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Record Reviews1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 | 0-9| A| B| C| D| E| F| G| H| I| J| K| L| M | | N| O| P| Q| R| S| T| U| V| W| X| Y| Z| < Prev Section | Next Section >  RSS Feed
GOOD RIDDANCE:
Remain in Memory—The Final Show: CD
I admit I don’t too much
about this band. Tough shit for me that they are calling it a day after ten-plus
years. Over thirty songs, the band is on point and ragin’ full on. A fitting,
final testament to a great outfit. Fans shouldn’t cry too much—I’m sure they
will pull a Face To Face and come back in five years. In the meantime, maybe
this will free up Russ to play my town with Only Crime?
–Sean Koepenick (Fat)
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GOOD RIDDANCE:
Bound by the Ties of Blood and Affection: CD
Consistency is this band’s trait. From heart-pounding hardcore numbers to melodic, pop ballads, GR full lengths are always a good listen for me. They keep the tempos varied and play with conviction. The songcraft has developed stronger from release to release as they continue to be a solid unit over time. Singer, Russ Rankin, puts his beliefs right on the table and is not afraid to put forth his opinion. The production is as tight and powerful as ever with the added benefit of recording once again at the Blasting Room with Bill Stevenson on the controls. Luke Pabich’s guitars are crunchy and distorted enough to sustain its energy. Chuck Platt’s bass sound is nice and punchy, mixed evenly to add that solid tone. David Wagenschutz’s drumming is more forceful this time around and a new level of confidence seems to be achieved since he has been with the band some time now. Overall, another great release that will probably stay in my CD changer for a long time.
–Donofthedead (Fat)
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GOOD RIDDANCE:
Cover Ups: CD
I’m assuming that many of these tracks were available elsewhere but is compiled here for your listening pleasure. I know I have many of these songs on their releases and on some comps. Enjoyable for what it is and probably will only appeal to their fans to complete their collection. Covers of Modern English, Insted, Kiss, Battalion of Saints, The Kinks, Chron Gen, The Shangri-Las, Government Issue, The Psychedelic Furs and Black Flag. The punk covers are the best here in my opinion. Russ’s voice doesn’t always hit the mark when he does the new wave covers. If you need an introduction to this band, I would recommend their full lengths.
–Donofthedead (Lorelei)
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GOOD RIDDANCE:
Symptoms of a Leveling Spirit: CD
Another great release recorded at the Blasting Room by the guys in All. If you enjoyed "Operation Phoenix," you will like this one. The production is dead-on and is a steam roller waiting to flatten you with its sheer power. This is their fifth full length and they seem to keep their momentum moving forward. Musically, they have always stayed within their formula and put out a great combination of good music. With their releases, I usually like the release as a whole instead of liking certain tracks. They play with the tempos from track to track to keep my attention there. As is the case on this release, I like their variety of slow songs with melody and their pumped numbers that I'm starting to hear more and more elements of Black Flag meets Blast. The lyrics are a thinking man's look inside personal demons, pet peeves, and modern day injustices. What more can you ask for? I know when I saw this in my mailbox, I was in for a long term treat. By the way, my wife love these guys and she doesn't listen to that much punk anymore. So there.
–Donofthedead (Fat)
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GOOD RIDDANCE:
Capricorn One (Singles & Rarities): CD
I saw Good Riddance play at Portland’s X-Ray Café sometime in the early nineties. I want to say they were touring on the strength of a demo, but I’m not sure. I do remember I was stoked and they were a great, powerful hardcore band. While they’d go on to release a veritable ton of stuff over their nearly two decades together, nothing comes close (for me) to touching their first LP, For God and Country. Good Riddance, like many on the Fat and Epitaph rosters of the time, were responsible—for better or worse—for creating and sustaining the particular genre known as “melodic hardcore.” The style certainly had its weak points, but I always thought Good Riddance fared better than most —they tempered their unabashedly cheesy love ballads with some reasonably well-articulated political howls, and the music was almost always on the right side of pissed off. Capricorn One serves as a nice siren song for the band, and a treat for completists— like the name implies, it’s full of comp tracks, unreleased demos, outtakes, and the stuff from their splits with Reliance, Ensign, Ill Repute, and Ignite. Vocalist Russ Rankin provides lyrics and little anecdotes for each of the twenty-one songs and the whole thing lends one last punch to the jaw from a band that was important to a lot of people.
