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Record Reviews1 2 3 4 5 6 7 8 9 10 11 12 | 0-9| A| B| C| D| E| F| G| H| I| J| K| L| M | | N| O| P| Q| R| S| T| U| V| W| X| Y| Z| Below are some recently posted reviews.  RSS Feed
FINAL CONFLICT:
In the Family: EP
Not to be confused with the Final Conflict from Southern California. This Final Conflict was from Minneapolis, and around long before the better-known FC. Originally released on Reflex in 1983 and produced by Bob Mould. Yep, that Bob Mould. I first came across this record in the MRR collection years ago. Ever since, it’s been on my “really want” list. Even bid for it on eBay once a few years back. But it went out of my price range pretty quick. So, I’m pretty stoked that Havoc reissued this. These guys were fast hardcore similar to early Die Kreuzen. Something about the Midwestern hardcore bands of that time is that they had this undeniable raw power that the majority of bands on the coasts lacked. The songs are crushers with an abrasive edge and a vocalist who sounds like he’s on the verge of coming unglued. Four songs in all and it’s a great listen the whole way through.
–Matt Average (Havoc, havocrex.com)
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FEVER B:
The Lonely Sailor Sessions: 12” EP
I don’t know if formats get any better than this: 12” that plays at 45 RPM with the same program on both sides. I also don’t know if I’ve heard anything this good recently. Imagine The Nerves coming out fifteen years later and recording in a bedroom after having listened to Teenage Fanclub and early Ramones. Supplement that with a soft-voiced rocker who exudes a striking amount of self confidence in his concerned-yet-suave delivery. Note the subtle hint of Big Star. Now be amazed by the results: fuzzed-out power pop run through an indie rock filter that has an appreciation for punk. (From what I found on the internet, this is one of the guys from The Fevers, whom I checked out after hearing this; they are good but not nearly as good as this. I do believe that I also read that Fever B actually recorded this a while back.) This one is limited to 500 (at least numbered out of 500) and comes in a screen-printed jacket with hand-stamped labels. Don’t wait. I really don’t know how this got outta HQ and into my hands. I can’t recommend this enough.
–Vincent Battilana (Burger)
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ERGS!, THE:
Thrash Compactor: 1-sided 7” EP
Ostensibly, this is the last Ergs! vinyl to ever be released (assuming no reunions and/or live shows making it to vinyl a la Scared of Chaka). Thrash Compactor is a blood-clotted slapshot of five songs that would make The Neos or (short-hair) DRI proud. What makes me proud is that this 7” doesn’t come across as “Oooh, we’re a punk band (insert Homer Simpson prancy dance and finger waggling). Wouldn’t it be weird and funny to play all fast and thrashy?” Nope. It’s a bonafide thrash record made by a bunch of dudes who inflated the pop punk bubble past most people’s previous expectations, filled it with enough genres to kill a rhinoceros, then popped that bubble. The Ergs!, from their first record through the last, made music sound like a hell of a party. This one sounds like a bolt of lightning hitting the top of the capitol building. Viva Los Ergs!
–Todd Taylor (Grave Mistake / Firestarter)
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ENEMY, THE:
First Album: LP
Not at all what I was expecting. Judging from the red, white, and blue silk screened cover of some tripped-out shit, I was narrow minded in thinking I was about to hear some noise damaged art skronk. I was actually looking forward to hearing something along those lines. Instead, what lies within this retina-damaging cover is some mid-tempo punk rock that reminds me of recent bands like the Red Dons, Estranged, Cola Freaks, and the sort. Maybe a little bit of early Wire (particularly in the song “I Won’t Let You Waste Me”) in there as well. There’s a member from the Secret Prostitutes in here as well, which comes as no surprise, as both bands sound similar. After my initial surprise wore off, I found myself playing this record over and over. As it revealed itself with each subsequent listen, I became most confident that this is a great record. It’s not over-the-top, in-your-face, bash-you-over-the-head-with-a-riff sort of stuff. The power is something longer lasting, with a little restraint, pacing about like a prize fighter.
