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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
Razorcake #92
Spokenest, Gone, Gone, Gone LP
Pinned In Place, Ghostwritten By LP


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Record Reviews

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TEAM UGLY:
Meat Prize/Screaming in Tongues: Cassette
The cluster headache kicked in immediately. Pain in the temples. Pain in the back of the skull. Pain somewhere in the flaps of my brain. It felt like getting a scalp massage from someone with skeleton hands. Then it spread to the rest of my body. The skeleton-hand masseuse took out my heart and tried to inflate it. My lungs felt weird about that. Unwanted. All of this hurt. But for some reason, I didn’t run away. My curiosity about these sensations kept me in my seat. And then something wild happened. About halfway through, my body and mind just accepted these odd manipulations and even began to derive pleasure from them. I reached the end, and instead of throwing the tape away, I flipped it over and started again from the beginning. One more time. Just one more time.  –mp (Self-released, team-ugly.bandcamp.com)


THIRST THINGS FIRST:
E – Energy: CD-R
Have you ever wondered what would happen if the Aquabats adopted a science fiction theme and went even more mainstream in an Offspring “Pretty Fly for a White Guy” sort of way? Of course you haven’t. No one has. But that’s exactly what this travesty of band called Thirst Things Thirst sounds like. Now if you’ll excuse me, I think I just threw up out of my ears.  –Juan Espinosa (Self-released)


THUNDERING ASTEROIDS!:
The Nerd Punk Guide to the Galaxy: CD
Thundering Asteroids! has spent the last few years knocking out catchy punk rock with themes touching on various sci-fi/popular films, all of which leads to each band member proudly wearing the tag “geek.” This latest album continues in that vein with songs being influenced by films such as Aliensand Blade Runner, and characters such as Batman, Iron Man, and Doctor Doom. Although not as immediate as previous releases, this has gradually grown on me despite lacking any clear standout tracks—”Punk Rock Mix Tape” is a pretty good song, though, with name checks for many classic punk bands. –Rich Cocksedge (Self-released, ta@thunderingasteroids.com, thunderingasteroids.com)


TIM VERSION, THE:
Ordinary Life: LP and 7” EP
In a more righteous world all of our government’s money isn’t spent on funding global wars and protecting crooked corporations and politicians, the poor have a fighting chance, loves flows freely, and The Tim Version is played loud on the airwaves for all to hear. It doesn’t hurt to dream. I’ve been a fan of this band for years and have always held their albums and songwriting in high regard, but with Ordinary Life they’ve released what I consider to be, far and away, their best record to date. Over the last fifteen years The Tim Version has fine-crafted their own unique sound, mixing elements of punk, country, and classic rock. Dirty guitar solos that cut through, a backbone of steady rhythms and blistering drums—one of the best drummers you’ll hear in a punk band—and Russ Van Cleave’s arm-raised catchy singalongs and confessional lyrics that balance darkness and hope with words that you can go straight to the edge with. “Nobody thinks that nothing ain’t worth anything. Well I wish it was. Nobody understands the possibilities. But I’ve seen it done.” And somehow they’re able to transition from an upbeat punk tune to a slow, beautiful, and haunting country gem like “Holidays and Birfdays” or “Die in Yer Sleep” with complete ease. What really sets The Tim Version apart from a lot of other bands, though, is a true underlying sense of honesty. There are no illusions hiding in those grooves of vinyl. This album was some five years in the making. I’m a believer that creativity, whether it’s music, writing, or art, takes time to craft and a lot of sacrifice. As age creeps up on us there are more obstacles: family, careers, and money. Somehow we have to learn to juggle it all, and yet still try to be true to the sound. “It is fun, but it ain’t always easy.” Dreams about the dead, fishing, company men, the grind of work, drugs, honky-tonks, depression, weak birds, and cheap motels. It’s a world I can relate to and Ordinary Lifeis music we can all find solace in.  –Seth Swaaley (No Idea)


TINY DAGGERS:
Heavy Levitation: Cassette
The strongest and most distinctive aspect of Tiny Daggers’ cassette is their singer, who convincingly combines Kathleen Hanna’s best tantrums with Exene’s frankness. Alas, the music itself doesn’t do anything for me: the thick sludge of dropped tuning would be better suited to straight metal, and the recording itself doesn’t do the bass/drums band any favors, as everything blurs into a same-sounding hookless mess.  –Michael T. Fournier (tinydaggers.bandcamp.com)


TIT:
Self-titled: 12” EP
Dark synth stuff from members of Digital Leather and The Hussy that at times sounds like Tubeway Army fronted by Marvin the Paranoid Android. Kinda dig it, I gotta say. Limited to an evil 666 copies.  –jimmy (FDH)


