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Record Reviews

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Self-titled: 7”

The Cougs play grainy, down-picked indie garage pop. Vocalist, Andrew Virga, reminds me of Andrew Savage’s less nasally efforts in Teenage Cool Kids—that’s a good thing. Virga is capable of vocalizing a lot of interesting melodies, but the songs nod off into tedium around the minute mark. There isn’t much to musically sink your teeth in here, as it’s just average slacker pop. The album design by Marsupial is eye-catching and abstract.

–Sean Arenas (Bakery Outlet, rtdiem@yahoo.com, bakeryoutletrecords.com)

Fight against Rules: 12” LP

This rules. Hands down. Fight Against Rules is a collection of eleven songs of The Corpse’s work from ‘88-’89, remastered and re-released as a CD in 2010, and now in the form of an LP. Originally formed in 1985 in communist-ruled Poland, The Corpse has been described as “hard core/trash/ crossover,” listing Suicidal Tendencies, Napalm Death, Septic Death, Accused, and Lärm—among others—as influences. It’s really the best of both worlds between metal, thrash, and hardcore punk, relentlessly propelling, shredding, pounding the shit out of your eardrums. It just doesn’t let up! A bonus is a sixteen page booklet with a band bio, past reviews, an interview in English and Polish, and rad pictures of the crew to flip through, plus a print out of miscellaneous flyers from 1988-1994. Get it!

–Camylle Reynolds (Refuse, refuserecords.prv.pl)

Fuck’in Great R’n’R: 12" LP
This album stands up to its name: it is fucking great rock and roll. The songs come out of the speakers like electric shock therapy. They are loud, fast, and spirited. As I write this review, I realize that Dee Dee Ramone’s birthday was a couple days ago and this album serves as a fitting tribute. Every songs starts with that iconic “1-2-3-4” scream and bass player Junkie Fever’s sound is a driving inspiration to Dee Dee’s spirit. This album kicks ass! –John Mule (Deadbeat, dead-beat-records.com)

Split: 7”

The truth about this record is that you need it because it’s one of the last Vaccine records that will be released (if I’m not mistaken, they are releasing one last 7” and then calling it quits). Vaccine produced some of the tensest and straightforward powerviolence of the last several years and these five tracks are a great addition to their catalog. The recording is heavy and blown out with the heaviest slow parts that run straight into fucking insane speed. But it’s not all blinding blast beats. Check out the killer rhythm on “Futureless,” and the way the drums stress off-beats over power chords. The Coke Bust side is good powerviolence-y hardcore with well-written lyrics. The band certainly doesn’t cover any new ground, but I’ve never really thought of Coke Bust as a band that pushed too many envelopes. They shred and play palatable heavy hardcore, which is probably the reason behind their status in the DIY hardcore scene. The breakdowns are good, the fast parts are tight, and the recording is great for their style. It’s worth noting that the version of this that was sent to me through Razorcake is a European pressing that seems to be readily available in the U.S., but there is also a domestic pressing with different artwork that may be harder to track down here.

–Ian Wise (Refuse, refuserecords.prv.pl)

Double Diggits!: CD

Chixdiggit are a pop punk trio from Canada, the Great White North, the land of Neil Young and B.C. Bud. If you like the vein of chunky guitars and “I Don’t Wanna”/”I Just Wanna”/”Now I Wanna” songs that run from the Ramones to The Queers and beyond, then you will connect with this re-release of “2 Pop Punk Classics on 1 CD,” as the cover advertises. The albums in question here are 1998’s Born on the First of July and 2000’s From Scene to Shining Scene. There are also eight bonus tracks including “I’m Not Going to Suck Your Church Off,” which wasn’t as memorable as some of the classic tracks, but deserves an honorable mention for the title alone.

