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Record Reviews

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Below are some recently posted reviews.

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VARIOUS ARTISTS:
Go Kart vs. the Corporate Giant 3:: CD
You know what’s hard? It’s hard to write reviews of comps. Do I want to go through the trouble of naming every single band and describing them? Too lengthy. Hell, this comp has twenty-six bands and thirty tracks. I guess I will go to my formula and name the bands that caught my interest. This release is part of their bargain priced label samplers. What makes this one step up from many that are on the market is that it features many unreleased tracks. My theory is this should be standard since it makes the comp unique from the actual releases by the bands featured. What happens when you only like one track and you go out to buy the album? The comp becomes useless. Well, okie dokie, let’s see what excites or interests me. Capture the Flag: Pennywise meets ‘80s metal. Daycare Swindlers: Has an Angry Samoans meets Circle Jerks feel to me. Toxic Narcotic: Every time I hear them, they impress me more with their hardcore attack. I Farm: Dual vocal assault punctuates the power of their music. Manda and the Marbles: “Seduction” is the perfect intro to this female-led powerpop sensation. GBH: More melodic than their past efforts. Varukers: Band that has been around longer than some and sounds better than others. Old age have not slowed these punks down. INDK: Make me think Against All Authority. Sick on the Bus: The new school of UK punk. I can’t believe these guys are not more popular. Brothers of Conquest: I have hazy images of a Deep Purple sticker on a six-foot bong. Anti-Flag: Easy to consume, politically charged and always a good listen. Icons of Filth: Still not as good as they were in 1985. Lunachicks: I may not own everything but these women can’t put out anything bad from what I’ve heard. 46 Short: Is this Ron from Final Conflict’s new band? Star Strangled Bastards: Good dual-vocal, old school, early ‘80s sounding punk. A good variety offered here; should find a happy listener in all of us. –don (Go Kart)


SUPERHELICOPTER LTD:
White Nigger Rock‘n’Roll: 7”
Picture Jon Spencer digging the old sweat-stained mummy wraps out from the Mummies’ dirty laundry and wrapping his sputtering old amplifiers up in them until it sounds so muffled that you can only hear an unidentifiable dissonant rumble coming out. Then back up a garbage truck full of rotting trash and dump it on top of the band and record it all with a Fisher Price tape recorder. I think that what you’ll wind up with is something called “white nigger rock‘n’roll.” Hot damn. –aphid (High School Refuse)


STOOL SAMPLE/ LOVED BY NONE:
Scumpunk Foreplay: EP
I have a friend who used to be friendly with Stool Sample (I think they might have beaten him up since then), so I had a tape of theirs several years ago and the only song I can remember from it is “Suck My Dick while I Take a Shit.” They were dumb then and they’re still dumb, though they’ve picked up a bit in the music department. Competent, if lackluster, speed metal. Loved By None play lackluster plain metal and they took an appropriate name. – –Cuss Baxter (Defecation Nation)


SONNY VINCENT:
The Good, The Bad, The Ugly: CD
Sonny recruits a veritable who’s who of punk rock musicians (members of Black Flag, the Weirdos, the Zeros, the Heartbreakers, MC5, the Damned, the Muffs, Offspring, and tons more) to play on what is, one or two songs aside, a fairly pedestrian early New York punk rock record. In short, great idea, yawn results. –jimmy (Acetate)


SLOBOT:
A Banner Year for Slaughter: CD
Atmospheric and moody and downright creepy, like a snake with bird feet, or a pig dressed like a milkman. No electric guitars or stuff like that; mostly just samples (vocal and non-vocal), assembled by three obvious craftsmen for maximum ambient effect. Included is a short movie where a guy with a sack on his head runs around in the woods, gets chased by a car and shoots a gun. Don’t know what it’s supposed to be about, but it’s a perfect foil for the nature of the music. –Cuss Baxter (Uterine Fury)


ROLEMODELS, THE/ SISTER MARY ROTTEN CROTCH:
Wrecked: Split CD
The RoleModels are pretty repetitive and not that exciting, I like the vocals though. I used to like Sister Mary Rotten Crotch, I have a split 7” of theirs from a few years back. “Knock It Down” is a good track, but the others have moved onto a different feel that seems a bit forced and doesn’t work for me. I’d pass on this one. –megan (Hooligan Empire)


RIVER CITY REBELS:
No Good, No Time, No Pride: CD
Street punk with horns. –don (Victory)


