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Record Reviews

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Below are some recently posted reviews.

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HOT TIP:
Demo: Cassette
I saw Hot Tip at a sports bar (or it seemed that way) in Buffalo and I thought I was seeing the newest incarnation of Nation Of Ulysses or at least a band that would willingly crush whatever punk status quo still exists. I’m still not really over how good they were. Their demo doesn’t disappoint—the guitar lines are the best of deconstructed ‘90s sub-underground hardcore; the general vibe is smart, murky, wild, pissed. Easily one of my favorite new bands. They’ll probably take over the world someday, if we’re lucky.  –Matt Werts (Drug Party, drugparty.storenvy.com)


HORROR SECTION / EATEN BACK TO LIFE:
Split in Two: LP
This record ruined lyric sheets for me. Up until now, my ritual upon cracking open a new record was to first inspect the lyric sheet, scanning it for secrets and wonders. Then I would put the record on and listen to it as I clutched the lyric sheet, following along with every word. This record doesn’t have a lyric sheet. It has trading cards. One trading card for every song, with an image on the front and lyrics on the back. Oh, and the images on the front? Monsters. Because every song is about monsters. Michael Myers. Freddy Krueger. Zombies. How the hell can I possibly enjoy lyric sheets after this, after holding the Leatherface card in my hand while Horror Section blasts their way through “Survive?” I held that card in my sweaty hand, reading the lyrics and realizing that the song has a brilliant dual meaning. On the surface, it can be read as a song about a girl struggling with a possessive boyfriend. Except the image on the trading card reveals that it’s not a boyfriend she’s worried about, it’s Leatherface, and, yes, he wants to “tear me and my friends apart,” except not in the metaphorical sense, but in the with-a-chainsaw sense. The logical part of my brain wants to say that it takes more than trading cards and monster movie references to make a good record, but does it really? In this case, the question doesn’t even matter, because both Horror Section and Eaten Back To Life bring a unique spin on pop punk and horror worship. There’s no way you’re getting out of this listening experience without having a lot of fun.  –mp (Eccentric Pop)


HOLLY & PLASTIC:
We Will Give This World Away: CD
Track three is called, “If I Were a Folk Singer, Folk Singers Would Laugh,” and it perfectly sums up the sounds that Andrew Johnson (Holly & Plastic) has created. I had looked for a band lineup and learned that this is a one man band project. These songs are very full for just one man. Guitar (both electric and acoustic), drums, bass, and he even back up vocals—I’m guessing he sings with himself, though the voices don’t always seem to match. There are moments I’m reminded of J Mascis, a little Death Cab For Cutie, but mostly Andrew Jackson Jihad. Fairly typical singer / songwriter mellow jams that are good for chillin’ the fuck out. A few of these songs, especially the last track, nearly put me to sleep. If that’s your thing, this is for you.  –Kayla Greet (Double Plus Good, doubleplusgoodrecords.com)


HEXIS:
XI: LP
Dark doom hardcore metal out of Denmark rises forth from Hexis. The striking, minimalist black and white matte LP cover is desolate and beautiful. Rapid fire bass drum and throbbing bass pummel your ears to submission. Slow-churning at first, the record ebbs then whips to a straight-up frenzy, somehow completely controlled and absolutely chaotic at the same time. The metallic guitar weaves broad-knife strokes into fine needle-like scratches. It’s still melodic, but fierce. Layered on top like toxic ooze are abrasive, harsh, throat-tearing vocals. It’s the hard metal edge of Iron Lung and melodic undertones Una Bestia Incontrolable. It’s pure rage.  –Camylle Reynolds (Dead Tank)


HDQ:
When Worlds Collide: 7”
Melodic hardcore that, if you wanted to, you could trace all the way back to Revolution Summer. You could also just put on the Embrace record, which would probably be better for you. From that chugging, over-produced, “barre chord wallpaper” school of punk.  –Matt Werts (Boss Tuneage)


