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Below are some recently posted reviews.

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Five Smell City: CD
Not a bad approximation of that ‘70s sound via the KISS school of glam. Liked it more than I expected to or probably should. –jimmy (Black Juju)

A Fistful of Dirty Dollars: CD
Have you ever wondered what it would sound like if the Marked Men wrote and played songs like Propagandhi? If so, then this is the disc for you. This is very politically charged music with an almost lo-fi production value and guitar sound. The vocalist sounded so much like a Marked Man that I had to double check… Yep, these guys are Canadians. I enjoyed this quite a bit. –ty (Mad Cowboys)

Feral Hymns: CD
Every so often, when the mood strikes, I’ll put on an older Lungfish record. Daniel Higgs writes amazingly poetic lyrics, which, in many cases, is a bad thing, but Higgs is a really great lyricist. And I love the fact that not only is this band completely lacking in commercial appeal, but they’ve been around for something like fifteen years and they’re ridiculously obscure. But musically, this doesn’t really do anything for me. Unlike their Dischord peers such as Fugazi or Jawbox, who, arty or not, made music that was dynamic and interesting, Feral Hymns finds a slow, drowsy groove and stays there, and ultimately there’s nothing feral about it. –Josh (Dischord)

Self-titled: 7”
Lo-fi trash rock courtesy of a two-man band. I know that in a post-White Stripes world such things are a dime a dozen anymore, but these guys actually manage to pull off some pretty good tunes. Nice stick figure portrait on the cover, too. –jimmy (Kuriosa)

Dead in the Suburbs: CD
This long-defunct (as in 1983 kinda defunct) Tulsa band kinda reminds me of the Diodes, and i'm having trouble figuring out if that's because of legit musical similarities or because the Diodes had that song "Death in the Suburbs" or what. Probably a little bit o' both. Anyway, it always makes me a little happy, in here (thumps ribcage) (coughs up blood), to see bands from Way Back When get something resembling an album out, even if it is twenty-plus years late. I mean, fuck, they deserve it, and i don't think a lot of people these days realize what an impossible dream it seemed like Way Back When to get an album out. ALL HAIL YOUR UNDERDOCUMENTED EFFORTS, O BAND! That said, i could pretty much take or leave Los Reactors musically—they sound like the basic Central Time Zone punk/rock/wave of the late ‘70s/early ‘80s (i'm really not so sure the perpetually whistling keyboards aren't just in the way most of the time, and the topical subject matter [John Wayne Gacy, Patty Hearst, the Shah of Iran] that i'm sure seemed timeless and edgy and brilliant and irreverent at the time now comes off as some sort of mere cultural identifier, like something from That ‘70s Show or something), and, with all due respect for their efforts (efforts which we still reap the benefits of today, i might add), when hardcore came along, although it didn't exactly kick this type of band to the curb, per se, it did show it to its seat... which it took, pretty much never to be heard from again. It's unfortunate that the origins of the various recordings are so poorly documented here, i woulda liked to have known when they wrote and recorded the neo-thrasher "I Don't Wanna Be Like You," just so's i could tell if it was like them reading the "hardcore rules!" handwriting on the wall or what... I'd also like to have had the liner notes written by a member of N.O.T.A. or something, just to put things into historical perspective for me... it certainly couldn't be any worse than the existing blather (i mean, the liner note guy calls Los Reactors one of Tulsa's "most prolific" bands in the same paragraph he states that the band only released two 45s during the four years of their existence). Chee! (of course, if the guy who wrote the liner notes actually was in N.O.T.A. unbeknownst to me, i apologize to the planet) BEST SONG: "You Move Me" BEST SONG TITLE: "Dying Persian Monarch" FANTASTIC AMAZING TRIVIA FACT: The video doesn't play in my computer OR my DVD player... but, since it's Track 01 on the disc, if you put it in a CD player and wait a while, it will play THEE LOUDEST PROLONGED BLAST OF STATIC you have ever heard in your life. I gay-ron-tee! –norb (Rip Off)