–Guest Contributor (Fat Wreck Chords, fatwreck.com, mailbag@fatwreck.com)

Self-titled: LP
This Buena Park, CA trio rules, first because their name is a Pee-wee’s Playhouse reference, and second, because their music is really damn catchy. I was hoping for something sweet from this, based on the name of the band and the absurd cover art of flying teeth and a toothless kid holding a hammer. It didn’t disappoint—garage-y punk’n’roll with strong hooks and slightly nonsensical lyrics. There’s also a ‘50s surf guitar vibe on several tracks, particularly “The Stuff,” which was a mostly instrumental track that I really dug. Every riff on this LP was a potential earworm. It could have been an entirely instrumental album and I would not have been the least bit disappointed. The lyrics add a touch of entertainment value, like “Just for Me,” which is written from the perspective of a kid who doesn’t want to share his things. I thought the Meka Leka Hi’s were great from the start, but their absurd humor really pushes them over the top. –Paul J. Comeau (Meka Leka Hi’s, themekalekahis.bandcamp.com, jmagranniii@yahoo.com)

Bike Thief: 7”
There is something reassuring about Chemical Peel. Each song is unique as the three-piece juggles vocal duties, which ensures that the band is never mercilessly pinned to one sound. Every strum and cymbal crash oozes earnestness. “Born to Kill” lumbers with terse shouts and a riff reminiscent of Big Boys. The guitars are abstract and asymmetrical, at once shrill and inventive while evolving from sections of dissonance into melodic riffage. With a shift in vocalists, they suddenly sound like an anarcho band, à la DIRT or Hagar The Womb, thanks to Ony and Victoria’s gleeful voices. Chemical Peel is admirably carefree and confident with a fuck all attitude where punk means playing what you want and not thinking twice about it. –Sean Arenas (Ride The Snake, ridethesnakerecords.com)

Felt Up: CD
Three-to-four chord co-ed garage from Indiana that sounds more or less like the Statics, were that band’s residual Ramones-isms replaced by a sort of candy blues bent. I like the faster stuff better than the miscellaneous attempts at down ‘n’ dirtyism, but on the whole it’s all kinda cool. Best of all, you can download it for free on the band’s bandcamp site, and it’s worth at least double that! BEST SONG: “Your Back” BEST SONG TITLE: “Boots on the Ground” FANTASTIC AMAZING TRIVIA FACT: This band comes right before Brownsville Station on my computer! –Rev. Norb (Brown Bottle Flu, thebrownbottleflu.bandcamp.com)

Colors of the West: CD
First off, this is not a punk album. This is straight Americana/folk/alt rock. There is no doubt that Modest Mouse has influenced Mega Gem through and through. There are hints of pop punk spattered here and there, but it is fleeting at most. I’m not really sure quite how to review such an album, since I do not know much about Americana nor do I like it very much. However, Colors of the West is not without some charm; it’s melodic, has diverse instruments: hand bells, ukuleles, various horn instruments, mandolins, banjos, cellos, heavy use of gang vocals, even a little girl singing on one track. Really, it goes on and on. It’s amateurish and a bit sludgy at times. I can imagine it’s an epic ordeal getting everyone on stage to perform live, or even to get the studio time and space needed to produce this album. Colors of the West is decidedly unpunk, but hey, if you like Americana or folk alt. with all the frills, this might be your jam. –Camylle Reynolds (Wild Baby, wildbabyrecords.com)

Hospital: LP + CD
Fuck, man. How can I be this happy and this sad at the same time? Happy first: holy shit, what a fantastic, labor-of-love reissue. Crisp, beautiful half and half translucent blue/clear vinyl. Paint splattered dust cover. Thick-ass chip cardboard silk-screened gatefold sleeve. Full-length zine of flyers, interviews (two that I did, for Razorcake and Thrasher), and original artwork. Japanese tour bill. Poster. CD. I don’t think you could get anymore deluxe packaging. Broken Bottles deserves it. Think if Social Distortion didn’t divorce themselves from Mommy’s Little Monster and rebrand themselves Fonzie Americana For Retired Skinheads, but kept drinking in gutters and skating culverts. Sad part: Jes “The Mess” Rich died in 2010. He was in his early thirties. Jes was deeply troubled. His brother, Travis, visited him in the hospital. They made songs together on an acoustic guitar. It was therapy. Those songs eventually became Broken Bottles songs, some of the best OrangeCounty punk to come out in the 2000s—2010s, in league with Smogtown and The Stitches. Travis is solid gold. He was the logistical mastermind and kept Broken Bottles on the rails when Jes was alive. He’s keeping Jes’s memory alive now that he’s gone. I’m literally fighting back tears and smiling when this record’s spinning. Thanks, Travis. You’re a lifer. This is important. –Todd Taylor (Bat Skates / TKO)

