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Twenty Years of Dischord: 3 X CD

Like the bachelorette said to the male stripper, "My goodness, what an attractive package." It's a three CD set, it's got seventy-three songs, and a 134 page booklet chock full of one of-a-kind pictures. The booklet's cover has two pictures of Ian Mac Kaye and Jeff Nelson (Dischord's two owners) in the exact pose in the same home office, but twenty years apart. (Also, if you look really close, the case box has a ghost image of the Dischord logo on it.) I'd be a king liar if I didn't go directly to disc three, which had twenty-one unreleased tracks by such defining, never-to-be-topped-at-their-own-game bands as The Teen Idles, Minor Threat, Government Issue, Void, Scream, and Faith. It truly is unbelievable how great this stuff sounds, two decades down, and there's new surprises. I'd never even heard of The Rozzlyn Rangers before, whose track is really fun. This disc is not only a document of WashingtonDC's hardcore roots, but a great checking of the national pulse at the time as well. Disc One has material previously released – and, unless you're a total collector kook looking for the Minor Threat 7" with the misspelling of Gary Cousins' name on it – Dischord has been kindly enough to keep their entire catalog in print, readily available, and exceedingly fairly priced. But, since they've been so busy, keeping a constant release schedule, this is a great way to double check if there aren't any bands that have slipped under your radar. I think I'm liking Rites of Spring more now than I ever had. At the end of Disc One and into Disc Two, there's a shift away from hardcore and bands I'm prone to like more, into the more atmospheric, opened up, less meat-head-attracting sounds Dischord has been known for for the last several years, with standout tracks from Fugazi, Jawbox, The Nation of Ulysses, Autoclave, and Slant Six. A DIY best case scenario. It's stuff like this that makes listening to music so worth while. Someone's been doing it so right for so long. That's inspiring in and of itself.

–todd (Dischord)

The Philadelphia Sound: CDEP

From the town that brought us spreadable cheese and a cracked bell, ring out four excellent melodic hardcore bands. Due to the fact that the tracks for each band aren't in clumps, but round robin, it's safe to say they're mining similar territory (loud, fast, catchy, crunchy), but what a great place to lay claim. Pretend you were a kid that didn't let go of a firecracker and it blew off your fingers. The musical equivalent to that would be Kid Dynamite (RIP), from whence these bands were musically or truly spawned. I can't pick a favorite. Paint It Black, imagine if you will, distill Minor Threat down further, to great effect. It's almost like fuck you haiku. The Curse has a bit of delay on the vocals. They're what the last Dag Nasty aerosol cheese of a record prayed it could measure up to. Go! For The Throat have a rollickin' east/west feel, where it their songs are wrecking balls, but they're sweet like a lollipop. Knives Out remind me of my favorite songs in Sick Of It All's soundbook – a couple of buzzsaws and a shouter. Eight songs, just over ten minutes. Philly's kung fu is tight.

–todd (Chunksaah)

The Necessary Effect:: Screamers Songs Interpreted: 2X CD

Let me begin by saying I hate tribute albums. Nearly all of them serve no purpose other than to embarrass the recorded legacy and insult the good name of the band being paid tribute. Most importantly, they’re a waste of good money that could go toward much more worthy causes, like feeding the homeless, or washing the car. That said, this isn’t too shabby a set here: twenty-nine covers of songs either written or covered by L.A. legends the Screamers, courtesy of Bloodhag, the Cripples, the Miss, the Phantom Surfers, Canned Hamm and oodles of others. Heck, there’s even a couple of tracks here done by former Screamers KK Barrett and Paul Roessler. The thing that makes so many of the covers here work are the Screamers themselves. The original versions of these songs were often so off the wall that they are left open for wide interpretation, ranging from the synth-driven punk the Screamers pioneered (Point Line Plane’s version of “Give the Future a Break”) to the, umm, more ambient end of the spectrum, (Spider Compass Good Crime Band’s take on “Punish or Be Damned”) as well as more “normal” guitar/bass/drums interpretations (Bloodhag’s “If I Can’t Have What I Want,” the Phantom Surfers’ “Eva Braun”). As a tribute, the wide range of styles mined, from new wave to crunchy hardcore punk, is actually more complimentary than detrimental, and it all gels rather nicely instead of collapsing into a pretentious pile of bands trying to outdo each other on the “cool” meter. At worst, you’ll be getting a very eclectic compilation crossing wide swaths of underground music.

