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Record Reviews

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Below are some recently posted reviews.

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We Reach...the Music of the Melvins: CD
I’m an admirer of earlier Melvins, especially Eggnog and Bullhead. There is no doubt to many that they are true innovators of a heavy, dirgy, quirky style that is wholly their own. I’m not a fan of tribute records and neither is, admittedly, the author of the blurb (Greg from Ipecac) on the interior CD sleeve. I would generally rather listen to the original band than hear other bands hack out their own versions of the songs. That said, this record does the band justice, though it adds a notably more metal edge. That’s not a bad thing in this case. Some bands here include: the Dillinger Escape Plan, Eyehategod, Disengage, Mastodon and CKY. “Zodiac,” “Boris,” and “Hog Leg” are covered, along with more modern Melvins. I was disappointed that my favorite Melvins song wasn’t included, the twelve-minute, fifty-second dirge-fest “Charmicarmicat,” the song I still use to clear people out of my house at four in the morning. –KO! (Fractured Transmitter)

The Suicide Girls Black Heart Retrospective: CD
I can totally get behind a “classic goth” compilation, even if most of the stuff contained therein has been compiled a thousand times before, and the Virgin Prunes’ “Baby Turns Blue” ain’t included but a Cult song decidedly not from the goth period is. I’ll even go so far as to say that I really dig rapper Atmosphere’s work, especially that album that Epitaph put out a year or two ago. The man has flow, and I can appreciate his skills. That said, whoever thought including a song by Atmosphere—and an Alkaline Trio cover of the Sisters’ “Lucretia, My Reflection” instead of either securing the rights to the original or getting another song by a more worthy band from that era—should be kicked in the shins. Twice. I also fail to see how any of these songs are supposed to make me wanna strip down to my skivvies and post a picture of my newly nekkid self on the internet. –jimmy (Epitaph)

Secret Recipe from the Far East: CD
I think this as less a comp and more like six 7”s from Japanese bands. This was compiled by Hideo (of the acutely missed Sweet JAP and now of Birthday Suits) and honcho of Nice and Neat, with the expressed concern that it’s been harder and harder for fantastic underground Japanese bands get heard in the States. Not one to bitch on the sidelines, Hideo put six bands together that don’t sound like one another (but makes sense they’d all be on the same bill), gets it all sounding great, and keeps it cost effective. Psychotic Reaction: Firestarter by way of Armed Forces-era Elvis Costello with synthesizers that makes short forays into Lost Sounds territory. Prambath: If Hello Kitty had a band, this’d be it. I’m not being completely facetious. The ladies who sing in Prambath are chirpy, which takes a little getting used to, but the music and undeniably good: weird-but-somehow-works mix of Cocksparrer (classic pub rock) meets the Vapors (classic new wave). Hey, the Japanese perfected the heated toilet seat. Shit like mixing two unmixable genres is all in a day’s work for ‘em. Nylon: They’re all ladies wearing school outfits and sound like Thug Murder (raspy voices that sound like they could never come out of someone who weighs around a hundred pounds and doesn’t hit five feet), backed by a rockabilly rhythm section. Kinda like a tougher 5,6,7,8s. Don Flames: Began like kindred spirits of Teengenerate until they hit the psyche pedal, lose me for a bit, then go back to rockin’. Their second track, “Groovin’” hits it right; like what the Turbo AC’s have been trying at for such a long time and not quite nailing as effectively. The Nailclippers: Hand-clapping, Merseybeat-informed power pop that, when it slows down, it shimmers and when it speeds up, jumps up on the coffee table and shakes its ass. Teenage Confidential: makes one more case that ninety-eight percent of American pop punks should just stop dicking around and quit, because the genre’s now been taken over, made better, and has become virtually untouchable by the Japanese. Great comp. –todd (Nice and Neat)

