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· 1:Punk Parenthood for the Sleep Deprived XII
· 2: Tear A Cognita #07: Minneapolis, Minnesota
· 3:Louis Jacinto Photo Column - Patti Smith
· 4:Featured Book Reviews from Issue #91
· 5:A Tribute to John Stabb

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Greatest Hits, Vol. 3: CD
It’s the end of the Old West. It’s the end of the old Gunsmoke. It’s the end of the old Western World. It’s the end of the gang gunfire. It’s the End of the Western (x4). It’s the end of the Good Old Days. It’s the end of the Olden Days. It’s the end of the Civil War. It’s the end of the Battle Days. It’s the End of the Western (x4). It’s the end of World War I. It’s the end of World War II. It’s the end of the horse carriage. It’s the end of the chuck wagon. It’s the end of the Western (x4). Rock over London. Rock on Chicago. Federal Express. It’s the world on time. Easily the best record i reviewed this issue. The rest o’ you oughtta be ashamed of yourselves. BEST SONG: “It’s the End of the Western” is legitimately amazing. “Make My Joyplane Crash and Burn” “Suck a Pitbull’s Dick” and “Love God” are similarly vunderbar. It’s actually all pretty good. BEST SONG TITLE: “My Keyboard Got Damaged.” Possibly “Gingerbread Knocked Me Out.” FANTASTIC AMAZING TRIVIA FACT: I am well aware of the fact that if most people own a certain critical mass of Wesley CDs, their drive to enlarge their collection, especially in these troubled financial times, drops off sharply, for completely understandable reasons (i.e., each and every song being a variant on the same man-and-keyboard theme, charming though it may be). Let the record show that there is enough variety in the recordings culled for this album that that particular ultra-mega-minimalist pitfall is short-circuited, and the naysayer might do well to say “aye” here – especially in light of the priceless bonus video clips of the late Mr. Willis at Taco John’s™ Corporate HQ attempting to get a songwriting gig, et al. That is to say that, you, sir, can’t shoot his harmony music down. Rock and roll will never die! Somewhere in the great hereafter, Drackulla is still screaming. –norb (Alternative Tentacles)

The Crime is Now: CD
Modern Canadian garage rock is so upbeat and infectious; take The Hanson Brothers, Chixdiggit, The Riff Randells, and of course, The Von Zippers. They’ve been at the party circuit of garage for quite a number of years. Their live shows never disappoint. I saw them once stoned out of my gourd at Bar Deluxe where the singer, ironically wearing a crash helmet, crashed into the front row in the most hilariously accidental way possible. I hope they still wear the Nazi helmets. So here’s their latest effort brimming with party antics, catchy beats, and gosh darnit, some social awareness (“Blue Suit Blues”). Don’t get your hankies out – they still rock the party in your pants and everyone is cumming. –nam (Estrus)

Self-Titled: CD-R
I have a natural soft spot for the surf music idiom, so I can’t totally eviscerate the Vivisectors. I still occasionally play old Surfaris and Ventures records and somewhere in the ‘90s I even bought a used copy of a Bomboras disc – even though I was aware of an egregious Bomboras/Marilyn Manson love connection. So though this is somewhat anemic, cable-access-level nu-surf, I still don’t mind it. It’s inoffensive, backyard bar-b-q-friendly music that pretty much everyone – and I mean everyone – would be more or less okay with. But, truth be told, I think the grizzled Dick Dale, even without his Del Tones, would stomp the Vivisectors’ scrawny guts to make jam for his high-fiber toast in the morning. –aphid (Vivisectors)

Detonate: CD
Funny, I seem to remember these guys sounding more hardcore than this. A new release from an old band that’s very melodic in all the worst ways. –jimmy (Chunksaah)

