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Below are some recently posted reviews.

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Split: 7"
Pop punk, in the progressive, non-ass sense. Man, I miss Rivethead. The early ‘00s were an unkind time for pop punk, so it took more than songs about girlfriends and bubblegum to pull through without being called a cardboard cutout of the Ramones or a straight-up donger. Dear Landlord has Half Pint and Zack of Rivethead, so the tempos, words, and vocals are a direct continuation of the “hard luck, but better off than most of dumbass America” of Rivethead; songs that are toe tappers without the self-lobotomy kit that seems to come with too much pop punk. Gritty, explosive, exciting, and clear. Songs that you won’t feel guilty listening to if you’re over sixteen years old. Yeah. Rulin’. Chinese Telephones: Sometimes, you don’t want to tell how great you think bands are, that they’re so humble and that sort of praise will knock ‘em off their game. But I will say this: The Chinese Telephones are right at the point where they’re going to eclipse some bands they’ve got tattooed on their bodies. –todd (It’s Alive / Recess)

Medium Noise: CD
I feel about this band the way I might feel if I was a teenager and my punky little brother had a band that practiced in our parents’ garage and I listened to all their practices while I read The Bell Jar on the porch and looked forward to college. By this, I mean I can’t help but like this band a lot in a smiley and proud older-sister kind of way. They write good songs, they’re politically aware, they seem to be enjoying themselves. Lots of spirited, yelled-out vocals, unrelenting guitars, and awesome drumming. I want to bake them vegan cookies and watch people go nuts for them at shows. Go, Dead Mechanical, go! –jennifer (Sex Cells)

Slow Down to Speed Up: CD
Think Tad Doyle fronting Nirvana. Or maybe J. Mascis singing with Tad. Wait, no, Kurt Cobain with Dinosaur Jr. Better yet, move along. Mike Faloon –Guest Contributor (Livid)

Capital Cities: LP
Seven songs, 45 rpm 12”. Think Clean Plate, Level Plane, Perpetual Motion Machine, deals like that. Think sparse instrumental sections that build up to the yelling parts. Think that Daniel Striped Tiger manage to pull off some pretty interesting moments (most notably in the second song, “Defense Mechanism,” where the music shorts out right in the middle of a section—first in one speaker and then the other, so the first time you heard it you thought your record player had just taken the dirtnap—only to come back into one of those gentle, instrumental buildups. It was totally out of place and awesome for that fact.) Think that they remind you musically of Life At These Speeds and vocally like a slightly drugged Light The Fuse And Run. Think that while so few of the bands of this ilk rarely release records that totally floor you, it’s still a nice sound to have going on while you’re drawing or doing the dishes. Think that Daniel Striped Tiger, and almost all of the bands that remind you of them, seem to fare so much better in a live setting. Think that despite that fact, Capital Cities is still a pretty nice piece of work, though the band and label would’ve ultimately been better served had this record been reviewed by someone who’s way more geeked out on this kind of shit than you are. –keith (Clean Plate)

Exit Decades: CD
Very much like Joy Division, yes, but minus Ian Curtis’s dark drawl, the poignant-yet-hopeful vocals of Cut City’s Max J. Hansson gives the form an immediacy that feels neither dated nor derivative, but moving and even necessary. What better way to dance away the darkness than with thick basslines, nimble percussions, and echoing siren guitars? Very good and highly recommended if you’re into the above-mentioned, Soft Cell, Echo and the Bunnymen, Siouxsie and the Banshees, and the like. –susan (GSL)

Theories of Hate and Time: 7"
I’m assuming that this is an Ohio side project since members play in other bands such as Gordon Solie Motherfuckers, The Inmates, 9 Shocks Terror, and Upstab. I have read that the band has done splits with Brody’s Militia, Chainsaw, Conga Fury, and Zemezluc. They also have been in existence for seven years. These are things I didn’t know. What I do know is what is coming out my speakers: raw, fast hardcore punk rock that easily could have come out somewhere between 1983 and 1984 and a very live-sounding recording that definitely was not recorded in a ProTools studio. The guitars sound spastic, like it was live, due to the gritty and unpolished sound. The bass has a weird pounding tone, like it was recorded amplified and not straight to the board like most recordings. The drums have a one or two microphones, max, and sound like it was just recorded overhead. The vocals sound almost blown out due to the full force delivery. No doubt that this stuff is angry. If it sounds this mean on record, I can’t wait to see how well this stuff comes off live. –don (Schizophrenic)

