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Z/28:
Wrecks from the Highway: CD
I picked up this CD just because it was from Scotland, and I was curious about what was going on over there. I kept it because it was a competent rockabilly CD, and I don’t have much rockabilly. It’s a good album to listen to when I’ve been listening to punk and hardcore for a while and I need a change up after all the fastballs. The guys in Z/28 play their instruments well and pull off a rockabilly sound that could just as well come from a front porch in the hills of Arkansas as from Scotland. I can’t say that it rises above the rest of the greaser pile. It’s just a good change of pace.
–Sean Carswell (JSNTGM)
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ZANN / BURIAL YEAR:
Split : LP
Crusty march-core—this stuff isn’t what I reach for first, but when done well, it stands up as well as anything out there. Actually, a lot of the record, both bands, reminds me of early Buzzoven stuff, which is one of the reasons that I liked both sides. I’ve got a problem with the Burial Year stuff, though. Musically, it’s pretty muscular and brutal (Zann, too), but there’s this part where the vocalist is blabbing about our need to make choices regarding the planet and we’ve got to do it quick, suggesting that we need to make choices to save the planet from things like pollution and global warming, but the record has gatefold packaging, which, by its very nature, would require twice as many trees and would require twice as much carbon dioxide poundage to produce. What the fuck? I like the record and all and I want to be optimistic (maybe somebody not in association with Burial Year chose such packaging), but such mixed messages leave a really sour taste in my mouth.
–The Lord Kveldulfr (Adagio 830)
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ZAO:
Awake?: CD
Awake? is Zao’s ninth album (or tenth—they re-recorded their debut eight years after its release) in their over fifteen-year existence. I think I’ve been following them for most of that and while I’ve not always been a huge Zao fan, I do recall using their music to get pumped up before intramural flag football games in college, over ten years ago. So we have a history. Their last album, the Steve Albini-recorded The Fear Is What Keeps Us Here, was a great album. The dirty, live sound made for a lot of energy and a raw feel that matched the sound of the band. Awake? on the other hand, was recorded by As I Lay Dying’s Tim Lambesis and while it sounds solid in a production sense, it’s not a sound that Zao necessarily should be pushing. After having been a forerunner of much of the metal-core sound, the latest album of ten songs sound like most of the artists who were trying to rip off Zao in the first place, including the played-out singing/screaming metal vocals. On past albums Dan Weyandt has shown he has some of the sickest vocals in metal, but here they seem boring and as though they’re going through the motions. My belief is that they were most likely eaten up in an attempt to go for a cleaner sound. If Zao were going to get back on the road and tour a ton (since 2007 they’ve become a studio band), I’d say this might be an album to help them really get noticed. It’s simple, straightforward, and has some fairly catchy riffs and choruses while still keeping a hard sound. Unfortunately, it’s that dialing down of any sense of wicked creativity that was evident at times on their former albums that causes Awake? to be an adequate, uninspired listen. And for a band that only exists in the studio that seems to be a killer. I’d say that they should call it a day, but with all the drama and line-up changes this band has produced, who knows what might happen in another two years?
–Kurt Morris (Ferret)
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ZATOPEKS:
Smile or Move: 7” EP
This rocks! Male vocals with cool girl back-up vocals! Power pop punk (yes, I can create a new term!) with occasional, slight hints of a throwback to Beach Boys-esque harmonies! And they’re from London! And #2, since boys can comment on how hot Roach (Groovie Ghoulies) is (and she is!), then I get to say, “These boys are cute!” If this were a cereal, it’d be Apple Jacks, sugary, but not over-the-top. Yum!
–Maddy (It’s Alive)
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ZATOPEKS:
Ain’t Nobody Left but Us: CD
Catchy UK pop punk apparently influenced by the sounds of early rock‘n’roll with a smattering of Tom Waits-ish sensibility. There’s an air of retrospective sentimentality to this, in the sense of “Where have all the good days gone when greasers spent Friday nights getting into fights?” and rock‘n’roll was still fresh and simple. Based on the mood on this record, the Zatopeks are hard-charging, looking to rock above all else, but they seem to be a bit ill-at-ease in a modern world that doesn’t always appreciate the beauty of simplicity. The lesson here is that there can (and should be) excitement in the seemingly mundane, be it a three-chord tune or chance meetings that seem innocuous at first but still haunt us for reasons unknown.
