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Record Reviews

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Below are some recently posted reviews.

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SODA POP KIDS:
Teen Bop Dream: CD
I confess: I’m prejudiced against dudes with long, layered haircuts. They probably want to look like Ron Wood or Mick Ronson or some other early ‘70s rock icon, but in choosing such a coif they remind me of Rod Stewart. That’s not good for the digestion. But holy hot damn, friends, Teen Bop Dream calls for us to rise above such thinking, clear away the cobwebs of narrow-mindedness. The Soda Pop Kids look like goofs but the first four cuts on Teen Bop Dream scorch along like those early Bobbyteens songs when Karen Supercharger was in the band: bubblegum garage punk with a kitschy, “let’s embrace and update the sounds of the ‘70s” attitude. (Speaking of mental outlook, the Soda Pop Kids radiate an irreverence that, in a perfect world, would lead to their own Saturday morning cartoon show.) There are also shades of the Exploding Hearts, Nice Boys, and Donny Denim. Then the band brings the room down, in terms of energy, not mood, with a couple of slow-burning ballads and, on the second-to-last cut, a country tune. I wanted more of the barnburning early songs, but the twists and turns provide unexpected contrasts and lead to a really good record. And if using hairspray helped the Soda Pop Kids in any way, I’ll reconsider my stance on aerosol styling products. –Mike Faloon (Full Breach)


SMILE BRIGADE, THE:
Take This Precious Edge off This Treacherous Ledge: CD
This band lives just over in the Capitol Hill neighborhood of Seattle, a few miles from where I reside. I’ve never heard of them until now and they remind me of this obscure band from Atlanta back in the ‘90s called Loudflower. Except Loudflower had horns, but weren’t ska, and were actually pretty good. The Smile Brigade is not. It’s fairly generic-sounding coffee house rock music with cheesy backing vocals and nothing exciting to offer. Next time we do the reviews, Todd, I want some of the faster, harder shit, not this wimpy, boring crap. –kurt (Tilton House)


SAYYADINA:
Mourning the Unknown: CD
No bullshit, straight kick-in-the-teeth thrash/grindcore. These Swedes pull a no-holds-barred approach to their music. Songs that are so intense with venom that there is no mistaking the anger, all mostly under the two minute mark. If the songs were too long, the attention span would definitely be depleted. Wailing, screamed vocals that probably can blows holes through walls. Masterful, distorted guitar attack that can take you heading banging one minute and thrashing about in another. Drumming that is precise but pounding in speeds that, at times, seem humanly impossible. Bass guitar playing that ties everything together and adds that eerie tone of evil. Not for the weak at heart or someone who is looking for melody. This is music for people who are pissed. –don (Sound Pollution)


SAHN MARU:
Never Too Late: CD
If I remember correctly, this band has a former member of Blown To Bits. Looking at the provided info, that fact is correct. It was over a year ago that I saw this Bay Area band. I was impressed with their take on Swedish d-beat. The set was very aggressive and heavy. I was truly impressed. I never got around to getting their 7”, but here lays before me their full length. As mentioned before, the band plays d-beat, Discore, or whatever you want to call it. But they also add the metallic elements of crust in their music, which gives it a dreary, dark feeling, adding to the power. An added plus is that it sounds like it was recorded in a decent studio. Everything seems to be in the right place and the instruments are clear and loud. Nothing is worse for me these days than listening to something recorded on the cheap and not sounding even half good. But when recorded properly, the music stands out and keeps my attention. Attention I have, as I have listened to this numerous times. Something about the brash vocals, heavy, distorted guitars, and solid and punchy-sounding drums and bass gets my adrenaline pumping. Adding the metal riffing makes my head bang with appreciation. You either do this genre wrong or right. This band has done it right. –don (Inimical)