Curious Oddities and the Bare Essentials: CD
In the mid-nineties, The Vindictives released a ton of seven inches and were on half of the compilations that half of the pop punk labels put out. Most of these seven inches were collected into one CD called The Many Moods of the Vindictives. That collection is still one of my all-time favorites. I’ve had it for about eight years or so, and I still dig it out of the CD shelves and give it a spin and sing along to every song and wish like hell that there was more Vindictives. Of course, they also released Party Time for Assholes, an album of all covers, and that’s a pretty cool CD in its own right. Then, there was another album. I’m going to pretend that I don’t remember the title, but I do remember the title because, when I sold it back, I made a mental note to never buy that album again. But, really, what I wanted was more from the Vindictives’ glory days. And now I have it. Curious Oddities gathers eight songs from the time when the Vindictives were at their best, and it’s got all the tales of demons in your head and psychotherapy gone awry that you’d expect from these guys, and they make it fun to sing along to. These eight songs alone make Curious Oddities worth picking up. On top of that, this collection has two Sex Pistols covers (“Seventeen” and “No Feelings”) that make me wonder why I never figured out on my own what a perfect match the Vindictives and the Sex Pistols are. There’s also a funny cover of “Two Ton Tessie,” a demented cover of “Nuttin’ for Christmas,” and a cover of “Jingle Bells” that’s at the end, so it’s no problem to skip it. I have to say, I’m pretty stoked to have this new collection. –sean (Teat Productions)

Gangster Ballads and the Death Sex Set: CD
Quirky, female-fronted college rock. –jimmy (Ace Fu)

self-titled: 7"
This latest musical endeavor sees Shane White and his latest gaggle of cohorts delving into the world of distortionless power pop territory, moving him ever closer to fulfilling his lifelong dream of having a band as cool as the Raspberries and as well regarded as Paul Collins. As can be expected, the songs are strong, although I imagine the inherent wimpiness of the sound is gonna put a lot of trash punker noses out of shape, which alone makes this worth every penny. A couple of interesting facts: to my reckoning, this is the first band Shane’s played bass in since the first lineup of the Chainsaw Blues back in 1988, and included here is a drawing of the band, his first “published” artwork since his contributions to the booklet for 1985’s Flex Your Mom cassette comp. –jimmy (TheVaticans@sbcglobal.net)

Where the Bad Boys Rock: 2X CD
You get psychobilly, rock/punk, ‘60s slop, straight ahead rock and Texas Terri for your buck. There’re thirty-four tracks in all from the likes of the Frankenstein Drag Queens, Damnation, American Heartbreak, Duane Peters, Trash Can Darlings and oodles of others. This would be the perfect soundtrack to a raucous party of people who’ve just made it back from the Dolls convention. –jimmy (People Like You)

Tower 13: LP
I didn’t think it was possible, but the boys at Hostage have actually managed to outdo themselves. After releasing two near-perfect comps, they manage to raise the bar even further with this, quite possibly the most consistently good compilation of Southern California punk in decades. You get all killer and no filler here, with the bands (The Drips, The Fakes, Smogtown, Broken Bottles, The Pegs, The Main, The Decline, Ciril, Smut Peddlers, The Crowd, D-Cup, The Revlons, Discontent, The Negatives, Thee Indigents and Cell Block 5, respectively) mining not only the post-Posh Boy/OC sound this label is known for, but also dabbling in hardcore (the Crowd, of all bands, turn in an uncharacteristically thrashy tune here) and punk’n’roll territory on occasion as well. All you nay-sayers and Chicken Littles crying out that punk is dead need to pick up a copy of this, as this is living proof that “real” Southern California punk rock is alive and doing fine in 2003, thank you very much. –jimmy (Hostage)

The Sound of San Francisco: CD
It would seem the scope of that title would be pretty hard to live up to, and they don’t: what’s here is almost entirely composed of various shades of ‘80s rehash (and not the hardcore kind), including several (!) takes on the Cult, certainly one of the worst hard rock bands ever. The Naggs do a couple good Runaways/Motley Crue rockers; Two Gallants have a rootsy, Poguesy sound; The Flakes are on a pretty inspired garage tip; and Young Trade turn in the single non-retro/derivative track, a bassy dancepunk one. The rest of the bunch rolls around in the crud I had to listen to in high school and, man, they can keep it. –Cuss Baxter (Alive)

