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EARACHES, THE:
Get the Revolution Out of Your Head: CD
I really like the last album I heard from The Earaches, which is probably how this ended up in my review pile. I don’t know what’s happened since then. It seems like they may have locked themselves in a room where they could only listen to the Rolling Stones and The New York Dolls, and added that to their earlier sound. The result? Not something I’m too fond of. What before was raw and driving, now just seems to fit the mold of every other throw-back rock band around right now. Too bad. –Megan Pants (Steel Cage)

EARACHES, THE:
Time on Fire: CD
This is some ripping garage punk coming out of Seattle. Bands like The Drags and The Hate Bombs come to mind. It’s just a big load of fuzzed-out brain damage that never ceases to let up. One thing I found particularly interesting was the message that the band is trying to get through. In my experience, most of these types of garage bands are all about girls, cars, drinking, and heartbreak. I’m not saying that this stuff isn’t here (it is for the most part), but in the packaging in particular there are slogans such as “Start your own band!” “Participate!” and “This album is dedicated to those who choose action over complacency.” That’s the type of attitude in a band that would have Biscuit Turner smiling down on us. Nice work, gentlemen! –Ty Stranglehold (Steel Cage)

EARACHES, THE:
Fist Fights, Hot Love: CD
Step aside nay-sayers! The Earaches (formerly the Reckless Bastards) are one of the many fucking amazing bands out now. They have that perfect balance of garage punk in the vein of the Mummies (no organ, just the energy). The songs are power-driven without ever getting too fast that they lose form. “Used to Be a Loser” gets all reverby, which doesn’t always work, but it does here. The song pulls off such a sleazy feel. The whole album is raw and just plain good. The only thing it leaves me wishing for is a tour. –Megan Pants (Steel Cage)

EARTH A.D.:
Let’s Have a Barbeque!: CDEP
Seven originals (and the UK Subs’ “Rat Race”) that range ground from slightly-metallic hardcore to slightly-metallic oi, with surprisingly few stylistic Misfits references (though the lady in the photo wears a Samhain shirt), and a really handsome cover. No classic, but pretty danged swell. –Cuss Baxter (Evil Owl)

EARTHLESS:
Sonic Prayer: CDEP
Dude! Bust out the bong! I got the killer weed and I’m ready to kick back and listen to two twenty-minute jams by this band! It’s like Led Zeppelin all over again! –Donofthedead (Gravity)

EAST ARCADIA:
We Only See from Where We Stand: CD
Imagine Milo from the Descendents singing for Good Riddance. –Donofthedead (Geykido Comet)

EAST ARCADIA:
We Only See From Where We Stand: CD
Pop punk with meaningful, if non-specific lyrics. Some bands tell you society sucks, some show you how it does, or why it does, these guys write metaphors around it. There is a definite posi-core vibe to this – there is bad, but a feeling we will overcome. I keep going back and forth between if these guys remind me more of Strike Anywhere (which they sound a LOT like – but more in an affinity sense than a rip off one) or the weird rarity of Christian punk that is more punk than Christian (it does exist, it just is really unusual). I don't mean preaching, I mean having lyrics about personal responsibility and being good and society and that, and music that backs it up. I like this, but I kept looking for the Jesus references that are hidden somewhere.
–Rich Mackin (Gekido Comet)

EAST BAY CHASERS:
It Came From the East Bay: 7”
Loud but pretty nondescript punk rock. Pretty much forgot what it sounded like as soon as it was over. –Jimmy Alvarado (Five and Dime)

EAST BAY CHASERS, THE:
Lock and Load b/w Blood Money: 7"
Suppose someone loaded a few of Mike Ness' syringes with estrogen and he started turning into Perry Farrell. That's who sings for the EBCs, and they play rock music, the kind where they had to put "punk rock and roll" on the cover so you'd know. They also want you to know East Bay Ray (from the Dead Kennedys!) produced it. The cover is nice but how many more cartoons of cars with giant shifters driven by monsters do we need? –Cuss Baxter (Industrial Strength, 2824 Regatta Blvd., Richmond, CA 94804)

EAST BAY CHASERS, THE:
Johnny Is a Junky: CDEP
I can’t seem to pin the tail on the donkey on this. It has the rawness of a great garage punk band. It has similarity to Smogtown but hasn’t achieved that greatness. It’s got the dirtiness of a drunk punk band and elements of a SoCal surf band that makes you either want to go skate or surf. Hard one to pin but definitely stands on its own. What I can say is this worthy of more than one listen. Gotta see them live to see if the magic carries through. –Donofthedead (Cheetah’s)

EASTER MONKEYS:
Splendor of Sorrow: CD
The Easter Monkeys were a Cleveland punk band from the early 1980s, as you might guess from their label association. Splendor of Sorrow is a collection of their sole LP, some live tracks, and a few scattered comp tracks. If you enjoy other stuff Smog Veil has released, I’m sure you’d like this too. It’s pretty rocking generally, and there’s some great saxophone skronk over the rock. –Ryan Horky (Smog Veil)

EASTERLINGS:
Demo: CD-R
This band’s name sounded pretty Jesus to me, and, goddamn, the font used to spell it out on the cover looked like bible font. So, I’m thinking I might have me an awesome Christian hardcore band to slam the shit out of and poke fun at their faith. But I was burned by the whole book by its cover cliché, so no conservative Christian punks to belittle. Bummer... The music is more like Saves The Day meets Face To Face. In other words, boring. –Dave Disorder (Self-released, myspace.com/easterlings)

EASTERN YOUTH:
: CD
The reason that there’s no title to this is because it’s in Japanese, my computer doesn’t do Japanese lettering and it’s not translated because I’m currently unable to read Japanese. A feeling of unease crept upon me as I sat looking at the poorly lighted pictures of the band, clouds, buildings and rain-soaked streets. "It can’t be," I reassured myself. "There’s no way possible that it’s what you think it is." With trepidation, I opened my disc player, inserted the disc, closed the door and pressed play. Eight seconds into the first song, I screamed in utter horror at the ghastly cacophony emanating from my speakers. It was exactly as I feared. My worst horror had been realized. I ran headlong into the night. After a two-day frantic search through every morgue and hospital in the greater Los Angeles area, my girlfriend found me in a sanitarium. "What has happened to him?" she asked the doctor through a veil of tears. "We’re not quite sure," her replied. "He was found in a back alley in Little Tokyo, covered in rags, repeating a strange mantra that we have so far been unable to decipher." "What was he saying?" she asked. "It’s quite baffling, really," he said as if lost in thought. "So far as we tell, it sounds as if he keeps repeating ‘Japanese emo, Japanese emo.’" –Jimmy Alvarado (Toy’s Factory, no address)

EASTERN YOUTH:
What Can You See From Your Place: CD
Edgy, angular, post-prefix-core from Japan (and sung in Japanese). It has an emo breakdown edge to it and would probably sound really pretty to people who like their emo to have a delicate feel about with something resembling singing, with appropriate cracking as the vocalist begins to strive for registers which are beyond his range. It’s an odd and interesting fusion – there’s a definite influence of Japanese pop and traditional music here, particularly in the vocal expression, but the music seems to stem pretty solidly from the DC scene in the middle of the 1990’s. Regardless, a few interesting stylistic deviances or variances from an already shitty genre norm aren’t enough to make a good album. –Puckett (Five One, Inc.)

EASTFIELD / DESTRUCTORS 666:
Labor Omnia Vincit: CDEP
All around solid seven-song split from these two U.K. punk bands. Eastfield are up first, playing English ‘77-style punk (however, this Yankee tends to think most British bands with hooks fall into the ‘77 category) with relevant, sharp songwriting. They play two originals and two covers: one of Divine and the other an intense update of The Tom Robinson Band’s “Glad to Be Gay.” The latter easily being the best track on the album, with lyrics updated to be (more) relevant to today, with the corporate co-opting of queer culture. The rest of their songs were short, to the point, and addictive. Destructors 666 have gruff sort of vocals, reminding me of Jimmy Pursey at times. They have a Seeds cover as well as two originals which were, you could say, more party-oriented than Eastfield. Good punk rock that is a nice throwback to old records you know and love, but exciting enough to keep you from turning it off to play those old records. –Craven (Rowdy Farrago)

EASTSIDE SUICIDES:
Self-titled: CD
Some serious Thunders damage is evident here, where every song could've easily found its way into the Dolls' repertoire. Way too derivative to be taken seriously, they are nonetheless good at what they do. –Jimmy Alvarado (Super Secret)

EASTSIDE SUICIDES:
Self-titled: CD
Some serious Thunders damage is evident here, where every song could’ve easily found its way into the Dolls’ repertoire. Way too derivative to be taken seriously, they are nonetheless good at what they do. –Jimmy Alvarado (Super Secret)

EASY ACTION:
Friends of Rock and Roll: 7”
Easy Action’s singer, John Brannon, has an unquestionable pedigree. From being in one of the bar-none best hardcore bands of all time, Negative Approach, to the gargling nails, hard-driving powerhouse of the Laughing Hyenas, there’s no doubt that his dues have been paid and his time has been served. For me, Easy Action flirts on that same edge of rock’n’roll as the Antiseen. I appreciate what they’re doing, but half the time it’s hard to sustain enthusiasm. Easy Action are rough and growly and thuddy. They’re definitely not sugaring anything, but, musically, they can be pretty standard, repetitive, and a couple ticks too slow for me to really get behind. Wanted to like this more. –Todd Taylor (Reptilian)

EASY ACTION:
Self-titled: CD
This is pure skull-crushing Detroit-bred rock’n’roll brutality! It’s a mammoth screaming slaughterhouse of sound that’s drenched to the bone in blood, sweat, attitude, and crazed balls-out fury. The razor-slashed gargoyle vocals demonically shriek and growl in unbridled fits of roaring rage. The guitars are thickly laden with maximum distortion overdrive makin’ ‘em heavier than a tyrannosaurus rex’s testicles. The bass furiously belches forth an unrelenting maelstrom of low-end locomotive rumble and the drums stomp, bash, and boom along like the explosive end result of 100 million Tomahawk cruise-missiles obliterating their intended targets deep in the heart of Afghanistan. Since Easy Action are so obviously incomparable to any other band I could possibly mention, I’ll just state for the record that this cacophonously killer combo is comprised of former members of Negative Approach, Laughing Hyenas, The Necros, Gravitar, and Thrall. Indeed, they’re a ferocious sonic force not to be dealt with lightly. After several enthusiastic listens, I sit here shitfaced and stewed, wondering what in the hell just hit me upside the head with such lethal fullforce intensity; the life-altering auditory terrorism of Easy Action, of course! -Roger Moser, Jr. –Guest Contributor (Reptilian)

EAT MY FUK:
Wet Slit and a Bottle of Whiskey: CD
Liquored up and with hustling, bustling ding dongs, Eat My Fuk lunge headlong into total fukkin’ GG worship, musically cloning (but with better production than) the mid-’80s “You’ll Never Tame Me,” but vocally closer to the GG of later years: hoarse and gruff. Problem is, Geege was so charming because he tried with all his might to outdo his heroes, and Eat My Fuk just tries to be GG. Very punkrockin’ and enjoyable if you can put up with all the hole-fingering, juice-gashing and face-loading of wads. –Cuss Baxter (Bestial Onslaught)

EATER:
The Album: 2 x CD
Hell yeah, this is great. You have your Clash, you have your Sex Pistols, etc., etc. You need to have Eater in your life as well. Otherwise it’s going to be a bit incomplete. This has been reissued a couple times before, but this is thee edition to pick up, fer sure. Everything they recorded studio-wise is on here, along with some live tracks. Primo U.K. punk from the “early days.” Driving, tuneful, catchy, lewd, crude, and on and on. All description used to turn you on to music can be applied. Songs like “No Brains,” “You,” and “I Don’t Need It” are punk personified, or sonic-fied. Get it?!? Then there’s the out of left field tracks like “Michael’s Monetary System” and “Luv & Piece.” Not to mention the great covers, a practice I usually frown upon. But Eater does it right. “Sweet Jane,” “Fifteen” (“Sixteen” reworked), “Waiting for the Man,” and “Jeepster” get ran through the transmogrifier and come out Eater-ized. Disc one is “The Album,” and disc two collects the singles and more. Absolutely essential. –Matt Average (Anagram)

EBONICS:
Self-titled: 7” EP
Rip Off-styled punk rock. One of the better ones doing this, I’ll admit, but after zillions of bands bathing in the same cesspool, this just ain’t as big a deal as it might’ve been twenty years ago. –Jimmy Alvarado (Daggerman, no address)

ECFU:
: Cassette tape
Well, hell, I got pissed off when I put out a tape of my band and certain fanzines had a no-tape policy. I don’t know if Razorcake has a policy, but this is the first tape I’ve gotten from Todd, and I think it’s exactly the reason certain zines have a no-tape policy: the recording level is so low it’s barely audible at top volume on two different tape players, the lyric sheet isn’t even set up to go in a cassette case (okay, I guess, since it didn’t come in one – it came in a rubber band)(wait, I think it came in a safety pin and I put the rubber band on later), and there’s no land or email address, just a phone number. “ECFU” apparently stands for “Electric City Fuck You” but “you” starts with a “y.” Songs are about “I hate my dad,” “I hate work,” “I hate my school,” “I hate New York City,” “I like to skate” and the movie Return of the Living Dead. Call ‘em up: 518-346-7291. I think they’re from Schenectady. –Cuss Baxter ()

ECHO AND THE BUNNYMEN:
Siberia: CD
I played "Stormy Weather" for my wife this morning and she commented that she liked this because it didn't sound like them. True, it does not sound dated, but it still maintains the Echo "sound." Will Sergeant cranks up the melodic guitar fills as Ian McCulloch croons, "You want it you got it/there's nothing chained down/you need it/I'll steal it." "Parthenon Drive" could easily be the band's next Lips Like Sugar." It even features some bubbly bass lines reminiscent of their earlier work. This may be due to the fact that they have Hugh Jones (Dumptruck, Modern English) back behind the boards for the first time since Heaven up Here. "Of a Life" is one of the more rocking songs as McCulloch sings, "I want a song to learn and sing/of a life requited." "Everything Kills You" is a stellar track. Multiple textures are brought out by the layered guitar parts and you know you're in the middle of a classic Bunnymen album. The title track offer up a bossa nova vibe that makes Siberia sound like a warm, inviting place. Go figure. The darkest tune on here is "Scissors in the Sand." I have no idea what lines like "my silverfishing youth/swim don't crawl" means, but the song flat-out rocks anyway. Siberia is a sonic masterpiece that proves that a band's perspective can improve with age. Persistence pays off and this blows some other recent releases by their contemporaries to tattered bits. Incredible from end to end; Echo and The Bunnymen will warm your soul again if you let them in from the cold. -Sean Koepenick –Guest Contributor (Cooking Vinyl)

ECHOBOY:
Giraffe: CD
Bloody amazing. I’ve only recently found Echoboy – but he has quite a history. This is his third release on Mute, where he has called on the always fine talents of producer Flood to assist. A mixture of post punk meets electro in a fucking remarkable album. You get a little bit of this and a little bit of that – and it makes for a very accessible album compared to his past releases. From folkish electro tracks to borderline disco songs that would appeal to those “electroclash” kids. It’s great for people like me who have terribly schizophrenic tastes in music – and tend to be a little more open minded when it comes to the evolution of music. Three cheers for Echoboy. –Sarah Shay (Mute)

ECOLI:
Self-titled: 7”EP
Ecoli reminds me of the very first wave of Touch and Go stuff. It sounds like the band can barely contain themselves, that eight songs is a good number to put on a 7”, and that they’re socially aware in warty, anti-authority, anti-racist ways. It’s chaotic thrash punk. Like both the Necros and Fix (and Out Cold), the more listens this gets, the more little musical flourishes—tempo changes, tricky guitar bits—seep around the initial face-peeling blast. Whores, cops, the military, and thrash ultimately rely on one thing to be judged by: effective penetration. –Todd Taylor (Stress Domain)

ECOLI:
Judas Cradle: 7”

From the first track, “Shut Up and Suffer,” this 7” blasts through eight songs of maniacal auditory torture. Grueling, derogatory destruction of all things sacred and held dear by a culture that lacks any respect for non-conformity. It’s odd ball punk rock played super fast and as hard as possible. Ecoli is the path that I felt the Harpoon Guns were on: pressing ‘80s throwback hardcore to the limits of reality while mixing their passion for aggressive punk music with being a goddamn weirdo.

–Daryl Gussin (Stress Domain)

ECOLI:
Judas Cradle: 7”EP
Rotted teeth, heinous medical experiments without anesthetic, inside-the-mind-of-a-pedophile hardcore. The lyrics read like Cannibal Corpse (think along the lines of “Edible Autopsy”), and they squish in all possible body fluids for lube, ultimate ick, and deformation. Explores mental, physical, and societal illnesses, all from a first person perspective. It’s sorta like zombie-shuffling into a filthy, disease-ridden supermarket filled with randomly exploding body parts. –Todd Taylor (Stress Domain)

ECONOMIST:
Self-Titled: CD
Six tracks and sixty-one minutes of dark drone music. It’s nice to have running in the background or maybe while you’re sleeping, but I find it hard to imagine someone saying, “When we go on our cross-country drive, let’s make sure and bring some drone music.” Or, “Hey man, can you put on that new drone CD you got?” –Kurt Morris (Lens)

ED GEIN:
It’s a Shame that a Family Can Be Torn Apart by Something as Simple as a Pack of: CD
Shit. I thought these guys were emo for some reason, but somehow it was in my pile. I turned it on and the yelling started. Pretty potent hardcore with a strong metal influence, but definitely not run-of-the-mill by any means. There’s a lot going on in there. The biggest distraction is the frequency of the samples between songs, especially when I’d listened to it enough to know that most, if not all, are from Donnie Darko. –Megan Pants (Hex)

ED GEIN:
Self-titled: CD

Grindcore with all of the genre’s strengths and weaknesses painfully apparent.

–Jimmy Alvarado (Hanging Like A Hex)

EDDIE AND THE HOT RODS:
Thriller: CD
A re-ish of the third and final release by the band most often cited as being the link between Britain’s punk and pub rock scenes. Although most of the songs here never reach the manic levels of their earlier work, there are a few moments of that old brilliance, most notably “Living Dangerously.” On the whole, the music ain’t too shabby for what it is, although my personal preferences most definitely lie with their glory days. –Jimmy Alvarado (Captain Oi)

EDDIE AND THE HOT RODS:
Teenage Depression: CD
For those not in the know, pub rock was a 1970s musical phenomenon in the U.K. that used R&B as its backbone and emphasized a “back-to-basics” approach to rock’n’roll. It was largely seen as a backlash to all the overblown, pretentious crap passing itself off as “rock” that permeated the airwaves at the time—bands like Emerson Lake and Palmer, and Led Zeppelin ruled the roost, and disco was just starting to take over. It’s also viewed as punk’s immediate antecedent and many key members of the U.K. punk’s first wave, including Joe Strummer, Ian Dury, and Nick Cash, had roots in pub rock. Eddie And The Hot Rods were one of the bands that kinda made the transition from pub rock to punk and this, their first album, illustrates why. Taking into consideration of the period when it was released, their frenetic beats, stripped-down tunes, and mounds of attitude manage to make rock‘n’roll sound fresh, vibrant, and alive again. Even their cover of “The Kids Are Alright” rocks in ways that The Who had apparently forgotten by the mid-’70s, and the title track shows the band’s willingness to roll with the punches and adopt punk’s tenets. Although it sounds a little dated in some places, tunes like “Horseplay” still manage to retain enough of their immediacy to get the blood bumpin’. –Jimmy Alvarado (Captain Oi)

EDDIE AND THE HOT RODS:
The Singles Collection: CD
A collection of A-sides from this legendary pub rock band’s initial ‘70s/’80s run here. As can be expected, the bulk of the hits—“Teenage Depression,” “Get out of Denver,” “Do Anything You Wanna Do,” et al.—can be found here, along with liner notes for each single. Been many a moon since I last saw a Captain Oi release and I was kinda worrying they’d called it a day. Glad to see that fear was unwarranted. –Jimmy Alvarado (Captain Oi)

EDDIE HASKELLS, THE:
Dumpster Divin’: CD
Not to be confused with that “Takin’ the City by Storm” band from Wisconsin, this is respectably non-suckass fourteenth-generation faux-Brit Bay Area thriftstore street punk which i originally thought could suck my dick because dumpster diving is such a menial topic to start one’s album off with a song about (i mean, come ON, Song One Side One should always be about the grandly unquantifiable—Blitzkrieg Bopping, Cretin Hopping, Sonic Reducing—or, at bare minimum, about something so inarguably valueful—being with a Rock & Roll Girl, perhaps, or Seeing Her Standing There—as to render any debate regarding its appropriateness essentially academic); the band eventually persevered and won my heart via their knack for reassembling their disassembled punk clichés into new (yet completely non-innovative) forms which i happened to find pleasing. Well, that and it seemed like the singer actually wouldn’t mind sucking my dick, so where’s the fun in that? “Radio Video,” “London Girls,” and “Little Creep” all have that sort of “i dunno, it just came to me while i was tapping my pencil against my shoe in math class” punk rock feel that nullifies their own inherent stupidity; “London Girls,” almost certainly the stupidest of the lot, is likely the best (and reminds me of The Mess, which almost rhymes). That’s just the way th’ world works sometimes, m’man. One of the more aggravating aspects of the record is that the songs aren’t particularly brief (none clock in at under 2:02)—and the lyrics are generally just two verses and a chorus of one or two lines (e.g., “Radio video,” “I’m a little creep, are you, I’m a little creep born sniffing glue,” and “Lust in the city, lust and danger in the city,” repeated ad infinitum, are the choruses to three separate songs)—so i can only conclude that the band has got whatever the opposite of ADD would be (DAA?). My advice is to ditch the lame stabs at outright Rancidism (“Goin’ Down”), but to keep trying to sing like BOTH Johnny AND Sid—it isn’t every day i get a chance to experience such friggin’ versatility. BEST SONG: “London Girls” BEST SONG TITLE: “Radio Video” FANTASTIC AMAZING TRIVIA FACT: “London Girls” is not the Vibrators song of the same name, but there is a Vibrators flyer depicted on the CD booklet’s interior. –Rev. Norb (Super Speedway)

EDDIE HASKELLS, THE:
It’s Going Down: CDEP
Solid EP here with snot-induced, rock and roll-fueled jamming, ala Johnny Thunders, especially “Radio Video” and “Steal & Squeal.” Hints of The Clash are heard on “It’s Going Down,” and it’s a good thing. Extra-added fun for all is hidden at the end of this disc with a version of the Undertones’ “Teenage Kicks,” and the Eddie Haskells do their part in covering it quite nicely. These guys need to make it down to LA for a coupla shows. Fans of the Spits and The Girls will dig ‘em, most definitely. By the way – Eddie Haskell – wasn’t he that pesky fuck on Leave It to Beaver? God, didn’t you just wanna beat that Haskell kid down to the ground with a brick? Always kissing the asses of the parents on that show, thinking he’s so sly and fucking slick. The kind of guy that would turn his own brother out for some chick, a genuine loudmouth that never learned the phrase, “Snitches wear stitches.” –Designated Dale (Hubcap N Wheel...no fucking address...dopes... www.eddiehaskells.com)

EDDIE HASKELLS, THE / FRACAS:
split:: 7”
The Eddie Haskells call to mind some Dead Boys/early-vein Humpers presence, and let me tell you, that’s a mighty beautiful thang, especially the cut, “Dumpster Divin’.” Judging from just their side of the split here, I’d really like to hear some more of the Eddie Haskells’ material. On the flip, Fracas bump out a Samhain-ish “So Sayeth” and cover Antiseen’s “Fuck All Y’All”…zzzzzz… Shit, this coulda been an Eddie Haskells EP. Oh, well, can’t have it all. –Designated Dale (www.geocities.com/eddiehaskells2001 / www.fracaspunks.com)

EDDIE HASKELLS, THE / FRACAS:
split: 7”
The Eddie Haskells call to mind some Dead Boys/early-vein Humpers presence, and let me tell you, that’s a mighty beautiful thang, especially the cut, “Dumpster Divin’.” Judging from just their side of the split here, I’d really like to hear some more of the Eddie Haskells’ material. On the flip, Fracas bump out a Samhain-ish “So Sayeth” and cover Antiseen’s “Fuck All Y’All”…zzzzzz… Shit, this coulda been an Eddie Haskells EP. Oh, well, can’t have it all. –Designated Dale (www.geocities.com/eddiehaskells2001/www.fracaspunks.com)

EDDY CURRENT SUPPRESSION RING:
Primary Colours: CD
I hope I’m not being too obscure here, but this sounds like The Bass Holes merged with Lifter Puller. Sure, there’s a comforting feeling you’re in the hands of musicians who’ve been playing for decades, even if they haven’t—circular, repeated, lyrics (so you can sing along to a song the second time you hear it), and strained almost-spoken, yet confident vocals. But if the listener zones out for just a bit, there are strong, hooky indie elements that cast the more garage elements in a unique light. It’s like holding a bare bulb underneath something; instead of where light traditionally falls, attention is brought to an area usually cast in darkness. It’s this little change of approach that makes this record fuckin’ good. It’s like those paintings where you have to have soft eyes to see the hidden picture (a schooner is a sailboat, stupidhead). I never thought I’d be hearing something akin to taking the wonderful elements of the Gibson Brothers in one ear and Superchunk in the other, and with a soft focus, hearing the two blend into something denatured from both. An outright surprise and a great one at that. (In engines, a suppression ring is a device in the crankcase that prohibits backfiring. The band name fits.) –Todd Taylor (Goner/Aarght!)

EDDY CURRENT SUPPRESSION RING:
'Demon’s Demands” b/w “I’m Guilty”: 7”
Primary Colours, the Eddy Current full-length on Goner, is an album, not just a haphazard sequence of songs. By that I mean all the pieces fit, and being so, the picture is much bigger and more complex than individual songs. The song sequence and where the album breaks between the two sides are nicely calculated. It’s like they pick you up for a journey on the first side, buckle you in, and take you on for a great-ass ride with fascinating scenery rolling by the windows. This 7”, if placed somewhere in the middle of that record (I’ll leave it up to the experts to decide where), would fit perfectly (assuming that the vinyl could handle the length without compromising fidelity). The two songs on this 7” clock in a total of over eleven minutes of music. By themselves, they’re a more difficult introduction to this great Australian band. Imagine two slower, heavy-pedaling, uphill bicycle rides instead of one, hitting the peak, then zooming down in a sprint on the B-side (in a Velvet Underground meets The Saints way). –Todd Taylor (Iron Lung)

EDDY CURRENT SUPPRESSION RING:
Self-titled: CD
My esteemed colleague, Suburban Voice’s Al Quint, tells me this is a reissue of this band’s first album, and I ain’t gonna argue with him ’cause everyone knows Al knows his shit. He also sang this band’s praises and, again, I’m inclined to agree. What this Aussie band does here is synthesize a number of influences in ways that recall past styles—a little Headcoats here, some classic ‘80s thud-punk there, maybe even a little Sniveling Shits as —while infusing it with a heap of much-needed ineptitude to keep things vibrant and relevant instead of slick and contrived. The often monosyllabic lyrics about love, poverty, and ice cream and the verve with which they play the tunes recall the best of punk’s first few waves without sounding like a stale tribute band. –Jimmy Alvarado (Goner)

EDDY CURRENT SUPPRESSION RING:
Rush to Relax: CD
I feel like a gushing, horny teenager when I try to explain the Eddy Current Suppression Ring. That feeling ain’t all Tiger Beat-y for the dudes in this Australian band (and Razorcake #55’s cover band), but the music itself; their ability to clip off the lawn tips of the best of music from the ‘60s, ‘70s, and ‘80s and somehow shape that into contemporary, sculpted, interesting songs is nothing short of phenomenal. And instead of sounding like a band on a soft rock music station floating along, dumping crap in your ear, the effect is almost music-narcotic. I realize I’m a music dork. Got it. A funny thing happens when I play ECSR to new people whose taste I respect: “Wow they sound like X, mixed with Z,” where the X and Z are among the person’s favorite bands. Where X and Z are rarely the same, from person to person and widely divergent, but I can see it and it makes sense. Over and over again. That’s incredible. It shows not only how deep the pool ECSR are drawing from, but I’m convinced they’re a band chock full of music dorks, too, and this music’s just a human form of electricity inside of them. It’s not a phase, dabble, or calculation. The crib notes comparing Rush to Relax to their second full-length Primary Colours? It’s a bit less brooding, and quite possibly one of the brightest-sounding social anxiety records I’ve ever heard. Recommendations for records don’t come higher. I’ll be playing ECSR for years and years to come. (If you look close to the cover, the band had a plane fly a banner of their name behind them as they posed for the shot. Awesome.) –Todd Taylor (Goner)

EDGEWISE:
Complete Discography: CD
Who are they? Did they break up? How many releases did they put out? Were they or are they popular? Did they tour? Who was or is in the band? What are the lyrics? No thank you list? So many questions and no info on the packaging. For a discography, I would at least expect a lot of info provided to inform those like me not in the know. All that is written is this is a compilation of two recording sessions and they do S.O.A and Smiths covers. Okay, I’m going in totally blind. The music is East Coast metalcore that might be current or not. I would say they have that Strife mixed with Biohazard sound going for them. The production is on the polished end. The guitars are recorded clean with just enough compression to make it punch. The drummer sounds like he had lessons and took total advantage of the instructions. The vocals are clear, yet not sung. Almost rapping at times, which makes me believe the East Coast connection. Maybe I’m stingy, but I just want more than the music and a photo. –Donofthedead (Thorp)

EDISON ROCKET TRAIN:
Yes! Yes!! Yes!!!: CD
Think Wesley Willis done by people with no creative ability. –Megan Pants (Steel Cage)

EDWARD:
Forward/Backward: CD
I haven’t even opened this because if I shake it, it makes a funny sound and makes my hand get tingly. Seriously, it’s been the most fun I’ve had with a CD in a long time. Can’t think of the right word? Shake the disc. Frustrated because the network goes down? Shake the disc. On hold for five minutes? Shake the disc until you giggle. Pretty color blocks too. –Megan Pants (Merl)

EE:
For 100 We Try Harder: CD
...for 200 will you cease trying completely? WORST SONG: "Swallowed East" (Christ, i HOPE that's the worst song!) WORST SONG TITLE: "Promise Sleeps Under a Tree" FANTASTIC AMAZING BLURB FROM BAND BIO: "A fluid mixture of textured pop, improvisational post-rock, torrential washes of noise, and droning instrumentals gives EE the quality to both embrace and challenge the indie rock status quo from whence they came."
–Rev. Norb (Asian Man)

EEGOS, THE:
Self-titled: 7”
I really liked their other self-titled 7” (this one has the brain on the cover) and was hoping they would be on a path going up, from a cool power pop group I wouldn’t mind hearing to the essential listening of The Marked Men, and this 7” is about there. The first song, “If You Ain’t Shaking,” is great pop pop pop pogo fun with silly words. Then the next song, “Daddy’s Money,” is what I was hoping for. Really driving, edgy snotty brilliance that I can’t stop playing and head nodding to. I think it’s about a greaser kid who takes a rich girl out on a date and swears to not love her, or something. Pretty perfect. I don’t want to say the B-side is filler; it’s really fun. It’s just that I’m still bopping on that one song. –Speedway Randy (Felony Fidelity)

EEL:
People People: CD
A one-woman Japanese pop group of sorts, with the music provided by synthesizer(s). Most of it sounds like a weird melding of circus music, video game music, and game show music, all of it recorded at 45 rpm instead of 33 1/3 rpm. The drawings of happy people on the cover made me smile a lot. –Jimmy Alvarado (Records of the Damned)

EERIE VON:
Bad Dream #13: CD
Gloom, doom, and general misery abound here, which is what one would expect from the former bass player for Samhain/Danzig. While the faintest of Glenn influences may be apparent, this actually sounds more like Ian Curtis fronting Death in June, who in turn happen to be on a blues bender. While it works in some places, the songs overall aren’t all that engaging or strong, and thus tend to blend together after a while. With better material to work with, and a full-on band, Eerie might just pull off a truly great death rock album yet. –Jimmy Alvarado (Ghastly)

EERIE VON:
Bad Dream #13: CD
Poor Eerie Von. He was the Misfits' roadie, then he got to play bass in Samhain. When Samhain turned into Danzig, Eerie lucked out and made the cut (I guess sticking it out through Final Descent paid off for him.) But, at some point right after Danzig IV came out, Eerie must've done something to piss Glenn off, ‘cause he got kicked out of Danzig, and ever since he's been like a ghost, occasionally drifting by with a solo album like this one. It's apparent that Eerie wasn't the secret songwriting talent in either Samhain or Danzig, ‘cause this CD pretty much relies on tricks to get by. Tricks, I imagine, that Eerie learned from Glenn during the keyboard-and-drum-machine phase of Final Descent. Tricks borrowed from the bullshit that Glenn is trying to pass off as Danzig these days. Pretty much, this record sounds like a dude dicking around on a four track. And that's pretty much what it is. –Ben Snakepit (Ghastly)

EFFIGIES, THE:
Reside: CD
Reunions—they’re a dangerous slope indeed. Some bands come back and tour year after year, but don’t put out any new music (Circle Jerks and Agent Orange—I’m looking at you!), while other bands release new material that actually surpasses their original run. In that file I would add The Effigies who rival Mission Of Burma for “king of the mountain” bragging rights. Fierce, unrelenting, but thoughtful punk music from this band. John Kezdy’s lyrics are extremely insightful on what seems to be a political bent. Steve Economou pounds the skins like nobody’s business. Paul Zamost provides inventive bass riff-olas. And “newcomer” Robert McNaughton ties it all together with his guitar chokeholds. “Cold Plate” and “The Guv’ner” are good for appetizers, but the whole record will be like a prime rib entree: red and juicy. –Sean Koepenick (Criminal I.Q.)

