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Record Reviews1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 | 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| < Prev Section | Next Section >  RSS Feed
ALL NATURAL LEMON & LIME FLAVORS:
Straight Blue Line: CD
The "Loveless" ‑era My Bloody Valentine influence is painfully obvious, yet this stands pretty well on its own. While not a sonically overwhelming or as densely lush as "Loveless," this group manages to effectively channel MBV's poppiness and wobbly, hypnotic repetitiveness through a sound not unlike Os Mutantes' psychedelic bossa nova experiments and come out sounding less like a rip off than extension of an idea. Shoegazers all over the world can rejoice. With this release, the total number of bands playing that style that are worth a piss has now been upped to five.
–Jimmy Alvarado (Gern Blandsten)
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ALL NIGHT DRUG PROWLING WOLVES:
Self-titled: CD
Great title for an album, kinda hokey name for a band, especially considering that it doesn’t sound like these guys are on any cool kinds of mind-altering/expanding drugs. The tunes are mediocre power pop that fall short of memorable. It reminds me of something that I can’t quite put my finger on…mid-’90s “alternative” FM radio…that fuckin’ “Flagpole” band, Harvey Danger. There you go. Colonel Records put out the great King Tuff record recently, so grab that release rather than this one. Stick to the Pets or Gentleman Jesse if you’re looking for a power pop fix.
–Josh Benke (The Colonel, www.myspace.com/thecolonelrecords)
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ALL NIGHT DRUG PROWLING WOLVES:
Make It Right: LP
This record starts off in a mid-tempo fashion with lots of overtones of bouncy ‘77 punk and Brit pub rock. Clear influences from Stiff Little Fingers, Sham 69, and The Jam along with plenty of hooks and choruses that soar. By the time the fourth track hits, things slow down a bit and more Americana influences become prevalent, made even more pronounced by the presence of organ which continues to play a role in most of the other songs. The vocals by frontman Tom Cheshire are two parts Jon Langford of Mekons and Waco Brothers fame and one part Joe Strummer with a ragged working class timbre that fits the music appropriately. Sometimes it strays a bit too far from pub rock to heartland rock. On the balance, it made for more-than-tolerable listening experience as a reviewer, yet did not peak my interest enough to give me a desire to seek out any other releases by All Night Drug Prowling Wolves.
–Jake Shut (The Gospel Of Rhythm)
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ALL OR NOTHING H.C.:
What Doesn’t Kill You…: CD
Just in case you didn’t pick up what “h.c.” stood for at the end of this band name—this is a hardcore band. Fronted by lead singer Renae Byrant, this band makes Tsunami Bomb look like a bunch of pansies. Some of the feel-good topics brought up here include: dysfunctional families, oppression, fear, and violence. Not something to play at your next office party, but the band is competent and seems to be schooled in the classics. I can hear some Verbal Assault, some Gorilla Biscuits, even some Suicidal Tendencies (first album only, please). If you’re mad at the world and think the man is bringing you down, this may be the record for you.
–Sean Koepenick (On The Rag/Rodent Popsicle)
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ALL OR NOTHING H.C.:
What Doesn’t Kill You...: CD
I have read Renae Bryant’s columns in MRR for a number of years and she has mentioned her band many of times. I never actively went out to purchase her band’s music and never went to check out her shows. My loss. If this release is any indication, I have been missing out on a lot. The songs are mid-tempo to fast. It’s straight-up punk rock with raw production that keeps things aggressive. Her vocals are intense with anger and you truly believe her words because of how she delivers. I have read that she has had a lot of line-up changes throughout their history, but that does not hurt the music here. She seems to have built a sold backing here since there seems to be no weak link. The songs are strong and keep me attentive. Now I need to get off my ass and go see them live.
–Donofthedead (Rodent Popsicle)
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ALL OR NOTHING H.C.:
All of These Are Days of the Dead: 7"
Fairly standard modern hardcore with a bit of crustiness around the edges and hints of the classic NYC hardcore sound—they sorta remind me of early Underdog. Not spectacular, but definitely solid and entertaining. It’s on cool red and black sunburst vinyl, too. I enjoyed it.
