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Record Reviews

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SPEEDEALER:
Bleed: CD
More of this band’s sonic bombast, twelve tracks in all, alternating between the stoner sludge along the lines of High On Fire, and the full-throttle assault ala Zeke. They remain one of the few bands out there doing this stuff that are worth a piss.  –Jimmy Alvarado (www.deadteenagerrecords.com)


SPECIAL GOODNESS, THE:
LandAirSea: CD
...you know it’s a sad commentary on the times when i, the reviewer, have mentally written my review (“the most senselessly misnomered band since the Tragically Hip”) before i’ve even taken the disc out of the jewelbox; it’s even sadder when, forty minutes later, i’ve sat thru the whole disc and nothing has changed. Therefore, for the record, here is my review, in its entirety: The most senselessly misnomered band since the Tragically Hip. Thank you. BEST SONG: “You Know I’d Like...” BEST SONG TITLE: “Whatever’s Going On” FANTASTIC AMAZING TRIVIA FACT: I’ve never listened to either Rocket from the Crypt or Weezer, and, after this album, i do not intend to alter that behavior.  –Rev. Norb (Epitaph)


SOULSIDE:
Less Deep Inside Keeps: CD
Mid-’80s DC punk was a strange beast. Sandwiched between the descent of what is now called harDCore, popularized by Minor Threat, Government Issue and others, and the ascent of the proto-emo scene kick-started by Rites of Spring and Embrace, a lot of bands coming out of the area at the time seemed hell-bent on broadening their horizons a bit, resulting in considerable experimentation. What often resulted was a sound firmly rooted in the past, yet paving the way for what was soon to follow, a sound exemplified by the output of bands like Marginal Man, Second Wind and, later, Soulside. Recently reissued by Dischord, Soulside’s 1987 debut screams with Minor Threat influence, particularly that band’s 1983 Out of Step EP, but there’s also a slew of other influences at work, resulting in numerous mid-tempo rock tunes and acoustic guitars, not to mention considerably less screaming than their hardcore forebears employed and considerably more balls put into their efforts than most of their present-day descendents employ. While some of the songs here are not exactly jaw-dropping good Soulside were indeed a good band that weren’t afraid to indulge some creativity between stage dives.  –Jimmy Alvarado (Dischord)


SMOGTOWN:
All Wiped Out: CDEP
Ahh, motherfuckin’ Smogtown, stalwarts of the New Beach Alliance. Is it true that All Wiped Out won’t be their swan song, that it wasn’t just a CD to crank, like summons for a dance to bring their acid rain of notes to melt that frown off my face and remind me of the good times? Will the Fuhrers of the New Wave resurrect themselves and not succumb to their own personal Bodie 601s?  There are rumors afoot that by the time this magazine hits the stands that the wheels will be back on the Gross Polluter and Smogtown will be back playing audio radiation live. Hope so.All Wiped Out’s got everything that made Smogtown the Southern California punk band to beat – songs about crazy bag ladies, bricks to the face, and the weeds in Western punk culture growing up through the concrete that wants it all to be smooth and does its best to weigh it down to look the same. Smogtown’s in fine form on these eight songs, flexing a throttle that can blast a hardcore beach tune then pull back with “Squares,” quite possibly their prettiest and catchiest song to date.  –Todd Taylor (TKO)


SMALLTOWN:
Years, Months: 7”
It’s always a gamble to steal from pockets of the dead, especially their songs. And although Stiff Little Fingers aren’t technically dead, Smalltown pull off an original track, “Years, Months” which Jake Burns would give five years of his own life to record. Urgent, catchy, street punk/oi that’s more than a stiff breeze wafting through a field of propped-up corpses. Smalltown are tweaking and reanimating a genre that gets much more lip service than creative sparks, and my ears are happier for it. One of Smalltown’s feet is firmly rooted in tradition, and one foot’s not afraid to kick past idols square in the ass. The b-side “When the Oil Runs Out,” a Newtown Neurotics cover, proves this beyond a doubt. Great stuff.  –Todd Taylor (Deranged)