TOMBS:
Savage Cold: CD
So good and heavy. Massive guitar sound backed up by pummeling percussion. Think of bands like Tragedy and From Ashes Rise with some black metal influences mixed in. It’s tuneful and crushing, and, at times, bordering on hypnotic when they let the black metal side come to the fore. There’s the buzzing bee guitar riffing that’s topped off with the cold lead guitar notes drilling into your brain, not to mention that constant hammering from the drums. The songs are paced well, never staying too much in one mode. This is an actual album and not a collection of random songs. Songs flow together, build off where the other ended, and they each have their own distinct elements to stand out from the other, whether it’s how the drums come into the song (and this drummer, Andrew Hernandez, is f’n good!), or the guitars creating a din of sound, or everything piling in together. The switch up towards the end of “Portraits” is great. Simple, but effective as hell and comes out of nowhere. Then there’s the transition from “Seance” to “Echoes.” Two very different songs, different textures, and if you heard them separately you wouldn’t think they would change as smooth as they do. The album does run aground a couple times with the songs “Deathtripper” and “Severed Lives.” It doesn’t sound like either song was fully cooked. They veer off from what has come before in the other songs, which can be great sometimes, but in these instances it just doesn’t work. “Severed Lives” could improve greatly by chopping out the last couple minutes and the semi-whispered vocals. Other than that, the rest of the material on here is pretty damn solid, and that drummer... Whoa!  –Matt Average (Relapse)


TOTAL ABUSE:
Looking for Love: 7” EP
There’s nothing like time that’ll start fucking with a band’s sound if they happen to live long enough. For some, time—it’ll send ‘em down a road that dead ends in a dank cul-de-sac of ego and wretchedly overblown output. For others, it sends ‘em in weirder country. My recollection of the last thing I heard from these cats, their Sex Pig EP, was an exercise in spazzed-out, zippy hardcore. If this release is any indication, their evolution has resulted in a marked shift into lower-gear tempos and a deconstruction of their previous take on the hardcore template anchored on relentlessly dissonant and caustic instrumentation. The results are an impressive three songs stripped down to the point of almost coming off more as a potential soundtrack for primal scream therapy than “rock music.” If this is the road time is sending ‘em down, here’s hoping they manage to keep on it a good spell more, ‘cause odds are shit’s only gonna get much, much more interesting the further they travel.  –jimmy (Deranged)


TRUST FUND / JOANNA GRUESOME:
Split: 12” EP
Trust Fund took me a couple listens to warm to. I like the unpolished style, and the vocals, when they harmonize, are great. They can get a little too precious sometimes, but then the majority of the time they’re pretty good, whether it’s a guitar buzzing with distortion, or the harmonized vocals, or even when whoever is taking the lead vocal really sings and doesn’t do the spoken thing. The way they sing in “Scared” is great, with the backing vocals, how they play off one another and stay on point when the song changes tempo. The horn that comes in around the middle of “No Pressure” makes the song! It adds a little extra character and emphasizes the morose tone of the song. The more I listen to their side, the more it grows on me. If they did a tour of playing only living rooms, I bet it would be great. I have to admit this is the first time I’ve listened to Joanna Gruesome, which only shows I’m lazy, as I tend to check out just about anything connected to Slumberland records. This is the kind of pop I really like. It’s tuneful, sugary sweet in parts, noisy, slightly jagged, and a combination of dreamy guitars and dreamy female vocals. “Jerome (Liar)” starts off their side very upbeat, then they transition into “Satan (Desire Edition)” which is downbeat and a touch noisier. I like the bit of distortion that is put on the vocals, and when the song suddenly picks up and gets a little heavier, I’m over the moon. The vocals on “Coffee Implosion” are perfect. Songs for listening to when winter starts to melt into spring.  –Matt Average (HHBTM)


TURNSTILE:
Non-Stop Feeling: LP
Ahhh shiiit! I’ve been waiting impatiently for this bad boy to drop and daaang—I ain’t disappointed. Non-Stop Feelingis heavy, groovy, catchy East Coast hardcore that grabs from all corners of the genre—specifically its slightly more esoteric subsects. I’m getting vibes from latter-day Underdog, Progression-era Snapcase, Quickness-period Bad Brains, early-to-mid aughts favorites like Mental, Lion Of Judah, and grooves straight out of Biohazard’s prime (…and, dare I say, some early Red Hot Chili Peppers jams). Overall, Turnstile has more than delivered on the promise of its first EPs and released an incredibly unique, exciting hardcore record that demonstrates a profound knowledge of its genre and personal passions that are certainly more the exception than the rule in modern hardcore. Phenomenal.  –Dave Williams (Reaper)


