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· 1:Punk Parenthood for the Sleep Deprived XII
· 2: Tear A Cognita #07: Minneapolis, Minnesota
· 3:Louis Jacinto Photo Column - Patti Smith
· 4:Featured Book Reviews from Issue #91
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Record Reviews

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Below are some recently posted reviews.

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CRUDDY:
Negative World: LP
Hot damn! The ‘80s were thirty years ago and hardcore has never been better. At this point, I had pretty much given up all hope of ever finding a band that recreated the emotion and power of Black Flag’s Damaged, but the answer has come in the form of Cruddy’s Negative World. The bulk of the record’s charm comes from the ingenuity in their songwriting. Barely a moment goes by where the riffs feel like filler to get to the next cool part of the song. It’s an album filled with great ideas, using a formula that doesn’t get done right very often. Highly recommended. –Bryan Static (12XU, 12xu.net)


CRAZY SQUEEZE, THE:
Self-titled: 7”
Slinky punk rock’n’roll with an up-tempo original, “Gimme a Kiss,” and a rock-solid cover of the Cocksparrer/Little Roosters ditty “I Need a Witness.” This genre’s been a bit stale lately, so this was a nice bit of stomp to knock off some of the accumulating dust. –jimmy (No Front Teeth)


COWABUNGA BABES :
Going Nowhere: Cassette
Going Nowhere is loaded with catchy riffs about partying and cool things. “Teenager” is a high-energy rocker with a Bratmobile feel to it. It rattles along as if it were on the brink of falling to pieces. “Beach Babe” is among the slower fare and stands out as a modern seashore classic with a solid melody and catchy chorus. It particularly wins with the line: “If I lived in California, then I wouldn’t be boring.” All the songs are straightforward, yet the album never feels repetitive due to a high-quality catalogue of hooks. It’s a great Saturday afternoon album. –Billups Allen (Burger)


CONSUMERS, THE:
All My Friends Are Dead: LP
Like Rocket From the Tombs, The Consumers didn’t last long. The band released no material in its roughly eighteen-month lifespan. And if it weren’t for All My Friends Are Dead, The Consumers likely would’ve been forgotten. The Consumers formed in Phoenix in 1977. The group’s lineup was built around David Wiley (vocals), Paul Cutler (lead guitar), Mikey Borens (bass), Greg Jones (rhythm guitar), and “Jim” played drums (the band had a revolving door of drummers). The band was volatile. Shows in Phoenix were halted abruptly or ended in scuffles (hard to imagine, but punk really pissed people off thirty years ago). In late 1977, The Consumers recorded an eight-track demo with Joey Dears, a high school pal of guitarist Paul Cutler. In early ‘78, The Consumers made the logical choice of relocating to Los Angeles where they shared bills at The Masque with X, The Alley Cats, and The Dils. By late 1978, they were done. In 1995 Larry Hardy, head honcho of In The Red Records, put outAll My Friends Are Dead—the eleven tracks The Consumers recorded with Joey Dears back in ‘77. (Hardy was a fan of 45 Grave and heard the tracks on a bootleg back in ‘81 while hanging out at Dinah Cancer’s house.) In 2001, the tracks were reissued on CD. With eBay prices hovering around the fifty dollar mark, Larry Hardy thankfully reissuedAll My Friends Are Deadagain on vinyl in 2012. As a historical footnote,All My Friends Are Deadwould’ve been an interesting release. What really gets me aboutAll My Friends Are Deadis the quality of the tracks. The songs are absolutely timeless—they could’ve been recorded in late ‘77 or yesterday. The Consumers were an incredible punk band that didn’t have to go through the birth pangs of punk rock; the group was erudite, could play, and was already aware of Henry Cow and Robert Wyatt—influences that’d take years for other groups to discover. The fidelity of the tracks is incredible (believe it or not, they were recorded on an eight-recorder in a demo studio).All My Friends Are Deadis distilled anger—capturing refined, edgy and intuitive rock’n’roll. There’s no way anyone else could’ve recorded something like this. (When 45 Grave tried to re-record these tracks later on theAutopsyLP, they were lacking.) It’s hard to believe that an eleven-track demo that lay dormant for eighteen years would turn out to be a lost gem. Thanks to In The Red, it’s available. After The Consumers, Paul Cutler would go on to form 45 Grave. He later joined the Dream Syndicate, replacing Karl Precoda. David Wiley formed Human Hands. Mikey Borens briefly played guitar for 45 Grave. Unfortunately, only Paul Cutler and Mikey Borens are alive today. –ryan (In The Red)


