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Record Reviews

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Below are some recently posted reviews.

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Split: 7”EP
Split with Three Rounds and Junkie Fight. I started with Junkie Fight, a band out of Oakland, and was amused by their first song… all twenty seconds of it. Junkie Fight is harsh, with methodic metal guitar, lo-fi recordings, and growling-gargling-nails vocals which reminds me of the band Strange Matter. They mix it up though with songs that teeter more in to a garage sound to oi at times. On the other side, Three Rounds is a completely different vibe. Very Ramones and Queers inspired. Keeping it clean and playing it safe… not exactly my favorite thing, but it’s well executed. Some people really dig that shit. I say go for it.  –Camylle Reynolds (Self-released, joey_836@hotmail.com)

Bleed Out: 7” EP
The sound is blown out a bit, and there’s some reverb pumped in, but what this Rio de Janeiro crust-flaked hardcore unit puts down is rendered all the more bleak as a result. Judging from what’s here, they’re not on a speed kick like many of the other hardcore bands that come outta Brazil, but prefer rather to let the venom burn and seethe—and then when you least expect it, they hit you with “Sinking in Shit,” which recalls, well, vintage Venom. Not bad at all.  –Jimmy Alvarado (Timekiller, timekillerpunx.bandcamp.com)

Timmy 45: 7”
Dear Timmy Vulgar: You sure are twisted. One side of this 7” is an improvised country-punk number where even you admit to not know what the hell you’re singing about. It seems to be centered around wanting to drink whiskey and growing a palm/weed tree garden (I think... ?) The other side, at least on my friend’s turntable, is silence. I don’t understand, but I don’t think you want me to. Keep up the good work.  –Alanna Why (Terror Trash)

Viva Chile: 7”
I will never understand pressing a 7” single with five songs and making it play at 33 RPM. Why not just pony up an extra few bucks and press a 12” that plays at 45 RPM and get a better record to have for posterity? Especially now that a single costs five to seven dollars, it seems like having a 12” to sell for eight to ten dollars makes more sense for all involved. At any rate, the 33 RPM pressing makes these songs sound very tinny and compressed, though the songs themselves aren’t bad. Mid-tempo pop punk with some of that Mike Dirnt kinda bass playing in parts. Music sound a lot like the mid-’90s stuff I remember though, thankfully, there is none of that fake snotty Screeching Weasel crap in the vocals. Tenement seems to have made it cool to actually kinda sing in pop punk these days, and I’m quite happy about that. Band is from D.C. and will appeal to fans of the aforementioned Midwestern titans, as well as The Figgs, Yesterdays Kids/Obsoletes and other tuneful, not-quite-punk sounds. –Mike Frame (Self-released, toystoreriot.bandcamp.com)

2 in 1: Split: Cassette
The tunes by these two dudes work very well together; on the whole, this record is kind of like ultra lo-fi sixties garage rock like you would find on Crypt compilations in the ‘90s ramming up against ‘80s synth-pop sensibilities. Tracy Bryant is more of the former, and Billy Changer is more of the latter. For full flavor spectra, pair Tracy Bryant with the Cramps and Billy Changer with Ryan Adams. Enjoy! –The Lord Kveldulfr (Lollipop / Burger)

Grotesque: LP
Immediately Bad Acid Trip springs to mind, though I think Trash Axis take their grindcore further into the outer reaches and become less conventional in return. I would go as far to say that the saxophone, accordion, and glockenspiel dominate their sound more than distorted guitars. You still get the strangulated vocals this genre is known for, though you can figure out what the singer is saying—err uhh—growling, here and there. The keyboard tends to give this a carnival feel at times, and the glockenspiel makes some songs more whimsical than “brutal.” The lyrics are equally out there, with songs like “Poop Bomb” detailing how “poop fills up the internet.” Okay... So, if you’re a fan of grindcore, but sick of the same ol’ same ol’, then give this a listen. I doubt you’ve heard any other band of the genre like this.  –Matt Average (Trash Axis, trashaxis.bandcamp.com)

