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Record Reviews

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Below are some recently posted reviews.

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Banana Cream Dream: Cassette
This tape is bright yellow and transparent, which is a good indicator of what the music sounds like: catchy, sunny melodies with guitars, solid drums, and vocals that always have a part for you to ooh-ooh-ooooh along.  –Bianca (Burger, burgerrecords.org / Lolipop, lolipoprecords.com)

Demo: Cassette
Being yelled at by a drunk guy while some people play music behind him, pretty much. GRADE: In the context of being yelled at by a drunk guy, A-. In the context of music, B-.  –Bryan Static (Sorry State)

Self-titled: LP
Due to dopey band name and peculiar Warehouse: Songs and Stories-esque packaging, I wouldn’t’ve given this record a second glance had I encountered it in the wild, and this would have been to my life’s detriment. These Parisian cellar-dwellers crank out a reverb-demented garage squall of such tangible meatiness that you’ll swear you’re bathing in guitars and as a result your complexion has improved noticeably. I’ve also found that this record cannot possibly be turned down to a volume where it won’t disturb others nearby, if you try it, the record just turns itself back up again. I guess there’s a first time for everything: Earth surrenders to France! BEST SONG: “Fox Around.” BEST SONG TITLE: “C’est la Merde.” FANTASTIC AMAZING TRIVIA FACT: This album cover uses the Cooper Black font, which I’ve hated for about thirty-five years.  –Rev. Norb (Frantic City)

Warpaint: LP
This one threw me for a loop. Instrumentally, Warpaint is a dynamic, emo-tinged indie rock record. Every performance is flawless, from the crisp guitar leads to the driving drums. The production is sparkling. The catch: the vocals are delivered in a slurred, off-key rasp that would sound perfectly at home in a muddy anarcho outfit. Weird, right? And the arrangement is a whole other story—every song culminates in an extended gang vocal chorus that might have been lifted from a pizza-and-beer pop punk basement. This kind of genre mismatch has yielded some of my favorite oddball bands (I’m thinking Comadre, and I’m not surprised to see that Jack Shirley had a hand in the production here), but for some reason I just feel like I’m not getting this yet. To the credit of When There Is None, the execution is so thoughtful and meticulous that they make me feel like it’s my fault. Like, this artwork is beautiful, the lyrics are lean and powerful… but why does this guy’s voice keep reminding me of fucking Tim Armstrong? What’s wrong with me? I should be into this. I aspire to be into this.  –Indiana Laub (Rockstar)

Temperaments of War: 7” EP
War/Plague, a Minneapolis-based crust band, have created a mini-masterpiece. This song cycle is based on Hippocrates’ “Four Humors” and incorporates this philosophy of the four temperaments of health with the songs: “Blood,” “Yellow Bile,” “Black Bile,” and “Phlegm.” The Temperaments of War is an apocalyptic look at imperialism, consumption, and religion and how these things are connected to war. War/Plague uses elements of thrash, crust punk, and down-tuned guitars to create mini-epics of release and tension. One of my favorite moments is the beginning of “Blood,” which begins with the drummer pounding out a tribal-like beat, using the floor and rack toms that syncopate with the guitars. These moments make my heart race faster and my palms sweaty, which is exactly what I’m looking for in punk music. If you’re at all interested in epic crust punk, War/Plague certainly has you covered.  –Steve Hart (Organize And Arise)

Bad News Travels Fast: LP
To west-coasters, Vancouver’s kings of party punk need little introduction. These Albertan and British Columbians have been crushing most of Canada in a number of bands for years; to call them veterans would be an understatement. That said, VCMC (not to be confused with the equally Canadian, Vicious Cycle) have made a serious impact in their homeland, even for their standards. Apparently, their live set is what they’re infamous for and shouldn’t be missed, should you get the chance. The music could be best described as biker punk rock, with emphasis on the rock. Not in the realm of flames and tattoos, though. Think chant out loud, singalong, barroom, major key rock. Somewhere along the lines of Dillinger Four meets Stiff Little Fingers—and that’s not simply because the opening track begins similarly to “Suspect Device.” It’s a ton of fun. Don’t miss out.  –Steve Adamyk (Teenage Rampage)

