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Record Reviews

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Below are some recently posted reviews.

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VARIOUS ARTISTS:
Dancehall Troops III: CD
Given the 7” record-type packaging, I was a little apprehensive when I picked this out of the pile. With a name like “Dancehall Troops,” I had visions of a single filled with piss-poor ska-punk drivel from a band that probably never heard of Desmond Dekker. Well, it ain’t any such thing. What it is, is a CD compilation featuring some of the finest punk in a number of permutations currently making the rounds. Of the thirty-three tracks collected here—courtesy of Red Invasion, the Cute Lepers, The Handgrenade Hearts, Suicide Dogs, Sick Fits, The Steaknives, Soda Pop Kids, Fishnet Stalkers, The Main, Black Beauties, and more, much of which is either heretofore unreleased or available only on vinyl—nary a one dips lower than “pretty danged good,” and makes for quite an impressive mix tape for those who don’t wanna work to hard at making one of their own. Given the bad shape of the compilation in recent history, it’s nice to hear one so consistently strong. Best of all, there ain’t a ska punk tune in sight. Someone put some quality work into compiling this, it shows, and that makes all the difference. –jimmy (www.nofrontteeth.net)


VARIOUS ARTISTS:
I Thrash, Therefore I Am: LP
Finally, a vinyl reissue of this classic tape that was originally released on Bad Compilation Tapes. This is where I was first introduced to bands like Mob 47, Anti Cimex, Moderat Likvidation, and Enola Gay back in the ‘80s. Don’t really know where the actual tape is; probably mixed in with my brother’s collection. There are some bands missing on this release, like Raw Power that was on the original tape. It probably was due to limitation of time for a LP and probably because the sound quality issues of the more obscure bands. But, overall, this is not lacking in any sense. I didn’t even notice it until I looked up the original tape to see who was originally on it. Schizophrenic Records didn’t hold back on the packaging. The records are multi-colored vinyl for you collector nerds and an even more special mailorder edition is available. Even though this a great history lesson, this record is full of straight-up blazing, raw tracks of classic international punk. –don (Schizophrenic)


VARIOUS ARTISTS:
Hours and Hours: A Tribute to Seaweed: CD
Seaweed was one of the Sub Pop bands that toured heavily, reaching their peak when they opened for Bad Religion (along with a pre-major label Green Day) on the Recipe for Hate tour in 1993. Seaweed sucked, so why shouldn’t a tribute to Seaweed suck as well? In that regard, I suppose this is an appropriate tribute. The original songs were depressingly dull and these covers capture that bland mentality perfectly. I did enjoy Kane Hodder’s cover of “Stagger,” but this is a fairly tortured release. Fans, if there are any left, will appreciate the included Quicktime video of Seaweed performing “Sit in Glass” in TX in 1992. The rest of us will remember why we wouldn’t have been caught dead at a Seaweed show in 1992. –Art Ettinger (Engineer)


VARIOUS ARTISTS:
Emergency Room Vol. 1: LP and Book
Here’s a comp worth picking up. The music is quality and the packaging superb with a 12” x 12” photobook of some of the bands on this record, and some who aren’t. The whole shebang is a document of one year at the Emergency Room, an all-ages performance space in Vancouver. The bands tend to lean towards the punk end of the spectrum, with various flavors added and subtracted. Defektors remind me of early L.A. punk, similar to Dangerhouse fare. Petroleum By-products are the sort of punk Olympia, WA bands wish they were. Vapid remind me a bit of Bikini Kill, only tougher and nastier. Whitelung have jumpy rhythms that’s danceable, but not disco. Mutators churn out neo no wave in a mix of minimal and noise. Twin Crystals are art damaged with a menacing undercurrent. Nu Sensae are raw and fast. The vocals are venomous. Gotta hear ‘em! Sick Buildings emit noise to either contemplate or run out of the room. You pick. Either way, get this record. Only 924 copies have been pressed up. –Matt Average (Nominal)


