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WORLD/INFERNO FRIENDSHIP SOCIETY, THE:
Addicted to Bad Ideas: CD
This is an idea that’s so cool, that it seems like it shouldn’t work: a cabaret style punk band presenting a concept album about the life of actor Peter Lorre. In case you don’t know, Peter Lorre is the actor who made it big in the ‘30s and ‘40s as the little hollow-eyed man, who always ended up playing some kinda shady figure, like a child murderer in M (whose poster the band borrowed for the album cover), fey underworld goon Joel Cairo in The Maltese Falcon, and uhm… the Japanese detective Mr. Moto, despite being a decidedly eastern European looking Jewish Hungarian who fled the Nazis in Germany. At any rate, the album is astoundingly unique and good. To set the proper mood and add the proper classy flavor to the affair, the album begins with a string ensemble playing “Peter Lorre’s Overture,” before the next ten songs tear it up with a unique mix of punk energy and guitars, some world class vocals from Jack Terricloth, some extremely great keyboard work on the organ and piano, and a nice selection of brass and woodwinds adding to everything. The rest of the album roughly follows along with the chronology of Peter Lorre’s life and ends up producing a surprisingly coherent whole that hits on moments of real insight at times. It really isn’t that hard to imagine this being played at a particularly boisterous old world family gathering taking place in a rented hall with a fine accompaniment of plentiful food, two or three languages being shouted interchangeably, and a complement of drunken uncles one hasn’t seen in years cutting it up on the dance floor. The World/Inferno F.S. is probably one of the best and most unique-sounding punk bands around right now, and definitely one of the only bands that sounds like they could pull off headlining both a street punk show and a world class dinner theatre (albeit one that’s also doing something shady like running coke out of the back storeroom) in the same week. –Adrian (Chunksaah)


WORM QUARTET:
Mental Notes: CD
Goofy in substance, techno/synth in style (they called it “industrial” music when I was in college, but I think the labels have changed—live, aggressive guitars, over-the-top keyboards, manic, programmed drums), Worm Quartet is a one-man band that straps spork references to drum machines. It’s either They Might Be Giants backed by Ministry or Weird Al recording for Wax Trax. With a Boris The Sprinkler cover (“Drugs and Masturbation”) to boot. The live track, “What Your Parents Think All Your Music Sounds Like,” shows that Tim “Shoebox” Crist is a funny guy who can work a crowd, but the balance of Mental Notes is more clever than enjoyable. –Mike Faloon (Worm Quartet)


WITCHES WITH DICKS:
Manual: CD
Great record. Witches With Dicks have a very familiar sound, but at no point do they sound stale. In fact, they take a familiar formula and transfer it into something out of this world, like somebody’s secret chili recipe that just knocks your socks off—all the usual components are there, but somehow Witches With Dicks’ stew achieves zesty magnificence where others taste like the same old shit. This is ten tracks of raw and inventive rock‘n’roll that never failed to nail me to the wall, and the vocal harmonies are the screaming end. And the drummer is not just a 4/4-time boom-tap-boom-tap drummer; like the great Ringo Starr, this guy plays the drums not only as a means of providing tempo, but as a means of accentuating the sound through counterpoint while filling out the job begun by the vocals and guitars. This is a full package: an inspired rhythm section, a rugged and desperate guitar sound, well-placed and well-laced organs, and vocal harmonies swirling like a barbed double helix of DNA. All I know is that Manual rocks and rocks and rocks and you’d be a fool not to try this chili, at the very least. –The Lord Kveldulfr (Kiss of Death)


WIDDERS, THE:
Down for Life: CD
The press release threw some dubious factoids my way. First, the drummer is “professional skateboarding legend” Tom Knox. I only know of Tony Hawk, so I will have to take their word for it. Then, to describe the record, they throw in this choice nugget: “Imagine if Motörhead played with an upright bass. Yeah, it’s that gnarly!” Red flag! Lemmy may drive a white minivan, but he would never, ever play a stand-up bass. You can take that to the bank and cash it! Case closed. –koepenick (Fallen Angel)


