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Record Reviews1 2 3 4 5 6 7 8 9 10 11 12 | 0-9| A| B| C| D| E| F| G| H| I| J| K| L| M | | N| O| P| Q| R| S| T| U| V| W| X| Y| Z| Below are some recently posted reviews.  RSS Feed
LARKSMEN, THE:
Self-Titled: LP
Eric John Leslie has a pleasant, mannered voice and it works well against a quiet backdrop, like the mostly acoustic “She’s So Lonely.” (His voice sounds like it would have been at home on Shimmy Disc in the early ‘90s, with the likes of Dogbowl or the Bottlecaps.) But the Larksmen are a garage band, a pretty good one at that, and they need more grit out front. (Note: The Music Machine’s Sean Bonniwell guests on two tracks.) Mike Faloon
–Guest Contributor (Skylark Music)
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LA PIOVRA:
Risacca b/w Danni Collaterali: 7"
Jaw-dropping, high energy, punk rock’n’roll in the same vein as Dean Dirg and Henry Fiat’s Open Sore, only it’s Italian and they’ve probably been listening to those two aforementioned bands for a good coupla years thinking of ways to top them. A couple weeks ago I saw La Piovra play in a packed Milwaukee basement and it was the musical equivalent to having a shotgun full of spaghetti blasted in my face. We American bastards didn’t even know what hit us.
–Daryl Gussin (Punks Before Profit)
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LA FRACTION:
La Vie Revée: LP
I remember, first getting into punk rock, that, for me, the lyrics would carry a band much further than the music itself. It was a big reason for initially getting into the Dead Kennedys and Bad Religion. I wanted to side with the smarties; get lines to crib, arguments to adopt. As time’s gone on, if the music’s not there, my interest isn’t held. I’d rather sit down and read books on politics; think about it hard and long than follow along with it lyrically if the music’s ehh. Point? La Fraction’s a French hardcore band, singing solely in French (but provide us only-English-speaking dolts translations), and I can’t seem to listen to this LP enough. It’s not that lyrics have become irrelevant—far from it—but it’s surprising how much I pay attention to the music when I’m not trying to decipher the lyrics. (It’s sort of like watching a movie on mute. It’s surprising how much your eyes are directed by sound.) And, La Fraction’s music’s great. Think along the line of Funeral Oration or El Banda with different singers. Oh, it’s hardcore, no doubt about it, and it’s finely tuned. Paradoxically, they’re as tight, smooth, and mechanically proficient as fresh ball bearings while remaining as organic, fluid, and powerful as a waterfall. Great stuff.
–Todd Taylor (Feral Ward)
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KING LOUIE AND THE LOOSE DIAMONDS:
Memphis Treet: CD
Tagged on the back as “power pop” and “Memphis grease,” this is some real jukebox rock. King Louie wears his heart on his sleeve, and his sleeve is a denim jacket, because he is the real deal. Two of the diamonds are Harlan T Bobo and Jack Oblivian, upping the rock purism here. So get to the bar at 7, make them play this CD, kick back with the locals, argue about dogs’ rights, and maybe find a new friend at closing time.
–Speedway Randy (Goner)
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JONNY MANAK AND THE DEPRESSIVES:
Rebound Town: CD
NorCal take on the garage punk sound the Pacific Northwest made world famous in the ‘90s. Good because it sticks to the peppy, time-tested Fumes-like formula. Bad because that’s so last century.
–Jessica Thiringer (Reach Around)
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JONESES:
Keeping Up with: CD
Reissue of this classic album, appearing here on CD for the very first time. A great lost-in-time slice of glampunk goodness! Just predating the GNR explosion, the Joneses were Sunset Strip glam rock before it got watered down and stupid. The focus is on songs and killer sound; the look is there but much cooler. A killer cover of Aerosmith’s greatest song “Chip Away the Stone” is included and it is a raging take. Great liner notes by Jeff Drake in the booklet. Just a great, great album for fans of rock’n’roll. Watch for more Joneses stuff coming from Full Breach Kicks.
