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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 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 | 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
SONIC69:
Out of Town: CD
This is slower rock’n’roll, played by some older guys (based on the pictures). They are from Arizona, although the singer sounds like he could be Irish or English. One track is faster, and there is also an acoustic number which just drags on. Really kind of boring is a good way to put it.
–Nighthawk (Unprotected Sex)
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SONIC’S RENDEZVOUS BAND:
Live, Masonic Auditorium: CD
As a devout teenaged Creem reader circa 1979-1981, i knew who Sonic’s ((also spelled “Sonics”)) Rendezvous Band were ((Fred “Sonic” Smith of the MC5 and Scott Asheton of the Stooges, among others)),but i can’t say as i ever heard ‘em—part of this may be due to the fact that they only released one single ((and THAT with the same song on the A-side and B-side, spuriously demarcated as “STEREO” and “MONO” even though no actual difference apparently existed)); another part of this equation might have been that in 1979, there was no FUCKING way i was going to listen to a group called “Sonic’s Rendezvous Band,” simply due to the fact that their name clearly indicated that they were part of That Which Was, and not part of That Which Is Surely Overturning That Which Was ((in other words, had they been named “The Pukes” or “The Burps,” i probably would have been all over ‘em)). Rightly or wrongly ((and it’s lookin’ like “wrongly”)), i ignored the band ever since…which was, if this mastered-off-a-C-90 seven-song live set is any indication, a moderately embarrassing error on my part. Now, granted, song lengths run a little long for punk-damaged attention spans ((3:31 on the low end to 7:18 on the high end, with a median length of 4:57)), and maybe these guys didn’t fully hate Led Zeppelin, but at least they knew the difference between good Zep ((e.g., “Communication Breakdown”)) from bad ((e.g., anything where Robert Plant sounds like a warbling brain-damaged lesbian folk singer…which is, one supposes, practically everything that isn’t “Communication Breakdown”)), and mostly they just sound like what the Saints might have sounded like were they from Detroit and not Australia and Ed Kuepper poisoned Chris Bailey’s Ho-Ho’s® and replaced him with a particularly nimble barbarian, crossed with a ten-years-more-modern version of the MC5. This is the type of thing that really makes the listener appreciate speaker cones. Rock ‘em back, Sonic! BEST SONG: “Electrophonic Tonic” BEST SONG TITLE: Curiously, it’s also “Electrophonic Tonic.” FANTASTIC AMAZING TRIVIA FACT: Recorded January 14th, 1978, while opening for the Ramones, on the same day the Sex Pistols played their last show. Liner notes claim that this is clearly some manner of “torch passing”— if so, it marks the first time that said metaphorical torch has actually been passed backwards. Be this as it may, i’m inclined to believe that the Detroit Derby Girls hold their bouts somewhere in this same building.
–Rev. Norb (Alive)
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SONNETS, THE:
Mystery Girl: CD
Sounds a little bit like the Who in places, a little like the fifth and sixth Jam albums elsewhere, and, when the band’s at their best, a skitch like the Vapors. Ultimately, this comes off as an album of glum, hookless power pop with harder rock interludes that doesn’t seem to be helped much by a. an ill-defined feeling of ambient social consciousness, nor b. the lack of overdubs, which, while a nice thought, seems to prevent the band from successfully articulating their vision more than anything else. This record is both a benefit for a women’s shelter and about two songs too long, so if tonight, in Chicago, a battered woman is turned away from the Greenhouse Shelter due to lack of funds stemming from this record not selling enough copies because it should’ve contained only twelve songs and not fourteen, as well-established Power Pop Aesthetic Guidelines dictate, you guys have only yourselves to blame. That really wasn’t very nice to say, but i’m upset that they didn’t call the album Boom! and am lashing out reflexively. BEST SONG: “Anniversary” BEST SONG TITLE: “Mystery Girl” FANTASTIC AMAZING TRIVIA FACT: Actually, the most fantastically amazing thing about this band (other than that it contains esteemed Chicago scenester Chuck Uchida) is that, for a little while during “Rockopera,” they actually sound like the Mystery Girls!
