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· 1:An Interview with Soul Side’s Bobby Sullivan
· 2:Webcomic Wednesdays #146
· 3:We Came! We Saw! We Fested! - Fest 2015
· 4:#380 with Juan Espinosa
· 5:Webcomic Wednesdays #148

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Record Reviews

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Party, Party, Party: Cassette
America, it is time to admit defeat! We have been bested by a CASSETTE TAPE released in Canada! Three lo-fi bubblegum pop songs on a yellow piece of plastic that has been overheating in my car stereo for days! ‘60s pop = punk rock! One gripe: when a release is this good, I want it on a record, not a shitty tape! Fortunately, First Base has at least one seven-inch I’m aware of, and it includes a cover of a tune by (the ridiculous and amazing) Personal And The Pizzas! More, please! –Maddy (Hosehead, hoseheadrecs@gmail.com)

Bury Me Standing: LP
I’ve never listened to this band before, but I know plenty of people who were really into them ten years ago or so. Their story is a familiar one: Punk band jumps ship from a respectable independent label to a major label and then breaks up after the major label drops them. This album was recorded five years ago and was going to be on a major label before the band got dropped. It’s a pretty slick punk/pop record with some obvious ‘77 punk influences. There is one song in particular which sounds like a Clash cover, but it isn’t. This isn’t your standard major label garbage, and after actually enjoying this record, I’m definitely interesting in hearing what those older records sound like. –Mark Twistworthy (Chunksaah, chunksaah.com)

Bite Down Hard /Impact Time: LP
Seemingly unknown but deservedly reissued is an early years retrospective collection by Exit Condition from the U.K.. Side one is their demo cassette with side two compiling an EP (originally released by Pusmort/Pushead) and various compilation appearances with all tracks spanning from the years of 1987 through 1992. One cannot help but be reminded of fellow country men Heresy—who are also friends of theirs as it so happens—with both bands sharing an affinity for U.S. hardcore, though Exit Condition aren’t quite as concerned with breaking any speed barriers. And while Heresy was looking towards the East Coast sound (Straight Ahead, Adrenalin OD), it is quite clear that Exit Condition were steering to the west (7 Seconds, Insted). File under: sometimes it works, sometimes it doesn’t. The opening demo songs are presented here first with their subsequent recordings following on the flip side. In the liner notes it is mentioned by a member of the band that they were not as happy with their debut 7” as they were with their demo tape and I couldn’t agree more. The demo recordings are far more captivating and intense than their proper 7” release. It could have something to do with a hardcore band transitioning from a simple 8-track recording to a larger studio and the overwhelming conditions it can create. Also mentioned is how the EP received much more favorable reviews than their demo, which made the band feel as if “we had sold ourselves short.” Having given this record two back-to-back listens, there is no doubt in my mind that the songs still hold up some twenty years later in both execution and quality: all ragers and not a dud in the lot. Included on the insert is a letter from Pushead to the band expressing his interest in releasing their material as well as a lengthy diatribe about which way he felt the recording industry was headed towards and how the market was “dwindling” in 7” sales. I could go on and on about how someone releasing a hardcore band’s record with the intent of moving units is fucking ridiculous, but, to be fair, the DIY community has changed drastically since then and I’m sure Pushead could care less now, what with the residuals from his skull designs for Metallica shirts keeping him quite happy. It is now your job, nay, duty in putting a smile on Exit Condition’s faces by picking this up, stat! –Juan Espinosa (Boss Tuneage, Drunken Sailor, bosstuneage.com, drunkensailorrecords.bigcartel.com)

”Sinkin/Risin” b/w “Joanne”: 7”
This trio from just north of New York City released this record on their own label. Magic Sleeve Records’ first release is the band’s second 7”. “Sinkin/Risin” is a slightly sloppy garage rock tune. For a trio, they have a very full sound, and the vocals sound like they might have been run through an old guitar amp. The drums have a loud crash to them, the bass definitely walks up and down the track, and the guitar leaves you with a very rich, heavy feeling. “Joanne” is a slower tune, allowing the band more room to fool around on their instruments. It sounds like it could have been recorded in the late 1960s. This record was done on a 5-track in a basement, giving you a pretty good idea of what they might sound like live. These records are hand-numbered, out of 150, so don’t sleep on this one. –Nighthawk (Magic Sleeve, MagicSleeveRecords@gmail.com)