Safety Second, Body Last: CDEP
There's that old joke: Which came first, Combat Wounded Veteran or the Locust? CWV's Duck Down for the Torso 12" sounded like the Locust if the Locust wanted to get in, get out, and quit fucking around. Anyway, you know what you're getting here—spastic, crazed, and intrinsically fucked up. It looks like there are seven songs on here lyrically, and four or six depending on how you decipher the back cover track listing, but the CD itself only lists two tracks. So maybe the Locust is, like, working in movements now. Which is possible: this sounds like an orchestra for a madhouse. Think Ruins or other John Zorn projects, or maybe a little Melt Banana, couple it with nearly nonsensical, occasionally biting lyrics and you've got Safety Second, Body Last. It's only ten minutes long but by the end of it I want to pull my own fingers off. So there's that, at least. –keith (Ipecac)

Safety Second, Body Last: CDEP
Having read the previous line, you already know if you are inclined to buy this or not or have any interest in it. If you appreciate spazzy, grindy noise with lots of screaming, I recommend this, although this EP—while still The Locust—seems to be missing something (“Hey wait, dude—it’s the fucking Locust. They make Napalm Death sound like Codeine on ‘ludes, man… how can you even tell the fucking difference?” “Well, that’s a fair question. I think most music critics would be hard-pressed to identify how, in a case like this, they distinguish between a quality record and one which doesn’t match up. Frankly—and I realize that this is normal for The Locust—there’s just too much keyboard on this disc which sounds like someone who just shit their pants squeezing their thighs and ass cheeks together to smear the feces around. Other records in the genre don’t have as much of that blip-and-twitter, wow-and-flutter synth-grind twaddle. Clear enough?”). –scott (Ipecac)

Self-titled: CD
This band serves a valuable enough function as sort of a sugar-frosted Loli & The Chones placebo, but 1) i think they ought to pick and choose the times that they employ the schtick of the male lead vocals trading off with the chirpy female backup vocals a little more judiciously (e.g., here's the first verse/chorus dealie from "Something to Do," with the backup vocals in brackets: Just can't wait [CAN'T WAIT!] Been waitin' around all day [ALL DAY!] You say it's all OK [OK!] In love with you [OH YEAH, OH YEAH, OH YEAH!]. Way too late [TOO LATE!] Been waitin' around too late [TOO LATE!] Been waitin' around all day [ALL DAY!] I want something to do [OH YEAH, OH YEAH, OH YEAH]. I want... something to do [OH YEAH, OH YEAH, OH YEAH!]. I want... something to do [OH YEAH, OH YEAH, OH YEAH!]. I want... something to do [OH YEAH, OH YEAH, OH YEAH!]. I want... something to do [OH YEAH, OH YEAH, OH YEAH!]—i mean, it's cute and cool and all, but give it a f'n break here and there, willya?!); 2) Cripes, write a bridge once in a while; and 3) i guess i have no other complaints, other than the overall feeling that i went somewhere for a burger and came home with a kids' meal. Chicken fingers are good food, though! BEST SONG: "Something to Do," i guess, since i took all that time slandering it BEST SONG TITLE: "She's Been Around" (band is not much for the dying craft of song titlery it appears) FANTASTIC AMAZING TRIVIA FACT: I can't look at the disc graphic without thinking of the cover of the first Every Mother's Son album. –norb (Rip Off)

2, 1, 2, 2: CD
Decent enough mid-‘80s sounding hardcore—not too fast, not too slow, nary any metal to harsh the buzz. Sometimes reminds me of mid-period Poison Idea without the intensity. –jimmy (Day 51)

Lonely Starts and Broken Hearts: CD
Love songs to girlfriends past and present abound, as do odes to former bandmates and long lost cars, all of which are dished up in steaming turd-piles of pop punk and ska. –jimmy (Hellcat)

Smile or Move: 7” EP
This rocks! Male vocals with cool girl back-up vocals! Power pop punk (yes, I can create a new term!) with occasional, slight hints of a throwback to Beach Boys-esque harmonies! And they’re from London! And #2, since boys can comment on how hot Roach (Groovie Ghoulies) is (and she is!), then I get to say, “These boys are cute!” If this were a cereal, it’d be Apple Jacks, sugary, but not over-the-top. Yum! –Maddy (It’s Alive)