Wet: Cassette
I had my suspicions within minutes of putting this one in the ol’ boombox, and was happy to confirm them by playing this one against some old favorites: Ugly Parts play the particular variety of hardcore that was specific to Boston in the early ‘80s. The tempos, tone, and, most importantly, urgency found in Wet easily rubs elbows with the F.U’s My America and Jerry’s Kids’ Is This My World: raw, ugly, and pissed. It’s a joy to have something this realized and vital land in my mailbox. –Michael T. Fournier (uglyparts.bandcamp.com)

Black: CD
A wrestler decides he can sing and entices a punk band (Pissed Jeans) to head into the studio to make a record. Is this better than HulkHogan and the Wrestling Boot Band’s output? By a very slim margin. If only The Iron Sheik had been able to produce this, there might have been some potential here. The cover would probably make a good video.  –Sean Koepenick (relapse.com)

Caroline: 7”
Melodic and mellow meets fun and fast in Unfun’s fifth 7”, Caroline. Side A (reading, “Yo, Play This Shit Fucking Loud…”) is pack with distorted, low vocals and an intense feeling of desperation struggling to stay afloat with a sea of emotional regrets. Kicking off with the titular line of this record, “Caroline,” we’re faced with an outpour of heartbreak, anger, and the often overwhelming feeling of everything being completely, utterly, and hopelessly fucked up for eight minutes before flipping over to side B, (continued with, “Or…Get The Fuck Out”). Immediately introduced to louder vocals blaring through speakers, this trio rapidly picks up their paces up for two more tracks before slowing back down with the fourth and final track, “Unglued.” Themed with deteriorating mental health and emotional breakdowns, this neatly pressed vinyl makes punk a threat again. –Genevieve Armstrong (Shallow Graves, shallowgravesrecords.com)

Shores of Lake Erie: 12” EP
WithShores of Lake Erie, the band continues their grand tradition of heartbreak, fuckery, and ruination. I loved Pain Prescription and Sick Outside View and I was definitely looking forward to this one; Unfun’s combo of pop punk, sludge, and abject desperation all duct-taped together totally works for ‘em. The bummer is—and, listen, I know these guys aren’t exactly renowned for their great recordings, and they don’t need to be—but the sound quality on this record is so bad that the music itself loses almost all meaning for me. It’s distracting as hell. The drums and vocals are super buried, and the guitars are so hot and bright they almost sound like radio static. The whole thing is just rough. I didn’t think I was a snob that got all up in arms about recording quality, but sheesh. Anyway, if you’re one of those folks who can look past that (hear past that?), Unfun’s still doing what they do, and there’s a lot to like on this one-sided, seven-song 12”.  –Keith Rosson (Dead Broke)

Arbitrary Ambiguity: CD
A one-man endeavor from conception to performance to production, Unknown Component is synth/program-heavy, reverb-saturated mellow rock. Calming and a bit soporific, but it is well executed and would’ve fit in nicely in 4AD’s stable of bands during that label’s heyday.  –Jimmy Alvarado (Unknown Component, unknowncomponent.com)

Forward onto Death: LP
Unrestrained have been kicking around the hardcore underworld for some time now, churning out near-perfect ‘90s-style heavy hardcore over a slew of 7”s and comp tracks, and finally just recently dropped its first LP. It was well worth the wait. To my ears, the most obvious influence here is Harvest: the vocal style, the open chugs, the dissonant chords and melodic flourishes, all of it is reminiscent of Minneapolis’s finest (including the extended Harvest family—Threadbare, Krakatoa). Unrestrained isn’t a straight-up clone though. I’m hearing elements of Torn Apart, Kiss It Goodbye (whose frontman, the inimitable Tim Singer, guests on the track “Framework”), Trial, Strain, For The Love Of, One King Down, and plenty more of the somewhat less celebrated heroes of the era. That said, Forward onto Death doesn’t sound like a stale throwback either. The organic but clear production helps keep the record true to the band’s influences while avoiding the occasionally thin and tinny trappings of yesteryear’s more affordable technology. Honestly, I could go on about this record for a solid hour or so (for one thing, I haven’t even touched on the terrific, insightful lyrics) but I think I’ve done enough fawning for now. If the above name drops intrigue you at all, check this out as soon as you can. It’s phenomenal.  –Dave Williams (Trip Machine Laboratories, tripmachinelabs.com)

