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· 1:Patrick Houdek Photo Column - Lost Cross House
· 2:The Backpatches of NYC (Collection 4) by Adel Souto (adelsouto.com)
· 3:The Backpatches of NYC (Collection 5)
· 4:#413 with Bianca and Rhea of LA Zine Fest
· 5:Pears Live at the Complex in Glendale, CA, June 16, 2016


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Razorcake #93
One Punks Guide to Pinball, by Kayla Greet
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Spokenest, Gone, Gone, Gone LP
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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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MADISON BLOODBATH:
Gittin’ Loose with...: CD
Punk played with a country twang, or country played with punk ferocity. Either way, they do a good job of it. Tuneful, driving, and solid. These guys really hit their stride mid way through this disc with songs like “Pick Axe,” “Prom Night at the Burn Clinic,” and the piano-driven “Oh, The Places You’ll Stay.” A lot of broken hearts and alcohol consumption going on, along with some soul searching. –Matt Average (A.D.D., myspace.com/addrecords)


LOVER!:
Man in the Woods b/w Foxhole Madness: 7”
The a-side sounds like an ultra-trebly, lo-fi Memphis garage punk version of Supertramp. The b-side sounds like the Small Faces, if they were one foot tall aliens with big yellow heads and their eyes on stalks. There is strange potential in this music, but i am quite unable to articulate that any further. I thought that perhaps wearing the 45 sleeve as a hat of sorts would stimulate my articulateness, but, after some time so engaged, that avenue turned out to be a bit conceptually hollow. BEST SONG: “Man in the Woods,” i think. It sounds so dramatic and foreboding! Unfortunately, i can decipher no words, leaving me to invent my own story, likely involving wolves and gingerbread. BEST SONG TITLE: I’ll say “Foxhole Madness,” because it doesn’t remind me of “Boys in the Trees” by Carly Simon. FANTASTIC AMAZING TRIVIA FACT: The cover art was taken from an ad for Lucky Products, Inc.’s 100 Piece Toy Soldier Set, which ran on the back page of Forever People #11 ((among others)), Oct.-Nov. 1972. Made of durable plastic, each with its own base! –norb (Rob’s House)


LOVE TAN:
Self-titled: 7”
I’m speechless at how kick ass this Love Tan record is. It ranges from cacophonous and absurd (“This Land Is No Good”) to brilliant lo-fi rocker (“Brush Your Teeth”) to strange, electro performance art soundtrack (“Berlin Rumble Part 1”)…and that’s just the first side! Side two includes two of the best songs I’ve heard in the past couple of years. “Horse” is clearly the anti-hit, a dark, drugged-out, overcast tune with brief flashes of brilliant electric Albini guitar freak out and weird, impenetrable lyrics. “Ring Ring” closes the record with a lolling, bizarre vocal delivery and the best guitar riff you’ll hear all year. This record is all over the place stylistically, yet manages to remain cohesive in its sound. Definitely one of the top 5 7”es released in ‘08. –benke (Sweet Rot)


LOT LIZARDS:
Nightmare Creep b/w Liquor Store: 7”
Über lo-fi from Britain that’s more stripped down than the Gories and noisier. No bass, just hollerin’ and beatin’. –thiringer (Yakisakana Reds)


LOSTBOYFOUND:
One Voice Over the Airwaves: CDEP
Taunt, metal-tinged punk from this Aussie outfit. Another well produced mix from the folks at the Blasting Room makes this a sonic sundae that hits the spot. “The Priest Verses the Beast” is a catchy sing-along that even boasts a sample from Pump up the Volume (the only decent flick Christian Slater ever did). Expect to hear more from this band as they try and make us forget about Kylie Minogue. –koepenick (Pee)


LORDS OF ALTAMONT:
The Altamont Sin: CD
Starting off with a partial (and oddly fitting) cover of Joy Division’s “No Love Lost,” they soon head back to stomping much more familiar Stooges/MC5-soaked terra for them, throwing in more than a little overdriven trash rock and punk influences to keep things wailing. Just when it starts to feel like this subgenre’s seen better days, these guys come along and infuse it with some solid tuneage and more than enough attitude. Lords? Not just a clever name, in this case. –jimmy (Gearhead)


