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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
CAUSE FOR ALARM:
Nothing Ever Dies (1982 99): CD
Back in the day, these guys were one of New York's best. They released a smoking debut EP, then faded into obscurity until they reformed a few years ago. As this "greatest hits" package so painfully illustrates, they shoulda left well enough alone because, aside from the few tracks from that debut, this stuff sucks in ways that would make the Cro‑Mags envious.
–Jimmy Alvarado (Victory)
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CAUSE FOR ALARM:
Self-titled: 7”
Also referred to as the Anthology 7”, this is Cause For Alarm’s first release, repressed for Record Store Day on vinyl by Victory Records for the first time in years. Hardcore punk with fast and super catchy riffs, as well as great vocals by Keith Burkhardt (the only permanent member of the band through their tumultuous two-decade existence), this 7” has everything a fan of hardcore punk will love. If you’ve never heard this, get to your local record store and hope they still have a copy, or find it on CD. It’s required listening.
–Paul J. Comeau (Victory)
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CAUSEY WAY, THE:
Causey Vs. Everything: CD
A lot more sultry than previous releases, it seems that Causey is personalizing his message to each and everyone of us. The more blatant new wave trappings have been updated to something I can't exactly place, but enjoy immensely ("Newest Wave," perhaps). All I know is that their sound is slithery, bouncy, and saturated with space‑reverb guitar that borders on a rapture of sorts. This time out, Causey's high‑pitched voice is augmented by the smoky female esophagus of The Truth Causey (I believe. Scant details are on the CD packaging itself) that develops yet another dimension to Causey's already considerable musical arsenal. There are also quite a few slower and mid tempo songs on "Vs. Everything," that bip, bop and bounce around in really intriguing ways, avoiding the continual trap of boring the audience with mere repetitious masturbation. My sole quibble is that there are no sermon transcriptions to the songs accompanying the release; instead there's a picture of a shirtless Causey frolicking in a field of yellow flowers that's so funny I want to get the LP version so it's bigger. All in all, a fantastic release that'll be sure to swell the minions converting to The Causey Way.
–Todd Taylor (Alternative Tentacles)
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CAUSTIC CASANOVA:
Imminent Eminence: CD
Track one is titled “Are We Doing This?”, and is a weird, phased-out guitar experiment. From there, it goes back and forth from stuff like that, and some other stuff that kind of sounds like a more mid-tempo Bracket, with Fred Schnieder’s third nephew singing.
–Joe Evans III (Self-released)
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CAUSTIC CHRIST:
Lycanthropy: LP
I think this is the bands second full length. They also have a few 7”s and splits out there. Their new release seems to have slowed down a tad compared to their past releases. But the power is not lost and they are not playing super slow by any means. They tread more in the Black Flag meets Blast sound of punk rock this time around in my opinion. They try new things as they continue to develop their sound, playing with a sound that is equally thick as it is powerful. Guitars are driving with a strong thrust of controlled distortion, the bass is full-bodied and punchy, drums are loud and forceful, and vocals require no lyric sheet because they are phonetically shouted and are easily understood. This release continues on the fact that this band is one of the many premier bands here in America. If you haven’t noticed them before, maybe you should now.
–Donofthedead (Havoc)
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CAUSTIC CHRIST:
Government Job: 7"
What I wasn’t expecting was such clear enunciation by the lead singer, Generic Christ. You can actually understand everything he says. Elocution’s a pretty much forgotten element in hardcore and thrash. (Which is weird because most of these bands tend to have “a message.”) These Pittsburghians got reassembled from the pieces of Aus Rotten and the Pist, if I’m not mistaken. Imagine super early Corrosion of Conformity (highly political, pretty well informed and well-intentioned, if a little blunt) mixed in with lots-of-studs-in-jacket Swedish thrash along the lines of Skitsystem (especially the galloping drums and bass kegcharge) and mix in that take-it-as-fast-as-you-can-but-don’t-lose-the-melody talent of Vitamin X, and you’re on the right path. While I’m not completely agog, they’re definitely tight, teeth baring, and leave a nice bruise mark. One question: is that an otter being hung on the ceiling fan on the cover? Looks like it.
–Todd Taylor (Havoc)
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CAUSTIC CHRIST:
Can’t Relate: LP
I was really feelin’ their gallop-speed, pissed off hardcore sound, and would venture to say that I would easily consider myself a fan, but covering Flipper’s “Ha Ha Ha” was a mistake. What’s next, a cover of “Xanadu”? You simply should not mess with perfection, kids, ‘cause you never know what’ll happen. Next thing you know, the earth shifts on its axis, chaos ensues, and Bush gets a second term. In short, my friends, buy, play loud, play often, but never, NEVER play the last song on side two.