Put Some Pussy in Your Punk!!! Vol. 2: CD
With the influx of so many bad compilations out there, I pretty much try to avoid them lately. But this one got slipped in the bunch. No regrets here. This is a well put together package and strong tracks are presented by each of the thirty-one bands here. The theme here is to show focus on females in the punk rock scene. But punk is not the only genre represented here. Many other styles are showcased, like electronic, garage, pop, and such. There are so many great tracks here that I would find it hard for anyone not to find something they like. –don (On the Rag)

Let’s Have Some Goddamn Fun: New York City 2005: CD
After a brief hiatus, Rapid Pulse comes back with a New York City compilation. The great comp is a rare breed and the great regional comp is even more so. Let’s Have Some Goddamn Fun! is fantastic! All original songs are exclusive to this disc. All of the songs are good; most are great. My faves were by the Little Killers, Electric Shadows, Some Action, and Mob Stereo. I was a little bummed to not see the Stalkers included, however there is not a single bum track in the bunch. It is so nice to not have to sit through any boring ass covers or songs you already have. There is no better current collection of mid-tempo, poppy, garagey rock’n’roll than this right here. Motherfuckers need to pay attention. This is how it’s done! –frame (Rapid Pulse)

Let’s Have Some Goddamn Fun: New York City 2005: CD
Who doesn’t love a good compilation record? The only problem that I’ve found is that they make my shopping lists bloated with new wants and needs. Sixteen tracks on this one: every one of them is worthy and, true to the title, goddamn fun. The bands (too numerous to list) are for the most part flat-out punk rock, the likes of which we love seeing at beer-soaked shows in dingy, sweaty bars where rock’n’roll achieves the howling primal edge it was meant to have. On the whole this reminds me a lot of the Cheapo Crypt Sampler (one of my favorite comps), but with a bit less diversity of style among the bands. My god, how I want right now to be in a packed room, wrecked on beer and seeing any one or six of these bands playing. –The Lord Kveldulfr (Rapid Pulse)

Keats Rides a Harley: CD
Contrary to what punk rock “history” books and films like Decline of Western Civilization would lead you to believe, Los Angeles’ punk scene was quite diverse, especially in the early ‘80s, with all sorts of weirdness tucked away and thriving in virtually every corner of the county. This is a reissue of a compilation released in 1981 by Happy Squid Records—the label run by art punkers the Urinals—that came and went rather quickly and has been something of a collectors item since. Completists will be thrilled to learn that, in addition to some great tracks by the Earwigs, Toxic Shock (pre-Slovenly), S. Squad, Tunneltones (pre-Savage Republic), Human Hands, and the always-brilliant 100 Flowers (a.k.a. the Urinals), one can also find here some early tracks by the Meat Puppets and the first recorded appearances by both the Gun Club and Leaving Trains. Those who appreciate punk from bands that aren’t averse to coloring outside the lines will be pleased as punch at the glorious array of noise collected here, from Earwig’s damaged funk to Toxic Shock and 100 Flowers’ punk minimalism to the Meat Puppets’ sun-damaged hardcore. Warning Label has also seen fit to include all but the NEEF track from the Happy Squid Sampler, meaning that you get five more tracks from the Urinals, Danny and the Doorknobs (pre-Trotsky Icepick), Arrow Book Club, Vidiots (featuring F-Word’s Rik L Rik on vocals) and Phil Bedel. Those, however, who have chosen to buy into the party line and think that L.A. punk began with the Germs and ended with Black Flag will be sorely disappointed. –jimmy (Warning Label)

