Suburban Voice On-Line

You know what’s irritating? When records are pressed in super-limited quantities and, unless you know the secret handshake (to quote the always quotable Aaron Ulcer, late of Straight To Hell, Paindriver and Ulcer) or find out about it the day it’s relased, it’s likely you’ll miss out. A perfect example is the Sex Vid 7” that came out a few months ago. Came and went before I even knew about it and now all I have are MP3s to listen to. Better than nothing, I suppose. If it’s going to be re-pressed, I apologize. At least I have the second 7” on the way. Hopefully…

Seriously, though, if there’s demand for a record, why let it go out of print and end up on eBay a few weeks after it’s been released? I know some people defend this by saying it forces people to search things out, not have it come to them in a passive manner. I call bullshit—it just creates collector elitism. I don’t really care if it’s a first or second pressing—just try to make the damn thing available. Otherwise, what’s the point?

Enough said about that. I’m not going to any shows this weekend but last Saturday, there was a pretty kickass show at the Cambridge Elks with I Object, The Tangled Lines, Out Cold, Minefield, Helping Hand and Sick and Tired. By the end of the night, my head was pounding due to the volume of the bands and the loud DJ’ed music between sets. I was responsible for some of the platter-spinning but, in all seriousness, it doesn’t have to be at an ear-piercing volume. A constant aural bombardment wears thin after 3-4 hours and it’s impossible to carry on a conversation. That’s something I loathe about rock clubs because they think every moment has to be filled with volume. If these shows are meant to be a social gathering as well as a musical one, there should be a lull in the noise for a bit.

I OBJECT

This was a fun time, though. The sets were kept short—in fact, things were ahead of schedule so there was an “intermission” between Minefield and Out Cold. Speaking of the latter, this was one of the best sets I’ve seen from them in awhile. Nary a break between songs—one right into another, a ravaging hardcore punk assault done with clockwork precision. It was one of those sets where they NAILED it. The Tangled Lines played high-energy hardcore, as well, and brought out a spirited response. Luise, their vocalist, put on a Red Sox hat during the set--a sure way to win over the always-parochial Boston audience. OK, maybe not but at least it wasn't a Yankees hat. I've said it before but I Object have really turned into a powerhouse live band in the past few years and Barb loves to get up in people’s faces. There’s a sincerity, here—nothing seems contrived either with the message or presentation. As for the other three bands, I wasn’t too blown away by Helping Hand’s more melodic hardcore but it was serviceable. Sick and Tired ripped out the aggro in much the same way as at the Greyskull basement space not long ago and Minefield’s crusty hardcore is rough around the edges but on the right track.

THE TANGLED LINES

MUSIC REVIEWS

CIDER-They Are The Enemy (Painkiller, LP)
Most of these songs originally came out on a 7” on Painkiller but the band weren’t happy with the sound quality so here it is again on a 12”, along with three decent demo recordings from ’96 and a live song recorded in 2004. A much hotter mix this time. The Clevo nastiness—as mentioned in the review of “Battle of The Worst Bands” compilation, Cider and their compatriots had a chip on their shoulder, to use a cliché. A wanton, fuzzed-out sound with guitar and bass merged into a molten sheet of sound. A combination of breakneck hardcore and taking an oi-ish turn for the live “Thanks For Nothing.”. A phony British accent (“we’re British from Cleveland”) that turn redneck (?!) by the end of the 7” tracks. Quality antisocial punk rock. (8 Burney St., #11, Boston, MA 02120, www.painkillerrecords.com)

COKE BUST-Demo 7” (Headcount, 7” EP)
From DC, with a couple of guys who used to be in Bail Out. Flying the edge flag, going so far to claim that “when I die, there will be an X on my casket.” Giving new meaning to “true ‘til death,” I imagine. Aggressive, fast, in-your-face hardcore punk with the occasional burst of double speed (there’s the usual reservations about that) and some tough breakdowns. Even a metal lead for “No Middle Ground.” There’s definitely an early Revelation Records vibe here and the anger comes through. (www.headcountrecords.com)

