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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 41 42 43 44 45 46 47 48 49 50 51 | 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
CHARGERS STREET GANG, THE:
Holy the Bop Apocalypse: CD
Snotty, trashy, little Stooges here, a little Dead Boys there, sloppy punk rock. Good, but nothing here really sets them apart from the pack.
–Jimmy Alvarado (Get Hip)
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CHARGERS STREET GANG, THE:
Through the Windshield: CD
Recorded by Tim Kerr, this is sweet, large, ambitious Panorama Dome rock. The failure rate with bands incorporating the milestones in rock is high. It’s a steep slope, but I think The Chargers Street Gang have got the combination to the safe cracked: high voltage, powering Hoover Dam type hooks, soaring, swerving vocals, and a drummer who sounds like he has four arms. When the foot’s taken off the accelerator, it’s sweating grooves (and that’s a test most bands fail). Although everything on this album isn’t solid gold, I still like it plenty. I have a theory. Not only have they passed rigorous riffs and chops commando training, but their appreciation for big rock is a deep well and not just an affection to get all pouty and crank their butts out like a bunch of twenty-first century dandies (such as the Mooney Suzuki). I bet you this: They know the Ron Asheton and not James Williamson version of the Stooges was supreme. In the end, Through the Windshield is a tasteful, yet forceful bludgeoning that fans of AC/DC, The Clone Defects, The Baseball Furies, and anyone who likes hairy balls and punk abrasions on their rock would appreciate. They all share the same viral, itching disease.
–Todd Taylor (Get Hip)
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CHARGERS STREET GANG, THE:
Holy the Bob Apocalypse: CD
Gawddamn almighty hell yeh, this is a roarin’ gargantuan
skullfucker of a disc! It’s an abrasive eardrum-bursting overload of thunderous
garage-rock fury rampageously enshrouded in an abundant array of feedback,
distortion, aggression, attitude, and all-out turbulent ballsiness. Such
maniacally mayhemic musicianship! Such rage-ridden, attitude-driven vocals!
Such full-force in-your-face aural brashness! Such fun, such fun, such fun!
Mine ears have heard the glory of the coming of Satan, and it sounds uncannily
like The Sonics, MC5, Mudhoney, New Bomb Turks, and Rocket From The Crypt
openin’ a big ol’ wallopin’ can of whup-ass on Godzilla, King Kong, and Ghidora
all at once – so there ya have the crazed unrelenting cacophony of The Chargers
Street Gang! If your ears are enfeebled and weak, get your decrepit sorry ass
outta the way. There’s a new Gang in town, and they don’t take too kindly to
aurally unreceptive lowlifes like you. Waaaaahooo, rock’n’roll,
motherfuckers!!! -Roger Moser, Jr.
–Guest Contributor (Get Hip)
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CHARIOTS:
Congratulations: CD
Even with the keyboards this sounds too screamo for my liking.
–Donofthedead (Troublemanunlimited)
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CHARIOTS RACE:
Existence: CDEP
A note was attached to this that the Rhythm Chicken was a friend and fan of the band. The band should have had him review this because it could fall into the wrong hands. And that is what happened. It fell into mine. Just like everybody has assholes, we also have opinions. My opinion is that this is average college rock and it didn't get my underwear into a bind.
–Donofthedead (Divot)
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CHARISMATICS, THE:
Self-titled: CD
This is melodic high-energy pop punk that’s as smoothly polished as a freshly minted 25-cent piece! The Charismatics perfectly create a frenetically pulsating sonic collage containing some of the most complex harmonies and intricately textured melodies that’s ever jubilantly leapt into my ears. It’s a stunning, powerful, and energetically unrelenting release solidly similar to several of the sugary-sweet punk boy wonders on the Fat Wreck Chords roster... so if ya prefer your punkrock unruliness with a delectable dose of giddy goodtime poppiness, then I thoroughly recommend the harmonious hi-jinks of The Charismatics. This disc is damn good all the way down to the very last ditty!
–Guest Contributor (Stompbox)
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CHARLES ALBRIGHT:
I’m on Drugs: 7” EP
Mildly over-the-top one-man-bandism with poundy drums, blistery guitars, and squawky vocals! And, while i appreciate the appropriately mononucleotic flipout of “I’m On Drugs” as well as the crunched-out “Tell Her No”-esque riff of “I Wanna Hold You,” it’s really the mindlessly positive “I’m Just A Fine Young Man, And I’m Doing So Well” gutter-raver that sends me on a one-way trip to Albright-ville. I mean, as many times as he says it, ya can’t help but buy into his conviction. Better than self-hypnosis AND a Thighmaster®! BEST SONG: “I’m Just A Fine Young Man, And I’m Doing So Well” BEST SONG TITLE: “I’m Just A Fine Young Man, And I’m Doing So Well” FANTASTIC AMAZING TRIVIA FACT: The A-side and B-side are identical, with a run-off groove message reading “CUT BY ((Japanese characters))!!! Ya dig?”