HARSH REALMS:
Pølp: CD
If my Menzingers and Riverboat Gamblers records were to breed in some sleazy hotel, this Dutch (?) band is the spawn that I imagine would arise from such a union. The vocals are urgent and anthemic (there’s the Menzingers), and the melodies have some sizzling, inventive guitar work (and now the Riverboat Gamblers tumble out). There is a lot more to this than its first impression as a document of post-emo bellowing angst—I’m wanting to raise my fists and kick down doors while simultaneously feeling the urge to bop bop bop around the room. Harsh Realms have got it going on—I’m really looking forward to going deaf to this on my way to work.  –The Lord Kveldulfr (Shield)


HARSH REALMS:
Pølp: CD
If my Menzingers and Riverboat Gamblers records were to breed in some sleazy hotel, this Dutch (?) band is the spawn that I imagine would arise from such a union. The vocals are urgent and anthemic (there’s the Menzingers), and the melodies have some sizzling, inventive guitar work (and now the Riverboat Gamblers tumble out). There is a lot more to this than its first impression as a document of post-emo bellowing angst—I’m wanting to raise my fists and kick down doors while simultaneously feeling the urge to bop bop bop around the room. Harsh Realms have got it going on—I’m really looking forward to going deaf to this on my way to work.  –The Lord Kveldulfr (Shield)


HARD SKIN:
We Are the Wankers: 7”
It’s kind of hard to pinpoint what makes Hard Skin so great. Is it the fact that they are an amazing oi band, or that they’re “takin’ the piss” so to speak? It doesn’t matter. All I know is when I put a Hard Skin record on, I’ve got a smile on my face and I can feel my liver clench up because it knows it’s going to been beaten with alcohol again. Another round for the wankers!  –ty (1-2-3-4 Go!)


HARD LEFT:
Skinheads Home for Christmas: 7”
Something to spike your holiday punch with. I pretty much hate most Christmas songs. This is usually because they’re either too sentimental, feel forced, or are just plain terrible. This is probably because I don’t really like Christmas. Bah fucking humbug. But “Skinheads Home for Christmas” is—dare I say it—fun. It’s got a super catchy guitar hook and charming mix of grizzled Johnny Rotten style vocals with a chorus of sweet, screamy female gang vocals. Flip to B-side for a rockin’ Bay City Rollers cover of “Yesterday’s Hero.” Hard Left is self-described as “Hard Mod,” a mix of street punk, mod rock, and pop. Members of Manatee, Lunchbox, and Boyracer make up Hard Left, but don’t let that fool you; this is straight punk. This will be a post Xmas review, but this can definitely be in rotation for your eggnog-chugging party next December.  –Camylle Reynolds (Future Perfect, futureperfectrecords.com)


GUNK:
Gradual Shove: LP
Take yer standard indie rock-type stuff, put it in a Shake ‘n’ Bake bag with a bit of psychedelic influence and that overblown production sound popular within certain factions of the ‘90s shoegaze phenomenon, and mix vigorously. Results are surprisingly consistent—loud, woozy, sludgy, and still tuneful.  –jimmy (Square Of Opposition)


GOOO:
Globular Clusterfuck: Cassette
Quirky, experimental laptop songs which remind me of grade-Z Ween. Tried; can’t.  –Michael T. Fournier (SDMPDX)


GOD GIVEN ASS:
Keeping Up Appearances!: 7”
Ever wonder what might have happened if the Beatles had decided to reinvent themselves and start a punk band? Finnish power poppers God Given Ass entertain that fantasy, presenting a classic power pop collage of ‘60s/’70s rock in Keeping Up Appearances!God Given Ass shows fun potential, but they need to move beyond retro emulation and find something distinct to explore. The vocals are low and resonant, with a sound like Kevin Seconds channeling Danzig’s baritone, and could be harnessed to dramatic effect if the band wanted to go in a heavier direction. My expectations were elevated by the glam Bowie-nod name and gender-bending cover art (which features a man in a pink apron and pink thigh high stockings reclining on a bed) and then I was handed a cheap wedding entertainer attempt at punk. “It’s Not Alright” has a nice Wipers-ish guitar sound, but at this point I also began to realize that every single song on this record is about women from a man’s perspective, either on how she’s totally missing out by not dating him or pissing him off by acting like one of the boys. That’s an element of music that doesn’t need to be revived.  –Claire Palermo (Blast Of Silence)