GET RAD-Say Fuck No To Rules, Man (Hyperrealist, LP)
This one came out awhile ago but it just got sent to me. The brightly colored cover immediately catches your eye—Get Rad in large letters and a big multi-colored rainbow—which is coming from a broken skull and a bicycle cuts through a road made out of brains. Get Rad offer a similar juxtaposition—in a way, I guess. There’s a positive attitude in many of the songs, along with gang style vocals but also a good amount of anger, both vocally and with some of the sentiments, here. There’s the youthful (aka youth crew) element but without conjuring up the late 80s finger-pointin’ ambiance. It’s hardcore PUNK and they’ve got a sense of humor. In fact, the more I think about it, the tongue seems to be planted firmly into the cheek. In any case, it’s an infectiously upbeat sound and the blink-n-you-miss “Peein’ Red” (to the tune of a certain Minor Threat song you should have no trouble figuring out) is a clever touch. (PO Box 9313, Savannah, GA 31412, www.hyperrealist.com)

MONSTERS-The Worst Of Garage Punk. Vol. 1 (Voodoo Rhythm, dbl. CD)
I didn’t realize this Swiss band had been around since ’86 but that’s the case and here’s a double disc of loose ends—a lot of it live, along with radio performances, demos, out of print vinyl. These guys have always been about keeping it rough—from Beat-Man’s raspy yowl to the garbage-can aural aesthetics on a lot of these songs. In case you weren’t paying attention, the main focus is garage, along with some bluesier and surfier touches. They get crazed and unhinged on some of these songs—a fucked-up sounding “Voodoo Love,” with vocals that sound as though they’re coming through a transistor radio and some backward loop effects for the guitar. In the beginning, there was more of a Childish air at times, such as “Baby I Love You.” A mixed bag, to be sure, and that’s usually been the case with most of the releases I’ve heard from this band. In other words, it’s probably not the best starting point for newcomers to the band, yet there are nuggets scattered over the two discs. (Jurastrasso 15, 3013 Bern, SWITZERLAND, www.voodoorhythm.com)

NOTHINGTON-All In (BYO, CD)
Remember Tsunami Bomb? If not, you should be grateful—they were one of those terrible pop/punk bands that are staples of the Warped Tour. In any case, some of the guys in that band have formed Nothington and, instead of playing pop/punk, they’ve opted for the Social D/heartfelt/heartland kind of approach, with traces of emo/pop/punk still in there. The design matches that songwriterly approach—scribbled words on torn pieces of notebook paper, empty cans, a full ashtray, etc. In any case, I don’t like this band much more than Tsunami Bomb. The gruff, husky vocals aren’t bad at all, but that’s about the only positive I can come up with. (PO Box 67609, LA, CA 90067, www.byorecords.com)

RABIES-Test Your Might (Sorry State, LP)
Snotty west coast skate ‘n destroy punk and picking up where the 7” left off. The production is bright without getting too flashy—it enhances Rabies’ burning properties. Also, there’s no way I would have known that “Plateau” was a Meat Puppets cover if I hadn’t read the credits and Rabies’ version is a high speed dismembering of the Puppets’ laid back acoustic-flavored composition, at least until the end. The other cover is by Magnolia Thunderpussy, an 80s SST Records band and, while I remember the band’s name, I don’t remember the song. It’s another changeup, an oddball ending to this searing album. To steal from Agression (another skate punk band) a bit, these guys have found an effective way to release intense energy. (www.deadmetaphor.com/sorrystate)

