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Record Reviews

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Take My Hand: 7”
Seattle’s Orca Team offer up three tunes that recall a time where guys would wear suits and ladies would wear dresses to go dance to rock bands, after flipping a nickel to a soda jerk for a glass of pop. This is some classy stuff that has hints of proto psychedelia (that would later be fully realized in the hits of Nuggets). Neat stuff! Get on it. –Vincent Battilana (HHBTM)

Aftermathematics: CD
An odd amalgam of tough guy hardcore and intelligent, political punk, Opposition Rising is an up and coming Boston band to watch for. In an era when musicians justifiably complain about music piracy, Opposition Rising takes the opposite approach, giving copies of this CD away for free. The entire album is likewise available online for downloading, with a link to by the LP, for those reeled in by the free version. The tough guy bits are interspersed with odd ska breakdowns that are only odd in that they somehow don’t seem at all out of place. The frontman’s vocals are way above average, too. No opposition here. –Art Ettinger (Opposition, oppositionrising.com)

“Alien Astronaut” b/w “Till the End of the Night”: 7”
Solid 7”. As the name implies, “Alien Astronaut” has a science fiction feel to it. The track’s heavily-phased guitar and subject matter leads me to believe The Onions are big fans of the Necessary Evils. “Alien Astronaut” has a really fucking vicious vocal delivery—not quite Tomata du Plenty heavy (what is?) but not too far off either. B side is chockfull of Johnny Thunders riffs and is nearly as cool as the A side. Added bonus: cover art by Bob Scott (Mongrel Zine rules). Recommended. –Ryan Leach (Certified PR, certifiedprrecords.com)

Backed in a Corner: CD
The opening track on this disc is amazing! It’s so good, in fact, that I felt that the rest of the disc couldn’t live up to its awesomeness. It’s not that the rest is bad by any means—it’s standard pop punk stuff—but, damn, that first song stuck with me for awhile. It would have been great to have that song on a 7”. –Ty Stranglehold (When’s Lunch)

2011 Demos: CDEP
Old Flings started as an attempt to put some muscle behind singer and acoustic guitarist Matt Evans. It turned into a legitimate band that has a Hot Water Music influence but with, perhaps, a little more indie and punk sound. It’s quite different than Evans’ hardcore punk band, Just Die! There’s nothing complicated or unique here, just six songs with strong, endearing vocals and a sound reminiscent of Liars Academy—which is probably why I find this release so up my alley—as I always thought they were a pretty underrated band. The fourth track, “Stranded,” is the one exception to this, with an acoustic sound and a contribution from someone who sounds like Cat Power (but I’m assuming is not). It’s a very beautiful song and serves as a nice break from the punk material. My one major complaint is that sometimes Evans’ vocals fall a bit flat and the lyrics, while not stupid, aren’t as powerful as they might be. Considering these are demos, though, they’re not too bad. I’d be interested in hearing what they do with a full-length. –Kurt Morris (Bitter Melody)

The One and Only: LP
This might be the best record I’ve bought in a long time. I almost didn’t buy it because of the price. (Fourteen dollars at my local record shop!) I’m trying to come to grips with the increasing prices of records (even used ones, jeez!). Anyway, attitude-laden punk rock’n’roll. Opening track “If the Shit Fits” probably best sums up OBN IIIs. “New Dark Age” is Mr. OBN III’s homage to Iggy Pop. Production is lo-fi but you can tell the band is competent and also spent time and effort recording the songs. I really dig the bass tone but it sometimes gets a little lost in the mix. OBN III himself is a prolific man, doing time with The Bad Sports, John Wesley Coleman, and probably others. I hope to see this band live sometime soon. –Sal Lucci (Tic Tac Totally)