Split: 7” EP
Enabler: Shouty metal stuff with thrash and blastbeats a-plenty. Drainland: One long noise-dirge with the occasional thrashy freakout to break up the monotony. –Jimmy Alvarado (Halo Of Flies, halooffliesrecords.com)

Vol. II-Expansive Sound: CD
Finally! At long last, more songs from the post Generation X outfit on CD. Although this had been available via MP3s for awhile, I was jonesing for a hard product. And the fine folks at PPP deliver. There are five different band lineups to wade through here, but it is well worth it. The mainstays here are Bob “Derwood” Andrews and Mark Laff on guitar and drums, respectively. Twenty-one songs: outtakes, demos and live tracks. Great postpunk guitar work from Andrews makes this a must-have. I can’t wait for the Andrews autobiography. Maybe we can get some Empire reunion shows to celebrate? Only time will tell. –Sean Koepenick (Poorly Packaged Products)

Angels of Darkness, Demons of Light II: CD
I have not heard Angels of Darkness, Demons of Light part I in its entirety, but the two albums were recorded at the same time, and—based on what I have heard of the first—this is a natural extension. The groundwork of this: spare, ever-building riffs, atmospheric cello, and cavernous but sparse drums. The five tracks that make up the forty-five minute runtime of this instrumental album have really given me an appreciation of why the appellate “stoner metal” came to be. This album is about the setting of a mood and place, and as such I would say it is a triumph of production. It is probably best enjoyed in either the grips of full audiophilic immersion (possibly aided by someone’s dispensary prescription), or as background music. In short, this will not get the heart racing, but maybe it will get certain people’s heads working if caught in the right frame of mind. –Adrian Salas (Southern Lord)

Split: 7” EP
Horror Squad: It’s not an uncommon punk dilemma. A lot of your idols have turned into clowns. And if not clowns, super fucking questionable, mumbling shadows of their former selves. There’s no doubt that Horror Squad has had a longtime love affair with Rancid and I’m glad to hear that they’ve taken a couple of steps back from that mirror and started to listen to themselves as a band. The great news is that they’re developing their own identity, their own sound—and they aren’t a new band. That takes some nuts. Anthemic, breathless, and punk-as-life, not punk-as-uniform style punk that’s worth a new listen. Dudes Night: This one’s easy. They like NOFX, Hot Water Music, beer, not showering, and not singing in any sort of key; parts are interchangeable like a partying Voltron (missing a part or two), depending on the situation…”No, dude, that’s your puke.” –Todd Taylor (On The Real, ontherealrecords.com)

Keep It Lean: CD
I can honestly say it’s been a while since a punk full length grabbed me like this. This album will stay in rotation. A keeper. It’s the kind of album you bully people into borrowing, just to say, “I told you it fucking ruled.” Fire-charged and jam-packed full of tight bass lines, these guys tear it up proper. Fourteen songs in twenty minutes that leave you salivating for more. The lyrics are right on and, like the music, powerful and concise. The musicianship here is just top notch. You can tell these songs weren’t created, they were crafted. Definitely recommended for fans of early Metallica, Black Flag, Motörhead, and the Business. –Rene Navarro (Dusty Curtain Face/ Kibou)

Self-titled: CD
I’ll start with the disclaimer that none of this is in English, and I personally have struggled with more than one intro language course. That said, I think this is either Finnish or Polish, and for the first ten seconds it sounds like weird Sonic Youth worship until it turns into yelling-lady anarcho metal. This is made funnier by the fact that according to internet searching, a Delicje is some sort of chocolate cookie biscuit. Again, I don’t know how to make the connection, but it’s interesting, for sure! –Joe Evans III (No Pasaran)

Music for Gluesniffers, Terrorists & the Mentally Ill: CD
Potent cross-pollination of U.K. and U.S. strains of punk, resulting in thrashy hardcore with topical lyrics that aren’t afraid to make a point, served up nice and overdriven. These London louts deliver the goods in spades here. –Jimmy Alvarado (Pumpkin)