TERMINALS-Forget About Never (Dead Beat, CD)
Lo-fi, blown out, organ drenched garage/psych(otic) primitivism. That’s a mouthful, I guess. It begins with a gospel church organ signature but the spirit is aimed at the other place, if you know what I mean. You’d think, with my appreciation for this sort of garage rock noise-mongering, it’d be right up my alley. Sad to say, but it’s just not happening for me. Their cover of the Castaways’ “Liar Liar” is more than just a carbon-copy rendition but, overall, it comes up short. Something is lost, not translating from the sonic whirlwind. The effect is akin to sticking your head into a metal garbage can and having someone smash the side with the cover. In this case, that’s not too pleasant. (PO Box 361392, Cleveland, OH 44136, www.dead-beat-records.com)

VARIOUS-Public Safety (Maximum Rock ‘n Roll, CD)
Not a lot of compilations seem to have much thought put into them these days—there’s the occasional exception. The “Mein Comp” 7” collection a few years ago was killer and the “No Bullshit” 7” comps are off to a fine start, as well. Still, it’s not the heyday when you’d have such classic collections as “This Is Boston Not LA,” “Flex Your Head,” “Someone Got Their Head Kicked In” and the first two MRR comps, “Not So Quiet On The Western Front” and, especially, “Welcome To 1984.” The latter is one of the greatest international anthologies of all time—Raw Power’s “Fuck Authority” completely blew my head off its shoulders. Those comps were an important entry to sample what was going on in the hardcore universe and I imagine that’s the intent here. This is MRR’s first comp since the not-so-great “They Don’t Get Paid” collection in the early 90s and the crew have done a good job here. A worldwide collection of bands that will be familiar to avid hardcore fans but some of the bands aren’t quite as well known. There’s a heavier emphasis on US bands, with half the bands coming from within this country’s borders so maybe it’s not quite as international as it could be. Also, a few of the songs do sound like leftovers. I’ve heard better Observers and Gorilla Angreb songs, for instance. Still, there’s diversity, from the straight-up hardcore of Look Back and Laugh, Direct Control, Limp Wrist, Career Suicide, Strung Up and Regress (an underrated Chicago band with 80s hardcore veterans). Israelis Smartut Kahol Lavan also deserve to be heard by a larger audience. The more tuneful, punkier side of the spectrum is visited by No Hope For The Kids, Smalltown, Pedestrians and Signal Lost (whose song is a little rougher sounding than in the past and that’s a plus). Regulations connect with their patented snotty punk. Youth crew stalwarts The First Step offer a short, energetic song. Aaritila and Sunday Morning Einsteins bring the Scandinavian aggro. Is it perfection? No, but there’s still plenty to recommend here. (PO Box 460760, SF, CA 94146, www.maximumrocknroll.com)

I’m not an expert on record production or recording quality but I know what I like at this point. I especially think about these things when digging out records/CDs from the late 80s. Why was it necessary for those albums to feature such cavernous, echo-laden (for want of a better term) production, especially on the drums? It’s funny—there’s the infamous Judge “Chung King” sessions album that was released in an ultra-limited quantity of 100 copies as Chung King Can Suck It.” It later got issued as part of the Judge discography CD. It’s not that great a recording, in all honesty—the drums sound like shit--but there’s still something appealing to the roughness of the mix. Of course, the production for “Bringin’ It Down” was cavernous and bombastic. It does make “The Storm” sound pretty fuckin’ powerful, though.

For loud music—whether it was hardcore, metal or something in between, that type of mixing was favored during that time period. In the past few months, I noticed those sonic properties with albums by Wrecking Crew, Wargasm and Wrathchild America (and that’s just some W’s!). It also occurred when older material was remixed for reissue—in particular, I’m thinking about the pointless remixes of the first two Articles of Faith EPs for their “Core” reissue in the late 80s (the same mixes were later used for the Alternative Tentacles reissues, as well) and the absolutely horrendous remixes for Discharge’s “Never Again” anthology. There were remixes for the songs on “Hear Hothing See Nothing Say Nothing,” the “Never Again,” “Decontrol” and “State Violence State Control” 7”s. A disgrace. A disgusting defilation and ruination of classic records. Lest people think I’m being hyperbolic, it’s the goddamned truth. When I asked Discharge member Tezz about the remixes, he said, in a disgusted tone, that it was their (now former) vocalist Cal’s idea. Cal should have been brought up on charges of artistic butchery for what he did to those songs. Unfortunately, the remixes for the 7”s also showed up on the double CD anthology, “Decontrol.” However, I do believe that the original mix is available for “Hear Nothing” and it remains one of the best punk albums of all time. Crushing from start to finish and the “State Violence/Doomsday” 7” is also perfection. Hopefully the original mixes of those EPs will be restored because that’s the way they were MEANT to be heard.

