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Record Reviews

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MEANS, THE:
Community Horse: CD
Time was, late ‘80s/early ‘90s, noisy rock like this was all around, on labels like Matador, Amphetamine Reptile and Subpop, and I ate it up. I probably bought more new records then than at any time before or since. I’m talking about stuff like God Bullies and King Snake Roost, and Railroad Jerk and Monster Magnet and even Nirvana, the latter three before they figured out what they were doing and reduced it to a formula that just never rocked proper again. This is the Means second record (I never heard the first), and they’ve got the same noisy aesthetic in spades, so maybe that means they intend to stay down in the scuz for a while. I’ll be right up front if they do. –Cuss Baxter (Reptilian)


ME INFECTO:
World We Digest: CD
Black Sabbath changes their name and vies for emo stardom –jimmy (www.meinfecto.com)


ME FIRST AND THE GIMME GIMMES:
Take a Break: LP
Who would’ve guessed that this gimmick would last so long? After a CDEP, eleven seven inches, and this makes their fourth full-length, they’re still going strong. There are so many components that add up to their addictive sound: the songs they pick, the ability to adapt to those songs (who knew Black Flag’s “Six Pack” could serve as the perfect intro to a Seal song?), and, of course, Spike’s voice. On Take a Break, they say that they’re paying homage to some of the best black performers, but I know the secret: it’s all about Batman (the movie series, not the comic which I know little of except when Harley Quinn is involved). “What’s this girl been drinking?” you ask? It’s true and I have proof. It’s all there in the songs. First of all, it was too obvious to put “Nothing Compares 2 U” by Prince (who wrote the entire soundtrack for Batman) right before “Crazy” by Seal (whose “Kiss from a Rose” was the theme song to Batman Forever). “Ain’t No Sunshine” – okay, Batman lives where? GothamCity, the dark city and he’s referred to as the Dark Knight. No subtlety there. “I Believe I Can Fly” is a reflection of the frustration that Batman felt that he couldn’t actually fly. I mean, come on, how many gadgets did he have that could make it appear that he was flying? His calling card, the bat symbol, was shone where? That’s right. Up in the sky, a sky that he could never reach on his own. “Oh Girl” can easily be seen as the damage done to Bruce Wayne by the loss of his parents at an early age. Just look at the lyrics: “I don’t know where to look for love. I just don’t know how.” Truly saddening. “End of the Road” is the perfect song for the end of the love affair and epic battle between Bruce Wayne/Batman and Vicki Vale/Catwoman. “Save the Best for Last” is obviously not referring to that horrid piece of trash that was Batman and Robin, but for the characters they saved for that movie – Poison Ivy in particular. Speaking of Ivy, you can’t get a more “Natural Woman” than her, so you know why that song’s on there. Am I right or am I right? Get Take a Break, sing along, and see if you get “Vicki Vale/Vicki Vale/Ooh yeah, ooh yeah/I wanna bust that body” stuck in your head, too. –megan (Fat)


ME FIRST AND THE GIMME GIMMES:
Take a Break: CD
There are good covers and bad ones. The latest Misfits project is a bad one. This one is always a good one. First off, Spike, from the Swingin’ Utters, is a good singer. The rest of the band are accomplished players with a resume that is among the more popular bands of today. I guess it helps to have a couple of Lagwagons, a NOFX and a Foo Fighter to back your shit up. As before, the band chooses a theme and runs with it. This one is the R&B/Soul session. Here is a list of songs given the MF&GG’s treatment: Whitney Houston – “Where Do Broken Hearts Go”; Lionel Ritchie – “Hello”; Boys II Men – “End of the Road”; Bill Withers – “Ain’t No Sunshine”; The Family/Sinead O’Connor – “Nothing Compares 2 U”; Seal – “Crazy”; Stevie Wonder – “Isn’t She Lovely”; R. Kelly – “I Believe I Can Fly”; Chi-Lites – “Oh Girl”; Jackson 5 – “I’ll Be There”; Ray Evans and Jay Livingston written – “Mona Lisa”; Vanessa Williams – “Save the Best for Last”; Aretha Franklin – “Natural Woman.” This is some stuff you can pass off to your naive parents or that co-worker who is so clueless about music that they think you are friends now. This is also great stuff when you are vacuuming, washing dishes or putting that suppository in your pet’s butt. Now that is a great soundtrack! –don (Fat Wreck Chords)


