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· 3:#341 with Daryl Gussin
· 4:Windian Records Interview
· 5:#342 with Todd Taylor


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Record Reviews

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FALTER:
Descent: 7”
Falter comes from a dark, dark place. The lead singer is a shrieking, growling ball of pain and misanthropy. Though inarticulated, there’s no mistaking their self-loathing, suicidal lyrics are anything but truly heartfelt. The singer just bleeds every bit of his lost soul into them. What makes Descent relevant goes beyond if they’re a part some scene or whether you can appreciate their vigorous and unrelenting blend of crust, sludge, and powerviolence. No, what makes this record stand out is it feels like it was made purely for release, as if everyone involved is scratching their way out of a black pit of overwhelming despair.  –Craven Rock (Reality Is A Cult)


EPIC PROBLEM:
Lines: 7”
Epic Problem’s follow up to last years All Broken 10” is quite the barnstormer. Where the six tracks on that release packed a wallop, the four here take things up a level in terms of the clout the band manages to deliver, albeit it’s a pounding that doesn’t lose any of the tunefulness that the songs contain. After only half a dozen listens, the three new tracks and a beefy cover of “Weak” by The Beltones have managed to equal those from one of my favorite releases of 2013 and, in doing so, it’s clear that Epic Problem is a band on the rise. Another point to note is that the band sounds less like Off With Their Heads here than on previous releases showing that it is leaning towards a more distinct identity of its own. For now it’s probably still worth pointing out that the band features the ex-Blitz bassist Mackie, who has progressed to six string duties these days but that shouldn’t be a factor in checking this out.  –Rich Cocksedge (Longshot, Longshotmusic.com / Rebellion, rebellionrecords.nl, info@rebellionrecords.nl / Rebel Sound, rebelsoundmusic.com)


E.A.T.E.R.:
Doomsday Troops: 7” EP
Not to be confused with first wave U.K. kiddie punk sensations Eater, this similarly acronymed unit, full name Ernst And The Edsholm Rebels, is yet another legendary Swedish hardcore band and this is a repress of their first EP originally released in 1983. Like many of their peers, they kick out some righteous, thrashy jams for your ear hole, with maybe a bit more quirk in the vocals and a bit less Discharge in the song structures. After decades of hearing assorted tracks on the oodles of compilations they’ve graced, it’s nice to finally get my grubby little mitts on a copy of this bad boy. They’re apparently still going strong, and a quick internet search produced the opportunity to sample some of their more recent work. They definitely remain a band worthy of much attention.  –Jimmy Alvarado (Loud Punk)


DUCKY BOYS / PINKERTON THUGS:
Split: 7”
Both of these bands are stalwarts of the ‘90s “street punk” era brought forth by the popularity of the Dropkick Murphys (but both have always been better than DKM in my opinion) and it’s not hard to tell why. While there are literally hundreds of bands doing this stuff out there, I’d wager that ninety-eight percent of them sing about three main things: unity, the working class, and their boots. I’m sure that somewhere in both of these band’s catalogs, those topics appear, but in 2012 (when this was recorded) it isn’t the case. Both bands are still writing catchy songs that you can sing along with, but are telling a story more complex than the norm for the genre. I like it.  –Ty Stranglehold (Jailhouse)


DRUNK AS SHIT:
Drunk.Punk.Thrash: CD
Curse you, Taylor. Listen, I fucking love booze, even more than drugs. I love songs about drinking as much as the next functioning alcoholic but weren’t we done with “drunk punk” in the ‘90s? Guess not, huh? Oh wait, these fools are from Salt Lake City where there is no booze, I get it. Okay. Truly horrendous punk/thrash, like a terrible Grimple or Submachine or any other no mark bands from the ‘90s with crap solos and songs about booze. Don’t get me wrong, I lovebooze, but even drunk this sucks.  –Tim Brooks (Ballzout)


DOSES:
Self-titled: 12” EP
These guys sound familiar, reminding me of Titwrench to a degree. Disjointed songs, huge drum machine sound, and atypical of what is going on these days. If they were to ditch the guitars and replace them with synthesizers, they could spearhead the Wax Trax revival (that has to be around the corner in this era of revivals). Then they have riffs that are similar to Black Flag. The sound is loud, all-pervasive, and has dark undercurrents. “Reasons to Kill” is the best of the eight.  –Matt Average (Going Underground)


