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Below are some recently posted reviews.

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Go Mental: CD
I don’t know how much I can get behind Ramones-derivative bands. Not the bands that happen to have a strong Ramones’ influence in their music, but the bands that are not adding anything new to what Designated Dale’s favorite boys already have done. Enter Rydels: the songs are catchy, pulled together well, but I’d really just rather listen to the Ramones. –megan (Cheapskate)

On Fire: CD
Goddamn, this is F-U-N!! Catchy and rockin’ mid tempo glam punk from this great German band. The first thing that hit me was that they sound a lot like early Vibrators: the guitar sound is pure Knox. Reminds me a little of their fellow Germans Hollywood Teasze at times as well, since both bands are fun without being goofy. This record has the most song title references to ROCK that I have heard since the classic C’mon Let’s Go by Sweden’s phenomenal Let’s Go’s. This band is obsessed with rock! My fave tunes are “Keep Rock Clean” and “RNR Guitarman” which have a real cool Sweet meets Slade vibe and the slower “Waste My Time” which is a real cool Faces/Diamond Dogs style song. This grows on me more and more with every listen! These bulldozers on the loose are Ready To Rock and they’re Gonna Rock You! You gotta Keep Rock Clean if ya know what I mean... –frame (Full Breach Kicks)

To the Confusion of Our Enemies: CD
For people reading this zine well versed in the Gamblers, I offer this caution: don’t let the production throw you. Yes, it’s huge. No, it doesn’t sound exactly like Something to Crow About. Be patient and your rewards will be tenfold. For me, the Gamblers have pulled off a true rarity: they made a record that both sits neck and neck with their previous (one that many didn’t think could be topped); one that is both immensely personal, yet poised for a larger audience. After hearing this about sixty times so far, I’ve developed this theory: this is two records played at once. It’s two worlds, layered on top of one another. The obvious world: AC/DC. The inobvious world: Hickey, Rocket From The Crypt, Toys That Kill. The obvious: “Right! Right! Right! Hey! Hey! Hey!” stomp rock. The invobious: Dude, this record’s all about the loss of dead friends, the very real concerns of weighing artistic integrity, and of love—both tender and fangy. The obvious: arena, tall speaker stacks, lightning bolts. The inobvious: bedrooms, sickness, lullabies, self-doubt, courage, and headphones. I can’t think of the last record that seemed so touching to me on so many levels—these are gold-heart, long-running punk dudes playing revved-up rock’n’roll—that could be played on a worldwide stage. One of the best records of 2006. And it’s February. Mark it. –todd (Volcom)

Curses: CD
I’m glad I came to hear this the way that I did. The CD was in my box, but I hadn’t gotten a chance to listen to it when they came through town with Bent Outta Shape, playing something like four or five shows in one city in about a week. I’m not sure how much of a chance I would have given this if I popped it in with no outside impression. I think I may have written it off as decent, but nothing special, pop punk. Luckily, that wasn’t the case. Live, they really impressed me. Catchy and driven. In person, they were super-nice, and their bass player has a tattoo of Slimer eating pizza, which earns points with me for some reason. So, after they’d been out of town for a few days, I put this on and gave it several listens. And then several more. It gets stuck in my head all the time. There are some real subtleties in there that grab me, but I think it’s those subtleties that may have been what I would have overlooked. There’s nothing that immediately jumps out as remarkable, but, with time and letting it get absorbed, there really is something there worth taking the time to find. –megan (1-2-3-4 Go)

Curses: CD
I think others at the mag would have appreciated this band more than I. My moods change as much as I change underwear. I do like what I hear, though: straight-ahead punk that is melodic but raw. With a raw production, this comes off sounding live. What I hear are some parts Dillinger 4, One Man Army, and the Beltones; not exactly like those bands but taking small elements from them. The melody is the key here. While they do blaze through with fury, their art is the poppiness of the songs. –don (1-2-3-4 Go!)

