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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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CHINESE:
The Conquest of Tomorrow Today: CD
The tricky thing about instrumentals is you’re working at a deficit when you subtract an integral part to—for lack of a better term—the pop song template, in this case vocals/lyrics. By doing so, you have to find some way to compensate by making sure some other part is picking up the slack. The most obvious way is to write a song that is so compelling, so outstanding, so goddamned good that the audience won’t notice the missing pieces. This is no small feat when you’re talking about a single, but if you’re gonna try and tackle a full-length, you better have Charlie friggin’ Parker in your band. Sadly, these guys have no Parker equivalent, nor, it appears, anything to compensate for the aforementioned deficits. What they do have is a collection of tunes that sound like up-tempo quasi-stoner/space rock anthems that never quite get off the ground. –jimmy (Whoa! Boat)


CHARLIE & THE MOONHEARTS / TEEN ANGER:
split : 12”
Charlie & the Moonhearts make no bones about playing ‘60s-inspired rock’n’roll from the same local scene that has produced acts such as Ty Segall/Tradional Fools, Audacity, Thee Makeout Party, and many, many more. Lots of soul, lots of rhythm. It’s garagey, it’s surfy, and it’s time-tested rock’n’roll that’s produced for pool parties and other assorted good times. Teen Anger hail from Toronto and the music is much more frigid. While still heavy on the ‘60s influence, they twist the sound into a damaged, curdled knot. Not as abrasive as some, less approachable than most. Still good, reverbed-to-hell rock. –Daryl Gussin (Telephone Explosion)


CAPITAL:
Blind Faith: 7”
More times than not when I read a review that describes something as “melodic hardcore” it doesn’t end up sounding what I expected. The first thing I think is Kid Dynamite. Jason had melody. And it definitely was hardcore. Capital follow suit. Hardcore without a doubt, and melody with enough of a presence to not sound too whiny. Two originals and a Dag Nasty cover. –Daryl Gussin (Iron Pier / Just A Audial)


CANADIAN RIFLE:
Visibility Zero: LP
Hang in with this one. Friends and I just finished silk screening 150 posters and we’re in the process of hand-stamping two thousand record labels. In the middle of those processes, you, as the stamper or ink-puller, can see the little imperfections, especially when directly compared to a particularly nice screen print or stamp impression. But the person who’s going to get a copy of what we’re making only sees one, maybe two copies of what was made by hand. The maker sees the entire landscape and can have a better eye for separating the runts from the studs. The receiver gets a snapshot, a freeze frame of a larger motion. On to band fandom. I do believe I own every piece of vinyl that Canadian Rifle’s released. The very first 7” had two guitars: one sad, one happy. Since Canadian Rifle are from Chicago, the instant comparison for me would be Ben Weasel’s perma-whine counterbalanced with Jughead’s ray-of-sunshine guitar work. And that’s what I thought was particularly nice about Canadian Rifle’s first 7”. “You dipped your happy into my sad! Take your smile out of my frown! I know, let’s celebrate melancholia and ennui! (The sound of a missed high five. Charlie Brown zig-zag mouth.)” But, let’s suppose this was Canadian Rifle’s first piece of released music and it changes a bit. From the topicality of the lyrics (microbes in sponges, swallowing landfill, sickness), the gruffness of the voice, and, well, the handwriting, Off With Their Heads comparisons wouldn’t be too far off the mark, except that OWTH have equal numbers of claymores pointed at themselves and the audience and Canadian Rifle seem content with the existential fact that we’re all fucked regardless. And so I took the LP around the track several more times. Oh, you sneaky Petes. On several songs (if not all; I’m not a sound engineer), there are multiple guitar tracks—lead and rhythm—and sometimes, they weave, bob, and buzz around like bees in flight. Really nice; it works great in “Live Infected.” As talented as guitarist Jake Levee is, I don’t think he has four arms, and Canadian Rifle is a three piece so, in the studio, two guitars it is. Makes me wonder how it’d come across live… Synopsis: Knowing their legacy, this LP is not as instantly blinding as the interrogation light of the first 7”, but it has plenty of warmth, heat, and charms of its own. –todd (Residue/Squirrel Heart)


