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Record Reviews1 2 3 4 5 6 7 8 9 10 11 12 | 0-9| A| B| C| D| E| F| G| H| I| J| K| L| M | | N| O| P| Q| R| S| T| U| V| W| X| Y| Z| Below are some recently posted reviews.  RSS Feed
MIRRORS, THE:
A Green Dream: CD
Some pretty good psych rock here, true to form, and with a solid ‘60s feel to it. Probably not something you might wanna put on while you mowing the lawn or anything, but good listening nonetheless.
–Jimmy Alvarado (Birdman)
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MINMAE:
I’d Be Scared, Were You Still Burning: CD
If Lou Reed is your thing and you like your music mellow, this band is a godsend for you. Unfortunately, I need more “oomph!” in music.
–Donofthedead (Greyday)
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MILLION DOLLAR MARXISTS:
Stop: 7"
The cover, for whatever reason, led me to believe that I'd be stumbling into some lame ass sludge rock; an old grunge cassingle being eaten by a tape deck, some Atomic 61 test-pressing 45 being played at 33, you get the idea. Slow. Drrroooooning. Bass-heavy. Let me just say, I was surprised when I put it on and smoke started shooting out of my speakers. What we've got here is some burner-hot garage rock a la—I don't know—the Chinese Millionaires or the Screaming Bloody Marys. The fact that there are only two songs on this: lame. The two songs themselves: pretty goddamn ripping. A bit of fresh blood here in a genre that at times seems to be sagging and stumbling its way out of the bar. Thanks, guys.
–Keith Rosson (Blue Bus)
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MICO DE NOCHE:
Balls Deep: CD
Nice’n’sludgy rock/punk stuff here: very noisy with flamenco flourishes here and there. Wasn’t expecting much, so it was a pleasant surprise that it wasn’t half bad.
–Jimmy Alvarado (Violent Hippie)
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MEXICAN BLACKBIRDS:
Fear of Texas: 12” EP
Smear on some Motards grease and resin, huff some gas with early Zeke, add the smell of burning hair, squeeze and screw in the punk’n’roll pyrotechnic sensibility of The B-Movie Rats, and you’ve got a close approximation of the Mexican Blackbirds. It’s in the red, the vocalist sounds just short of being strangulated, and it feels like their instruments are stabbing you in the chest while slicing your tendons so there’s no easy retreat. They’ve definitely learned assault tactics of their own and aren’t just pickpocketing the bands previous mentioned. Good stuff. It’s growing on me with each listen.
–Todd Taylor (Mortville)
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MEXICAN BLACKBIRDS/PINK SWORDS:
Black Vinyl Revenge, Chapter 1: Split LP
The title line here sounds like some sketchy urban legend from a fictional city across the border made into a ‘50s so-bad-you-love-it exploitation flick. This record is also that cool. It combines previous CD releases: The Birds’ Just to Spite You (2003, Dirtnap) with The Swords’ One Night High (2003, Mortville). The music fetish factor gets even higher: both have amazing girl drummers from other great bands (Jill from Valentine Killers, Suzy Motard), half-black and half-pink vinyl, and one new live track from each band. Catchy, hard-driving rock. Entire albums on each side, except the Birds’ “Burn It Down/Over the Edge” track from the CD is not here. Alas, still an awesome record.
–Speedway Randy (Rockin’ Bones)
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METEORS:
These Evil Things: CD
I dunno if I’ve outgrown ’em, if they’ve lost their sheen, or if I’m just not in the mood, but these guys just ain’t movin’ me like they used to. The songs are all right as far as psychobilly goes, but they seem to be variants on the same theme and lacking in oomph. Found myself drawn more to the three instrumentals than the tracks with vocals.
–Jimmy Alvarado (Headhunter)
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MESSENGERS, THE:
Self-titled: CD
Granted, it's solid and tuneful punk rock stuff, it's totally catchy, and the singer sounds like a dead ringer for Cinder from Tilt. Granted, the layout and production are really nice and they're probably a terrific live band. Granted, they seem sincere, and my foot's tapping. But this one just falls a bit short somehow, I can't help feeling a little ripped off—for one thing, while it is solid and tuneful, it's also comprised of songs that I feel like I've heard before. Half the time it seems like I'm listening to a cover from another band, like it was a song written from an entire other era of punk rock. You could call that a spirited homage or you could call it shameless regurgitation, I don't know. Then the rest of the time I'm just wishing they would speed it up a bit. Anyway, they've got the mohawks and the tats down, but they left the snot on the bus. The Messengers are really good at what they're doing, it's just that what they're doing rings a lot closer to early Discount, minus the lyrical quirks, or Tilt without the speed, than they do to Antiproduct or To What End. And, you know, I've already got all the Discount and Tilt records I need.
