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“Can I Really Not Go with You” b/w “Past Due”: 7”
I’ve been a big fan of counting small blessings lately; carrying around things that are precious to me. Most of those precious things can’t be held in my hands. They’re tucked inside. Friendships. Lines from books. Chords from songs. Lyrics. Memories of live shows. These are the inoculations against overwhelming darkness and cynicism. Jeff Burke—the one man behind all of the Potential Johns in the studio, and one quarter of The Marked Men—we’re fortunate to have him on our side of music. It does no one any good to say that he’s a genius, a savior, or a voice of a generation. (Geniuses usually go batshit crazy, saviors get crucified, and voices of a generation have a way of becoming douchebags selling upper class consumables.) But Jeff, undeniably, has a talent of writing and playing songs that are intricate yet simple, punk yet genre-less, personal yet inclusive. Listening to this single spin, and you can almost hear another universe of music opening up. And that’s fuckin’ dazzling. –Todd Taylor (Dirtnap)

Self-titled: 7” EP
Oddball hardcore that swings all over the map—hyper-thrash one second, Cowsy noise rock the next—then on to tunes about terror gnomes and having lasers for eyes. –Jimmy Alvarado (Stank House)

Terminal: CD/DVD
Smog Veil unleashes some killer Erie, PA punk from 1977 and ‘78! This band is incredible, coming on like a great combination of the Dictators and Radio Birdman. There is a lot of that hard rock turning into punk sound to be found here, and that is some of my favorite stuff of all time. Fans of Nervous Eaters would find a whole lot to like here, although this band has a dash of that Australian dark sound that seems to inform so many of the Oz bands. The DVD has some footage shot on 8mm from way back when, as well. I am so glad to hear some more of this proto-punk style stuff and having studio recordings instead of crummy-sounding live recordings just make it all the better. This is simply an essential reissue for anyone who is a fan of the rockin’ punk end of the spectrum. –Mike Frame (Smog Veil)

Plethora: CD
Ranchero punk! Or maybe Norteño punk… possibly cumbia punk? I probably would have to ask my parents to be sure. Either way, this is awesome. Probably one of the best party albums I’ve heard in a long while. Also, this finally fulfills my longstanding wish of hearing a band do something like this, with the extra plus that it doesn’t suck. In fact, quite the opposite. Get a fast punk band, add an accordion, get them to do polkas (“Polka Time”) and some ballads (“Love Taco”) and a taste for Tex-Mex music, and you have this band. That sounds like a recipe for a novelty disaster, and in the hands of a lesser band it might be, but these guys pull it off. “Cantina” and “Campesino” are some rippers that could start off both a rowdy backyard BBQ full of either punk rockers or my extended family from New Mexico. The mix of good ol’ anarcho style Spanish and English lyrics in the mix on songs like “Suckcess” and “Maquilapolis” is a nice touch tambien. Also, the title of the album has to be a reference to Three Amigos and who didn’t like that movie? This gets thumbs up all around and my seal of approval. –Adrian (Saustex, saustexmedia.com)

Illuminati House Party: LP
Heavy stuff here. But it’s not all doom and thud. This is a good mix of straight-up rock, with songs like “Population Control” and “Hard Lovin’ Van,” and then they give you stuff like “The Call,” which is in the realm of Sabbath and Sleep. But the crème de la crème is the Sabbath-inspired riff godhead “Lurch,” which is so undeniably good it requires a couple more listens before moving on to the next song. Then you get the epic “Taser Trilogy,” which is, as the title suggests, a three-part instrumental jam. At points this stuff reminds me of mid- to late-’80s SST output: jam heavy and out of left field. Would love to see these guys live. This record comes packaged in a foldout, two-color screen printed cover, along with a CD-R of the album to listen to in the car. Fuck yeah! –Matt Average (Sugar Mountain, sugarmountain@gmail.com)