–Rev. Norb (Failed Experiment)
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SONNY VINCENT:
The Good, The Bad, The Ugly: CD
Sonny recruits a veritable who’s who of punk rock musicians (members of Black Flag, the Weirdos, the Zeros, the Heartbreakers, MC5, the Damned, the Muffs, Offspring, and tons more) to play on what is, one or two songs aside, a fairly pedestrian early New York punk rock record. In short, great idea, yawn results.
–Jimmy Alvarado (Acetate)
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SONNY VINCENT:
P.I.N.S.: 2 x CD
If this album was a Ramone, it would be Daniel Rey. BEST SONG: “Bad Attitude” BEST SONG TITLE: “Drug Binge” FANTASTIC AMAZING TRIVIA FACT: 3-D cover art (including boobies!) by the late Mad Marc Rude!
–Rev. Norb (NDN)
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SONNY VINCENT:
Soul Mates...: CD
Sonny Vincent is pretty cool, but, truth be told, most of his records (including this one) are kinda blah—it sounds like what one imagines a Dee Dee Ramone solo CD would sound like were Dee Dee not a complete raving cartoon lunatic. Or, rephrasing that, it sounds like what one would imagine a Daniel Rey solo CD would sound like. Ack. Contains snippets of answering machine messages left by both Dee Dee and Joey Ramone; for what purpose i cannot say. Next. BEST SONG: “No Detour” BEST SONG TITLE: “Robot Radio” FANTASTIC AMAZING TRIVIA FACT: “Time Bomb” isn’t the Ramones song, “Bang Bang” isn’t the U.K. Squeeze song, and “Chopping Block” isn’t the Little Killers song (although i think that one’s spelled differently). Also, i went to a show once where Sonny Vincent, the Zodiac Killers, and the Clorox Girls played, and the best band of the night by a considerable margin was the opening act, the Guilty Pleasures—take that for whatever it’s worth.
–Rev. Norb (Disturbed, www.cargo-records.de)
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SONNY VINCENT:
The Good, The Bad, The Ugly: CD
Sonny recruits a veritable who’s who of punk rock musicians (members of Black Flag, the Weirdos, the Zeros, the Heartbreakers, MC5, the Damned, the Muffs, Offspring, and tons more) to play on what is, one or two songs aside, a fairly pedestrian early New York punk rock record. In short, great idea, yawn results.
–Jimmy Alvarado (Acetate)
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SONNY VINCENT AND THE BAD REACTIONS:
“Replica” b/w “Stare Down, Jokers and Clowns”: 7”
Sonny Vincent, formerly of the late ‘70s New York City power pop/punk band The Testors, is back with a new outfit, featuring members of the Carbonas and Beat Beat Beat as his backup band. There is no evidence of The Testors power pop sound here, but instead snarling punk’n’roll, just as you would come to expect coming from ex-Carbonas members. Part Dead Boys-ish ‘70s punk grit and part Oblivians primeval garage rock blasts, this record surely will not disappoint anyone who likes their rock’n’roll noisy, raw, and dirty.
–Mark Twistworthy (Trend Is Dead, trendisdeadrecords.blogspot.com)
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SONOROUS GALE:
Two’s a Crowd: LP
It took me a while to get to this review, because I wasn’t sure exactly what I thought about the record. I listened to it a couple of times but I was still unsure how I felt about it. In the end, I am glad I waited to review it, because it fits my mood much better now. It’s kind of sludgy and slow (with occasional sped-up parts), and more instrumental than not. Made up of two gents from upstate New York, the band also has a guest female vocalist on a couple tracks, which I like a lot. Strangely, the (regular) singer’s voice sometimes reminds me of Greg Dulli from Afghan Whigs. The bass is really nice. The songs—my favorite of which is “Clandestiny”—don’t sound very happy to me. I’m not sure if they constitute a gale, but they’re definitely brewing and brooding. The lyrics are dense and will take a few reads, I think, before I have a better handle on them. There’s a great picture on the sleeve of the band carrying an amp up a flight of stairs. I will listen to this more.