–The Lord Kveldulfr (On The RAg)
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ALL OR NOTHING H.C.:
All of These Are Days of the Dead: 7"
This 7” was released a couple of years ago. Not sure why it’s just getting in to us here for a review, but here it is. All Or Nothing H.C. Plays a style of hardcore that I just don’t dig. They’re the kind of band that is heavily influenced by classic hardcore without really adding anything new to the style or saying anything particularly interesting. The tunes are all well-played and the politics are dead-on, but what’s the point in one more group like this? If you are an absolute hardcore fanatic you might be into this. Those of us with more eclectic tastes won’t be able to separate it from the herd.
–Ryan Horky (On The Rag, ontherag.net)
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ALL OR NOTHING HC:
Search for the Strength: CD
Even if I didn’t know this was Renae Bryant’s band, I would’ve recognized her vocals instantly. Renae is an MRR columnist and she also used to be the singer in an little-known band called He’s Dead Jim. As far as I know, He’s Dead Jim only put out one seven-inch and had a few songs on a few obscure comps, but they were a really cool band, snotty and dripping with attitude and funny (though sometimes funny despite themselves). A friend of mine taped the seven inch for me, but I lost the cassette a long time ago. I miss that cassette. I was excited to see that she’s fronting a this new band. All or Nothing HC is definitely a departure for Renae musically. Her vocals are still dripping with attitude, but the snottiness has been replaced by a new toughness, and the band behind her traded in their melodies for a faster, meaner sound. This sounds more like a female-fronted Sick of it All. The songs are tight and the musicianship is solid. I think Renae’s become a better singer over the years, too. I’m kinda torn about this album. Part of me misses the old He’s Dead Jim sound; part of me is just happy to have this new album to listen to.
–Sean Carswell (On the Rag)
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ALL OUT WAR:
Truth in the Age of Lies: LP
A well-done reissue of a very important piece of metalcore history. This is from a time when there was no defined aesthetic for the genre; it was just something that happened when some punk kids from a few cities around the U.S. decided to try their hand at metal. The original run of this record came out over twenty years ago when these guys, along with bands like Integrity, helped set the scene for the Victory Records craze of the late ‘90s that turned into the awful Ferret Records bullshit that hit later and had less and less in common with the punk scene as it evolved into generic drop C riffs and karate moshing. This is a record by a group of five fuck-ups who had the same goals and intention of any other hardcore band at the time: put out a record, hang out with your friends, and maybe open for some good bands. How far have we fallen? There’s no point in talking about the way the band sounds, because I imagine that I won’t change anyone’s opinion by talking positively or negatively about them. I will only mention that this reissue sounds fucking fantastic. Organized Crime did a great service to the original design and sonic qualities of this record and it’s refreshing to see a reissue of a higher profile release that’s more than a shitty digital cut of the record thrown inside a flimsy cardboard sleeve for sixteen bucks.
–Ian Wise (Organized Crime)
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ALL PARALLELS:
Formulate a Tragedy: CD
Sweet fucking Christ. I may have finally found something as horrifically bad as Into Another. There’s a hint of bad funk, a slew of boring rock riffs (throw the horns, motherfuckers!), and lyrics about working to make girls theirs, along with vaguely sexist songs about how to get money, girls, and drinking, and one track about homelessness which is so heavy-handed that the band should really consider giving up music and going into boxing, sooner rather than later.
–Puckett (On the Rise)
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ALL PARALLELS:
Formulate a Tragedy: CD
You can smell it a mile away when a band has their hearts in the wrong place. This CD reeks of I want to make it! This band sounds like many other rock bands that you would catch on MTV or Fuse (MuchMusic for you Canadians). When this band is in pop mode, they sound way too much like Weezer. Like we need another Weezer clone band. The rock stuff is like Nickelback or Puddle of Mudd or any one of those boring rock bands. Generic. And they have that Oh god, not another band that sounds like (enter band name here). More power to these guys. I will make this go away and not have to listen to this again. In the trash you go.
–Donofthedead (On the Rise)
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ALL SYSTEMS FAIL:
Self-titled: 7"
Crusty hardcore from SLC, with big, crunchy guitars, dual vocals and one song sung in Spanish. Not too shabby.