Self-titled: LP
It’s so great to hear this on vinyl! I have played the CD to death and love this band. Totally amazing ‘70s style punk rock from this incredible band from Idaho. Truly one of the best punk bands on the planet. If you are a fan of the Bags, Avengers, or Dangerhouse Records, this is your ticket. I have not been this excited about a punk band for a long time. Great songs, great playing, and great attitude. Highest possible recommendation. –frame (Rapid Pulse)

Sing-a Long Songs: CD
I thought I had “graduated,” so to speak, in Razorcakeville. Meaning, I thought I was not going to have to subject my ears to anymore mystery meat. Guess not. –koepenick (Roadhouse Tunes!)

Chautaqua: CD
I like the Willowz. They defy categorization, drawing on a wide palette of influences, from metal to country/ folk and from post-punk to grunge. Richie Follin’s vocals do tend a bit toward whining, but he’s always expressive and never boring. And the addition of a new drummer and guitar player seems to have toughened up their sound compared to previous releases. And the songwriting is much stronger, as well, particularly the outstanding, almost Dylanesque “Nobody.” An early contender for record of the year. –brian (Dim Mak)

Alienated: LP
The latest musical care package from Umeå, Sweden has arrived! Everybody in the village gathers around the package, eagerly pawing at it in ineffectual attempts to consume its contents. All they can think about is how happy previous care packages have made them. This village has been disappointed before, but they still trust the people of Umeå because of all the cultural riches the people of Umeå have shared in the past. Finally, the crowd settles down from the initial excitement and someone puts the needle down onto the record. “Punk!” someone yells. “Punk rock!” another chimes in. “Late ‘70s punk rock!” the whole crowd cheers uncontrollably, for it is true. Later, after the village has fully absorbed the package, they are not surprised when they discover the ones who created this package have helped create care packages of yesteryear, such as the Regulations, International Noise Conspiracy, and DS-13. The people of the village slept well that night; the people of Umeå have once again lent a helping hand. –Daryl Gussin (Feral Ward)

Alienated: LP
Desperation, boredom, mental instability, and feeling completely out of place has rarely sounded this good. Soaked in reverb, but sharp and as in focus as razor wire that seems to be hovering over their heads at all times, Alienated sounds like battle call for misfits. You can snap your fingers along, but as soon as your ears lock into the lyrics, it’s a dark, dark place. Like a lot that’s coming out of Umea, Sweden nowadays, via the NyVag encampment of bands, they seem to continue to up the ante with their older or currently running bands—DS 13, Regulations, (International) Noise Conspiracy—simultaneously finding more and more melody and hidden structure from overlooked gems of ’77 while being able to tap into an anxious, emerging modern vein of punk rock. The Vicious nail an important paradox: we can have a shared experience from all being rejects. We may be almost all alone and fucked up in this world, but bands like these—that your neighbors will probably never hear of—may just be making the best music out there, even if it often times feels like it’s in a vacuum, or a world away. Alienated’s a great record. –todd (Feral Ward)

Digital World: 7”
Okay, totally ignoring the fact that Shane and I have been both friends and occasional co-conspirators for nigh on twenty-seven years (man, time sure flies when you’re annoying others), “Digital World” is easily the best fucking song he’s written to date. Yup, you heard me correct, kid; miles above “The Secret of Mary Astor,” catchier than “If I Were Hitler,” and, quite possibly, even more anthemic than “Utopian Supermarket.” Not only is he back on bass after a nearly two-decade hiatus, age has apparently allowed him the freedom to plumb some of the quirky wave-pop he secretly adored back in the ‘80s when we were both intentionally bald and worshipping at the altar of Black Flag. The results are a tune so good it would be a hit if only someone at one of these so-called “alternative” radio stations had the balls to throw it into heavy rotation. Of course, the song would be nothing if the entire band itself weren’t top-notch. Vocalist Mandy Taylor is in fine voice, guitarist Danyka Kosturak’s no-frills style is pitch perfect, and drummer Titch Turner provides a solid backbeat. Of course, the ‘60s-steeped raver on the B-side don’t exactly suck, either, but I’m unable to get the former out of my head. I’m honestly impressed. –jimmy (Pure Filth)