Two Way Tie for Last: Cassette
This cassette compilation was released as part of Cassette Store Day, and contains thirty-eight (!) different tracks of punk, garage rock, indie rock, metal, hip-hop, and other genres. There is so much varying stuff here that it’s almost exhausting to make sense of it all, in turn making the release have the feel of a label sampler with a bunch of random, unconnected bands grouped together. The standout track for me is the catchy as fuck “woah-oh-ohs” of Basketball Shorts, but there is likely a little something here for everybody.  –Mark Twistworthy (Fleeting Youth, fleetingyouth.storenvy.com)

Red Scare Industries: 10 Years of Your Dumb Bullshit!: CD
Although compilations have become so commonplace now that they seem to have lost some of their luster, this new one is the exception. Toby Jeg commemorates the anniversary of this kick-ass label by offering us this collection. Rare and unreleased goodness from bands you know and love. We all have our favorites, I give thanks for the songs here by Teenage Bottlerocket, the Methadones, and The Lillingtons. Your list will probably be different. But hats off to Toby for keeping it all together this long and continuing to put out stellar records for the masses. Show your appreciation and pick this one up today.  –Sean Koepenick (Red Scare)

Part Time Punks Session Sampler 5: 2 x CD
Part Time Punks, not to be confused with the T.V. Personalities song that inspired its name, is both a long-running radio program on L.A. radio station KXLU and a long-running series of weekly live gigs showcasing a variety of sounds from the punk/post-punk underground. I’ve long considered myself a bona fide fan of both, so purchasing this at one of their recent gigs was a no-brainer. Like John Peel’s legendary “sessions,” PTP records exclusive sessions of assorted bands—according to the PTP website, there have been at least one hundred such recordings made—that are then aired on the show and collected on “samplers,” which are used as incentive to donate to the radio station during fund drives, and apparently sold at shows. This is the fifth such sampler, hence the title, and it’s a doozy. The sonic sequence this time ‘round (and I haven’t heard any preceding volumes, so I dunno if there are different themes unique to specific volumes) start off in the dream pop end of the spectrum, then segues into full-on shoegaze stuff, icy synth/synth punk, goth/death rock, indie rock, and other loosely related subgenres before closing out with a post-punk couplet of Flaamingos covering Joy Division’s “Transmission” and Manatee covering the Cure’s “A Forest.” In all you get thirty-eight seriously good tracks by thirty-eight bands, including DIIV, Mac Demarco, ADULT., Seapony, Savages, Black Marble, Surf Club, Medicine, The Wedding Present, Grave Babies, Lebanon Hanover, and many others. I know that “good” is relative depending on one’s disposition to the ground covered, but I fail to find a clunker in the bunch here—the song selection, sequencing, production, and performance are all top-notch. Haven’t come across any other volumes yet, but I’m definitely keeping an eye out for ‘em, and I highly recommend ye do the same.  –Jimmy Alvarado (Part Time Punks, facebook.com/part.punks)

Lux Noise Compilation 2014: CD
I’m a fan of label sampler records; they’re usually really cheap, if not free, and I’m introduced to a lot of bands that I would normally have no clue existed. Lux Noise has a pretty good stable of bands represented herein… most fall within the realm of punk’n’roll, or the connections thereto can be relatively easily discerned. There are seven bands with two songs each on this sampler. The record opens with the badass rock’n’roll stylings of the Bitch Queens and R-A-M-S, then turns left with Wolfwolf’s minimalistic ghoul rock in the vein of early Cramps. Then the Vibes and Gloria Volt come on to rock your liver with their borderline bar-rock versions of rock with songs about rock, a genre I go gooey over so long as such bands haven’t lost their sense of urgency and/or sold out, which neither of these bands seems to have done yet. Then the Jimmy Miller Incident takes the stage in what for me is a dud, with their innocuous brand of blues-infused warblings. Finally, we finish with Baby Jail, who do this early-’80s new wave-ish rock stuff in German that kind of reminds me of Nina Hagen, but maybe that’s just because of the Deutsch. Then it all repeats, presumably in what would be a vinyl B side. Overall, lots of fun.  –The Lord Kveldulfr (Lux Noise)