–jimmy (www.extravertigo.com)

The Die Has Been Cast: CD

Label samplers like this one for Boxman Records would work best if they were interactive, where you could go in and delete all the tracks that bore you or rub you the wrong way. By nature samplers are – and I’m aware that I’m coming perilously close to quoting Forrest Gump here – like a box of chocolates; you've got some poppy punk mixed in with some hardcore mixed in with some emo, etc.  If I was able to trim the fat from my Boxman sampler CD, here are the bands I’d have left: The Front (fast paced with raspy Distillersish vocals), Big Fat Ass (kind of a heavier Bad Religion), Friendly Fire (‘77 style punk), Stool Sample (trashy hardcore with vocals that are like Good Clean Fun meets GG Allin, if you can imagine that), I Give Up (sloppy riff-heavy with Accused-like vocals), and Torpedo Lucas (a faster, messier Social Distortion.) So, bottom line, if they wanted more than six dollars for this thing, I’d pass.

–aphid (Boxman)

Shielded by Death: Vol 1: Busted at the Lit: CD

The title hints at what's inside – an almost Killed by Death-flavored comp., but instead of cherry picking obscure bands that released a raging track or two then slipped back into oblivion, this comp focuses on original punk rock from Eastern Connecticut and Western Massachusetts, 1977-1985. Along with the other comp. that Dionysus recently released, The Bosse Sound, it shows the quality of compiler's archival hindsight vision. The fat's cut off, and what you get is twenty-seven tracks full of amplified desperation by no-name bands, all of which probably only played poorly attended gigs. The irony is obvious. This is some killer stuff that lays shame to crap-on-a-stick like the new Vandals, and these songs and bands will probably continue to slip under the radar, almost twenty years after the fact. Cools tracks by all, but my favorites by The Regular Joes, Foreign Objects, the Pajama Slave Dancers, and Chronic Disorder.

–todd (Dionysus)

The Bosse Sound: Swedish Punk, Hardcore, and New Wave 1979-1986: CD

The title pretty much sums it up. Pretend you've got a short wave radio, a time machine, and a really adventurous, right-on DJ cranking thirty tracks of Swedes playing the gamut from loud, fast, and scratchy to synthesizers a-blazing rock. I'd only heard passing mention of one or two of these bands – like the Meateaters and Zpamhead – but there's not a clunker in the bunch. What's amazing is most of sound quality is through the roof (in a good way) and the Swedes don't put as much strangulation on adjacent genres, so there's a nice cross pollination of really hummy, jangly stuff and straight-ahead fuck you rock. Excellent stuff. Great to put on and have an enjoyable seventy minutes.

–todd (Dionysus)

Pushing Scandinavian Rock to the Man Vol. III: CD

Rockin’, trashy rock’n’roll from Sweatmaster, the Flaming Sideburns, On Trial, the Mutants (not the old Frisco band), the Burnouts and more. There’s more than a slight '60s feel to most of the tracks (although most of the tracks have that overdriven sound popular with the trash rock crowd), with at least one band covering a '60s tune, “Nobody But Me.” On the whole, the tracks are pretty strong and I can’t quite seem to muster much of a complaint, so I reckon that means that this ain’t too shabby.

–jimmy (www.badafro.dk)

Household Name Records of London: A Punkrock, Hardcore, Skacore Compilation: CD

Surprise! It’s crap. Okay, I can think of something nice. The first seventeen seconds of the Fig 4.0 is pretty cool. Everything else blows.

