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Record Reviews1 2 3 4 5 6 7 8 9 10 11 12 | 0-9| A| B| C| D| E| F| G| H| I| J| K| L| M | | N| O| P| Q| R| S| T| U| V| W| X| Y| Z| Below are some recently posted reviews.  RSS Feed
ZANN / BURIAL YEAR:
Split : LP
Crusty march-core—this stuff isn’t what I reach for first, but when done well, it stands up as well as anything out there. Actually, a lot of the record, both bands, reminds me of early Buzzoven stuff, which is one of the reasons that I liked both sides. I’ve got a problem with the Burial Year stuff, though. Musically, it’s pretty muscular and brutal (Zann, too), but there’s this part where the vocalist is blabbing about our need to make choices regarding the planet and we’ve got to do it quick, suggesting that we need to make choices to save the planet from things like pollution and global warming, but the record has gatefold packaging, which, by its very nature, would require twice as many trees and would require twice as much carbon dioxide poundage to produce. What the fuck? I like the record and all and I want to be optimistic (maybe somebody not in association with Burial Year chose such packaging), but such mixed messages leave a really sour taste in my mouth.
–The Lord Kveldulfr (Adagio 830)
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WHITE WIRES, THE:
Self-titled: LP
I threw the needle on this record and the first thing I did was do a double take on the pitch knob. Something wasn’t right about this garage rock, ‘60s throwback album. The guitar was out of tune. But this was the White Wire’s unique twist on original and catchy surf riffs. Somewhere lost in the eerie vocal reverb, pitchy guitar parts, and sugar sweet power pop this band, named after iPod headphone wires had me falling for sock-hoppy tunes done with playful distinction. They mesh the lo-fi aesthetic of the Mummies with a more focused idea on how their resources affect their sound. Sing-a-longs such as the album’s “Ha Ha Holiday” and “Yeah Yeah Yeah Yeah” have me spinning these nine tracks over and over again. –N.L. Dewart
–Guest Contributor (Going Gaga, myspace.com/goinggagarecords)
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WHITE NIGHT:
Self-titled: Cassette
White Night play the pop punk that make me feel like a freshman in high school all over again. Fast, basic, tight, rad. The recording quality on the cassette isn’t as great as the digital versions I’ve heard, but hearing it on tape just kicks up the nostalgia another notch. It makes me want to pogo at the old Soma on Moreno Boulevardand be fifteen again. I was surprised to see this was recorded in Vista, Ca. I lived there briefly, in order to graduate after being expelled from the San DiegoHighSchool District, and I’ve never been to a more boring town in my life. I’m glad to know something rad happened there besides me buying my first Sonic Youth album. These are some great jams that make me want to bust out my skateboard and maybe find my old wallet chain
–Rene Navarro (Burger)
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WHERE IN THE WORLD IS CARMEN SANDIEGO?:
Happy Trails to You: 7”
This came sparse on details. The name of the 7” (which might also be the name of the one track on here) was written across the top of the front cover; the name of the person/group that created/decided record this was on the back. The only bit of clear information was the bit about the record speed. Anyhow, after some quick internetting, I found out that my instincts were wrong: the name of the band is not on the front cover and the track listing is not on the back. Counterintuitive stuff there. Whatever. Also there’s a piece of paper slipped in front of the cover that has a drawing of some cartoonish cowboy on a cartoonish horse or burro. Anyhow, the picture is a slight indication of what is on this disc. Imagine a person who recently started playing guitar trying to play along with the music of a cartoon of a cowboy plodding along through the desert on a horse or burro. Suppose that that person was also trying out some pedals at the same time, to give it a “far out” ambiance. Now suppose that that person decided to record it to a cassette deck for a super lo-fi feel. Finally, imagine that recording put on both sides of a 7” with no other recordings. Depending on your ability to imagine sounds, you might have just played this 7” in your head.
–Vincent Battilana (Green Tape, no address)
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WEREVILSDARE:
Full Moon Fury: CD
The cheesy front cover art shows a cigarette-smoking, leather jacket-wearing greaser turning into a werewolf. The back cover shows that werewolf sneaking off into the night carrying a buxom, tattooed redhead. Oh, and the wolf is wearing a Danzig shirt under his jacket. What do you think this album sounds like? That’s exactly what it sounds like. Growled horror punk‘n’roll. What’s particularly impressive is that they know exactly how backup vocals are supposed to sound for this type of music: like the howl of wolves echoing out of a canyon at night. This has just the right amount of swagger for blasting from a boombox under a full moon while smashing bottles in a parking lot.