EGAN’S RATS:
Shanghaied: 7” EP
I see a bunch of a number of skin-oriented t-shirts in the xeroxed photos on the back of the lyric sheet, but the mid-tempo punk stuff I’m hearin’ is more akin to late ‘80s bands like Crimpshrine. This ain’t a bad thang, but I found it kinda interesting. If they’re shootin’ for the whole skin trip, the lyrics are way above average for that scene, with virtually no references to drinking and fighting, and their sense of not fitting into the greater society is interestingly optimistic. Not too shabby on the whole. –Jimmy Alvarado (www.geocities.com/egansrats)

EGG CHEF:
Gurion: CD-R EP
This one came in an envelope a bit bigger than 8 ½” x 11”, with photocopied sheet of paper adhered to the front side. On the paper is a pic of some familiar-looking Japanese monster with a blade at part of its head. Inside the envelope, which came sealed, are five more photocopied pieces of paper and a CD-R. One sheet is a track listing, one a lyric sheet, another a drawing of fish and a whale with something on its back under a grinning sun, yet another with another drawing (this time of a sickly tree or mushroom) with the band name on the top and text on the bottom (perhaps what the tree is saying), and lastly one that simply bears the handwritten text “You don’t get the joke?” No, I don’t. But I do get that this must have taken some effort, and for that I have esteem. The CD-R has about eleven and a half minutes of sound distributed among seven tracks. The music is sometimes fast paced and manic; at other times, it a little slower and a little creepy. Either way, it tends to leave me a little uneasy. I believe that is what it is supposed to do, and that is not necessarily a bad thing. It’s kinda art-tastic post-punk via early F.Y.P. It’s been a couple of months and several listens, yet I still don’t know exactly what to make of it; still, I continue to put it on. Curious stuff. –Vincent Battilana (Dingle, no address)

EGGNOGS, THE:
Hot Caulk: CD EP
The song title "Death by Monkey" makes this whole disc worth buying. The music? Sloppy, funny joke punk, but who gives a shit? I wanna be in a band that has song titles as cool as "Death By Monkey." Call me, guys. –Jimmy Alvarado (Poosicle, no address)

EGGNOGS, THE:
You Are Special: CD
Weird, college pop music for complete spastics. It’s actually pretty damn cool. –Jimmy Alvarado (Tyros)

EGGROLL WILLIE:
Recruited to Hate: CD
These guys have managed the dubious distinction of being the first hardcore band I’ve ever heard that made me wish I was listening to Jennifer Lopez instead. –Jimmy Alvarado (www.eggroll-willie.com)

EGGS, THE:
Cut the Shit, Peepee: CD-R
A nice bit of noisy, vaguely arty punk that sounded a little like early Saccharine Trust joining the Urinals (whose “I’m a Bug” they cover here) and Julie from Sin 34 in an attempt to extract all the funky sophistication from the early Minutemen. It may not always be effective, but their batting average is good enough that they are worth looking into. Would love to see ’em with the added adrenaline infusion of a live show. –Jimmy Alvarado (www.myspace.com/theeggsgbro)

EGO PLUM:
Anthology of Infection Vol. 2: CD
You guys should really get in contact with Tim Burton. Once hearing what you have to offer, I’m willing to bet he’ll never use Danny Elfman’s soundtrack talents again. Simply amazing. –Jimmy Alvarado (Ebola Music, PO Box 226914, Los Angeles, CA 90022)

EHLEUCHATISTAS:
On the Culture Industry: CD
I guess the new thing with failed emo bands is to ditch the singers and up the jazz influence exponentially. Singer or no, this rocks about as hard as the last Weather Report album. –Jimmy Alvarado (www.angurasound.com)

EIGHTYFOUR:
Seld-titled: CD
What a bummer. This looked like it was gonna suck, judging by the shitty artwork, but the first song was awesome, like a grittier, younger Avail; I was stoked. But it quickly went downhill into generic emo-hardcore, and by the fourth song I was bored outta my skull. Oh well. Better luck next time, fellas. –Ben Snakepit (New Regard Media)

EIGHTYFOUR:
Self-titled: CD
What a bummer. This looked like it was gonna suck, judging by the shitty artwork, but the first song was awesome, like a grittier, younger Avail; I was stoked. But it quickly went downhill into generic emo-hardcore, and by the fourth song I was bored outta my skull. Oh well. Better luck next time, fellas. –Ben Snakepit (New Regard Media)

EINE KLEINE CHINMUZIK:
Hoch Und Dich: CD-R EP
Looks can be deceiving. When checking out what looks like crappy third grader cat drawings that accompanied this CD with the track listing, I thought this might be some young kids’ stab at making music. Well, I can’t confirm the ages of the band members Ben, Magoo, and Jason, but I was pleasantly surprised by their ability to make music. This speed demon pop punk has me pounding my feet without understanding a damn word they’re singing. These seven songs are full of distorted vocals and blistering drums, making it sound like a live band recording in a lo-fi setting. Their songs are similar to Milwaukee counterparts Chinese Telephones. If Eine Kleine Chinmuzik translates this nicely on recording, I hope they come to town soon because they’ll have a lot to live up to. If you want your pop with a surge of body-wrecking power, then get this EP now. –N.L. Dewart (http://www.myspace.com/einekleinechinmuzik)

EL AVIADOR DRO:
Electrico!: CD
What info is available on the packaging says these guys have been around since 1978, but I’m unclear as to whether this is a reissue, a compilation of “hits,” or a new release. Either way, what you get for your buck is quirky, synth-driven new wave, sorta like Devo meets OMD. Most of it is quite good, especially “La Televisión Es Nutritiva,” and I’d venture that you could easily slip any of the tunes here onto the Sixteen Candles soundtrack and no one would notice. –Jimmy Alvarado (www.omegapointrecords.com)

EL BANDA:
Wisi Mi: 7”
This is a great follow-up release from this Warsaw, Poland band who put out the wonderful debut LP, Przejdzie ci. This time around they seem to have grown from their dark melodic hardcore beginnings and are pushing the envelope in growth. The first side starts off with a dark mid-tempo number that reminded me a lot of the now-defunct Signal Lost: charging female vocals on top of the rhythmic chords shows power without resorting to the use of speed. The second track, being more melodic, reminded me, for some reason, of the playfulness of one of those ‘80s new wave bands that I used to see on MTV when they actually showed videos. It’s by far my favorite track on the whole release. Flip this baby over and they show that they have not lost their punk edge. The last track closes off the experience with a massive gang chorus backed by more of a rock-edged tune. If Post Regiment, La Fraction, The Assassinators, Utopia, or the many other female-led punk bands is your thing, you need to get one these. (The exchange rate of the US Dollar is decent to the Polish Zloty.) –Donofthedead (Pasazer)

EL BANDA:
Skutki Uboczne: 2xLP
I was first introduced to this wonderful band from Poland through Todd during a visit to Razorcake HQ. It was the band’s debut record, Przejdzie ci, which he knew would hit my soft spot for my love of female-fronted bands. I bought a copy out of the distro without a listen and took it home to be quite impressed with what came out of the speakers. Sometime later, making an order from the label in Poland, the label asked if I would mind if my order was delayed so they could send me a review copy of El Banda’s new 7” to review. Woohoo! New 7”?! No problem! Some time passed and I was shopping on the label’s website again and I saw that there was an upcoming double LP with twenty-four songs. Twenty-four songs?! It was a no-brainer that I had to possess this. I’ve got the record in my hands and love that it is encased in a heavy gatefold cover. I quickly appreciate the artiness of the photos used throughout. Musically, it did not disappoint. The progression of this band is pushed even further than their debut LP. Post punk, jazz, punk, and the kitchen sink is thrown out there for an aural delight. It’s good to hear this band pushing the limits to see what might come together. Even with the experimentation, the energy level maintains a high level of aggression and rawness. It doesn’t dip when you can hear the band being playful. With so many songs to digest, I did not feel it was labored. The variety justifies the attention. El Banda are truly one of the most captivating bands that has caught my attention in the last few years. –Donofthedead (Pasazer)

EL BUZZARD:
Self-titled: CD
Sludgy, post-grunge stoner rock with screamed vocals. It’s been so long since I’ve heard anything like this that I actually found myself digging it quite a bit. Thumbs up. –Jimmy Alvarado (www.el-buzzard.com)

EL GUAPO STUNTTEAM:
Year of the Panther: LP

Heavy, high-voltage rock’n’roll sure to leave your mom deaf and your neighbor pissed. As sweet and sincere as a solid blow to the testes.

–Jimmy Alvarado (Sounds of Subterrania)

EL SOB:
Welcome to El Sob: CD
Have you ever watched kid’s educational TV? You know how sometimes they try to make a “hip” song about brushing your teeth or some other nonsense? That’s what this sounds like, except the guy’s voice is so bad it’d probably scare off the tykes. Hey, at least they’re label’s name describes their sound. –Megan Pants (Abominable)

ELDORADO AND THE RUCKUS:
Planet of the Vampires II: CD
Eldorado Del Rey of the Porch Ghouls teams up with Cheetah and J.R. Token of the Immortal Lee County Killers 3 to form this group. It was recorded at Sun Studios. Not may people get to claim that. It's from Memphis and it's blues involved in the horror business. Maybe you're into ghosts and devils and homemade lore-which is sometimes the best-if you are or if you're a fan of the Porch Ghouls and the ILCK3 then you'll most likely be all about this. –Guest Contributor (Big Foot)

ELDORADO AND THE RUCKUS:
Do Androids Dream of Electric Sheep?: CD
The break up of the Porch Ghouls was, indeed, a crying shame. Even more difficult is the fact that it freed up Sun Records aficionado and frontman Eldorado del Rey to concoct this ridiculous, emo new wave bastardization of Memphis blues and garage. Apparently, the album is titled after the Philip K. Dick story that became the film Blade Runner, which explains, well, pretty much everything. The resonator guitar adds a great Pell Mell touch, but when mixed with repetitive electronic “drum triggering,” the result is disquieting. On the same parallel plane as Electric 6 and as uncomfortable as Buck Rogers running through the Twilight Zone with a room temperature speculum. –Jessica Thiringer (Big Foot)

ELECTRELANE:
Rock It to the Moon: CD
This is not techno. Nor could it technically be categorized as electronica. This is what I think might be playing if ever there was to ever be any sort of riot grrrl rave. It’s not always fast. Sometimes it sounds sort of French-electri-loungey, like Air. But more like a soundtrack to a foreign film. Sometimes reminiscent of Slant 6, but sometimes like ghastly surf rock electronica. Does that make sense? Well, as confusing as that may sound, it’s really good. A little mellow throughout, but it jumps around a little here and there. I would like to officially dub this music “Digi-girl”! –Harmonee (Mr. Lady)

ELECTRELANE:
Axes: CD
The sound of the dentist drilling away at my teeth is more sonically appealing than this racket. One can only hope that Steve Albini produced this mostly instrumental debacle for the money, and even then I still don’t forgive him. Every song on Axes is painfully long and riddled with screeching fiddles, banjos, and horns, as well as a plinking/plunking piano that hammers away at your skull. I’m almost certain that track eight is a bunch of people aimlessly bashing away at every instrument that exists. The last track, clocking in at nearly ten minutes, is quite possibly the worst song ever recorded. God damn, this sucks! –Kat Jetson (Too Pure/Beggars Group)

ELECTRIC 6:
Señor Smoke: CD
Big, beefy, and highly synthesized, this Detroit sextet is reminiscent of Rocket From The Crypt in some strange universal twist. A hit in the U.K., where this album was first released, the self-dubbed disco-punk description is somewhat telling—nonsensical lyrics, a spinal column of power keyboards (Tait Nucleus), porno bass (John R. Dequindre, Frank Lloyd Bonaventure), cock rock guitars (The Colonel, Johnny Nashinal), and silver-tongued, masculine vocals (Dick Valentine). This oddly balanced mix of dance, garage, and what-have-you is simultaneously repulsive and magnetic. –Jessica Thiringer (Metropolis)

ELECTRIC BUNNIES, THE:
Chewing Gum: 7”
This was a definite surprise! The title track on here vaguely reminds me of the chorus of “Pepper” by the Butthole Surfers, but reworked in a jangley, minimalist via the Velvet Underground kind of way. The other track on the first side is a fuzzed-out little rocker. The third one is a spastic blast of rock that emphasizes, what I’m guessing to be, their affinity for aural dissonance. The song wrapping up this slab of wax is a Nuggets-esque piece that displays some VU-type noise without letting it engulf the song. I’m thinking that I’ll be spinning it every now and again. –Vincent Battilana (Forida’s Dying, www.floridasdying.com)

ELECTRIC BUNNIES, THE:
Eskimo: 7"
Man, some things just have to be filed under enigma, like this Electric Bunnies seven inch here. I know, I know, gees oh gees, let’s not start on the name. I’m going to focus on the positive and this three piece out of Miami, Florida thrash out two poppy garage-influenced gems that just flat out rock. I’m about to kick myself for being from Florida and not having heard them before. Then, I flip to the B-side and the bottom drops out. There’s this muted-out electro dump-fest that sounds like new age chanting. It just makes me want to toss what seemed like a potentially nice surprise right into my “you’re headed to the used record store” pile. I haven’t heard enough of ‘em to know which band they are, but I’m willing to seek out more releases in order to solve this riddle. If it’s the band on the A-side, hoorah! But if I hear one more song like the one on the B-side, I’m done.
–Dave Disorder (Florida’s Dying, floridasdying.com)

ELECTRIC EEL SHOCK:
Beat Me: CD
This is pure retro Blue Cheer rock, with what sounds like Ted Nugent's original singer. I like old school rock, but this is just awful. It sounds like the guitarist bought a flanger pedal, then set about wanking the fuck out of it for the sole purpose of making use of the $150 spent on it. Or maybe to share a drug-induced Hallmark moment with the rest of us. The arrangement of songs lacks a distinct cohesion, so I suppose this would be listenable after dropping a tab. This is followed by a dreadful cover of "Iron Man." Good god, I've been spoiled by listening to good rock bands like Sleep and Asbestos Death that this is just unlistenable. So for me this is music to drink to-as in if this is playing, I'm taking off to the bar. –Guest Contributor (Gearhead)

ELECTRIC EYE:
Muscle: 7” EP

High-energy rock’n’roll like the Swedes are into these days. Pretty loud, pretty over the top, pretty good.

–Jimmy Alvarado (Vinyl Warning)

ELECTRIC EYE, THE:
Electric Wisdom: CD

CD: Okay. First song!

Me: Songs that sound like the Tight Bro’s From Way Back When covering “Flowers” off of the first Psychedelic Furs album! (DING!)

CD: Second song!

Me: Uh... songs that sound like “Play-Doh Meathook” era Electric Love Muffin covering “Hot for Teacher?” (DING!)

CD: Third song!

Me: Songs that very briefly remind one of that Love & Rockets cover the Gaza Strippers close their set with? (DING!)

CD: Close enough. Fourth song!

Me: Pass.

CD: Fifth song!

Me: Songs you hear outside a Fireballs of Freedom show that at first you think are covers of “Milk & Cookies” by the Offbeats?

CD: I’m sorry, time is up.

Me: Okay, well, thanks for having me.

BEST SONG: “You Got It Wrong” BEST SONG TITLE: “(Fuck Off) Grim Reaper” FANTASTIC AMAZING TRIVIA FACT: The Who Sell Out is generally considered the first rock album to omit the song titles from the exterior packaging. –Rev. Norb (Dirtnap)

ELECTRIC EYE, THE:
Raise the Sword: EP
Hard rock punk rock about magic power and wizards and swords and stuff. Not as stonery as you’d expect; more along the lines, musically, of Boston’s Hullabaloo, if anyone remembers them: gruff, goofy vocals, sloppy hard rock riffs and endearing who-gives-a-fuck silliness. The Electric Eye are from Portland, Oregon, though. –Cuss Baxter (Super Secret)

ELECTRIC FRANKENSTEIN:
We Will Bury You!: 2 x CD
There was a golden time back in the late ‘90s when I thought Electric Frankenstein was King Shit. I really believed that their music could kill hippies. I thought they were the new Dead Boys, only heavier and with a few more chins – not just sonically speaking, but heavier in the physical sense as well (as anyone can plainly see that it would take about 3.5 Stiv Bators to make one Steve Miller.) And while Steve Miller’s no Gap underpants model, he’s a got a great punk rock voice – greasy and gritty and slimey like a wet paper bag full of rancid dog food and worms. Back then I was listening to their live discs, How I Rose From the Dead, I Was a Teenage Shutdown and Me No Like You constantly. And when I did an interview with the Hookers and they slagged on E.F. for being old and fat and having too many chins, I liked E.F. even better. What could be more truly cool than being the farthest thing from MTV pretty people? And their old choppers weren’t exactly floating in a glass of water next to their bed; E.F. had a sound that spit in your eye right before it tore your adam’s apple out with its teeth. Or at least the live recordings did. I soon found out that the studio offerings didn’t quite have that same bite. And right about the time I made that discovery, they started squirting records out like bunny turds; these boys definitely don’t suffer from Axl Rose Reluctancy Syndrome when it comes to cranking new stuff out. Soon, for me, a new E.F. release became nothing to get excited about. They seemed hell bent to show everyone and Axl Rose that it really is quantity over quality. On top of that, they further bogged down their fans – or me at least – with their preachy “Fight the Anti-Rock Conspiracy” twaddle. I generally don’t get an itchy reaction to “preaching to the choir” type stuff, but this particular campaign seemed as ponderous as their recorded output was prolific. So it was with some trepidation that I approached reviewing this new double E.F. CD of nothing but cover tunes. To their credit, they are all over the map here. They go from covers of the Circle Jerks to AC/DC to the Supersuckers to Crime, the Dead Kennedys, Blue Oyster Cult, the Misfits, F-Word, Fleetwood Mac, Johnny Cash and Pink Floyd. All in all, very admirable attempts. But when you get to the stuff you’d like to re-listen to – not as interesting. What it comes down to for me, is that the covers of “arena rock” tunes tend to show that slower, softish mid-tempo side of E.F. that seems to have been more and more prevalent on their more recent releases – while the more “punk” covers have more snot and teeth and bile. Which I like. Sorry, I’m biased. “Ace’s High” by Iron Maiden is a cool/cheesy tune, but E.F.’s relaxed remake makes the original sound more “punk” than the E.F. version. And personally, for me, if you’re going around with a comic book-inspired band logo that says “Electric Frankenstein – Punk Rock” and you’re showing up on the monitor as “less punk” than a fencing doofus like Bruce Dickenson, you better take a step back and rethink things. Like most recent E.F. releases, I find this one to be a mixed bag of really good and really uninteresting. The good stuff is good, though. As usual, I wish I could have gone into the studio and trimmed the fat for them, using my razor sharp music critic scalpels. Because this is, perhaps, the most “Frankenstein-ish” of all their releases and, while it doesn’t come anywhere near to totally sucking, it doesn’t have the over-all power and ignorance to drown sweet little innocent girls in sun dresses either. A lurching hit-and-miss patchwork of random parts sewn together with cheap yarn. Your call. –Aphid Peewit (TKO)

ELECTRIC FRANKENSTEIN:
Listen Up, Baby!: CD
I had read somewhere that this was a re-issue with added tracks. Originally, this was just an EP that Man’s Ruin had put out a few years back. I see that they have become more popular and the demand was there to bring this back from the grave. If you are a rock head, this should be in your bag of goodies. One of the pioneers of the current wave of rock and roll punk. On this release they have the sound and energy that makes me like a band like Motorhead. The vocals are throaty and the guitars are fuzzy. If you hate guitar solos, go to the next review. The songs are generally mid-tempo but rock you out of your seat. Stuff like this that is played so well talks to the little hesher inside of me. –Donofthedead (TKO)

ELECTRIC FRANKENSTEIN/EL NADA:
split: CD
A good split. First off, we have Electric Frankenstein. They have been around for many years, released a ton of records, and they continue to play good, low-down rock’n’roll, or garage, if you want to call it that. If you like them you will want to get this CD. Next up is El Nada. If I’m not mistaken this band has the same Dave Chavez who was in Sick Pleasure, Verbal Abuse, and many other bands. The dude still skates and plays hardcore after all this time, and hardcore is what El Nada is all about. Fast, old school style and guaranteed to make you love ‘em. Each band on this split does three originals and then does a cover of the other band’s song. Now go out and get this CD. –Mike Beer –Guest Contributor (Finger)

ELECTRIC KISSES, THE:
Self-titled: LP
Here’s the disclaimer: Mike Frame, who’s in this band, does reviews and interviews for us. So take this how you will. The Electric Kisses are Nikki Corvette-style fun. Simple, stripped, direct, clear punk rock that’s poppy. They seem so internal and comfortable with punk rock: declaring a person’s love is stuck to B-side status, that friends are either dead or have stopped living, and it’s all wrapped around one of those honking big lollipops swirled with a rainbow of colors, with a carbon monoxide center. The one thing I wished on the initial listens: more immediate explosions and pock marks. But it’s weird—compared to, say, The Eyeliners or Riff Randles—where, at first, I was floored, and then, later, I wouldn’t have minded a little more (which I think those bands were capable of)—The Electric Kisses deliver in dosed drips. The details slowly pop out and splash a new clarity to the songs: “Oh shit, they totally ripped off The Kids cover (down to the tape on the edges),” and “for being lyrics about adolescent-type sounding stuff, they’re really seasoned. I don’t feel like a pedophile listening to this.” So, yup, count me as a fan, more and more with each successive listen. Cool stuff. –Todd Taylor (Full Breach Kicks)

ELECTRIC SHADOWS:
Break The Rules b/w She’s All You Got: 7”
This NYC trio appears to be led by some manner of extra-terrestrial expat from one or another of the ümlaut planets, and are approximately 1.5 levels of Hair more glam than Some Action (i’m not exactly sure of the factor. I’d need to see their hair better). I am quite thankful that this record didn’t come with a press sheet of any sort, because the band’s mission statement is almost certainly something on the order of “we want to cross the pop hooks of the Raspberries with the swagger of the New York Dolls and Heartbreakers, served up in a hot tub full of T. Rex and Kiss with three quarters of a jigger of Aerosmith and Suzi Quatro as a drain stopper” or similar act of genius. I mean, fuckin-A, ya feel like blowing your (or their) brains out before you’ve even taken the record out of the sleeve. BUT, that said, the record does sound reasonably like the aforementioned concoction, and both the songs are kinda good. By the way, the Font Police would like to see you in Room 101 at your earliest convenience. Bring your own rat. BEST SONG: “Break The Rules” BEST SONG TITLE: “She’s All You Got” FANTASTIC AMAZING TRIVIA FACT: No offense to the dead or the living, but i saw Nikki Sudden, and he sucked. –Rev. Norb (Douchemaster)

ELECTRIC, THE:
Poor Loretta: 7"
Hey, I’ve “snorted cocaine off the torsos of the daughters of kings,” too. Nice to know I wasn’t the only one, although I never went so far as to write a shitty song about it. –Jimmy Alvarado (Bert Dax Cavalcade of Stars)

ELECTRICUTIONS, THE:
Sedition, Subversion, and Espionage: 7"
Wow, pretty killer r’n’r with political lyrics! This is a real find. A cousin to The Regulations, not so literally but in old punk rock sound and lefty lyrics. How many times do you get a lyric sheet with a 45? Not freaking often, but this band has something to say, and the music to back it up. Stirring, powerful, and catchy, and from DC even. Pick it up now! Should be leading the way on Dischord, fitting into the DIY and the politics, harkening back to the bands that started the label. But it’s on Big Neck, maybe because it’s the brother of Odie from the Baseball Furies. –Speedway Randy (Big Neck)

ELECTROCUTIONS, THE:
Locked Gates/Lonely Roads: CD
Rock solid Dirtnap-tinged punk stuff with politically charged lyrics. The vocals aren’t the strongest aspect to this—in spots it almost sounds like a live recording—but they more than make up for it with good songwriting and on-point playing. –Jimmy Alvarado (Big Neck)

ELEKTROLUX:
Self-titled: LP
I like this, although I have a hard time putting my finger on exactly what genre of music it is. A French band from Marseille, they sing in English and have short and interesting lyrics, to wit, “The Boy Aside”: “& if I was Christ myself I wouldn’t start any religion but stay home all day long eating food as praised in the TV commercials.” Fantastic! The singer has a nice, deep voice, robust and appealing. On the first song on the second side, it almost reminds me a little of Mr. Jim Thirwell (also known as Clint Ruin, Foetus, etc.). They go through a couple different styles on the album; I sometimes hear a little Birthday Party influence, or maybe some Firewater, and the guitar in a couple of songs has an almost rockabilly feel. A female guest vocalist sings on a couple tracks and it’s an interesting addition—makes the songs a little more screechy and punk. The bass is strong, and I bet they’re really fun live. Dig it. –Jennifer Federico (Jojo, myspace.com/jojorecords)

ELEMAE / MEMORIAL / SOON:
Split: CD
All three of the bands on this three-way split play painfully bland, murky rock that relies on computerized effects to make the experience all the more excruciating. These guys all need interventions from friends and family reminding them that drum machines were never cool. Memorial is the least annoying of the three bands because of the sweet vocals, but, overall, this CD is less fun than a root canal. At least a root canal comes with drugs. –Art Ettinger (Engineer)

ELEPHANT MAN:
Self-titled: 7"
This Bay Area band (or project?) features members of Capitalist Casualties, Agents of Satan and Plutocracy. Lyrics, I assume, are sung in Japanese because that is how they are written out and I can’t tell from the screaming pouring out of my speakers. The music is heavily Black Sabbath soaked but tends to veer out of control into the thrash vein. Slow, fast, slow, fast. It makes me dizzy. An aural experience of pain and despair with rage and aggression. Like smoking pot for awhile, then doing some lines of methamphetamine and some heavy drinking to come back down. Their cover of Black Flag’s “Thirsty and Miserable” kicks ass on Lemmy’s (Motorhead) version on the Rise Above comp. Music that would put my nut sack into knots.
–Donofthedead (Impatience or Indifference)

ELEVATOR:
A Taste of Complete Perspective: CD
Someone’s been listening to their copy of Pink Floyd’s "Saucerful of Secrets" a little too much before band practice. Luckily, in this case it’s a good thing. Despite the obvious influence of one of the most self-indulgent bands in rock history (and this is coming from one of their fans), the songs don’t blather on endlessly and there are diverse enough ideas going on to keep things interesting. In short, I dug it, man. –Jimmy Alvarado (Teenage USA, Box 91, 689 Queen St., W. Toronto, ON M6J 1E6)

ELF POWER:
The Winter is Coming: CD
This is a pretty weird one here. Take some jangly pop, sprinkle in some Kinks, dollop some Savage Republic/Middle Eastern drone on the top and voila! It's not exactly what most people would call "rockin' tuneage," but it is definitely a nice, mostly successful attempt to find some new ground by mixing some seemingly disparate influences. –Jimmy Alvarado (Sugar Free, PO Box 14166, Chicago, IL 60614)

ELLEGARDEN:
Riot on the Grill: CD
Unfuckingbelievable. This band has sold like 700,000 copies of this record in Japan and it sounds like they could do the same here. Somewhere between a perfect synthesis of Blink 192 and like New Found Glory or some such nonsense. I totally did not expect this music to come out of these people, given the nature of what most Japanese punk I’ve come across sounds like. And the cover of this thing—which is a delightful full color gatefold cardboard deal; the Japanese really know paper. Some lyrics in English, some in Japanese. Not terrible if you like that sort of over-the-top, radio-ready emotional pop punk. Which, for the most part, is terrible altogether…but this isn’t that bad. –Steveo (Denko Secca, www.denkosecca.com)