–Mike Frame (Full Breach Kicks)
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JOHNNY MANAK & THE DEPRESSIVES:
Rebound Town: CD
Adequate but not overwhelming punk/rock/roll that is currently reminding me of a street level version of the shorter/punker/better songs off of the Ramones Pleasant Dreams LP, except for the guitar leads, which remind me of End of the Century, and “It’s OK That You Miss Her,” which reminds me of that whole “Taxman”/”Start!” thing. “Gimmie Rock and Roll” is weak. That’s all i got. BEST SONG: “Every Night’s a Friday” BEST SONG TITLE: “She Said Yeah” if you’re Larry Williams; “Young Girls” if you’re Motörhead. FANTASTIC AMAZING TRIVIA FACT: Johnny Manak played all the instruments on this album. I salute his self-sufficiency!
–Rev. Norb (Reach Around)
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JOHN SCHOOLEY AND HIS ONE MAN BAND:
One Man against the World: CD
Turn it up. TURN IT FUCKING UP. Turn it up. TURN IT FUCKING UP I SAY!!! TURN IT FUCKING UP!!! TURN IT FUCKING UP!!! The first song kind of reminded me of the music to “Beginning of the End” off of the second Eddie & The Hot Rods album. I guess the last one did, too. Did i mention to turn it up? Do so. Seriously. Seriously. Up. Seriously up. No shit. BEST SONG: “One Man Against the World, Part II” BEST SONG TITLE: “Screwdriver,” ‘cause i’m AN-TI-SO-CIAL! Uh, never mind. FANTASTIC AMAZING TRIVIA FACT: Worth purchasing for the liner notes alone, although you can’t really turn those up.
–Rev. Norb (Voodoo Rhythm)
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JOE SHITHEAD KEITHLEY:
Band of Rebels: CD
On the Sudden Death website, Joe Shithead writes that he’s surprised to be running his own record label. That is certainly a cool accomplishment, but pales compared to the fact that nearly thirty years after coming on the scene with D.O.A., the guy still goes by Shithead. Cooler still, he received funding for this record not just from the Canadian government but from the Canadian Heritage fund. Joe Shithead is officially recognized as, and financially supported as, part of Canada’s heritage, and he did so punk moniker in check (the sole alteration over the years being “Joey” to “Joe”). That’s power. Band of Rebels is as feisty as its captain but not as impressive. It boasts a wide range of styles—rock, ska, and punk—and it doesn’t shy away from the issues. I can’t imagine a Beltway bureaucrat writing checks for songs such as “Wake Me Up for the Revolution” or “Bust Me Loose” and its “Legalize It” sentiments. Historically significant and worthy of admiration but probably not that appealing outside the ranks of the D.O.A. completists. Mike Faloon
–Guest Contributor (Sudden Death)
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JAY REATARD:
I Know a Place: 7"
Whoa. Heartfelt singer-songwriter. If you only want your Jay Reatard songs to be fuzz fucked, you may need to skip this one. Or just pick it up at the same time as the extreme Terror Visions LP that just got released, which will destroy the notions he’s gone soft. Over all this time, Jay has played every type of rock from bucket punk to new wavy to death synth, so why not step back too? It’s all rock’n’roll.
–Speedway Randy (Goner)
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JAY REATARD / BOSTON CHINKS:
Split: 7"
Great split from Memphis legend and new kids. Jay has a strange ‘70s rock feel to his “Let It All Go,” as in less punk, more rock, sing more than scream, “it’s too lAAAte” radio friendly. Along with his other new 45s, Jay has a collection of lighter songs to party to that are still fun, just more friendly. Boston Chinks continue to impress me after their last 45. They pump out tight rock that feels new and exciting, but it keeps to traditional rock’n’roll themes of get in there, do your business, and leave. Chinks play with Jay on his solo tour, which should be some of the best shows of the year.
