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Record Reviews

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Below are some recently posted reviews.

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SUBSONICS:
Die Bobby Die: CD
This Atlanta band has been keeping it crunk for so long that i have forgotten whatever it was i once knew about them, and now only remember that there was once something i knew about them but that i no longer know it. But at least i know i don’t know it! As it stands, the band reminds me about five percent of Love, five percent of Cher, about ten percent of the U-Men, and the other eighty percent of Lou Reed-slash-the Velvet Underground, from the period beginning after (but not including) White Light/White Heat and ending before (and also not including) Metal Machine Music (not surprisingly, the singer/guitarist /head dude goes by the telltale moniker of “Rockin’ Clay Reed.” Hmm... i wonder if he’s related to the dad from The Brady Bunch?). That is to say, not a bunch of flipped-out crap with cellos, nor a bunch of brain-blistering distorted guitar wig-outs, but that whole economical-yet-powerful approach of records like VU (a posthumous Velvet Underground collection that is actually their third best album) and/or Transformer (minus the whole he-she aspect of things). That is to say, they sound sort of like a cleaned-up Guided By Voices, but forced into a more traditional bass/drums/guitar framework, or sort of like M.O.T.O., but not punk/punkish. The whole affair is occasionally untidied by the fact that Rockin’ Clay Reed’s vocal register is a bit higher than Sweet Lou’s; therefore, in songs like “Why Don’t You Give Up on Flowers,” the entire faux-Velvets vibe is kinda wrecked by the fact that Lou Reed wouldn’t be singing that high in that key, which, in turn, brings to mind the old tale about how Eric Clapton started shooting heroin because he heard it would give depth to his voice, like it did for his idol Ray Charles. I played this album twice, then listened to the first four Velvet Underground albums in a row, which, as far as i can tell, makes Die Bobby Die a gateway drug of substantial insidiousness. Not at all a bad record. BEST SONG: Believe it or don’t, i like “Don’t Answer the Phone,” but i’ll also throw in “Garbage People” to maintain punk cred. BEST SONG TITLE: “Why Don’t You Give Up on Flowers” FANTASTIC AMAZING TRIVIA FACT: Packaging is made to resemble the “Golden Book” series of children’s picture books. –norb (Slovenly, www.slovenly.com)


SUBMACHINE:
Loose at the Moose: CD/DVD
I’ve got to admit that I didn’t want to like this, but something about the DVD portion of the package really got me to admire these guys as total working stiffs who just have a love for one another, their fans, and their music. The DVD is their live show at what appears to be a really small venue in Pittsburgh, the Smiling Moose. Their banter in between songs and the little interviews with different fans and members of the band makes this out to be almost something of a sociological study. The band definitely has a good sense of humor even if their music isn’t the most thrilling thing in the world. In the end, I found myself fast-forwarding through the music (who wants to see a shirtless fat guy with flabby arms and man-boobs play guitar anyway?) and just watching the interviews. That alone made the viewing of the DVD not just sufferable but even somewhat enjoyable. Granted, Submachine fans will want to get this for sure, but it still may prove to be an enjoyable time for fans of punk music in general. –kurt (Da’ Core)


SUBHUMANS:
Limited Edition Demo: CDEP
Well, there is a sense of apprehension whenever a beloved band from days gone by decides to take another crack at it. You hope with all of your might that it will rule, but deep down you know it can never live up to the “glory days.” I’ll tell you that I was more than excited to hear that three-fourths of the original lineup of Vancouver’s Subhumans was getting together to play shows. Upon arrival at the debut show, I was even more impressed that they had written some new stuff and a four-song EP was available. Impressed and scared. I am pleased to report that the Subhumans’ new stuff is great! All of the urgency and wit is there, served up with a sarcastic grin that will keep us smiling as we march to our impending doom. In four tracks they manage to cover a lot of ground including war, religion, celebrity, and misery. Mike Graham hasn’t played guitar since he left the band twenty years ago, but you’d never know it. The band is tight, and the good news is I hear that a full length is in the works. Dimwit (RIP) would be proud. –ty (no address)