–megan (Household Name)

Hardcore Amerika (The Reagan Years – 1st Term): CD

In the time before exceedingly expensive postage, burnable CDs, and the advent of the internet was a flourishing international hardcore tape trading community. Bad Compilation Tapes (or Borderless Counties Tapes), known by most as BCT, were one of the focal points – releasing around twenty-seven international hardcore comps. This here is a fifty-seven song "best of" from two of the releases and it's the first time they've ever officially been on CD, if I'm not mistaken. This one isn't so international. Actually, it's all American, but it gives you a great flavor of the expanse of how wide and far hardcore was embraced with virtually no coverage, after the first couple waves of punk had "died." Constantly underrated and easy-to-not-remember, these bands whipped out choice cuts. Love Canal, Suburban Decay, No Response, Eat The Rich, Accelerators (NJ, not CA), Disorderly Conduct, Psycho, Detention, White Flag, Deranged Diction, Corrupted Service, and Unexpected all stand the test of time. This is just like finding a favorite tape that's been mulching under your car seat for fifteen years. All the tracks do a great job of reminding the listener that hardcore's not as rigid a genre as many make it out to be. Totally worth the scratch.

–todd (Borderless Countries Tapes, Schizophrenic, Enterruption)

Billy Volume One: CD

A top-notch comp of what I’m assuming are recent shenanigans and goings on in the rockabilly and psychobilly scenes, featuring tracks from a bevy of heavy hitters, including, Deke Dickerson, James Intveld, Big Sandy, Reverend Horton Heat, Demented are Go, Frantic Flintstones, Three Bad Jacks, Os Catalepticos, and an amazing song from the Necromantix, to name but a few. Nary a bad track to be found here and plenty to get your hair piled up over.

–jimmy (Hepcat)

1157 Wheeler Avenue: A Memorial for Amadou Diallo: CD

There is probably no better social reason to make a comp. than for Amadou Diallo, a man, unarmed, who showed no attempt of resistance and was shot nineteen times by New York police who didn't identify themselves. A bullet even entered through the bottom of Diallo's foot (showing that they kept shooting after he was on the ground). The police were acquitted on all charges. A portion of the proceeds of this CD will be donated in Diallo's name to Human Rights Watch to support their ongoing campaign to fight police brutality. That's the good news. The bad news is that the comp.'s very spotty. Highlights are a live version of Strike Anywhere's "Sunset on 32nd" (which fits perfectly and sounds much more snarly than the studio version), Anti-Flag's cover of Mission of Burma's "That's When I Reach for My Revolver," The Arrivals, and The GC5. There's some passable stuff – Munition and Plan A Project. But there's too many dry patches. Fifteen proves another way they can suck more and more, J-Church is as boring as going to real church, as are The 4-Squares and The Methadones. Hey, I really like Youth Brigade, but when the rapping in "Men In Blue" starts, my finger goes for the eject button every time.

–todd (Failed Experiment)

Battle for the Airwaves Vol. 2: 7” EP

Sub-billed as “West Coast Punk vs. East Coast Oi,” this features tracks by the Workin’ Stiffs, the Bodies, the Templars and the Wretched Ones. It was a tough call, and I don’t deny that I might be more than a tad biased, but my call is that the west coast wins by a nose with tunes that are just a tad more memorable. Recommended.

–jimmy (Radio)

: Split 7"

Fuck yeah! My only previous reservation with The Urchin, and it was a small one, is that they sounded too proficient. Even though they were hitting all the right notes and playing some of the tightest, aggressive pop punk in the land of the rising sun, it never sounded like they were breaking a sweat. Too pro. I wanted to hear the work, you know? These two songs, still very well recorded, sound dirtier, more raw and angry, and that's nothing but good news to these ears. Best song title: "Sixth Song We Recorded for a Split 7" with the Band Called Dillinger Four." Best Japanese-to-English translated line: "Drinking coffee taste like fuckin' sweat with breathing in chemical gas." One Leaf: in flashes in the songs, like when you walk by a fence really quickly and can see into someone's back yard, is early D4 –tremendous energy and every single note being hit spikes the song faster and deeper. I'm not saying One Leaf is as good as D4, but their potential to touch on really cool, complex, and tricky parts is my favorite aspect of their songs. Best line: "Let's drink to the full the alcohol numbed to the back of a throat!" Cool shit, both sides.