SAD TROPICS:
Everything Was Beautiful and Nothing Hurt: CDEP
Full disclosure: The drummer of this band got me into punk rock, the singer/guitarist’s former mother-in-law was my eighth grade science teacher, and the bass player will, to me, forever be twelve years old. That being said, this is the Indiana-based band’s first release. It’s a six song EP, with one of those songs being a bonus track (a cover of a song by the singer’s solo act, The Rutabega). The band is a three piece with the bassist also doing some background vocals. Although the band states their influences range from Minor Threat to Redd Kross and the Flaming Lips, it’s much easier to hear the Flaming Lips than the other bands. This is total pop with a lemony twist of intelligence (take that, generic emo band of the month!) with much of the album focused more on ideal songwriting and less on energy and punk-inspired mass mayhem. Thus, the clean recording and engineering really emphasizes the band’s music. Having known the band members’ previous acts—singer/songwriter, math rock, atmospheric alterna-rock—Sad Tropics seems like the logical next step in the musical lives of these individuals. The sound may be too unsoiled for most readers of this zine, but the hooks and catchiness of the choruses really shouldn’t be lost on any fan of the poppier side of punk. –kurt (Self-released, Sad Tropics, www.myspace.com/sadtropics)


ROCK, STAR:
Inamorato: CD
Inamorato is a lost album recorded seven years ago, but never released. The story of Rock, Star is a fairly common one. They existed as an active band for a few years, gained a ton of fans, and then faded into obscurity before a recent reformation. They play a brand of melodic punk that was common in the late ‘90s when melodic bands took precautions to not sound like the pop punk that was, at that time, experiencing a huge backlash. This terrific album reminds me a bit of Naked Raygun. I’d like to hear more material from Rock, Star now that they’re back in action. –Art Ettinger (Black Numbers)


ROBOCOP 3:
If the Door Is Locked, There Is Someone in There: 7"
Skipped versions 1 and 2 and went straight to 3. Gotta wonder what’s so special about the third installment of Robocop that it makes you want to name your band after the film. My problem with Robocop is that he’s no longer a man, but he’s not all robot, either. He’s more of a hybrid of the two, which makes him a cyborg, and not a Robocop. The movie, Cyborg, was a Jean-Claude Van Damme vehicle. They never made a sequel to that opus. Although, in my opinion, they should have because Vincent Klyn, also known as Lupton “Warchild” Pittman from Point Break, starred as Van Damme’s nemesis. It’s a quality film. But aside from the name of the band, they are also lyrical messiahs with songs about Muppet movie characters, pool parties, and unicorn card decks that posses magic powers. How can you go wrong? –Dave Disorder (Thrillhouse)


RISING UP RISING DOWN:
Monster Crusher: LP
Took me a few listens to get into this one, but after a couple plays I’m starting to get a handle on their particular vision, and, yeah, it’s a monster crusher indeed. This shit is brutal, sir. Discordant and angular, but rounded and fattened out by a thick guitar sound (another Dead Air Studios job), full of odd time signatures and crazy stops and starts without the least bit of pretension or hair-flicking sass. They’re painting one hell of a bleak picture here (lyrically, you can use Tragedy’s “the world is a bright and wonderful place” template to give you an idea of the rainbow-colored posi-vibes shooting off of this one) and, musically, it’s like a pitch-perfect blend of Hellnation’s relentlessness and the battery-on-the-tongue minor-chord grimace of Swing Kids. I think it leans more heavily towards crust and d-beat than it does tight pants and hair products that people generally associate with screamo nowadays, but Rising Up Rising Down’s striking me as a good enough band to give fans of either genre the piss shivers. Nice work. –keith (Maple Leaf)


RIPTIDES, THE:
Hang Out: CD
I really like this CD. Clever lyrics, cool back-up vocals without all the overkill some other bands employ, and just catchy songs overall. “Bonehead” sports a fantastic opening verse: “with your blood red cocaine nosejob/and a big fat check from your Mom/whatever, whenever/your life, I’ll just watch it from the stands/my little backseat bombshell.” They guys are from Canada, but even if they weren’t, I bet they all party harder than the guys in Rush –koepenick (Red Scare)


