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Builds Brand New: CD
Chock full of dissonant, odd chord progressions guaranteeing them oodles of hipster alt-rock points they can collect and later cash in for expensive pre-stressed jeans, T-shirts, and name brand sunglasses. –jimmy (www.sharksandsailors.com)

Split: 7”EP
Shang-a-Lang: Hang in with me on this. Imagine if the Dead Milkmen weren’t goofy, and instead of the goofiness was a self-deprecating earnestness. (All of this through a DIY, 2008, slightly Crimpshrine’d punk rock lens, mind you.) I mean, shit alive, the Dead Milkmen were catchy as hell, made you sing along to things you wouldn’t necessarily come up with singing by yourself, and it’s cathartic to scream along to. They’re the slightly stained, well-worn T-shirt to the Milkmen’s paisley shirt with a collar. Land of Enchantment, indeed. Jonesin’: From the ashes of Down In The Dumps. Sounds like Dukes Of Hillsborough by way of Gunmoll: burlaped voice, like someone’s throat is a bedroll of knives, dirt, and glass shards. Florida-ation facial grown rock by way of NYC that’s working on, and beginning to succeed, in sounding epic. Not bad at all. –todd (Dirt Cult/ Dead Broke)

D Beat Hippie Lovers: CD
Seitan dole out some Swedish D-beat, crust punk. I’m guessing it’s about being anti-fascist, animal-friendly, pro-feminist, and gay-positive, since that what it says on the back cover. All the lyrics are in Swedish though, and even if they weren’t, they’re pretty much indecipherable, so it very well could be that this is a fascist band with satirical cover art who are really singing about the awesomeness of Machiavelli. I have two complaints with this album. The first is just related to D-beat in general, which is that a lot of these bands don’t seem to have a grasp on the importance of dynamics. There’s not a lot going on musically in most D-beat, so the drama in the music needs to be drawn out with contrasts. The ultra fast drums lose a lot of their power after a while, especially over multiple songs. If Discharge-inspired bands all just released a single each and then broke up, I think it would be some of the most awesome music ever, but, except for bands that take some chances with the basic sound like Acursed, it tends to become a boring blur after awhile. The other thing I don’t like on here is the vocals. There are two vocalists, from what I can tell. The one who shows up less has an awesome getting-stabbed-while-selling-your-soul-to-the-devil voice, but the other one has that low-flushing-toilet death metal growl, which I find pretty boring. I’m not a fan of good voices, so much as interesting voices, and the Cookie Monster growl is pretty low on the ladder for me after the novelty of first hearing Cannibal Corpse wore off. –Adrian (Inget Jävla Chafs, Distributed in North America by Profane Existence)

Ouroboros: One Sided 12”
This is some thinkin’ man’s hardcore. Fully equipped with a two minute instrumental intro packed with worldly noises and Gregorian-esque chant, and then—BLAM! Clear the floor hardcore that makes you want to swing your arms in ever direction possible and throw your body into complete strangers. I’d read multiple interviews with this band and they always seemed like they had a lot to say; their lyrics are no different. I kinda feel like I need a degree in Cultural Anthropology to even understand what they’re talking about, but, luckily, anger and aggression are universal and I understand that. –Daryl Gussin (Soul Rebel, myspace.com/xsoulrebelrecordsx)

Self-titled: CDEP
Wait, let me get this straight: The band with the sad guy wearing a Yes shirt on the cover isn’t good? –megan (Young Lions)

Earache: 7"EP
Strangulation. Desperation. Exasperation. Well done, shoe’s-untied lurking. Imagine the Functional Blackouts mutated with Henry Fiats Open Sore with dirty underwear over their ears: singing that’s more of a throat pounding itself, instruments that beat themselves up, and concentration camp siren’s type of anxiety piercing through all four songs. Could quite be the stuff of lullabies for serial killers. Smart, fatal, sneaky, and mean. –todd (Big Neck)