–Jennifer Federico (Wrong Foot)
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SONS OF CYRUS:
Monkey Business: CD
Another Swedish band I’ve been waiting to hear and with no disappointment. Fun, driving rock’n’roll that makes you think they’re in Detroit rather than Stockholm. Mixes covers of the Stones, Little Richard, and The Isley Brothers with solid originals. Wait, maybe they’re a new incarnation of The Sonics? That’s fair. One of those discs you grab when you are getting on the freeway and say, “Look, I don’t want to think about it. I just want to get there and have a good time doing it.” This is all their singles and comp tracks, everything the band has recorded besides their two full-lengths.
–Speedway Randy (Dead Beat)
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SONS OF CYRUS:
Rock&Rollercoaster: CD
Man, what did I do to deserve all the great review stuff this issue? Brother Retodd is welcome at the Cultural Ambassador’s dinner table any night of the week! Sons of Cyrus have an undeniable appreciation for Radio Birdman, most noticeably in their vocal stylings, though the Peepshows come to mind, too. The music varies from ‘60s-inspired tunes reminiscent of the Monkees and Woggles (“Switzerland” and “Running Too Slow”) to the aforementioned Birdman (“One of a Kind”) to a song that would please even the most diehard member of the Turbojugend (“Straight to Hell”). Track five, “Begging Me for More,” is the album’s triumph, a perfectly put together barn burner featuring the pitch perfect guest vocals of Alicja Trout. Rock&Rollercoaster makes me want to sprint around to the front of the line and take another ride.
–Josh Benke (Big Brothel/ Dead Beat)
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SONS OF HERCULES, THE:
Right Now: CD
Another serving of Texas bar-punk (kinda like a less-memorable Lazy Cowgirls, but more Flaming Groovie-ish) from this seemingly immortal outfit, fronted by a guy appropriately fossilish enough that i'd like to think his worldview has "punk" starting with Mouse & The Traps or the Thirteenth Floor Elevators, and continuing unabated in a straight line thru the Hates and Dicks and Mullens and whoever the fuck else – ongoing and eternally continuous, with no weird detours or asterisked subgenres – and power to him. I don't think this one's as good as Hits for the Misses – their best, although to be honest i've never heard anything truly spectacular by them – but i always kinda thought this band's appeal was designed to be appreciated best live in a smoky barroom drinking cold longnecks of Pabst™ (or inferior local equivalent) on a hot summer night anyway. Rock on. BEST SONG: "Digging Your Own Grave" BEST SONG TITLE: "Snake People" (in a related matter, i have decided that "proximity to rattlesnakes" is why when non-Texans put percussion devices such as maracas and shakers in a song, it comes off as fey and effete production frippery, but when Texans do it, it sounds mean and ass-kicky-like) FANTASTIC AMAZING TRIVIA FACT: Singer is wearing paisley shirt. Please make a note of it.