PINK LINCOLNS:
Back from the Pink Room: LP
A fancy, high production re-issue of Tampa, Florida’s Pink Lincoln’s first studio record from 1988. If you’ve never heard of them before, think Angry Samoans, Vindictives, and split releases with The Queers and Screeching Weasel in the early ‘90s. If that doesn’t help, think of a rusty knife stabbing you in the ear by a bunch of snotty malcontents whose Ramones pop sensibilities are as evident as their unresolved hostility issues. If songs were cars, the Pink Lincolns would be spray painted, on blocks, and in a weeded front yard. The stereo would work and there’d be a functioning BBQ where the gas tank used to be. Life’s pretty shitty, and it gave the Pink Lincolns a lot to sing about. A welcome reissue. –todd (Jailhouse, www.myspace.com/pinklincolns)


LEGENDARY RAW DEAL:
Outlaw Man: CD
P. Paul Fenech’s LRD have perfected twanging, reverb-heavy spaghetti western guitars and trademark growling, dirty, makes-me-want-to-be-bitten baritone/bass vocals. Although about half of the tracks on this album are exemplary covers (Danzig, Johnny Cash), Fenech’s original tunes are equally excellent and maintain continuity. I didn’t even have to listen to this (but I did) because I know this album forward and backward—hands down the best cover of “Jackson” and one of my standing favorite albums of all time. Cherry Red reissue, #74 in the psychobilly series. –thiringer (Cherry Red)


KRIEGSHOG:
Hardcore Hell: 7"
Bombastic hardcore from these Tokyo, Japan thrashers. Full-on distortion, blown-out bass lines and thundering drums blast out of the speakers. Vocals that remind me of Lip Cream and the Stalin. Music that has the noisiness of Exclaim meets Disclose yet it still retains an underlying structure of solid music. Not for timid ears because this stuff is not pretty. This is the second press issued out of Germany. The first press, I read, sold out fast. The way things sound, I think this release will also go out of print quickly. –don (Heart First)


KATJONBAND:
Self-titled: CD
Katjonband is a collaboration between Kat from the Ex, and Jon Langford from the Mekons. Those familiar with both bands know this is something that deserves to be checked out. There are obviously traces of both bands in here, but, overall, these two have created something of their own. The songs have a stripped-down quality about them. At the same time, there are a few things going on to make it more than something straightforward. A piano comes in and out in the songs, the drums shuffle and bounce, and the guitar is serene and clean, then noisy and jagged other times. Moods range from dark to light, and somewhere in the middle. I can’t get these songs out of my head. –Matt Average (Carrot Top)


JEFF WAGNER’S TUNNEL OF LOVE:
An Eternity of Love: CD
I do believe that this is the most awesomest singer/songwriter record that I’ve heard in a month of Sundays. Imagine Tom Waits meets Rob Zombie with a dose of German expressionist painting thrown in for flavor. Visceral and highly nutritious. –The Lord Kveldulfr (Glorious)


JEFF DAHL:
Back to Monkey City: CD
Hot damn, a new Jeff Dahl full length is here! Always a big event round this household and this new one is a rager. A heaping helpin’ of ‘70s rock in the mix and the band is really gelling after a few releases together. This new one is turbocharged and sounding better than ever. More than twenty full lengths later, I still can’t get enough Dahl hooks and licks. Once again, this is a perfect cocktail of the last fifty years of rock’n’roll mixed up and firing on all cylinders. Amazing songs, killer guitar tone, and great vocals; what more can a rocker ask for? –frame (Steel Cage)