Mistakes Were Made: CD
Kenny Rogers’ face is a good example of something that’s gotten dramatically funnier and simultaneously more frightening as the years peal away. The Republican Party is another one. As if espousing a political philosophy only a little bit more sophisticated than that of a territorial toddler isn’t bad enough, some of the Grand Old Party’s most star-spangled mouthpieces outright physically resemble giant tantrum-prone toddlers: notably Rush Limbaugh, Karl Rove, Glenn Beck, Newt Gingrich. Then, in a bold move to become even more cartoon-like, the Republican Party maladroitly became the platform for the dim-bulb Homecoming Queen contingent, ala Sarah Palin and Michelle Bachmann. And by the time Joe the Plumber strode into the limelight, assumed a plumber’s squat, and let loose with his runny nuggets of “everyman” wisdom, the clown dung had basically hit the fan. But don’t get me wrong: Democrats are ridiculous too. On several levels, I tend to think that all political animals should be taken as seriously as balloon animals. But it’s not all laffs and pratfalls. There’s a scary side too; namely that the Neocons are such paragons of neurological rigidity and ideological inflexibility, what Robert Anton Wilson (I think) termed the “statutory ape.” They have an insect loyalty to their own overactive greed glands and to them shameless self-indulgence is considered a virtue. They start with their First Fundamental “Truth,” which is “nothing whatsoever should obstruct my ability to acquire the things I desire, particularly if I’m already well-to-do,” and then they move out from there, philosophically speaking, and formulate their worldview based on that one foundational “given.” These are people just screaming to be made fun of. They are setting a new standard for zealotry that used to be owned by cultists like the Branch Davidians and Facebookies. But disregarding them entirely could prove lethal, quite literally, to the entire planet, so it’s good to know that wise people like George Lakoff are providing New Enlightenment-based approaches to dealing with sanctimonious, hidebound Neocons on the socio-political level. But work also needs to be done on the satirical level. And that’s where Davey Porter And The Young Republicans step in. Davey Porter, in fact, even has that corn-fed, fat cat cherubim look made so popular by Limbaugh, Rove, et al. Or maybe his name is “Dudley”—I’m not real clear on that. Regardless of who’s who, Davey Porter And The Young Republicans is a trio who dress up like snooty Republicans (ala the Yuppie Pricks), and play metalized punk songs that extol the virtues of the Conservative-Life-Lived-Right and their lyrics ooze with such blubbery smugness that I can’t help but think of Newt Gingrich’s love handles. And according to the band bio, Porter even “out-Nuges” Ted Nugent in the category of grunt-snorting he-man conservative primitiveness by virtue of the fact the he was raised in the backwoods of North Carolina by a family of deer, who he later ate at the age of fourteen, after growing his first beard. Terrible Ted’s loin-clothed G. Gordon Liddy routine can’t touch that with a twelve-foot stink pole. Musically, you could make reasonable comparisons between the Young Republicans and bands like Fear, 1990s-era Meatmen, the Plasmatics, and even Iron Maiden. The only unfortunate thing is that this Davey/Dudley character, I’ll bet, probably works at the Guitar Center; his Dimebag Darryl guitar tone just sounds like it’s being filtered through an array of sound processing products he got at work with his thirty percent employee’s discount. But that’s a fairly minor quibble. It’s really the lyrics that are the focus here. If you are a fan of mock-conservatism along the lines of The Colbert Report or the Yuppie Pricks, you’ll at very least probably find this CD amusing in spots. Sure, it’s an easy target, but it’s also a fun target. Go get your copy of Mistakes Were Made and have a few laughs before this country’s second Civil War breaks out between the Cutthroat Neocons and Everyone Else. This stuff might not seem quite as funny once that happens. –Aphid Peewit (Self-released)