–Keith Rosson (Fat)
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GOOD RIDDANCE:
Capricorn One (Singles & Rarities): CD
I thought the band was done with their farewell release Remain in Memory. I guess the popularity of the band justifies one more last hurray for those who need just something more. This release compiles tracks from their early singles and splits, unreleased demos, an outtake, and comp tracks. I seem to have everything that was released minus the split with Ensign. I did not know they had released that. Put that on the want list. The outtake and demo tracks are what intrigued me here. Hearing something new from a band that was thought to be defunct is a treat. They were one of my favorite bands during the ‘90s which I still listen to often. A great collection filler.
–Donofthedead (Fat)
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GOOD RIDDANCE/KILL YOUR IDOLS:
Split: CD EP
Good Riddance: A band I normally loathe clocks in with some surprisingly good tunes. They’ve apparently toned down the “pop” quotient of their music and kicked up the “core” a notch, giving what usually sounded like watered down radio-friendly crap a good kick in the ass. Nice work. Kill Your Idols: Three pretty good tracks from a hardcore band I’d only heard of before. All tracks by both bands are exclusive to this release, so if you’re a fan, you might wanna pick this up
–Jimmy Alvarado (Jade Tree)
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GOOD RIDDANCE/KILL YOUR IDOLS:
Split: CD
Good Riddance’s West Coast hardcore and Kill Your Idols’
East Coast hardcore make the argument that American geographical quibbles are
essentially meaningless. Both are exciting bands, both are still gaining speed
and smarts years down the line. Interestingly, they’re both getting harder and
faster in a musical world that’s largely basking in emo’s mellowosity, which is
a thumbs up in my book. Good Riddance: lead singer and lyricist, Russ, is
becoming a smart, smart cookie and the band is following suit; sharp time
changes, crystalline breakdowns, and swelling beats that makes them leagues
beyond 1-2-3 youth crew stylings and beat-’em-about-the-head-and-neck politics
of less finessed bands. It’s amazing how much Dave Wagenschutz’s drumming gives
the band such a dark and compelling atmosphere. Kill Your Idols: I really had a
problem with the production with their last CD. They excel as the musical
equivalent to mistreated pit bulls, but it seemed that they’d been de-toothed
and refitted with spongey dentures on that outing. Not so with these three
short beatings of songs. They’ve re-harnessed their early 7”s power that can
only come from severely choking their songs while slipping a wee bit of melody
in for good measure (you know, like someone’s shoe tips on the floor when
they’re being hung and a good song’s on the hi-fi). Short but very sweet.
–Todd Taylor (Jade Tree)
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GOOD TIMES CRISIS BAND:
Select a Gather Point: CD
Sounds like ‘70s rock as played by a bloodless UK postpunk unit like Wire or Gang Of Four, but from Austin, meaning that they actually sound like a version of Wire or Gang Of Four that you could sit down and have a beer with, and was recorded somewhere wooden and humid. This kinda seems like the type of thing where if it was your friend’s band, you’d listen to the CD and pick out a few interesting things about it that you could tell them that you enjoyed about the record, even though you wouldn’t have bought it or listened to it if it wasn’t your friend’s band—WHICH JUST GOES TO SHOW US ALL THAT THERE ARE NO STRANGERS IN PUNK ROCK, JUST FRIENDS WE HAVEN’T MET, AMEN. I think i saw that on a plaque behind a bar in Howard, Wisconsin once. BEST SONG: “Nose and Chin” BEST SONG TITLE: “Z.Z.Zephyr” FANTASTIC AMAZING TRIVIA FACT: Band’s press kit compares them to Gang Of Four, OK Go, Nomeansno and the Knack. Seriously.
–Rev. Norb (Australian Cattle God)
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GOODBYE BLUE MONDAY:
Next Time We Stop Breathing: CD
They take the rock out of indie rock, if that's even possible.
–Megan Pants (Loud and Clear)
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GOODBYE BLUE MONDAY:
Next Time We Stop Breathing: CD
They take the rock out of indie rock, if that’s even possible
–Megan Pants (Loud and Clear)
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GOODBYE GADGET:
Killing June: CD
I like a lot of bands with female vocalists, but this one I did not enjoy. Right from the first track, the vocals go in and out of key, forced in a way also. That is hard for me to listen to. I lost interest right away. This is geared towards the Warped Tour crowd. Hope their live set sounds better than what I have heard.