–Keith Rosson (Punk Core)
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MARY TIMONY:
Ex Hex: CD
I loved Mary Timony when she fronted the storybook fantasyland that was Helium. In the indie-lovin’ ‘90s, she was the cool and mysterious dark horse that sang fantastically odd songs about superballs, vampires, and medieval people. But, just when things were getting good, Helium disbanded. Timony soon ventured into the obligatory solo career and I stayed behind, content with my perfect little Helium catalogue. But with the release of Ex Hex, Timony’s back in fine form. Angular guitars surf around in that space between your ears and dreamy vocals whisper you the sweetest rock lullabye. Oh yeah, and there’s a song about pirates!
–Kat Jetson (Lookout!)
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MARVEL:
Five Smell City: CD
Not a bad approximation of that ‘70s sound via the KISS school of glam. Liked it more than I expected to or probably should.
–Jimmy Alvarado (Black Juju)
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MAD COWBOYS:
A Fistful of Dirty Dollars: CD
Have you ever wondered what it would sound like if the Marked Men wrote and played songs like Propagandhi? If so, then this is the disc for you. This is very politically charged music with an almost lo-fi production value and guitar sound. The vocalist sounded so much like a Marked Man that I had to double check… Yep, these guys are Canadians. I enjoyed this quite a bit.
–Ty Stranglehold (Mad Cowboys)
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LUNGFISH:
Feral Hymns: CD
Every so often, when the mood strikes, I’ll put on an older Lungfish record. Daniel Higgs writes amazingly poetic lyrics, which, in many cases, is a bad thing, but Higgs is a really great lyricist. And I love the fact that not only is this band completely lacking in commercial appeal, but they’ve been around for something like fifteen years and they’re ridiculously obscure. But musically, this doesn’t really do anything for me. Unlike their Dischord peers such as Fugazi or Jawbox, who, arty or not, made music that was dynamic and interesting, Feral Hymns finds a slow, drowsy groove and stays there, and ultimately there’s nothing feral about it.
–Josh (Dischord)
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LOW POINT DRAINS:
Self-titled: 7”
Lo-fi trash rock courtesy of a two-man band. I know that in a post-White Stripes world such things are a dime a dozen anymore, but these guys actually manage to pull off some pretty good tunes. Nice stick figure portrait on the cover, too.
–Jimmy Alvarado (Kuriosa)
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LOS REACTORS:
Dead in the Suburbs: CD
This long-defunct (as in 1983 kinda defunct) Tulsa band kinda reminds me of the Diodes, and i'm having trouble figuring out if that's because of legit musical similarities or because the Diodes had that song "Death in the Suburbs" or what. Probably a little bit o' both. Anyway, it always makes me a little happy, in here (thumps ribcage) (coughs up blood), to see bands from Way Back When get something resembling an album out, even if it is twenty-plus years late. I mean, fuck, they deserve it, and i don't think a lot of people these days realize what an impossible dream it seemed like Way Back When to get an album out. ALL HAIL YOUR UNDERDOCUMENTED EFFORTS, O BAND! That said, i could pretty much take or leave Los Reactors musically—they sound like the basic Central Time Zone punk/rock/wave of the late ‘70s/early ‘80s (i'm really not so sure the perpetually whistling keyboards aren't just in the way most of the time, and the topical subject matter [John Wayne Gacy, Patty Hearst, the Shah of Iran] that i'm sure seemed timeless and edgy and brilliant and irreverent at the time now comes off as some sort of mere cultural identifier, like something from That ‘70s Show or something), and, with all due respect for their efforts (efforts which we still reap the benefits of today, i might add), when hardcore came along, although it didn't exactly kick this type of band to the curb, per se, it did show it to its seat... which it took, pretty much never to be heard from again. It's unfortunate that the origins of the various recordings are so poorly documented here, i woulda liked to have known when they wrote and recorded the neo-thrasher "I Don't Wanna Be Like You," just so's i could tell if it was like them reading the "hardcore rules!" handwriting on the wall or what... I'd also like to have had the liner notes written by a member of N.O.T.A. or something, just to put things into historical perspective for me... it certainly couldn't be any worse than the existing blather (i mean, the liner note guy calls Los Reactors one of Tulsa's "most prolific" bands in the same paragraph he states that the band only released two 45s during the four years of their existence). Chee! (of course, if the guy who wrote the liner notes actually was in N.O.T.A. unbeknownst to me, i apologize to the planet) BEST SONG: "You Move Me" BEST SONG TITLE: "Dying Persian Monarch" FANTASTIC AMAZING TRIVIA FACT: The video doesn't play in my computer OR my DVD player... but, since it's Track 01 on the disc, if you put it in a CD player and wait a while, it will play THEE LOUDEST PROLONGED BLAST OF STATIC you have ever heard in your life. I gay-ron-tee!