These days, there’s also overproduction for hardcore records. It’s not a style of music that needs to be that slickly recorded. It doesn’t have to sound completely lo-fi either although that can also be highly effective. I love the production (or lack of it) on the EPs by Formaldehyde Junkies and Chronic Seizure, for instance. A lot of the records recorded at Will Killingsworth’s Dead Air studios in Western Mass. have a warm, gripping sound without being overproduced. At least there less of that goddamned echo, these days.

MUSIC REVIEWS

COMPLETE WASTE-s/t (demo)
Five song cassette demo (also available on CD-R) from this Minneapolis hardcore band. Another band who fit the loud/fast thrash mode and screaming out the standard themes of alienation. They sometimes double up on the speed and it may not be a good idea for the guitarist to try a solo, as on “Why Do I Bother.” Not bad and it’s got good production, as well. (Cavan Reilly, 14 Oak Grove St., #306, Minneapolis, MN 55403, brian@tchardcorejournal.com)

FUK/CHAOS UK-split (HG Fact, split CD single)
Two songs apiece from UK band Fuk and expatriates Chaos UK and sharing ¾ of the lineups. An intertangled history, too confusing to detail but Mower and Gabba are both longtime Chaos UK people. Moving on to the music (that’s the point, right?) Fuk have a fast, ferocious sound—I know how to turn a phrase, eh? The Chaos UK’s songs are a medley, essentially, starting with a sample saying “you are free to do as we tell you,” a moment of Japanese music and then careeening into a sound closer to speed metal on “All or Nothing,” although “Hearts Of Noize” has some of the early 80s spirit. Blazing fodder from both bands. (http://www.interq.or.jp/japan/hgfact)

JILTED/BEYOND DESCRIPTION-split (Forest, CD)
VARIOUS-The Path To True Independence (Forest, CD)
A two-way split and a four way split. First, Italian band Jilted tear through their three songs with flail and scream and adequate ferocity. Beyond Description hammer away with a veteran band’s skill—aggressive, rampaging hardcore. They show up again on the four way split, along with Asbestos, Totsugeki Sensya and Destruction. The best band here is Totsugeki Sensya—a raw distorted attack that eschews the metal. Beyond Description introduce more of a metallic side on these songs. They have better releases and there’s the bass-pedal distraction but the songs aren’t bad. The tracks on the split with Jilted are better, though. Asbestos follow with an excessive, overwrought song, both in length and vocally. Once again, they have better material elsewhere. Finally, Destruction’s fast ‘n heavy opus is pretty good and it’s a shame they’re limited to one song here. (c/o Hideyuki Okahara, Ceramica 2 #301, 2-1-37 Minami, Kokubunji, Tokyo, JAPAN, okahara@pop02.odn.ne.jp)

LES HATEPINKS-Tête Malade/Sick In The Head (TKO, CD-EP)
Tres malade, tres bon. Vous écouterez ceci ou vous êtes stupide. I think you can probably figure out what I just typed. If not, all you need to know is this is a fuckin’ cool EP. Les Hatepinks put ’77 punk snot and post-punk into a scintillating mélange, uh, mix. Jabbing songs with a hit ‘n run quality and an edgy quirkiness. “Sweep The Shit” adds a little roche de garage to wind things up. Les Hatepinks had two previous albums and 2005’s “Plastic Bag Ambitions” (also on TKO) is worthy of your time, as well. (8941 Atlanta Ave., #505, Huntington Beach, CA 92646, www.tkorecords.com)