BURNING IMAGE:
Fantasma: CD
Off of Jello Biafra’s label, Burning Image has awoken from a twenty-plus year slumber. Fantasma is a puree of early Christian Death, 45 Grave, and Frankenstein’s blues stagger. “The Chosen Ones” and “I’ve Been Waiting” are my favorite tracks because they showcase Moe’s vocals and their spindly goth guitar structures. According to Moe, Fantasma is just the beginning. Recommended to Batcave followers and nu gravers. –Kristen K (Alternative Tentacles)


BRIMSTONE HOWL:
We Came in Peace: CD
Brimstone Howl’s We Came in Peace is a solid record. It’s also an interesting album because its influences are those late ‘70s/early ‘80s blues-punk and sleaze rock bands that are often overlooked; groups like Australia’s the Saints and the Scientists and California’s The Joneses. There’s also a Paisley Underground feel in some of Brimstone Howl’s guitar playing (check “Shangri-La,” a standout track on the album). Brimstone Howl made a smart choice in working with Jim Diamond—a producer known for banging out records in two days and getting great results (see the Compulsive Gamblers’ sublime Crystal Gazing/Luck Amazing and Miss Alex White’s eponymous debut). Pretty top-notch stuff—fans of the aforementioned bands and the Born Bad comps will likely be into We Came in Peace. –ryan (Alive Natural Sound, alivenergy.com)


BRAINWORMS II:
Swear to Me: LP
I’m having a hard time reading this band. One moment, they’re completely off-kilter and dangerously close to cacophony. The next, they’re bright and almost jazzy. Then they quote Dag Nasty and somehow sound like a band that would do that sort of thing. This is music that requires the listener to invest some mind power. The band’s name is completely appropriate. –mp (Rorschach)


BOUNCING SOULS:
20th Anniversary Series Vol. 1: 7”
It’s been awhile since I have heard anything new from the Bouncing Souls. I think the last thing I heard was The Gold Record. Was that the last thing they released? I know that one wasn’t a favorite of mine. Haven’t listened to it since I got it. Don’t know what turned me off, but whatever I didn’t like before was rectified here. The formula is the same but what is tried and true is what works. The singalong choruses, the hook-laden melodic music, great production, and general feel of fun in their songs all seem to have returned. It’s good to hear after twenty years that they can keep cranking them out instead of being a horrible caricature of themselves. –don (Chunksaah)


BOTOX PARTY / ZHENIA GOLOV:
Split: 7"
Let’s not beat around the bush… I love this 7”. It encapsulates the spirit releasing music this way should include. First, it has meaningful music. Zhenia Golov slams out some furious social political hardcore about TV and advertisements; the influences of the likes of Black Flag and Propahgandhi are apparent. Second, these two bands are different: Botox Party takes up the rough and tumble pop punk band on the split by offering three of the five tracks found here. Botox Party puts out guitar-heavy pop tunes backed up by a precise rhythm section. Lastly, this release has some individual quirkiness. The cover art for this vinyl is a Spy vs. Spy comic with Shania Golov vying against Botox Party. Did I mention I love this 7”. –N.L. Dewart –Guest Contributor (www.myspace.com/xrailroadedrecordsx, www.myspace.com/botoxpartyva)


BONECRUSHER:
Our Nations Burning: 10”
Bonecrusher is one of those bands that keeps plugging away year after year, defying whatever is trendy at the time. All four of these mid-tempo, anthemic, passionate, oi/streetpunk tracks are extraordinarily catchy and potent. I typically prefer Bonecrusher’s earlier material to most of what followed, but this terrific release is a true return to form. The vivacious shout-outs and sing-a-longs, led by uncommonly melancholy vocals set Bonecrusher apart from the booted masses. The first pressing is on gorgeous swirled silver and black marbled vinyl, so now is the time to check this killer record out. The fans shall not be crushed. –Art Ettinger (Longshot)


