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Record Reviews

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Below are some recently posted reviews.

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BRUTAL KNIGHTS:
Life Ain’t Cool: 7”
Part of Toronto’s new wave of elite noise makers comes another record by this band after a couple of LPs and, I believe (I don’t feel like digging through my records to check), two prior 7”s. Saw this band once here in L.A. and once up in Toronto and have been quite entertained by both experiences. The band plays a trashy and raw style of punk that is laced with very tongue and cheek lyrics and rocks hard with the best of out there. This release shows the continued growth of the band with memorable and fun songs showcasing their weird sense of humor. Four fun tracks on this record that are gonna be fun hearing them live someday. There is a reason why they are plowing their own path and people are taking notice. –don (Riff Raff)


BROKEDOWNS, THE:
New Brains for Everyone: CD
Two parts Dillinger Four, one part The Arrivals, and one part Toys That Kill. Pretty darn good for a band I’ve not heard of until right now. Gritty yet not sloppy, a characteristic that’s always a great treat coming from the Midwest, wouldn’t you say? –mrz (Thick)


BOTCH:
American Nervoso: CD
Jesus wept. Pretty sure I can feel my hair whitening and falling out as I’m listening to this. Originally released in 1999, American Nervoso is getting the re-release treatment from Hydra Head, and I’m grateful I didn’t hear it the first time around, as it probably would have significantly shortened my lifespan. While it may not be cool to admit, this is the first thing of any duration I’ve heard by these guys, and it’s pretty much a non-stop nail biting session from start to finish. Despite the slim promo packaging (cardboard sleeve with no more info on it than a list of international distributors), the recording’s full to the brim with discordance, punishing rhythms, crazy-ass time signatures, stop-on-a-dime precision and blood-spraying vocals. Including five demo/unreleased tracks, American Nervoso comes out of the stereo like three pots of coffee and a defective, blinking, chirping, about-to-explode Speak’n’Spell. Think Combat Wounded Veteran if they excelled at jazz camp, or the album Robocop would put on if he was trying to get laid. It might sound like I’m talking shit here, but I’m not—especially given the time period in which they were active, I can see why these guys were huge; it’s inventive, dense, frantic, atmospheric shit that current “heavy” bands are obviously using as a blueprint, yet nine times out of ten fail to even come close to. Honestly, it’s a record I don’t plan on listening to that often: I’m rarely feeling pissed-off and crazed enough to match what’s coming out of the speakers. –keith (Hydra Head)


BOMB THE MUSIC INDUSTRY!:
Get Warmer: CD
Best way to try to describe this album?: hyper-kinetic, A.D.D., ska-punk in the best way possible. There are a lot of competent ska bands out there who are okay to listen to, but every so often one sticks out because of how they don’t quite sound the same. For instance, I really like Leftover Crack with their weird little black metal riffs thrown into the middle of their ska stuff (I know that’s not cool to admit after age eighteen if you’re not a junkie, but blah). These guys seem to be cramming as many sounds possible in each song and never slowing down unless it’s to make it up in the next measure with going even faster than before. Yeah, there are horns but there’s also a ton of weird electronic bleeps and bloops going on, a lot of gang vocals, and I think I heard a banjo at some point. I also have to say I don’t envy the drummer on this, because he sounds like he must be completely overworked with all the stops and starts and tempo shifts going on, which makes sense because all the older Bomb The Music Industry! songs I heard before this seemed to use a drum machine in overdrive. Lyrically, this is like the audio biography of my life at the moment. Almost every song on this is about being out of college, broke, jobless, bored, and totally without direction in life. The song, “No Rest for the Whiny,” hits so close to home for me right now that it almost makes me want to cry. Check this out for sure if you’re looking for something different going on in the world of ska... or an unemployed, depressive with a college degree. Also, as an aside, I’ve got to give props to this band for actually walking the DIY walk and posting almost all their material, even this album, for free on the internet. You have no excuse not to check them out, and maybe buy a T-shirt if they roll through. –Adrian (Asian Man)