Wired for the Last Move b/w Basement Star: 7” 45
I like, but do not love, this self-described “DIY arena rock band” from NYC, and i think the main reason for the lack of lovin’ is that the band has yet to write a single song that i can remember more than twenty or thirty minutes after hearing it. I mean, i’ve seen ‘em live, got both the albums and some of the singles, and the only thing i could tell you about their songs is that they’ve got an instrumental titled “Sad Walk at Knifepoint.” I have no idea what it sounds like any more, i just know i like the title. Case in point: I have already forgotten what the A-side sounds like; the B-side i still remember a little bit, because i remember the singer’s voice treading that ever-so-precious territory between Wendy Case of the Paybacks and Suzi Quatro, but if i can hum even four bars of the song forty-five minutes from now, it will be a breakthrough moment in the band’s history with me. This band would probably be a lot bigger if they would court the goldfish demographic, since said fish are reputed to only come equipped with about thirty minutes of memory. Alternately, perhaps i’m a goldfish myself. I do feel a bit thirsty. BEST SONG: “Basement Star” BEST SONG TITLE: What? I have forgotten. Is it feeding time yet? FANTASTIC AMAZING TRIVIA FACT: Band has been paid in vegan chocolate cake frosted to look like a leopard. –norb (Slow Gold Zebra)

Front Row Tickets to Armageddon: CD
Great hardcore that’s part blazing-fast powerviolence (minus the cookie monster vocals), part heavy metal, and with thirteen songs in about fourteen minutes. I’d say the biggest downside is that you couldn’t enjoy all the guitar theatrics (Review within review: HOTT LIXX HULIHAN: Debut : 7” EP: It’s an air guitar 7”! How great is that?), but the CD has some live footage if you put it on a computer. Totally awesome. –joe (Wajlemac)

Los Feliz: CD
If you are looking for partying music, this CD cannot help you (though it is probably the best late night bonfire music that you could find right now). The songs are extremely emotional and I found myself feeling quite dark when listening to it (the bad kind of dark, not the fun kind where I’m pissed and screaming lyrics about killing stuff). I started thinking about all my problems and, though it brought calmness over my house, I don’t think I will be listening to it on long drives home or lonely nights. Most of the songs are a bit depressing, but don’t misunderstand, I don’t hate this album. I have a relish for the live recording with bluegrass/blues entangled with a rustic voice that I can’t help but relate to the glory days of Hot Water Music, and I think Jon Gaunt on fiddle and Ted Hutt on mandolin was refreshing like a 6AM Mountain Dew. All I’m saying is that I’m glad it’s in my music collection, but I just need to be in a certain mood to listen to it. C. Marie –Guest Contributor (Side One Dummy)

Above the Flames b/w The Grove & Done and Done b/w Trenchfoot & Open up and Wail: 7" & CD
Chuck shows that less can be more, shows that being alone is a universal condition, shows that defiance can be a single flame, that it doesn’t always have to be orchestrated fireworks bursting overhead. It can be one voice and a guitar. Aching. Rough-throated. Dirty-fingered from honest work. I believe he makes music that’ll be heard the day after all the lights go out in the world; not just because it’s acoustic, but because it’s timeless. What he does to Panthro United UK 13’s “Sound of a Gun” is downright haunting; turning a stormy anthem into a quiet, porch-rocking virus seeping tension. –todd (No Idea)

Spoiled Brat: 7"
Jeffrey Novak used to annihilate sound as a one-man band, tearing it up with more harsh fuzz and screams than even his Memphis peers. Real backwoods noise. But you could hear the song under the gravel; it wasn’t just a mess. Then he toned down a little in the band Rat Traps, proving he could rip it up slower, and really write songs with hooks. Cheap Time is his newest band, continuing the Memphis sound with some Rip Off Records in there. Cheap Time is way less abrasive than the OMB, but also less than the Traps. They stir it up in a truer garage rock’n’roll vibe, quick, tight, snotty—pure. It’s poppy but still with that desperation that Novak seems to capture as good as anyone else, wondering what they are gonna do for work next week. –mike (Sweet Rot)