I Am Gemini: CD/LP
I can’t seem to recall an album that I went from detesting so much to actually enjoying. Upon the first few listens, I found I Am Gemini to be disappointing and safe. The press for the album said that it was one of Cursive’s heaviest albums, which I didn’t necessarily get, especially compared to their first three albums. But in comparison to their previous two albums (Mama, I’m Swollen and Happy Hollow) I suppose that’s a safe assessment. The album doesn’t seem to rely upon much of anything beyond the standard rock lineup of bass, guitar, drums, and vocals. Gone are the excessive horns and keyboards from previous albums. The one thing the album hinges on, however, is the lyrical concept. Here is how their bio describes it: “I Am Gemini is the surreal and powerful musical tale of Cassius and Pollock, twin brothers separated at birth. One good and one evil, their unexpected reunion in a house that is not a home ignites a classic struggle for the soul, played out with a cast of supporting characters that includes a chorus of angels and devils, and twin sisters conjoined at the head.” Sure, whatever. Composed in a linear fashion, the whole thing is written like a play. It seems a bit pretentious and, unfortunately, not as interesting as it might be. I’ve been listening to Cursive for fifteen years, since the beginning of their career (or pretty damn close to it). Unlike most fans, I’m most partial to their earliest albums with their contrast of stops and starts and loud and soft dynamics. Personally, I prefer lyrics of existential dilemmas and the search for meaning. Concept albums are all good and well, but they don’t mean the same to me as something that comes from the individual’s experiences and the ability to work through that shit. Perhaps there’s something to be said for taking a notion or experience and creating something much larger. In the end, this is an interesting story, but not one that really moves me—like other songwriters have with their more personal songs—and like Cursive did on their earlier work. But all that being said, musically, this album still rocks. Regardless of any concept, it’s got some good songs with well-articulated lyrics that don’t require a lyric sheet to decipher, just to understand what character is speaking. While upon first listen the album seemed safe, it’s still better than most of the music in the indie rock scene, with competency and creativity as well as great hooks and catchy tunes. And that will keep me playing it quite a bit. –Kurt Morris (Saddle Creek, saddle-creek.com)

Human Ouroboros: 7” EP
Grindy, atonal hyper-thrash with ADD song lengths and slower bits to facilitate karate kickin’. –Jimmy Alvarado (Curmudgeon)

Life Is Vile…and So Are We: LP
Goddamn! I had no clue who Cülo was before I got this, but, apparently, they’ve been around for a minute. Life Is Vile is a collection of some earlier EPs that are quite possibly no longer available. I can definitely see why the EPs would be sold out, as these twelve inches of vinyl are packed from end to end with pretty rad hardcore punk rippers. Midwest hardcore in full effect. –Vincent Battilana (Deranged)

Split: 7” EP
Culo: A full side of raging, angry, smokin’ hardcore that’ll warm the cockles of anyone who thinks bands like Negative Approach are swell, if a wee bit too slow. If I had to narrow it down to a single word, “unrelenting” about sums it up. Tenement: Shit, I was feelin’ sorry for these kids for having to follow the Culo stuff, but they more than handle their shit here, delivering two tracks of pitch perfect, early Midwestern-sounding poppy punk (not pop punk) with loud guitars and the kinda songwriting that sticks in your head for days on end. This, my friends, is how a split should be in an ideal world—two white-hot bands aiming for the fences and delivering the goods in spades. –Jimmy Alvarado (Cowabunga)

Silver Screen: 7”
My father had a buddy who owned a record store and every now and then he’d bring home the odd obscurity from a band we’d never heard of, and often never heard of again. One such oddball record was It’s What’s inside that Counts, an album by a band called Critical Mass. At the time we had no clue as to who they were, but the “plucked from the trash can” cover art and the fact that the band look like a buncha schlubs led my old man to believe they were a “punk” band and thus we should think they were nifty. While the album was not particularly “punk” to a couple o’ kids ingesting heavy doses of Void and Black Flag, it did have some great tunes on it, including a scorcher called “London.” The record in question here is the debut single from that same band, released a few years earlier and has since become something of a collector’s item, with good reason. Steeped in buzzsaw guitars, Dollsy swagger, and Rottenesque vocals, the two tunes here are prime examples of the kind of stuff most Killed By Death snobs cream their jeans over and wantonly throw money around to procure. Glad to have a copy of my own, which I will summarily wear the grooves out of. This also inspired me to seek out another copy of the album, which I just bought dirt cheap. –Jimmy Alvarado (Last Laugh)

Savage Reaction: LP
Another band that decides to take a precarious road, in this case hardcore with a heavy dollop of rock mixed into the batter, and it pays off in spades. Songs are clean ‘n’ tight, to the point, rife with great riffage, and have an extra bit of swagger built into the rhythm section to give it all a little extra personality. Good stuff, especially “Fashion Assassinate,” which gets the blood bumpin’ with its zippy tempo. –Jimmy Alvarado (Agrowax, agrowax.blogspot.com)

Fuck You: Cassette
Sixteen tracks of stellar, lo-fi, primal female-fronted postpunk with attitude to spare! This is great for raging or dancing or both! Beyond reproach! What else can I say? –Vincent Battilana (Burger)