–Jimmy Alvarado (Havoc)
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CAVALCADE:
Into Bolivian: CD
Marching powder? I’m
assuming that my supply was left out of the press kit with this one. I could
have just looked at the cover and told you I would despise this: cookie monster
vocals backed by boring prog rock metal. I did listen to this a couple times to
make sure—yep, this is bad. They also totally disembowel a Fugazi song at the
end of this, too. Ever see
a dead deer’s entrails on the side of the highway?Into Bolivian is the audio equivalent of that image.
–Sean Koepenick (BMP, no address)
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CAVE 4:
Sheena Was Right: CD
A potent potpourri of punk, garage rock, and surf instrumentals. The singer sometimes sounds like Javier Escovedo’s German love child. Some solid tunes sure to spice up your summer bash quite nicely.
–Jimmy Alvarado (Swindlebra)
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CAVE IN:
Jupiter: CD
Utter poo. I should have known it with the planet picture and the graphic of a satellite on the cover. I couldn’t even get through the first track.
–Donofthedead (Hydrahead)
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CAVE WEDDINGS, THE:
Bring Your Love b/w Let’s Drive: 7”
I didn’t expect much out of this release. HoZac releases a lot of garagey stuff and that isn’t necessarily my bag. (I mean, sure, I own the Nuggets box sets and all, but I don’t really need to hear a million current bands regurgitating those sets back to me.) But man, this is a pretty good little 7”. The two songs don’t vary that much from each other; they just rock out and keep your toes tapping. I had them stuck in my head all day after listening to this. They’re not like a lot of catchy songs either, where they wear on you after repeated listens. Each spin brought a new facet to the songs. Very much worth checking out.
–Ryan Horky (HoZac, HoZacrecords.com)
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CAVE WIMP:
Rehearsal 1: CD-R
Three songs of raw, deranged punk. The vocals are blown out and I often wonder if they’re playing at the tempo they had intended on. But it’s just so spiteful and weird that I can’t stop listening to it. The guitarist sounds like a sunburnt Greg Sage and the vocalist sings like he’s dictating his memoirs from a straight jacket. More, please.
–Daryl Gussin (Television)
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CAVEAT EMPTOR:
Demo: CD-R
Another band in the new generation of SoCal DIY crust bands that I have taken notice of. I have seen them live once thus far and was moved by their power. They play an incredible brand of crust that is solid and well written. On the demo, you can hear almost the full potential of the band in what sounds like a live recording. For a live recording, the music is mixed pretty well without it sounding too muddy, but I would love to hear what comes out when these guys actually record in a good studio. From what is here on the demo and to have better production would be mind blowing. The songs have a lot of emotion and could be easily described as what a band like Hellshock is doing currently. You can here their influences of Scandinavian, Japanese, and Portland punk in their music. I believe I’m seeing them again in January. I can’t wait for that or for their next recorded material.
–Donofthedead (Self-released)
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CAVES:
Self-titled: 7”
Four songs of rolling, melodic punk from England. Caves have indie-influenced guitar breaks, female vocals, and whoah-oh hooks. I wish they resisted the temptation to do the refrain one last time, but hey, that repetition does offer another chance to sing along. This record is definitely a winner and should be checked out, especially if you like The Soviettes or Lemuria.
–CT Terry (Specialist Subject, specialistsubjectrecords.co.uk)
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CAVES:
Homeward Bound: CD
Caves call themselves a raw, melodic pop punk band. I can certainly hear that in their music. It’s got a real rough edge with slightly off-key female vocals that, on occasion, pair up with male vocals, often in utilizing the “woah-oh-oh” method of delivery. Some of the dozen songs on here are catchy and endearing but others just seem uninspired and, after a while, it all ran together. I found a video online of the singer, Lou, playing one of the songs from Homeward Bound on the acoustic guitar and it stood out to me as being far superior to the rock and roll version on the album. It gave off a sense of introspection and a personal nature that I didn’t really hear on Homeward Bound. Perhaps I’m just getting older and mellowing out (although I did listen to Pig Destroyer and Cannibal Corpse this morning, so maybe not) but I’d like to hear more of the solo stuff.
–Kurt Morris (specialistsubjectrecords.co.uk)
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CAVITY:
On the Lam: CD
More sludgy, strangled vocal Sabbath worship from Florida. Eyehategod fans rejoice.
