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Record Reviews

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Below are some recently posted reviews.

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DIGITAL LEATHER:
Blow Machine: CD
Is it the shitty Reagan ‘80s and computer technology that made the synth music inhabit a melancholy electric space, or did the music make us feel that way? Digital Leather has been uncannily good in album after album, year after year. ‘80s-dramatic deep voice, moody keyboards at the club, dance and take drugs but don’t feel better—I don’t have old albums like that, but I do have Digital Leather. Try this new one if you know his stuff or if you don’t yet, it’s great. –mike (FDH)


DIE KREUZEN:
Cows and Beer: 7”
This classic Midwestern hardcore 7” has been officially reissued on its twenty-fifth anniversary. And twenty-five years later it’s still thrashing. There are a lot of bands right now reclaiming this early ‘80s style, but some things just can’t be redone. If you’re a fan of Sorry State Records, No Way Records, Grave Mistake Records, or even Fashionable Idiots, and have never heard these songs, I implore you to pick this up and check out why everyone’s so proud of this whole hardcore thing. –Daryl Gussin (Barbarian)


DICKIES:
Dawn of the Dickies: CD
It’s exceedingly hard to put into words just how fuggin’ great the Dickies are when they’re up to full snuff. Like the Ramones, when they’ve a full head of steam and a good idea, they’re a force of nature more than a band; case in point their cover of the Moody Blues’ “Nights in White Satin.” They take a fairly pedestrian pop hit, its original version lackadaisical in delivery, and just tear into it, banging it against walls and just wringing it for every good thing it has until the song is wholly transformed and wholly their own. You’ll find that cover here on this reissue of their second album (originally released nearly thirty years ago!), along with stellar originals like “Fan Mail,” “(I’m Stuck in a Pagoda) with Tricia Toyota,” and “Manny Moe and Jack,” as well as their take on the “Gigantor” theme. Although the length of time between their releases rivals the rock band Boston, when they do manage to crank a disc out, most times it’s well worth the effort and this one is no exception. The punk gods indeed blessed the Dickies, and we all reap the benefits. –jimmy (Captain Oi)


DEREK LYN PLASTIC:
Negative Feelings: 7”
I love Derek Lyn Plastic! Total new wave punk rock with awesome lyrics! Although the A side needed to be faster, the B side more than made up for it! There’s even totally awesome girl vocals on one song by Naomi Lavender. Whoever she is, I NEED to hear more! So rough and rockin’! Buy this, dear consumers! If this were a cereal, it’d be Trix! So yummy! –Maddy (dereklynplastic@hotmail.com)


DEFEATIST:
In Praise of False Hope: 7”
This is intense stuff. Eight songs on a 7” of brutally heavy, angry hardcore. The cookie monster vocals are there, the dark brooding guitars and smashing drums and bass. They compare themselves to Disrupt and Napalm Death and that’s good enough for me. I don’t know if I could take more than a 7” worth of this, but it made me wash dishes like there was no tomorrow! –Buttertooth (Chainsaw Safety)


DEADLINE:
8/2/82: CDEP
Obscure DC band finally sees their recorded output hit CD. The band did feature Brendan Canty on drums, however. Hard driving and relentless, this is the best ten minute hardcore release since the Fury record. –koepenick (Dischord)


DEAD KENNEDYS:
Milking the Sacred Cow: CD
EASY JOKE ALERT: This record could not be more aptly named. I hold in my hand the brand new “greatest hits” collection of the Dead Kennedys. True, the disc does a decent job of chronicling the music career of these miscreants, but was it truly necessary to do so? Any DK fan could point the ignorant music enthusiast to Fresh Fruit for Rotting Vegetables or Give Me Convenience or Give Me Death and produce similar results. The track listing for this is pretty much pulled from the two previously mentioned releases with one or two tracks from the others for good measure. It comes with two live tracks—”Soup Is Good Food” and “Jock-O-Rama”—the latter is filled with enough distortion that it’s almost worthless. In fact, the whole thing is worthless. Anyone interested, seriously, Fresh Fruit, ten bucks, local record store. –Bryan Static (Cherry Red)