VARIOUS ARTISTS:
Killer Workout Mix: CD
One of my favorite sets of compilations were the Dry Lungs series put out in the ‘80s by Placebo, the label that brought you fine music by Feederz, Conflict (Tucson), Mighty Sphincter, and the always faboo Jodie Foster’s Army. Those compilations featured none of the punkier bands like the aforementioned as the more industrial wing of the underground (and when I say “industrial,” I’m talking about sandbelts on sheet metal, not Nine Inch Nails) and some seriously odd shit. They were really cool listens when you wanted something a little different to clear out a party in eight seconds flat. While light on clanging pipes with wood mallets, this comp is no slouch when it comes to odd noises. One moment you’re listening to some weird dirgy electronica song, next some punky quasi-jazz combo is screeching in your ear, and then suddenly there’s two minutes of what sounds like someone trying to create dance beats with sounds from assorted video games. Bands like La Mere Vipere, Tickley Feather, Wigger Mom, Leper Colony, and Mountain Husband keep things blissfully out of whack, offering the listener stuff they’re not likely gonna hear anywhere else anytime soon. Easily one of the better comps I’ve heard lately and also sure to clear out a party in eight minutes flat. –jimmy (CNP)


TROPIEZO:
El Manual de La Perfecta Cabrona: CD
Absolutely essential, fast-as-hell hardcore from Puerto Rico. Sixteen tracks clearing in sixteen minutes! This is the fucking shit! From what I can make out of the packaging, the lyrics seem to be of a political nature and their packing is kind of cool, if awkward. It’s a wide booklet with goofy cartoons in it. But whatever, who fucking cares about their packaging? This is seriously some of the best hardcore I’ve heard in a long time. Everybody I’ve played this for has been all, “Dude! What the hell is this?!” So, I’m far from being alone in being stoked. I don’t care if you don’t listen to hardcore anymore and just listen to (insert more listenable punk subgenre here) these days. Hell, that wouldn’t be too far from my own situation. Just sayin’, if you don’t get into this, you don’t like punk rock. Yeah, it’s like that. –Craven (Self-released)


TOTAL CHAOS:
Avoid All Sides: CD
I avoided all contact with Total Chaos when they came out because at the time I was moving away from Great Big Haircut type punk (Vincent and Cochrane were throttling me at the time, and early Lennon/McCartney had me in a noogie headlock). I also feared that Total Chaos would seem like a total joke to me with the punk uniform and all. So, after many years, I finally get a taste. And the gastronomical conclusions: sure, it’s a bit clichéd at times (an early expectation of mine and one that kept me away), but it rocks often enough that I can doff my battered cap to them. Fast and angry. This is that wholesome meal that you keep going back to after trying some exotic crap at a new-fangled fusion restaurant. –The Lord Kveldulfr (Punk Core)


TOKYO POLICE CLUB:
Elephant Shell: CD
When a Saddle Creek band is at its strongest, it can take the idea of indie pop or rock and turn it inside out, substituting any preconceptions of blandly delivered histrionics for something that is a powerful and necessary listen. Unfortunately, this Tokyo Police Club disc doesn’t have the urgent crush of the Desaparecidos or Cursive’s impassioned confessionals to take it into superior territory. Instead, it’s a bland and bloodless affair that accomplishes nothing extraordinary with its sparse sound and maybe Morrissey vocals. It doesn’t have to be something loud and fast, but this brand of tepid, hesitant delivery never helped anyone get the feeling of their music across. Hell, even The Smiths had some flair to the most dour of their ballads. –Reyan Ali (Saddle Creek)


TURPENTINE BROTHERS:
Self-titled: LP
Now this is the kind of band that makes one excited about music. Garage rock done right. Raw, rocking attitude, and all with a swinging rhythm. The organ that runs throughout is great. Not overbearing, but essential. Giving this an air of cool that can not be faked. The whole time I listened to this record—and repeated listens at that—all I could say to myself, wide-eyed, is, “Fuck, this is great!!” And great this record truly is. You get your rippers, some in between, and some slow stuff (“Tired Luxury”). Great album the whole way through. You really have to hear “Time/Min” and “Forget Loyalty.” Great songs! –Matt Average (Alien Snatch!)