One Struggle One Fight, Still Bollox but Still Here: CDs
At this point, the list of so-called “Discore” groups is a long one up to its eyeballs in unremarkable bands that are nothing more than piss-poor clones or cover bands. A very small handful, however, have managed to take the template set forth by Discharge and up the ante, as it were. One such exception is the Varukers. Arguably the first band to demonstrate an overt Discharge influence, no doubt in part because the two shared members at different points, and make frequent use of the same subject matter and haiku-style lyrics, they also had the sense to throw in some other elements, like speeding the fugg outta the tempos and slipping a wee bit o’ harmony in the midst of all the bellowing. By the time their second album, One Struggle One Fight, came out, they pretty much had a lock on their niche and the album is a classic of punk’s anarcho-punk subgenre. Released around the same time as Discharge began their slide into speed metal, then glam rock, the tunes here are fast and trimmed of any excess fat, with lyrics covering all the pertinent political topics of the day, from nuclear war to animal rights to a South Africa still in the throes of its lovely apartheid system. Added to this reissue is the Massacred Millions 12” and some truly devastatin’ tracks from some long out-of-print compilation. By the time Still Bollox but Still Here hit the streets, the band had broken up and reformed and decided they needed a release to let the world know they were still firmly rooted in the punk camp. The decision to re-record fifteen of their “classics” was partly because they wanted to provide their fans access to versions of the songs without having to pay ridiculous “collectors” prices to hear ’em and to demonstrate where they were at musically since it had been some time since they had been raising a ruckus. The result is a tight, cohesive release with some of their best work—unlike, say, Suicidal Tendencies’ ill-advised attempt at revisiting Welcome to Venice—actually improved upon with these recordings. Tunes like “Protest and Survive” and “Seek Shelter in Hell” are fuggin’ white hot here, and the included tracks from the Nothing’s Changed EP show that current crop of music the new lineup was churning out was right along the same lines. The results were/are two solid releases worthy of any punk’s collection, and the fact that they are still out and about, outliving both their primary influence and most of their peers by more than a couple decades, sets earns ’em many Brownie points. –jimmy (Captain Oi)

We’ll Inherit the Earth…A Tribute to the Replacements: CD
Considering this is the third ‘Mats tribute I now own, I think I may pontificate with some authority on this release. This is without a doubt the thrashiest of the three. This makes sense, considering the punk pedigree of some of the groups involved. The Ergs and Drunken Boat hoist the spirit of the early ‘Mats well. The Tim Version does the most obscure cover; I think “Nowhere Is My Home” only officially appeared on vinyl. The coolest reworking of the Westerberg songbook occurs with J. Page’s “Left of the Dial.” Page skillfully welds this to The Cure’s “Pictures of You.” Sweet. Pick it up now and you get a free bonus CD-R with some underground bands and some illegal ‘Mats samples. –koepenick (1-2-3-4 Go!)

The Kamikaze Broadcast, Vol. 2: CD
I love comps. At their worst, they provide that kind of non-linear background noise needed to get some work done. At their best, they flow seamlessly and serve as an introduction to rad new bands. I don’t know if No Front Teeth has just caught me in a particularly good mood, but I dug the shit out of this thing, for the most part. Never falling far from the “snot-nosed and cynical” ‘77 punk tree, the majority of the thirty bands on here are laying down some fine, fine dirt. There are a few clunkers that are just a little too dumb or plodding for me to get wrapped up in, but, generally, we’re talking about a gorgeous and long-running thread of venomous, catchy, and melodic punk songs. Standouts include The Resistors, Angel City Outcasts, Rejected Youth, and Shock Nagasaki. No way I’m gonna run through all thirty bands, but if you’re into bands on the No Front Teeth, Full Breach Kicks, and I Used To Fuck People Like You In Prison rosters, you’ll dig it. –keith (No Front Teeth)