SLEAZIES, THE:
Trite Ditties and Meaningless Crap: CD
Well, whatever vile activities this trio has engaged in during their presumably amazingly outrageous comings and goings might be, thumbing their collective nostrils at the Truth-in-Advertising laws is not one of them. The Sleazies sleaze through a collection of rapid-fire odes to heroin, truck bombs, glue sandwiches and Aretha Franklin (unfortunately, not all in the same song), with occasional subtle but nuts-on production flourishes (e.g. the harmony vocals during the chorus of “Gonna Operate on Myself”) that lead me to believe that either they know a bit more than they let on or that the guy running the studio that day was kind of smart. The four outstanding tracks are the aforementioned “Gonna Operate on Myself” – similar to, but superior than, the title track of the Rubber City Rebels’ 2003 Pierce My Brain reunion album; the befouled Joel Reader-era MTX-isms of “Runaway Joni”; the pretty-much-what-you-think-it-is-Teenage-Knockouts-isms of “Hot Lunch”; and “I Wanna Fuck Your Mom” – a song so amazingly fantastically perfectly stupid in every regard that it renders all other “I Wanna Fuck Your Mom” songs – of which there are no small supply – completely inert in their non-amazingly non-fantastically imperfect stupidity. I give this one thumb and part of a penis up! BEST SONG: “Runaway Joni” BEST SONG TITLE: “Glue Sandwich,” and i’m sure they know it. FANTASTIC AMAZING TRIVIA FACT: CD booklet depicts the band’s bare hinders, in full color yet! The band’s spokesperson at MTV™ later apologized on behalf of the band for the “wardrobe malfunction.”  –Rev. Norb (Pelado)


SKYLINE AWAKE:
Fight Your Route Of Identity: CD EP
If a group of people who were fans of Braid and Reach For The Sky got together and wrote a song which took turns alternating between each band’s style at the verse and chorus, “Redirect” would come into existence. If you repeated this process six more times, this EP would be the result.  –Puckett (Rosewater)


SKULLS, THE / TEXAS THIEVES:
Split: 7"
...i’m really not sure if this is THE Skulls (he said, accentuating the phrase one way) or The SKULLS (he said, accentuating it another), or even some completely different The Skulls (accentuating it yet another way, yet barely accentuating it at all), but whatever kind of Skulls it is i want, i will say that it’s refreshing to put on a punk rock record and actually have it sound like punk rock for once. That said, if this The Skulls (accentuated the third, most noncommittal way) is, in fact, THE Skulls (accentuated the first way), then the fact that “Can Punk Rock Pay The Bills?” comes off as little more than an American version of the Gonads or something (which, i guess, is about right) and the cover of the Randoms “Let’s Get Rid of New York” (hey, didn’t someone already try that?) comes off as pandering unimaginativism might lead me to muse aloud how maybe, apart from the meteoroid hit and what-not, the dinosaurs actually maybe mighta died out because they were kind of stupid and outdated. On the obverse, the Texas Thieves give me “Abandoned Cars,” which i think i liked better when it was called “The Prisoner” and performed by DOA, and “Dying of Stress,” which strikes me as something similar to what my friends might have been listening to in 1984. If this is some manner of competition, i guess i vote for the Skulls. If this is supposed to be some manner of life-affirming necessity, i think i’d rather have my life affirmed by receiving an additional Twinkie™ instead. BEST SONG: The Skulls, “Can Punk Rock Pay the Bills?” BEST SONG TITLE: “Let’s Get Rid of New York” FANTASTIC AMAZING TRIVIA FACT: Just two nights ago i was talking with someone about the time The SKULLS (accentuated the second way) stayed over at our house, and Charley Pip was wearing my full-face motorcycle helmet and smoking pot, and he’d lift up the face shield, take a huge hit of weed, put down the shield, then exhale the pot vapors back into the helmet, and we were all just rolling around on the floor watching this guy stand there grinning thru the huge clouds of pot smoke that hung trapped between his face and the plexiglass face shield. Maybe you hadda be there. P.S. Yo, Doc Strange! Some Barricaded Suspects CD’s s’il vous the fuck plait! Merci! 
–Rev. Norb (Dr. Strange)


SKIMMER:
Still: CD
Here is one of my favorite UK pop punk bands. They have the magic of writing great melodies like Snuff. Infectious and fun without having to use blown-out production. I love the raw recording sound that this band and label uses. Makes it sound genuine, unlike a lot of bands in this genre that try so hard to be radio-friendly. A band that sounds like they enjoy and believe in what they are playing. So far, every release that I have heard from this band has been enjoyable, this included. I wonder now how I would feel seeing them live?  –Donofthedead (Crackle!))


SKATOONS, THE:
Einmal Ska Und Zuruck: CD
Now that I have gotten over my ‘90s pummeling of ska bands from all over the world, I can now stomach the genre with more frequency. Here is one release that is incredible. Not knowing a lick of German, I can still appreciate this one. First thing that crossed my mind was the songwriting style of Die Toten Hosen and Wizo with the ska elements of Less than Jake mixed with the Specials. Extremely catchy songs that make the head bob. I felt the happy energy right off the bat and was sold quickly. Eight dudes from Hamburg found the correct formula and ran with it!  –Donofthedead (Mad Butcher)