UNDER ANCHOR:
There Is No End: CD
Hardcore, but not consistently straight up. Sometimes it sounded more neo-metal, sometimes more like crust punk. Some of these songs I loved; some kinda bored me. I’m mixed on this mixed bag and I freely admit that this mixed review is entirely subjective in its mixed-up nature. This record’s hitting or missing at various points is only a matter of my quirky tastes and not any sort of qualitative judgment. However, let me make a modicum of effort. The hardcore-sounding songs tend to be real scorchers, and they get the proverbial thumbs-up with goofy grin in tow. The crusty songs were okay, but Under Anchor sounds a lot better doing a more classic hardcore sound. The metally tunes can be left off the record, in my opinion. Bad comparison number two for this issue: imagine Nausea meets Ann Beretta. –The Lord Kveldulfr (Veritas et Aequitas, myspace.com/veritasetaequitasrecords)


UNDERGROUND RAILROAD TO CANDYLAND:
Bird Roughs: CD/DVD
Anytime I hear a URTC song, I smile. Whether it’s live, on CD, on youtube… it doesn’t matter. And this album is no exception. Recess has officially gone global with this re-release of Bird Roughs. This version is also accompanied by a DVD that has clips of traveling and playing music in Japan. As if the album needed anything else other than the music to entice you to buy this sucker. But I’m not complaining; this DVD is a pretty nice addition to the collector’s edition first-ever Recess Japan release! –mrz (Recess Japan)


TITANARUM:
Spastis Progressivus Aggressiorum: 7” EP
Two assumptions I gotta make about this band while listening to this 45: 1) They must spend oodles of money on espresso; 2) They just hafta be living on a steady diet of jazz. These two assumptions are the only way my noggin can comprehend the audacious aural onslaught they set forth over the course of the six tracks here. Dude screams his lungs out, his buddies flail on their instruments, and all of it is done at warp speed. Okay, you say, I get the caffeine connection, but jazz? Well, they lay all that clamoring and wailing on a solid bedrock of tempo, rhythm, and timing changes that fly all over the place in each song, giving an extra added spastic, ADD sheen to the proceedings. Shit, if you listen closely, you can even hear a bit of Slayer in their prime in there, which is quite a feat considering there’s precious little in the way of metal to be found. I know we’re only at the midpoint of the year, but I’m gonna go out on a limb and say this will handily make it into the top three hardcore releases this year. –jimmy (Titanarum)


TILTWHEEL:
Hair Brained Scheme Addicts: CD
It seems that with every batch of stuff that RC sends me, there’s some release from a band that’s been around forever and I never really listened to them. Tiltwheel is that band this time around—this was my first listen. I liked it, but I have absolutely no frame of reference in regard to their previous work. The record had a certain operatic feel to it, as if each song is the separate movement in a symphony. Good stuff overall. If you want an honest and detailed review though, check out the reviews of others in previous issues. I’m simply riding their coattails on this one. –The Lord Kveldulfr (ADD)


TIDES / GIANT:
Split: CD
I’ve heard both of these groups couched in terms like post-metal—and mentioned in the same lists as Red Sparrowes and Pelican. Not having enough familiarity with either of those groups and thinking a term like “post-metal” is kind of dumb, or at least hard as hell for a dolt like me to grasp, I’ll say instead that they’re messing around in that same dark and haunted candy store as Amanda Woodward and their closely related brethren Aussitot Mort. Tides hits us with two instrumentals and Giant delivers “Horned and Blind,” an epic (is that where the metal reference comes in?) thirteen minute-long jam that features five lines of lyrics throughout. Both bands are staunch believers in allowing the tension to simmer through repetition and a melody that finally erupts into a near-chaos wall of noise that manages to avoid total meltdown through the fact that both bands know exactly what they’re doing. It’s all intentional, and it’s precise and pointed enough to read your license plate from space. I’ve been finding myself drawn to this kind of stuff more and more and I’m sure this one’ll get some occasional plays; but even at twenty-six, twenty-seven minutes, three songs total just feels a bit like I’m playing a cassingle or something. –keith (Level Plane)