STRUNG UP:
Warfucked: 7"

Vicious early ‘80s-style hardcore with no metal. I’ve heard a lot of good things about this band for a long time, and they do not disappoint. One thing, though: I know that calling your record Warfucked doesn’t leave much room for interpretation, but how about a lyric sheet? –Josh (Kangaroo)

–Josh (Kangaroo)


STRUNG UP:
Warfucked: 7"
Goddamn it. No matter how many times I proof things, I clock in at least four or five conspicuous fuckups per issue when I’m editing it. Last issue, I called this band Strung Out in their review. Fuck. Sorry. I’m retarded. Strung Up = really good hardcore. Strung Out = not-so-good band experiencing an identity crisis. Oopsadoodle. –todd (Tankcrimes)


STRENGTH FOR A REASON:
Blood.Faith.Loyalty: CD
Think SOD without the speed, the talent, or the sense of humor. –jimmy (Spook City)


STREET BRATS:
See You at the Bottom: CD
This struck a strange chord with me. It’s not bad, not great, but catchy. The more I listened to it, the more I began to feel like I’d heard the songs before. Then it hit me: there’s a lot of stuff stolen, borrowed, or extremely coincidentally sounding like parts from other songs. The song “We’re Alright” bears a strong resemblance in the chorus to “So Lonely” by the Police. I wasn’t sure if it was intentional, but the fact that they attribute all of the songs to themselves and then close with a “Lean on Me (One Life One Love),” which has a chorus of “Lean on me when you’re not strong/ I’ll be your friend/ I’ll help you carry on.” One of the guys does win the pretty-damn-great-shirt award for his “All Ramones All The Time” shirt which, in the spirit of the music, I might just rip off. –megan (www.fullbreach77.com)


STIVS, THE:
Sweet Heartache and the Satisfaction: CD
It seems as though Angus Young has joined a punk rock and roll band, up in Oregon, USA. This has an obvious AC/DC influence, as well as the Dead Boys, of course. The heavy, riff-crazy guitar sets them apart from the sea of rock and roll bands out there, but it’s still lacking those catchy choruses a band like this needs. The name “the Stivs” stupefied me. I mean come on, you don’t advertise the singer from the band you’re trying to emulate. It’s like calling your Clash wannabe band “the Strummers.” And you set yourself up for a mighty tough comparison. If you like heavy, wanking rock punk, you’ll like this. If you’re looking for catchy Dead Boys songs, stick to Young, Loud, and Snotty. –KO! (Boot to Head)


SPLIT:
Self-Titled: 7"
Loud, heavy hardcore from Switzerland with personal, political, and scene-oriented lyrics. Not bad, not particularly memorable. –jimmy (Rinderherz)


SONNY VINCENT:
Soul Mates...: CD
Sonny Vincent is pretty cool, but, truth be told, most of his records (including this one) are kinda blah—it sounds like what one imagines a Dee Dee Ramone solo CD would sound like were Dee Dee not a complete raving cartoon lunatic. Or, rephrasing that, it sounds like what one would imagine a Daniel Rey solo CD would sound like. Ack. Contains snippets of answering machine messages left by both Dee Dee and Joey Ramone; for what purpose i cannot say. Next. BEST SONG: “No Detour” BEST SONG TITLE: “Robot Radio” FANTASTIC AMAZING TRIVIA FACT: “Time Bomb” isn’t the Ramones song, “Bang Bang” isn’t the U.K. Squeeze song, and “Chopping Block” isn’t the Little Killers song (although i think that one’s spelled differently). Also, i went to a show once where Sonny Vincent, the Zodiac Killers, and the Clorox Girls played, and the best band of the night by a considerable margin was the opening act, the Guilty Pleasures—take that for whatever it’s worth. –norb (Disturbed, www.cargo-records.de)