Scared People: 7"
You know how Assholeparade seem to take exact equal doses from punk, hardcore, and thrash? Ceremony follow in perfect form. I saw this band live a couple months ago and it was fucking great. So intense, sooo intense, and this 7” maintains that level of intensity. They slow it down at parts but the raging never stops, and they finish it up with a Negative FX cover. –Daryl Gussin (Bridge 9)

Float Away to a Better Day: CD
I shouldn’t blame Against Me!, but I kind of do. Thanks to those first two records, half the goddamn punks on earth seem to be going the route of the “solo acoustic artist.” Case in point: Cap’n Kops (that’s cute) and his 4-song CD-R. While I don’t automatically disagree with the one-guy-and-his-geetar format (after all, those first two Against Me! records—as well as folk icons like Billy Bragg and, yeah, I’ll say it, Dylan—are ceaselessly emulated and shamelessly ripped off for a reason), but when it’s just one guy, rather than a whole band, the errors are so much more glaring. There’s absolutely nothing to hide behind. There’s no veneer, there’s no distortion. You’re on your own. So while the Cap’n’s lyrics are generally a cut above other projects of this ilk, and they all have a nice anti-establishment thread running through ‘em, that’s about the only positive thing I can lay down. The guitar just plugs and plonks away and vocally he sounds like an atonal Justin Sane grumbling through a mouthful of Percosets, gauze, and duct tape. If you’re going to feasibly pull off the folk punk, you’re gonna have to dish out hooks galore and the kind of focused, pointed emotions that bands/guys like Tim Barry, Chuck Ragan, and Sundowner seem to be pulling off reasonably consistently. Enunciation and passion can be friends, man. –keith (Sharpie Fumes)

Self-Titled: 7"EP
Sometimes, you can tell that even if the band’s brand new, it’s too good to be the first one for all involved. Chicago’s Canadian Rifle borrows a couple of cues from The GC5: their gruffness is matched by their smarts and burlap sense of melody. With Canadian Rifle, I get the feeling that they’ve earned the words they’re singing, have worked jobs that have broken a good many people, and they can hold their own against shit talkers face to face. (Could also be far afield here. Just speculating a hypothesis, is all.) Chew on this: it has all the earmarks of “street punk,” punk made by the working class, but it has none of the confining boxes that bands who self-apply that moniker too often jump right into (being “of the streets,” gang talk, pretending they’re English by borrowing their dress and lexicon). At the edges and in the gaps of these songs is great invention. In the middle, it’s as comfortable as a freshly baked chicken pot pie (or meatless equivalent). Great. –todd (Squirrel Heart)

The Truth, the Whole Truth and Nothing but the Truth: CD
Building on the strength of their preceding “comeback” album, Keep the Faith, The Business pulled out all the stops with this one and unleashed one of the best albums of their career. All the key ingredients are still there—topical, street-level lyrics peppered with odes to football and their hatred of dance music, delivered with a no-frills approach tempered by poppy edges—this time delivered with seriously loud guitars and a passion rarely seen since their debut, Suburban Rebels, a decade-plus earlier. A further decade down the road since this one was released, it still holds up quite well, and even its most dated track, “Southgate (Euro 96),” is such a catchy singalong that it doesn’t really matter that a good chunk of their current audience is probably a bit too young to remember the failed penalty kick that inspired the tune. –jimmy (Captain Oi)

Deep River Day: CD
God bless you, Todd, for sending me something that is so right up my alley right now. I don’t know what has made so many punks set down their guitars and pick up mandolins, banjos, and fiddles, and stop drawing so much from Bad Religion and start listening to Merle Haggard, but I ain’t about to look a gift horse in the mouth. Bread and Roses is right in the thick of this little revolution, playing music that isn’t so much a combination of punk and folk, but rather folk music played with punk attitude and sensibility. And we’re not talking Joan Baez, slow and heartfelt, Kumbaya-hippie-folk: this is foot-stomping, roof-raising, shit-kicking folk, with the feel of Irish drinking songs, bluegrass hoedowns, and mountain string bands in the mix. The overall outcome is a raw and earnest recording of a band I hope to god I get to see live some day. Sarah Shay –Guest Contributor (Fistolo)

