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Record Reviews

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Split: 7” EP
Sin Orden: One of the sad realities of the whitewashed nature of punk’s history is that a band that’s had as profound an impact on the genre as Los Crudos has will likely never get a third of the recognition they deserve. Sure, there was never a shortage of bands singing in Spanish or becoming involved in community activism and politics, but so many bands across the nation, the continent, and the planet can trace their primary influence right to the feet of Martin and his cohorts. That influence drips off of Sin Orden’s three tracks here, from their approach, to their attack, to even the singer’s vocal tones. I say this not to take away anything from the band under discussion, because they more than handily put their own personal stamp on their music, but merely to note its presence in the hot-shit tunes they offer here. Setiembreonce: Starts off with a sliver of metal riffage, then lets fly with four short blasts of high-velocity thrash that keep the metal flaked in here and there and whiz by before you’ve had the chance to take it in. In all, good split here. –Jimmy Alvarado (Not Normal, notnormal.bigcartel.com)

Jed: 12” EP
The hardcore gods have smiled down on us yet again and bestowed upon our unsuspecting asses a juggernaut of a record from the CzechRepublic’s own See You In Hell. No time is wasted here in establishing just which particular region these guys are faithfully paying homage to. You like Warhead? How about Gauze and Lip Cream? Now, combine those forces with the timeless d-beat onslaught of Mob 47 and you’ve got yourself quite the thrash brigade. You’d do well to step aside as these Czechs are charging full speed ahead and taking no prisoners with this eight-song assault. I hope these guys come through the West Coast sometime soon. If they do, just look for the idiot grinning from ear to ear in the front row. That’d be me. –Juan Espinosa (Insane Society, Voltage, insanesociety.net, voltage-shop.com)

“Guitar Attack” b/w “Hiding in My Car”: 45
The a-side is a bombastic three-chord excoriation ((albeit not the three chords of which you’re initially thinking)) that lies somewhere on the pastrami-splattered pavement between the Urinals and the Mad. The b-side starts out as sort of a generic Goner blues-punky thing, but swiftly disengages the kill switch ((paradoxically, to kill better)) and lurches into a brain-sandingly furious chorus. I AM ROUSED FROM MY TORPOR, AND AM OFF TO KILL MY FAMILY. You could be too! BEST SONG: “Hiding in My Car.” BEST SONG TITLE: “Guitar Attack.” I admit i might have this backwards. FANTASTIC AMAZING TRIVIA FACT: Drums by Jay Reatard! Buy with confidence! –Rev. Norb (Goner)

You’re under Arrest in the Future: 7”EP
I don’t blame Science Police. In the buffet of life, I’m just really, really full of light, wafer-thin pop punk. It’s not their fault. Their songs are pretty much flawless: tight harmonies, equal bites of the pink frosted donut of the Parasites, Connie Dungs, Unlovables, all sprinkled with the bright colors of Dirt Bike Annie. There’s even a nice, kelpy little weave of organ coming in and out. They aimed at the target, made the band they wanted to make, and hit the bull’s eye with a professional calm and efficiency. I’m just not that interested. All the eighteen years of reviewing records that I’m so-so on has just backed up on me. Sorry. –Todd Taylor (Bloated Cat, bloatedkat.storenvy.com)

Dead Man Walks Down Bayview: CD
An old Canadian punk band gets back together and releases a follow-up to their debut album, thirty-three years later, and fills it with laid-back rock tinged with rockabilly and country. Snooze. –Jimmy Alvarado (Dreamtower, dreamtowerrecords.com)

Morning Breath: 7” EP
Poppy punk of a similar strain as bands like Tiltwheel and such. The songs are nice ‘n’ noodly in structure with the requisite gravelly vocals that seem to be all the rage these days. –Jimmy Alvarado (Debt Offensive, debtoffensiverecs.bigcartel.com)

