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Record Reviews

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Liquid Assets: 7” EP

Featuring former and current members of more great bands than you can count on both hands, Iron Hand is a band that just oozes talent. They play a brand of crushingly heavy and face pummeling crust/d-beat that rivals the best of any bands in either of those genres. Side A of this 7”, the title track, “Liquid Assets,” is my favorite of their songs. The driving riffs get you head banging even while sitting down, and the blazing leads and backing vocals take the intensity up even higher. Side B features two tracks, the original track “An Ode to No One,” and a cover of synth punks The Screamers “122 Hours of Fear.” The original offers more of the band’s quality riffage, but the real gem on this side is the cover. Replacing the synths of the original Screamers tune with guitars, Iron Hand takes an already raging song to a new level of fury. If crust or d-beat is your thing, this 7” demands your attention.

–Paul J. Comeau (Safety Meeting, ironhandcrushesall@gmail.com)

Self-titled: CD
If I didn’t know better, I’d think this was some long-lost early ‘80s hardcore demo tape that never got released and had been unearthed by one of those labels that do that sorta thing. You know, the good stuff, before it got all rigid and there were too many rules. (Although, who am I kidding—I love that later stuff, too.) Nine ragers that blow by in about eighteen minutes with just enough changes and different parts to keep you interested but not enough to suggest that too much thought went into them. I imagine firing up the bong and deciding who’s making the beer run (and searching for that beer money in the couch) are more important to The Infernal Names than practicing. As it should be with music like this. Good shit. –Ryan Horky (Scumbros)

Local State Inertia: CD
Hot off the presses, the long-running Chicago outfit comes back fierce with this kick ass platter-o-rock. Prickly guitar, soaring harmonies, and passionate songs about the world’s ills make this one a no-brainer. “Charms and Pills,” “Catch 22,” and “The Damage Done” are stand-outs here for me. The packaging is slick, too. I was a bit perplexed about the cryptic “47” message listed inside. BPM? Average age of the band members? Nope—the old hidden track trick! Expertly produced by Mass Giorgini, it’s a real sonic treat to listen to real loud. Now if these dudes would only tour outside of Illinois, I would be very happy. –Sean Koepenick (Arctic Rodeo)

Jacker: CD
“The Urinals” is my knee-jerk reaction here, and I really don’t think it’s that far off the mark—deep-in-the-garage, fuzzed out, echo chambered sound and some seriously brittle-sounding guitar are well in evidence here. There’s more to ‘em, though, much more—shades of Wipers, assorted garage rockers, and maybe even whispers of Joy Division float in and out. In the end, though, all that dissecting ‘n’ sub-categorizing doesn’t diminish in the least that this is one bad-ass muhfuggin’ record. –Jimmy Alvarado (HoZac, hozacrecords.com)

The Tombs: 5"
Five inches, seven songs, 45 rpm. That’s the selling point. Brilliantly crafted tongue-in-cheek lyrics with perfectly curated samples over heavy-as-hell grind with biting, memorable riffs. The production is crisp, which fits nicely for this particular brand of chaos. “Swans Tickets” and “Rotten Apple” are the best and most appropriately paired grind songs I’ve heard so far this year. Get this immediately, you will laugh out loud and beat up your neighbors in one breath. –Ian Wise (A389)

Greetings from Reading, PA: LP
…it’s always interesting to note how the advent of punk rock stoked the boilers of not just the folks who heard the Ramones or Sex Pistols or Damned for the first time, flipped their lid, cut their hair, bought a guitar and a leather jacket and chucked their Emerson, Lake & Palmer records into the back part of the closet, but also how it aligned with the workaday schmucks who were, due to their preexisting mutation, already attempting to bash out their own solutions to the thorny quadrophonic equations ROCK had become ((e.g., the Dictators)). The Gruberger Brothers published their own zines which predated punk rock ((and its attendant zine culture)) in the early 70’s, as well as being in the quasi-legendary ((meaning I’ve heard of them before)) O. Rex, and the legitimately legendary Afrika Korps. This album covers their various musical escapades from 1978-80, and, not surprisingly, not unlike the prime constituents of the Gulcher/Gizmo/Panic proto-punk axis ((with whom they are aligned)), they are making ROCK which comes out PUNK because THEY FEEL THE RAWK BUT THE RAWK DOES NOT FEEL THEM BACK so fuck it. More often than not, things come out sounding like a sort of amateur hour Dictators ((roll THAT concept around on your tongue for a while!))—e.g., “Here Come the Pussies,” “Rock & Roll Is Better Than Music,” “Die Donna Die”—with occasional spasms of the sublime ((“Chain Saw”)) and drips of the legitimately retarded ((“Dance Fool Dance”)) for good measure. I cannot, in good conscience, say whether or not owning this record can save your soul; this unsurety clearly opens the door for the concept of Salvation Via Gruberger Brothers to exist as a mathematical possibility. None can ask fairer than that. BEST SONG: “Hotel Madness” BEST SONG TITLE: “Die Donna Die” FANTASTIC AMAZING TRIVIA FACT: I’ve been to Reading and I’ve seen that pagoda on the cover. Weird town. –Rev. Norb (Rerun)