–Matt Average (Team Science, teamsciencerecords.com)
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DRUID PERFUME:
Don’t Eat ‘Em They’re Poison: 7”
Follow-up to their full-length LP, which I haven’t heard. But this is pretty fun. Mucky muck weird punk rock, from the school of “If we can’t win them over, we can pound them into submission.” It’s not calculus rock, but it does feel like some thinkin’ is going on with weird vibes, drones, plodding along with weird timing and a constant fuzz mess. AND complete with saxophone! Singer sings strained screams—reminds me of the ‘90s vibe when garage rock started crossing over with noise jazz, drifting into four and five minute-odd songs. Label says the band has two members of the Piranhas. Ahhhhh, now it’s making sense.
–Speedway Randy (X!, x-recs.com)
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D.R.I.:
Crossover (Millennium Edition): LP
I remember when this record came out. Suddenly people who would not have even bothered to listen to Violent Pacification or the Dirty Rotten EP/LP were listening to these guys. While it’s certainly a milestone in the history of hardcore and metal, I don’t necessarily think this album is all that good. There are a lot of clunkers and, when compared to the early stuff, it doesn’t have the same fire. DRI raised the bar for bands in the realm of how fast can you go, and all fans of thrash are eternally grateful. They had a huge impact on crossover, but along the way they lost the punch of the early stuff. Was it to reach a larger audience as many accused them of? No idea there. But I do know I’ve tried to get into this record ever since it came out. A few of my friends thought this album was awesome. I just could never get into it. Still can’t. But, if you’re a diehard fan, this edition comes on red vinyl, and is remastered. The CD version comes with extra songs.
–Matt Average (Beer City, beercityrecords.com)
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DRUNKEN BOAT / DAN PADILLA:
Split: 7”
Drunken Boat: Blurry-eyed. Ragged-voiced. Dirty-charming. Alcohol-soaked glimmers of hope seen floating above tatters of wreckage. Catchy, frayed-end DIY punk in line with Bent Outta Shape and Ringers. “Shoot and Miss” is a song about the death of a close friend and musician and these two songs are some of the strongest material I’ve heard from Drunken Boat. Dan Padilla: Here’s a bear trap. Members of this band have, undeniably, inspired the launching of boatloads of gruff-voiced, sparkling guitar “win by losing” bands, where their charm lies in not taking themselves too seriously but giving everything to the music they play. Here’s how they avoid stepping in the bear trap they set: It’s not a band standing around going “what should we sound like?” But “I need to get this out or I’m gonna go crazy,” and it happens to take this bear trap shape, waiting for you to come poking around the forest unawares to snap its jaws around your foot, to chomp on down, and not let you go without a hell of a fight.
–Todd Taylor (Must Yearn, drunkenboatpdx@gmail.com / Fast Crowd, fastcrowdrecords.com)
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EASTER MONKEYS:
Splendor of Sorrow: CD
The Easter Monkeys were a Cleveland punk band from the early 1980s, as you might guess from their label association. Splendor of Sorrow is a collection of their sole LP, some live tracks, and a few scattered comp tracks. If you enjoy other stuff Smog Veil has released, I’m sure you’d like this too. It’s pretty rocking generally, and there’s some great saxophone skronk over the rock.
–Ryan Horky (Smog Veil)
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DEVOUR:
Insect Circuitry: EP
I like the darkness that’s in the music and lyrics on this record. “Laugh Track” offers a bleak opinion of society: “People these days / Just character sketches...” then ends with “Where’s the laugh track for your shitty life? Right here on my lips.” I thought their LP from not too long ago was really good, and this pretty much picks up where that left off. I can hear definite nods to the early style of COC and Neurosis, and these guys use those influences well. Tempos range from mid to semi fast. There’s a heaviness that hangs over this whole record, and none of it is sacrificed for speed. Instead, this is a slow steady burn. The sort of record you listen to and bask in your contempt.
