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Record Reviews

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Below are some recently posted reviews.

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ANTI-PASTI:
The Last Call: CD
This is a reissue of this UK punk band’s first album, with requisite singles, live tracks, and alternate takes added on for good measure. A bit of an anomaly on the UK political punk scene at the time, Anti-Pasti played at a considerably slower pace and with less histrionics than many of their contemporaries, but they did seethe with a righteous anger, and had an uncanny knack for finding a groove in the simplest of riffs and milking it for all it’s worth. The album itself is quite good, but the real treat here are the extras, which include the classic “No Government” and “Six Guns” singles tracks and the live cuts recorded on the “Apocalypse” tour. –jimmy (Captain Oi)


ANTIGAMA:
Discomfort: CD
I asked the Missus to hit play on the CD player and initially thought the noise I heard was a garbage truck emptying the dumpster behind our apartment—lots of rumbling, some sort of industrial motor screeching and chugging. But it was Thursday, and our trash gets picked up on Tuesday. The noise I heard was actually the grinding, metallic sounds of Antigama. This stuff is brutal: gruff, guttural, distorted vocals that sound as if the singer’s vocal chords have been shredded with a weed whacker; mind-boggling time changes, starts and stops; frenzied drumming; violent, punishing riffage. Antigama go straight for your insides and rattle your core, sure to shake loose the shit from even the most constipated bowels. I can almost get into it when they find a groove, like on “Bloodmaker” and “Who Is My Enemy,” but the rest of it is completely lost on me. Great if you’re into this kinda thing. –benke (SelfMadeGod)


AMISH ARMADA:
Give Up: CD
Hard-rocking Christians are always a hoot. Few things jack the needle up on the old laff-o-meter like constipated religious folk doing the Satan Rock thing. Remember Stryper? Sweet Jesus, what’s funnier than a bunch of born-again Christians wrapped in tight spandex and playing hair metal? How about some Amish gentlemen casting aside their hoes and butter-churners and picking up electrical instruments to unleash an unholy sound that falls somewhere between Jesus Lizard and Fear? This is the Amish Armada’s second full length and I’m sure there will be those who will describe them as an Amish Gwar; and while that comparison isn’t totally without merit, it’s a tad superficial. I hear a myriad of influences here, everything from Mr. Bungle and the Dead Kennedys to Merle Travis. And when you add to that a crazed frontman with a mustacheless beard and a wide brim black hat who sounds like Lee Ving in his angrier days, you’ve got a wonderfully weird and potent mix. There’s just something about the notion of an Amish Lee Ving that puts a little hike in my giddup. I never imagined neo-Luddites could be this much fun. Eclectic, dastardly smart, and funnier than an Amish circle jerk, the Amish Armada are a swift kick in the britches and are worthy of much notoriety. If I only knew the secret Amish gang handshake, I would shake their hands heartily. Good stuff. Bring this disc to your next quilting bee. –aphid (Amish Armada)


ALTER BOYS:
The Exotic Sounds of: CD
Ignoring the fact that I know of at least two other punk bands that have used the exact name over the course of the last two decades and another twenty or so that have gone under the moniker “Altar Boys,” I gotta say that this whole “lounge group grasping for the nu-metal brass ring” thing is just not doin’ it for me. –jimmy (Fractured Transmitter)


ALMIGHTY LUMBERJACKS OF DEATH:
Always out of Control, But Never out of Beer: CD
The lyrics to “Where are We Now?” make me kinda wonder about where these guys are coming from, especially considering the “conservative” bent of some of their other lyrics. To wit: “The liberals say ‘Equality,’ but equality is a joke/Cuz they’ve got their hands around our necks and now we start to choke… The city hall is full of shit/and so are all the schools/and now we’re waiting for the day when once again we fuckin’ rule/gave ’em welfare, gave ’em jobs and tried to educate/a century after we freed the slaves all I see is hate.” I won’t even get into the blind rah-rah patriotism of “Soul of the Storm” or the hackneyed odes to drinking and having to work that abound on this “complete collection.” The almost totally illegible font they used for the booklet didn't help matters much, either. Musically they ain’t all that bad as far as modern American skinhead stuff goes (which I realize ain’t saying much considering their competition), but I don’t really see how what they do is fundamentally any different than your average modern country music concert, Fox newscast, or Clear Channel-sponsored flag-waving rally. Ultimately, the whole thing comes off as a not-too-funny joke, which I’m pretty sure wasn’t their intention. –jimmy (Disconnected)