–MP Johnson (Zodiac Killer)
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WE ARE HEX:
Gloom Bloom: CD
Gloom Bloom is the perfect title for this album because, like the music, it contrasts yet fits perfectly. The upbeat drums and occasionally dancy guitars contrast the dark female vocals. This sounds very much like a modern Siouxsie And The Banshees. Not like how they would sound, were they to record a new album, more like how they would sound if they were reborn and touring with the Yeah Yeah Yeahs and The Vanishing. Good music for rainy nights reading comic books.
–Rene Navarro (Hex Haus, wearehexwearehex@hotmail.com)
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WE WERE WOLVES:
Yeah, Mammoth: CD
Imagine a not-as-catchy Foo Fighters, with less emphasis on the poppier influences and more on the traditional rock influences. Take that as you will.
–Jimmy Alvarado (myspace.com/wewerewolvestx)
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WAU Y LOS ARRRGHS:
Vienen: CD
Farfisa-soaked trash rock from Ethpaña, fronted by a dude that sounds like Nina Hagen at her most guttural. While the genre they live in has been so raped and pillaged that it’s damn hard to find much worth paying more than passing attention to, the sheer exuberance they pack into every second of this makes it worth more than a few listens.
–Jimmy Alvarado (Slovenly)
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VITAMIN X:
Full Scale Assault: CD
Hot damn, whatta rager! This new full length from Vitamin X simply kicks fucking ass. This band has finally managed to harness their live energy onto a recording and the results are jaw dropping. There are some serious ‘70s rock action riffs to be found here as well. It’s always risky to mix up hard rock and hardcore, but when it works it is one of the best sounds going. The Albini production on this record is huge and it sounds great, maybe the best production I have ever heard on a hardcore record. It still sounds crisp and raw but it also sounds huge. I wish more hardcore sounded like this.
–Mike Frame (Tankcrimes)
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VÖETSEK:
Infernal Command: LP
Tight as fuck speed metal/hardcore crossover-type stuff from a band featuring Athena Dread on bass. They don’t whip up the maelstrom that Slayer can on a good day, but they definitely can hold their own with most treading on this path. The lyrics are a nice balance between the angry and silly, and they get bonus kudos for snatching the title of “oddest cover of ‘Strange Fruit’” away from the previous titleholders, Cocteau Twins.
–Jimmy Alvarado (Tankcrimes)
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VIRGINS, THE:
Miscarriage: CD
This band has Sam Johnson formerly of New Mexican Disaster Squad. This band, not too shockingly, sounds almost exactly like NMDS with dirtier production. The best way to describe the Virgins is modern hardcore that takes its cues more from bands like early 7 Seconds and Dag Nasty than the more metal-influenced path a lot of contemporary hardcore bands follow. I really liked NMDS and this is okay, but I wanted to like this more. There’s a lack of urgency that drags things down too often. The songs are a little too straight-forward to maintain a high level of excitement at the mid-tempo pace most of them are played. Also, the production is too boomy on the drums or something and it dulls the impact on a lot of the songs. That said, there is a lot of promise here, especially on songs like “Guitarmageddon” and “War Choppers.” If the Virgin’s hone their edge a little more sharply on the next go around, they can drop a pretty potent dose of classically inspired hardcore punk rock that could sit up there with Kid Dynamite and Strike Anywhere’s finer moments.
–Adrian (Kiss Of Death)
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VILLAGE IDIOT, THE:
Prima Materia: LP
Not to be outdone by the Filipino hip hop I heard a couple of issues ago, Denmark has unleashed this gloomy country-influenced acoustic scorcher. Can’t say I was all that impressed, but I think I’m inching closer into the dreaded land of Now I’ve Truly Heard Everything.
–Jimmy Alvarado (www.myspace.com/rabalderrecords)
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VEE DEE:
Public Mental Health System: CD
Another band who takes from the sound of the Stooges and Radio Birdman. Proto-punk with some psych influences. This has its moments, but, on the whole, it gets pretty indulgent and goes on way too long for its own good. Nor do they do anything to separate themselves from all the other bands playing with the same sound.