MEHKAGO N.T.-s/t (S.O.Y., CD)
Blazing lower-tuned Swedish-style hardcore-meets-metal (at least to my ears), recorded in a no doubt hot/humid summer environment in Florida. So it’s natural they’d sound mighty agitated. The growly/distorted vocals make me thing of Gordo from Ratos De Porao. Five fast-paced, punishing songs with brutalizing breakdowns. (www.mehkagont.com)

MISS 45-s/t (No Talent, CD)
OOO-WE-OOO-OOO… You hear that a lot on this five songer by Miss 45. Trash punk/rock ‘n roll outta Sweden. The guitar licks are occasionally Thundersy but they aren’t that campy looking. The drummer has a beard, for fuck’s sake. In any case, “High Heeled Bitches” may be a tad puerile in the lyric department but it’s catchy. So is the creatively-titled, rockin’ “(Everything’s More Fun) When You’re High.” “Don’t Wanna Be Like That” takes a quieter turn and, at nearly 5 minutes, isn’t nearly as scintillating. Good, if nothing to make you lose your marbles. (www.notalentrec.com)

NIGHTSTICK JUSTICE-s/t (CD-R)
Pure negativity, anger, outrage—and the music matches the attitude. Four songs of full-tilt thrash without a break. The guitar lines have plenty of sizzle-wizzle without being excessive. I mean, there are only so many ways to describe straight-ahead hardcore punk but I’ll say that this demo begs for a vinyl release. (www.myspace.com/nightstickjusticeba)

OUT WITH A BANG-I’m Against It EP (Fashionable Idiots, 7” EP)
Whoaah. I may tend to overuse the term scorching but it fits here. Out With A Bang, from Italy and featuring the snotty vocals of former Grabbies’ mouth Alessandro, play with a devil-may-care ferocity. A middle finger proudly raised as they bash through these short, adrenalin charged blasts, with no breaks between the songs, except when you pause to flip the record over. Garage, hardcore and punk on a collision course, even getting a tad weirder for “Hurt Yourself.” A little better produced than the Grabbies but still rough. A US pressing of their limited-run 12” and with one extra song. Punk fucking rock. (PO Box 580131, Minneapolis, MN 55458, www.fashionableidiots.com)

RAW RADAR WAR

RAW RADAR WAR-s/t (self-released, CD)
If there’s an intersection of ultra-heavy, thick metallized riffage and hardcore thrash, Raw Radar War have found it. If anything, these guys make me think of the Melvins in terms of the crush factor. The vocalist is Jonah Jenkins, formerly of Only Living Witness, Miltown and Milligram and he unleashes the anger in a ripthroat style hadn’t used before. There’s a brevity to the compositions until the band get to punishing epic “Truckloads Of Ammunition.” A sound to open the terrain and swallow you whole. RRW are a loud, chaotic dynamo live and this disc gives you a pretty good indication of that. (http://rawradarwar.com)

SPLITTING HEADACHE

SPLITTING HEADACHE-Night Terrors (Collapse, LP)
To recap, Splitting Headache include people from Tear It Up, Forward To Death, Dead Nation and Full Speed Ahead. I think that covers it. All that matters is what’s on the turntable anyway, right? And this album has been on there quite a bit since I acquired it. As you’d probably imagine, it’s a loud, aggressive hardcore punk sound. Not blindingly fast, either, although they do stick to a quick pace and there are some hot guitar licks. It’s a common, perhaps simplistic thing to point out but when there’s a punk and rock ‘n roll drive to this style, it works well. The lyrics convey alienation, uncertainty, fear and outrage, looking both inward and outward—for instance, the shattered lives of veterans that is the subject of “Another Headstone.” Lest it get completely heavy, their cover of the Big Boys’ “Narrow View” is an inspired choice and conclusion to this solid effort. (collapserecords@gmail.com)