Greatest Hits: CD
Alt country-hillbilly rock’n’punk for the thirty-something bar crowd. Reminiscent of Old 97’s and The Paladins—upbeat, clever and fun. Pull up a barstool and pull on some longnecks for an enjoyable night out with close, unpretentious friends. –thiringer (Drink and Drive)

Cognicide: CD
I like songs that are simple and direct. (Fuck prog.) I also like songs that are a lot more odd than you first give them credit. (The Misfits sing about skulls and Martians. Western Addiction sing about a kitty cat attack, of littering fat computer monitors in favor of flat screens.) They’re also detailed and blasting, like a complicated explosive device. You don’t have to know how it’s rigged, you just know when you feel the shrapnel rip through the speakers. Western Addiction, like Paint It Black and Strike Anywhere, play precise hardcore that’s interesting without being ham-fisted, meat-headed, noodle-brained, or faint-hearted. A difficult feat well handled. –todd (Fat)

Live on Radio: CD
If you have never experienced the sonic wonders of this band before… well, may a thousand flies nest in your armpits. Okay, that may be a bit harsh, but where have you been? The Denney brothers are in full on rawkus mode here. This is also the first release (as far as I know) to feature Zander Schloss (Circle Jerks) on bass and Sean Antillion on the trap device. Recorded “live” on the air at WFMU in Jersey, the sound is top notch. All the songs rock but tweak your sub woofer on the following songs: “Shining Silver Light,” “The Hideout,” and “Destroy All Music.” Your neighbors will attempt a full-on beatdown on you, but you’ll survive. This is a stellar release and will hopefully lead to a new record next year. But snatch this up as soon as you can. It was even recorded on my birthday last year. That is weird. –koepenick (Frontier)

Burning Episode: CDEP
All I know of this band is that they had appeared on the Barbaric Thrash Detonations comp on 625 that I have. But this is something of interest. As of late, all I have been going out to see are grindcore, thrash, and crust bands. Bands of the heavier nature in the DIY network. Those bands are my current favorite subjects to take pictures of. But I am a metal head at heart, too. So this is all about me. It’s grindcore that is down tuned with heavy riffs and robotic, mechanical precision drumming and add a whole lot of screaming. Can’t forget about the speed of the songs: full charge ahead and that keeps me interested. The EP format suits this well with two songs a hair over three minutes and the rest well under two and a half. Short, compact, and to the point. If each song were in the four to five minute range, I would get bored. The songs are perfect examples of sheer anger and depression. –don (Deep Send)

Buzzin’: CD
One thing i’ve always found tragically amazing is how poorly the original punk bands fare when they are forced to operate with the same level of resources as the rest of us. When i was fourteen or whatever and just getting into punk, bands like the Vibrators and Buzzcocks and 999 were like, you know, GOD or whatever to me. My friends and i all wanted to make records that sounded cool like their records did and looked cool like their records did—slabs of vinyl and graphics that were practically radioactive in their emanation of lethal punkly coolness. And, of course, we started making our records with our tiny little recording budgets in crappy little basement studios and slapping together our homemade little black and white cut-and-paste covers and what not, and, yeah, the stuff we made had a for-real DIY edge that a punk album on, say, Epic Records or whatever couldn’t possibly have—but, when all was said and done, we—or, at bare minimum, i—was always a little bummed that i/we couldn’t get the sound or the look of our records exactly right—we couldn’t make our records be these icons of high style like the ‘70s punks did, we could only make our records sit there and say “FUCK YOU! FUCK YOU!”, which they oft-times did. All of which is well and good, up until the point where these bands sort of started reemerging in the ‘90s, all but bereft of major label type funding—now it’s THEY who can’t get it quite right, THEY who can’t live up to their own previous pinnacles of punk rock avatarism or whatever. Stop, look, and listen to a recent (like, released within, i dunno, the last ten or fifteen years i guess) (sheesh i’m old) 999 or Buzzcocks or Vibrators record. Now it is the BUZZCOCKS who can’t get the drum parts quite right, not you. It is 999 whose production is off. It is the VIBRATORS whose graphics are amateurish (seriously, the whole cover looks like it was done in some kinda Paint program. That is a graphic no-no of high consequence!). Reduced to moderate punk rock schmuckdom, these guys generally can’t compete with folks like me and you who have known nothing but punk rock schmuckdom all of our lives. Huh. But, of course, that said, they are the Vibrators, and, despite the fact that the guitar is a buried little buzz in the mix, despite the fact that the vocals sound like Knox nodded off in the middle of “Baby Baby” one night and was never able to be roused from his slumber, and despite the fact that a full six songs on this album eclipse the four-minute mark (!), “Politically Correct” is still a great song in a really dumb way, so they win. King Szoot rides again! BEST SONG: “Politically Correct” BEST SONG TITLE: “Lookout Lookout” FANTASTIC AMAZING TRIVIA FACT: Total running time, Pure Mania (fifteen songs): 34:42. Total running time, Buzzin’ (fifteen songs): 55:16. Also, they misspelled “Politically.” Geez. –norb (SOS)