–Matt Average (Criminal IQ, www.criminaliq.com)
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VARIOUS ARTISTS:
Toronto’s Burning: LP
As both snapshots in time and documenting a particular period, Toronto’s Burning is the perfect follow-up to the previously released Toronto City Omnibus that the same label put out a few years ago. It’s a grouping of current bands from Toronto, Canada, that are not Fucked Up or Career Suicide. Included are a wide variety of punk and metal influenced bands. Black Spokes start things off with a real bang with their angry-edged punk. Madmen give one track of tribal-like drumming and a dirge of dirty noise that sounds circa ‘79. Living Darkness pull out the Kylesa meets D-Beat card that darkens the mood for their time slot. U.T.I. have a vocalist that shrills so high that it seems it can break glass. The band backs it up with some rawly recorded mid-tempo to fast punk. Urban Blight ends things by blasting through two short and fast numbers that felt like two quick kicks in the nads. The Reprobates start off the flipside with their personal flavor of raw-sounding punk that sounds like it easily could have been on Mystic Records. The Dangerloves slow and soften the moment with some female-led indie pop. Rammer—some on the East Coast might remember as the backing band for Toxic Holocaust for one tour—bring back the energy with some fuckin’ metal. Hazardous Waste, who I thought would be thrash metal, surprises me with their Career Suicide-like punk. School Jerks finished off the whole shebang sounding to me like Nervous Breakdown-era Black Flag.
–Donofthedead (Schizophrenic)
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VARIOUS ARTISTS:
Sverige Mangel: CD
Big noisy comp of big noisy anarcho-punk bands, including Rosvett, Human Waste, M:40, Edd Sista Andetag, Von Bööm, and Not Enough Hate, to name a few—most of which appear to hail from Sweden. Most of the tunes veer towards the crusty end of the hardcore spectrum, and the bulk of ‘em are worth the price of admission if this kinda stuff is your bag.
–Jimmy Alvarado (www.myspace.com/anarkopunxrec)
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VARIOUS ARTISTS:
No Lip Volume 2: CD
There is something telling about this comp in that, on the back, the label wishes the bands “the best of luck and financial success.” It doesn’t come across as if they are very invested in the bands, does it? No commitment to the music implied. Maybe they were not looking for anything long term. Maybe it’s just me, but I find it suspect to wish bands on a “punk” compilation “financial success.” This collection of songs is entertaining in that it is a smorgasbord of what I hate about what is happening to music. The date on the comp is 2009, but this CD sounds like a collection of songs from a music industry convention sampler during “the year that punk broke.” The dominant styles range from overproduced pop punk with no soul to updated emo garbage and hard rock power chord bands that feel compelled to incorporate a pop riff in order to “expand their sound.” It is impossible to remember anything from the top of the list when you reach the bottom. The whole thing is bland. I am pretty cynical, but I still find it hard to listen to fourteen bands in a row without finding something redeeming about at least one of them. In that respect, it is a pretty amazing comp.
–Billups Allen (Mohawk Bomb, mohawkbomb.com)
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VARIOUS ARTISTS:
Haunted Town Records Sampler: CD
The heyday of the label sampler seems to be gone. I remember about ten years ago, it was the prime way to get some songs by a bunch of bands on the cheap, not to mention discover some new bands without having to commit to a full length (for the kids out there, this was before downloading on the net). Well it’s time to party like it’s 1997! There are some good bands on Haunted Town Records. Naked Raygun(!), Norman Bates & The Showerheads, Deadline, 7 Shot Screamers and more. Some punk rock, oi, rockabilly… Good times all around.
