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Record Reviews

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Below are some recently posted reviews.

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FALCON, THE:
God Don: CDEP
I was actually about to buy this album when the fine folks at Razorcake sent it my way, and boy was I glad. This EP is pretty solid. Definitely for fans of Midwestern punk in the vein of Lawrence Arms (the singer of the Falcons is actually in the Lawrence Arms). This CD was a true DIY effort in that the five great-sounding songs were recorded for free in various living rooms, band practice spaces, and the infamous Atlas Studios where bands like Alkaline Trio, East Arcadia, and Lawrence Arms have recorded past albums. Red Scare has had only two releases since its recent inception and so far it's a damn good track record of pop-infused punk. I can't wait to see what's next. –mrz (Red Scare)


EARACHES, THE:
Get the Revolution Out of Your Head: CD
I really like the last album I heard from The Earaches, which is probably how this ended up in my review pile. I don’t know what’s happened since then. It seems like they may have locked themselves in a room where they could only listen to the Rolling Stones and The New York Dolls, and added that to their earlier sound. The result? Not something I’m too fond of. What before was raw and driving, now just seems to fit the mold of every other throw-back rock band around right now. Too bad. –megan (Steel Cage)


DROPKICK MURPHYS:
The Singles Collection Vol. 2: CD
The thing that gets me about Dropkick Murphys is that I think that they are a great band, yet find myself annoyed by them much of the time. The band is tight and the songwriting is solid, but I just have a hard time getting by the wishy-washy Irish shtick. I mean, I just can’t handle it when a band is ripping it up only to stop and bust out the tin whistle and mandolin. It just kills the momentum. That said, this record is full of the type of Dropkick tunes that I love to hear. Balls-out, sing-along tunes that compliment multiple pints at the local shithole. Strong rockers with a good dose of covers of the likes of CCR, Gang Green, and Stiff Little Fingers make this record a worthy listen. Be warned that they do delve into the Irishism a bit here. I guess they kind of have to at this point but it’s okay though because it’s far outweighed by the good stuff. –ty (Hellcat)


DRIFTAGE:
Paint It Black: 7”
If you’ve never read the lyric sheet of a Japanese band that translates their lyrics into
English, then you’ve missed gems like, “What reflected in the mirror are copy robots talking cheerfully in madness. I believe that I am an original and put my egoism on a nametag.” That’s poetry. I’m not being facetious. The words seem to make no sense, and maybe they don’t make much, but think about it. Read that line a few times. It’s crazy and perfect and takes you out of your normal train of thought. It’s also a good reflection of Driftage’s music: crazy and perfect and taking you our of your normal world. It’s fast and sonic, thoughtful and a lot of fun. Without it, could we, “wander in our drift age”? –sean (Snuffy Smile)


KILLED BY THE BULL:
Self-titled: CD
Former members of the Judas Factor and Jett Brando make up this three piece indie folk punk act. Some of the music is slightly silly, but much of it is catchy and somewhat infectious, but more in a lighter-edged manner than anything with a typically “hard” factor to it. This is hardly what one would expect from former members of a hardcore band, but good for them for expanding their horizons (think sunny spring afternoon as opposed to angry, bitter winter). The rhythm section is very tight, as the bass line is all over the place and the drumming can go from steady to blistering. Unfortunately, repeated listens didn’t do much to really make much of an impression for me as a jaded music critic but maybe some fans of punk bands like Calibretto 13 or Against Me! would dig this? Meh. –kurt (killedbythebull@optonline.net)


