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Record Reviews1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 | 0-9| A| B| C| D| E| F| G| H| I| J| K| L| M | | N| O| P| Q| R| S| T| U| V| W| X| Y| Z| < Prev Section | Next Section >  RSS Feed
MOBY DICKS / BROWNS :
Split: 7”
Have you heard of the Browns? For more than a decade, they’ve been wearing ski masks and writing sleazy yet catchy rock’n’roll with lyrics like “I’ve got a big cock.” It’s definitely don’t-play-it-around-your-mom music. The Moby Dicks are a bit subtler, particularly with “Intelligent Baby,” a sing-along paean to smart girls. That’s the side to play when your mom’s over.
–MP Johnson (Handsome Dan)
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MOBY DICKS, THE:
SELF-TITLED: 7
Three piece punk outfit from Lethbridge, Alberta, Canada who make the deceptively difficult task of writing catchy, boneheaded, and, most importantly, memorable pop punk tunes look easy. Yes, I said “pop punk” without a hint of the pejorative. “Ballad of the Red Dog” is a bouncy ode to the Red Dog Diner, where the hot dogs are cheap, the owners are FrenchFrogs, and the late night crowd is wasted. “Fuck off Baby” ends almost before it begins, delivering a concise, heartfelt message in a burst of Spits-like fury. The b-side is equally strong, with “Mike Molloy” occupying the same sonic space as the White Wires, and “Ogo Pogo” satisfying the perfunctory nod to the Ramones to which bands of this ilk often feel obliged. The Moby Dicks stand Mosrites and leather jackets above the scores of uninspired, talentless Queers copycats out there today.
–Josh Benke (MAMMOTH CAVE , MAMMOTHCAVE.BIGCARTEL.COM)
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MOCK ORANGE:
The Record Play: CD
Mock Orange effortlessly unleash an auditory assault of frenetic high-energy indie rock melodiously mixed with emotionally fever-pitched sonic smoothness. It’s sometimes as harmoniously mellow as shimmering specks of spring-fresh sunlight gracefully sashaying across the tranquil, comforting waters of a mountainside brook and, at other times, as aurally raging as a volcanic eruption of catastrophic proportions. Overall, this is a refreshing swirl of musical splendor that caresses, cleanses, and rejuvenates one’s spirit while intensely touching the quiet, introspective depths of the soul. Indeed, The Record Play is a passionately moving sonic marvel that’s had a positive, everlasting effect on my ears, and I can guarantee it will continue to do so.
–Roger Moser Jr. (Lobster)
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MOCKINGBIRD WISH ME LUCK:
Goodbye Debris: CDEP
This four track EP is the self-released, first effort by some dudes from Ontario who have the Hot Water Music-style melodic punk mixed with gruff vocals sound all sewn up. This is pretty good. At times, these guys brings to mind the finer moments of Nothington, particularly on the last track “Brooklyn, NY,” which has an ever-so-slight hint of folksy country at the edges of the song. While their sound isn’t entirely distinct yet, MWML are off to a really good start. This is the type of band whose lyrics will eventually be made into tattoos by dudes with beards and camo shorts. If this band is more than a flash in the pan, their next release should be well worth reckoning with. They get my gold star for these two months.
–Adrian (Self-released, bishop.wierzbicki@gmail.com)
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MODEL DOWN:
Voicing the Circuit: CD
Three dudes kicking out a kind of sprawling and sparse rock that’s equal parts arrogance and sneering bravado of early Who, if you can believe that, and the “I’ve been gargling jet fuel for a decade but I finally figured out how to sing” quality of later-period Jawbreaker. It’s a formula that, written down like that, would never lead me to believe that I’d dig it, but I do. A lot. Model Down is using a combination of influences that has the potential to turn them into the most lackadaisical, self-indulgent, wanking shit-rock band ever, but somehow they manage to keep the rockometer up in the red the entire time. It’s a six-song EP, which was a good decision on their part. They’re one of those bands that would probably end up losing that wonderful sense of urgency on a full length, but as it stands now they’ve put out one sexy, snotty-but-subdued rock’n’roll record here. I’m down.