Just Say Sire: The Sire Records Story: CD/DVD Box Set
There’s been a discrepancy for quite some time when trying to agree just how big a cock the major labels suck, referring to how they treat and go about their business with their artists. I’d be the first to agree that the majors have certainly shown their colors for a number of years, proving that their signed artists, no matter how talented they may be, are simply dispensable and can be dropped faster than the weight of a coke addict. Very few labels, and I mean very few, have seen their artists’ vision and intent through from the very first day they’ve decided to sign them, and Sire was thee label that provided artists with an outlet to do so. Seymour Stein, who founded Sire in 1966 with his partner Richard Gottehrer, went on to sign and build a staggering catalog of artists that left an undeniable impression on rock’n’roll to come, especially in the later ‘70s with what he called “the new wave of rock.” In the ‘70s alone, we have Mr. Stein to endlessly thank for signing bands like the Ramones, Saints, Dead Boys, Talking Heads, Voidoids, Rezillos, and the Undertones, to name a few. Stop and think for a second if he hadn’t signed these artists—it makes my sphincter pucker to think what might’ve happened to the future of rock, not that it wasn’t already choking itself to death with self-indulged solos and pap during that time. Even though the aforementioned artists didn’t have millions of units flying off the shelves, Seymour stayed headstrong to his love of music, and it really started to pay off in the ‘80s with his signings of such artists as the Pretenders, Madness, the English Beat, Madonna, the Cult, Depeche Mode, the Cure, and Echo and the Bunnymen. He even gave the Replacements a major label chance in the ‘80s by signing them on (this was even after the ‘Mats released three LPs and one EP on the Twin/Tone label), believing to this day that they are one of the greatest American rock’n’roll bands, even if they never got their just due. That said, this three-disc (and one DVD) collection is a long-overdue and welcome sight to the guy writing this review. The three CDs contain tracks from the all of the mentioned artists, as well as a whole lot more, and the DVD contains production vids from the lot as well. I think a lot of people are going to really be surprised with just how many artists were signed with Sire upon checking this box out. The sixty-five-page book included with this is beautifully done: fully illustrated histories of the included artists, tons of quotes and stories of those associated with Sire, as well as intros, including two from Seymour Stein and Richard Gottehrer. Fantastic job here, Rhino—it’s awesome when someone in the industry who truly deserves props gets some, and you guys did Seymour & Co. right with this. I was actually lucky enough to bump into Seymour at the Ramones’ thirtieth anniversary show in Hollywood last year while we were both looking at the glass cases full of Ramones memorabilia. I remember shaking his hand, humorously remarking that this night probably wouldn’t have happened had he not signed the Ramones. With a big smile on his face and that Brooklyn accent, he said, “Well, they were the easiest decision I had to make in fifteen minutes for signing a band.” What I’ve admired for years about Seymour Stein isn’t how much of a successful business he’d made for himself, but how he went about doing so with artists who he honestly believed in with a label like Sire. Honesty—now there’s a word some labels should take to heart. By doing so, they just may change rock’n’roll. –dale (Rhino)

Waiting for Something: CD
Eeewh! Another bunch of pretty boys who want to be on the Warped Tour and have shirts in Hot Topic. This stuff was so much better when I first heard it ten years ago. –don (Wynona)

Epode: CDEP
New mini-record following two full lengths and a handful of singles for this Austrian trio. The first two songs feature jagged edges that roll along and for some reason remind me of bands like Jawbox or Kerosene 454 at their finest. “81 Men without History” juggles the pacing with some slow textures supplied by a cool cello line. Then it’s back to dissonance—with some far out sax, man, on “Escort of Soda.” Does this mean your Mountain Dew should be chaperoned? Shit if I know, but this EP is dark and brooding. If you like Volcano Suns or Killdozer, this may be up your alley. –koepenick (54 40 or Fight!)

Desolation Chic: CD
While listening to this in the background, somehow the Urgencies’ cover of the Plimsouls’ “A Million Miles Away” sunk into the recesses of my mind and disappeared. Later on, when paying attention to the album, I said to myself, “Man, these guys should cover that song ‘A Million Miles Away’ by the Plimsouls. It would go perfect with the type of stuff they’re playing,” without recalling I had heard it earlier. And then that was the next song and it sounded pretty much like the original. Weird and yet it proves my point: these guys are musically stuck somewhere around the year 1982, but not in that cool Minor Threat and Bad Brains way, more like the Plimsouls or Toto. –kurt (www.bubbleempirerecordings.com)