KILL THE HIPPIES:
Erectospective: CD
I think I read somewhere that this Kent, Ohio band came up with their cartoonish name by imagining a punk band name that would frighten the kids on the insufferable ‘80s TV show Eight Is Enough. Having just moments ago turned on the TV, only to see the pudgy troll Willie Aames gurgling on about God and weight loss, I have all new appreciation for the name Kill The Hippies—even though I suspect that the ‘70s Kent State student slaying reference would be lost on poor, weight-conscious Willie. But KTH have more going on than just an inspired band name. They play some grade-A quirky, spazzed-out garage slop and they’ve been slopping away at it since 1993. Erectospective is a double CD packed with seventy-seven songs that are all over the fucking map—in turns sounding a bit like In God We Trust era DKs, Devo, Richard Hell and the Voidoids, the Crucifucks, the Spits, and the Lunachicks played at 78 RPM. All smeared with a sticky dumpster ooze and rolled through fly-infested heaps of trash. Though you could say that it’s stylistically anachronistic, it manages to somehow still sound fresh. And who doesn’t like fresh garbage? If the name doesn’t scare him, the top-notch garbage rock of Kill The Hippies would surely make Willie Aames drop about ten stinking pounds in his pants, toot sweet. Favorite Song Right at this Moment: “I’m Gonna Puke on You.” –aphid (Rock’n’Roll Purgatory)


JUKEBOX ZEROS:
Four on the Floor: CD
Fuck yes, this is exactly the kind of music I love! Bad-ass, mid-tempo glam punk in the vein of the Joneses and the Humpers. In fact, this reminds me a whole lot of that great Vice Principals LP from a few years back with members of those two bands. Somebody in this band is a Jeff Drake fan and I am reaping the benefits. The songs are the perfect tempo—not too fast—like most who try and play this style. Those leads sound so much better mid-tempo than they do at Motörhead speed. A couple of the tunes on here even remind me of that amazing Loose Lips LP on TKO. That is one of the most underrated records of all time in my opinion. Most likely this will be as well, because for whatever reason, folks just hate glampunk. It is, without a doubt, my favorite style of music in the world and the Jukebox Zeros are as good as anyone out there. Great songs, simple leads, and catchy fucking choruses. I could listen to this all day long. –frame (Steel Cage)


JOHNNY THURSDAY AND THE FRIDAY KNIGHTS:
Ruin It for Everyone: CD
Really dig the vocals on this one. Just the kinda higher pitched, vaguely glammy voice I like. It’s almost a cross between Brian from the Trash Brats and Mark from the Ducky Boys. If they were playing Dolls/Heartbreakers style glampunk, I would be all over this. Unfortunately, the songs are really fast and the two guitars are going nonstop: no real dynamics to speak of. This reminds me a whole lot of a band like the Turbo A.C.’s or the Gotohells, almost great, but just missing something. Too much guitar, not quite enough vocal hooks; the songs just aren’t quite there. Good ballad though, which, in all seriousness, is high praise from me. I am a big ballad fan and it is rare that I hear a good one, especially from a punk band, which just makes me think that if they slowed it down a bit, this band would kill. They would be a good band to see on a Friday night, but on this disc, there’s just not enough here to warrant repeat listenings. This singer should do an acoustic record. I bet that would be freakin’ awesome. –frame (Hangmen)


JEFFREY NOVAK ONE MAN BAND::
Southern Trash: LP
The Memphis Houdini strikes again—somehow he has the strength of four men playing guitars, drums, and screaming out all the air in their lungs yet keeping it all handcuffed together cleaner than you think. Southern Trash is the perfect title. Sounds like I’m on the payroll of P. Trash Records lately, but they really have been hitting on everything I’ve heard so far. If you need to get back to the bones of rock, this is a good starting point. –mike (P. Trash, www.ptrashrecords.com)


JAI-ALAI SERVANT, THE:
Thunderstatement: CDEP
I openly groaned when I heard the strains of ska that began “Scarlett Johansson Why Don’t You Love Me,” but found quick relief in the remaining for tracks on this, which are more in the art-pop vein. Whew. For a second there, I thought GSL was selling out in the worst way imaginable. –jimmy (GSL)