–Rev. Norb (Rip Off)
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LOCUST, THE:
Safety Second, Body Last: CDEP
There's that old joke: Which came first, Combat Wounded Veteran or the Locust? CWV's Duck Down for the Torso 12" sounded like the Locust if the Locust wanted to get in, get out, and quit fucking around. Anyway, you know what you're getting here—spastic, crazed, and intrinsically fucked up. It looks like there are seven songs on here lyrically, and four or six depending on how you decipher the back cover track listing, but the CD itself only lists two tracks. So maybe the Locust is, like, working in movements now. Which is possible: this sounds like an orchestra for a madhouse. Think Ruins or other John Zorn projects, or maybe a little Melt Banana, couple it with nearly nonsensical, occasionally biting lyrics and you've got Safety Second, Body Last. It's only ten minutes long but by the end of it I want to pull my own fingers off. So there's that, at least.
–Keith Rosson (Ipecac)
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LOCUST, THE:
Safety Second, Body Last: CDEP
Having read the previous line, you already know if you are inclined to buy this or not or have any interest in it. If you appreciate spazzy, grindy noise with lots of screaming, I recommend this, although this EP—while still The Locust—seems to be missing something (“Hey wait, dude—it’s the fucking Locust. They make Napalm Death sound like Codeine on ‘ludes, man… how can you even tell the fucking difference?” “Well, that’s a fair question. I think most music critics would be hard-pressed to identify how, in a case like this, they distinguish between a quality record and one which doesn’t match up. Frankly—and I realize that this is normal for The Locust—there’s just too much keyboard on this disc which sounds like someone who just shit their pants squeezing their thighs and ass cheeks together to smear the feces around. Other records in the genre don’t have as much of that blip-and-twitter, wow-and-flutter synth-grind twaddle. Clear enough?”).
–Puckett (Ipecac)
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LIDS, THE:
Self-titled: CD
This band serves a valuable enough function as sort of a sugar-frosted Loli & The Chones placebo, but 1) i think they ought to pick and choose the times that they employ the schtick of the male lead vocals trading off with the chirpy female backup vocals a little more judiciously (e.g., here's the first verse/chorus dealie from "Something to Do," with the backup vocals in brackets: Just can't wait [CAN'T WAIT!] Been waitin' around all day [ALL DAY!] You say it's all OK [OK!] In love with you [OH YEAH, OH YEAH, OH YEAH!]. Way too late [TOO LATE!] Been waitin' around too late [TOO LATE!] Been waitin' around all day [ALL DAY!] I want something to do [OH YEAH, OH YEAH, OH YEAH]. I want... something to do [OH YEAH, OH YEAH, OH YEAH!]. I want... something to do [OH YEAH, OH YEAH, OH YEAH!]. I want... something to do [OH YEAH, OH YEAH, OH YEAH!]. I want... something to do [OH YEAH, OH YEAH, OH YEAH!]—i mean, it's cute and cool and all, but give it a f'n break here and there, willya?!); 2) Cripes, write a bridge once in a while; and 3) i guess i have no other complaints, other than the overall feeling that i went somewhere for a burger and came home with a kids' meal. Chicken fingers are good food, though! BEST SONG: "Something to Do," i guess, since i took all that time slandering it BEST SONG TITLE: "She's Been Around" (band is not much for the dying craft of song titlery it appears) FANTASTIC AMAZING TRIVIA FACT: I can't look at the disc graphic without thinking of the cover of the first Every Mother's Son album.