–Keith Rosson (Modern Radio)
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MODERAT LIKVIDATION:
Nikad: 7”
Havoc re-released three EP’s of this band. There is a discography CD that includes all the 7”s if you missed out because the 7”s are supposed to be a limited release. There is even a super limited edition in an actual wooden box of the three 7”s. I believe those sold out fast. I bought one of those because I thought it was cool. If you picked up this 7” and didn’t know, the labels and packaging are all correct. But the tracks belong to the Marionett I Kedjor 7”. The tracks for this 7” are on the Marionett I Kedjor 7”. Confused? Easy, switch the records. But if you only got this one, you might be out of luck. But then again, it might be an eBay price lifter down the line. So which way do I go for the review? Do I go into my stash and review the actual record or do I review what was given to me? I don’t know. Well, both records start off with the title track as the opening song. Both records were recorded at different times in 1983. The music has a sound that is characteristic to the music of Swedish punk of the early ‘80s. If you can get a copy of the super 3x CD comp, Varning! For Punk, then you will know what I mean. Very raw and heavily influenced by bands like Discharge, Disorder, or Chaos UK but adding a melodic touch which many Swedish bands did at the time. If you are into their contemporaries like Anti Cimex, Avskum or Mob 47, this should be a no-brainer of a purchase. If you have an interest of early ‘80s Swedish punk, this band is a good place as any to get started.
–Donofthedead (Havoc)
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MODERAT LIKVIDATION:
Köttahuve: 7”
Swedish hardcore from ‘83, pulled from the dustbin of history and polished up via Havoc Records. Archetypical hardcore stuff from the time period and locale, but since the lyrics are in Swedish, I have no idea whether they’re pro- or anti-gay when they have a song called “Anti Fag” or if they’re pro- or anti-fascist when they sing, “Skinhead, Seig Heil” over and over in the title track. Still, since it’s on Havoc, we’ll just assume everything’s on the up and up. Even with the remastering job, the vocals still sound like they were recorded in the deepest recesses of the Batcave, but I imagine that fans of the band couldn’t give a shit, considering the fact that this thing’s probably been out of print for twenty years or more.
–Keith Rosson (Havoc)
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MODERAT LIKVIDATION:
Marionett I Kedjor: 7” EP
A reissue of a classic slab of Scandinavian hardcore first released in 1983. As can be expected, the music is mostly fast ’n’ angry, although the band loses none of its power when it occasionally shifts into low gear. Simply glorious.
–Jimmy Alvarado (Havoc)
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MODERAT LIKVIDATION:
Never Mind the Bootlegs, Here’s the Real Deal: CD
Have you seen the prices of what people are paying on Ebay for old records these days? It’s insane. I’m not sure what the prices are for early ‘80s Swedish punk, but I know it definitely is out of my price range. This is a complete discography of their first 7” and two cassettes that were reissued as three 7”s and a special wood box set of the same records that sold out super quick. This is early ‘80s Swedish punk that is raw and powerful at the same time: a sound that can’t be replicated in the modern age of digital recording. I remember when my brother started getting records from all over the world and hearing what was out there. You can hear that there were punks all over the world who were as pissed as we were. But you can hear that they were not copying; they were doing it their own way. Many others have said it before, but I am grateful that people are reissuing so many of these gems that could be lost in the hands of the collectors. If this interests you, I also suggest tracking down a copy of the three-CD set titled Varning for Punk. It is like a history lesson of early ‘80s Swedish punk compiling material from over forty bands.
–Donofthedead (Havoc)
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MODERN ACTION:
Molotov Solution: CD
It’s not wholly surprising that Modern Action sounds like a mix between the Briefs and the Bodies because it’s comprised of members of both bands. What is surprising is that the entire record has the production feel, the vocal delivery, and the smooth-yet-rough delivery of Bad Religion’s How Could Hell Be Any Worse? and the suburban deathtrap, “here’s your needle” feel of Smogtown. Has the New Beach Alliance shifted northwards? I dunno, but I like it.
–Todd Taylor (Modern Action)
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MODERN ACTION:
Self-titled and also Radioactive Boy: 7”
Another thing to thank punk rock for: its stubborn refusal to let the seven-inch single/EP format go the way of eight track tapes. The strength of the medium is that each release ostensibly forces a band to plop down at least one of their A-grade tracks for a given release if they have any desire for anyone outside their immediate group of friends to pay any attention to ‘em. The most memorable singles often had two A-grade tracks, and it appears this is a tradition Modern Action has paid close attention to not once, but on both of its first two singles. Four tracks of choice punk rock here, tight and wicked catchy, and though it’s clear they could’ve fit a couple more tunes on the second single given its brevity, they’ve wisely left listeners barely sated and hoping they don’t break up or fuck off for a couple of decades before dropping release number three into their laps.