GIVV:
Self-titled: Cassette
I’d classify this as hip-hop beatbox noise. Which I’m ill-equipped to do, but that’s my best guess. Looped industrial noise with warped, slowed down beatboxing. I’m a bit perplexed as to why they sent this one in to Razorcake. Not saying it’s bad, I’m saying it’s not punk.  –Camylle Reynolds (Ranch)


GINO AND THE GOONS:
Shake It!: LP
The excellent first Gino And The Goons 12” on Total Punk was a mess of furious garage rock that I couldn’t get enough of—loud, distorted, and catchy. It’s a couple years later and Gino And The Goons are back with a new offering that initially seems a little more restrained, yet, at the same time, brings the garage rock’n’roll ferocity to a new level with this band. There are some serious nods to the Ramones here, but, ultimately, I see this as a fringe piece of the Budget Rock puzzle that keeps getting better and better with every listen.  –Mark Twistworthy (Black Gladiator / Slovenly)


GENERACION SUICIDA:
Todo Termina: 12”
Killer Los Angeles punk rock. Dark, melodic guitar lines, driving, mid-tempo rhythms, and raw but melodic vocals, delivered entirely in Spanish. This reminds me a lot of Masshysteri from Sweden. Both contain a melancholic yet energetic musical feel and though I don’t understand either language, the melodies and obvious passion carry the vocals enough to make up for not knowing the content of the lyrics. More than enough to earn repeated listens.  –Chad Williams (Going Underground, goingundergroundrecords.net)


G.F.P. / SCHEISSE MINNELLI:
Best at Its Worst: 12”
So you say you’ve got a split record featuring a crazy drawing of a Viking skeleton grinding coping on a pool full of radioactive waste while slamming back a bottle of booze on the front cover? I’m listening. General Fucking Principle kicks it off with a heavy mid-’80s hardcore vibe. Dayglo Abortions come to mind (not an unusual occurrence for me). This is really good stuff. After I listened, I noticed that G.F.P. features punk rock legend Greg Hetson on guitar and skateboard legend Tony Alva on bass. Rad! Now on to the other side and Scheisse Minnelli. This is a band that I’ve never heard, but I’ve always been an admirer of their band name. It makes me laugh every time I think of it, let alone read it or hear someone say it. I am happy to be able to say that I really like their tunes, too. Very similar to G.F.P., but I’d say that Scheisse is a little more technical. Bonus points for working “No Whammys, No Whammys, Big Bucks” into a song. Holy shit, is that Tesco Vee rapping on a funky disco song to finish up the record? I believe it is. This is a killer record that is going to get a lot of mileage around here.  –ty (Rockstar)


G. GREEN:
Area Codes: LP
Second LP offered up by Sacramento band G. Green. A contrast to their first LP, Area Codes is more focused and mature, with their signature alt-quirk post-punk sound. Still, it’s sharp, odd, and catchy pop. Area Codes is cleanly recorded—a yin to the yang of their gnarly—albeit hell of a lot more inebriated—live set. Mike’s anxious post-punk guitar sets the tone of each song, sounding slightly off kilter but somehow perfectly balancing each melody, weaving in and out of Andrew’s more distorted rhythms. Both Andrew and Mike sing on this LP, their screechy yelps and hollers are both lighthearted and emotive. The stand out, “Brain Fuck,” is choppy dance punk that sounds a lot like one of my favorite bands, Synthetic ID. “Fake Affair” features drummer Liz on vocals. She’s got a flat, atonal cool girl sound. They also make good use of her voice on backup throughout as well. And “Drugs” is a drunken lazy rock’n’roll song that makes me want to… well… get drunk and party. Well done.­­­­­  –Camylle Reynolds (Mt. St. Mtn, mtstmtn.com)