SNUGGLE!:
Tag, You’re It: 7"
Man, it’s bands like this that make you realize that the seven inch really probably is the ideal punk format, for now and evermore. This record is so great: throaty and melodic punk in the vein of Splurge, Crimpshrine, and Jon Cougar Concentration Camp. The songs are personal, emotional, pissed, and yet still welcoming. The band name sucks for sure, and it’s hard to decipher any of the screen-printing on the sleeve at all, but then you play the thing and realize that some bands, whether through luck or thoughtfulness or hard work or careful planning, have the ability to put out at least one of those seven inches that’ll be played on your turntable for years to come, and at least a song will wind up on mix tapes you make for a long time coming. Snuggle’s one of those bands, and Tag, You’re It is one of those records. –keith (The Party's Over)


SKARP:
Requiem: CD
A new scene of bands are coming out again from the underground of Seattle that have no resemblance to the grunge movement of yesteryear. Skarp is one of these bands that are taking on the torch of dark, heavy, and fast music. Now having seen this band live a couple of times, I was ready to hear the recorded material. This full length is brutal as it comes. Self-proclaimed pioneers of “Blackout Grind,” grindcore is definitely what they play: strong elements of punk and crust; female vocals that are screamed with blistering venom and guttural to the point of low-end hearing damage. The drummer is incredible with his machine-like precision while he hits a rapid succession of beats at a breakneck pace. The guitars and bass are riff-ridden with a downtuned aura that creates the dark atmosphere. They hit you in the face with power chords that are strong, then take you for the whirlwind ride of your life, riffs and scales flying at your ears like a swarm of bees around your head. Just as good as seeing this band live is hearing their music recorded with good production. –don (Alternative Tentacles)


SICBAY:
Suspicious Icons: CD
Third release from this Minneapolis trio. Led by singer Nick Sakes (ex-Dazzling Killmen, Colossamite), this is raw, emotional rock that burns like a defective socket being gingerly rammed into your eardrum. The title track rocks thanks to Greg Schaal’s frenzied back beats. “Riposte in Pieces” sounds like a tune Roger Miller would dig thoroughly. Dave Erb’s guitar collides with Sakes’ playing to glorious effect on songs like “The Paper Blanket.” Fans of old SST bands like Saccharine Trust will worship Sicbay. The only complaint Bones may bring up is there’s no bass player—but hey, you can’t have it all! Recorded in a studio that used to be Blackberry Way. I bet Bob Stinson’s beer-soaked guitar strings are still in the corner. Nice. –koepenick (54 40 or Fight!)


SEX SLAVES:
Bite Your Tongue: CD
Looking at the cover and hearing the first song, all I can think is that I’m listening to what it would sound like if Poison were to play Rancid songs. With the partially naked girls on the cover making out, it comes off as these guys are more worried about getting laid than playing music and it shows. I pass. –don (Radical)


SCURVY DOGS:
Relieve Yourself: 7"
Hell yes, Bay Area HC strikes again! Great, fast, and catchy snotty hardcore on this five-song single. Between Deadfall, Funeral Shock, and this band, Northern California is the place to be right now for great current original style hardcore. The band name made me think this might be gutter punk, but I was pleasantly surprised to see that was not the case. This is a great, raging, and catchy hardcore single. First three hundred are on red/black swirl for the scum. Eat up! –frame (Tankcrimes)


SCREWDRIVERS, THE:
Shape of a Bird in Transit: CD
When you take a name so similar to that of a quite well known band with a strong Nazi slant, you’re kind of asking for trouble. Then again, when you make pretty bland sissy music, I guess you’re asking for trouble too. Note: This was only based on the first song because even though it says there are ten tracks, my players only found one. –megan (www.thescrewdrivers.com)