Terminal Breakdown: CD
I saw this band a few times and they kinda sorta reminded me of Teengenerate in the same way that Bum covering Teengenerate kinda sorta reminded me of Teengenerate, if Bum were a three-piece from Stevens Point, WI and the singer played a hollow-bodied guitar and wore glasses and stuff. I always thought they were pretty cool, but not necessarily “have an album on Gearhead” kinda good, since, in my eternal small-town hick-dom, Gearhead still seems kinda upscale to me. Whatever. In any event, i started listening to this CD at work, and, as expected, i didn’t really have any outright complaints with it, but i often found my mind wandering ((“wandering” in this case meaning “concentrating on my work”)), which i mistakenly thought was a sign that the album was failing to hold my attention ((above and beyond it registering that “Rip it up” exhibited the same general sonic heft of some of the less weighty numbers off of the first Saints album, maybe, and “Thunderbird” was pure Leg Hounds emulation, which i guess i have mixed feelings about)). As fate would have it, however, the course of my job duties required me to check the sound effects levels of the video game we are developing relative to a “custom soundtrack”—that is to say, today’s newfangled video game consoles allow the user to substitute their own music for the existing background music of the game, leaving the THUDs and WHACKs and AAAAAAAHHHHs intact, and i had to make sure that the sound levels of the THUDs and WHACKs and AAAAAAAHHHHs weren’t katywampus when the user substituted their own music for our music. Simply because it was the nearest CD to me, i ripped a few Bob Burns & The Breakups songs to my test kit and spent an entire afternoon serenading the office with “I Hate the City” and “Don’t Follow Me” ((along with miscellaneous THUDs and WHACKs and AAAAAAAHHHHs)), and, as the day wore on, i realized that these songs were a shit-ton better than i had originally given them credit for. “I Hate the City” evokes memories of the Kids at their best, maybe, and pretty much everyone who passed within earshot asked who the band was and remarked that they liked it, and, it should be pointed out, these are not people who would be inherently disposed to liking moderately trashed-out punk rock/roll. In any event, i can say without question that i have thrown more dynamite to this record than any other recording extant. Amen. BEST SONG: “I Hate the City” or “Don’t Follow Me” BEST SONG TITLE: “Rip it up” if you’re Little Richard. FANTASTIC AMAZING TRIVIA FACT: The band press bio states that they’ve “played with everyone from The Riverboat Gamblers to The Leg Hounds.” Who’s left? –norb (Gearhead)

Suicide Violence Cowards: 7"
Raging and pissed Kangaroo Records-style hardcore here. Fans of Bury The Living, Milkman, Dead Stop, and Spazm 151 are going to want to be all over this. –frame (Refuse)

Split: CD
Wasteoid: insane grindcore, short songs, totally raging. Very well done for you grind heads. Black Market Fetus is a little more straight ahead metal. A few tunes even remind me of Kreator at points, a very good thing. I hope I didn’t get the bands mixed up. It’s kind of hard to tell who does what from the artwork. –frame (Six Weeks)

Besmirch and Destroy: CD
I’ll give it to the scum rockers. They let you know right up front what you’re getting. You see tunes like “Daddy’s Little Fuckhole” and “Pussy and Smack” and you know what you’re in for. Fans of later GG, Mentors, and Meatmen will dig it. –frame (Steel)

