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Record Reviews

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Steward: 7” EP
There was a time when punk bands strove to sound completely different from the bands before and after ‘em on a given bill, and it’s clear that these cats are very much on that wavelength. Working from a punk base, they slather on heaping gobs of free jazz, art rock, and a buncha other shit and end up with songs dense with rhythmic shifts, time changes, and the ability to make what they’re doing sound both partially improvised and worked out to the smallest minutiae. I imagine folks will inevitably trot out the Fear comparisons ‘cause their drummer is none other than Mr. Spit Stix, but, honestly, these cats have a sound all their own, and I for one am chuffed they do. –Jimmy Alvarado (Nasalrod, nasalrod.com)

“Dreamer” b/w “Are You Hypnotized”: 7"
A trio of keyboard, drums, and bass, Mr. Elevator And The Brain Hotel have an aggressive psych-pop sound that could double as the soundtrack to a haunted house. Both songs have a carnival feel with Nuggets-style riffs and the vocals are snotty and upbeat. Anxious to hear more. –Billups Allen (Resurrection)

Raiva Do Mundo: 7” EP
Brazilian hardcore that starts at a relatively mid-tempo seethe and builds up as it goes along. As the title, which translates to “rage of the world,” would imply, the lyrics and music are laced with anger, but the band maintains a level of sophistication to their attack with well structured tunes and lyrics more poetic and less blunt than others might employ. –Jimmy Alvarado (Zuada, eduardo_maia@hotmail.com)

Trust Fund: 10”
This certainly isn’t your parents’ power pop, but it surely could be your siblings’. Channeling Wavves, The Thermals, and The Oh Sees, Mike Krol’s new record, Trust Fund, allows blistering, fuzzy guitars and bass soaked in disdain (and distortion) to provide cover for what, at their heart, are a set of raw and unguarded songs. If Mike has a leather jacket, I guarantee you there is a cassette of the Promise Ring in the inner pocket. From the well executed and attractive but purposely obtuse cover (the lyrics are entirely in English, where much of the sleeve is written in Japanese) to the rough and tumble sound coating every corner of this work, the first things we notice about this piece of art seem to be a bait and switch to either hide the gooey center or to help wrench it out. If you are planning to throw on your cardigan and punch a hole in the ceiling in distress over your current state of affairs, this could be a great soundtrack. I wouldn’t blame you either. –Noah W.K. (Counter Counter Culture)

Beware The Ides Of March / Acropolis Now / Thee Caesars of Trash / Wise Blood: LP
With the addition of these four LPs, I now have seven Mighty Caesars albums. This is one more album than I have of Headcoats albums. Billy Childish, what are you doing to me? Thee Mighty Caesars and Thee Headcoats are two of his most notable acts, and other Childish bands like Thee Milkshakes, Buff Medways, and Spartan Dreggs all take up much space on my shelves. Childish has been one of my favorite musicians for many years (my one and only tattoo is based on one of his art pieces) and it is near impossible to keep up with all of his recorded output. In the ‘80s, Thee Caesars served as inspiration to garage punkers the world over to move past the “paisley underground” dreck and Troggs it up. 1980’s and 1990’s garage punk was all the better, sonically, for it. (Think: The Mummies, New Bomb Turks, Crypt Records.) Even for a Childish-o-phile like me, it’s hard to distinguish between some of his bands. Thee Caesars lead into Thee Headcoats logically, but Thee Caesars use some extra instrumental flair and were less angry than Thee Headcoats. You can hear the band progress through these re-releases as the guitar and bass develop increasing bite (Beware… has the muddiest mix, almost drowning out the frantic drums.) I won’t tell you who did the originals of all the covers. Part of the fun is finding out for yourself. –Sal Lucci (Damaged Goods)

