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Below are some recently posted reviews.

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Civil War: CD
I’ve just been ear-raped with a pixie stick. –Craven (Fat)

Civil War: CD
I’ll leave the technical analysis of this album to the staff who will pick up on the nuances (so I don’t have to). I liked the first D4 album a lot, but it was raw, angrier, and more accidentally poetic. The song titles were more academic and I was in a completely different place, emotionally and geographically. Bloated, extraordinarily poppy and over-produced, I think I’ll scrub off with some Screeching Weasel. From the bathroom, Tom yells, “It sounds like an utterly generic, prep school TV-show soundtrack for bubblegum teenage vampire slayers.” ‘Nuff said. –thiringer (Fat)

Civil War: CD
I have spent the last six years waiting for a new Dillinger Four and Avail records. Thankfully, one of them has arrived and what a record it is! This is simply an incredible record and a welcome comeback for one of the best punk bands of all time. I’ll be goddamned if I can name you my favorite songs because I do not have a photographic memory, but this thing is solid from start to finish. D4 continue to be, maybe, the only band I have ever heard who utilize sound clips in a non-annoying fashion. I hate the fuckin’ things, but, somehow, this band really makes them work. Great record, great songs, great production, and worth the six year wait. What’s up now, Avail? –frame (Fat)

Civil War: CD
I have a couple of records by Dillinger Four that I like, but I’ve never been an absolutely huge fan. Like ‘em, especially certain songs, but they never blew me away or anything. That said, I have nothing but rave reviews for their newest album, Civil War. It could be because I got it on CD so I’ve been listening to it on headphones and outside the house (unlike vinyl), or it could be because it’s one of their best records; regardless, I’ve been listening to it nonstop for the past three days or so. Catchy as hell, with great hooks and lyrics (although I wish I had them written out in front of me so that I could check them all out properly). First song to get played multiple times in a row: “Gainesville.” Other standouts: “Ode to the North American Snake Oil,” “The Classical Arrangement,” “The Art of Whore,” “Fruity Pebbles,” “Like Eye Contact in an Elevator.” Clearly, I will be going back to the other albums I have and giving them a lot more attention. Love it. –J. Federico (Fat)

Civil War: CD
Ever since my ear first caught “Double whiskey coke no ice,” I’ve loved Dillinger Four’s insightful vitriol, but after six years without a new album, they seem to have eased up a bit on their frequently delayed new opus, which is more than a little alarming. Sure, the long-awaited LP sports D4 hallmarks like songtitleswithnospaces and the odd imagery, but the affair is considerably softer than the band sounds at its best. The increased amount of melody allows the songs to grow catchier, but where’s that impassioned fire, that rabid spite from the force behind “New Punk Fashions for the Spring Formal”? –Reyan Ali (Fat)

Civil War: CD
Dillinger Four’s song titles have a way of making you think you’re not thinking enough; yet the songs open you up to messages you’ve been waiting your whole life to receive. Maybe that’s what nostalgia is: the creep of lost knowledge. The dynamite goes off in the basement and you run to the sound, through the flash and the smoke. For what? There is no what. No mission or duty or purpose, just this welcoming chaos in our lives we proudly call punk rock before it spits us out into a stream of recognizable rhythms that guide us out again so that when we stand at the frontier we have the strength to go in either direction. Here’s another house collapsing; are you ready? –Jim Ruland (Fat)

Civil War: CD
Dillinger Four is my favorite band, so it’s going to be impossible for me to review this one without the bias of history and familiarity. I think most people reading this have heard at least one of their albums, though, so we’re all in the same boat…right? Okay. This time, they deliver something a little thinner and less immediate than their past albums, but it is still very good stuff. The tracks are comfortable and familiar without sounding recycled, and while you don’t the soul-pummeling beatdown that you did with Versus God, you still get an enjoyable record with some amazing songs. We’re all getting older, including Dillinger Four, and it seems they’re aging pretty damned well. –Will Kwiatkowski (Fat)