–The Lord Kveldulfr (Stardumb)
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ZATOPEKS / ACCELERATORS:
Split: 7”
The Zatopeks are the musical equivalent of the following exclamations: Yay! Yay! Yay! Super catchy pop punk from the U.K.! On the record cover they’re wearing Groovie Ghoulies and Ergs shirts, which is a.) a good sign! and b.) a good indication of what this sounds like. The first song is way better than the second, but you’re supposed to open with the best song, right? Still, I have to hope that they stick with the first song, classic pop punk formula in the future. Zatopeks, this is my request! The Accelerators are more on the regular punk mixed with rock‘n’roll side, with a teaspoon of pop punk for good measure. Not as good as the Zatopeks, but it’s hard for regular Mini-Wheats to compete with Apple Jacks!
–Maddy (Squinty Joe)
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ZATOPEKS, THE:
Damn Fool Music: CD
The latest release from these prolific Europeans, who are known for their take on pop punk crossed with rock’n’roll. They seem to try to take things a little further on this one as well, with some subtle indie rock and jazz influences (especially on “Daily Mail,” which is one of my favorite tracks on the record). Other miscellaneous thoughts that popped into my head while listening involved wondering if Sonic Iguana had moved to overseas, and that the vocals sounding like a pop punk cross between Jello Biafra and Leonard Graves Phillips.
–Joe Evans III (Whoa Oh)
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ZATOPEKS/COPYRIGHTS, THE:
Handclaps & Bottlecaps: 7”
Two bands offer up two songs each for this 7”, and the catch? They’re all acoustic. Pop punk unplugged. The first song on side A by The Zatopeks was not all that great, and I feared the worst. But the three remaining tracks save the day. The Copyrights do acoustic versions of one song from We Didn’t Come Here to Die and one from Mutiny Pop, and they do it beautifully. I seriously want to burn the originals next to these versions and just listen to them right after another! Out of everything I’ve ever heard from The Zatopeks, their second song -“Turkish Bread Chronicle”- is now my favorite. Wonderful lyrics and flawless execution. Don’t let the acoustic theme scare you away. Aside from the first song this is a split you should probably add to your collection.
–Mr. Z (It’s Alive)
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ZEBRAS / E=MC HAMMER:
Parasitic Clones under the Strong Arm of the Robotic Machine: Split: LP
I imagine Zebras think they’re pretty cute. Reminds me quite a bit of spastic, synth-heavy bands of yore like Red Light Sting and Sick Lipstick and shit like that. They seem to be shooting for the sassy, teased-hair and white-belt audience—an audience that may or may not be still around. I mean, this would’ve been totally appropriate if it’d come out on Dim Mak or Sound Virus in, say, 2002, but culturally, I think this particular genre may have (thankfully) run its course. Unfortunately, they turned out to be head and shoulders above their vinyl partners—E=MC Hammer sounds like a bunch of people with spiritual hard-ons for Ruins and John Zorn and whatnot. As a result, they come across as pretentious as hell and trying way too hard to create something “cerebral” and “challenging”: the lyric sheet shows three songs with different names but the exact same lyrics (not that I was actually able to match up the vocalist’s yowls to any of the printed material), and there’s no real discernable moment where you can tell which “song” ends and the next begins. It pretty much comes across as some dipshit yelling and growling nonsense over some tape loops and guitars, drums and keyboards. It’s pretty sad when the best you’re hoping for out of a record is thirty seconds of musical cohesiveness. Possibly one of the most beautiful pieces of vinyl I’ve ever seen, so it’s a shame that the music itself falls so solidly between okay and shitty.
–Keith Rosson (Secret, myspace.com/secretrecords)
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ZEGOTA:
Message in the Music: CD
I like the way that certain forms of punk are headed. I like how some bands are getting more intelligent lyrically and subject wise while at the same time they expand musically what “punk” is. Zegota is the term for Polish Catholics who helped save Jews in WWII. This CD simply amazes me. The politics might be a bit heavy handed (in the breakneck speeded, brilliant “Bike Song” the lines: “every pedal strikes a blow for freedom, every petal strikes a blow against global decay!” are a bit much, but also very catchy). But you can always choose not to read the rants that accompany each song and merely focus on the music. Lots of layered instrumentals - far, far away from the three chord verse chorus format. “$59.95” is a highlight both lyrically and musically, and invokes a more intense “Sober” by Tool or some of the more intense Fugazi. The intro is the audio equivalent of a sunrise filmed at high speed.