TWISTED:
Utopia: LP
I wasn’t expecting what burst out of my speakers when first playing this. I had thought I’d be getting some melodic indie rock but instead I was floored by an edgy and prickly suite of songs, containing the exuberance of Trusty, tempered by angry vocals which are, on the whole, spoken almost in a monotone, as opposed to being sung. That delivery adds an anarcho quality to the record, resulting in an intriguing combination that I find invigorating. It’s always good to be blindsided now and again and I’ve certainly been left reeling by this album. –Rich Cocksedge (Specialist Subject, Andrew@specialistsubjectrecords.co.uk, specialistsubjectrecords.co.uk)


UKE HUNT:
Self-titled: CD
I like Me First And The Gimme Gimmes. I like ukuleles. I don’t like them in combination. This is Spike Slawson’s ukulele cover band with a collection of exceedingly hokey renditions of tunes culled from respectable artists such as The Kinks, David Bowie, Depeche Mode, and The Carpenters. Yes, you will think The Carpenters are respectable after you hear this record. He is joined by Lagwagon bassist Joe Raposo and Jamin Barton, who played sax on the last Gimme Gimmes record. The production is slick but this ends up sounding like one of those records from the ‘50s with the singer draped in velvet or satin that is so uncool—it could be cool—but isn’t. This just makes me want to listen to Petty Booka.  –Lisa Weiss (Fat Wreck Chords)


USER ERROR:
Hey Fuckers: Cassette
Most people will first want to know that this band contains an ex-member of the legendary ‘90s hardcore band Assfactor 4, and while this doesn’t necessarily sound like AF4, you can certainly hear some of the same influences in these songs in both musical style as well as lyrically. At times, the songs have space for the melody to really thrive, sounding not unlike an angry version of some of the melodic punk bands to come out of Chicago like Naked Raygun. Good stuff.  –Mark Twistworthy (Protagonist, protagonist_music@yahoo.com, protagonistmusic.bigcartel.com)


USER ERROR:
Hey Fuckers: Cassette
Seven song cassette, pro-dubbed in a neat silkscreened envelope. Features folks from Assfactor 4 (!), and there’s something very cool about older dudes stepping back into the fray and coming out, if not untouched, at least without a glaring misstep. This stuff’s good. User Error’s way more chill than Assfactor 4 was—it’s an interesting, uptempo kind of emo/punk hybrid that reminds me of sweaty, fetid basements, duct taped microphones, and newly discovered cigarette burns in your shirt when you don’t even smoke. I’m probably letting their pedigree color my opinion a bit, but I hear passing nods to older ‘90s bands like Tonka, Whatever, and Eagle Bravo here. The title track’s fantastic and the whole mess is consistently catchy—those guitar lines! So simple! So good!—without ever coming across as formulaic. This one’s been growing on me. Check it out.  –keith (Protagonist)


VACANT STATE:
Chains: 7” EP
Sounds like it’s just come back from Boston circa 1981 to unleash a little whoop-ass on a scene overripe with backpacks and nouveau-geek chic. Singer alone sounds like Choke Slapshot’s unholy progeny.  –jimmy (Warthog Speak)


VANITY:
Vain in Life: LP
I heard people describe this as sounding like All Skrewed up-era Skrewdriver, the pre sketchy era. Not true. This is straight up Voice of Britain, Hail the New Dawn-era Skrewdriver. These dudes nailed the sound of early ‘80s English skinhead music. If you love the sound of Skullhead and Skrewdriver but can’t hang with the idiotic White Power shit, this is the record for you. File next to Skullhead, ‘Driver, No Remorse, and Battle Ruins. YOFC crew, pure class.  –Tim Brooks (Katorga Works)


VARIOUS ARTISTS:
Back from the Grave Volumes 9 & 10: LP
All hands on deck!!! If there’s a more important series of a certain time that shines light on another certain time, I don’t know it. Many years have passed since Back from the Grave 8. These two LPs go to show we’re not running out of old. I guess it’s obvious I’m excited about this, but I did listen objectively and these are right up there with their predecessors: old and unheard. Not that I claim a profound knowledge of lost singles, but I’ve been burned with recycled comps and BftG has not disappointed yet. Taste, taste, taste still reigns at Crypt. So if this is what you’re into, you don’t really need me to tell you that you need these. If you think you might be into it, get a job mowing lawns and pick up the rest. These records remind me of the parties I wish I had been invited to. –Billups Allen (Crypt)


