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· 1:Off With Their Heads Top Shelf Interview Podcast
· 2:D4th of July, 2014
· 3:Trials and Tribulations of a Misguided Adult
· 4:Radon Interview
· 5:Ovarian Psycos


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Record Reviews

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PAINT IT BLACK:
Surrender: 7"
Four new songs by Paint It Black and much like their last full-length, New Lexicon, equal parts Damaged-era Black Flag mixed with the more modern sounds of melodic hardcore ala Kid Dynamite. However, I found this single to be less satisfying than their previous fifteen-song album. If I had to pin it on a single factor, it seems like they are less interested in solid melodic progressions and more focused on fast tempos and obtuse breakdowns, which felt much more balanced on my previous exposure to Paint It Black. –Todd Taylor (Fat Wreck Chords)


OS HAXIXINS:
Self-titled: CD
OS Haxixins is a Brazilian band on Get Hip Records. Like a lot of indie labels, Get Hip has a built-in audience. So, if you like straightforward garage rock (and Get Hip’s roster), then OS Haxixins are your boys. These guys play on ‘60s equipment, take band shots in homage to Love’s De Capo record, and adorn their debut album with cover art in the vein of the 13th Floor Elevators’ flyers. You almost have to hand it to the group. OS Haxixins quite obviously love this Nuggets riff-raff more than most Americans, and it has to be hard to get this shit across to Brazilian audiences (although I know the Ramones were demigods there). Personally, the by-the-numbers garage rock revival movement does nothing for me. I love Easter Everywhere and The Piper at the Gates of Dawn more than my mother, which is why I’m not into the codification of Roky Erickson and Syd Barrett’s music. The music of the ‘60s was revolutionary; it embodied the anything-goes lifestyle of the time, with new inventions like the Moog synthesizer and phasing techniques expanding the capabilities of music. So the fetish to replicate a time in music that was anything but staid—down to the T—is both perplexing and annoying. –Ryan Leach (Get Hip)


NUCLEAR FAMILY:
Doublespeak: 7"EP
I’m hearing some influence from the less skronk-prone wing of the ‘80s U.K. peace punk scene, which I guess means while they’re not afraid to speak their minds about something more substantive than drinking and being punk rock. They are also not afraid to show that some thought and genuine effort went into writing songs as well. Good stuff. –Jimmy Alvarado (Nuclear Family)


NOMOS:
Self-titled: EP
It took me a while to figure out this band’s name. It’s barely noticeable on the sticker placed on the plastic sleeve and it’s nowhere to be found anywhere on the cover or record labels. But it didn’t take much effort to get into this slab of wax. No Comment would definitely be a quick reference. Yet, Nomos come across as more energetic and even more pissed-off, if you can imagine that. It’s been a while since I’ve heard any blast beats in hardcore and hearing these guys mix it in perfectly makes me wonder why more bands don’t do this. Ah, yes, “power violence” is a dirty word in some circles. But, look, let’s all get past these stupid genre labels and appreciate what we have here: well done, brutal hardcore that sounds like it’s swinging around a sledge hammer and contact with your skull is imminent. –Juan Espinosa (Deranged)


NO FRIENDS:
Self-titled: LP
I recently had the distinct pleasure of making Tony Foresta’s acquaintance at a rad punk bar in Cologne, Germany, which resulted in a night of peppermint-flavored shots, comparing RKL hoodies, and nerdy punk rock chats. It’s evident in Municipal Waste’s songs that there’s a significant punk rock element to their songwriting, particularly in Tony’s vocal delivery, but I guess it never occurred to me that Tony is first and foremost a punk rocker. No Friends, featuring Tony on vocals and the cats from New Mexican Disaster Squad backing him up, makes it entirely apparent that Foresta grew up on a steady diet of American hardcore. It’s not unusual then, that this LP is a far cry from The Waste’s thrash assault. NMDS comparisons are inevitable, but an abundance of Descendents-style melodies and a dark-yet-poppy overall feel reminiscent of mid-period JFA or TSOL presents something entirely new for all the dudes in this band. The most noticeable change is Foresta’s vocal range. Known for his quick, machine-gun thrash delivery, No Friends finds Tony singing with plenty of style and melody. This is a surprising and totally memorable first LP by these dudes. Hopefully it’s not a one-off thing. Killer. –Dave Williams (No Idea)