RIOT/CLONE:
Success: CD
If I hadn’t plowed through the fat lyric booklet that came with this thing, I’d swear I was listening to something that could’ve come out on Bluurg, Crass, or Spiderleg twenty-five years ago. And that’s not a bad thing at all. Think anthemic, snotty British punk that could’ve wound up on any a Punk and Disorderly comp with nary a furrowed brow. After listening to this thing quite a few times and reading what they have to say, I found myself liking this band more and more. The lyrics are smart and topical and do a great job of toeing the line between sincerity, sarcasm, and self-effacement. All the songs include explanations, and the band comes across as just being humble, genuine guys. And if some of the songs have a tendency to extend themselves a bit too long, it’s fine; they’re keeping it punk and shit, and refusing to grapple with gross-ass metal-fusion wankery that many long-time bands have a tendency to start meddling with. They’ve been together since 1980 and Success is their swan song—the band’s calling it a day. It’s a pretty goddamn rad epitaph—music that wholeheartedly embraces their roots, their foundation, while lyrically keeping things current without skimping on any of the anger or content. Nice job all around. –keith (Dr. Strange)


RIOT/CLONE:
Success: CD
Dunno who’s doin’ the pickin’ over at Dr. Strange, but they’ve got one hell of a batting average going. For those not in the know, Riot/Clone is one of the early U.K. bands associated with the anarcho-punk scene that spawned Crass, Discharge, Flux of Pink Indians, Conflict, and tons of others. They’ve released a number of singles and albums over nearly three decades and this latest is a doozy. Losing none of the anger, passion, and “punk” of their early years, they dish up seventeen tracks (one more listed, “The Wit & Wisdom of George W. Bush,” consists of a long bit of silence) of fierce, uncompromising, and catchy punk rock devoid of both the clichéd conventions too many modern “peace punk” bands rely upon and the stodgy lack of enthusiasm that plagues a number of their reformed peers. The music is strong, the lyrics topical, and the delivery vital, making this one of the most consistently good releases of the year. –jimmy (Dr. Strange)


REVISIONS, THE:
On the Lam: 7”EP
This isn’t a slam. Ever wondered what The Observers would have sounded like if they were formed by Simon and Garfunkel? The Revisions provide that answer. Led by Doug Burns, the singer and one (?) of the songwriters for The Observers—the voice is familiar, so are the structures of the songs—but instead of Molotovs of sound trying to light up ghettos, it’s more cocktails of sophistication. (Maybe a better analogue would TV Smith’s solo acoustic work, verses what he did with The Adverts). Wire brush drumming, intricately textured strumming, acoustic guitar, piano: it’s taking a little bit of getting used to. You know, you associate a voice with a certain expectation if you’ve listened to it in one way for so long. But there’s no doubt Doug can write the hell out of a song. I’ll probably return to this at the end of long days, when I want to wind down. –todd (Green Noise)


REPLICATOR:
Machines Will Always Let You Down: CD
For the sake of being totally up front with things, I have known Conan Neutron, the singer/guitarist of Replicator, for about six years now via the interweb. Now that we’re past that, I can tell you what I think of this album. From Oakland, California, Replicator has a number of full-lengths and EPs out and has been around for over seven years. This release has ten songs clocking in at near thirty-seven minutes. The album was recorded by one Vern Rumsey, formerly of the band Unwound. And speaking of Unwound, there are definitely influences from them, as well as Shellac (Bob Weston recorded a previous Replicator album), Brainiac, Frodus, and a whole host of other bands. Occasionally, samples and keyboards are used. Vocals are sung and shouted from two different singers, both of whom have the amazing ability to deliver their lines with (I’m guessing) a straight face. Take, for instance, this line from “Fashionably Latent”: “If I were to travel back in time, fashion would be a main concern of mine.” Or, from the same song: “It’s like a Surrealist painting; the kind with a giant penis serving tea to dainty old ladies.” Using that sense of humor, the band seems to primarily focus on technology, hence the title, although other subjects are covered as well, including not giving up, being owned, and King Shit of FuckMountain. The energy and sense of fun from their live show (which is quite good, I might add) definitely comes across on the recording, which is a rare thing to find. The technological focus of the band serves to match up well with the style they play. It’s as though, in my mind, I can picture an alternate reality where the members of Replicator are the last human beings left on an earth that has become ruled by cyborgs. This may be the music that could start the revolution. I guess we can’t say we weren’t warned. –kurt (Radio Is Down)


