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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 | 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
PAVERS, THE:
Return to the Island of No Return: CD
Yar matey! This a fine CD be. You know how some CDs have bonus tracks? This thing has a whole bonus CD EP! Obviously, any review that I start with a pirate reference means I like the CD, but I do have to say, this album sets itself up by having the first song be really fast and catchy, then following it with slower, more complex songs. The mix of styles is good, but it got me all revved up and left me. The style is a mix of a bunch of things – parts remind me of Ramones, the non-hit-single Nirvana songs, the stronger Foo Fighter tunes, Queens of the Stone Age… hmm, what’s with me and the Dave Grohl kick? Basically, what seems to be going on here is some musicians are too “mature” to do simple three chord, straight ahead punk, but too amped and passionate to get wishy washy. Some songs remind me in structure of pop punk or even grunge songs if they were being covered by a good punk rock band. I find myself enjoying this a bit, despite the fact that it doesn’t really fall in any of the music subgenres I prefer. Although I do wish that the lyrics hit me more on some level. (A side note – why is it that the more meaningful lyrics are, the less coherent they are normally sung? I can understand every line in Janet Jackson’s “Nasty Boys” which means nothing, yet well thought out political lyrics of many crust bands sound like a seal gargling?)
–rich (Ratchet / Boss Tunage)
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PAVERS, THE:
Return to the Island of No Return: CD
Yar matey! This a fine CD be. You know how some CDs have bonus tracks? This thing has a whole bonus CD EP! Obviously, any review that I start with a pirate reference means I like the CD, but I do have to say, this album sets itself up by having the first song be really fast and catchy, then following it with slower, more complex songs. The mix of styles is good, but it got me all revved up and left me. The style is a mix of a bunch of things – parts remind me of Ramones, the non-hit-single Nirvana songs, the stronger Foo Fighter tunes, Queens of the Stone Age… hmm, what’s with me and the Dave Grohl kick? Basically, what seems to be going on here is some musicians are too “mature” to do simple three chord, straight ahead punk, but too amped and passionate to get wishy washy. Some songs remind me in structure of pop punk or even grunge songs if they were being covered by a good punk rock band. I find myself enjoying this a bit, despite the fact that it doesn’t really fall in any of the music subgenres I prefer. Although I do wish that the lyrics hit me more on some level. (A side note – why is it that the more meaningful lyrics are, the less coherent they are normally sung? I can understand every line in Janet Jackson’s “Nasty Boys” which means nothing, yet well thought out political lyrics of many crust bands sound like a seal gargling?)
–rich (Ratchet / Boss Tunage)
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PAWBOX:
Self-titled: CDEP
Modern rock, radio friendly, I want to be on MTV, battle of the bands winner kind of band.
–Donofthedead (www.myspace.com/pawbox)
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PAX CECILIA, THE:
Nouveau: CD
This is an odd musical of sorts that entails three acts. The music is super mellow in a symphonic way and changes direction at times to a more metallic emo sound. Closest thing I can think that this might sound like is Jethro Tull.
–Donofthedead (The Pax Cecilia)
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PAY COLOUR:
Self-titled: CD-R
Six guitar and drum instrumentals. When they go slow, it gets epic like Neurosis. On the faster tracks, the reverb conjures Sonic Youth or surf music. The songs’ loosely-formed nature screams “stoned late night jam session!” but I like what’s going on. It’s eerie and has far more peaks than valleys.
–CT Terry (myspace.com/paycolour)
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PAYBACKS, THE:
Love, Not Reason: CD
I’m of two minds with the Paybacks, much like I am with the Bellrays. On the definite plus side of the equation is glorious, soulful, strident female vocals over hard rock and punk. Songs like “Love Letter” are anthemic, arena-filling stompers that showcase a voice that’s in league with both Aretha Franklin and Janice Joplin. Bitchin’ and well worth the listen. On the negative side—and I know it’s me—I hate solos, wig outs, jams, freak outs, and anyone playing Jimi Hendrix-inspired guitar who isn’t Jimi Hendrix. And there’s a fair amount of that in the Paybacks, too. 50/50.