–Ty Stranglehold (Haunted Town)
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VARIOUS ARTISTS:
20th Anniversary Comp: LP
At the core of every scene is a tightly knit cluster of people whose dedication and love for music far surpasses any other motivation. Bill, Dr. Strange, is one of those folks. People not from the L.A. bombing area (the area that would be directly affected by a nuclear bomb blast), may think that there are hundreds and hundreds of dedicated punks in L.A. all working together for a united tomorrow (sorta sounds like a skinhead pamphlet), but it’s not. L.A. and the outlying areas are more like three hundred towns that have grown into one another and communication between all the different sorts of punks is scattered and imperfect. And don’t get me started on all the scumbags, rip-off artists, and bluster-filled short-timers who are bent on telling people how to act, and then disappear who have come through L.A. in the past twenty years. But amidst this long-raging storm, Bill has fairly, honestly, and even-handedly run an ethical world-class punk record distro., opened a record store in Alta Loma, and in 1989, started a record company that, to date, has close to 120 releases. I’m always happy to hear from folks living a little East of L.A., how much of a lifeline and an outpost Dr. Strange was for them in finding punk that wasn’t on a corporately sponsored tour or the punk de jour of the moment (ska, emo, mohawked butt hair with violins or whatever’s next). What’s really cool about this picture disk comp is that it reclaims a bit of the ground lost in the glut of label samplers over the past decade. Bill has always had a great ear and if you’re just getting into punk or are interested in more than just one tiny subgenre endlessly repackaged and re-released, this is a great capsule of music, featuring bands spanning Bill’s twenty years of direct involvement. High fives, Bill. Next tube of lube is on me, buddy.
–Todd Taylor (Dr. Strange)
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VALINA:
A Tempo! A Tempo!: CD
Mathrock trio from Vienna here. They sort of remind me of June ‘44 with instrumentation that can be complicated and serene at the same time. The vocalist sings in a slight sea shanty style, with an upbeat tone and the rhythm and pacing of his delivery. “Dogged” is a standout track. A nice instrumental, this is a little dark and introspective with a saxophone periodically appearing to guide things along. They tend to lose steam on songs like “Per Sonare,” “Phantom of My Longest Day,” and on until they hit “Delivery Man (Duane! Duane!),” which is atmospheric and cold, while being a well-crafted pop song.
–Matt Average (Joyful Noise)
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VAGINASORE JR.:
This Here Peninsula: LP
This is the best record I have heard so far in 2009. Most bands are not able to make two good records in a row. With their latest recording, Vaginasore Jr. (VSJR) did just that. VSJR is a continuation of a lot of good indie rock and punk from the south, like Panthro UK United 13, Against Me!, and Superchunk. The songs take the things you’ve been frustrated with lately and set them into killer melodies that the listener can scream at an unsuspecting passerby. Some bands use this frustration as a formula, others spin it into gold. It’s always a good feeling to know that someone can still do it the way it’s supposed to be done. Best of all, the songs have incredible, melodic verses that take you deeper into the band. The song that stands out to me is track five, “The Pace and Stupidity of Survival.” The confidence and attitude are right on. It’s a three-minute song but it extends into your life for another three hours as it replays in your head and sing along, “All these self righteous motherfuckers are taking over the world / So heavenly minded, so full of their own self-worth / So judgmental in their bastard ideals / They’re no good here on earth.” This is the second time that Richie Lawler (singer) has gotten into my head. I spent the latter part of 2007 yelling a line from the last album (Strikes and Gutters) at people. And it takes me back to a time when the same thing happened with “Slack Motherfucker” by Superchunk in the ‘90s. Another standout song is “Nice Blinker Asshole.” The lyrics from this song come from the bumper stickers seen on a truck rolling by then stretches them out and pokes holes in them. “So opinionated at 60 miles an hour; sometimes you ask yourself ‘What the fuck would Jesus do?’ / ‘Heritage not Hate,’ that’s one hell of a stance / Dropped at 12 years old / home-schooled by the Klan.” There are pop gems on this record too, like “Drunk Therapist,” and “Livin Life,” a cover of a Daniel Johnston song. This is an unlikely cover song for a band that runs in the punk rock circles of Florida, but makes total sense when you hear it. One song, “The Disembodied Reflections of Lester Burnham” takes a speech from the movie American Beauty and sets it up in a song. The speech comes from the final minute of the movie where Kevin Spacey’s character gets shot and his life flashes before his eyes. The band captures it in a long-verse melody that does it justice. Inspiration is what good songs are made of and this song is inspired… period. These songs work on me the same way that the film American Beauty does. It takes a dull, familiar scene and turns it into brilliance. In the movie, they show a garage with a weight bench… or a plastic bag whipping in the wind (or Thora Birch’s massive rack) and turn your attention on them to give you a new way to see them. The supporting cast of the band brings these songs into three dimensions. The drums propel the songs and never let them slack. The lead guitar scribbles at will in a way that only Dave Decker (Watson) can. And the deep bass runs freely (Russ Van Cleave, The Tim Version). It’s like sacrilege, but I have to say it... I like VSJR better than DSJR. –Dave Rohm