–Jimmy Alvarado (Loderbrock)
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ALL SYSTEMS GO!:
Mon Chi Chi: CD
One of my favorite bands to emerge in the last five years is back with a new disc to tickle even your mom’s pubic region in the most delightfully rockin’ fashion. ASG’s Mon Chi Chi features all-fingers/no wank guitarist Mark Arnold (ex-Big Drill Car) and singer-in-chief, John Kastner (ex-Doughboys). This time around, there are also two new members in tow – drummer Dean Bentley and bassist/singer Tom D’Arcy, who took Frank Daly’s (also ex-Big Drill Car) spot after Frank gave the final middle finger to touring. I’d like to give credit to you, Tom – those are some pretty fuckin’ big shoes to fill, and this record shows you’re down for the cause. Gold cuts here are “Running Blind," “Fascination Unknown," “Sweet Revenge," “Record of Hate," and “Taking Up Space." I have to admit that this CD has grown on me more and more as I’ve been spinning it lately, and I’m fully backing Mon Chi Chi, but I’m giving the absolute you-buy-this-fucking-CD-or-I’m-kicking-your-stupid-ass endorsement to their self-titled full-length debut. This one’s strongly recommended, but that first release is essential ASG bliss. Bands like the Ramones, Motorhead, ‘Mats, or Dramarama remind me a lot of ASG. Not so much the music, but how ASG is so “right under your fucking nose, dummy” good.
–Designated Dale (www.asgcentral.com)
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ALL THROUGH A LIFE:
Self-titled: 7” EP
Angular, discordant stuff that would’ve been huge had they come outta DC in the late ‘80s and had been affiliated with a certain label that still resides in that area.
–Jimmy Alvarado (Clue #2)
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ALL TIME LOW:
Put up or Shut up: CD
All Time Low remind me of Pig-Pen, you know, the character from Peanuts who always had the dust cloud around him. Well, on one occasion, Pig-Pen decides it’s time to clean up his act (to gain the approval of the snobby Violet). But, Pig-Pen’s known for his dirt. It’s a part of him. By cleaning himself up (though he gets dirty again quickly—it’s in his nature), he becomes something that he’s not, and by changing just a few of those surface details, the entire person was changed. With bands like All Time Low: they’re like punk, but cleaned up. All the elements that make punk what it is—be it in the sound, in the politics, or in the fun—seem to be rinsed clean here. There’s still enough lingering elements to make it feel familiar, but something is definitely not right. While this was playing, I couldn’t help but imagine videos filled with panning cameras, wide legged-stances made more ridiculous by their too-tight pants, and eyes rolled upwards in the now standard (thanks Billie Joe) pop punk eyes. I like my punk like the Peanuts Gang liked Pig-Pen: dirty, not because that’s how he should be, but because that’s the only way he can be.
–Megan Pants (Hopeless)
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ALLEGED BRICKS:
Place Your Blame: CD
Oi-influenced punk with low, deep gargling vocals and the occasional shout out anthem. This brings to mind The Wretched Ones or The Suspects, mixed with slow NYHC breakdowns. This feels a bit bogged down at times, so the peppier songs come across better, such as in “Backpack” and “The Pain.” They do a Bad Brains cover of “Don’t Bother Me” with what sounds like someone else singing. Overall this is solid, but somewhat unremarkable.
–KO! (Street Anthem)
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ALLEGED GUNMEN:
Return to Zero: LP
I have the same problems with this full length that I did with the 7”. It’s a little worse, actually. Instead of sounding like outtakes to the Clash’s London Calling, Return to Zero sounds more like outtakes to a mix between Combat Rock and Big Audio Dynamite. Hey, I like the Clash. That’s why I already own their records and don’t need to hear more stuff that seems to be merely picking the crud out of the Clash’s fingernails. The vocalist sounds creepily close to Mick Jones. Let’s be specific. What they do, on occasion, isn’t an homage, but a direct chord-for-chord rip-off from the Clash. The band even does the “koo koo koo” vocal thingie. Add some reverb and delay and in almost every song, mention guns or the old west, and you’ve got Return to Zero. It’s incredibly derivative, and this time they’re not poaching the A-material of a great band. The two instrumentals are pretty, though. The cover art—stencils of a man getting shot—is top notch, too. Summation: its chances of going up on a wall instead of the turntable are about a hundred to one.