ALMIGHTY DO ME A FAVOR:
Calibama b/w Hoke’s Bluff: 7”
One of my favorite memories in music last year was seeing the one-man-band Almighty Do Me A Favor play in a grocery center parking lot, bashing away while an upright citizen fed him a beer mid-song. It was fun. Much better than the schwangled hipster fest that was prancing by on the other side of the parking lot wall. What I wasn’t a hundred percent expecting was how good Bradley’d sound on vinyl. I mean, I knew I’d like it, but part of the charm of a one-man band is seeing all the limbs flailing, whacking all sorts of things, guitar strumming, harmonica honking, hootin’ and hollerin’. Almighty’s two songs sound like they’re being played in a loved house that is burning all around him and the only thing he can do is play. Playing somehow keeps the fire from consuming him. Both songs are, in turn, creaking and crackling; desperate and joyful; all-beautiful in an entrancing, now-destructive, now-redemptive way. It’s like the flames are on the final verge of no longer being controlled, of burning so hot that the only memories they will leave in their wake will be ash, so he’s got to dig deep to extinguish it. Not a bad feeling to get from two songs. I can see fans of Hasil Adkins and the Bassholes cottoning to this real easily. –todd (Kapow)


AGAINST ME!:
Sink, Florida, Sink b/w Unsubstantiated Rumors: 7"
For the fans: two alternate versions of songs from the Fat full-length. For the collectors: the cover is a die-cut demented piece of work. Imagine if you will: Gingerbread Man 1 appears to be hugging his counterpart, Gingerbread Man 2. As you begin to open the cover to get at the music, you see that GM 1 has actually punctured GM 2's stomach and that because of your meddling, his hand is prematurely pulled back revealing the large wound. As you open the cover further, GM 1's hand is released (you can see the 7" at this point) and out of the gaping hole of GM 2's stomach spews his candy guts, all over the place in a rainbow upheaval of epic piñata proportions. Fuck yeah. –mrz (No Idea)


AKIMBO:
Forging Steel and Laying Stone: CD
What we have here is thunderous, crusty metal that would seem more likely at home on Relapse Records then Alternative Tentacles. For fans of Unsane, High On Fire or Darkest Hour. –greg (Alternative Tentacles)


26:
The Messiah: CD
Wow. What a terrible record. Kind of like the Grateful Dead gone a bit metal with really awful, whiny-droning-nasal two-part vocal harmonies. Drove me batty. The music itself is okay at times, but it is too repetitive, and those vocals, THOSE VOCALS!!! ARRRGH! Oh, and regarding 26’s seeming hippy-dippy mentality, the record is replete with lyrics about our animal friends and worn-out clichéd tunes about the social injustice of the massacre at Wounded Knee. Don’t buy this record unless you’re into sado-masochism with hemp instead of leather. –Guest Contributor (Crustacean)


AGAINST ALL AUTHORITY/COMMON RIDER:
Split: CD
I might not be a huge, devoted fan of both bands, but I do own some 12"s, 7"s, and CDs of both bands. The Against All Authority stuff is pretty good. Makes one wonder what their upcoming full-length will be like. Still, their split benefit CD with the Criminals had better songs than the ones featured here. I hate to say it, but the Common Rider songs are horrible and you can totally tell these were outtakes—the songs too sucky to leave on Hopeless the full-length. It is nice to see Hopeless returning from the land of metal/emo and which-major-wants-to-buy-my-band-now music to do conventional punk once in a while though, like the good old days. –mrz (Hopeless)