–Speedway Randy (P. Trash)
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IRON CROSS:
2 Piece and a Biscuit: CDEP
I’ve never denied my unabashed appreciation of this band, one that extends back to 1982 or so, when I first picked up Flex Your Head at a long-gone record store/head shop in Montebello. While they weren’t as speedy as SOA or Minor Threat, something about that primal sound they unleashed on songs like “War Games,” and the tracks on their Skinhead Glory 7” EP just hit something deep inside this angry East L.A. kid and it wasn’t long before I was writing their name all over everything. That said, I was pleased as punch that Sab had gotten the band back together again and eagerly awaited some new material. Well, here some is and, uh, it ain’t quite up there with their earlier work. Sure, you can’t expect the same ol’ shit, especially when you’re talking about a gap in product stretching over two decades, but frankly, the bulk of the stuff here—courtesy of both the current incarnation of Iron Cross and Sab’s other band, the Royal Americans—sounds like yer average American oi band, right down to the almost obligatory cover of Cock Sparrer’s “Running Riot.” It ain’t outright terrible, mind you, so much as it is pedestrian. I kept waiting for that old fire to build up in the pit of my stomach, but it never did. Ah well.
–Jimmy Alvarado (13th State)
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IMPULSE, THE / BOY/GIRL:
Split: 7"
The Impulse: A familiar name. Featuring members of Dirt Bike Annie, The Impulse fall in between pop punk and power pop, very reminiscent of the Hi-Fives: catchy, upbeat rock’n’roll with the highest priority being on having fun. There’s also a companion DVD included too. Boy/Girl: An unfamiliar name. Mid-tempo, fairly arty, slightly noisy indie rock. I want to say that if it was the mid to late ‘90s, and Sub Pop was based in Hoboken or Jersey City, this band would be on that label.
–Joe Evans III (Self-released)
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HYDEOUTS, THE:
Self-Titled: 7"EP
The vocals have that early ‘90s trash rock sound, the music has the early ‘80s L.A. suburban punk sound, and both are ratcheted way the fuck up for maximum effect. Some seriously impressive, rockin’ stuff here and, in a shameless attempt to up their bonus point count, they’ve included in this copy a CD-R with the songs off the EP plus an additional three.
–Jimmy Alvarado (Black Lung)
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HUNKASAURUS:
Thirds: CD
So-so singer-songwriter stuff. I really wanted to like this CD: a “Mr. Tambourine” and Turtles cover?! Not to mention a clearly negative opinion of the record industry (DIY released CD with slogans lambasting the record business). Unfortunately, I’m left indifferent by the music—although filled with joy that someone hates the tumbling record industry as much as I do!
–Ryan Leach (Musea)
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HOWARD HELLO / GREENNESS:
Split: 2 x CD
This is a double disc split, with five songs being done on the first disc by San Francisco’s Howard Hello (which is primarily Kenseth Thibideau of Thingy, Sleeping People, and Rumah Sakit) and the second disc being comprised of four songs from Greenness and eleven songs of collaborative material. Howard Hello really didn’t do anything much for me. For those not in the know, Howard Hello is similar to much of the other stuff on the Temporary Residence Ltd. label. However, unlike some of their bigger acts (Mono, Explosions in the Sky), Howard Hello doesn’t have any crunchy guitars that kick in. This is all very floaty, ambient fare (with the exception of the final track) with male and female vocals that seem pleasant enough. With the abundance of lots of programmed keyboards and acoustic guitar, this material may be somewhat sissy in some aspects, especially for readers of this zine. But the material from the Greenness disc seems to make up for any let-down Howard Hello may have provided. Greenness is an entirely instrumental act which has a lot more power behind their songs than the ones from Howard Hello. Similar in style to Don Caballero or Oxes, the bass is prevalent and up front while the guitar slinks around carrying the songs with a breath of lightness and the drums are steady but allow for a good groove. Besides, how can you not like a band that has a track called, “In Fond Memory of Doug Keith…Wait He’s Still Alive, I Gotta Call Him”? The collaborative material is fun and all over the place, sounding a bit more like Greenness type material than Howard Hello, but with vocals on some tracks. None of it, however, seems as focused as the Greenness tracks, rather it seems like some people collaborating and not taking it quite as seriously. It doesn’t mean it’s just a big mess, it just means it doesn’t seem to have that direction and drive like the other tracks. One big plus of this release is that all artists’ proceeds go to benefit Children’s Musical Education in St. Augustine, Florida.