PITY FUCKS, THE:
Self-titled: 7” EP
Mangled drunken garage party boogie with commendably loutish keyboards that would not sound out of place on the “Busted at Oz” album ((then again i probably haven’t listened to that album in twenty-five years so don’t take my word for this)), or maybe one of those not-quite-punk fringe bar bands of the early ‘80s that had a keyboard but were kinda funny and obnoxious so you didn’t mind watching the drunken college guys try to quasi-ironically punk out to the best of their limited abilities by hopping around hanging themselves with their skinny ties on the dance floor or what-not. Or possibly what the Urinals would have sounded like had they had to play biker bars in Pennsylvania. Actually, no, not so much like that, now that i think about it. Yet, out of this drool, sputum and mayhem shoots golden beams of drunken profundity: “The last time I saw you you was lovin’ me good / But then you broke my heart like I knew you would!” That’s actually a pretty fuckin’ right-on line. Plus i like how the keyboard player appears to be playing one-handed, and seems to have obtained the full measure of his chops from that one song you learn when you’re like eight years old where you mostly just roll your fist over the three black keys. BRING THESE VASSALS TO ME! The czar wishes to cut a f’n rug! BEST SONG: “Why Right Now?” BEST SONG TITLE: “Why Right Now?” FANTASTIC AMAZING TRIVIA FACT: The record label states that this 45 RPM record is “unbreakable,” yet i could not find it in my heart to test this claim by giving the record a good sharp whack against a pinball machine, so the veracity of this assertion remains completely bound to the realm of speculation at this point. –norb (Felony Fidelity)


POLLUTION:
Nasty DNA: Tape
Pollution play blasted-speaker hardcore that will appeal to hoodie-clad dorm room moshers and crusties who name their dogs after brands of cheap beer. The songs maintain a nice tunefulness, even as the music grinds down to a headbanging crawl. At times, Pollution reminds me of faster Melvins material, or Born Against at their dirgiest. This is a full-length cassette and it’s totally kick ass. –CT Terry (C6)


LET’S DANCE:
Summer Breeze: 7” EP
...i hate to be the bearer of bad news, but somewhere around 2010, or whenever it is that people realize that the teens are actually a new decade, and not just a continuation of whatever the hell decade this decade is called, all this neo-Exploding Hearts stuff is gonna be swept away in some as-yet-unforeseen cosmic fin-de-siecle subcultural housekeeping, and Let’s Dance are likely going to be out of a (metaphorical) job. i mean, i don’t know, even their choices of t-shirts and belts in their photos seem to be agonizingly over-thought. How much longer can we possibly care about this shit? Until said cosmic metamorphosis occurs, however, i guess there’s no prevailing reason for me not to admit that i like the formal aspects of Exploding-Hearts-core as much as the next guy, which is why i kinda wish that snare drum sound wasn’t so god damn obnoxious on the a-side ((which is, in a nice touch, deemed the “odd side”)). The first song on the “even” side whizzed by without making much of an impact; the second song was a cover of “Bodies” by the Sex Pistols. Now, as any old-timer will dutifully attest, at one point in time, “Bodies” was the high water mark of punk rock filthiness—the bastion of foulness against which all else was, at that time, measured. “Bodies” was the one song you REALLY wanted to crank out your window at the neighbors when you were in high school ((to underscore your acrid bitterness, your ocean-deep alienation, and the pristine fidelity of your $69.95 JCPenney® stereo system)), yet high school ((or, really, any)) bands rarely covered “Bodies,” mainly because it was harder to learn than the relatively direct “God Save the Queen” and “Holidays in the Sun,” and it never really sounded right when you played it. And never has “Bodies” sounded UN-RIGHTER than this! I mean, the guy sounds like he’s singing the right words, but they don’t sound like they’re getting sung in the right places. The Sex Pistols’ “Bodies” was offensive on the grounds of foul language and shocking subject matter; the Let’s Dance version is actually offensive due to its shocking ineptitude. Then again, the vinyl looks pretty cool so fuck it. BEST SONG: “Summer Breeze” BEST SONG TITLE: “Let’s Dance” worked pretty well for Chris Montez... FANTASTIC AMAZING TRIVIA FACT: “Ben - 31 Teeth. Thomas - 6 Strings. Matt - 4 Strings. Byron - 2 Sticks.” 31 + 6 + 4 + 2 = 43, which is my age. Stop making fun of me on your records! –norb (Longshot)


