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Record Reviews

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Below are some recently posted reviews.

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Self-titled: LP

Although I respect the amount of time and thought put into this band and record, it’s just a so-so listen. I definitely agree with them that radical politics need to come back stronger in punk. It beats the dull and vapid lyrics and lack of a stance by many bands today which serve no other purpose than to generate product and be a rite of passage from youth into “adulthood.” But the music on this record lacks any sort of fire that could get the listener inspired. The performances are just there, and maybe there is some passion in the delivery; I just don’t hear it. Lawine remind me of what was happening in what was called “hardcore” in the 1990s. Not exactly a sonically awesome time. The songs have somewhat complex structures with various time changes, sound bites, and dry vocal delivery. If you long for the days of bands like Jara, Countdown To Putsch, and the like, then you might enjoy this. I’ll pass, as I never really connected with this kind of stuff on a music level. I like my punk with a bit more fire in its guts, and a truly defiant attitude.

–Matt Average (Contraszt!, diyordie.net)

Savage Audio Demon: Cassette

I am going into this blind. I’ve never even heard of this band, but this is a slick-looking cassette. What you get is a whole lot of ‘90s-style metal in the vein of bands like Sleep or maybe even Cavity. The vocals are really monotonous and have absolutely no substance but are honestly kind of growing on me the more I listen to this. But still, the songs tend to drag on for too long without really going anywhere. The second song has more of a punk vibe to it, but I get the feeling they are trying to please everybody. The third song “Scatter My Ashes over the Mississippi” is the best, with a less pretentious bar rock feel to it and more of a stoner vibe a la Lord Green or Buzzov*en. But to tell you the truth, nothing about this does anything for me. Even a little bit. Listening to this gives me the same feeling I get when I’m at the occasional show at a bar with a weird lineup, waiting for the band I want to see but the opening band plays for forty-five minutes. If there was any sort of focus to their sound I could see some redeeming qualities, but instead it’s just an endless cycle of unoriginal, uninspired riffs that are out to make everyone happy.

–Ian Wise (Self-released)

“American Custom” b/w “Apparently”: 7”

Sounds like a Nebraskan version of what the Professionals sounded like after they stopped writing the best singles ever and became merely ordinary—that is to say, not terrible, but not terribly interesting, either. There’s a really pronounced, RAWK drum sound on this record that I think certain factions of musical society hold as some manner of wonderful ideal to which all mankind should strive, but I find it sort of overly commercial and off-putting. I’m guessing people who liked bands like the Libertines or Electric Frankenstein will probably dig this band, but I really think that calling a twenty-to-thirty year moratorium on any band that has the word “hearts” in their name these days is the wisest choice for all parties concerned. The b-side features a song off of a 1996 Glen Matlock solo album of which I’ve never heard, and doesn’t sound wholly different from their original. BEST SONG: “Apparently” BEST SONG TITLE: Apparently, “Apparently.” FANTASTIC AMAZING TRIVIA FACT: There sure the hell are a lot of boobs on the covers of the records I’ve been assigned to review this month.

–Rev. Norb (Drastic Plastic, drasticplasticrecords.com)

So Much Unhappiness So Little Time: CD

Fans of power pop can get behind the Breakup Society’s new release pretty easily. Lead songwriter Ed Masley writes tracks that could’ve been featured on a Left of the Dial Rhino Records compilation for their similarity to ‘80s and early ‘90s alternative rock (think Hoodoo Gurus) that they recall. Despite the crotchety album title, So Much Unhappiness So Little Time is upbeat. These are songs written by someone who’s likely an old hand at crafting hook-heavy pop rock, laden with glittery sustained chords alongside sweet and sour garage rock vocals, only maybe the nicer garage of a guy who remembers to cut his lawn. The result reminds me a bit of Superchunk or Spoon in a good way, though the shimmer and omnipresence of Masley’s voice kept me from falling into the songs completely. Not exactly my thing, but plenty to like for fans of power pop to check out.