–todd (Snuffy Smile)

Ten Years of Toys: CD

Not a “best of,” per se, so much as re-workings of some of the Dolls’ best songs to celebrate what was their tenth anniversary. The remakes are, for the most part, top-notch, although some are a little slower than the originals. Worth the green if for no other reason than the version of “Harry Cross.” Kinda confused about “I’ve Got Asthma” being included as a bonus track “previously only available on the Japanese CD version.” To the best of my recollection, it was on every version of the original vinyl I ever saw. No matter. It’s on here and it’s good. Now go spend all yer lunch money on it.

–jimmy (Captain Oi)

Covered in Toy Dolls: CD

I won’t get on my Captain Oi records having nothing to do with oi kick again. I will just tell you about Toy Dolls. This is one the of weirdest CDs I have heard in awhile. This sounds like an album I might have checked out of the library in elementary school with pictures on it and stuff. It really sounds like, with a few exceptions, a punk album for little kids. It’s all covers spanning from ’82 to ’00. They do real kiddie songs like “Nellie the Elephant” and “Rupert the Bear.” They also do a few instrumentals, “Sabre Dance,” “Toccate in Dm,” “Eine Kleine Nacht Muzik.” Also, some popular songs like “Blue Suede Shoes,” “No Particular Place to Go,” “Please Release Me” (with an original tacked on the tail of if which is really pretty cool, called “Darling I Loathe You”), “Devil Went Down to Georgia” and “Livin’ La Vida Loca.” Of course, they put their own twist to these songs, making them a bit more palatable. This of more of a novelty album, if anything else. It was entertaining for a single listen, but it won’t see my CD player again, unless I’m baby sitting someone’s kids. “Ha!” (done in the voice of Miss Krabappel). I would, however, like to hear more of their originals. The guitarist is a pretty damn good and the vocalist has the British, snotty snarl of Johnny Rotten which makes some of these covers amusing.

–toby (Captain OI!)

American Disaster: LP

This band played at the Avalon Nightclub. About four hundred people were at the show. The jam session was awesome. It whupped a lion's ass. Trash Brats, Trash Brats, Trash Brats, Trash Brats. The band played it on. The band got down. The crowd roared like a lion. It whupped a mule's ass (i actually would not go so far as to say that this band whups a mule's ass. There's something about the concept of melding late '80s glam-hair-metal with punkrock that seems to inherently point out that punkrock-flavored glam-metal might be the way to go [if you're interested], but that glam-metal flavored punkrock, if you do the math, really has no chance of succeeding, at least not the way you want it to, and i tend to suspect that bands like the Trash Brats are hearing/thinking "punkrock flavored glam metal," but it's coming out glam metal-flavored punkrock, which is okay, but not exactly Rock Sensation Sweepin' The Nation material). Trash Brats, Trash Brats, Trash Brats, Trash Brats (which is not to say that i find no value in this band; "Eatin' Crow" is cool in a first GG Allin LP kinda way, "Imitation Generation" did, in fact, have me legitimately contemplating whether the band intended it to sound like imitation Generation X [uh, the band], and "Hungry Eyeballs" evoked some of the Vandals' better faux-country moments. Also, the wah-wah in "Must Be Cocaine" is most boss!). The show was over at last (truer than you know: One of the most glaring problems with this record is that ALMOST ALL THE SONGS ARE WAY TOO FUCKING LONG. Hey, it's only a clever, catchy line the first seventy-two times you hear it! These songs drag out to the point where you begin to personally resent the song for not being over with, then they usually add these sort of smart-ass epic endings to them, merely for the sake of frivolity, which would have been okay had the song not worn out its welcome two choruses previous. "Feeding the Mosquitos" is one of my favorite songs on the album, due in no small part to the fact that i only consider it twenty seconds too long). A lot of people met the band. The rock show was awesome (i will go so far as to say that the song "Suicide Dedication" – you're supposed to request it for your ex right before you off yourself, so whenever the song plays after that people will talk shit about WHAT A MEAN CRUEL HEARTLESS FUCKING BITCH SHE WAS, not that i know any girls like that, no sir, not me – is legitimately great, the kind of thing NOFX would have already done if they were as unworthless as people claim they are, which i have never seen shred one of evidence to support. Too bad you can only really use it effectively once, as opposed to the far more utilitarian "Suicidal Failure" by Suicidal Tendencies). It was a whupping on a mule's ass (this band has a song called "Bubblegum Girl." If Saddam Hussein ever gets a weapon whereby he can combine "Bubblegum Girl" with the Teen Idols' "Peanut Butter Girl," i AM gonna off myself, because i can't take the fucking horror such a thing would unleash). Trash Brats, Trash Brats, Trash Brats, Trash Brats.  Rock over London. Rock on, Chicago. General Motors: We never forget who's driving. BEST SONG TITLE: "No Jangle Thrust"  BEST SONG: "Suicide Dedication" FANTASTIC AMAZING TRIVIA FACT: I swear to God the melody from "Who Put the Words" is heisted from that goddamn "I'd Like to teach the World to Sing" Coca-Cola® commercial circa 1971!