Self-titled: LP
As one half of rock’n’roll’s most confrontational acts, Martin Rev was recognized as dangerous in an already dangerous scene. While The Ramones quibbled with each other on the CBGB stage, Suicide brandished bicycle chains at the audience. They combined the abrasive aspects of punk and electronic music into a sound that’s still ahead of its time thirty years later. Rev’s solo efforts carry on where Suicide left off with overdriven electronic riffs framing minimalistic poetry. Rev’s deadpan vocal delivery over electronic pings and swooshy keyboards is reminiscent of the best of the dronier aspects of the Silver Apples. He’s not afraid to let the music spin out of control into a noisy mess. Rev captures a late night quality with his music that could be the soundtrack to shopping in an overnight deli. –Billups Allen (Superior Viaduct)

Untitled: LP
I feel like Manipulation is the odd-band-out on the Sorry State catalog. Like the rest of the bands the label puts out, they have that total “we are hardcore record collector nerds putting out music for hardcore record collector nerds” vibe that seems to be the one common tie that binds the label’s aesthetic, but instead of trying to push a lot of different influences into one big meta grinder and seeing what comes out, Manipulation have honed in a pretty specific idea and are picking it apart. While the varied sounds of the other bands on the label seem to work for them, for Manipulation trying to break away from a sound that they already do so well may be detrimental, so I’m happy they don’t try to please too many people. For a band that isn’t “crust” in terms of fashion or cookie-cutter politics, they’re a band that does the style at least as well their contemporaries ingrained in the genre. There’s a fresh approach to the sound, and while they may not craft the best individual songs, every individual record they’ve put out has held up well as a whole, clearly better than the sum of its parts. I was a little apprehensive going into this because I didn’t know if the ideas presented in their 7”s would translate to an LP, but I’m happy to say they’ve pulled it off. –Ian Wise (Sorry State, sorrystaterecords.com)

“Surfbored” b/w “Will It Ever Grow Back”: 7”
I’m gonna throw my hat in the ring for stupidest thing ever said in a record review by claiming that this sounds like a garage rock version of Bikini Kill, except when it sounds like the Urinals ((not just the Urinals, but “Surfin’ with the Shah,” no less!)), which is mostly just at the beginning and the end. Oh well, i guess you can take the Urinal out of the girl, but you can’t take the girl out of the urinal. BEST SONG: “Surfbored” BEST SONG TITLE: “Will It Ever Grow Back” FANTASTIC AMAZING TRIVIA FACT: Unless i’ve been cruelly misled, this band is from South Africa. –Rev. Norb (Hozac, hozacrecords.com)

Self-titled: 7”
If Bloodbath And Beyond is a burrito… gah, I can’t do it. Magauma Taishi features Hideo and Matthew of Birthday Suits, Mike Park of Asian Man Records, and Paddy Costello (who named the Strike record, Conscience Left to Struggle with Pockets Full of Rust, also in the Arrivals and D4). I like the idea of Mike Blind Shake recording them, too. But, really, it sounds like someone else is in charge of the remote on a TV tuned to a language I can’t understand. When things get interesting—“that Orca’s gonna fuck up that seal…”—onto the next song. This took only three hours to record and it sounds like it. I wish they fleshed it out, spent an entire weekend, perhaps a little preplanning. So, in summation: Melt Banana cutting off Cleveland Bound Death Sentence mid-sentence? A pop punk-leaning Merzbow? I’m just grabbing at straws now. –Todd Taylor (Asian Man)

Golden Quarter Hour of MOTO: 7” EP
The low-rent genius and Crusher-like good looks of Paul Caporino returns for eight songs recorded on four tracks pressed onto seven inches of vinyl, which is 1.143 songs per inch, 0.875 inches per song, and 0.571 tracks per inch per song. To keep things streamlined, Mr. Caporino has eliminated some of the clutter of past recordings, including backing musicians, recording studios, and verses, delivering his clever and hopelessly catchy bits directly into the listener’s nervous system with a modicum of fillers and buffering agents. Song subjects include the usual fare: Rock ((“Rock Rock Rock Rock Rock Rock Rock the Nation” “Dial M for Rock”)), pussy ((“Tight Feline Vegetation”)), and the great unknowable ((“AC7YIAR”)). “Suck on this lump of coal and make me a diamond?”Balderdash! This diamond comes pre-sucked! BEST SONG: “Rock Rock Rock Rock Rock Rock Rock the Nation” BEST SONG TITLE: Yeah, you guessed it: “Rock Rock Rock Rock Rock Rock Rock the Nation” FANTASTIC AMAZING TRIVIA FACT: Rise up in dismay, this record clocks in at barely fourteen minutes!!! –Rev. Norb (Rerun / Blast Of Silence, rerunrecordsSTL.com)