BLOODY PHEONIX:
War, Hate, and Misery: CD
Hey, listen. Do you ever think about, you know, aliens? Or more specifically, what aliens (ages from now, exhuming the wreckage and rubble of our long-devastated cities) would think if they happened upon a grindcore record like War, Hate, and Misery? Like, from a purely sociological standpoint, what does grindcore say about the state of our society, the dissatisfaction of humanity as a whole? Most importantly, would Bloody Pheonix pretty much be enough to instigate a telepathic, planet-wide “Let’s get the living fuck out of here” by said extraterrestrials were they to pop this thing in the mothership’s CD player? At this point I’m thinking yeah, probably. Because this is some crazy shit, indeed. I don’t even particularly like grindcore and I can admire the fact that this band is relentless, scary, and tight as hell. I mean, they’ve got all the requisites of a standard grindcore band—screaming guy, Cookie Monster guy, the fuzzed-out bass laying waste to the low end, all of it—but they’re doing it with such goddamn precision and insistence that I can’t help but tip an imaginary hat. Still, they’re yet another band that uses loaded imagery (dudes being hung, piles of skulls, stricken faces behind barbed wire) and has brutal song titles and then uses what could have been a pretty informative lyric sheet for a foldout poster and thanking their homies. But I’ve come to accept that nine times out of ten, that’s all you’re gonna get from a record of this ilk. So if you’re solely in it for the music, then you’ll be stoked. Play it loud and bring an extra pair of pants. –keith (To Live A Lie)


BLEACH03:
The Head That Controls Both Right and Left Sides Eats Meats and Slobbers Even To: CD
This CD does the band no justice. I saw this band live a few years ago. We saw three Japanese women set up and just wrote them off as another pop punk band. Right from the first note, they wailed through song after song of pure mayhem. Picture a mix of Melt Banana meets Primus who give birth a bastard threesome. This release has a more progressive and mature sound to it with more control in the songs. I don’t feel the same constant, manic energy from when I saw the band live. But the track “Torch” is an interesting song. The song, though sung in Japanese, has a very sing-a-long feel to it even when the music has more of punk meets a rock metal hybrid. It personally stands out for me as the highlight track. The track “Not Peter” is the track that most identifies, for me, the sound of the band: fast punk with screaming vocals. One thing’s for sure: the band is a tough one to pigeon hole on this release. It can be pretty one second to ugly and noisy in the next and then flop into some funk/jazz groove. A little more challenging to listen to, but if you put in the effort, it will be satisfying in the end. –don (High Wave)


BEAR CLAW:
Slow Speed: Dead Owls: CD
Yes. Thank you Bear Claw. Fucking kick ass. Two basses and a drummer, who, by the way, does the singing. It’s no godsheadsilo but is instead its own unique beast. Partially Chicago influenced (Shellac, U.S. Maple) and also with a good dose of Unwound, except it is made up of two basses, one of which is tuned enough to sound to these ears like a guitar. Recorded by Steve Albini and mastered by Bob Weston, this is some powerful shit. It’s got a well-performed, dark, indie sound but with a healthy foundation of rock. The vocals don’t always seem to accommodate the music quite as well as a clearer, cleaner-sounding singer might have. However, none of the songs slip too much, i.e. there’s no “slow song,” and the album is capped by the fucking amazing “Rudimentary Understanding,” where singer Scott Picco exclaims through gloomy low end and pop-pop-pop drumming “You’re a liar! A fucking liar! We’re all liars!” and you can just hear the explosion coming out and being echoed by the music. Make every song like this one and you would’ve produced one of the best albums of the year. As it is, I really enjoyed it. –kurt (Sickroom)


BANNER PILOT:
Pass the Poison: CD
Insanely catchy EP from this Minneapolis four piece. Shades of Pegboy and Face To Face are here. But their songwriting is all their own so it doesn’t sound like a rehash. “Portland Nights” is my favorite on this platter, but there’s also a groovy Buzzcocks cover too. Go see these guys live if they roll up to your ‘hood. Trust me. –koepenick (Arsenic)


BAGS:
All Bagged Up: LP
My very own, totally true, Bags-related story: A girlfriend of mine scored a job at a one-hour photo joint in the Fairfax district sometime in 1988 or so. At the time, I had two full-time bands going, and I acted as a sorta substitute member when she was unable to make a gig to sing, or the guitar player was M.I.A. Anyway, one day, Bags guitarist Craig Lee walks into her place of work. Knowing I was a big fan of the Bags, she calls me up to tell me he’d be back in about an hour and did I want her to tell him anything. One of the bands (probably hers) was trying to learn “We Don’t Need the English” for the set, but were having problems trying to understand Alice after the second time she said “Fuck them, send them all to...” so I asked her to ask him for the lyrics. She later shows up at my house after work with the all the lyrics for said song written out by Mr. Lee on a tiny Post-It, except the one line we were having trouble deciphering. Listening to this album—which includes “We Don’t need the English,” plus all the other Dangerhouse cuts, the live tracks from Flipside’s Live from the Masque CD, and assorted other live and demo cuts, most of which are heretofore unreleased—brought back that memory some nineteen years later and made me laugh all over again, not to mention rock the fuck out to a band that has been a consistent favorite for almost as long as I’ve been a punk. Standing as the more or less definitive statement on this band, the sound quality is downright amazing considering we’re talking non-board live recordings and rehearsal and demo tapes for a lot of the stuff here. Herr Artifix has again succeeded in dusting off a band long relegated to the back ends of the history books and reminded the world of what a truly wondrous thing the Bags were during their short lifespan. Oh, and the mysterious line? “Fuck them, send them all to Canterbury.” Figured it out all by myself a few years ago, so wherever you are, Craig, allow me to offer up a sincere, “ptlhbbt!” –jimmy (Artifix)


