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· 1:The Backpatches of NYC (Collection 2)
· 2:The Backpatches of NYC (Collection 3)
· 3:One Punk’s Guide to Pinball
· 4:Webcomic Wednesdays #180
· 5:#410 with Daryl


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One Punks Guide to Pinball, by Kayla Greet
Razorcake #92
Spokenest, Gone, Gone, Gone LP
Pinned In Place, Ghostwritten By LP
Razorcake #91


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Record Reviews

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DUDE CITY:
Self-titled: CD
An eight track CD of blues punk with indie and folk touches, which seems to be the product of a one fella backed up by a drummer. Not bad, but rising little above mediocre. A couple tracks grab one’s attention with ample energy such as “Vampire Boy” and “The River,” which really stomp. However, the disc left no major impression and I don’t feel driven to want to listen to it again now that the review is written. –Jake Shut –Guest Contributor (Devil’s Tower, no address listed)


GUILTY HEARTS:
Pearls Before Swine: CD
Sounds like my old buddy Hermann Senac (full disclosure alert: he produced Our Band Sucks’ EP while I was still in the band and we have shared more than a few bills and beers over the past nearly twenty years) has found hisself another doozy of a band to get mixed up in. For anyone familiar with his résumé, which includes such genre bending punk outfits as Blood On The Saddle, Crowbar Salvation, Skull Control, Bea Pickles, Groovy Rednecks and others, that this latest endeavor is equally resistant to fitting into some simple pigeonhole should come as no surprise. This time ‘round he and his cohorts—Leon Catfish, Edgar Rodriguez, and Gabriel Hammond—are strip mining a melding of ‘60s slop, sludgy Scientists swampland scree, Gun Club slide-happy roots punk, and maybe even a dash of early Dream Syndicate punkedelia (compare “Seven Days” here to the Syndicate’s “Days of Wine and Roses”). The results are brooding, heavy, at times almost trance-like, always right on point and rarely nothing short of brilliant. With slack-jawed reverence I bask in the awesomeness evidenced here and can’t wait to witness these monstrous Hearts live. –jimmy (http://www.voodoorhythm.com/)


GORDON GANO’S ARMY:
Self-titled: LP
Hot off the heels of their 7”s, this English trio slows it down a notch. At first, it threw me. It feels more “tea” than “coffee.” Some of the songs are longer and more languid. I listened to the record a couple times, then put it aside, not quite sure what to think, but willing to give them another chance. What a difference a couple of weeks made. Just as seeds planted at the right time sprout almost instantly, the songs quickly budded and revealed their easy, softer beauty on these return visits to the vinyl. The doves are in the details. Gordon Gano’s Army’s music resonates with a wide-eye wonder (while the lyrics motor through darker tunnels), incorporating a Superchunkian sense of melody. They exercise the patience for a song to breathe and climax. What they gave up in straight-ahead, rough-and-tumble early-Jam raucousness they more than make up with the comfort that you’re in the hands of crackerjack songwriting. My working knowledge of current Britpop is nonexistent, but if the following terms aren’t mutually exclusive, GGA’s a non-twee, non-precious, unstyled DIY band playing pretty songs with a thick-knit British accent. Maybe a closer-fitting moniker would be “office worker punk,” lyrically parked in the lot next to Canada’s Statues, waiting until the exact last minute before the workday starts to get out of the car, smacking the steering wheel, singing along to songs as a form of therapy. –todd (Art Of The Underground)


GLASS TEETH:
Demo: CDEP
Jeff Robtoy must lose his voice after every gig. He sounds like the drunk, death metal version of Jeff Pezzati of Naked Raygun, hissing and snarling. The synths set this apart from your average grindcore outfit. Here’s to looking forward to future releases with sharper acoustics. Recommended. –Kristen K (Self-released, myspace.com/glassteethmusic)