Split: 7”
Reflectors are snotty crust punk. The recording is super lo-fi and tinny sounding; a lot like many a band I have seen at basement shows. Sloppy political punk for fans of Naked Aggression or maybe the Gr’ups in their poppier moments. Four songs on their side. Hissy Fit are sloppy, poppy punk in the vein of Plow United or Toys That Kill. Three songs on their side, better recorded, but still lo-fi. Very Creep Records sounding; they would have been hot shit with the pop punkers ten years ago and probably touring with Weston or Super Hi Five. –frame (Bitter Like The Bean)

Bedroom Disasters: CD
The Reatards were a bright light in the rapidly darkening “garage” corner of punk, one of few later bands able to transcend the limitations and “rules” that turned the original idea into a pigeonhole and just tear shit up. Their songs were vitriolic yet tuneful, primal as hell, and stuffed to the gills with levels of raw teenage rage not seen since hardcore got co-opted by metalheads and sellouts. This collection of assorted out-of-print singles, unreleased covers (Eater, Angry Samoans, Freestone, Ramones and others are covered) and such should more than satisfy their fan base and act as a nice introductory point to the work of a band that deserves to be cranked to eleven anytime their music hits the player. –jimmy (Empty)

Not Fucked Enough: CD
For some reason or another, I seem to be one of the few people who didn’t absolutely love Jay Reatard’s stint with Lost Sounds. It wasn’t so much because I couldn’t stand the more subdued indie-goth of L.S., but more because I missed the full force Tourette syndrome spazz-out of the Reatards. As bands go, college radio darlings are a dime a dozen, but one that can out-budget rock the Mummies is a band worth losing brain cells over. Further more, anyone who doesn’t think Grown Up, Fucked Up isn’t one of the greatest snot rock records of all time really is a retard. But all is well now because the Reatards are back and I am full of dumb, drooling joy. This collection of songs from ‘98-’99 captures the classic Reatards’ regurgitated school lunch sound. My only gripe about this recording is a minor one: “Your So Lewd,” the snotty classic about young testicles in love from the 7” of the same name, is here in alternate form as “I Like Your Titty” and it doesn’t have near the same chiding dissonance of the version I’ve grown so fond of. But they easily make up for that with lo-fi rummage explosions like “Make It Fit” and “Twice As Hard.” And, of course, in keeping with grand Reatards tradition, it all sounds like it was recorded in a giant diaper pail. Hoo-wee! Good times is here again. The Reatards’ music is, in the words of the Immortal Bard, “a tale told by an idiot, full of sound and fury, signifying nothing.” Amen brother. –aphid (Empty)

Randy the Band: CD
I was suspicious of this record. Anything that pushes at my comfort levels makes me antsy. Here are the questions it posed: 1. “Do I have to buy better stereo equipment so I can hear all the sneaky bits?” 2. “Should I move so I crank this at 1 AM and not get evicted?” 3. “What is it about huge production that neuters most bands but makes Randy sound as big as three bands playing all at once hooked into a speaker stack as tall as the Mount Rushmore?” Anyhow, one of my favorite bands has released another record that came with a little tube of superglue. It’ll take quite a bit to pry it off my player. I don’t want to compare them to any contemporaries. Randy’s just great rock’n’roll, firmly rooted in punk that isn’t afraid to stretch back to Chuck Berry, occasionally siphon Queen, and is unafraid to be campy once in awhile. Once again, they’ve come out with a clutch of heartfelt, smart, and witty songs that leave me giving thanks. –todd (Fat)

Randy the Band: CD
Fuck! My wife already hates that one room in our house is overflowing with records and CDs. So the last thing I need is another band to add to the collection. But no matter how many thrash shows I go to, I am a sucker for the melodic. I resisted this band even though others at Razorcake threw around accolades for this band. They even went on to put them on the cover of issue twenty and made them the featured interview. But, I stayed away partly because their releases never trickled down to me or I never remembered to check them out. But the mighty people at Fat knew that they would be a great addition, even though they were a subtraction from Epitaph. So, with my hesitation still in mind, I pop the shiny disc into the computer and decide to check out the videos first. Let’s see if I like this band with a little visual stimulation: hooked like a catfish with a designer lure. Three videos, one from the current release and two from the Welfare Problems LP. All three were excellent. Now I was ready to dive into the music. I listened all the way through without once pushing the fast forward button. This band has a real talent of not writing the same song twice. It’s recorded with a great production but does not come off as squeaky clean. There is that underlying dirtiness to their songs that permeates through. It is the punch that makes the music feel alive and not sterile. The vocal interplay and harmonies are the bar raisers here and is the magic dust that makes you enjoy listening. I am giddy listening to this. Next in line is to fill out the collection with their entire catalog. –don (Fat)