DILDOZER:
The Titular Tape: Cassette
Decent smarty-pants punk rock from this St. Augustine, Florida-based trio. Having grown up in the area, I can relate to the “doin’ it for fun” vibe that is projected on this cassette. I get the feeling these guys are doing this for themselves and would happily play a show to three people at their local watering hole and they couldn’t care less. I have to confess that is a welcome feeling after sifting through releases from “professional” punk bands with endorsement deals and the like. To me, this is the sound of drinking a lukewarm twelve pack of Keystone Light with some of your closest buds and not giving a fuck. I’m not complaining.  –Garrett Barnwell (Self-released, thegazepunk@gmail.com)


DATA CONTROL:
Self-titled: 7” EP
My L.A.-centric self is hearing shades of Manson Youth, Artistic Decline, and maybe some Adolescents buried in this, but its core is some primo fuggin’ minor-chord hardcore that isn’t all screamy-howly and hyper-fast, but rather equal parts drone, thud, and aggression. If the Regulations float yer boat, you’re gonna love this.  –Jimmy Alvarado (Signaler Fran Ovan)


DAN PADILLA / DOWN AND OUTS:
Split: 7”
The latest from All In Vinyl’s split series where they take an American band and pair them with a British band. As per usual, I’m familiar with the American band, but not so much the British one. I assume you, dear reader, are familiar with Dan Padilla and their anthemic, gruff take on pop punk. It’s great to hear that this band is still going strong. When their first record came out, I thought we were going to get another Tiltwheel: great music, but with releases few and far between. This is clearly not the case. Releasing what feels like multiple records every year, the quality has yet to degrade for these guys. Down And Outs provide the B-side, with a sound close to the street punk of BYO Records heyday. They have multiple vocalists, which is always a plus for me, and they can all sing well, which makes it even better. Definitely a band that requires closer inspection. Grade: A.  –Bryan Static (All in Vinyl)


CUMSTAIN:
White People Problems: LP
This band, and this album, is a fucking glorious, disgusting mess. And it’s called White People Problems! Don’t let the cock-and-balls and semen font fool you, these songs are downright sweet, sentimental, and lovelorn. If “I Ain’t Wrong” doesn’t bring a tear to your eye, well, fuck you. Lo-fi, garage-y pop in a Burger Records sort of way. I can’t believe they didn’t draw any penises on the label name. That joke just makes itself.  –Sal Lucci (Resurrection)


CRIMINAL CODE:
No Device: LP
Taiga—Criminal Code guitarist and vocalist—refuses the post-punk and hardcore labels for the band. And I believe that’s coming from a genuine place, but to deny those subgenres’ impact on the band’s sound would be a real loss. What sets Criminal Code apart from the current wave of dark, look-at-all-my-effect-pedals punk is the sheer aggression in Taiga’s vocals. It’s the unholy marriage of post-punk’s ambience and hardcore’s hostility consummated in a Reno basement and birthed in Portland’s Buzz Or Howl Studios. The liner notes claim “attempts fail completely” and I understand what they’re alluding to, but if No Device was an attempt to create a full-length that’s damning (we’re all fucked, and we have a pretty good idea of whose fault it is) yet played with a haunting intensity (holy shit, they’re just a three-piece?!), then I think it’s no doubt a success.  –Daryl Gussin (Deranged)


COUNTRY DARK, THE:
Dead Man’s Handjob: CD
Highly adept Finnish perverts who sound like a sex-obsessed Cramps ((yes, more so than usual)) ninety percent of the time and make me recall the song “Homo Truck Driving Man” by the Pajama Slave Dancers the other ten ((with the notable exception of the first song, “Buttplug,” which, after much deep thinking, i realized sounded much like “Snobby Disdain” off my first solo record)). In additionally interesting matters, the Nick Knox/Mo Tucker drum style made me come to the conclusion that cymbals are the foreskins of rock’n’roll. You’re welcome. BEST SONG: “Don’t Wanna Come Too Soon.” BEST SONG TITLE: “Shemale?” “Truck Stop Whore?” “Cockteasin’ Chick?” There’s just so many from which to choose! FANTASTIC AMAZING TRIVIA FACT: All the naked ladies playing cards which comprise the brunt of the artwork here have panties Photoshopped in. Booo! –Rev. Norb (Big Money Recordings)