–Matt Average (Headcount, headcountrecords.com)
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DAWN / SANCTION:
Split: 10” EP
Dawn: Occasionally grindy, occasionally crusty stuff with a singer who doesn’t sound like he’s impersonating his favorite Sesame Street character. Sanction: More straight-ahead thrash stuff with a singer whose spleen has to tickle when he screeches like that.
–Jimmy Alvarado (Anti-Corporate Music)
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CUTE LEPERS, THE:
Smart Accessories: CD
The second album from the new band by the Briefs’ founder Steve E Nix and later Briefs’ member Kicks, continuing the power sugar pops their previous band invested everything in. Err, what else would you need to know? That should make it automatic for you, whether it’s run-out-and-get or total avoidance. I feel like it’s by-the-numbers punk, but hard to deny anyone their love for all things Cheap Trick.
–Speedway Randy (1-2-3-4 Go!, 1234gorecords.com)
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CRUDDY:
New Level: 7”
Strange, simple cover art leads to smokin’ punk rock. Take the minimalist punk of the Urinals and electrify it with Greg Ginn’s guitar. Jab jab jab jab jab jab jab jab jab jab jab jab jab jab jab fuckyeah. This is great. Less is more, as long as the band gives it their all, with energy and some thought. And from Austin—take that, Stevie Ray. Can’t wait for more from Cruddy. Simply kickass.
–Speedway Randy (Let’s Pretend / Basement Scream)
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CREDENTIALS, THE:
Routines: LP
So if the Pinhead Gunpowder / D4 split and the Screeching Weasel / Born Against split somehow decided to do a split together, it might sound something like this. Pop punk with slightly cruder edge; throw in a couple songs about politics, and a couple about girls (respectively), and your standard undercurrent of shit being fucked up. Record it at Witches With Dicks’ practice space, Cometbus can do the layout. It definitely has its rookie hiccups, but it has some impressive moments too, and since shit like this is pretty much right up my alley, I will be spinning this all summer.
–Nick Toerner (Self-released)
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CHURCH OF GRAVITRON:
19+Sterile: CD
Static- and feedback-laden soundscapes, four tracks in total, are the rule of thumb here. While many others treading similar ground too often merely grab the nearest radio, tune it off-station, and record the results as some sort of quasi-artistic statement, it’s clear here that much more thought was given to what was being done. This makes all the difference and the result, while still nowhere near the traditional verse-chorus-verse definition of “music,” is abundant in moody, screechy, cohesive charm. It’s definitely an acquired taste, but those with the palate will find much to savor.
–Jimmy Alvarado (Doom Town)
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CHEMICALS:
Bubble City: 7” EP
I wonder if this band could have been one of those bands who appeared on both the “Hell Comes To Your House” and “Life Is Ugly So Why Not Kill Yourself” compilation LPs back in ‘82? Wait…hold on…the only band that was on both of those album was 100 Flowers. Hmmm. Then no, no they couldn’t be. But they could have been on the Sudden Death compilation album ((given a proper time machine))! Yes. Yes they could. Songs about building cities in bubbles under Niagara Falls are niche-y, but once you find that audience, brother, it’s all high-fives and Skittles™ thenceforth. BEST SONG: “Bubble City” BEST SONG TITLE: “Schaaappps” FANTASTIC AMAZING TRIVIA FACT: Sure looks like this band is called “KMKLZ” if’n ya look at the front cover…
–Rev. Norb (Sonic Jett)
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CANADIAN RIFLE:
Facts: 7” EP
One of the odd wrinkles that develops when reviewing records is separating the layers of knowledge and fandom that someone reading a review may have. It’s tough to satisfy folks who are already intimate with a band’s production, and, at the same time, explain the band sufficiently to someone who’s never heard of the band. Then, you have to explain if the record’s good. With that in mind, if you’ve never heard Canadian Rifle but you like the gruff-voiced “I hate you. Modern society is a plague, but the good news is that I hate myself even more than anything else”-isms of Off With Their Heads mixed with a good dose of walked-on bubblegum scraped off the sidewalk, chances are you’re predisposed to enjoy Canadian Rifle. For those of you who are intimate with the band’s output, what’s not on this record is what I miss: that second guitar that twined like a snake around a pole when Jake talk-sings. When I’m just sitting here, only listening to the record, headphones on, it’s the most apparent. Yet, when I plop, crank, and play—a much more natural listening environment—my fists pump freely along to Jake’s infectious maledictions against modern, cappuccino-chokin’ society.