–Kurt Morris (Sickroom)
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HOODS UP:
Arms Still Open: CD
Formulaic youth crew (“Pounding, high-energy straight edge hardcore with all the classic elements: singalongs, breakdowns, fast parts, and positive and outspoken lyrics…” that’s what it actually said in the press release). So, yeah, they know the formula, but they know it really well and seem to really enjoy playing the kind of music they love and singing songs about things they really care about. And whether I find this music inspiring or not—and at times I do—from what I can tell from the lyrics and song explanations, these Germans are really caring and down-to-earth people. And that makes this generic hardcore more fun to listen to.
–Daryl Gussin (Refuse)
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HEX DISPENSERS, THE:
Self-Titled: CD
There aren’t many bands in the underground for whom I’d say “fuck it” and quit my job so that I could go on tour and roadie for them. The Hex Dispensers are one of those bands. Seeing and hearing these songs played every night for a month or two whilst throwing back beers, snorting up drugs, screaming “MEOW-MEOW-MEOW!!!” during “The Crone [99 Cats],” and loading gear into a van would certainly take years off the end of my life, but it would be absolutely worth it. These tunes are a dirty, menacing brand of dark-wave garage pop, the aural equivalent of Black Sunday and the Spits taking a bunch of speed and dancing a midnight, cemetery tango on the grave of the Riverdales. Assuming the Riverdales are dead, of course. Lyrically, the Hex Dispensers tackle popular and kick ass topics such as assassins, E.S.P., haunted TV stations, and witchcraft. The downright groovy “Arsenic Milkshake” concludes the CD with the fantastically sinister lines: “I’ll make an arsenic milkshake/Delicious to the end/I’ll make an arsenic milkshake/It’s sweetened with revenge.” Speaking of which, has anyone seen the Hex Dispensers roadie? I wanted to invite ‘em down to the malt shop for a drink.
–Josh Benke (Alien Snatch)
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HELLRATZ, THE:
Rattengift: CD
Super fast street/crust punk from Germany. Pretty darn good for sixteen-year-olds. It’ll be interesting to see what these kids accomplish from this point on.
–Mr. Z (Razorblade)
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HEAVY TRASH:
Going Way Out with...: CD
Jon Spencer has been around for ages, and I gotta admit, this is the first time I have ever knowingly sat down to listen to one of his records. Heavy Trash is Spencer and Matt Verta-Ray, formerly of Madder Rose and Speedball Baby, backed by three different bands in various studios around the world. Whatever the incarnation, wherever the location, these wild, not-so-young bucks kick out scorching country-blues, rampaging rockabilly, and full-throttled rock’n’roll. From the early Johnny Cash tones of “That Ain’t Right” to the sheer rock’n’roll exuberance of “They Were Kings” (giving props to The Gories, The Cheater Slicks, and Doo Rag) and “Crazy Pritty Baby,” Going Way Out With… will force your hair into a pompadour of its own accord and your feet to slide around the dance floor independently of your brain. Killer stuff.
–Josh Benke (Yep Roc)
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HAUNTED GEORGE:
Pile O' Meat: CD
The second offering of alienated, sunstroked, desert hallucinations in as many issues from Steve Pallow’s alter-ego, Haunted George, and he continues to sit atop the heap of purveyors of the one man band format. Is anyone out there coming up with lyrics as fucking brilliant as this one from “Song for World Peace”: “I hold these truths to be self-evident/That all men may be cremated equally.” Haunted George’s voice sounds like a parched demon growling at the poor soul he is about to inhabit and torment, and the guitar sounds like its being plucked by the claws of a gargoyle. Pop on “Invisible” and feel the echo liquefy your limbic system. These tunes are coming from another plane entirely. Next level shit, with a cover photo that, unbelievably, looks like the music sounds.