Greenland Is Melting: LP
Joke pop punk of the Ramones-derived variety centered around a “Greenland” theme. This appears to be a reissue with some additional tracks added on. If Darlington was ever part of yer playlist, this’ll do ye just right. –Jimmy Alvarado (It's Alive)

Loss Leaders: LP
Boilerman has a uniqueness in a sound that seems very oversaturated. Playing the style of melody-driven, rough punk which can be pinpointed by bands like Witches With Dicks and the less produced Banner Pilot stuff, Boilerman’s hardcore background is definitely an asset. There’s just more power in the sound. I mean, the bass player is wearing a His Hero Is Gone shirt, and the other two guys were in Cold Shoulder; you know you’re gonna get something good, and this record does not disappoint. Multi-vocalist, trio devastation. Have the drummer do the fills while the guitar plays a lead, and the bass just never stops! There’s an intensity that rages through the whole record. Can the intensity be traced back to straight edge? Who knows? But I do know that these guys are drawing from something that a lot of people playing this style of music don’t have, and it’s making for some awesome music. Free Gym Guys! –Daryl Gussin (Self-released)

The Worst Part: 7”
Fuck me. I was not expecting to love this. Opening with a Shock ‘Em Dead quote was wild enough (one of my all-time favorite movies), but then tearing into some top-notch, ‘90s-esque melodic/pop punk that immediately brought Sinkhole/Doc Hopper/Zoinks/Sicko/(plus the requisite Berkeley nods) to mind, but with a more urgent, lethal sound… fuuuck. I am loving this. Ex-Spraynard dudes who know exactly what they’re doing. Get on this shit. –Dave Williams (De Nada / Square Of Opposition, squareofopposition.com)

Split:: 7”
Nice to finally hear these two bands, both of which I’d read about in fanzines (the latter in The Artist Formerly Known as Iggy’s Scam, and the former in Matt Thompson’s Fluke). I think the juxtaposition works well, as both of these bands are very much on their own trips. Kreamy ‘Lectric Santa’s side of the split features an electronic cover of what is apparently a Trash Monkeys song, as well as the real deal: wacko art splatter with dual fe/male vox and disorienting time and tempo changes. Think Tragic Mulatto and you’re on the right track. Bobby Joe Ebola And The Children MacNuggets rely on tongues planted firmly in cheeks, not entirely unlike Black Randy, as they attempt to bring their pointed political commentary to the norms with straight faces and straighter singing and instrumentation on their original “The Poor.” A cover of a Tom Lehrer song rounds things off. This split is awesome, in that it makes me wanna seek out additional stuff from both bands. Bravo! –Michael T. Fournier (Mayfield’s All Killer No Filler)

Three: 7”
This release is the third in a series of 7” singles that Kentucky “supergroup” Black God has released on No Idea. Conveniently titled Three, it allows a band made up from members of the likes of Coliseum, Black Cross, and Young Widows to knock out six tracks of mid-tempo punk rock based around some big riffs, pounding drums, and a dollop of intensity. Whilst not as immediate or as consistent as the second release in the series, this opens strongly with “Ghost in You,” although beyond that and “Rank and File” nothing else really gets me overly excited here. It’s not bad, but it’s some way from being as good as its immediate predecessor (I haven’t heard One so can’t compare Three to it). –Rich Cocksedge (No Idea, noidearecords.com)

Get Nasty on You: 7” EP
They might’ve copped their name from a Spinal Tap album, but they sure don’t sound like they’re joking. Four tracks of swaggering hard rock with enough sophistication to please the more discerning dirthead and enough savvy to infuse a little punk “fuck you” into their DNA to give things a bit of an edge. –Jimmy Alvarado (National Dust)