Split: CD
The Vents: no fucking thanks. This shit sounds like MXPX, and it’s bands like this that make me embarrassed to say I like pop punk: ultra-slick, radio-friendly pop punk that makes me wanna totally vomit. The Teen Sensation Glasses, on the other hand, are excellent. This totally belongs on Whoa Oh (the label that brought us the Ergs!)?it’s a little bit Ergs-y but a little more rough around the edges, with a nice new wavey/ keyboard twist a la the Minds or the Epoxies, but just a little. This record is totally 50/50; one band I fucking love, and the other band I fucking hate. –ben (Whoa Oh)

The Lie that Matches the Furniture: CD
Arty skronk that sounds like early Sonic Youth trying to re-imagine Junkyard era Birthday Party as a pop group, only without bass guitar. If you had any affinity for their first album, this one is quite nearly as good. –jimmy (Narnack)

Return of the Hot Rod Zombies: CD
Almost all the tracks were my summer’s staples. A heterogeneous mix of psycho, rockabilly, hillbilly, new country, folk, and even a punk tune or two—whoever finalized the track listing has ample regard for all the artists and styles included. Standalone tracks in one way or another include: Mad Marge And The Stone Cutters, a screamin’ new psycho favorite; Devil Doll, a modern torch vocalist (I’m certain she’d prefer “siren”); Custom Made Scare, an old rockin’ favorite with a startling softer side; Rumble King, fantastically jive, rock, and soul like Freddie King and Johnny Otis and Jerry Lee Lewis; the Southerners, country pickers who should be vaulted to great heights immediately; Chop Tops, very Jack the Ripper with scissors; and some other great shit like Lords Of Altamont, Los Creepers, Turbo AC’s and much, much more… even the songs I didn’t like are very good. –thiringer (Split 7)

Protect: A Benefit for the National Association to Protect Children: CD
I hope I’m not the only one that is reviewing this CD. I can’t say that I was too into this comp and not be lying. I wasn’t too moved by the songs. I did like the NOFX cut. I also liked that Darkest Hour was followed by one my more favorite Soviettes tracks. The Western Addiction track was cool, too. But that was about it for me. Not a great ratio out of twenty-six tracks. But I have faith that one of the many contributors of this here mag who likes the music more will be more enthused of the music. I am glad that Razorcake is involved with this organization. The man we put on a high pedestal, Retodd, has done the liner notes for this release. He explains the goals of the organization that it is here for the rights of children. Is that a bad thing? No. If you are punk and only are involved because you want to look cool and get drunk, I hope you are one of the many who leave the scene after a year or two. Good riddance. One of the things that keeps me involved is that information through the underground is unfiltered and can change the way you look at mainstream society. Also, it gives you new avenues to get you involved. This comp, like it or not, gets you involved. All proceeds from sales go to the organization. Look up www.protect.org and see if it moves you enough to get off your butt. Since I did not pay for this, I am giving this to my cousin’s kid who is starting to get into punk and see if it moves her. If it does, she will be a future member of society who actually cares about something. So go out and buy a copy and give it to someone else. But then again, buy one for yourself and one for someone who might get something out of it. –don (Fat)