Your House or the Courthouse: 7” EP
When the New Bomb Turks packed their bags for good, it marked the end of an era. The aforementioned garage punk pioneers left a significant footprint, leaving many wondering if they’d ever surface in another form. Off hand, I can’t think of any ex-NBT side projects at all, for that matter. Either way, after hearing rumors of Livids playing around Brooklyn for some time, frontman Eric Davidson is back in the fold. The mid-tempo, title track has a solid hook, not terribly distant from something most ‘Turks fans would hope for. “Zilch,” is over in the blink of an eye (around thirty seconds) and hits you harder than you’d expect. Tight and catchy enough to put the needle back on the same grooves again, to spot what you missed the first time around. The flip finishes off with a cover of Iggy Pop’s “New Values,” hand claps and all. Fans of Davidson’s previous work won’t be ready to bury this single in the back pile. Strong enough to make you wonder what’s next. Slovenly’s a consistent label and this 7” fits right in with the standard. - Steve Adamyk –Guest Contributor (Slovenly, slovenly.com)

She Likes Zits: 7” EP
Lotta history packed into the members of this garage supergroup, and it shows on this wax slab. The three tunes here strut, swagger, and stomp with equal parts trash, punk, and high-octane rock’n’roll and leaves ye jonesing for more, more, more. Was starting to believe this genre had seen its best days fade in the rearview mirror. This just shut my big mouth up right quick. –Jimmy Alvarado (Twistworthy)

We’re Gonna Need a Bigger Coat: 7”
Two bands playing catchy pop punk with hooks galore and energy to spare. Lipstick Homicide has the leadoff spot and hits two winners out of the park with their female vocals and propulsive beat. The Turkletons have male and female vocals and are every bit the equal on this split single. A definite keeper that makes you love pop punk all over again. –Rick Ecker (It’s Aliveitsaliverecords.com / John Wilkes Booth, johnwilkesboothrecords.com)

Self-titled: CD
Heavy, melodic Euro-crust that doesn’t bring too much innovation to the table, but I’m a sucker for this shit, and there are heaps of The Spectacle-esque chord choices and sprawling, epic sections that suggest an urgency found more in the anarcho-hardcore world as opposed to the too-often rehashed Wolfbrigade/Tragedy-clone side of things. It’s definitely the melodic sensibility here that sets it apart from a hugely oversaturated subgenre. If, like me, you’re always on the lookout for a band from this world that doesn’t blend completely into the background, then I recommend checking this out. Great stuff. –Dave Williams (Distro-y, distroyrecords.com)

Shit out of Luck: Cassette
As they say, hindsight is 20/20. I must admit that I have never really been a pop punk aficionado and had therefore managed to navigate around the Lillingtons and their body of work. Turns out that strategy was pretty weak as this, a cassette re-issue of their debut album from 1996, could probably rank as one of the finest examples of the genre. Buzzbomb guitars and tongue-in-cheek lyrics abound. This is an essential release and don’t be stupid like me—pick this up now if you don’t already own a copy. –Garrett Barnwell (Jolly Ronnie, jollyronnierecords.com)