WHITE LUNG:
Local Garbage: 7” EP
These Canadian ladies know exactly what they’re doing: taking all that great proto-wave, punk-before-mass-herding, punk-before-“disco ain’t so bad!”, before-the-fall tracks of Wire (Pink Flag), Gang Of Four (Entertainment!), and The Avengers (Self-titled), picked up a Kathleen Hannah cabinet and microphone along the way (circa Reject All American), leapt over the last decade while steering clear of any pop punk or rock’n’roll, and reconfigured the pieces to an old jigsaw with no missing pieces. That’s much harder than it sounds, and I’m enjoying this 7” quite a bit. Nice surprise. (And if you haven’t heard the albums in parenthesis in this review, all are highly recommended listening.) –todd (Hockey Dad)


WATCH IT BURN!:
How America Motherfucking Works: 12"
Here’s what I don’t know: who the hell this band is. There’s the Watch It Burn that did a split with Altaira a few years back. They were from Portland and sounded like a rough-hewn Broadway Calls. Then wasn’t there a band on Chunksaah with the same name? Then there’s these guys—there’s virtually no information accompanying this record, except for the fact that the label’s from Wisconsin and the songs were recorded in October of 1998. Watch It Burn!: men of mystery. Here’s what I do know: they’re playing some mean and ugly hardcore laced with feedback and propped up by a ton of tempo changes in every song. They kind of sound like that Swedish band Last Match, and have the same propensity for dragging things out a tad longer than they need to. When they keep things fast and lock into a groove, it’s good stuff, but too much of is played sloooow, in an attempt to sound punishing (see “Ground Hemlock Lake,” which takes up the majority of the B side.) Instead, it just allows my mind to wander elsewhere. No lyrics whatsoever (though they do have a song called “Earthday Crisis”) and limited to 300. Lastly, the label must be giving the post office a spiritual hard-on with this one: the sleeve itself weighs more than most double LPs. –keith (Finger On The Dutendoo)


VIOLENT MINDS:
We Are Nothing: CD
This band is the equivalent of someone you can’t win an argument with. They won’t let you talk and they’re being ten times louder than you can. During the whole debacle, you might be annoyed, but once it ends—it may be ten minutes or ten days later—but you eventually come to the realization that they were actually right. And you are totally dumb-shit wrong. Violent Minds plays Motörhead meets Negative Approach with a thirst for blood and drugs. This band is a black cloud spewing raining acid onto a Christian youth picnic; it’s so goddamn beautiful. Pummeling, distorted vocals, USHC. The CD contains songs from their We Are Nothing LP plus the four songs on the Just Kicked In 7”. –Daryl Gussin (Deranged)


VIOLENT MINDS:
Just Kicked In: 7"
This band is the equivalent of someone you can’t win an argument with. They won’t let you talk and they’re being ten times louder than you can. During the whole debacle, you might be annoyed, but once it ends—it may be ten minutes or ten days later—but you eventually come to the realization that they were actually right. And you are totally dumb-shit wrong. Violent Minds plays Motörhead meets Negative Approach with a thirst for blood and drugs. This band is a black cloud spewing raining acid onto a Christian youth picnic; it’s so goddamn beautiful. Pummeling, distorted vocals, USHC. The CD contains songs from their We Are Nothing LP plus the four songs on the Just Kicked In 7”. –Daryl Gussin (Deranged)


VATICANS, THE:
Guardia Svizzera Pontifica: CD
Those expecting some sorta continuation of the loud, trashy legacy of the Fingers, Rip Offs, Infections, et al., are going to be sorely disappointed, ‘cause, sonically, this is in a whole other ballpark. While still spare in instrumentation, and occasional flashes of that raucous legacy sometimes pop up, the bulk of this is geared solely toward the pop side of the fence, with clean channel guitars, mid-tempo rhythms and female vocals more Penelope Houston than Alice Bag. Those who appreciate substance over style, however, will find much to like here. The tunes are well crafted and very catchy, knowing yet tempered with a subtlety and grace not usually expected from a buncha punks. Looks like Shane finally hit on the right combination of collaborators to realize his dream of creating a pure pop band a la the Raspberries. Kudos to ye, mate, ‘cause it’s a fuggin’ great band. Considering I made my bones as a Pure Filth staffer, which means I learned to calls ‘em as I see ‘em without mincing words, lord knows I don’t throw praise around like that lightly, no matter who it is. –jimmy (Pure Filth)