“Made Of” b/w “Pope”: 7”
I wasn’t sure what I was expecting when I first put on Unwed, but it was not what I thought it would be. To say I was blown away would be like describing a Cat 5 hurricane as a slight breeze. The two tracks on this 7” are dark, brooding, but also insanely damn catchy. After listening to both sides of this over a dozen times, I still wanted more. Each song is built on prominent bass lines, surrounded by layer upon layer of textured guitar riffs, including lots of reverb. It’s a perfect home for Neltie Penman’s simultaneously beautiful and creepy vocals. At times, Penman sounds like a possessed Debbie Harry haunting the building that used to be CBGB’s. It’s a dichotomy that perfectly fits the band’s sound. The rest of Unwed’s lineup includes Hot Water Music’s Jason Black, Arty Shepherd of Primitive Weapons, Jeff Gensterblum of Small Brown Bike, and guitarist Matt Kane. Unwed more than lives up to their collective pedigree, with tunes that I found both more nuanced and more enjoyable than many of the members’ established projects. –Paul J. Comeau (No Idea)

Every Kind of Light EP: Cassette
Vampires wrench out a racket which hits the ethereal/atmospheric heights of Juno, the creepy yowling of David Thomas, the jagged guitar counterpoint of the Measure [S.A.], and the anthemic release of Hot Water Music, all without sounding like anyone but themselves. All this despite being a two-piece: guitarist David Dobbs has chops enough to pull off all of the above idioms and drummer Matthew Powers is aptly named. These guys slay. Release of the issue for me (and in an issue full of strong competition). Oh jeez, I’m gushing. You know what? Who cares? They rule. More, please!  –Michael T. Fournier (vampiresband.bandcamp.com)

Presidential Lovefest: CDEP
More horns? Is Blood Sweat And Tears making a comeback? What the hell is happening here? I do think the “presidential” concept is clever. I did crack a smile at the heads of state plastered on various bodies in dubious situations within the CD artwork. However—the slithering funk is slowly wrapping around my neck like a riled up anaconda trying to slowly squeeze the life out of me. Look, you guys look like you are hard workers. But I don’t think Razorcake should have been on your distribution list. Just sayin’. –Sean Koepenick (vanburenmusic.com, vanburenmusic@gmail.com)

4-Way Split: 7” EP
As suggested by the title, a track or two each from Urban Waste, Notox, The Nasty, and Red Tape rounds out this platter. Thrash and hardcore of various hues rule the roost here, with each band putting in some fine work. I was especially chuffed to hear new music from the vets on this release, Urban Waste. If you’re a fan of the genre, this should do ye right nicely.  –Jimmy Alvarado (Pine Hill, pinehillrecords.bigcartel.com)

A Fist Full of Singles: 7”
Four-song compilation record of Portland, Oregon punk rock. Stumblebum kicks this sucker off with a killer tune in the early Vandals/T.S.O.L. vein. The Mormon Trannys are a little more hardcore skate punk a la Agression or The Faction. 42 Ford Prefect crank things up further with some high velocity punk rock’n’roll more akin to New Bomb Turks. Dartgun and the Vignettes close things out with a more mid-tempo rock’n’roll stomper with female backup vox. Love the four-song scene sampler 7” format, and at least the first two bands here are worth checking out further.  –Chad Williams (Volume Bomb, volumebombrecords.wordpress.com)

Bloodstains across Buffalo: LP
Wow, been a while since I’ve seen one of these. As with other volumes in this long-running series of bootlegs, the sonic emphasis here is on the “rock” end of the punk rock spectrum (though there are a couple of power pop/new wave stabs thrown in for good measure), this time from a cluster of now-obscure bands (only one I’ve ever heard previously is the Vores’ “Love Canal”) that apparently called the titular city home. The fifteen songs included in this volume—courtesy of Aunt Helen, The Jumpers, Secret Saviour, Pauline & the Perils, Lip Service, and the aforementioned Vores, as well as others—stick well to the series’ conventions, yet the compiler is wise to push to both ends within its parameters, balancing crude, simple thud-punkery with more sophisticated and nuanced fare. Hell, there are even synths being used non-facetiously buried in some o’ the tunes. In all, this is a nice addition to the series.  –Jimmy Alvarado (Extra-Evidence Productions, no address listed)