Demo: Cassette
Eleven songs of sci-fi-influenced punk out of Baltimore from a band that often dons homemade Mandroid suits when playing live, adding to the weird factor of the music. I don’t like describing bands as “fun” because it seems like something Aunt Martha would call the cover band she saw at the Elks lodge last night, but it fits here. I hope they tour out to Portland. They would fit in great with the garage rock bands here. Musically, they’re in the vein of 1977 style punk, but The Mummies and other bands of that ilk are unavoidable references mostly because of song titles like “Jet Pack Boys” and “Messy Face.” Keeping with the budget rock feel, the tape is a dubbed sixty-minute Maxell tape and the label is adhered with clear tape. A photocopied, one-sided insert with the contact info written in blue pen on the inside. I have a feeling these dudes aren’t in high school, but it looks like some of my eleventh grade handiwork. Impressive in its lack of detail. Impressive in music quality. –Adam Mullett (Hellicarrier, mandroids@gmail.com)

The Bad Seed/Mutiny!: 2 x 12”EP + 7”
How much of a travesty is it to admit ignorance of NickCave and his oeuvre in 2013? The little exposure I have to any of his stuff came when I tracked down some of the Birthday Party’s material after Mike Watt told me he dug bass player Tracy Pew’s playing. The songs on this gorgeously packaged double album—re-releases of the band’s last two EPs, as well as two previously unheard vault tracks—are driven by the aforementioned Mr. Pew’s cowboy bass playing over primitive beats, with shrill curtains of guitar descending to punctuate and inflect Nick Cave’s alternately screaming and intoning vox. I can see why people might file the band under gothic, but it’s a bit too unhinged for me to comfortably stash it there (which is a compliment). With all this said, if you’re an acolyte, this is not the place to start in terms of sheer economics: two twelve-inches and a seven inch, hand-numbered and limited to 1,500 copies, run somewhere in the neighborhood of thirty bucks. If you’re a collector nerd, though, by all means. –Michael T. Fournier (Drastic Plastic)

Self-titled: LP
Ignorance is bliss. Except, of course, when it comes to music. Sometimes, you miss out on cool shit. Which, in turn, is even worse for its creators; quality songs go unnoticed day after day, failing to make it into the hands of the right people. The Mandates, already extremely well-received in Western Canada, are just beginning to crack the shell of the rest of the globe. A band so sharp, that even though their songs are chock full of hooks (this band is nothing but hooks), when you catch them live, the entire set is spent watching them feed off each other, focusing on how truly talented each member is. The sheer technical ability of this group is mesmerizing. And, let’s be clear: we’re talking slick, punk-fueled, power pop. A subgenre that already has no room for imperfections. You need to be competent—tight as all fucking hell. And well, these guys fit right in. Now, while these Albertans fit right in with their obvious Canadian counterparts (Tranzmitors, White Wires, Sonic Avenues, Statues, and so on), there’s something inherently different about them. The aforementioned groups have a reputation for sounding Canadian, while The Mandates sound like they’re from New York. I mean, don’t get me wrong, they still sound a lot like their Canuck brothers. But, I’d be more inclined to compare The Mandates to the New York Dolls, the Sorrows, the Dictators and maybe even the Stitches, at times. But, faster and even, dare I say, tighter. More Dead Boys than Pointed Sticks, if you catch my drift. Bands get looked over every day out of laziness, oversaturation, and new trends. The Mandates are beyond worthy of your time. Given half a chance, you’ll be singing the outro-chorus to “She’s Walkin’ Over” over, and over, and over, again. –Steve Adamyk (Mammoth Cave, mammothcaverecording.com)

Shake the Rust Off: LP
Stompy garage rock with a horn section, two singers and the tendency to feel like an R&B record at times. Perhaps it’s more economical to say that this is a funk punk/Big Boys kind of thing. The vocals are very harsh compared to the music, but there’s a lot of originality in the essence of these songs. Warrants multiple listens, even if it’s just to get past the amount of music that has to be processed. Grade: B+. –Bryan Static (Peterwalkee, peterwalkeerecords.com)