GIRLS, THE:
Self-titled: 7"
If you miss the punky new wave of the Epoxies and don’t mind a smidge of power pop thrown into the mix, these kids’ll do the trick. –jimmy (http://www.milkandchocolate.de/)


GROINOIDS:
Radiobeat Sessions: 7” EP
I remember gettin’ the Boston Not L.A. comp at Roadhouse Records not too long after it came out. Although I was immediately drawn to the über-hardcore of Jerry’s Kids and Gang Green, the tune that had the most lasting impact was “Angel” by the Groinoids. Why? They sounded so completely unhinged rather than just pissed off. Simple riff, singer screaming “Chef’s gonna boil,” and it sounded like he’d be just the kinda motherfucker that would crank the oven up and dance around while the unnamed chef did just that. Outside of one other tune, “Empty Skull,” that appeared on the Unsafe at Any Speed comp, I don’t think they ever released anything else and remain one of the more obscure Boston bands from the early ‘80s hardcore scene. Well, it appears someone agreed with my estimation and saw fit to release this five-track collection of tunes recorded for those vaunted compilations of yore, and sweet crispy Christus, is it good. Why on earth Modern Method, XClaim! or any of those other labels back then never saw fit to release this in its entirely back this is a fuggin’ mystery, ’cause this is a veritable hardcore masterpiece, a nice bookend to, say, the Mentally Ill’s Gacy’s Place EP, just as loud and heavy as anything SSD produced in their prime, but with an extra dose of weird to give it some pizzazz. Word is a CD is on the way, and I’m hoping they see fit to send it this way, ’cause I’m gonna wear the grooves down on this pretty goddamned quick. –jimmy (www.i-dealrecords.com/fatalist)


GUILT TRIP!:
Self-titled: 7” EP
Decent enough hardcore here, with alternating slow/fast tempos. Kinda hard, though, to take seriously rants against the internet and lines like “I won’t join the Myspace generation” from a band that includes the address to its Myspace page at the bottom of the insert. –jimmy (Absent)


GROUCHO MARXISTS, THE:
Manifesto!: LP
Chris Pierce’s new band (technically not “new,” but it took a while for the record to come out), who’s a New Jersey legend who’s been in Doc Hopper and Sinkhole, not to mention recorded a bulk of music to come from the New Brunswick/New York City within the past few years. Most of his previous endeavors were heavy on the Descendents/ALL/Cruz Records influence, and this is no different—it’s poppy but with a hard edge, yet with a fun, goofy sense of humor to it. It’s good to hear Chris is still coming up with good stuff like this. –joe (Don Giovanni)


MIDWEST BEAT, THE:
At the Gates: CD
I’m confused a little bit about this one. The insert says Ryan Adams played on this platter. Yet there is no mention on their site about this. Is this a joke or did Ryan put a gag order on this now that he is eating bon bons in France with Mandy Moore? Oh… yes, the music contained herein. Good garage rock with some solid songs. Backing vocals that add just enough texture without getting sappy. There’s a Zombies influence at work here, so if an updated version of that vibe is up your alley, you may want to storm these Gates. I’m sorry—I know that was bad. –koepenick (Duck On Monkey, www.myspace.com/duckonmonkeyrecords)


LICK GOLDEN SKY:
Demo: 7”
This record is kinda weird for a couple reasons. First of all, this is appears to me to be a bootleg. It comes with a note that states, “In pressing this record we did not get permission so much as acknowledgment and the personnel involved in the recording had almost nothing to do with this record being released. Hopefully we succeeded in doing the band justice. Thanks.” So, neither the band nor the people who did the recording had anything to do with this being released? Sounds like a bootleg to me. Apparently, these guys were a hardcore band from Pennsylvania and what appears here on the record is a demo they recorded in 1998. The people in the band went on to be in a bunch of other bands I don’t give a shit about. Also, this comes with an insert detailing the expenses associated with putting this out, and justifying why it costs $7. If you wanna charge $7 for the thing, just do it. Feeling like you have to explain it to the point that you include an insert with the record giving all the details makes it seem even more iffy to me. Anyway, as far as the music goes, this is basically Hulk Smash hardcore: angry dudes playing and singing angrily about stuff. Maybe they ran out of 76ers jerseys and bandanas at the mall the day they recorded this. –Jeff Proctor (Square Of Opposition)