Six Steps to A Better You: CD
Nazis From Mars: A punk band from the Netherlands who use a drum machine instead of an actual drummer. Very minimalist in approach, some new wave trappings here and there, but they are a hoot to listen to and “Don’t Do It” should be a radio hit. Peelander-Z: Self-described “Japanese kung fu action punk” and I really don’t think I can come up with a more apt description, other than that they are one good band. Lipstick Pickups: Trashy punk rock with nasal female vocals. I hear a smidge of Dangerhouse buried in there somewhere. Bobot Adrenaline: While I can appreciate the diversity of influences and creative spark inherent in their tunes, their brand of anthemic, poppy punk failed to move me much. Not a bad band by any stretch, it just boils down to a difference in taste. Zero Content: Four short soundscapes with someone yelling on top. The (No) Apologies Project: Arty, jazzy no wave-type stuff. Overall assessment: Even though I wasn’t enthused by every band on this comp, I really appreciated the diversity of bands presented and, in turn, their individual attempts to come up with something a little different from what is passed off as punk these days. –jimmy (Geykido Comet)

Six Steps to a Better You: Cd
I have grown to hate modern day comps lately. They just seem to be slapped together like a cheap sandwich. A few do come along that I think have what I’m looking for. First, it has to have a band or two that I recognize. Second, I hope it has new songs by the band that I recognize. Third, I hope I get introduced to a new band. So I can say that this comp meets some of my criteria. It has the crazy Japanese freakboys Peelander Z. But those tracks are excerpts from their P-Bone Steak CD. The lovely ladies and dude who are the Lipstick Pickups contribute one unreleased song and the tracks that were on the great split 7” with the Bikini Bumps. Here’s what I got for new. Nazi from Mars played a updated brand of electronic new wave that made me want to be Dieter. Bobot Adrenaline did nothing for me. They might do something for you if you like pop rock with some punk. Zero Content did less for me. A barrage of samples from a couple of people who have too much time on their hands and a good knowledge of Pro Tools or a similar program. The (No) Apologies Project sounds exactly like their band name implies, a project. It sounds like, “Hey let’s get together and jam! We’ll record what comes out of it!.” Half I liked and half I didn’t. Not bad for what I have listened to lately. –don (Geykido Comet)

New York City Rock ‘n’ Roll: CD
A veritable cornucopia of achingly bad cock rock, Dolls worship and embarrassing post-Kiss attempts at shock rock that, at best, results in peals of laughter for all the wrong reasons. There are, literally, thousands of bands doing this shtick so much better than what is compiled here that one is only left to wonder why this aural embarrassment was even released. –jimmy (Radical)

Various Artists:
Midwest Rules – You’re Weak We’re Strong: CD
This is the second Midwest Rules disc that I’ve had the good fortune to come across and this will be the second time I gush about this quality collection of tunes played by pallid, corn-fed punks from the heartland. It starts out strong with a song from the Daggers, which is very Germs-y with all the drunken aplomb of a shitfaced Darby Crash, and then goes into a ripping tune by the Phenoms which is very Candy Snatchers-esque. The remainder of the disc is rounded out with catchy, crunchy slabs of Midwest anger by heavyweights like Bump n Uglies, Gotards, Mashers (sounding like New Bomb Turks back before they decided that saxophones sound nice in punk songs) and Nine Pound Hammer (and when did they get back together? I gotta start paying closer attention to this shit). There are a couple soft spots that I could poke at over and over, but fuck it. This is a strong collection of no-bullshit punk rock. My only complaints would be as follows: how about getting some females in the mix here, boys? Aside from Jenn Cuervo of the Almighty Hangovers, this disc is pretty much a boy’s only club. Despite all the frigid bovine women you coastal people might see on TV wearing cheesehats and horns in the stands of Packers/Vikings games, we do have plenty of butt-kicking female punk bands in this area that would fit nicely into the next Midwest Rules. And speaking of that, I think a geography lesson may be in order here. I mean, what exactly do you consider to be “Midwest”? I like Nine Pound Hammer but are they “Midwest”? That’s down-home chicken-fried southern punk in my book. And while I’m at it: did something happen here that I don’t know about? Did Minnesota secede from the rest of the Midwest while I was off somewhere on a drunken bender? Volume 1 had zero bands from Minnesota and Vol. 2 has zero bands from Minnesota. Not to be a shameless homer, but I live in a town that has as landscape “garnishes” statues of various Peanuts characters dotting our streets. That alone is enough to breed white-hot punk rock discontent. We’re seething here and our punk bands reflect that. So before you Haunted Town folks start slapping together Vol. 3, go listen to the No Hold Back: Twin Cities Hardcorepunkrockandroll comp and get a few of those bands to pitch in a song or two next time around. –aphid (Haunted Town)