SHOWOFFS, THE:
Noma Beach: 7"
The music here is fast, energetic punk that reminds me of The Motards. I only wish the singer was the same. This is a good 7”, but the singer is just a little too monotonous. A snotty vocalist would fit this band well; however, this guy just yells along at the same pitch throughout all four songs. It’s kinda like he is reading the lyrics for one of the first times as he sings and is just yelling them out without knowing when to add a little emotion or inflection in his voice. I could karaoke this album better than him. Just a little added passion and dynamics in the vocals would do wonders for this band.  –Toby Tober (Noma Beach)


SHOCK + THE SILENCERS:
Self-titled: CD
With some of the very early punk on the west coast of America, you’d almost swear that LA was a suburb of London. English accents abounded, so did Clash-isms and Sex Pisol-itry. But the endearing fact was that Los Angeles sucked so fucking bad and there was plenty of original material to pluck up from the rubble. Here are sixteen prime tracks that further plot out how feral and widespread punk was in ’78. It’s great to have an economical CD of one of the at-the-time-well-known and not-so-lucky original Hollywood punk rock bands. The first nine tracks are by Shock. Four of the tunes come from two singles (made incredibly sought after by Killed By Death). The standout, which could stand toe-to-toe with any punk anthem, is “This Generation’s On Vacation.” After a lineup change, they became the Silencers, and the biggest change is that Kat takes the mic. She’s got the fire, clarity, and conviction on parallel of The Avengers’ Penelope Houston. The Silencers never released anything on vinyl when they were a band (although I’m sure some European vinyl hound label has gotten around to it), and that’s a damn shame. If you’re interested in the deeper history of LA punk, that goes beyond the usual suspects and is really fun to listen to, this one’s a complete gem. Highly, highly recommended.  –Todd Taylor (Wankin’ Stiphs)


SEXIST PRISON:
: 7”
I had such high hopes for this one. What, with the illustration the size of the insert of a cock and balls with “SEXXIST PZZN #1” on it and clear vinyl with bad drawings I seriously thought I had a winner here. How wrong I was. Synthezied samples (though the notes say “no samples ever”) and echo-y vocals.  –Megan Pants (Omnibus)


SEVERED HEAD OF STATE:
Anathema Device: CD
I really don’t know much about this band other than I have purchased a few of their releases for a friend in Finland. I never did listen to them before I mailed them off. So for quick research, I saw on the Ebullition Records site that the singer Jack runs Mind Control Records, bassist Kelly is from Detestation, guitarist Todd is from His Hero is Gone, and Chris the drummer is from Meadowlark. I do have records by Detestation and His Hero is Gone. I don’t think I have anything that’s on Mind Control, and I’ve never heard of Meadowlark. During my first listen of this band, I feel like there are equal parts of HHIG and Detestation that are brought over to make you feel like you are experiencing the apocalypse. The guitars are over-driven and dark and the bass has a distorted edge while remaining bottom heavy. Add elements of the Scandinavian D-Beat sound and some metal riffing to the mix and that is what I hear. The vocals are delivered with a fierce growl that is slightly behind the mix. The drums bang in a way that makes the music seem like a full-throttle blast of energy firing towards your ear. To get me interested in any new band, I have to actually feel the music to even pay attention. When songs seem like they are played without passion, I lose interest real quick. The band plays with an intensity that backs up the lyrics with a vengeance. I paid close attention to this one. Now here is another band to put on the shopping list.  –Donofthedead (Hardcore Holocaust)


SEROTONIN:
Future Anterior: CD
When is this trend going to end! Emo must die!  –Donofthedead (Bifocal Media)


SCRAGS:
One with Everything: CD
A big rock sound resulting in a big fucking yawn.  –Jimmy Alvarado (Wonton, no address)


SCARRED, THE:
Demo: CD
Mid-tempo, mid-’80s sounding OC punk rock, coming off like a cross between MIA and Shattered Faith. You get four tracks here, all of which could’ve easily garnered airplay on Rodney B.’s radio show back in the day. Don’t be surprised if Hostage doesn’t latch onto ‘em and a single follows in short order. Recommended.  –Jimmy Alvarado (The Scarred)


RYMODEE / GHOST MICE:
Split: CD
Rymodee: First of all, I love This Bike Is A Pipe Bomb. So, my expectations were pretty high, and I was let down at first listen. I get really excited about new sneakers, probably because I buy a new pair on average about once every two years. I get them home and smile every time I walk into my room and see them practically shining next to my pair of old faithfuls. Then I put them on for the first real time, not just around the apartment, but for the whole day. Something just feels wrong. They’re shiny and have soles fully intact, but they just don’t feel right. I usually won’t wear them again for a couple of days, but I keep going back because I know that with a little time they’ll fit just right. That’s what happened with Rymodee for me. I knew there was something to this, I just had to get to that perfect spot with it. Redemption came in the form of some cramming before a final and a loud group in the library apparently studying for their Petty Shit and Hair Tips 101 class. This was the only CD I had, so I listened to it eight times in a row. Somewhere around the sixth listen I felt the last of the sole break in and felt it fit perfectly around me. More folk and bluegrass influence than TBIAPB, and no catchy pop hints either, but for quiet-time listening it doesn’t get much better than this for me lately. Ghost Mice: Definitely decent, but I’m not as sold as I am on the Rymodee tracks, but, hell, they have a saw playing on some tracks.  –Megan Pants (Friends and Relatives)