DEAD KENNEDYS:
Milking the Sacred Cow: CD
EASY JOKE ALERT: This record could not be more aptly named. I hold in my hand the brand new “greatest hits” collection of the Dead Kennedys. True, the disc does a decent job of chronicling the music career of these miscreants, but was it truly necessary to do so? Any DK fan could point the ignorant music enthusiast to Fresh Fruit for Rotting Vegetables or Give Me Convenience or Give Me Death and produce similar results. The track listing for this is pretty much pulled from the two previously mentioned releases with one or two tracks from the others for good measure. It comes with two live tracks—”Soup Is Good Food” and “Jock-O-Rama”—the latter is filled with enough distortion that it’s almost worthless. In fact, the whole thing is worthless. Anyone interested, seriously, Fresh Fruit, ten bucks, local record store. –Bryan Static (Cherry Red)


DEAD BETTIES:
Fuck You Avril, You’re in the Army Now: CD-R
Every now and then something comes along that is just so weird it works. The last release I remember hearing from these guys was kind of skronky and decent if not all that interesting. This, however, is a significant step forward from that. Nine songs here and not a one sounds like any other on the disc. You get off-kilter, all-over-the-map stabs at post-glam, punk (their cover of Creedence’s “Fortunate Son” is impressive), experimental fiddling about, artsy fun with loops of Avril Lavigne trying hard to sound intelligent, synth rock, death rock and, of course, skronk, all delivered with maximum catchiness and enough sense not to take things too seriously. They keep up like this and they may well end up one of the more interesting bands the underground has seen in years. –jimmy (no address)


DAMNSELS, THE:
Self-titled: 7”
The Damnsels are probably the best girl-fronted pop punk I have heard since The Unlovables, albeit a little lighter on the pop, a little heavier on the rock ‘n’ roll. This is what The Donnas wish they sounded like. –Guest Contributor (www.myspace.com/thedamnsels)


DAMNSELS, THE:
Self-titled: 7"
I hate to make the comparison, but this band reminds me of the early Go Go’s before they put out Beauty and the Beat. The obvious cliché is the band has female vocals. But it is also in the songs. The band has that early punk-meets-surf sound. The rawness of the recording and the brightness of the sound make it sound early ‘80s: like they studied the time period. But the high factor in their songs is their ability to be melodic and catchy at the same time. Interesting to see what more comes out of this band from Canada. –don (www.myspace.com/thedamnsels)


DALI’S LLAMA:
Sweet Sludge: CD
This is a Palm Springs, CA three-piece sludge rock band. The vocals lean towards Stone Temple Butt-pilot land. One riff sounds very close to Danzig’s “Twist of Cain.” I think you get the picture here. A little too dramatic, okay guitar stuff for a fifteen-year-old hessian in the deserts of California. If they could lay off the Eddie Vetter hmmss and haass they’d have at least a fighting chance in stoner rock land. –Buttertooth (Self-released)


DAILY VOID, THE:
Identification Code : 5271-684346864436-4519: CD
Way smaller than the dudes who played linebacker in high school, I was the puppet getting slammed around in gym class. They couldn’t wait for an excuse to tackle me on a thin mat. Dry hump assholes. So when wrestling was “taught” in gym class, I got obliterated. After a few slams down I couldn’t walk without pain. After two weeks of toughing it out I went to the doctor, where x rays showed two broken vertebrae. I’m really fucking lucky actually. Doctor showed me the way to the body cast. The Daily Void made my vertebrae tingle. TDV are ¾ ex-members of The Functional Blackouts and give you all the best of what you would expect from that—strange, powerful, moody noise punk. Highly recommended. Who the hell designed those wafer thin gym mats anyways? Idiotic. High school is enough waste of time as it is, you shouldn’t have to get damaged on the outside too. –mike (www.dead-beat-records.com)