–Todd Taylor (Savage Jams, www.thepaybacks.com)
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PAYBACKS, THE:
Harder and Harder: CD
...as much as Mike and John from the Hentchmen were the delightful embodiment of Chip & Ernie from My Three Sons made Rock in their previous band, so, in a miraculously inverted manner, do they now appear to we, the masses, as a titanic, granite-pectoral-muscled rhythm section of fucking ROCK, BABY, in their current band. Add to that a guitar player who sounds like he absorbed every relevant scrap of data from every great three-letter-first-named lead guitarist in history (i’m thinking “Ted” and “Ace” here, but you’re welcome to bring your own findings to the table), and it is apparent that a unit of Rock Most Imposing has been manifested. However, the REAL keystone in this Granite Arch O’ Boogie is one Miss Wendy Case, a shingle-throated chanteuse of such awe-inspiring HARDNESS and RAWITUDE that she makes Patti Smith seem like one of those buxom German broads whom one sees depicted toting around trays full of thick-bottomed beer mugs during Oktoberfest, and so blonde that she makes Penelope Houston seem like a brunette. I mean, fuck—Ian Stuart WISHES his vocals sounded this tuff on the first Skrewdriver album! If this chick gets locked up in the same cell as Angry Anderson of Rose Tattoo, it’s Angry who’s getting fucked up the pooper! Wendy Case is the fucking SHIT, and, when the band backs the intensity level down to mere Orange Alert status, it is apparent that we stand in the majestic presence of the thermonuclear-powered Faces of our time (although, as a gambling man, if you want my best guess on how many ounces of whatever that Wendy’s stomach would offer up if they pumped it after she passed out onstage, i’m advising you to bet the under). Needless to say, this might be the first time ever it could be said that a bitch has been the Paybacks. Okay, sorry, i couldn’t stop myself. BEST SONG: “Me” BEST SONG TITLE: “Jumpy,” because it sounds like something Rene Hall would’ve written on the Unitar. FANTASTIC AMAZING TRIVIA FACT: For the back-cover-gazers among you, “Celebrate Summer” is not a misspelled Hüsker Dü cover, but is, in fact, a most outstanding rendition of the last T. Rex single to be released in Marc Bolan’s lifetime. Double kudos for the band, as i never saw that song as anything other than a missed cover opportunity for the Silicon Teens.
–Rev. Norb (Get Hip)
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PAYBACKS, THE:
Knock Loud: CD
Loud, raucous rock’n’roll steeped in Detroit hooks. Kinda reminds me a teeny bit of old Cheap Trick every now and then.
–Jimmy Alvarado (Get Hip)
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PAYOFF, THE:
Riders of the Dead Horse: CD
Musically, Birmingham’s The Payoff brings together a bunch of post punk and hardcore influences, with the overly whiny vocals making the already odd songs even less accessible. Fans of artier strains of hardcore will appreciate the undeniable creativity, whereas the rest of us would probably rather attend a scrapbooking or papier-mâché party to get our creative fix. Does anyone know what time the fabric store closes?
–Art Ettinger (House of Love, www.houseofloverecords.net)
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PAZAHORA / GHAUST:
Split: 7"
Two hardcore bands from Southeast Asia drop one long, sludgy song a piece. Pazahora add ominous black metal to their crust and bring to mind One Eyed God Prophecy or Union Of Uranus. Their song ends with an acoustic break and a sound bite from the documentary One Nation under Lee, about Singapore’s first prime minister. Their liner notes and lyrics discuss violence in Singapore, which has the highest execution rate in the world. Ghaust’s track is a terrific doomy instrumental companion. Nicely designed packaging with handmade flourishes.
–CT Terry (Diseased, diseasedrecords.com)
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PAZAHORA / KAH-ROE-SHI:
Split: EP
Obviously a ton of bands out there have been inspired by His Hero Is Gone / Tragedy / From Ashes Rise. The majority of these clone bands sound so lifeless in the end, taking it safe and going through the expected motions. Pazahora sound similar to From Ashes Rise, and Kah-Roe-Shi sounds like HHIG. Neither band does anything to make them standout.
–Matt Average (Diseased, www.diseasedrecords.com / Epidemic, epidemic_distro@hotmail.com)
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PCP ROADBLOCK:
Sporting Goods World War III: CD
Mid-tempo to dirge speed noisecore. If you really wanna get outta that long lease on your apartment, you can’t go wrong with this puppy blasting through your speakers.