Histeria 2: LP
Martin Sorrondeguy serves up a second volume of punishingly good international hardcore that’s surprisingly varied in sound, courtesy of Tomorrow, I Quit, Amdi Petersen’s Arme, Conga Fury, Fuerza-X, Punch in the Face, Vitamin X, Scholastic Deth, Bruce Banner, Disidencia and Regress. Along with its predecessor and Suburban Voice’s No Sleep for Hardcore, this is easily one of the best international hardcore comps thus far in the new millennium. Included is a tabloid-sized publication with lyrics/info and full-size posters of each band. Sooo recommended it ain’t funny. –jimmy (Lengua Armada)

Best of Various: CD
Art rock, screaming hardcore, acoustic mellowness, and flat-out noise are given equal time on this varied comp. Most of the tracks sound like they come from assorted demos, as no doubt they did, and there’s also a “college radio” feel to the sequencing, but nothing here can be construed as terrible, and some tracks are mighty fine, indeed. Featured bands include +DOG+, Bratface, Illicit, Post Natal Abortion, the Shills, and Due Process. –jimmy (www.loveearthmusic.com)

Bay Area Invasion: CD
Isn’t the purpose of a regional scene compilation supposed to make you want to go check out that scene? Excepting a couple of Bar Feeders songs, this makes me never want to go to San Francisco unless I’m deaf. –Josh (Depth Charge)

Short and Hard: CD
Female-led rock band that makes you feel like you are sitting in a biker bar that is a smoke filled room, drinking too much whiskey and throwing up on the sawdust covered floors. –don (Sin Klub)

Vs. The Kids: CD
Loud rock/punk with a singer who sounds plenty pissed off, which makes sense seeing as they call Bellingham home. I’ve been there and I feel your pain, kids. –jimmy (The Brass Rocket Recording Conglomerate)

What is Real and What is Not: CD
This is nowhere nears as manic as their earlier efforts, but that twisted pop sensibility is still readily apparent and the songwriting is still consistently strong and challenging. Songs like “Theme from ‘Sex Taxi,’” “Baby Demons” and “Typical Tzar” stand up rather well to their classic material, while “Jumbo” and “In Praise of Fucked Up Girl” betray a Southwestern roots rock influence not previously apparent. While some bands should refrain from having another go at it, the Urinals prove to be an exception to that rule. –jimmy (Warning Label)