–Rich Mackin (CrimethInc.)
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ZEKE:
Tour 7”: 7”
So, one of these songs is supposed to be a cover. I’m not sure which. Supposedly, it’s the song “Kings and Queens” by Aerosmith…but I looked up the lyrics and they’re totally different. At any rate, I haven’t checked in with Zeke in a long, long, long time. I thought Kicked in the Teeth was the follow up to Blood, Guts and Pussy that the Dwarves should have recorded, and I fucking loved it. The follow up to that record was titled Dirty Sanchez which, at the time, was hilarious but the record itself was a let down. After that, I didn’t bother with anything else. The first track, “Die When You Die,” is the Zeke that I’m accustomed to. Fast, dirty, and a little fucked up. The other two are big, old badass ‘70s rockers with a little touch of stoner rock. I find myself putting on the rockers more than the “classic” Zeke lead-off track. I think I gave up on Zeke way, way, way too soon. If you’re interested, this is supposed to be a tour-only deal, but I think you can find it on a few mail order websites. Oh and Relapse… I’m sure you already noticed but you fucked up the inner labels.
–Guest Contributor (Relapse)
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ZEKE:
Super Sound Racing and Flat Tracker: CD
Picked this up because I’ve always been fond of this band’s high speed, high-octane rock’n’roll and having these two early records seemed like a swell prospect. Anyway, I noticed a little square on the back cover that says, “This CD contains copy-protection technology. Any attempt to copy this product may result in damage to your audio or computer equipment. Relapse Records, Inc. and its licensees and distributors are not liable for any damage that may result from such actions.” Now, in the first place, I had no intention of copying this for anyone, and merely playing it for the purposes of review. Since, however, the label has decided to include a threat implying that it is now in the business of fucking up the stereo equipment of consumers who may decide to rip a copy for their kid or best friend, allow me to counter by saying that a) this will never be played on any audio equipment I own, and b) I will never willingly buy a Relapse release, c) I will actively encourage anyone I know who might be interested in the (mostly) crappy cookie monster metal they peddle to look elsewhere for their musical entertainment, as use of any of their product may potentially cost more than the sticker price. Oh, and since I’ve been warned on the front not to sell this, which again I had no intention of doing since I don’t want bad karma stemming from my willingly selling what could be a damaging product to someone else, and seeing as the release in question has been deemed utterly devoid of any use other than beer-coaster, you will find it, should you want it back, residing at the Whittier Narrow landfill, which is where I believe the trash dudes that serve my area empty their trucks.
–Jimmy Alvarado (Relapse)
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ZEKE:
'Til the Living End: CD
Fuckin’ Zeke—man, is there any band that has as much full-on, balls-out rock chops as these guys? That’s one of the reasons I was soooooo disappointed with their last (or was it the next to last?) studio album Dirty Sanchez, which pretty much blew. For awhile there, this mighty threesome seemed to be on the brink of self-destruction with cancelled shows and announcements of breaking up. It was a very sad day when I logged on to their website only to see the news that they were no more. Thankfully cooler, less strung out minds prevailed and the band reformed shortly thereafter to rock my world with their goofy Ramones cum Motörhead licks. ‘Til the Living End, produced by Jack Endino, is a return to their tried-and-true, high-octane formula. Actually getting through the whole album is mighty hard considering how many times you want to hit the replay button on the first five tracks. The junkies’ lament “Chinatown,” the neo-biker “All Through the Night,” and the opener “All Night Long” all sound like an unholy mix of Lemmy, Fast Eddie Clarke and the Supersuckers (when they still rocked). This is what speed metal should always sound like.
–Eric Rife (Relapse)
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ZELDA’S DEAD:
First Impressions Are Lasting Impressions: CD-R
I can’t say I hate this, because it’s not terrible. It makes me think of those books I see at the library that I can’t imagine anyone enjoying a great deal, but somebody had to like it enough to publish it. The cover is weird and the syntax is off, but the author was enjoying himself, it that’s of any worth.