COUNTDOWN TO ARMAGEDDON:
Through the Wires: LP
Dark. Very dark, brooding, slow-burning, bleak, apocalyptic punk. Elements of Tragedy and Amebix combine with melodic (but dark) guitar lines, basslines, and drum parts that really keep things interesting. Well thought out and thoroughly dark lyrics cover all of your dystopian bases, from societal thought control through the media (“A Walking Dream”) to the destruction of earth (“The Portal”). The only sliver of light contained on this black disc is the hope of finding an escape from all the shit that these worldly forces shovel onto you—and fittingly—it’s the title track. This one takes a couple listens for the quality of the songs to shine through, but it’s worth it. Did I mention how dark it is?  –Chad Williams (Skuld / Aborted Society)


COSMIC PSYCHOS:
Down on the Farm: 12” EP
Dunno how valid this statement is in this modern era of globalized everything, but it used to be, if given enough time, every scene eventually coagulated around a specific sound or thing that made what they did unique from what was coming from other areas—OC had the whole surfy thug-pop dual guitar thing down pat, Minneapolis planted the seeds that would sprout the “alternative nation,” Arizona and Texas both cornered the markets on both the furious and the weird, you get the idea. Australian bands have long been able to distill damned near any style of rock down to its most primal, gooey center and bend, smoosh, and twist it into some very interesting origami patterns—AC/DC, Rose Tattoo, Birthday Party, Scientists, Hard-Ons, and Radio Birdman all played in different ends of the sandbox, but if you listen with surprisingly little effort, you’ll find that the first half of this sentence applies to all of ‘em. As this reissue of their 1985 debut EP shows, Cosmic Psychos kept to tradition by boiling their tunes down to their bare essentials before adding heaps of sludgy tempos, hyper-fuzzed bass and guitars, and simple lyrics about workin’, dames, and such, the results of which are tunes by turns punky, hypnotic to the point of being almost psychedelic, and just all-around fuggin’ heavy. If that description reminds you of some of the output from a certain clutch of bands primarily based in the West Coast, especially the Pacific Northwest, a few years later, suffice to say one need do no more than listen to L7’s “Fuel My Fire” and then listen to the Cosmic Psychos’ “Lost Cause” off of their Go the Hack LP to hear how deep an influence the Psychos had on ‘em. Fine chance to revisit a fine debut, and the band’s apparently still goin’ strong and still strip-mining the same sludgy mountain, so you might wanna do some diggin’ around.  –Jimmy Alvarado (Goner)


COPY SCAMS:
Copy & Destroy: 10”
This is the sound of a scene celebrating itself. High-energy, catchy, oddly mature pop punk with a heavy, early SST-ish guitar tone. You expect to hear whoa-oh-ohs, but are pleasantly surprised when you don’t. A collaboration of zine veterans from the U.S., France, and the UK, Copy & Destroy does for zine culture what the Gooningtons did for pop punk as a genre. Inside jokes that make everyone feel “in” take playful stabs at zine clichés: excuses for zines being late, lists of likes and dislikes, click-clacking typewriters. My favorite track is “Up for Trades.” Every punk’s had someone try to swap a token for a work representing weeks of effort, right? Don’t toss this in the riot grrrl bin (though itis straight outta Portland) but its confessional style reminds me of “Musical Fanzine” by Team Dresch. Alex Wrekk’s (of Brainscan) vocals evoke Sheena of Lemuria. This isn’t a serious album by a band trying to innovate, but the warmth it’s suffused with cannot be ignored. I want Copy Scams to tour, because every show would be a party, but I can’t afford those plane tickets. The record comes with a fourteen-page zine and a download code, so I’ll have to imagine the fun.  –Claire Palermo (Lunchroom, lunchroomrecords.blogspot.com; and Bus Stop Press, xtramedium@laposte.net, busstoppress.weebly.com)


