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Record Reviews

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DILLINGER FOUR:
Civil War: CD
These guys have never let me down! That being said, this is a good record, although it didn’t seem to slap me around with the same intensity I initially felt for, say, Versus. God. Minneapolis’s forever reigning kings of pop punk still manage to reinvigorate an otherwise stale genre of music for me. Everything is still there: witty, sarcastic song titles (“Minimum Wage Is a Gateway Drug,” “America’s Premier Faith Based Initiative”), the raspy vocals and super melodic guitar, and the distorted, punchy bass lines Patty poops out. For a first time listener, this record would probably whet their whistle and make ‘em wanna dig deeper. I hate comparing records, but still find myself more inclined to throw on the older stuff, though. Maybe this record just seems to sound more downbeat than the older stuff. Regardless, this band is always worth checking out! Throw it on loud with a few beers under your belt and it still rocks! –Buttertooth (Fat)


DILLINGER FOUR:
Civil War: CD
There’s a catch when your first full length is a classic: how do you follow it up? Even if you come back with something just as great, even if the aesthetic is a little different, you’ll still get, “Well, it’s no FIRST record…” I bring this up because it’s easily been D4’s greatest obstacle over the years, all of their output getting “But, Midwestern Songs, dude,” which is pretty cheap. For once, I will buy the “This is way more polished” argument, but at this point, I can’t help but find it a reminder that at heart, this is a pop punk band with a full-on Motörhead attack (and nuts the size of grapefruit). And while, yeah, it isn’t Midwestern Songs, you’d have to be a jerk to deny that there aren’t a handful of new classics on this one. –joe (Fat)


DILLINGER FOUR:
Civil War: CD
The early Dillinger Four EPs never stood out for me. I had no strong feelings about the band either way until I lived in shitty Madison, WI for three years from 1998-2001. I traveled a lot to Chicago and Milwaukee during my time in Madison for shows, but certain regional bands played Madison constantly, including Dillinger Four. The first time I saw them live was in 1998 and they blew me away. Their energy and stage presence was overwhelming. I literally ran out the next morning and picked up their debut full length, and was disappointed. It may seem like a classic album now, but Dillinger Four was so terrific live that the recorded versions of the songs paled in comparison. I recently saw D4 play some of these new Civil War songs on stage and I feel the same way now. What was awe-inspiring live isn’t nearly as incredible on the recording. The production is excellent, so I’m kind of flummoxed as to what I’m not crazy about. I’d go see D4 play a show tonight if I had the chance, but I won’t be listening to Civil War at home again any time soon. Fans of their other albums will likely love Civil War. For those that don’t “get” D4, go see them live. You’ll understand instantly why so many people are obsessed with them. They’re easily one of the best live bands on the planet. –Art Ettinger (Fat)


DILLINGER FOUR:
Civil War: CD
So, this is it. It’s finally here. It’s been six long years since Situationist Comedy came out (well, honestly, I’ve only been waiting for a new record for maybe three of those years. I was not quite yet twelve when Situationist Comedy came about, and I was still listening to Pennywise records), and now we can finally breath easy. I would like to think that roughly two months after this has come out, I’m over the excitement of first hearing it and can now do a hype-free review. I had no idea what to expect going into this. All I wanted out of this was for it to not be a total shit-fest. It’s not. In fact, it’s one of the best albums they’ve put out yet. Granted, it’s no Midwestern Songs of the Americas, but what else possibly could be? I feel like this is either on par with or not far behind Versus God. However, this isn’t your average Dillinger Four record here. The most noticeable change is that the “wall of noise” that they were known for has been replaced with cleaner production. However, the record still has just as many hooks and just as much bite as any record before it. Credit is due to the artwork as well. It’s hard to appreciate it when looking at the CD cover, but the LP sleeve shows how much went into creating this (yes, the penguins really were painted right on to the flag). This is getting to be a rather long-winded review, especially as far as my style goes, so I’m going to wrap this up. The music world in 2008 was a place of violent ups and downs, but when the needle plunked down onto this for the first time, I knew everything would be alright. –Dave Dillon (Fat)


DILLINGER FOUR:
Civil War: CD
Six years in the making, this is one of D4’s best albums. They continue their lyrical onslaught of American culture with honest, fatalistic lyrics matched to galloping guitar rhythms and solid drum work. Some of my favorites are “Minimum Wage is a Gateway Drug,” “The Classical Arrangement,” and “A Pyre Laid for Image and Frame.” Inspirational, comforting, kick-ass tunes. Recommended. –Kristen K (Fat)