DAGGERS RULE:
Gleaming the Cuse: 7” EP
Chugga-fueled east coast hardcore fodder here from a band that has apparently called it a day. Although the lyrics and the sentiments show a nice bit of intelligent thought, the crew-core feel of the music just ain’t doin’ it for me. –jimmy (www.barbarossarecords.com)


CYNICS, THE:
Here We Are: CD
There are two phases of Suck involved in getting older. The first phase of Suck involves the absence of youth. The second phase of Suck is not so much about the absence of youth, but the presence of OLD. One senses, after listening to this record, that the presence of OLD is beginning to make itself known around Cynic-ly quarters. I hasten to add that no disrespect is meant by this; it is what it is. But, i mean, still, about a third of the record is ballads, or slow songs, or whatever the hell you wanna call those things that start with acoustic guitars, and, adding anguish to injury, the band somehow manages to cop the riff to the Beatles’ icky “Here Comes the Sun” not once but TWICE in the course of a single album. Now, i do not denyeth The Cynics the right to be a kinder, more gentler freak-flag-flying nation; to do so would be the stance of a young and obstreperous whippersnapper, and my best whippersnapping days are long behind me. I’m just SAYIN’, is all, that as far as Cynics albums go, this one is kinda “relaxed fit,” if you know what i mean. For some reason, they also see fit to swipe the riff to “In My Mind’s Eye” by the Small Faces and re-cast it as “The Ring;” what purpose this action serves other than giving rock nerds like myself something to yip about is quite unclear at presstime. That said, “Here We Are” contains my new ALL-TIME FAVORITE Cynics song ((edging “Blue Train Station” from the top slot it’s occupied for the last two decades or so)), “The Warning,” which sounds like the Monkees on steroids with Peter Zaremba on harmonica, Keith Moon on drums, and a savage Joey Levine on vocals, and would actually be the perfect song to play during a Scooby-Doo or Josie & The Pussycats chase scene, if either of those bands had Joey Levine on vocals and Keith Moon on drums, which i don’t think they did. Well, actually, Josie & The Pussycats might have, i don’t remember any more. Nice one-off soul number, and thanks for keepin’ it real, yo. BEST SONG: “The Warning” BEST SONG TITLE: “Courtney.” No, okay, just kidding, just kidding. FANTASTIC AMAZING TRIVIA FACT: The core Cynics duo of Kastelic/Kostelich are joined by Piblatovic and Kaplanovich on this record; both Kasenetz and Katz remain AWOL. –norb (Get Hip)


CUTE LEPERS, THE:
“So Screwed Up” b/w “Cool City”: 45
Some days it is legitimately hard to give a fuck. And, on other days, you stumble onto the Cute Lepers 45, and God is forgiven, because we are kind and merciful creatures. This Steve E. Nix-enhanced 45 is to the first Briefs’ album what the Eddie & The Hot Rods’ “Do Anything You Wanna Do” 45 was to the “Teenage Depression” album, if “Teenage Depression” was as good as that Briefs’ album, which it isn’t. Well, maybe it is, i’ve always liked that song “On The Run,” and their Who cover was real good too. In any event, this record’s only major flaw is that it is equipped with a small hole, therefore unable to be played on my jukebox. Play it at the wrong speed, however, and you notice the trick: “So Screwed Up” is secretly “Just What I Needed” by the Cars sped up ((and “Just What I Needed” is, in turn, secretly “Yummy Yummy Yummy” by the Ohio Express, both of which actually ARE on my jukebox)). “The girls and guys in bands all sleep late / the suits sit in traffic on the way to get paid.” Hallelujah, bra. BEST SONG: “So Screwed Up” BEST SONG TITLE: “So Screwed Up” FANTASTIC AMAZING TRIVIA FACT: Run off grooves state that “Lepers shouldn’t shake too much.” THE MYSTERY OF “SHAKING” CONTINUES!!! –norb (Drunk ‘n’ Roll)