Hungrier Than the Wolf: Split: 7”
Now Denial, Massachusetts’ titans of heavy music return on this split 7” with Get Laid. Making music with no regard for genre boundaries for nearly ten years, Now Denial offers up two of their best yet on this 7”. Of the two songs, “Wasted Lives” was my favorite. Filled with strong hooks, and a mix of both screamed and sung vocals, this song embodied everything I find awesome about Now Denial. Boston’s Get Laid are a screamy and thrashy affair. Hardcore punk that made me think of a heavier X. “Artex” was my favorite of their three songs. While I enjoyed what they had to offer, after a few listens I stopped flipping the record and just listened to the Now Denial side on repeat. It’s just that good. If you’ve never checked out Now Denial, this is a great way to get into the band before picking up their latest full-length. And, who knows, maybe you’ll find yourself digging Get Laid as well. –Paul J. Comeau (Get Young, contact@nowdenial.net)

“(Do The) No Tomorrow Twist” b/w “Neanderthal for Your Love” : 7”
Hailing from a planet with leopard-spotted skies, where press release references to juvenile delinquents, leather jackets, switchblades, pompadours, and Little Richard are still interesting, the No Tomorrow Boys attempt to tunnel out of the Dullsville County Jail with just two guitars and some drumsticks. Their plan—as exemplified in the anthemic call to arms “(Do The) No Tomorrow Twist”—is a fairly well concocted one; the song jets right along at an admirable level of attempted raucousness. But, as so often happens to the best-laid plans of be-pompadoured mice and leather jacketed men, the whole restored ‘57 Custom apple cart is overturned by the sad fact that i have to sit on the living room floor in the lotus position with headphones on and the volume cranked whilst doing weird things with my fingers and palms in a state of utmost psychic concentration in order to mentally discern exactly WHERE THE HELL THE GUITARS ARE in the mix of this record. I mean, the drums and vocals are fine, but the guitars are like two tiny bugs and there is no bass. I’m going to find it awfully hard to screw at the drive-in with guitars this absent. And it’s not like this is some big shambolic echoey sonic muck where the guitars just wound up getting buried in the endzone; this shit is direct and clear and focused. It’s just largely inaudible. Kind of a cool record on several levels; alas, said levels do not include the guitar levels in the mix. BEST SONG: “(Do The) No Tomorrow Twist” BEST SONG TITLE: “Neanderthal for Your Love” FANTASTIC AMAZING TRIVIA FACT: Etchings in the vinyl’s run-off grooves read “HOT DAMN, TAMALE!” and “LJMF.” –Rev. Norb (Teen-Age Riot)

Self-titled: 7” EP
Spastic, warp-factor-nine hardcore/grind stuff. –Jimmy Alvarado (To Live A Lie)

NITAD: En Ding Ding Varld:
En Ding Ding Varld: 7” EP
On this latest EP, Nitad take the mid-tempo hardcore they’ve dealt in the past and take it one step further. The three tracks on the A-side just grind and churn their way into your noggin’, while the lone track on the B-side, “Leva Bara För Att Dö,” adds a bit of post-punk to the mix to twist things up even further. Great stuff from a great band that continues to find new an interesting little cubbyholes to dive into and explore. –Jimmy Alvarado (Adult Crash)

Roman Nose: LP
What used to be a beautiful twist on punk, country music is now a weak, lily-livered album with no balls. I want to say this is the best thing I’ve ever heard because I know the band has it in them to put out some amazing stuff, but it comes down to heart—or lack of heart—should I say. Maybe it’s a bleeding heart and that’s why it sounds so sappy. Their last album, Restless Rubes, was great, but the entire thing was completely overproduced, which made it difficult to listen to. The beautiful human element that is Ninja Gun was erased and we were left with bland songs tucked into a beautiful record cover. This current release of songs may be nice to listen to in person, sitting in old lawn chairs on a southern night, but it isn’t translating nicely into vinyl due to the overproduction. I’ve had one person disagree with me on this and say it was their best work, but many others found this record to be boring and didn’t even recognize that it was Ninja Gun I was playing for them. If only the songs were recorded at a live performance. Get their first album if you are interested in learning about this band because it is truly their best recording. Bands evolve and it can be interesting to be a spectator, but, in some cases, it just saddens the listener because they lose something they held dear. I’m not sure Ninja Gun will ever be able to put out something as solid and honest as their first record. Although I do appreciate the hours of creative energy they have spent in a recording studio making their songs the best they can, someone should let them know that their organic sound is what makes them so wonderful. –Dan Glenn Fury –Guest Contributor (Sabot Productions)