DILLINGER FOUR:
Civil War: CD
Never listened to Dillinger Four before because my friend heard them at some barn party and he mentioned that you, “Can’t even square dance to their music,” so I blew them off. But, whatever, that guy’s an asshole, and this CD came to me with an enthusiastic recommendation from Todd Taylor. Definitely, I trust Todd’s taste in music because I went to Fest this year never having heard more than four of the bands that were playing, so I just went by who had been featured in Razorcake, and I heard more great music that weekend than I had found by myself in years. Listening to Civil War adds to that credibility in my mind, because this CD has quickly found a place in my heart and the rotation on my CD player. The urgent feeling of this album is what makes listening to it exciting: the music is driving and the vocals are raspy and almost whispered, so it’s like the singer has to hold back or he’ll fucking explode. And then reading through the lyrics and seeing the depth of these perfect, catchy three-minute songs is kind of mind-blowing. “The Classical Arrangement” is an obvious standout, but I don’t want to call any one song a favorite, because I want you to understand that pretty much everything on here is gold. I don’t give a fuck about what anyone else in this one-horse town thinks when I blast this CD on full volume at five AM when I wake up to milk the cows. –Lauren Trout (Fat)


DILLINGER FOUR:
Civil War: CD
Living one state over from these guys, i can say that i’ve not only seen them a bunch of times, but our bands have played together a bunch of times, i’ve drank with them a bunch of times, partied with ‘em a bunch of times, lent gear to them a bunch of times, borrowed gear from them a bunch of times, spilled drinks on the gear i’ve borrowed from them a bunch of times and had drinks spilled on the gear i’ve lent to them a bunch of times. One could say that my exposure to D4 has been, shall we say, “reasonably ample.” Now, here’s the weird thing: If you pressed the cold steel muzzle of a fully loaded Walther PPK semiautomatic pistol against my temple and told me that the only way to save myself from perishing at your hand was to hum, sing, recite, quote, or otherwise convey a brief portion of the essence of a D4 song—any D4 song—then you, sir, would be mopping my brains up off the wall and buying lime for a hastily improvised grave, because, even after my self-reported “reasonably ample” exposure to D4, i could not hum, sing or otherwise croon five seconds of any of their songs. Don’t remember any of ‘em. Don’t remember a PART of any of ‘em. I’ve seen Dillinger 4 a SHIT ton of times, and i couldn’t tell you what one song of theirs sounds like ((i could, however, recite a few of their great song titles off the top of my head—“The Television Will Not Be Revolutionized” being a personal favorite)). Contrast this with Bill’s pre-D4 ((and i think even pre-Scooby Don’t)) Blatant Queers rip off band, the Krishnaz—whom i’d only seen once or twice, but can still sing the last line of that song about the girl who was no longer straight edge ((which is, for the record, “she’s lost her right to pledge the edge,” and no, i’m not making this up)) and maybe a few bars about the song about living in a SuperAmerica™ for good measure. I mean, i saw the Krishnaz once or maybe twice, and i can still remember a part of a song—i’ve seen D4 a good dozen times, and i can’t remember a god damn note they played. Now, that is not to say that the Krishnaz are/were a better band than D4, ‘cause they weren’t, but it’s just frickin’ WEIRD that i should be so reasonably well-acquainted with their music, yet still fail to remember a friggin’ second of it. When people ask me what D4 sound like, i usually just tell them “amnesia.” Maybe when Pat gets naked, my mind just deletes all related memories as some manner of preventative health measure, i dunno. In any event, “Summer in October” is a decent enough opening track; it sounds like top-tier Mutant Pop™ bands like the Connie Dungs for the first two minutes, then goes into kind of an extended, minute-plus breakdown, then comes out of the breakdown playing at half the speed, essentially ignoring the catchy ((dare i say “memorable?”)) chorus for the last three-sevenths of the song and sounding kinda like those “punk” bands one hears over the radio at Taco Bell™, minus the whole singing-thru-the-nose bit. The whole “completely switch up the song at the two minute mark” is the EXACT type of thing that would damage my ability to remember what the hell went on prior to that particular musical event; me, i would have instead opted to say “it seems like summer in October” about twenty or thirty more times, just to drive the point home that it, in fact, seems like summer in October. The second song sounds a bit like D4’s Twin Cities mod counterparts, The Strike, but i don’t have a track listing and i can’t tell what the song is called, so i’ll never remember it ((although it does have another one of those wacky breakdowns that i more or less flat-out hate)). I’ll call it the “break your fucking halo” song. The third song is apparently called something like “Dis-American Me,” and sounds sort of like Screeching Weasel with an old, drunken priest on lead vocals. I would kind of remember this song, except for the unfortunate scheduling event whereby it happens to be coming out right when we marginalized Yankee weirdos feel the least like being Dis-Americanized as we’ve felt in the last quarter-century or so. Song four is like a power ballad or something. The fifth song is about cannonballs, and the sixth song is fast. The seventh song sounds like the Riverdales with the same drunken priest on vocals. The eighth song is some sort of near-anthem, except i have no idea where or what the chorus is. “Paralyzed From the Neck Up” sounds like mall-punk’s un-evil twin, as does the tenth song, but that one’s about cigarettes or something. I have no idea what the eleventh song sounds like, but it has some weird breakdown where the chorus should be. The twelfth song sounds kinda like “The Noose Was Tight” by the Figgs, but not really. The guitar seems to be mocking me personally. Don’t think i’m not taking notes on this insubordination! “Pretty Little Casualties” is a rousing, album-closing, priest-led stomp, with another one of those stupid breakdowns gumming up the works, though said gumminess is mercifully brief. After deep, post-album introspection, i’ve come to the conclusion that the disconnect i feel with D4’s music stems from the fact that i generally can’t figure out what or where their choruses are, or if their songs even have choruses. Throw in a few breakdowns and tempo-switches and i’m completely lost, like i came in in the middle of a movie, sat through a bunch of acts, then left, and it was still the middle, although by and large i was enjoying the film. My suggestion is to eliminate the breakdowns, append “Yeah Yeah Yeah” or similar mnemonic device to the ends of all song titles, and insert choruses consisting of nothing but the song title repeated some power of two times, e.g., “Paralyzed From The Neck Up, Yeah Yeah Yeah! Paralyzed From The Neck Up, Yeah Yeah Yeah!” Ah, now THAT’S slick songwriting! BEST SONG: “Dis-American Me” BEST SONG TITLE: “Paralyzed From The Neck Up, Yeah Yeah Yeah” FANTASTIC AMAZING TRIVIA FACT: Pat lived in nearby De Pere for one semester and attended St. Norbert’s College. –norb (Fat)