The Ugly Truth About Blackpool Vol. 1: CD
An overview of Blackpool’s (the English town) punk rock output from 1977 to the present. Most of it’s good, and some bands, like The Membranes, One Way System, and the always politically correct and ethnically sensitive Skrewdriver (I’m being totally sarcastic so don’t get your underwear all in a bunch), have had some significant impact on the greater punk community. Others that can be found on here include Zyklon B, Uncle Fester, The Genocides, The Fits, Male Models, and oodles more. Seeing as most comps pretty much blow these days, it’s nice to hear one that is consistently above par. Those not wanting to support racist jerkoffs can rest comfortable in the fact that the tune that bears the very dumb, very dead Ian Stuart’s vocals, “Anti-Social,” is from the original Skrewdriver lineup, the remaining members of which swear didn’t have any of Ian’s later fascist leanings. –jimmy (JSNTGM, no address)

Old Skars & Upstarts 505: CD
Disaster Records has released another volume in their compilation series, Old Skars & Upstarts. This compilation highlights up-and-coming bands that are taking over the punk scene such as Prima Donna and The Epoxies, as well as established favorites like U.S. Bombs, The Adicts, and The Stitches. The compilation also features some psychobilly with Mad Sin and The Kings Of Nuthin’. This CD actually served its function of introducing me to a new band that I actually liked. I love the song “Not a Love Song” by The Bones—I consistently hit the repeat button without even thinking about it. The songs that shine above the rest are “Ain’t Talkin’ ‘Bout Love” by Die Hunns, “Human Thermometer” by The Briefs, Turbonegro’s cover of David Bowie’s “SuffragetteCity,” and “Don’t Talk to Me” by The Epoxies. The Epoxies song rules. –jenny (Disaster)

Music Is Stupid, We Like Noise!: CD
Well, it’s always refreshing to see thirty-four bands from around the country who’ve managed to find each other and become united in their misogyny and idiocy. At face value, if one had gotten a burned CD of this record without the album art, band names, or song titles, one would surmise that the actual release is a pretty generic compilation that’s simply destined for used bins around the country. However, the label was thoughtful enough to include all the packaging, so this reviewer was able to note that there are some really stellar band names on here, including Antichris And The Raped, Statch And The Rapes, and Better Fucked Than Raped. Golly, I’m sensing a theme here. There’s some really terrific song titles, too: “Fist Fuck,” “I Buy Beer for Runaways,” “Retard Love Affair,” “And Then I Fucked Her,” and “What Do You Call 48 Women at the Bottom of the Green River?” The record label that put this out has some pretty interesting politics: their website notes that they staunchly refuse to put any “religious, racist, or patriotic bullshit” on their comps, but I guess songs romanticizing or mocking rape or the murder of women is okay. Good job, guys, glad to know you’re standing behind your beliefs. The amazing part is that there are women on this comp; being a guy, I obviously run the risk of being labeled a “PC fascist” (again) when I ask this, but what the fuck are you thinking? There are no lyrics whatsoever in this comp, so all one has to go by are the band names and song titles and what one can decipher from the lyrics of the generally low-grade, paint-by-numbers punk songs presented within. This is the danger of compilations, but it’s taken to a higher degree here; normally, a decent band runs the risk of being stuck in the mire of a dozen shitty bands before and after it, therefore bringing the overall quality of the listening experience down a peg or two. But on this little piece of sonic dog shit, the handful of decent bands aren’t only on the same roster as shitty bands, but shitty, detrimental bands, bands that not only aren’t punk but are the fucking antithesis of punk as I hold it to be true. Like other releases from this label, MISWLN didn’t even make it to the record store for a trade-in. After this thoughtful, well-researched, and eminently fair review, it went right into the fucking trash, just like the others. –keith (We Are Going To Eat You)