REGRES:
W Naszych Dłoniach: CD
Regres is a positive hardcore band from Poland that favors mainline New York hardcore styles of the ‘80s. The fact that the lyrics are in Polish adds to the interest factor, and each track is a tight burst of fast energy. There are very few tempo changes or stomp around breakdowns, with the focus being on speed. The cover illustration of a kneeling, introspective kid is a neat piece of hardcore artwork, and the lyric sheet includes English translations of the lyrics. –Art Ettinger (Refuse)


RED RED RED:
Mind Destroyer: CD
Low-fi, fuzzed-out, garage rock. They sound like the Swing Ding Amigos, but without the weird little psychedelic flourishes… or maybe the Riverboat Gamblers without a recording budget. –Adrian (Big Neck)


REAGAN SS:
Universal and Triumphant: LP
It takes a lot for hardcore to make the seasoned listener breathless because those of us who’ve been around for a bit know how the ride goes. Reagan SS knows, too, and they up the ante by literally clenching the listener and whisper-screaming directly into their ear holes. I swear, I can feel my heart constrict, my eyes bulge, my teeth grit, and my knuckles itch every time I put this record on… and I know what’s going to happen, how it plays. Not only is Matt Average singing about an anxious world, the entire band’s capturing the listener into it, netting that anxiety, controlling the space. And I have to take my hat off to the band for the long-ass track that opens up the B-side (I think it’s “Primo,” if I counted the tracks on the vinyl right.) It’s the musical equivalent of watching bulldozers slowly level mountains of trash, and that underscores two things: 1.) Power can be short, quick jabs. It can also be built through ratcheting tension, that want of release, that slow build and instantaneous leveling in an avalanche. (Something that Fucked Up’s Hidden World underscores.) 2.) Fuck expectations. Bands, take note. Build music for yourself, grow, and let your vision guide you, even if it’s “out of bounds,” even if it’s far left field and “confuses the scene.” In the end, you only gotta live with yourself. Great record. Highly recommended. –todd (Rebel Sounds)


REACTION, THE / THE NEVERENDING PARTY: Split 7" EP:
Split: 7" EP
The Reaction features Wade from 50 Million, an awesome band at one time, on guitar and vocals. It’s a nice throwback to the old school with classic rock riffage and all the dinge and dirge of a solid basement band. Track one, “Unbelievable,” has a nice Replacements feel to it, and track two, “Stitches,” which features the bass player on vocals, reminds me of the Avengers. Tight for a first release. The Neverending Party features Nate from Bent Outta Shape. Solid rocking two songs here. Track one, “Can’t Give You a Thing,” sounds like MC5. Second track, called “Alice,” is another straight up rocker. Liked both bands here, good split, but I think The Reaction are more to my liking. –Dave Disorder (Thrillhouse)


REACTION, THE / NEVERENDING PARTY:
Split: 7” EP
The Reaction: The fact that it sounded like they funneled the recording through a six-foot piece of PVC tubing didn’t really help them to elicit any reaction whatsoever. Neverending Party: Both songs reminded me a little of the Dicks, which is always a good thing. Loud, raw—but not Marshall-laden—guitars, strong tempos, and they know not to overstay their welcome. Neverending Party win this round. –jimmy (Thrillhouse)


RAZOR BOIS:
Summer 2007 Demo: CD-R
Nazi-hating skinheads from Moscow. It’s well-executed, fast street punk stuff from three guys who definitely don’t like fascists, cops, and people in cliques. Apparently comes with a video, but I couldn’t get it to play on my computer. Note to band: Guys, your six-songer was actually pretty good, but I’ve gotta tell you that it just doesn’t carry as much weight when you rant about people being sexist and macho while simultaneously referring to them as bitches. Other than that, you’re golden. –keith (Boycott The Fencewalkers)