Civil War: CD
And here comes this record, a record that has so many people anticipating for it to come out with such retardedly high expectations. Many of my favorite bands use D4 as a positive influence for their own music. There are times where I play a record, just praying to the dark Underlord Gods of Rock that it doesn’t suck, and when I found myself placing this CD in the player I whispered, “Please don’t suck” over and over until it started to play. Then the song would end and the silence in between was filled with my wishes for the next song to not be dumb. Records are kind of like piñatas in that you just hope for something in there to be good. And if there is just one really cool thing in there, then it was worth busting open. Fortunately, this album was filled with several musical treats that are worth your while. Heartfelt lyrics with arm-raising tunes show that these dudes may be getting older but are in no way fucking around. This album is not better than their other albums and it’s not the best thing that came out this year for me, but I respect it and will continue to listen to it and warm up even more to each song every time I push play. I, particularly, have warmed up to the little ditty about summer in October and I recommend that you do, too. –Corinne (Fat)

Civil War: CD
Actually I didn’t get a CD but a CD-R. Also, I don’t have the tracks in the right order, don’t know the song titles, have a cover, or much of a clue in general. I was introduced to D4 from none other than Superfan Todd. Started right around the middle with Midwestern Songs of the Americas and found my favorite song by the band, “Noble Stabbings!” off the Situationist Comedy CD that followed. I admit that I have not listened to this band much through the years since, with the exception of the song I stated that I have downloaded on my iPod. It’s due to my neurotic passion of music accumulation that is an overbearing storage issue and doesn’t give me a lot of repeat listens on a lot of music. I gave it a three listens and feel the need to have more listens to give it more time to grow on me. The familiarity of the formula is there, but the new nuances that they have incorporated in these new recordings are what I seem to be focusing on, instead of hearing them as whole packages. Song four, that really isn’t song four, is almost ballad-like with its slow-driving rock sound interlaced with a beachy feel that reminds me of the Pixies. That track is, so far, my standout track. Overall, I need to keep this one in the pocket a little longer to see how high it gets in my “like” level. –don (Fat)

Civil War: CD
“Accidents or accusations I got my fucking reasons/And even hearts of gold can overload/When they’ve lost what they believed in/When the seams start to come apart/In this frustration we find our salvation.” Somewhere, some kid is going to listen to those words and get that feeling. You know the feeling, right? Maybe it’s been a while since you’ve felt it, but you know it. It’s the reason you listen to music. It’s that connection, that unexplainable energy that somehow gets inside you, that feeling of warmth when you realize that—no matter how much shit the world is pouring down on you—everything is really fucking all right. Does anything else matter more than that? –mp (Fat)

Born and Raised in East L.A.: CD
The Good: These kids are well versed in their spaghetti western soundtracks, as evidenced by the bendy guitar nods toward Morricone’s work sprinkled throughout. I even noticed a reference to Beethoven’s “Moonlight Sonata” as well. Very, very nice work, there, and as per usual, Michael Rozon’s production is also top tier. The Bad: Squandering all the above on Rancid-inspired psychobilly (yup, you read that right) seems a bit of a waste. I’m really not trying to slag this off, ’cause as it stands, this is notable work for the genre in which they’ve decided to plant their feet and it serves as a nice reminder of how diverse East L.A.’s punk scene can be, but it just seems to me there are innumerable ways this could’ve been a much more amazing piece of work from a band who hails from the same neighborhoods that spawned Thee Undertakers, The Thrusters, Yeska, Misled, and tons of other punk-oriented bands who followed their own muse. I’ll be the first to admit my appreciation for psychobilly as a viable musical avenue waned more than two decades ago and I’ve never thought Rancid was very interesting, and again, what they do they do quite well, so I guess it just comes down to a clash of personal tastes. The Not-So-Ugly: They keep the stereotypical trappings of life in East Los confined to one song, and even there they don’t wallow in lurid gangster posturing, which is probably the part of this experience I liked most. –jimmy (Nickel and Dime)