ACTION SWINGERS:
Self-titled: CD
Trashy, sludgy gutter rock with big guitars and snarling vocals—what else would you expect from a band comprised of members of Unsane, Pussy Galore, Sonic Youth, and Chrome Cranks? As evidenced on this reissue of their first album, these guys took the best of ‘60s lo-fi, no wave, punk rock, and Stoogified rock’n’roll and just fucked ’em all up in the best of ways. This is definitely some mandatory listening for your next garden party. –jimmy (Reptilian)


ACTION SWINGERS:
Enough Already! Live!: LP
You know when you’re driving down the road, listening to the greatest mix tape ever made on the tape deck, windows down, enjoying the world and every single beautiful creature in it? Isn’t that a nice feeling? You know what happens when that feeling of content gets completely obliterated as soon as you reach that red light at a construction site; dust and smoke fly in your face and, no matter how loud you turn your speakers up, the sounds of drills and tractors completely overpower your glorious mix tape? This record is like that very construction zone. Nihilism’s overrated, and screaming about it will make nothing better. Can they grow a couple brain cells already? Can the bands grow even more? These types of albums must destroy any potential brain growth and activity. –Guest Contributor (Rockin’ Bones)


A-BOMB CHOP SHOP:
From the Coffin to the Rave: CD-R
We all know the staff of Razorcake does wonders, aesthetically and otherwise, within the constraints of a budget—I acknowledge this. However, it is at this juncture in time in which I would implore, plead, and beg Sean and Todd to at least consider the possibility of taking out health insurance policies on its reviewers. Because I am fucking dying here. This is sickeningly bad psychobilly pabulum of the lowest order. Never a genre known for its lyrical brilliance, this is still incredibly, nearly majestically stupid. In most cases, I would say, "Some lyrics or band information would have been nice." But not this time. Oh, and one more thing, Mr. Chop Shop, sir: if you're going to put an $8.95 price tag on the front of your album, please make certain the paper template you've pressed onto the cover of your CD-R doesn't show the lines from your laser printer. Doesn't look good at all, hoss. If you're gonna present something in a DIY but half-assed manner, I applaud you, but please price accordingly. If you're gonna charge some sap nine bucks for a shitty six-song EP, make sure said EP doesn't look like something my drunk little brother did in Photoshop while he should have been out buying me cigarettes. –keith (A-Bomb ChopShop)


ABI YOYOS:
This World Is Not My Home: 7”
I have the feeling that someone in the Abi Yoyos really likes the Minutemen and Nomeansno and are channeling them into the music without it bleeding directly into the notes. There’s a nice, anxious melody and approach that pervades all of the songs. It’s a curious, not-quite-syncopated bounce and a way to mesh quite a bit of experimentation and simultaneous approaches to a song without it sounding like chunks in musical throwup. I got that feeling the first time I heard the Ergs! The surface is one thing—they’re definitely a great first listen—but repeated listens are beginning to shower me with different-than-expected, hotter burning sparks. A pleasant surprise. –todd (Riisk)


A FRAMES, THE:
Black Forest: CD
Think of the Fall as a coin. If a band like the Country Teasers represents the funny, ironic side of the Fall, then the A Frames would be the dark, edgy, sardonic side. For a three-piece, the A Frames are amazingly tight; there’s a constant push-and-pull going on, with none of the instruments really taking center stage. I don’t really pay attention to trends in music, but it seems like bands that draw from late ‘70s British post-punk are getting a lot of hype these days, and I’d just like to say that the A Frames are too confrontational and noncommercial to be lumped in with all that shit. As an album, it’s a bit spotty but there’s some really great stuff on here and it’s worth picking up. –Josh (Sub Pop)


