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Below are some recently posted reviews.

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Our Minds Have Been Electrified: CD
The only thing that pops in my head when I listen to this is that this band sounds like a slowed down version of the Super Heroines. –don (Ice-Made)

Self-titled: CD
Formerly named Seventeen, from the Boston area, and now transplanted to the smog of LA with a new name, this is a band that definitely has goals to make it on a major. The production is big and recorded with a big time producer. Musically, they veer into different directions, from the garage sound of Nebula, to mystical sounds of the Beatles during the Sgt. Peppers period, to the industrial dance sounds of the Wax Trax label out of Chicago, to the ‘80s new wave sounds of Australians Split Enz or on their last track "Papilion," play a punked out tune that the Beastie Boys might have made. I know people have different influences in music, but the music just doesn’t seemed focused. The songs’ styles are all over the place and may confuse a listener if they like one style or the other. I personally think that a band has to have some type of a focused sound for people to identify with. They're a great party atmosphere band that can hit all the bases, but didn’t bring up the excitement factor for me. Who knows if they become big? I’m only one person sitting alone in front of a computer listening to this by myself. –don (X Off)

Discography: CD
This is the predecessor band to Code 13. Felix of Havoc Records fronted both bands. Destroy was a landmark band out of the Minneapolis scene during the early ‘90s. During that period, a new birth of DIY hardcore was igniting due to music becoming so bland and the after effects of the “crossover” scene. Bands like Destroy, Drop Dead, Born Against and others of the time jumpstarted their respective scenes and brought together like-minded people to play music they wanted to hear. I have to admit that I barely paid attention to this band during that period. But listening to it now, I’m the one who missed out on the opportunity to experience it firsthand. Hearing music in a historical perspective is well and good, but does not compare when it is experienced in the present. The music on this release does not sound dated and can compete with many of the bands of today. Their mixture of crust, hardcore, and blast beat thrash is done with precision and energy. Felix’s vocals are dead-on powerful and makes you wonder how he maintained his voice through a whole tour from all the screaming and growling. The drummer maintains hyperspeed rhythms that most humans couldn’t maintain playing for a few seconds. At least, not me. The guitars are recorded with a solid sound that is crucial for this type of music to achieve its power. The bass always ties it all together. This is the reason after all these years that you see the band’s patches on kids’ clothes. –don (Havoc)

Self-titled: CDEP
College radio type of stuff that plays in the background while I don’t pay attention. –don (Asian Man)

Onisciente Coletivo: CD
You jerk, jerk, jerk till your mind goes into a euphoria and the ultimate release is achieved. I’m not jerking off as you perverts might have perceived. Maybe in the shower all by my lonesome. It’s me listening to something good while my head shakes from the excitement of hearing something good. RDP has been playing longer than many and keep representing the greatness of Brazilian hardcore. This latest release is a prime example of why they are so good. The songs range from a straight-up thrash affair to metallic moments of head banging range. They are not afraid to mix up a bit by adding some female vocals here and there. The main vocals range from the almighty scream to the throaty affair, depending on what works best. The guitars are played at precision and lead the rest of the band in their jackhammer attack. The drums are in time, whether it’s an introductory drum roll to a blast beat thrash, bashing away while still in control. The bass is recorded right and always pulls things together. Not average or generic by any means. Sheer manic outbursts that shows why they are critical to the history of the international punk scene. Now I need something to wipe the sweat off my brow. –don (Alternative Tentacles)

...is Making Poop Jokes a Threat Again!: CDR
Sounds like it was recorded in the garage on a boombox. The vocals are snotty and the recording reminds me of what I may have heard over twenty years ago. The songs are mid-tempo and are on the poppy side of punk. The muddiness of the recording will appeal to the punk purist, while it might irritate others. I want to hear what they sound like once they go into a real studio. It’s hard to have an opinion from what I hear. The potential is there. –don (Catalina Tigershark)

Escapes from Hell: 7"
If novelty records and collecting go with your mindset, this is a record for you. First of all, this is limited to 105 copies. For the novelty part, you might like or hate the packaging. I personally hate the packaging. The cover is a photocopy that is glued and stickered to the record! On top of that, there is a piece of glue in the hole where you would place the record on the turntable. That was record label owner Jean Luc’s idea. After the laborious effort to get through all that, you have to be careful on how you play the record. The record plays in reverse so you have to start from the center. Since this a single-sided 7”, the three tracks contained are engraved in parallel on two grooves, so depending on the groove, you get different songs. Also, one groove plays at 45 RPM, while the other plays at 33 RPM. That was my brother Katz’s idea, who happens to be the guitarist and a person who knows about collecting. Did I go through the trouble? Nope. I called my brother to make me a copy on tape because I’m a lazy ass. On bass is Richard Ramos who heads the Agitate 96 record label. The drummer is the infamous Mike Thrashead who has played for the likes of Bad Acid Trip and Naked Aggression and is currently in Reagan SS. I hate to say that I forgot who is on vocals. I need to stop drinking while I do reviews. Musically, they are noisecore, fastcore thrash. Songs that last as long as a blink of your eye – if you’re lucky – or music for those with A.D.D. –don (Headline)