JAPANTHER:
Tut Tut, Now Shake Ya Butt: CD
I saw Japanther awhile ago because I wanted to see what all the hubbub was about. I thought they were kinda interesting but I wasn’t super into the show. However, after listening to this CD, I’d be inclined to give them another go. It’s a really short CD, weighing in at only 37:05, at least sixteen minutes of which are taken up by Penny Rimbaud’s poetry (over music). Now this little addition to the album piqued my interest—Penny Rimbaud, probably best known for being one of the founders of Crass—is the executive producer of the album, and also contributes a few spoken word pieces. The relatively lengthy pieces were, for me, mildly interesting and at least worthy of more listening. His voice sounds like Vincent Price reading an Edgar Allen Poe poem, and the content was full of dramatic imagery. Not sure yet how into the poems I am, but at least one line in particular stood out for me: “What madness is it that we do not see the beauty of love?” In addition to Mr. Rimbaud, other guests include Spank Rock and New Bad Things. Overall, I’d say I like the album. Outside of the pieces where Penny Rimbaud is reading, it’s mostly dancey and fun and full of electronic-based spazziness. I’m curious about what types of instruments were used throughout, but, unfortunately, there isn’t an insert included, so I guess I’ll be left to wonder at this point. I really liked the song where there was a heavier drum beat: “Radical Businessman.” I note that, in addition to a few songs about girls, there are also not one but two that appear to be about cops. The artwork is kinda cool—very colorful and with Japanther’s name quite well-hidden amongst King Tut’s headdress. One thing that was odd is that the CD appeared to be missing one of the songs listed on the back: “Totally RulingMe.” I have a feeling I’ll be bringing out at least a couple of the songs from this album at the next party-type shindig at my house. –J. Federico (Wäntage USA)


JAMMY DODGERS / NERVOUS DOGS:
Split: 7”
Nervous Dogs: The Fiya (two dudes, the brothers) / Grabass Charlestons (Replay) chemistry’s a go. Fiyanian ache and want to deliver honest songs are paired up with the Grabassian sneak of instrument subtlety. Recap: sounds simple and gritty. It is, but there’s an undertow where you’ve mistaken solid ground. Apropos for Florida, where there are so many swamps, marshes, and sinkholes. Jammy Dodgers: It feels like they’re telling me really bad news, yet smiling, and not in an evil way, but in the therapy-of-getting-it-out-makes-you-dance way. (A This Bike Is A Pipebomb-ism.) Their four songs totally remind me of Cleveland Bound Death Sentence. Fast-swapping female-male vocal leads, delivered like they’re all tumbling down a hill while still being able to play their grass–stained instruments. Intelligent songs seeped in personalized history. Me likey. –todd (No Idea)


IMPULSE INT’L, THE:
The Real Kid: 7”
This one is a bit more reserved than their “Arm the Girls” or “Saturday Suzie” singles, but as good. The title track is a rocker that continually builds in tempo from mid pace to something a bit quicker and uplifting. The flip is “The World Hates Me” which has a slight U.K. post punk feel while retaining the power pop these guys crank. I love the guitar sound on this song. Overall, this single reminds me of stuff, like early Nick Lowe and the Plimsouls. Great stuff again. –Matt Average (Deranged)