Malleus Maleficarum: CDEP
Apparently, this band has been around since the mid-1970s and gone through a lot of line-up changes. It looks like they have only added the scary numbers to their moniker within the last few years. This is the second in a series of “theme” records. I guess it’s kind of like listening to a Xmas record, except you are worshipping Satan for kicks. The title refers to a witch hunting manual that was published in the 1600s. Although the music is engaging punk, the subject matter gets a little tiresome after about song number three. I guess ’cause I’m not a practicing warlock. –koepenick (Rowdy Farrago)

Selling Our Weaknesses: CD
My esteem for this record cannot properly be conveyed through mere linguistic wanderings, so I shall attempt to convey my praise through interpretive dance. […] Another attempt at words: it sounds to me like what Ann Beretta would sound like with a female vocalist. My trigger has been tripped. Thank you, Deadly Sins! Bwak bwak! –The Lord Kveldulfr (Durty Mick)

Little Brother: CDEP
If Dead To Me had put out something merely as good as CubanBallerina, that would have been impressive, as that was one of my favorite albums of the last couple years. What they did, though, was build on their strengths to get even better with this EP and cross the threshold from great to exciting. Case in point, the dual lead vocals between Jack Dalrymple and Chicken are a thing of beauty. The only other bands I can think of where two distinct voices compliment each other this well are X and Fugazi. The icing on the cake is that the band takes a page from the book of Jeff Pezzati and sprinkles all the songs with unbelievably gorgeous vocal harmonies, such as the middle section of “Ran That Scam.” The band has also tweaked their sound and strengthened production values just a bit so as to introduce a bit more variety in their songs than was previously present. For instance, there are dub parts in “Little Brother,” a vaguely dancey hi-hat in “Arrhythmic Palpitations,” and distinct tones that really make the presence of multiple guitars apparent throughout the EP. Dead To Me is pulling off the feat of getting to be a stronger, more polished band, but without losing their edge or drive. When bands, such as The Clash or F.Y.P., manage to mature and develop in such a short space of time and do it right, it truly is an amazing thing. Dead To Me are quickly proving themselves to be in that league. The only bad thing I can say is that at five songs, this is over far too quick. When’s the next full length?! –Adrian (Fat Wreck)

Riding Dinosaurs: CD
Beach Patrol is four dudes (three when this was recorded) from Green Bay who play big, fun, catchy power pop/pop punk tunes. Riding Dinosaurs captures all of the fun on this here aluminum disc, released on their own record label, Duck On Monkey Records. Taking obvious cues from Elvis Costello and Big Star, Beach Patrol sounds a lot to me like if the Billy Joel from “You May Be Right” and “It’s Still Rock and Roll to Me” fronted the Influents on their Check Please record, and I mean that in the best, most positive way possible. This is good, real good. Clean, but crunchy guitars. An echo-y moog flirts in and out of the songs and adds some pep. Drums rain down with crashing cymbals, marching along to keep your head bopping and toes tapping in perfect time, the way all great pop drummers should play (see Tommy Ramone, Keith Moon, Grant Hart, and Patrick Wilson for reference). Plus, the artwork with the band members riding their respective dinosaurs is pretty sweet, too. Nice work all around. –Jeff (Duck On Monkey)

Medium Noise: LP
I know nothing of the band itself, so the following is completely hypothetical. Contains members who have been in previous bands of varying regional notoriety. The band’s a democracy of sorts and the team leaders are older, have settled into the idea that music is a great weapon against complacency, a torch to illuminate the next couple of steps, and a heart warmer, not a career opportunity. They’re aware of Dillinger Four, Jawbreaker, and Toys That Kill, but don’t want to sound anything like them. They want to sound like who shows up in the mirror in the morning. The person who writes the lyrics reads books. Many books and probably has several zines under their belt. The following is not hypothetical: Medium Noise is a varied, exciting, well written, well recorded album that’s the sum of lives closely examined. It’s mid-paced, melodic, and melancholic while giving the overall feeling of Baltimore in the winter: the rust, the caked-on ice, white puffs of breath, of a town living in the shadow of much larger cities and deciding to stay and celebrate what it has to offer, which took the better part of a decade to realize. A spot-on album. Highly recommended. –todd (Toxic Pop)

