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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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Record Reviews

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Below are some recently posted reviews.

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GUYANA PUNCH LINE:
Irritainment: CD
The manifesto of Smashism is expanded upon and fleshed out here. A new youth movement is afoot and more intelligent and questioning than before. Reality is ours to create and flush out what doesn’t appeal or merely stifles our desires. GPL have also retained their old model while building on it at the same time. And it’s no easy paint job touch up, we’re talking the addition of side view mirrors and the benefit of hindsight in what were once blindspots. The communiqué has been issued, you need to read it and act. –Matt Average (Prank)


GREAT KAT, THE:
Possini: CD
According to the press release, this is my cue to talk in character about how scared I am of Kat and how we must all bow before her or something. Hmm. I remember Kat (and feel free to use the Troy McClure voice here) from the '80s and the day of metal mags with names like Metal Maniacs and Metal this and Metal that and while it impresses me that she is still doing this, she hasn’t updated at all (I saw the Ex a few weeks ago, and they impressed me as much as they did when I saw them 10 years ago, but in different ways and for different reasons - they grew in that 10 years that went by). Let me set the picture. There are many pictures of Kat in the CD art. She wears leather bikinis and spikes and bullets. She is not unattractive in an '80s metal bikini girl poster way. She has big, long blonde hair, lots of “scary” makeup (which helps keep you guessing her age), every picture has her with her mouth open wide, showing all the teeth she can. I like Apocalyptica a lot. They are a four-piece piece cello act that does mostly Metallica covers, but a few others and a few originals. So they take speed metal and convert it to a classical hybrid. They do this with proper nods to both genres. It works, and I can imagine people who like either liking them. Kat is a novelty act. Of four songs on this CD, two are classical covers, including the William Tell Overture. The thing is, the William Tell Overture is already fast and manic, and so doing it fast and manic doesn’t do anything for me (as opposed to the Vandal’s punk/speed metal version of “Dance of the Sugarplum Fairies”). The two originals are interesting enough musically, but, well, um, ok, I am going to print some lyrics, and I swear, these are the lyrics. Really. “Lick my ass, you fucking piece of shit, slime, moron FAG! Swallow my vomit, Muther Fucker!” (capitals as originally printed) from “Sodomize” “Squeeze his DICK OFF SLIT HIS HAIRY ASS (capitals as originally printed) from “Castration” Quality stuff, huh? And those are random samples - they don’t get any more lyrical or mature. It’s almost as if she is looking to get the PMRC started again. –rich (www.greatkat.com)


GOVERNMENT SATIRE/DEFIANT TRESSPASS:
Split : CD
Government: run-of-the-mill peacenik crustcore that has all the necessary trappings (screamed male/female vocals, pc politics) yet still seems to ring a little...umm...fake. More succinctly, they sound about as real as any one of those Doors tribute bands. Defiant: More of the same, a little better, but cheesy lyrics bring ‘em right back down into the gutter. I guess this is the end result of the musical equivalent of taking an original and Xeroxing it over and over and over until the quality of your copies is so bad that you can no longer see what the original was about. Whatever. –jimmy (Square of Opposition)


GOB:
The Kill Yourself Commandment: LP
When I first heard the term “hardcore metal,” this is exactly what I imagined: a wall of grindy noise devoid of melody that makes side two of Black Flag’s “Damaged” album sound like Kenny Loggins. I got a migraine by song two, so they must be doing something right. THANK GOD I wasn’t watching them live. –jimmy (Satan's Pimp)


