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Yeah, I’m a Terrorist b/w Little Ways: 7”
I loved this band the instant I saw them perform and this 7” is just as intense as their live performances. It’s relentless from start to finish while still being musically engaging and well spoken. This band is literally and figuratively in your face, and no I’m not one of those jackasses who gets that word wrong, just go see them live. This is highly recommended and hopefully will be able to tide you over until they release something else. –Daryl Gussin (Clarence Thomas)

American Hardcore: The History of American Punk Rock 1980-1986: CD
This film apparently came out this past fall, and I’ve yet to check it out yet. Might have to set the TiVO for this one, as it seems AH didn’t get released nationally (see more at americanhardcorefilm.com). The soundtrack here includes a cross-section of West Coast, Midwest, and East Coast hardcore tuneage. This strand of punk rock was the quintessential answer that laid down the law for musicians who were sick and tired of the water-bloated corpse that rock’n’roll had started to turn into at the peak of the late ‘70s and into the first part of the ‘80s. Such pioneers on this collection include Black Flag, Circle Jerks, Adolescents, Middle Class, Bad Brains, The Freeze, Minor Threat, Big Boys, Negative Approach, and a whole shit-ton more. I’m kinda surprised an older slab from the Misfits wasn’t included on this collection—it would’ve rounded this disc off nicely. Thumbs-up to the Rhino people for assembling a great collection here to get those in your life a chance at a bare bones, crash-course intro into the American world of hardcore. Looking forward to checking out this picture. –dale (Rhino Music, www.rhino.com)

Over the Top: CD
If Courtney Love is coherent enough these days to be creeped out by anything, then this CD is sure to give her a bad case of the willies. Now, saying that the mother of little Francis Bean would be creeped out by this band might seem hardly newsworthy since, as pretty much everybody knows, the Mentors creep out almost all sane females. Tipper Gore, circa her PMRC days, might be the most famous example of a female who was profoundly put off her lunch by El Duce and the boys. But what’s bound to unnerve Ms. Love, more than the Mentors’ X-rated titty-clitty rhyming schemes and the oafish Male Chauvinist Pigotry, is the disembodied presence on Over the Top of El Duce himself. For those of you not in the know, El Duce was the original frontman/buffoon/bozo laureate of the Mentors and he cut a figure something along the lines of the Benny Hill of scum punk-metal. He was fat, toadish, and oftentimes drunk off his ass, and his leering pervert persona seemed to be made that much more genuine by virtue of a pair of bugged out eyes provided to him by a case of Grave’s Disease. If you could somehow cross GG Allin with Russ Meyer with a stack of Hustler cartoons, you’d be getting close to classic El Duce territory. Thing is, is that right about the time that El was really enjoying his growing notoriety, something in his head—possibly the alcohol-soaked neurons—made him start shooting his mouth off about how Courtney Love had offered him $50,000 to whack her husband at the time, Kurt Cobain. And it wasn’t long after shooting his mouth off that poor El danced with a moving train on his way home from the liquor store one day and wound up smeared across the railroad tracks like100 proof strawberry preserves. And it wasn’t too long after that, that some of the more cynically-minded among rock’n’roll insiders dared suggest that Courtney Love had Francis Bean lure the drunken, horny blabbermouth onto the tracks and into the path of the speeding locomotive. Whether it really went down that way or not is anyone’s guess. All I know for sure is that if Courtney didn’t have a problem having someone kill a big celebrity like Kurt Cobain, she sure as hell wouldn’t have a problem having someone kill a scurrilous bum like El Duce. Which brings me back to my original point: if Ms. Love really was responsible for doing in El Duce, then the sounds burned into the grooves of Over the Top (the first ever Mentors’ release without El Duce) are likely to provide her with her own ghastly little trip into the Twilight Zone. You see, as Courtney and Francis Bean and everyone knows, El is supposed to be well dead; his decaying meat suit long since converted into an underground Disney World for various microbes, ants, and worms and whatnot. But if you didn’t know any better you’d swear it’s him, the original El Duce, singing on this new record. The official line is, I’m sure, that this “El Rapo” guy supposedly singing these new songs is merely an eerily similar sounding replacement, sorta like how the second Darren was eerily similar to the first Darren back on the old Bewitched TV series. But how do we know that Sickie Wifebeater and Heathen Scum haven’t spent the years since El’s “convenient elimination” honing their Ouija board skills, somehow managing to channel the spirit of their old lead singer from beyond the grave and convincing him to belt out a few more tunes? I have been lucky enough to have had several drunken phone conversations with Sickie and I can tell you that he is something of a necromancer and he is possessed of certain dark and extra-mundane skills beyond those he displays on the electrified guitar. But if it really is the recorded sounds of El broadcasting from the Great Beyond, it would seem that the one thing that doesn’t transfer all that well from the one realm to the other is his trademark sense of humor. I guess, considering all the gunk like ether and ectoplasm that can clog up inter-worldly transmissions, it’s little surprise something might get lost along the way. It’s just too bad that it was his inimitable stupid/clever sense of humor. The truth is: any one of the tracks on this disc could easily be slipped into a mix of old Mentors’ tunes without anyone noticing—they are that true to the classic Mentor sound. And the voice truly sounds like El Duce, whether it’s piped in from some netherworld or just this new “El Darren” guy. But the twisted porno booth humor just isn’t as twisted as when El was fully animated in his boozy flesh suit. Don’t get me wrong, there are plenty of amusing bits throughout Over the Top. Like the song “Inches of Three,” for example, my personal favorite among the crop of new songs. And any way you cut it, OTT is leagues above the flatulent dreck being pumped out by some uninspired Mentors-wannabe like Anal Blast. This really is a very solid comeback effort and a damn good album to boot. In fact, it’s a lot better than I’m probably making it sound here in this review. I guess I’m just realizing how much I miss ol’ Eldon Hoke. Having a band with El Duce as your frontman is definitely an example of catching white lightning in a bottle. This CD is proof of that. –aphid (Mentors, www.churchofelduce.com)