BOMBS, THE:
Black Butterfly: CD
While I fully believe that the idea of rock’n’roll should never be confined to simply one form (How fucking dull would that be?), I subscribe to the notion that scuzzy, distortion-heavy garage is the most unfiltered form you can find under its umbrella. L.A. two-piece The Bombs attempt to rile things up with this primitive and grimy throwback but the attempt feels more defanged than nervy. Bearing some resemblances to another garage punk band with a similar moniker (the winning guess would be The Dirtbombs), the energetic duo should take creative cues from the Detroit troupe’s coursing vocals, contorted verve, and confrontational volume levels. Keep this effort’s off-kilter lyrics (which include a chorus leading in with “I’m not from Nova Scotia”), consider ditching the Ramones-esque repetitive titles (both “Shake Me” and “The Shakes” are here), and let the rock fester and mutate before picking it back up. –Reyan Ali (Self-released, myspace.com/thebombsmusic)


BLANK DOGS:
Under and Under: 12”
Blank Dogs is the moniker for a Brooklyn bedroom rocker who, for the last few years, has been compulsively releasing records through a slew of Brooklyn indie labels. Under and Under is Blank Dogs most ambitious effort yet. The CD has fifteen tracks; the double album has twenty and the extra songs are slower and more somber sounding. Both releases feature heavy synth, massive amounts of feedback and distortion, and vocals that come at you as if from a diving bell on the ocean floor. It’s the rudiments of post-punk, Britpop, and new wave fused together by an artist with a keen sense of style. This record doesn’t just flat out rock, at times it’s achingly beautiful. The brains behind Blank Dogs has said he wanted to make music he would have liked when he was fifteen. That’s the age when your heart gets ripped out on the regular. If you’re not careful, Under and Under will do the same. –Jim Ruland (In The Red )


BLACK TUSK / HOLY MOUNTAIN, THE:
Split: EP
Two songs from The Holy Mountain that were recorded in 2007 that eventually found their way onto vinyl two years later. Apparently, these are also their swan songs as they’ve since broken up. As someone who likes Japanese hardcore, I appreciate the Burning Spirits-style guitar noodling on the first song. These aren’t The Holy Mountain’s best songs (the Entrails album is amazing) but they aren’t throwaways either. Black Tusk keep things interesting with more of a metal approach on their side. I detect a hint of Hell Awaits-era Slayer. Kylesa immediately come to mind as a comparison but I don’t want to dismiss Black Tusk as a clone or knock off. They only have one song on here but it was enough to keep me interested in any future releases they might have. –Juan Espinosa (No Idea)


BLACK HOUSES:
Fury: CD
Okay, full disclosure time: I have been listening to the members of Black Houses in various bands for almost ten years. I’m friends with them, and I actually work with two of the members. Quite frankly, sometimes it’s kind of weird. I hang out with these guys, work with them, ride the bus with them... and then I go to one of their shows, and the dynamic totally changes. I am a fan through and through, rocking the fuck out and thinking this band could not get any more awesome. I know some of you know what I’m talking about. The same goes for when I listen to their recordings, particularly their most recent album, Fury. Through different band names and line-up changes, there’s always been something intangible at the core that has never changed. Perhaps it’s the songwriting, primarily by guitarist/vocalist Christiaan Morris. After leaving the vocals to former bandmate Christen Shaw in their last band, Morris is back at the mic, singing his cutting lyrics in a trademark melodic shout. Big themes are loneliness, desensitization, dependency, and societal failures, but with nary a trace of whine. With the new band comes new writing and a new sound; more focused and more technical, the songs now feature intricate guitar solos and heavy riffs that give the band a darkly metallic sound, expanding on their garage punk background and giving it greater depth while making it a bit more accessible, to boot. The musicianship has been upped a notch all around. What hasn’t changed is the intensity, energy, and severe honesty of their songs. I know I’m biased, but I think this is their best and most complex release to date. If you don’t at least give it a try, you’re cheating yourself. –Sarah Shay (Self-released, www.myspace.com/blackhousesmusic)