Captcha Records: CD
“One of the finest experimental/psych labels around…” Punk rock this is not. Pass.  –Chad Williams (Captcha, captcha-records.com, hbsp2x@gmail.com)

Drink, Fight, Fuck Volume 4: CD
I don’t respect G.G. Allin, nor do I hate G.G. Allin. I really don’t want to critique the cultural relevance or irrelevance of G.G. I simply think G.G. is funny because he ate shit and rolled around in it while singing songs about fucking the dog. I think watching footage of him can be pretty funny, too. For instance, when he’s in a flophouse beating his empty head against the wall, repeatedly chanting “I hate you motherfuckers”, or the one where he’s having someonepiss in his mouth for his birthday (Okay, I didn’t have the fortitude to watch the latter). Anyway, as evidence of how far along punk has come, I got this G.G. Allin cover album to review. I’ll get to it, but first, allow me to compare two of America’s seminal musical psychopaths. The first being a rapper from New York who’s name rhymes with ‘lazy’. Well, this self-proclaimed, “best rapper alive” started out selling crack to his own community, then ascended to pop superstardom by simultaneously, boasting and excusing himself for this life choice. In the meantime, he stayed busy as a shrewd business entrepreneur, taking chances like designing the for-profit “Occupy Everything” t-shirts for his clothing line during the Occupy Movement and eventually made him a billionaire. Critique such behavior all you want, but why does hip-hop get such successful psychopaths for role models, while the punks adore a man who ate his own shit and did time for putting cigarettes out on his handcuffed girlfriend? The fact that someone is ignorant or misled enough to put energy into a project like Drink, Fight, Fuck Vol. 4is depressing. For what it’s worth, it’s interesting to hear bands with a lick of talent do these songs, some of them are reinterpreted as legit garage or straight up punk. But why does G.G. get a pass? Why is a fanzine with an anti-racist, pro-women policy making an exception for G.G.? Why I am I making an exception for G.G.? Do we need an archetype of extremity to keep some kind of unspoken punk rock balance? Does his art engender some kind of dialogue? No, really, I’m asking but I just fell into a two-hour G.G. YouTube hole, myself, by way of writing this review. Yep, I just lost two hours of my life watching this rock-stupid, man-child drag women around by their hair, cut himself and throw haymakers and shit at drooling scumfucks while performing talentless hack-punk. Fuck, I said I wasn’t into discussing the cultural relevance of G.G. and now look at me. What you get with Drink, Fight, Fuck Vol. 4 is a bunch of racist, homophobic, and women-hating songs reinterpreted by sympathizers of an alienated, insecure, violent, psychopath. Knock yourself out.  –Craven Rock (Zodiac Killer, zodiackillerrecords.com)

GC Records 15 Year Anniversary Comp: LP
Though I’ve never heard of GC Records before getting this compilation, I’m happy I have now. After fifteen years of experience, they’re branching out from their typical roster of punk and hardcore bands. This compilation features two facets of local Las Vegas—one side features “punk rock in its purest form” and the other is a hodgepodge of pop, dance, folk, and experimental music. There’s a forty page zine included with each page dedicated to the bands on the record, complete with professional photos. For the most part, I enjoy the b-side of non-punk stuff but it’s a bit of a gamble. There’s some nice folky autumn feeling at the first half of the second side, but you also get slow tempo electro pop of Boiis, which features lines like, “With the touch of your hand / tonight I’ll be your man / like scorpions in the hot desert sun.” The last track leaves you with Kill The Scientist, a performance artist / sound collage one man band who talks about gamer nerds and prolapsed rectums over electronic beats. There’s something for everybody! –Kayla Greet (GC, gcrecords.com / Yum Yum, yumyumvinylrecords.com)