ELLIOTT:
Song in the Air: CD
Ho. Ly. Shit. To my way of thinking, Elliott has been that band for a long time now, the band that I expect greatness of, the band that I expect to transcend whatever musical limitations I can imagine and blow my mind with an album that I couldn’t have even dreamed of hearing. I’ve been expecting that since 2000’s False Cathedrals which was the single best artistic achievement I heard that year. It was majestic, soaring, transcendent – all those big fluffy words which seem really important and convey really big ideas. It was a pop record, it was emo, it side-stepped every sub-genre as soon I had managed to pin it down; it remains one of my favorite albums to this day. I’m sure I reveal my bias as soon as I note that I have been waiting for this new record for three years. I’ve been tracking the songs which have leaked onto the internet. I’ve been anticipating hearing the whole goddamn thing on my headphones and when it showed up in my mail this morning, I knew how I’d be spending my afternoon – headphones on, listening to Elliott. And simply put, the three-year wait was worth it. While “Song in the Air” seems to be a radical departure from the poppier textures and conceits of False Cathedrals, it’s really an extension and advancement of the ideas which were set out and tentatively explored within that album’s confines. False Cathedrals was, to an apparently large degree, a bridge between the more straight-forward emo and pop of Elliott’s debut, U.S. Songs, and this sonic experiment which seems to ignore emo altogether in favor of expressing more symphonic and classical tendencies (perhaps best acknowledged by the addition of a string quartet fronted by The Rachel’s Christian Frederickson). The loops and beats which helped characterize parts of False Cathedrals are still present; that instrumentation now helps shape a soundscape which pays more attention to shoegazing bands like Slowdive and My Bloody Valentine than punk bands like Rites Of Spring or Embrace, which owes a large debt to bands like Placebo and almost no debt at all to ones like Hankshaw. And what it boils down to is this – despite changing two members (Jay Palumbo, now playing in Thirty-Two Frames, and Jonathan Mobley), Chris Higdon and Kevin Ratterman have created a masterful work, drenched in reverb and layers, crisp and clear yet still dripping with mystery. Higdon’s angelic, soaring, childlike vocals still sound more like a choirboy’s than a singer for what is ostensibly a rock and roll band; while it still sounds like Higdon is yearning for something, his vocal tones also suggest that he knows exactly what he wants… and that he won’t be denied. Ratterman, the other remaining holdover from the False Cathedrals sessions, is still wielding his studio like an instrument, seemingly treating the recording process as another possible track. Frankly, I can’t begin to imagine how Elliott could perform these songs live without taking stringed instruments on tour and even if that were the case, these songs would still be difficult to perform live. There’s simply too much here, a embarrassment of musical wealth to hear, explore and mine, a host of new ideas which have yet to see birth in a rather insular, self-absorbed scene. And while it’s true that Song in the Air is a studio album in the best sense of the term – which in turn means that the band must necessarily turn inward and close the door to the outside world – what emerges is a map of uncharted musical territory which challenges even the best and brightest songwriters to explore it. –Puckett (Revelation)

ELLIS ASHBROOK:
Assemblance: CD
Psychedelic rock that… no, it’s pretty much just standard psychedelic rock. It’s weird, but this genre makes me feel so tired I thought I was going to fall asleep by track seven. There are a few moments of really cool experimentation, but, for the most part… it’s psychedelic rock that sounds like it’s inspired by modern alternative metal. In conclusion, no matter how hard you try, drum solos sound forced. –Bryan Static (ellisashbrook.com)

ELLIS, NOEL:
Self-titled: CD
Noel Ellis, son of rocksteady giant Alton Ellis, released this, his debut album, in 1979. One listen and it’s clear why it’s been something of a collector’s item since. Blessed with a great voice in his own right, Noel serves up six fine conscious reggae tunes that each devolve somewhere at the midpoint into dub, losing none of the power established at the outset. Those with a more than passing interest in The Clash will notice that “Rocking Universally,” bears a strong resemblance to “Armagideon Time,” which makes sense considering the composer of that tune, Willie Williams, plays percussion here, as do some other reggae greats, including Jackie Mitoo and Johnny Osbourne. Included is a booklet packed with info about Noel, the place and time period in which this was recorded, and where his and the other musicians’ heads were at while working on the album. Good, good stuff. –Jimmy Alvarado (Light in the Attic)

ELPHABA:
Any Land But This: CD
When I put this CD on, my roommate offered her immediate assessment. : “It’s very yelly.” This album is indeed full of yelling. Not catchy, melodic yelling really. Just yelling. The songs are fairly complex, with grating, clangy guitars high in the mix. I think if you like DC punk or weird angular “post-hardcore” bands like Q And Not U, then this will probably excite you. Me, : not so much. –Jessica Thiringer (Rome Plow Records)

ELYSIUM:
Huntley Ave.: CD
Bad, bad, BAD metal from dudes trying really hard to look like hip alt-rock dudes, or modern punkers or something. One member’s even sportin’ a beard that would make the Amish proud. Must be a pain in the ass keepin’ bread crumbs outta that bad boy. –Jimmy Alvarado (Elysium)

EMBRACE TODAY:
Soldiers: CD
Straight edge metallic hardcore that reminded me of the bands Strife and Integrity. Metal riffing, a big double bass drumming sound, and a vocalist who screams like he's about to pop a blood vessel off his forehead and his eyes might explode. Tough music for a tough minded crowd. –Donofthedead (Deathwish)

EMBRACE TODAY:
Soldiers: CD
Straight edge metallic hardcore that reminded me of the bands Strife and Integrity. Metal riffing, a big double bass drumming sound, and a vocalist who screams like he’s about to pop a blood vessel off his forehead and his eyes might explode. Tough music for a tough minded crowd. –Donofthedead (Deathwish)

EMBROOKS, THE:
Our New Day: CD
Never have I heard a group so sonically similar to The Who during their hooliganistic mid-‘60s heyday than The Embrooks and their cacophonous kaleidoscope of wailing musical savagery! The over-amped, demento-distorted guitar-crunch roars with such jangle-rumble ferocity, my ears are now permanently damaged with a ravaging case of Pete Townsend-syndrome (more commonly known as tinnitus); the molten, flesh-meltin’ leads and swirling, skin-scorchin’ solos are all-at-once ballsy, bluesy, slithering, and psychedelic. Lois, the explosive demolition-detonatin’ drummer, is the female equivalent of Keith Moon; only she’s more barbaric, brutal, and raucously rampaging with her percussive barrel-poundin’ prowess. The bass is a low-end auditory freight train cram-packed with technically proficient storms of seismic sound. Pristinely smooth nasal-wheeze vocals discordantly soar throughout this thunderous onslaught of garage rock rowdiness. Yep, it’s a magnificently colossal assortment of structurally perfect noise-blastin’ splendor in the vibrant vein of The Kinks, The Yardbirds, Love, and the cream of the “Nuggets” crop. “Our New Day” is damn well on its merry lil’ way of becoming one of the most aurally blistering faves of my lifetime. Robustly recommended! –Roger Moser Jr. (Bomp/Voxx)

EMBROOKS, THE:
Back In My Mind b/w The Time Was Wrong: 7"
This band’s Our New Day album was one of the top two or three records of 2000 A.D. and remains in the All-Millennium Top Ten (assuming you, like i, consider Y2K to be the first year of the new millennium, even though, owing to an accounting error, 1 B.C. proceeded directly to 1 A.D. without benefit of a year zero – thus technically rendering year 2000 the last year of the second millennium A.D., not the first year of the third); in marked contrast, their first album isn’t even worth listening to. This latest 45 is somewhere in between. The a-side pretty faithfully recreates whatever interval of sonic time (uh... “tyme?”) was in effect when UK freakbeat started to morph into psychedelia; the b-side, apart from a few discontemporaneous production flourishes, sounds like one of those almost-brutal, almost-ballads on The Who’s A Quick One and Sell Out albums. I don’t dislike it, but i don’t really hear a hit here, either – nor is the slashing, punky energy of Our New Day there to give a cursory lapdance to my eternally punk rock lap. New album, please. BEST SONG: “Back In My Mind” BEST SONG TITLE: i don’t like either. FANTASTIC AMAZING TRIVIA FACT: Back cover photo was taken at approximately 5:53 local time. Also, their bass player is actually Lucky the Leprechaun from Lucky Charms™ cereal. –Rev. Norb (Butterfly)

EMBROOKS, THE:
Back In My Mind: 7"
Strong psych-pop that’s very true to the period they’re obviously influenced by and perfect for my trips to ItchykooPark. What did I do there? You figure it out. –Jimmy Alvarado (Butterfly)

EMERGENCY:
1234: CD
So far as I’m able to reckon, this is a modern Canadian skin band that eschews the requisite odes to drinking, blind patriotism, and right-wing warmongering in favor of swipes at the vapidity of factory life, the army, the United States government, and the homogenization of western society. Musically, the band recycles more than their share of riffs, but, on the whole, the tunes work and they sound considerably more authentic than the majority of their bald contemporaries. I dig ’em. –Jimmy Alvarado (Step-1 Music)

EMERGENCY:
1234: CD
Street punk from, I’m assuming, Vancouver, Canada. Well-produced and played by three guys who look like they live what they play. Kicking into gear with their oxblood Docs, they play a mixture of punk that reminded me of Abrasive Wheels meets Infa Riot. Nothing that offended me or bored me enough to take it out of the player. I will give it a “raise a pint” rating. –Donofthedead (Step 1)

EMERGENCY BROADCAST SYSTEM:
Self-titled: CD EP
This is quite a nice little package, but it’s one of those records that really kind of defy accurate classification. I guess I would say that it sounds like modern radio mixed with post-punk sensibility like Joy Division. And it also kinda reminds me of bands that I’ve been hearing out of Kansas City over the last ten years or so—melodic and powerful, but defying the possibility of being pigeon-holed due to inventive composition that borders on the experimental at times. Sorry if this one escapes my verbal skills. I like it, anyway. –Guest Contributor (Coastal Ghost)

EMERGENCY BROADCAST SYSTEM:
Self-titled: CDEP
This is quite a nice little package, but it’s one of those records that really kind of defy accurate classification. I guess I would say that it sounds like modern radio mixed with post-punk sensibility like Joy Division. And it also kinda reminds me of bands that I’ve been hearing out of Kansas City over the last ten years or so—melodic and powerful, but defying the possibility of being pigeon-holed due to inventive composition that borders on the experimental at times. Sorry if this one escapes my verbal skills. I like it, anyway. –The Lord Kveldulfr (Coastal Ghost)

EMERGENCY, THE:
How Can You Move?: CD
Judging on their brand of lame, quirky college bar pop, I bet drunk, slobbery college chicks are crawling all over 'em. They make me wanna hurl for entirely different reasons, but, if you're a drunk, slobbery college chick, they're the best thing since REM and they need your lovin? NOW. –Jimmy Alvarado (www.theemergency.net)

EMERGENCY, THE:
Can You Dig It?: CD
Sounds like a cross between UXA and the BellRays. Unfortunately, as my grandfather used to say, “we shoot every fifth cross between UXA and the BellRays…and the fourth one just left.” Median song length is approximately four and a half minutes, so i’ll have plenty of time to reload. BEST SONG: “Girl You Should Have Known” BEST SONG TITLE: “Can You Dig It?” FANTASTIC AMAZING TRIVIA FACT: “Can You Dig It?” is not the Monkees song of the same name. –Rev. Norb (Blue Disguise)

EMERGENCY, THE:
How Can You Move?: CD
Judging on their brand of lame, quirky college bar pop, I bet drunk, slobbery college chicks are crawling all over ‘em. They make me wanna hurl for entirely different reasons, but, if you’re a drunk, slobbery college chick, they’re the best thing since REM and they need your lovin’ NOW. –Jimmy Alvarado (www.theemergency.net)

EMOK:
Shove Your Head into the Ground and Feed It to the Earth: CD
I’m not sure what I think about this one, but I think that’s good. It seems like it’s bridging a no-longer-distant gap between between arty-leaning hardcore and a Korn-wannabe band, so upon first listen I immediately reached for my can of anti-art pesticide spray and a cudgel. But I think the blurring of lines is a good and healthy thing and should be encouraged. Categorization is something that should be pounded into the dirt like a bag full of wriggling maggots. Plus, there’s actually something on this disc that sounds musical to my ears and that’s rare for self-aware crossbreeds of this sort. A bit studied for my thick-skulled tastes, but all in all not bad. I hope this doesn’t mean I’m getting soft. –Aphid Peewit (Wrong)

EMOS, THE:
Quicker Than Khan: CD
Crude, sloppy, rock’n’roll punk and I mostly mean that as a compliment. The songs are good, raging fun and show a lot of potential. Despite this being punk world, I have to complain about excessively rough edges, where these folks need to step up their musicianship a little bit or put the time in on a couple more takes in the studio so the rhythm section does not occasionally veer off into musical trainwreck territory. Their crude and silly lyrics tend to match the musical attack by this trio from northwest England. These folks have some decent songs and a lot of heart so I am interested to see how this band progresses. –Jake Shut –Guest Contributor (Padded Cell, paddedcellrecords.co.uk)

EMPTY GRAVE:
The Dark: EP
Hardcore, pure and simple. Definitely earl- to-mid eighties influences with its straightforward and tuneful aspects. More mid tempo than thrash as well. Five songs in all, and the second side, with “Mental Disorder” and “DUI or Die,” is the preferred. Comes on pink vinyl (maybe only 100 pressed?). –Matt Average (Absent)

EMPTY GRAVE:
Abandoned: LP
Oh my God. What kind of alternate universe did this band come from? Who the fuck are these guys? Whatever smoking, other-worldly elixir they’ve managed to imbibe, it’s apparently given em near-magical powers and the ability to channel everything that was cool and potent about ‘80s punk. I mean, I’m gonna drop some names here, okay? And let it be known that Abandoned is, in all seriousness, when taken purely as sonic artifact and without any of the nostalgic connections inherent in such name dropping, nearly or just as good as the following bands and records: Attitude Adjustment’s American Paranoia. Cryptic Slaughter’s Convicted. Christ On Parade’s The Mind Is a Terrible Thing. Are you getting me yet? Seamless and awesome and raw and totally unpretentious. If the album runs the risk of sounding dated, fuck it—personally, I could not give a flying shit if you wear your influences on your sleeve, as long as you bring something solid to the table. And I’m telling you, Empty Grave perfectly capture the audible equivalent of the bad old days: two terms under Reagan, Cold War terror, us versus them. Then they condense it onto one 45 rpm LP beautifully entrenched in punk rock from, say, 1986. Then they resoundingly kick you in the ass with it, over and over again. It takes a lot for me to give a glowing review, but I’ll say this: if you care at all for straight-forward 1980s punk rock, I just cannot recommend this enough. Worth seeking out. –Keith Rosson (Absent)

EMPTY VESSEL:
The Haunt Demos: CD-R
Ultra-pissed, dual vocal, punk blastitude. Imagine if your favorite bullet belt punk band only sang one verse and one chorus of a song and didn't repeat it, so the whole song ended up being anywhere from twenty to fifty seconds long. It’s not bad, it’s even pretty interesting, but it’s just not very memorable. –Daryl Gussin (Self-released)

EMPTY VESSEL:
Self-titled: 7" EP
It’s easy to dismiss these guys as just another thrash band at first blush, what with the haiku lyrics, ADD-worthy song lengths and hyperdrive beats, but there’s a lot more going on in the ten songs showcased here. Buried not so deep in the mire are some interesting ideas, odd song structures, and musical nods to hardcore predecessors who similarly thought outside the box, like Flipper and Rudimentary Peni. Definitely worth a listen, and seeing as there appears to be only 200 copies available, you might wanna hurry. –Jimmy Alvarado (Blind Spot)

ENABLERS, THE:
Sweet Fuck All: CD
I think the singer is trying to be the modern Bruce Springsteen, even though the Boss is still putting out records. He sings in the same whispery gravel, and he’s got the science down pat. Too bad it just sounds like ass. The promo sheet said that they sound like Social Distortion, Leatherface, Replacements, and Hot Water Music. Seeing how I like three of those bands, and don’t mind the other, I feel offended for those bands. Maybe I should move to Portland, OR. –Megan Pants (Newest Industry)

END OF A YEAR:
Self-titled: 7”
End Of A Year continues to be a shining example of what used to be amazing about hardcore. They’re songwriters, plain and simple, with lyrics that go beyond the used up HC topics of friendship, betrayal, or heart break. These aren’t a bunch of glammed-up, emo kids playing watered-down death metal with breakdowns… these are some true grit musicians writing about life. If you crossed the Revolution Summer sound with a trace of early Meat Puppets, then you’ll get a sense of what they’re doing. Fans of their last LP Sincerely will dig on this record. The trippy cover art was drawn by Erol Otus, illustrator of the early Dungeons & Dragons franchise. –Evan Katz (Deathwish, Deathwishinc.com)

END OF ALL:
Same Shit but Different: CD
Yet another metal band passing itself off as hardcore. Ugh. –Jimmy Alvarado (Crimes Against Humanity)

END OF ALL:
The Art of Decadence: CD
Definite Wolfpack influence here (an ex-member is in this band). Heavy and mid tempo metallic hardcore with the stamp of Sweden all over it. Amid the darkness and heavy pummeling dealt by the rhythm section there are strong, tuneful currents flowing through the songs. The dual guitars, at times, play off each other, one pushing forward, the other creating a new layer with a melodic angle. The piano on “Sista Vilan” was a great touch, ending the album on a somber note. –Matt Average (Crimes Against Humanity)

END OF ALL:
Places: EP
Back in the fray with another sonic bomb blast of Scandinavian hardcore mixed with some metal for extra abrasiveness. Certainly a bit heavier than on their crushing Art of Decadence CD from last year. Cross Tragedy with Skitsystem here. Crushing and driving, yet there’s a tuneful undercurrent that helps set them apart from the hordes doing this sound. The best tracks of the three are on the B side: “On That Hill” and the standout “The Camp.” If you have yet to check these guys out, here’s a good entrance point. Comes on marble gray vinyl. –Matt Average (Halo Of Flies, halooffliesrecords.com)

END OF POWER:
Shackled to a Corpse: CD
Four tracks of huge and immensely heavy, Motörhead-inspired metal here from Chris Fields’ (JCCC/Dwarves) latest on this EP. After a couple stints playing together in bands like VictoryMansion and Machinegun, Chris and the rhythm section of Russell Guenther (bass) and Erik Lukasik (drums) solidify End Of Power’s lineup. Fierce, rhythmic pounding keeps the tempo going with fat-bottom bass and live drums that fill the room. In some places the songs slow down to epic symphonic dirges like you’d hear on Ride the Lightning, then pick back up to Kill ‘Em All speed. Fans of Red Fang and High On Fire rejoice with this one. This shit is tough. The four tunes here have me excited for a full length. –Jeff Proctor (endofpower.com)

END OF THE UNIVERSE:
You're the Disease: CD
Screamy, chaotic, metallic hardcore. You know the drill. There are a million bands around these days that sound like this. So many, in fact, that it’s hard to stand out with any kind of originality within the genre. Some of these bands can stick out because they are relentlessly fast (Discordance Axis) or super heavy (Akimbo) or have really good vocals (Daughters) or are really mathy (Dysrhythmia). The End of the Universe aren’t particularly memorable. They’re good at what they do, but unfortunately it’s not quite enough. This isn’t a bad record, it’s just not anything special. Really nice cover art, though. –Ben Snakepit (Chainsaw Safety)

END OF THE WORLD NEWS:
Self-titled: 7"
This is curious and bookish, but charming and listenable. The new Aaron Cometbus vehicle is an interpretation of Leon Trotsky’s unfinished musical about his brief stay in New York, after being forced out of Europe and before he was killed in Mexico (suspected scenario: an ice pick through the ear). Along with Marx, Trosky was the guy who set up a lot of the fundamental theories on Communism, only to see it pan out in a way that not only horrified him, but went out of its way to silence him. This 7” begs the question: would Trotsky have written a musical that doesn’t stray far from Pinhead Gunpowder, Astrid Oto, and Green Day formulation? In my world, sure, why not? It’s better than a stuffy, overblown interpretation with too much makeup and too-tight cravats. Comes with instructional booklet. –Todd Taylor (Recess)

END OF THE WORLD, THE:
Self-Titled: CD
This band is probably on Myspace because there are a million other bands just like them. Whining vocals which are at times raspy and wave hello in between chinging guitar riffs. Catchy enough to be mainstream and but not enough for me to admit I like it. The EP piques my interest in seeing what they might do next. Hopefully it will have more energy. Gabe Rock –Guest Contributor (Risk of the Rook, no address)

END OF THE YEAR:
Sincerely: CD
We all know how the phrase name bands usually go. It typically equals emo, whiney, suck band. End Of The Year is trying to disprove the theory. They take lyrical ideas from Kurt Vonnegut and Lungfish which can only be a sign of acknowledging our human failures. Musically, I hear a tinge of Dischord Records thickness and drive with two guitars dueling between noodles and drones. My main problem with EOTY is that nothing diverges much from the pattern established in the first song. This is not the best in the batch but I think this band might continue to grow and release good records in the future. –Buttertooth (Revelation)

END ON END:
Why Evolve When We Can Go Sideways: CD

Individually, inside the songs themselves, there's a lot going on. It's some very intricate, tightly constructed, thoughtful emotional hardcore that breaks down, filigrees (sometimes piano, sometimes violin), collects itself like a bomb that builds itself from the inside, and explodes open. The screaming and shouts come across as genuine, not shrill. End on End has definitely expanded from its early recordings and made a mold they can call more their own. And I can sit down and listen to a couple songs and get really energized, but then a weird thing happens. It's tough to get through the entire album. If I don't listen to it closely and deliberately, track by track, the album begins to sound the same. I can't figure this out, and I've listened to it over ten times, getting the same result. Huh.

–Todd Taylor (Substandard)

END ON END:
Self-titled: 7"
The name’s from a Rites of Spring album. The vocals sound like non-shit (pre-Field Day) Dag Nasty, mostly sung, sometimes shouted. Some of them have facial growth like “Finding the Rhythms”-era Hot Water Music. Speaking of, many of the breakdowns could be easily placed in earlier HWM’s repertoire And so End On End follows suit, almost down to a tee. The lyrics are fair (i.e. “we’ve missed the mark and fallen short of where we’ve aimed”). I really want to like this more than I do. Great intentions. Fair execution. Their predecessors have such long shadows and without fire of their own, they shed no new light. Sorry. –Todd Taylor (Headline)

END ON END/LIFE IN PICTURES:
: Split 7" EP
Great packaging. Silk-screened sleeve, hand-stamped vinyl, translucent paper insert, limited to 300. End on End: Completely took me by surprise when I saw them live. Andy's a frontman who knows how to work a crowd, go aggro, but never hit anyone who didn't want to get hit. I was less than impressed by their Headline single, but they've learned their lessons well. As they are live, the two songs here are punchy, dynamic, sweaty, and most importantly, don't sound like a Rites of Spring reunion tour. What's immediately obvious on this recording is how tightly wound yet well composed the songs are. They're both gruff and huffy, yet expansive – somewhere between hardcore and emo, but not in a pussy or shitty way. Life in Pictures: Crank up the screamo dial, tap into some metal licks, slow it down, get all moist, drop a tear on their shoes, then go back to yelling. Tough/tender guy stuff that's a harder sell for me. –Todd Taylor (Coldbringer)

END ON END/THIS ENGINE BURNS:
Split: CD
End: I like the fact that they are trying to sing about things that actually matter and to have a statement, but their emoish pop-core sound makes me want to hurl. Engine: helped me to succeed in hurling. –Jimmy Alvarado (This Guy)

ENDANGERED FECES:
Number 2: CD
Endangered Feces is the Pooplo Picasso of scat songs. What’s that? You say you’ve grown up? You’re too old for poop jokes? Liar! Your taste for poop jokes has only matured like a fine wine. Well, maybe not like a fine wine, but like a perfectly acceptable wine, a wine that you drink so much of that it gives you the runs. The truth is that you still crack up when an old person walks by and accidentally lets a big wet one slip. You’ll crack up just as much when you hear the lyrics to “Deuces Wild,” about the moral quandaries that arise when people are hit with turtle heads when they’re in their cars. “When deuces are wild, toilet paper is like gold.” Indeed. But this CD, which flies by like a healthy post-burrito blast, does not sound like shit at all. The songs are tight and catchy. It’s pop punk with a hardcore education, just rough enough around the edges to give it some urgency. And, of course, life can’t revolve around poop (although, to some extent, it does), so the band throws in a quick cover of “On the Road Again.” Buy this and stop pretending that your sense of humor is any different now than it was in fifth grade. –MP Johnson (Overdose On Records)

ENDLESS:
Decade of Obscurity: CD
I don’t know if this is supposed to be a discography of sorts since the cover references 1993-2003. If they only wrote and recorded six songs in that time span, that is pretty bad. If this is a greatest hits, it’s new to me. This is what the kids now call hardcore. The vocals are screamed and the guitars are metallic. Four originals, one Suicidal cover and two live cuts that should have been replaced with two originals because the sound quality is flat and sounds like it could have come from a W.A.S.P. concert. Not half bad. I’m debating if I’m going to put this in the trade in pile. –Donofthedead (Da’ Core)

ENDLESS:
With Everything Against Us: CD
Tough guy hardcore. It's really telling that they cover a Twisted Sister song, seeing as they sound about as dangerous as that long gone cartoon of a band ever did. Might I suggest a Quiet Riot cover for your next release? How about Great White, Dokken or Def Leppard? Especially funny is the song lyric "I can't sell out 'cause I'm down for life" and under the "special thanx" section of the booklet are logos for five music instrument corporations. Hard-fucking-core indeed. –Jimmy Alvarado (Da Core)

ENDLESS BLOCKADE, THE:
Primitive: CD
Genuine anger and disgust seethes in this music. Powerviolence that embodies the moniker. Auditory warhammers are swung back and forth with no regard to safety of those around. If you’re in the way, you’re gonna get your skull crushed into paste. Why hit once when you can hit again and again, and harder with each blow? The bass is laden in doom and fills the room with its presence, and the guitars send it over into the void. They also utilize noise and power electronics, as some may call it, to great effect. A masterpiece. –Matt Average (20 Buck Spin)

ENDLESS BLOCKADE, THE / HATRED SURGE:
Split: LP
Saw these two bands on tour with Iron Lung back in February. Great show. The record was done but was missing due to a UPS error. So no tour edition for me. But I had already procured a regular copy on clear and red splatter vinyl that was on the way. Yup, I’m a record nerd sometimes. It looks so pretty! If you are one angry muthafucker, this release just might pacify you. The Endless Blockade hail from Toronto, Canada. Picture your friend kicking you repeatedly in the gonads (if you are male) until you black out from the pain. This could be the accompanying soundtrack that goes through your mind while you are enduring the punishment—extreme bipolar fits of rage going from extreme sludgey dirge to manic fits of thrash rage. It amazes me that this was ever conceived. But seeing this band a couple of times live was proof enough for me. Hatred Surge brings a can of Texas-sized whoop ass. Straight for the throat, choke you while being suspended in the air hardcore. But watch out when they go to supersonic mode and attack you with the blast beats. The band also uses feedback to its advantage to bring on a sour mood before slamming you with some heavy power chords accompanying the banging of drums that sound like they were super sized. Dual male and female vocals with angered delivery add to the flavor. This is one puffed out chest, standing tall release. No matter how angry I might feel, these two bands make me look like a cartoon character. –Donofthedead (Schizophrenic)

ENDLESS FIGHT:
Back to the Front: CD
I didn’t think I was going to like this based on the slick cover art. But I do. Endless Fight hails from Canada and they play some mean speed metal. If these guys continue to build their fan base, see them on Relapse or Earache in no time, guaranteed. This shit wasn’t a rehash nor a copycat of any other band... nor do they attempt screamo or nu-metal (Thank god!). This is the real shit. The real good shit, I should say. And the drum rolls: fucking amazing. I’m loving the chug-chug-chuggity chug of the guitars and the breakneck speeds of the songs just before the hellish breakdowns. Hell yeah, this CD kicks growling vocal ASS! –Mr. Z (Spook City)

ENDLESS MIKE AND THE BEAGLE CLUB:
The Husky Tenor: CD
Interesting, apparently this band is comprised of ten-plus dudes, and yet they aren’t a ska band. In fact, this is a whole bunch of folky/country jams that range from light and sensitive, to pretty rockin’, without just coming off as another Against Me! or Plan-It-X style rip off (as many other bands like this often do). This combined with the interesting packaging (which while I’m not positive, I suspect is the work of the label, who often pulls cool shit like this), I enjoy the bejesus out of this. –Joe Evans III (Crafty)

ENDLESS MIKE AND THE BEAGLE CLUB:
We Are Still at War: CD
I can totally get behind the indie rock vibe when they plug in their instruments. Hell, some of the songs are plenty catchy when they do. The minute they put the amps away and tread down that acoustic road to hippieland, though, I’m outta the room faster than it takes the stench of patchouli to profane the air. –Jimmy Alvarado (www.craftyrecords.net)

ENDLESS MIKE JAMBOX:
Another Hot Freshy Fresh: CD
Almost equal parts of a watered-down, slowed-down version of Lifetime and a Drive-Thru band without the turd polish. I don’t know what the band name means, but I think the album title means a steaming pile of shit. –Vincent Battilana (Madison Underground, www.madisonundergroundpress.com)

ENDLESS STRUGGLE:
Till the End: CD
This is part of the new school of studded leather jackets, spiked hair and tattooed hooligans, like the Unseen, The Casualties or The Virus, emulating their old school heroes like GBH, The Exploited or Broken Bones. These guys are a little more melodic, but they don’t stray from the formula. –Donofthedead (A-F)

ENDS, THE:
Concrete Disappointment: LP
Spark. That’s what sets these guys apart from other bands trying to replicate the poppy side of ‘77 punk. There’s blood running through these songs and you can’t fake that, though literally thousands of bands have tried. What they’re doing isn’t necessarily new or groundbreaking, but they bounce and pogo all over the place and they force the listener to do the same. You don’t even have to wear striped shirts or white sunglasses to enjoy it. All you have to do is wait for those razor-sharp guitar hooks to slash its way into your brain (trust me, they will) and then you’re done for. I’m actually amazed that they’re not more popular. This is fantastic. –Josh (Dirtnap)