Careful What You Step in Vol. 2: 7”
Nine songs by nine bands—ranging from just about a minute to not quite two minutes in length—this thing is a total tease. Just as you are getting a feel for a song or band, it’s over and on to the next band. That being said, this is a very cohesive collection, and punk as fuck. Well done.  –Jackie Rusted (48th Avenue Studios)

Escapement: 7”
This is a really interesting package. The sleeve is made of fancy archival paper and has been splattered with paint. There was also a little strip of paper (not unlike an obi strip) around the record itself that was also paint splattered. There is also some kind of foil wristwatch thing that I am pretty sure is chocolate in the middle. What about the music, you say? Think along the lines of some of that angular, early-’90s Dischord Records stuff and you would be on the right track. By the last song, “Tabula Rasa,” I was hooked. This is great stuff!  –Ty Stranglehold (Crime On The Moon)

Fistful of Hollow: LP
I cannot say enough about how much this band has meant to me since I first heard 1998’s Five Lessons Learned as a junior in high school. Swingin’ Utters have always represented a raw, unapologetic mix of worlds: salty drunks and dignified poets, a working class band with leather jacket-sporting teenage hearts and minds. It has been nearly twenty years since the release of Swingin’ Utters’ fantastic debut, The Streets of San Francisco, and they are still among punk’s finest songwriting teams. Guitarist Darius Koski and frontman Johnny “Peebucks” Bonnel have, once again, teamed with One Many Army leader Jack Dalrymple, longtime drummer Greg McEntee, and bassist Miles Peck to produce a punk rock, pub rock, folk punk gem of an album. Long live the Utter Army!  –John Mule (Fat )

Old Ideas Keep Fighting Us: CD/LP
The twenty-eight minutes of music on Old Ideas Keep Fighting Us is straight-up pop punk. I totally appreciate Sweet Empire singing about issues such as animal rights, environmentalism, and the war on drugs. But I have to say that it’s been a long time since I’ve heard such generic, dispassionate music where the band is singing about issues that should require some urgency, anger, and fury. Who knows, though—perhaps this message will get through to some kids who wouldn’t otherwise listen to hardcore. However, I think I’ll stick with the thrash-punk Propagandhi’s been doing on their last few albums. It has a political message that speaks to me with an intensity to match.  –Kurt Morris (Shield/Gunner)

Rising: LP
‘60s garage pop expertly executed by these Australians. Bouncy, but not without its freakier moments. This is the soundtrack for the reverb-drenched, black turtleneck lifestyle. If you’re a fan of the type of music Hozac has become known to release, you will dig this.  –Daryl Gussin (Hozac)

I’m a Mess: 7” + CD
Stormtrooper is one of the many proto-punk bands, in this case one from the UK, that perpetually wrench punk-origin timelines and oddly entrenched myths that it popped up out of nowhere. Originally recorded as part of a demo in 1975, “I’m a Mess” and its flip, “It’s Not Me,” the single under scrutiny here was issued in 1977, after the band had ceased to be, no doubt in an attempt to earn a few quid off the by-then raging punk phenomenon. The title track is a nice bit of sloppy, sludgy stompin’, an easy fit into punk’s confines, while the latter has a bit more of a trad rock vibe to it. Included with this reissue, along with a patch, is a CD with additional tracks from the 1975 demo, a few tracks from a 1978 recording (including a nice working of “I’m on Fire,” released a year later by punk stalwarts Chelsea, which included former Stormtrooper bassist Geoff Myles in its ranks), a 2003 rerecording of “I’m a Mess,” and a number of tracks pulled from a rehearsal tape tacked on the end for the punters that need everything a band plops onto tape. It’s also limited to five hundred, so get to searchin’.  –Jimmy Alvarado (Cleopatra)