RAT HOLE SHEIKH, THE:
Jag Mår Så Illa: 7”
Recorded by a lone gunman in his kitchen, “Down in Hell” sounds like something Mojo Nixon would’ve done had he have grown up in whatever weird Scandinavian country puts the little circle above the letter “a” (either that or Gilbert O’Sullivan whacked out of his gourd at 4 AM on crack and box wine); by contrast, “My Voodoo Dolly” sounds like the missing link between the Rude Kids and the acoustic songs on the first Led Zeppelin album that we’ve all been deathlessly waiting for (or, if you will, it sounds like THE Missing Link singing acoustic songs on the first Led Zeppelin album), and “Who’s Fooling Who” sounds like a demo version of a song that could’ve been a great b-side or a solid album track for virtually any Northern Hemisphere Rock Band, any genre, from the period 1967-74 inclusive (obviously, the title track needs no explanation). I feel SOMETHING, but am unsure as to whether or not it is, in fact, love. BEST SONG: “Down in Hell” BEST SONG TITLE: Duh, it’s obviously “Jag Mår Så Illa” FANTASTIC AMAZING TRIVIA FACT: Advertising materials contained herein indicate that this product is one of three “new releases” on the label, and the only one i didn’t get to review was the one with the Iron Sheik on the cover, which figures in a Murphy’s Law sort of way, but doesn’t figure at all in that the Sheik-emblazoned release is not this release. –norb (Subway Star)


PROFESSEUR LADYBUG, LE:
Thou Art the Man!: CD
Not bad from a noise standpoint: feedback and what’s probably a drum machine support assorted other noises and man-talking. However, from a product standpoint, it seems a little pointless: it’s only ten minutes (one track), and it’s the soundtrack from someone’s video footage of a live performance. I would’ve rather seen the video. For more substantial Professeur Ladybug product, see Heat Lightning. –Cuss Baxter (Horrendous Failure)


PETER & THE TEST TUBE BABIES:
Alien Pubduction: CD
A reissue of PTTB’s most recent release here, dating from 1998, I believe. On the whole, it’s a pretty middle-of-the-road affair, not quite achieving greatness, but not quite wallowing in the netherworld of god-awfulness, either. I kept waiting for those patented guitar leads to thwack me over the noggin’, and they did make appearances here and there, but they never quite delivered the coup de grace. Let’s hope the next one gives me a right proper beating. –jimmy (Captain Oi)


PERE UBU:
Slow Walking Daddy b/w Sad.txt: 7”
I get shit for it, but I’m largely ignorant on the subject of Pere Ubu. I know they’ve been around for many, many years, and they’re seminal in many, many ways, but I just haven’t been exposed to them much. So I’m an ignoroid. But I have here a brand new thing by them, and I didn’t even know they were still around. One song sounds kind of like the Talking Heads with a whiny singer, and the other song sounds like a whole bunch of nondistinct mellow rock with a whiny singer. I’d rather have a whole CD of it than to have to make the effort of playing a single. –Cuss Baxter (Smog Veil)


PATH OF DESTRUCTION:
Self-titled: 7”
Gruff hardcore with pro wrestler-style vocals. Although more than adequate, there’s a little too much “tough guy” and not enough genuine outrage to suit my tastes. –jimmy (Sin Fronteras)


NAKATOMI PLAZA:
Private Property: CD
I was so excited to get a CD from Brooklyn, with the first song called “Meanwhile in Greenpoint.” (I live in Greenpoint, a super Polish part of Brooklyn.) I was hoping to hear lots of songs about ridiculous Greenpoint people, buildings, stories. (Yes, I am a sucker for the specific song – see my Radon record collection!). Anyway, this isn’t that. Nakatomi Plaza play mid-tempo punk rock with lots of breakdowns with personal/political lyrics. Okay, but sort of over-done at this point. Still, if they wrote a song about the four drunk guys who hang out in McGolerick Park, I’d listen! If this were a cereal, it’d be generic Cheerios. Let’s hear something new! –Maddy (Immigrant Sun)


MIDRIFFS:
Self-titled: CD
Average, garage-bred punk rock that has pop overtones. –don (Midriffs)


LORELEI:
Our Minds Have Been Electrified: CD
The only thing that pops in my head when I listen to this is that this band sounds like a slowed down version of the Super Heroines. –don (Ice-Made)