MARKED MEN, THE:
Self-titled: 7”
Cracklin’, crankin’ power pop punk in the vein of the Briefs (less bounce, more slash) – and I’m a fuckin’ sucker for it. In one ear, I hear a rusty scratch of an anxious voice and in the other, I hear a catchy, playful Saints back line, making the enterprise poppy enough for some warm pogoing and beer spitting, original enough so the shackles of the past are broken, barbed enough keep it from being wimpy, and gritty enough to believe it’s heart felt. High praise. –todd (Mortville)


LORDS OF THE HIGHWAY:
Lost in Sin: CD
I’m not a big rockabilly fan, but occasionally a band like Lords of the Highway comes along and blows me away. At first, I wasn’t sure what separated Lords of the Highway from the pack, but after repeated listens, I’ve got some theories. For one, Dennis Bell’s guitar owes more to Dick Dale’s influence than it does to Buddy Holly or Gene Vincent. Also, the rhythm section doesn’t lie back and leave everything up to the guitar and vocals; they get off their asses and rip through their own side trips throughout the songs. There’s a lot of energy and bounce to all the songs. The result is an album that stays true to the spirit of rockabilly, but incorporates ’50s and early ’60s rock’n’roll in new ways, gathers up a healthy dose of punk aesthetic, and makes something that’s new and interesting and fun to listen to all the way through. I’m not sold on the cover of Danzig’s “Twist of Cain,” but it’s got my wife dancing. –sean (Rocknroll Purgatory)


LOCOMOTIONS, THE:
Self-titled: LP
This album failed to sufficiently nuke me up until the point where the tremolo-bonkers instrumental “Sigma Attack” made its appearance (that would be last track, side one, if you’re scoring at home); i had hitherto half-dismissed the contents of the album as not-overly-compelling garageyness, distinguished chiefly by the vicious, clean little guitar that kept snapping away at me through a side full of tracks that sounded like marginally more berserk cuts off those “PowerPearls” ‘70s/’80s UK home-made power pop comp LPs. However, with the onset of the flamboyant tremolo of “Sigma Attack” (one assumes that, in Germany, the title bears none of the “getting jumped by fratboys” connotations it wields in the states) (in point of fact, the name comes from the dude’s guitar), my interest and the band’s apparent ability to satisfy same increased by an order of magnitude; the only dud on the entire second side is their Dogmatics’ cover (“Saturday Night Again,” which realistically should’ve been relegated to non-LP-B-side status). Prior to “Sigma Attack,” everything seemed like a lesser version of something i’d heard done better elsewhere; after “Sigma,” the band sounded like what i’d imagine the children of DMZ would sound like if they were bitten by rabid German Shepherds (dogs or humans, mox nix) and locked in the same basement that DMZ practice in by parents so terrified of the bestial transformations their offspring were undergoing that, in lieu of seeking medical attention, they merely instructed the imprisoned youths to practice “Mighty Idy” for hours on end, figuring that they’ll harmlessly drop dead of exhaustion eventually – but, after ten minutes of slavering and violence, the kids decide to write “I’m on Fire” instead (which they very well might have been at the time), and their parents run out of the house, never to return, screaming like the guy on the Kill the Poor sleeve. The only real conclusion i can draw from this is that tremolo pedals can solve world hunger. Oh, and “She’s Got Her” sounds a little like “Here Comes the Nice” by the Small Faces. BEST SONG: i’ll say “Sigma Attack,” although i don’t really think that’s the right answer. BEST SONG TITLE: “Make Up Your Mind”, “I’m on Fire” and “Come and Get It” are all pretty good... too bad they’re already taken (what the fuck is it with these European bands recycling song titles? I mean, they don’t even recycle REAL stuff over there). I guess i’ll go with “Sigma Attack” again. FANTASTIC AMAZING TRIVIA FACT: As is only right and just, the bonus track is, in fact, “The Loco-Motion.” Oops, you peeked! –norb (Alien Snatch)


LOCAL OAFS/ MUSIC/NINJA:
Essen Sie Punk?: 7”
Local Oafs: Holy fuck, there’s nine songs on one side! They’re not trying to jam them all on there, either. It just all fits! The craziest part about it is that it’s really good, too. It sounds like everything is filtered through a tin can – super fuzzy and distorted. Somehow, though that just adds to it. The best thing of all is that they’ve got a guy name Shawn Michaels in the band. HBK – the Heartbreak Kid! Even if they don’t know who he is in the wrestling world, I think it’s pretty cool. Music/Ninja: They’re okay, nothing that grabbed though. The best of their three songs is “I Make Money.” Great packaging: all black and white comics. The insert has a whole set of strips all revolving around what happens when someone eats too much of the punk rock with the lyrics. –megan ()