HUNX AND HIS PUNX:
“Good Kisser” b/w “Cruisin’“: 7”
From the burning, yearning loins of Hunx and His Punx comes this genius slab of homoerotic bubbleglam pop that’s more contagious than the town slut’s cold sore. Destined to be hits across the country, from the beach bungalows of Provincetown to the dive bars of the Castro District, these tunes have the unmistakable golden-shower touch of Justin Champlin, who continues his astonishing streak of perfect rock’n’roll releases in ‘08 (Okmoniks LP, Nobunny LP, Jenkem comp contribution) that are worthy of your hard-earned moolah. ”Good Kisser” puts a same-sex spin on the traditional “boy-meet-girl, boy-loses-girl” trope with the boy in question getting his bi-curiosity piqued by the song’s narrator. Seth Bogart’s vocal delivery is awesomely gay: a fey, casual, seductive whine void of anything resembling innocence. The song ends with Bogart repeating the opening refrain, “I don’t think he’s gonna miss her/’Cause I’m a really good kisser,” and you know that the poor straight kid from the beginning of the song never stood a chance. “Cruisin’” is credited to Coomer and commences with a bouncy bass line that’s probably lifted from a New Order tune. The keyboards kick in after four bars, as do the vocals, and it’s a couple minutes of pure, lascivious pop perfection. The lyrics are even gayer than the A-side—”We’ll take some photographs/In our underwear/I like my boys like steak/All juicy and rare”—and nothing, I repeat, nothing will be able to dislodge this tune from the deepest parts of your brain. No way anything else tops this for me in ‘08—SINGLE OF THE YEAR! –benke (Bachelor)


HELLBOUND GLORY:
Scumbag Country: CD
This outfit from Reno plays traditional roots rock/outlaw country so pure and classic, they have timeless appeal. Vocals with a deep, honest, booze-soaked timbre channel George Jones, Steve Earle, and Merle Haggard. The richly talented, broad-spectrum band rivals anyone from Bakersfield, Austin, or Nashville. Despite the last track’s title, I do think Waylon done it that way. –thiringer (Gearhead)


HELLBILLY BOYS:
Self-titled: CD
This Swedish rockabilly band deftly executes and interprets a wide range of American roots musical styles with the expected perfectionist European polish. Amicable, approachable, and fun like the Frantic Flintstones and Three Blue Teardrops. Notably excellent enunciation. –thiringer (Killer Cobra, highgearmusic.se)


HANSON BROTHERS:
It’s a Living: CD/DVD
Both hockey and punk rock have been a part of my life since I was a kid. It only seems natural that the Hanson Brothers would be one of my favorite bands. If you’re not in the know, Hanson Brothers are the alter ego of Canuck punk legends Nomeansno. They’re a mutant blend of the Ramones and the foiled-up goons from the movie Slapshot. This is Hanson’s first live record and continues with their tradition of spoofing classic album covers by doing Ramones’ It’s Alive this time around. The sound quality is amazing and really captures the insanity of a Hanson’s show. All the classics from the band’s first three records are here and, as a bonus, there is some hilarious radio clips from an interview with guitarist Tommy Hanson. The flip side of the disc is a DVD of the band’s long out-of-print video All Grain Brewing with Johnny Hanson with features detailed instruction on brewing your own beer, as well as plenty of clips of the band playing “HEY YOU—LET’S BREW!” –ty (Wrong)


GUT REACTIONS:
“Yer So Cruel” b/w “Happening”: 7”
Stomp rock you can slam to from the place that inspired millions of Americans to drink their swill and get on the dance floor: Milwaukee, Wisconsin. Pissing in your pants optional. –Jim Ruland (Ken Rock, www.myspace.com/kenrockrecords)


DEAD BETTIES:
This Is My Brain on Drugs: CD
Art-, post-, prog-rock/punk with an angular, echo-y guitar that completely closes the gap between the Joy Division-like bass thump and the alternating dreamy, whispery, scream-your-heart out, pop-electronica, emo vocals. A complete surprise.  –thiringer (Self-released, no contact info)


DAYSWORTH FIGHTING:
Hold Fast: CD
Ya, so this band is okay. It’s no secret whatsoever that they’ve spun their Dead Reckoning LP more than a few times. Oh, and Caution, too. Probably they were really into Rival Schools for those ten minutes that people talked about them, as well. You’ve got your gruff dual vocals (one a little cleaner than the other), angular, melodic music, all of that. For some reason, I’m very quick to criticize new bands of this ilk, but the fact is that Daysworth Fighting do this dance pretty well, if only due to its accurate reproduction. If you’re not totally worn out on this fare, then grab it. They’re good at what they do.  –Dave Williams (Poison City)


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