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Record Reviews

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Fake Meets Failure: LP
From what I manage to find online, this appears to be a “collective” founded by a member of The Observers and a member of Clorox Girls, and features a rotating lineup of members from those bands, Born/Dead, Scott Baio Army, and others. The music, for the most part, stays firmly in mid-tempo, but they pull out all the stops and crank out some grade-A quality punk rock with much intelligence and rock solid songwriting in evidence. We’re roughly past the year’s half-way mark, but I can totally see this making its way onto a lot of top ten lists come December. –Jimmy Alvarado (Deranged)

After Your Brain: LP
Getting the vinyl reissue treatment after twenty years?! I always thought this would be one of those evergreen records. This is their third studio LP, and while this is not as awesome as the first two albums, this is still pretty good, and one that should be part of any hardcore fan’s collection. “What For” with its insane growly voice at the beginning and the manic speed the song moves in still rages after all this time. There’s really not one bad song on here, and they all hold up years later, although the electric drum used in “What Have We Done” sounds dated. Other than that... I would urge you to get this instead of the crappy hyped-up hardcore on today’s boutique labels. –Matt Average (Toxic Shock, toxicranchrecords.com)

We Must Be Dreaming: 7"
This is the band Raw Nerves from Portland. I caught these guys in Birmingham a couple of weeks ago and thoroughly enjoyed their set. I picked up this 7” because it was their most recent release and I was a little let down. The four songs here aren’t bad if you’re into the bands on the Rodent Popsicle roster (I honestly hear a lot of early A Global Threat in their sound, but I’m not sure how they’d feel about me saying that), but, ultimately, the songs just don’t stick with me. They do a decent Youth Of Today cover (though I’m not really a fan of YOT) and the other songs are okay (though they all feel a little too long), but I wish they’d make a little more use of the fact that they have two guitars and a singer who can actually sort of sing. –Ian Wise (Inkblot, inkblotrecords.net)

Self-titled: LP
This is the band Raw Nerve from Chicago. I’ve been waiting for this record for a while. I heard the first 7” they put out on Video Disease and put “Teens in Heat” on about a hundred mixes. The guitars and vocals on this one (like the 7”) have tons of reverb on them and give the recording a thick feel. Most of the songs are great and hover around the thirty-second mark, but it’s one of the longer songs, “Hemlock” that stands out on the record, with a great old school all down-stroke punk beat and catchy riff. Everything else is Void or Government Issue-style hardcore with the obligatory droney-riff segment on “Skinned.” The energy is high throughout the whole record and it’s over before you have a chance to get bored with it. My only complaint about this record is that the band seems to take itself too seriously, and the lyrics try too hard to stay within the confines of some hidden artistic agenda. On the 7”, the sparse lyrics still seemed thought out and pointed, but here it feels like they are trying too hard to be mysterious and intentionally misleading. –Ian Wise (Youth Attack)

The Sum of All Beers: 7"
Lightning fast thrash from Vancouver B.C. Relentless drums and searing guitar is the order of the day. Not really all that decipherable in the lyric department, but judging by song titles like “Thrash Your Way to a Better Life,” “Burger Shots,” and “Rape the Pavement,” these boys like to skate and have fun. The ten songs on here just fly by. Flip up your brim and give it a play. –Ty Stranglehold (R.O.C.)

Self-titled: LP
You know what sucks? Ignoring a band for years and then accidentally stumbling into a random Minneapolis basement for one of their last shows, only to find out that you have been missing out on something super awesome. Is there a way for me to take back all those times I ignored my friends when they would say, “Quest for Fire is playing. You should go.”? No, but at least I got the fucking consolation prize. The band’s awesomeness is captured on this, their last recording. This music isn’t metal or punk or hardcore or thrash or any of that. It’s a silver sword gleaming in the sun before being plunged into the heart of a giant serpent. It’s the serpent’s hot blood spattering across the faces of the peasants standing idly by as their god is killed. It’s the melting flesh dripping from those peasants’ faces onto the desert sand. –MP Johnson (Chain Smoking)

