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Record Reviews

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Below are some recently posted reviews.

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Self-titled: LP
Is it possible to understand and not understand at the same time? Merx is like a canvas that stars off black instead of white. They play highly constructed, aurally articulated, meticulous post punk. It’s dark, experimental, and filled with electronics. The vocalist is melodramatic, singing in a deep register, like Johnnie Jungleguts. My closest contemporary comparison would be as how Wounded Lion takes the Talking Heads and Star Wars references, Merx robes themselves in slow Joy Division and décollages; strips away, lacerates. This isn’t incidental music. I’m just not sure if the hands-on-everything super-self- and music- aware style of this record isn’t eclipsing my enjoyment of it. I’m probably just not the intended audience. Features members of The Pope, Bipolar Bear, and ex-Spits. –Todd Taylor (Permanent)

Self-titled: LP
As an early ‘80s zinester, i got plenty of weird promo records that were this sort of angular, herky-jerky, Devo/Flying Lizards-damaged, post-new wave/pre-industrial post-punk art-school twitching and spasming, often fronted by a female vocalist of dubious vocal appeal. Nine times out of ten, i wound up selling them for pennies on the dollar at the local used record emporium, since they weren’t cool hardcore records, and were, to be honest, largely annoying. Once in a while there’d be something cool ((no examples come immediately to mind, which might go a long way in conveying the depth of my disinterest in the genre)), but, by and large, i thought these records were a senseless waste of avant-vinyl. Fast-forward thirty years. Somehow, for reasons unclear, the Medical Tourists have not only mastered the fine art of sounding like angular, herky-jerky, Devo/Flying Lizards-damaged, post-new wave/pre-industrial post-punk art-school twitching and spasming—hell, they’ve got a song called “Permanent Press,” know what i’m saying?—but they’ve also managed to create an album of this kooky shit that is absolutely rock solid from stem to stern. I mean, there is NOT a bad song on it, and the actual craft of the production is impeccable. This is wholly without precedent! There were barely any good 45s that sounded like this back in the day, let alone a whole freaking album! This album will do the same thing for whatever the hell genre it’s in as the Epoxies first record did for its far more sultry and humanoid counterpart! Thank you, Medical Tourists, for opening the floodgates for years and years of annoying herky-jerky music to come!!! Hope you get that bargain liver you’ve been wanting. BEST SONG: “YSIG” BEST SONG TITLE: “Elect Reject Object.” FANTASTIC AMAZING TRIVIA FACT: The record’s intro is provided by Rerun honcho Jason Ross’s dad, Ron. Ron used to be a DJ on WKAU-AM when i was a kid, therefore, it is possible ((though not verified)) that it was Ron Ross who played “Do You Wanna Dance?” by the Ramones on WKAU the day i heard punk rock for the first time. How’s THAT for cred? –Rev. Norb (Rerun / Import/Export)

Smut: LP
Fourteen unrelenting tracks of assaultive noise rock with warm, fuzzy titles like “Filth Fuck,” “Burn the House Down,” and “World ov Shit.” If this don’t clean yer clock, you’re probably already deaf. –Jimmy Alvarado (XO Press, xotapes@gmail.com)

: Split 7”
Masked Intruder: Four songs played in the key of tight, 4/4 pop punk. One of my favorite keys. One of these songs is also on their self-titled full length, available from Red Scare. The songs are about girls, and are very good. The Turkletons: These two songs are faster, but still in the pop punk key. A dude sings the first song, which is about the kissing disease (it’s a real thing). A girl sings the second song, which is about having a kidney stone. I listened to that one a couple extra times. I’m a sucker for female vocalists. You can’t lose on either side of this one. –Nighthawk (Hang Up / Rad Girlfriend / Lost Cat, hanguprecords.com)

Demo: Cassette
Man, I thought for sure this was going to be some crazy hardcore or powerviolence, what with the black and white drawing of a zombie-looking dude on the cover. Far from it; Low Culture serve up four songs of melodic punk which should appeal to fans of Future Virgins and Tenement. I’m really digging the four-track sound—which I think suits this band perfectly—as well as any other band that dares to consider themselves punk. A 7” is apparently already out, so this demo certainly got the job done in drawing attention. Let me tell you, your attention is well deserved here. –Juan Espinosa (Dead Broke, Dirt Cult)