The Distance Is So Big: CD
One of the interesting things about punk’s first few runs was watching which way the waves broke in the mid-’80s—at the risk of waaaay oversimplifying things for the sake of a lame metaphor, one direction went the way a crappy glam metal, one went the way of speed metal, and yet another laid the foundation of what became known as “alternative rock.” Those that chose the latter—Hüsker Dü, Soul Asylum, Die Kreuzen, Replacements, Minutemen, M.I.A., Washington DC’s hardcore faction, and many, many others—took the intensity and creativity that fueled so much of those early first waves and added liberal doses of art-rock, roots rock, and pop to come up with varied hues of sound with the only unifying factor being a desire to push beyond the boundaries that the puritanical hordes had tried to fence everything in with. Though not always with the exact same results, subsequent waves of punk have ultimately bred similar moments when clusters said “fuck the rules” and strived for something off the beaten path. Lemuria falls squarely in this tradition. Melding hardcore heft (you can almost feel the weight of them guitars when they kick in) with egghead structures, effective vocal interplay, and delicate pop hooks, they deliver a full-length’s worth of tunes filled with fun contradictions—heavy but light, intense but laid back, complex but accessible. I imagine Bridge Nine regulars looking for something to succeed the thick-necked virulence of Agnostic Front’s most recent endeavor will likely be put off by “wimpy” shit like this at first blush, but those who take a moment to actually digest what’s going might actually find much here to keep them coming back. –Jimmy Alvarado (Bridge Nine)

Kleb-Stoff Zéro-Deux: 12” EP
Word on the street is that this band contains at least one former Hatepink ((as if, somehow, all the hot pink duct tape on the cover wasn’t enough of a context clue)), which makes perfect sense, as La Flingue take the mess left us by the Hatepinks ((sort of a crash between a French Spits and a pink Zodiac Killers)) and mutate it into even more gloriouser heights of Franco-Anglo-Deutscho ‘70s punk retardo-insanity. If you’ve spent the last twenty-five years of your life looking for the next “Bummer Bitch,” I’m pretty sure “Hass Hass Hass” has just ended your quest gloriously. Viva l’eyefuck! BEST SONG: “Hass Hass Hass” BEST SONG TITLE: “Ton Cuir Noir de Merde” FANTASTIC AMAZING TRIVIA FACT: The front cover consists of the Sgt. Pepper’s Lonely Hearts Club Band cover, almost-but-not-quite covered in hot pink duct tape with a white duct tape border. The back cover repeats the process with the other side of the jacket, but this time it’s white duct tape with a hot pink duct tape border. I salute their even-handedness. –Rev. Norb (P.Trash, ptrashrecords.com)

Broken Waves: 7”
Part of the current Profane Existence Records Limited Edition Single Series, this perfect record from Chicago crust kings Krang is absolutely essential. On the faster end of crust, there’s not a second that gets spared in this quick whirlwind of a record. Continuing to tour heavily, Krang is not to be missed if they play your town. Till then, this record won’t disappoint. Profane Existence proves once again that they have their fingers firmly on the pulse of all that’s magical in hardcore. –Art Ettinger (Profane Existence)

Self-titled: LP
Wow, what a surprise! This is a lo-fi garage rock’n’roll record that sounds like it should be been recorded in the early ‘90s. Imagine early Oblivians mixed with the Spits through a 1992 budget rock filter. Make whatever you think that would sound like be from Greece, and whatever you’re left with is like Komodina 3. This was actually apparently recorded in 2005 and only first released now on vinyl for the very first time. It’s primitive, raunchy, and, honestly, really fucking good. –Mark Twistworthy (Slovenly, slovenly.com)

Not You: CD
I looked at the CD, I listened to the music. I would have sworn that this was a long-forgotten band from U.K. circa 1982 or ‘83. I was wrong. They are from Oakland and are circa now. With a little bit of internet researching I found out that some of the members have played in bands such as Filth, Neurosis, and Dystopia. I’ve never been a follower of those bands, but I know many who are. I think those same people would like Kicker. Hell, I really like Kicker. It’s angry. Like, really fucking angry! Sometimes life makes you need to smash shit. This is your new soundtrack to that. –Ty Stranglehold (Tankcrimes)

Self-titled: 7”
This is some well played punk hailing from Puerto Rico. I especially liked how a specific song could go from being a singalong, into some off-beat vocals, then get really aggressive out of nowhere. It doesn’t stick to one über-specific genre of punk, which I really appreciated. I was hoping for a lyric sheet or insert, not just to decipher the vocals, but to get some more insight into what this band’s all about and see some more cool art. The wolf playing a flute on the cover is pretty great. Regardless, I really enjoyed this and it’s been on regular random rotation for a few weeks. If they swing through your town, go to the show and tell me what it’s all about. –Rene Navarro (Juventud Crasa, Juventudcrasa.bandcamp.com)