THIS RUNS ON BLOOD:
Youngre, Strangre: 7”
No idea what’s up with that title. Certainly no typo. And the band name is ridiculous as hell. I will say this; the packaging for this is excellent. Four color screen printed covers, sewn pocket to hold the split red/white vinyl that looks like melted candy, great hand lettered booklet which is sewn together as well, not to mention the screen-printed obi strip that holds it all together. Musically, these guys crank out herky jerky, supremely spastic art damaged something or other. Not necessarily my cup o’ tea, but I know there’s legions of people who dig this sort of stuff (An Albatross, Locust, etc). 500 were pressed up, if you’re inclined. –Matt Average (This Runs On Blood)


THIS BIKE IS A PIPE BOMB:
Convertible: CD
How the world changes around us. When This Bike Is A Pipe Bomb started years back, who’d’ve thunk that an entire subgenre would have sprouted from their seeds by the time this record rolled around? Having seen them quite a few times over the years, and not only owning, but actively listening to, much of their previous work, Convertible is—for better and for worse—what their fans will dig, and what they’ll expect. (The first time I saw them, they opened up for The Causey Way, and if I remember correctly, they were touring in a cab.) Lyrically, TBIAPB is much darker than most may realize. The first four songs are about deaths and elegies, spanning from Willie Junior (a local vagrant whose death remains a mystery) and Andreena Kitt (a neighbor, shot repeatedly and killed by police), to Joe Hill (Wobblie organizer) and Fatty Arbuckle (an entertainer who was blackballed and smeared for life on the unsubstantiated claim that he raped a woman with a bottle). Convertible is like an audio scrapbook: of home, of friends, of shared history, of complicated love, of mental illness and physical sickness. Convertible covers a broad range deftly, from wanderlust so deep that the narrator imagines faking his own death to start up a new, anonymous life. And there is still a deep fire inside this trio; they don’t roll over when gentrification takes out a community church, and sing: “When those saints come marching in, I hope they’re carrying guns.” All of that is great, and genuine, and honest, and I do enjoy this record. But here’s the string in the back of my throat on this record: there’s no outright flashpoint on it—some song on the first several listens that’s careened from the grooves and raised my awareness and appreciation of the entire record. In Front Seat Solidarity, it was the firecracker of a song, “Body Count,” that I couldn’t shake loose. In Three Way Tie for a Fifth, it was the epic, expansive “The Ballad of Sonny Liston” that I couldn’t wait to hear at the end so I could flip the record over and listen to it again. Reviews like this are the most troubling for me. I’ve only listened to this record ten or fifteen times; and there may be that sleeper song in Convertible that watersheds it all together, that snaps the puzzle into place. I have faith that there is… and will continue listening for it. –todd (Plan-It-X South, planitxsouth.com)


THEY AND THE CHILDREN:
Self-titled: CD
As stupid as I feel saying the phrase, (and I can only take solace in the fact that their one-sheet used it first and I merely found I had to agree) these guys mete out some very “epic” hardcore here. The tunes are often quite long considering the genre in which they’re claiming a stake, but they somehow keep the tunes interesting, managing to tap the metal vein without all the crap seeping into the songs and putting enough catchiness and creativity into the mix to keep your attention most of the way through. –jimmy (www.myspace.com/theyandthechildren)


TEXTBOOK:
Boxing Day Massacre: CD
Chicago’s Textbook play affable punk pop. At their best, the warm vocals and melancholy guitar crunch make them sound like major label-era Lemonheads (without the championship-caliber crack consumption, I hope). The songs aren’t always strong enough to hold up to the slow speed of the music, and this CD starts to sound toothless after a couple cuts. Still, I could see most of these songs on the soundtrack to a mid-‘90s rom-com, playing while we see the young male protagonist walking around on a sunny Saturday afternoon, being young and living in the city and about to meet the love of his life. And that’s a good thing, right? Who didn’t like So I Married an Axe Murderer? –CT Terry (www.listentotextbook.com)


TEMPLARS, THE:
Out of the Darkness: 7”
Out of the darkness indeed. Didn’t know these guys were still recording. –Jim Ruland (Templecombe)