IT BURNS / PHENOMS:
Split: 7”
It Burns are from Carbondale, IL, which is this teeny tiny hidden punk mecca nestled in southern Illinois. They play straight-ahead, driving punk rock that reminds me of the Tunnel Rats or the Candy Snatchers, with a little bit of Social Distortion slickness. Their bass player is the mighty king of Carbondale, Ray Suburbia (who lives in Milwaukee now). The Phenoms, from Chicago, play a similar type of New Bomb Turks-y punk rock, like a Confederacy of Scum band without all the redneckiness. This is a pretty good record as a whole—but the cover—man, it’s cool and everything, but it’s kinda impossible to tell what the fuck is going on. –ben (Beercan)


I EXCUSE / THE TIM VERSION:
Split: 7”
I Excuse: Early Hüsker Dü by way of Kyoto, mixed in with a healthy appreciation of what’s currently coming out of the Twin Cities. Picture believable desperation, boulder-moving bass and drums, and sharp-edged guitars that shimmer and glaze, all played with a dizzying precision and a ragged-voiced, in-tune singer. Really, the Japanese can badminton our own inventions back over the Pacific and make us feel small and shitty. The Tim Version: These guys break my heart in the best ways. They’re smart. Lyrically, they’re one of the best. They’re retards. They’re sweethearts. They’re drunks. They’re also one of the best barely known bands playing in America today. Their two songs, “Another Reason to Hate Honkeys” and “We’re a Collective Badass,” showcase their range. It’s not often that a band can reach to the bottom of their roots (country and blues), and pull out exciting and wonderful new stuff that’s both dirty on the outside and dripping electricity from the inside. Hell yeah. –todd (Snuffy Smile)


I ATTACK:
American Dream: 7”
Man, I want to move to Chicago. Chicago and Sweden at the same time. If anybody knows how to make that happen, let me know. There’s a lot of really great hardcore coming out now, and this record moves I Attack right up near the top of that list. Not as fast as Direct Control, not as catchy as Career Suicide, but way more barbed and intense. Probably a band that people will still be talking about in a few years. Definitely a record I’m glad I picked up. –Josh (Criminal IQ/Maldito Studios)


HOW IT ENDS:
Beloved: CD
In the interest of full disclosure and in an attempt to avoid being jumped and sliced up by some angry Varg Vikernes wannabe, I’ll come clean, right off the bat, and admit that I just haven’t been keeping up on my heavy metal lately. So when a disc like this is shoveled my way, I’m likely to make out-dated references to bands like Crow Bar, Drown, and Entombed—all of which are references, I’m sure, that any self-respecting he-man death metalist would snicker at, if death metalists are allowed to snicker. Realizing the flimsiness of my references, I would then probably try to slap together some ill-conceived imagery like rutting bull elephants trampling a field of crawling infants while water-tower-sized bags of manure fall from the brooding sky. But all of that would probably only serve to shine the light of truth on just what a pathetic metal wuss I really am. Whatever. I can live with that. And I can live with this disc, too. It’s not bad. I don’t know if I’ll listen to it much myself, but it’ll be good to have on hand when my he-man death metal pals drop by for beers. –aphid (Thorp)


HOT NEW MEXICANS:
It’s Called Leaning Back: CD
Maybe its the holiday season that makes some mellower music more enticing to me. These guys play fairly slow tempo stuff with vocals that remind me of Bowie meets some more rocking stuff along the lines of Ted Leo. The music has subdued, jangly, and choppy sounds with a calm drummer who most likely appreciates the Clash and Charlie Watt equally. From the insert it seems HNM are from Cleveland, Mississippi. That explains the swagger; things just happen a little slower in their neck of the woods. This record is worth a listen, although some might find it a little over the top for their tastes. –Guest Contributor (Salinas)