I Love Guitar Wolf Very Much: CD
Tribute compilation albums are always a good idea on paper, but when presented with an actual product, your expectations are never met. As with most comps, this one has its hits (The Porch Ghouls’ “Fujiyama Attack,” Snuff’s “Jet Generation”) and its misses (Lightning Bolt’s terribly recorded cover of “Planet of the Wolves,” and the major mastering error on Total Dork’s “Shinkansen High Tension” [unless it was supposed to be ridiculously louder than every other song on the album]) The only major problem with this compilation is that Guitar Wolf is truly an inimitable band. Yet, here are thirteen bands trying to imitate them, and for the most part it’s not such a hot idea. –ben (Narnack)

Go Contrary, Go Sing: CD
Point of order: it doesn’t matter who does it—in this case the “who” being members of DOA, Iron Cross, Pop-O-Pies, MDC, Dead Kennedys, Pist, SLF and a bunch of others—unless your name is Woody or Muddy, the odds that whatever music you release in an acoustic format is gonna blow something awful. When you factor a “punk” pedigree into the mix, the odds against good acoustic music resulting become astronomical. This is no exception to that rule. –jimmy (Made in Brooklyn)

…As Time Goes By…: 7"
Blotto!, I Excuse, The Because, and Drift Age: is there really any way you wouldn’t want this? Cover art by Ben Snakepit is just the icing on the cake. –megan (Snuffy Smile)

Split: 7"
The Urchin were easily one of the bands I most wanted to see at The Fest and I wasn’t let down except by own bad timing of turning to repeat something to my friend when Mogura, the bass player, chose to do a flip while playing. I’m a moron. The Urchin is simply incredible. Anti Justice: While I listen to this, especially the first song, I keep getting some song I can’t place but had the lyrics “lost highway,” stuck in my head, which isn’t a bad thing at all (except for driving me crazy trying to remember the song). I don’t know what it is about Japan that creates bands that have the same feel (not always the same sound) of Leatherface to me, but I wish it would spread. Once again, Yoichi of Snuffy Smile just consistently puts out some of the best music out there. I only wish it was longer. –megan (Snuffy Smile)

Hard Grace: CD
Mmmmm…. May I have another blandwich? What is the story with the majority of what passes for hardcore these days? This is pedestrian, to say the least. I will give Union Made credit for the fact that their vocalist hasn’t sunk to the cookie monster-esque growling that many so-called “hardcore” singers have. You can understand him and that’s good because he seems to have a lot of good things to say. My complaint is the music on this one. It’s all pretty much the same mid-tempo stuff with uninspired guitars. There’s no urgency to it, just ideology put to a beat. –ty (Insurgence)

Unleash the Fury: CD
There’s something about streetpunk. I mention it and I get that “Here we go” look from people. Apparently, I’m a meathead, I’m a racist, I’m a thug, all because I like it. Enter Tommy And The Terrors. First of all, to call them streetpunk is a bit off because there’s way more going on than that. There’s no getting away from the strong hardcore presence, but then there are other parts, especially the guitar, that are reminiscent of early/proto-punk like the Dictators. And, yes, they do sing about rallying the boys, but the difference is that it’s followed with lyrics about going to the show to dance and how others are “acting tough” and that they “feed on fear.” There is a balance to all of it. For a song about conspiracy, “Under Surveillance,” they balance it with “Avoid the Noid,” a song about the neighbors thinking the narrator is part of a conspiracy when he’s just having a pizza party. Their lyrics are topical, intelligent, and witty, the music is inventive, the production (by Matt Kelly) is spot-on. So, when Tommy And The Terrors are what I think of with streetpunk, I’ll gladly accept the sneers and enjoy the hell out of it. –megan (TKO)

Will Put a Charge in You: 7"
Granted, it’s hard not to hear the Reatards blowback on this 7”. It’s on Jay Reatard’s label. Ryan Wong drums in both the Reatards and Tokyo Electron. (He’s the one singing here.) As is to also be somewhat expected, it’s full of broken beer bottles, bleeding from uncomfortable places, and tattered glory. But, in addition, it does this: stands on its own. If you didn’t know the pedigree, it still sways and fights on its own legs as the needle slips through the grooves on both sides. Good stuff. –todd (Shattered)

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