BAD RELIGION:
New Maps of Hell: CD
New release from the tightest three-guitar onslaught since Skynyrd. Jay Bentley said that onstage one night, not me! Well produced and guided along by Brooks Wackerman’s insane drum cracks throughout, the band comes up with another winner. The usual subject matter is covered, so I’ll leave it to you to scour the lyric booklet. “New Dark Ages,” “Submission Complete,” and “Field of Dreams” reach for my throat out of the speakers. The import version has two acoustic tracks worth seeking out, too. –koepenick (Epitaph)


ARMEDALITE RIFLES:
Flux Idea for Cover: LP
Well, on this album, they still manage to recall Boy Elroy just like their seven-inch I reviewed earlier did, though their sound is expanded a bit on songs like “The Revolution....” which is a bit more brooding than yer average punk band delving in minimalist punk get, and has the intelligence to, at the very least, take its name from a Gil Scott-Heron song. –jimmy (The Armedalite Rifles)


ANDREW JACKSON JIHAD / GHOST MICE:
Split: CD
Andrew Jackson Jihad is doing more of the acoustic protest music with a huge dollop of sarcasm. Ghost Mice’s take on the acoustic music is bit mellower, and they have dual male and female vocals. Honestly, at times, Ghost Mice get to be a little too treacly for my taste, especially on the six-minute “Cementville” song, about the magic of being little kids and playing nice with each other. While Andrew Jackson Jihad sounds a little more raucous, Ghost Mice is prettier. The problem is that Ghost Mice also sounds like they would be most at home playing in the back of a stationery and inspirational book shop frequented by middle age ladies. Also, both bands tend to border on sounding overly self righteous. At least the bands have convictions. –Adrian (Plan-It-X)


AMERICAN STEEL:
Destroy Their Future: CD
Destroy Their Future has quickly become one of my favorite recent releases. I heard American Steel for the first time this summer when I saw them play at the Fuck Yeah Fest in EchoPark. I enjoyed them then, but I was surprised by the difference between their live sound and their studio sound. Live, I thought they really sounded close to the Lawrence Arms. On this, it’s more of a… I dunno, electric-folksy, sing-along epicness? I know these guys predate Against Me! by a few years, but I think the first reaction upon listening to this is the urge to compare the two bands. I would say there are definitely grounds for doing this as they both share some similarities. Both bands have singers with an earnest working man’s operatic shout, both bands hit full tilt with choruses that beg to be sung along with, and both tend to write songs that resemble mini character sketches or open indictments against some facet of society. I have three favorite songs on this. “Mean Streak” starts out with a drunken-sounding intro about being a really anti-social girl, which turns into a love song from the girl’s point of view about one miserable fuck-up finding another miserable fuck-up with the chorus, “I like you ‘cause you’re like me.” I think that might be one of the most astute observations about how “love” tends to often function. “Smile on Me” starts out with a slow and lazy—almost acoustic—intro, breaks into one of the most joyous-sounding choruses when the rest of the band and backup singers bust in, and then, just as quickly, the song ends. I think the centerpiece of the whole album has to be “Old Croy Road.” This song about inheriting a father’s record collection is the kind of song that sucks you into the narrator’s viewpoint, even if you’ve never been in the exact same situation. This is the sort of song I think people were hoping for more of on the last couple of Against Me! releases. The rest of the record is just as strong. If big, hearty choruses are lacking in your life, I say pick this up. –Adrian (Fat Wreck)