–Jimmy Alvarado (Wet Tail)
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PCP ROADBLOCK:
Sporting Goods World War III: CD
Mid-tempo to dirge speed noisecore. If you really wanna get outta that long lease on your apartment, you can’t go wrong with this puppy blasting through your speakers.
–Jimmy Alvarado (Wet Tail)
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PEABODYS, THE:
Awkward Age: 7” EP
It’s like Mutant Pop never died in the minds of these Queers-ish, Rivethead-ish boys! They even have a song about lame emo fuckers. “Even nights you walk the train tracks/ Odd, read Kerouac on desolate rooftops/ We got it, got it all/ Are you through?” I just wish the songs were faster, because I could then compare this to a great punk rock cereal. As is, it would be Kix. Yes, there’s sugar in it, but please! More sugar! More, um, speed? I am an idiot.
–Maddy (Infringement/ Incessant Drip)
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PEABODYS, THE:
The Future Will Kill You: 2 x 7” EP
The first time I ever heard The Peabodys was on their split 7” with The Steinways, so I think it’s funny that a bunch of these songs are under a minute long (as per old Steinways material). Musically, it’s pretty straight forward pop punk, making it fitting that this is one of the label’s “Comeback” 7”s, as it’s just what I would’ve expected from it. While I got the shaft on colored vinyl, this did come with a bonus one-sided 7” with a Screeching Weasel cover that probably is better than the original.
–Joe Evans III (Mutant Pop)
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PEACE CORPSE:
Terror of Quincy: LP
If memory serves, Peace Corpse evolved from a joke band called Moslem Birth, whose primary purpose was to take the piss outta Christian Death. Fronted by Toxic Shock head honcho Bill Sassenberger and featuring over the years members of Thee Undertakers, Insulin Reaction, and Man Is The Bastard, the band’s sound evolved over time from solid mid-tempo and slower punk with snotty vocals to something a bit more evolved and complex in delivery, while retaining the slyly topical, smart-assed-yet-intelligent lyrical content throughout. Collected here are all the tracks from the Life Death and Quincy 7” EP on side one and selected tracks from their later Terror of History LP. Nice hearing this stuff again, especially old favorites like “Jocko Macho (Quincy Punks).”
–Jimmy Alvarado (Toxic Shock)
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PEACE OF SHIT:
Self-titled: Cassette
So lo-fi it’s not even on the chart, Peace Of Shit present a tape of dirty, down-to-earth hardcore/garage punk. Sounds like the Reatards or the Mummies. Despite its cultural pedigree, Peace Of Shit shines more when the songs take a step back from the frantic kinetics of their sonic predecessors. The slower songs remind me of the better parts of King Kahn’s output, which is a plus. If you can stand the no-fi, which is seriously harsh in places, take a look.
–Bryan Static (Rainy Road, rainyroadrecords.com)
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PEACEBASTARD:
Global Crisis: EP
Blistering guitars that rip and tear, leaving jagged necrotic slashes, and percussion that kicks and punches with intensity. Then you have a dual vocal attack—one sounds like complete hell, with her loud and throaty bellows that sound like her last vocal chord has been shredded to oblivion, backed by low, somewhat deep, from-the-gut male vocals that work more as a signifier. The intensity of this record is awesome. They play like this could be the last day on earth. So f’n awesome!
–Matt Average (Heartfirst, info@heartfirst.net, heartfirst.net)
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PEACH FUZZ:
About A Bird: CD
Pop that takes its cues from the mid-’60s. Lotsa stylistic explorations and hella strong songwriting keep things interesting.
–Jimmy Alvarado (Dionysus)
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PEACH KELLI POP:
Self-titled: LP
This sounds like The Chipmunks, if the Chipmunks were female and huffed helium. For reasons that are well beyond my own grasp, I like it. Sixteen-year-old me is punching me in the face every time I listen to this. This makes Redd Kross sound like the Cro-Mags in comparison. This makes ukuleles sound like chainsaws. And I like it. What the fuck? Goddamn, is that a triangle tinkling or a tambourine or a toy xylophone? All three? C’mon! It’s Allie Hanlon, drummer of the White Wires. Cut this and it bleeds cotton candy. Stare at it, and it grows cute cat whiskers. Gah! And I like it.