–Josh Benke (Hook or Crook)
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HAPPY BASTARDS / KISMET HC:
Split: 7"
I have to admit that I have had this for sometime in my personal collection. But it has gotten buried in the huge stack of need to listen to records on the floor. Being a record nerd can be counterproductive in your need to listen to new music when you really don’t have a lot of time to just listen to music. Getting a review copy kicked me in the nads to finally hear this. Happy Bastards: This is my first time listening to this band. I didn’t purchase the full length that was put out by Profane Existence. If this is a sample of what might be on the full length, I need to get off my ass and buy it. It’s fierce and fast punk with female vocals that kind of made me think of what a band like Signal Lost would sound like if they played fast. The vocals are audible and not overly screamed. The production has a very live feel and sounds bright. I get feelings of early ‘79 California punk mixed with some of the hardcore of ‘83. Kismet HC: A band that has been around for sometime now, hailing from the U.K. They really leave an impression on their side of the split. It’s full blast and teetering on mass collision punk that feels blistering. It made me feel like I was having irregular heartbeats. Something about the music made me feel manic. Female vocals that made me feel I had to stand at attention and just listen. Guitar, bass, and drums that blur into multiple blasts of anger that make me feel pummeled. They twist things around by slowing things down a couple parts to let you catch your breath before they take you on another ride for your life. A perfect introduction to two bands that match up well and yet sound uniquely different from one another.
–Donofthedead (Fight for Your Mind)
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GÜNNA VAHM:
Man Hands for Rump Lust: CD
Heavy-duty noise rock that fits in quite nicely with the Unsane crowd. Lyrics are pretty wacky.
–Jimmy Alvarado (Reptilian)
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GUN CRAZY / TEEN COOL:
Split: 7"
If, as I want to think, Gun Crazy is writing dull, monotonous rock songs in order to merge style and content, to show that working class life can be dull and monotonous, then they are geniuses. I want to think, for example, there’s a higher purpose behind singing the line “Talk to Jane” twenty-four times, which is quite dull and monotonous, in the song of the same name. This might be wishful thinking on my part. Teen Cool, not quite so dull and monotonous, sound like lesser Social Distortion, like songs The Heartdrops would have weeded out of their set list after a show or two.
–Guest Contributor (Cutthroat)
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GRABASS CHARLESTONS / THE ERGS:
Split: 7"
I’m a man of many faults. One fault in particular applies to half of this record. It’s the one located somewhere in the crossed wires of my head that causes me to erroneously dislike things that I feel too many other people like. Especially if I didn’t get in on the very ground floor of all this overbearing love. There is absolutely no reason to point out how shallow and down right retarded this is. I think on it often. The Ergs are on fire right now amongst pop punk nerds and the level of praise heaped upon them irks me for some reason. Even though I know that they at least ninety percent fully deserve it. They’re just really good. I enjoy the sounds they make and their impromptu Green Day covers at record store basement shows in San Francisco please me. They’re really nice people. They were on a comp I did and I thought they fucking owned it. Our Bob Stinson who art in heaven wishes he could have nailed that solo so well. But somewhere in the back of my head I want to not like them on account of how much wang suckery people are doing right now over them. Totally not their fault. Mostly unreasonable. Like I said I’m a man of many faults. Anyway I tend to write reviews that rarely inform people of what records actually sound like. In short, if you wish that true pop punk (like Blink 182 never happened) had continued to progress from the ‘90s and maintained its vitality, you’ll be extremely stoked on The Ergs. They bring it in a way that hasn’t been done in a long time and its actual fucking quality. The lip service flood swirling around our waists right now for these guys is actually pretty well deserved. They’re not perfect and every song ain’t a gem but a whole lot of them are. Grabass...bring up the vocals in my monitor! You’re buried back there! You wrote a song about Aaron Kohl god damn it and I want to hear it in its full glory. My only real complaint. Of their two songs “Double Ding-Dong…this song title is too long” is the real winner. Maybe it’s my soft spot for that sweet as pie occasionally one man wrecking ball you call Kohly or maybe it just rocks the face off of the other song. There honestly can’t be a soul reading this magazine who doesn’t know what this band sounds like and I’m trying to knock these damn reviews out so I ain’t going to get in to it. They sound good. That’s all you need to know. On the other hand, something I need to know is why I’ve seen at least four or five record covers over the years with lottery scratch off tickets on them. What’s behind this odd choice of artwork? They don’t look cool so I can only assume it’s a cover for your gambling problems. Just because you made art out of your addiction doesn’t mean it’s not a problem!
–Steveo (No Idea)
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