–Jim Joyce (Get Hip, gethip.com)

Back to Basics: 7” EP

Raw and abrasive hardcore punk from Brazil. I really like the energetic, somewhat snotty vocals ala Kenji from Jellyroll Rockheads. I also dig the guitars when they get a little jagged and discordant with surf undertones, which I’m sure La Piovra fans will get behind. The silk screened cover, inside and out, is also punk as fuck. Along with Futuro, Brazil is coming back to life with really good bands as of late.

–Juan Espinosa (Hearts Bleed Blue, Läjä, zerozeromail@gmail.com)

Self-titled: LP

Sounds like hammers breaking faces, vans, and concrete. Sounds like lightning bolts coming from fingertips. Smells like ozone. Combine the cocky swagger of the Murder City Devils (at 45, not 33 1/3) and chain it to the slashy whack-a-do menace of DS-13 and the dark, bloody bark of Burial. Delivered by a rasp-strained, oxygen-deprived vocalist, they create a desperate thrum… and hook-saturated songs. Youth Avoiders thank Thin Lizzy and that’s not an idle thanks. 2013 hardcore France’s call-and-response to Fighting? I can’t be the only one thinking that, can I? “A little more Phil Lynot afro in the monitors.” Please tell me that someone in the band or the recording studio was thinking that really loud. Stellar.

–Todd Taylor (Deranged)

Split: 7”

Moral Void are such an underrated band. Seeing this band play to like seven people and completely shred like nothing matters is really humbling. This is their second release and it’s grittier than the last, but sounds more like their live sound than their solo 7”. They play this really good crusty metal/punk hybrid with really unique riffs. Very straightforward drumbeats make a good backbone to their sound. Young And In The Way aren’t so underrated and have gotten their fair share of hype in the last year or so, but I’d say they are “appropriately rated.” This side is a lot dirtier than their LPs (which doesn’t translate as well as the Moral Void side), but I kind of like the sound and fits in well with their black metal vibe. There are about fifteen different versions of this record, so you’ll be doing a lot of thinking about what color you want.

–Ian Wise (Headfirst, headfirstrecords.limitedrun.com)

Demo: CD-R

First impressions go a long way and in this case they had me right at the start. The band has a sound that reminds me of the melodic punk coming out of the D.C. area during its heyday in the 1980s. I did some online research on Wooden Planes and couldn’t find a listing for their hometown, but I did find a few fliers that had the band playing recent shows at clubs in the Chicago area so I’m assuming they are a Midwest-based outfit. Maybe that would explain why I’m hearing a Naked Raygun and Pegboy influence in their songs? I highly recommend checking out this release for a refreshing sound of days gone by.

–Brent Nimz (Self-released, woodenplanes666@gmail.com, woodenplanes.bandcamp.com)

“Jump in the Fire” b/w “Should I Leave?”: 7”

Erin Dorbin played in a couple bands I’d never heard before (Cave Weddings, The Spectras), and now I want to hear them. Winter Bear is her garage pop solo project, and her first single is raucous and sweet, direct and charming. She sounds almost like Juliana Hatfield doing bubblegum. I keep picturing a soft sweater under a leather jacket, or a tattoo of a milkshake. It’s that level. The only thing working against this record is that a lot of bands are doing something like this now—throwback garage girl group punk pop Ramones. But I don’t know that most bands do it like she does—trebly and natural, sugary with a good roomy drum sound. I want to see what she does next.

–Matt Werts (HoZac, hozacrecords.com)

With Friends like These: 7”

The blandest of run-of-the-mill pop punk. There’s simply nothing here to draw from or keep my attention.

–Craven Rock (Drink Or Die)

“Arteries Are Flexible” b/w “Shutter Speed”: 7”

I’m not a fan when bands put “Play loud!” on the record. It’s like “Come up front and dance!” in a live setting. If you, as a band, bring the goods, those two things will happen naturally; don’t try to be the “fun boss.” White Murder doesn’t engage in any such silliness. The come, they create a tense, anxious world, dual female vocals twirling like a malicious caduceus—slithery, viperous. It is beautiful and jagged, like the skylines of Cleveland and Los Angeles. Then White Murder stomp and destroy. They leave. Rubble. Done. But I’ve discovered something with their vinyl records: they sound even better when they’re cranked. The notes consume. They devour. You get immersed. So, yeah. Play loud and the gifts exponentially increase.