–Guest Contributor (ADD)
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VARIOUS ARTISTS:
Fear Power God: CD
Long ago, punk rock was just as much about exchanging ideas as it was about getting drunk and singing about getting drunk. Oftentimes, these ideas came from places that weren’t popular, or danced around the extreme edges of countercultural thought, but the prevailing line of thought was that one was intelligent enough to make one’s own decisions on what one believed and what one thought was total bullshit—in effect, think for yourself—rather than pick a side and refuse to listen to, read, or intelligently assess anything that might upset one’s personal intellectual status quo. Originally released twenty-one years ago by Whipping Boy’s (now Oxbow’s) front man Eugene Robinson as an audio accompaniment to his Birth of Tragedy magazine, this compilation is a collection of mostly spoken word pieces from various corners of the underground circa-1988—Lydia Lunch, Allen Ginsberg, Anton LaVey, Charles Manson, Henry Rollins, Mr. V.O. Real, Lawrence Ferlinghetti, Matt Heckert, and Whipping Boy—addressing the concepts behind the three words in the title. Some of the material is a bit dated, some is dubiously recorded at best, some of it reeks of pomposity, but all of it is worth at least a listen and will no doubt offend someone’s sensitivities in some way, just as it should.
–Jimmy Alvarado (Blackhouse)
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VARIOUS ARTISTS:
Dangerous Intersections: 7” EP
Four bands—Rational Anthem, Iron Chic, Amen And The Hell Yeahs, and Unwelcome Guests—deliver four tracks of poppy punk rock.
–Jimmy Alvarado (Traffic Street)
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VAGINASORE JR. :
This Here Peninsula: CD
I can’t decide if I’m just over this kind of music or if it’s just that this record isn’t so hot. It really does pain me to say that. Nothing but sweethearts involved with this record all the way down the line. There has been one constant in my musical taste throughout my life. I thrive on hooks. I need melody. I can get in to things like power violence or grind in short bursts, but to make it in to the repeat play file there has to be hooks. Not that this record is a grind record. It’s solidly Florida “beard” punk, even though I hate that term. I just know you’ll know what I mean if I say it. Anyway… hooks. This record doesn’t have them. It sort of plods along in that Tampa Tiltwheel-loving style but with a little less flare than I’m accustomed to from the guys in this band. I will say that they retain the title of “greatest ‘band name parody’ band name ever.” Sorry, guys. Maybe it’s this dreary SF bay area weather that’s not allowing me to tap in to that TampaBay style this time out.
–Steveo (ADD)
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UNWELCOME GUESTS:
The Painter: 7”
Catchy, poppy punk more along the lines of bands like the Replacements. Lyrics seem thought out, the songs have some good hooks, the band is on-point throughout, and the printing of the cover is top-notch, making for a release that bears the markings of folks who put some effort into this.
–Jimmy Alvarado (Feral Kid)
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UNWELCOME GUESTS / SAINT SWEETHEART:
Split: 7”
While I like that Unwelcome Guests get compared to two of my hometown’s bands (Hüsker Dü and The Replacements) and seem to make everyone miss the ‘80s, they aren’t really tied to that sound and are actually a different beast all together. A sort of amalgam of early or mid-Lookout! and the drama that I suppose we have “indie” to thank for. They are kinda rocking, as much as I think they’re wanting to at least, and I think worth keeping half an eye on. Sleeve-hearted lyrics, heavy doses of pop, mediumy vocals, and some decent hooks: they’ve put forth a solidly scratchy EP. Judging by their packed release history, they’re probably going to be doing a lot of that. Saint Sweetheart, if nothing else, deserves the name they’ve given themselves. Depending on your taste, their side of this split could be considered adorable or as listenable as nails on a chalkboard (maybe less, if you’re into that noise shit). These guys are obviously not ashamed to be overtly confessional in a post-confessional world, so I guess props for that.
–Andrew Flanagan (Traffic Street)
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