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Drugs Dragons start quick and fuck you up hard, but then they leave ya with a long comedown. Not a bad life-questioning comedown. Rather, you get stuck with glimpses of your previous heights, and false signals of their return. Until you realize that you aren’t getting back where you want, and the feeling dissipates into nothing. And in the aftermath, you wonder if you pumped it up more than it pumped you up. In other words, II & I/II begins with this big psychedelic garage ripper, replete with snarled vox buried and blended, that just won’t quit; literally, there were several parts where you thought it was the end of the ride, but then they take ya for another worthwhile spin. Once the first track finally relinquishes its last breath, Drugs Dragons charge into a march on a psychedelic spiral. The spiral continues, feeling as though you’re moving neither up nor down, yet the ride is thoroughly grand. But then it descends furiously until burns out. Next up is a wild and danceable blast, but it sounds pretty accessible after what was just put forth. After that, kinda felt like the jams were being unenthusiastically spewed out more than kicked out. The rest of the album nonetheless maintains aspects of the big start, and doesn’t whimper as such, but it didn’t go out with its bang.  –Vincent Battilana (Dusty Medical)

Humanity Will Fall / Devastation: CD
I initially heard Dot Dash! a few years ago when they were on a nifty split 10” with Ultraman. Now their first two albums are compiled on one handy CD, for those not in a hunting mood. Dot Dash! sing in English, but hail from France. They sound like a happier, more accessible version of Samiam. This is a real treat for fans of earnest, emo-ish pop, which— judging by my nonstop swaying—, includes me. Dash to your local record store and look for Dot Dash!  –Art Ettinger (Dashrok Zound)

Ladies Choice: 7”
Dirty Fences are a band I’ve heard about for some time, but never really checked out. My loss, since this single is great. “Say You Love Me” is a hit. Glam garage from NYC that’s done well. Lots of grit and proper attitude with these cats. Poppy, with dirtbag swagger, recorded by Miss Alex White. A fine crunch of a record, courtesy of Warren Bailey’s Oops Baby Records. Some labels chug out releases you can trust, and this powerhouse mostly-singles label falls into that category.  –Steve Adamyk (Oops Baby)

Split: LP
Digital Leather: Minimalist synth stuff—sludgy, bee-buzz bass lines and an overall gloomy, depressed vibe. The Hussy: Synth-drenched mid-tempo punk with a much brighter vibe than their recordmates.  –jimmy (Southpaw)

Self-titled: Box Set
This is a three-piece vinyl box set by a Boston band that shed its skin from record to record. A brief history of the band: Record one was recorded in 1983 and has been expanded to seven songs from the unauthorized bootleg release that made the rounds online. It’s crisp and clear now since it was remixed by ace Don Zientara in 2013. Record two first came out as a cassette release in 1987 in a limited run. The band went under the alias of The Loved Ones (sort of like Angry Samoans with Queer Pills) and changed gears a bit to more of a psychedelic ‘70s punk angle. Mostly just distributed in the Boston area at that point, most everyone who got a copy knew it was still Deathwish. Record three was recorded one year earlier, but wasn’t finished until 1995. Bassist Jordan Wood (Slapshot) plays on one song and bassist Pat Leonard (Moving Targets) is featured on the other. So drop the pencil, the pop quiz will be later. The music on this box set requires a dissection. Record one is a furious blast of hardcore from its time. Think Jerry’s Kids jamming with Minor Threat. “Condemned for Life” and “Backstab” will benefit from high volume on your turntable. Once your ears stop ringing, file this next to the first Gang Green record in your collection. Record two is a different animal. What if The Dictators made a record with Stiv Bators, David Johansen, and Nick Marsh (Flesh For Lulu) as guest singers? This would have come pretty damn close. “Minnesota Strip” is my favorite here, but “Back of the Bus” sports some Dag Nasty-ish guitar riffage that will keep the punters smiling. Finally, record three. Only two songs. “What We’ve Got” is a studio version of what was normally an instrumental show opener for the band. “Young and Undefined” features Leonard’s fluid bass playing to great effect. The only way to get this is direct from the label’s site and then play it loud.  –koepenick (Disclaim)

Untitled: 7”EP
Hypnotic instrumental tracks, volatile melodies, and ample crash and splash in the drum department. If El Ten Eleven is the electronic tinkles of a new spaceship, and Explosions In The Sky is a crash-landed spaceship from ancient civilizations, then Death To Tyrants is the dudes who tried to make the spaceship out of a pickup truck, rubber bands, and hot toddies: big, bone-warming earth rock with a bit of that aerial zoominess that at least I associate with vocal-free instrument-driven groups. Comes with a digital download so you can listen to this fine shit while you walk around in that white snowy ambiance.  –Jim Joyce (Tor Johnson)