Urban Blight b/w Not Like You and Slowdeath: 7"
Hammer to nail hardcore. You know the drill. Place, set, whack completely into place. No bent nail heads. No tentative strokes. You’ve also been around the block enough times to know when a crew’s filled with skilled laborers and get the job done. Nothing fancy, nothing shoddy, no wasted seconds, no childish miscues, just well-executed hardcore that sets up a house to only burn it down later. Not bad at all. –todd (Deranged)

The Way Things Work: CD
Spoken word over avant garde free jazz is the sound on these fifteen tracks. Honestly, if that description doesn’t scare you right off, you will fucking love this. It is very well done, both lyrically and musically. Line after line railing against society with a funky, angular backing. Features both Mike Watt and George Hurley of the Minutemen as well as two members of Saccharine Trust. I can’t even pretend to be a fan of any of them or Unknown Instructors musically, but if you dig the members past projects, you will dig this. –frame (Smog Veil)

Get Smart: CDEP
I really, really, really like this one. It sounds like a ballsier version of Dillinger Four or some such thing: bouncing pop punk with a snarling cynicism that serves as the proverbial maypole around which this record has me dancing. But that does not prevent the Underhills from also including tunes about finding the girl of your dreams and doing it in a way that is familiar yet not rehashed. Lyrically, this is relatively standard material (and not in a bad way) for we aging punkers that have more to think about and irk us than getting jerked around by the government; dealing with a shitty girlfriend has more immediacy for me, at least, than the rhetoric of resistance. And the fact that the music on this pretty much rocks seals the deal for me. The record has a 2003 copyright, though…that’s kinda weird and disconcerting for some reason that I can’t quite fathom. –The Lord Kveldulfr (Cabana 1)

The Midi West: CD
Two Year Touqe is weirdo lo-fi from Montana that occasionally is catchy but is mainly just annoying and filled with male/female vocals that seem perpetually out of tune. Jangly guitars and weird songs abound. “2-Ply Drive By” is about pooping, and “Stinky Baby” is a number about a now-deceased ferret that comes off being fairly funny as opposed to sad. “Imovane” was the only track I could even come close to tolerating, mainly because it was the only song that had any sort of cohesive punk sound throughout. The over-use of the recorder and stupid sound effects seals the deal that this is indeed a craptacular album. Music like this makes me wish I was dead. Or maybe I am and I’m in hell and listening to this is some form of eternal punishment. Oh wait, I can shut this shit off. Thank God. –kurt (CDB)

Self-Titled: CDEP
Horrendously bubbly pop music. Twincam has supposedly opened up for everyone from Blue Oyster Cult to Rancid to Mest. I’m sure every one of those fans was as bored by this as I was. Just because you have nice harmonies and can sing in tune doesn’t mean you should be putting out records or even have a band. And naming a song “Little Punk Rock” and then having it be about the furthest thing from punk rock is gonna make Sid Vicious roll over in his grave. Please, stop. –kurt (twincam33@hotmail.com)

Life Sucks Trash Fuk: CD-R
These guys claim that they wrote and recorded these eleven songs in one day. Given the lo-fi recording, I suppose it’s possible, but there’s something that’s just a bit too smart about this shit that doesn’t quite make it credible. And despite the “hey, we’re scumbags” angle they’re pushing for, they’re a pretty tight band. So, yeah, I’m not buying it. That said, these guys are idiots: they spray painted the face of the CD and managed to get some on the bottom of the disc as well. They also managed to completely staple the CD into the paper sleeve, so I had to rip the thing completely apart in order to get to the disc. Nice job. Anyway, the review: spazzed-out punk with the occasional keyboard and gang vocals. The song titles are telling: “Science Sucks,” “Discount Meat,” “I’m High So What,” “I Hate You Motherfuckers,” I’m Aborted,” and my personal favorite, “Sweatpants Boner.” No contact info except for a fucking Myspace address. With equal parts Dayglo Abortions, Germs, and Tyrades all vying for breathing room on this thing, if they could just get their shit together enough to make something aesthetically presentable (or at least make sure not to get fucking spray paint on the next record), they might be on to something that the scummier side of the street’d be popping wood over. –keith (The Trashies, www.myspace.com/thetrashies)