Self-titled: Cassette
Late ‘80s-style hardcore with a heavy straight-edge influence: guitar sound, breakdowns, gang choruses, and lyrics that look inward. This isn’t bad, but it’s not entirely “need to hear it again” stuff. That’s not to say there’s not potential here. If they shorten some songs, crank the guitar up in the mix, hone in on making more of a punch, and stray a bit from the formula, then they could be a force to reckon with. If you like bands of the past like Mouthpiece, Turning Point, Chain Of Strength, and the like, then you may want to check these guys out. –Matt Average (God Mode, godmodeny@gmail.com)

Fear of the Unknown / Lockdown: LP / 7” flexi
I’m hearing/reading from various sources that this is the final record from these guys. Too bad, I suppose. I thought they were pretty damn good, and had a few more worthy releases in them. This record is no different than anything they’ve done before, but it’s still worth getting, and, if anything, this album only underscores how great they were at what they were doing: early ‘80s punk rock U.K. (via present day Quebec) style like what you would here from labels like Riot City and Clay. The music is charged full of energy, the delivery is urgent and confident, and they blast from song to song without much pause. “Demented Killer” is a rager with its racing tempo, and the bass running just underneath the guitar, but not too far down to disappear. “Face the Reaper” is a bona fide classic. I use that word sparingly, but I can promise you will hear people talk about this song in years to come. So f’n good! It’s one of the songs that I immediately replay as soon as it’s over. Most of the songs on the second side are ragers that go for broke the whole way through. Crank this up and get caught in the whirlwind of songs like “Dead or Alive,” the insane “Crown Attorney,” and “Poisonous Lifestyle.” The when the record is over, start the process over again. Love this record! One of my top ten for 2011. Then there’s the flexi 7” that comes with this. Two songs. The title track is an intense ripper that has a relentless delivery and one that sears into your memory. Then they close out with “Is This Really Hell?”—a bit longer than the first song—but still a crusher. The guitar solos are pretty cool, and add to the urgency. Comes with a massive poster as well. –Matt Average (Loud Punk, loudpunk.com)

Self-titled: LP
Gentleman Jesse plus a Black Lip and two other dudes whose names I don’t recognize. Overall, the album sounds like Gentleman Jesse fronting a cleaner (in sound, not lyrical content) Black Lips. This is a good thing. Songs about heartbreak (“Pretty Boy” and “Don’t Get Married”) and despair (“We Are Only Gunna Die”). Part of me really wishes “I Wanna Join the James Gang” was about Joe Walsh’s pre-Eagles band, but I don’t know why. –Sal Lucci (Norton)

Why We Fight: LP
This is a reissue the first Gatsbys American Dream record from 2002. All profits apparently go to benefit the charity Water.org. (I think they work to provide clean drinking water to third world countries or something like that.) I may be mistaken, but I think this is the first time this album has seen a vinyl release. I always thought Gatsbys American Dream was one of those New Found Glory-type pop punk bands that sprouted up around the turn of the century and made life unbearable for all of us for awhile there. The (very) tiny amount of research I did in order to review this has led me to believe that they grew out of that style and got more “challenging,” though I didn’t actually listen to any of their other records to confirm this. This record is basically really slick pop punk with a few musical twists and turns thrown in. I must be goin’ soft in my old age because I didn’t just want to chuck this out the window. Some of the songs are okay. I don’t think I’m ever gonna throw it on the turntable again, but if you were a fan and always wanted this on vinyl, here you go. The gatefold packaging is really nice and the clear/splatter LP looks great. The money goes to a good cause, too. –Ryan Horky (Overdue Collection Agency, overduecollection.com)