GHOULTOWN:
Tales from the Dead West: CD
Ghoultown rambunctiously and skillfully blast a brawny swaggerin’ wallop of tornadic Texas-style rockabilly fury, gothic whiskey-drenched country’n’western craziness, and thundering “High Plains Drifter”-inspired deathrock rowdiness. It’s a demonic musical mishmash of ghoulishly hypnotic vocals, damnatory hellfire-and-brimstone guitar savagery, hair-raisin’ spine-tinglin’ thrusts of crosstie-splittin’ locomotive bass rumblings, rampagin’ Injuns-on-the-warpath tomahawk-thumpin’ drumming madness, lonely and sorrowful campfire’n’chuckwagon harmonica moans, and somber solitary TexMex trumpet/trombone wailings... I shit you not, compadres, it all sounds uncannily like The Damned, T.S.O.L., The Misfits, and Johnny Cash frenziedly dukin’ it out with Marshal Matt Dillon and his trusty ol’ inbred sidekick, Festus Hagen, in The Long Branch Saloon on a dark apocalyptic day on the set of “Gunsmoke.” Ghoultown sonically conjure ghostly images of the tumbleweed-strewn wickedness of America’s untamed Old West: vampiric prairie nomads aimlessly wandering through the vast weatherbeaten expanses of wayward eternal damnation; dust-enshrouded outlaw apparitions gearin’-up for a gunslingin’ showdown at sunset; the lone haunting howl of a coyote surrounded by the seductive misery of moonlit tombstone shadows; barbed wire and endless miles of crumbled decayin’ cattle bones. Yeeeeeehaw, motherfuckers, these are the true tequila-guzzlin’ sounds of Texxxas! –Guest Contributor (Dead Planet)


FURY 66:
Red Giant Evolution: CD
Fury 66 play melodic hardcore in the same vein as Good Riddance or Strike Anywhere. They’ve been around for a long time and have appeared on a ton of comps and toured pretty consistently and they play their instruments well. All of that shows on this album. About half of the songs on Red Giant Evolution have appeared on comps or seven inches. I assume that the other half of the songs are new. It’s a pretty good album. The vocals are fast and clear and the drummer does a good job of changing tempos and generating speed. If you’ve already obtained all of the albums by Good Riddance, Strike Anywhere, Kid Dynamite, and Avail, I’d recommend you pick up this one by Fury 66. –sean (Sessions)


FUCKFACE:
Self-titled: CD
This here is the last you’ll ever hear from these guys. The world turned 5 degrees colder the day they split up. The only good straight-up hardcore band from San Francisco in the ‘90s. I’m not exaggerating. In SF proper of the last decade there were either bad hard rock bands, weird art bands, indie rock bands, and that sort of stuff. Then there were these guys. A breath of fresh air in the stench of urine and vomit-soaked sidewalks of the Mission. I like the vocals, with their maniacal edge, and the dense guitar sound floating over a gritty bass sound. Great stuff. The kind of record you can sit back and get into. Especially the dark edge they possessed. –Matt Average (Six Weeks)


FOAMERS, THE:
Six Pints None the Wiser: CD
I can’t stand this kind of music. Totally tame pop punk so watered down you can play it around your parents. But they do put some substance in their lyrics, and that’s more than a good chunk of bands do anymore. But still... –Matt Average (Tent City)


F-MINUS:
Suburban Blight: CD
Holy shit! Just the CD I have been waiting for. 20 fast, loud, angry, balls-out hardcore punk tracks in only 24 minutes. None of which surpass the two minute mark. F-Minus is the best thing to come in the mail in a while. The last CD that did this to me was Asshole Parade’s Student Ghetto Violence. Their sound kinda reminded me of them too with some female vocals thrown in. Two guys (drum and guitar) and two girls (bass and guitar) all share vocals from song to song. All four of them churn out great, pissed off, gut-wrenching vocals equally as well. No pussies in the bunch (no pun intended). These songs, are as the title implies, about suburbia and the disdain these great musicians, singers and songwriters feel about the living among these minions of sheep and their silly façade. All around a tight, fast-as-fuck fury. This is the best antidote for their glass house world, shattering it to bits. The CD has already racked up a shitload of frequent flyer miles on my CD player. It wakes me up in the morning as I get up to head outside the city for work to face these robots on a daily basis giving me relief that I am not alone in the anger I feel. Thanks to bands like this, I am not going postal. Instead, I am the maniac at 5:30am driving too fast down the highway, windows down, radio blasting, pounding the steering wheel and dashboard while shaking my head back and forth on my way to be the consummate professional that I am. (Hey, at least I’m not doing my make up, reading the paper, talking on a cell phone, drinking and eating or the many other things the others around me are all doing aside from actually paying attention to the road.) Do yourself a favor. Get this CD, put it in, roll the windows down, turn it up to 11 and drive real fast. Preferably in a cookie cutter subdivision full of soccer moms and kids playing in the streets. Faster, faster, faster! –toby (Hellcat)


