bands. 2004’s Idiot Nation pulls it off right. No stutter steps. Nothing tentative. Their roots are solidly in place (it’s punk, not an assy form or new wave or a cringing version of metal), and they don’t sound like geezers with their eyes on a brass check. This record sounds like ‘77 well spring punk. Great melodies, singalongs, and appropriate amounts of coarseness and abrasions. All in all, an extremely satisfying listen. How the hell does Dr. Strange keep doing this? –todd (Dr. Strange)


PAPER CHAMPIONS, THE:
Weekend of Compromise: CD
Imagine Green Day playing middle-of-the-road emo. Switching between the default emo rock setting of stop-and-go power chords (cf. most of the stuff I review, also any contemporary pop punk like Story of the Year or Yellowcard) and the lilting melodic edge of emo (think Promise Ring or American Football), it sounds like nothing so much as Billie Joe Armstrong realizing that he’s totally bored with those three chords and wants to play these other three chords with some dynamics, dude. –scott (Reason Y)


ORANGES BAND, THE:
Two Thousands: CD
Art rock. No, really—there’s a guy named Art in the band. –jimmy (Morphius)


OPERATION S:
Self-titled: CD
French new wave, sung in French, featuring the Cecilia, the vocalist of the nicely trashy No Talents. Operation S remind me of early Siouxsie and the Banshees with a keyboard that wiggles and slinks with darkness instead of being a type of bright and bopping razor wire as wielded by the current crop of Northwest new wave/punk rippers. Operation S’s songs are something I imagine playing in a bar of the future, like in Bladerunner. Androids. Droning. Cold. Mixed drinks that are more costly than 12ers of cheap beer. People with clothes more expensive than my car. A party I’m not really invited to. Many of the songs are super repetitive, too. Overall, it’s okay. I thought I’d like it more. –todd (Broken)


ONLY IN DREAMS:
Under This Burning Sky: CD
Man, this CD sounds funny, like it was either over-compressed or the levels are way too high. I hear this weird distortion and clipping and it’s not the guitars. It’s real muddy even at low listening levels. The drums are real loud, too. Like a drummer was the recording engineer. The vocals are a tad dry and loud in the mix, too. Could have used some effects or plug-in to make it sound better. I guess it sounded good to the band when they were mixing it. That is all that matters anyway. If you’re wondering, they play screamo metalcore that reminds me of a mix of Death by Stereo meets the Bronx. –don (Pop Smear)


ONLY CRIME:
To the Nines: CD
This is a band featuring All/Descendents drummer Bill Stevenson providing the backbeat, which means that the proceedings are wound tighter than Tarantino on crank. The pop quotient isn’t as overt here as in his other more famous bands, but these guys have more than their share of hooks, even if they’re sneakier about how they unload them on an unsuspecting listener, and are capable of some pretty solid tunes in their own right. –jimmy (Fat)


ONLY CRIME:
To the Nines: CD
A new all-star hybrid has been created. Russ Rankin of Good Riddance fame searches for an outlet to express himself when an impending hiatus of his band is imminent. He first finds a taker in Aaron Dalbec of the band Bane. There is the first guitarist. Next, the brothers, Zach and Donivan, from Hagfish add another guitarist and bassist. So while a band is being created, Russ has a conversation with Bill Stevenson about his project. Biff, bam, boom! He is interested and now the project is complete with the addition of Bill on drums. I was apprehensive of this record at first. High expectations can taint the first listen. So I held back for awhile before listening. On first listen, this band sounds very similar to later period Good Riddance. I was expecting more of a metal, hardcore sound from the guitars. But, the thought here is more of a Black Flag meets Bl’ast! sound that Good Riddance was gravitating to. Heavy, without going into the trappings of playing metal. If you pay attention to drumming in recordings, the drumming is amazing. Bill is a banger, and at the same time, a technician. The rest of the band has the sound of a band playing together for many years even though they have been together for less than one. My thinking is now that Good Riddance is no more, this new band will carry on, leaving no regrets for the demise of its past music. –don (Fat)


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