Lost Lost: CD
Lost Lost is a collection of Lost Sounds demos and rough mixes of songs. The fidelity of the tracks is pretty rough at times. But in some instances—such as “Black Coats/White Fear”—the out of tune vocals and coarseness of the four-track recordings enhance the songs. “Black Coats/White Fear” was recorded in 1999, when Jay was only eighteen or nineteen years old. The track has a stunning urgency to it. Jay sings with complete conviction over an acoustic guitar and sparse percussion. Whereas synth pioneers Kraftwerk celebrated European grandeur, Jay and Alicja’s societal vision was, like the movie Metropolis, dark. Their lyrics—often focusing on an upcoming dystopia or the nervousness of contemporary society (check “Throw Away” and “Glued to the Screen”)—was the inverse of Kraftwerk’s celebration of machine as liberating force for mankind. The Lost Sounds had two creative heavyweights in Jay and Alicja. Knowing the pathos of Jay’s life—and the psycho geography of postindustrial America—Lost Sounds was (and remains) the synth-based soundtrack for corporate bailouts and high unemployment rates. There are some odd tracks on here too—like a cover of ‘60s garage song “I Cannot Lie”—and the inclusion of sound effects Jay and Alicja created but had never gotten around to using. Lost Lost is definitely worth having. Jay and Alicja worked well together and their music was always enhanced by synthesizers. Lost Lost is a nice ending to an incredible band. –Ryan Leach (Goner, goner-records.com)

Self-titled: 7” EP
Disclaimer: This is basically the new incarnation of The Shemps from New York City, who I’ve gone on tour with/filled in with; not to mention that ringleader Bill Florio is a close friend. (One of the songs on here almost ended up being used in our other band.) That said, musically it’s the same vintage garage/soul with some punk edges to it, that doesn’t take itself too seriously. (Figuratively speaking. Musically, they’re not fucking around.) The biggest change is in the new vocalist. While the voice of the Shemps was more of a hardcore-style yell, the new guy is a bit more snotty. It’s a good direction to go in. So, basically, if you’re into garage (and not just wearing the stupid vintage clothing), this is highly recommended. –Joe Evans III (Go Ape, fancymag.com/go-ape)

Crystal Anis: CD
The Good: This French duo mete out some tasty, ‘60s-tinged tuneage, sorta like the Nico-era Velvet Underground penning the soundtrack to some sorta slinky In Like Flynn-esque spy flick with lots of psychedelic colored orbs and rack zooms up the wazoo. The Bad: The bulk of the tunes are based on finding a groove and riding it all the way into shore, which works like gangbusters when you’re talking about funk, but too often here ends up with a given song sounding like merely a rough sketch of an idea rather than a realized whole. There are also some instances where similar ideas pop up again two or three tunes down the track list, resulting in, “Wait, wasn’t that just one a second ago?” moments. The Good (Slight Return): Many of its shortcomings are saved by the fact that the ideas are, in fact, good ideas, so while it may come off as unfinished in spots, it’s at no point unlistenable. –Jimmy Alvarado (HoZac, hozacrecords.com)

All That We Know: CD
Larry And His Flask is country punk band that is every bit as gimmicky as all of the Irish punk bands around. The vocals are a bad imitation of a drunken pirate, except for the parts where they sound like Bad Religion, and then they are a bad imitation of that. I know that we’re past the phase of accusing bands of being over produced, but that’s the best way to describe this CD. Larry and His Flask forces different combinations of banjo, trombone, piano, mandolin, and trumpet (plus complex vocal harmonies) into each song, and it’s just too much. They should definitely strip it down to just what they need and drop the gimmick. –Lauren Trout (Silver Sprocket)

Self-titled: Cassette
Punky California beach pop. Sounds like Hunx (And His Punx) on a weed day. Burger Records have cultivated this great little sound with their acts seemingly stuck in this world where the ‘90s took place in the ‘60s—the beach bum loser aesthetic backed by the music of the proto-psychedelic rock era. The vibe lingers throughout the record and dominates the sound; I can feel the high vibrating out of my stereo’s speakers. I now regret skipping his set at the Burger showcase when it came to town. Special mention to the track “Alone and Stoned,” which has been stuck in my head since I first popped the tape in. Recommended. –Bryan Static (Burger, burgerrecords.org)