Spirit Of Desire: CDEP
Swampy, messy garage rock from Finland. Maybe you’ve heard this before but not quite in this fashion. Title track sports some sax honking that Steve MacKay would approve of. “Feather” is a cool, driving track that ends with some cool guitar riffing. I would like to tell you more about these mysterious layabouts but their record site offers up precious few details and their band website has disintegrated into the ether. But if you approve of a band that would have a song on their record called “Satan’s Piss,” then more than likely you will dig Radar Station’s pulses as they tap into your subconscious. –koepenick (Wanton)

Maximum S&M: CD
Revved-up Swedish alchemists combining Motörhead with Fuck the System-era Exploited and some of the manic mental instability of Henry Fiat’s Open Sore added in for good measure. At times, it even sounds a bit like the faster, earlier Turbonegro, back before Death Punk died. Turds a-flyin’, nut flapping, high-speed fun where all the songs sounding the same is definitely a good thing. Mixed by Frank E. Male of HFOS, so you know it’ll curl your nosehairs.  –aphid (Rock Star)

Self-titled: CD
I’m not quite sure how to classify this. I mean, is anything still allowed to be straight up indie pop anymore? If it is, then that is what Pink Black is. The music is complicated but not overpowering. It damn near forces you to move back and forth. The best part of this, though, is the vocals. Sweet and powerful, she comes across in much the same was as Allison from Discount (although the two bands are quite different). I liked this a lot, but not as much as Elise did. I have a feeling this will be a car disc for some time. –ty (New Disorder)

The Essential Pansy Division: CD
Are you like me? Were you thinking this disc was just gonna be “Two Way Ass?” Okay, seriously… Pansy Division were some of my favorite (metaphorical!) whipping boys in the ‘90s, and i don’t completely remember what the crux of the beef was, but i know it had something to do with them “not rocking.” It was just like they would go out on stage and be like “Oh my god, WE’RE GAY!” and people were like “OH MY GOD, THEY’RE GAY!!! THIS IS THE CRAZIEST, MOST OUTRAGEOUS THING EVER!!!” I dunno. I didn’t get it. Why is their being gay so fucking amazing??? Like, what, no one’s ever seen a gay dude before? What the fuck are they, martians? It just seemed to me that they skated on a bunch of stuff (like their cover of the Undertones “Male Model”—my band at the time had covered [and released] said song, and we always had problems getting the four measures at the end right [NeeNeeNuhNuhNuhNuhNahNah, DeeDeeNuhNuhNuhNuhNahNah, ReeNeeNuhNuhNuhNuhNahNah, DeeDeeDoDoDuhDuhDahDuh DUNT! …that part]. So this Undertones tribute album comes out, and, no, my band isn’t on it, but here’s Pansy Division doing our Undertones song, “Male Model!” We get the record and we put it on to hear how Pansy Division do that last four measures, because, if they really nail it, we’re gonna be totally humiliated that we got our asses kicked at an Undertones song by friggin’ Pansy Division, and it gets to the last four measures, and they just end the song cold—without ever even ATTEMPTING to play the hard part of the song! It was just like why bother attempting something challenging? Let’s just go “WE’RE GAY!” [“OH MY GAWD!!! THEY’RE GAY!!! THIS IS THE BEST UNDERTONES COVER EVER!!!”]). I’m sorry, but if mediocre pop punk about boys having sex with boys constitutes an unbelievably radical throttling of your pre-existing world views, you gotta get OUT more, friend (hey, i said “out!”). I mean, most of their gay shtick is about one level above fart jokes. It’s like a homosexual Beavis and Butt-head (actually, it isn’t: If Pansy Division were Beavis and Butthead, they’d raise their eyebrows and attempt to make lascivious comments every time somebody said “Butt” or “Head,” so, technically, Pansy Division are actually one brow LOWER than Beavis and Butt-Head. Amazing. Actually, i’m kind of jealous). I mean, what if the Mentors did “Alpine Skiing?” The only thing that would prevent a grand hue and cry from the feminist sector would be them deeming the band “too stupid” to bother with. BUT(T)! THAT SAID! Let the record show that, okay, i never actually sat and down and listened to a whole Pansy Division album before this. And i did not hate it. I kinda liked it, actually. It was oft-times funny and clever, with more trans-fart-joke content than i had historically given their work credit for. I think the problem isn’t so much that they don’t “rock” as that they’re simply not that good at playing pop punk (it’s a cunnilingus thing. You wouldn’t understand)—the non-pop punk songs on here are almost uniformly GREAT (“No Protection” is an excellent dance tune, and the inbred country twang of “He Whipped My Ass In Tennis (Then I Fucked His Ass In Bed)” brings to mind visions of a gay Dr. Frank [wait, are you telling me Dr. Frank is straight?]). And, of course, once i beheld the majesty of the “Bad Boyfriend” video—stuffed animals dancing in front of a record cover (sure, it doesn’t sound funny now, but wait ‘til the horns come in)—i capitulated to their savoir faire. AAAAand then the next video showed dudes with tattoos giving each other head and i was out of there (memo to self: Collect Nob Dylan money from A/T before next lawsuit). BEST SONG: “Luv Luv Luv” BEST SONG TITLE: “He Whipped My Ass In Tennis (Then I Fucked His Ass In Bed)” FANTASTIC AMAZING TRIVIA FACT: I think the cutest member is the bass player –norb (Alternative Tentacles)