NO COMPLY:
It: 7"
The only times I am ever in favor of putting a number in place of a properly spelled word is on rap albums made before 1987 and on hardcore records when the word is Sk8. Memphis’ No Comply defiantly make the cut with eight blazing songs about skating, surfing, and not complying. Good, pissed-sounding vocals. The songs are fast, tight, and, best of all, not contrived structurally. This is an awesome 7” keeping hardcore alive without being too formulaic. They’re Gr8! LOL. –Billups Allen (Goner)


NIGHT BIRDS:
Demo: CDR
“So, who are these guys?” Um, they’re the Night Birds, and this is their demo. “Oh..... Hmmmm.... So... pop punk. Man, punk seems to be getting tamer and lamer every day.” Yeah. The two people in conversation turn and look out the window. Off in the distance, they both hear the distant drone of a single engine airplane, reminding them of better times and of places they would rather be. “So, you almost done listening to this?” Listening to what? “This band... Um, who are they again?” Oh, shit, I don’t know. I forgot this was on. –Matt Average (Night Birds)


NEW FLESH, THE:
Dgo b/w Memory Scrap: 7"
If it hadn’t said “45 RPM” on the label, I wouldn’t have put money on either speed. An indiscriminate blend of fuzz and sludge. Fudge? The accompanying band bio uses phrases like “progressive punk sound,” “texture of ‘60s psychedelia” and “discordance of ‘70s art punk,” but I hear no such thing. –Sarah Shay (Terra Firma)


NEW ENEMY, THE:
Outsourced: CDEP
Well, I definitely made new enemies out of my co-workers when I put this on in the shop. To be fair, the music is pretty good mid-‘90s style punk rock. I can get into that but then the vocalist kicked in. He seriously sounds like he’s way too angry and constipated to be in the studio recording. By the third song, I thought I must have been getting used to his voice because the song was pretty good. Nope, it’s like he’s punching me in the brain from inside my eardrum (in a bad way). –Ty Stranglehold (myspace.com/thenewenemy)


NEW CREASES:
Self-titled: CDEP
Five great songs from Columbus, Ohio! Boy/girl vocals; super catchy! Some of this really reminds me of Black Rainbow, without the growly vocals. Actually, could picture this band touring with any Iggy-Scam-backed band—Shotwell, Black Rainbow, Onion Flavored Rings—all of this is just another way of saying that I really, really like this band! Plus a great Jawbreaker cover (“The Boat Dreams from the Hill”). If it were a cereal, it’d be Frosted Flakes! More punk rock than pop punk, but with plenty of sugar-coated melodic yumminess! Use your allowance money on this one! –Maddy (Self-released)


NERVESKADE:
Acid Attak: EP
Super noisy and blown-out hardcore punk rock from this Portland audio terrorist unit. Blur and blurrier are the only tempos you get here. The guitar is a wash of white noise over drums that resemble the sound of knocking on a door—perhaps the door to hell—and the vocals are distant sounding, as though he’s shouting from down the hallway. Simplistic lyrics on war, the system, and the hellish grind of life. This description may turn off those who like their music to consist of pretty notes and non-offensive subject matter, but for the initiated, those in the know, this record is something to pick up and crank up. Fans of luminary bands like Asbestos, Confuse, Disorder, Gai, Larm, and the rest, time to storm the record racks! –Matt Average (Whisper in Darkness)