We Own the Night: 7”
Here’s another two-song burner from the band that took my stereo by storm last year with their 12” EP on Modern Action. Relentless in their delivery and steadfast in their resolve to not give a fuck makes Neighborhood Brats one of the best bands going right now. The title track is the winner here, but the cover VKTMS “100 Percent White Girl” hammers it home. I want more! –Ty Stranglehold (Abscess)

“Anxiety” b/w “The Creeper”: 7”
Though I’m probably not the most qualified to review this record, I really dig it! Pretty straightforward, bouncy garage rock with catchy melodies with the reverb turned up to eleven. My only complaint is that the production is almost too good for a record like this. I think the band would have benefited from a little more fuzz and a little more tape hiss. But it’s a minor complaint. Looking forward to hearing more from this band in the future! –Chris Mason (In the Red, intheredrecords.com)

Radical Rock and Roll Sounds of…: 7”
The B-side is where this record really gets interesting. The A-side, “Owner Operator,” is a good, generic example of the sort of punk rock’n’roll that was all the rage about ten years ago. The B-side, “Turn off Your Clock,” starts with a driving intro stripped from the Journey playbook (see “Separate Ways (Worlds Apart)”) and played through a filter of aggressive guitars. The intro segues into a gruff, heart-on-sleeves garage rock dirge that pulls as much from grunge and Dischord as it does the gunk punk undergut. I bet it causes those spinal chills when played live. –MP Johnson (Moon Eater)

Split: 7”
Have you heard of the Browns? For more than a decade, they’ve been wearing ski masks and writing sleazy yet catchy rock’n’roll with lyrics like “I’ve got a big cock.” It’s definitely don’t-play-it-around-your-mom music. The Moby Dicks are a bit subtler, particularly with “Intelligent Baby,” a sing-along paean to smart girls. That’s the side to play when your mom’s over. –MP Johnson (Handsome Dan)

The Donor: LP
Wow, this is all kinds o’ fucked up, and yes, that’s meant as a compliment. Take Black Flag and give them nothing but Saccharine Trust’s later free jazz/improv stuff to listen to for six months, turn the amps to “annihilate,” and let ‘em play a few tunes. Decidedly thinkin’ outside the box, a fuckload of tempo changes from one second to the next, Ginn-styled leads to further add to the chaos, and voila! The soundtrack to your next root canal. –Jimmy Alvarado (Sorry State)

Meltdown: CD
Mind Spiders is one of those bands that makes me both giddy and seething with envy. Fan-geek Jimmy is just happy as pie to gorge on the cornucopia of styles they bandy about here like nothing: punk, garage rock, power pop, and, at points, even veering dangerously into psychedelia and shoegazer terra. Then, halfway through, things veer off with a sharp left into synth-drenched Numanesque new wave land. Glorious. Hack guitar player Jimmy just boils with impotent rage at the fact that, like sister bands Marked Men and Potential Johns, they have that uncanny ability to make even the simplest chord progressions sound so perfect, like, “Well hell, of course they went that way. Why the hell couldn’t I think of that?” Fuck you, Mind Spiders for being so goddamned great, and please keep doin’ what you’re doin’. –Jimmy Alvarado (Dirtnap)

Tide: 7”
Simple and effective laid-back tunage heavily influenced by the clean-cut bands of the ‘60s, yet establishing what some are very eagerly considering a new California sound in real time. Spot-on job of laying down carefully crafted, somber verses and then just pulling the rug out from under it all as soon as the chorus hits. The melodies alone might make this record worth it, but it’s all pretty killer. –Daryl Gussin (Goner)