10 Song Demo: 12"
Straightforward, stripped-down, garage-y sound mixed with a bit of art- and math-rock, and really satisfying—sometimes four-track recordings are as refreshing as cold beer on a hot afternoon. This record is ten songs from a ten-year-old, out of print thirty-song demo, and it reminds me of early Invisible Men 7”s, only less trashy, more musically sound, and a bit more avant garde-ish. All in all, there really ain’t much more to say since this is such a what-you-see-is-what-you-get type of record. The chorus of the last song pretty much says it all: “processed sound makes me ill.” Colored vinyl, too. –The Lord Kveldulfr (Wolf Dog)

Complete Discography: CD
Another band that’s more or less been lost to time as far as most punker punters are concerned, PTL Klub were a Massachusetts band active in the mid-’80s that took their name from the scandal-plagued christian TV show run by Jim and Tammy Faye Bakker, and specialized in frantic, angry hardcore. Collected here is virtually all of their recorded output—the Psalm #7 demo, the 13 Commandments LP, a compilation track, and the Living Death, Living Death 2 and Nobody Cares Anymore 7”s. If you ain’t hip to ‘em yet, there literally is no better place to start. –Jimmy Alvarado (Welfare)

Studio Recordings 1982-86: CD
Psycho is one of those bands that, for some odd reason or another, have never gotten the attention they deserve. Over their nearly thirty-year existence they’ve managed about a billion releases chock full of some of the best thrash you’re gonna find, and they’re still alive and kicking. If you have yet to hear anything by ‘em thus far, consider this a prime starting point. Collected here are their early works from the years in the CD’s title: a 1982 demo, 1983’s 8-Song EP, two demos from 1984, the Son of 8-Song EP, and the Hosebags from Hell LP along with tracks from assorted split releases and compilations, for a total of forty-five tracks. The tunes run the gamut from almost poppy punk to full-bore hardcore, with no shortage of anger or humor. Nice to see these guys get some long overdue respect. –Jimmy Alvarado (Welfare)

Hopeless Sons: CD
Decent “old-school” hardcore with that kinda updated West Coast sound. Y’know, that sorta serious Go It Alone/Another Breath-type aesthetic—black and white cityscape artwork, atypically (for the genre) personal lyrics. This stuff doesn’t really hold my attention for very long anymore, but I imagine there are a ton of kids who are down with the Panic/Rivalry/etc. scene who would be wild about these dudes. Well-executed, but just not a whole lot brought to the table that’s gonna have me going back for more. –Dave Williams (Pee)

Split: 7"
Jesse Thorson has a beautiful singing voice. There. I said it. If John Cougar let a mean streak out in his music, was a DIY punk, and had a Civil War monkey farting as his insert’s illustration, he’d sound like Jesse. One original, one Cock Sparrer cover. I like the original better. The Anchor: Make me think of dueling throat polyps and barnacles. They didn’t make the boat they’re sailing on, but it sounds like they’ve been hanging on for a long time, underwater, and aren’t letting go any time soon. Kyle, you’re right. The blue/grey vinyl with the silver label looks snazzy. –Todd Taylor (Muy Autentico)

Czarzly: LP
Nice! A re-press of their second LP by this legendary band from Poland. My love for Polish punk with female vocals does lead back to this band. To actually own a copy is a treat. I missed the boat the first time around due to it not being on my radar at time of release. But I did manage to get a download. From what I can tell, there was great care to re-release it with the original artwork for the cover. Not sure about the liner notes though. I have nothing to compare it to. But what is important is the music. It’s one of those few records where you can play from start to finish, flip it over, and listen over and over. It’s charging hardcore punk that does not lose its melody while straying beyond the boundaries of the conventional to add to the originality. Matching the dynamic attack of the vocals is the supreme musicianship of the guitarist. You get an aural experience from the textures and emotions he brings to the songs. Listening to current bands like El Banda, Slowa We Krwi and Eye For An Eye, also from Poland, you can hear how influential this band was. –Donofthedead (Nikt Nic Nie Wie)