7 SHOT SCREAMERS:
Keep the Flame Alive: CD
Produced—horribly—by Levi Dexter, the immense sonic shrimpiness of these would-be punk/glam-informed rockabilly brigands is not at all helped by the fact that there's a chord progression in "Kickin Myself" that sounds like it was lifted directly from "Jumping Someone Else's Train" by The Cure—though this recording is so thin and ball-less it actually makes The Cure sound like a bunch of hairy, obese bikers in chrome helmets with spikes coming out of the top by comparison. One might be given pause to wonder whether or not the instruments the band is depicted with on the cover are mere props, and if the band actually recorded this disc with instruments constructed completely out of Saltine crackers—but, on the bright side, if you've ever wondered what "Born Too Loose" would've sounded like had the Dead Milkmen covered it, this might be as close as you need to get right here. Dudes: Levi's got a cool jacket and all, but the next time you guys go into the studio, you might wanna consider parking him down at the pub early on. Geez, i hope he at least kept his shirt on. BEST SONG: "Born Too Loose," duh. BEST SONG TITLE: "TV," although it is not the Rose Tattoo song of the same name FANTASTIC AMAZING TRIVIA FACT: I met Levi Dexter. –norb (Haunted Town)


4FODDER:
Memory Gag Radio Demo V.0.1a: CD-R
It’s a short list of things I won’t eat held up by a Triscuit, but I’ll be damned if I’ll swally this grunting North Dakota Southern Rock attempt to synthesize Nirvana and Hammerhead. I’d sooner eat my own ears. –Cuss Baxter (4fodder, www.4fodder.com)


400 BLOWS:
Angel: CD
New hard tightness from this LA band who also puts on some of the best shows I've seen lately. I've described them before as Black Flag Sabbath: heavy, heavy dark riffs, math beats, some fuzz through big amps—although no bass guitar—and higher vocals swimming over it all. Catchy quickness sharing time with moody sludge. Awesome. The Blows could appeal to metalheads but it’s also too confusing calculus (a la Ruins from Japan) for hessians. They've played with varied bands as The Fuse!, High On Fire, Fleshies, and The Locust. All makes sense to me. –mike (GSL)


BLOTTO!/ THE BECAUSE:
Split: 7”

One original and one cover by each Japanese band. Blotto!: I finally got to see these guys at a small house party during The Fest when they played a three-song set in the front room of a cabin in the woods to a small crowd wedged around a pool table, which took up most of the room. Amazing, amazing, amazing. Their cover is Chrimpshrine’s "Wake Up" and The Because do Jawbreaker’s "Do You Still Hate Me." The Because: my friend J has been going on about The Because since he came back from Japan, and now I know why. Sweet melodies offset by gravely vocals that works so well that they’ve just made the ranks of being one of my four favorite Japanese bands (Blotto! being another of the four). One of the best 7"s of the year.

–megan (Snuffy Smile)


BLOODY HOLLIES, THE:
If Footmen Tire You…: CD

They may be from Buffalo, New York, but The Bloody Hollies play revved up, southern blues infected punk. And it absolutely floors me. The first track, "Watch Your Head," opens with a few short chord bursts before drummer, Michael Argento, fires off three drum rolls with Gatling gun ferocity and the fiery gates of Hell open up. The conflagration continues to rage through "We’re So Anxious" and "Burning Heart," on which singer/guitarist Wesley Doyle’s slide guitar calls to mind a deal with the devil at a crossroads. Doyle wails and screams his vocals with dark, religious fervor, delivering lyrical gems like "You’re better off just to stay at home/You’re better off just to be alone/Murder on the rise/Livin’ those lies/Then it hits you right between the eyes" on the album’s stellar track, "Right Between the Eyes." A sinister, hypnotic undercurrent winds its way just beneath the surface of these songs, making it one of the most cohesive, affecting albums of the year. A must have.