AMERICAN CHEESEBURGER:
Modern Advice EP: 7”
Seething, reject thrash that’s more about removing the skin from the listener’s face with the lead singer’s ear-piercing screeching than guitar solos or fancy musicianship. The most noticeable thing about this record is definitely the lead singer’s voice. The music’s anger level is probably around medium-high, while the singer’s is somewhere this imaginary anger index doesn’t even reach. Go figure. Laugh out loud song title: “If Your Face Was Georgia, My Fist Would Be Home by Now.” I think I might not actually understand it, but it’s still funny. –Daryl Gussin (Rock Bottom)


AKIMBO:
Navigating the Bronze: CD
This is fucking MAN music. Well, by that I mean music that’s heavy and hard, like a man should be, not necessarily music to fuck a man to. Although, if you think about it, what could be much more MANly then a load of buff man flesh all getting it on with each other, preferably all while wielding implements of destruction like battle axes and double barrel shot guns... and doing it all in the back of a kickass conversion van with a giant black widow fighting a wizard on top of a volcano airbrushed on the side. That scenario is the music of this CD if it were to be given a visual counterpart. Navigating the Bronze has some of the heaviest drumming ever heard outside of a Melvins record, while the guitar and bass compete to see who can be the most punishing of all. And who can argue with a lyric like, “You’re going to kill some cats, surf on a shark, and then devour your young. It’s solid gold!” Pick this up if you’re into heavy stoner rock like Fu Manchu, or bands like the Melvins at their rockingest. There’s even an entire three-minute drum solo which takes up an entire track. As an added bonus, “Wizard Van Wizard,” “Dungeon Bastard,” and “Huge Muscles” are all tied for the toughest-sounding song names of the year. –Adrian (Alternative Tentacles)


A STUDY IN HER:
Another Year in Philadelphia: CD
This band is mainly just one guy doing electro-pop who works with a revolving cast in the studio and on stage. I really thought I’d hate this and, yeah, some of it is kind of dumb (“The Same Ailment,” “Favorite Actor”) and frankly, seventeen songs is too long. You’re not Anal Cunt or Pig Destroyer, so let it go. No one wants to hear you do your thing for over an hour. However, some of these songs are pretty fun and interesting. There’s a mix between songs that are really heavily pop and others that rely a lot on the electronics. On some songs I could hear The Faint and other songs it was like listening to an electrified Ben Folds. Thankfully, my palate is somewhat diversified so I found some good gems on this album, but there’s a lot of mediocre swamp to wade through. –kurt (Sex Cells/Electronic Eel)


999:
Death in Soho: CD
The sad fact is that, outside of their brilliant first two albums and the one time I saw them live more than twenty years ago, I’ve never really thought these guys were much to write home about, and this collection of new tunes really doesn’t change that opinion. Nick sounds a bit tired through most of this, the rest of the band sounds like they’d be just as interested making waffles or something as they are playing here, and none of the fire that made songs like “Nasty Nasty” is in evidence. Yeah, I know, they’re a bit long in the tooth, but that’s no excuse for a punk band of any age sounding like they can’t be bothered, especially with so much going on in the world to be bothered about. –jimmy (Overground)


VELCRO LEWIS AND HIS 100 PROOF BAND:
Ruin Everything: CD
This CD is the aural equivalent of waking up one booze-doomed morning, and exulting in the fact that you have just slept with a member of Nashville Pussy, but having said exultation be quickly tempered by the fact that it was Blaine (if, of course, Blaine was from Chicago and everybody else in the band was also Blaine, and also from Chicago). I can explain things no better than Jake Austen's liner notes: "The punctuation on ‘Rockin' & Drinkin' (Tonight)’ is testament alone to this band's greatness. With such a title one need not even listen to the song to appreciate its magnificence, and perhaps one shouldn't." BEST SONG: "Covert Lover/Secret Sin" BEST SONG TITLE: "Rockin' & Drinkin' (Tonight)" FANTASTIC AMAZING TRIVIA FACT: Liner notes thank Jim Knipfel, whom i was in Cub Scouts with. –norb (Blinded Tiger)


STEPBROTHERS:
Baby It’s Over: CD
Rock'n'roll band with a bit of ‘60s influence added in to keep things interesting, which seems a moot effort considering how totally uninteresting this is. –jimmy (Licorice Tree)