–Jimmy Alvarado (Hydrahead)
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CC RIDERS:
Self-titled: LP
Recorded in 2001 and previously only available on CD-R, an LP version is finally seeing the light of day. Featuring some of Memphis’s and, well, the world’s, garage rock’n’roll royalty (Jeffrey Evans, Jay Reatard, Alicja Trout, James Arthur.) Three guitars/no bass is the plan of attack; however, fans of Reatard and Arthur won’t find any of their typical skronk highlighted. Not unlike Evans’ most noted combo, ‘68 Comeback. A mix of covers and originals, with the covers sounding enough like Jeffrey Evans songs to fool the uninitiated. To wit: it wasn’t until like the third or fourth listen that I realized “I Gotta Right” is the Stooges song. I never did get to see ‘68 Comeback and hope to see a proper rockin’ Jeff Evans show some day. Technically, I’ve seen him twice. Once, solo outdoors where his amp distortion didn’t take well to the elements, and one time doing some Memphis heel shtick with Ross Johnson, starting a song, then cutting it off and just taunting the crowd.
–Sal Lucci (Spacecase, spacecaserecords.com)
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CCR HEAD CLEANER:
Self-titled: 7”
Out of San Francisco, this five piece offers up four noisy tracks, two of which are new. Side A houses their previously released stuff off their self titled debut in ‘11. “53rd&420” rattles and clangs like it’s been kicked down a flight of stairs, while “Life of the Party,” rich in whiney feedback, clocks in under a brief minute. The flipside is a whole other ball game. At first I thought the record was playing at the wrong speed. “Cocoon” emerges softer, with a tangible rhythm that takes off midway with whirling Catherine Wheel guitar effects and warbly reverb. The last track, “Sanctuary City,” starts where the previous one left off and disperses nebulously as fast as it formed.
–Kristen K (Cesar Cuts, caesarcuts.blogspot.com)
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CD TRUTH:
Chemically Dependent: CD
A little reminiscent of Smogtown, only with less intensity, less surf punk twang and more ‘70s punk leanings. Still manages to hit all the right spots, though.
–Jimmy Alvarado (F.I.M.P.)
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CEASE UPON THE CAPITOL:
Untitled: CD
Riddle me this—what kind of band does not list the song titles on their record… anywhere? No need to answer since the CD is horrible. Lackluster arrangements, awful vocals. Stay away from this like a flu virus.
–Sean Koepenick (Forever Escaping Boredom)
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CEILING STARES, THE / SUPER VACATIONS, THE:
Split: 7”
On purple vinyl, Pennsylvania’s The Ceiling States kicks things off with “A Tunnel through the Air.” This psychedelic garage rock track is stuffed to the gills with fuzzed-out guitars, a jangly hook, and ethereal group vocals. Evoking a blend of The Electric Prunes and The Strokes, my only qualm was I wished they threw on another track. The Super Vacations turn up the dial with two new songs, “Hexing” and “Controller.” Their brand of garage, dream rock is something akin to Teenage Fan Club played on 45 RPM, with languorous vocals seeping through a heady gauze of stripped-down Joy Division-type guitar chords. Recommended.
–Kristen K (Velocity of Sound, velocityofsound.com / Sweaters & Pearls, sweatersandpearls.com)
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CELEBRITY AUTOPSY:
Fast American Rock ’n’ Roll: CD
Save for some nice Motörhead channeling on “Love Blizzard,” these guys are pretty much a hard rock band with louder-than-usual guitars and at least one singer who ain’t quite strong, or charismatic, enough to pull this off. Nice riffage in spots, but it ultimately just don’t quite make it out the gate.
–Jimmy Alvarado (www.ihatepunkrock.net)
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CELEBRITY MURDERS:
The Island of Man-Eating Rats: one-sided, four-song 7” EP
Discomforting New York-based hardcore that takes its cues of loathing, pessimism, hatred (except of Mussolini, who’s thanked), from early Agnostic Front (barely tuneful, all energy’s in the attack, not putting on makeup) and early Sick Of It All (the shaved-down metal guitar, especially). It’s less tough guy and more miscreant/ bad attitude/ infected boil/ stuck-behind-a-bad-driver-their-entire-lives, about-to-kill-the-next-fucker-who-doesn’t-use-their-turn-signal vibe. Effective. Artie from the Shemps is singing, but it sounds nothing like the Shemps.
–Todd Taylor (Chainsaw Safety)
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CELESTE:
Nihiliste(s): CD
These Frenchies sure know how to bash things up. If you like your metal slow, sludgy, and painful in an Unsane sorta way, this is one to keep an eye out for. The guitar textures add a bit of sophistication to all the wham-bam, but their reliance on the same downtuned root note and rhythms repeated from one song to the next causes things to sound like one long song in short order and what charms they do have can’t save ’em from getting a bit boring.
–Jimmy Alvarado (www.denovali.com)
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CELL BLOCK 5:
Push It: CD
Pretty run-of-the-mill punk/hardcore with a Dwarves influence. It's better than some, but still not particularly crucial to these ears.
–Jimmy Alvarado (Industrial Strength, 2824 Regatta Blvd., Richmond, CA 94804)
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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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