The Dirty Rotten CD: CD
Fucking amazing that some things stand the test of time. This former Texas band that moved to San Francisco around the same time as the Stains/MDC were representatives of an important time in punk rock history when thrash was mastered and crossover was introduced. This is a sort of discography of the Dirty Rotten EP/LP, Violent Pacification EP, enhanced and bonus tracks. Forty-four music audio tracks in all. The only thing relevant, in my opinion, is that it’s missing the Dealing with It LP. That was also a classic that should have been included. That was their time period, in my opinion. I was turned off by their later material. I was also turned off that they left behind the punks to focus more on their “crossover” career and not participate as much in the punk scene. The history was they were one of the fastest bands of their era. Songs like "No Sense," "Couch Slouch," "Reaganomics," "Blockhead" and "Busted" are energizing today as they were when I first heard them when they were first released. The lyrics were thought-provoking and political that challenged many issues of the day. The sheer speed of the music was unique at the time and was so mind blowing that I thought nobody could have pushed it to limits like they did. I was a devoted fan at that time. I remember one small show that they played at the Cathay de Grande in LA. I think the song list was fifty to seventy-five songs long, and I think they barely played thirty-five minutes. The song list was written on a bed sheet that looked like a massive banner placed behind the stage. They were fucking amazing live. When they went more in the metal route, the shows were not as exciting. I think my alcohol consumption was much more important because I can vaguely remember seeing them. This is a worthy release of many great songs from an important time period of punk rock, and you can see how much they have influenced modern day thrash, hardcore, power violence, and fastcore. This is worth every single penny that you might have to fork over. –don (Beer City)

Self-titled: CD
I’m a sucker for Pushead art. It just draws me in from a feeling deep inside of seeing his artwork on so many early to mid-'80s punk records. This might be a hard release for some to take. The music might sound monotone for some, experimental for others. Maybe too overtly metallic? This a dirge of white noise mayhem that may be disturbing for some people’s sonic senses. The tonal aura is in the deep low for an irritating pierce of the eardrums. The music is challenging yet intriguing in a depressed sort of way. The charge points are interspersed when you least expect it. Stimulating, yet touches upon the deep anger or depression of one’s self. Off the top of my head, this might be a reflection of a mixture of Dystopia meets Carcass. If you are looking for the generic punk formula, look elsewhere. If you need a change of pace and want something challenging, this might be the ticket. I, for one, have never listened to this band before. But the artwork drew me in. –don (Prank)

Live: CD
This is the audio version of a DVD that I think is exclusively available through the band’s website. This was recorded live in August of 2002 in San Francisco. What this recording captures is the magical aspect of their fantastic live shows. They bring together a broad array of people of different races with their fusion of hip hop mixed with Latin music varieties. The music the band produces is infectious and a cure for a good time. Most of the songs that are contained come from the self-titled first full-length and Embrace the Chaos album, like "O Le Le, Eva," "Chango," "Vocal Artillery," "Como Ves" and "Cumbia De Los Muertos," to name a few. An unreleased track titled "Ya Viene El Sol" is also featured. I wish they would have added "Guerrillero" off the Embrace the Chaos album. It’s one of my favorite tracks. This and the DVD should tide me over until the anticipated recording and release of their next album. –don (Ozomatli)

Don’t Open `Til Doomsday: CDS
Do you impulsively spend money on music and question why you would spend so much for something? This is the perfect case right here. I had heard of the Japanese 7” pressing of this, and it was not available in the US because the Misfits wanted exclusive distribution rights to North America. It took them a while to get it out in the states. I noticed it was available through their website and, without thinking, I paid for it, not noticing the CD was $15 and if you add tax and shipping and handling, that put it a hair over $21! I guess I’m paying Japanese prices. Oh well, I’ve spent more on things that I should have never bought and the price of collectible punk records is out of control. Well, this CD only has two tracks. The Misfits do a cover of Balzac’s song "Day the Earth Caught Fire," and Balzac takes a newer Misfits song (or 2?), "The Haunting – Don't Open `Til Doomsday," and make it into one they could call their own. The Misfits track is respectable but doesn’t totally capture the magic of Balzac. Now that Jerry Only sings for the Misfits, he doesn’t have the range of a Danzig or Hirosuke of Balzac. Cool concept, but a little too expensive for casual fans. –don (Misfits)