Bring Me the Head of Ubu Roi: CD
There are parallels between Pere Ubu and The Fall that simply don’t exist between any other two groups of the post-punk era: Both “bands” have been around for more than three decades; Pere Ubu and The Fall have one sole constant member (David Thomas in the case of the former, Mark E. Smith in the latter); both “front men” have really transcended basic rock music, branching out into scoring plays and writing lyrics that owe greater debt to the novels of Philip K. Dick and Dashiell Hammett than to the pop songs of Chuck Berry. And in this recent outing, David Thomas has paid tribute to someone he’s looked up to for quite some time: French playwright Alfred Jarry. Thomas has called this album a radio play—a throwback to the pre-television era when radio was the main source of mass communication and entertainment in the home (think of Welles’ rendition of War of the Worlds)—and it’s certainly apt. What Thomas and Pere Ubu have done is set Jarry’s seminal play Ubu Roi to music and the results are astonishing. Lyrically, Thomas was dealing with one of the most important works of the avant garde. Jarry’s influence can’t be overestimated: dada, Surrealism, Situationist texts, punk—they’ve all been influenced by Jarry—Greil Marcus has written at length about these obvious connections. Of course, this production could’ve fallen straight on its face had Pere Ubu not interpreted and arranged the music to Jarry’s play so well. Vocally, Thomas is his usual, caustic self, sounding like Beefheart’s lost son. The complexity of Pere Ubu’s music on Bring Me the Head of Ubu Roi is acute—odd time signatures, incredible dynamics, and guitar playing (at times) reminiscent of its Dub Housing years. Simply incredible. It’s interesting to note that this album will likely alienate Pere Ubu fans simply looking for more material in the vein of the group’s late ‘70s work. There really isn’t much of an audience for this record. And the amount of effort put into it is astonishing. In the words of Alfred Jarry: “Shit.” –Ryan Leach (Ubu Projex, ubuprojex.net)

The Barefoot Feel: Cassette
This tape is really something. It’s really nice, warm-sounding stuff that becomes a bit intangible when you try to put your finger on it. It’s punk in spirit but a little bit too tricky to fit into that box. You could label it post-punk, but that’s just a shitty cop-out term. It’s too cheerful to be called emo although what it reminds me of most is those more upbeat One Last Wish songs. While it’s not quite pop, it is lively and melodic. Each song has a whole lot of lyrics that lack choruses giving the listener a nearly whole narrative. If they had just a bit more information in the songs, they would make great pieces in a personal zine. Instead, you just get some great songs about living life. I could see this band being appreciated by pop punk fans, hardcore kids, punks, and even some indie rockers, yet, it sounds like none of that stuff. I guess it is still possible to make something that sounds completely new. –Craven (Fully Intercoastal)

Split: 7"
Pine Hill Haints: Punk can be a weird cat. Give the tattoo-sleeved, spiky-haired, leather-jacketed fellow or maiden a couple of years and chances are about even that they’ll turn into a Republican asshole selling insurance and denouncing their youthful indiscretion. The Pine Hill Haints play traditional music with traditional instruments (bucket bass, banjo, mandolin, accordion, guitar) that’s haunted, honest, and eerie. They also just happen to believe, live, and breathe in DIY and not fucking others over. So, what may not sound “punk” to those on the periphery is ten times more genuine a gesture than a receding hairline mohawk interpretation of music. Trainwreck Riders: fans of Ninja Gun, Two-Cow Garage, and Drive-By Truckers take note. Jumpy, pleasant, faded denim, comfortable shirt traditionals played with songwriting savvy and current-day snap. –Todd Taylor (Let’s Pretend, letspretendrecords.com)

White Trash: EP
Three spastic and energetic songs fueled by pills and booze on the first side of this 7”. Not unlike Henry Fiat’s Open Sore, but with male and female vocals trading off. Side B is where the reckless highs become dark and paranoid lows making for a much more interesting listen. I do love it when bands demonstrate split personalities in their music the way Perculators do. Limited to 300 copies and well worth seeking. –Juan Espinosa (Ken Rock, myspace.com/theperculators)