Shake/arama ‘14: Cassette
This compilation brings you the who’s who in Canadian talent, ranging from synth pop to stoner psych and back again. As if that’s any surprise of a tape made up of bands who played the first year of Shakearama, a new three-day festival in June put on by Shake! Records. Personal favorites include the cuts from Crosss, Hag Face, and Soupcans. Looks like I’ll be heading west next year.  –Alanna Why (Shake!, records@experienceshake.com, experienceshake.com)

Something to Dü: 7” EP
Full disclosure: Hüsker Dü is one of those “this is about as close to being religious as I’m gonna get”-type of bands for me. I fuggin’ adore ’em in ways previously reserved solely for tacos. With that said, this should be tailor-made for a schmuck like me, but I reckon picking this up for review was probably a mistake. On first spin, I flew into a tizzy, howling and ranting at perplexed strangers on the unforgiving streets of Alhambra about the profanities and sacrilegious cacophony contained within this record’s grooves. When I’d calmed down four days later, I decided it might be best to sit on it and revisit it again in a couple of weeks. I’m a bit more clear-headed now and… I still don’t like it much. No, it’s not about the profaning of some choice tunes by a revered band, and some of the bands responsible—Unfun, Tenement, Crow Bait, Bent Outta Shape, Dauntless Elite, and Your Pest Band—are not known for putting out utter crap. No, it’s more about execution. The first two tracks, easily the strongest overall, are completely blown out production-wise, while the remainder suffer from lackluster performance, flat vocals, or a combination of both. I cannot stress enough how much I really wanted to dig this, and by the look of the packaging alone I’ve no doubt whatsoever that all involved had nothing but the best of intentions, but I just ain’t feelin’ it. For the inevitable collector-geeks, this is a one-time pressing of eight hundred copies on various colored vinyl, and four alternate covers.  –Jimmy Alvarado (Dead Broke)

Sounds of Sodium: CD
This is a comp of bands in and around Salt Lake City in the year of our Lord 2014, and a part of me wants to move to Utah just to hear some of these guys play. Twenty-two different bands on here, plus an unnamed bonus track, and most of the tunes are really, really good. Of course, there are a few songs that trip over themselves, but that’s standard fare in CompilationLand. All in all, this is one of the most solid comps I’ve heard in a long time, and rarely have I heard one so solid that showcases a single scene. Lots of the songs are straight-up punk rock fury, but there is some diversity along the way—some songs with more of a pure rock’n’roll feel, some that are more melodic (and remind me somehow of Denko’s-era Dag Nasty), and even a decent ska song in the Bosstones vein. Faves on this include All Systems Fail’s “Aging Anarchist,” Die Monster Die’s “How Many People Do I Have to Kill,” and Decibel Trust’s “The Longest Hallway,” is easily my favorite song on the record. Salt Lake City seems to have it going on these days; I doff my cap to all of you! –The Lord Kveldulfr (Pariah Music Club)

This Is West Coast, Hella Tight Fer Dayz N Shit: Cassette
Ken Fury of F.Y.B.S. Records and lead of Rat Damage has been a bastion of DIY punk in Sacramento for more than twenty years. Sac’s punk community is what it is today in part because of Ken, with bands from all around the world coming through, so I knew when I picked up this comp (one year in the making) it was not going to disappoint. Two tapes teeming with West Coast punks all up and down this side of the Pacific. So who’s on here? Rad, Conquest For Death, Side Effects, Nudes, The Light, Iron Lung, Trenches, Replica, Charles Albright, Crude Studs, Bad Daddies, Ennui Trust, and Ruleta Rusa, just to name a few. Mostly concentrated in central Cali, and EastBay, but has a smattering of punks from SD all the way to Seattle as well. So look, I’m not a lover of tapes. It’s not my favorite medium. Usually because the tape quality is shitty, made even shittier by crude recordings played on a dilapidated tape player. Three wrongs don’t make a right, ya know? What I can say for This is West Coast is that the quality is ace. The comp flows from one song to the next with surprising levelness of volume and clarity. Includes an insert with contributions with drawings and lyrics from most of the bands.  –Camylle Reynolds (F.Y.B.S.)

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