DILLINGER FOUR:
Civil War: CD
It’s strange that D4’s become such an important band to me after years of resistance on my part. At first, I think I had them confused with Dillinger Escape Plan, so I’d never pick it up. Then, this rad dude Barney bought me the split with Pinhead Gunpowder. That should’ve done the trick, right? Nope, probably never even listened to their side. So when, years later, Todd Taylor forced Midwestern Songs on me, all I heard was a bunch of samples and other hoo ha in between the songs. But then, again due to Todd since I borrowed his truck for a few days and it was the only CD in there, I listened to it. Over and over and over. And at somewhere close to the halfway point of those seventy-two hours or so, it just clicked. I never had a mild like in between. Disdain to enamored and instantly hungry for more, listening to everything I could find. They are pretty much everything I believe in, to state it simply. Talk to any of them one night and it will be the dumbest conversation about what a fart can tell you about a person, but then the next night, the conversation is just as likely to leave me walking away with a list of things I need to read because I just felt like a moron. They understand that balance of smart and funny, of fun and anger, of knowing what battles are worth fighting. I mean, shit, my dad called me one day after reading an interview with them to tell me that he finally understood my life, and I thought that was pretty fucking perfect. So, given their place rooted so deeply in this bum ticker of mine, I’ve been waiting for this album since Situationist. When the first track came on, I swore it was Jawbreaker. It’s nothing against Jawbreaker; I downright adore some of it, but it’s just not right here. It’s the recording. It’s just too clean for me. The songs are solid and growing on me, and live they’re awesome, but it’s taking some time. I want it to be a bit uglier and raw, but, I’m sure as I did initially, I’ll come around. –megan (Fat)


DILLINGER FOUR:
Civil War: CD
I’ve just been ear-raped with a pixie stick. –Craven (Fat)