Anthology 1981-1985: CD
Sweden’s Just 4 Fun released this anthology of a semi random bunch of Offenders material as a tribute to the late Mikey “Offender” Donaldson, whose untimely death in 2007 shook the underground. Besides being one of the founding members of the Offenders, Donaldson also played on classic releases by D.R.I. and MDC. The only times I got to see Donaldson live were when MDC did their rare, “all original members” shows a few years back. Offenders remains a grossly underappreciated early hardcore band, one of the first to play the super fast styles that became so prominent as the 1980s scorched by. There are some really strange lead guitar riffs on some of these tracks that are as dated as the meat products in the local grocery store I declared never to return to, but, overall, these tracks hold up very well. Easily as catchy and potent as much better known bands, Offenders deserve their place in hardcore history. –Art Ettinger (Just 4 Fun, j4f.dk)

Crusaders of Love: LP
I’m starting to think Douchemaster has a direct line to my brain’s deepest punk rock desires. Part of a distinguished list of releases including the White Wires and the Black And Whites, Bryan Rackley and Co. have once again unleashed a pitch-fucking-perfect LP. This record does catchy self-destructive love with a clean (but not sterile) sound echoing early ‘80s pop punk. Maybe it’s something in the water, but these delightful Frenchmen have a sound so enthralling, myself and my two roommates have this record on the list of “you’re not allowed to play it three times in a row.” One song sounds like a heartbreak anthem from the 1950s! Basically, this record is a fucking good time, even if in the songs, the narrator isn’t having one. Can’t wait to see them live. –Samantha Beerhouse (Douchemaster)

Self-titled EP + Self-titled LP: 7" + 12"
Primal, woozy, thumpy, reverb-drenched stuff. Had The Jesus And Mary Chain been even more influenced by the Velvet Underground and laid off the feedback a bit when they started out, they probably would’ve sounded something like this. The seven-inch on Hozac goes one further by shoving the band into a cardboard box that they subsequently drop into the deep end of the pool and hit record. –Jimmy Alvarado (Hozac / Sweet Rot)

It’s Hard to Imagine…: CD
There’s a definite reliance on mid- ‘60s rock in evidence here, but discerning listeners can also pick out snatches of Bowie and Dolls influence buried in there amidst the Love, Kinks, and Strawberry Alarm Clock. The recording is clear, the production clean, and careful to avoid the now-hackneyed “budget rock” production values, which has never really gone well for the untold millions of bands who’ve incorporated it without truly getting it. –Jimmy Alvarado (Get Hip)

2009: LP
Not to toot my own horn but me and OldHCDude got pictures inside the gatefold of this record! Woohoo! I always get soft and gooey when people want to use my work. Now that I’m all stoked, seeing the cool splattered milky yellow and black vinyl just brought me up a notch. Anticipation is high now to hear what comes pouring out of the speakers. Not disappointed. A band that never let me down live and this recording sounds to be the best I have heard from them. A big fan of good production, this one is forceful with the best of them. I even really like that the ska and reggae numbers have equal energy to their punk ones. Par for their course, vocals are power-driven with angered output that East Coasters seem deliver with regularity. Bass guitar is prominent in the mix, driving the low down notes up front while the drums provide the chest-thumping drive. The crisp distortion from the guitar keeps the aggro level up. Have to say, this is the best output I have heard to date. Thanks for using my pictures! –Donofthedead (Rodent Popsicle)

2009: LP
If you are in a hardcore band and you are considering adding reggae to your repertoire (or even considering it as an influence) you need to ask yourself a question: “Are we the Bad Brains?” If you are the Bad Brains, proceed, just not too much. If you are not the Bad Brains, stop right there. You aren’t the Bad Brains, and will thus inevitably fuck this up. Just stay hardcore. Unfortunately, no one in Mouth Sewn Shut asked themselves this question, and they have several really laughably bad attempts at reggae on this LP. The non-reggae songs are relatively decent crusty hardcore about the usual crusty hardcore subjects. The singer sounds like Barney Greenway a little bit, so extra points for that. But seriously, cut the reggae. –Ryan Horky (Rodent Popsicle)