ENDS, THE:
New Rome: 7"
The Ends are one of my favorite new bands, but I don’t think this is my favorite single by them. Perhaps I’m crazy, but the recording on the a-side is a tad too hot for my liking. It’s almost like someone’s subliminally crinkling aluminum foil in the background. It’s not crackly, but it sounds tinny and it’s hard to crank the volume up on. The title track plays it really close to the Stitches’ “Brain’s on Vacation,” especially in the mid-tempos and vocal delivery (snot, whine, sneer, and if a striped shirt could make a sound). I like it when The Ends eviscerate while admiring bands of the past, like when they covered Eater and Elvis Costello. “Saw It Coming,” the b-side, is better, and does just that – conjures up some of the ghosts of the past while offering a row of freshly poured shots. “Saw It Coming” has got the elbowroom, swagger, and bounce that shows how good the Ends can be. Still, a 50/50 7” from this band is definitely not a throwaway and is better than ninety-eight percent of the stuff out there. –Todd Taylor (Dirtnap)

ENDS, THE:
New Rome: 7"
In the span of a little over a year, the Ends have become one of the best bands around, luring the listener in with their happy, bouncing rhythms, and then attacking with razor sharp guitar hooks and snotty vocals. That being said, the title song is a bit of a letdown. The music is repetitive and mid-tempo, the vocals are really mumbly, and the whole thing brings to mind a more pedestrian version of the Stitches. The B-side more than makes up for it, though. They play like a band building on their influences rather than being mistaken for them, and it’s a winner. –Josh (Dirtnap)

ENDS, THE:
Sorry XOXOXO: CD
Since the whatever wave of street punk/ catchy oi – fronted and fortified by Rancid, The US Bombs, and the Dropkick Murphys – has seemed to let some of the fire burn from its torch, there’s quietly a new cadre of bands that have taken a lot of the now-familiar cues of CockSparrer, Blitz, the Sex Pistols, 999, and Peter and the Test Tube Babies. The Ends are right at the top. What’s cool is that they’re not afraid to add the less-than-strictly-street-punk elements, opening the dilation to include Elvis Costello and Eater, infusing the moodiness of Johnny Thunders without the self-indulgence, and the slash and fun of new wave. Instead of watering down or being wanky, a new bounce makes it fresh. Other bands – that have nothing really in common with The Ends, except they somehow vaulted out of a dead-end drive that so many brick in as their own tombs – would be Wednesday Night Heroes, the GC5, Mea Culpa, and Broken Bottles. There’s some truly transcendent tracks on this. Highly suggested. –Todd Taylor (Pelado)

ENDS, THE:
Jump Ship: 7”
Snot pop with sonic punk grease as the pie filling. Think Buzzcocks. Think Saints without the horns. Think of enjoying the fact that a twelve pack of Pabst is around five bucks. Think the Jam way before Style Council. Think of days when actual singing – instead of mumbling and outright screeching – wasn’t seen as a sign of weakness and guitars didn’t have to be perfect, yet sounded right, like they could shave all the hair off your body in a single swoop and give you a few goosebumps. Think that the best hooks are the ones you haven’t heard before. Think balding drummer. Think that that makes me like them even more. Pretty cool debut. Look forward to more. –Todd Taylor (Mortville)

ENDS, THE:
Teenage Detox: 7"
Newer bands that I really start to dig remind me simultaneously of so many different bands. It’s almost like looking through fifty slides in the projector at once. The Ends are that type of band, except the final effect is something clear, fun, and realized, not a muddied mess or dick-to-back-of-throat worship of undeniably great bands that came before. It’s also strange that bands I really like seem to go through small metamorphoses in my ears. On the twentieth spin, I’ll start hearing something completely different than what I heard on the first. The proof is in the infection. I keep reaching for this 7”. At times, it reminds me of a supercharged Stitches with a smokier vocalist. Other times, when they cover Eater’s “Room for One,” they play it so forcefully that it comes across like they ripped the song’s clothing completely off. Other influences that seep in sound like they’d be at odds with one another, but aren’t: The tunefulness of the Saints, the inspired recklessness of Scared of Chaka, and ’77 UK punk by way of early Texas hardcore. It’s much better than good. Trust me on this one. –Todd Taylor (Super Secret)

ENDSTAND:
Hit And Run: CD-EP
Fancy photo of some obscure landscape, pretty butterfly behind the band’s name, fancy cursive font for the title… hmm… smells a lot like an emo CD to me. As I got ready to jam pencils in my ears again, this band turned out to be hardcore. Well, melodic hardcore, that is, kinda like Thrice with a singer that sounds like Roger Miret from Agnostic Front. Didn’t really do anything for me besides make me sigh in relief that I didn’t have to sit through another emo CD. If this is your thing and you can ignore the terrible packaging, check them out. –Toby Tober (Combat Rock)

ENDSTAND:
Spark: CD
It’s a shame that this influential 1980s Finnish hardcore band ended up making such a bland record. The taste buds didn’t make it with the band to the studio when this one was recorded. Endstand went on an unexpected hiatus early in 2008, canceling announced shows after an anticipated comeback. It’s no surprise the band was in flux because this album really doesn’t live up to their classic material. Spark has much more in common with boring fourth wave NYHC than it does with the dynamic sounds hailing from Finland in the ‘80s and ‘90s. –Art Ettinger (Combat Rock)

ENEMIES/PITCH BLACK:
Split: CD
Enemies: Your basic modern punk band, not bad, not memorable. Pitch Black: Taut hardcore that stuck to the insides of the noggin’ better than the other band did. Liked the pumpkin head thing. –Jimmy Alvarado (Lookout)

ENEMY YOU:
Video to Radio: 7"
Pop punk that pretty much comes off as standard fare. Nothing new ventured, nothing new added to the equation. –Jimmy Alvarado (Geykido Comet)

ENEMY YOU:
Stories Never Told: CD

San Francisco four piece that cooks up a mean flame on this one—you can cook hotcakes on this baby! Enemy You take elements of some of my favorite bands like Bad Religion and Face to Face, chuck them in the old Bass-O-Matic and lets the scales fly. “East and West” is about some girl who’s in real trouble. Things are so bad she’s singing Journey lyrics into the mirror—ouch! “Something New’ laments the lameness of the U.S. mass counter culture and how it’s taken over everyone’s lives. If Clear Channel weren’t such a bunch of pussies they would play “72 Hours” on the radio because of the catchy chorus—“But some things never seem to change/I’m still the same old kid/I don’t get paid/I don’t get laid/And I don’t really care.” Classic. Trust me—you need this to blast in the car going ninety miles an hour down the freeway. Not that I am condoning breaking the law or anything.

–Sean Koepenick (Red Scare)

ENEMY YOU:
Stories Never Told: CD
I had been waiting for this album since I caught wind that they had recorded it in 2002. Yet years and years passed and Panic Button never released it, as was the original plan. As rumors have it, Lookout (who runs Panic Button) had made some shady deal or another involving an Enemy You song being licensed to Disney for promotion on their Boy in the Bubble movie, and the band not only did not see any of that money, but that same money was never put into releasing their album, as one would assume it would. I don’t know the whole story, and like I said, it’s all rumors and hearsay, but in the end the band decided to take matters into their own hands and brought the album to see the light of day via a brand new label, Redscare Records. And I couldn’t be happier. There is not one song on here I would fast forward through and it’s all what I’ve come to expect from the band: amazing personal/political pop punk greatness. Highly recommended. –Mr. Z (Redscare)

ENEMY YOU:
Video to Radio: 7"
I first came across this band on the Panic Button Four on the Floor comp, where Enemy You shared the disc with Screeching Weasel, Moral Crux, and the Teen Idols (each band contributing four songs). Right away, they were a guilty pleasure for me. I say guilty because they don’t really break any new ground in the arena of pop punk. Still, they held their own with heavy hitters like Screeching Weasel and Moral Crux, and I figure that’s justification enough for me to keep listening. They released a full-length on Panic Button, also, but I like snippets of Enemy You better than a whole album. A 7” is just right. This one has five songs, three of which are covers. The covers (all songs I’ve never heard before) are silly. “Video to Radio” is the best of the three. It adds a little bit of early eighties, Wall of Voodoo-style pop to the punk. “Hot Dogs Till You Die” is so stupid it’s awesome. Side B has two original Enemy You songs, which are both pretty good. And, like I said, this is the best way to hear this band: five fun songs and on to the next record. –Sean Carswell (Geykido Comet)

ENEMY YOU:
Video to Radio: 7"
Pop punk that pretty much comes off as standard fare. Nothing new ventured, nothing new added to the equation. –Jimmy Alvarado (Geykido Comet)

ENEMY, THE:
First Album: LP
Not at all what I was expecting. Judging from the red, white, and blue silk screened cover of some tripped-out shit, I was narrow minded in thinking I was about to hear some noise damaged art skronk. I was actually looking forward to hearing something along those lines. Instead, what lies within this retina-damaging cover is some mid-tempo punk rock that reminds me of recent bands like the Red Dons, Estranged, Cola Freaks, and the sort. Maybe a little bit of early Wire (particularly in the song “I Won’t Let You Waste Me”) in there as well. There’s a member from the Secret Prostitutes in here as well, which comes as no surprise, as both bands sound similar. After my initial surprise wore off, I found myself playing this record over and over. As it revealed itself with each subsequent listen, I became most confident that this is a great record. It’s not over-the-top, in-your-face, bash-you-over-the-head-with-a-riff sort of stuff. The power is something longer lasting, with a little restraint, pacing about like a prize fighter. –Matt Average (Team Science, teamsciencerecords.com)

ENEMYMINE:
The Ice In Me: CD
Noisy "hardcore" metal stuff. Not even poking myself in the leg repeatedly with a pencil could keep me interested. –Jimmy Alvarado (Up, Box 21328, Seattle, WA 98111)

ENEMYMINE:
The Ice in Me: CD
Noisy "hardcore" metal stuff. Not even poking myself in the leg repeatedly with a pencil could keep me interested. –Jimmy Alvarado (Up)

ENERGY:
Race the Sun: 7" EP
Absolute shit. Sounds like AFI. Not good by any stretch. Watch the pretty purple explode as I whip it across the room towards the wall. So I guess only 999 copies of this turd remain. –Matt Average (Bridge Nine, www.bridge9.com)

ENERGY:
Race the Sun: 7”
To call this melodic would be an understatement. To call it hardcore would infer it’s hardcore. This sounds like a bad pop punk band trying to cover A.F.I. They cover Bobby Freeman’s “Do You Wanna Dance” in tribute to the Ramones’ 1977 version, but their take doesn’t hold a candle to either. With a lot of people hyping this band, the fact that it’s on Bridge Nine Records, and their show here in Tijuana coming up, I was psyched to get this in the mail. Unfortunately, as soon as the needle hit the clear purple vinyl, it all went downhill. Don’t believe the hype. –Rene Navarro (Bridge Nine)

ENGLISH SOFTHEARTS:
Double Platinum: CD
I’ve noticed a lot of the discs I’ve picked up of late have taken a bit of a shift toward the “arty” end of the punk spectrum. While this isn’t always a bad thing (especially when it’s obvious that the band in question is trying, for good or ill, to “do something different”), some bands can end up wallowing in a sea of their own excesses and egos. Luckily, this ain’t the case here. Granted, some of the songs may be a little longer than is good for ‘em, but the bulk of what’s here is blissfully sloppy, skewed, minimalist to the brink of incompetence and played with tongue planted firmly in cheek. The result is something that would sound great sandwiched between Suburban Lawns and Flipper on one o’ them weekend late night “underground punk rock” shows. –Jimmy Alvarado (Magic Spot Productions)

ENSAM:
Self-titled: 7"
Licensed from Fight Records out of Finland, a U.S. label releases a band from Finland that might turn a few heads. Take two members of Riistetyt, one from Kaaos, and a former Brazilian that used to be in Neurose Urbana & Desastre to create a band that is influenced by Swedish Hardcore. That made me look twice. Female-led and with a power unit of experience, this band undoubtedly made me pay attention. A sampling of four songs that I hope is a precursor of what is to come of this unit. The hardcore songs are fierce and memorable. I was intrigued the most by the slower number entitled “O Eterno.” The song has a brooding quality and from the translated lyrics of living in a long winter of depression that seems fitting. Now that I have been sold, I want more. –Donofthedead (Bro-core)

ENSIGN:
For What It’s Worth: CD EP
Metallic hardcore. Ick. –Jimmy Alvarado (Nitro, 7071 Warner Ave. F. PMB 736, Huntington Beach, CA 92647)

ENSIGN:
Love the Music, Hate the Kids: CD
Another all-covers record of songs the band loved at one point or another. From the intro of Bad Brains to songs of Insted, Killing Time, Descendents, Misfits, Hüsker Dü, Infest, and others. I would have liked this much more if the production was better. The guitars are real twangy and thin. It has almost a live sound that just doesn't have enough oomph for me. Probably more fun for them than me. –Donofthedead (Blackout!)

ENSIGN:
Love the Music, Hate the Kids: CD
Another all-covers record of songs the band loved at one point or another. From the intro of Bad Brains to songs of Insted, Killing Time, Descendents, Misfits, Hüsker Dü, Infest, and others. I would have liked this much more if the production was better. The guitars are real twangy and thin. It has almost a live sound that just doesn’t have enough oomph for me. Probably more fun for them than me. –Donofthedead (Blackout!)

ENTROPY:
Gross National Product: 7”
This definitely fits right into the Smogtown, Smut Peddlers, Crowd, early Hunns galaxy. It’s got those buzzy-hummy guitars, the New Beach Invasion (West Hollywood Chapter) broken bottles and vials in the sand disease, snot rag vocals, and that “Ooh, we’re fucked, but it’s sunny outside” vibe. What sets them a bit apart is the superfuzz psychedelia at the edges (don’t worry, there’s no “jammin’”), but there’s that early Mudhoney ballsiness and sickness that gives them an extra punch, where they coulda just been spinning their tires. To up the ante, it comes in a gorgeous silk-screened cover, with the spider for the hole, and all the little details that make you say, “God damn, vinyl’s awesome. This shit’s worth protecting.” Gorgeous little package, both in sound and sight. –Todd Taylor (Bad Idea Music)

ENTROPY:
Gross National Product: 7”
I can’t believe I’m holding this in my hands. Their debut record was supposed to be out, if I remember correctly, around 1984-85. I had a conversation with the lead singer, David Hinnebusch, outside of Fenders Ballroom in Long Beach right before an Adolescents show. Based on that conversation, it didn’t seem like it was something happening anytime soon. He looked like he was loosing the battle between drugs and the band. Not too long after, he fell out of the scene. I saw them recently and was surprised that they had reformed and were performing again. It was definitely a blast from the past for me to see them onstage. I have to admit that I did have a copy of their demo from back then, but have no recollection of what they sounded like. But when I first played the title track, my wife, sitting next to me, started to sing the song. I was in shock when I heard her voice come out of nowhere. I couldn’t even remember the song and here is my wife singing along. So obviously this song was most likely on the demo. She was also part of the westside of L.A.’s punk scene in the early ‘80s and saw them numerous times and, I am told, hung out with the band a bunch of times. Coming from that time period, the songs have what we term now a beach punk sound that was so prominent in those times. For some reason, I thought they were more thrash. But you have to realize that they were real fast for the time. So that is where that thought must have come from. I’m not sure if all the songs came from their early incarnation, but if they did, they have stood the test of time. Three songs that have a good combination of snottiness and anger. Being the first release on Julia Smut’s new label might have been a gamble, but it should pay off because the songs are great. –Donofthedead (Bad Idea Music)

ENVIRONMENTAL YOUTH CRUNCH:
Wet Stuff Dries and Other Tidbits: CD
If you ever wanted a less folky This Bike Is a Pipe Bomb writing songs exclusively about wetland preservation, singing frogs, and “female fish growing dicks” (seriously!), this is the band for you. If you’re into taking Cleveland Bound Death Sentence’s genius song “Rumbleseats and Running Boards” and turning it into a slow song about environmental destruction, this is the band for you. If you’re Maddy Tight Pants, you really want to like some of this stuff, but you end up listening to the Marked Men instead. If this were a cereal, it’d be something “natural,” and instead of some super cool laser sugar ring in the bottom of the box, there’d be a CD of spoken word environmental speeches. –Maddy (Grateful)

ENVIRONMENTAL YOUTH CRUNCH:
Let’s Ride: LP

At first, I was all like, “If EYC says, ‘Let’s ride,’ I’m there!” because I was pretty sure they’d be going to some awesome place. Then I started thinking that they might wanna ride out to a campfire; so, I was thinking that I’d just stay home. Then I was like, “Wait, do they wanna go to a bar? It doesn’t sound like a bar I wanna go to, but maybe it is… ” At the end, I was thinking that they wanted to go Xmas caroling, and I was like, “Yeah, it’s cool. I think I see my bus coming.” Let me reiterate. When they’re on, they’re pretty all right. It kinda reminds me of Tulsa. A less zany, cleaner, more structured Tulsa. They have some rockin’ guitar leads that came at me like a curve ball, but they don’t ruin the tracks. There are two acoustic songs that are sequenced near the middle of each side. One has a sing-along feel; the other has more of a story time sound. Neither of them is that bad, they just hurt the album’s flow. Then there’s the last track. Well, um, it sounds like a goddamn Xmas carol. I don’t understand why it’s on here, but I’m glad it’s at the end.

–Vincent Battilana (Bring Back The Magic / Dead Tank)

ENVIRONMENTAL YOUTH CRUNCH:
Vicious Fishes: Cassette
Environmental Youth Crunch is an awesome, sloppy pop punk band from Florida in the vein of The Bananas. The crunchy lyrics are a bit much at times, but this cassette got me excited enough that I’m definitely going to check out their other releases. The folksy words won’t make you start recycling if you aren’t already, but the rocking tunes will remind you of a time when cassettes and pop punk ruled the earth. This killer split label release from Dead Tank Records and The People’s Republic Of Rock And Roll is well worth seeking out. –Art Ettinger (Dead Tank/People’s Republic Of Rock And Roll)

ENVIRONMENTAL YOUTH CRUNCH:
Vicious Fishes: Cassette
This is the only tape I have ever gotten for review, and that fact endeared this band to me greatly. Make no mistake: this is not a home-recorded Memorex, but an actual, factual tape with the band name printed on the cassette and everything. How often do you see that? I was delighted when I popped the tape in and found it was actually good to boot. Solid, no-frills, shouty punk with a rootsy sensibility, if not an actual folk sound. The insert from their label calls them folk punk but I wouldn’t go that far. There’s a bit of that early Against Me! flavor, but this is way more melodic and happy. They cover the Friends theme song, for pete’s sake. And it works. –Sarah Shay (Dead Tank)

ENVIRONMENTAL YOUTH CRUNCH:
Let’s Ride: Cassette
With song titles like “Golf Course in the Ghetto” and “Liquid Gold,” how can you possibly go wrong? You can’t really, but these aren’t even my favorite songs on this one. “The Stock Market Is My Garden” is, but how did these guys know the roof was gonna cave in in 2007? These dudes should have part-time shifts on CNBC when they are not on tour. For real. –Sean Koepenick (People’s Republic)

ENVIRONMENTAL YOUTH CRUNCH:
Let’s Ride: CD
They apparently hail from Florida, but this sounds like a Midwestern attempt at resurrecting that late ‘80s Bay Area sloppy punk sound. –Jimmy Alvarado (Bakery Outlet)

ENVIRONMENTAL YOUTH CRUNCH:
Vicious Fishes: Cassette
Apparently, this Florida outfit has now changed their name to the title of this release. The first three songs kick this puppy into overdrive. But then, a cover song which can only be filed under “bad career move”: a cover of the Friends theme song, Ugh! I’m not able to get visions of that goofball Ross out of my head until “Hobo’s Lullaby” slides on and saves this record. Might want to leave that one off the repress, dudes. –Sean Koepenick (People’s Republic)

ENVY:
The Eyes of Single Eared Prophet: CD EP
Japanese pain/hardcore in the vein of Unsane with a dash more metal in the guitars. Not bad. –Jimmy Alvarado (HG Fact, 401 Hongo-M, 2-36-2 Yayoi-Cho, Nakano-Ku, Tokyo 164-0013 Japan)

ENVY:
A Dead Sinking Story: CD
I picked this up because it reminded me of a Rare Form 7” that I picked up in Maine (which you should too if you ever see it). Envy, however, plays the I scream, I whisper, I scream game in every song. Longest song I’ve seen in about five years, clocking in at twelve minutes and forty-four seconds. I’d had enough at fifteen seconds. –Megan Pants (Level Plane)

ENVY:
The Eyes of Single Eared Prophet: CDEP
Five-song release from this Japanese band that sounds like pure apocalypse. I’m not sure if this would get classified as emo, but this is definitely emotional. Screaming and yelling over droning guitar blasts supported by thunderous back beats and bass solidifies the pain. It almost puts me into a bad mood and brings out the internal pain of my disturbed self. If that is their goal, the job is 1. –Donofthedead (HG Fact)

EPIDEMIC, THE:
Self-titled: CD
The guys at Rodent Popsicle serve up a reissue of an album that apparently first saw the light of day in the very recent past. Some pretty rockin’ hardcore is dished up here, with a lyrical emphasis on war, which makes perfect sense considering what’s been going on in this country under Herr Bush’s regime, as well as a couple of ditties about police oppression and sadomasochism to break up the monotony. Some good work is put down here that should satisfy the jones of any thrash fiend. –Jimmy Alvarado (Rodent Popsicle)

EPIDEMICS :
Waking up the Dead: LP
They have a definite retro sound, somewhere around the whole ‘77 thing, without being a cartoon caricature of the style. Mid tempo, poppy, and roots in rock’n’roll. These guys can write a well-crafted song, are adept at their instruments, and the singer can really sing. It’s crazy. Makes one wonder why they’re trying their hand at the whole punk thing. Yeah, the answer is obvious, but still... I hear influences from the Undertones and the Buzzcocks in their sound: upbeat, driving, and unbelievably catchy. The song “City Of Desire” is instantly memorable. Hauntingly familiar and the chorus will burn into your memory in seconds. Just like the Buzzcocks, the Epidemics sing songs of loss and yearning in a style that is oddly happy. With few exceptions, I prefer punk to be on the slash and burn end of things, something these guys are definitely not, and the thing is, this is pretty f’n good. You really can’t go wrong with this album. A definite keeper. –Matt Average (Ny Vag / Thrashbastard, www.nyvag.com, thrashxbastard@yahoo.de)

EPILEPTICS:
System Rejects: CD
Assorted tracks from at least one single, a couple of demos and a buncha live sets from this early UK punk band that eventually morphed into Flux of Pink Indians. The sound quality on most of this, given some of the sources, is surprisingly good and the tunes themselves are a nice document of a time in punk rock when attitude was often more important than execution. –Jimmy Alvarado (Overground)

EPO-555:
Mafia: CD
The My Bloody Valentine and other dreamy pop band influences are readily apparent here. Where MBV tempered the sicky-sweet melodies and soft boy/girl vocals with a sonic bombast that would make Motörhead jealous, these kids temper the noise, push the sweetness factor front and center, and occasionally toss in some electro beats to boot. Its effectiveness depends on how one feels about ethereal-sounding pop with all the edges smoothed out. The songs are on the whole catchy and pretty, but one can’t help but wish they’d just kick into overdrive more often to keep things interesting. –Jimmy Alvarado (www.epo-555.dk)

EPOXIES:
Self-titled: CD
I was quite excited when I saw the cover of this CD. Cool band photo, black and white, with a very new wave/Rezillos look to it. And the sound is of the keyboard/new wave punk persuasion. More Rezillos fashion influence than music influence. Girl and boy vocals. And they have cool, Rezillos-esque names like Roxy Epoxy, Viz Spectrum, and Kid Polymer! (Question: How many times can I write “Rezillos” in a non-Rezillos review? Answer: A lot!) Pretty decent! I just wish the songs were more catchy. If that happens, I could imagine their next album being great! If this were a cereal, it’d be Kix. Good! –Maddy (Dirtnap)

EPOXIES:
self-titled: CD
As I was on my way out his door, this CD was handed over by our own Retodd who smiled and said, “Just listen… it’s good.” Now, Todd and myself usually have one thing in common when talkin’ bands – if it’s good, really damn good, we’ll go out of our way to share and/or suggest bands to the point of irritating people (Me being the more irritating one, trust me). This CD from the Epoxies is what was missing in the record bins in the ‘80s. This is the new wave that should have been buzzing out of your parent’s speakers during those house parties you threw while they were out of town. Really great songs played by a very competent lineup along with a synth player who is spot fucking on, unlike some of the throwaway Flock Of Hairdo bands that came and went some twenty years ago. I hear hints of The Rezillos (“Stop Looking at Me”), X (“We’re So Small,” “Bathroom Stall”), and let me tell ya, it’s all done quite well. I think Roxy Epoxy could very well sit in for Chrissie Hynde if Chrissie ever needed a stand-in for one of her Pretenders gigs. I have the feeling the next time the Epoxies are in LA, I’m going to be flailing spastically ala Jim Decker of The Crowd (who would be a good band to bill the Epoxies with). And you silly gooses thought that Seattle only shits out Starbucks all over the country. Well, guess again, fucko – here come the Epoxies. –Designated Dale (Dirtnap)

EPOXIES:
self-titled: CD
The New New Wave is here you smacked asses and the Epoxies are at the front of the pack. How is it Seattle, Dirtnap in particular, keeps pressing records that fill huge voids we didn’t even know existed until we find ourselves spinning the disc for the dozenth time in a row? Somewhere between X-Ray Spex and Pat Benatar, the Epoxies have made a record with one foot in 1981 and another in this not-so-new millennium. The songs get up and go with snappy drums and bass lines, rocking guitars and a healthy infusion of spirited keyboards. (Their website even features a photo of a rare species of guitar known the keytar…) But what stands out is the songwriting. Singer Roxy Epoxy holds nothing back, no territory is deemed too private, no fear too painful to be explored. It’s courageous without crossing over into mawkishness or melodrama. Part of the appeal is nostalgic. The Epoxies have a weird cold war vibe that seems right at home in these paranoid times. Songs like “We’re So Small” and “Losing Control” feel like cold war anthems of the heart. This is a record about the next cataclysm – be it personal or global, public or private – that we can do nothing to stop. Post 9/11 love songs for your timid, tortured hearts. –Money (Dirtnap)

EPOXIES:
Synthesized: 7"

Good lord, these guys keep on getting better and their LP is fantastic. (This 7" sounds a couple notches fuller, too.) They just seem so sure and strong in what they do, and your ass must be shot full of novocaine and your brain full of Vicodin if your butt doesn't wiggle along to the beat. Their power comes from each instrument fitting and everything's played with force, not merely tinkered with by a member enamored with the sound of a bleep. I sure see more people adopting new wave, but I've yet to hear one of the new crop that seems to have been born into it with such assurance. And it's so much better than an Adam Ant throwback because there's guitar snarl and a pounding drummer that's not programmed like a Casio. "Synthesized" is a perfect capsule of The Epoxies: tight songs, super sexy vocals, and limber guitar lines. A fuckin' rockin' cover of Alice Cooper's "Clones" rounds out the b-side.