–Rev. Norb (Charles Albright)
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CHARLES ALBRIGHT:
The First Four Years: Cassette
This one man band from Sacramento, CA does a rip on the Black Flag album of the same name, even wearing a Black Flag shirt on the cartoon cover. You have eighteen mostly short songs covering the time from 2009–2012 that were originally released as singles, plus three unreleased songs. He plays really fuzzed-out garage punk with some hooks thrown in and a lot of energy. The production is a bit rough, but it makes the recording work, kind of like finding an old cassette that got beat up, but still has tunes that you really like on it. Only 250 hand-numbered copies made, 100 yellow, and 150 clear.
–Guest Contributor (Pleasant Screams / Sacramento, pleasantscreams.com, sacramaniacs.com)
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CHARLEY HORSE:
Professional Sinners: LP
A lot of the country revival produced by hard rockers comes across as a little affected to me. While it’s not my bag, Professional Sinners comes across as a sincere effort. The band can play and the record is well produced. The songs have a range of rockabilly and hard country influences and go beyond learning a few chords and whining about drinking. I would think those into later Social Distortion would enjoy this.
–Billups Allen (Ratchet Blade, ratchetbladerecords.com)
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CHARLIE & THE MOONHEARTS / TEEN ANGER:
split : 12”
Charlie & the Moonhearts make no bones about playing ‘60s-inspired rock’n’roll from the same local scene that has produced acts such as Ty Segall/Tradional Fools, Audacity, Thee Makeout Party, and many, many more. Lots of soul, lots of rhythm. It’s garagey, it’s surfy, and it’s time-tested rock’n’roll that’s produced for pool parties and other assorted good times. Teen Anger hail from Toronto and the music is much more frigid. While still heavy on the ‘60s influence, they twist the sound into a damaged, curdled knot. Not as abrasive as some, less approachable than most. Still good, reverbed-to-hell rock.
–Daryl Gussin (Telephone Explosion)
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CHARLIE AND THE MOONHEARTS:
Drop in Drop out: 7"
This record features three songs from a psychedelic garage rock trio out of the Bay Area and produced by Ty Segall, the hardest working musician in the Bay Area. The vocals are so blown out that I have no idea what they’re hollering about, but this is some mean-ass ‘60s rawk. Usually I’d run from a song called “Stoney Jam,” but the b-side cut is all kinds of crazy.
–Jim Ruland (Tic Tac Totally!)
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CHARLIE AND THE SKUNKS:
Take an Ice Cream Scoop out of My Brain: 7” EP
Each demi-decade or so produces its own Area Of Where-It’s-At-Ness—pop punk, lo-fi, garage punk, whatever—that sort of defines the direction whence that particular mini-era’s Shit Of Interest® is likeliest to come. If there were any quandaries in my mind over where exactly the Immediate Now’s Area Of Where-It’s-At-Ness is at, Charlie and the Skunks have cleared them up nicely: The Immediate Now’s Area of Where-It’s-At-Ness is clearly a sort of low-maintenance hybrid of simp-pop, lo-fi, garage punk, the last half of the 50’s, and the last half of the 60’s ((see also First Base, Eric & The Happy Thoughts, etc.)). At some point in time, someone either has or will give a name to this stuff, and we will all be good to go. “Pay No Attention To Time” could be a Chocolate Watchband cover ((minus the ringer)), maybe, but “Red Hot Cinnamon” could be Buddy Holly headbutting Tommy Roe in Johnny Hench’s basement ((the one with the keggerator)). The last time i was in Indiana i got called a “faggot” because i was wearing pink women’s pants; not sure what these guys get called but i can’t imagine it’s late for dinner. Undeniably swell. BEST SONG: “Red Hot Cinnamon” BEST SONG TITLE: “Ooh La La La La,” because they will see the Faces’ “Ooh La La” and raise them two! FANTASTIC AMAZING TRIVIA FACT: I almost never wear a t-shirt under a button-up shirt any more, but i used to.
–Rev. Norb (Eradicator)
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CHARLIE BROWN GETS A VALENTINE:
Dismissed: CD
Emo. With a name that lame I should’ve expected as much.
–Jimmy Alvarado (Whoa Oh)
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CHARLIE MEGIRA & THE MODERN DANCE CLUB:
Love Police: 2 x LP
Two slabs of vinyl’s worth of more or less equal parts ambient noises, kick ass surf, thuddy punk, freak out sessions, and the occasional mélange of all the above. Thought I’d be bored to tears halfway through, but they’re quite adept at what they do and manage to keep the interest level up throughout.