–Todd Taylor (Kapow)
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ALLEGED GUNMEN, THE:
Audio Invasion: 7"
I’m all for The Clash. I stand by London Calling. The Alleged Gunmen make up two brand new could-be Clash songs by rearranging many distinctive pieces of from multiple songs on London Calling and filling in the particulars with their own rubber cement, so everything sounds pretty much aligned. It’s good, but it’s strange how absolutely reminiscent the song “Audio Invasion” is to very particular parts of Clash songs. Not only does it have the caw, caw, caw bird sound as the song “London Calling,” there’s some zigger fish (Mick Jones calls it a cheese grater in the song itself) and keyboard danglings that seem to come almost directly from “Revolution Rock.” Couple that to the similarity of the intent of the lyrics: “this here music smash up the nation/ this here music cause a sensation” vs. “audio invasion across the nation/ it’s a Gunman revolution,” and a huge thought bubble with a question mark pops over my head. I like it, but how close to one’s heroes does a band have to set up their microphones?
–Todd Taylor (Kapow)
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ALLEGIANCE:
Heroes in the Making: CD
The best Blitz impersonators I've heard in years. The fact that they're from Japan makes this even more impressive.
–Jimmy Alvarado (MCR, 157 Kamiagu Maizuru, Kyoto 624 Japan)
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ALLEGIANCE:
Whose Border, Whose Fight: CD
Based solely on the sound of
this, one might mistakenly take these guys for some long-lost British
oi band from 1982 or so, but no, this is comprised of fifteen tunes
recorded within the last six years in Japan by what appears to be two
Japanese dudes and a white guy. True to the style they’re obviously
influenced by, the arrangements are spare, yet oddly melodic, and the
lyrics are often political in nature, resulting in an overall well executed
package. I dog a lot of the newer oi stuff, primarily because so much
of it sucks so bad, but this is a nice example of a band managing to
keep things “traditional” without resorting to wallowing in a cesspool
of drunken, violent stereotypes. Thumbs up.
–Jimmy Alvarado (www.ghetto-rock.com)
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ALLEGIANCE:
Heroes in the Making: CD
The best Blitz impersonators I've heard in years. The fact that they're from Japan makes this even more impressive.
–Jimmy Alvarado (MCR)
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ALLERGIC TO BULLSHIT:
You & Me This Is What We’re Here for and What We’re for Is What We’ll Get: 7”
Los Canadians, who Ivy of ATB previously sang for, had a strained appeal for me. The music didn’t grab me, but that voice… Ivy sounds like she swallowed rock candy: sweetness and gravel mixed together. She has this desperate, pleading quality to her vocals that could easily make the majority of female blues singers envious. Allergic to Bullshit makes it a lot easier for me to listen because, well, they’re fucking awesome. This recording is really dirty. There’s so much fuzz that it goes from low-fi to pretty annoying. Even with that in mind, this is well worth picking up, along with their earlier 7”, Train I Ride.
–Megan Pants (Left off the Dial)
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ALLERGIC TO BULLSHIT:
Train I Ride: 7” EP
Ivy, who sings for ATB, has
a wonderful set of pipes. She’s clear, loud, and can hold a note.
The fact that she’s fronting a dirty DIY punk band makes these proceedings
mighty fine. This’ll probably help about fifteen people out, but ATB
sounds like Seaweed (nice and sinewy. The songs breathe and aren’t
claustrophobic) coupled with the occasional fun but sad motivation of
Bitchin’. Songs range from the joy of riding a train to the sorrow
of being a product of a foster home (“Fuck You Motherfucker”). Iggy
Scam (author of the great zine, Scam) not only plays guitar but
writes an informative essay on a pack of spray-painting, beer-drinking
punks and some things to remember when fingered by The Man as a group.
Skip laundry for a couple days and send your two dollars to ‘em. You
won’t be sorry.
–Todd Taylor ($2 ppd., Half-Day)
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ALLERGIC TO WHORES:
Simple Minds are Easy to Assemble: CD EP
These guys pick up where they left off with their seven-inch EP and let loose with 10 more tracks of their patented "Peni on Crank" sound. Fuck, they’ve even picked up their already frantic pace and infused their mordant songs with even more virulence. If I happen to forget to put this on my "Top Ten Hardcore Releases of 2000," feel free to kick me in the ass. Highly recommended.
–Jimmy Alvarado (Firebrand, PO Box 126, Uniontown, OH, 44685)
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ALLERGIC TO WHORES:
Chaos Before Death: CDEP
This one’s a bit slower than their usual thrash gallop pace, but the level of quality hasn’t diminished accordingly and the singer still sounds like he’s about to burst a vein at any moment. Good stuff
–Jimmy Alvarado (Dark Front)
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