COMPLAINTS:
No Action: 7” EP
Though staying well within the confines of the Modern Action “sound,” I’m hearing some other stuff in their sound, like the Hates. Dunno whether or not it’s intentional, but it definitely adds some interesting color to what they’re doin’. Good stuff, as can be expected. –jimmy (Modern Action)


CIGARETTE CROSSFIRE:
In between the Cure and the Disease: CD
There’s a lot of heart in this album. You can hear it in the vocals and the way the music is delivered in driving and melodic doses. They bring to mind Leatherface and Manifesto Jukebox: heavy, guitar-driven songs where there’s the massive wall of sound, but the storm tends to break, a melody comes out and swirls and meanders around the destruction, putting a poetic touch on the whole thing. But what really grabs me are the excellent lyrics. Much like the Slobs I reviewed elsewhere here, Cigarette Crossfire have done a great job of putting down in words what is going on the world today in a way that’s not empty sloganeering or fantastical poses. They address the human condition and the ways we act and react in an effort to survive in a world that is looking darker and darker every day. But rather than throw up one’s arms in defeat, they name the problems and go from there. It’s best evidenced in the song “Form Before Function,” addressing poverty and the games people play to get through. What I really like are the songs like “Patriot = Idiot” that confront the rise of the right and their (right wingers) denials of racism, while practicing the same, and “Blind Majority” which is about group think. It’s all delivered with gravelly vocals that really put some fire in the words and drive the points home. –Matt Average (Combat Rock Industry, combatrockindustry.net)


CATHOLIC GUILT:
Postcards from Copper Canyon: Cassette
The sound of tapes being left in the sun to warp and melt, then played back in a empty warehouse where there’s more sand than surrounding buildings. This could be the soundtrack to a number of J.G. Ballard novels, where nature has taken back what is rightfully its place among the ruins of man. There are layers of sound that contrast to one another, creating a din that is hypnotic and unsettling at times. It’s akin to dropping a box of silverware in library, then immediately playing a distorted Jandek tape over the PA. Experimental music done right, and worth more than a few listens. –Matt Average (Manic Static, manicstatic.blogspot.com / plesicko@hotmail.com)


CASTET / COLLINA:
Split 7”: EP
Castet: Wow, busy little bee’s these guys’ve been—this is the second split and third release total from them this cycle. As with the other two, they pull out the stops and kick down with some potent Polish thrash. Collina: Just when I’m thinking to myself that they come across like SS Decontrol covering Minor Threat, on comes a cover of “Small Man Big Mouth.” Good stuff all around. –jimmy (Pasazer, pasazer.pl)


CAPITALIST CASUALTIES / NO COMPLY :
x: EP
Live recordings from both bands here. Capitalist Casualties fans may be interested in this, since this a recording from Gilman in 1994, when Matt was still wailing on the drums. A lot of folks say he was their best, and having seen him live, I was pretty blown away. You can hear for yourself and decide, since the live setting is the true proving ground. We get five songs from them, including a Antischism cover, “Greedy Bastards.” No Comply channel Man Is The Bastard filtered through a couple guys in Florida, then mixed in with some Spazz. The bass is skull-rattling, the speeds are insane, and this side will separate the lifers from the part timers. –Matt Average (To Live A Lie, tolivealie.com)