Onward Christian Slater: CD
This is what people who came of age in the Upper Midwest™—and therefore took the Replacements “Tim” and “Pleased To Meet Me” albums as emotionally resonant collections of wry lamentations and bittersweet celebrations of our uniquely desperate dead end existences—imagine to be the type of thing that people who live in Southern California take to be an emotionally resonant collection of wry lamentations and bittersweet celebrations of their uniquely desperate dead end existences, except that we also imagine that they all drive around listening to KROQ all day, and the weather is always nice, and the females are attractive and abundant, so they shouldn’t really be all that desperate, which is why they substitute “cute” and “clever” for “emotionally resonant.” It also kinda reminds me of Frank Zappa, in that it appears to be the work of some intellectual sort who is operating under the misconception that i have an infinite amount of time blocked off to sit around and listen to him be brilliant. Most of the songs sound like the type of thing that you get pre-loaded to your hard drive when you buy a new Dell® computer, and you listen to out of curiosity, and go “huh, that wasn’t all that bad—kind of interesting, really” so, you know, there you go. The second track is called “I’m Going Fishing” and the thirteenth track is called “Let’s Go Fishing,” which strikes me as the biggest sequencing gaffe since the first Rolling Stones album put “Now I’ve Got a Witness” a few songs ahead of “Can I Get a Witness.” Huh. BEST SONG: “Onward Christian Slater” BEST SONG TITLE: “The Trip That Needed to Be Took” FANTASTIC AMAZING TRIVIA FACT: “The Trip That Needed to Be Took” is the first song i am aware of to feature the line “And who would be there? Norbie! And worse yet, it was his birthday” although i’m really not sure why that line doesn’t crop up more often. SUPER ULTRA FANTASTIC AMAZING TRIVIA FACT: The “Norbie” in the song is run into at a place called “Pasquale’s.” Amazingly, i ate at a place called “Pasquale’s” on my birthday last week. Doo DOO doo doo Doo DOO doo doo… –norb (Cornerstone RAS)

On and On: CD
Ever heard a group of thirty-year-old Maltese punks rocking out? Me neither, until now. Turns out they’re making a pretty decent racket—sounding at times like early Vindictives or, when they start rolling out their punk-infused ska/reggae stuff, Against All Authority, if either of those bands had to contend with kicking it out as a three piece. The bummer is, while the songs are generally good and all, they do have a tendency to drag on way longer than is necessary. Still, I could imagine (and one would hope, egads) that there’s not a huge ska-punk resurgence going on in Malta right now—it’s pretty clear that they’re not attempting to bring some cash cow to market and are playing this kind of stuff solely for the love of the music, and that carries a lot of weight around here. Decent outing of “Ring of Fire” as a hidden track. –keith (Reciprocal)

Metagami: CD
In high school, I was a fairly religious, conservative Christian. Then I found punk rock and existentialism and it all went downhill from there. However, I still believe in something up there, some kind of greater being than myself. After hearing this, I don’t believe in any kind of god anymore. No god could allow such a horrendous thing to exist. Actually, that’s not true. I still believe in god. But this is still horrendous. –kurt (Lens)

At Funeral Speed: CD
Photoshop is a beautiful thing for those willing to spend the time to work with it. It’s a tool of the devil in lazy hands though. The cover art isn’t offensive but it is boring and it could have been done better with a little effort. Jeez, sorry about that. Anyway Automatic 7 are from Southern California and I could have told you that with out looking at their address. There’s something in the DNA of the band and the echo of Mike Ness in the singer that invisibly telegraph it. It’s not bad by any stretch and these guys don’t rely as heavily as a lot of their neighbors tend to on old Social Distortion clichés. They switch up the tempos and go places Social D don’t venture. I can appreciate this. Hell, they even go so far as to lift a riff from Wilco’s “Shouldn’t Be Ashamed” on “Greasy (Revisited)”. –Steveo (Mental)

Self-Titled: CD
This was recorded in 1998, so it seems a little weird that it was just released for review. The CD starts off with weird electronic machine gun drumbeats and squelching walkie-talkie sounds. Then there are some passionless, monotone vocals, and stop start electronic drumbeats. There’s really no melody other than the slight tunefulness of the singer. All the other sounds are atonal electronic noises: bleeps, blurts, and machine gun drums. It just goes down from there. The second song isn’t just bad, it’s unbearable. There is some kind of melody provided by a wah-wah bass sound and a guitar providing melody, but it sounds like lame, clichéd, Nine Inch Nails-type guitar. The third song starts off with some crappy ‘80s synth and a farting bassline. I’m driving along while listening to this, and, at the same time, I think I’m smelling a sewage treatment plant. It’s raining really hard, so it might be overflowing, and combined with this music, I’m starting to feel a little nauseous. –Jason Donnerparty (23)

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