–Rev. Norb (Rip Off)
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LETHAL REJECTION:
2, 1, 2, 2: CD
Decent enough mid-‘80s sounding hardcore—not too fast, not too slow, nary any metal to harsh the buzz. Sometimes reminds me of mid-period Poison Idea without the intensity.
–Jimmy Alvarado (Day 51)
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LEFT ALONE:
Lonely Starts and Broken Hearts: CD
Love songs to girlfriends past and present abound, as do odes to former bandmates and long lost cars, all of which are dished up in steaming turd-piles of pop punk and ska.
–Jimmy Alvarado (Hellcat)
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ZATOPEKS:
Smile or Move: 7” EP
This rocks! Male vocals with cool girl back-up vocals! Power pop punk (yes, I can create a new term!) with occasional, slight hints of a throwback to Beach Boys-esque harmonies! And they’re from London! And #2, since boys can comment on how hot Roach (Groovie Ghoulies) is (and she is!), then I get to say, “These boys are cute!” If this were a cereal, it’d be Apple Jacks, sugary, but not over-the-top. Yum!
–Maddy (It’s Alive)
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YOUNG PEOPLE WITH FACES:
Self-titled: LP
It’s so great to hear this on vinyl! I have played the CD to death and love this band. Totally amazing ‘70s style punk rock from this incredible band from Idaho. Truly one of the best punk bands on the planet. If you are a fan of the Bags, Avengers, or Dangerhouse Records, this is your ticket. I have not been this excited about a punk band for a long time. Great songs, great playing, and great attitude. Highest possible recommendation.
–Mike Frame (Rapid Pulse)
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WORLD MASS HOMICIDE:
Sing-a Long Songs: CD
I thought I had “graduated,” so to speak, in Razorcakeville. Meaning, I thought I was not going to have to subject my ears to anymore mystery meat. Guess not.
–Sean Koepenick (Roadhouse Tunes!)
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WILLOWZ, THE:
Chautaqua: CD
I like the Willowz. They defy categorization, drawing on a wide palette of influences, from metal to country/ folk and from post-punk to grunge. Richie Follin’s vocals do tend a bit toward whining, but he’s always expressive and never boring. And the addition of a new drummer and guitar player seems to have toughened up their sound compared to previous releases. And the songwriting is much stronger, as well, particularly the outstanding, almost Dylanesque “Nobody.” An early contender for record of the year.
–brian (Dim Mak)
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VICIOUS, THE:
Alienated: LP
The latest musical care package from Umeå, Sweden has arrived! Everybody in the village gathers around the package, eagerly pawing at it in ineffectual attempts to consume its contents. All they can think about is how happy previous care packages have made them. This village has been disappointed before, but they still trust the people of Umeå because of all the cultural riches the people of Umeå have shared in the past. Finally, the crowd settles down from the initial excitement and someone puts the needle down onto the record. “Punk!” someone yells. “Punk rock!” another chimes in. “Late ‘70s punk rock!” the whole crowd cheers uncontrollably, for it is true. Later, after the village has fully absorbed the package, they are not surprised when they discover the ones who created this package have helped create care packages of yesteryear, such as the Regulations, International Noise Conspiracy, and DS-13. The people of the village slept well that night; the people of Umeå have once again lent a helping hand.
–Daryl Gussin (Feral Ward)
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VICIOUS, THE:
Alienated: LP
Desperation, boredom, mental instability, and feeling completely out of place has rarely sounded this good. Soaked in reverb, but sharp and as in focus as razor wire that seems to be hovering over their heads at all times, Alienated sounds like battle call for misfits. You can snap your fingers along, but as soon as your ears lock into the lyrics, it’s a dark, dark place. Like a lot that’s coming out of Umea, Sweden nowadays, via the NyVag encampment of bands, they seem to continue to up the ante with their older or currently running bands—DS 13, Regulations, (International) Noise Conspiracy—simultaneously finding more and more melody and hidden structure from overlooked gems of ’77 while being able to tap into an anxious, emerging modern vein of punk rock. The Vicious nail an important paradox: we can have a shared experience from all being rejects. We may be almost all alone and fucked up in this world, but bands like these—that your neighbors will probably never hear of—may just be making the best music out there, even if it often times feels like it’s in a vacuum, or a world away. Alienated’s a great record.
–Todd Taylor (Feral Ward)
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