–Todd Taylor (Self-released, whitemurder.com)

Todo Roto: CD

Okay, this is the band you want. If you want a psych garage rock band raw and dirty like it just came out of the Nuggets collection, this is it. You’re in the right place. Just go out and get this. This is fucking great. This is garage rock done right. Really, forget about all the other shit you’ve been hearing about. The lead singer of this Valencia band has a ragged, growling yell that calls to mind The Troggs and The Animals. An awesome Hammond organ plays over the back of the twangy guitars in every song. They have to be the best garage rock band I’ve heard since first hearing Reigning Sound.

–Craven Rock (Slovenly, slovenly.com)

Self-titled: 7” EP

It’s a theorem tested time and again: what do you get when you mix equal parts American hardcore and English oi? Fast, furious ‘n’ fuggin’ pissed-off hardcore that would’ve had East Coast hardcore types peein’ in their pants circa-1981. These kids have the sound down pat, making for a disc that deftly straddles the sketchy line between “classic” and “timeless.”

–Jimmy Alvarado (Deranged)

Split: 7”

When I was fifteen some twenty-five years ago, I discovered hardcore around the Britcore era of ‘87/’88. I lived in the middle of nowhere and my only exposure to new music was through tape trading and writing to bands. One person I wrote to was Baz of Ripcord and Heresy (to this day two of my favorite bands). He turned me on to bands like SS Decontrol, Siege, and Mob 47 as well as sending me all his band’s records. That part of my life was an education and I wouldn’t trade it for a thing. Twenty-five years on, ¾ of Ripcord play in Violent Arrest, one of the best U.K. hardcore bands (and dare I say best anywhere?). Nothing wasted, short sharp jabs to the face and neck. SS Decontrol and Siege filtered through Bristol old timers. This shit is as good as it gets. EGS have a tough task but stand up well with their brutal d-beat banger. Discharge meets Doom with some Flat Earth early U.K. core styling. This shit is fresh as fuck. Comes with the new issue of Artcore, which is a banger too. Highly recommended. Year end top 10 business.

–Tim Brooks (Artcore, artcorefanzine.co.uk)

Steelcap Love Affair: CD

A label sampler featuring twenty-one tracks of sub-Subs street punk, bad metal, shouts of “skinhead!”, and enough macho-hoarse vocals to make a throat lozenge executive drool. Of particular note was the band The Clichés, who turn in a ditty called “Skinhead” with no apparent realization just how fitting their band name is.

–Jimmy Alvarado (Spirit Of The Streets, spiritofthestreets.de)

Punk in the Trunk Bootlegs Vol. 1 – Live at Burger Records 7/19: CD

Heller Keller play rapid, female-fronted punk and sing songs about cereal and air conditioning. Traps PS sound kinda like the A-Frames and sing songs about really deep shit I can hardly understand. Great Ghosts sound like Half Japanese trying to play the Peanuts theme backwards, and their song topics are not for mortal man to comprehend. Graphic Garrett tells jokes about drinking and manatees, and Suzy’s Dead sound like a Californian version of Patrik Fitzgerald. I would say that this show probably beats whatever I was doing on July 19, but I looked back at my calendar and that was the day I sang “He’s a Whore” with Die Kreuzen so I think we’re going to call it a tie. BEST SONG: Heller Keller, “Cereal Killer” BEST SONG TITLE: Suzy’s Dead, “Fuck July,” though I do not agree with this statement. FANTASTIC AMAZING TRIVIA FACT: Nonstandard slimline DVD case packaging ensures this CD will either be kept in a place of great prominence or else simply discarded! Go big or go home!