Fuckin Skulls Kill Kill: CD-EP

Of all the End Times eschatologies being promulgated out there these days, none seem more befitting our worthless species than the one based on the murderous rampage of an enormous disembodied humanoid skull with wings and its insatiable appetite for human bodies, which it munches on like so much screaming Jiffy Pop popcorn. Seems to me as plausible as any of the pudding-headed apocalypse scenarios that have grown up like stink weeds from Jehovah’s Bible and it’s certainly as colorful. And giving us a blow-by-blow account of it as it all unfolds in it’s blood-slopped beauty, is not some shrill, multi-chinned toad of a televangelist, but a group of mean-spirited, real life Clockwork Orange-type thugs in skull make-up with unabashed tastes in ultra-violence and bench pressing. This compact six song sampler comes across like a pair of brass knuckles right in the choppers and it almost seems to laugh at you as you gag on your own broken teeth. This is Misfits style street punk complete “whoa-oh-oh” backing vocals and plenty of cool fuckin swear words that Danzig’s Scientology etiquette would never allow him to utter. Cool fuckin shit. Now how about if you guys take some time off from randomly beating people up and finish up that full-length we’ve been hearing about for the last few years?

–aphid (JD Music Productions, www.jdmusicpro.com)

Bloodied but Unbowed: CD

Man, I really love Canadian punk rock. So many good bands, from SNFU and Nomeansno, right up through Fucked Up and Propagandhi. They all seem to possess a slightly different sense of melody and structure that makes the songs just a bit more…perhaps organic? I’m not sure what it is exactly, but Joey Shithead and DOA are the Godfathers of Canadian Punk and this compilation of their early years serves as a good reminder why. According to the CD, this was just reissued this year, but I’m not really sure if that means it was remastered too. Either way, songs like “The Prisoner”, “World War III”, and “Smash the State” are adrenaline rush punk anthems with catchy riffs that shouldn’t work but do, drumming that’s snappy as hell, and Joey leading up the whole thing through with his vocals that sounds like a three-way collision of a speed freak, a bear growl, and the guy that works at the local hardware store that’ll keep you up to date on the latest news whenever you go in. The song “I Don’t Give a Shit” is one of the few non-Joey sung tracks, but something about that song tends to dig right into the skull despite no real discernable hook and a chorus that I’m relatively sure is made up of belches. Even the slow, almost shuffly, “Whatcha Gonna Do?” is pretty damn bodacious. About the only thing I don’t like here, for whatever reason, is “Rich Bitch” because it just kind of seems to sit there and never really does anything interesting. All in all, this is a great place to start with DOA, as it’s basically their greatest hits for the early years when most people say they were at their peak. I would also recommend the career-spanning compilation Peace and War because, despite all the “only get the early stuff” opinions you hear about DOA, they definitely had some excellent stuff throughout their whole career, even if they may have never again matched the pure adrenalin rush of “The Prisoner.” Man, that is such a good song.