VARIOUS ARTISTS:
Phoenician Microsystems Presents Shortshorts: 7”
Here are twelve short sentences about this record. This is pretty good. There are twelve songs on this record. All of them fit on a 7”. Not all of the songs are phenomenal. Sonically, they’re all over the place. Some pop punk, some thrash rock, some shock rock-inspired synthpop. More labels should try experimental releases like this. There’s a small chance I’m only giving this a good review because of how much Short Music for Short People means to me. Thirty second songs are the best. I need an eleventh sentence or my premise is shot. Here’s to volume two. Grade: A-.  –Bryan Static (Phoenician Microsystems)


VARIOUS ARTISTS:
Za Krótko!!! Za Szybko!!!: LP
112 Polish bands on one record means a shitload of short songs. The label makes no secret of the fact that the base of inspiration for this madness was the legendary Slap A Ham Bleauuurrrrggghhhh compilations and Fat’s Short Music for Short People. Essentially, you have a grab bag of assorted punk/hardcore/grindcore songs and one brave sucker sequencing it all. For someone with the attention span of a fruit fly (such as myself), this would appear to be mandatory listening. Unfortunately, the endless list of unfamiliar band names makes for a daunting and damn near impossible task of identifying any standouts since every song is just short enough for you to forget as soon as it’s over. I’m definitely on board with the idea of compilations like this, so I do feel a little bit like an asshole for not being more stoked on this record.  –Juan Espinosa (Pasazer / Kwadraciok, castetcrew@02.pl))


VHS:
Vultures & Hungry Spirits: Cassette
Psych garage with a slight, post-hardcore, math rock influence. There’s a spooky tone to it that’s kind of cool. Not bad, but I could seriously go the rest of my life without hearing the Burger Records distorted vocal trend on another cassette tape. This band has potential, though, if they can drop (or adapt) the psych garage shtick enough to find their own sound.  –Craven Rock (Casino Trash)


VICIOUS PLEASURES:
Self-titled: EP
Wow! This is really, really, really good. Reminds me of early TSOL (especially the song “Concentration”), but crossed with early ‘80s UK punk. The songs are tense and tuneful, fleshed out with interesting riffs, bridges, melodic elements, and a relentless drive. From the opening of “Scattered” with its building drum roll and scratchy guitar, to the barreling closer “Concentration,” Vicious Pleasures keep the whole experience at a constant boil. The vocals are clear, concise, and delivered with an undeniable intensity. I also really like the guitar tone, with its dark, gritty edge recalling the previously mentioned TSOL, and that Southern California sound from the early half of the ‘80s; and yet Vicious Pleasures is a band rooted firmly in the here and now. Something I’m certain I can listen to in ten years and it won’t sound dated.  –Matt Average (1859, Different Kitchen)


VIOLENT ARREST:
Life Inside the Western Bloc: LP/CD
A band featuring ex-members of Ripcord, Can’t Decide, and Four Letter Word will always have high expectations placed upon it. However, Violent Arrest doesn’t give a toss for such pressure and goes about its business of dispensing a barrage of razor-sharp hardcore with ease, featuring plenty of anti-establishment sentiment delivered with an uncontained ferocity by new vocalist Welly. The one concession to short and fast comes in the form of “Mean Creep,” a lengthier track which adds the same level of variety to the album as did Jerry’s Kids’ “Raise the Curtain” on Is This My World? –Rich Cocksedge (Boss Tuneage)


VIVA LE VOX:
Luv Hungry Part I & II: CD
This is like a Tom Waits CD or something. Parts of it come close to sounding like gypsy punk, but it never really gets heavy enough. What I’m saying is this is light music. Not that that’s necessarily a bad thing, but I had to wonder how this disc made its way to me in the first place. Here’s the deal: this album uses a lot of acoustic guitars and way too much kazoos. How much is too much kazoo? What How about like half the songs? I think that is too much kazoo. The singer has a pretty nice voice though, so if you’re just desperate for more folksy stuff, there are far worse options than this. Grade: B.  –Bryan Static (Self-released, vivalevox.org)


VIVISEKTIO:
Self-titled: 7”
Dark, mid-paced hardcore punk from Finland. Not quite crust or metal but there are some elements of each poking through. I could see these folks playing a gig with Kylesa and World Burns To Death and appealing to fans of both those bands.  –Juan Espinosa (Kämäset Levy, vivisektio83@gmail.com)


WAKE UP LUCID:
Gone with the Night: CDEP
Six-song platter that looks to be an appetizer for an upcoming full-length. This trio are cousins, hopefully there are no fisticuffs happening, which seems to be the case sometimes when you have relatives in bands together. The theme hear seems to be moody, fuzzed-out rock. I’m hearing a bit of The Black Angels welded with The Rain Parade. “Don’t Fear” and the title track are stuck in my mind the most here. It’s a solid mini-album that compels me to keep an eye out for more.  –koepenick (Self-released, band@wakeuplucid.com))


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