Split: 7”
Both of the bands on this split record play fast, crazy, terrific European hardcore with a suddenly retro vibe. Sounding like they’d fit in well on a bill with Charles Bronson in the 1990s, there’s nothing to not love here. Both sides are well recorded and this record should be cropping up through stateside distributors by the time this review is published. Don’t let their cute names fool you. These bands are hard. –Art Fuentes (Vulgar)

Fur: 7” EP
Noisy pop kind thing here with a bit of snotty punk edge (mainly in the vocals). A little bit of feedback, some fuzz, and three upbeat songs that profess their love of felines (yes, you read that right). “Furriest One” sounds like a cross between Hunx And His Punx and Big Eyes, but with the din of distortion. The B side has the better songs on here—“Kingdom of Cat Piss” and “Fur Babies.” These two are more direct and to the point with a heavier beat and forceful vocals over a driving bass and noisy blarps from a guitar. Comes on translucent pink vinyl that looks perdy when held up to the light. I’m as amused by how the light is captured in the record as a cat is entertained by a human moving a beam from a flashlight along the floor. –Matt Average (The Lopez, thelopeztheband@gmail)

Fur: 7” EP
Three songs of noise pop from a duo from Pittsburgh, PA featuring Stephenwolf on vocals/synth, and Jesse Lopez on guitar/vocals/programming. Lots of fuzz, energy, and noise that fills every corner of this single. Every bit is a thing of beauty. The songs are fun, full of hooks, and played with so much joy that it spills out of the speakers and puts a smile on my face. They kind of remind me of the B-52’s if they were less pop, added noise, and kept the female vocals instead of using the male vocals as the lead. (The Lopez mostly use Stephenwolf as the lead singer on this release with Jesse Lopez taking up background vocals to great effect.) A very cool single that I couldn’t stop playing. –Rick Ecker (Self-released, thelopeztheband@gmail.com)

In the Garden: CD
Sometimes I listen to this record and hear “Pile of Dirt” and “Big Wheels” and imagine it’s from a future where the Dictators don’t come into existence until the time of the DC Comics graphic novel Kingdom Come, where the irresponsible superheroes of the modern generation do little but wreak untold havoc with their constant brawling. Sometimes I hear the boink-boink-boink piano in “Keys to the Face” and imagine I’m listening to a strip club Stooges with knuckle tattoos. Sometimes I hear “Titty Was Loc’d” and it sounds like an “All the Young Dudes” for a demographic so idiosyncratic as to render it functionally inert for humanity’s perusal. But mostly I listen to this record and think about the time I tried to find pot for A.O.D., rather unsuccessfully if memory serves. The New Jerseyest band of all time!!! BEST SONG: “Satin Dollars” BEST SONG TITLE: “Pile of Dirt” FANTASTIC AMAZING TRIVIA FACT: Recorded on my birthday! –Rev. Norb (Almost Ready, almostreadyrecords.com)

Silver Tongue: 2x LP
Epic doom crust. Listening to this reminds me of bands like Ambush, where if you take the time to listen to this closely, and allow yourself to focus solely on the music, then you will get a lot out of it. The songs are heavy, multilayered, and, as a whole, they create a mood of impending gloom and doom. There are moments of quiet, then times where the songs are churning and exploding. “Amalgam” is a complete crusher. There are the guitars playing off one another, and I really like the way one guitar is adding another layer in the middle of the song, adding to the mood, and how the tempo is building tension that never lets up. Then how it gives way to the contrasting “Matriarch,” allowing the quiet to come in and room for introspection as well as preparation for the brewing storm. The cello and violin help anchor it down and underscore the tone. The theme to this album is centered around Christianity and the sexist image of women it tends to promote. Lyrically, it’s presented almost as a conversation between lucifer and Eve. For me, the writing is dense, and something, like the music, you have to spend time with and focus on it completely to “get it.” It’s kind of like a book, but it’s only an album. The first couple times I put this album on was more as a quick listen and background noise, which this is not geared toward at all. There’s a lot here to take in, spend time with, and discover. –Matt Average (Halo of Flies, halooffliesrecords.com)

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