VARIOUS ARTISTS:
Taking out a Little Agression—A Tribute: CD
Dave Haro is a great guy, and apparently a bit of a whiz at picking out the right bands to make what is normally a tedious exercise in ego-fellating—the now-dreaded “tribute” album—into a more than worthwhile listen. Expanding on an idea that came after his homeboy (and Agression guitarist) Henry Knowles died in 2002, Haro and cohort Jellyroll enlisted the aid of some of best bands in American punk rock’s storied history—MDC, Shattered Faith, Channel 3, Verbal Abuse, Fang, Life Crisis, Retching Red, DI, Kat Killer, fellow skatepunk bands JFA and McRad, and tons more—to run through assorted Agression tunes in tribute to Knowles and singer Mark Hickey, who died in 2000. The result is a surprisingly solid, varied take on the band’s impressive catalog, with MDC providing the most unconventional (an acoustic version of “It Can Happen”) and the punk supergroup S.A.I.D. (featuring members of Stalag 13, Agression, Ill Repute, and Dr. Know, hence the name) dishing out the thrashiest with their cover of “Stop the Clock.” In all, this set is easily the best tribute compilation of the year, if not the decade. –jimmy (Dr. Strange)


VARIOUS ARTISTS:
Taking out a Little Agression—A Tribute: CD
Anyone thinking about releasing a tribute CD should be required to listen to Taking out a Little Agression. Agression was a hardcore, skate punk band from Oxnard, California, who, along with Ill Repute, Shattered Faith, and Battalion of Saints, helped create the Nardcore punk scene in Southern California. Two of Agression’s members, Henry Knowles and Mark Hickey, died in 2000 and 2002, respectively. These songs were recorded over three years by friends of the band and compiled for this CD as a tribute to Knowles and Hickey, and a benefit for those they left behind. JFA, D.I., MDC, Channel 3, and Oppressed Logic all contribute fantastic versions of Agression songs and the resulting compilation is truly amazing. These guys took what must have been an incredibly difficult time in their lives—the loss of two friends—and turned it into something beautiful. Huge thanks to Dave Haro, JellyRoll, and Dr. Strange Records for putting this out. –benke (Dr. Strange)


VARIOUS ARTISTS:
New York vs. New Jersey-Punk Rock Battle Royale!: CD
Oh, fate’s cruel punches come crashing down on this mere mortal reviewer. Having seen a handful of these bands at Insubordination Fest, this is a tough call. But I shall carry on! Round one: The Ergs! Vs Lemuria. Winner: The Ergs! Round two: Hunchback vs. The Unlovables. Winner: The Unlovables. Round three: Groucho Marxists vs. Nancy. Winner: Groucho Marxists. Round four: For Science vs. The Steinways. Winner: For Science. Final score: New Jersey-3, New York-1. This was decreed a TKO by Jimmy “Mouth of the South” Hart and can’t be disputed. Put on this CD and enjoy with a WWF Superstars of Wrestling Ice Cream Bar and you’ll be happier than a pig in shit! (Why anyone, including a pig, would be happy in this situation is beyond me.) –koepenick (Crafty)