Tragic Endings: CD
Some pretty standard, by-the-numbers youth crew hardcore. Sounds like a mix of most of the bands on Deathwish and Bridge 9. To their credit at least most of the songs are actually fast, but this just ain’t my cuppa ‘core. –frame (Thorp)

Secret Revolution: CD
Few things are more annoying than picking up a CD that purports to be “all things weird” and invokes the names Butthole Surfers and Sonic Youth but what comes out of your speakers when you plop it in sounds just like any other alt-rock combo. Hell, I could’ve been framing my cuticles or something with the time I wasted listening to this. –jimmy (Worldeater)

Cool and Unusual Punishment b/w Civil Defense: 7”
The eleventh installment of a twelve-part series, it took eleven months for a dim bulb to light above my head. What NOFX have essentially done is record an album and a half—all the hits, misses, mistakes, and gems—and trickled them out in year’s worth of 7”s instead of releasing them all in one big chunk. In the process, they got me to review each song individually. This one’s really good. Side A’s about a Japanese sex club (that involves sadomasochism and other things concerning genitalia, hair pulling, and wax). (NOFX really should make an instructional sex video.) The B side is an FU’s cover. Hard to go wrong with that. (I’d love to hear a NOFX 7” EP of RKL covers.) –todd (Fat)

Invencível: CD
Some most excellent Brazilian hardcore here—fast but not to the point of silliness, angry but intelligible, with lyrics that take a revolutionary stance against the failings of the modern world without sounding preachy. You gotta love it, man. This easily earns a place of honor on Jimmy’s “January 2006 cool-as-fuck releases” list –jimmy (Refuse)

A Spirit Filled Revolution: CD & Book
Saw an interview with the singer of this band in a recent issue of Last Words, and he came across as totally genuine and totally on fire about the band and what they were trying to do. That same intensity translates onto this record; taking the foundations of melody that “melodic hardcore” bands like Boy Sets Fire laid down in the late ‘90s and expanding on it with a direct, furious, and hopeful political approach, New Winds comes across exactly as what they are: an über-serious Portuguese straightedge band. Song topics are broad, and the songs are, thankfully, diverse enough to be able to discern from each other—they’ve obviously worked on allowing every instrument to carry equal weight in these tunes. Not only that, they’ve thrown the entire “bass—drums—guitar” regiment out the window by occasionally including stuff like didgeridoo, cello, and sitar on a few of the tracks. There are moments where the vocals (again, think Boy Sets Fire) were a little too sweet for me, a little too sung, and I really could’ve done without the last tune’s overladen use of the aforementioned sitar, but as a whole, New Winds has put out an album full to the brim with a well-thought and pointed rage. There’s a distinct sense that every element of every song is there for a reason—this is not one of those records where the band made some minor mistakes in the studio but decided to just stick with the take anyway. To top it off, what they’ve done in lieu of including a lyric booklet is to include an entire fucking 170-page book, complete with song lyrics and lengthy explanations, as well as tons and tons of writings from contributors and pages of contact information and resources (web and print) that people can check out if they find something that strikes a chord with them. Projects like this are amazing to me—the layout is rock-solid, the care is evident, and they’re covering everything from profiling specific political prisoners to tackling the rough topic of Palestine, to straightedge as an individual choice, to punk being about resistance in one form or another rather than seeing who has the sweeter patch on their butt-flap. Have we heard it all before, in one form or another? Yeah, sure. Do we ever need to stop hearing about it? I don’t think so; we need to be reminded sometimes of what we’re capable of, as punks and as people. We need to work on constantly redefining ourselves and our intentions, and a package like this can undoubtedly serve as a catalyst to that for some people. And if the music isn’t entirely my bag (and while it’s definitely great for its genre, it’s not a type of music I’m particularly interested in), New Winds deserves an ardent “thank you” for investing so much effort into this release, and the label for having the willingness to put it out. –keith (Refuse)