MYSTERY OF TWO:
Self-titled: CD
Sometimes I listen to an album dozens of times and still don’t know what to write about it. I never hold that to be a good thing. It usually means nothing has caught my attention, which in turn means that there is nothing exceptionally good or exceptionally bad about the album. I think it’s safe to say that would apply to Mystery of Two’s self-titled album. There are ten songs coming in at thirty-eight minutes and they are kind of math rock meets post punk, but not in any excessive way. There are change-ups and some dynamics but the overall feel is definitely rock’n’roll, albeit with a weird vocal styling that kind of reminds me of the singer from Wilderness or PiL-era John Lydon. As I mentioned before, this is exceptionally middle of the road; it’s nothing to write home about, but at least it didn’t make me irate and hate music. –Kurt Morris (Exit Stencil)


MY SON THE BUM:
Are We There Yet? : CD
Most of what’s here sounds like the weekend project of a rock band with some punk influences, as evidenced by the obvious Ramones nods in the opening salvo, “The RIAA Took My Computer Away.” None of it’s really blazing new trails, and I can’t really say I’d listen to this more than twice, tops, but they’re not without their charms, I guess. –Jimmy Alvarado (mysonthebum.com)


MUZZLER, THE:
Common Sense: CD
Loud, angry metal stuff with hardcore influence up the wazoo, weird chords, odd tempo changes, crunchy chords, and zero melody. –Jimmy Alvarado (myspace.com/themuzzler)


MURDERESS:
Self-titled: EP
It’s not easy to turn heads with your new melodic crust band, that’s for sure. There isn’t a more predictable, oversaturated punk rock subgenre out there. Most of the time, it sounds like these songs just write themselves. Upon receiving the Murderess CD, replete with high contrast skulls and war lyrics written in Ye Olde English font, I hadn’t the highest expectations. Luckily, there’s as much Sacrilege as there is Wolfbrigade here, and I’m a total sucker for that vocal delivery. Murderess reminds me of After The Bombs if that band was on a more melodic tip. Pleasantly surprising. –Dave Williams (Tomorrow Belongs To Us)


MUNICIPAL WASTE:
Massive Aggressive: LP
The best metal band on earth. Hands down. I loved Waste ‘Em All. Hazardous Mutation blew my brain balls. The Art of Partying kicked the rad up yet another notch, and now Massive Aggressive takes things in a slightly different direction without sacrificing any of the Among The Living-esque riffery or RKL-esque skate punk catchiness. The “different direction” of which I speak is a step back in terms of the “party” motif in favor of a decidedly more “metal” aesthetic. Prior to hearing the record, this notion made me somewhat nervous, The Waste being my go-to drunken basement mosh band, but any worries were dashed upon first listen. While both lyrics and music are noticeably more “serious” sounding, not for a second does this stray from classic Waste territory. It’s simply a heavier, more (for lack of a more clever adjective) aggressive record, which I’m certainly not going to complain about. Fucking rips. Wowy. –Dave Williams (Earache)


MOSQUITO BANDITO:
Hello from Haiti: 7"EP
We’ve got unintelligible vocals drowned in reverb, tittered with four to the floor drums and some haunting organ to hold the fort down. Somewhere beneath it all are hiding some garage rock songs. This six-song 7” has all the wholesome aesthetics of a raw DIY affair. –N.L. Dewart (MNH Diamond Label)


MONOCYCLE:
Cadavres Exuis: CD
Apparently, screamo has finally hit France. Very nice silkscreened packaging, though, thanks to a “young initiative” and that produces “handmade objects to impregnate them with a human feel.” –Jimmy Alvarado (mon-oeil.org)


MISCHIEF BREW:
Jobs in Steeltown b/w The Barrell: 7"
“Jobs in Steeltown” is a bare, stripped, grinding folk song’; a tale of a small town left barren after losing the factory that previously justified their existence. “The Barrel” is much more melodic, almost Billy Braggian, with a trilling guitar line that seems like it was stolen from an Irish folk ballad. The chorus begs to be sung along with the second time through. By the end of side B, I’m already wishing this was a full-length. Once again, PA’s Fistolo Records does not fail to impress. –Sarah Shay (Fistolo)