That’s Who!: LP
Hey current Ottawa punk rock scene: you’ve done it yet again. About a year ago there were like a thousand new bands in this town, most of them good, if not great. Inevitably, some of them turned out to be summer romances or slightly longer flings, but others stuck—long-term polygamous relationships based on boozing, power-pop, biking, hardcore, and pizza. I consider myself incredibly lucky to be part of a community that continues to flourish and gain recognition, and one of Ottawa’s best exports, Mother’s Children, have just churned out one hell of an LP for Deranged Records. As first evidenced on last year’s Dance to the Rock N Roll Band EP on Going Gaga, these four fellows (whose current and previous affiliations include Year Zero, Million Dollar Marxists, the Sick Fits, Cloven Hoofs, and a handful of others) have the goods required to pen some of the most memorable power-pop-rock-n-roll songs this side of the first Any Trouble LP, infused with a proto-punk/glam snottiness and energy that sets them well apart from the legions of copycats currently huddling under the power pop banner. It’s easy to shrug this kinda stuff off these days, but regardless of musical preference, give this a spin and a good listen. You won’t regret it. –Dave Williams (Deranged)

“Modern Action” b/w “Bleeding Red”: 7”
If you can put an exact scientific quantifier as to why bands like this ((whatever “like this” means)) sound immediately identifiable as being from southern California and nowhere but, i’d like to get my hands on your data. I can only guess that their mothers were frightened by the “Somebody Got Their Head Kicked In” comp LP whilst they were in the womb, because this band sounds so much like the bands on that record that if i were to go and look at the album cover today, i’d only be half-agog if i saw a Pushead character wearing a Modern Action t-shirt staring back outta the mosh pit at me. Snappy melodies and eighth-note cymbal rhythms aside, somebody might wish to take these lads aside and inform them that a chorus consisting solely of your band’s name repeated twenty times in a row ((the phrase “Modern Action” is uttered sixty-four times total in the song)) is rarely considered a particularly sterling bulwark of creativity. Then again, i’m always up for anything that makes me feel like it’s summer/fall ‘82 again, so thanks for that, if nothing else. BEST SONG: “Modern Action” BEST SONG TITLE: “Modern Action” FANTASTIC AMAZING TRIVIA FACT: “Modern Action” –Rev. Norb (Modern Action)

4-song EP: 7"
Mark Ryan is probably most well known for being in the Marked Men, and is undoubtedly a large part of that band’s fascinating chemical reaction. He’s also been a long runner in the you-should-check-them-out High Tension Wires and was a one-time Riverboat Gamblers guitarist. This collection of four songs showcases a slightly less frenetic Mark, peeling apart songs, letting them spool out, and then drenching them in an almost wet layer of sonics. Sick with hooks and natural-sounding (for some reason, I keep picturing highly polished wood grain), there’s a sheen to these songs (which Mark recorded himself, I believe), but it’s there to highlight and bring out some lustrous, subtle textures that’d be lost if the production was mindlessly scuffed, forced, and agitated “to be more ‘punk’.” Great stuff. –Todd Taylor (Dirtnap)

Live from Thunderbird Radio Hell: CD
I’d heard of this band a while back, but never checked them out, on account that they’d compared themselves to J Church, which got a “Yeah, right” eye roll from me. But, if Nardwuar speaks that highly of someone, I’ll give them another shot. Apparently, this is a live session from CiTR, with a bunch of covers thrown in. Musically, it’s pretty—fast pop punk from guys who can clearly play the hell out of their instruments always wins with me. I only have two—or really one-and-a-half—complaints: First, the shtick (they dress up like two eggs and a dog). As someone who’s been in not one, but multiple shtick bands, I don’t hate it, but, in this case, it gets pointed out again and again. It’s such a crazy idea, that I think it’d make me laugh to no end if it was just never pointed out (would the Coneheads have worked if everyone they met immediately said, “Dude, what’s with your heads?”), aside from the occasional “cracking under pressure,” etc. metaphor. But that leads me to my other complaint, which is that there’s a shit ton of goofy-as-hell banter. Again, I love me some funny banter, but a lot of it’s just so self-deprecating (again, love that too), that I just want to say “You guys can play the hell out of those songs. Just OWN it already.” –Joe Evans III (Killer)