STREET DOGS:
Back to the World: CD
I got hit by a promotions person a couple of years ago to review a live show by this band. I responded by saying, “I don’t like to go see bands I have no idea about. Send me a CD. I will think about it after I hear it.” Well, that CD was the Savin Hill record. Man, the first thing I thought was, “Dad name, I hope the music isn’t.” I was thinking the vocalist sounded familiar. It’s Mike McColgan, who used to sing for the Dropkick Murphys. Well, the music was superb: melodic street punk that was heartfelt and yet urgent. The track titled “Fighter” is one I still listen to. Here is their sophomore effort and that can always go two ways. The first album was a fluke and the second is terrible or it will be as good or better than the first. This is the latter. They continue on with great songs that are enjoyable and can be listened to over and over. The Celtic and reggae/dub track didn’t get under my skin. If you can handle an acoustic track, the last track has a lot emotion and seems sincere. Glad to see that they are on the right track. –don (Brass Tracks)


TYRADES:
On Your Video: 7”
I think these tracks (one long one and two on the other side) were recorded during the same time as the full-length. It has a similar sound, which I’m not as fond of as the other 7”s. Now, this is the Tyrades, so it’s damn good. There’s just a lot less going on sound-wise in this recording, and I just feel like I’m missing out a little. It also feels a little choppier than other recordings, but still a solid 7” worth picking up if you’ve already heard them and want more. Just not the record I’d start someone out on. –megan (Smart Guy)


TYRADES, THE:
On Your Video: 7”
Lotsa people have said that the Tyrades are more of a singles band, like they’re more suited for a 7” rather than an LP. I don’t understand. What the fuck does that mean? The full-length is seventeen minutes long. Yeah, man, nine songs by one of the best bands out there is total fucking overkill. Anyway, this is single number six and it’s great, great stuff. The title song is a completely fucked, snarling mid-tempo dirge that sounds like the record is warped; it’s a beautiful thing. The two songs on the flip are more of the raw, manic, on-the-verge-of-falling-apart variety that’s made the Tyrades, well, not exactly famous, but at least popular amongst people who would be attracted to a band that puts out seventeen-minute full-lengths. They should go on tour soon. –Josh (Smart Guy)


UNABOMBERS, THE:
It’s Not That We Don’t Love You, It’s Just That We Don’t Care: CD-R EP
A treble-saturated squall of Finnish bashing around vaguely reminding me of Los Ass-Draggers in that globally-prized Red Bull™-quaffing manner specific to the rabid European malcontent! CD contains four songs but lyrics to seven, including this gem from the lamentably absent “Uppsala Hippie Commune”: “You believe that frolic is hash / We believe in Darby Crash.” As High Enlightenment, this stuff’s got a ways to go, but as far as a quick shot of pure exhilaration goes, it’s certainly way better than that new Budweiser™ crap with the caffeine in it. “Take the Danish brownies out of your rectum.” BEST SONG: “Ridge Forrester” BEST SONG TITLE: I’ll go with “Uppsala Hippie Commune” for twenty, Alex. FANTASTIC AMAZING TRIVIA FACT: DEN SOM LISTAR UT TEXTEN TILL JUST A WAR VINNER EN DÖNNERDATE MED VALFRI UNABOMBERSMEDLEM. –norb ()


VARIOUS ARTISTS:
Nostalgia Del Buio: 2 X CD
Nostalgia Del Buio isn’t just some record label sampler or a bunch of crappy leftovers from recordings. It is, in fact, quite the opposite. This double disc of forty-three (!) previously unreleased songs is a true labor of love, realized as a collaborative effort between Jessie Eva (The Vanishing) and Manuel Gutierrez (Cochon Records’ head honcho), and mostly spotlights the happening-right-now and hot-to-trot Bay area music scene. I’d love to mention all the bands, and tell you just how fucking good nearly every song on this monster release is, but there simply isn’t enough room. What you should know, though, is that this CD is an essential addition to your collection, and if you love the Phantom Limbs, New Collapse (as they once were), the Husbands, Lost Sounds, Kill Me Tomorrow, Von Iva, Glass Candy et al., you’ll feel like you’ve struck gold. Go online to see if one of your favorite bands is spotlighted here. Chances are, there’ll be at least a few. Spectacular! –kat (Cochon)


STATIONS:
Tune Out the Static: CD
Punk has become so fragmented that each scene does not support one another. Case in point: this band falls under the twenty-one-and-over bar punk scene. A kid with patches on his or her hooded sweatshirt would probably not be into this. The average guy who actually has seen Black Flag and goes out once a month to drink beers with old buddies would go see this band. Even though this band, I believe, hails from Virginia, they have a very beach punk, SoCal sound with mid tempo numbers that have a drunk snottiness to them. They hold their own musically and aren’t half bad. Better enjoyed live than at home, in my opinion. –don (Stations)


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Arts Commission.
Department of Cultural AffairsLos Angeles County Arts Commission


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