–Todd Taylor (Dirtnap)

EPOXIES, THE:
Stop the Future: CD
If anyone makes the snide remark that The Epoxies are an ‘80s rehash band, then their eyes must be dark brown due to the fact that they’re full of shit. Yes, The Epoxies borrow a half-cup of this and dash in a bit of that from some of what reared its head in the ‘80s, but it’s what they do with it that makes them so damn good when it comes to making records. There’s the winding synth that’s right in there with the pummeling rhythm section and rocking guitar, but it’s a pleasing mix that ain’t too rough/experimental, yet not too overproduced or slick like some of the clove cigarette smoke-filled, new-romantic dance hall slime that was spinning in the past. Roxy’s singing is a bit hard to put a finger on, but try and think of a young Chrissie Hynde (Pretenders) with the vocal meter of a young Leonard Graves (Dickies). Kudos to the Fat Wreck Chords folks for getting this second rekkid out in the hands of soon-to-be-fans. While you’re out doing yourself the favor of grabbing this, do yourself another and get their debut full length on Dirtnap. Both CDs will have you bobbing your head like a crack-ridden chicken in seconds flat (It’s true—it happened to me the first time I saw them blow the roof off The Echo in L.A. a few years ago). –Designated Dale (Fat)

EPOXIES, THE:
Stop the Future: CD
I may not be able to articulate as well as others at this here mag in regards to this band. But I was highly anticipating this release to review and listen. I missed the debut 7" that sold real quick. But the dudes at Razorcake HQ made sure that I heard their self-titled full length. I was blown away like a scrap piece of newspaper on a windy day. That release had a long stay in the CD changer. A lot of bands are playing the second wave of new wave, but like any scene, only a few stand out. This band stands out. On this sophomore release, the production is much stronger and the songwriting has shown a continued maturity. They still have an amazing knack of creating and capturing the melody so that the songs are memorable and keep you humming. The guitars are much more prominent this time around and the quirkiness of the synths are not in the forefront but more complementary. In turn, the songs have more of a punch that you can feel from a distance. More rock and less novelty. Roxy Epoxy also sounds more confident in her vocal delivery. The vocals have more passion and I feel she gives the songs more emotional layers. Overall, they overcome the sophomore curse and put a release that is so much better than their previous product. If you haven’t taken the time to check this band out in the past, now is the time. Portland is kicking some major ass with the latest wave of bands coming out! –Donofthedead (Fat)

EPOXIES, THE:
Self-titled: 7" EP
Oh… my… gawd…. Nicholas Cage, pre-steroid enhancement, even pre-Raising Arizona was in a so fucking awful it was fucking great movie, one that sparked a world-wide movement of gagging on household utensils, mall abuse, skinny ties, and suburban misunderstanding. Valley Girl. It even had a soundtrack so influential that there’s already been a full-on punk tribute to it. The Epoxies. Two words: new wave. Androids. Male eyeliner. Slashy sun glasses. Androgynous voices (there’s both male and female voices, but they’re real similar), unabashed, up-in-front synthesizers. Word on the street (Not on my street. Ranchero music is ruling supreme, almost drowning out the cock fighting training) is that new wave’s the Next Big Thing. That, I could give two shits about. However, the Epoxies have sniffed the early ‘80s glue that nutted up Devo and they’ve huffed up a lot of Human League to know their chops, lay a beat, and whip up some catchy songs with Casio-esque flourishes. The punk rocker in me wishes for a tad more drive (a la Servotron), but this is far from ass. –Todd Taylor (Dirtnap)

EQUALITIES, THE:
On the Street: 12”
I either grow tired of things after awhile or I am just fickle. So I see that this release looks to be street punk. Ugh. But it’s from Japan. Mmm... How bad can it be? Well it’s pretty frickin’ good. Melodic, tight, but the big factor is that it exudes a sense of fun. Fun in a pogo sense that you want to bounce around the room in a drunken stupor. But also the energy from the band feels genuine. Not playing by the numbers, but feeling it and showing that they enjoy what they are doing. I like being surprised. This was a pleasure and should see some time on the turntable. –Donofthedead (Loud Punk)

ERASE-HERS:
Out of My Mind: CDEP
Uptempo pop punk with a lady singer and keyboards high in the mix. If you’re thinking of the Epoxies, or maybe the Unloveables with someone tickling the eighty-eights, you’re on the right page. But the tracks on Out of My Mind lack that second gear, that other layer that contrasts the poppy elements and rewards repeated listens. (The Epoxies have their dystopia world view, for example; the Unloveables their heartache.) Out of My Mind seems static because the emotional highs and lows are given equal treatment. There’s no need to erase what they do, just add their voice to it. –Mike Faloon (www.erasehers.com)

ERASURE:
Union Street: CD
Erasure has released this eleven song album that is acoustic re-workings of some of their classic hits and their biggest one, “Chains of Love” isn’t included? Seems like a fucking tragedy if you ask me. –Kurt Morris (Mute)

ERECTION KIDS:
Title Fight: CD
Oh Jeezus. Listen, just because I’ve been dead for over 10 years and my brain has rotted up into something that I imagine looks like a dusty raisin, that doesn’t mean I’m stupid enough to want to listen to cheesy high school pop punk bands. Damn. I think I saw these guys at the battle of the bands in High School back in 1994. Kids with wealthy parents who bought them instruments and studio time. They hung out at the mall. I threw an egg at them and they cried. – Tarantula Ted (translated by MP Johnson) –MP Johnson (Flight Plan)

ERGS!, THE:
Jersey’s Best Prancers: 12” EP
I seriously don’t know how they can do it. I’m a bit of a jaded fuck, and I’m getting close to being ready to say that The Ergs! just can’t do wrong by me, but I don’t want to tempt fate. It’d be easy to say that they’re getting better with every release if I didn’t keep going back to The Ben Kweller EP or 3 Guys, 12 Eyes to know that they’ve been this good the whole time. This EP—which starts to venture off from the pop of Dorkrockcorkrod, makes it easier to see how truly talented they are—was released for their tour and limited to 100 copies. These have been gone for quite some time now, but I’ve heard wind that it’s going to be issued again in larger numbers. Do yourself a favor and pick it, or any of their releases, up if you can. I’d also be lying if just having this around didn’t make me pull out Lifetime’s Jersey’s Best Dancers, which, in itself, is reason enough to pick this up. –Megan Pants (Grateful)

ERGS!, THE:
Jazz Is Like the New Coke b/w Out There: 7”
The Ergs! are the new Descendents, which is weird to say because the Descendents are still around and still really good. But, with the Descendents’ pacing of four to five years between releases, one needs faster drips from the percolator. The Ergs! continue in rapid succession: that naïve-yet-razored wantonness of love, the bubbling instrumentation that masks darker sentiments, the almost-instant sing-a-long-ability, and undeniable underdog charm with Hüsker Dü-like teeth. They aren’t crying into flowers on pop punk’s grave. They’re etching their own new monuments in vinyl, a song at a time. –Todd Taylor (Art of the Underground)

ERGS!, THE:
Books about Miles Davis b/w Only Babies Cry: 7”
I’m guessing that if you’re reading this, you already know who The Ergs! are, or will find out soon enough. Anyway, you know the song where Mike gets up from the drum set to sing towards the end of their set now? You know, the one that’s insanely good, even for them? Yeah, this is it (featuring more egg shaker here than on the LP), backed with a Paul Baribeau cover. I don’t think the pressing(s) were that large, so I’d pick this up ASAP if I were you. –Joe Evans III (Whoah Oh)

ERGS!, THE:
Books about Miles Davis b/w Only Babies Cry: 7”
Released as a preview for their release, Upstairs / Downstairs on Dirtnap, you’ve got one original, the title track, which will be on the album (in a slightly different version), and “Only Babies Cry,” a Paul Baribeau cover, which won’t. I’m not sure how I first heard the song “Books about Miles Davis,” but I do know I liked it immediately. I’m not sure how they do it (but I’m convinced the secret’s got to be in that egg shaker), but The Ergs have managed to write a song that references books that would be one of the most annoying books for me to read. It’s suspense all the way through, with a quick payoff at the end, which would make for a terrible, awful book. Fortunately, it makes a damn fine song. It just keeps building up to some sort of explosion that you finally resign yourself to knowing it’s just not going to come. Then, the most blissful ten or so seconds of energy completely surprise and fulfill you simultaneously. And then the song ends. Dear lord, that song is amazing. –Megan Pants (Whoah Oh)

ERGS!, THE:
Blue b/w Blew: 7"
I find comfort within The Ergs’! depth of musical geekdom. Not only is this their “Blue” release—much like the Adolescents’ record—they have the Adolescents’ ability to be much more than the sum of their parts; those parts being punk rock; those parts being rock in general; those parts being filtered by guys who could probably play in any type of band, but I’m stoked that they chose punk to be the point of their spear. No, they don’t sound anything like the Adolescents, but that’s the point. Original hearts beat differently. Original awesome, bubbly original (I guess blue is the new color of bubblegum), one Nirvana cover with song credit going to Sid Vicious’ original name. I’m sliding the set list from the last show I saw them at in with the 7” right after I write this review. Go Ergs! –Todd Taylor (Toxic Pop)

ERGS!, THE:
Upstairs/Downstairs: CD
There’s a band from New Jersey called The Nerds; they’re a typical cover band, they play things like weddings and corporate events and your typical shore bars, and the shtick is that they dress up in horn rimmed glasses and wear pocket protectors, while playing mostly various Top 40 hits from throughout the past few decades, like “WHOA, LOOK AT US. WE’RE TOTALLY DORKY, THAT’S NUTS, RIGHT?”. I point this out, because I can’t help but find it somewhat ironic that (and I mean this in the nicest way possible) The Ergs! have completely beaten “The Nerds” at their own game, so to speak. They’re smart dudes, and they know and obsess over all things music. We know they’ve already nailed writing the quick, catchy, poppy punk love songs, but there’s more proof here of just how talented they are (for example “Stinking of Whiskey Blues,” as well as the brilliant title track [which may actually be my favorite Ergs! song ever]). And if that’s not enough, they traveled all the way to the other side of the country just to record with Conrad Uno (and most likely demand to hear every little story he has), and with one of their favorite bands, to boot (you’ve heard of bringing your favorite band with you on tour? Yeah, they’ve upped the ante there too). I have no doubt in my mind that they could figure out a way to play music full time, be it by playing multiple sets at country and jazz bars every day, or becoming some lame ass cover band, but instead they keep putting out records like this, and playing great shows, and for that I am thankful. –Joe Evans III (Dirtnap)

ERGS!, THE:
Upstairs/Downstairs: CD

Wow, this record really snuck up on me. I’d been hearing a lot about the Ergs! around the Razorcake corporate compound (henceforth referred to as the Cake-Pound), so I was very excited to grab the review copy of Upstairs/Downstairs and proceeded to be disappointed… initially that is. I didn’t think it was bad by any means, but it just seemed kinda middle of the road at first. Then around the third or fourth listen I realized I really liked it and many of the melodies had subconsciously worked their way into my head. The best way to describe it is pop punk that’s mostly about girls with just the right amount of appealing nerdiness. My scientific proof of this looks like this: (((All+Jawbreaker)/Screeching Weasel)*Husker Du)^{Bouncing Souls})=Ergs! . A lot of tracks stick out as possible favorites including “Your Cheated Heart,” “2^nd Foundation,” “Bike Shop,” and “Trouble in River City” but the undisputed king of the heap is “Books about Miles Davis.” The song starts out with just vocals and a lightly distorted guitar and perfectly captures a feeling of stagnation before busting out in a perfectly timed catharsis of drums, bass, guitar, and backing vocals for about two measures before settling back down again. The album ends with the eighteen minute title track (a Zen Arcade reference perhaps?), which is surprisingly not too hard listen to. The only misstep in the album is the countryish “Stinking of Whiskey Blues,” which isn’t a bad song so much as it throws off the album’s flow with its place in the track listing. This is a fun album that makes it to my recommendation list.

–Adrian (Dirtnap)

ERGS!, THE:
Dorkrockcorkrod: LP
What the fuck do we mean when we say “pop punk” anymore? It’s a term so loosely applied to every “punk” band without a three foot mohawk or girl pants and swooping bangs that it means little to nothing to me anymore. I mean to me “pop punk” is a term and invention of the ‘90s applied to bands like Screeching Weasel, The Queers, MTX, The Lillingtons, Boris The Sprinkler, Green Day, (and it pains me to say) Blink 182, most things on Mutant Pop Records, and retroactively applied to bands like the Descendents. I had to put “most things” before Mutant Pop because Dillinger Four put out a 7” on Mutant Pop and I don’t consider Dillinger Four “pop punk.” I don’t know what fits bands like D4, 99.9 percent of what’s on No Idea, or half a dozen other like-minded labels but I know it isn’t pop punk. What am I driving at here? I guess it’s that the term pop punk has been so diluted that when I say The Ergs! are the first decent pop punk band in probably ten years that my meaning may be unclear. I feel like in the late ‘90s in to the first few years of the oughts that pop punk really took a nose dive. Most of the classic bands of the genre were breaking up or trying to break out of the box that they and their fans put them by playing music that was definitely not what they were known for. And sadly on the grassroots front there was a glut of half-assed bands aping Screeching Weasel or Blink 182 and ultra glossy bubble gum bands. Everything just seemed to be going wrong for the genre and I think, subsequently, a lot of people moved on. Anyway, 2003 rolls around and this little gem comes out. This is The Ergs! first LP and although not a call to pop punk arms in and of itself, it was definitely the rumblings of the old beast starting up again. It’s well played, well written with just the right amount of rough edges, angst, and a surprising lack of cringe-worthy moments. It reminds me a lot of the Descendents but in no way does it leave me feeling like they’re aping them. By no means do I think we’re talking about a modern classic here, but it definitely has its moments. And for a genre that has struggled for so long (in my eyes admittedly) that’s saying an awful lot. Tightest jam: “Pray for Rain.” –Steveo (Don Giovanni)

ERGS!, THE:
Hindsight Is 20/20 My Friend: CD
By the time this goes to print, The Ergs! will have played their “last show.” Bummer, on account that I found them to be one of the most inspiring bands in the American underground today. This singles collection is a reminder why. Musically speaking, they weren’t afraid to just do whatever the hell they wanted. “Thrash about the monotony of touring? We’ll record it on our day off. Alt country? Bring it on, we’ll do a 7.” Call me an asshole, but that’s a lot more exciting than a lot of other formulaic bands I’ve seen get big these days. Then again, these guys still wrote some of the best, straight-up poppy punk rock songs about girls and being backstage at NOFX concerts in a long time. I hope more bands down the line take a lesson from these guys, because, at this point, I feel like if you don’t like The Ergs!, you’re an asshole. –Joe Evans III (Dirtnap)

ERGS!, THE:
Ben Kweller: 12”EP
I’m not going to deny that The Ergs are easily one of, if not my favorite, band over the past few years, so getting a copy of this reissue (it was previously only available on CD), I was a different kind of excited, because I knew I love this record, but it’s still kind of like listening to it for the first time. To me, this is great because it’s got so much of the trademark Erg-isms that made me love them in the first place: the dorky “here’s music we love” references (title track/“When Your Squeeze”), quick, thrashy songs (“Million Perfect Days”/ “Nambla Grey Area”), and straight-up great pop punk songs like “Ashley Sugarnotch.” Yeah, this rules. –Joe Evans III (Freedom School)

ERGS!, THE:
Hindsight Is 20/20, My Friend: 2 X LP
I call bullshit on the title. The Ergs!, to me, always had better eyesight (musically, not optically) than most bands. From the first time I heard the Ben Kweller EP, it was obvious that these guys were doing far more than just flaunting the bare minimum of pop punk flair. And to borrow a Maddy cereal analogy, as a vast aisle of pop punk had found its boxes open and its marshmallow bits stale from overexposure and passing their “please open by” date, the Ergs! skirted that dusty crumble of a career path by stretching to SST and New Alliance, and were unafraid to uncork a hardcore blast then lay back into a country groove. And they did this while never losing their own identity as a band or sounding like an absolutely shitty joke everyone’s waiting to end. At the time they found themselves on Razorcake #23’s cover, few folks on the West Coast had heard of them. When Megan Pants interviewed them, they were sorta baffled why someone three thousand miles away from New Jersey would even care about a nerdy trio. So, I feel sick to my stomach. Because—wrong or right—I still consider the Ergs! a new band, a band that held up one of the torches of a new vanguard of punk’s possibilities. I mean, I should be happy for them, blow a paper horn, like at a retirement party. They’re going out with a bang of a collection of their widely scattered vinyl offerings in a handy and attractive gatefold, in a Grand Funk Railroad-style double LP. But I’m not ready to be rememberin’. I’m ready for the next full length. I’m ready for an Ergs!-themed cereal (probably on the lines of Cröonchy Stars). I’m ready for a line of Ergs!-inspired poorly fitting eyeglasses. One of the foolish pitfalls of being a music reviewer is transposing one’s own will and wishes as a serious directive to a band, especially a band that I’ve learned from and listened to so much. So, besides suggesting the title should have been Foresight Is 20/10, I wish them all the best and hope this knot in my stomach lessens up soon. I feel like shit. –Todd Taylor (Dirtnap)

ERGS!, THE:
The Ben Kweller EP: 12”EP
I realize the delusion of such a thing, but I still do it. Whenever I drive down to San Pedro, I really hope for a statue of The Minutemen to greet me as the 110 turns into Gaffey. The times I’ve been to New Jersey, I half-expected Ergs! songs playing over the train terminal’s loud speakers, to have the guys’ disembodied heads on taxi ads, claiming “Welcome to the GardenState!” It’s just because the music, to me, is rooted in that sense of place, that it’s wishful thinking that people in their own hometown would realize feats of true musical heroism. But I’m a realist, and the only monuments likely to built for the Ergs! will be these little vinyl disks, which hold up much better in the long run than the smaller shiny disk format this EP was originally released on several years back. The Ergs! are dead; just reconfirmed with Mikey when I saw Psyched To Die. Long live the Ergs! –Todd Taylor (Freedom School)

ERGS!, THE:
Thrash Compactor: 1-sided 7” EP
Ostensibly, this is the last Ergs! vinyl to ever be released (assuming no reunions and/or live shows making it to vinyl a la Scared of Chaka). Thrash Compactor is a blood-clotted slapshot of five songs that would make The Neos or (short-hair) DRI proud. What makes me proud is that this 7” doesn’t come across as “Oooh, we’re a punk band (insert Homer Simpson prancy dance and finger waggling). Wouldn’t it be weird and funny to play all fast and thrashy?” Nope. It’s a bonafide thrash record made by a bunch of dudes who inflated the pop punk bubble past most people’s previous expectations, filled it with enough genres to kill a rhinoceros, then popped that bubble. The Ergs!, from their first record through the last, made music sound like a hell of a party. This one sounds like a bolt of lightning hitting the top of the capitol building. Viva Los Ergs! –Todd Taylor (Grave Mistake / Firestarter)

ERGS!, THE / LEMURIA:
Split: 7"
Ergs!: Man, they write some fuckin’-a happy sad songs—stuff that you want to shout at the top of your lungs when it’d almost be embarrassing to write them down in a diary. More great original material—with Theremin outtro. The Gin Blossoms cover: Facts I have to face. 1.) I was at ground zero, Flagstaff, AZ when the Gin Blossoms ruled that hippie stinkhole of a music scene every time they came and played. It soured me plenty when this song became a hit. Those guys were douche bags of the highest slurpage. I have booed the Ergs!—with vigor and shaken fist, yet with a smile—when they’ve played this live. Some scars take more time to heal. If you didn’t have to live through it, I guess it’d be more tolerable. Lemuria: 50/50. I learned a bit back that Fifth Hour Hero broke up and that bummed me out. I like dramatic, female-fronted, poppy sweepers. Lemuria are thick with sensitive, sweatery, at-liberty with sorta-poetic lyrics which alternate between sweet to cloying. All in all, this teeters; wouldn’t have minded a bit more of a stern stare down or two, or the removal of one ill-advised “drum solo.” –Todd Taylor (Co-released: Art of the Underground, Whoa Oh, Yo-Yo)

ERGS!, THE / MEASURE [SA]:
Split: 7”
Measure [SA]: A slower, shimmering song about isolation, ice, and creativity followed by a quick blast. For me, Lauren’s voice is like a suture on a serious wound, holding and guiding the songs together with a fierce tenderness. Ergs!: Oh, yes, my friends, the Ergs! are still dead. This was recorded before That’s It… Bye! A fast one and a slow one, giving this 7” the feel of a late Sunday morning instead of a late Saturday night. I’m waiting for the future where records come with morning coffee and a nice, sunny day. Until then, I’ll just have to use the ol’ imagination. Two DIY punk bands—even when they slow it down—at the top of their form. –Todd Taylor (No Idea)

ERGS!, THE / THE MEASURE [SA]:
Split: 7”
The Ergs!: Nope, not back from the grave; not pulling a Nirvana, Sublime, or Tupac, where dead people keep on releasing “new” music. It’s just that in this imperfect world of punk vinyl, shit recorded gets out of sequence of shit being released. I know there’s more Ergs! vinyl coming out (Thrash Compactor’s on the way, I believe, along with a split with Teenage Bottlerocket) that was recorded prior to That’s It… Bye! It’s all bittersweet math, though, since we’re on the final pages of a book I don’t want to end. The Ergs! decimated many of the concrete walls of pop punk like Hulk smashing puny jello cups in massive fists, cheerfully squirting that goo which choked out so, so many lesser bands. Measure [SA]: it’s the small stuff that makes ‘em so great, like young, funny Chevy Chase on the cover, how they can make the political “Dullards and Dreadful Prose” sound like the bad relationship it is; a relationship of the far right and their courting of America’s soul and not just stuff like “Limbaugh suck dog tit.” Yup. Big fan of both. –Todd Taylor (No Idea)

ERGS!, THE/MODERN MACHINES:
Split: 7"
The Ergs! are one of my favorite bands to come out within the past few years. No, scratch that, they’re just one of my favorite bands. The Modern Machines, with their Taco Blessing record, are inching their way up my list, too. On this split, both bands take on the Mersey Beat sound, each with a cover and an original. The Modern Machines take on “Bus Stop” by The Hollies. I was slightly skeptical because I really like the original, but they nail it and follow it up with a strong one of their own. The Ergs! bring a strong original as well, and cover one of the lesser played (but one of my favorite) Beatles’ songs, “Not a Second Time.” Due to my slowness at reviewing this (because I still have to replace my record player) I have a feeling this may be hard to find, but grab it if you see it. –Megan Pants (Grateful)

ERGS, THE:
The Ben Kweller EP: CD
This is the cutest record I’ve heard in long time, and I like it. It’s so sweet, but it’s done so well. It’s poppy and they sing about not getting the girl, about having to kill the girl’s boyfriend, about having a pool party to look at the girl they like. The only negative thing I have to say is about the last track. There’s thirty seconds of feedback, the one minute song, a hidden track of a Randy Newman parody, then a NKOTB parody (the “girl, you’re wicked awesome” song.) It’s just too much for me. Cut all that crap out and I love the album. –Megan Pants (Fongul)

ERGS, THE:
Jersey’s Best Prancers: CDEP
CD version of the 12”EP that sold out practically the day it was released. No real subtle way to put this: one of the world’s top twenty current bands puts out eight more songs and you should get it. For fans of: Bananas (pull back the skin and there’s boulders in the bubblegum), Minutemen (tightly wound without tiring the listener), Lifetime (artwork and the clarity of vision), Descendents (ain’t afraid to be young, smart dorks at heart but still shred) and, you, know, great music that has a long shelf life. I’ve hit people’s hands away when they’ve reached to eject the CD before it’s finished. –Todd Taylor (Don Giovanni)

ERGS, THE:
Dorkrockcorkrod: CD
There’s no delicate way to say this. I think The Ergs are geniuses. I adored their Ben Kweller EP, but missed something. I loved it as a simple pop album. On Dorkrockcorkrod (it’s a palindrome!) it’s easier to hear a lot of the complexities that are going on behind the guise of pop. It’s like Rivethead, where I just thought it was the hooks that had me listening to it all the time, but then I began to pay closer attention. They’re all proficient players, and when you listen to what’s going on in the background of the songs you hear some interesting things. I actually hear a strong jazz influence, but it never overrides the pop (which has a lot more power in the pop than the EP) and don’t worry, it never even steps close to fusion. Broken-hearted lyrics prevail from their Carpenter-style set-up (you know, the drummer sings). Incredibly infectious – I listened to it fourteen times yesterday. –Megan Pants (Whoa Oh)

ERGS, THE:
That’s It…Bye: 12” EP
For two weeks I disliked this record because it’s reportedly the Ergs’ last. “Resented” is more accurate. I wanted to grow old with the Ergs, take my kids to see them. A three-song EP didn’t seem to be an adequate send off. I wanted something enormous, cumbersome, more than I could handle. Then I realized that the band’s recent thirty-plus song compilation on Dirtnap serves that purpose. That’s It…Bye is the party favor from the wake (Wakes should have party favors!), three more Ergs gems that look back as much as they hint where the band might have gone. Now all three songs are stuck in my head and I find myself overanalyzing them. Does “Hope I run into you one day” (“Anthem for a New Amanda”) refer to a possible reunion down the road? Is “I’m just looking to get home” (“Piltdown Man”) the response? I’ll cut out before slipping into obsessive fan fiction-like obsession, but this is a great record. Thanks, guys. –Mike Faloon (Don Giovanni)

ERGS, THE:
That’s It… Bye: 12”EP
At first, I was thinking, “What hubris. What excess.” I mean, I like improved sound quality as much as the next person who values records over clothing and I’m a huge fan of the 12” 45 format, but a three-song 12” that isn’t Tarkus-inspired jams? C’mon, dudes, I know it’s impressive that you played back-to-back sets at the Fest to thousands of people, but that’s no reason to slap your vinyl/dongs in other bands’ faces. These three songs could have handily fit on a 7” 45. It wouldn’t even have to go to 33. Think about the whales, Sally Struthers, dolphins and Al Gore, man. Then, before uncorking my bile-sprayer, I found out that the 7” machine at the plant that was pressing the record had broken. The only solution to getting this swan song out on time was to press the biggest (in size) 7” in history. I’m still not comfortable in this post-Ergs! world. It kinda sucks, but thanks for three more songs. I hope none of you join Guns’n’Roses. –Todd Taylor (Don Giovanni, www.dongiovannirecords.com)

ERIC BLOWTORCH AND THE INFLAMMABLES/DAN FLYNN AND THE INFLAMMABLES:
Joyful Noise b/w White Hen Pantry: 7"
The A-side claims the “dirtiest, nastiest drum sound you’ve ever heard.” Don’t worry, it ain’t. Reggae funk backed with a jazzy instrumental. I think they’re called The Inflammables because they never catch fire. –Josh Benke (Bopaganda!)

ERIK HINDS:
Reign in Blood: CD
The arpeggione is an instrument originally developed by a Viennese guitar maker/repairman named Johann Georg Staufer in 1823. Similar to a guitar, in that it has frets and its six strings are tuned in the same way as your standard guitar, it is held like a cello, meaning vertically rather than horizontally, and you use a bow. Although popular in the 19th century, its popularity waned over the years, with the cello more often being used when an arpeggione was called for. Erik Hinds is a proficient arpeggionist who apparently believes that Slayer’s Reign in Blood album and his instrument of choice are a complimentary match. He was wrong, not so much due to the limitations of the instrument, but rather the limitations of adapting what is essentially one of the definitive hardcore albums to a wholly instrumental format—you can’t make musical something that is essentially tuneless to begin with. Metallica, and even Black Sabbath, have enough melody infused into their songs to make previous classically inspired takes on their respective catalogues more successful, but—and this is not meant as a dig at Slayer, who remain a personal favorite—when you’re talking about a band whose primary mode of attack sounds like a plague of pissed-off hornets attacking a stronghold of locusts, you’re gonna be hard pressed to come up with something that doesn’t sound like a tuning session for a fourth grade string section. Maybe if he’d screamed the lyrics while he was playing he might’ve been onto something, but as it stands, Hinds could’ve covered the Neos or Siege and gotten the exact same results performance-wise as he got here. He also could’ve done it in 1/16 the time it took to listen to this, ’cause their songs are shorter. –Jimmy Alvarado (www.erikhinds.com)

ERIN TOBEY:
Self-titled: CD
She's got a nice voice, but anything even remotely resembling girly folk music makes me break out in a rash. –Jimmy Alvarado (Plan-It-X)

EROGURO:
Orgasms Achieved through Death: CD
This is a CD with a mission. That mission, as indicated in the booklet, is to create the sonic equivalent of Japan’s eroguro movement. Eroguro is an art and literary movement that combines the erotic and the gruesome. For the purposes of this disc, Jose Gabriel Angeles, the dude behind all the noise, bastardizes the definition a bit, stating that “it’s the ugly and the beautiful.” Of course, erotic doesn’t equal beautiful and gruesome doesn’t equal ugly, but I’ll let him slide. He certainly isn’t the first one to alter the definition of a genre for his own purposes. When music has a mission, I expect follow through. Unfortunately, the plot was lost somewhere on this recording. The scales tip in favor of the ugly. The grating sounds of electronic noise loops and buried screams overwhelm any attempts at beauty. All the listener is left with is noise. –MP Johnson (Sanity Obsolete, myspace.com/eroguromusic)

ERROR:
Self-titled: CD
Funny, I liked ‘em more a decade ago, when they had completely different members, lived in Germany, and were called Atari Teenage Riot. –Jimmy Alvarado (Epitaph)

ERUPTORS, THE:
Microwave Massacre: CD
Fairly meat and potatoes rock/punk here, one part trashy rock, one part Misfits, and not a whole lotta effort put into it. –Jimmy Alvarado (mail@fixingahole.sakura.ne.jp)

ERUPTÖRS, THE:
Bad Time to Be Having a Good Time: CD
Sometimes you hear a band that you just can’t figure out. The Eruptörs are one of those bands. As far as I can tell, they’re a British sleaze rock band with some faint garage and rockabilly undercurrents. That’s all fine and good. Now add some crazy science fiction themes and a singer who sounds like the spawn of David Yow and Eric Davidson of New Bomb Turks with some extra Jon Spencer thrown in for good measure. It’s an off-kilter mix that kind of grew on me. –Ty Stranglehold (Maniac Squat, myspace.com/eruptors)

ERUPTÖRS, THE:
Seduce & Destroy: CD
The Eruptörs are back... and still mystifying me. They are pretty much full-throttle trash punk with some odd parts thrown in here and there. There’s some jazzy parts, some cock rock wank outs, some fuckin’ cowbell?... Hmmm. The David Yow/Eric Davidson comparison I made of the vocalist last time still stands. The production seems a little thin. Rock thunder such as this should go BOOM! All in all, it’s okay but not particularly memorable. –Ty Stranglehold (Maniac Squat)

ESCAPE FRAME, THE:
Self-titled: CD
“Paramore?!” “Uh, Kurt, that’s a dude.” “Oh…male Paramore?!” I say that somewhat jokingly but also not so much. This is really poppy shit with keyboards and vocals that I am still not sure to what gender they belong. Not that it really matters, I suppose. The Escape Frame’s self-titled album is “I’m packed in with hundreds of sweaty teenagers and early twenty-somethings at a venue/dance club” type music. It sounds really good, is produced quite cleanly, and they do a fun cover of “Rock With You” by Michael Jackson that I really liked. Don’t be fooled, though, The Escape Frame isn’t a dance punk act, nor are they straight-up techno or rave music. They’re definitely indie pop, but the spine of the band is a continual keyboard sound coupled with frequent electronic beats. Maybe the best description I can come up with is that the sound is somewhere between mellow, early Thursday material and a neutered Paramore. –Kurt Morris (End Sounds)

ESCAPE THE FATE:
There is No Sympathy for the Dead: CDEP
Something to review from Epitaph? I thought they went in another direction and abandoned the old standard of sending out material to small zines. Bad Religion, I will take any day. Pennywise, Bouncing Souls and maybe a few others I will sometimes go out and buy either for myself or my wife. But other than the old standards, I don’t know what this label puts out anymore. Judging from what I hear coming out of my speakers, they are looking for something outside of the punk scene. The closest thing I can think of is this band sounds like Avenged Sevenfold or that band that wears make-up, My Chemical Romance. Stuff I see on the Fuse channel when I check every once in awhile to see what the kids are into. It sounds like so many bands that are being passed off as metal but sounds so commercial because they add screamo or growling vocals interspersed in between the cheesy commercial emo pop punk vocals. I could see this on Victory but am shocked to see this released on Epitaph. –Donofthedead (Epitaph)

ESCAPED, THE:
Rose City Hardcore: CD
I've heard of New York City Hardcore, D.C. Hardcore, and even Mid-West Hardcore, but Rose City Hard Core? Cute. Good to see the Northwest represent. Standard old-fashioned kick-in-your-teeth hardcore from a Portland punk band, The Escaped. The dual-singer approach was original, but unfortunately the songs were uninspiring. At least give me a decent mosh, for christ's sake! –Guest Contributor (Blackout)

ESCAPED, THE:
Self-titled: CDEP
Fairly standard anthemic punk with bellowed lyrics of alienation and walking the margin. Fairly consistent faster-than-shit tempo with moments of spooky promise when they break it down a bit. It’s okay. –Guest Contributor (TKO)

ESCAPED, THE:
Rose City Hardcore: CD
I’ve heard of New York City Hardcore, D.C. Hardcore, and even Mid-West Hardcore, but Rose City Hard Core? Cute. Good to see the Northwest represent. Standard old-fashioned kick-in-your-teeth hardcore from a Portland punk band, The Escaped. The dual-singer approach was original, but unfortunately the songs were uninspiring. At least give me a decent mosh, for christ’s sake! –Jason K –Guest Contributor (Blackout)

ESCAPED, THE:
Rose City Hardcore: CD
Thuggish hardcore with the subtlety of a slab of concrete falling fifteen stories. Sorry, but I prefer my ‘core to be just a smidge wittier. –Jimmy Alvarado (www.blackoutrecords.com)

ESCAPED, THE:
Escaped Generation: CDEP
Once again, Bill from Rodent Popsicle brings us another CD worth your money. This time it’s a CDEP by a band of lads called The Escaped. On this CD’s eight tracks, some are fast hardcore and some are street punk. Either way, they are all good. The band even features two vocalists. One is more of a rough and tough vocalist and the other is a fast, crusty type. Regardless of how you label them, the main point is that they are really good and this combination works rather well! The musicianship, as well as lyrics, is great, too. All in all, this CD gets a big thumbs up and is well worth your hard-earned cash. I won’t leave out that there’s a CD-R video also included in this CD. Not bad and all this is for only $5.98, too. Keep up the good work guys! –Mike Beer –Guest Contributor (Rodent Popsicle)