HOREHOUNDS, THE:
Rock Out with the Horehounds: CD
The occasional bits and pieces that scream CRAZY STEVIE BAISE! CRAZY STEVIE BAISE! (a la “Rocknroll Tonight”) might indeed take the some of the edge off your D. Dogs/V. Kings jones for a while, but on the whole it sounds like a pretty non-stupendous, occasionally faltering mish-mosh of the Candy Snatchers, Nobodys, and Loose Lips, and if you quantitatively measured how much worse the Devil Dogs’ Stereodrive! CD sounded than the Choad Blast! EP, and then subtracted that scalar value from Stereodrive!, that’s pretty much how it sounds, sonically, maybe. Contains a really stupid song about America imaginatively titled “Love It Or Leave It,” which, for most Americans, is not a viable option so long as a 40 oz. bottle of Black Label costs $4.49 in Canada. BEST SONG: “Rocknroll Tonight” BEST SONG TITLE: “The Ex-Sex Thing (Is The Next Best Thing)” FANTASTIC AMAZING TRIVIA FACT: Contains a song called “The End of the Ramones” which is NOT the Mr. T Experience song (ironic because Colorado’s La-Donnas once released a modified version of that song titled “End of the Devil Dogs”). Lame. –norb (Wankin’ Stiphs)


HOOSEGOW, THE:
The Last Buffet: CD
What we have here is skate rock in the purest sense (Drunk Injun vocals, thick Faction-style gee-tars, rat-a-tat drumming). And they cover the Smut Peddlers and the Bad Brains. Great stuff. –greg (www.thehoosegow.com)


HARD LESSONS, THE:
Gasoline: CD
It’s the music Detroit’s most recently known for—crunchy, soulful, toe-tappin’, drinkin’, stripped-bare rock. The surprise difference is soaring female vocals with the fortitude of Janis Joplin, the guilelessness of Edie Brickell, and the veracity of Neko Case. Swaggering, husky, complementary male vocals, clanging cymbals, concussion-inducing guitar, cerebral organ, and assorted percussive instruments (is that a vibraphone?). MC5 in some places, Bob Seger in others, the whole organized mess culminates in a sound that’s refined enough for NPR and bittersweet enough for the rest of us. –thiringer (No Fun)


GUNS ’N’ ROSA PARKS:
Antifreeze: CDEP
Angry, full-throttle thrash from Fort Collins, CO. Songs are fast, short, and snappy. The intro to “Ballad of CR” was freakin’ hilarious. –jimmy (G’NRP/Thrashin’ Manor)


GUITAR WOLF:
Golden Black: CD
I dunno if this being released now has anything to do with the passing of Bass Wolf, but regardless, it’s a nice reminder. In case you’ve been living under a rock for the past ten years, Guitar Wolf is a Japanese trio that plays the rawest, most primitive garage rock you’ve ever heard. They’ve been releasing shittily-recorded, out-of-tune records of blown-out rock’n’roll destruction since 1997, and this is a collection of some greatest hits, some rare and out-of-print stuff, and all your faves. It spans their entire career, up until 2005’s Loverock. Great packaging, a nice selection of tracks; this is the perfect starting point for anyone curious about Guitar Wolf, and an excellent collection for old fans as well. –ben (Narnack)


GIN PALACE JESTERS:
Honktytonk Fools: CD
This Chicago five piece proudly and deservedly are “too country and proud of it.” Deftly waving the flag of their self-described, hard-hitting hillbilly honky tonk (along with other classic American music styles—county boogie, honky tonk, bluegrass, country waltz, etc.) on this greatly anticipated release, Dave Sisson and crew deliver clever lyrics and upbeat, tight, and masterful musical arrangements as expected. Five-star guest artists like Sean Mencher, Rosie Flores, Colonel JD Wilkes, Jason Carter, and Conway Twitty (posthumously) lend a hand to round out a well-written and well-produced professional quality album that will remain in rotation for years to come. Many stand out tracks, but most notably, “Pomade on My Pillow,” “Drink One for Me,” and “(I’ll Just) Pick Up the Pieces.” Unwrap yer own copy. You’ll be glad you did. –thiringer (Rhythm Bomb)