FRAU:
Self-titled: LP
Crude, bass-heavy, lady-punk with yelly vocals. A spontaneous Penis Envy influenced by early hardcore. It would have fit in perfectly with one of the “artier” tracks on the Welcome to 1984 comp (I’m looking at you “Fish In a Bowl”). Frantic and hard, while still being off-kilter and righteous.  –Daryl Gussin (Dead Beat)


FISTULA:
Vermin Prolificus: LP
There’s a repeating mantra in this record, pulled from what sounds like a sound clip from an old movie, which goes, “The drugs are more important than you.” This record is really dumb, but in its own way really great. It’s made for stoners who like evil stuff and demons, so get on that if you’re high as fuck right now. The record will constantly remind you about drugs, by the way, so be prepared to have some weird feelings as it addresses you, the audience, directly. It’s like grindcore, but I don’t know enough about the genre to compare to another band accurately. There’s definitely some doom metal in there. I wish I could type out a picture of the cover art, but I’m not that good at ASCII art. GRADE: Ä-.  –Bryan Static (To Live A Lie)


FILMSTRIP:
Moments of Matter: LP
This has a lot in common with the softer, smoother side of college alt-rock and the various waves of indie that came after it, from R.E.M. to Smashing Pumpkins to Grandaddy. Frontman Dave Taha does take on an uncanny Michael Stipe drawl to deliver lines like, “Like a video game, flashing nothing, everybody is stuck on explode.” The pacing is the real accomplishment of this record; this is a band that knows how to ramp up and mellow out in exactly the right places. Not something you really notice until you hear it done right. There’s the hint of a folksy twang running through side A, especially the one-two opening punch of “Don’t You Know” and “Waiting on a Train”—not so much as to nudge this thing into full-on cowpunk territory, but enough to call maybe the first Titus Andronicus album to mind. It’s on side B that this tendency blossoms into the swingy melancholy of “Wild Abandon” and “Is You Is,” the aching gospel finale. This is my first listen to Filmstrip, but I get the feeling I’m catching them on their way up to something bigger.  –Indiana Laub (Exit Stencil, info@exitstencil.org, exitstencil.org)


ESPECTROSTATIC:
Escape from Witchtropolis: LP
I remember one time while reviewing Alex Cuervo’s band Hex Dispensers that I felt that each song was like a story on an episode of show like The Twilight Zoneor Outer Limits. If that is the case, then Cuervo’s solo, electronic project Espectrostatic is the soundtrack to the individual scenes in any given episode of that same show. This is the second LP for Espectrostatic and I couldn’t be happier. I love to sink into the creepiness of songs like “Removing the Bandages” or “The Cold Spot” or get tensed up by the futuristic chase sounds of “The Feral Kids” or “This Is a War Universe.” As a horror and sci-fi fan, I really love how I can take the song titles, and while listening to the songs, I can fully imagine the scenario. It is a completely different listening experience and I can’t get enough. I’ve also got to mention the amazing cover art by Drazen Kozjan. It fits the record perfectly.  –ty (Trouble In Mind)


ERGS, THE:
Dorkrockcorkrod: LP
The vinyl version of this record originally came out in 2005 and has been unavailable for a bit, so to mark the ten year anniversary of its release, the folks at Don Giovanni have re-mastered and re-released this, the debut LP from The Ergs. It’s a move that makes sense, as The Ergs legacy is bigger than ever, despite the fact that they broke up in 2008. The Ergs were a great band—playing out like an updated version of the Descendents with softer edges yet still with the ability to pen a fucking near perfect pop punk song. This LP is a modern classic, jam packed with some truly great songs about girls, love, and… did I mention girls? If you like the less traditionally “punk” Descendents songs about girls, then you’ll love this. But you’ve most likely already had this record for years anyways.  –Mark Twistworthy (Don Giovanni)