–Donofthedead (Goodbye Gadget)
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GOODNIGHT LOVING:
Crooked Lake: CD
Pretty capable country-fied pop music, reminiscent of something one might hear in a redneck bar. The singer said in an interview that the best way for the listener to approach the band is “probably getting stoned and listening to it by themselves.” I’ve never been stoned and really don’t want to, but if I would, I sure as hell wouldn’t start with a band like this (Phil Collins, duh).
–Kurt Morris (Dusty Medical)
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GOODNIGHT LOVING:
Nothing Conquers Us: 7”
Two tunes that sound like they’ve been transported straight outta 1966 psych pop land, more in line with Voxx Records than Budget Rock. Rodney Bingenheimer would’ve been peein’ his pants with glee over this thirty years ago.
–Jimmy Alvarado (Dirtnap, dirtnaprecs.com)
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GOODNIGHT LOVING:
Arcobaleno: 12” EP
A one-sided dealie here, with five tunes on the A-side and a screen job on the flip. The opener, “4&3,” has a vaguely Munsteresque feel to its rhythm. The rest have a mellow ‘60s feel to ‘em, with maybe a smidge of southwestern twang thrown in to give things a little texture.
–Jimmy Alvarado (myspace.com/wildhoneyrec)
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GOODNIGHT LOVING, THE:
Supper Club: CD
Is it possible that I might receive a CD that I am completely unprepared to review? Yes, but those CDs tend to be horrible, so while I might not know much about, say, ‘90s screamo metal, I do know that the entire genre is stupid, if such a genre exists. (My research into this area is both inconclusive and nonexistent). So, what to do with a band like The Goodnight Loving? They live in Milwaukee; I used to live in Milwaukee. I’m within a few degrees of separation from most of these guys, but somehow they just seem beyond me, like they might be the greatest non-punk band in the world, but I’m too stupid to know it. Everyone I know loves them, but some of those people also like the Gin Blossoms. Here’s what I’m able to say: This is a band that takes the time to craft really well thought out, layered, and well produced (in a good sense) country-pop influenced music (think: Wilco), but it’s more complicated than that. There’s a touch of ‘50s rock and roll, early Beatles, and even a nod to some of the more psychedelic songs on the Nuggets anthologies. And they make it seem really easy, like this is the music they were meant to play. Frankly, my usual cereal comparisons seem to have failed me. I’ll just say that if you haven’t checked out this band, you should, regardless of whether your favorite band is the Dopamines or Pavement. I get the feeling that I might eventually decide that this band is amazing.
–Maddy (Dirtnap)
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GOODNIGHT LOVING, THE:
The Goodnight Loving Supper Club: CD
I’m bad at terms, so throw this first part away if you are a music historian or even a music reviewer yourself—perhaps on a blog, on a brick wall, or the user side of a bathroom stall door. Recent days have given us a smorgasbord of post-post-psych rock, with parts folk, parts drug rock, ‘60s and ‘70s-inspired stuff. Real flowing lyrics and harmonies, wandering guitars, folksy beats, but with good rocking pace and sometimes even a real kickass energy. I imagine it being a massive scene in Brooklyn, but it’s probably pretty wide-reaching and I’m just being mean. When it’s bad, its baaaaad, noodling, and forced. When it’s good—here’s the second part of the review—it’s like Thee Oh Sees or The Fresh And Onlys, you know? Goodnight Loving are surviving in Milwaukee (makes them even more lovable) and dang good. I didn’t connect with all the songs, but I like the sound, and the good songs are great. It’s got the folksy psych garage vibe, with sounds that seem to descend from true old country, and it works with them—really peppy and fun with that energy I was mentioning. It’s a style working from the past but the band feels young and fresh. On some o’ them review blogs, this album has been described as a lot cleaner than previous rumbly efforts (I haven’t heard them until now and am gonna check their other records out). But it doesn’t sound like they got rid of the spirit.