VAPIDS, THE:
The Point Remains the Same: CD
Played with these intrepid sons of Hamilton, Ontario something like ten years ago in Minnesota; i had to stop and think for a while to confirm it wasn’t the Dinks, from Thunder Bay, i was thinking of ((result: I think we played with both the Vapids AND the Dinks at that show)), which seems fraught with commentary on either my age, my memory, or the fact that any combination of four dudes from Ontario with black leather jackets is roughly equivalent to any other combination of four dudes from Ontario with black leather jackets. Maybe all three. Well, whatever. As far as i can tell, the Vapids are the last legit survivors of the whole ‘90s Ramones-core ((“Riverdales-core?”)) phenomenon, except for Head, who seem like a “special” case ((if you know what i mean)), which pleases me in the same way that i’ve always enjoyed that episode of Gilligan’s Island with the Japanese sailor who doesn’t know that World War II is over. The odd thing about the Vapids is that, whereas most Ramones-core is built around a simple, cartoonish, catchy chorus, most Vapid-toons eschew this tried‘n’true method and go more the route of the New Bomb Turks or Action Swingers, limiting the use of particularly distinct choruses, and often giving the actual title of the song little or no lyrical presence in the body of the lyrics itself—making the music more about drive than hooks, i’d reckon. Granted, you could spend a much worse 24.2 minutes than listening to the album’s fifteen tracks, but one might speculate that one of the reasons why this band hasn’t really connected on a continent-wide level is that they’ve been using the wrong tool for the wrong job—trying to use a Ramones hammer to drive home a New Bomb Turks nail, or some god damn thing. I once passed up the chance to buy Ben Weasel’s Mosrite™ from him for $600, and have always wondered if i made the wrong choice in that regard. Listening to the Vapids in 2007, i remain as confused as ever. BEST SONG: “Got Me on a Leash” BEST SONG TITLE: “Nowhere Man” if you’re the Beatles or the Anti-Nowhere League; “Human Zoo” if you’re Sham 69. FANTASTIC AMAZING TRIVIA FACT: The song title “9.18. Ft. Lee VA 1952” is actually in reference to Dee Dee Ramone’s birthday. Amazingly, that is also the day that the Beatles recorded the song “Birthday.” It’s also my girlfriend’s son’s birthday, my brother’s wedding anniversary, and the anniversary of Jimi Hendrix’s death. Zany! –norb (Independent Punk Rock)


UNDERGROUND RAILROAD TO CANDYLAND, THE:
Bird Roughs: CD
I always hold my tongue when I first get a piece of music that Todd Congelliere is involved with. Todd, most widely known for Toys That Kill and FYP, has this ability to constantly stay one step ahead of me musically. It took me awhile to warm up to all three TTK albums, but now they contain some of my favorite music of all time. I always feel like a knob talking about “songwriters”—because the first person to always flash into my mind is John Denver, smiling like a tool behind a guitar on his lap—but URTC sounds like a quieter permutation of TTK. (There are TTK fingerprints all over URTC due to Todd’s voice and the four-armed drummer Jimmy Trash behind the kit). I made this mistake last issue, insinuating that Dan Padilla was a “side project” of Tiltwheel—since the second band started after the other, yet contained overlapping members—so I’ll avoid that pitfall in this review. Introduced into the fold are Jack Blast (a super nice Pedro stalwart), and Jack Doyle (another Pedro fixture for many years, and a grade school teacher. I think this is his first band). The other result with URTC is that Bird Roughs is mainly subdued, letting the textures of songs come to the forefront; from surf guitar to the Cure-reminiscent jangling. As a matter of fact, throw in mid-and-late ‘80s Euro bands that had good ideas although I can’t say I celebrate their entire catalogs—Echo And The Bunnymen, The Church, Adam Ant—and huck ‘em in the San Pedro DIY punk perversity blender, and there you go. Bird Roughs is a weird, but comfortingly so, record that’s kinda what you’d expect from the folks involved, but not exactly. And that’s what keeps me interested. –todd (Recess)


TURBO A.C.’s:
Live to Win: CD
Exactly what you’ve come to expect from the Turbo A.C.’s. Loud, fast, and out of control. –thiringer (Acetate)


TUNNEL, THE:
Self-titled: CDEP
Sounds like Jon Spencer Blues Explosion backing a theatrically constipated Jack White. –thiringer (Self-released)


TULSA:
Sour Digs: LP + CD
There’s a difference between forms and formulas. Tulsa oozes the tradition of East Bay pop punk: handwritten lyric sheets, songs about cheap alcohol, love’s trapdoors, friends dying too soon, all slid in great silk screened cover (along with a CD), all conceptually held together with duct tape. You know; the current hallmarks to a tried and true DIY punk release. And you know what? It still rules after you kinda know what you’re gonna get. Give me songs about failure and still willing to bite back. Give me Shotwell, the almost-breathlessness of This Is My Fist, the worn-rug pop charm of The Bananas, that huddling up in a weird poncho of the Abi Yo Yos. Sour Digs feels like a family affair; a nationwide family of bands, a family you’re invited to join, just by listening along to this record. Shit like this just makes me smile. –todd (Starcleaner, www.starcleaner.com)


TOTAL ABUSE:
Sex Pig: 7” EP
Holy shit, I wasn’t expecting this. Thought it was gonna be some weirdo art punk or something but what I got was über-raw, spastic hardcore that sounds like very early SS Decontrol with a much lower recording budget. Totally worth a listen. –jimmy (Deranged)