–norb (Alien Snatch)

Drunken Sailor: 7"

You gotta love these guys. Twenty-plus years on and they can still pull out the hits like they were doing nothing more than breathing. A-side is their take on a traditional sailor chant and the flip is another anthemic classic complete with bridge sung in French. Limited, so snatch it up.

–jimmy (Captain Oi)

Stain On Me: 7”

Two more tracks of gritty punk from this female-fronted unit. Makes me want to go out and scream in someone’s face. Pay attention fuckers, ’cause it rarely gets better than this.

–jimmy (Rip Off)

Bare Faced Cheek: CD

Of the first four Toy Dolls albums, this was always my least favorite, and remains so. Save for “Fisticuffs in Frederick Street” and “Ashbrooke Launderette,” the song titles are better than the actual songs, which are pretty unmemorable on the whole and the performance and production are lackluster.

–jimmy (Captain Oi)

Fear and Hatred: CD

No matter how you slice it, dice it or package it, be it in English, Spanish, or, in this case, Russian, generic modern pop punk is fucking boring. Gimme Muzak over this bullshit any day of the week. At least with that shit there’s no pretense of being cool.

–jimmy (www.tarakany.ru)

Going Down Swingin: CD

Chicago's infamous Sweep The Leg Johnny is back with another gem of a record. One of my favorite bands in existence, period. This time, one of the Rumah Sakit boys has joined in on guitar. (Making Mr. Mitch Cheney the other Californian in the band – with bassist Mr. John Brady of the equally infamous Spanakorzo and Swing Kids.) They have two songs over fourteen minutes on this album. But trust me, you'll never notice. You'll be so zombified by the stellar musicianship, intense as all fuck, bring-me-to-tears-at-times lyrics, and the swarthy saxophone that you will lose track of time. Yes, a saxophone. Dueling with the guitars like it was one, vocalist Mr. Steve Sostak (also in Check Engine, alongside guitarist Mr. Chris Daly) – then sounding like a cracked out violin, to being another vocalist entirely. They range from hard as fuck rock to delicate off-time jazzy beats. Hard and soft. Rough and smooth. Every instrument leads the other. Mr. Scott Anna's drums often bring the entire band together through the awe inspiring feedback and so forth – his instrumentation makes you realize – yes, you’re still alive. I won't even bother comparing them to anyone, ‘cause it's pointless. Sweep The Leg Johnny is its entirely own genre and being. Speak the gospel, for this is Sweep. –Sarah Stierch