BILLY JOE WINGHEAD:
Dark Ride: CD
If Chuck Berry suffered severe brain damage ((i mean, more so than usual)) and decided to become Nine Pound Hammer, then decided ((via split-personality band vote)) to channel the spirit of GG Allin in sort of a Darin Rafaelli role, then wiped his ass with a Bible ((and, since he’s Chuck Berry, videotaped that part of it)), the result may, in fact, yield similar results to that of Billy Joe Winghead. I know not what flags Winghead Nation swears fealty to, but the album’s leadoff track, “Your Friend Jesus,” is such an exhilarating, blasphemous stomp that i am virtually certain all other flags, galaxy-wide, are now little but smoldering ash and flaming urine stains. Later in the album, the band finds God and cuts a straight-up Four Seasons cover. One way or the other, Jesus wept. BEST SONG: “Your Friend Jesus” BEST SONG TITLE: I’d hate to say “Shitpipe Minnie,” but they’re just that kinda band. FANTASTIC AMAZING TRIVIA FACT: If you buy four McDonald’s® Filet-O-Fish™ sandwiches during lent, it comes up to $6.66. –norb (Zodiac Killer)


BILLY JOE WING HEAD:
Dark Ride: CD
The more or less straight-ahead cover of “Science Fiction Double Feature” at the end stands out like a sore thumb after the thirteen tracks of drugged-out, amped-up, Theremin-wielding, bluesy psychosis that preceded it. This is a fairly minor criticism, though, ‘cause, truth be told, they had me on their side at the first tune, with its chorus of “Your friend Jesus ain’t no motherfuckin’ friend of mine….take your little book and hit the motherfuckin’ highway.” And yes, dear friends, the Theremin was definitely abused during the course of this recording. –jimmy (Zodiac Killer)


BELUGA:
“Pet” b/w “Cowboy Boots”: 7”
The drums at the beginning of the song about wanting to be a grandmother sounded kind of like the beginning to “My Sharona” by the Knack, but after that it pretty much just sounded like what i imagine Bikini Kill rehearsal tapes sounded like before they wrote “Rebel Girl.” Sounds kind of like they’d be the first band on a four-band bill where none of the bands truly suck, but fan defection never exactly comes up as an item of concern for bands two thru four. BEST SONG: “Cowboy Boots” BEST SONG TITLE: “Pet” FANTASTIC AMAZING TRIVIA FACT: Recorded live in one take in their practice space. Huh, whoulda thought? –norb (Beluga)


BEHIND THE WAGON:
The Bottle, God…and the Ones Who Really Love You in the End: CD
Okay first off, the album name is way too long to not have a punch line. Secondly, the second song on the album, titled…I don’t f’in know, (I can’t read it! I’ll get to that in a second) is too cheesy for my tastes. One of the lines is, “I’m one in a million, I’m the last of a breed.” Well sir, I have to tell you, you’re not one in a million. I know because I already listen to Lucero. Thirdly, the album artwork sucks. It’s totally stupid that they went to all the effort to get photos taken of them being all serious and artistic in some location that has nothing to do with music, but they then put black type on a dark grey and black background. Now, this isn’t rocket science folks. If you do put black on black, I won’t be able to read what you’re printing. Are you pickin’ up what I’m layin’ down? Also, track five is way too long. That shit needs to be cut down because it’s long and it wouldn’t be boring if it wasn’t five minutes and twenty-five fucking seconds long. Okay, now that I told you what’s wrong with this album, I’ll tell you what’s right. If you like that country juke box kinda joint with rock songs that are a little country and a little bit southern soul, then you might be into this album. These dudes put on a fun show and know how to party, so go check ‘em out. –Dan Glen Fury –Guest Contributor (Gettin’ Rad)


BEE HAT CH:
Brood: CD

This is well-produced noise music. It borders on trance and dance at times. It’s one of those CDs that can be listened to in one foul succession without one ever being able to recognize a transition from one song to the next. I was disappointed when I realized Bee Hat Ch’s first song, “Edison Medicine,” was not a Tesla cover song. My father would have been happy to get a copy. –N.L. Dewart