–Todd Taylor (Bachelor)
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PEACHFUZZ:
About a Bird: CD
Why am I stricken with the indie rock CDs? Why, god, why? This has one good song that sounds like The Muffs, and a lot of other songs that sound vaguely like early R.E.M. (The song "Easy Way Out" has almost the same intro as the R.E.M. song "We Walk" off Murmur.) Hey, I LIKE early R.E.M. AND the Muffs, but, somehow, this combination ended up sounding more like drippy crap. If this were a cereal, it?d be Cheerios. No fun!
–Maddy (Dionysus)
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PEACHFUZZ:
Catch Your Snap: CD
Decent laid-back power pop (i.e. way more Big Star than 999), but nothing that makes me want to throw off my clothes and jump on a trampoline—the standard reviewing benchmark. I think I am regressing. The older I get, the faster I want my music to be! By the time I'm in a nursing home, I'll just be listening to speed metal. For shame! I'm also creeped out by the cover art—a drawing of a naked woman with the fish head. Yikes! If this were a cereal, it'd be a defective box of Apple Jacks with the sugar mysteriously missing. Calling Encyclopedia Brown!
–Maddy (Teenacide)
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PEACHFUZZ:
About a Bird: CD
Why am I stricken with the indie rock CDs? Why, god, why? This has one good song that sounds like The Muffs, and a lot of other songs that sound vaguely like early R.E.M. (The song “Easy Way Out” has almost the same intro as the R.E.M. song “We Walk” off Murmur.) Hey, I LIKE early R.E.M. AND the Muffs, but, somehow, this combination ended up sounding more like drippy crap. If this were a cereal, it’d be Cheerios. No fun!
–Maddy (Dionysus)
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PEACOCKS, THE:
It?s Time for the Peacocks: CD
Well, if you took everything that was wrong with Social Distortionesque faux-shitkicker rock (i.e., lots) and spliced that onto everything that was wrong with Sonic Iguana-spawned pop punk with the chord changes every eight beats (i.e., everything), you might get the Peacocks. You lucky lady! Band further compounds matters by singing every other song about bands who, in their own dizzying world view, are their tragically more popular inferiors. The leadoff track states "We're too good for the charts!" Dudes. I got news for ya: You're not even too good for a Mutant Pop CD-R. There may, however, be spots open for you on Hunter S.Thompson's ranch. BEST SONG: "This Time" BEST SONG TITLE: "I Can Do a Lot For My Size" FANTASTIC AMAZING TRIVIA FACTS: 1) "Love Song" is not the Damned composition; 2) "Warning" is not the Green Day composition; 3) "For You" is not the Anti-Nowhere League composition; 4) The insert indicates that "Last Words" is the name of both track #2 and track #13 but it's really only the name of track #2; and 5) Bands mentioned in the "CHECK OUT THESE BANDS" list include both Screeching Weasel and Rancid. Thanks for the tip, Slick.
–Rev. Norb (Asian Man)
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PEACOCKS, THE:
It: CD
Well, if you took everything that was wrong with Social Distortionesque faux-shitkicker rock (i.e., lots) and spliced that onto everything that was wrong with Sonic Iguana-spawned pop punk with the chord changes every eight beats (i.e., everything), you might get the Peacocks. You lucky lady! Band further compounds matters by singing every other song about bands who, in their own dizzying world view, are their tragically more popular inferiors. The leadoff track states “We’re too good for the charts!” Dudes. I got news for ya: You’re not even too good for a Mutant Pop CD-R. There may, however, be spots open for you on Hunter S. Thompson’s ranch. BEST SONG: “This Time” BEST SONG TITLE: “I Can Do a Lot For My Size” FANTASTIC AMAZING TRIVIA FACTS: 1) “Love Song” is not the Damned composition; 2) “Warning” is not the Green Day composition; 3) “For You” is not the Anti-Nowhere League composition; 4) The insert indicates that “Last Words” is the name of both track #2 and track #13 but it’s really only the name of track #2; and 5) Bands mentioned in the “CHECK OUT THESE BANDS” list include both Screeching Weasel and Rancid. Thanks for the tip, Slick.
–Rev. Norb (Asian Man)
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