ROUSTABOUTS, THE:
The Only One: CD
First of all, this is relatively straight-forward, well-done, melodic and competent street punk. Sure, maybe a handful of bands have an edge on these guys, but the shouted choruses and ringing, anthemic chords carry the songs well enough that it should appeal to any fan of Bombshell Rocks, The GC5, etc. In short, this is solid enough to own and enjoy several times on its own merits (i.e., I’d keep it regardless). However, compared to the other shit I’ve sat through for this issue, this might as well be Strong Reaction for my money.  –Puckett (Haunted Town)


ROTGUT:
El Borracho: CD
Straight-up pissed off punk rock, the kind of CD that the uninvited guest at a frat party slaps on the host’s stereo and proceeds to fuck the living room up beyond repair with his size 12s. Music to violently monkeyshine to, if you will. Rotgut would’ve been the support band on tour with the early years of Agnostic Front or Murphy’s Law. Some of you out there might even remember a few of the members here: Their frontman, David Cooperstein, busted out vox with the SoCal outfit, Last Round Up, and drummer Suzy Homewrecker laid the beat for such bands as Hollywood Hate and about a million others. Way worth your time, so get your own copy of this before I unexpectedly show up to your next party and introduce my size 12s.  –Designated Dale (Rotgut contact: (562) 639-6822)


ROCKET SUMMER, THE:
Calendar Days: CD
Hi, Bryan Avary. Why did you present yourself as a band when you are the sole person? Nice pictures of you with your B.C. Rich Warlock. How did you make it sound so happy? Just wanted to say that your songs are sweet and touching. Made me want to go out and play hopscotch.  –Donofthedead (Militia Group)


RIVETHEAD:
The Cheap Wine of Youth: 12” EP
This issue’s cover band, and this bad boy is part of the reason. I’ll admit it right here, I love pop punk, from Stiff Little Fingers and the Buzzcocks to Love Songs for the Retarded-era Queers and I celebrate a good portion of the Screeching Weasel catalog, but I have to concede that I was hearing few worthy torchbearers or upgrades in the 2000s. (Joe King, what’s the title of your next song? “Fuck fuck cunt fuck fuck fuck?” The well is dry. Go fish.) Rivethead not only have the irresistible melodies and the smart-as-a-baton-across-the-mouth lyrics while not taking themselves too seriously, they’ve got an ace in the hole. They sound relevant, like they’re actually struggling and fucking up in the world at large, not just complaining that Wednesday’s deli tray wasn’t supposed to have olives with pimentos or such minutia-laden crap a lot of pop punk has bottomed out in. I’ve had a head start on this EP. The band gave me a burn of it about six months ago and it’s been on constant play ever since. Recommendations don’t come any higher from me. (Thumbs up to Recess, too, for pressing this on the more expensive, often overlooked, but clearly superior 12” 45 format.)  –Todd Taylor (Recess)


RIVERDALES:
Phase Three: CD
By now, most people know that a Riverdales album is little more than a tremendously straight-forward Ramones tribute, from the title to the band’s appearance to the songs. That’s not to say that these songs aren’t catchy, but I suspect you need to be a massive Ramones fan to hear another band play songs that are nearly identical to the first few records.  –Puckett (145, no address listed)


RIPPERS, THE:
No Mört: CD
A Spanish band here serving up some rippin’ (pun intended) punk rock, all raw and leaning toward the hardcore side of the fence without tumbling over into that camp. The unnecessary cover of “I Wanna Be Your Dog” notwithstanding, these guys make a mean racket. Recommended.  –Jimmy Alvarado (H)


RESTARTS, THE:
System Error: CD
Straight-up, no-bullshit punk rock from a ten-year-old power trio out of England that owes more than a bit to early DOA, which isn’t bad at all. Their lyrics are right in line with their English anarcho brethren – especially The Subhumans and Oi Polloi – making explicit warnings about genetic tinkering, overpopulation, and the dehumanization of work for a faceless company. They bring several flourishes of their own – along with heaps of conviction, venom, and catchiness – to make the entire CD an enjoyable listen all the way through. System Error’s simple, yet very effective. If you’re so inclined, there’s an interview with them up on our website, too. They’re touring the US. 
–Todd Taylor (Active)


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·BRAINS, THE
·AMAZING TRANSPARENT MAN
·ON THE BRINK
·TEST PATTERNS
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·Apocalypse Hoboken
·MAYDAY!
·STNNNG
·NOFX


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