MIDDLE CLASS TRASH:
Side Effects: 7"
This is some fairly raging, snotty hardcore punk from this Kentucky band. It is not quite as strong as Funeral Shock, but mines similar territory. The single reminded me of the Pink Lincolns in some places with some melodic, but snotty, parts. Good, solid hardcore punk with a download card for digital representation. The band has a full-length album out as well that I’m interested in hearing to see how they translate in more than just a few songs. Good stuff from an out of the way spot. –Mike Frame (Broadcast Interrupted Media)


METHADONES, THE:
Gary Glitter: 7"
Being a big Briefs fan, the first thing this 7” reminded me of was their song, “Gary Glitter’s Eyes,” (although their song was a play off of The Adverts’ “Gary Gilmore’s Eyes.”) Gary Glitter being the famous glam rock musician who is known for the popular sporting event song “Rock’n’roll.” He was convicted for having child porn on his computer and then again for committing obscene acts with minors. The Methadones tackle the pedophile songwriting affair by giving a nod to Glitter-esque rock riffs while their lyrics expound on the precarious situation of Mr. Glitter. The second song on the vinyl, “Over the Moon,” returns to classic Methadones power pop punk song writing as they deliver catchy riffs infused with melodic vocals. The songs here are fun but the cover art is still probably the best part of this record. It has Glitter in sparkly, red-sequined attire, posing with his face brimming with a cheeky rock’n’roll gaze. –N.L. Dewart (It's Alive)


MENZINGERS:
Hold on Dodge: 7"
At first, I swore I’d seen this band play a few songs live once, thinking it was some alright, technical “scenester” by way of mid-era Propaghandi stuff that I wasn’t into. So, I put on the record, and it’s nothing like that. First impression was, “Oh, this has a bit of twang to it, not unlike The Sidekicks.” Then, as it plays on, I thought, “This is like a more punk Weakerthans.” And I did enjoy it! –Joe Evans III (Red Scare)


MEATMEN, THE:
Cover the Earth: CD
Well the title pretty much sums it up. Whether good or bad or you wanted to hear it or not, The Meatmen pack this album with cover songs from Abba to Motörhead. This is one of those rare situations that’d I suggest getting a CD only for its cover. The cartoon on the front shows four guys (who I am assuming are The Meatmen) jacking off and actually jizzing on the earth, covering it with their sperm. There are few gems out of the twenty-four tracks—with nothing that will blow your mind. But, with covers raging from GG Allin to Blue Oyster Cult, there’s just a little something for everyone. –N.L. Dewart (The Meatmen)


MAX LEVINE ENSEMBLE, THE:
OK Smarty Pants: CD
Listening to this album is like taking a musical field trip lead by some bi-polar, schizophrenic, fourteen-year-old songwriting genius. The music is scribbly, scratchy pop punk that is octane-fueled with lots of noise and dynamics. Underneath a wall of onslaughting voices are some spastic melodies that perfectly frame the personal reveries. All the tracks feel like they have typical pop structures but they never play out quite as expected. It’s a crazy ride, but if you haven’t heard The Max Levine Ensemble getting this record is a trip worth taking. –N.L. Dewart (No Breaks)


MASATO TANAKA / POCKET GALLOWS:
Ordinary of the Mass: Split LP
Masato Tanaka: Crunchy guitars and sludgy/grindy hardcore stuff with more than a smattering of odd keyboards. Pocket Gallows: First tune is a noisy bit of metallic skronk; second track is a much quieter—and oddly more unsetting—piece with keyboards and drums. Last tune goes back to the sludge. –Jimmy Alvarado (Square of Opposition)


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·AUDIO INFIDELS
·ACHTUNGS, THE
·3 KISSES
·VOICE OF THE MYSTERONS
·BRAINSCAN #19
·BEHEADED
·ANIMATRONICS, THE
·DROPKICK MURPHYS
·SERPICO


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