–Adrian (Sudden Death)

Thirty Six Hours Later: CD

Hmm, this band sounds like one of those ones that have a press sheet that talks about how they’re making old fashioned rock’n’roll like it’s supposed to be, with songs about drugs, drinking, and women. I also imagine this band probably has a guitarist that always has to smoke while he’s playing to show just how badass he is. As far as the music, it just comes off like a bunch of rock clichés. Covers of the Joneses’ “Pillbox” and the New York Dolls’ “Chatterbox” just serve to make one want to listen to the aforementioned bands instead of fourth or fifth generation imitators. About the only thing I can think of is that these are the kind of songs that people starts to play in this day and age when they are way too comfortable in the assurance that they probably look good in leather and will probably get laid before the night’s over for no other reason than that they have “Attitude” (err… drinking and drug problem). I really can’t stand those kind of guys.

–Adrian (Acetate)

Rocks Your Liver and Then Some: CD

From what I could find out with some help from my good friend the internet, this is a reissue of the second album released sometime in the mid-‘80s by Verbal Abuse with a large smattering of bonus tracks. The only thing I’ve ever known about Verbal Abuse before this stuff is that a good seventy-five percent of the kids with a punk patch jacket seem to have that Verbal Abuse logo with the crazy-looking guy somewhere on their person. The music itself is very much in the vein of the mid-‘80s era Mystic hardcore bands like RKL and Dr. Know. Actually, they remind me a lot of early RKL, which is manically shouted skate punk with some slight metallisms in the guitar every now and then. This kind of hardcore, I’ve found, is subject to an odd law of diminishing returns. Namely, it’s that none of this style of semi-thrash punk is ever really bad, but it’s usually very homogenous. The result is that when you first hear a band playing this kind of punk, it’ll sound amazing and maybe even life changing, but after the initial band has taken strong root in your heart, none of the subsequent bands you hear that play in this vein ever sound quite as good, even if it’s through no fault of the band for not getting your ears first. That said, the first bonus track “Fun, Fun, Fun” (not a cover of the Big Boys song) is pretty damn catchy and sticks out. The live tracks all actually sound pretty good too, and are about as strong as the studio stuff. The thing I really like about these tracks is the audience noise that makes it sound like the band was playing the opening slot at Cheap Trick’s Budokan show, because they sound like they’re in a stadium full of thousands of excited Japanese school girls or something, instead of the VFW hall or shitty bar that I’m almost certain they had to of been actually playing.

–Adrian (Malt Soda)

Twelve Small Steps, One Giant Disappointment: CD

I know these guys have been around a while, but the only time I can recall hearing any of their previous stuff was a track off one of the Warped Tour “Floyd” comps (and to be completely honest, I can’t remember the song at all). According to the sticker on the front of the jewel case, the band features Joey and Derrick of Lagwagon and Marko of Sugarcult. Beyond recognizing the band names, this really means very little to me as I’ve never heard a single thing Lagwagon’s done and I only know the one Sugarcult song. So approaching this CD with virgin ears and no preconceptions, what can I say? Well, to sum it up, this sounds like veteran ‘90s era Epi-Fat pop punkers making music that melodically seems to owe a lot to the song “Hotel California” but with all the production flourishes from a later day Flaming Lips album that seem to make a few dozen new things pop up every time you listen to the album. In short: very interesting. It took a few listens to take it all in, but it’s growing on me. The songs are all pretty uniformly strong, but for some reason, the only one that really seems to stick out as a whole is “Stillwater, California.” It’s a pretty touching tribute to departed band member and drummer Derrick Plourde, along with Jason and Bomer. I believe all three were in RKL at one time. At any rate, definitely solid and interesting, if not necessarily an immediate adrenaline rush. And seriously, this must be some of the best production I’ve ever heard on an independent label record.