Settling: LP
Let me preface this by saying I really, really liked their previous album, The Devil, and Death, and Me. It was an album dense with a feeling of loss and yearning, but that same sense of loss proved jubilant with repeated listens. It’s an album firmly floored in the idea of being down but resolutely not out, culling what was salvageable from tragedy. Of trying desperately to move on. (Hell, that’s what I got out of it anyway.) It’s a great punk album couched in solemnity and earnestness, and I knew it was going to be a tough record to surpass. And unfortunately, I don’t quite think Settling does. It’s a strong record, but it just doesn’t have the same searing, knuckles-to-the-heart quality. I’m hoping it’ll continue to grow on me, but that quality of jubilation, of muscling through the darkness, just isn’t there this time around. It feels, to me, like it’s simply a dark, dark record. Like it’s been aptly titled. Which is fine, clearly. But I personally miss that duality, you know? Still, I’m a sucker for Anthony Huebel’s voice, and the production here is solid, the songs are succinct (something The Devil… had a bit of a problem with) and Settling remains an undoubtedly solid album. I just hope it grows on me. –Keith Rosson (Tiny Engines)

Apathy Makes This an Institution: Cassette
This release from a three piece out of South Carolina is Apathy Is an Institution plus a handful of covers from a benefit for Get Better Records tacked on and minus a few quick sound bites. Ninety percent of this release marches on with their DIY hardcore thrash, while “This Music Is My Life” and “Violators Will Be Prosecuted” swerves into melodic territory with Rancid-flavored punk. Kerri, the female vocalist/bass player takes over in “Never Grow Up” and can be heard in gang choruses, lending texture to the otherwise burly vocals. The extra cuts are do-overs from label mates The Ergs!, Pinhead Gunpowder, Noah Eagle, Kimya Dawson, and Super Famicon. Highlights being Famicon’s folk metal “Throw Like a Girl,” which they turn into a boiling bucket of sweat. Recommended. –Kristen K (Get Better / Let’s Pretend)

The State I’m In: LP
With all the “hardcore” talk surrounding this band, I was expecting some crazed, thrashy stuff akin to Negative Approach or Septic Death. This ain’t that kinda dance, though. They’re definitely “hardcore,” but more in the late 1979 beach/OC kinda sense of the term—less emphasis on hyper-speed tempos and more on catchy, thuddy brilliance. The band is tight as fuckin’ nails here, seamlessly working each track to a fine punk rockin’ froth that shimmers with bits of the thug-pop glory days of bands like Der Stab, Social Task, Convicted, and the Cheifs, delivering the goods with both enough heft to facilitate the inevitable circle of sweaty boys proving their masculinity, and with enough pop sense layered in that this could’ve been released on Dirtnap and no one would’ve blinked an eye. Sum this whole thing up into a single word? Fan-fucking-tastic. –Jimmy Alvarado (Sorry State)

Self-titled: 7”
This re-release of their only recordings has been long sought after and is highly prized by collectors. It’s been remastered and put out at a price us commoners can afford. These four tracks of British Invasion-influenced power pop really harkens back to that era with a nod to the Beatles. Three of the four songs really stood out. The last song, “Comeback” is slower paced and not as immediate as the other three. Really tight playing and with an obvious love for the era, this was a really cool re-release that is worth seeking out. –Rick Ecker –Guest Contributor (Cheap Rewards, cheaprewards.net)

Mob Justice: LP
There are some people in this little world of hardcore and punk who are just good fucking creators of sounds. Take Jeff and Mark from the Marked Men, for example. They can craft something that you and I could never do, over and over again. In Boston there’s a small group of dudes who pretty much dominate the hardcore scene in bands like Boston Strangler, WW4, No Tolerance, Give, Magic Circle, Battle Ruins, Free Spirit, and all come together in the Rival Mob. I’ve heard plenty of bleating about how their stuff goes for outrageous sums on eBay. Waa fuckin’ waaa. It’s supply and demand, fuckers. This band brings the truth and all kinds of nerds are feeling it, from the yoked-out windmill kids to the sketchy skins. This ain’t no trip to the library, this is well-crafted fuck you mosh music. Taking cues from SS Decontrol, Warzone, and even U.K. oi, this band brought the hammer on their 7” of eons ago and upped the stakes on the legendary Revelation Records (who, in all fairness, haven’t released a record this good since their heyday in the ‘80s). Songs about justice, revenge, and stomping you the fuck out. This is the soundtrack to my life. Best LP of 2013? Sure, I’ve called it. Mob rules all. –Tim Brooks (Revelation, revelationrecords.com)