: Split 12”
This four-way split of Pennsylvania bands is a beautiful looking record. Three color silk screened cover and fancy zine-like booklet titled, “A Young Scout’s Field Guide to Penn’s Woods Hardcore,” makes me think you’d also find it on Etsy. The eclectic spread of bands on this piece of vinyl makes for a groovy time. Everything from Modest Mouse garage rock to hardcore to math rock to goodtime Midwest punk. Definitely worth a spin. At least side two is. –Matthew Hart (Chumpire / Square Of Opposition / I Heard You Hate Caskets)

Self-titled: 7”
JTT are a band from Corvallis, OR that plays country-damaged pop punk. They’re very sincere and great lyricists with songs that range from adult anger at a deadbeat dad, to a story of a lonely old man who drank himself to death, leaving the narrator wanting to pursue a better life and encouraging the listener to “hold yourself up and make your presence known.” It’s a pretty good and inspiring effort. It makes me feel both like the old man who wasted all his time and inspires me to think I’ve got a lot of time left, to not let life pass me by. –Craven (Secret Pennies)

Of All Things I Will Soon Grow Tired: CD
Joyce Manor’s taste for throwing down even the briefest outline of a song on their sophomore album almost makes them come off like the pop punk Guided By Voices. This also puts the album into a weird flow. At nine songs in thirteen minutes, there are some real choice bits, like the succinct punk nuggets, “Comfortable Clothes” and “If I Needed You There.” There’s also the distinct-sounding “See How Tame I Can Be?” (which seemingly stole its rhythm section from a new wave band) and the janglier excursion “Bride of Usher” that change things up a bit. The couple of oddly recorded acoustic songs, “Drainage” and “I’m Always Tired,” though come off as filler on such a short album. Seeing as they sound like incomplete demos or song ideas put on to bump this just barely into LP runtime, they give the proceedings a weird odds and sods feel rather than that of a coherent album. After all, I don’t think Group Sex would work quite as well if it had a couple songs that sound like Keith Morris about to fall asleep with a tape recorder on plopped into the album. Plus the singer sounds way too tired and sort of annoyingly apathetic when he’s acoustic. He needs the balance of driving music, which makes his vocals work. Otherwise, he starts to sound like that one person who gets irritating due to how jaded they are since they have seen/done/experienced more than you can imagine (cough cough, the title of this album). All said, there is a really good EP present on here, as these guys really have the whole rapid-fire punk thing down when their running at full steam. Side-note, there’s also a cover of “Video Killed the Radio Star” on here that’s much raggedier and faster than the Presidents Of The United States version, but just as charming in its own way (though the original Buggles version still owns my heart). –Adrian Salas (Asian Man, mikeparkmusic@gmail.com)

Goes to Purgatory: CD
Metallic mid-tempo thrash with a punk edge to it: that’s what this band brings to the table. The production is pretty lo-fi and the leads are pure late ‘80s thrash, so fans of under-produced metal will probably dig this. –Mike Frame (Cassette Deck)

“Go West Old Bastards” b/w “Close Ur Eyes”: 7”
Musical genres are word corrals. For people new to a genre, or mere consumers, they’re helpful. Garage rock. To me, as a term—it’s almost as meaningless because it’s so vast and has such a rich and continuing heritage. Then there are the compartments in the corrals. The subgenres. They use hyphens and the hyphens cordon off smaller chunks of musical landscape. Mummies-inspired-proto-Crypt-rock. Gunk-punk. That sort of thing. But, as a music lover and an American who loves wide open spaces, I give thanks to artists like James Arthur and Alicja Trout. Instead of can’t-turn-around-in-this-cage, I’m-going-to-die-in-here, veal-fattening pens of much of corporate-sponsored garage rock today, these two are on wildly different trips. James Arthur: best instrumental soundtrack to a movie that hasn’t been made. I would like that movie to have a robot, a monkey, and a cowperson. Alicja: for those familiar with her work in Mouse Rocket and Alicja Pop, she sounds like a deconstructed “New Rose” Damned, sung with palpable heart, open artful stitches, and wide-open wonderment. Excellent pairing. –Todd Taylor (Spacecase, spacecaserecords.com, info@spacecaserecords.com)