Sweets and Meats: CD
These solo releases that Asian Man have been releasing lately are killing me! This release gives the listener the singer of MU330 accompanied by acoustic guitar, drums, and organ. I’m wondering if I picked this or was this assigned? I feel like I should be sitting in a Starbucks reading Men’s Health while listening to this. I feel soiled. –don (Asian Man)

Panty Raid!: CD
Holy friggin’ cow! I've been waiting a long time for this. To show you how long, I have had a copy of their last CD in my changer in my car since I reviewed it for Issue 1. And I have to tell you, many a CD has gone through that changer in that time. I just can’t get myself to replace it with something else. The song "Red Blister" from that release is one of my all-time favorite songs, and I still haven’t grown tired of it. I saw them live once when they were touring with Propagandhi, Avail, and J Church. The place was empty when they had to open the show. For the few who were present at the time, we were rocked out of our shoes when they performed. I've been hooked since. To give you a little history of their discography, their first release was Pretty Killers, followed by Put Out or Get Out which is the release that won’t leave my car. Panty Raid! shows that they continue to progress as musicians and writers. The production on this one is more polished than their previous. The songs are tighter and faster. The vocals beautifully mesh together to create wonderful harmonies that make it appealing to people who like the music of groups like the Go Go’s or the Graces. The difference is that these Bay Area women rock harder and have the tough appearance to stand up to any attack. They should be on tour with the Briefs by the time you read this. You have to see them live to appreciate how good they are and what you are missing. Now let’s see how long this one stays in the car! –don (Pink and Black)

Till the End: CD
This is part of the new school of studded leather jackets, spiked hair and tattooed hooligans, like the Unseen, The Casualties or The Virus, emulating their old school heroes like GBH, The Exploited or Broken Bones. These guys are a little more melodic, but they don’t stray from the formula. –don (A-F)

Obey the Giant Rock: CD
I wonder what makes me grab something for review sometimes. I just grab stuff pretty blindly and hope I like it. But sometimes you pop something on and you know right away that you don’t want to review it. This is one of those cases. I can’t really justify in my head why I wouldn’t want to review this. The variety of bands are pretty diverse. As a sample, you get the Bouncing Souls, The Hives, The Lawrence Arms, The Suicide Machines, The (International) Noise Conspiracy and the rap/raunch of Peaches. There’s more, but these are the ones that will pull the people into the stores. This is a compilation of bands that is supposed to represent, in music, the street artwork of Shepard Fairey. You might have seen his posters, stickers or stencils spray painted around. I think I’ve seen his shirts. It’s the image of a head staring like Big Brother in 1984 with the word "Obey" at the bottom. From quickly glancing at the enhanced portion of this CD, he is into posting images to provoke thought. Cool stuff and I fully support him. But this just didn’t put my nuts into a twist and make me cry. Hey, I got a review out of this! –don (Fork in Hand)

Machte Des Alltags: CD
Man, this is good! I would take elements of Die Toten Hosen, Wizo, No Fun at All and some early period UK punk, add some German lyrics, and poof! This is what would come out of my chemistry experiment. Melodic punk that ventures into territories of rockabilly, reggae and two tone that put this reviewer’s head into a spastic bob, physically altering an ugly smile that opens up his mouth to expose his neglected rotten teeth to the masses. They offer a good musical variety, keeping this listener entertained. When the urge to get jaded starts to come over me, something always comes along and gets me excited again. –don (Intensive Scare)

Skilled Rhythm Kills + Live at Klub Counter Action 2001.6.30: CD
I loved the Skilled Rhythm Kills LP when I got it last year (see review in Issue 8). In fact, I even put it on my “top whatever list for 2002” that was listed on this here mag’s website. I don’t know if many went out and purchased it, but this is everybody’s third chance to finally hear it. The first pressing was released on the singer’s label, Straight Up, out of Japan. The second pressing was released by Conquest Wake out of Finland, which is the release that I have. Now comes the North American release with added live tracks to give you an easier access to some mayhem (and also for you shmucks who still don’t own a turntable). The LP originally had thirteen tracks. This release takes it up to twenty-seven. You do the math. This is no-holds-barred, metallic-edged hardcore mixed with fierce vocals in their power attack. If you like things fast and brain damaging, check out these Sapporo City hardcore maniacs. –don (Schizophrenic)