Swollen: LP
Swollen is the debut from the band Stickers, from Seattle, who waste no time in presenting an early ‘80s U.K. post-punk vibe on this LP. Vocally, I’m taken back in an Au Pairs meets a howling Jeffrey Lee Pierce kind of way while musically I’m hearing more of a Wire/Gang Of Four influence, heavy on the low end with a plodding whirlwind of bass and guitars with an occasional skronk from a saxophone. On first listen I didn’t really “get it,” but with repeated listens it keeps getting better and better.  –Mark Twistworthy (End Of Time, endoftimerecords.com)

Big Table No People: Cassette
If you like a good deal of melody in your music, you might not like this tape. That said, if you are getting ready to rob a bank and need to get psyched up, this could be just the thing. Skilled, calculated, dissonant.  –Bianca (New Village Tapes, newvillagetapes.com)

Self-titled: LP/CD
Revamped ‘70s pop rock. Has me thinking Elephant Six takes on Harry Nilsson. The record is accessible with pop rock sounds and middling amounts of ‘90s alt power pop and, of course, touches of psychedelic pop. It stays pretty clean, getting dusty here and there, but still clean. Except for one ill-advised dingy track on the back. Sounded like a bad take on a Sabbath song. Like an Elephant Six band trying to interpret Nilsson covering Sabbath. Ambitious, but it just doesn’t work. Like I was saying, nothing offensive outside of that faux pas. File under Barista Rock?  –Vincent Battilana (Dusty Medical / Bachelor)

Creature of Habit: CD
Las Vegas, Nevada: desert city that obliterates energy resources, water resources, wallets, lungs, livers, and laws. Its only historical redeeming quality being the genesis of criminally overlooked punk band M.I.A. I hold a deep loathing for Las Vegas and its stale, dry, nosebleed-inducing forced air. Yet I visit annually, fourteen years running, for P.R.B. Glutton for punishment? Hardly. Just can’t resist competitive bowling (2010 champ!) and the great bands that B.Y.O. continually gets to play the thing. Anyway, there are apparently native Las Vegas punk bands, and Sounds Of Threat is one of them. Solid, straightforward punk rock, kind of reminiscent of the Randumbs, played as fast and loose as punks at a Blackjack table at 3:00 AM. So, yes, there is something for all the Vegas punx the other 361 days a year.  –Chad Williams (Squidhat)

Cottage Cheese: Cassette
I suspect it’s going to be hard to separate this band from Sunny Day Real Estate— and, through transitive property, from emo—because of the singer’s vocals, which share Jeremy Enigk’s high pitch and inflection. It’s a shame if listeners do fall into this trap, because Snoozer is a band worthy of repeated listens. There are traces of late ‘90s indie stuff like Built To Spill throughout. The last song is an epic sprawl, with finger-picked segments leading the way to bombast and release. I’m not crazy about the recording of this one: it flattens the band’s attack and renders some potentially ass-kicking passages fangless. Still, a band with ideas and execution who probably kill live.  –Michael T. Fournier (Ranch)

Meh: 7”
Skinny Genes skillfully repurposes a traditionally teenage genre for the quarter life crisis or dirty thirty dread, complete with Simpsons references, but leaving the pizza and disdain for one’s hometown behind. Instead, late twenties anxiety around making it, fitting in, working shitty jobs, and juggling fair weather friends takes over. Meh takes the earnest hardcore of New York peers like Iron Chic, ups the pop quotient, and suffuses it with the emotive disaffection of Weezer. Skinny Genes is Azeem “Ace” Sajid, a key member of beloved pop punk stalwarts House Boat and The Steinways. On Meh, he steps out and literally does it all himself. Ace sings and plays all of the instruments on each track, showcasing his impressive mastery of songwriting. This guy knew exactly what sound he wanted and how to create it, cranking out intelligent bubblegum with a wry sense of humor. “Comfortably Dumb” and “No Service” are standout songs, both featuring memorable and reassuring lines like, “I suck at being a grownup,” and, “Should have known I’d fuck it up somehow.” I hear influences from the Lookout! Records portfolio here, particularly the Queers. Meh moves at an obscenely fast clip, gripping the listener’s attention with urgency. It’s as if this record was made by an otherwise milquetoast nerd guy who is accustomed to bottling up his emotions, but one day, he just couldn’t take the wage grind anymore and walked into the studio. This is a perfect record for getting oneself out of self-doubt fog on a shitty day, and I look forward to hearing whatever Ace churns out next.  –Claire Palermo (Bloated Kat, bloatedkatrecords@gmail.com, bloatedkatrecords.bandcamp.com)