Central Time: CDEP
Promising debut from this group of Milwaukee rabble-rousers. If you like The Replacements, Slobberbone, and bands of that nature, then this may be one for you. Precise melodies, intelligible lyrics, and to-the-point guitar riffs. I bet this would go great with an icy cold one, or two. “Long Way to Go” is my favorite on this one, but they also have a great feel and groove. I’m setting the alarm in my head to Central Time! –Sean Koepenick (Good Land)

Jersey’s Best: 7” EP
Bittersweet. This 7” was released for the Measure [SA]’s final shows in New Jersey: an audio post card of thanks to their fans for seven years of support. It features the Golden Girls on the artwork non-ironically. The lyrics to the title track is like a meta-song for their last show, the story of the end, the echoes in the parking lot as people dissipate, going separate ways. It’s fitting: Lauren’s great voice, Fid’s inspired guitar, Mikey telepathic drumming. Legacies, nostalgia, the great void of—poof—part of what defined you for so many years gone; that’s a lot to deal with. Thanks for being a friend, Measure. Thanks for the ride. –Todd Taylor (Don Giovanni)

Going Clubbin’: 7”
I always have high hopes when a new band shows up on the scene with the yarbles to have their “true” identities concealed beneath some sort of head-concealing wraps, be it in the style of pro wrestling masks or old school armed robbery panty hose headwear. Now I know plenty of pompous gasbags who think that that is the chickenshit way to play punk rock, that you’re supposed to be forthright and bare all in a show of naked punk rock piety. And that’s fine, but there are other, more exotic, flavors of truth that rash acts of juvenile anonymity bring out. But when you dare to don a punk rock mask, you are telling the world that you are of the same Herculean dissident punk lineage as such mythic figures as The Mummies, HeWhoCannotBeNamed, Henry Fiat’s Open Sore, The Rip-Offs, and The Mentors, just to name a few. So you better damn well be able to live up to the expectations that go with that noble cranial wardrobe. It’s similar to if you’re a new pro wrestler showing up with a shaved head, missing teeth and tangled tufts of Neanderthal hair adorning your body; you are instantly implicating yourself in the proud missing-link lineage of luminaries like Mad Dog Vachon, George “The Animal” Steele, Brute Bernard, Ox Baker, Maurice Tillet and Puppy Dog Peloquin. And there again: you’d better be able to deliver the damaged goods. Naturally, when I gazed upon this record and saw the Maxies in their dress shirts with red ties and their red and silver sci-fi masks, my hopes soared like a turkey buzzard. As we all know, oftentimes very good things come wrapped in clownish outfits. But I was somewhat let down. Cute, serviceable pop punk with a vocalist who has a practiced Jello Biafra warble might sound enticing enough, but, in reality, it registers on the satisfaction meter right at about the nocturnal emission level. Oafishly calculated attempts at political incorrectness— namely “funny” lyrics about the joys of clubbing baby seals—come across not as shocking and offensive, but hackneyed and pointless. Politically Incorrect Punk should be left to trained experts like Blag Dahlia and Tesco Vee, punk rock he-men who have proven that they can handle the nitroglycerine-like volatility of political incorrectness without having it blow up in their own faces. At the same time, I truly don’t want to discourage these masked Greenlandic desperados, because it’s not a hopeless case. There is some chuckleheaded potential here. Maybe the Maxies are just too raw at this point and need to stew in their own stupid juices a little longer. And here’s where I pretend I know what I’m talking about and offer up some unsolicited advice: don’t try so damn hard to out-politically-incorrect everyone else. Political Incorrectness is not a contest and if it doesn’t come from the heart, it’s just ineffectual and makes you look like an attention whore. Just drop the klunky affectations and let your natural inner sociopathic buffoon shine through. When that happens I will proudly and drunkenly climb aboard the Maxies bandwagon and once again publicly embarrass myself. –Aphid Peewit (It's Alive)