BY THE THROAT:
Riders of Board: CDEP
Four-man Boston band that plays fast and hard and takes no prisoners on this four-song EP. The whole shebang clocks in under ten minutes, with one song under sixty seconds. Minor Threat would be proud. I’m hearing Angry Samoans, JFA, and even some Swiz thrown into this frozen cocktail punk slushie. “Indian Summer Revenge” and “Inflicted” will definitely be on repeat play. It’s cool to see a new band know what they want and know how to get it. Stay thirsty, BTT. –koepenick (Self-released)


BROWN SUGAR:
Tropical Disease: 7”
Brown Sugar have been pretty busy in the past year or so, and I was surprised to see this coming out so quickly after their LP. It’s a bit of a departure from the LP, but I actually like the differences. There’s a little more Southern California sound on these songs than on their last few records. “La La Land” sounds a lot more like Gun Club than it does Minor Threat. It works because Brown Sugar are the kind of hardcore band that can pull off a specific style that’s not their own without turning it into a kitschy novelty track. The most impressing thing about this band, that’s become apparent over the course of several records, is that while they have a good overall aesthetic, they’re less concerned with creating a “sound” or a “mood,” and just write really good songs. –Ian Wise (Fashionable Idiots, fashionableidiots.com)


BROWN SUGAR:
... Sings of Birds and Racism: LP
Brown Sugar play mainly mid tempo hardcore punk that varies in tone and delivery. It’s not all thrash, thrash, thrash! Instead, the urgency is delivered in the noisy playing and the drawn out songs that build tension and never really let it go, choosing to hang on until the last notes of the final song, “I Wanna Be a Somali Pirate.” The vocals have a belligerence about them that recalls Darby Crash; how they growl and hold onto words. In fact, there’s an air of belligerence over this whole record. Sometimes, the songs sound like they’re near the point of collapsing in on themselves. Other times, they’re wound up and jittery. The addition of the saxophone and messing with the length of songs adds to the feeling of looseness and stretching the boundaries of hardcore punk in 2011/2012. I’m reminded of ‘80s hardcore—in the sense when bands used albums to mess with their overall sound—like sometimes amid all the speed and rage, they would throw in an acoustic number somewhere towards the end. Though Brown Sugar have yet to do that, they do things like slow it down, cut back on the distortion, and switch up the vocal style a smidge for a song like “Blow” that brings to mind mid-’80s DC hardcore like Gray Matter. “I Wanna Be a Somali Pirate” has a riff lifted from Pink Floyd’s “Interstellar Overdrive.” This is the sort of album you can sit back and take in and hear new things with repeated listens. I’ve played this thing like ten times tonight, hearing more and more each time. Looking forward to hearing where these guys take their sound. –Matt Average (Feral Kid, feralkidrecords.com / Feeble Mind, feeblexminds.blogspot.com)


BRIGHT IDEAS:
Saturdays and the Turning Tide: LP
It took me several listens to get my knee jerk reactions to settle down. This is pop. Pop pop. There’s nothing ragged, sharp, scrappy, angry, or aggravated about it. We cagily hung out after we got off work. Got a couple of beers. We found ourselves at the same parties; I was ready to take the needle off the vinyl at any time. But Bright Ideas proved several things. They’re not precious. They’re not embarrassing. They’re not fluff or a sugar-candied shell. They’re just really good pop pop; nothing to be defensive about. Originally recorded in 2005 and solely released on CD, Bright Ideas features two thirds of the Bananas—Marie and Scott. On drums is Tim White. And knowing Squirmy Records— having released the fantastic Dirty Marquee record—and having been soaking in the rays of both Thee Makeout Party and The Clean lately, there’s a continuum of like-minded bands afoot. It’s sort of like the clean-cut, non-cut-off-shorts, daily-shower-schedule, different-career-path-but-still-cool cousin to The Bananas or Onion Flavored Rings. Sounds like riding your bike during the summer without shoes on. –todd (Squirmy)


BRAT PACK:
Stupidity Returns: CD
The eleven tracks here demonstrate this Netherlands band is well versed in the beach and sun-addled sounds of modern Southern California hardcore. The tempos are, for the most part, zippy and the poppy sheen that makes bands like The Offspring is very much in evidence. The European punk sensibilities shine through, however, in the lyrics, which are markedly more substantive in thought and execution than most bands pandering to the types of punters who dig this sound. Can’t say it completely worked for me, but there’s no denying they do what they do well. –jimmy (Shield)