–Adrian (Fat Wreck)

My Brain Hurts: CD
No matter how much I hate Ben Weasel and his moronic (egotistic?) one-sided blog posts, and repeated unleashing of websites only to never update them—I admit that he is a great pop punk songwriter. Some of my favorite songs ever are SW tunes, and as far as I'm concerned My Brain Hurts is quite literally the best album released by the band. This is Asian Man's re-issue of it (which I own on tape, CD, and vinyl through the Lookout original pressings) was remastered by Mass Giorgini (SW bassist on the last few CDs) and contains new layout work. The mastering job was done well, and I like how you can hear the backing vocals much clearer than on the 1991 versions, but the recording still sucks. Nothing you can do about that—blame it on low-end equipment and a speedy recording session. Oh, don't get me wrong, the sucky recording is part of the reason that makes this the best SW album of all time. Sometimes gritty, low-budget warmness feels better than recordings that cost more than homes in Chicago go for in 2005. I also noticed that Martin from Los Crudos took all the pictures. Too cool. Joe King's bio/liner notes commentary and the band members' song descriptions and flashbacks were also a nice treat. –mrz (Asian Man)

Boogadaboogadaboogada: CD
It's awesome that Asian Man reissued this, but it's kind of a shame that it ever went out of print in the first place. You see, back in 1988 when this first came out, the state of punk rock, especially pop punk, was not doing so hot. Most of the hardcore bands had crossed over into the lucrative metal scene, and the only other “alternative” was indie college rock. (Fugazi's first record was out by then, but you kinda had to be a scenester to know about them.) So here comes Screeching Weasel playing pissed off, snotty pop punk with melody, and that goddamned one-string guitar solo that every pop punk band in history has since copied. If you like (or have ever liked) pop punk at all, this is a must-have. This was the beginning. Essential. –ben (Asian Man)

New Ocean Waves: CD

Those darlings at Plan-It-X Records have done it again. Your Heart Breaks’ New Ocean Waves is a mellow, poppy album with great lyrics sung in a charmingly bored way. I’m sad that I didn’t get to it until the autumn, because with all it’s lyrical talk of making out and getting in with the “wrong crowd” this record makes me long for summer. There’s even a song called “Mixed Tapes” which broke my heart immediately with its first lines: “Making mixed tapes for you late at night/ tonight you’re so very far away/ sticking strictly to 45s tonight/ it’s easier to pick and choose which songs to play.” Hell yeah.

–jennifer (Plan-It-X)

The Temporary Nature: CD
Ferocious, steamy, sinewy hard rock from this DC trio. First full length for a band that evokes the spirit of bands like Blue Cheer and Pentagram but adds their own sweat into the crevices. Songs like “Head Full of Collision” and “The Middle Way” have been honed in their live setting for awhile. But new songs like “Black Spider, Red Spider” bristle with energy as lead singer/guitarist Zac Eller wails “driving with the doors locked/highway 88/heading out to Carderrock/Are you ready to say goodbye?” Bassist Kyle Connelly and drummer Phil Adler do their part to expertly push the tunes into overdrive, especially on killer jams like “Slow Love” and “Liberasaur.” Why else would Wino lay down some guitar lick on the epic “Mammoth Bones?” Cause the extinct have risen and they will have their way with the living. Wooly Mammoth is leading the charge. Even Tony Iommi would give this “two-pinky’s” up! –koepenick (Underdogma)

The Ballad of Den the Men: CD
There is nothing remotely punk about this jazz-infused, spoken word, trip hop. Therefore I have nothing to say. Review over. –greg (www.crammed.be)

Transitions: CD
Me: I pop CD into player. Wife: “Is that Sublime?” –don (Hellcat)

If 111 Devils Went on 6 Quests: CD
This is just a bunch of beeps and whistles and shit. It’s insufferable, and unlistenable. The promo sheet said it was “wizard music,” but these must be the suckiest wizards in history. Blecch. –ben (weirdlords@hotmail.com)

Shinola: Volume 1: CD
Ween has always had a way to make fans out of people across any genre boundary. When I saw them (almost ten years ago now), there were preppy college kids, gutter punks, hippies, and weirdos galore. Everyone got along, and, beyond that, were happy. Beaming, even. Now it seems that Ween has turned from creating a sound that a variety of fans will like to creating a multitude of sounds that people can align themselves with. Songs range in mood and feel from Billy Ocean (“Boys Club”) to Thin Lizzy mixed with Dire Straits (“Gabrielle”) to even Ween (“Big Fat Fuck”). This style-shifting left me feeling a bit conflicted and, at times, even pained, by trying to follow it. And, wait, was that a pan flute right after that jazz solo? Oh, yes. Yes it was. Beaming I am not, but I am still a bit intrigued. –megan (Chogodog)