DILLINGER FOUR:
Civil War: CD
I’ll leave the technical analysis of this album to the staff who will pick up on the nuances (so I don’t have to). I liked the first D4 album a lot, but it was raw, angrier, and more accidentally poetic. The song titles were more academic and I was in a completely different place, emotionally and geographically. Bloated, extraordinarily poppy and over-produced, I think I’ll scrub off with some Screeching Weasel. From the bathroom, Tom yells, “It sounds like an utterly generic, prep school TV-show soundtrack for bubblegum teenage vampire slayers.” ‘Nuff said. –thiringer (Fat)


DILLINGER FOUR:
Civil War: CD
I have spent the last six years waiting for a new Dillinger Four and Avail records. Thankfully, one of them has arrived and what a record it is! This is simply an incredible record and a welcome comeback for one of the best punk bands of all time. I’ll be goddamned if I can name you my favorite songs because I do not have a photographic memory, but this thing is solid from start to finish. D4 continue to be, maybe, the only band I have ever heard who utilize sound clips in a non-annoying fashion. I hate the fuckin’ things, but, somehow, this band really makes them work. Great record, great songs, great production, and worth the six year wait. What’s up now, Avail? –frame (Fat)


DILLINGER FOUR:
Civil War: CD
I have a couple of records by Dillinger Four that I like, but I’ve never been an absolutely huge fan. Like ‘em, especially certain songs, but they never blew me away or anything. That said, I have nothing but rave reviews for their newest album, Civil War. It could be because I got it on CD so I’ve been listening to it on headphones and outside the house (unlike vinyl), or it could be because it’s one of their best records; regardless, I’ve been listening to it nonstop for the past three days or so. Catchy as hell, with great hooks and lyrics (although I wish I had them written out in front of me so that I could check them all out properly). First song to get played multiple times in a row: “Gainesville.” Other standouts: “Ode to the North American Snake Oil,” “The Classical Arrangement,” “The Art of Whore,” “Fruity Pebbles,” “Like Eye Contact in an Elevator.” Clearly, I will be going back to the other albums I have and giving them a lot more attention. Love it. –J. Federico (Fat)


DILLINGER FOUR:
Civil War: CD
Ever since my ear first caught “Double whiskey coke no ice,” I’ve loved Dillinger Four’s insightful vitriol, but after six years without a new album, they seem to have eased up a bit on their frequently delayed new opus, which is more than a little alarming. Sure, the long-awaited LP sports D4 hallmarks like songtitleswithnospaces and the odd imagery, but the affair is considerably softer than the band sounds at its best. The increased amount of melody allows the songs to grow catchier, but where’s that impassioned fire, that rabid spite from the force behind “New Punk Fashions for the Spring Formal”? –Reyan Ali (Fat)


DILLINGER FOUR:
Civil War: CD
Dillinger Four’s song titles have a way of making you think you’re not thinking enough; yet the songs open you up to messages you’ve been waiting your whole life to receive. Maybe that’s what nostalgia is: the creep of lost knowledge. The dynamite goes off in the basement and you run to the sound, through the flash and the smoke. For what? There is no what. No mission or duty or purpose, just this welcoming chaos in our lives we proudly call punk rock before it spits us out into a stream of recognizable rhythms that guide us out again so that when we stand at the frontier we have the strength to go in either direction. Here’s another house collapsing; are you ready? –Jim Ruland (Fat)


DILLINGER FOUR:
Civil War: CD
Dillinger Four is my favorite band, so it’s going to be impossible for me to review this one without the bias of history and familiarity. I think most people reading this have heard at least one of their albums, though, so we’re all in the same boat…right? Okay. This time, they deliver something a little thinner and less immediate than their past albums, but it is still very good stuff. The tracks are comfortable and familiar without sounding recycled, and while you don’t the soul-pummeling beatdown that you did with Versus God, you still get an enjoyable record with some amazing songs. We’re all getting older, including Dillinger Four, and it seems they’re aging pretty damned well. –Will Kwiatkowski (Fat)