–Todd Taylor (Residue, residue-records.com)
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BUSINESS, THE:
Doing the Business: CD
A sort of odd ‘n’ sods deal here, with four newer tunes that include a smokin’ version of the Professionals’ “One Two Three” (also known as the Avengers tune “Second to None,” also known as the Penelope Houston tune “Girls”). Also included is a live recording of a brief, five-song set constituting their only performance at the Marquee Club in 1982, and another live tune from a more recent gig. All told, it isn’t necessarily a crucial purchase for those other than completists and fanatics, but it doesn’t soil their rep any.
–Jimmy Alvarado (Sailor’s Grave)
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BUCK PETS, THE:
Rares and Unreleased: CD
This is a new outtakes collection from this underappreciated outfit from Texas. “Sick and Stoned,” “A Longer Look,” and “Disappointed” are stand out songs here, but these all would have been good enough to get on an album proper. Only the last tune—a jazz vamp called “Funny That Way” should have been left in the garage. Otherwise, this is a worthy addition to a criminally out of print catalogue for this band from the ‘90s. I heard they just did a reunion show, so go find Ted Nicely and give us a new record!
–Sean Koepenick (Self-released)
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BROWN SUGAR:
Self-titled: Cassette
Packaged like a cassingle, this tape starts out sounding vaguely punky/poppy, sort of like a cross between Dinosaur Jr and the Doughboys or something. From there, the band plows straight ahead with some solid hardcore punk. Actually, this band sounds quite a bit like a less polished Paint It Black, another Rolling Stones song-named band. There must be something about taking your name from Mick ‘n’ Keith ‘n’ the boys that leads to gruff hardcore punk stylings.
–Mike Frame (Feral Kid)
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BROKEN NEEDLE:
Discography: CD
Los Angeles circa now is not at all synonymous with the words “great” and “hardcore scene.” And that’s too bad because amidst bands and venues that come and go without leaving a lasting impression, there are bands like Broken Needle who prove that punk and hardcore isn’t a passing phase for them. Like any band that evolves into their sound, members came and went from the likes of Life’s Halt, Total Chaos, and Street Trash. Eventually, they would settle down with their current lineup comprised of Holier Than Thou?, Knife Fight, and Fields Of Fire alumni, not to mention one incredibly talented prodigy drummer who isn’t old enough to buy alcohol yet has also lent his services to Dr. Know (among others). This CD compiles the band’s up-to-date discography, spanning their 2004 demo (a demo I played the shit out of in anticipation of a proper release), a full length LP, EP, and compilation tracks. Most of the bands previously mentioned (the mohawked guys being the glaring exception) are spot-on references to Broken Needle’s sound: anthem-inducing, pit-starting hardcore deeply rooted in the influence of the first wave of bands from both the East and West coasts of the U.S. It’s very obvious that the guitars lead the band in their earlier recordings, whereas the newer songs are much more straight forward in approach. You can’t count Los Angeles out of the hardcore world just yet. Not if Broken Needle has anything to say about it.