ESE:
Loud Death Chaos: CD
Say “ése.” Fun but standard-fare rock’n’roll punk. –Jessica Thiringer (Zodiac Killer, zodiackillerrecords.com)

ESKATOL:
Blodorn: CD
You can’t ignore music that is so intense sonically that it blasts your eardrums. This band from Oslo, Norway does not fuck around. They play a technically executed mixture of crust, d-beat, and metal. Gruff vocals lead the charge, backed by crunching guitars, forceful bass, and hard-driving drums. The production is key here. It’s well recorded and nothing is out of place. What they master—that a lot of bands cannot achieve—is the underlying, memorable melody that keeps me listening. Their power is unmistaken. From start to finish, this is one enjoyable listen. I get the same feeling listening to this band as I do Skitsystem or Wolfbrigade. All I hope is one day is that this band tours the States and I can experience this live. –Donofthedead (Kjepp Kjappesens Raske Skiver, diger.tigernet.no)

ESKE:
Big Trouble in Little Village: 7" EP
Something about the Southside of Chicago has resulted in a proliferation of cool ass bands over the years, and these guys are no exception. Mid-tempo hardcore, pissed off, driving and to the point, is the order of the day here. Good stuff. –Jimmy Alvarado (Southkore)

ESL:
MIOK: 7" EP
UROK. Although not spectacular, points go to youthful enthusiasm and points are taken away for the "heard it many, many times before" factor. Oscillates between Mutant Pop's punk (think descendants of the Queers and Screeching Weasel) like early Connie Dungs (with less lead vocal nasality) or early Automatics and transfers - screamier and thrashier - to Everready territory (dirty, drunk, wonderfully sloppy pop punk). It sounds like a band figuring themselves out. "Are we poppy? Are we harder?" and force is lost in not knowing. UROK (read as "you are OK," not "you rock." Damn license plate lettering.) –Todd Taylor (Geykido Comet, PO Box 3743, Laguna Hills, CA 92654)

ESL?!:
Horseshoes and Hand Grenades: CD
This is some sloppy and kinda simple punk rock that reminds me a lot of RKL, except RKL’s silly lyrics have been replaced here by serious, intelligent commentary on society and politics. The combination of the sloppy music and tight lyrics separates this album from most of the generic punk that comes out these days. If you like bands like The Thumbs or Pinhead Circus, you’d probably like this album. –Sean Carswell (Geykido Comet)

ESOTERIC, THE:
1336: CD EP
It’s amazing how easily suckass jock metal passing itself off as hardcore can ruin one’s day. –Jimmy Alvarado (Black Noise)

ESPRIT DE CORPS:
Under Constant Influence: CD
Kind of a ‘90s screamo attack that’s also somehow catchy and surprisingly unpretentious. It’s an odd grouping of sounds that works well for these guys: some nice gang vocals over punchy, nearly-anthemic dancepunk. Okay, yes, maybe review deadlines are looming and “dancepunk” conjures up something icky like the Faint. So scratch that. But I’d still be up for saying that EDC comes across as a workable, brick-and-mortar mishmash of Lost Patrol’s catchy dance shit and Orchid’s spastic hammer-yowls, with some Super Black Market toeing the line and smoothing things out in between. Add some nice chipboard packaging and friendly liner notes, consider the fact that they have a keyboardist who actually adds something rather than hinders or neuters the band, and Esprit De Corps comes out of the gate here with a pretty nice five-songer. Look forward to hearing what they come up with next. –Keith Rosson (Esprit De Corps)

ESTER DRANG:
Infinite Keys: CD
Softer music in the vein of Radiohead’s The Bends. Think lots of pianos, high-pitched crooning. For a very long time, I bought damn near any Jade Tree release without question, simply because it was on Jade Tree. I trusted the label to provide more interesting fare like Cap’n Jazz, Lifetime, Trial By Fire, Kid Dynamite, Strike Anywhere, etc. (conveniently forgetting the Promise Ring discs). This album basically ended that for me. It’s not that it’s a bad record (I actually bought a copy before this showed up in the mail), it’s just that I finally got around to noticing that Jade Tree releases records which just don’t interest me as much. –Puckett (Jade Tree)

ESTRANGED, THE:
Self-titled: “Fast Train” b/w “The Masses” / Sacred Decay: 7” / 45 7”
Cold, grey, distant, and discordant, but undeniably powerful, The Estranged isn’t happy face music. It’s not easy-gloom music either (which tends to break out the Misfits copy machine and fingers into skeleton gloves). Think along the lines of the darkness and intensity of Articles Of Faith. (After thirteen years of reviewing, I can’t think of another band that’s been more equal or suited to that comparison.) Medium-paced, gripping, hand-wringing music that takes its time, and makes sure you know that you’re in a place of their making. Don’t be expecting the post-nuclear d-beat holocaust of From Ashes Rise or Hellshock (of which members come from), go into this with the feeling that you’re about to be stalked and hunted musically, on a personal level, through a scope. This shit’s intense in an awesome (in the original meaning of the word) way. It’s well worth your time. –Todd Taylor (Self-titled: Black Water / Sacred Decay: Green Noise)

ESTRANGED, THE:
Static Thoughts: CD
Minimalism is tricky to nail punk (and post punk). Because it’s a reduction to the bare elements without losing power. For maximum effect, it’s knowing exactly what not to play as it is what to play. Skeletons with phantom power. When to pound, when to tap. When to lunge. When to hide in wait. And that’s why any music that’s sparse, yet powerful and totally on target, there aren’t many bands that have stood the test of time. Wire. Early Gang Of Four. And to bring up those two bands isn’t in any way to suggest that The Estranged are regressive, it’s to show that there’s a high water mark, and if you’re going to be in band, why not aim for that? There’s no hiding behind a wall of sound, no banks of effect pedals, just well-constructed, icy, and sparse songs that are simultaneously filled with doomed thoughts, self-immolation, and joy. Excellent. –Todd Taylor (Dirtnap)

ESTRANGED, THE:
“Entranced” b/w “Vilified”: 7"
I know I’m repeating myself, but if The Estranged hadn’t heard of Articles Of Faith prior to recording, I’ll boil my shoes, eat them, and floss with the laces. The A-side track is the fastest and most to-the-point I’ve heard from them, giving the most evidence of their pedigree in previous hardcore bands. The B-side is, by a small degree, more rough and loose than what’s on their excellent debut full-length, Static Thoughts. The Estranged walk a tightrope expertly; they retain their icy structures and foreboding qualities, while locking into a catchy, pocketed grooves. That balance separates them far above the glut of standard, more predictable fare. –Todd Taylor (DeadIdeas)

ESTRANGED, THE:
Self-titled: LP
It’s a singles collection of the most-if-not-all-sold-out Estranged 7”s (and an unlisted track. I believe it’s off their debut LP, Static Thoughts). At the moment, I’m putting the Estranged in the camp that’s occupied by Eddy Current Suppression Ring, Hex Dispensers, The Young Offenders, and the Marked Men. Stylistically, they’re nothing alike, but their approaches to the heart of music are similar. Oh, one could say, “That’s nothing new,” and they wouldn’t be wrong. But they’d be more wrong than right. (It’s not squeaky intergalactic balloon music played with vacuum cleaners in a tonal range that’s aimed at making your pancreas quiver. Or a “whathaveyou.”) The Estranged are exploring the dark ventricles of music that was usually accompanied with a brooding synthesizer. Think Bauhaus or Sisters Of Mercy, but by died-in-the-wool punks shorn of spookiness and frilly-edged shirts. Artful pretense is replaced by hard-edged instruments and scuffed boots. And, away from the comfortable trappings of an already created subculture and the genre limitations that come with them, The Estranged make music that is pumping intriguing, rare blood in real time. I’m super glad that these songs are staying in print. I figure the more people getting into The Estranged, the better. –Todd Taylor (Dirtnap / Black Water)

ESTROGEN HIGHS:
E Major D Construction: 7”
Minimalist, lo-fi, garage that walks the boundaries of the genre. Occasional growling vocals and operatic feedback outros really fly the freak flag on an otherwise standard rock’n’rollin 7”. But on top of the freaky garage rock, the cover art contains both stencil art and stamper lettering, which are two classic forms of DIY art that are skillfully executed. –Daryl Gussin (Self-released)

ESTROGEN HIGHS:
Luxury Is God: 7”
A healthy smatter smoosh of psych, Manchester, and mid-‘90s up in here. My friends said “this is fun” and “cool.” I would tend to agree, and add that they’ll probably hopefully just get more out there. –Andrew Flanagan (self-released, myspace.com/estrogenhighs)

ESTROGEN HIGHS:
Tell It to Them: LP
Estrogen Highs has a lot going for them. Their label (Dead Beat) sends out LPs for review. The LP they sent me came free of PR bullshit. Which means Dead Beat is not trying to fuck with me (or you) in such a patronizing way. And I think Gestapo Khazi is a labelmate of the Estrogen Highs; being even tangentially associated with John Roller puts you in good stead with me. Tell It to Them is a solid LP. A little bit Demon’s Claw—definitely into 13^th Floor Elevators. The musicianship is strong. The guitar playing has that raw Eddie Cochran feel in some places—and the solo on “Age of Romantics” is aces. I’m also pleased that the bass is far from buried in the mix—it’s heard and felt. Most LPs in this vein skimp on the low end (a quality synonymous with mid-‘60s recordings) and that’s just ridiculous. (Don’t make the same mistake the early Gun Club did.) Affirmative on this one, amigos. –Ryan Leach (Dead Beat)

ESTROGENOCIDE:
Self-titled: CD
Minimalist synth-core with lyrics about raping and killing. Probably funny when they were recording it, but I lost interest midway through the first song. –Jimmy Alvarado (M.H. Records)

ESTROGENOCIDE:
self-titled: CD
I don’t know much about the electronic music that I just dub techno, but I know that this is awful. Sounds like they broke out the casio and pushed the sample techno beat and growled the vocals a bit to sound spooky. Lyrics like, “OJ’s wife was cheating/ So she must suffer/ It is better to kill her/ Than it is to fuck her.” No thanks. –Megan Pants (M.H.)

ESTROGENOCIDE:
Self-titled: CD
This is either two people who have way too much time on their hands or your porthole into the mind of a bi-polar maniac. Equal parts new wave, gore porn lyrics and a drum machine. Songs are sung in a monotone goth-like manner. Irritating enough to bug me after awhile, so you can imagine what the average person would think. –Donofthedead (M.H.)

ESTROGENOCIDE:
Untitled: CD
Completely worthless electronic misogyny by two thirteen-year-olds with altered voices and fake names so no one will find out they made this and beat them up. If you’re gonna sing lines like “rape is good/rape is fun” and “I will cut your nipples off,” why bother making the point that “Adolph Hitler... was an absolute zero”? So people won’t think you’re an asshole? Nice work, smartypants. –Cuss Baxter (M. H. Records)

ETERNAL 13:
Layback Grind: CD
This 13 song release is cool if for no other reason than that the packaging is designed like a giant matchbook. This is driving and noisy and has a little bit of a Black Flag feel to it, although not nearly as intense as I would hope for. The fourth song gets pretty thrashy, but doesn’t manage to kick the energy level over the top. Overall, a cool aesthetic and a cool sound, but something’s missing for me. Also, the lack of lyrics pissed me off. These guys could develop into something monstrous if they keep at it. –Dan Yemin –Guest Contributor (Extravertigo)

EUDEMON:
Self-titled: CDEP
There are some interesting things to be found here and there on this—odd rhythms, dissonant guitars, stop/go breaks—and they are definitely able to play their instruments, but nothing’s really catching and sticking to the ribs, and there isn’t much punch to the delivery. This’ll no doubt garner them some attention, though, and maybe even signed to a major’s “alternative” imprint, although I’m not sure all the interesting bits would survive such an event. –Jimmy Alvarado (http://myspace.com/eudemon)

EUROTICS:
Demo: Cassette
The cover photo is of a topless woman with a paper bag over her head. The band’s web address is myspace.com/richmondss. I was hoping for balls-out raunch, but just got generic rock’n’roll riffs and sexually frustrated lyrical grousing, recorded in a wet refrigerator box. To borrow a term from a Ben Stiller movie (my bad), if you’re gonna go for shock appeal, then you have to go “full retard,” like The Dwarves. If you pull your punches, you’ll just come off like a stunted loser. –CT Terry (myspace.com/richmondss)

EUROTICS:
Self-titled: Cassette
Apart from sheer nostalgia for people of a certain age ((and perhaps consideration for those of us who still drive motor vehicles manufactured after 1980 but prior to 2003)), there really are no abiding reasons why anyone should ever release anything on cassette again, ever. Cassettes were a fucking DUMB format. Their fidelity decreased every time you played them, they got dusty and warbly and fucked up, they got twisted and kinked and snapped, tape transport from song to song was a time-consuming and aggravating pain in the ass, and every now and again your cassette deck would just randomly eat a tape, sort of like Charlie Brown’s kite-eating tree, but less epic. About the best thing i could say for pre-recorded cassettes ((as opposed to mix tapes, which still remain the gold standard for such things)) is that if you didn’t like what was on there, you could tape over it. That said, some of these vaguely Heartbreakery/Lurkery mid-tempo basement punk tunes are fairly catchy and well-written, but most of ‘em are ruined by rampant tempo fluctuations every time the drummer attempts some kind of too-fancy fill or other dramatic barrage. I’d be interested to hear what they sound like in a year or something, especially if some sort of virus strikes down dead all digital music and causes the planet’s vinyl to spontaneously turn into an unplayable meringue-like substance, leaving magnetic tape as my sole entertainment option. BEST SONG: “She’s Like a Hangover” BEST SONG TITLE: I guess that is also “She’s Like a Hangover” FANTASTIC AMAZING TRIVIA FACT: Of the three cassettes i got to review this month, this is the only such cassette that was decent enough to arrive with the knock-out tabs intact, meaning that i can tape right over it without having to undertake the additional step of putting a piece of tape over the little holes. Thanks, pals! –Rev. Norb (Richmond SS)

EVA BRAUN:
Self-titled: CD
They’re just kids, so maybe I should cut them some slack. Nah! What would be the point of that? Certainly, there’s some serious musicianship here, but I need songs. They talk about being “rooted in contemporary hardcore and post-hardcore,” but I’m afraid I hear more ancient prog rock, with a bunch of unintelligible screaming thrown in for no apparent reason. I don’t like anything about this record. –Brian Mosher (Self-released)

EVACUATE:
Self-titled: CD
Blazing hardcore punk with a real axe to grind! Evacuate utilize a myriad of styles: some early ‘80s L.A. punk alà The Adolescents, all the way to faster, more aggressive stuff like Poison Idea. The lyrics focus on dissatisfaction with the current state of hardcore, the futility of living a life vicariously through the internet, and bulimia. Very cool, aggressive stuff. The songs are short and fast, but are each unique enough to distinguish themselves from the rest. I’d really like to see them live. Look for this disc when it drops! –Evan Katz –Guest Contributor (Taang!)

EVANGELISTA:
Hello, Voyager: CD
Back in 2006, I interviewed Carla Bozulich about Evangelista, her first record on Montreal’s Constellation label, produced by Efrim Menuck of Godspeed You! Black Emperor and A Silver Mt. Zion, and featuring members of same. We’d discussed how the album was (mis)taken by various listeners for “torment,” “an attack on the senses,” or an “exorcism.” Bozulich’s own intent was to produce something that acknowledged pain, but to a healing end; it was “for people that can respond to sound and love the way other people respond to God,” for people who use music“to lift themselves up and rise up above things that might normally kick their ass.” Her new album, now under the band name Evangelista (and again on Constellation with Efrim and Co. on board, along with Shazad Ismaily and Tara Barnes) continues in the same vein—and, at-times, painful exaltation with cathartic stabs at transcendence and an emotional range that contains melancholy at one end and a violent, rapturous release at the other. A few tracks (“Smooth Jazz,” “Truth Is Dark Like Outer Space,” and “Hello, Voyager” itself, which scares me a bit) are even tougher than anything on the previous album—“The Blue Mask” tough, “Radio Ethiopia” tough, Kim Gordon doing “I Wanna Be Your Dog” tough—while a sassy, streetwise, fuck-you playfulness peeks in elsewhere (“Lucky Lucky Luck”). The one track that I can’t quite hook onto yet is the mournful, gentle “The Blue Room,” with fellow former Geraldine Fibbers member Nels Cline contributing winsome acoustic twelve-string work. It’s pretty and the lyrics are moving, but it’s a bit too sonically nice for the rough-and-tumble forcefulness of the rest of the disc, and makes the album just a tad less cohesive than the previous. Still, this is one strong-as-fuck rock record, and it’d be nice if more people realized how great Bozulich was. –Allan MacInnis –Guest Contributor (Constellation)

EVAPORATORS, THE:
Ripple Rock: CD
AT LAST IT CAN BE TOLD: I, Rev. Nørb, am partially of French-Canadian extraction!!! It’s true! My great-great-great-great-great-great-great-great grandmother was one of Les Filles du Roi – “The Daughters of The King” – one of around 700 swingin’ young ladies shipped out from France in the 17^th Century to what is now Quebec – essentially the French government’s attempt at keeping the colonists of Nouveau Francais down on the farm by trucking them over a few boatloads of brides, owing to the complete and utter scarcity of Quebecian poontang in the 1600s (rendering 17^th Century Quebec essentially identical to 21^stCentury Wisconsin, i might wish to add). So, yup, i come clean: My great-great-great-great-great-great-great-great grandmother was a mail-order bride for some horny French-Canadian fur trapper. Now, you’re saying, gee, Rev. Nørb, that’s all well and good, but exactly how does your far-flung ethnic heritage have a god damn thing to do with the latest release from Nardwuar The American Original & Company? Glad you asked that, sir. You see, The Filles du Roi program was enacted under Louis XIV. Louis Quatorze, of course, had a song named after him recorded by Bow Wow Wow. Malcolm McLaren was Bow Wow Wow’s manager. Malcolm McLaren also managed the Sex Pistols. The Sex Pistols are in the Rock & Roll Hall of Fame (i THINK they’re in the Rock & Roll Hall of Fame – but if they haven’t been inducted, i know for a fact that some of the original lyrics for the songs on Never Mind the Bollocks are on display in the Rock & Roll Hall of Fame, so that counts). The Rock & Roll Hall of Fame is in Cleveland. Joe Siegel & Jerry Shuster were from Cleveland, and they invented Superman™. Jerry Seinfeld is such a big fan of Superman™ that, as i understand it, some manner of Superman™-image is visible in each and every episode of Seinfeld ever made. Who played George Costanza’s father on Seinfeld? Jerry Seinfeld’s dad! And who was Jerry Seinfeld’s dad recently in an AOL™ commercial with? That’s right! Snoop Dogg! And, on track 18 of Ripple Rock, who is caught in the act of absconding with Nardwuar’s Richard Pryor album? THAT’S RIGHT!!! SNOOP DOGGITY DOGG!!! So, as you can plainly see, Nardwuar and i are practically cousins! OUR GREAT-GREAT-GREAT-GREAT-GREAT-GREAT-GREAT-GREAT-GRANDPA JEROME TOLD ME TO TELL YOU TO BUY THIS IMMEDIATELY!!! My side of the family doesn’t go to the reunions any more, though, on account of we got pissed the Anglos wouldn’t admit the Rougeau Brothers were greater athletes than Iron Mike Sharpe. BEST SONG: I know it’s a cover, but who here cannot ask themselves this question and not come up with “Barney Rubble Is My Double?” BEST SONG TITLE: “I Say That on Purpose to Bug You (But Not Intentionally)” FANTASTIC AMAZING TRIVIA FACT: Also available on 8-track! –Rev. Norb (Alternative Tentacles)

EVAPORATORS, THE:
Gassy Jack and Other Tales: CD
I’ll admit it, as much as I love Nardwuar’s interviews, and as intrigued as I was in his musical output, I’d never heard The Evaporators before. But GODDAMN, this is awesome. I was expecting mid-tempo, jangly power pop, and it starts off like a more eccentric version of Regulations. Then it quickly turns into some wacky, funny, way-danceable jams. To back it up, I received this at one of the most depressed points I’ve been in a while, and upon first listen I was jumping around, making the decision I shall travel to Vancouver to see them during the winter Olympics. Added bonuses are the videos on the CD version, plus an encounter with Courtney Love. This rules! –Joe Evans III (Mint)

EVAPORATORS, THE:
Honk The Horn: 7"EP
Frenetic, spastic, goofy, and epileptic, Nardwuar is a traffic accident and the Evaporators happen to be in the van when he leaps from the back, grabs the steering wheel, and careens them off the side of the road. Bless him. On this short-runner, they’ve got Nard’s mania in a tight ball of electricity. “Touch Wood”: Electroshock The Smugglers and splice in Bikini Kill’s Kathleen Hanna’s spiked uterus screaming. It’s a riot in two senses of the word (as in “funny” and “burn this fucking place to the ground.”). “Honk the Horn”: If you ever wondered if Screaming Jay Hawkins was white, recovered from an anyersm, and espoused full-on Canadian pride after a snippet with Tommy Lee’s cock print on a boat horn, wonder no longer. “I’m a Critic Like the Rest of Them”: picture hardcore favorites, The Neos, less doom and gloom, for exactly forty three seconds. “I Don’t Need My Friends to Tell Me Who My Friends Are”: Yardbirds, but punk and better, with a bring-it-on-down spoken word segue. Color me impressed and tattoo a maple leaf on my ass, this is a fine, fine 7”. –Todd Taylor (Nardwuar The Human Serviette Records)

EVAPORATORS, THE / ANDREW W.K.:
A Wild Pair: Split: 7”
White vinyl, sweet comics, sing-along choruses and electronic-infused powerpop rock tunes…Need I say more? Damn happy to add this fun split to my collection. –N.L. Dewart (Nardwuar)

EVAPORATORS, THEE:
Ripple Rock: CD
Oh, Canada! Oh, Nardwuar! Vancouver Canada’s Evaporators are back after a six year break from the last full length (I Gotta Rash) and it’s been way too long. Zany and catchy as hell. They are one of the those bands that you forget how much you really love them until you start humming along to the only band silly enough to release 8-tracks! A true guilty pleasure, but they are so much better than they should be. Nardwaur is brilliant or I’ve lived in the Pacific Northwest too long. I’m going to France! –Wanda Sprag –Guest Contributor (Alternative Tentacles)

EVEN IN BLACKOUTS:
Foreshadows on the Wall: CD
“Hey, you ignorant music reviewer, you! Our band plays punk rock using solely acoustic instruments! We will bludgeon over the head with this fact until you proclaim us to be the saving grace of modern punk rock!” Guess what? It sucks! The press sheet even calls them minstrels! Maybe if they had electric guitars they wouldn’t sound like the Dixie Chicks. –Josh (Knock Knock)

EVEN IN BLACKOUTS:
Fall of the House of Even: CD
The folk-meets-punk sound these guys swim in ain’t something you run into too often. Can’t say it’s my particular bottle of Strychnine, but they do it so well, are so tight, and infuse the music with such conviction, punk intensity, and catchy hooks that it’s hard not to respect ’em and what they’re dishin’ out. –Jimmy Alvarado (www.fordocumentationonly.com)

EVEN IN BLACKOUTS:
Myths and Imaginary Magicians: CD
Since I got this, I can’t stop listening to it! Total pop punk – on acoustic guitars! And fear not! This still sounds like total rock and roll. Of course, with Mass Giorgini producing, how could it be otherwise? A bunch of guys and a girl singer, and even covers of “Hey Suburbia” and “Knowledge”! Granted, neither cover was super great, but any band that hasn’t abandoned their love of Screeching Weasel, Op Ivy, et. al for fear of being labeled uncool, is a friend of mine! This is Frosted Mini-Wheats! Basic folk set-up, with the frosted coating that we all know as punk rock! (Note to self: one day Todd and Sean will realize exactly how dumb my reviews are and replace me with Kurt Loder.) –Maddy (Lookout/Panic Button)

EVEN WORSE:
You've Ruined Everything: CD

I'd put NYC's Even Worse right in league with San Francisco's The Avengers and East LA's The Brat. Female-fronted, early, genuine American punk with a fire under its ass. It's funny because the only single I had of theirs was nothing like this – it was a lot more serious and thoughtfully attempted to deconstruct punk rock, had Thurston Moore (later to go to Sonic Youth) playing guitar, and although pretty darn good, I enjoy the brash enthusiasm, snotty bounce, and female singing on this retrospective. Even Worse flexes their muscles through twenty-six songs, including their anthem, "We Suck," and pounds through both a Weirdos cover, ("Solitary Confinement") and a Black Flag cover ("Nervous Breakdown"). Keep in mind, these bands were contemporaries, along with others, like Kraut and Adrenaline OD. It just goes to show how much more level the playing field was twenty years ago, and how excited bands were to realize that others, such as themselves, had come to the same aural conclusions at approximately the same time. The cornerstone to keeping Even Worse's legacy alive – and providing excellent, comprehensive liner notes – is their drummer, Jack Rabid, who continues to publish The Big Takeover zine twenty odd years down the road. This CD is split in half – the first is the never-released, "lost" studio LP followed by a healthy set at Max's Kansas City in August, 1981. What a pleasant surprise. This'll get a lot of spins. Someone should release it on vinyl.

–Todd Taylor (www.bigtakeover.com)

EVEN WORSE:
You: CD
For those either too young to know or too brain-damaged to remember, this is an old New York punk band that featured one Jack Rabid, also known as the head honcho at Big Takeover Magazine. The band existed during that awkward time between the downfall of the Big Apple’s “classic” punk scene surrounding CBGB’s and Max’s, and the rise of that city’s “classic” hardcore scene, centered around the 171A and, uh, CBGB’s. The music contained on this disc consists of a great “lost” album, and a great live set. The music is raw, crude and infused with a healthy dose of humor, as it should be. If you do happen to remember ’em, all their big hits can be found here, including the tracks from the “NY Thrash” tape and a studio take of “We Suck,” which this reviewer remembers only a live version being released prior (which is here also), which can be found on his tattered copy of the You Can’t Argue with Sucksess comp. Recommended.
–Jimmy Alvarado (The Big Takeover; www.bigtakeover.com)

EVENS, THE:
Self-titled: CD
I’m not quite sure how it works, but Ian MacKaye is one of the few musicians I’m willing to follow virtually anywhere—this time, into a subdued duet with Amy Farina (the drummer for the Warmers)—and be pleased by what I’d wouldn’t traditionally give a second listen. Perhaps it’s the warmth of the songs. Perhaps there are more times in my life now where I’m looking for a little less chaos and a little more steeping time. Perhaps it’s the chemistry of having not being steered wrong under Ian’s musical auspices. Perhaps I’m a little more accepting of the idea that rage, although informative, can be less powerful than a whisper at the right time. It’s a quiet, steady, giving album that would be hard pressed to be further way from the blast of the Teen Idles and Minor Threat… yet I’m grateful and happy that both exist. –Todd Taylor (Dischord)

EVENS, THE:
Get Evens: CD
Second release for this DC duo featuring Amy Farina (The Warmers) and Ian MacKaye (Fugazi). Somehow a fuller sound is established more here than on the debut, even with only two members. Haven’t seen them in concert recently to confirm that live this is the same deal. Moody, brooding, and introspective feels on most of the songs on this CD. I won’t try and tackle any of the lyrical subject matter presented here, but it’s heavy stuff. I really like “Cut from the Cloth,” “All That You Find You Keep,” and “No Money.” “Get Even” is the best band theme tune since Living Colour’s “What’s Your Favorite Colour?” If you’re looking for repeats of their old outfits, do NOT tread here. But if you want a release that doesn’t really sound like any other new record out there now, then go get The Evens. –Sean Koepenick (Dischord)

EVERONE EVERYWHERE:
A Lot of Weird People Standing Around: 7”
This record came in some nice packaging. The cover is made from what seems like regular, plain, old brown cardboard, with a black ink drawing of some people that remind me a bit of Mike Judge characters (only better drawn). Clear vinyl. The music itself is pretty poppy, and the singer has a very earnest voice. I’m not too into the music; it’s a bit too “nice” for me, if you know what I’m saying. Although, I did like the first song on the second side more than the rest. They mix it up a little—in one of the songs there’s a bit that sounds like radio clips or TV infomercials, but it still doesn’t do it for me. The bio on the insert says it sounds like late ‘90s emo, and that it’s “warm and bright,” and I’d say that’s about right. The difference, I guess, is that I was never particularly into emo and the reviewer for their bio apparently is. –Jennifer Federico (Evil Weevil, myspace.com/evilweevilrecords)

EVERTHING MUST GO:
Apocalipstick: CD
Trashy punk rock that in sound falls somewhere between 1978 New York and 1981 San Francisco. Although it ain’t the most original stuff I’ve heard lately, they are good at what they’re doing, which alone makes this worth a listen. –Jimmy Alvarado (Dead Teenager)

EVERYBODYOUT:
Self-titled: CD
I grabbed this mostly because I was surprised to see that Taang! was still an active label. Although, judging by the copyrights on the package, this might have come out in 2007. Everybodyout reminds me of what one would get if they mashed the accessible Boston bands from the nineties (Mighty Mighty Bosstones, Avoid One Thing, Dropkick Murphys, etc.) together and maybe sprinkled it with a Duane Peters band minus all the grit. The band takes shots at folk (“Billy Cole”), ska (“Yeah, Yeah, Yeah, Yeah”), NY Doll-ish rock and roll (“All I Got”), and a lot of gang-chorus, sing-a-long punk. In the process of trying to tackle so much, it tends to sound like the band lacks an identity of its own. It’s like listening to a competent but non-stimulating cover band. Putting this CD on really makes me want to listen to a US Bombs or Bosstones album instead. –Adrian (Taang!)