“Hygiene” b/w “Hygéne”: 7”
Big ol’ question mark punk rock. Are they really primitive moderns channeling the Monks and Black Time? Kraut rock with beans on toast? Wire unraveling into uncomfortable, spiked strands? Sham 69 deconstructionists? Intellectual skinhead revivalists? My guess is that they know exactly what they’re doing and that confusion, obfuscation, and unanswerability are part of their concrete-small-flats-and-parka mystique. –Todd Taylor (Sorry State, yourgeneration@gmail.com)

Crows and Cranes: CD
This is a dark, dreamy album with gorgeous vocals and guitar melodies. Hunters, Run! sounds totally unique and unpretentious. –Lauren Trout (Battle Standard / At Arms)

Self-titled: 7”
Rambunctious female-fronted hardcore. This disc chugs like a malfunctioning microwave. There are moments every once in a while that make you worry. The moments where you think, “Maybe it’s not going to make it.” Those whirring noises of d-beat hardcore and borderline-shrill vibrating vocal dissonance, but the job gets done. When this wax works, it’s solid. In practice, I hear the same things that make bands like Night Birds and Autistic Youth awesome. –Bryan Static (One Percent Press, onepercentpress.com / Feral Kid, feralkidrecords.com)

Worms and Dirt: LP
I guess this could be safely housed under the Holy Terror umbrella, but I don’t want to pigeonhole it too much. I will say that this is a contender for my favorite hardcore record of the year. It’s got everything I look for in a hardcore record: dark, heavy, bleak, disgusting, King/Hanneman leads, and songs about Satan. Toss in a tasteful use of blasts and breakdowns, an almost Disembodied-esque general feel, and a perfectly fitting layout and you’ve got a modern “evilcore” classic. –Dave Williams (A389, a389records.com)

Almost two years in and HLB crack out yet another collection of tunes to keep its L.A. fanbase and beyond raisin’ fists and singin’ along, beginning with the two opening tracks, “We Made This Mess” and “Beers and Cards” (which is definitely the better of the two). Think Fat Wreck Chords pogo/skate fucker-uppery, but with balls. “Go Away” is the standout tune here, and for some unexplained reason, I can totally hear The Crowd re-recording a version of this—no, that’s not a slag, that’s a total compliment. The hit-the-gas stomper, “Satellite Phone Calls” calls to mind the leaner, meaner Social Distortion circa 1983-’84 live onstage, not to be confused with the band of the same name Mike Ness leads these days. Let’s be crystal fuckin’ clear here that HLB isn’t at all derivative of the two above mentioned bands or label, I’m merely stating some parallels that I happen to hear when checking out this EP. And speaking of checking ‘em out, this band delivers it and then some onstage, so don’t fuck up and skip the chance to catch ‘em next time. –Designated Dale (Modern Pop, facebook.com/modernpoprecords)

“I’m Better than You” b/w “(Don’t Mess With) Heinis Punks”: 7”
About seven-eighths less glammy than one’d expect a band of such nomenclature to be, these Helsinkoids come off as a slightly more punk and less talented version of the Yum Yums, which isn’t a bad place to be, really. They clearly put plenty of time and energy into trying to build the a-side into a legit sock-knocker of a hit single; problem is that the song itself really isn’t exceptional enough to warrant such attention, and i can’t help but wonder if the band had other songs more suited to this position of great prominence. I’m more roused by the simple territorial stompings of the B-side, augmented by traces of some kinda bagpipey-sounding thing, and surely following in the grand and glorious tradition of Finnish punk bands singing half-joking anthems about their local crew established by Kohu-63’s “Harpsala Kids” some thirty years ago. Good B-side, nice try on the A-side, overall results inconclusive. More gruel, sirs! More gruel! BEST SONG: “(Don’t Mess With) Heinis Punks” BEST SONG TITLE: “(Don’t Mess With) Heinis Punks” FANTASTIC AMAZING TRIVIA FACT: Label spells it “Heinis PUNX,” in defiance of conventions established by front and back covers. –Rev. Norb (Hurdie Gurdie Heebie Geebie Greenie Meenie Man / No Bullshit)