DILLINGER FOUR:
Civil War: CD
And here comes this record, a record that has so many people anticipating for it to come out with such retardedly high expectations. Many of my favorite bands use D4 as a positive influence for their own music. There are times where I play a record, just praying to the dark Underlord Gods of Rock that it doesn’t suck, and when I found myself placing this CD in the player I whispered, “Please don’t suck” over and over until it started to play. Then the song would end and the silence in between was filled with my wishes for the next song to not be dumb. Records are kind of like piñatas in that you just hope for something in there to be good. And if there is just one really cool thing in there, then it was worth busting open. Fortunately, this album was filled with several musical treats that are worth your while. Heartfelt lyrics with arm-raising tunes show that these dudes may be getting older but are in no way fucking around. This album is not better than their other albums and it’s not the best thing that came out this year for me, but I respect it and will continue to listen to it and warm up even more to each song every time I push play. I, particularly, have warmed up to the little ditty about summer in October and I recommend that you do, too. –Corinne (Fat)


DILLINGER FOUR:
Civil War: CD
Actually I didn’t get a CD but a CD-R. Also, I don’t have the tracks in the right order, don’t know the song titles, have a cover, or much of a clue in general. I was introduced to D4 from none other than Superfan Todd. Started right around the middle with Midwestern Songs of the Americas and found my favorite song by the band, “Noble Stabbings!” off the Situationist Comedy CD that followed. I admit that I have not listened to this band much through the years since, with the exception of the song I stated that I have downloaded on my iPod. It’s due to my neurotic passion of music accumulation that is an overbearing storage issue and doesn’t give me a lot of repeat listens on a lot of music. I gave it a three listens and feel the need to have more listens to give it more time to grow on me. The familiarity of the formula is there, but the new nuances that they have incorporated in these new recordings are what I seem to be focusing on, instead of hearing them as whole packages. Song four, that really isn’t song four, is almost ballad-like with its slow-driving rock sound interlaced with a beachy feel that reminds me of the Pixies. That track is, so far, my standout track. Overall, I need to keep this one in the pocket a little longer to see how high it gets in my “like” level. –don (Fat)


DILLINGER FOUR:
Civil War: CD
“Accidents or accusations I got my fucking reasons/And even hearts of gold can overload/When they’ve lost what they believed in/When the seams start to come apart/In this frustration we find our salvation.” Somewhere, some kid is going to listen to those words and get that feeling. You know the feeling, right? Maybe it’s been a while since you’ve felt it, but you know it. It’s the reason you listen to music. It’s that connection, that unexplainable energy that somehow gets inside you, that feeling of warmth when you realize that—no matter how much shit the world is pouring down on you—everything is really fucking all right. Does anything else matter more than that? –mp (Fat)


DIFUNTOS, LOS:
Born and Raised in East L.A.: CD
The Good: These kids are well versed in their spaghetti western soundtracks, as evidenced by the bendy guitar nods toward Morricone’s work sprinkled throughout. I even noticed a reference to Beethoven’s “Moonlight Sonata” as well. Very, very nice work, there, and as per usual, Michael Rozon’s production is also top tier. The Bad: Squandering all the above on Rancid-inspired psychobilly (yup, you read that right) seems a bit of a waste. I’m really not trying to slag this off, ’cause as it stands, this is notable work for the genre in which they’ve decided to plant their feet and it serves as a nice reminder of how diverse East L.A.’s punk scene can be, but it just seems to me there are innumerable ways this could’ve been a much more amazing piece of work from a band who hails from the same neighborhoods that spawned Thee Undertakers, The Thrusters, Yeska, Misled, and tons of other punk-oriented bands who followed their own muse. I’ll be the first to admit my appreciation for psychobilly as a viable musical avenue waned more than two decades ago and I’ve never thought Rancid was very interesting, and again, what they do they do quite well, so I guess it just comes down to a clash of personal tastes. The Not-So-Ugly: They keep the stereotypical trappings of life in East Los confined to one song, and even there they don’t wallow in lurid gangster posturing, which is probably the part of this experience I liked most. –jimmy (Nickel and Dime)


DESTRUCTORS 666:
Malleus Maleficarum: CDEP
Apparently, this band has been around since the mid-1970s and gone through a lot of line-up changes. It looks like they have only added the scary numbers to their moniker within the last few years. This is the second in a series of “theme” records. I guess it’s kind of like listening to a Xmas record, except you are worshipping Satan for kicks. The title refers to a witch hunting manual that was published in the 1600s. Although the music is engaging punk, the subject matter gets a little tiresome after about song number three. I guess ’cause I’m not a practicing warlock. –koepenick (Rowdy Farrago)