Crummy Desert Sound: LP
Matt Rendon’s a time-traveling wizard miner with eight arms (or how ever many it takes to play all the instruments on this record). It’s bittersweet. I sure as fuck love the Resonars. Crummy Desert Sound is ‘60s British Invasion gold filtered through lonely-shack, isolated-DIY contemporary Tucson. Think of the rocket vapor over saguaros of Lenguas Largas. In 2013, he’s far from alone in his sound. Chicago’s Treasure Fleet also instantly comes to mind, which is pretty awesome. And I know I’m in the tiny minority when I say that I wait around in the back alleys of musical acceptance, hoping to hear a band that translates The Monks as fluently as The Knockout Pills, but fuck it. I am. Play this for your mom and dad (or are we at grandpa/grandma time? Decades, they pass fast.) and say it’s a long-lost pre-mastered Zombies or Animals record. Give them time to chew it over just to fuck with them. Because, at the root of it, most of those records of the ‘60s, by the time the vinyl got poo’d out and pressed into a disc, after they were fully digested through the intestinal tracts of the recording industry, they lost some of the raw grit and electrical zap of the live performances. Resonars gives you both: the glittering of found gold and the dirty fingernails and glorious sweat of digging in an isolated mine from a sealed-off time. Fuckin’ miner wizard. –Todd Taylor (Burger)

Embrace the Whorror: CD
Racine, WI’s loudest band returns with their second platter. Full-throttle punk with a touch of metal to keep it interesting. Solid playing all around, cool vocals, and excellent songs make this one a keeper. “Five Bullets” and “Circus Punk” were a pair of my favorites. But if you like it ragin’ full on, then you will dig Whorror from start to finish. Pick this up post haste. –Sean Koepenick (Self-released, rejectionfetish.com)

Shoulda Known: 7”
Dark, vaguely lo-fi rockin’ goin’ down here. There’s some muscle behind the tunes these Tacoma kids are offering up, not quite punk, not quite grunge, not quite garage, yet a little of all the above. Good stuff. –Jimmy Alvarado (Negative Fun, negativefun.com)

The First Cassette by Red Delicious: Cassette
Five tracks of jangly rock from this New York-based trio. What struck me first were the intelligent lyrics followed by the general consistency of the tracks. Not a dud in sight. The first track, “Rust,” reminds me of The Clash’s “Spanish Bombs” as played by LaSalle, which might sound odd at first, but it works. The other four tracks don’t veer very far from this template but probably don’t need to. They rely on the strength of the material as well as the honey-sweet stylings of dual vocalists Jamie and Eric. All in all, this cassette is a pretty tasty debut from Red Delicious (sorry, I couldn’t resist) and I look forward to hearing what comes next from these guys. –Garrett Barnwell (One Percent Press, onepercentpress.com)