Heirs to Thievery: CD
Coming on the heels of their amazing album Traitors, Misery Index arrives with their eleven-song, thirty-four minute long album, Heirs to Thievery. Frankly, trying to top their last work was probably asking too much. The grind metal stylings proved to be almost catchy at times on Traitors, so the question had to be asked: which direction would the band go this time? Would it be into something with more of a groove or perhaps mixing more hardcore elements? Well, the band hasn’t done either. Instead, they went the total opposite direction and actually got heavier and more brutal. This is a full-on grind album with copious amounts of blast beats to prove it. But somewhere along the way they lost me. The production is better, sure, but any hooks (yes, there can be hooks, even in grind metal) seem to have been abandoned in favor of punishing the listener with aggressive guitars that don’t let up. While that may sound good to many fans of grind—and metal in general—there’s something that just doesn’t resonate with me like Traitors did. There’s nothing for me to latch onto and yell along with, although there does seem to still be some good political lyrics coming from these guys. In the end, Heirs to Thievery seems to be lacking the breakdowns and hooks. Instead, what you get is a pummeling barrage of music that leaves you impressed but indifferent. –Kurt Morris (Relapse)

World Destroyed: 7”
Another cool band that I got to see in Texas and I picked up the record. Well, by seeing them, I was wedged in the doorway of a sweltering record store on a very hot Austin afternoon with a lot of beer to keep me sane. Come to think of it, I actually couldn’t see them, but it sounded great. Mind Spiders are like a slightly slowed down Marked Men with a hefty dose of Beach Boys or Ronnettes and a little Pixies thrown into the mix. The Marked Men reference makes sense, as the leader of this unit is Mark Ryan of Marked Men. A little fuzz and keyboards are thrown in to give it a few more layers and it all makes for a fun, relaxing, and downright enjoyable record. Can’t wait for more. –Ty Stranglehold (Dirtnap)

Self-titled: CD
Listening to what is essentially improvised music recorded the first time the four performers got together, one’s opinion of such will probably fall into one of two categories: 1) these people are friggin’ geniuses, 2) these people are friggin’ kooks. While this reviewer can appreciate the thought process behind the latter, he finds himself leaning a bit more towards the former. It’s no small feat to sit down with three other people and create something interesting to listen to, let alone pull it wholly out of thin air, and keep it consistently interesting for well over an hour. Utilizing traditional Japanese instruments, voices, a cello, and “electronics” they create soundscapes that vacillate between “music” and full-on aural assaults. It’s often within the context of a single piece—quiet, contemplative koto and/or cello passages coupled with electronic slurps, blurps, and blurts, scraping strings, and slide into avalanche of noise. This is decidedly not something to plop on the ol’ hi-fi during yer next barbecue—though that’s exactly what I’m a-gonna do, being the sadistic bastard I am—but definitely worth the trouble if you’re in the mood to experience, rather than merely consume, some music that resides well off the beaten path. –Jimmy Alvarado (Resipiscent)