Self-titled: 7”
Fargo, North Dakota’s Fuck Detector drop seven tracks of crunchy, ravaging Ginn-inspired hardcore on this 45. Any sane person would know right off the bat that this is terrible music, but for fans of terrible music, these are a pretty fabulous batch of tunes. Their basement hardcore approach could be the exact middle ground between other local flavors Quest For Fire and Holy Shit! And containing ex-members of Gumbi only increases that likelihood. Tonight’s low in Fargo is 11°F, but Fuck Detector’s blood is still boiling. –Daryl Gussin (Dumb Choice, dumbchoice@gmail.com)

Muscle Pop: LP
Amy just told me what a flesh light is. I didn’t know. You can look it up yourself, but the short answer is it is something you masturbate with. There are acceptable, sterile pictures on Wiki. I’m sure there are more graphic pictures available if you’re game. On vinyl, it means good rocking. This is a solid trio from Austin complete with songs about girls, drugs, and rock’n’roll. Snotty vocals are always the preferred delivery system for lyrics about unrequited love: the type of lyrics that never go out of style when they are done well. The band lights a fire using three-chord verses, short guitar solos, and back up vocals, creating the trifecta for my attention. No bad moments. Awesome. –Billups Allen (Twistworthy)

Crazy Glue:: CDEP
Fishbone are a goddamned punk/funk/ska institution in Los Angeles, one that any underground music fan past the age of twenty-five worth his weight in bondage belts knows well to respect. Outsiders in all the best respects, these cats have been taking heed of their own muse for more than three decades and have laid down a body of ass-shaking, stage-diving, moon-stomping gloriousness that should be (if it ain’t already) the envy of damned near every band daring to think of dipping their toes into any shallowest corners of the pond in which they do the backstroke. The seven songs presented here are a bit of a crash course in what Fishbone do so well—one Caribbean-inflected jam, a few funky workouts, and a couple of metal-tinged thrashers to get the kiddies worked up. Time will tell if anything here has the staying power of classics like “Lyin’ Ass Bitch,” “One Planet People,” or “Party at Ground Zero,” but rest assured you’ll have a helluva time getting’ down while waiting to find out. –Jimmy Alvarado (DC Jam, dcjamrecords.com)

2 Songs: 7”
It’s been a few years since we’ve heard anything from The Evens, the project of Ian MacKaye and Amy Farina. It’s kind of understandable: Ian and Amy had a child together, not to mention Ian is Ian and has a hundred and one things on his plate, including doing interviews with idiots like me. So what will we find now that they’ve released their first new music since 2006? The two songs served up here are a welcome tease. The music still follows the same general style: Ian plays his baritone guitar, Amy plays the drums, and both sing. Amy takes the lead on the A side, “Warble Factor,” and her vocals sound as powerful and soulful as any other Evens material. The B-side, “Timothy Wright,” has Ian setting a gentle tone with his voice. There’s certainly no angry yelling here. The song is catchy and an enjoyable listen with Ian’s jangly guitar ever-present. While I truly hope there will be further material from The Evens, 2 Songs is a very satisfying listen in itself and, despite the hiatus, it shows a band that is just as interesting as ever. –Kurt Morris (Dischord)

Get Real Dumb: 7”

This came with absolutely no information on the band except that it’s limited to three hundred copies. The A side of this record is dirty, poppy, catchy garage punk. The Mean Jeans or Goner Records bands spring to mind immediately. The B side, “Josie” side sells it for me, though. The sound is more aggressive but still pop sensible. It has a raw vibe. The drums and overall tone remind me a lot of an old Chiswick Records LP that probably shouldn’t be named.