Every Problem Solved: 7”
How pretentious could this review be? “Raw Nerve’s swan song, four songs of intense disgust for everything: for their culture, their scene, and themselves. Layers of feedback and noise interspersed with raging moments of hate before curling back into a ball to quietly seethe.” Does that sound like something I would write? Yeah, kinda. But what is this record, really? It’s hard to write about Raw Nerve because I can’t really think of very many bands in the last ten years that have been so divisive in a matter of simple aesthetics. It took, I believe, a fair amount of audacity for them to not only continue forging a style that so many viewed as obtuse or pretentious, but to hone it. They made it their own. This record is not a rager like Midnight, but there is somehow more tension. It’s a reflection of the state of the band as people at the time, trying like hell to hold onto what they had made for each other. The lyrics on this recording are the best the band had written, as Ralph’s style of writing bleak, minimalist rants finally came through into something cohesive and pointed instead of vague and distracting. Raw Nerve were not the greatest hardcore band of the last twenty-five years, but they were the perfect five people in the same spot at the same time, and in the end they fell apart just like all their songs. –Ian Wise (Youth Attack, ihateyouthattack.com)

Demo II: Cassette
One of the enduring passages from my history of reading zines is by one of the guys from (if memory serves well) Go Metric who said in a Punk Planet interview, that they sold the demos they got to review as Richard Hell live bootlegs. It was a perfectly indirect and perhaps unintentional summing up of the fine line between genius and slop that punk often walks, and one which the influence of a few pretentious rock writers can add value to or take away from as they please. I got the joke because, as a teenager, I was stoked to order a Richard Hell And The Voidoids live tape along with the seminal Bad Brains tape from ROIR Records. Expecting to hear “Love Comes in Spurts” the same way I heard it on Pump up the Volume and “Blank Generation” the same way I’d heard it on a Time/Life punk and new wave compilation, what I got was a shit recording of a shit show that had no business being released. I didn’t become a fan of Richard Hell until years later when I found a best-of tape in a cut-out bin. I think of that quote when I listen to Raccoon’s demo. It’s kind of slop, nowhere near the genius of Richard Hell’s larger work, but far better than that horrible, junked-out, live tape and probably the exact sort of demo the guy from Go Metric was thinking of when he made that quip. I’m not sure where I’m going with all of this, but this tape is pretty rockin’. –Craven (Self-released, 35lbraccoon@gmail.com)

Adjusting: 7”EP
Throwing out the Infest card is too easy, but these Canucks have definitely fucked with that, make no mistake. Another good vantage point would be Left For Dead, which is timely, as their LP is reissued and reviewed in the issue somewhere. Unforgiving blasting hardcore, which may have me reaching for the ‘powerviolence’ label. No hints of metal, just a punishing one-two to the neck and face. Six depressive blasts of intense hardcore that barely gives you enough time to take a breath. Keeper for sure. Limited to 313 so don’t sleep –Tim Brooks (Purity Control, puritycontrol.bigcartel.com)

The Life and Death of Colonel Plimp: CD
After existing for approximately thirteen years, Scottish band The Plimptons are disbanding and The Life and Death of Colonel Plimp serves as their swan song, although it’s really just a retrospective. There are nineteen tracks in fifty-two minutes and almost all of them are overwhelming in their annoyance. I haven’t been forced to skip past so many tracks on a CD in a long time. It’s either the weird organ that sounds like it is from a circus or the vocals that kept reminding me of comedian/talk show host Craig Ferguson, but either way, I couldn’t handle this. Although Nardwuar is a fan of the band, I can’t in good conscience recommend it. They may have a cult following, but I’m not drinking the Kool Aid. –Kurt Morris (Self-released, theplimptons.bandcamp.com)

Self-titled: 7” EP
An interesting take on hardcore here. The couple o’ tunes that rev up the tempos are good, but the real gems come to light when they slow down. Things take on a hue of anguished fury that recalls both the intensity of the finest of Scandinavian fjordcore and the brute simplicity of Midwestern hardcore. Best of all, when the last of the four tunes here winds down, you’re left with that aching feeling that what was given you was nothing more than a snack to tide you over ‘til they decide you are worthy of another sampling. –Jimmy Alvarado (Video Disease, videodisease77@gmail.com)