Terror of Quincy: LP
If memory serves, Peace Corpse evolved from a joke band called Moslem Birth, whose primary purpose was to take the piss outta Christian Death. Fronted by Toxic Shock head honcho Bill Sassenberger and featuring over the years members of Thee Undertakers, Insulin Reaction, and Man Is The Bastard, the band’s sound evolved over time from solid mid-tempo and slower punk with snotty vocals to something a bit more evolved and complex in delivery, while retaining the slyly topical, smart-assed-yet-intelligent lyrical content throughout. Collected here are all the tracks from the Life Death and Quincy 7” EP on side one and selected tracks from their later Terror of History LP. Nice hearing this stuff again, especially old favorites like “Jocko Macho (Quincy Punks).” –Jimmy Alvarado (Toxic Shock)

Rick Moranis: EP
I feel like Quebec City is on another continent completely. One hears very little English being spoken whatsoever when walking the distinctly European-looking streets (which is quite untrue of its closest neighboring major city, Montreal). Also, the independent music community in Quebec City has always seemed truly independent, i.e. existing separately from any other major musical epicenter. This could be due to the language barrier, or simply that QC isn’t exactly close to any English-speaking capital cities. Regardless, I recently had the immense pleasure of playing in Quebec City with three incredible local bands (and that band from San Diego… what’re they called again? Oh ya, Tiltwheel), and was totally blown away by the quality of songwriting and musicianship in each band, but it’s safe to say that the opener, Panic Attack, was my favorite of the night—perhaps the entire tour. Upon receiving a copy of this EP, I was informed by the vocalist/guitarist Frank that the recording quality is somewhat subpar, but I wasn’t concerned. The songs I’d just heard/seen would be great no matter what. Crazy catchy, upbeat, somewhat rough pop punk taking some serious cues from the Green Day songwriting school, but with enough aggression and a youthful approach that totally sets them apart and makes them charming as hell. I can’t wait to hear these boys’ first proper record. It’s going to be a doozy, no doubt. –Dave Williams (Self-released, myspace.com/panicattackqc)

Pic’n’Save: CD EP
OBS was an East L.A. punk band formed in the late ‘80s. Funny, caustic, flamboyant, they would go on to release a record on Nemesis and get banned from a long list of clubs in the Southland. Their music was a mix of first wave English punk—aware of it or not, they channeled a ton of Cock Sparrer—and “pushing buttons” punk like Fear, the Angry Samoans, and the Meatmen. As seems to be an unfortunate pattern in East L.A. punk, someone in the band got mad, someone quit, someone’s feelings got hurt, drinking and drugs caught up, someone felt ripped off, and OBS came to a screeching halt in the late ‘90s. They were selling these CDEPs at their twenty-year anniversary show a couple months ago. The show was wonderfully dysfunctional and theatrical. Fat. Old. Sweaty. Out of breath. Perfect. These four songs fit right into their nineteen-song set without a hiccup. Glad to see ‘em back and here’s to hoping that it’s not just a time capsule, but the start of another run for these guys. –Todd Taylor (Self-released)

Ar Ceol, Ar Canan, Ar-A-Mach: CD
A 2006 album getting the reissue treatment, significant because I believe it’s the first full-length the long-running anarcho band did while keeping all their lyrics in Gaelic. Well, twenty-five years after the band’s inception, Ar Ceol, Ar Canan, Ar-A-Mach finds them still sticking pretty firmly to their roots—crust with the occasional streetpunk/oi jab thrown in. Strangely enough, this album also has moments of indelicate, kind of bumbling electronica and keyboards scattered throughout, though to their credit it’s always tempered with a fevered sense of immediacy and speed. I like these guys. Their lyrics have always come across as a little simplistic (anarcho punk as a whole could be called out on that one) but I like their ideas and their willingness to tackle difficult subjects unflinchingly, and that they see things through a slightly sharper lens than many of their compatriots. English translations are provided, as are contacts to radical resources and language preservation websites. –Keith Rosson (Nikt Nic Nie Wie)