CULTURE SHOCK:
Self-titled: CD-R
Culture Shock was going to call itself The Beatles, but they found out that there had already been a well-known band by that name so they went with the name Culture Shock instead. Joking aside, this ultra fast political hardcore album is pleasantly vicious from start to finish. The lyrics are scathing, with clever song titles including “If Only an Atheist Could Pray for the Apocalypse.” Tempos range from fast to faster, with only the occasional slow breakdowns thrown in here and there. It all amounts to a very respectable debut, suitable for play at any public formal function. –Art Ettinger (Self-released)


CRITICAL PICNIC:
Self-titled: 7” EP
Ultra-trashy, spastic thrash stuff here with enough equal opportunity offensiveness going on in the lyrics—anti-women’s lib, anti-handicapped and pro-littering tuneage, and a ditty sung from the perspective of a disgruntled pedophile, for starters—to get pretty much all sides of the map in an uproar. Brilliant in its gadfly simplicity. –jimmy (Smokin’ Barrel)


CRIME:
Exalted Masters: LP
Crime were pioneers in San Francisco—playing the lowest-fucking-fi rock’n’roll the West Coast ever heard; a sound so sordid only the Electric Eels could compare. Crime were nefarious, witless bastards too, playing the infamous San Quentin prison in cop uniforms (Jesus!). Needless to say, these actions do not represent an algorithm for longevity, and, after only a handful of singles, Crime was dissolved. After their breakup in the early ‘80s, Crime’s cult grew. Crime’s influence on bands past and present is immeasurable—simply put, anyone name checking The Oblivians or the Wipers needs to go back to Crime for the source. Exalted Masters is the new LP by Crime. It’s mainly a collection of unrecorded Crime songs from the late ‘70s, finally recorded in 2007. Unfortunately, I don’t like it. Much of Crime’s listening pleasure comes from the lo-fi recordings and undoubtedly acrimonious circumstances a band with no real antecedents—no tenuous links for people to contextualize this new sound—must have felt in 1976. Exalted Masters sounds good. Crime’s earlier recordings don’t. And for a band whose sound relied on hate—an almost Hugo Ball-like negation of the zeitgeist of the mid ‘70s—Exalted Masters sounds weak, polished, and unimportant—everything Crime wasn’t in the late ‘70s. There is one redeeming quality to Exalted Masters. Vocalist Johnny Strike includes a passage from his upcoming book on this LP. I like it. The track has a Stan Ridgway-like feel to it, indebted to writers like Raymond Chandler and Jim Thompson. Unlike Crime’s undoubtedly upcoming records, I look forward to Strike’s upcoming publication. –ryan (www.crimesf.com)


COPEATER / MURDER OF CROWS:
Split: 7”
Split vinyl offering from a bunch of dope-smoking braineaters from Madison, Wisconsin. I like how their label refers to both bands as “bong-ripping shred fiends.” Murder Of Crows contribute one long, apocalyptic song, “Empty Battlefields,” that comes across as a slightly crustier version of the Awakening’s The Final Feast 7”. No lyrics for the Copeater side, but with titles like “Whale Riders” and “Space Dock”—c’mon, you know what spacedocking is, right?—I’m wondering how much we really need to know. They’re plowing through four grindcore songs in about as many minutes, and it’s some pretty thick stuff for a two-piece. If you’re veering towards the darker end of the spectrum, try this one out. I’m more into Celtic flute-rock at this point in time, but the Jeff Gaither-esque cover and insert were pretty awesome. –keith (Scenester Credentials)