Modern Vision of the Erect Nightmare: 7”
Continually pushing against boundaries and exploring the outer realms, Gas Chamber are one of those bands where I know I’m not going to hear a band do the same thing over and over again. Each record of theirs makes the past release seem puny in comparison. This may very well be my favorite from them. The noise at the beginning is excellent! Seriously, my favorite part of the song. When they kick in to the main body, they bring to mind Dystopia, but a little more direct and to the point. The vocals are shouted with a sense of pain and disgust. The second side of this record paints a scene of hell—with sounds coming in and out of the dark—and the vocals shouted with a shredded throat rasp over the din. Rightfully so, as the lyrics are bleak, detailing the fall of civilization. The acoustic playing at the end comes out of left field and is a great way to go out. It puts a very different mood on the whole thing. Excellent record, to say the very least. –Matt Average (Nerve Altar, nervealtar.blogspot.com)

Click to Switch: USB Card
The first half of this is mostly guitar-only, instrumental experimental/post-rock from Australia. This is actually okay, but in a kind of music for musicians type of way. Or maybe in a “put on in the background” type way. I mean, it is fairly pretty music and never devolves into sounding like those wanky wannabe Randy Rhoads/Stevie Ray Vaughn guys that are in every Guitar Center I’ve ever been in. About halfway through the album, some rhythm instruments show up, and some songs start getting lyrics. The music still stays in the same kind of arty, indie vein, but it does pick up a little—shall we say—”umph”? Maybe a little too ethereal for its own good at times, but never anything offensive to the senses. Two things of note: these guys name a song “Song for D. Boon to Sing,” and get Mike Watt to throw down some spoken word on a track called “Ode to the Ship ‘Tainer” and some bass on another songs. Not to mention there is some Steve Mackay saxophone contributions. So these guys are cool in my book. –Adrian Salas (Diepunkdeath, diepunkdeath@yahoo.com)

All Said and Done: CD
The late 1980s was an interesting time for hardcore and punk. It went from being loud, fast, and short to something a bit more tuneful, melodic, and poppy. At the time I didn’t really give it much thought. Maybe it was a gradual change, or maybe I was just stoked to hear new music. Hearing and seeing how punk was growing and changing was pretty damn amazing at the time. Granted, when Frogs Of War first came on the scene, the U.K. had bands like Ripcord, Heresy, Napalm Death, and more. But these guys seemed more influenced by Snuff, and maybe Thatcher On Acid (whom they remind me of, especially on the song “U.S.A.”), and bands like Soul Side, and Naked Raygun. The music is driving and catchy without being sappy or saccharine. You can hear the bass pushing everything through and the guitars riding over the top. The vocals are sung and not screamed, while the backup vocals emphasize the melodic elements. Political and social commentary without being heavy handed or blatantly obvious. This CD collects their LP (which is the title of this collection), a four song session from 1991, and The Gunpowder Plot Noodle demo from 1990. It definitely sounds dated by today’s interests, but that doesn’t mean this is not worth listening to. As much as I love the early hardcore sound, I’m also hoping today’s participants look around for different inspiration. If you’re looking at what punk of the past did, you might want to look here for something a bit different from today. Glad I got this! –Matt Average (Boss Tuneage, bosstuneage.com)

“Red Headed Strangler” b /w “Tammys of Tomorrow”: 7”
Out of Phoenix, AZ, Cesar Romero’s friends issue another bag of pure sunshine for your turntable. Pressed on slate gray vinyl, this single of ‘60s-era garage pop brings up the jangle and fancy footwork of The Strokes. With a bouncy lo-fi riff, “Red Headed Strangler” conjures up shag hairdos, while “Tammys of Tomorrow” rides the wave between surf and psychedelia with a dyslexic snippet of the track played backwards. Reminiscent of those lazy, hazy days of summer. They ain’t on Snappy Little Numbers fer nuthin’. Recommended. –Kristen K (Snappy Little Numbers)

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