EVERYTHING FALLS APART:
Escape: 7”
You know how you slop something together because you need to eat, but don’t really care what it is? How, while you’re eating, you sometimes forget what you’re even eating because it’s just that unremarkable? That’s how EFA is for me. Decent enough hardcore that does the trick well enough, but I just end up forgetting that I’m even listening to anything. –Megan Pants (Self-released)

EVERYTHING FALLS APART:
Tension: 7”EP
Kinda weird, having the same name as a relatively poppy Hüsker Dü song (on the album of the same name) when you’re a straight-ahead hardcore band. All considered, I’m glad they’re not called Warehouse Songs And Stories, but I think Land Speed Record would be a better truth-in-title-of-what-the-band-sounds like for the group. Well-played hardcore; they share similarities to a band like Damage Deposit. –Todd Taylor (Art Of The Underground)

EVERYTHING FALLS APART:
Relief: LP
This is a serious helping of thinking man’s hardcore. While a lot of bands are getting noisier as a way to increase the aggressiveness, Everything Falls Apart seem to be really zoning in on some great melodies and non-cock riffs, while still retaining the ‘80s HC influence. Consistently powerful, while definitely mixing it up and creating their sound. It’s great to hear a band develop without jumping off the deep end. Anyone who has a soft spot for pre-Hidden World Fucked Up should check this out. –Daryl Gussin (Self-released)

EVERYTHING FALLS APART:
Relief: LP
It’s been proven that languages are much more difficult to learn the older one gets. It’s a belief held by many that after the likes of Black Flag and Minor Threat, that hardcore punk has been an endless series of diminishing returns. Photocopies of photocopies. Conversely, I’ve always had a hard time with the concept and sounds of “progressive rock.” What’s it progressing to? What is it escaping from that was so bad? What’s wrong with simplicity, straight shots? Heart vs. technicality? Hardcore punk in 2010 may seem like an exercise in pouring ready-made materials into a pre-formed template. To me, it’s always been about the spirit, the intention. Like any form of art, there are boundaries, otherwise there’d be no reference points. Everything Falls Apart isn’t free jazz. It isn’t Paul Simon-inspired “world music.” It’s hardcore in the long tradition of The Effigies, Articles Of Faith, and early Hüsker Dü (from whence their name came). And it hits on all marks. At no time during the record spinning do I imagine them playing in the husked skins of bands that preceded them nor do I smell the over-ripe rot of bruised music nostalgia. I just hear a band busy carving their music in concrete that’s already been set, and it’s music that I continue to like a lot. –Todd Taylor (Self-released)

EVERYTHING IS RUINED:
S/T: CD-R
Nine songs couched nicely between Astrid Oto’s crazed screech and the unabashed melodies of defunct Cincinnati punks, The Messengers. The recording’s a bit ragged, but it’s one of those times when it seems to accent rather than detract. There’s some strong male/female vocal interplay (probably the best thing the band’s got going for them is the creativity of their co-vocalists), laid over some punchy, solid musicianship. Self-proclaimed influences are Rivethead and La Quiete, and while they’re certainly not up to the caliber of either of those bands—those are big shoes to fill—I can see what they’re getting at, and fully expect them to be slaying by the next release. The lyrics are also really great—coming across as very humble and down-to-earth, intelligently acknowledging personal struggles while retaining that ever-elusive glimmer of hope. My only complaint (it’s a small one and yeah, I know I’m in the minority here) is that graphically, visually, the presentation’s a little thin. The chipboard packaging is nice, but the blank-paper CD face, Xeroxed insert, and sticker on the front cover smacks of carelessness or a rush job. The music is all there, you guys, and it’s some pretty solid work. Now give us something to look at. –Keith Rosson (Everything Is Ruined)

EVERYTHING MUST GO:
Sonic Pornography: CD
I don’t know if everything must go, but one thing that really needs to go is wishy-washy Dead Boys rehash bands. –Ty Stranglehold (Calendar Of Death)

EVERYTHING NOW:
Spatially Severed: CD
Fairly pedestrian college rock stuff from a band that sounds like they’ve played more than a few bar back rooms. Ho-hum at best. –Jimmy Alvarado (MFT)

EVICTION PARTY:
Self-titled: Cassette
Twelve nice tracks from Halifax, NS; real nice ones. Rough around the edges poppy punk with a swell amount of jangle on the guitars and a few ca. 1966 Beatles-sounding licks, dual-gendered singing, and well-written songs for what sound like pretty young kids. Lyrics seem a little on the emo side, but not for emo’s sake, just cause that’s what they’re thinking about, kinda like before “emo” was a bad word. –Cuss Baxter (www.myspace.com/disvictionparty)

EVICTION PARTY:
Forward, Always: CD
I believe I reviewed some split tape release this band did a while back; I don’t remember it being as nearly as awkward or jangly as what I’m hearing here. Forward, Always reminds me of Jeff Ott’s earlier solo output, but only if he lived in a weird half-lit world where his stuff wasn’t quite acoustic but he wasn’t quite ready to kick the distortion pedal on yet either. The end result is an odd mish-mash of great “take flight from the things that bum you out and embrace the things you enjoy” styled lyrics unfortunately set to some pretty bland folk punk with a wincingly bright high-end and nary a hook in sight. I like the stark packaging, I like the down to earth sentiments they’re throwing around, but the gravity of the vocals coupled with the lack of musical impact just isn’t grabbing me this time around. –Keith Rosson (Sharpie Fumes)

EVICTION PARTY / LEPER:
Split: Cassette
Eviction Party: I’ve reviewed a fair amount of tapes put out by Sharpie Fumes now and have started recognizing names of band members that continue to crop up in various releases. Thusly (and I’ve got no idea how accurate I am) Halifax strikes me as a fairly small but very tight-knit, active, and way fun scene. Eviction Party (and Sharpie Fumes as a whole) seems to reflect this perfectly: blank tapes with spray-painted stencils, Xeroxed covers, frequently dodgy recordings, and tons of passion. Vocally and lyrically, they’re treading some heavy Crimpshrine ground, while the clean guitar and strumming style almost brings to mind the Ne’er Do Wells or some other ‘60s-inspired jam—though that lack of distortion and oomph might just be a question of gear or recording. Either way, it’s decent, smart, and melancholic stuff—given a slightly brighter recording (though the levels on this one are generally pretty good), I’d probably be all over this band. Leper: Some fairly dark and political hardcore with strained vocals and spot-on lyrical content. Plenty of group vocals and the occasional odd, jazzy interlude—can’t help but feel like I’ve heard stuff like this before (Forced March, maybe?) but also more than willing to admit that they’re really good at it. I liked the menacing ska undertones that continued to pop up in “Creep Anthem.” Definitely one of the more consistent Sharpie Fumes jobs, and if these aren’t just a few bands that got together for a weekend and recorded some songs, I’d say we all might want to keep our eyes out for future releases. –Keith Rosson (Sharpie Fumes)

EVIL ARMY:
Self-titled: CD
You know how sometimes you’ll bust out Kill ‘Em All and listen to it and think, “God, Metallica used to be so awesome, I wish there was a band like that around today”? Well, look no further. Evil Army takes all the best parts of Mustaine-era Metallica, Dealing With It- era D.R.I., and a dash of Cryptic Slaughter. It’s a wicked good time; no cheesy dive-bomb comedy routines like Municipal Waste or anything, just straight-ahead thrash from a bunch of Tennessee good ol’ boys. Get This!! –Ben Snakepit (Get Revenge)

EVIL ARMY:
Conquer Human Life: 7”
If you ever wondered what DRI would sound like with Glen Danzig crooning and providing the gloomy mental imagery, wonder no more. Evil Army embrace crossover metal, fronted by a dude who can sing punk-style opera and threatens to “Overrule this place with fire.” Better than Damnation and the current-day Misfits, that’s for sure, but not as good as Orange County’s Spooky or Japan’s Balzac if this is your bag of bloody halloween treats. –Todd Taylor (Contaminated)

EVIL ARMY/BURY THE LIVING:
Split: 7" EP
Evil Army: Holyshitfuckgoddamn, were these guys ever swell. Short, hyped up hardcore that’s over before the needle hits the wax. I’m mightily impressed with what little is here. Bury the Living: Five more tracks of fast, pissed off tunes from one of the best hardcore bands currently making the rounds. I’d heard that they’d thrown in the towel, so I’m surprised to hear some new stuff from ‘em. Bow your head in respect and play this often. –Jimmy Alvarado (Soul Is Cheap)

EVIL BEAVER:
Enlightening Without Dazzling: CD
Heavy rock with melodic vocals is the vibe happening here. I am sure, given the sound and the line up, that this band gets compared to Jucifer quite often, but they never get as heavy or as poppy as that band—at least not on this disc. It seems that the new drummer is in Eagles Of Death Metal and that sound is a good reference point here as well. –Mike Frame (E. Lago, www.evilbeaver.us)

EVIL BEAVER:
Pleased to Eat You: CD
Well, I have to say that this CD got my attention very quickly with not only the band name and album title, but the song titles and the fact that there were two attractive ladies on the CD sleeve as well. When I popped it in, however, it was something I wasn’t expecting. I was all ready to hear some low brow porn/thrash/metal/punk a la Stool Sample or something like it. This turned out to be more of an emo/metal CD. I’m not too familiar with this genre so I will have to take some steps back to compare it to what I remember. Grunge is the first word that pops into my head. For instance, if this was 1993, they would have no trouble getting signed to Sub Pop. It’s got a deep, fuzzy sound with decent female vocals singing melodically at times and angry and others. This appears to be two females, one on drums and one on bass. No guitar. It’s not absolutely terrible, but I think this first listen will be its last. –Toby Tober (Johann’s Face)

EVIL BEAVER:
Lick It: CD
Would’ve been great a decade ago on a bill with 7 Year Bitch and them other proto-riot grrrl bands, although the sludgy quality of their songs might be more bummer inducing than inspiring. I’ve heard worse, but I ain’t exactly doing cartwheels over this or anything. –Jimmy Alvarado (Johann’s Face)

EVIL QUEENS:
Lovesong Werewolves: CD
This is the sound of a lumberjack mechanically chopping down a tree with his axe. This is the sound of a lumberjack tearing off his flannel and banging on his muscular chest. This is the sound of a lumberjack getting angry and telling off his boss. This is the sound of a lumberjack grunting and taking a dump while regretting what he did earlier in the day. This is all of these sounds at once. Wait, did I just describe grunge? Maybe I did. Maybe I didn’t. –MP Johnson (Sunken Treasure)

EVIXXION:
Strategic Cancellations: CD
Crushing metal along the lines of bands like Kylesa and early Neurosis only slower, allowing for the heaviness to dominate. There are no ambient breaks or acoustic guitar interludes. This is all systems go, pummeling, and no where near being pleasant. Vocal chords are shredded, leaving the listener to wonder if there are polyps forming in this man’s throat. The wall of guitar is never-ending. The low end rumbles. Despite the humorous artwork on the cover, and the fake T-shirt ads in the lyric sheet, this music is definitely not light hearted. It’s dark, and with an air of hopelessness. –Matt Average (Peterwalkee, peterwalkeerecords.com)

EVOKEN:
Quietus: CD
Sludgy, Gloomy-Gus black metal, sorta like Eyehategod on downers. It's not too bad, but the average song length is eight minutes, so it gets boring really quick. –Jimmy Alvarado (Dwell, PO Box 39439, LA, CA 90039)

EVOKEN:
Quietus: CD
Sludgy, Gloomy‑Gus black metal, sorta like Eyehategod on downers. It's not too bad, but the average song length is eight minutes, so it gets boring really quick. –Jimmy Alvarado (Dwell)

EX GIRL :
Kero! Kero! Kero!: CD
I'm so happy I intercepted this CD. This is a female Japanese trio and what Shonen Knife did to pop, eX‑Girl could do for experimental/indie rock. All songs but two are sung in English (one is in Japanese and one is in Spanish). My favorites are "Tofu Song" (which is styled after, or even mocking maybe, those Bulgarian Women's Choir chants) and "The Revenge of Kero," which is all about frogs... lots of them. If you're into Japanese pop culture at all, you might be interested in this album. Reminiscent of The Raincoats here and there, just as much fun as its packaging. The question left to answer is not if you should go find this album, but rather which eX‑Girl is your favorite. –Guest Contributor (kobashin@bekkoame.ne.jp)

EX HUMAN:
Chicane b/w Detector: 7”
Solid trio playing Dead Boys’ style snot rock’n’roll with good back ups and a bass player who does more than play just the roots of the chords. “Chicane” is catchier, but both songs are first rate. The vocals are good, but a bit lost in the mix; I’d like to hear more of them. But that’s just mincing. It’s a great record for fans of ‘77. –Billups Allen (Full Breach Kicks)

EX MODELS:
Other Mathematics: CD
A while back I got the "Demonstration" CD EP from these guys. I figured that, judging by the mannequin on the cover, I was gonna be underwhelmed by some lame, poppy techno crap "played" by guys who wore a lot of black nail polish, similarly hued dresses, and had a passing interest in Aleister Crowley. What I got was eight or nine minutes of some of the best art damaged punk I'd heard in years, shit that skirted a fine line between early Devo, New York's "No Wave" scene and a Scratch Acid, fueled with enough aggression and brevity of song length to satisfy any Circle Jerks fan. This disc contains most, if not all, of the songs from that EP plus a bunch more in the same vein, resulting in 24 minutes of hellacious auditory bliss. It's rare that I get truly excited about a disc anymore and this piece of processed plastic is more than deserving. Highly, highly recommended. –Jimmy Alvarado (Ace Fu)

EX, THE:
Dizzy Spells: CD
Crass drops some L with Tragic Mulatto at a Gang of Four show and they all while away the hours making anatomically correct origami representations of Cary Grant’s intestinal tract. Really good noise/rock here, kids. –Jimmy Alvarado (Touch and Go)

EX-GENTLEMEN, THE:
Self-titled: CDEP
The Ex-Gentlemen are two parts ‘80s rock (think Cheap Trick), one part ‘77 punk (think Generation X), and one part Green Day. The result? Decent rock’n’roll with catchy parts, power chords, and plenty of sing-a-long-iness. For me, it was a bit too heavy on the general ‘80s rock’n’roll side of things (as evidenced by all four of these songs being about a minute too long for my highly caffeinated attention span), but for a self-released demo, this is pretty good. If this were a cereal, it’d be Honeycomb—the sugar is there, but you have to slog through a lot of whole grains and corn bran to get there. –Maddy (Self-released)

EX-GIRL:
Kero! Kero! Kero!: CD
I'm so happy I intercepted this CD. This is a female Japanese trio and what Shonen Knife did to pop, eX-Girl could do for experimental/indie rock. All songs but two are sung in English (one is in Japanese and one is in Spanish). My favorites are "Tofu Song" (which is styled after, or even mocking maybe, those Bulgarian Women's Choir chants) and "The Revenge of Kero," which is all about frogs... lots of them. If you're into Japanese pop culture at all, you might be interested in this album. Reminiscent of The Raincoats here and there, just as much fun as its packaging. The question left to answer is not if you should go find this album, but rather which eX-Girl is your favorite. –Harmonee (kobashin@bekkoame.ne.jp or EXG@aol.com)

EX-GIRL:
Endangered Species: CD
If you were ever looking for a reason to avoid a threesome of hot Asian chicks with funky colored hair and matching silvery outfits (apart from reasons of maintaining your own health and well-being, that is), this oughtta 'bout do it. I mean, the CD cover and i have a hot date tonight, but the disc within somehow manages to crystallize and display the most opprobrious elements of Rush, Queen, Zappa, the Boredoms, the Flying Lizards, and maybe even Klaus Fucking Nomi, god forbid. I should begin to wonder if these ladies are perhaps being held against their will? BEST SONG: I think it would be the one that goes "KS coming down to earth with flash, shooting green and silver beams of gastric medicine at us." BEST SONG TITLE: "Letter From Mr. Triscuits" FANTASTIC AMAZING TRIVIA FACT: 1) Hoppy Kamiyama makes a guest appearance on "Digital President," "Ass Hole Box," "Slide Geisha," "Scum Tape-from the Garbage," "Okama Belcanto," and "Gram Pot"; 2) Were the guitarist "Zorek" and i to marry, her name would be "Zorek Rozek." Presumably we would have sons named "Ozker" and "Kerzo." –Rev. Norb (Alternative Tentacles)

EX-GIRL:
Endangered Species: CD
If you were ever looking for a reason to avoid a threesome of hot Asian chicks with funky colored hair and matching silvery outfits (apart from reasons of maintaining your own health and well-being, that is), this oughtta ‘bout do it. I mean, the CD cover and i have a hot date tonight, but the disc within somehow manages to crystallize and display the most opprobrious elements of Rush, Queen, Zappa, the Boredoms, the Flying Lizards, and maybe even Klaus Fucking Nomi, god forbid. I should begin to wonder if these ladies are perhaps being held against their will? BEST SONG: I think it would be the one that goes “KS coming down to earth with flash, shooting green and silver beams of gastric medicine at us.” BEST SONG TITLE: “Letter From Mr. Triscuits” FANTASTIC AMAZING TRIVIA FACT: 1) Hoppy Kamiyama makes a guest appearance on “Digital President,” “Ass Hole Box,” “Slide Geisha,” “Scum Tape-from the Garbage,” “Okama Belcanto,” and “Gram Pot”; 2) Were the guitarist “Zorek” and i to marry, her name would be “Zorek Rozek.” Presumably we would have sons named “Ozker” and “Kerzo.” –Rev. Norb (Alternative Tentacles)

EXCEL:
Split Image: CD
Once upon a time, kids, way back in the mid-1980s, there was this evil scourge known as metal punk, which was actually not all that different in its infestation than ska and poop (err, pop) punk are today. Like ska, there was nothing truly evil about metal punk as an entity, but the influx of copycats pretty much ran it into the ground four months after it reared its ugly head. See, back then a bunch of punk rockers found that growing your hair out and infusing "thrash" (once the preferred term for speedy hardcore) with "chugga-chugga" metal riffs and long, wanky guitar solos could be considerably more profitable than playing "Dollar Night" at the Cathay every week. Well, to make a long story longer, many of the bands that opted for this style became household names: Suicidal Tendencies, Cro-Mags, Agnostic Front (hell, virtually all of the state of New York). Even "proper" metal bands hopped onto the cash cow and milked it for all they could: Slayer, Metallica, Exodus, Overkill, Anthrax et al. Most, however, who followed this particular trend to the bitter end wound up basically back in the same place where they began and ended up following the next trend, and the next, and so on. Which brings us to Excel. Originally called Chaotic Noise, Excel were often lumped in with the whole "Suicidal" head trip, which was something they always claimed not to be a part of, if memory serves. As a speed metal band, they weren't all that bad, as this re-release of their album (plus assorted demos and comp tracks) illustrates, and the fact that they maintained their ties to punk rock even as their hair follicles became more active was also a definite plus. On the crossover "food chain," they were probably somewhere in the middle at their peak, not quite DRI, yet they probably rarely hurt for a gig. While I was never really a fan of Excel, I didn't hate 'em, either, and at one time I considered their drummer Greg a friend of mine. Listening to this disc brought back fond memories of the Suicidals and the skins trying to kill each other at the Balboa Theatre, cholos with shotguns gunning for punkers at Hoover Park, playing at a straight edge fest (featuring a bill that that all the X-handed morons who pay outrageous amounts of money for "crew" singles would cream over) at that same park fucked up outta my gourd on booze and coke, and assorted other drunken nights with my friend Stephanie and her then-boyfriend Matt. Jeez, where do the wild days of misspent youth go? –Jimmy Alvarado (www.rottenrecords.com)

EXCEL:
Split Image: CD
Once upon a time, kids, way back in the mid‑1980s, there was this evil scourge known as metal punk, which was actually not all that different in its infestation than ska and poop (err, pop) punk are today. Like ska, there was nothing truly evil about metal punk as an entity, but the influx of copycats pretty much ran it into the ground four months after it reared its ugly head. See, back then a bunch of punk rockers found that growing your hair out and infusing "thrash" (once the preferred term for speedy hardcore) with "chugga‑chugga" metal riffs and long, wanky guitar solos could be considerably more profitable than playing "Dollar Night" at the Cathay every week. Well, to make a long story longer, many of the bands that opted for this style became household names: Suicidal Tendencies, Cro‑Mags, Agnostic Front (hell, virtually all of the state of New York). Even "proper" metal bands hopped onto the cash cow and milked it for all they could: Slayer, Metallica, Exodus, Overkill, Anthrax et al. Most, however, who followed this particular trend to the bitter end wound up basically back in the same place where they began and ended up following the next trend, and the next, and so on. Which brings us to Excel. Originally called Chaotic Noise, Excel were often lumped in with the whole "Suicidal" head trip, which was something they always claimed not to be a part of, if memory serves. As a speed metal band, they weren't all that bad, as this re‑release of their album (plus assorted demos and comp tracks) illustrates, and the fact that they maintained their ties to punk rock even as their hair follicles became more active was also a definite plus. On the crossover "food chain," they were probably somewhere in the middle at their peak, not quite DRI, yet they probably rarely hurt for a gig. While I was never really a fan of Excel, I didn't hate 'em, either, and at one time I considered their drummer Greg a friend of mine. Listening to this disc brought back fond memories of the Suicidals and the skins trying to kill each other at the Balboa Theatre, cholos with shotguns gunning for punkers at Hoover Park, playing at a straight edge fest (featuring a bill that that all the X‑handed morons who pay outrageous amounts of money for "crew" singles would cream over) at that same park fucked up outta my gourd on booze and coke, and assorted other drunken nights with my friend Stephanie and her then‑boyfriend Matt. Jeez, where do the wild days of misspent youth go? –Jimmy Alvarado (Rotton Records)

EXCESSIVES, THE:
Self-titled: CD
Any band that photoshops a ‘hawk and a guitar case onto the original picture from the marquee poster of The Exorcist is definitely going to get pulled outta the review pile for Dale to check out. That CD cover fucking rocks and I’m hoping there’s a shirt available of it. The Excessives’ full length here is chock full o’ skanking surprises like “Knife Fight on the Beach," “Shitheal," “Side Track” (which sounds a lot like Dee Dee Ramone’s song, “I’m Zonked Los Hombres”), and a rollicking version of The Simpletones “I Like Drugs." It’s eerily ironic that they chose to cover an old Simpletones tune, ‘cause the first band that the Excessives reminded me of was So. Cal’s own Riotgun, and believe it or not, ex-Simpletone Danny Ruiz has been playing bass for Larry Hernandez’s almighty Riotgun for some time now. Small fucking world. Street punk fans might take a shine to this – chunk riff heavy but not being stingy with the up-tempo jams, either. Would like to see this outfit live. Besides a hot-diggity-fucking-dawg of a CD, it’s also enhanced as well – you get three videos to check out on your computer, which are rather cool because they’re of The Excessives whirling it up at gigs, all with plenty of crowd interaction to boot. I love it when bands include this stuff on their discs. Now all I ask of you guys is to write a song entitled, “Pazuzu," and you’ve got a fan for the existence of your band.
–Designated Dale (Longshot; www.longshotmusic.com)

EXCHANGE, THE:
Miss Hollywood: CD
Watch out Sweet Valley High, here comes the Exchange! –Guest Contributor (The Exchange)

EXCHANGE, THE:
Miss Hollywood: CD
Watch out Sweet Valley High, here comes the Exchange! –Guest Contributor (The Exchange)

EXCUSE THE BLOOD:
Self-titled: CD
Fairly faceless hardcore with a bit o’ chugga in the geetars. Though no one’s quite achieving Al Barile-like gymnastics, some nice pics of the band members jumping around are included. –Jimmy Alvarado (http://www.excusetheblood.com/)

EXCUSE/WHISKEY SUNDAY:
Split: 7"
Both of these bands would fit perfectly playing with Altaira, Tiltwheel, and the Dukes of Hillsborough. I Excuse will probably never stop being compared to Leatherface because you can’t ignore the influence, but that’s not a bad thing at all in my book. They’ve cut back from a four- to a three-piece, but they still have a full sound on these songs. Whiskey Sunday is good, and I know I’d love them live, but I’m just not wowed by them yet. Knowing my taste, some of my friends are pretty surprised by that, and maybe there is something to it that I just haven’t nailed down yet because I’m not just listening to the I Excuse side when I put this on. –Megan Pants (Snuffy Smile)

EXECRADORES/SIN DIOS:
Split: LP
This was originally released in 1998 on Esperanza Records on CD. Now a vinyl copy is available. Execradores' home base is Sao Paulo, Brazil and they are a self-proclaimed anarcho punk band. Sin Dios share in the same beliefs and call their home base Spain. I couldn’t tell you exactly what the beliefs of both bands are because this came with no lyric sheet. The song titles, for the most part, are in Portuguese and I’m pretty damn sure that the lyrics are definitely Portuguese for the Execradores songs and Spanish for the Sin Dios songs. What I can describe for you luscious readers of my writing is the music. Execradores play straight forward fast punk that is short and sweet. No extra baggage to keep you from losing interest here. They bash into your forehead seventeen songs of what injustices they see. Sin Dios provide ten songs in the same vein; a little more melodic at times but every bit as powerful. One good thing is when you don’t understand the language, you can focus more on the energy of the music and the rage is felt equivocally. –Donofthedead (Sin Fronteras)

EXENE CERVENKA AND THE ORIGINAL SINNERS:
Sev7en: CD
Everything we love about Exene—strong, clear, and all over the map. The incredibly flexible band skillfully mixes up rockabilly, glam, blues, surf, twang, and more, supporting and complementing Exene’s signature vocal eccentricities. New lineup includes Sinners Jason Edge (guitar) and St. Louis’ 7 Shot Screamers’: Chris Powers (bass), Dan Sabella (guitar) and Kevin O’Conner (drums). Toe tapping, heart warming, and highly enjoyable. –Jessica Thiringer (Nitro)

EXERCISE:
The Autumn Gentleman: CD
The guys on insert look like dirty bastards (which I mean as a compliment). The music isn’t. The music is firmly set in the mid-Dischord era of Jawbox and Lungfish, which means there’s still power left in the punches, but Gang of Four’s and Wire’s angles have found their ways in. An example: Get a mouse. Put it in a box. Roll it down a hill. (Not a big one. You don’t want to hurt it.) Release it. It can’t walk in a straight line, though it really tries. Thusly, are Exercise. Sometimes, I’m thinking, “Rock the fuck out. I can hear you can. You know how to. You want to. Do it.” And although this CD’s okay plus plus, and the people who put it out are fuckin’-a righteous (anyone who takes you to a place that has a sausage as the door handle is A-OK in my book), I hear afterburners that I constantly want to be goosed but aren’t. –Todd Taylor (Learning Curve)

EXETER:
Grey Noise, White Lies: CD
An eleven-song dose of indie rock with emo elements in the mix. Mostly, it tends to blend into the background due to its bland nature. However, about a third of the tunes raised my hackles with songs and production that screamed, “We want to get played on commercial radio!” I did like one of the songs, “Widowmaker,” which was actually of a sufficient quality to perhaps be the worst tune on a hypothetical, unreleased Hot Snakes album. –Jake Shut (Jake Shut )

EXFORK:
A Cure for the Disease Called Man: 10"
This is noisy hardcore with borderline cookie monster vocals – but on the good side of that vocal border. It’s a perfect soundtrack for a fucked up day. Musically, the band is tight, tense, and always on the verge of an explosion. It’s not what I normally listen to, but I like it. I don’t know if this will help anyone, but Exfork sounds like how I hoped The Locust would sound like when I first heard about The Locust. –Guest Contributor (Geykido Comet)

EXISTENTIAL NIGHTMARE:
Self-titled: CD
Have you ever seen a TV show where they use the words “punk rock” to describe a bunch of actors playing sloppy music with some dude making stupid screaming sounds over it? This sounds kind of like that. –Bryan Static (Suggestive Phantasm, no address)

EXIT CLOV:
Respond Respond: CD
Two violin players? Can that be necessary? Well, regardless, the result is pretty darn good. With their slightly arty pop, smart lyrics, and melodic hooks reminiscent of The Pixies, Exit Clov disguise their often disturbing themes beneath a shimmering mix of fuzzy guitars, soaring keyboards, and the aforementioned violins. It’s all very tastefully done and well balanced, never giving you too much of one thing. These are the kind of songs that may not seem super catchy while you’re listening, but which you’ll find yourself whistling later. Plus, who can resist a song called “Communist BBQ?” –Brian Mosher (Livewire)

EXIT CONDITION:
1988-1994: CD
For your buck, you get to listen to what was once a pretty good English hardcore unit slide down the slippery slope into '80s/'90s alt-pop facelessness. A sad tale it is. –Jimmy Alvarado (Boss Tuneage)

EXIT CONDITION:
1988-1994: CD
For your buck, you get to listen to what was once a pretty good English hardcore unit slide down the slippery slope into ‘80s/’90s alt-pop facelessness. A sad tale it is. –Jimmy Alvarado (Boss Tuneage)

EXOSUS/CLANCY 6:
Split: 7" EP
Exosus: Accidentally had this on 33 rpm when it started, but, to be honest, they sound just as whacked and pissed off at either speed. Clancy 6: Loud/fast modern noisy hardcore (meaning “not metal”) with strangled vocals. –Jimmy Alvarado (McCarthyism)

EXPLODE AND MAKE UP:
12”: EP
Chicago scene vets rip through half a dozen tracks of earnest, positive hardcore with powerful, melodic vocals. If you like Dag Nasty, Lifetime, 7 Seconds, or Gorilla Biscuits, and you need some cheering up, this is the antidote to your blues. Let me put it this way, this record made me smile while I was folding my fucking laundry. –CT Terry (Underground Communiqué, undercomm.org)

EXPLODERS, THE:
What's What and Who's Who: 7" EP
Apparently, Larry May of The Candy Snatchers has opened a school or released the patent to his "How To Scream Like Punk Rock Opera." And if you think I speak ill of such things, you're mistaken. The band follows suit - solid snap, crunch, and twists to straight forward, guitar-driven rock'n'roll. What keeps it from being a clone are the hints of psych, pockets of nerve, and the fact that it's easier and more fun to understand than basic math. In my humble opinion, Crime sucked, but The Exploders' cover of "Rockabilly Drugstore" gave it a nice shank in the balls and made it real, real listenable. The Exploders also follow a good rule of thumb: if your cover has a cartoon of a pretty lady with lightning bolts over her boobs, chances are that more people will buy your record. Good listen. –Todd Taylor (Teenage USA, PO Box 91, 689 Queen St. W., Toronto, Ontario, M5V 1X6, Canada; teenageusarecordings.com)

EXPLODERS, THE:
What: 7"EP
Apparently, Larry May of The Candy Snatchers has opened a school or released the patent to his "How To Scream Like Punk Rock Opera." And if you think I speak ill of such things, you're mistaken. The band follows suit ‑ solid snap, crunch, and twists to straight forward, guitar‑driven rock'n'roll. What keeps it from being a clone are the hints of psych, pockets of nerve, and the fact that it's easier and more fun to understand than basic math. In my humble opinion, Crime sucked, but The Exploders' cover of "Rockabilly Drugstore" gave it a nice shank in the balls and made it real, real listenable. The Exploders also follow a good rule of thumb: if your cover has a cartoon of a pretty lady with lightning bolts over her boobs, chances are that more people will buy your record. Good listen. –Todd Taylor (Teenage USA)

EXPLODING FUCK DOLLS:
Crack the Safe: CD
If someone had told me twenty years ago that the next millennium would see a flood of bands who took the Clash, Stiff Little Fingers, and Social Distortion as their chief influences, I would have been elated. The Exploding Fuck Dolls have a great sound… almost too good. This is a band that toured as Deniz Tek’s backing group, eventually gave birth to U.S. Bombs, and featured a lead singer whose voice is such a dead ringer for Joe Strummer’s, the band should have been sued. And to think that when they started out in 1991, they looked like an unholy alliance between the Misfits and L.A. Guns. Crack the Safe is a collection of the band’s first seven years of action and is essential listening, especially for any less-than-fully-informed Rancid fan. Reading the liner notes is a bit disconcerting, considering the band’s intolerance for anything other than classic punk (the grunge scene irked them no end as is evidenced by the anti-Seattle screed “No Company Town”). Still, it pays to be focused, and on songs like “Satellite” (not the Pistols’ b-side), the anthem “American Bomb” and “Cheap Suits,” the band delivers the goods with relish. Like Sham 69, the Exploding Fuck Dolls probably inadvertently inspired a lot of knuckleheads, but whose fault is that? Crack the Safe is an excellent sampling of an excellent group, albeit one whose vision was often myopic and whose boots were caked in the mud of the past. –Eric Rife (Disaster)

EXPLODING FUCK DOLLS:
Crack the Safe: CD
A collection of assorted tracks from a band that first made the rounds back in the early ‘90s and are now apparently out playing again. The early tracks with Duane Peters on vocals are not that far off from the noise his more recent bands have been making, but the later tracks with some guy named Kris could easily pass for Clash outtakes. Better than my drunken memories of seeing and/or sharing bills with them led me to believe. –Jimmy Alvarado (Disaster/Bomp)

EXPLODING FUCK DOLLS, THE:
Here’s to Your Fuck: CD
Career retrospective of a band that had Duane Peters in it about ten years ago. Sixteen songs from 1998-92 (reverse chrono order) sounding very much like a SoCal Clash or Sex Pistols. My guess is they were probably a lot more interesting to watch than listen to; some video would have been nice, but I reckon it’ll bring back some pleasant memories for those who did see them. –Cuss Baxter (no label)

EXPLODING HEARTS:
Guitar Romantic: CD
Interesting combination of sounds from this band. It took a while to put my finger on it, but I soon realized they sounded like a super-group comprised of members of the Crowd and the Dickies covering old ‘70s mod/punk pop ditties. Mighty catchy tunes only sweeten the deal. Three of ‘em are dead now, which is a damn shame. –Jimmy Alvarado (Dirtnap)

EXPLODING HEARTS:
Modern Kicks: 7"
This 7” was sweet enough to leave me requiring some major dental work. I think it could have been better if either side wasn’t the same tempo as its flip. Both sides require a huge amount of pop enthusiasm. It’s a good buy if you’re trying to get a girl in the sack and need a mood setter. –Petite Paquet (Vinyl Warning)

EXPLODING HEARTS, THE:
Modern Kicks b/w Busy Signals: 7”
Both tracks are quality and are on blue marble vinyl. ‘60s rock complete with hand claps, tambourines, and dripping melodies. They’ll make you cream your jeans. –Megan Pants (Pelado)

EXPLODING HEARTS, THE:
Shattered: CD

This is a posthumous odds and sods collection from Portland’s Exploding Hearts, which contains demos, unreleased songs, some singles, and alternate mixes of songs from Guitar Romantic. This assorted jumble makes for a surprisingly cohesive album. Basically, this is power pop of the highest order that conjures up the New York Dolls, The Pointed Sticks, and The Buzzcocks. Some of these songs like “I’m a Pretender” and “Throwaway Style” tap into some kind of universal melodiousness that just makes the songs seem like they should have always existed in the power pop canon, and initially had me thinking that the songs had to be T. Rex songs I’ve never heard. The slower version of “Teenage Kicks” on here is the best class of ‘77 anthem that’sactually from the 21^st Century. There’s nary a foul turn to be found on this album, only sugary treats that hit with the spiky-sweet punch of Pop Rocks and soda.