SCREECHING WEASEL:
Weasel Mania: CD
According to my pop punk expert source, “Some of the songs that they pick are pretty good, but other time it’s the worst—like on Emo, they only picked two songs, and they picked the two worst ones.” I honestly missed having a Screeching Weasel phase, and, in general, my pop punk exposure has been pretty limited until the past couple of years. I’m sure I’ve heard them before, but this was my first time actually putting them on of my own volition. For my money, I’d rather throw on Rivethead, who, some ten or fifteen years later, are doing much more inventive things with a similar sound, but I have taken someone up on their suggestion to make me a more representative comp. (Note: since this was written, Rivethead has broken up, causing me much sadness in the pop punk part of my heart.) –megan (Fat)


SCHLEPROCK:
Learning to Crawl: CD
The East L.A./San Gabriel valley punk scene has long been one of varied sounds and bands both good and, um, not quite as good. Schleprock was one of the better ones—a band that took the hardcore they were raised on and used it to fuel a post-oi punk rock monster with loud guitars and catchy choruses. They were popular in the ‘hood long before the rest of the world caught on, so as surreal as it may have been to hear one of their tunes in a Budweiser commercial, it wasn’t surprising in the least to those of us who had seen ‘em come up. They were a good band, one that deserved the attention they received, and while they took it as far as they could before imploding, they always managed to keep one foot planted firmly in the home scene and did their best to help out their peers when they could (one particularly embarrassing memory involved, at the insistence of our singer, Pogo, hounding a patient Doug to discuss the logistics of the Black Jax touring with Schleprock when I knew full well the Black Jax weren’t in any condition to be touring anywhere). To that end, this collection of assorted demos, b-sides, and other rarities intended as a tribute to their guitarist Jeff Graham, who died a few years ago of an overdose, is also a fine retrospective of the band itself. Unlike many other comparable collections, the sound and performances on the tracks culled here are consistently top notch and showcase the band at their finest. True to form, it is also meant to serve as a benefit for Jeff’s wife Monica. Good guys, them Shleppers remain. Recommended listening. –jimmy (Fiend)


SAINTE CATHERINES/WHISKEY SUNDAY:
Split: 7"
The Sainte Catherines, there’s so many of them! Seriously, there’s like six of them, cranking out heavy, dark hardcore with pretty little melodies that peek out and kiss you on the cheek every now and then. I heard their next full-length is gonna be on Fat Wreck (good move, Mike!). Whiskey Sunday is equally dark, but not as heavy as the Sainte Catherines, with guitars that are a little more rock and a little less hardcore. Imagine if Storm the Tower were less Austin and more Chattanooga, if that makes sense. This is a good split record ‘cause the two bands are both similar enough and different enough to compliment each other well. Recommended! –ben (Vinehell/Yo Yo)


RUNS, THE:
Wet Sounds: CD
This band is neither as one-and-done lousy as one might fear, nor as impishly brilliant as one might hope (although i’m giving them twenty bonus points for paraphrasing Dee Dee Ramone’s Rock & Roll Hall of Fame induction speech in the liner notes)—instead, they’re a pretty fast, pretty poorly recorded Ramonesy punk band who sing stupid songs like “Blood Feast (A Love Song)” and “Your Butt Begs for Butter” that, on closer inspection, aren’t really as stupid as they initially appear (the album that my Cranial Antecedent Indicators are attempting to point me towards seems to be TMA’s What’s For Dinner? LP [ca. 1984], but, since my Cranial Antecedent Indicators don’t alphabetize my records for me, i’m going to leave that one in the realm of mere cognitive association for the nonce). I’m guessing that if Mutant Pop Records was still in business, Timbo would grapple over the moral and aesthetic peril that having a fecally themed act on the label would engender (well, besides the Connie Dungs, i mean), then eventually yield to his baser impulses and sign these guys to a series of lucrative 7-song CD-Rs. The original purveyors of the Beach Boys/diarrhea connection! Accept no substitutes! BEST SONG: “Nothing Poetic” or “My Girlfriend’s an Australopithecine” BEST SONG TITLE: “My Girlfriend’s an Australopithecine” FANTASTIC AMAZING TRIVIA FACT: No Pat Stirrats were murdered in the recording of this album! –norb (Urban Cheese, www.urbancheese.com)