LIBERATS, THE:
Disgrace: 7”
Fairly stereotypical “old school” backyard hardcore with the requisite “we’re the youth of today/we’ve got something to say” brand of lyrics and chanty parts. They aren’t bad at it, but they’re also neither inspired nor inspiring at this point. Can’t wait to hear what they come up with once they get past all the hero worship and start looking for their own sound. –jimmy (Violent Reaction)


LAWNMOWERS, THE:
Fearless: CD
Jack Endino-produced college rock which sounds like a ten-year-old Grapes of Wrath master that someone discovered in a broomcloset. I’m amazed that people still make this shit, much less listen to it. On the other hand, if you’re a Rusted Root fan, this might seem quite appealing. –scott (Good Ink)


KYLESA:
Self-titled: CD
I’m a sucker for Pushead art. It just draws me in from a feeling deep inside of seeing his artwork on so many early to mid-’80s punk records. This might be a hard release for some to take. The music might sound monotone for some, experimental for others. Maybe too overtly metallic? This a dirge of white noise mayhem that may be disturbing for some people’s sonic senses. The tonal aura is in the deep low for an irritating pierce of the eardrums. The music is challenging yet intriguing in a depressed sort of way. The charge points are interspersed when you least expect it. Stimulating, yet touches upon the deep anger or depression of one’s self. Off the top of my head, this might be a reflection of a mixture of Dystopia meets Carcass. If you are looking for the generic punk formula, look elsewhere. If you need a change of pace and want something challenging, this might be the ticket. I, for one, have never listened to this band before. But the artwork drew me in. –don (Prank)


KUMPLEBASIS:
Machte des Alltags: CD
Ummmm… they’re German, they’ve got horns, and I think the lead singer is “zany.” Oh yeah, and the inlay is a picture of some guy with glistening man-tits. I didn’t like that, either. –megan (Intensive Scare)


KILL ME TOMORROW:
I Require Chocolate b/w Rats for Sale: 7”
Kind of like the Cure, heavy on the percussives, without the big hair and makeup? I think so, and it’s done pretty well. Nice, open, morose atmospheres, clear and upfront vocals, isolated and languid guitars. Not bad. It feels gothic, in the Edgar Allen Poe sense, where there’s romance amongst the wholesale decay. –todd (GSL)


ICONS OF FILTH:
Nostradamnedus: CD
Jeez, what’s with all the old anarchy bands giving it another go? Just heard some amazing stuff from Discharge, I hear Conflict is making rumblings again, and now this…. This stuff is not as cranium-reaming or intense as their “classic” work could get, but there’s still enough of a spark peeking through here and there to keep your interest piqued, and they get heavier the louder you crank the stereo. Sometimes, when you think the song is gonna be pretty bad, they get all Rudimentary Peni on you (although the vocal work comes nowhere near Nick Blinko’s throat shredding) and you end up bobbin’ your head along. The lyrics still have that political stream-of-consciousness bent. In short, pretty good, but would greatly benefit from a little more “oomph.” –jimmy (Go Kart)


G-WHIZ:
The Pop Punk Singles Collection 1989-2002: CD
A stripped down Big Drill Car. –don (Boss Tuneage)


GOIN’ PLACES:
Girl Songwriting 101: CD
These guys sounds like the Queers to me. More so when Joe Queer sings on a track. Fans of the Queers, Screeching Weasel or the Groovie Ghoulies will definitely appreciate this band from NY. If you like music on the cheery side of things, this acts like a mood elevator. I liked it when I was happy but could not listen to it when I was pissed. –don (Coldfront)


DIPLOMATS OF SOLID SOUND, THE:
Alligator Boogaloo: 7”
Not very interesting instrumentals. –megan (Butterfly)


DEKE DICKERSON:
3-Dimensions: CD
Deke Dickerson has this sweet, resonating voice that he really knows how to use. This CD showcases his versatility of voice, as well as guitar across rock’n’roll, rockabilly, and hillbilly with about five songs dedicated to each of the three genres. He’s always reminded me a bit of Ricky Nelson, but with a little something more. Dickerson has the voice you could easily swoon over. I’m personally drawn to the rock’n’roll section more than the others, but the other sections follow closely behind. –megan (Major Label)


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·UTTER FAILURE
·THIS DAMN TOWN/GUILTY HEARTS
·VARIOUS ARTISTS
·PATTERN, THE
·HAPPY THOUGHTS, THE
·Touch and Go: The Complete Hardcore Punk Zine '79-'83
·LITTLE KILLERS, THE
·RICKY C. QUARTET
·JAD FAIR AND JASON WILLETT


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