GG KING:
Adult Rock: 7”
Nothing wrong with a little self-satirizing. Members of the Carbonas/Gentleman Jesse lay down two tracks of punked-out pop with what I presume to be humorous lyrics, but I can’t understand a word of what’s being said. As long as the tracks are this catchy, I don’t really care who they’re clowning on, though. –Daryl Gussin (Douchemaster)


GET OFFS, THE:
Airplane Fight: 7”
A-side was a mostly jangly bit of trashy punk that brought to mind the Templars, though they sound nothing like them. Flip is a bit of quasi-‘60s slop about bein’ drunk. –jimmy (johnny@midheaven.com)


D.O.A.:
Northern Avenger: CD
With well over a dozen studio albums under their belt, Vancouver punk legends D.O.A. offer up yet another collection of brand new songs, this time teaming up with infamous producer Bob Rock. Fortunately, Mr. Rock does not find a way to make D.O.A. suck like modern day Metallica and, thankfully, the album does not sound brazenly overproduced. Instead, it just sounds like what you would expect, which is to say it sounds like basically every other D.O.A. record ever released although never quite recapturing the greatness of its earliest material when the band coined the term “hardcore punk” and helped pioneer the D.I.Y. touring circuit that makes you whippersnappers able to take months off traveling the country in vans, playing noise in basements, eating cheap food and sleeping on strangers’ floors. By today’s standards, D.O.A.’s version of hardcore sounds somewhat quaint and their political lyrics seem to lack a certain intellectual depth compared to the most strident sloganeering of the bands that formed after them in the realms of lefty punk. Still, it’s a solid punk rock and roll album with a few flirtations with Jamaican music and Dead Kennedys-styled surf guitar mayhem with solid results. Lyrically, they cover familiar territory of social commentary, corrupt politicians, and CEOs, the military industrial complex, hockey, and Canada. If I were to introduce someone to D.O.A., I would still start them out with the Bloodied and Unbowed collection covering the bands earliest material, but I’m still glad Joey Shithead and crew are still around and putting out albums. They are still worth listening to. –Jake Shut –Guest Contributor (Sudden Death)


GET BENT:
Demo: 7”
Being a fan of demos-gone-7”, I was pleased to see these songs get pressed to vinyl. Because not only are 7”s just funner to listen to, but the artwork for the original demo was completely uncaptivating. Even just adding two stock file photos of life in New York City adds volumes to these four songs of melancholic, emotive, melodic punk that’s rich in leads and sick with personal revelations. –Daryl Gussin (Dead Broke / Dirt Cult)


GENTLEMEN PREFER BLOOD:
Illegitimi Non Carborundum: CD
The name evoked horrible images of banal Boston quasi-tough guy metallic “hardcore” bands, so the fact that they actually sound more like All stripped down to their punk rock basics was a bit of a surprise. They pick one tempo and keep most of the tunes hovering around it, but the songwriting’s catchy, the performances are solid, and there are enough noodly bits to keep things interesting. Although I have yet to subject this to it, I’m fairly certain it’ll past the “how good does this sound full blast in the car?” test with flying colors. –jimmy (http://www.gentlemenpreferblood.com/)


FUCKLAND:
Self-titled: CD
If you are not already aware from the label and the name, this band is a 1,000 MPH mixture of scum rock fury. Like a faster Zeke or a much faster Antiseen, Fuckland cover all the territory one would expect: satan, pussy, drinking, it’s all here and you know whether you are into it or not. Every song is blazing, even the Melvins cover. Fans of the style will absolutely lose their shit over this band. –frame (Zodiac Killer)