RUN LIKE HELL:
Give ‘Em Hell: CD
Musically, this is decent as far as American skinhead stuff goes, but lyrically it’s pretty much more of the same hackneyed fodder—working 9 to 5 sucks/I’m an outsider/don’t disrespect this great nation/this one goes out to the troops—that one would expect. To their credit, they kept the odes to drinking to themselves this time out. –jimmy (www.coretexrecords.com)


ROTTEN FRUITS, THE:
Abomination: 7"
Simplistic punk rock with a singer almost as annoying as the Crucifucks’ Doc Dart. “Skinhead Boys” is destined to become mandatory listening at all oi-boy functions. –jimmy (Criminal IQ)


ROKY ERICKSON:
Don't Slander Me: CD
Re-release of a 1982 record from this Texas tormented genius. Backed by the Aliens, one of his better backing bands, Roky gives us some wild ones on this bad boy. The title track is a flat-out rocker. “Burn the Flames,” which some of you may remember from the Night of the Living Dead soundtrack, is still damn creepy. “Bermuda” tells the tale of taking a trip that you may never return from—ever! “Can’t Be Brought Down” is a killer song in the 13th Floor Elevators vein. This record also features a more twangy version of “Starry Eyes” that I think I like better than later reworks. King Coffey (Butthole Surfers) polished up Roky’s “new” version a little too much on All That May Do My Rhyme. The outtakes are also very cool. I hear Roky’s been playing live for the first time in quite a while. But unless you live in Austin—good luck, you have about as much of a chance of hearing these songs live as catching Syd Barrett strumming “Dark Globe” in a coffeehouse. So get the next best thing and purchase this excellent reissue. –koepenick (Rykodisc)


RIVER CITY TANLINES:
All 7 Inches Plus 2 More: CD
Yup. Alicja Trout (see this issue’s cover) has got it going on, no two ways about it. Leaving barely any time to lick the wounds of the dearly departed Lost Sounds, she’s back in the van, recording more songs, and expanding her already impressive catalog of music. The Tanlines are a stripped-down (not ripped off, not strip mined) three-piece rockin’ machine. Rock, as in dirty and anxious, but well calculated and not bloated nor pussyfooting with needless solos. Both T-Money and Bubba John (I believe) have served time with RL Burnside and it shows: power and direction instead of being a wankalicious, pout-lipped affair. The band, as a whole, makes me think of decay, chipped glasses of gasoline, and broken porches: fire amongst the ruins, watching the flames, and then stomping down on it into ash. Musically, they’re kindred spirits to the rascally pop of the Alley Cats (they cover “Nothing Means Nothing Anymore”) and a more raspy Bitch School. Come to think of it, Alicja reminds me of Joan Jett, if Joan Jett got 1/100th of the notoriety she deserved, was born, bred, and had Memphis dirt under her fingernails, and then was forced to do it all DIY almost completely under the radar. Great stuff. –todd (Dirtnap)


RIPPERS, THE:
Raw Evil: 7"
You know that unmistakable sound of a Marshall JCM 800? That really hot, electric-sounding hum that feels like riding a big bike with big tires down a hill really fast? The Rippers know that sound and embrace the hell out of it. They remind me a lot of Ass Cobra-era Turbonegro, but that just might be the European accents (the Rippers are from Italy or Spain or something). This record’s DIY as hell, too: hand-stamped covers with an actual physical photo of the band duct taped to the back. Awesome! –ben (Ripper)


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·INVISIBLE TEARDROPS, THE
·HIBACHI STRANGLERS, THE
·CONNIPTION FITS
·IN THE RED / GIT SOME
·HIGH HORSE
·BLACK TIME
·LEFTY LOOSIE / PEAR OF THE WEST
·PROFANE EXISTENCE, #46
·Interview with Alicja Trout


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