Self-titled: Cassette
Meandering between psychedelic and shoegaze, this five piece out of Indiana makes me want to crack open a beer or smoke some weed. These are sweaty, sunshiny summertime tunes with Miss Mess on vocals, sounding like Grace Slick meets Kathleen Hanna circa Le Tigre. Her nasal cry floats from orgasmic to indifferent, while prog rock chords ebb, crest, and crash. “Gimme Away” veers into garage with a ‘60s Chuck Berry pogo structure while “Light of Love” and “Live Dead” show off their musical chops. The latter is an epic, six-and-a-half minutes of scat singing, rife with “oohs and ah ahs” that gently escalates to what I can only imagine must resemble a religious rapture if seen live. Not your typical debut, this is well crafted rock’n’roll at a comfortable 25 mph, much like The Velvet Underground. Recommended. –Kristen K (Let’s Pretend)

One Word: LP
Noisy, emo-tinged hardcore fulla screamin’ and hurt feelin’s. Blech. –Jimmy Alvarado (Bitter Melody, bittermelodyrecords.com)

Smoke Woody Haze EP: 8-Cut 12” Maxi Single

Lamont “Bim” Thomas has been in two powerhouse bands, from the duo Bassholes with Don Howland (the song “Daughter” still stops me cold), to the peace-through-superior-Cleveland firepower of This Moment In Black History. All bands are very worth seeking out in both past and present tense. Obnox is Lamont front and center on vocals and drums. This EP matches Lamont with different hip-hop folks providing the beats, rhymes, and production. I mean, fuck, how many examples do you need of a guy who gets it right musically so often? Great songs crush the empty boxes of flimsy musical genres. You want the hollow rattle of a spent cartridge of something merely shiny or a loaded chamber racked when the purist police and big industry come knockin’ your front door down? Lamont’s been cleaning his weapons, smoking weed, got his Arts and Sciences degree. His answer’s written on the door, plain and simple. Definitely worth your time and purchase.

–Todd Taylor (12XU, 12xu.net)

Split: 7”
My pal George and I were lucky enough to catch the Nightmare Boyzzz for the first time this last March, on a multi-billed gig with Los Vigilantes at a warehouse show out in the SouthBay here in Los Angeles. Motherfucker! I know our own Todd here at HQ had reviewed something they did not too long ago, but why the hell haven’t I ever checked this band out the last two years they’ve been at it?! Without a doubt, thee best band happening out of Alabama as we speak (Muscle Shoals, to be exact). Imagine if Radio Birdman and The Marked Men had bastard children that were raised by The Beach Boys, and instead of sending the little heathens off to summer camp, The Beach Boys would ship them off to their Uncle Johnny, Joey, Dee Dee, and Tommy’s house for the summer. Well, those same little heathens have grown up and are now the Nightmare Boyzzz. My favorite “Surprise, Dale! You big fuckin’ dummy!” band of the year so far and I can’t recommend ‘em highly enough. Oh, that other band on the split? The folks at Fat Sandwich really should’ve tossed those two throwaway tracks so the Nightmare Boyzzz could’ve pressed more than just “My Body Breaks Down” and “Devil III.” Nab this and anything else the ‘Boyzzz have available. Immediately. –Designated Dale (Fat Sandwich, fatsandwichrecords.com)

Maimed for the Masses: 7”
Night Birds have got to be one of the best bands going right now. I haven’t found anyone who doesn’t like them yet. Their debut LP The Other Side of Darkness and their 7”s get played a lot around here. Now they’re back with some new tunes and a new guitarist. It has to be a bit stressful to come back after replacing a key member of the band. Will the songs change? How about the style? I’m not sure if these things went through the heads of the remaining Night Birds, but I’m happy to say that they needn’t worry about it. New guitarist PJ is up to the task and adds a new element to the songs while distinctly sounding like Night Birds. They cover a wide range of topics on the record (pro wrestler Mick Foley, medication, auto-erotic asphyxiation) and it closes out with the instrumental “Boat Trash.” It is obvious that with time the comparisons that follow the band are fading away and now they just sound like Night Birds. That’s fucking awesome! –Ty Stranglehold (Fat)

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