FLAMIN’ ANUS/HYBRID MUTANTS:
Unreconstructed: Split CD
I think the first band was named after a medical condition you get after you eat Taco Bell with their packets of fire sauce (which, by the way, is well worth the pain). Flamin’ Anus sound an awful lot like old AFI. You know, the band that used to be a punk band till the lead singer had some identity crisis and did LSD while fucking a goth chick, or something like that. Well, this sounds like the good AFI from their first two albums with a touch more rock’n’roll to it. The singer ,Charley Smith, sounds almost exactly like the confused Mr. Havok. Hell, they even have a song called “Identity Crisis.” My suggestion would be to have the singer from Anus and the musicians from AFI get together and pick up where Very Proud of Ya left off. Enough of that. The second band, Hybrid Mutants, are pretty different. They have a kinda southern rock’n’roll punk sound to them. Light on the southern but it’s there. Not a bad sound. Kinda like Nashville Pussy with a little Stool Sample mixed in. They are a little disappointing on their cover of “I Wanna Be Your Dog.” You can actually understand every single word clearly. Whatkindacrap?! Anyway, the two bands offer a decent contrast to each others sound. You get 7 songs a piece. It's worth checking out for the Flamin’Anus/AFI comparison. –toby (Transparent)


FIVE HORSE JOHNSON:
The No. 6 Dance: CD
Mighty nice swamp boogie with a hint of southern scum rock. If Black Oak Arkansas had sounded this cool when I was a kid, my life mighta turned out a little different. –jimmy (Small Stone)


FIREBALL MINISTRY:
FMEP: CD
After listening to Fireball Ministry’s FMEP, what can one say other than, “Metal Lives!” Yeah, it may sound like something overheard at a Heavy Metal Parking Lot screening, but the words still ring true for a band like Fireball Ministry. Imagine grabbing four of the biggest stoners from your high school days and sticking them in the garage. Lock the door. Leave the stereo, a few instruments and every Ozzy-era Black Sabbath record. Come back six months later and listen to them play. Chances are, the results will sound like Fireball Ministry - slow, plodding beats that induce all sorts of head-bobbing, crusty hescher guitars and even the occasional metal castrato. This is the sort of album that will instigate air guitar battles and headbanging sessions that end in whiplash. Trust me, that’s not a bad thing. –liz (Small Stone)


FACET, THE:
Adult Comedy: CD
Well, it’s loud. Aside from that, I couldn’t pay myself to be interested. –jimmy (Not Bad)


EVERTHING MUST GO:
Apocalipstick: CD
Trashy punk rock that in sound falls somewhere between 1978 New York and 1981 San Francisco. Although it ain’t the most original stuff I’ve heard lately, they are good at what they’re doing, which alone makes this worth a listen. –jimmy (Dead Teenager)


ENEMIES/PITCH BLACK:
Split: CD
Enemies: Your basic modern punk band, not bad, not memorable. Pitch Black: Taut hardcore that stuck to the insides of the noggin’ better than the other band did. Liked the pumpkin head thing. –jimmy (Lookout)


DUANE PETERS & THE HUNNS:
Tickets to Heaven: CD
Duane Peters, the clown prince of punk rock, is so Old School that if he got run over by a bus and got his foot decapitated he’d probably replace it with a wooden pirate peg and stump around the stage, business as usual. Hell, he’d probably get Independent to build him a steel peg, invent a new skate trick (Pieces of Eight Stump Slide?) and we’d all stand around with our mouths hanging open and watch the sparks fly. Tickets to Heaven picks up right where the Hunns debut left off. I don’t know what the hell he’s singing about half the time, but who the fuck cares? Highly recommended. –jim (Disaster)


DOGS, THE:
Fed Up: CD
Never knew much about this band prior to their post-KBD-appearance popularity and I still don’t know much. What I do know is that they kicked out some grade-A MC5/Stooges jams way back before it was the cool, hip thing to do and that these tracks blow damn near any modern band claiming that style outta the water. Most of the bands whose records fetch a pretty penny these days are undeserving. These guys are an exception. Great, rockin’ shit. –jimmy (Dionysus)


DIRTSHAKES, THE:
The Kicks are Alright!: 10"EP
Uptempo Euro punk‘n’roll that’s pretty cool, but there’s so many others doing the exact same thing these days that this just doesn’t stand out much. I totally agree that “the '80s weren’t so cool,” though. –jimmy (Alien Snatch)