–benke (Alive)


BLIND SHAKE, THE:
Rizzograph: CD

The key phrase here is AmRep. Coming out of Minneapolis (surprise, surprise), this three piece (two guitars—one normal and one baritone—and drums) is reminiscent of much of the material that came from the late, great noise rock label. The Jesus Lizard and Cows are two frequent names mentioned when it comes to the "sounds like" category with this band. The music is frantic and upbeat, exciting and fast-paced; even the infrequent thirty-second slowdown (does that count as a song?) is quickly forgotten, trashed by the forward-marching sounds of a bull-headed blitz of rock and roll. With twelve songs in about twenty minutes, that probably gives you a good idea of what you’re getting into with this release. Yeah, you guessed it: rock’n’roll fun.

–kurt (Learning Curve)


BLACK TIME:
New Vague Themes: 12” EP

I’ve liked Black Time since I got their first LP. I’m a fan of 1960s French master filmmaker Godard and dirtyshitty punk rock, so this band makes so much sense I feel like I’m reading a dictionary. Moody, static punk from the bottom of the ocean (In The Red is releasing their first album on CD) with as much thought as feedback. Inspiration from Euro-‘60s scene, but correcting what mods and emo got wrong. This one-sided five-song album is great but leaves you wanting more.

–mike (P. Trash, www.ptrashrecords.com)


BLACK TIME:
Blackout: CD

The good news is that it sounds like a cross between the Germs, Reatards, and Jesus & Mary Chain. The bad news is that is doesn’t sound quite like that cross between the Germs, Reatards, and Jesus & Mary Chain you’ve been ever so hoping for. I thought perhaps the Kids Were Alright when i was under the impression they were singing a song that went "Masturbation at Punk Shows! Masturbation at Punk Shows!", but it turns out they were only saying "Mass Production of Corpses." Alas. BEST SONG: "First Strike" BEST SONG TITLE: "Cold Lips Taste Better" FANTASTIC AMAZING TRIVIA FACT: The song title "Safe In Heaven Dead" is taken from the title of a posthumous book "written" by Jack Kerouac, which consists of the late author’s responses to interview questions, strung together in sort of a vaguely narrative way. Apparently, Kerouac had written a bunch of stuff that never saw the light of day during his lifetime, and, after he died, the Widda’ Kerouac refused to grant the interested parties the rights to publish any of it. In retaliation, or so i understand it, the Kerouac-heads who were trying unsuccessfully to get his unpublished stuff published compiled Safe In Heaven Dead, since responses to interview questions are the intellectual property of the interviewer, therefore quite outside of the realm of the Widda’ Kerouac’s control. I know, fascinating shit, isn’t it?

–norb (In The Red)


BLACK TIME:
Blackout: CD

I was sitting on the porch in San Pedro, California on Christmas day 2005. I had nothing much to do, so I decided on listening to this new Black Time CD. Eventually, Tonan came out and asked what I was listening to. I told him it was the Black Time. "I already like this," he said." "Yeah, I really like it too," I agreed. "It’s all muddy," he said picking up the CD, "Oh, it’s on In the Red." "It sort of reminds me of the Hunches, but only because it sounds filthy and creepy," I said. "It sounds like it’s got some sort of effects on the drums too." Tonan split to go do Christmas stuff, and I stayed behind listening. I decided to open a beer and then thought that Black Time are good to open a beer to not in a "blah blah blah let’s get trashed sort of way." I was thinking more along the lines of opening a beer on Christmas Day to the slow grumble of a walking bass line, sort of nice; a creepy, liquid, and silver mess, with vocals that at times sound like a mad crow cawing into the mic. If you like the Hunches, Speedball Baby, or if you’re a fan of In the Red, and muddy, crookedy rock, this could very well be your new kick.

–Guest Contributor (In the Red)


BLACK LIPS:
Let It Bloom: CD

Very trashy ‘60s slop stuff that sounds true to the era. While I don’t quite get all the hoopla surrounding these guys, I readily admit they’re good at what they’re doing and the fact that it sounds like they’re having a blast give the proceedings a sense of "fun" that’s definitely infectious. Loved the title "Hippie Hippie Hoorah."

–jimmy (In the Red)


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