–Adrian (Dirtnap)

EXPLODING HEARTS, THE:
Shattered: CD
The Exploding Hearts were one of those bands that slowly grew on me rather than wowing from the get-go. I liked their debut album, but it took just a little bit of repeated listenin’, and becoming totally smitten with their cover of FU2’s “Sniffin’ Glue,” to imbed a full appreciation of them firmly in my head enough for me to look forward to their next release. Sadly, that release never came to pass thanks to a car accident killing most of the band in one fucked up swoop. As a result, the title of this collection of odds and sods is poignantly fitting. Like its predecessor, the music here illustrates that these kids were capable of plundering deep into the power pop (a term that is in reference to the late-‘70s/early-‘80s music phenomenon that spawned The Beat, The Quick, The Plimsouls, and countless others and not the slew of crappy bands that have co-opted the term to distance themselves from the pop punk ghetto into which they so deftly fit) vaults for inspiration and wicked hooks, tempering things with enough punk rawness to avoid any potential hypoglycemic fits and ending up with some seriously good, seriously catchy songs. Bands this good right out the box are scarce, so the loss of one before they’ve achieved their full potential means we’re the worse for it. –Jimmy Alvarado (Dirtnap)

EXPLODING HEARTS, THE:
Shattered: LP
2003 seems so close to now when listening to The Exploding Hearts. Out of the tragedy of all but one member dying in a van crash on their way back home, it’s the most bitter-sweet aural post card possible: the release, for the first time on vinyl in one place, of all their singles (some of which hit around $500 a piece on Ebay, days after the crash, you savages), unreleased final recordings, and alternate mixes. (The CD version of this came out last year, but my heart’s in vinyl.) Ever see people with their heads down, crying, but with a slight smile? That’s my initial response to Shattered. It’s some of the best modernizations of power pop and punk—from The Jam and Elvis Costello—to modern Northwest punk—from The Briefs, Tranzmitors, and Epoxies—all played with such confidence and swagger that the songs themselves sound like monuments. And then comes the sobering fact that The Exploding Hearts will never release anything ever again. But least there’s a last testament… and it’s great. The final irony’s doubly thick because they died right near the middle-of-nowhere, on-the-way-to-somewhere-better small town I was born in. –Todd Taylor (Dirtnap)

EXPLODING HEARTS, THE:
Shattered: LP
Hopefully I’m not being presumptuous, but since you’re reading Razorcake I’m assuming you know something about the Exploding Hearts tragedy (if not, check their website, www.explodinghearts.com, which is an informative tribute). Anyway, Shattered is an odds and sods collection of singles and alternate takes and mixes from Guitar Romantic. I’m typically weary of these collections (stuff left in the vaults is usually there for a reason), but the Hearts were one of those bands whose outtakes were better than most groups’ best tracks—a short-lived band whose limited output calls for a release of just about everything recorded—a lineage that includes the Young Marble Giants, LiLiput, etc. For rabid Exploding Hearts fans—a group that grows daily—this is a must. For those benighted to the Hearts and their ‘78 Mick Jones “Gates of the West” sound, start with Guitar Romantic then venture here. On a personal note, I’m glad to see that Dirtnap is releasing this record. Dirtnap, like In The Red, is a label whose existence is vital to up-and-coming bands—groups like the Exploding Hearts found a safe haven with Dirtnap’s broadminded, eclectic palette. –Ryan Leach (Dirtnap)

EXPLODING HEARTS, THE:
Guitar Romantic: CD
I love this. Throw Thee Headcoats, early Elvis Costello, Teenage Head, and the Dead Boys in a blender, this is what you get. More pop than edge, but you get a snarl here and there. So damn catchy you’re bound to annoy everyone by gushing over them (at least I do.) –Megan Pants (Dirtnap)

EXPLOITED:
Punk’s Not Dead: CD
A repress of this infamous band’s debut album, with a bunch of bonus tracks from assorted singles. 90% of their classic material can be found here, including the title track, “Blown to Bits,” “Sex & Violence,” “Cop Cars,” “Mucky Pup,” “Fuck the Mods,” and “Dead Cities,” to name a few. The fact that it’s been fourteen years since I last saw this band and nearly nineteen since I first heard this release are two very bitter pills for me to swallow, though their music still makes me feel like kicking someone’s teeth in. God, I feel fucking old and I haven’t even reached “middle age” yet. –Jimmy Alvarado (Captain Oi!)

EXPLOITED:
Troops of Tomorrow: CD
The group’s second album, considered by many to be their greatest, although I’ve always been more partial to their first, Punk’s Not Dead. Included with this pressing are tracks culled from various singles and a full color “poster” of the album’s artwork. Thankfully, Captain Oi! had the suss not to include lyric sheets with any of the three re-releases they’ve just put out. The Exploited were always one of those bands that were better musically rather than lyrically. –Jimmy Alvarado (Captain Oi!)

EXPLOITED:
Complete Punk Single Collection: CD
Sure, their lyrics have occasionally not been the best and some serious questions about Wattie’s politics have plagued the band since the early ‘80s, especially on the subject of race relations, but I gotta say that old Exploited tunes are a bit of a guilty pleasure for me. They just sounded so mean during their prime: all speed, gut-level malevolence, and outrage. Tunes like “Dead Cities” and “Rival Leaders” still make me a little nutty, I gotta admit. This is chock full o’ singles and comp tracks and assorted “rarities,” including “Army Life,” “YOP,” “Class War,” “Fuck the Mods,” “Computers Don’t Blunder” and more. If you’ve never heard ’em before, this is as good a place as any to start out, followed by their first four albums. After that, though, you’re on your own, kid. –Jimmy Alvarado (Captain Oi)

EXPLOITED:
Fuck the System: CD
This is pretty solid musically, with the mid-tempo hardcore beats and crunching guitars you’ve some to expect from the Exploited. Lyrically, though, we’re talking about a completely different ball of wax. Granted, The words that have accompanied the average Exploited song haven’t exactly been poetry or anything, and it seems that they’ve only worsened with age. Wattie’s voice is in fine form here, but he’s wasted his talent on mediocre, hackneyed lyrics instead of tackling specific issues and taking to task the monoliths of the system he professes to despise. Sorry, but repeating “You’re a fucking bastard” some thirty-odd times and tossing in the occasional “and a shit cunt too” does not a song make, and naming your songs after other, better known tunes (“Holiday in the Sun,” “Noize Annoys”) doesn’t make ‘em good. Ultimately, you’re left wondering, to quote one of the songs here, “What’s the fucking point?” Maybe he should refrain from hanging out with them poseurs in Total Chaos, ‘cause that band’s eagerness to peddle crap music is apparently rubbing off. –Jimmy Alvarado (Spitfire)

EXPLOITED, THE:
Horror Epics: CD
Oh, to be getting so old. The reissues keep coming out of the woodwork. My crusty friend Jim, who used to sing for the band Blown to Bits, loved this band. When he lived with me and my brother back in the mid-‘80s, all he would play was the Exploited, UK Subs, or Chaos UK. In retaliation I would play Fuzzbox, Strawberry Switchblade, or Madonna all the time. Fuzzbox on a hangover can be quite annoying. I never did buy this record since Jim owned it and played it all too often. I believe it was released domestically on the metal label Combat. I thought I had no recollection of what this record sounded like. That was wrong. It was ingrained in the back of my brain. As soon as the opening chords of the title track came out of the speakers, I remembered every note of this experimental, tribal number. As songs played, I remembered words and phrases of the songs throughout. I’m appreciative that this came my way. It brings back memories of time long past that will always be cherished. This is also a reminder that the Exploited put out good records in the past, compared to their latest output titled Fuck the System. That was a joke. –Donofthedead (S.O.S.)

EXPLOITED, THE:
Horror Epics: CD
This album marks the point when Wattie and I parted ways, he going on to be exploited by New York metal labels, and I to my next band of choice. There’s still quite a bit of the old fire to be found on this album, with the anti-authoritarian/anti-war slant to the lyrics and hardcore overdrive still intact, and the vast majority of the songs are mighty swell, but something felt like they were on the cusp of change, and listening to this nearly twenty years after my first listen, I still get that feeling. It’s there, buried somewhere in the electronic-sounding drums. They were losing focus and, after listening recently to their most recent effort, it seems that Wattie has, in the ensuing years, chosen to tilt at vague windmills rather than resort to pointed attacks at those in power as he did in days of yore. Damn shame, ‘cause when they were at the top of their game, as evidenced here on thrashers like “Maggie” and “Don’t Forget the Chaos,” and on the title tack, an interesting foray into the world of post-punk, few could touch ‘em. With so much of the current generation of parrot punks mired in style, a misguided glorification of poverty and bland, safe and pointless sloganeering, one of their heroes illustrating how to use their moment on stage to lob bombs at the power structure instead of wasting it on singing odes to beer and screaming “fuck you” would be essential. Sadly, it looks like it ain’t gonna come from the current incarnation of this band. –Jimmy Alvarado (Captain Oi)

EXPLOITED, THE:
Fuck the System: CD
If you are an Exploited fan and you go out and buy this, don’t look at the lyrics. It might bum you out. Otherwise, if you can get past the bad lyrics this is a good release. I, for one, usually pay more attention to the music before I even look at the lyrics. But when I picked this up, Jimmy Alvarado was at Razorcake HQ and he fucked it up for me. He told me to look at the lyric sheet. My mouth dropped. I was now tainted and biased to what was going to come out of my speakers once I get this disc home. I did have another view from a long time fan and he had mentioned something about the lyrics being stupid but the music was good. So let’s see which side of the fence I was going to go to. I didn’t go anywhere on the fence. I’m stuck on top. The lyrics are stupid and the music is good. One thing I do have to say is they seem to be leaning more in the Discharge camp than their own. The lyrics are structured the same, in a sense. They’re simple and to the point, even though the point is pretty blunt and not too thought provoking. For longtime fans who have stayed for the long haul, they will enjoy this. If you are new to punk and want to check out this band, I would steer you to the Punk’s Not Dead LP instead. –Donofthedead (Spitfire)

EXPLOITED, THE:
Punk’s Not Dead/Onstage, Troops of Tomorrow/Apocalypse Tour 1981: 2 x CD, 2 x CD
These perennial punk releases get yet another reissuing, this time in two-CD sets. I’m figuring there are few reading this not well acquainted with this long-standing buncha Scottish punkers, but just in case, spread on these two releases are their first two LPs plus assorted singles cuts, and two early live albums. The music remains as angry and fresh as when it was first unleashed, and it’s clear how and why so many of the current crop of parrot punks have drawn influence from them. While it’s been some time since I’ve found much of anything by Wattie and crew interesting or particularly pointed, this stuff still sounds plenty mean and gets the blood boiling in all the right ways. –Jimmy Alvarado (http://www.cherryred.co.uk/)

EXPLOSION, THE:
Steal This: CD EP
Some pretty solid sing-along punk/hardcore. They have a lot less time to make their point here than they did on their album, so the whole thing sounds a lot more focused. Recommended. –Jimmy Alvarado (Revelation, PO Box 5232, Huntington Beach, CA 92615-5232)

EXPLOSION, THE:
Sick of Modern Art: 2 X CD
It’s a double CD deal. One is an EP of the Explosion, the other is an eleven-song sampler comp put out by the label this is on, Tarantula. Shifting slight gears from their full length, Flash, Flash, Flash, they move from the callused hands and blood and sweat of the explicitly working class and full-blown Boston hardcore, to more cerebral, slightly slower, more artful efforts. And it doesn’t suck. Think of the gradual shift that Social Distortion made from establishing part of the Southern California punk archetype then slowly morphed into a more country, rockabilly firm without a complete divorce. All the initial elements are still there, just the priority and presentation are shifted around. With Sick, The Explosion have become slightly more rock – the lyrics are a little more abstract (which works to their benefit), the songs are less crew singalongs and more structured in and of themselves – and I like the transition. They sound more like a band playing for themselves instead of what they expect people think they should sound like. If you liked latter Lifetime, The Arsons, or any crisp, well-recorded modern hardcore (made by outsiders instead of football players), The Explosion are worth the spare change. The comp’s just icing on the cake. –Todd Taylor (Tarantulas)

EXPLOSIONS IN THE SKY:
Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever: CD
The press release for this album states, "Total silence to total violence, that's what we're talking about here kids." Well put. Just when you think the storm has passed - it turns out you were only in the eye of it. Six epic tracks from this Texas four piece. It's instrumental, give or take a few vocal bits tossed in with cryptic and mysterious ways to them. The album starts soft with delicate and ghostly guitar strums. Then enters the rock. Driving and uplifting, "Greet Death" is a well-written wake. The heavy, fuzzy guitars and equally heavy drums bring up thoughts of Hum, even Dinosaur Jr. EITS demands attention, and they do get it. Organization turns to feedback and chaos, then back into organization. "Yasmin the Light" edges towards Tortoise at times with the sweet intro, but that doesn't last forever. Even with the loud-as-fuck explosions (har har har! no pun intended, I swear) mid-song, this album still stays sweet at times, but the violence spoken of earlier is always following close behind. This violence moves in slow motion, however. "Have You Passed Through This Night?" is a creepy Disney voyage through time and mystery, with sudden jaunts and noises keeping you on your feet. They're keeping their eyes on you. There are two things I'd recommend doing while listening to this album: have an out of body experience or watch videos of car crashes on mute. –Guest Contributor (Temporary Residence)

EXPLOSIVOS, LOS:
Self-titled: CD
Punk fuggin’ rawk! This rowdy bunch from Mexico City crank out high energy, ‘60s-style punk. The kind you hear on the Back from the Grave comps, the kind Thee Headcoats play, and many bands in the ‘90s were grasping at. Los Explosivos keep the energy extremely high from beginning to end. Makes me think their live shows must be wall to wall chaos. Here are fifteen tracks of one cranker after another. I’m not kidding. There’s not one slow song on here. It’s just bam! bam! bam!, one after the other. First couple listens, I was a little lukewarm about them. Then I realized the volume was way too low for me to get the full experience. So I cranked the stereo and, lo and behold, Los Explosivos exploded (natch, natch!) out of the speakers and I “got it.” I hear there’s a follow up LP planned for later this year. –Matt Average (Get Hip, gethip.com)

EXTERNAL MENACE:
The Process of Elimination: CD
Don’t know who Dr. Strange has picking out what to release for ‘em, but they’ve been batting quite a high average lately, and this is no exception. You get some relatively recent tracks (seven to eight years ago) from a UK band that started back in 1979 and are apparently still making the rounds. The songs are mid-tempo UK punk/hardcore circa 1982, with the occasional Clash-inspired reggae/punk track thrown in for good measure. Best song on here, hands down, is “Rude Awakening,” quite possibly the best tune that Joe and Mick never wrote. This is gonna get played lots around these parts. –Jimmy Alvarado (Dr. Strange)

EXTINCTION OF MANKIND:
The Nightmare Seconds...: LP
I read that this is the second full-length from this band. I thought they had put out more records since their first LP because of all the patches I see on the kids. I think the first LP was Baptised in Shit that Skuld out of Germany put out. I have that record and I believe it came out in 1995 or 1996. That is an eight or nine year gap between full lengths. Hiatus? Break-up? Looking at the lineups of the two records, the only remaining members are Ste on vocals and Ginny on bass. I haven’t listened to previous record in sometime. The new record is absolutely incredible. I don’t know if they have reformed, but they sound like they have continued to write and get stronger. It’s only fitting that this band does a cover of “Arise” by Amebix. A mighty damn good one to boot. It’s crust that is heavy on the metallic guitars and is a natural progression of what Amebix started—music that is dark and has the power of a bulldozer. This record should become one that many will refer to as a classic in the future. –Donofthedead (Profane Existence)

EXTRA DAY FOR RIOTS:
Discography: CD-R
This CD-R comes with a pretty succinct but in-depth band history. It seems that they broke up during recording because the band didn’t think the lead vocals were good enough to record (I wish more bands would follow that lead). So, after some time, the singer decides to ignore that and release it himself. Bad mistake. The band was right; the vocals are terrible. Then again, this seems kind of like the pot calling the kettle black: the music (though they describe themselves as sounding like D4), is super-basic and repetitive. One uninspired pop punk song played nine times. –Megan Pants (Self-released)

EXTRAVAGANZA, THE:
Too Dumb to Die: 7”EP
Side one: Passable bar punk’n’roll from Austin. Mid-paced. Snotty. The world was lousy with bands like this in the early and mid-’90s. Some really good—like the Monomen, Loudmouths, Motards—many forgettable. The Extravaganza are mediocre. Side two: A song called “Just another Fag.” If that’s the level this band’s on, and that’s the audience they’re hoping to attract, fine. It’s a free country and I’m not a cop. If it’s a poke at PC people in the “spirit” of GG Allin or the Mentors, you gotta keep your message consistent by cranking all the songs in that direction and leave out the emo-ish lyrics (“I ain’t got the words for what I want to say to you”) that GG or El Duce would justifiably head butt you bloody for singing… and then fling poop at you or launch into a song about raping your girlfriend. Meh at best. –Todd Taylor (Mortville)

EXTRAVAGANZA, THE:
Too Dumb to Die: 7” EP
With some really stupid lyrics like the song “Just another Fag,” I was expecting to hear some really blazing punk. Usually dumb bands make the best music. Unfortunately, that’s not the case here. The Extravaganzas play some pretty tepid punk-by-the-numbers. Weak attempts at being offensive and sticking close to the tried and true punk rock clichés of life being a waste, being a total fuck up, and the usual. Maybe their friends find them amusing. That won’t last long, though. Blehhhhh... –Matt Average (Mortville)

EXTREME ANIMALS:
: CD
I challenge you to go to the MySpace page for Extreme Animals (www.myspace.com/extremeanimals) and not have a seizure. That page pretty much summarizes what their album is like. It’s a clusterfuck of Lite-Brites, Casio keyboards, Teenage Mutant Ninja Turtles, a Colecovision, troll dolls, mannequins, UFO conspirators, dance beats, that episode of TheSimpsons where they go to Australia, and a child who has vomited Skittles, all turned into music. Vaguely reminiscent of Soul-Junk’s later material but with more of a dance beat, Extreme Animals is comprised of a Professor of Art at Carnegie Mellon and Ph.D. candidate in music at UC-San Diego (I’m not kidding). This is insane shit and, moreover, it’s fairly infectious. I want to host a dance party just to see how people react to me playing this. I know I’d be dancing like a crazy white guy. –Kurt Morris (Vicious Pop)

EXTREME NOISE TERROR:
Law of Retaliation: CD
No surprises here from the pioneering godfathers of grindcore: nineteen tracks of blazing, crusty metal hardcore only taking a breath long enough for the mildly disturbing samples at the beginning of most of the tracks on the record. One thing that sets ENT apart from most of their peers is having two lead vocalists and having two variants of the Cookie Monster is fundamentally more interesting than just one. Also, despite the somewhat challenging musical structures and ridiculous tempos, Extreme Noise Terror has a more appealing sense of melody and riffs than the legion of imitators that rose up in their wake. This is an above average release I would recommend to individuals not normally prone to listening to such an extreme form of punk rock music. –Jake Shut –Guest Contributor (Deep Six)

EYE FOR AN EYE:
Gra: LP
Not the tough guy hardcore band from Boston, but a band from Poland. This female-led band bridges a fine line between punk, hardcore, and metal while still maintaining melody. The production on this recording is in league with many releases I have heard from major label bands. With that, the band really shines and the power comes through. The vocals that are sung in Polish are yelled forcefully and are controlled in delivery but also have an almost sung quality to them. The guitars are bright and chunky, giving them a powerful metal sound that many people fail to achieve. Drums pound through the speakers, wailing bass into your ears and the crash of the cymbals slap you in the face. Bass guitar ties it all in with it a well-rounded tone. In the past, I only dabbled here and there with bands from that region. But lately, every release I have received has been excellent. It definitely has become one of my new favorite countries to get music from. If I was writing this review one day earlier, I definitely would have put this on my Top 5 for this issue. Now the quest is on for the first LP that I just heard about. –Donofthedead (Pasazer)

EYE FOR AN EYE:
Cisza: CD
A nerdy thing I do when I go to Razorcake HQ is to first ask if Jimmy Alvarado has come in yet to pick up review material. If he has, the review material has been picked through. If he hasn’t, I dive into the bin of unsorted and unassigned records and CDs. First thing I see of interest while going through piles of CDs is this release. Yes! I reviewed the Gra LP last year by this band from Poland and it was one of my favorites. Same as their previous release, the songs jump out immediately and pummel you with a wave of sonic energy: fast hardcore with hints of guitar melody that highlights the power chords. Female vocals are yell/sung and that puts the vocals in the forefront with her unique and distinctive delivery. The recording production is superb and crisp. This and their previous release sound like they were recorded at a top notch studio. You can hear the vocals and guitars mixed in perfectly with the thundering drums and well executed, punchy bass. I like this band so much now that I’m sending an email to the label to order the early material. –Donofthedead (Pasazer)

EYE FOR AN EYE:
Cisza: CD
These guys have a definite ‘90s hardcore sound, with the metallic elements, clean and thick production, studio trickery with vocal effects, and industrial crunch, but they are definitely European in sound and delivery; and, thankfully, not the American posturing of that time period. At times, they sound like a cross between La Fraction and Damnation AD: tuneful with a solid punch. Not exactly my favorite style, but not bad, and if you’re into this sort of sound, you will be pleasantly surprised. –Matt Average (Pasazer)

EYELINERS, THE:
Sealed With a Kiss: CD
Even though the whole pop-punk, Ramones/Screeching Weasel thing has been done to death, the Eyeliners still manage to make it sound fresh. Part of that has to do with the vocals. Laura can sing so fast and so clearly that I can’t decide if I want to sing along or just listen. The songs are full of hooks that dig into my brain and reel me in. And the music is just plain fun. But there’s something more. I liked the last Eyeliners album a lot, but something seemed to be missing. The songs seemed too simple. Too poppy. Then, I saw the Eyeliners as Al’s Bar a while ago, and the same songs were no longer too simple or too poppy. They rocked. That’s when I noticed that, on the last Eyeliners album, for some reason, the vocal’s were cranked way up in the mix and the guitar was hidden. Which is a shame, because Gel is a rocking guitarist. She's all over the place when she plays live. Beyond that, though, she adds a powerful element to the song that was ignored in the last album. Well, that’s not the case with Sealed with a Kiss. The energy and power of the Eyeliners live set is cranked up, and the band is better represented. The songs are still poppy and catchy, full of hooks and fun as hell. They just rock more on this album. –Sean Carswell (Panic Button)

EYELINERS, THE:
Sealed with a Kiss: CD
Even though the whole pop-punk, Ramones/Screeching Weasel thing has been done to death, the Eyeliners still manage to make it sound fresh. Part of that has to do with the vocals. Laura can sing so fast and so clearly that I can’t decide if I want to sing along or just listen. The songs are full of hooks that dig into my brain and reel me in. And the music is just plain fun. But there’s something more. I liked the last Eyeliners album a lot, but something seemed to be missing. The songs seemed too simple. Too poppy. Then, I saw the Eyeliners as Al’s Bar a while ago, and the same songs were no longer too simple or too poppy. They rocked. That’s when I noticed that, on the last Eyeliners album, for some reason, the vocal’s were cranked way up in the mix and the guitar was hidden. Which is a shame, because Gel is a rocking guitarist. She's all over the place when she plays live. Beyond that, though, she adds a powerful element to the song that was ignored in the last album. Well, that’s not the case with Sealed with a Kiss. The energy and power of the Eyeliners live set is cranked up, and the band is better represented. The songs are still poppy and catchy, full of hooks and fun as hell. They just rock more on this album.
-Sean
–Sean Carswell (Panic Button)

EYES ADRIFT:
Eyes Adrift: CD
Oh, man. In which Krist from Nirvana, Bud from Sublime, and Curt from The Meat Puppets plead for attention and renewed relevance by playing country-inflected rock. I think my ears are bleeding. –Puckett (spinART)

EYES OF AUTUMN:
Hello: CD
Well, I guess it’s what you’d call “indie,” though that’s a completely meaningless descriptor. It’s like the quiet parts of Dinosaur, only a little more complex, and occasionally pretty interesting. Also, made in Canada. –Cuss Baxter (54º40’ or Fight!)

EYES OF AUTUMN:
Hello: CD
As difficult as it may be to believe, and I realize that this allegation will sound utterly preposterous, this is emo and, much to my surprise, these dissonant, unfocused, fuzzed-out songs featuring quavering, tremulous vocal stylings (which aren’t quite ululation) have made my life immeasurably worse for having heard them. Fuck this. I’m going back to listening to The Blood Brothers. –Puckett (54 40 Or Fight)

EYES SET TO KILL:
When Silence Is Broken the Night Is Torn: CD
Male screamo vocals matched with female vocals reminiscent of Evanescene over metal riffage. –Donofthedead (Self-released? No address)

EYES TO SPACE:
Self-Titled: CD
Warning: This CD contains flat vocals and forgettable lyrics, drowning in mediocre music that sounds a lot like an Offspring/Mr. Mister mash-up. What a waste of an awesome band name! –Kat Jetson (Solarium, no address available)

EZINA MOORE:
Power of a Woman: CD
Even if you ignore the trite "rockin' sista from the 'hood" description on the press sheet and the fact that Ms. Moore's vocals are flat on a large percentage of the songs here, this has a lot going against it. The production has a flat, demo quality to it, the majority of the songs are unmemorable and there's a sense of unwitting hypocrisy in singing songs ostensibly about female empowerment when you're pictured on the cover naked save for some lace panties and a fur. The work here is strongest when she gives up any pretense of "rockin'" and settles into acoustic mode, where on songs like "Back in the Day" and "Same Ol' Music" she opts for a delivery reminiscent of Tracy Chapman and Erykah Badu. With a much-needed arranger, better production and an image consultant, she just might have a shot. –Jimmy Alvarado (Soulful Warrior)

EZINA MOORE:
Power of a Woman: CD
Even if you ignore the trite “rockin’ sista from the ‘hood” description on the press sheet and the fact that Ms. Moore’s vocals are flat on a large percentage of the songs here, this has a lot going against it. The production has a flat, demo quality to it, the majority of the songs are unmemorable and there’s a sense of unwitting hypocrisy in singing songs ostensibly about female empowerment when you’re pictured on the cover naked save for some lace panties and a fur. The work here is strongest when she gives up any pretense of “rockin’” and settles into acoustic mode, where on songs like “Back in the Day” and “Same Ol’ Music” she opts for a delivery reminiscent of Tracy Chapman and Erykah Badu. With a much-needed arranger, better production and an image consultant, she just might have a shot. –Jimmy Alvarado (Soulful Warrior)

·	KILLERS, THE
·	NEGATIVE REACTION #8
·	TERRIBLES, LES
·	VARIOUS ARTISTS
·	REATARD, JAY
·	CLAMOR
·	MARKY RAMONE AND THE SPEEDKINGS
·	SLACKERS, THE
·	MARKED MEN, THE

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