Faker: LP
Beefed-up post-punk in the vein of Joy Division or early Swans. They do what all good post-punk bands do: create a sense of openness and space within their music that allows the listener to fall into the vast soundscape. As always, the heavier songs are my favorite. There’s a good balance, too, because bands can sometimes lean too far in the direction of slower songs. This record did not put me to sleep, and that’s a great thing. Grade: B+.  –Bryan Static (12XU)

Greco’s Back: CD
The Greco in question is Ron Greco, aka “Ron the Ripper” of full-tenured SF punk legends Crime. These seven songs do have a bit of that darkly shambolic Crime-y feel to them, but were also reminding me of The Gun Club, if Jeffrey Lee Pierce’s Delta Blues leanings would have been erased and replaced with a more San Francisco-y vibe. These recordings have a sparsely-twiddled demo quality to them, which works against them in matters of providing transcendent moments of refined excellence, but works in their favor as regards projecting creator intimacy. Traders in black fabric dye futures take note and plan accordingly. BEST SONG: “Rebel House Girl.” BEST SONG TITLE: “Hey Gene.” FANTASTIC AMAZING TRIVIA FACT: Lyrics and liner notes make reference to—and misspell—Kezar Stadium, former home of the San Francisco 49ers, and, briefly, the Oakland Raiders.  –norb (Rebel House)

“The Scandalizer” b / w “Drive Me Crazy”: 7”
This is a bit of an unusual reissue from 1981. The folks on here are related to The Penetrators, who released both of these tracks (on a record Slovenly recently reissued), although neither seem to have any other solo releases. The fact that it is an unusual choice for a reissue, however, does not make it a bad choice. Beyond that, who doesn’t like a 7” stuffed full of swingin’ sounds? “The Scandalizer” is a rhythm and blues rock’n’roller, wherein the dude screams about how he’s “the best around.” Sounds like it could have been sitting on a shelf for about twenty-five years before its initial release. The flip features a raw and catchy garage punk number with yelled female vocals over the top. Definitely worth looking up, especially for the backside.  –Vincent Battilana (Windian)

Button by Button: LP
Hoarders of vinyl and purveyors of tropes and idioms, Cozy deliver dork anthems of shoulder-shaking insouciance patterned after early ‘70s glam rock ((band members are named “Bonkers Waddington,” “Baz Bosworthy,” “Gordie Leatherby” and “Fabian Blockbuster,” if that tells you anything)) but coming across as more of a mash-up between AC/DC and the Rubinoos than anything else. When these clever lads have it all clickin’, they’re pretty formidable, but I don’t think the Charlie-Watts-style behind-the-beat drumming always works in their favor. Wrong trope, Fabian! Surely singing the falsetto part to “Pure Lady” must have been a special time in that young man’s life. Carry on. BEST SONG: “Button by Button.” BEST SONG TITLE: “Denim Dream.” FANTASTIC AMAZING TRIVIA FACT: The only other album cover I can remember that has the band photos printed in brown was Vern Nussbaum’s immortal The Boogie Man LP circa 1975, so buy with confidence.  –norb (Hozac)

Report: CD
The Copyrights propagated a style of pop punk before the market became saturated. Because of the many imitators since, they can sound derivative. It’s hard for me to fully enjoy this album because it reminds me so much of high school. However, once past the, at times, slightly juvenile and repetitivehooks, there are some amusingly clever lyrics—something that never fails to delight me. “I’m throwing nickels at my student loans / and they haven’t made a dent” is a sentiment relatable to any college student or graduate. “The New Frontier” is a musical ode to the works of Steinbeck. And the simple, but honest, lines, “I wouldn’t change it if I could / But that’s easy to say / I can’t change it anyway,” from “This World Is Such a Drag” are a perfect summation of my current outlook towards my dead end job and overwhelming school load. All this, wrapped in a pop punk package, make for an easily digestible—if saccharine—listening experience.  –Ashley (Red Scare)

Homme Sauvage: 7”single
Absolute killer single here! Contingent are an old band from Brussels who existed from 1979 to 1981, released one single, then recorded the two songs on here, and promptly split up before this was even released (which took over thirty years to happen). But at least it happened, and thank fuck that it did. These songs are great. Catchy without being wimpy or sappy, shot through with urgency and wound up tight. My favorite of the two is the flipside, “Vivons Tres Vite.” It comes on with some scratchy “chika-chicka” guitar with a stabbing downstroke which comes in every couple seconds that immediately has the energy at a simmer. The vocals are delivered in an excited manner and sometimes he hangs on the end of a word for effect. The beat is catchy as hell, and, as the song goes along, the energy picks up and up. It’s songs like this that remind me of what made/makes punk awesome. If you like bands like No Hope For The Kids, or the Vicious, then you will want to seek this one out.  –Matt Average (Danger)