Self-titled: CD-R
What is it about Florida—or the South in general—that creates such dirge? There seems to be a dirty, swampy edge bands get from down that way. This two-piece guitar and drum combo, out of Jacksonville, Florida lays down some down-tuned aggression. Reminds me of the band Black Cobra with their Sabbath-ish, stoney riffs but with the punk energy of HolyMountain. Brooding, yet with a solid punch of energy at times to keep it interesting. The recording has a live feel to it. Would like to hear what comes out when they go all-out in the studio. Cool use of a used Blockbuster Video DVD case. They recycle! –don (Dead Tank)

Self-titled: CD
An exciting, rousing Southern rock/cowpunk album from US Bombs’ drummer Chip Hanna and members of legendary German psychobilly band Mad Sin. The most promising group my tired ears have heard in a long time. Well-balanced blend of traditional American music with enough speed and charisma to keep toes tapping, heads nodding, and listeners singing along. The product of two simple ingredients: decades of combined experience and true passion for American music. That’s all it takes. Really. –thiringer (Acetate)

Split: CD
Both bands have been around for about one hundred years each, so you’d think their golden years have long passed. I don’t know what happened, but that usually correct logic has been turned upside down. This is the best stuff yet from both bands. Seriously. The nine songs from Capitalist Casualties are fuggin’ mindblowing. I sit here in awe staring at my stereo. When you think it can’t get any better, the next song starts up, and it’s even more awe-inspiring than the last. They thrash like mad, but the time changes and mid-tempo parts only add more power to what is there. “Corporate Retreat” is the best example, and it’s also a catchy song. Hellnation come on with a vengeance. Full-on thrash with some time changes to break up the onslaught of fast, fast, and faster. “Bought & Sold” starts off sounding like a late ‘80s skaterock tune, then “screeeeeee!!!!!’, they blast you with a full tilter. Undoubtedly a release that will be regarded as a classic. –Matt Average (Six Weeks / Sound Pollution)

Long Story Short: CD
I feel like a hack referring to Bread And Bottle as “Chicago punk rock.” Maybe it’s because I’ve only been living here a year, so I really don’t know what that originally meant, and since there such a variety of sounds currently coming out from bands like The Arrivals, Sass Dragons, Tongues, and A/V Murder, that it makes it hard to find anything unifying. But, this has that meat and potatoes feel that I get from Pegboy and Raygun and always associate with Chicago, just with a bit more melody thrown in. It’s catchy as fuck and the dogs I walk are probably sick of me singing the parts of “Roosevelt” I get stuck in my head on a daily basis (though not as sick as I was hearing the Repellents covering it once...yeesh!). They’ve got two of the Brothers Scaccia, who throw loft shows in a city where house shows don’t really exist and put out awesome stuff on Lucky Gator Records (they co-released this with Johann’s Face, run by Marc Ruvalo, whose band Das Kapital shares Ryan Scaccia on bass with Bread And Bottle. Yeah, it sort of feels like San Pedro, and that’s always a good feeling). If you like catchy and fun and dancing and guitar players who spin on one foot and drummer-singers and pretty amazing bass playing, then you should probably buy this and invite me over for a dance party. Well, except I already have it and I’m not too keen on strangers. –megan (Johann’s Face/Lucky Gator, co-release)