What Is Real and What Is Not: CD
Okay, maybe i AM a hapless churl whose mental, emotional and social growth permanently stalled at age 16, and maybe i DO live in the past, and maybe i DIDN’T “get it” the right way back in The Day since the only Urinals songs i was familiar with for quite some time were “Sex,” “Go Away Girl,” “She’s a Drone,” and “Salmonella,” but i am kind of going to have to state here for the record that i do not recognize this as a bona fide Urinals release, but, instead, consider this a continuation of the 100 Flowers project the Urinals magically turned themselves into way back when. I mean, i’m from Wisconsin, explain this s-l-o-w-l-y to me: In 1982, you guys were too un-punk and artsy and textured and brilliant and so on to be constrained to the “self-imposed aesthetic definition” of the Urinals, so you had to be 100 Flowers instead – but now, hmm, hey, shucky-darn, THAT OL’ URINAL AIN’T LOOKIN’ SO BAD NOW, IS IT??? Dude, sorry to point this out in front of God and everyone, but IT’S A TOTAL FRIGGIN’ SCAM, MAN! You guys were either A. Fibbin’ poseur scoundrels when you changed your name to “100 Flowers” owing to your self-professed outgrowing of Urinalism 20 years ago, or B. Fibbin’ poseur scoundrels when you released a reunion (or whatever this is) album as The Urinals when the music is not so Urinals-specific that it is unquestionably better represented as being Urinals music than 100 Flowers music. It doesn’t matter which one you choose, either A or B is certainly true, and if EITHER A OR B is true – and either A or B is – then you guys have put paid/laid waste to the HIGHFALUTIN’ ARTEESTIC INTEGRITY upon which your collective pedestal is grounded (anybody waiting for a “well, you can take the Urinal out of the boy, but you can’t take the boy out of the urinal” crack should be advised that i’ve been making that joke for over 20 years now). Of course, had the band merely regurgitated fifteen different permutations of “Sex” and “Go Away Girl,” i’d more than likely be happier than a pig in shit (add in a bonus track of that 45’s b-side – a slowly descending allotment of calibration tones seemingly good for no other purposes than to tune one’s smoke alarm to – and i’m yours to keep!), so adjust for my myopia accordingly (the album is actually more or less like a lot of those records SST was putting out right around the time the Urinals became 100 Flowers – too pointlessly artsy to be of much real lasting benefit, but leaving enough of a breadcrumb trail no one stayed hopelessly lost forever). All i know is that in THIS overgrown 16-year-old’s brain, a urinal is always gonna be a place you throw a cigarette butt into, not a reference to Duchamp. BEST SONG: “I Make Love to Every Woman on the Freeway” or “Typical Tzar” BEST SONG TITLE: “I Make Love to Every Woman on the Freeway” or “Typical Tzar” FANTASTIC AMAZING TRIVIA FACT: Thanks list includes Joseph Pope of Angst, who, as a buyer for Systematic in the ‘80s, purchased $350 of Suburban Mutilation albums from me i was never paid for. –todd (Warning Label)

Symptoms of Humanity: CD
Hey! They’re on Disaster now? What happened to Epitaph? I hope they didn’t get dropped because they were focusing on the bigger bands. Oh, well... This is a good record that could have been better. The songs are pretty kick ass since they seem to have added a more metal element to their sound from what I remember from the past. What is lacking is the electric guitar sounds tinny and thin. The bass is pulled up to front too much and kind of sounds like rubber bands. The vocals, acoustic guitar and drums are the only thing I wouldn’t touch. Well, maybe the drums... I would have preferred the kick drum to be a little boomier and louder. Now you are probably thinking, what a fucking snob! If you read this far, I guess you care enough about my opinion. So move on or live with it. Anyhoo, I always liked their songs that are sung in Spanish even though I don’t understand the language. For some reason, it better expresses their aggression and I see how it connects with the Latinos in their audience. From the outside it looks like they are connected as one. That’s the part of the show I most enjoy. The energy level is high. So, production pet peeves aside, they always put out something I like and this is no different. But next time, I hope this review might cross their paths without them getting all bent out of shape, and I also hope they put out a truly ball-busting record. –don (Disaster)

Supernova: CD
Konane Cramer croons his delicate little heart out while the rest of the outfit goes through: punchy, pretty, quirky, jangly, fugazy, groovy, and chunky. Maybe some other ones, too, but I quit keeping score after “A Different Kind of Pretty.” –Cuss Baxter (Substandard)

Put Strength in the Final Blow: CD
More mid-tempo, vaguely Sex Pistols-without-the-wall-of-guitar-sound punk from the U.S. Bombs. To this day, I sorta expect USB to be more manic and am always temporarily thrown off by their slightly laid-back approach. It’s just that the mystique of Duane Peters looms so large and dementedly over the band. He’s like the skatepunk’s version of GG Allin, a man who – as legend has it – has never hesitated to serve up his keloid-scarred body to further injury and manglement. So, because of Mr. Peters’ infamous exploits in the many styles of self-abuse, I continually find U.S. Bombs to be not as reckless as I think they would be with a maniac like that at the wheel. U.S. Bombs is like the cafeteria meatloaf of punk rock; sometimes tasty, sometimes full of stuff you don’t ever want to know about, nothing I’d ever want to make a strict diet of. –aphid (Disaster)

self-titled: CD
Can you say... the second coming of Helmet! –don (Failed Experiment)

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