DEADLY SINS:
Selling Our Weaknesses: CD
My esteem for this record cannot properly be conveyed through mere linguistic wanderings, so I shall attempt to convey my praise through interpretive dance. […] Another attempt at words: it sounds to me like what Ann Beretta would sound like with a female vocalist. My trigger has been tripped. Thank you, Deadly Sins! Bwak bwak! –The Lord Kveldulfr (Durty Mick)


DEAD TO ME:
Little Brother: CDEP
If Dead To Me had put out something merely as good as CubanBallerina, that would have been impressive, as that was one of my favorite albums of the last couple years. What they did, though, was build on their strengths to get even better with this EP and cross the threshold from great to exciting. Case in point, the dual lead vocals between Jack Dalrymple and Chicken are a thing of beauty. The only other bands I can think of where two distinct voices compliment each other this well are X and Fugazi. The icing on the cake is that the band takes a page from the book of Jeff Pezzati and sprinkles all the songs with unbelievably gorgeous vocal harmonies, such as the middle section of “Ran That Scam.” The band has also tweaked their sound and strengthened production values just a bit so as to introduce a bit more variety in their songs than was previously present. For instance, there are dub parts in “Little Brother,” a vaguely dancey hi-hat in “Arrhythmic Palpitations,” and distinct tones that really make the presence of multiple guitars apparent throughout the EP. Dead To Me is pulling off the feat of getting to be a stronger, more polished band, but without losing their edge or drive. When bands, such as The Clash or F.Y.P., manage to mature and develop in such a short space of time and do it right, it truly is an amazing thing. Dead To Me are quickly proving themselves to be in that league. The only bad thing I can say is that at five songs, this is over far too quick. When’s the next full length?! –Adrian (Fat Wreck)


BEACH PATROL:
Riding Dinosaurs: CD
Beach Patrol is four dudes (three when this was recorded) from Green Bay who play big, fun, catchy power pop/pop punk tunes. Riding Dinosaurs captures all of the fun on this here aluminum disc, released on their own record label, Duck On Monkey Records. Taking obvious cues from Elvis Costello and Big Star, Beach Patrol sounds a lot to me like if the Billy Joel from “You May Be Right” and “It’s Still Rock and Roll to Me” fronted the Influents on their Check Please record, and I mean that in the best, most positive way possible. This is good, real good. Clean, but crunchy guitars. An echo-y moog flirts in and out of the songs and adds some pep. Drums rain down with crashing cymbals, marching along to keep your head bopping and toes tapping in perfect time, the way all great pop drummers should play (see Tommy Ramone, Keith Moon, Grant Hart, and Patrick Wilson for reference). Plus, the artwork with the band members riding their respective dinosaurs is pretty sweet, too. Nice work all around. –Jeff (Duck On Monkey)


DEAD MECHANICAL:
Medium Noise: LP
I know nothing of the band itself, so the following is completely hypothetical. Contains members who have been in previous bands of varying regional notoriety. The band’s a democracy of sorts and the team leaders are older, have settled into the idea that music is a great weapon against complacency, a torch to illuminate the next couple of steps, and a heart warmer, not a career opportunity. They’re aware of Dillinger Four, Jawbreaker, and Toys That Kill, but don’t want to sound anything like them. They want to sound like who shows up in the mirror in the morning. The person who writes the lyrics reads books. Many books and probably has several zines under their belt. The following is not hypothetical: Medium Noise is a varied, exciting, well written, well recorded album that’s the sum of lives closely examined. It’s mid-paced, melodic, and melancholic while giving the overall feeling of Baltimore in the winter: the rust, the caked-on ice, white puffs of breath, of a town living in the shadow of much larger cities and deciding to stay and celebrate what it has to offer, which took the better part of a decade to realize. A spot-on album. Highly recommended. –todd (Toxic Pop)


CIVILIZATION:
Self-titled: CD-R
What is it about Florida—or the South in general—that creates such dirge? There seems to be a dirty, swampy edge bands get from down that way. This two-piece guitar and drum combo, out of Jacksonville, Florida lays down some down-tuned aggression. Reminds me of the band Black Cobra with their Sabbath-ish, stoney riffs but with the punk energy of HolyMountain. Brooding, yet with a solid punch of energy at times to keep it interesting. The recording has a live feel to it. Would like to hear what comes out when they go all-out in the studio. Cool use of a used Blockbuster Video DVD case. They recycle! –don (Dead Tank)


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