RAIN:
La Vache Qui Rit: CD
I’ve made my hatred of emo no secret, but I have in recent years conceded that maybe its earliest adherents weren’t exactly the pox on punk I initially thought they were, and Rain reinforces that newfound attitude. Featuring former members of Youth Brigade (DC) and Gray Matter, to name a few, this EP, originally recorded in 1987 and released in 1990, is drenched in the melding of post punk and hardcore that gave Washington DC’s “Revolution Summer” group of bands that distinct sound—a mixture of Wire, Gang of Four, reggae’s loping bass lines, and the off-kilter thrash of bands like Faith, Minor Threat, and Deadline. Unlike the vast bulk of millions of lesser bands that followed, however, the “punk” aspect is never lost amongst the artier aspects of what’s going on, giving the music an immediacy and the necessary “edge” to vault the music past “pretentious noodling” and into the “music as catharsis” camp. I may still hate emo as much as I do cauliflower, but this is some pretty fine listenin’. –jimmy (Peterbilt)


PUSH-PULL:
3: CDEP
Coarse, scratchy rock in the vein of Big Black. I wouldn’t sell my copy of Hammer Party to get this, but it’s decent. “Sanford Eubanks” is the best song on here. “Union Songs” is about eight minutes too long though, boys! –koepenick (Joyful Noise)


PULLING TEETH:
Vicious Skin: 10”
Really, really fancy packaging; full color, foil-stamped, custom colored vinyl and a giant full color poster. Somebody sunk a lot of money into this little guy. Musically, it’s heavy, thrashy jock metal. I’m picturing emo hats and ear plugs and neck tattoos and expensive pants and stuff like that. I know there’s a really big audience for stuff like this, but it isn’t me. The poster is pretty cool, though. –ben (A389)


PROZACS, THE & THE GUTS:
Sticking with It: Split 7”
The Prozacs play late ‘90s pop punk in the possibly beloved ((by someone)) Mutant Pop style, with WHOA-OHs and YEAHs and other artifacts of pimply hyperbole, theoretically derivative of maybe the Teen Idols or Beatnik Termites if the listener is feeling particularly charitable that day; they shall likely neither disappoint genre devotees nor convert the heretical. Their masterpiece is the song “In Love,” which consists, in its lyrical entirety, of the phrase “I’m in Love” repeatedly seemingly endlessly ((which begs the question of why they couldn’t have gone the whole nine yards and titled the song “I’m in Love”—oh well, i guess ya can’t give ‘em everything up front)). If the opposite of “progress” is “congress,” the opposite of “Prozacs” is obviously “Conzacs,” but the band on the dark side of the vinyl appears to be called The Guts instead. Counter intuitively, The Guts have a slightly more “mature” sound than the Prozacs, which means that they can cover a song Keith Richards wrote and get away with it. “It Ain’t Working out” is actually a pretty cool punk rock electro-acoustic ballad. It is difficult for me to word the phrase “if you liked the stuff on Mutant Pop Records you’ll probably like this” in a particularly ingenious manner. Good night. BEST SONG: “It Ain’t Working out” by The Guts, although on a better day i guess it’d be “In Love” by the Prozacs. BEST SONG TITLE: “It Ain’t Working out” FANTASTIC AMAZING TRIVIA FACT: The Prozacs side of this record will not play unless i press down on the label with my finger as it spins. –norb (Cabana1)


PINE HILL HAINTS, THE:
Self-titled: 7”EP
Crystalline conviction: that’s what’s so striking about The Pine Hill Haints. These four songs are full of restraint—almost sounding like a singer/songwriter collection, with vocals and banjo up front most of the time on the A-side—but it’s not dalliance or affectation. When you hear folk songs played so stridently, they’re as simple and straightforward as a rocking chair. No new-fangled, bing-bong, shit-wizardry. Yeah, the songs designs are pretty simple and follow understandable arcs, but that doesn’t take away from the fun and comfort they provide. Plus, true craftsmanship gets further revealed with each simple push, time and time again. Some fires burn slow without a lot of distracting flames, yet are able to heat up large spaces and are good for cooking… The Haints do just that. –todd (Sunburst, www.myspace.com/sunburstlabel)


PARTY GARBAGE:
Self-titled: 7” EP
Though I’ll no doubt get hollered at, what I’m hearing here reminds me a lot of Crimpshrine, which ain’t exactly a bad thing in this case, but wasn’t really expected either, given the band’s from Austin. In all, it ain’t my cup o’ poison, but I can appreciate its charms. –jimmy (Super Secret)


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