DILS, THE:
Class War: CD
Probably best known for their contribution of the snide ‘I Hate the Rich’ to the We’re Desperate LA punk Rhino compilation, The Dils were a California punk trio that kicked out high energy pop songs in late '70s. With the last collection of Dils' tunes going out of print over ten years ago, this new collection of long lost recordings will bring pleasure to many an ear. The Dils met some success and got to open for the Sex Pistols, record a couple of singles, and play energetic and hooky punk rock to a bigger and bigger audience. Sadly, the Dils are met their fate before spending any serious time in a studio, so the meat of this record is from a live show in 1980. It is a raw, right-out-of-the-soundboard mishmash, but it is all we have to reflect on their place in punk history with. –Guest Contributor (Bacchus Archives/Dionysus)


DERITA SISTERS, THE:
V-Boy Riot!: CD
Skip past the pointless introduction, and maybe just go on to track four, “Tomorrow Was Yesterday,” and let the disc play through from there. Recorded live in Germany sometime last year, the DeRita Sisters play punk in the style of the Buzzcocks, and later period Dils. Really good stuff. Imagine they must be fun live. Wouldn’t mind seeing them play here sometime. –Matt Average (Ralf Hunebeck)


DEF POETS SOCIETY:
Self-titled: CD
I was really nervous about putting this on after reading the “punk rock hip hop from Vancouver” description. Images of Korn and Limp Bizkwik filled my head. Well, it ain’t that, to their credit. It’s mostly straight hip hop. I’m not particularly impressed by the MCs or their rhymes, but they’ve got a hell of a good DJ behind them. Listening to him cut makes this almost worthwhile, but then a line like “my stomach’s a round thing” comes out of the speakers and blows the whole vibe. –jimmy (New Disorder)


DC SPECIAL, THE:
Self-titled: CD
A baker’s dozen served to you from a new and upcoming band from CA’s Inland Empire. There’s definitely a metal edge to their sound, yet hardly any guitar wanking can be found. The songs are very heavy on the power chords and are complimented by a vocalist who can belt them out with the best of ‘em. This is a very listenable release that I’ve played several times over already, and should they keep up the excellent work. I can see these guys going places. Recommended. –tim (Rock & Roll Revolution)


CRUCIAL SECTION:
Language Isn’t the Only Way to Communicate: LP
It’s scary to see that the back cover of this record almost looks like the back cover of a Manic Ears Records comp that I have from the late ‘80s, this is another band, who hail from Japan, that is part of the new Bandana-Core revival (or is it Bandana Thrash?). Whatever. Here is a band that wears their influences on their shirts. You see band names like Heresy, Ripcord and BGK in the pictures. That’s what I hear. Flannels and bandanas are also featured and recreates the look and the sound of the time period. Man, I love this stuff! Full on thrash where it doesn’t sound out of control. Tinges of crossover without being overtly metal. Mosh parts during the breaks in the song and steamroller fast sections. The great thing about punk is a new band recreates or changes the idealism of the scene all the time. It’s a self-replenishing scene. I just wish that it would all fall under one banner again instead of being broken up into all the sub-genres. One big happy family. –don (625)


CROWD, THE:
Goes Wild: CDR
Man, what titillating sonic excitement The Crowd create! This is poppy surfpunk fury at its most pleasurable, pristine, and explosive... all-at-once harmonious, harried, and aesthetically full of unquenchable thirst for life! This dandy delight of a disc holds all of the necessary audial ingredients to make it a surefire punkrock classic: a heapin’ helping of snotty tit-twistin’ vocals; a spirited dash of robust backing choral chants; heavenly sugar-sweet swirls of perfectly timed harmonies; thick chunky slabs of rhythm guitar gutsiness; an ingratiating abundance of lead guitar strafings soarin’ straight through the stratosphere; and a concoctive mixture of rumbling bass expulsions and precise fever-pitched dead-between-the-eyes drumming. Indeed, it’s an ear-pleasing platter of well-executed musical magnificence, and I’m bedazzled beyond belief! –Guest Contributor (None)


CRIPPLE BASTARDS:
Misantropo A Senso Unico: CD
Hardcore/grindcore with enough tempo changes to keep the proceedings interesting. When they slow down, they sound a lot like Brazil’s Ratos de Porao. Good stuff. –jimmy (Deaf American)


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