–Bryan Static (Self-released, no address)
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ZEN GUERILLA:
Shadows on the Sun: CD
Loud, tweaked out blues rock/punk with more than a slight ‘70s feel. If this had been put out eight years ago and garnered the requisite airplay on KNAC, they would’ve been millionaires by now. Still, this could mark the resurgence of that whole grunge thang. I hope they leave the flannels at home this time, ‘cause that shit gets hot to wear in Los Angeles’s summer sun.
–Jimmy Alvarado (Sub Pop)
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ZEN GUERRILLA:
Shadows on the Sun: CD
Like a lengua burrito on a frosty San Francisco morning, this CD is at once soothing and invigorating. Also like that burrito, it can be enjoyed equally with or without intoxication. If Blue Cheer had hired a mongoloid Lou Rawls to sing, and switched from their regular marijuana weed to a variety with more sherm content, they might’ve made this record. Wanda calls em “the white BellRays,” I say, “that’s ridiculous – this guy doesn’t play guitar anything like that guy.” In fact, Rich plies this sort of wig-shaking, Chuck-Berry-on-an-airplane-glue-bender guitartistry that knows few equals, though he knows when to tone it down, as on the laid-back “Evening Sun” (presumably about a newspaper, but don’t ask me; I haven’t understood the words to one Zen Guerrilla song yet). Also slightly off topic is the gospel raveup “Where’s My Halo?” and the trancy loopy “Subway Transmission.” My advice: don’t be alarmed when your assrump commences to some kind of furtive waggling behind your back. Jump up and let it fly!
–Cuss Baxter (Sub Pop)
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ZENI GEVA:
10000 Light Years: CD
Eight earhole-eating extravaganzas from KK and his cacophonous cohorts. Delightfully disjointed drum rhythms ride roughshod 'round grave and gutwrenching guitar goodness and vocal violence. This majestic mayhem meanders maliciously through a miasma of metal monkeyshines, mister.
–Cuss Baxter (Neurot Recordings)
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ZENO TORNADO AND THE BONEY GOOGLE BROTHERS:
Self-titled: CD
The cover describes this as
“dirty dope infected bluegrass hillbilly hobo XXX country music,” and that
pretty much sums things up nicely, although I’d be inclined to add “brilliant”
to the description as well. Imagine Andy Griffith as a doped up porn hound and
you ain’t far off.
–Jimmy Alvarado (www.voodoorhythm.com)
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ZENO TORNADO AND THE BONEY GOOGLE BROTHERS:
Rambling Man: CD
While still firmly rooted in the bluegrass and country/western they explored in prior releases, this one seems a bit more slick and “modern,” for lack of a better word. The problem is that whatever scrappiness they may have had prior is kinda lost here, resulting in something that sounds like a release by one of those bands you see playing the “western” part of an amusement park that sounds pretty good in that context, but sounds like the musical equivalent of Cheez-Whiz anywhere else. And trust me, the lyrics only reinforce that impression.
–Jimmy Alvarado (www.voodoorhythm.com)
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ZERO BOYS:
Vicious Circle: CD
Line up, kids, and start throwing you’re dough this way. Like pop punk? Howzabout hardcore? This, my fine friends, is a re-release of one of the few albums that successfully bridged the divide and simultaneously became a classic in both genres. This came outta the Midwest in 1983 and blew the minds of many a mohawked malcontent and gave more "established" bands like the Dead Kennedys and Black Flag a run for their money. This, from a band who were fast, tighter than you could possibly imagine and still catchy as hell, is also the best record they ever released. This set standards for clarity and performance that few have been able to match let alone surpass. This is one of punk rock’s shining moments as well as a near perfect testament that we weren’t all crazy way back when "straight" people thought hardcore was "just a bunch of mindless noise." P.S.: The six tracks from the Toxic Shock version of the album are not here, but there are two bonus tracks not on that version included here.
–Jimmy Alvarado (Panic Button, PO Box 148010, Chicago, IL 60614-8010)
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ZERO DOWN:
Pound for Pound: CD
The hardcore-style boxing photo on the cover fooled me, like it may end up fooling a lot of people. I think this is what it would sound like if the Stone Temple Pilots and their record company’s marketing department got together and figured out a way of making the band even more bland than they already are. Sorry, but pound for pound, Zero Down is what the practitioners of the sweet science call “a tomato can.”