COMADRE / TRAINWRECK:
Split: 2 x CDEP
This is two CDEPs packaged together in one cardboard case with a sleeve for each. California’s Comadre throws in five songs (twelve minutes) of yelling, screaming hardcore punk, except for one track which is just guitar and the same yelling, screaming vocals. It doesn’t quite sound right. The band rocks fairly well and also name drops Fugazi, Embrace, and Rights Of Spring in one song. They don’t sound like any of them. I can imagine their live shows are really good, however, and probably involve a big community atmosphere. Trainwreck is from Germany and I really enjoyed their music. They play hardcore reminiscent of some of the mid-‘90s metal-core material (e.g. Harvest) with vocals that are a dead-ringer for Strongarm. While they were slow in starting once the first song finally gets going, they don’t stop. Some of their lyrics are in German but the majority are in English. They also included explanations for each of the songs, which I really appreciated. It seemed like we’re going through some of the same things, so it made it all easier to relate to. There are four songs from them, clocking in at around fifteen minutes. The packaging looks great with nice photos. However, maybe it’s just the environmentalist in me, or maybe it’s the transient who only listens to digital music anymore, but I had mixed feelings on giving each band their own CD. Perhaps they saw themselves as two bands who were just putting their music in one package and, in one sense, that’s definitely conserving things. But wouldn’t it have saved plastic and helped the environment a little to just put both bands on one CD? Yeah, the layout would’ve had to change but I’m sure it could’ve looked just as cool. Regardless, the music on here isn’t too bad, especially from Trainwreck . –kurt (Bloodtown)


COLLAPSAR:
Integers: CD
Collapsar is two guitarists and a drummer playing loud, brutal instrumental progressive metal. If you dig the Fucking Champs but wish they played heavier, thrashy stuff, Collapsar might be the fix you need. I’m glad they didn’t ruin it with some whiney or otherwise annoying vocals. Sounds like a breakneck run through a crowded mall of holiday shoppers. Not as progressive as Refused, but still worth a listen. –Buttertooth (Escape Artist)


COFFIN BOUND:
Self-titled: 7” EP

 

 

 

Four tracks of lo-fi stuff, none of which really left much of a lasting impression. –jimmy (Die Slaughterhaus)


COATHANGERS, THE:
Hit Jams Are As Follows: LP
My girlfriend likes this record. I don’t. The Coathangers are “quirky,” an adjective that seldom bodes well with me. The Coathangers have a Mika Miko-like oscillation of female vocalists, and riffs reminiscent of Kleenex/LiLiput (whom I love more than my mother). They also have lyrics about Tonya Harding and “haters.” I have a deep reverence for Louis-Ferdinand Celine, the greatest hater of them all (a combined misanthropy greater than W.C. Fields and William Burroughs COMBINED), so it makes sense that I hate on this record. Anyway, only the Stooges’ Funhouse, Kleenex/LiLiput’s Kill Rock Stars collection, and the Young Marble Giants’ Colossal Youth are of interest to me right now. So buy this record. Buy tons of them. Black Friday has passed us, but massive consumption of this record is encouraged. Go skeet shooting with your extra copies and buy more. Who knows? Maybe in ten years this record will line Salvation Army bins like Kenny Rogers records. A revolution of ephemeral material—started by me! Manifestation dada! –ryan (www.robshouserecords.com)


CLINT MAUL:
Ninguna Amplificacion!: 7”
I have no idea who this Clint Maul person is, but I likey...a lot. It didn’t take but five notes for me to decide so. Music is country-like with such pleasant vocals and charming harmonica tunes that I found myself flipping this record three times before retiring it. It made it into the pile of records that are in regular rotation at my house. It’s mellow, yet light and uplifting and puts me in a really good mood. My only beef with the record is that it doesn’t have more than three songs and I wish it had more. Also, it doesn’t include the lyrics in the insert, but really I don’t even give a care because the lyrics are already so clear and simple. Oh man, I just looked up his myspace page. He’s from Virginia, apparently. That explains the influence. If you’re into Lucero, Chuck Ragan, or throwing horseshoes on a summer evening after floatin’ the river, you will probably find easy listening in this record. –Guest Contributor (Toxic Pop)


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