SIN 34:
Do You Feel Safe?: CD
Yup, you read that right, kids, the album it was once alleged would never see a legitimate reissue has been re-released. For those not familiar with the band, Sin 34 was a unit active on L.A.’s Westside in the early ‘80s (and for a time in the ‘00s/’10s with the original lineup intact) that was notable for a) being one of only a handful in the early American hardcore scene to feature a woman on vocals; b) counting Dave Markey (half of the We Got Power fanzine brain trust and a noted filmmaker) among their ranks; c) being one of the legion of bands that Circle One guitarist Mike Vallejo was in (though not for this recording), for those playing the wildly popular “Six Degrees of Mike” game that is sweeping the underground. This is the band’s sole long-form outing released when they were still active, a perennial inclusion on assorted want-lists and a bit of a classic, I reckon, of its type. If you’re looking for the artsy weirdness of Butthole Surfers, the taut funky-punk of the Minutemen, or even the mind-bogglingly complex speed-trials of Die Kreuzen, you’re barking up the wrong tree here. Sonically, their palette was solidly of the sloppy, occasionally generic thrash variety, more in line with early Wasted Youth than any of those others, with less emphasis on how much Reagan sucked and on more personal issues, peppered throughout with enough humor to keep things interesting. I fully know it’s a bit of an acquired taste for those looking for more sophisticated fare, but I’ve had a soft spot for ‘em since this was originally released, so it’s nice to see this get another go-’round. While the inclusion of the Die Laughing EP and assorted comp tracks would’ve been aces, the three outtakes that are tacked on here are definitely a welcome surprise, as are the liner notes penned by Markey, Thurston Moore, and Tobi Vail, respectively, to give the listener some context.  –Jimmy Alvarado (Sinister Torch)

Terminal Teenage: LP
Two LPs, ten 7”s, and a 10” all released in the course of less than two years?! This is either the work of a madman hell-bent on prolificacy, or a teenager with absolutely nothing better to do than crank out a jaw-dropping amount of blown-out, lo-fi, bedroom-style garage punk. While the madman title has yet to be confirmed or denied, Sick Thoughts is in fact the work of local Baltimore teenager Drew Owen. It’s abrasive, it’s harsh, it’s punk. Rootsy and primal, if you want something raw this will satisfy. Angry and alienated, desperate for reason, this is a journey into the mind of a frustrated, lonely teenager. All too relatable.  –Daryl Gussin (Dead Beat)

Rick Kid Jokes: Cassette
I’ve always thought the term “street punk” was a euphemism for “shitty, unrehearsed band.” This tape reminds me this sort of thing can be done well. I can’t tell if it’s intentional or not, but there’s a great whiff of ‘80s U.K. in this tape. Sometimes a great recording has a mojo to it where it seems like it could all fall apart at the seams. That’s where the urgency in punk lies. It’s not just being loud and/or obnoxious. This band either gets it, or is so cool they don’t have to. The riffs are simple, mid tempo, and pissed as hell. They bring to mind an angrier Vice Squad. “Fuck It I’m Trying” is an anthem quality song. Get it and put it on in your car. Good tape.  –Billups Allen (Let’s Go Do Some Crimes, letgodosomecrimes.co)

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