LOCAL OAFS/ DYKE HARD:
Mortal Combat: 7”
Dyke Hard: All girl (I think) super lo-fi pretty gritty punk. Sounds kind of unremarkable and then I found myself asking lots of questions, like, “Wait, was that a kazoo?” or, “Did she just say, ‘I just want to choke you with my cunt?’” and it all fits. A decent listen. Local Oafs: surprised the hell out of me. They’re really good. They’re fast and fun. The six songs come and go so quickly. –megan (Cage Match)


LIMECELL:
It’s Gonna Get Ugly: CD
Here comes another one from this long running band. It’s a solid release – plenty of streetpunk and hardcore with some fast, some slow, and some mid-paced songs. It’s all that you would expect from Limecell: in your face and unpolitical. Limecell is one of those bands that you either love or hate. There is no in-between. If you like Limecell, you will be very happy with this release. If you don’t like them, this release will not change your mind. –Mike Beer –Guest Contributor (TKO)


LIGHTWEIGHT HOLIDAY:
Light Holiday: CD
Should this band be famous? Definitely! Does that mean I like them? Not really, but I would be lying if I said this wasn’t really catchy from the start to finish. If I was a major label A&R guy looking for some band that could write music that would mindlessly drill upbeat punk / top 40 pop rock into a person’s brain, leaving them begging for freedom... I can’t help wondering if we have come so far in punk rock / pop music that a band can’t find a formula on the internet that will tell you where to put in the right breaks and chorus that will create something that sticks in your head. This is the basis for successful advertising jingles, right? –Wanda Spragg –Guest Contributor (Porterhouse)


LEG:
Self-titled: 7”
What a pleasant surprise! The music is kind of like a cross between a sloppy DIY punk band (like Onion Flavored Rings or maybe Shotwell) and some of the more lo-fi Guided By Voices stuff (like “Game of Pricks”). I didn’t really like the vocals at first, but I kept listening to this since I liked the music so much and after a few spins they grew on me. Neat shit. –Not Josh –Guest Contributor (Half-Day)


LAST CALL BRAWLERS:
Self-titled: CD
Pretty run-of-the-mill psychobilly here, leaning more towards the traditional end of the spectrum and sporting a little gloom around the edges. –jimmy (www.thelastcallbrawlers.com)


LARKIN:
The Curse of Our Fathers: CD
I didn’t know there was a large contingent of Irish people in Tulsa, OK. I wouldn’t really know since I have barely been anywhere. But here they are, an Irish/Celtic band that follows the footsteps of the past like the Pogues – or more currently like Flogging Molly minus the punk leanings. They label their style of music as traditional Irish songs of drinking and rebellion. Former Brother Inferior vocalist leads this assemblage of musicians. This genre of music is always a welcome change when you need something a little more mellow. –don (Know)


YESTERDAY’S KIDS:
Can’t Hear Nothin’: CD

Pretty typical poppy stuff here. I wouldn’t be surprised if they were signed by a major soon. Most of it sounded like a cross between Mathew Sweet and the theme song to Friends. I thought it had promise with a song called You Can’t Fake Being Chinese. It’s true, I guess, but I can’t fake liking this either.

–megan (Panic Button)


XPOZEZ:
Democrazy: 7"

I got this release and was unsure who this band was. I saw on the back of the cover that it was a joint release of Ponk-111 (who sent this to me), BCT, Schizophrenic and Enterruption. Ponk-111 runs a cool little website and is a true lover of old school punk. My brother and I have taped a bunch of stuff for this guy. Schizophrenic is an underrated label from Canada that people need to check out. He’s been putting out great stuff for over ten years. Enterruption I have never heard of before. BCT – I do have a story. When I looked at the insert, I noticed that this came from the classic BCT tape, I Thrash Therefore I Am.  I got that tape from one of my many trips to San Diego during the early '80s while staying at Chris BCT’s house. He was like the punk rock youth hostel. He was hospitable and would take you around to all the cool punk record stores and shows. I forgot about the tape and the band. The insert also informs me that the singer Andy Turner was a later singer for the once great UK band, the Instigators. I did not like his contribution to the band. The Instigators were great during the period of the Cleanse the Bacteria comp and the LP Nobody Listens Anymore. Back to this band. Since it was erased from my memory bank, I feel like I am listening to it for the first time. This was Andy Turner’s earlier band which was a faster UK sound that has that truly live feel to the recording. Like many bands of that period (1983 or 1984), the music is not fluffed up like many of the bands of today. No big production, just music. The music is there for how you want to interpret it. It still has that energy of something new like when I heard a new international band back then. They made music for themselves and it was made available to the world by BCT. If my aging brain remembers correctly, I think the original comp has been repressed on CD by Schizophrenic and I know for sure that BCT has made the original twenty-seven tapes available again. I think you can get them through Sound Idea mailorder. I commend  M-8 at Ponk 111 for digging out a gem from the past to have attention put on it. I know the first press is sold out but a second press is available now. If you are dedicated and want to hear bands from the past, this is a worthy addition to your collection.