–Speedway Randy (Dirtnap)
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GOODTIME BOYS:
What’s Left to Let Go: CD
I don’t understand the current proliferation of bands with a melodic post-hardcore-y sound and screamed vocals calling themselves “hardcore” bands. The U.K.’s Goodtime Boys are one of the better-sounding of this crop of bands. What’s Left to Let Go is a double EP worth of the band’s material on one CD. Their music is at times aggressive, and at others mellow and subdued, retaining a melodic element even at its most spastic. I wanted more of the spastic aggressive parts, as they felt like they were too few and far between the subdued riffing and drumming over which vocalist Alexander Pennie screams and speaks his introspective lyrics. The lyrics are generally well written, but Pennie’s vocal delivery, combined with the frequently subdued vibe on this didn’t do much for me. The big exception to this was “Wake/Daylight” whose extended intro builds to a frantic crescendo before ripping into the song proper. From there things do mellow a bit, but they pick up once more and build to the end, like a wave crashing in upon shore. I think if there had been more tracks like this, and the follow-up, “Harrow,” I might have enjoyed this better. It’s an album done in a style that doesn’t really excite me, but it’s done well enough for me to appreciate it. I can’t call it a goodtime, but I can call it an okaytime.
–Paul J. Comeau (Bridge Nine)
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GOOGOLPLEXIA / BUTT:
Ass-Sick Creeps: Split 7”
Side A is a song called “Butt Release.” The lyrics are about the band on Side B. They go to jail, but are then released. Get it? It’s an up-tempo, toe tapper that you can dance to. Instruments played by Googolplexia include banjo and accordion. There’s even whistling! Mario Seaweed from Butt lends a hand on guitar and drums. Side B is a song called “Ass Disaster.” It’s a slower tune, driven by drums. Both female and male vocals tell the tale of the Pancake Master getting involved with donkeys (asses). Very humorous yarn. The end of each song flows into the beginning of the other song before being cut off. The never-ending flow probably sounds better on the MP3 version, which is downloadable. The cover art on each side is colored embroidery, done by Fishboy. In place of a lyric sheet, you get a comic interpretation for each song, drawn by Matt Harnish. Very well put together and well worth the price, whatever that is.
–Nighthawk (Pancake Productions, pancakeproductions.net)
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GOONS OF DOOM:
The Story of Dead Barbie and Ghost: CD
Indie rock stuff with enough diversity, humor and edge to keep things interesting, but not quite enough je ne sais quoi to warrant the repeat button being activated. Some of the stuff here, like “Fingered,” wasn’t too shabby, but on the whole it could’ve used a wee bit more of something.
–Jimmy Alvarado (Volcom Entertainment)
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GOONS OF DOOM:
I Hate My Hair and Want to Die: CD
More punk-inflected indie stuff from these guys. The titles give the impression they’re not lacking a sense of humor, but the tunes themselves, while not bad, per se, don’t really do much for me.
–Jimmy Alvarado (Volcom)
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GOONS, THE:
Nation in Distress: CD
Wow, this was a surprise. Solid hardcore tunes here that don’t merely rely on speed to mask incompetence like so many others do. Hell, a couple of tunes are downright anthemic. The lyrics manage to be topical and political without sounding like a pamphlet and the singer has an atypical timbre to his vocals but still manages to elicit the requisite pissed-offness required for the genre. In short, some rockin’ stuff here.
–Jimmy Alvarado (Reptilian)
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GOONS, THE:
Live at the Black Cat: CD
On the first couple of listens, I wasn't that interested, but something kept me playing it more and more. Sure, there's a big love for Minor Threat, some Negative Approach, and, surprisingly, some early Dicks (mostly in the voice, and not to mention the lead singer looks a hell of a lot like Gary Floyd) but, mostly, what's good about the Goons is they know their limitations, don't try to get too fancy, and end up playing some good straight-ahead, extremely listenable DC-style hardcore with some nice hooks. It doesn't sound like they're playing in a graveyard, hoping for the ghosts of the past to rise up to hootenanny with, but spray painting their own noise on the tombstones. Well weathered, veteran, fun stuff that gets the thumbs up.
–Todd Taylor (Squirrel Heart)
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GOONS, THE / LEGBONE:
Split: 7” EP
Goons: Speedy, loud ’n’ fast. Big guitars ’n’ recording, but they manage to avoid sounding sterile. Legbone: Pretty much on the same page as the Goons, with maybe a smidge more melody employed and metal in them geetars.
–Jimmy Alvarado (Rat Town)
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GOP, THE:
England Sucks: 7”
The first thing I thought when the music started was: “Government Issue, sometime between Legless Bull and Boycott Stabb.” Their singer has the same bored delivery as Stabb and the band thrashes along behind him quite nicely. Lyrically, they sound like they wanna upset both sides of the political spectrum, and there’s nothing wrong with that. A nice little shot of youthful rambunctiousness to start the day.
–Jimmy Alvarado (Blind Spot)
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