–Jimmy Alvarado (Guitars & Bongos, facebook.com/guitarsandbongos)
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CHARLIE MEGIRA UND HEFKER GIRL:
: CD-R
Note to all sending in review material: please be aware that CD-Rs just aren’t as tough as CDs—I’m not saying they’re as cool as CDs are, I couldn’t care less, I’m just saying they literally seem more prone to getting scratched, fucked up, and damaged; they just aren’t as durable. Reason I’m mentioning it is that this twelve track CD-R, by the time it made it from Israel to L.A. and then to my mailbox, was pretty scratched up, and only about half of the songs were playable for any amount of time. Still, that was enough time to inform me of the gist of Mr. Megira and Ms. Girl’s sound, which is pretty much like an amalgamation of this one hilarious Christian-toned 7” I have by a band called Life In General (best song on that record is “Rebirth”: it’s about Jesus and the lyrics go, “He was born / And he diii-iii-iiied / When he died / People CRIII-III-IIIED!”) and whatever that band is that plays that one song that goes, “I’ll fly away and melt with you.” You know what song I’m talking about? Anyway, this is straight-up, somber ‘80s dance music, which has got to be one of the loneliest sounds ever made on earth when you’re at home listening to it by yourself instead of in some club, sweat-drunk off PBR tallboys and trying like hell to woo the ladies with just your fuckin’ dance moves, man. Were some of these songs played in the correct venue, with the right atmosphere, it might lead certain folks to partner up for heavy make out sessions and fluid exchange. If you’re like me and find yourself listening to it alone in the middle of the night right before reviews are due, you might just wind up wanting to off yourself.
–Keith Rosson (Charlie Megira)
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CHARLIE TWEDDLE:
The Midnite Plowboy: LP
This is an excellent record with great songwriting, very much in the Texas troubadour tradition. Hearing hints of everything from classic honky tonk to early Guy Clark and even a little Doug Sahm in the mix, all elements that are right up my sidewalk. I will admit to being skeptical about a “country” singer from Santa Cruz, CA on a record label out of Brooklyn, NY but this is a fantastic record and could not come more highly recommended.
–Mike Frame (Mighty Mouth Music)
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CHARMING SNAKES, THE:
Ammunition: CD
It took awhile to get my ear around the Charming Snakes, and here’s my guess. Folks who really like(d) indie rock and pre-’95 alternative got sick of the drooling-into-a-shoe, preciousness that it’d morphed into (hello Shins! Viva Scared of Chaka!), circled back to its widespread roots. I hear, at times, Jesus and Mary Chain, Hüsker Dü, Love and Rockets, early Blues Explosion, Joy Division, Mudhoney, and Psychedelic Furs. I’ll admit, I was ehh on it for the first couple of spins. It took me a bit to get the lay of land. Thery’ve mapped out a jangley/raw force duality that works well. Their songs shimmer like pop gold, while being gray and gloomy as the inside of an empty refrigerator. Another way to put it is that Ammunition’s got muscles and sticks the adjective “progressive” into many of punk’s holes to satisfying result. The Charming Snakes reveal an odd-angled danceability that makes them spazzy-catchy, much like contemporary bands The Arm and Manikin. Plus, there aren’t many modern bands that can have a sax-heavy, eight-minute track blend right in with the shorter, snappier numbers. I sure don’t know how Ken Dirtnap keeps on finding bands of this caliber, but bless him for it.
–Todd Taylor (Dirtnap)
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CHARTS, THE:
R & B: LP
1966 was a good year for warbling soul and rock’n’roll covers. The Charts could be looked at as just another regional band from the time period. But these recordings, which include an obligatory version of “Gloria,” are extra magical in their execution. Overdriven is the theme for this half studio/half live document of New Zealand’s version of the Yardbirds. The first side includes their studio sessions, which are tight and fuzzy and exemplify good pop writing of the era. The live side provides a document in mono, complete with distorting vocals. Loaded with energy, The Charts sail through a set list that contains a good mix of soul and rock standards. Sometimes, the live side of an album can come off as filler, but, in this case, the live side is relevant. Pete Townsend once said that he was uncertain about the connection between The Who and mod culture. There is no confusion here. This is mod R&B all the way through, and an excellent party record. At least, my kind of party.
–Billups Allen (Norton)
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CHASE, THE :
The Better Part of Six Months: CD
This CD, literally, fell behind my CD player and it wasn't until I added more milk crates to the front room record wall, that I found it again, so I can't rightly say when I got it, but unlike a giraffe, this stuff isn't spotty at all. I haven't been so up on the newest Snuff releases, and, oddly, singer for The Chase sounds pretty much like a hardcore Duncan. Actually, they take a lot of the best elements of Snuff – an achingly sweet and catchy melody and they tweak it into some short, satisfying, moshy breakdowns. Instead of veering into a poppunk arena with horns, these guys take some pages from Sweden's Get Up and Goer's: melodic hardcore that isn't afraid of a lot of volume, speed, and screaming. Extra points go to the song titles: "Surprise Party at the Funeral Home," and "Can I Borrow a Headband?" Surprisingly good.