–Rev. Norb (Suprema)
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SONS OF HERCULES, THE:
A Different Kind of Ugly: CD
…went to go see TSOH during the Razorcake Drunken Invasion of SXSW 2004, only to find that, owing to a member apparently vomiting blood that morning, they had been replaced by the Bloody Tears ((which, of course, begs the question of why they weren’t replaced with the Bloody Pukes)). This September i was in Austin for business, and found out that The Sons were playing at the Continental on Congress Ave.Since my hotel was on the corner of 7th & Congress, i figured i’d just bop down the street for a few blocks and check ‘em out, so i took a right on Congress and walked down to the Capitol, walked through the Capitol ((nice Capitol)), came out the other side, and kept walking until i hit the University of Texas campus. No Continental. Calling my lifeline—Cheap Trixie of the Texas Rollergirls—i was informed that, yes, i had walked in the completely wrong direction…so i walked the mile-and-a-half back thru the Capitol and to the hotel, then walked about two more miles in the opposite direction to the show, then walked the two miles back to the hotel afterwards. All in all, i’d estimate i walked like seven miles and waited five years to see this goddamn band, so i got some sweat equity in the product—thus, when i say that i don’t ever see this band scoring higher than a B+ on any given rock-rock-rock-rock-rock’n’roll report card, i hope that’s not viewed as Texas Garage Punk Heresy ((plus i never really see them getting less than a C- on the low end, so it all kinda averages out in the end, maybe)). I mean, i own a bunch of TSOH records, and i can’t say as i flat-out adore any of them—this one included—but i can’t say as there are any i don’t like, either. They’ve got a good base goin’—the principal forces behind the band are a fraction of a generation older than myself, and you can tell that they’re from that half-decade or so that holds Iggy and Bowie and Blue Oyster Cult in the same sacramental regard as people my age hold the Ramones and Sex Pistols and Clash ((singer Frank Pugliese’s old band The Vamps once opened for the Pistols, or so they tell me))—but the problem as i see it as to why this never band has never gone over the top with me is that they just don’t write particularly interesting songs. The foundation is there, but i’ve never really witnessed anything spectacular being done with it, song-wise. Contrast this with some vaguely peerish band like, say, The Mullens—those guys could knock out catchy tunes every so often in a way i don’t see TSOH ever pulling off, which is probably why their cover of “(I’m) Misunderstood” by the Saints was the highlight of the show i walked seven miles to see ((then again, i like the Saints and i love parentheses, so perhaps the deck was stacked against ‘em from the get-go)). Same with the album: The originals are decent; the covers ((Saints, Lazy Cowgirls)) stand out. To my brief glee, i thought i was proven wrong by the album closing “Easy Action”—a grippy rocker so rousing i that it made me wish i was sitting around my living room all day, smoking pot and listening to Humpers CD—until i looked at the liner notes and found out that the song was originally done by Frank Pugliese’s 80’s band, the Mystery Dates. Thus, the top three songs on this disc are all covers, which seems to rudely underscore my original theory. That said, i’d walk another seven miles to see ‘em, but this time i expect to see those bats flying out en masse from under the bridge by the river. That’s only fair. BEST SONG: Well, we’ll say “Easy Action” ‘cause i’m not familiar with that Mystery Dates record. BEST SONG TITLE: “Bad Blood” if you’re Neil Sedaka. FANTASTIC AMAZING TRIVIA FACT: Casino el Camino, an Austin beer and burger jernt owned by TSOH’s former bassist, is considered the birthplace of the modern day roller derby revival.
–Rev. Norb (Sasutex)
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SONS OF ISHMAEL:
Hayseed Hardcore: LP
I have to admit, this is the first time I have actually listened to this band. I’m sure I heard them, but I probably was not paying attention. My brother has a copy of the first press in his collection that he had gotten early on when we were growing up. But my tastes were leaning more into crossover and thrash metal at the time (1985) while my brother was listening to bands that were fast and faster. Funny how things that were not palatable to me in the past can become favorable over time. This now sounds fantastic to me, like a recently unearthed, long-lost toy that was a favorite. Kind of reminds me of the Neos meets thefirst DRI record. Straight ahead fast hardcore that is not overindulgent. Definitely has the sound of the time period that is hard to replicate. Included are the songs off the original 7” with some bonus comp tracks. Not knowing any history of this band, it was quite a miracle that a band from a small town with no punks could come out with something with this much ferocity. Meaford, Ontario, Canada at the time had, or still has, a population of 4,200. I’m sure they were the freaks about town. Great to see that another obscurity is now available again without having to purge your bank account on Ebay. I’m still waiting for the day someone re-releases the TO Hardcore `83 tape.