FUCKED UP:
The Chemistry of Modern Life: CD
Fucked Up gets a lot of positive attention from the mainstream press for being a creative hardcore band who pushes the boundaries of a stylistically conservative genre of music. I was excited to hear them. I appreciate that Fucked Up made a name for themselves by breaking the short‘n’fast songwriting rules of hardcore. But, what they did was slow down the music and lengthen the songs. That’s like saying, “You should check out this innovative pizza. It doesn’t have cheese or a crust!” So, maybe this isn’t hardcore. Maybe it’s hard rock or metal or prog rock or indie rock. It’s whatever you call sluggish, repetitive, five-minute songs with screamed vocals and indiscriminate production flourishes like woodwinds and clean, pop vocals. There’s even a song-length synth interlude that sounds like it was lifted in full from that ELO double album. These additions bring to mind the “shine to a shit” expression, but this isn’t that bad. At first, it had me pretending to be a wooly mammoth crashing through the snow. Then, after two songs, I felt like I was trying to nap with a belt sander grinding away under my bed. If Matador had sent a lyric sheet, I would look to that for insight. If Matador had sent a vinyl copy, I’d throw this album on at 45 to see if it got the blood rushing. Instead, I’ve just got this promotional CD sitting by the boombox in my kitchen, waiting to become a coaster. That’s the last time I let the New York Times tell me what hardcore bands to check out. –CT Terry (Matador)


FULL OF FANCY:
Every Wall in the Parlor: 7”EP
It’s been staring me in the face for awhile now. It’s so obvious, especially hearing four songs in a row. (I believe everything else I’ve heard from Full Of Fancy has been splits.) Full Of Fancy reminds me of two words. Lisa Marr: the lady behind both Cub and Buck. Smart, bubbly pop nuggets of punk that, on the surface, may sound “cuddlecore,” but have a real itchiness under the dermis, located in a place that can’t easily be scratched, which gives them a nice depth beyond the obvious whipped topping and prancing unicorns on the top. Very good stuff. –todd (Cold Feet)


FULLERTONS, THE:
Analog: CDEP
Okay, there are two ways to view this. One: this CD isn’t great. These guys are trying hard to rip off Screeching Weasel and, of course, you cannot rip off Screeching Weasel. So, this isn’t the sort of thing I’m going to listen to more than once. But now! On to the potentially uplifting upside! Is the recent resurgence of Ben-Weasel-lite bands actually a positive trend, a harbinger of an increasingly large and powerful pop punk music explosion, so immense that it can afford to have a few of these bands around? For historical precedent, I point you in the direction of eighteen percent of the Mutant Pop catalog! Yes, the Fullertons might be 2009’s Klopecs! If this were a cereal, it’d be Marshmallow Maties (generic Lucky Charms) with half of the maties removed. –Maddy (Misdated Productions, myspace.com/misdatedskateboards)


GAY WITCH ABORTION:
Maverick: CD
This is Gay Witch Abortion’s first release. It’s easy to view the album as more of an afterthought of theirs—like making 1” buttons—since ninety-five percent of their existence has been spent playing shows, making ears bleed, girls swoon (girl, actually… one I know), running a relay, and definitely not putting out records. In a way, it’s something we should be thankful for: they have been busy playing shows that many have had the good fortune to see. And now that there is a record of it we can be thankful for that, too. It is a solid recreation, and fully captures the cephalic vibratos and punk with meth teeth of their band. If someone could make having your face lacerated by a guitar and getting gut shot by a drumstick into a jazz, they would probably call it Gay Witch Abortion. –Andrew Flanagan (Self-released, Myspace.com/gaywitchabortion)