Free ‘Lectricity: 7"
Everything about this indicates that it purports to be “soul music,” but what’s coming out of the speakers sounds more like sludgy ‘60s trash rock than Otis Redding. Worse, it’s not particularly interesting either, not even the noise intro on the flip. –jimmy (Young Soul Rebels)

Death, Honor, or Glory Bound: CD
Unlike many of their peers, Tommy Gutless deliver street punk that they appear to have put some thought behind. Sure, many of the usual trappings can be found here, from the nationalism to the “crew anthem,” but it is clear from the tone and the little explanations at the beginning of each set of lyrics that whoever wrote the tunes was truly attempting to make clear his point in an intelligent fashion, and in some cases that point includes casting a critical eye on skinhead culture itself. While I can’t quite say they were the best lyrics I’ve ever read, nor can I say I agree with some of their positions, I do give them much credit for putting the requisite work in to make them the best they could muster, which is more than what can be said for most. The music, derivative though it may be, was pretty good, too. –jimmy (Street Anthem)

Fly: CD
Sounds like what the Mystery Girls might have sounded like had they been really into the Dictators—songs about jailbait, smokin’ dope, dirt, anti-depressants, and apemen, delivered unto us in a lowish-fi, almost Freestone-esque rock via punk via rock via punk via rock methodology. If you pretend that these songs are all lost Killed By Death era numbers, it works a lot better than trying to speculate on whether they’re like the new Red Cross or something like that. Kinda cool, but could use a few more hits. Perhaps they could page Annette? BEST SONG: “Dirt (My Best Friend)” BEST SONG TITLE: “Teenage Is The Stone-Age” FANTASTIC AMAZING TRIVIA FACT: The CD version has a black & red cover; the LP has the same cover art, but orange and green. Score one for the digital revolution, i think. –norb (Birdman)

13 Ft. and Rising: CD
This record’s first track, “Swingset Superman,” kicks off with an intro similar to that of the Sex Pistols’ “Holidays in the Sun.” If you’re going to start your album with that reference, you’d better be able to back it up, and likewise, Throw Rag’s history of great live shows threatens to make any studio album a letdown. But 13 Ft. and Rising lives up to all those challenges. Dino, the guitarist, moves easily from punk to country and back, but the musical core of this album is a series of wonderfully sleazy-sounding riffs that recall the best of Link Wray. The lyrics jump quickly from one subject to the next, like rants of an overheated mind, and Captain Sean Doe’s vocals strain to stretch out the most painful parts of the songs. Jacko, possibly the only washboard player/bugler in rock, sings lead on a couple tracks and makes the most of the opportunity, especially on the visceral “Rotten Me.” There are also guest appearances by Jello Biafra and Lemmy from Motörhead, but the most memorable cameo is Keith Morris’s mix of singing and spoken word on the final track, “Children of the Secret State.” Throw Rag’s second album, Desert Shores, remains the band’s best, but this is a great follow-up to that savagely brilliant record. –Chris Pepus (BYO)

Your Rules: 12"
Todd sang the praises of Deranged Records last issue, and I’m about to do the same thing here. Deranged is easily one of the most consistent hardcore labels around; from early records by DS-13 and Tear It Up to underrated gems like United Super Villains and Out Cold all the way to genre-redefining classics like Fucked Up and Career Suicide, they’ve put out great records and never get caught up in any kind of hype or record geek minutia. And between this and the new Burial, the well shows no signs of going dry any time soon. Terminal State draws heavily from early ‘80s DC and Boston hardcore, meaning that (hopefully) you already know what they sound like, but that doesn’t make this any less of an adrenaline shot to the chest. Eight songs that blast right by with a vitality that’s damn near unmatched today. Absolutely top-shelf punk rock and an instant classic. –Josh (Deranged)