COMADRE:
Self-titled: LP
With a pledge to DIY and a considerable distance from their screamo upbringing, Comadre brings us their swan song—and it’s a doozy. It’s difficult to appreciate the evolution without acknowledging the scrappy sincerity of The Youth and the frantic appeal of Burn Your Bones. But since A Wolf Ticket, Comadre has ventured towards more varied melody, ranging from pop lead guitar to trebly hardcore. Evolution without the loss of authenticity is a colossal task. (Recall all the bands that have forfeited their ties to engaging punk music because of major labels, the pursuit of image, or straight up bad decisions.) Thankfully, this LP is a glowing example. The slickly produced tapestry of bass-driven verses complemented by keys, horns, murmured vocals, and acoustic guitars is equally as hard-hitting as any of their previous outings. The keyboard-driven “Summercide” should be audible mush, but all the elements gel creating a pogo-inducing, hair-whipping jam. Furthermore, “Binge” sounds like The Smiths while retaining Juan’s throat-tearing vocals, “Date Night” oozes spaghetti western vibes, and “The Moon” is a sore throat ballad. With an almost ten year history, this final LP is a fitting bookend; it’s uncompromising like every great punk record. A contemporary classic.  –Sean Arenas (Vitriol)


CAPITALIST KIDS, THE / TIGHT BROS:
Split: 7”
The Capitalist Kids are one of Austin’s most consistent pop punk bands. They have been dishing out their Mr. T Experience-influenced jams for years, using the same formula of witty, sometimes mildly political melodic punk tunes to get their message across, and they do it really well. Their side of this split features three songs, including a cover of a Bee Gees song. The Tight Bros side of this record is very heavily Marked Men influenced—almost too much so. Their three songs are good in that Dirtnap Records kind of way, but they just come off as being a little too derivative. While the Capitalist Kids side perfectly shows an influence without imitating it, the Tight Bros could learn a thing or two from them.  –Mark Twistworthy (Toxic Pop)


CANADIAN RIFLE / ZAPIAIN:
Split: 7”
Canadian Rifle take steady three-chord tunes, soak them in cement, wrap them in barbed wire, and downshift them an octave on this most recent release, continuing further down the darker path they moved toward with 2010’s Facts EP. As of late, there are more mean, mean hooks rumbling here. Sonically, “Fire” and “Born” are walled-in with thick, glugging bass and gnarled-out call-and-response guitars to the point that the singing emerges almost as secondary to the drum and guitar. The vocals are melodic roars and shouts that layer up the beauty built by the instrumentation. I likedFacts, but this shit is superb. If Canadian Rifle is the weight of solid, overcast skies, Zapiain, fine punks of Yorkshire, play comparatively brighter melodic punk, although here the difference is illuminative and doesn’t diminish from the split as a whole. The bands complement each other. The unrushed hooks of “You Always Said It Was” and “Scapegoat” feature a band that’s happy to swish between palm-muted charges and rollicking open song. They’ve drawn numerous comparisons to Blue Medic and even a less rhythmically rigid Bad Religion, but I’m hearing a best-of amalgamation of ‘90s punk groups that, in the case of Zapiain, has distinguished itself by taking time. In one hopeful lament, the singer notes that, “I know you’ve heard this song / A million times before” and if that’s true, it sounds good, possibly better than before. Dig it. –Jim Joyce (All In Vinyl)


BUM-CITY SAINTS:
Spirit of the City: CD
Fuck yes! San Francisco punk rock! I love my city and we’ve got a lot of great bands. But sometimes it feels like everyone’s trying too hard to do something different and quite often we’re left with really very few bands like this: straight up, no frills, balls-out punk rock. Sure, there’s some streetpunk and hardcore in there, but where do you think those subgenres came from anyway? Solid hooks, solid lyrics, no bonehead shit, no cheese, and plenty to put your fist in the air and sing along to. SYFATB!  –Chad Williams (Self-released, bumcitysaints.bandcamp.com)


BRIMSTONE HOWL:
Magic Hour: LP
The cover of this album has a cartoon of a duck-billed, eyeball monster wearing a space suit in the middle of a drought-ridden wasteland. It looks like a movie from the iconic 1960s-70s low-budget director, Roger Corman. The band has an equally retro-fabulous sound, while still sounding completely fresh. I love this music. I would cut off three fingers to be able to write surfy, reverb-heavy guitar riffs like there are here. Maybe four fingers. I can’t say enough about how fun this music is. A blurb on the sleeve of this LP might sum up the sentiment and feel of the songs best: “Get down with the right sound. Burn your false idols. Quick! It’s Magic Hour.”  –John Mule (Certified PR)