BRAINBOMBS:
Genius and Brutality…Taste and Power: LP
Like its relative, industrial music (and when I say “industrial” I’m talkin’ Einstürzende Neubauten, Whitehouse, Throbbing Gristle, SPK, Minimal Man, and so on, not dance music with drill samples to make it “edgy”), noise rock is a bit of an acquired taste. It involves an appreciation for repetition, abrasive sounds played/performed at often excessive volumes, a willingness to overlook the fact that the standard verse/chorus/verse song structure is goin’ right out the window, and a tolerance for subject matter that’s bound to offend/upset someone, oh, every fourteen seconds or so. In short, it’s not something one wants to play at the next pinochle social. This reissue from these Swedish malcontents, originally released in 1994, fits right in with peers like early Swans, Cop Shoot Cop, and so on. With a guitar sound that’s part sheet metal/part sledgehammer, the music is often plodding and based around a simple riff or two played ad nauseum, and with titles like “Fuckmurder,” “Wash in Blood,” and “Queen of Necrophiles,” you know you’re not gonna get something high on the annual “most recommended PC listening” list, which is as it should be, goddammit. Everyone needs their tastes and mores affronted now and again, especially those associated with a scene as regimented and myopic as punk rock can be. –jimmy (Skrammel, skrammelrecords.se)


BLOODY HAMMER:
Apathy Is Bliss: EP
So gawwwd damn good! So many reasons to love this record; it’s hard to know where to start to tell you that you should really have this in your life. My eyes were bulging out of my skull the whole time I was listening to this record, mainly in disbelief that something so good, so righteous, had found its way into my feeble existence. That something as noble and holy as this Bloody Hammer record had put a little bit of sunshine into the grey that is my life. Before hearing this beauty, I was shopping around for a pistol that would match my shoes as I blew my brains out over the holidays. But, fuck no, this record intervened with its awesomeness and set me straight. There is hope. Not the kind of hope that people use to win elections, but real hope. The kind you can see and hear. The kind that makes you want to face the day and take it on, instead of the usual, “Oh, shit another fucking day ahead of me...” This is punk fucking rock to the core. The kind of music that gets up the noses of the straights, the kind that miscreants thrive on. It’s ugly, full of attitude, and delivered in a “straight up, don’t give a fuck” way. They can hit the high speeds, then go for something a little more subdued with some “whoo-ooh” underneath (“Public Enemy”). So many songs on here are destined for classic status among those wise enough to grab this. Somewhere out there you will find people singing along to “Dead Erection,” “True Love,” “I Don’t Care,” the previously mentioned “Public Enemy,” “Hysteria,” “God Bless America,” and “Keep Running.” Imagine if GG Allin had fronted a hardcore band in the early ‘80s. Get off your dead ass and get this. –Matt Average (Cutthroat, cutthroatrecords.blogspot.com)


BIG KIDS:
Phone Home: LP
Big Kids remind me of Kudrow, which is Bomb The Music Industry’s Jeff Rosenstock playing Archers Of Loaf-inspired indie rock. Mix that in with a little bit of Titus Andronicus and there you have it. Big Kids employ the techniques of ‘90s emo/indie with the force of a pop punk band, which, I guess, would require some Jawbreaker in the recipe, too. Check it out; you might like it. –Bryan Static (Protagonist, protagonistmusic.com /Adagio 830, audagio830.de)


BACCHUS:
Self-titled: LP
I hear a definite From Ashes Rise influence in this band. But Bacchus is definitely darker, moodier, and heavier. They have tempo changes that turn on a dime, breakdowns (check the switch in “Parasite”—damn good!), and the like. When they slow down a little, the music gets even darker as a result, and it’s this aspect about their music I like most. The speedy parts benefit and have more impact from the set up of the slower pace. The opening to “Itchy Blood” with the guitars playing off each other is my favorite thing on this record. It really creates the mood and pulls you in; cold and brooding, then it picks up to something more bombastic, though not bludgeoning. Drums are beat to hell here, and it sounds great. Fans of this style will not be disappointed. –Matt Average (Distroy, DistroyRecords.com / Contraszt!, diyordie.net)