In the Name of the Father, the Son, and the Holy War: CD
I’m reaching deep in to my crusty record cover memory banks to recall what cover they’re ripping off here. I want to say it’s a Hellkrusher 7”…but something is telling me it was something from Portland. I don’t know. It’s got a skull, a chaos symbol, bullets and an AK-47. Let’s just say they’re not mining the depths of their imagination with the booklet here. Is Profane Existence-core a term yet? If so allow me to hop on the band wagon with that for this record. Rawr Rawr Rawr crust with political lyrics, and an interesting story about almost dying from prescribed drugs for a mental disorder from an ineffectual doctor who kept upping the dose. If you ever wanted to see what an elephant shaped novelty thong looks like on a man get yourself this record. –Steveo (Crimes Against Humanity)

Revenge: 7” EP
Spot-on hardcore stuff that relies more on hooks and decent tunes than dazzling the listener with speed. –jimmy (Slab-O-Wax)

At War with God: 7”
New Japanese band that features ex-members of Youth Revenge who play some bad ass fast style ‘80s punk with probably a love for Danish HC based on the name. First three tracks blazed through so fast, I barely got the chance to soak in what was coming out of the speakers. I flipped the record over and thought they were going to slow down a bit but that was a tease. They kept firing off more rage. It was like getting blindsided by a garbage truck while you are driving your economy car. The damage level is going to be high. Five songs total that is straight ahead pissed off punk with no filler. Now I need some aspirin because they hurt my eardrums. –don (Kangaroo)

Katorz: CD
Remember in the early ‘90s when Nirvana got huge and “alternative” music started getting really popular, so all the old hair metal bands from the ‘80s tried to grunge-out their sound to try and stay on the charts? Poor ol’ Voivod, what a bunch of hacks. This album actually features the king of heavy metal hacks, Mr. Jason Newstead. Remember him? He was in Flotsam And Jetsam, an old metal band that nobody gave a fuck about. Then when Cliff Burton died, Jason joined Metallica, probably because he was quiet and unobtrusive, shit, you can barely even hear him on And Justice for All. Then he quit Metallica and started Echobrain, another turd for the heap. Now he’s in dumb old Voivod and they have a new album of boring shitty songs out. Who cares? –ben (www.theendrecords.com)

Violent Living: CD
Some good ol’ anarcho-punk here, leaning more toward the Conflict rather than Amebix side of the road. The lyrics are in Portuguese, which makes sense considering the band hails from Portugal, but an extensive lyric sheet translated into English is provided. Nice to hear there are still some bands out there that circle their A’s but haven’t wholly embraced the whole “crust” sound. Diversity of sound is always a good thing, kids. –jimmy (Cat Food Money)

Defiant: CD
I know I’m gonna get crucified by more than a few buddies for this, but here goes: Although the lyrics are often of the “we’re defiant punx/gonna change the world” variety, the music here—from the guitars to Beki’s now-raspy vocals—screams bad, uninspired metal dipped in punk flourishes to give it street cred. Now I’m willing to concede that a) it’s been some twenty-odd years since this band’s prime, b) Beki’s the only original member at this point, c) her post-Vice Squad “progression” away from punk and more towards rock as a solo artist and with Ligotage is bound to creep into her more recent endeavors, but what I wanna know is a) why does “progression” so often translate into “pretentious crap rock,” b) how a band can use such a legendary moniker when it contains at most the original singer and none of the original song architects and not see it’s a recipe for disaster (also known as the “TSOL Rule of Suckdom of the 1980s”), c) why said sole original member of said band would want to piss all over her former band’s legacy by releasing something that makes “sub-par” sound like a compliment? Do I want a complete rehash of the Stand Strong Stand Proud album? Not by a long shot. Do I want hard-hitting, angry, topical and SINCERE music from a band claiming to be “punk,” especially one claiming such a respected pedigree? You bet yer fucking boots I do, kid. Sadly, I find nothing approximating that here. –jimmy (SOS)