–Ian Wise (Fatal Seizure)

No Time for Sleep / Stereophonic Tonic / Lost in Space: CDEP / CD / CD
No frills, true blue, dyed in the wool NY punk rock’n’roll, and you get it in friggin’ spades across these three discs. On one end you have no shortage of love for the Dolls, whose trashy glam-punk swagger is in full evidence on every song on demo-sounding No Time for Sleep and subsequently encoded into the DNA of Stereophonic Tonic. Every song on the latter is packed with hip-shaking sleaze, including an ace cover of the Marvelettes’ “Too Many Fish in the Sea.” Swinging the pendulum the other way, Lost in Space is neck-deep in Ramones leather and power chords. Though their cover of brudder Joey’s now-classic “Merry Christmas (I Don’t Want to Fight Tonight)” doesn’t fare quite as well in the translation as the Marvelettes, the lion’s share of tuneage here is quite the bee’s knees. The total mind-fuck of all o’ this, though, is it appears these cats ain’t even from anywhere near Queens—they hail from Victoria, British Columbia, which sits nearly 5,000 miles from New York. –Jimmy Alvarado (Shake!)

Self-titled: 7”
Featuring Mark “BBQ” Sultan and Bloodshot Bill. I’m not sure whether to call this a “side project,” since both Sultan and Bloodshot Bill are involved in so many bands/projects at once, with each other, with friends. Wonderfully incestuous! Four partyin’ rock’n’roll and rockabilly (without getting silly) tunes. I like this better than The Ding Dongs debut LP from last year on Norton. I also like this better than Bloodshot Bill’s project with Sultan’s co-conspirator King Khan (Tandoori Knights). Definitely worth your purchase. –Sal Lucci (Sultan, marksultan.com)

Are You Gonna Eat That?: CD
Definitely not The Decline that was on Hostage Records back in 1999. Definitely named after the NOFX song. Yup. –Ty Stranglehold (Pee)

S.S. Endurance: LP
You know, I’m not really that impressed by what’s going on right now in Seattle punk, as far as bands go. Seattle is where I live and I’m not being negative, just honest. I’ve got plenty of other things to keep me busy, so if a good band wants to come my way, well, good for me. That’s just what happened when I got this Death By Steamship record in the mail to review. Death By Steamship play a sort of jazzy, post-hardcore that goes from jaggedly-meandering to a more straightforward punk. The album starts out with “Digital Relay,” a timely, punk-as-fuck song about how technology is making us ignorant, detached from our environments, and stupid. One could not ask for a better written and timelier song, at a time when even the punks can’t resist Big Brother Facebook. The ebbing to pounding style of the band really draws the listener in. The vocals, I feel I must mention, are quite similar to Murder City Devils, and that might not serve them well, being that they’re from Seattle and all. But Jason’s vocals are only similar in cadence and vigor. They lack the grandiosity and theatrical goofiness of M.C.D. Otherwise, they sound quite different, and I would, actually, recommend Death By Steamship if you want a more empowering alternative than the Situationist-jerking-off-to-a noir-film, bad-boy-fantasy style of Murder City Devils. (I like them, too, but c’mon.) Anyway, besides the vocals, D.B.S don’t have any other similarities to those Seattle darlings. They represent a life some of us actually live, the stress of not knowing where the next paycheck is coming from and the small pleasure of being drunk on the bus or wandering the streets tripping balls. This is sincere and relevant shit and, hopefully, they’ll be the next show that I go to, that is, if I’m not too busy scrambling for my next paycheck or wandering the streets tripping balls. –Craven (Whoa! Boat, whoaboatrecords.com)

Free Your Mind, Free Your Body: LP
This deluxe reissue of a classic early Polish straight edge record is a true labor of love. Glossy packaging and a giant fold-out lyric sheet house the green and black marble vinyl. The foldout lyric sheet includes a rough English translation of the lyrics and a list of all thirty-five of the live shows Cymeon X played when they were an active band from 1992-1994. Polish hardcore of this time period has its own vibe difficult to put a finger on, but it’s somewhat reminiscent of U.S. “youth crew” material, only with a darker, gloomier edge. Get it? Edge? In any event, this is a very cool way to check out a classic, influential Polish band. –Art Ettinger (Pasażer, pasazer.pl)