First Fabulous Issue: 7” EP
Beats me, it’s kinda hard to imagine why a band would call themselves “The Mandroids” and then not title their record “BEHOLD THE MANDROIDS!” like the story in Avengers #94 which first introduced the Mandroids. It’s even harder to understand why they would sing a song about those perpetual enemies of S.H.I.E.L.D., Hydra ((“Fail Hydra”)), then title a song “Them!” and have said song NOT be about those other perpetual enemies of S.H.I.E.L.D., A.I.M. ((Advanced Idea Mechanics)), who were initially called “Them!” in the issues of Tales of Suspense in which they made their debut. These seven songs span the gamut of the human topical experience—covering both comic books AND plastic bags—even venturing into politics, after a fashion ((“Don’t Vote”))—but i somehow get the feeling that if these guys were ever tapped to play the band in the surely-soon-to-be major motion picture The Adrenalin O.D. Story, there’d probably be some griping amongst the AOD faithful. BEST SONG: “Don’t Vote” BEST SONG TITLE: “Fail Hydra” FANTASTIC AMAZING TRIVIA FACT: Wikipedia once had Hydra’s debut erroneously listed as being in Strange Tales #134—it was none other than the present author who corrected it to Strange Tales #135. –Rev. Norb (Mandroids)

Demo 2010: CD
A five-song demo from a Santa Barbara band that reminds me of the most artiest and no wave portions of the Dischord Records catalog. Female lead vocals with a shouted secondary male counterpoint makes for some interesting interactions. However, I could see the occasionally tuneless lead vocals getting to be a bit grating upon repeated listenings. The songs themselves are above average and equal parts epic, melancholy, and chaotic. –Jake Shut (Self-released)

The Best You’ve Got: CD
Released nearly five years back, this brutal release of Boston hardcore-influenced oi is a barrel of fun for the wax head in your life. It’s remarkably campy, bouncy punk that’s one part newish oi, one part 1980s hardcore tribute. The very simple recording suits the aesthetic well. There are some truly remarkable off-key backing vocals that are some of the finest specimens of their type. If alien scientists land on earth to examine discordant punk harmonizing, Lovely Lads will be in their first dozen or so Petri dishes. Now go Nair your head and have some fun. –Art Ettinger (Eating Rats, eatingrats.com)

Fina Nyanser I Nya Finanser: 7”EP
Huh. Weird. Totally Killed By Death, obscuro, tinny, rushed, snotty, “sounds like the early ‘80s” recording of what reasonably could have been a contemporary of Swedish punk/hardcore in line with Ebba Grön or Missbrukarna. But, with some poking around, it’s a dude from Flagstaff, Arizona collaborating with a Swede from Göteborg. They formed the songs by phone then made a recording. It almost seems like a hoax or a fun transnational project. You pick. It may be both. The title? It translates into “Subtle Shading in New Finances.” The band name? “Liar Entertainment.” –Todd Taylor (Local Cross)

“Paralyzed: One-sided 7”
Without a doubt these are my favorite songs since their debut Welcome to the Neighborhood EP, and I would consider myself a fan of everything in between. The Libyans have this knack for tapping into the geekiest aspects of arty record packaging and the most fist-pumping, captivating aspects of hardcore punk. These are the kinds of records that make you believe in the fountain of youth. Cracking the seal and plopping this record on can make you feel like you don’t know shit and you wanna learn everything. –Daryl Gussin (Self-released, thelibyans@gmail.com)

Agri-Dustrial: CD
The sonic equivalent of taking a wild ride through the Appalachian mountains with someone hopped up on some serious uppers and channeling the ghosts of the Reverend Horton Heat, Cesar Rosas, and Top Jimmy And The Rhythm Pigs. The production is almost too clean, given the grungy hillbilly-fueled mania the band puts down, but they quite aptly turn heads, and whoever’s blowin’ harp for ‘em is seriously hot shit. –Jimmy Alvarado (Colonel Knowledge)

Disarray: CD-R
Only two of these eight songs make it past the one-minute mark. Think Gloom Records, 625, Nate Wilson’s wildly pessimistic reviews, vocals belched into garbage cans. Think of the Reagan SS/ John Brown’s Army split 7”, blank CD-Rs and Xeroxed inserts. Think shit-tons of youthful exuberance and pixilated splatter fonts. Frayed as hell and totally furious and over before you know it. –Keith Rosson (Last Laugh)

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