Self-titled/New Psychic Denim: Cassette
This is another Burger release of two albums on one cassette. It is really cool when a label uses a medium so well to spread the word about newer bands. And a load of The Cosmonauts is a great thing. Both albums are a combination of jumpy rock riffage soaked in reverb with longer, psych-inspired droning. Fans of Thee Oh Sees should take note. –Billups Allen (Burger)

Self-titled: CDEP
From what I’m able to gather via the internet, this is a two-piece group who hail from parts about an hour west of Mexico City. They’re influenced by the minimalism of the blues and ‘60s rock, and this was recorded in one of the member’s aunt’s house. Dunno how they’ll feel about this, but the results are very much in line with early White Stripes, maybe a little less over the top, and a bit more lo-fi in output. –Jimmy Alvarado (Saustex, saustexmedia.com)

All My Friends Are Dead: LP
It’s really easy to overblow the past. Punk’s no different. This is especially true when uncovering woefully overlooked or underappreciated bands and records. Shit, there’s a whole industry dedicated to it. Killed By Death. As a kid who grew up in the desert, I had the triple whammy of liking punk, investing in countless cassette tapes, and poor organizational skills. On one of those tapes, I had many of The Consumers songs on a mix tape that one of my friends made me. Only, I didn’t know it was The Consumers. Neither did he. And it was a crappy tape, so it sounded muddy and muted; a dupe of a dupe. I just thought that’s how it sounded. So when I saw that In The Red had reissued All My Friends Are Dead several years back on CD, I shrugged—not doubting Larry Hard has great taste—but thinking, “Good, not essential.” I’m an idiot. The devil’s in the details and the devil had been busy making a masterpiece. I’d put The Consumers on the same dart board cork as Zero Boys’ Vicious Circle. Pitch-perfect, from-the-void (neither Indianapolis nor Phoenix were punk hotspots), way-too-well-recorded songs by people who could play their instruments far-too-well and had cut their teeth on the AOR cover band dreck of the early ‘70s. There’s something to be said of a band that, on its best day, was barely tolerated, even by inner-circle punks. You can hear the hate, the exclusion, the unanswered scream, and the about-to-happen implosion. A lost gem. On par with the collected Cheifs output and a public service, really. Alienation transcends decades, centuries. –Todd Taylor (In The Red)

Discografia: Cassette
This is everything the Chicago hardcore outfit recorded, including three previously unreleased songs. The intensity stays high throughout the release, but the mood and tempos vary and the almost pop song structures provide a good skeleton for the music. The lyrics almost all deal with queer/feminist issues, but are written in a very personal way, based on experience instead of rhetoric. The way the songs are written seem to provide more inspiration to those in similar positions than straight-ahead political songs, and also force understanding out of cisgendered, white males. Every song is a lone, powerful statement and they add up to a positive, inclusive collection that is a great retrospective of a sadly underrated band. Highest recommendations! –Ian Wise (Not Normal, notnormaltapes@gmail.com)

Spice Island: 7” single
Modern style hardcore that’s more sprawling than fast and in your face. Borders on ‘90s-style emo. The songs are based around a solid wall of guitar. Underneath are melodies that evoke a feeling of despair. Percussion rumbles and builds, giving the music tension, and the vocals are abrasive and shouted into a void. “American Cancer” builds to a mid tempo and goes from there. They attack, what I’m guessing, is the Bush Administration, and the indifference of a government too ready to declare war. Then on the flip is the title track and it continues along in the same mood as the opener: mid tempo, with a down feeling, and the details of a dead relationship. Overall, a decent record. But I’m wondering if they ever pick up the pace or just keep it to a slow simmer? Will they continue in the realm of hardcore, or cross over into Cap’n Jazz style music? Questions, questions... –Matt Average (Cold Snap / Get Young)

The Presidents of the United Mistakes: CD
Just days after I reviewed the debut album of Jakarta’s Citizen Useless in 2011, the news broke globally of the struggle of Indonesian punks abused and harassed by authorities. I understand that Citizen Useless hail from a more tolerant part of Indonesia, but it’s still challenging to separate those horrifying news stories from this great CD. Harder and less melodic (although no less catchy) than their debut full length, this is a very, very strong follow up. These guys are pissed and rail against the same things punks always have, but with an uncommonly solemn edge. Just try to shave these kids’ heads, pigs! That’s not happening. –Art Ettinger (P.I.G., myspace.com/portnowintertainmentgroup)

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·Dance of Days: Two Decades of Punk in the Nation’s Capitol
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