–Guest Contributor (Lens)


BEARSUIT:
OH:IO: CD
Crazy, energetic, hectic, and shouty indie pop with “wacky” synth and “unexpected” brass. I bet you five cents they wear “crazy” costumes onstage. I’m not saying it’s bad—it just seems a little par for the course at this point. If you like music that sounds like it’s actively trying to implode, then this may be your ironic thrift store mug of tea. –Sarah Shay (Happy Happy Birthday To Me)


AURYN / BOSQUE:
Split: 7”
Auryn: Dark, apocalyptic crust that is nowhere near happy or painting a pretty picture. At times, the music is brooding and desolate. At other times, it’s charging forth with utter rage at blast beat speed. Bosque: A perfect pairing with Auryn, being similar in mood but use more of a d-beat backing when playing fast and incorporating a doom style sound on their slow parts. A good introduction piece to two bands I personally never heard before. Hats off for the packaging, beautifully silkscreened on a chipboard cover. –don (Square of Opposition)


ASSEMBLE HEAD IN SUNBURST SOUND:
When Sweet Sleep Returned : CD
This sounds like some lost gem from the late-‘60s/ early-‘70s era of rock with the psychedelic elements and a countrified undercurrent. The production values are perfect for this style, not clean and overdone. Just right. These guys have paid close attention to the era and pulled it off in modern times. The music has a blessed-out quality, and the length calls for introspection as the guitars go off in some cosmic soloing with space rock sound effects pushing it forward. “Two Birds” is the standout track. They take off into a jam that just keeps moving and never tires. For the most part, this entire album is a laid back affair. However, they pick up the pace a little bit with “Clive and the Lyre,” that has a swinging riff that comes in and out, while never losing the driving tempo as they switch over to the final track, “End Under Down,” where the guitar comes in with an almost bomber-like sound, then washes into a psyched-out haze. If you want to know what summers are like in California, I can’t think of a better album than this to capture that feel. –Matt Average (Tee Pee, www.teepeerecords.com)


ANDREW JACKSON JIHAD / COBRA SKULLS :
Split: 7”
The Mitch Clem artwork on this is great; front and back equally rad. I’m glad that instead of lyrics they had each band explain why they chose to cover the song. The first time I heard this record, I thought Andrew Jackson Jihad had actually written “Two Headed Boy,” since I’d heard them play it live. It definitely feels theirs. They have made me commit to buying that Neutral Milk Hotel album, and to filing it with my Andrew Jackson Jihad stuff, for personal reasons now public. The Cobra Skulls, whom I’m new to, cover “Subterranean Homesick Blues” by Bob Dylan. It sounds the way I assume any rock outfit would sound if they covered that song and didn’t really change anything but the musicians. –Rene Navarro (Suburban Home)


97-SHIKI:
Self-titled: Cassette
Quirky. That’s the only word I could come up with in describing this band’s sound. But I hope you’re not thinking about bands like System Of A Down or Primus. No, this is the good kind of quirky. The musicianship is keen. Very tight. But nothing too flashy either. Imagine if Botch or Daughters laid off the heaviness and instead took up a strict diet of Jesus Lizard. Pro quality cassette and packaging, to boot. Great stuff. –Juan Espinosa (Revulsion, revulsionrecords.blogspot.com)


AGAINST EMPIRE / AUKTION:
Split: 7”
Against Empire: More of a live feel and a bit cleaner sound from what I have heard in the past from these SoCal punks. The included songs are more in the d-beat vein and I like that they are a bit faster and have more of a rocking feel to them than we have heard in the past. Previously, they incorporated crust and black metal elements. This has a more direct, slap-in-the-face appeal for me. Knowing them, I’m proud that they keep progressing and growing with each release. Auktion: From Sweden. Unfortunately broke up recently. I had heard they were going to come to the states to tour. I was hoping the singer would have finally gotten me my shirt he had promised to buy for me a few years ago and never came through. Two tight d-beat numbers of their own that blast through in maximum efficiency. They too add a rock feel to their sound, not swaying to metal. –don (Threat To Existence)


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