EASTER TEETH:
Being Alone with Your Thoughts Is for Inmates: CD
Imagine a Minutemen show in a church basement, but with Les Claypool on bass and James Brown howling on the mic. That’s Easter Teeth. Blood brothers Josh and Tim Eymann serve up a fresh take on funk-punk convergence that is light-hearted and unforced. Easter Teeth tosses away the econo jam and goes big with Death From Above 1979 growling bass and a Contortions horn section, but maintains DIY finesse, using whatever gadgets are around. They play super-tight, stopping on a dime. If “Break out the Knives” doesn’t get your toes tapping, you might not be human. “Get up, get down, just as long as you get there,” or in other words, get up offa that thang! Hardcore roots emerge in the lyrics, which mix cute wordplay with anti-government provocation. The title track contains my favorite line—”zero convictions but a litany of guilt”—evoking a kind of working-class restlessness. Dueling yell-vocals blend the renegade marching band rollick of the Taxpayers with Minor Threat urgency. “Where Have All the Demons Gone” is the most sonically interesting, seasoned with keyboard-synth roars that verge on Nine Inch Nails industrial territory. Unpopular opinion: I couldn’t get through the horn-less versions of each song. I hear the argument for allowing listeners to curate the album to personal taste, but it’s just not the same. With the brass, we’re at a thinking man’s soul party—who could ask for more? Put this on, get sweaty, and pour one out for D. Boon and the Godfather of Funk.  –Claire Palermo (Veritas Vinyl, veritasvinyl@gmail.com, veritasvinyl.net)


DYSTOPIA:
Human=Garbage: 2 x LP
I remember the first time I heard this album, back around 1994. I bought this on CD along with stuff like Deviated Instinct and Doom. I listened to those a few times, but the Dystopia disc stayed in my player for a long, long time. There was nothing else like them. Towards the end of the decade, there were some bands that did try to bite their style, and it was pretty apparent these interlopers were cheesy as hell and quickly forgotten. For me, Dystopia is one of the best bands from the 1990s, and one I can still listen to and be blown away. Musically, they were a perfect mix of metal and hardcore punk with all the offshoots—like death metal, crust, grind, and sludge—thrown in for flavoring. The guitar sounds evil, the percussion is tight and forceful, and the bass has this sinister lurking way about it. The part of “Stress Builds Character,” when the music kicks in never gets old. So f’n good it’s unreal! The whole album is solid as hell. There’s never a moment where it gets dull or repetitive. They keep the tempos varied, such as the instrumental “The Middle” and some songs that are largely sound collages, like “Sanctity,” “Love//Hate,” or the lumbering “Ignorance of Pride” to offset the sonic pummeling of songs like “Ruptured Silence” and “Hands That Mold.” This edition is true to the CD version, as it has the five songs from the original vinyl pressing, along with their material from their splits with Embittered and Grief. All pressed on two clear sheets of vinyl to be played at 45 rpm. I’m reluctant to call most records classic, but this truly is. I would like to think that over time people, if they haven’t already, will come to see this is as a pretty important piece in the history of underground music. Original, groundbreaking, and all that.  –Matt Average (Tankcrimes)


DUCK & COVER:
Self-titled: LP
Boston four-piece delivers an eight-song shotgun blast that may cause you to go stone deaf forever. But just know your limits and you will be fine. This is no rookie ball by these rabble-rousers. They have all paid their dues and their effort shows the proper results. “Dead Giveaway” features a Stooge-like vibe while “Stand Corrected” would not have been out of place on the first ‘Mats platter. “Gather Your Strength” even has a bit of a “Bonzo Goes to Bitburg” melody in the mix. But these dudes have a sound that is all their own; you just need to take the plunge. Highly recommended.  –koepenick (duckcover1.bandcamp.com)


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