Disarm: 7” EP
Out of Detroit comes this fast, radical hardcore that defies the easy categorization of anarcho. Collapse is solid crust, dishing up plenty of breakdowns and blast beats, but veiled in a stoner fog that avoids cliché and approaches the forest-moss darkness of Thou or Cloud Rat. There’s even a song called “My Little Droney,” betraying their love of drone. Yet there’s too much of a message to risk getting lost in unintelligible bellowing. Their vocalist Ashleigh brings to mind the formidable Mia Zapata of the Gits and Jen Thorpe of Submission Hold, emoting each word with the weight of a manifesto. “Fuck You I’m Done” brings to mind early Black Flag but with a riot grrrl’s laser focus on the political implications of household items: “I took out the trash / I brought in the mail / Sit, watch the world / From my TV.” Feminist sentiment is strong throughout. “Left” is the most Submission Hold-ish track, shifting on a pin from lumbering stoner drag-step into a rolling, tribal metal rhythm with impassioned war cries layered over the doom. There is room for growth sonically. At times, Ashleigh chants in her own world and the rest of the band is in a manic sprint to keep up with her. But if the soul of anarcho is the message, Disarm succeeds in getting that across: question everything, from the coffee cup on your desk to cops in the street. In the spirit of Crass, each member of Collapse walks the radical path that they’re spitting about. Every component of this release was handmade with care, from its spray-painted and etched jewel case, to the zine-style typewriter text lyric sheet and a personalized letter to “the good people of Razorcake” enclosed. This is a band that wants an individual, reciprocal connection to their fans, and they’re earning it.  –Claire Palermo (Self-released)

“Understand Me?” b/w “Rise Above”: 7”
The word “Ramone” has to be enough to open more than a few doors for anyone who legitimately holds that moniker. Such a person certainly deserves a level of respect for having performed in one of the greatest bands ever. As such, I am intrigued when new musical ventures are attempted by a former Ramone, approaching them with higher expectations than I would many other artists’ new work. At this stage I must admit this is an almost total rewrite of my first version this review I initially felt the 7” was lackluster and insipid, comparing it to a two-week-old lettuce discovered in the fridge. (My first attempt at reviewing this was written on 8thOctober 2014, which coincidentally is CJ’s birthday as well as being the twenty fifth anniversary of me last seeing the Ramones and the only time I saw the band with him on bass.) However, with repeated plays the lead track slowly began to grow on me. There’s no denying that this has some Ramones influences heard in both the guitars and some of the vocals. It’s a catchy number—albeit one which is fairly predictable in terms of chord progressions and song structure—but eventually it found a modicum of favor from my overly picky brain. I can’t be anywhere near so forgiving with the flipside though, despite the involvement of Dez Cadena on guitar and backing vocals. Black Flag’s original “Rise Above” had grit and bile oozing from every crevice, resulting in a track that, to this day, still makes my hairs stand on end. This cover drops all of those qualities and offers nothing more than a bland rendition of a true classic.  –Rich Cocksedge (Fat Wreck)

Teenage Retirement: LP/CD
Chumped’s first release featured half a dozen tracks of hook-laden pop punk structured to cater for a loose and energetic delivery, which worked favorably for the band. The band’s debut album contains twice as many songs but I would be hard pressed to exclusively use the term pop punk this time around as Chumped have added an edge of something verging on introspection to its music. There is less of an emphasis on the raucous and more of an equal footing for a melancholic approach, found both in the lyrics but more noticeably in the music. That switch is evident in the first four tracks with the first two providing a gradual stepping stone up to the more hectic “Coffee” before leading into “Novella Ella Ella Eh” where the foot is put firmly to the floor. As the album reaches a close, that foot eases off the pedal, resulting in a final pair of tracks, “The Pains of Being …” and “Old and Tired” which lead Teenage Retirement into a relatively somber end. One of many positives on this album is its recording, which retains the same carefree quality of its predecessor, helping the songs breathe and not be compressed into a lifeless entity. The versatility shown by Chumped makes it stand out as a band worth keeping track of in the future. –Rich Cocksedge (Anchorless)