Split: 7”
Brainworms: Pretty Revolution Summer-esque stuff. They provide one original and a live cover of “For Want of” by Rights Of Spring, which is my favorite ROS song. Their original ain’t bad, but it’s hard for me to recall what it sounds like after listening to the cover. It’s emotional hardcore like you want it to be when you hear that term; that much I can remember. But their cover is where it’s at. I mean, c’mon, it’s a ROS song! Tubers: Kind of a lightweight Hot Snakes. They aren’t as frantic, but it doesn’t seem like that’s what they’re going for. It’s kind of like Hot Snakes with a dash of Fugazi—maybe my mind was stuck on Guy Picciotto from the other side. Tubers also contribute a cover on their side. It’s of “Glad I Don’t Know” by the Lemonheads. It definitely doesn’t sound like the other songs on their side, but it beats the original version while not straying very far from it. Then again, I never was too big on the Lemonheads (I always confuse them with the Gin Blossoms). –Vincent Battilana (Bakery Outlet / Dead Tank / Rorschach)

Animal Mother: CD
My snotty review of this Madison band’s last disc prompted such a shitstorm of local message board flamejobbery that i’m tempted to do it again, just for the sheer sport of it all. However, the band has now cut their otherwise uninteresting White-Grungers-On-Gein faux Sub-Pop shenanigans with a few neat tricks, like briefly sounding like a fucked up Joy Division ((the first fifty seconds of “Jesus”)), or even coming across as tangentially glammy ((“Tabula Rasa”)), thus i cannot dismiss this record outright just for the time-honored purpose of “starting shit,” although i did consider it. Other than that, i dunno, i think this sounds like what grunge used to sound like. Wisconsin’s progressive reputation continues unabated! BEST SONG: “Tabula Rasa” BEST SONG TITLE: “Ed Gein,” of course! FANTASTIC AMAZING TRIVIA FACT: Looks a lot like the Dwarves “Blood, Guts & Pussy” album, but redder, and without the midget. –norb (Zodiac Killer)

Self-titled: 7” EP
If throwback early ‘80s hardcore was an illness (and I’m sure some would argue it is), then this Wisconsin quartet would be terminal. What makes Bored Straight stand out from any number of bands playing this brand of punk? It doesn’t look like much. But! It might be the fact they totally know it and flaunt it with pride ala illusions of early ‘80s hardcore bands such as Die Kruezen and Minor Threat. Either way, it rips. –Daryl Gussin (Data Control)

Self-titled: 7”
The A-side, “All the Time,” is a monstrous, reverbed arty-fact that could have easily come from an unknown ‘60s British band, which surprised me after learning the pedigree of the members of the Bad Sports and hearing the opening guitar hook. I thought it was going to be a breezy, boozy, catchy tune in the vein of the Romance Novels, but what I got was buckets of big guitar, booming bass, and tub-thumping drums. Not what I expected from members of the Wax Museums and ….. The B-side tunes “Hey OK” and “Asshole with the Girl” sound like a ‘90s basement show if Live Fast Die warped back to SF and split a bill with the Rip Offs. The songs are exceptionally great and over way too fast. Love this record. –benke (Boom Chick)

Split: 7”
Autistic Youth: Brings up a philosophical question I often think about when dealing with music. If a band (The Observers) who were amazing, broke up too soon (in my estimation), how do I feel about a band (Autistic Youth) who basically picked up the torch and ran down another alley with it? It gets into an involved algorithm: 1.) How much time has passed? 2.) Is it a straight-up rip or did they come to similar conclusions independently? 3.) Does it rock in and of itself beyond any itches it may scratch by being so familiar? I’ll say this—Autistic Youth are on to something extremely powerful and well worth listening to and they just happen to sound like the best of The Observers (see issue #47 for what they actually sound like). Cola Freaks: Their previous 7” sounded like Vicious-lite mixed with Knugen Faller-lite, but something big clicked into place, and they take some of the sting out of all those great Swedish punk revival bands in the Ny Vag tradition that’ve broken up left, right, and center. This music heart’s still pumpin’ new blood no matter how many times it’s volleyed into another set of bodies. Great stuff all around. –todd (Blackwater/Taken By Surprise/Sabotage)

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