Self-titled: Cassette
If you know anything about Burger Records you’ll know that they’re pretty big on that huge Phil Spector-style production, which works really well with the kind of power pop and ‘60s revival bands they’ve made popular. So what if they put out a country band? Same fuckin’ thing—huge, shimmering, surfy (Surf twang? Country twang? Who’s counting?) reverberated guitars, with a steel guitar in the mix as well. The female vocals are high in the mix, lackadaisical and airy, and best when they all harmonize. It’s an upbeat, pleasant listen, in spite of the crying in your beer lyrics. –Craven Rock (Burger, burgerrecords.org)

Wires: LP
The music you’ll hear on Wires is instrumental post-rock or math rock, but if you feel like that’s a bled-dry, genre you just might be pleasantly surprised by The Joint Chiefs. They free the post-rock sound from its boring constraints by throwing all sorts of things into the mix. Be it electronics or a scattered horn through a song, or a jazzy bit here and there, they create a sound that’s always changing, never falling into the trappings of look-how-tight-we-are wankery or the soundscapey doldrums of what boring people fuck to. It’s intelligent music that’s also exciting and engrossing. The drummer is fucking insane sick; the only constant thing you can rely on while listening to Wires is his crazy-ass beats. It’s the perfect kind of music for writing or something equally cerebral. It changes things up enough to be mentally stimulating if you want more than background music but don’t want to be continually jarred out of your thoughts. If you’re into stuff like Explosions In The Sky but think they’re a one trick pony or you like Touch And Go, Don Caballero-type math rock, but wish they kept it more exciting you’ll probably like this. Even if you have the most passing taste for instrumental post-rock, but don’t care to dig through all the bird- and nautical-named redundancy, do yourself a favor and check out The Joint Chiefs Of Math. –Craven Rock (Ranch, ranchrecords.bigcartel.com)

White Glove Test: 2 x LP

It’s been well over twelve years since I first witnessed long-running powerviolence juggernauts Iron Lung opening up for Spazz’s last show at Gilman St. I can still remember how utterly amazed I was with the duo’s ferocity and tightness as well as being equally disappointed with the fact that they had no demos/records for sale. Luckily for me, they’ve been constantly releasing new records left and right since then, including a multitude of splits, two full lengths, and even some live cassette-only recordings pressed in insanely limited quantities. White Glove Test is the band’s third full length and their newest material since their Brutal Supremacy compilation tracks from 2011. Setting a new standard for innovativeness and maintaining the good name of the often tainted name of the powerviolence genre has been the Lung’s business ever since and this new album is continued evidence of just why Jon and Jensen are the undisputed kings. Twenty tracks of Crossed Out-styled stop/start beat-downs lovingly crafted and thematically centered around the unseen horrors of the medical/health industry, ultimately outlining why there’s absolutely nothing left for you to do but tag your own toe and shuffle on down to the morgue after you become gravely ill. Depending on how lucky you are, there are two versions of this album: the limited copies (this being one) come with a companion LP, which features some unsettling noise and sound collage arrangements designed to be played simultaneously with the first disc. An adventurous experiment if you’re so equipped with two turntables, but still worth owning for the first disc which should only be played at two volume settings: loud and seismograph inducing-ly loud!

–Juan Espinosa (Iron Lung / Prank)

Get It: 7”
Sloppy, poppy, raunchy fun. Moments of minuscule connection and blasts of dangling emotions. These are not songs to consider; they say what they mean to say and leave quickly before anyone has a chance to object. The songwriting is barebones even if there is a keyboard, a usual sign of a song wankery. These simple tunes echo the likes of White Lung or God Equals Genocide. There might be a few times where you can guess where the song is going with complete accuracy, but the delivery does each predictable move with justice. Never underestimate a road that has already been mapped. Grade: B+. –Bryan Static (Shake, experienceshake.com / No Front Teeth, nofrontteeth.co.uk)

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