All Anxious, All the Time: CD
Punk historians, take note that the aesthetic of this CD is the total embodiment of DIY self-promotion circa ten years ago. I’m talking printed paper label, WordArt drop shadows, photo collage of the band members for the insert. I swear that’s not a cheap shot—I just haven’t seen a new release like this since 2004, when they all looked just like this. Anyway, this is some heavily Costello-influenced power pop, mixed in with some New York Dolls and roughed up with a little Replacements grit. Apparently this is a long-distance project, meaning these ten songswere recorded across the span of three years and five states. I respect the perseverance it takes to keep a band from fading out under that kind of pressure, but it always seems to come at a cost. Everything sounds flattened out and forced together, and somehow it’s all too apparent that these guys probably haven’t played in the same room for years. It’s missing the kind of energy you really need to put the power in the pop, you know what I mean?  –Indiana Laub (Cassettes On Record)

Quitting: LP
“Bloom Brigade” and “Softie” come halfway through Quitting and catch Cassilis’s skill for blending the all-instrument-as-percussion of hardcore with surprising melodies, like the latter song’s ostinado, just a nice angry couple of notes on repeat from fifteen seconds in and onward—it carries along, then second twenty-two hits and the whole band locks into that riff and doesn’t let go. We need more adjectives that combine the sensation of beauty and trouble. On the sleeve of the LP, a picture of a toilet filling with piss, framed by sparkling water, framed by outer space: all those pretty sharp edges, and in the center, splish splash urine bash in the punk house bathroom. Is everything a metaphor? It can be. If Cassilis’s 2011 album, My Colors, was rough edged and powerful stone then Quitting is ruthless, muscular, and sharper than the older work; quicker angles and better everything this time around.  –Jim Joyce (Zegema Beach, zegemabeachrecords.com / Square Of Opposition, squareofopposition.com / The Ghost Is Clear, theghostisclearrecords.com / Black Lake, blacklakerecords.net)

Self-titled: LP
Orlando, Florida’s Caffiends rip and roar through this pop punk, mayhem-praising release. I love the sound of this record and look forward to learning more about the band. Want to know what it sounds like? Imagine that you felt uneasy listening to one of your favorite bands, an American punk staple, because the legendary lead singer can be seen punching a female fan in the face on Youtube. Let’s say you still love their music and its playfulness and all that it represents, but, you know, punching your fans is for MTV, rock-god douchebaggery, not punks. Then, you put on the Caffiends and the sound is familiar but, as far as you know, no one was punched in the face to make this good shit happen. Perhaps that was a long walk for a short trip. In short: Caffiends rule. Check them out.  –John Mule (Brassneck, brassneckrecords.bigcartel.com / Chisel, chiselrecords.com / Jolly Ronnie, jollyronnierecords.com / Swamp Cabbage, swampcabbagerecords.com)

The Way: CD
I’ve adored this band from the first time I heard their Singles Going Steady album some thirty-odd years ago, so bearing that in mind, to my total geek-fan mind there are three Buzzcocks eras: 1) their “classic” period which begins with Spiral Scratch and ends with Trade Test Transmissions; 2) Modern, easily their nadir; and 3) their “second wind” period of their most recent three albums, including the one currently under discussion. The songs here are solid meat ‘n’ potatoes work for these cats—nothing will send the listener’s jaw bouncing off the floor in wide-eyed wonder the way “What Do I Get” or “I Believe” once did, but they’re handily working at levels well above the average gaggle of punters. Shelley and Diggle split songwriting evenly down the middle this time ‘round, with five apiece, and both allow themselves to experiment a bit within the parameters of the band’s sonic palette. Shelley’s vocals may be a bit gruffer than usual, no doubt the wear of years of hollering and emoting, but his delivery remains as strong as ever.  –jimmy (Buzzcocks)

Culture Demanufacturer: LP
Buck Biloxi is home on Total Punk and Total Punk has a spokesman in Buck Biloxi. Take a listen to these songs and look at the packaging. This record has a more street level assault feel than the Fucks’ debut LP (a most powerful record by all means.) Home-fi by necessity, but a sonic force when seen live. Buck Biloxi is no joke!  –Sal Lucci (Total Punk)