–Guest Contributor (Southern)

Captain of My Ship: CD

Fuck the Hives, this is the band from Sweden that people should be excited about!  It’s authentic '60s garage punk that brings to the ears the sounds of the Sonics meets the Strawberry Alarm Clock having an affair with a little MC5. If you ever come across their first self-titled 7" and the equally fantastic Bring Her Home 7" you would have in your possession an early glimpse how magical this band is. They followed that up with their full length titled Falling Right Down. This follows in their progression of growing more gritty but retaining their magic of song writing. The recording is more stripped down from their previous releases but the music comes across as beautiful as a time warp back to the past. I feel like a child when I hear these songs. I could easily see many of these songs on a soundtrack for a B movie that was released in the '60s. I can never get enough of these guys. You really need to dig and find some of their releases. You will not regret it if you like this genre of music.

–don (Low Impact)

Oh, What Noisy Cats We Are: 4 X 7"

If Jimmy Alvarado didn't home invasion me, poke me in the eye with a stale chunk of tamale, plop Spontaneous Disgust's first little bitch of a seven inch,  Emo Love Fest, on our record player, and crank it until the neighbors on three sides complained, I'd've called him a big, fat, juicy liar. But, manowar, they're great – it's pretty much the same feeling that I got listening to the Zero Boys, The Replacements, or Leatherface the first time: the music hits you like a wall, and the more you listen to it, the more you realize that every brick is placed with a bunch of thought and is heavily constructed with blasting hooks. Due to the fact that the address was illegible on the first 7", we thought they were lost to the world, but, lo, out comes a four-pack of 7"s. Weird. It's a workout swapping them out and listening to all the tracks – twenty-four in all – but I'm not complaining. The covers are all lo-tech xeroxes of Spam sushi, bums puking what looks like coin change, and some guy in a white leotard and angel wings jumping over a cop car. What's cool, too, is that they've gone beyond their first (?) concept record and go for broke. They attack bands that should give it up ("Punk Rock Hero Reunion Vs. 3-D Old Dude Karaoke Tour"), love ("Punch to the Heart"), politics with a country twang ("Linda Krondstat"), capitalism, ("Shiny Rim[job]"), and sex ("Gimme Some of That Disease.") That's just the tip of the iceberg. I'm still getting more amped about these guys and I'm already rabid. Awesome stuff. The big question now is how the hell I’m going to get Jimmy out of my house. He's put up a pup tent near the record player. Fuck his back-to-the-land squatter's rights. He ain't gettin' my vinyl four pack.

–todd (Dangling Fury)

Self-titled: CD

These guys can’t seem to decide whether they wanna be a generic modern punk rock band or the Mentors. They suck at both, so I guess the point is moot, but, lord, do they try.

–jimmy (www.vmsrecords.com)

The Right to Remain Silent: CD

Listening to Spickle, I picture the guys in Dead Guy back in their introspective, sweater-wearing days when they were smoking just a little too much weed and listening to just a little too much John Zorn. At their best, Spickle could be favorably compared to bands like No Means No, Hell Worms and Victim’s Family. But they too often veer off into extended musical “studies” that tilt harrowingly close to some of the more dangerous forms of musical mold, namely: post-punk, art-rock, and (shudder) even emo. But this is hardly shocking; for some reason, instrumental bands seem to over compensate for their being singerless. They develop a kind of napoleon complex. Don’t get me wrong; this is not bad at all. It just sometimes trips over its own musical cleverness as it rushes up to prove to you that they can keep your attention even without some shmub howling about a heartless ex-girlfriend or evil multi-nationals or whatever. I mean, I’m not slighting these Spickle fellows by comparing them to Greg Ginn’s Gone, for instance. At the very least, these guys don't get their fingers stuck in their guitar strings. They just need to shake off their persistent desire to practice feng shui with their music. They need to trust their own raw power and let it run dumb and free a little more often.

–aphid (Berserker)

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