–Rev. Norb (Punk In The Trunk, soundcloud.com/punk-in-the-trunk)

Big Neck Record Store Day: 7” EP

As the titled suggests, this is Big Neck’s compilation contribution to this year’s Record Store Day celebration. Populating the disc are one track each by the Livids, XRays, Cheap Freaks, and Stop Worrying And Love The Bomb. All are fine bits of high-octane garage-influenced punk and I’ll go out on a limb and guess the tracks are exclusive to this release—if not, what would be the point, right? If you dig any of the bands, or just like yer swaggering caboose handed to you by bands meting out raucous rock’n’roll, this is definitely worth the green and the scramble.

–Jimmy Alvarado (Big Neck)

“Daydream” b/w “Forest Babe”: 7”

Although one supposes that comparison to quirky fellow Hoosier Staters like First Base and Charlie And The Skunks is inevitable ((or, perhaps, merely evitable)), what I think this record really sounds like is what Beg, Borrow & Steal-era Ohio Express would have sounded like if Lou Reed quit his job writing twerpy pop hits for Pickwick Records not to run off and shoot Drano® with Andy Warhol, but to write twerpy pop hits for Cameo-Parkway instead. IN OTHER WORDS, IT SOUNDS LIKE BOTH THE BANDS WHO DIDN’T SUCK IN 1968! Watchyour ass Bobby Kennedy! BEST SONG: “Forest Babe” BEST SONG TITLE: I’ll take either “The Black Angel’s Death Song” or “It’s Too Groovy,” depending on which band that isn’t Vacation Club we’re talking about. FANTASTIC AMAZING TRIVIA FACT: There sure the hell are a lot of boobs on the covers of the records I’ve been assigned to review this month.

–Rev. Norb (Randy!, randyrecords.blogspot.com)

Deep Web: LP

The Weezer comparison is inevitable. But you loved Weezer, remember? Take away the ironic college geek chic and replace with actual disaffected youth and you’ve got a bangin’ LP that drags the early ‘90s indie rock into the 2000-teens. The Urns bring slack rock back to the kids, sloppily careening close to falling apart before regaining control with a Superchunk lead, an ambient keyboard swirl, or a dissonant third guitar and topped with a swelling sing-along chorus. The LP showcases all these strengths, arguing that The Urns are a great band for either a sweaty basement or a nice venue with a bumpin’ sound system. Check it.

–Matt Seward (Fat Sandwich, fatsandwichrecords.com)

Negative Capability: 2 x LP

The definitive collection of The Urinals finally available on vinyl. The Urinals were a seminal L.A. punk band, comprised of UCLA students too smart to learn their instruments. No band sounded like The Urinals and Los Angeles was lucky to have ‘em—they certainly brought a different element to the scene and remain underappreciated. Negative Capability contains all of the known Urinals material in existence, including live shows (fidelity is surprisingly good) at venues like the Hong Kong Cafe (recorded by Paul Cutler no less). Negative Capability is an important record no fan of L.A. punk rock should be without. Be sure to pick up the recently released 100 Flowers LP on Superior Viaduct as well.

–Ryan Leach (In The Red)

In Love There Is No Law: LP

Here I sit, thirty-two years young, and finally, a band has gone and done it. Los Angeles’s Twitching Tongues has boiled down seemingly every brilliant, heavy influence from my youth—Type O Negative, Pantera/Down, Only Living Witness, Crowbar, Life Of Agony, Cro-Mags, Machine Head, Sheer Terror—into one incredibly sincere, pained, and immeasurably weighty full-length record. Understandably, Twitching Tongues is positioned within the current hardcore crop—members claim(ed) spots in Nails, Disgrace, Creatures, Ruckus, and other notables—but the depth of this band goes well beyond the hardcore formula. Musically, there’s a maturity here rarely seen in hardcore circles. The consistent, seamless shifts in tempo and dynamics are masterful (conjuring River Runs Red or Bloody Kisses) and the playing itself is dead-on. That said, the highlight here is vocalist Colin Young. Young’s softer sections offer a genuine sadness similar to Mina (née Keith) Caputo or “Hollow”-style Philip Anselmo, while his roars (often still melodic) hearken back to a young Robb Flynn or Kirk Windstein. Needless to say, these are some legendary shoes to fill; yet Young seems to wear them quite comfortably. I’m not going to attempt to make any deep lyrical analysis here, but know that this is a soul-bearing record that speaks candidly of Young’s darkest memories, often with dark, religious overtones (which I was predictably drawn to). It’s venomous, painful, and often chilling in its intimacy. Twitching Tongues’ first LP, Sleep Therapy, was great, excellent even, but I use no hyperbole when I say that In Love There Is No Law is a high point of the hardcore scene (perhaps matched only by releases from Starkweather, Between Earth & Sky, and Ringworm) in the past decade. Absolutely incredible.