–Juan Espinosa (Lengua Armada, myspace.com/brokenneedle)
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BRENDAN KELLY & JOE McMAHANON:
Wasted Potential: CD
Acoustic stuff is tricky work, especially in a setting like this: two frontmen of two popular bands (Lawrence Arms and Smoke Or Fire) rendering acoustic versions of their songs. To their credit, I’d say that Wasted Potential is reasonably successful. I’ve heard Smoke Or Fire on a handful of comp songs over the years and never really found them that memorable. Unfortunately, Joe McMahon’s solo outings seem to yield the same results: his voice comes across as a bit too high-pitched to compliment the git-fiddle in his hands, and the songs themselves tend to blend together. Brendan Kelly’s material fares better, if only for the fact that his bandmate Chris McCaughan sings on half of his songs, lending a bit of variety. The bias is obvious: I’ve enjoyed the Lawrence Arms for years, and hearing these songs was a treat. Granted, it’s certainly not the best venue to be introduced to the songs, but hearing the solemnity of “Necrotism”—somewhat buried in the original, electric version—and the subdued, yearning rendition of Jawbreaker’s “Kiss the Bottle” was pretty awesome. I’d say Wasted Potential is mostly for hardcore fans of either band, but Kelly’s side (though why McCaughan isn’t credited for any of the vocal work here is beyond me) carries the bulk of the weight. Fun record.
–Keith Rosson (Red Scare)
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BOMBÓN:
El Party Con Bombón: Cassette
Apart from sheer nostalgia for people of a certain age ((and perhaps consideration for those of us who still drive motor vehicles manufactured after 1980 but prior to 2003)), there really are no abiding reasons why anyone should ever release anything on cassette again, ever. Cassettes were a fucking DUMB format. Their fidelity decreased every time you played them, they got dusty and warbly and fucked up, they got twisted and kinked and snapped, tape transport from song to song was a time-consuming and aggravating pain in the ass, and every now and again your cassette deck would just randomly eat a tape, sort of like Charlie Brown’s kite-eating tree, but less epic. About the best thing i could say for pre-recorded cassettes ((as opposed to mix tapes, which still remain the gold standard for such things)) is that if you didn’t like what was on there, you could tape over it. That said, Bombón are a pretty cool, bargain-basement, instrumental ((with occasional female Beatnik Termite-like “whaa-ooh” backing vocals and/or screams)) combo who have dispensed with such restrictive social detritus such as track listings, presumably because such Tools Of Order interfere with their prime directive of PARTY. The general vibe is reverby—but not annoyingly so—and the bass occasionally acts as a second guitar, allowing the guitar guitar to vacillate back ‘n’ forth between almost ((but not really)) Fall-Outs-like chord chomping to Cramps-like single-string twangling. I state unequivocally that this is the best cassette i’ve heard all month! Now knock it off. BEST SONG: The one where it sounds like the girls in the background are saying “Homos on the fire, wha-oh-oh, homos on the fire, wha-oh-oh” BEST SONG TITLE: Bombón are not part of your machine and reject your restrictive taxonomies accordingly! FANTASTIC AMAZING TRIVIA FACT: Never mind, i found some song titles printed on the cassette shell. I guess my favorite song is “La Playa,” then.
–Rev. Norb (Burger/45 RPM)
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BOBOT ADRENALINE:
Dumb Bomb: CD
This is another solid effort from L.A.’s punkabilly trio. It’s stuffed to the gills with rockabilly riffs, gang choruses, and armchair politicking. Confronting militarism, war, and poverty, Bobot is the very articulate mouthpiece for the disenfranchised. While The Clash influences bleed through in “East of the Docks” and “Blast,” where the latter’s guitar structures are pretty close to “London Calling,” Bobot is not content to mimic. Striking a balance between melodic sway and roiling drums, I think this is their best work yet. If you’re in the L.A. area, check ‘em out. Recommended.
–Kristen K (Basement)
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BLATZ:
Cheaper than the Beer: 7”
Imagine if the Crass song “Reject of Society” was a band and recorded an EP in Berkeley, California circa 1991. Well it pretty much happened and this is it. Powerful, off-kilter songs that are just so pissed, almost tuneless, and really fucking good. While prolific bands like this are lousy with context, it’s nice to separate these songs from everything else and enjoy them for how strangely beautifully ugly they really are.
–Daryl Gussin (Silver Sprocket)
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BIRD NAMES:
Twenty Charters: 10” EP
Arty stuff here with creative instrumentation, sludgy rhythms, and a dream-like quality.
–Jimmy Alvarado (Pecan Crazy)
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