–Jimmy Alvarado (Modern Action)
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MODERN ACTION:
Radioactive Boy: 7"
Another great two songs from Modern Action! Short, catchy, ‘77-influenced punk rock! I also received their first 7” for review this time around, and it’s hard to say which one I like better. Like their first record, if this were a cereal, it’d be Kix! Not earth shattering fantastic, but still… tasty and uncomplicated! Punk rock!
–Maddy (Modern Action)
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MODERN ACTION:
“Modern Action” b/w “Bleeding Red”: 7”
If you can put an exact scientific quantifier as to why bands like this ((whatever “like this” means)) sound immediately identifiable as being from southern California and nowhere but, i’d like to get my hands on your data. I can only guess that their mothers were frightened by the “Somebody Got Their Head Kicked In” comp LP whilst they were in the womb, because this band sounds so much like the bands on that record that if i were to go and look at the album cover today, i’d only be half-agog if i saw a Pushead character wearing a Modern Action t-shirt staring back outta the mosh pit at me. Snappy melodies and eighth-note cymbal rhythms aside, somebody might wish to take these lads aside and inform them that a chorus consisting solely of your band’s name repeated twenty times in a row ((the phrase “Modern Action” is uttered sixty-four times total in the song)) is rarely considered a particularly sterling bulwark of creativity. Then again, i’m always up for anything that makes me feel like it’s summer/fall ‘82 again, so thanks for that, if nothing else. BEST SONG: “Modern Action” BEST SONG TITLE: “Modern Action” FANTASTIC AMAZING TRIVIA FACT: “Modern Action”
–Rev. Norb (Modern Action)
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MODERN ACTION:
“Radioactive Boy” b/w “Problem Child”: 7”
…i actually think Modern Action are a kinda catchy band, in an Adolescents / Agression / Bad Religion / Blades / Joneses / Social Distortion kinda way, but, since they’ve seen fit to cop the air raid siren intro and fallout shelter label design of Social D’s “1945” 45 ((the only Social Distortion record of inarguable greatness)), i guess for this go-round they’re attempting to be kinda catchy in a “Social Distortion singing Adolescents songs if Mike Ness’s voice was an octave higher” kinda way, which seems like a lateral career move at best ((however, on the bright side, they managed to make it through an entire 45 without uttering the phrase “Modern Action”)). The A-side is medium catchy, i guess, but seems more like an album track than an A-side; the flip’s subject matter has been beaten to death by SoCal punk bands over the decades, and is inferior to the identically-titled songs by AC/DC, the Damned, and Wasted Youth ((dude, if you do a song with the same title as a WASTED YOUTH song, it better goddamn well be better than theirs! Please, no substandard “Uni-High Beefrag” compositions in your future!)). A-side runs 1:52, B-side runs 1:36, total running time 3:28. Down, boy! BEST SONG: “Radioactive Boy” BEST SONG TITLE: “Radioactive Boy” FANTASTIC AMAZING TRIVIA FACT: “Radioactive Boy?”
–Rev. Norb (Modern Action)
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MODERN ACTION:
Molotov Solution: CD
The tunes Modern Action lay down here and on their two singles (and it appears all the tracks on said singles are here as well) reek of not only late ‘70s/early ‘80s Southern California punk rock, but of specific bands I couldn’t quite dig outta my noggin. When Todd mentioned that the band was comprised of former members of the Briefs and the Bodies, however, it all fell into place: they sound like a synthesis of both those bands—poppy without resorting to pop punk clichés, a rock solid rhythm section and catchy hooks up the yin yang. While the Briefs’ occasional predilection for the sly, artier strain of bands like the Deadbeats is sorely missed, Modern Action retains all the muscle and the instant likeability of their predecessors while adding enough “new” to carve out the foundations of their own legacy.
–Jimmy Alvarado (modernactionrecords.com)
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MODERN ACTION:
Molotov Solution: CD
This is something to behold. This is punk rock in its purest form, in my opinion. The music bounces and throws you around. If you’re not outright jumping around the room, your legs are bouncing and your hands are tapping. The words have something to say, but know how to balance with some fun. I’ve got a hunch that I’d be gleefully picking pieces of my skull out of the back wall upon seeing them play live. It makes sense that there are members of The Bodies involved. You can hear it. Everything about this disc rules. I’m going on the hunt for more Modern Action now!