Single Life: LP
At long last, the LP that should have been released years ago. Sometimes watching 7”s steadily trickle out of a band is an overwhelming and alienating experience. For the last several years, Marvelous Darlings have been doing just that. And it may have left many people on the fence, but with the release of the Live at Gales LP and this here collection, any non-believers should be effectively won over to their brand of power pop-infused punk. In the interview in issue #63, Darling’s frontman Ben Cook credits the band’s infectiousness to the songwriting skills of guitarist, Matty D. That may very well be true, because it seems like the lead guitar is constantly wailing, but Ben’s vocal delivery is as convincing and powerful as one can expect. In a genre where bands commonly posture better than they play, you gotta hand it to the ones that know how to deliver. Firestarter’s Living on the Heat, Exploding Hearts’ Guitar Romantic, Marvelous Darlings’ Single Life. Pure pop. Totally punk. –Daryl Gussin (Deranged)

Whatever I Want & Whenever I Want: LPs
Here we have two new Mark Sultan records, released simultaneously. Mark Sultan—this generation’s Billy Childish? There are some obvious concerns about releasing two albums simultaneously. Maybe some can’t afford to buy both, maybe some can’t handle that many songs from one artist at once. I was excited about being able to get both albums at once, but as someone who has been a fan of Sultan’s music since his Spaceshits days, I had a hard time paying as much attention to the individual albums as they deserved. I find myself listening to them back-to-back but I really should break up the flow with another band. There are differences in the songs, sometimes subtle, but enough to warrant two different albums. Neither Whatever nor Whenever are straight ahead rock’n’roll—I’ve learned to expect the unexpected with Sultan, whether he’s one-man-banding it or sharing with friends. You get good time party jams (“Livin’ My Life,”) ‘50s Buddy Holly-isms (“I Turned Them All Down,”) ‘60s psych/fuzz (“See Them Wave Goodbye”) and wild jazz skronk (“For Those Who Don’t Exist”). Some of the drumming is a little timid but I can look past that because Sultan’s voice and knack for simple, yet beautiful hooks have always been the driving force of any of songs. My favorites: “Pancakes” (Apparently a cover. I gotta find the original!) and “Party Crasher” (with its eerie “Paint It, Black”-ish riff) off Whenever; “Livin’ My Life” off Whatever. Mark Sultan’s manifesto is both of these albums. –Sal Lucci (In The Red)

W.W.B.L.O.: LP
These Czech punks prove the theory that bands benefit from having one member who is a not-so-secret metalhead. The hesher will have stronger musical chops, but be prevented from utter wankery by the comparatively low skill level of his bandmates. In the case of Mad Pigs, the undercover headbanger is the guitarist, whose melodic leads add a triumphant Iron Maiden/Burton-era Metallica feel to the band’s anthemic hardcore punk. Their formula is one that gets monotonous after half an LP, but if I ever star in a war movie, I’d like to have one of their songs, maybe “Tohle Je Brno, Ne L.A.,” playing during a scene where I jump out of a chopper. The gatefold sleeve boasts silver embossed lettering and a tattoo-style drawing of the grim reaper welcoming you to a post-apocalyptic urban graveyard. Maybe the guitarist drew it? –CT Terry (Voltage)

Self-titled: 7”
Can a band be both contemporary and ahead of their time? Yeah. The Screamers were. The Urinals were. The Lost Sounds were. It’s pretentious and douchey to say that the “right” people were hip to the Lost Sounds when they were active, so let’s say that those people were justly rewarded, both live and on recorded output. The Lost Sounds sound like a fight and lust, only with creative musical instruments and a synthesizer pounded and actively striking back. Cages rattled, fidelities challenged, and a welcome post-Lost Sounds release. RIP Jay. Long live Alicja. The midpoint between Billy Childish and TV Smith? It’s a fun one to contemplate. –Todd Taylor (Goner)

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