–Aphid Peewit (Zero Down)
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ZERO LE CRECHE:
Last Year’s Wife—The Collection: CD
A reissue of a wholly
obscure (at least on the Americocentric side of the planet) proto-goth band
that, based on this, shouldn’t be. I guess the liner notes provide ample
explanation, though—while a band with tunes that uncommonly hit the “jeez these
guys are good” mark with great frequency, they only managed an EP or two, one
of which included the supposed goth-dance hit “Last Year’s Wife” before tossing
in the towel. Those tracks are compiled here, along with quite a few demos,
showcasing their ability to plunder the best parts of the Bauhaus and the
Psychedelic Furs and make it all sound fresh and original. While the wisdom of
the endless reissuing of music by everyone who ever stood in front of a mic
will probably be hotly debated for the rest of the planet’s existence, in this
case it’s actually a good thing.
–Jimmy Alvarado (Cherry Red)
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ZERO TOLERANCE TASK FORCE:
Punk Rockery: CD
Bad, bad, bad punk rock from a band that, after thirteen years, has not been able to come up with a single song worth a second listen. Never thought I’d ever hear a band that would make the first Meat Puppets album listenable, and then this came along.
–Jimmy Alvarado (Zero Tolerance Task Force)
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ZERO ZERO:
AM Gold: CD
There's a chap at Razorcake by the name of Todd. He's the fella whom I contact about reviews, interviews, advice, random funny stories, and the occasional personal life rant. Basically, a working pal. He also happens to be the guy who sends me these platters to review. Anyhow, I'm thinking at this point in our friendship, he knows my musical tastes well. He's been on the money so many times. Cut to Act II: Receipt of a CD by the band called Zero Zero. While reading their bio, that beautiful word pops up at me: Farfisa. My brain does a big "woo hoo." Ya see, it's like this... If your band is using a Farfisa organ in your recordings, most likely, you'll forever be in my good graces. Unless, of course, you use it to record this poo. Zero Zero is sometimes techno-ska (?!), sometimes monotonous bleeps and blips pretending to be The Fantastic Plastic Machine. Like a wolf in sheep's clothing - for a mere moment or two you think you might want to pet it and go "Aww, how cute," but seconds later you're running for your life, or in this case, the stop button. Sneaky. I still like Todd, though. -Kat Jetson
–Kat Jetson (Jade Tree, 2310 Kennwynn Rd., Wilmington, DE 19810; jadetree.com)
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ZERO ZERO:
AM Gold: CD
With Zero Zero’s new full length, I was admittedly a little shocked upon my first listen. While making a great departure from some of its members previous bands (Lifetime & Sticks and Stones), it is the degree to which this new band has formed its own unique sound that held my attention. Sonically, comparisons could be drawn to something akin to Stereolab and Tortoise. This recording has an interesting fidelity and feel I would associate with recent long players from mostly instrumentalist bands like Him, Aerial M, and Trans Am. AM Gold is one of the few recent records I’ve heard that successfully optimizes the sounds yielded within the recording limitations of a record tracked in a practice space. Rather than trying for a very “studio sound,” it sounds very live and human. You can hear the spaces between the instruments and the microphones. Zero Zero employ a large palette of effected guitars and several keyboards over drum and bass lines that are often heavily altered and compressed. It is this solid, driving rhythm section that is the most entrancing and rewarding part of AM Gold. A bit too often, the other musical elements can drag on into self-indulgence, especially on the tracks that feature only scant vocals.
–Guest Contributor (Jade Tree)
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ZHENIA GOLOV:
Self-titled: 7” EP
Angry hardcore that sounds heavily influenced by mid-‘80s straight edge stuff (although thankfully devoid of all the metal riffage) and maybe some earlier Midwest hardcore. While they didn’t get my skirt in a bunch, they weren’t terrible, either.
–Jimmy Alvarado (Railroaded)
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ZINC:
Old Mundo Punk: CD
Melodic, female fronted Spanish hardcore with more metal in the guitars than is good for 'em. A tad less Metallica and a tad more Negative Approach in their daily playlist would do wonders, I reckon.
–Jimmy Alvarado (Soulforce)
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ZIP GUNS, THE:
Dirty Pictures: 7”
A zip gun is an improvised firearm. One of the dangerous things about zip guns is they can blow up in your face, which is kinda what happens when you drop the needle on Dirty Pictures. It’s got the energy and raucousness of garage punk but the sound is a helluva lot slicker. Three original songs and a nice cover of the Lurkers “I’m on Heat” all on a limited edition pink splatter vinyl. Nice.