–Donofthedead (Schizophrenic)
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SONS OF TONATIUH:
Chain up the Masses/Oracle: 7”
I’m not an expert on the style of music this band plays, but I have seen a few bands that I can compare them to. For reference, I can hear the sounds of bands like Eyehategod, Sourvein, Weedeater, and 16. I’m guessing the genre that would fit them is doom. The lead track even draws hints of crust punk when things speed up for a bit. But what stands out is the downtuned, hard-hitting metal in the slow to barely mid-tempo speed. The vocal delivery is pained with shrieking screams. Guitar riffs have the sound of Black Sabbath on their best day. A bass guitar drones and plods along, keeping the mood low and the pace consistent. Drums are pounded out with sheer fury. I would not want to be reincarnated as a drum head for this band.
–Donofthedead (Sons Of Tonatiuh)
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SONS OF TONATIUH:
Self-titled: CD
Their name led me to think this might be some sorta militant Chicano rap stuff, but no, you get sludgy Sabbath-derived metal delivered at snail’s crawl tempos with vocals howling lyrics that offer no explanation of their purported connection to either Pedro de Alvarado or the Aztec deity. They did inspire me to start a jazz fusion band called Huitzilopochtli’s Second Cousin on His Mother’s Side, though.
–Jimmy Alvarado (hydro-phonicrecords.com)
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SONSKULL:
Wiped Clean: 12”EP
Sonskull make noisy, jangly-sounding punk rock with female vocals. There’s plenty of feedback and grit in the sound of this, which I enjoyed. Vocalist Mary has a roaring voice that fits their loose-sounding style well. The long buildup of the title track makes the payoff of the song itself worth the wait. From there, each track, rips, rages, and wails from start to finish. The exception to this intensity is “Weeping Hole” on the B-Side of the record. This is a sparse lo-fi sounding track with one of the other members of the band singing in a quiet, monotone voice. It didn’t do much for me, but the rawness of the rest of this record more than makes up for this one hiccup.
–Paul J. Comeau (Perennial)
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SOOPHIE NUN SQUAD:
Pasizzle Slizzle tha Drizzle: CD
I came up with a loose sliding scale for the Soophie Nun Squad. If the song has drums and electric guitars, they’re as good as anyone out there. Earnest, fun, energetic basement punk that reminds me of bands like This Bike Is a Pipebomb and the Grabass Charlestons. As for the other songs, well, I’m sure that it was a lot of fun to record a bunch of hip-hop songs and cheerleader chants, but I’m grinding my teeth the whole time. It’s probably fun to watch live, but there’s only a handful of songs that make the cut for me. Sorry.
–Josh (Plan-It-X)
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SOOTHE:
To Prove Our Existence, We Play This Music. To Prove That We Are Alive, We Sing : 7"
Soothe has to be the most ironic band name going, because what they play is anything but soothing. It’s a sonic assault of distortion and feedback and noise. But it’s really well-managed noise. In fact, I haven’t heard noise managed this well since Godhead Silo. It’s not really fast, but it plods out heavy and mean like Godzilla hunting down King Kong for the first ever monster movie title bout. On top of it all, a woman named Chippe screams, not looking for a melody or a song anywhere, but digging deep inside of her and letting it all out before she has time to understand it. This seven inch reminds me of Soothe’s other noisy Japanese counterpart, Bleach(mobile), and when I listen to this record, in my mind, I can see Bleach(mobile) going nuts in a live show at Mr. T’s. And then I start hoping that Soothe somehow puts together a tour of the US, so I can go see them and, well, be anything but soothed.
–Sean Carswell (Devour)
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SOPHOMORE YEAR, THE:
You Are Here… She Is There: CD
Strike one: The utterly lame band name. Strike two: Contains a song entitled “Heartsick.” Strike three: Three of the four members start off their “thank you” list with “God.” The music: an embarrassingly weak fly into über-suckass emo-popland. You guys are outta here.
–Jimmy Alvarado (Search and Rescue)
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SOPORS:
Golden Era #267: LP
Containing members of the Abi Yoyos, Parasites Go!, and Shakey Bones, Sopors are one of the Bay Area’s best new bands. With Matt and Spenser plucking away on their guitars and singing their strange songs, you just can’t find a more beautifully perplexing group of tunes. Some may say that I’m giving these guys too much credit, but I see Sopors as a mix between the hooky leads and cohesion of the Marked Men, and the blobby, noisy, questioning chaos of Fleshies. The guitars weave pop melodies into braids of sound while the lyrics plant literary references next to tales of self-seeking time travel, as well as your usual anxieties. It’s great to see these songs on vinyl after spending too long on poorly duplicated cassettes.