–Dave Williams (Closed Casket Activities)

There’s a Rat in the Tunnel of Love: CD

Cali-style melodic punk with a natural touch of rock’n’roll and some welcome humor in the lyrics (“I Was a Teenage Pessimist”). If I had this in high school, it would have been in the car stereo post-getting dumped, on the way to a diner with my buddies to make inside jokes until the waitress stopped refilling our coffees.

–Chris Terry (Heap O’ Trouble)

Body + Mind: 7”

Visceral and atonal without any pretentiousness, Oakland’s TONGUE (pronounced No Tongue) play evolved screamo without warranting any guffaw. Like Fugazi or A Day In Black And White, the hits are hard and frantic yet remain harnessed. This isn’t sloppiness in the guise of competence, but, instead, proficiency that ranges from brooding duress to dreamy, nearly pop-like melodies. The songs never become awash or redundant; they are concise and memorable with vocals that feature gentle falsettos and guttural strains. (There are even some languid “oooh”s snuck in there.) There’s a lot of variety on this four song 7”. Also includes a zine with a wax poetic manifesto entitled “Destroy Hardcore”—I couldn’t agree more.

–Sean Arenas (Kyeo Speaks, kyeospeaks@gmail.com, kyeospeaks.com)

Strategy One: CD

The Thirty Six Strategies (or “stratagems,” depending on the source you’re looking at) is a collection of Chinese sayings akin to Sun Tzu’s The Art of War, in that it offers effective tactics in matters of war, politics, diplomacy, and so on. Strategy One, according to translator Stefan H. Verstappen, translates as “Fool the Emperor to Cross the Sea” in his book, The Thirty Six Strategies of Ancient China. The idea behind this strategy, he explains, is that in order “to lower an enemy’s guard you must act in the open hiding your true intentions under the guise of common every day activities.” With that in mind, Thirty Six Strategies—the band—play impressive poppy punk with ringing Hüskers-via-Leatherface guitars and flat-but-fitting vocals belting out lyrics addressing mostly personal issues with a vagueness that’ll surely help to avoid any potential controversies. Whether or not they’re adhering to the precepts of the aforementioned Strategy One is dependent on their ultimate, if any, ulterior motives—are they looking to capitalize on any subsequent popularity they garner within the punk scene to vault them into mainstream success? Is their end-game to subvert and bring down the whole of punkdom via ambiguous lyrics and catchy hooks? Are they just another band who picked a random name they thought clever, only to have some asshole reviewer pick it apart and find nefariousness in efforts wholly innocuous?—and only the band knows the truth at this point. I for one intend to remain ever-vigilant.

–Jimmy Alvarado (Boss Tuneage)

78 Hours: CD

(This was released in 2010, and there’s no sign of it being a reissue on my copy here, so I’m not sure why I got it with my review package—especially since they recently released a new record—but whatev). Ten Volt Shock are a relatively long-running German band who clearly are no strangers to the “angular,” noisy sounds of Shotmaker, Big Black, Hoover, and Hot Snakes. This kinda thing is certainly having something of a resurgence right now (ahem… METZ) and Ten Volt Shock does it as well as anyone else. I’ve personally always felt that this sub-subgenre was right in that awkward place on the spectrum between heavy enough and hooky enough (and therefore sorta lacking in both respects) but people sure seem to go wild for it.

–Dave Williams (Bakery Outlet, bakeryoutletrecords.com / Salon Alter Hammer / Screaming Mimi / X-Mist)

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