BRICKWALL VULTURES:
Vultures Rule O.K.!: 7”
The most exciting new American oi 7” I’ve heard in ages, Vultures Rule O.K.! has me bopping around my apartment like a maniac. Hailing from Chicago, these guys sound a lot like Patriot, but with harsher vocals, similar to the legendary band Squiggy. The lyrics are of the most basic type, covering the standard street themes of unity, urban pride, and a willingness to fight. The barebones brilliance of Brickwall Vultures exemplifies all that is great in skinhead music. Catchier than chlamydia in Cleveland, Brickwall Vultures truly rules.  –Art Ettinger (Sexy Baby)


BREAKDOWN:
Runnin’ Scared: LP
Breakdown were one of those bands whose influence has always been heard more than their actual music, due mostly in part to the fact that their early output consisted of two demo tapes and four tracks total on the late ‘80s comps NYHC: The Way It Is and Where the Wild Things Are. Breakdown’s talent was overshadowed by other bands in the scene that were able to put out records in the late ‘80s (Warzone, Gorilla Biscuits, Agnostic Front, etc), but that doesn’t make them a bad band. The younger generation might remember singer Jeff Perlin from his time in Slumlords, but his younger years (these recordings specifically) were spent contemplating more serious issues and making music a lot more stripped down. These songs are sourced from the band’s second demo tape, recorded in 1987, as well as a live set from WNYU in ‘89 that sounds better than expected. There are two more tracks from an unreleased session in ‘87 that are just alternate versions of other tracks and I didn’t really feel are needed, but I’m certainly not going to complain about extra stuff being thrown on top of what you’re already getting here. I’ve always had an affinity for the NYHC recordings that were a little rough around the edges (like Warzone’s Lower East Side 7”, the Life’s Blood 7”), and this record falls nicely into that category. This record works because not only is it a document of something falling into the obscure side of a certain scene for collectors and completists, but the songs are good enough in their own right to warrant getting a proper release.  –Ian Wise (Painkiller)


BOOM BOOM KID:
Música Sin La Intervención De Cristo: LP
Boom Boom Kid are one of the few punk bands to take musical risks anymore. Even more impressive is that the risks they take turn out successfully. Primarily pop punk, but they sometimes go into grind, hardcore punk, then folk style songs like “Como Empezar...El Despues,” or really super pop that hearkens back to mid-1970s AM radio fare, like “I Do.” Then there’s a song like “Pon To Corazon El La Musica” that brings to mind late 1980s / early ‘90s Dischord bands like Fugazi and Jawbox. If the syrupy sweet “Si Esas Paredes Hablaran... Maria Ojos Negros No Mas” doesn’t stick in your skull and put a smile on your face, then you might be dead. Or just an asshole. The mood is light, the songs are catchy as hell, and played with nothing but heart. This LP is a collection of songs from all their previous releases. Obviously, a good jumping off point. I know I’m going to start searching out their back catalog. This stuff is great, and will get many repeated listens.  –Matt Average (SPHC, sphc.bigcartel.com)


BLOODTYPES, THE:
Johnny: 7”
If you miss The Epoxies like crazy (like some of us do), the song “Johnny” is going to make you a very, very happy listener. (Searching the interweb and my own facial recognition program, while not official, I’ll posit that at least one member was in that band.) Female-fronted pop punk fueled with swirling keyboards and a driving beat. “Alien Eyes” delivers a similar track with more ‘80s-styled guitar histrionics and “Don’t Wanna” winds it up with a whirlwind pop tantrum. “Destroy the Heart” left me a little cold with its more mid-tempo ‘50s approach, but you won’t be disappointed if you spend a few of those blood donation dollars on The Bloodtypes.  –Matt Seward (Bomb Pop)


BLOOD BUDDIES:
Tree & Bird: 7”
This formerly of L.A. and now residing in Portland two-piece has matched, if not improved on, their previous self-titled 7”. On Tree & Bird’s two tracks, Rachel Lynch riffs around with garage punk chords and shout-sings just under the throat-wrecking level, calling out her connection to the natural world outside of mega-jumbo urban areas. And, yeah, we all love cities (bars, busses!), but cities also have gross plastic bags screaming in the trees and exhaust coating all of your possessions, so between knowing intuitively that cities are kinda gross and hearing the raw sparseness of Blood Buddies songs, lyrics like, “If you’re looking for me / If you’re lost / If you really need me / I’m on a mountaintop” become simultaneously alarming and catchy. In the absence of second guitar or a single bass, all that remains is great songwriting: hooks, sharp edges, and the slight shock that hits you when you hear uninhibited rock for the first time in a long time.  –Jim Joyce (Ghostbot)


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