–Daryl Gussin (Mongo Bongo Top Ten Hits)
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SOPORS:
Sopors Sopors Sopors: 7”EP
Ah, Quaaludes. Methaqualone. Gotta watch your doses with this stuff. They were called wallbangers for a reason. In ‘66 there were no restrictions on the number of times the prescription could be refilled and authorities saw no need to monitor it. They saw no evidence of abuse potential. How wrong they were. When the label on the bottle fits, push down and turn the cap…. In 2011, four guys from the Bay Area play music that is simultaneously all over the place and fevered into focus. Where Thee Makeout Party thrilled in the sunshine, Sopors celebrate the mist, uncertainty, and cold dampness of fog. This is both mud and gold; sticky footsteps that reverberate in slow shockwaves. It’s sedative-hypnotic and I’m down. “Dude, I’m staring at your footprints slowly fill in. No, dude, really, look at this....”
–Todd Taylor (Margin Mouth, www.marginmouth.com)
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SORCERESS:
Cum in My Kitchen: 7” single
Definitely influenced by ‘70s proto punk, and while that’s a much used and abused genre, Sorceress do a pretty damn good job of making it sound fresh and alive. They throw in some glam rock influences for that extra zing. Doing so raises the songs head and shoulders above the groping bands who think they’re the next Heartbreakers. The title track is fuggin’ great. I think it’s the straightforward drumming that makes it work. Could be the riff? Maybe a combo of both. But gawddamn, this song is a cooker. The structure is simple and they repeat the lyrics over and over, working up the frenzy with each pass. So damn good. I felt a little lost when it was over. Like, “Hey, come back. We’re just getting started here!” The flipside, “Young, Doomed & Fine” shifts down in mood to something like a Sunday morning hangover balm. The sort of music you put on to slowly ease yourself into the day. The delivery is all swagger and bluesy. I hear a bit of T-Rex just underneath the surface. I like the changeup at the end, as it picks up the pace and gives the songs a bit more life. You would be very wise to grab this record from the bins the next time you’re at your local record peddler.
–Matt Average (Puta!, putarecords@gmail.com, putarecords.com)
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SORE SUBJECTS:
Self-titled: 7" EP
Female-fronted pinhead punk that’s greatest strength is its cerebral-ality, ultimately manifesting itself to the lazy reviewer as a cross between Head and the Welders. Songs about drinking Schlitz® and getting your hair cut like Dee Dee Ramone, served up in a style that is not critically handicapped by undue musicianship. Messed me up so gloriously I went out and got my hair cut like a can of Schlitz® and drank a 24 oz. can of Dee Dee Ramone. Word. BEST SONG: “Tall Boys” BEST SONG TITLE: “Gimme A Dee Dee” FANTASTIC AMAZING TRIVIA FACT: I refuse to deem any sub-24-ounce can of Schlitz® a “Tall Boy,” as, in the 70’s, the original Schlitz® “Tall Boy” cans were, indeed, 24 ounces.
–Adrian Salas (Sore Subjects)
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SORE SUBJECTS:
Gimme a Dee Dee: 7"
Solid playing from a three-chord punk trio with female and male vocal trade off. The lyrics are especially engaging with regular allusions to The Ramones. “Gimmie a Dee Dee” is a nice one about getting a haircut. “Tall Boys” sticks out as good rumination on the lifestyle: “All alone in the dark of the basement/you’re the reason why my face hit the pavement/ I’m hanging out with the tall boys.” This band also wins for going out of their way to make the word “aluminum” rhyme with “minimum.” Does it seem that those two words rhyme already? Think again. The delivery has a hint of bored attitude that makes you want to like them in spite of themselves.
–Billups Allen (Self-released)
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