FLAKES, THE:
Back to School: CD
The bossest hosses this side of the 1960s Northwest scene have released a full-length that blows away everything else released this year. Ass-shakin’ garage rock that dares you to remain still while everybody else fills the dance floor and steals your girlfriend the second you sit down to take a breather. Eight exquisitely chosen covers (Richard And The Young Lions’ “Open Up Your Door” and the “Shake/Hold On” medley by Shadows Of Knight/Sam And Dave are standouts) sit among six originals that stomp, twist, and wobble so hard you’ll be bleeding from the soles of your feet and the drums of your ears. Vocals sung with snotty exuberance, thumping, boom-boom drums and bass, and blister popping guitars make “That’s All,” “Talk About You,” and “Sadie Slye” some of the finest tunes of recent memory. Had Chuck Berry, Little Richard, The 13th Floor Elevators, Them, and The Real Kids jerked off into a Petri dish, I’m positive the resulting experimental growth would have ended up something very much like The Flakes. Surprise photos in the insert will not disappoint. If you don’t own this and aren’t already on your way to buy it, you’re an asshole. Highest possible recommendation. –benke (Dollar)


FILTHY THIEVING BASTARDS:
My Pappy Was a Pistol: CD
Man, I hate using the word “sophisticated,” because it makes it sound like a band’s tying sweaters over their shoulders and getting memberships to country clubs. But, chances are, you can play the Filthy Thieving Bastards in “mixed company” (co-workers, awkward family reunions, that sort of thing) since the songs are pleasant and familiar sounding (assuming you’re familiar with early Who, languid and more swaying Pogues numbers, Kinks, and Donovan). But, with a little time with a social microscope, drinking, and reading along, the lyrics are the killing floor of this album. Three of four of these guys are in the Swingin’ Utters, which often relies on well-played slashing to get the point across. The Bastards deal more in songs that sound like butterflies flapping, but they’re singing about the murder of everyday existence. “The Back of His Hand” deals with spousal abuse, the “Drug Lords of the Avenues” revels in “new ways to mix anything with rum,” “Needs No Retrieve” discloses, “now if you walk through the door, and you see me on the floor, you are home.” Dark stuff that’s easy to sing along to and hard to forget. I’m beginning to believe the trio of Johnny, Darius, and Spike—all together—are current punk’s answer to Johnny Cash. Not a light claim. Let this sneak up on you like a sweet-smelling and treacherous mold. Just give it time to take hold. –todd (BYO)


EXPLOITED:
Complete Punk Single Collection: CD
Sure, their lyrics have occasionally not been the best and some serious questions about Wattie’s politics have plagued the band since the early ‘80s, especially on the subject of race relations, but I gotta say that old Exploited tunes are a bit of a guilty pleasure for me. They just sounded so mean during their prime: all speed, gut-level malevolence, and outrage. Tunes like “Dead Cities” and “Rival Leaders” still make me a little nutty, I gotta admit. This is chock full o’ singles and comp tracks and assorted “rarities,” including “Army Life,” “YOP,” “Class War,” “Fuck the Mods,” “Computers Don’t Blunder” and more. If you’ve never heard ’em before, this is as good a place as any to start out, followed by their first four albums. After that, though, you’re on your own, kid. –jimmy (Captain Oi)


ERGS!, THE:
Jersey’s Best Prancers: 12” EP
I seriously don’t know how they can do it. I’m a bit of a jaded fuck, and I’m getting close to being ready to say that The Ergs! just can’t do wrong by me, but I don’t want to tempt fate. It’d be easy to say that they’re getting better with every release if I didn’t keep going back to The Ben Kweller EP or 3 Guys, 12 Eyes to know that they’ve been this good the whole time. This EP—which starts to venture off from the pop of Dorkrockcorkrod, makes it easier to see how truly talented they are—was released for their tour and limited to 100 copies. These have been gone for quite some time now, but I’ve heard wind that it’s going to be issued again in larger numbers. Do yourself a favor and pick it, or any of their releases, up if you can. I’d also be lying if just having this around didn’t make me pull out Lifetime’s Jersey’s Best Dancers, which, in itself, is reason enough to pick this up. –megan (Grateful)


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