Nostradamnedus: LP
Impulse buys can bite you on the ass sometimes. Take this, for example. There are so many reasons why I wouldn’t buy this. But curiosity sucker punched me into stupidity. Here is this relevant anarcho-punk band from the early 1980s that was stepping on the heels of like-minded bands of the time period, like Conflict, Crass and Flux of Pink Indians. From 1983 to 1985, they released the Used, Abused, Unamused EP, Onward Christian Soldiers LP, Not on Her Majesty’s Service cassette, Brain Death EP, and the final kick in the gonads, The Filth and the Fury EP. All this is compiled on a discography CD titled The Motorhate Projects. I’m not sure if they released anything else until this point, but I would guess this is pretty accurate. They started out musically as average UK punk with politically charged lyrics, but grew musically individual which, at the time, only Conflict did better. The song "Evilspeak" from The Filth and the Fury (and which was also featured on the P.E.A.C.E. comp) is by far one of the best punk songs from the time period. Being the goofy high school kid at the time with my spiked hair, this not only spoke to me, but filled me with the aggression that I craved in my music. Now to this stinky gem now rotting in my record collection. Here are the logistics. A band has reformed after not releasing anything since 1985. I’m assuming they saw the success of other reformations around them. Another guess is they have not been involved in the punk rock scene for many years. I’m lead to this theory because of the music. The music is very generic and doesn’t represent even comparing to their early output. This shouldn’t be the case since the original guitarist and singer are in this incarnation. The guitarist should have at least shown some progression in his craft after all these years or at least maintain some semblance of his trademark style. The music just doesn’t sound genuinely angry or musically evil to me. I’ve only listened to the album once and was flabbergasted from what I was hearing. After the painful task of listening to the whole record, I dug through the collection to put on The Motorhate Projects. Night and fucking day or oranges and rotting worm infested apples, no comparison. If you have the slightest inclination on purchasing this release, be smart, ask the record store clerk to play the record for you before you get stuck with it. Cool cover art though. Live and learn. –don (Go Kart)

Slow Walking Daddy b/w Sad.txt: 7"
I get shit for it, but I’m largely ignorant on the subject of Pere Ubu. I know they’ve been around for many, many years, and they’re seminal in many, many ways, but I just haven’t been exposed to them much. So I’m an ignoroid. But I have here a brand new thing by them, and I didn’t even know they were still around. One song sounds kind of like the Talking Heads with a whiny singer, and the other song sounds like a whole bunch of nondistinct mellow rock with a whiny singer. I’d rather have a whole CD of it than to have to make the effort of playing a single. –Cuss Baxter (Smog Veil)

Stiff: EP
I can’t believe it’s 2003 (it is, right?) and I’m listening to a song called “Yo Mama.” Another thing I didn’t expect is that it actually sounds a little like Big Black. A little punker, but with a similar robotic beat. How’s this: I got the turntable this is playing on in an era when people still said “yo mama” a fair amount, and Big Black/Big Neck? Does that mean I’m drunk? –Cuss Baxter (Big Neck)

Heavy Music b/w Chain Smokin’: 7"
Not sure what Bob Seger needs to be liberated from besides the '80s and '90s, but that’s exactly what this single does, covering two numbers that I have to assume (with very little actual knowledge on the subject of Seger’s career output) are from the late '60s/early '70s days when his band probably opened for the MC5, whose sound was a slightly raunchier version of the white R & B present here. In other words (in case that wasn’t really a sentence), MC5-era Detroit rock‘n’roll from the hand of the youth. –Cuss Baxter (Big Neck)

Scumpunk Foreplay: EP
I have a friend who used to be friendly with Stool Sample (I think they might have beaten him up since then), so I had a tape of theirs several years ago and the only song I can remember from it is “Suck My Dick while I Take a Shit.” They were dumb then and they’re still dumb, though they’ve picked up a bit in the music department. Competent, if lackluster, speed metal. Loved By None play lackluster plain metal and they took an appropriate name. –Cuss Baxter (Defecation Nation)

Bitterness, Spite, Rage, and Scorn: CD
The Broke Revue’s Billy Childish meets Led Zeppelin garage blues does not ever fail for me, and Mister Melchior’s special croon just pushes it on over the fence every time. Why is it, for some of the best records, there’s nothing to say? –Cuss Baxter (In The Red)

A Banner Year for Slaughter: CD
Atmospheric and moody and downright creepy, like a snake with bird feet, or a pig dressed like a milkman. No electric guitars or stuff like that; mostly just samples (vocal and non-vocal), assembled by three obvious craftsmen for maximum ambient effect. Included is a short movie where a guy with a sack on his head runs around in the woods, gets chased by a car and shoots a gun. Don’t know what it’s supposed to be about, but it’s a perfect foil for the nature of the music. –Cuss Baxter (Uterine Fury)

Untitled: CD
Completely worthless electronic misogyny by two thirteen-year-olds with altered voices and fake names so no one will find out they made this and beat them up. If you’re gonna sing lines like “rape is good/rape is fun” and “I will cut your nipples off,” why bother making the point that “Adolph Hitler... was an absolute zero”? So people won’t think you’re an asshole? Nice work, smartypants. –Cuss Baxter (M. H. Records)

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