Self-titled: LP
If Bent Outta Shape hadn’t existed would Nude Beach have ever have come to be? I’m in no position to make that decision, but Nude Beach definitely know how to play their goddamn instruments. And it sounds like they love The Boss as much as those Bent boys. If you get all weak in the knees at the idea of three dudes from Brooklyn playing Springsteen meets the Clash, welcome to your new favorite record to listen to while you get drunk. –Daryl Gussin (Mandible)

TV, Death, and the Devil: LP
This is an auditory ass whoopin’. Nu Sensae still have the jagged feel and throat-shredding shrieks and yells, but now they’ve added more low end for an even more sinister and menacing feel. Melody has also raised its ugly head, only to give this duo even more power. I hear people throw the “grunge” tag on these folks. I wish “grunge” was this good. I might have listened to that crap a little more. Nu Sensae are punker than hell, more hardcore than a fourteen-year-old kid in bootleg Black Flag shirt, and have a sound so gloriously dirty it’s almost beautiful. The punch and kick of “Sweet Thing” is great. The words are spit out with venom, then contrasted with an almost sing songy “You are...” response. “Total Drift” on the first side is a total ear grabber with a great melody and catchy rhythm, especially after the hammering of “New Lies.” Great stuff all throughout the record. But the one song that really stands out head and shoulders over the rest is “Passing the Word.” The song slows down to a mid tempo lurk, with the words being a combination of spoken and singing. It has a Southern California feel, like something that would have appeared on the Hell Comes to Your House compilation. Need I say more? –Matt Average (Nominal, recordsnominal.com)

Tour E.P. No. 1: 12"
I’m sure that the majority of Razorcake readers know who Nomeansno is, so I’ll cut to the chase. A new four-song 12” EP from one of Canada’s all-time greats. This is great news! There are two types of Nomeansno songs: the mind-boggling punk rock blasts with layers upon layers of intricateness or the slower, dirge-like tunes of equal intricateness that boil just under the surface. The tracks here are of the later group. Within the locked in rhythm there is an uneasiness floating through the songs. Loneliness has long been a theme with the band, and these songs seem to continue to chart those waters. A very good outing, but I need more of the upbeat stuff to keep me going. –Ty Stranglehold (Wrong)

Back in 1991 Nomeansno recorded their amazing record 0+2=1. It was going to be a double album, but for some reason or another they pared it down, saving the rest of the songs they recorded for a future release. Not long after, guitarist and vocalist Andy Kerr left the band and the Wright brothers didn’t feel comfortable with releasing the songs, so they disappeared. Mostly. Several of the songs wound up being re-recorded as a duo or with new guitarist Tom Holliston, but these original versions have never been heard outside the band until now. Andy Kerr found the tape of the songs in a shoe box and he and the band decided that it was time share it with the world. I love all of these songs, especially the one never-heard-before song “Now It’s Dark.” It’s a ripper! These guys are amazing musicians and the demo stuff is all top notch quality. The finished songs are great, too, as they are ever-so-slightly different than the versions that wound up being released. This is a great supplement to a great era of the band. The best part of all is that Nomeansno wants everyone to hear it. It is available for free download on their site (wrongrecords.ca/oneandahalf). I highly recommend getting it. –Ty Stranglehold (Wrong)

Self-titled: CD
Pretty good, dancey, instrumental stuff with a lot of 8-bit synthesized beeps and bloops made by a couple of French-Canadian dudes with awesome names. I like that the music. While experimental, it stays driving and structured-enough-sounding so that it doesn’t just seem like a dude wanking around with the dials on some electronic limiter for twenty minutes then shitting that out on tape. This also has just the right bit of bounce that it wouldn’t kill the atmosphere to stick this on at a dance party. Due to the real bass and drums, it still sounds organic enough that it isn’t like some lame ass DJ Tiesto house mega-mix album. Extra points for one of the dudes wearing a Municipal Waste shirt in the band picture. –Adrian (L’Oeil du Tigre, promotion@loeildutigre.com)

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