–Todd Taylor (Submit)
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CHASED AND SMASHED:
30 Seconds Over Hillsboro: LP
The packaging and vinyl are immaculate. The thick insert that has comic and lyric sheet. Blue vinyl. Chased and Smashed are in the same pajama party of dirty, pop-liking, DIY punk rock as ADDC, Allergic to Bullshit, and Crimpshrine, with a slight whiff of Fleshies thrown in for rockatude. That said, if they were put on a bill, I feel like they’d be the opening band. Although not terrible – there’s some toe tapping going on – Chased and Smashed isn’t terribly memorable. Pretty standard fare.
–Todd Taylor (Onion Flavored)
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CHASMA:
Kathe for a Pou Allos Ginome: CDEP
When I think of world music that isn’t merely a soundtrack for yuppies to feng shui their apartments to, a band like Chasma is what comes to mind. They’re Russian. Although their musical approach from song to song takes a little bit of getting used to, they explore ska, metal, rock, art, and roadhouse blues, all under the loose, huge umbrella of punk. The good news is that they somehow fearlessly pull it all together. It’s interesting, listenable, and not easily scrunched into a tiny pigeonhole. Other bands which come to mind that are similarly unclassifiable would be Scotland’s Oi Polloi, Italy’s I Refuse It!, or America’s Tchkung! All collective amalgamations that come across as pan-world and otherworldly. Chasma’s lyrics are in Cyrillic, so I have no idea what they’re singing about. The paintings in the album artwork are dark, broad-stroked, and filled with barbed wire, which fits the music very well. Obscure yet very satisfying.
–Todd Taylor (xasma@punk.gr)
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CHAZ:
Self-titled: CD
Ack! My mind doth work in mysterious ways! When I saw this, I thought, “Holy shit! Chaz Matthews (Dimestore Haloes) has a new record!” Sadly, this turned out not to be the case, but I won’t hold it against ‘em. This band is a strange mix of power pop, Queen-esque high vocals (scary!), metal (yikes!), hardcore, and the occasional super cool back-up vocals on songs like “Poverty and Romance.” I say: Make all your songs like “Poverty and Romance” and I’ll like you very much! Make all your songs like “The Carrot of Power” (Queen meets hardcore) and I will hide under my bed! If this were a cereal, it would be mostly Corn Flakes with a handful of Trix (yum!) thrown in! Ah, potential!
–Maddy (Self-released)
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CHAZ HALO:
Amazing Graceless (Demos 2002-2003): CD
Chaz Halo’s old band, The Dimestore Haloes, are one of the most under-appreciated bands in punk rock history. Classic late ‘70s rock and roll sound crossed with depression and loss and lots of Bukowski. I love ‘em! This CD is full of newer Chaz Halo songs, heard here backed by – ack! – a drum machine! Bad technology notwithstanding, there are some amazing songs in here, like “Baby Comes Undone,” but they all point to one obvious fact: This man needs a band! As punk rockers, it is our duty to patronize the arts, and so, if you’re living on the East Coast, and you play an instrument, for the love of all things punk, give this man a call! If this were a cereal, it’d be the test demo for a new breed of Corn Pops. Yum!
–Maddy (Black Nipple)
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CHAZ MATTHEWS:
Amazing Graceless: CD
In the world of punk rock, people don't usually venture out into the shaky ground of solo artist-dom until they've established themselves as someone to watch, based on past band projects. If you've fronted The Heartbreakers or The Devil Dogs or some other amazing band with a legacy, you can probably get away with it. Not that The Dimestore Haloes weren't a good band. But a solo artist spin off? Well, come on now. That, coupled with the fact that all the instruments are played by the same person, made me think of this as a demo to be shopped around to other like-minded musicians. That said, this guy is a good songwriter. Sounds sort of like the Heartbreakers-light. Someone should add him to his or her band. If he joins up with other good musicians they could create something pretty cool. Most musicians want their photo to be included on the cover along with the singer, and at least the illusion that they're not someone's back up band. I understand the allure of doing it all yourself-it sure would be easier... sweet autonomy. But it's not realistic. Even solo projects require a band and, often, careful collaboration leads to something greater then any one individual can do.
–Guest Contributor (Full Breach)
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CHAZ MATTHEWS:
Amazing Graceless: CD
At first look I was assuming I’d hear another chapter in the “punk guy goes back to his blues roots.” I was a little off. Sure, it’s bitter and self degrading, but I’ll be damned if it doesn’t rock! I almost feel bad for enjoying this guy’s misery so much.
–Ty Stranglehold (Full Breach Kicks)
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1 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 41 42 43 44 45 46 47 48 49 50 51 | 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 > | |
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