Self-titled: EP
Looking at the front cover, I was anticipating some shitty stab at punk from some half-assed band. Then I flip it over to the back and see Tina “Boom Boom” Lucchesi from the Trashwomen is on drums. Okay, I could very well be wrong about this band. I can be a prick at times. It’s known to happen. Put the needle down on the record, and hear the opening shouts of “Cyclops” set to a rapid and furious beat that borders on thrash, but they reign it in just a bit and throw in some noise to keep it more punk than bunk. Then they kick into “Fire” and I’m on my feet waving my hands in the air, moving around the room repeating “Oh, fuck yeah!!” The song that sunk its hooks deep into me has to be “I Have One Eye”; the hammering tempo and to-the-point delivery is primo. Then the follow up “CyclopsIsland” has a nice dirty swagger to send you off in a haze. Punk rock for miscreants and eternal juvenile delinquents. –Matt Average (Johnny Cat / Portland Mutant Party)

Hurry Up and Kill Yourself: LP
This record contains a nice selection of three chord punk’n’roll. I’m usually turned off by graphic names, but I saw Cum Stain last year and they delivered in a big way. The record delivers as well, although it is inexplicably designed to look like a Crass spoof. I don’t get the joke, but maybe I am missing something. I can’t tell if the lyrics are as extreme as the album title. The opening song, “Bachelor’s Life,” moves at the pace of poppier Nobunny, and is consequently one of the only songs where the lyrics aren’t lost in the reverb. The song is a nice list of things that make up the lexicon of the lone punk dude, including loads of masturbation references. I can’t fully make out the lyrics to “Broke My Dick,” but I can imagine that it is pretty clear. Still, none of it seems like anti-P.C. shtick. The whole package comes across as sincere, off-the-cuff punkitude. The band is off the rails on a good, fun thing. The record speeds up and slows down and rocks and rolls. It’s a keeper. –Billups Allen (Burger)

Self-titled: 7"
There’s something charming about guitar tones that sound like knives zinging over whetstones. Same goes for vocals that sound like strangulation. Same goes for “I call bullshit! Beer-battered-bullshit!” lyrics. Who knew JFA’s Blatant Localism EP wouldn’t flat spot after all these years? With skate-infused thrash punk the devils are in the details, and, for some reason, the illustration on the insert bugs me. Think Suicidal Tendencies-ish skull. Think Schmidt Stick—rails (I’m surprised there’s not a lapper) with an ankle-biter tip. But there aren’t any front trucks on the deck at all. Maybe so the band’s name could fit on the graphics. That’s weird. I like this record. I’m predisposed to. It’s the stuff I loved when I was thirteen years old. No surprises, just shredding. Ditch skating prior to the ascendancy of street, when Rodney Mullen wore day-glo. –Todd Taylor (Self-released)

The Severance Package: CD-R
A nice bit of hardcore here more in the early L.A. punk sense rather than the modern template that immediately comes to mind. There’s a bit more intelligence and sophistication to the delivery than four-chord thrash-o-rama, and though I think the cover of the Circle Jerks only deprives the band of showcasing another original, what’s here is quite good. –Jimmy Alvarado (Cubicle, cubicleband.com)

Void: CD
I like metal. It’s one of my favorite genres. When I first started listening to non-mainstream music in middle school, it was the first style I tapped into. I like thrash, grind, speed—just about every subgenre there is. But through it all, there has been one type I have not been able to get into and that is the type that Craft plays: black metal. I’ve tried listening to Burzum, Mayhem, and Gorgoroth, but have never been able to identify. I often find their music isn’t fast or extreme enough—there is a lack of brutality—and the vocals all seem to sound alike from band to band. And don’t get me started on the lyrics. Anti-Christian verses and satanic imagery is interesting when done well, but much of the genre can become a parody of itself. That being said, Craft follows many of these same parameters: Cookie Monster vocals that try and sound evil, in addition to poor lyrics (“My mind screams to me like a black metal record in dissonant accord”). However, one place where Craft seems to best some of their comrades is in regards to musicianship and the songs created on Void. While the mix seems to lack consistency, what is played is powerful and has some edge in its delivery. Too often, black metal comes across as one of the weakest subgenres within metal, but Craft seem capable of throwing in some hard riffs and the accompanying guitar solos fit appropriately. Obviously, Void isn’t my thing but if you want to check out something different in black metal, perhaps this might be up your alley? –Adrian Salas (Southern Lord)

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