–don (Ponk-111)


IANNIS XENAKIS:
Persepolis Plus Remixes, Vol. 1: 2X CD

The original 1971 piece here, “Persepolis,” reminds me of nothing so much as Throbbing Gristle’s “2nd Annual Report”: underlying drones and creepy shimmers are visited by swooping horror-movie strings (? – sounds like strings, anyway). It’s an hour long and if this is the kind of noise you like, you’ll like this noise very much. Disc 2 has nine “remixes,” some of which retain the understated eeriness of the original and others of which, like Merzbow’s, tear it apart into unrecognizable exercises in harshness.

–Cuss Baxter (Asphodel LTD)


WIFEBEATERS:
The Child Mulletstation: 7” EP

I’ve heard armless deaf kids with more talent.

–jimmy (no address)


WEEDEATER:
Sixteen Tons: CD

Apparently, the atomic clock in some people’s world is forever stuck on 4:20. Is the wave after wave after wave of stoner bands another of bin Laden’s treacherous terrorist ploys like the clouds of West Nile mosquitoes he sent rolling across our country this past summer? I mean, fuck: how much obstructed-bowel bong music can a person listen to? Just like all the other stoner bands stamped out of the same giant cake of brontosaurus excrement, Weedeater’s music oozes like an overturned cement truck full of pus. You and Frank Kozik might like that, but I’ve been bored with it since Man’s Ruin started cranking out little bastard Sabbath babies like Ding-Dongs off the Hostess conveyor belt a few years back. These bud-worshipping rednecks have simply had a few too many pans of hash brownies and a few too many hours staring and giggling at their own turds floating in the toilet. It still seems funny to me that a so-called “mind -expanding” drug can beget such plodding, one-dimensional hippo music. Stoner-metal zen koan: what’s the sound of a waterheaded Tony Iommi in a wheelchair?

–aphid (Berserker)


WEDNESDAY NIGHT HEROES:
Self-titled: CD

These guys outta Canada play basic pogo punk anthems with melodic leads and pissed off working class lyrics. While definitely not bad, there wasn't much that grabbed me. The production on this CD was a bit lacking, which definitely did them no favors. So so. –Mike Dunn

–Guest Contributor (Longshot Music)