We’ll Inherit the Earth… a Tribute to The Replacements: CD
This CD was like experiencing all the stages of drunkenness, but out of order. 1.) Anticipation. Before I listened to it, and just read the song selections and bands, it was like shotgunning three Sparks. Tiltwheel? Ergs!? Tim Version? This Is My Fist? Alright! Stoked. 2.) Expectations left unsatisfied. First spin: huh, maybe this isn’t as awesome as I first thought it would be. I’m torn. I know the Replacements songs really well and if the bands’ covers are too close to the original, it makes me want to listen to the original, not the cover. If the bands’ covers are further stretched, I feel like their bastardizing the ‘Mats. No one wins. 3.) The room is spinning. Take a step back. Lay down, don’t move, and let it wash over you. Pace yourself. Find the songs that kill, that work both as covers and “alternative universe originals.” Against Me! nail “Bastards of Young” and Drunken Boat wallops “Kids Don’t Follow.” 4.) Lace up your drinking shoes for paced, fun imbibing. The fact that the Queers track doesn’t have Joe singing about his cunt having a dick, and is a sorta touching rendition of “Unsatisfied,” is oddly nice. Let the music blend and bob into the background as the party warms up. Let the CD play on repeat and let it stretch out over its hour of playtime. 5.) The morning after, headache dully buzzing in the background, and the once-declared-as-pussy “Here Comes the Regulars” covered by Thomas of Strike Anywhere and Rob Huddleson makes a new type of sense. 6.) Look back and fondly remember the good times while you reach in the fridge for hair of the dog. In recap: didn’t like it at first, played it more and more, and now it’s pretty darn great. Like virtually all comps, not all gold, but neither were some of the originals. I mean, fuck, who needs gods who never failed themselves, right? –todd (1-2-3-4 Go!)

Wassup Rockers Soundtrack: CD
In the interest of full disclosure, I gotta say that, speaking as an older Latino punk who spent most of his life playing punk rock, this CD and the related movie really fucking bug me. It’s not the music on here—courtesy of South Central Riot Squad, Defiance, The Revolts, The Retaliates, The Remains and L.A.’s Moral Decay (not to be confused with the ‘80s band Moral Decay, who tore shit up in the SGV back in the ‘80s)—that irks me. It’s just more of that certain breed of hardcore that kids have slammed to in L.A. backyards since the ‘80s, nothing more, nothing less. No, what really pisses me off is the apparent seediness of the whole Wassup Rockers trip. Putting aside the supposed questionable, lurid motives and controversy over director Larry Clark’s—who first came to prominence with the movie Kids—selection of subject matter for this and his previous films, I’m more than a little curious about how the leads for Rockers—a bunch of South Central Latino skatepunks upon which the whole shebang, from subject matter to script to stunts to soundtrack, is based—were financially compensated for their work. Did they receive proper compensation for playing principal roles? Did they get stunt pay for doing their own stunts? Although numerous articles indicate the script was based on their stories and that they ad-libbed much of their dialogue, they didn’t receive writing credit. Is it safe to assume, then, that they also weren’t given screenwriters wages for their efforts? Finally, for their efforts on the soundtrack being reviewed, will they be receiving writing and performance royalties for their inclusion here? Judging from the demo-quality-at-best recordings of the songs included (and finding no “recorded at” credits anywhere on the CD insert or tray card, one is led to assume that they indeed compiled this from assorted demos), my guess is the answer to all of the above would be a resounding “no.” I seem to remember Tony Adolescent once saying that the sum total he received for the inclusion of “Amoeba” on the soundtrack to SLC Punk was one copy of the soundtrack, and I’m willing to bet that’s the case here, at best. The thing is, if they’re gonna fuck these kids out of all that is due to them, the least they could’ve done is sprung for a really good recording session for their bands. At worst, that would’ve cost a couple of weekends with a computer rigged with ProTools and someone who knew how to use it. My suggestion is to seek out the bands on the Internet, get their demos directly from them and ignore the film and its soundtrack. –jimmy (Record Collection)

Twin Cities Hardcore: Bring It Together: CD
Consider this a Twin Cities audio scene report filed by Ben Crew. There are thirty bands on the CD proper and twenty-five MP3 bonus tracks…and I’m sure he’s practically giving this thing away. Now like every scene and subsequent comp documenting them with at least thirty bands in it, they aren’t all going to be good. Some will be down-right terrible and some will renew your faith that somewhere out there people are still making good music. Even if you don’t like every song, you have to appreciate the spirit in which this was constructed. I’m sure Ben got as close to everyone on here as he possibly could and he’s given us a good snapshot of the good, the bad, and the ugly that’s out there in the Twin Cities in 2006. Now this is technically a fifty-five song comp so I’m not going to give you a track by track breakdown because, for one, who wants to read all that? And two, you shouldn’t be so damn lazy. Get out of your house and get this thing and live a little. Who cares if you’ve only heard of two of the bands? I’d be willing to bet you’ll find at least one band you’ve never heard before on here that you’ll like. Highlights for me include: Degeneration, The Fuck Yeahs, Formaldehyde Junkies, In Defense, ASS, and Off With Their Heads who I’ve heard before but they really brighten up a comp in the same way a nice floral motif can brighten up a room. –Steveo (www.tchardcorejournal.com)

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