Napalm Zeppelin Raids: EP
Right fuckin’ here is a record that you need to run out and get. Or make your fingers do that tappy tap dance across your keyboard or mobile device and order this righteous black slab and have it sent direct to your turntable. Many have tried and most have failed, but Brody’s Militia have successfully blended thrashy hardcore with a more hard rocking edge. It’s like it was their secret weapon and they’ve been waiting some time to unleash it on the unsuspecting masses. This opens up with the skull-jarring thrash of “Toothless Skull” and then, suddenly, there’s this catchy-as-hell riff that catches you unprepared—but it’s so good and executed with precision—you go with it, and the songs and the rock just keep getting better and more dominant as the record plays. Hit the second side, and the Southern-fried rock seasonings really come to the fore, and yet the lyrical content is very much on the hardcore punk side with its straight-to-the-point attacks on a vapid world. “Sheep Fucking in the Heartland” and “Dumbfuck Fanfare” kill! The guitar tone is nasty, and the delivery has the finesse of a blunt instrument to the skull. I’m really hoping there’s more to come from these guys. Continue down this path, please!  –Matt Average (SPHC)

Blowhard Deluxe: LP
I love the slurry and swinging tracks on Blowhard Deluxe. This album is grimier than Magic Hour, a bit less pop bop-your-head wild than Big Deal. A bit of The Mummies, a bit Alex Chilton torn free from the Box Tops and Big Star. Blowhard Deluxe is heavy on the spooky blues reverb and rocker’s drawl, which I hear can be achieved only through a devotion to Lone Star lager; monastic study of the works of Faulkner, Hannah, and O’Connor; or eating an Elvis Presley Rose from the highest point of Graceland. And yet they are from Nebraska. Who can say which is true Brimstone Howl? In any case, BlowhardDeluxe rocks with the bright guitars on “King of the Scene,” and rolls with mid-tempo thump of “Landlocked+Waylaid.” This album is a more patient, plodding, and steady than the others, but it’s a keeper. Check out their bandcamp for a free download of “Singles Collection,” also great.  –Jim Joyce (Dead Beat)

Ruin Creek: LP
Apparently, this is the third solo LP from an ex-Plow United member. The pretentious one sheet takes note of the amount of ex punk band members going acoustic and makes sure the reviewer knows that this individual is not that. He moved to the mountains and immersed himself in American folk tradition. Too bad that did not include learning how to write a decent song. This is an entire album of overwrought vocals, uninteresting melodies, and ham-fisted lyrics. I continually find myself wondering how Drag The River can be such a phenomenal band and the rest of the “Punk dude goes acoustic” stuff is so not good.  –frame (Creep)

True Crime: 7” EP
In a lot of ways, hardcore has become as entrenched a style as disco—form over substance, quality, or innovation—and the response from its staunchest proponents is often to hurl abuse and contempt at any band that has the temerity to fuck with the formula. Some of the swellest stuff to come out of that scene, however—Black Flag, Die Kreuzen, Big Black, Criminal Code, Butthole Surfers, Bill Bondsmen, Fugazi, and so on—liberally pissed in the gene pool with often stunning results. That said, there’s some nice thinking outside the box going on here. Although firmly within the hardcore camp, Breakout amalgamates the mid-tempo, primal yet oddly accessible qualities of Europe’s punk/hardcore tradition with Midwestern U.S. sensibilities and a gruff howl reminiscent of Out Cold’s Mark Sheehan into five potent, succinct blasts. Derivative? Sure, but the way they mix things up, and the way they own the sound makes ‘em stand out from the pack.  –jimmy (Grave Mistake)

Demo 2013: 7”
This is a recognizable Bloated Kat release upon first listen. Intentionally progressive, the label prioritizes female and/or queer musicians at the front of their acts, and also promotes flyover country punks not hailing from the coastal behemoths of Los Angeles or New York. Bloated Kat has a tightly honed brand, and Boys are right on it, but pleasantly so. Hailing from Cincinnati, Ohio, Boys serves up guitar-propelled bubblegum pop punk along the lines of labelmates Lipstick Homicide and Jabber. None of these bands exist to make groundbreaking, innovative records, but they’re all tireless ambassadors for the art of making one’s own fun. Maura Weaver of the now-defunct Mixtapes contributes strong, sweet vocals with a ‘90s alternative pop edge, displaying a slight homage to Liz Phair or even Alanis. Relatable lyrics speak of suburban disillusionment with the predictability of daily life and the awkwardness of forging relationships. “Long Walk” is my favorite track, as the heaviest and most vulnerable, with a moody, contemplative slowdown that sweeps in at the minute-thirty mark. The production is DIY-rough, in a warm living room way. In “Sundae Skool” I hear a nod to Bratmobile and similar pop-driven riot grrrl, but also a slide into hardcore with a no-holds-barred acceleration at the end. It’s easy to know what to expect from Bloated Kat—and therefore from Boys—but that also guarantees quality music that facilitates a good time.  –Claire Palermo (Bloated Kat)

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