–Ty Stranglehold (Modern Action)
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MODERN ACTION / SWINGIN’ UTTERS:
Split: 7”
I can’t say enough good things about Modern Action (both the band and the label). First as a band: They continue with that super catchy, punk rockin’, bouncing up and down thing (street pop?) that they started with The Bodies, and add to it. You feel the songs. My only complaint is the infrequency that new stuff comes out (although compared to The Bodies, they seem pretty prolific). As a label, Modern Action does a great job of not only putting out stuff by bands I know and love (Smogtown, The Bodies, The Briefs) but have introduced me to some of my new favorites over the last couple of years (Neighborhood Brats, Amoebas, Sharp Objects, Modern Pets). Now here they are joining forces with stalwarts Swingin’ Utters. While I have always appreciated the Utters, I’ve never really gone crazy for them like a lot of my friends do. Upon hearing the song on this split, I may have to rethink that. It’s a great tune. It sticks in my head (actually both band’s songs on this record do), and I love it. Great job once again. I’m off to flip the record.
–Ty Stranglehold (Modern Action)
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MODERN CAESARS, THE:
Botox Rats: LP
Ugh…the Modern Caesars play Johnny Thunders-style tunes with less pizzazz than The Joneses. And that sucks.
–Ryan Leach (Meaty Beaty)
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MODERN CONVENIENCE:
The Shakes: CD
Kind of weird, noisy rock music. For some reason, it vaguely makes me think of a second string Killer Dreamer, where even though it’s not the real thing, it’s okay.
–Joe Evans III (OK Stars, myspace.com/okstarsrecords)
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MODERN CREATURES:
Thick Thick Black: 7”
When I listen to this, I get two images in my head. The first is of me being miserable in some club lit by neon while everybody else is dancing. The other is of some kid who went to art school thinking about whether Duchamp or Dali is more impressive, but by the second year was thinking about whether smoking cloves or American Spirits is more impressive. This 7” is mildly goth and dance-y, mildly dark and punk, and mildly experimental and annoying. It’s just mild.
–Vincent Battilana (Grotesque Modern, www.grotesquemodern.com)
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MODERN DAY RIPPERS:
Rip It Up in a Modern Way: CD
Debut record from these grizzled Chicago punk vets. What would Fear sound like fronted by Jello? Maybe something like this! “C.T.A.” and “Liquor Store Blues” are my favorites here. There are also some tunes about various drugs you can ingest in your free time. The back cover was a nice touch too. I would like to see these dudes live at some point, but I don’t think I would shake the singer’s hand afterwards, since his name is Germ.
–Sean Koepenick (Sexy Baby)
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MODERN DAY RIPPERS:
Rip it Up in a Modern Way: CD
Catchy punker ditties with clichéd titles like “I Believe in Pills,” “Abortion (I’m An)” and “I Want Your Hole” performed by folks named Richard Bastard, Chris Shitface, and Germ.
–Jimmy Alvarado (Sexy Baby)
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MODERN DAY URBAN BARBARIANS:
Sludgemouth: CD
I puked a little bit in the back of my mouth and I swear my testicle tried to climb back up into my body when this came on. It’s that bad, as in mentally and physically painful, to listen to.
–Ty Stranglehold (www.mdub.com)
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MODERN DAY URBAN BARBARIANS:
The Endless Retreat: CD
Another bassist/drummer duo. This one, strangely enough, sounds like a less musically proficient Stingers
–Jimmy Alvarado (www.sinkhole.net/pehome)
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MODERN LIFE IS WAR:
Witness: LP
There are many, many things in this world that I don’t understand: how the pyramids were built, correct syntax of the French language, where babies come from, and how five totally disparate individuals can manage to get together and make a record that’s both this searing and punishing and also this consistently fucking catchy. Modern Life Is War somehow manages to utilize the operatic, mid-tempo hardcore template that bands like Tragedy and From Ashes Rise have perfected over the years—but they’ve also built on it, expanded on it—the last thing you’re going to find on Witness is anything resembling musical hero-worship or stylistic rip-offs. The best thing that Modern Life Is War has going for them on this record (apart from its inherent musical seamlessness and power) is the fact that vocalist Jeffrey Eaton is penning some of the best lyrics I’ve read in fucking years regarding class issues, the Iraq war, small town economics, desperation, hope and more—and he’s in a hardcore band, and he’s pissed off but you can hear every goddamn word he’s saying. Ten points right there. So when you couple smart, engaging, furious and discernable lyrics with music that is unremitting, merciless, yet also so goddamn hook-laden that you’ll have a hard time doing anything else but listen to the record when you put it on—roll all that together and you’re coming close to what this band has accomplished with Witness. Easily one of the best records put out this year.
–Keith Rosson (Lifeline)
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