Self-titled: 12” EP
Hmmmm. I still don’t know if this thing has an actual title or not, and at first glance there are three distinct possibilities regarding what the name of the label might be. The music backs up that confusion. An included review describes the New Thrill Parade as “curious cacophony,” and that would be an accurate summation. It’s extremely experimental, and often it’s hard to offer something truly compelling in such modes (and difficult to describe it, so I offer my apologies). This would say that this record is interesting; I didn’t get sick of it at all, but nor would it be one that I would reach for when I didn’t know what else to listen to. I suspect that live would be the preferable means of appreciating this, because start to finish it sounds like the recording of a performance art piece. –Guest Contributor (Mountain Landis)

Transmit! Transmit!: CD
There’s an element in here that I can’t identify just yet. I hate to throw a bunch of band comparisons at a band I actually enjoy and encourage people to seek out since it’s a really lazy way out but... Avail is in here, The Arrivals, Hot Water Music, Dillinger Four, and even Randy. I imagine a lot of people have been sold right there... but there’s something else I can’t put my finger on. Could be one of the bands these gents are/were in, including Mid Carson July, Grey AM, and The Holy Mountain but I haven’t actually heard any of them to my recollection so I can’t say. It’s a good element though; feels a little like a band or two from Chicago... Maybe you’ll figure it out. –Guest Contributor (Kiss Of Death)

Sexy & Mysterious: CD
Uh, with regards to the song “I Killed Kennedy,” to which Kennedy do you refer? By the looks of you lot, the oldest one of you were at best burping up Enfamil when Bobby was still breathing, and Teddy’s still very much alive, as are TV goddess Jayne Kennedy and Penitentiary star Leon Isaac Kennedy. Last I checked, MTV host Kennedy had a pulse, although her career definitely seems moribund these days. In short, I’m perplexed and more than a little annoyed. Oh, and the whole “France’s answer to the Briefs” shtick ain’t cuttin’ it either, kids. –jimmy (Lollipop)

Gleichschritt: CD
Clunk! My jaw hits the floor. This a first release? Man, this band is one mean-ass fucker. Dark, German, bottom-heavy black metal that veers into grindcore. Lyrics sung in German with provided English translations shows that this band is a notch above the norm. The lyrics are more in the style of crust with their socio-political lyrics. The lyrical writing style is similar to Discharge with the way they phrase their lyrics. I saw a really bad black metal band this weekend and it seemed like all their songs were over five minutes. It was draining getting through their set. This band barely clocks any of their songs over three minutes. That’s just about right. It’s not a chore getting through this full length. –don (Crimes Against Humanity)

The Punk Terrorist Anthology Vol. 1: CD
I really don’t remember too much about this band. I know there were two bands with the name Nausea around the same period of the late ‘80s to early ‘90s. This was the East Coast band that had more notoriety and the other was based around Los Angeles. I know I have the Lie Cycle 7” but it has to be over ten years since I listened to that. I guess it didn’t grab me on the first listen and got filed away. But after all this time, this does sound good to me: early crust that is heavily influenced by the Amebix. It’s uncanny how much they sound like the Amebix on many of the songs. The additional female singer does change things up. Musically, they are interesting and shows that you can have musical abilities and still play punk. The songs are dark and ominous yet delivered with a precise dirge. The guitars are the centerpiece of the audio image. The drums slap back and forth with a rhythmic, driving force while the bass holds together the mood. No wonder I see so many patches of this band all around. I guess I just wasn’t attentive enough to get it the first time. –don (Alternative Tentacles)

Drunk Mambo Outtakes: 7”
Not to be confused with the old San Francisco band, these Mutants hailed from Finland and apparently specialized in organ-and-sax-fueled surf instrumental type stuff. They weren’t bad at what they did, either. –jimmy (Wanton)

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