Shit Like a Champion 3: Unfinished Business: CD
This thing is fuggin’ great. Thirty-three tunes of rollicking punk rock fury. My faves included burners by Electric Frankenstein, the Destrukters, and Tourette Stricken Role Models. For the most part, this record is raining punk, but there are some softer (if sodden) moments, and some stuff that even borders on emo. And since this is a compilation, there is a dud or two here and there, but, for the most part, this had me howling from start to finish and significantly added to my shopping lists. –The Lord Kveldulfr (Plinko, heyhoplinko.com)

Killed by Canada: 2 x CD
A veritable who’s who of modern Canadian punk rock, hardcore, and underground metal, this features fifty tracks from as many of that country’s current crop of malcontents, including Fucked Up, Career Suicide, Leather Uppers, Riot 99, AK-47, Les Hellcats, Fuck The Facts, the creatively named Pantychrist, and oodles of others. The level of diversity and quality of tuneage remains consistently strong throughout, a singularly rare feat for a compilation these days, and some tracks by bands that had previously failed to impress elsewhere turn in some decent work this time ’round. Kudos to the Brutal Knights who actually manage a worthy cover of the Legionaire’s Disease classic “Rather See You Dead.” In short, this is totally worth picking up. –jimmy (FOBP)

107 Miles of Noise: CD
Truth be told, I’m fairly burned out on the compilation format. Once a noble, invaluable format for local talent to make a collective statement of existence to the greater unwashed masses, the compilation has been co-opted and unceremoniously run into the ground by innumerable crap labels releasing previously released tracks by their cookie-cutter talent in an attempt to garner a few more converts and a just few more bucks. As a result, decent recent regional comps are uncommon (at least in my experience), really good comps of any ilk are rare and ones that reach the status of Yes L.A. or Flex Your Head are about as elusive as pinning down exactly what it is that warrants Paris Hilton’s chronic fame. And yet, I still get a little giddy whenever I get one for review, partly because I’m a fuggin’ masochist and partly because my unflagging optimism when it comes to punk rock always has me looking for that next pocket of incredible, obscure noise out there for the listening. While the comp currently under discussion, a regional comp of bands situated within the 107-mile distance between San Luis Obispo and Santa Barbara, reaches nowhere near the lofty height of the format’s most celebrated examples, it does fall solidly within the ranks of the decent. Featuring some of the area’s “name” bands—Derita Sisters, Wimpy Dicks, and Rat Pack (not sure if it’s the same Rat Pack on Mystic back in the ‘80s)—as well as a bevy of lesser-knowns, a number of which actually lay down tuneage stronger than those with more notoriety. The good/not quite as good ratio is about dead even, with Public Defecation providing the most succinct title, “Emo Kids Fuck Off and Die,” and The Last Call offering up a nice hardcore ditty called “Out of Ideas,” and most of the songs, courtesy of Damaged Goods, Johnny Cock and the Nuts, Countless Shadows, Weapon A, Drunk in Public and others, steer clear from the land of suck. This may not be the modern equivalent of The Future Looks Bright by a long shot, but it ain’t all bad, either. –jimmy (Records on Tap)

As I Fall from Grace: CD
Twenty to twenty-five years ago, this band would have ruled in the Bat Cave or any number of goth clubs in L.A. I have no idea what they’d rule now. If 45 Grave tours again, these guys should definitely open. This has been my second shortest review ever. –Steveo (Vinehell)

Self-titled: 7”
Is this pop folk punk? Is that actually something? If it is actually something—and I kind of hope it isn’t—then this is it. Don’t get me wrong, I really like this. Not only is it really catchy, but its politics are right on the mark with mine. It seems like writing political lyrics have become a lost art in this day and age, (you know, with the amount of stupid fucking bands who are trying to say something relevant about politics) you have to possess a certain finesse that allows you to speak to people without it seeming like you’re speaking at them, but still maintaining that edge that says you’re trying to get a message across. Upshit Creek pull it off; they’ve got their heart in the right place, and, of course, it’s total DIY no-staple-in-the-booklet-core. This 7” kinda reminds me of TBIAPB’s Black Panther Party 7”.   –Daryl Gussin (Self-released: upshitcreek@riseup.net)

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