BABY TEARS:
Self-titled: 7” single
Trashy, fuzzed-out, and distorted garage gnarl. The first song, “Homeless Corpse,” is a jumpy and noisy fucking tune. Drums are hammered, guitars are throttled, the singer proclaims that he “don’t like it!” and a haze of feedback hangs in the air. But it’s the song on the second side, “She Sells Eggs,” that keeps this on the record player a bit longer. The drums are punchy and chunky; the bass that comes in with its thick and turgid sound is what makes this one a winner. The riffs are close to pummeling, but never beating you over the head. They’re more about rocking out and getting off. –Matt Average (Rainy Road, rainyroadrecords.com)


ATTENTION:
Another Year: 7"
It’s funny. When I first heard this band, I was like, “Oh, another one of these bands,” but then I couldn’t really think of any direct comparisons. Sure, musically, Attention channels Can’t Slow Down/Through Being Cool-era Saves The Day, but Glenn’s vocals are a far cry from Chris Conley’s nasally sugar pop. There’s more in common with Gunmoll or fellow Canadians Barrier here, maybe with even more hardcore influence in the vocals (dare I say there’s a touch of Vogelism in the delivery?!). Anyway, really catchy, dance-and-singalong stuff here. Looking forward to a full-length. Rad. –Dave Williams (Square Up)


ATOM NOTES:
Spare Parts: CD
Interesting bit of work here. The base is yer standard thud-punk, but on top they layer nice bits of other influences—surf, post-punk, power pop—and deliver tunes that are more sophisticated and challenging. These are songs to be savored in order to appreciate the work put into ‘em, which I guess runs counter to instinct in a world now obsessed with instant access and unbridled consumption, but the payoff is definitely worth the effort. Also included are tracks from a single and an EP, which are no less faboo. –jimmy (Combat Rock)


ARMITAGE SHANKS:
All Cisterns Go!: 7” EP
Even the most cursory listener could suss out the Childish connections, right down to the cover of Alternative TV’s “Action Time Vision.” That said, they handle themselves handily in their corner of the garage punk pool, with their three originals here showcasing a band that can punk it up with the best of them while still managing embed a potent hook or two in the sarcasm to go off when you least expect it. –jimmy (Braindart)


ANTI-NOWHERE LEAGUE:
This Is War: 7”
The title track is one of their more solid tunes in recent years, built on a strong riff and lyrics that showcase an apocalyptic bent, building upon their usual nihilism. The flip, “Good As It Gets,” is an acoustic tale of folks realizing that they probably will never attain the “better” life they long for. Pretty heady, serious stuff from this lot, best known for tunes like “I Hate People.” –jimmy (Papagájův Hlasatel, phr.cz)


ANNE:
Dream Punx: LP
Wow. This is not what I was expecting from a new A389 release. Shoegaze/dream pop drawing heavily on My Bloody Valentine and The Jesus And Mary Chain, churning out dark, woozy, lovely tracks that, regardless of their complete non-hardcoreness, fit quite cozily alongside A389’s decidedly heavier numbers. This is a collection of previous recordings sequenced into one full-length record, but the cohesion is seamless. And while the influence of the dreary popsters of yesteryear is undeniable, Anne still manages to sound current and relevant, creating an updated take on a sound that could easily come off as dated or campy/retro. A killer release that transcends genres and that I recommend very highly. –Dave Williams (A389)


AMOEBAS:
Self-titled: CD
Modern Action continues to lay claim to the modern take on the early thud-punk sounds of California, and this release only digs ‘em in deeper. Spot-on, these kids are, with a sound that recalls the best of those long-gone days, especially the Skulls, but delivered with none of the cobwebs and dust that usually coats those moldy memories. Great stuff, and worthy of more than a few listens. –jimmy (Modern Action)


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