THE WEDNESDAY NIGHT HEROES:
No Regrets for Our Youth: 7" EP

One aspect of music like this ("street punk" or "oi" or "oi/punk" or "punk/oi" or "oink" or "street oink" or "essentially reminiscent of something that woulda been on a BYO comp about twenty years ago" or something [i don't know, it's a young man's taxonomy these days]) that i feel never really gets brought to light is that music "like this" is unfailingly equipped with an implicit demand to be given, if nothing else, points for a certain populist Purity of Intention – yet, historically, the bands making said music have proven themselves to be no more inherently corruption-free than the next schmucks. I mean, it ain't like Cock Sparrer (whom they cover) were just sitting around a pub or a West Ham game one Saturday afternoon, drinking pints of Stella, when suddenly, devoid of all exterior influence, there was this miraculous serendipity attack where all of 'em hopped up in unison, kicked over a fruit machine, yelled "I'VE GOT IT! WE'LL BE A BAND!" and dashed down the streets looking for gear to, uh, "nick" – if you go back and listen to those old records, it's pretty obvious that Cock Sparrer were trying to be Slade and/or Sweet (glam rock class of '73 or so) to the best of their abilities (at least at times); even Slaughter "Where Have All the Boot Boys Gone" And The Dogs got their name from cross-breeding David Bowie's Diamond Dogs and (late Bowie gtr-ist) Mick Ronson's Slaughter on 10th Avenue album titles (which is, of course, absolutely fine – i'm a big Sweet and Slade fan and i barely even hate David Bowie any more) and i don't think we even need bother touching on how bands like the UK Subs, Anti-Nowhere League, Cockney Rejects and Blitz were all-too-ready to dress up (and sound) like Adam & the Ants or U2 or Loverboy when the fickle farts of public taste starting blowing downwind again. My point – which i guess now that i think about it is a little more obvious than i initially thought it was – is that music "like this" is just as rife with contamination and corruption potential as, i dunno, music "like that." Case in point: Side one, track one is called "Music for the People" (as opposed to WHAT? Music for the end table?). First line of first song is, of course, "This is the music for the people! This is the music for the people!" (and, heck, while i'm up, i'd like to thank Wednesday Night Heroes, The, for taking the time to speak for all humanity! Keep up the good work!) This, of course, implies that this music is PURE! INCORRUPTIBLE!! NEVER TO BE CO-OPTED FOR THE SERVICE OF THE MAN!!! (note: "The Man" is different than "The People." I don't know why. Like i said, it's a young man's taxonomy) Yet, if you listen to the break right after the chorus, where the guy just kinda repeats "What you put us through!", hear that little rhythm change thing? Yeah, that. That's not a punk rock thing. Nor an oi thing. Nor an (etc. etc.) thing. That is not and has never been found in any valid subset of the punk rock, uh, taxonomy (?) whatsoever. That's a '90s alterna-rock Gen X Mountain Dew® commercial thing, sure as i'm settin' here, pal. IMPURE! UNCLEAN!! TAINT OF CORRUPTION!!!  I don't really have a problem with kids trying to re-create the rush they got when they saw the Dropkick Murphys at the Warped™ Tour (or whoever at whatever) when they were fifteen, but ultimately i kinda just wanted them to go be young somewhere else. That said, let the record show that you actually COULD plug "Music for the People" onto either side of the "Someone Got Their Head Kicked In" comp and there really wouldn't be any noticeable drop-off in quality, which is, realistically, about as good as one could hope for. BEST SONG: The Cock Sparrer cover on the 45 RPM side on 33, although i can't say as i tried the 33 RPM side on 45 yet. WORST SONG TITLE: "Persevere" FANTASTIC AMAZING TRIVIA FACT: The font used for the lyrics is called "Device," and it is currently one of the fonts being used for the in-store promotional materials for Burger King's new 99¢ menu.

–norb (Longshot Music)


WE MARCH:
Life in a Plastic Bubble: CD

Hmm…. A punk band that actually sounds punk. How novel a concept in this, the era of weepy James Taylor clones calling their drivel emo and poopy poppunk bands who think fart jokes and whiny nasal attempts at singing are witty and cutting edge. These guys sound like they crossed the space-time continuum in a machine that left Texas circa 1982 and made a beeline for the new millennium to show these “new school” pretenders what fuckin’ time it is. Sloppy in all the right ways, snotty in all the right places, up to its eyeballs in seething attitude, aggressiveness that isn’t achieved solely by playing atone thousand mph and LOUD, this, my fine-feathered friends, is one ass-kicking release. Prepare to be bitch-slapped and love every second of it. You’d have to be a complete moron not to pick this up.

–jimmy (wemarchbox@hotmail.com)


VERBAL ABUSE:
Just an American Band: CD

Another classic moment in hardcore reissued for your listening pleasure. This includes the original album in its entirety, plus a bonus live set from a show with the Ramones in 1984. Sound quality of the live stuff is straight off the board and there are some unreleased tracks in the set list. Buy now or get called a clueless poseur by your kids in the future.

–jimmy (Beer City)


VARIOUS ARTISTS:
Your Scene Sucks: CD

Okay, this made me do some math. There’s twenty-eight bands on here and, of those twenty-eight, approximately 3 percent are worth a piss. The remaining 97 percent fall in either the emocore, “hardcore” (read that as “metal for bald people”), and popcore genres. Sounds like a pretty accurate breakdown of the punk thang these days, meaning that I figure if you go out and pick a random release out of a new CD bin at any record store, you have a 97 percent chance of it sucking. Same thing with going to a random punk show on a Saturday night – you have a 97 percent chance that 97 percent of the bands playing at the club are gonna bite the weenie. I like the fact that this is not merely another label sampler disguised as a comp, but I wish they would’ve focused more on finding more of the bands that fall in the “3 percent” pigeonhole instead of being content to bank the marketability of this disc on suck-ass “name” bands. Sorry, but with a 3 percent success rate, your comp sucks.

–jimmy (Go Kart)


VARIOUS ARTISTS:
Undifinable Blows: CD

Two pretty good songs by a rapper surrounded by twelve really bad rock and rapcore songs.

–jimmy (Undifinable)


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