–Jim Ruland (Meaty Beaty)
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ZODIAC KILLERS:
Society’s Offenders: CD
If you’ve heard the Zodiac
Killers before, you know what to expect here. Short, deceptively simple rock
and roll that never fails to draw blood. Apparently, there’s a video on here,
but I couldn’t get my computer to play it. I guess it’s because I’m a loser and
should just drink my life away because I am as dumb as a box of rocks and don’t
really deserve to see it.
–Josh (Rip Off)
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ZODIAC KILLERS:
Have a Blast: CD
Greg Lowery takes the sound he mined with Supercharger and
the Rip Offs, marries it to the velocity of the Infections and lets it fly. The
results are none too shabby, although not quite as memorable as the
aforementioned bands.
–Jimmy Alvarado (Rip Off)
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ZODIAC MINDWARP AND THE LOVE REACTION:
I Am Rock: CD
Yeah, and I am the world’s tallest bacon tree.
–Cuss Baxter (Cosmosodomistic)
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ZOLAR X:
Timeless: CD
Supremely (and not on purpose) goofy LA glam from the late ‘70s, that may be more interesting for the concept than for the Dickies-meet-Ziggy powerpop. Dudes went around with Spock haircuts, shaved-off eyebrows, shiny pantsuits and fake antennae ALL THE TIME. Even when they were not playing. In 1974 LA. Goofballs. Leave it to Jello to revive something this silly for all the universe’s enjoyment.
–Cuss Baxter (Alternative Tentacles)
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ZOLAR X:
X Marks the Spot: CD
I’m going to get serious for a moment, because, if there’s one thing I’ve learned in all my years of being alive or dead, it’s that there are few things more deserving of the serious treatment than a CD cover photo of a bunch of Plutonian Elves staring at me all serious like. According to legend, this band dropped an album a few decades ago, and then disappeared off the face of the Earth. I’ve never heard that album, but I’ve heard this one, and it’s something else. Don’t expect all that woodsy Tolkien elf bullshit and don’t expect any cheesy laser blasts either. These guys refuse to let their space elfishness define them. They play brilliant power pop that is exemplary, regardless of their mythic heritage. Like all good rock, it transports the listener to another place. Just make sure it’s a round trip.– Tarantula Ted (translated by MP Johnson)
–MP Johnson (Alternative Tentacles)
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ZOM ZOMS:
One Brain: CD
Considering the band is named after the place to eat in Gary Numan’s “Down in the Park,” where “you can watch the humans trying to run” from the rape machines, it’s pretty easy to guess what these guys sound like: vaguely Devoesque synth stuff with few pop hooks. This is a really obscure reference, but it sometimes sounds like the soundtrack to Forbidden Planet with a backbeat and lyrics.
–Jimmy Alvarado (Omega Point)
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ZOMBIE APOCALYPSE/SEND MORE PARAMEDICS:
Tales Told by Dead Men: CD
Zombie Apocalypse features members of Shai Hulud. The music they play is a little more straight forward than that band, but still fairly technical. I am sure that fans would love this, but I can't say that I have ever cared much for the style. Send More Paramedics, from the U.K., are a little faster and more punk sounding, but still with the breakdowns and the occasional metal intro and lead. Pretty decent horror metal CD here for people who can't quite go in for the Murderdolls/Rob Zombie thing. Green face paint and lyrics about bloodshed, lap it up if it's yer bag. -Mike Frame
–Guest Contributor (Hell Bent)
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ZOMBIE GHOST TRAIN:
Dealing the Death Card: CD
Too many band names suck. There’s no excuse for it. I bet you can come up with a half dozen good band names right now. All you have to do is put a bunch of cool words together, words like zombie, ghost, and train. How about Death Urine Communist? Maybe Zig Zag Dirty Wang? Anyway, these guys have a cool name, but it’s more horror-themed rockabilly. I love horror, but why is it so frequently combined with a form of music that doesn’t sound particularly horrific? It makes no sense to me. There’s a reason why there are so few science fiction country western songs. It’s because country western doesn’t sound very science fictiony. Now country horror: that would be some cool shit. Maybe if a couple of these horrorbilly bands branched out, they could do something really cool, instead of playing the same old songs over and over.