TOO MANY DAVES:
Self-titled: 7”EP
Party, fuckin’ party. Wooooo! This party, you’re invited to. All five dudes have Dave in their name (first or last), and it’s so friendly that if the technology existed, the record itself would be opening up your beer and lighting your bong as it spins on the turntable. It’s also the equivalent to your friends who dress up in 12-pack cartons after they’ve been emptied and wave to neighbors while they’re pissing on their lawns. It’s more than a record; it’s a blueprint to these dudes’ lives. Recommended. –todd (ADD)


THROTTLE:
Discharge: CD
They’re supposedly influenced by ‘70s and early ‘80s punk, but a lot of what I’m hearing sounds very much like they’ve enjoyed much of the up-tempo moments of Nirvana’s back catalog. This doesn’t make what they’re doing lousy, ‘cause they’re actually quite a good band, but either my hearing is all wonky right now (and it wouldn’t be the first time) or they’ve got more influences going than they’re letting on. –jimmy (Collision Course)


TEENERS, THE:
Self-titled: 7” EP
Dude, is this some sorta long lost Reatards EP? –jimmy (Super Secret)


SUBWAY SECT:
1978 Now: CD
Contrary to what happened later, there was once a time when punk was more about how you approached music than what you played. Just take a listen to Wire, The Ramones, Billy Bragg, The Slits, Television, and the Weirdos one after the other and you’ll see what I mean. One of the odder, more interesting bands to come out of the first wave of English bands was Subway Sect. Led by Vic Godard, the band’s lack of full-on distorted guitars and arty take on pop music stood in stark contrast to the hullabaloo of bands like the Sex Pistols and the Clash (the latter of which they shared a manager, Bernie Rhodes), but their output was just as vital and edgy as anything their more popular peers produced. Although the original lineup managed a single, Rhodes sacked the bulk of the lineup while the band was in the midst of recording its debut album, and all but the song “Ambition,” which proved to be a popular single, was lost to time (although rough mixes have apparently been bootlegged over the years). Some thirty years later, Godard and most of that original lineup have decided to rectify that situation by going into the studio and re-recording the album. Given the length of time that has passed, the result is surprisingly good, with the songs and the performance both retaining the necessary vigor to give it that needed punk edge, and the quirkiness of the songwriting keeps them sounding very much “ahead of their time,” even thirty years down the line. While those who think punk is solely about Black Flag, Ramones, Rancid, and any band that sounds like them, will no doubt be sorely disappointed, those with a broader understanding of punk’s role as wrecker of the status quo will find this to be one of the genre’s most important releases. –jimmy (Overground)


STREET TRASH:
Into the Wasteland: LP
There’s something, well, soothing, about torn-denim, puking skulls, penis-head and chainsaw thrash. I’m not saying that Street Trash is the second coming of The Care Bears or anything, but there’s something real fuckin’ nice about a dysfunctional band (who’ve broken up and gotten back together, members left, drama) putting together a record that flat-out rages from start to finish. It’s like a blankie of hate and pestilence you can wrap around your shoulders when it gets cold outside. There are quite a few flashes of “shit yeah”ness in Into the Wasteland, and they’re along the lines of what Government Warning’s cranking out. Solid. –todd (No Class)


STEINWAYS, THE / PEABODYS, THE:
Irreconcilable Differences: Split 7”
The Steinways: They’re starting to gain some momentum in the pop punk world, but it’s almost like they’re a parody of the genre in question. Either way, their style of pop punk by the book may get a little stale at times, but they have the humor and energy to pull it off. The Peabodys: I had never heard of this band before this release, but they seem appropriate to hold the B-side. I won’t say they’re metaphorical twins to The Steinways because they’re not, but there are enough similarities to make you think twice about it. Each band does four songs and the last one on each side is acoustic. This record will definitely be getting more spins. –Bryan Static (Incessant Drip)


STATIC RADIO:
One For The Good Guys: CDEP
I still think this is super fast, Kid Dynamite-inspired hardcore (see issue #38). The CD version of this has two more B-side type songs than the 7”, yet it is still one sided. –joe (CD EP)


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·Snakepit 2007
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