STATUES:
Terminal Bedroom: CD
A collection of four previously released 7”s (on three different labels) in a handy CD package. The underground world is getting sick with power pop (it goes through cycles. Yesteryear’s surf and garage is today’s power pop), and the measuring stick is simple: how’s the songwriting? These Canadians, curiously but effectively take the Dilbert, casual Friday office-dweller approach. The bleakness of office bureaucracy is boarded up against Elvis Costello’s early work (I can’t stomach the Burt Baccarat collaboration stuff, personally), and holds up to the standard bearers of the early ‘00s, The Exploding Hearts. The pacing, the drive, and the bouncy, fleshy bits are all in place. Even though I have half of the 7”s already, I found myself popping this on quite often to listen to the stuff I didn’t have. Catchy, intelligent. –todd (Deranged, derangedrecords.com)


TEMPLARS, THE:
Out of the Darkness: 7”
After listening to the A side which features the track “Out of the Darkness,” I wasn’t really looking forward to the other song. “Out of the Darkness” seemed to drag on and was making me doubt if telling people I was a Templars fan was really worth the strange looks, but I found the strength inside to flip the record and was once again reassured that Carl and Phil are the two most talented, poignant people making this brand of skinhead rock today. It’s been seven years since these guys’ last release, and through line-up changes and everything else, these guys still know what they’re doing. –Daryl Gussin (TKO)


TEAM STRAY:
Gender Studies: CD
I’d heard this band mentioned amongst some friends of mine, and could’ve sworn what I heard was straight forward pop punk, heavy on the whooooa’s, so that’s what I figured this would be like. Instead, it’s a hair-faster than mid-tempo power pop, kind of in the vein of The Plus Ones or Weezer (especially in the vocals at times) that’s a bit rougher around the edges. It’s not bad, and I’d probably pull it out on a cloudy day. –joe (Cold Feet)


TEAM ROCKET:
Rocket Science: CD
Why is it that every band that’s big in Europe sucks in America? It’s like the fabled girlfriend from Niagara Falls. Fictitious. Sounds like Lenny Kravitz . If the bands asks, I listened to the whole record and never ejected it before the fourth song ended. –Dave Disorder (Fire Tone)


SOUTHPAW:
Stand for Something: CD
Speaking of “standing for something,” here’s some insightful banter from Roger Miret of Agnostic Front gleaned from various live LPs: 1. “I love...I grew up on hardcore, punk and oi music and I fuckin’ love it. To me, that’s what this whole scene’s about; hardcore, punk and everybody out there united. This is a song I wrote about how much I hate another scene that’s invaded our scene. This goes out to everybody who I do not like, people that listen to rap and hip-hop. That shit is crap. That music is not for us, it has nothing to do with us. They do not like you, so don’t buy their records; because you know what? They won’t buy yours...Rap is nothing but fucking bullshit" (crowd cheers)2. “This is not a racist song, it’s the goddamn truth,” Ol’ Rog says before going into a song about how minorities (yes, he says “minorities”) should get off welfare and clean the sewers. 3. “We should all sing this song in unisonce.” 4. “Since we are an American band, I want everybody to say the Pledge of Allegiance with us.” Good Ol’ Agnostic Front, street warriors, brain warriors...Oh yeah, Southpaw! Southpaw is pretty much for fans of Agnostic Front and the like. And if you happen to be one of those fans; the reason why quote number three is funny is because unisonce isn’t a word. –Craven (Motherbox, www.myspace.com/motherboxrecords)


SOTATILA:
Eepee: 7” EP
I swear, the universe must bestow the consistently finest hardcore bands upon places like Sweden and Finland as some sorta payback for all that snow. This is yet another release destined to be deemed a classic in the fjordcore hall of fame that’s already stuffed to the rafters with simply amazing bands. This one falls squarely between more recent fare by region-mates like Rajoitus and older stuff by bands like Kaaos and, oddly, Brazil’s Olho Seco. I don’t care if you gotta trade an appendage or sell your soul to Soupy Sales, trust me when I say this needs to be up towards the top of your “must have” list. –jimmy (www.punkinfinland.net/kamanen)


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·TAMORA
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·FREAK TENSION #15
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·Top 5s from Issue #79
·Burning Fight: The Nineties Hardcore Revolution in Ethics, Politics, Spirit, and
·BIFF TANNEN/PILGER


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