DIRTYARD:
Self-titled: 7”
I applaud the DIY efforts of Dirtyard. Their 7” record sleeves are constructed from old record jackets (mine is from the band Pieces Of A Dream), the covers are silk screened, and the record comes with a crudely constructed, Xeroxed lyric booklet with a wood cutout on the cover. Cool stuff. The music is not my cup of tea at all. There’s some hardcore tendencies mixed with a bit of reggae and it sounds like it was recorded with the band in one room and the mics in another. I appreciate the spirit behind this release and hope these dudes figure out what they’re trying to do and write some better songs. –benke (Desert Planet, no address listed)


DILLINGER FOUR:
Civil War: CD
After so many years of wondering when the day will come that the good lord would bless us with another D4 album, that day has finally come. Before even putting this on, I made a checklist of the things that I have loved about Dillinger Four all these years to make sure that all these elements were present on the new album. Are there zany sound bytes that lead into the songs by setting a mood and a meaning? Check! Will there be song titles that are as interesting by themselves as the songs are? Check! There better be lyrics that are relatable on many levels and that really make you sit down and think about. Check! All three vocalists singing at the top of their lungs? Check! Yup, it’s still Dillinger Four, and it is still great. Now for the inevitable: comparing it to the other albums. It is a great album, but for me nothing beats or will beat Versus God and that is final. Lastly, if you think you are too cool to like the song “Gainesville,” you are wrong. It is perfectly cheesy in every way, and if you aren’t singing along by the second time you hear it there must be something wrong with you. –Noah W. K. –Guest Contributor (Fat)


FUCKED UP:
II: Cassette
This tape is so very, very great. It just blows my mind. I bought it when they played in Tijuana, in a room with no ventilation or windows above a café whose owner forced us to keep the door closed to control the noise. This tape will always remind me of that night. Listening to this on the drive home, it actually felt like they were live on air. They cover a Nirvana song, they talk mad shit beautifully, get interviewed in Spanish, and just rule as only they can. ¡Ghostface does a spot! This showcases their wild range, not only of musical ability, but of taste as well. It’s like a podcast from all around the world. There isn’t a band out there that can bring the brutal assault that these guys are still carrying around in that crowded van. –Rene Navarro (Deranged)


DELICATE NOISE:
Filmezza: CD
The bio for this release from Delicate Noise states, “warm and sentimental songs wash in and out with lullaby-like melodies, augmented with disembodied voices of children playing.” And while I like the sound of the first part I wasn’t real down with the “disembodied voices of children playing.” That’s mainly because, while I love my nephew, I don’t like a lot of other kids and to hear them on various tracks saying things repeatedly as it’s synced with a repetitive beat just kept reminding me of when little kids say “Mommy! Mommy! Mommy!” repeatedly until they get their mom’s attention. Except, in the case of this album, I couldn’t tell what the kids were saying. I’ll admit, as someone who doesn’t want children, I’m probably the worst possible person to review this. That being said, this album would’ve been a lot better if it had just been the music and not any vocal accompaniment at all (child or otherwise). And by better, I mean for someone who actually likes electronica music. I’m probably the worst possible person to review this for that reason, too. –kurt (Lens)


FROM THE DEPTHS:
Germinate: CD
I honestly thought this day might never come. After the quiet dissolution of Requiem, whose Storm Heaven LP remains one of my favorite crust records of the past ten years, I feared there might never be another post-Catharsis project to quench my thirst for melodic, melodramatic hardcore. Then, on one of my increasingly less-frequent trips to the Crimethinc Ex-Workers Collective website I saw it: a new music release. There was little time between realizing Brian’s involvement in this new project and my purchase of Germinate. And while From the Depths takes a decidedly Crass-ier approach than Catharsis or Requiem, the essential elements are still in place. The theatrical, poetic lyrics; Brian’s seething growl coupled with soaring female vocals; typical, melodic D-Beat portions; it’s everything I could’ve hoped for. Essentially, if you liked Requiem, I doubt you’ll be disappointed. Likewise, if you’ve got a Flux Of Pink Indians patch on your filthy jacket, you’ll probably be pretty stoked. I certainly am. –Dave Williams (Crimethinc)


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