I ADAPT
ANNIHILATION TIME
So the label sent one of those lousy packages without the lyric booklet… just a cardboard sleeve with the cover art and one paragraph hyping the album on the backside. I generally refuse to review these kind of packages. I’m only reviewing it this time to point out the fact that it does the band a disservice in that their work doesn’t get a complete representation. Hell, I can’t even play it in my computer or use it on my MP3 player. Actually, I CAN but I’m taking the fifth on telling you how I did it. In any case, heavy, sorta stoner-ish rock with stentorian vocals from new mouth Kyle Thomas. His gruff pipes tend to overpower things, actually—maybe if they were subsumed in the mix a bit more. Good strong riffage and boogie chops, though—it’s retro without completely having that ambiance. While the more melodic elements detract slightly from the crunch and there are times some cheesiness sets in, it still rocks. That’s all you need to know. (www.relapse.com)
A five minute rock ‘n roll epic on the a-side (“Reality”) and the flip has two older songs originally done with their first vocalist. The rock ‘n roll meet Flag/Bl’ast-ish tendencies remain in place, especially in the guitar riffs and the sound is as fired-up as ever. In fact, these songs are better than just about anything on the band’s second album. The very psychedelic artwork, by Marcello Crescnenzi, is an eye-catching visual complement to this decidedly non-psychedelic band. Unless you’re talking about one bad motherfuckin’ trip. (
Bear Proof Suit have one of my favorite song titles so far in this fairly young year—“Prosecutors Will Be Violated” and it’s not just about the title. Furious punk with a Scandi-core guitar signature on that song.. There’s a convincing aggressiveness throughout, especially for the title track. “Sans Equity” offers a tad more complexity and sneaks in a coda of Blue Oyster Cult’s “Before The Kiss (A Redcap)” at the end. And it takes brass ones to cover the legendary Wipers and the band is up to the task with their version of “Up Front.” (3501 N. Southport,
This cuddly band are back to bash your skull in. Six songs, which will all appear on various splits, except for the Nun Slaughter cover, “Slut Burner” (lovely) that is slotted for a tribute album to that band. Nasty, raw thrash and punk that occasionally hits grind-like levels of velocity. “Same Shit, Different Dress Code” stands out, with its street punk meets rock ‘n roll style. “Won’t Change A Thing” is also in more of a rockin’ vein and it comes as no surprise it’ll be on a split with Antiseen. Definitely not for the weak. (
St. Looie, um,
Vintage Finnish hardcore from the early 80s and this LP discography includes demo tracks, in addition to songs previously released on vinyl. Destrucktions kept to the blueprint of thumping bass and drums, distort-stun guitar and ranty vocals in a higher register. There’s sonic similarities to Disorder but they didn’t push the envelope as far into unhinged territory as a band like Kaaos. Still, this is some primo blitz and very nicely packaged with a gatefold sleeve and liner notes in both English and Finnish written by the band’s guitarist, Poko. (www.hardcoreholocaust.com)
Another addition to the DOA catalog series or whatever you call it. In any case, it’s pretty awesome to have a collection of their rare early EPs in one place. And while the later stuff i.e. most of the recordings after 1983, aren’t quite as choice, they still come up a good track every so often, such as their cover of “Marijuana Motherfucker,” a reworking of a couple of David Peel songs. Still, the attraction are such miscreantic (?) treats as “Disco Sucks,” the first song and introduced with Joey Shithead’s bellowing of the title. If I’d heard this in 1978, I would have had my fist raised in anti-disco solidarity. Ask me about my less-than-enjoyable Senior Prom/Saturday Night Fever torture night, sometime. Some of the band’s best-known songs are here—some of which were re-recorded for “Something Better Change.” That includes “The Prisoner,” “13,” “Woke Up Screaming” and “World War 3.” DOA’s forte was always combining snotty punk energy and an inescapable catchiness. Also, DOA stuck to their punk rock guns during a time when there seemed to be a bit of a lull between the original ’77 era bands and the rise of hardcore. A devil-may-care attitude and punk rock defiance—always a good tandem and it’s good to see Joey (or Joe, these days) hang onto it as he’s hit his 50s. (Cascades
Punk that defies expectations. The first song, “Nacimento,” is a quiet, Zoundz-like instrumental, a deceptive prelude to what follows. Rampaging punk tempered with melody and vocals that are sung, not growled or shouted. In all honesty, that was something of an acquired taste at first, but Christy Chatfield avoids excessive over-emoting. “Neither Here Nor There,” coming in the middle of the album, is a knockout. It begins with the speedy attack and alters the speed to a medium tempo, with Christy’s lead vocal complemented by a backing vocal carrying the melody. There’s definitely a subtle
Strong hardcore punk from
Three former members of Army of Jesus, along with a new vocalist, Alex from Iron Age, among other bands. Good surging hardcore punk, a bit more melodic than AOJ but it’s still not radically different. Also, the tuneful qualities don’t overwhelm things—the aggressiveness is still at the fore. That comes out full-tilt for “Bridge Burner” and “Best Interest.” I hope to see some vinyl in the not-too-distant future. They’re ready. (www.myspace.com/sacredshockatx)
Rippin’ fast hardcore punk. They’ve got it down, with tightness and rage and it blows by without let-up. Standard themes of alienation, confusion, etc. Goddamn, I remember those days. They’re still going on, actually. No complaints, here. (
There isn’t one ounce of originality on this record, Warcry’s second album. Nada. This is a formula. A set method. Basic, crusty hardcore punk with a Dis-inclination, although it’s not really straight D-beat fodder. And, you know what? I fucking love it. Whether fast or at a more moderate pace, all the right buttons are punched. The identities are hidden but Todd Burdette from Tragedy/Deathreat/et al is the vocalist and this is clearly a loving indulgence of the style. Hoarse vocals, shredding guitar riffs and cool bass runs and the latter is a highlight on “One Last Warning.” When this style is played the right way, it’s a joy to hear. (www.feralward.com)
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