Self-Titled: 7"
Hey, Against Me!, thanks a fucking lot. And you there, This Bike Is a Pipe Bomb! You’ve got some shit to answer for as well, pal. You know why? Because you’ve created monsters, that’s why. It’s funny to think that even as recently as four years ago, an entirely new sub-genre of punk was actively being fleshed out. I’m talking about, like I said, TBIAPB, the first two Against Me! seven inches, etc. Folk punk. Punks with acoustic guitars. Frankenstein’s foundation, intentionally or not, was being built. Admittedly, I love the first two Against Me! seven inches, love ‘em. But I’m continually amazed at just how many people have jumped on the bandwagon. Reminds me of the pop punk explosion, ca. 1994-95. Green Day had signed, Screeching Weasel was still putting out great records; you couldn’t take a piss without running into some band that sang exclusively about girls and had lots of “whoa whoa whoa’s” in the background. So add Team Chocolate to the creeping influx of bands that are now forsaking ye olde distortion pedal and hitting things clean. Befitting their name, the band’s a male/female two piece (probably involved in a relationship, judging by the amount of handholding and hugging that’s going on in the accompanying lyric booklet) that is just as sweet as all get out. Decent lyrics for sure, but the woman’s voice is like a straight shot of saccharine right into a vein: cloying as hell. Best I can say is, if you’re a fan of acoustic Plan-It-X stuff, specifically Erin Tobey’s solo stuff or the Abe Froman songs where she doesn’t screech, then you’ll probably love this stuff. Me, I listened to it and felt like I’d just beer-bonged nine gallons of cocoa. –keith (All Things Ordinary)

Homocore aus Dänemark: 7"
I dunno. I get “core,” and i get “homo,” i think, but i don’t really get “homocore.” Like, not to put too fine a point on it, but... uh... WHO CARES??? Like, i understand why gay dudes who are into punk go to gay punk dude festivals, because, after all, they’re essentially gay punk dude conventions, and, you know, if you’re into gay punk dudes, might as well go where the gay punk dudes are, because, hey, the math is there. However, i don’t understand “homocore” because, as a non-homo, all i can think of is that if some band put out a record purporting to be “comicbookcore” or “MilwaukeeBuckscore” or “GreenBayPackerscore,” i, even though i am a diehard fan of comic books and the Bucks and the Packers, would not imagine that such a record would be worth more than a cursory spin or two. The whole idea of this sort of “focus group rock” just seems trivial and lame to me. I dunno. Whatever. Tave sound like the kind of mid-’80s style hardcore band that one usually finds on the undercard in gigs in smaller cities (where such a style is still the dominant punk rock idiom), and they primarily sing about being arrogant heterosexuals who like to get drunk and fight. If a record like this is what you need to get thru your troubled adolescence, you have my sympathies. BEST SONG: “Gasser Rundt” maybe? BEST SONG TITLE: “Skraat Op Skrid” FANTASTIC AMAZING TRIVIA FACT: The superhero depicted on the cover is Iron Fist, whose real name was Danny something or another. –norb (Audiofellatio)

Kings of Culo: CD
This is such a fucking hard band to describe. I could say that they take all the compressed weirdness of No Means No and mix it with the trashy, fucked up rock and roll of the Motards, but that doesn’t really seem to fit. I could also say that, when I first heard the term “powerviolence,” this is what I hoped it would sound like, but that’s not gonna help anybody, either. So I’m about to just give up trying to describe this record because every second that I spend typing is one less second that I’ll be able to spend playing air drums. All I can say is that I didn’t know if they could top The Mongolita Chronicles but they did, and if you like spastic, weird, impossibly catchy punk bands like Toys That Kill, the Bananas, and Fleshies, you should just weld your CD player shut with this inside it. –Josh (Recess)

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