–MP Johnson (SOS)
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ZOMBIE SHARKS:
Return of the Captain Chainsaw: CD
Russian hardcore/punk owing more than a nod to early-to-mid period Queers. Normally their influence would be tantamount to a scarlet letter, but there’s something strangely endearing about them to make this fun to listen to. Maybe it’s the demo quality of the recording, their stilted English, or even the conviction of their playing, but something is definitely catching, which is more than I can say for most bands these days.
–Jimmy Alvarado (www.zombiesharks.narod.ru))
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ZONIC SHOCKUM:
Here Today...: CD
Lady-fronted dissonant punk rock that won't be pigeonholed. Fast or slow, loud or quiet, stripped-down or sample-enhanced, it's all here, and in just six songs, to boot. Seems like they've matured a lot in the several years since I heard something else by them, and I'm all for it. Never could cozy up to the name Zonic Shockum, though.
–Cuss Baxter (Stain)
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ZOO PARTY:
Re-Fuse: CD
New records featuring work, especially guest work, by old punk luminaries can be dicey propositions. Too often the luminaries in question have long moved past their former punk personas and any attempts to reconnect come off as either trading in their name for a quick payday or a textbook case of what happens when you forget what you were about. This is not the case here. Zoo Party is a Swedish band that delivers rock-solid tunes heavily influenced by the first wave of U.K. punk bands. While the lyrics aren’t exactly Thoreau, the tunes are catchy and well delivered. Best of all, the old punk luminaries guesting here—The Damned’s Brian James and Sex Pistol Glen Matlock— actually add, rather than detract, heft to the proceedings. Gotta say, this is one of the better releases in this style I’ve heard in a while.
–Jimmy Alvarado (Acme)
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ZOOMEN:
Self-Titled: 10"
Sounds like whatever country they’re from’s attempt at the Hives, but with a properly punk attitude of general irreverence (if you’re brave, check out the sleeveless, horizontally-striped, too-short Mickey Mouse t-shirt one of the band members is sporting over his hilariously conspicuous midriff. Now THAT’S comic genius!). Sometimes i pretend they sound like the Damned or Radio Birdman. This record occasionally strikes me as being really fuckin’ good, but, at other times, i can’t help but thinking that, a hundred years from now, when the aliens come down to planet Earth and start sifting thru heaps of our popular culture from the first decade of the 21st Century, they’re gonna spend all of ten seconds going over the punk records, and head straight for the copies of Katamari Damacy. Oh well. Best 10” since the Teenage Knockouts!!! BEST SONG: “Sorry” BEST SONG TITLE: “Piggy Wiggy Dance” FANTASTIC AMAZING TRIVIA FACT: The second time i saw Peter Noone, he kept getting massive laughs by referring to (event sponsor) Piggly Wiggly™ grocery stores as “the Piggy Wiggy!” Oh, that Peter!
–Rev. Norb (Relax-O-Matic Vibrator)
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ZS:
Karate Bump: CDEP
You know that cell phone commercial where the little kid dressed up like a chicken goes, “Honk honk! I’m a goose!”? I don’t know what the Zs are dressed up as, but they go, “Honk! Honk! I’m a pretentious jazzbo and I have just realized a composition based on the natural arhythm of my own farts over the course of one Earth day! Three compositions, actually! Listen to me fart and call me a genius!”
–Cuss Baxter (Planaria)
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ZUUL:
Air RAid: 7"
This band knows exactly what they are going for, from the sound to the packaging. The sleeve looks like some killer private press metal single from the early ‘80s. The sound is standard New Wave of British Heavy Metal that would fit well between Saxon and Tank, or something along those lines. If you’ve got a bunch of Diamond Head and Budgie records, you might wanna check out this band.
–Mike Frame (Planet Metal)
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ZYGOTEENS, THE / THE HUSSY:
Split: 7"
Zygoteens: distorted, crunched, punky power pop. Contains requisite hooks and some wailing guitar solos. The Hussy: male/female duo that cranks out the punky power pop as well, but with more of an arty-dancey-feel to it. All in all, two songs from two gnarly bands that sound good on the record, but probably sound a lot more fun live.
–Daryl Gussin (Big Action)
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