TOTAL ABUSE-s/t (Drug Money, tape)
A 7” is due from this Texas band pretty soon but, in the meantime, here’s an 8 song cassette. The letter says it includes ex-members of the Snobs, who put out a couple of pretty cool 7”s in the early ‘00s (hard to believe I’m using that term now). Raw, basic hopped-up hardcore punk with aggro and adrenalin. Some early Boston HC, DRI and Poison Idea influences—nowhere near that level yet, of course, and, as usual, the double speed doesn’t always work to their advantage. But they definitely get it right on some songs here. (3703 Werner Ave., Austin, TX 78722, www.geocities.com/drugmoneyrecs)

TOTAL CHAOS-17 Years Of Chaos (SOS, CD)
This anthology disc actually covers 13 years of releases, going back to ‘94’s “Pledge Of Defiance” up until the recent “Freedom Kills” plus a few new and unreleased songs. 100% pure punk, in case you didn’t know—mainly in the UK82-inspired vein, although not strictly following that form. There’s the occasional ’77-styled song, as well, such as “Baby I Hate You.” In fact, most of the songs in that vein come from 1996’s “Anthems From The Alleyway,” where they come across with a Rancid vibe and represented a jump from the spottier “Pledge Of Defiance.” The lyrics get right to the point—painting the sentiments in broad strokes so you can’t possibly misunderstand them. The liner notes are way too tiny for me to read but, glancing at them, it tells the band’s story. The band’s spirited punk style is on the guilty pleasure side and 28 songs at once a bit much but a spiky dose from time to time isn’t such a bad thing. (PO Box 3017, Corona, CA 92878, www.sosrecords.us)

So how y’all doing? Three weeks, this time. Well, it’s better than a month between installments, which occurred last time. And it’s MUCH quicker than how quickly I get the print version out. The last one of those was—oh, never mind. Also, to once again assuage everyone’s concerns, YES, I’m still planning on publishing in the print form. It’s a new year, a fresh start and, besides, it’s too fucking cold outside to want to go out and play, baseball doesn’t start for over a month and there’s only one football game left.

As 2006 turned into 2007, it made me realize a couple of things. I first got into punk rock in 1977 and, in 1982, hardcore also became an integral part of my life. It hasn’t loosened its grip on me, ever since. So it’ll be the 30th anniversary of the first time I heard the Sex Pistols, Clash, Damned, Ramones, DMZ, Dead Boys, Real Kids, etc… There will be 25th anniversaries of shows that completely changed my life. Even though I often felt like an outsider in the local hardcore punk scene (at first, anyway), it was where I belonged. It was the perfect place for someone who didn’t connect with the so-called normal world, who felt different, out of step. I felt even less of an affinity with the people involved in the early Boston punk scene, since I started going to shows awhile after it was well-established. Most of the people involved in the late 70s were a few years older than me, anyway, and it was a tad intimidating. Especially because the few friends I had weren’t into punk rock at all and I was too shy to get to know those who were already involved. But it felt like the right thing, musically. It was exciting and pushed the aggression and energy I liked in my rock ‘n roll to what felt like an extreme, at the time. The fact that it annoyed most people I knew was a big plus.

Fortunately, my girlfriend (now wife) Ellen, who had no familiarity with punk before she started dating me in 1979, was willing to accompany me when I ventured into the clubs. I remember that on my 20th birthday in 1980, she took me to see the Neighborhoods at a club called Jonathan Swift’s in Harvard Square. That may have been one of the first shows we saw together—it was the first I’d gone to in quite awhile because, in April of ‘79, they raised the drinking age from 18 to 20 and didn’t grandfather in those who had already been “legal” after turning 18. So that show was a celebration at my regained entry into the local punk rock demimonde—by the way, there was a show on the MIT station WTBS (now WMBR) called the Demimonde that nurtured my punk obsession, starting around March of 1978 and the mix tapes I made from that show still provide the basis for some of my sets on the radio show.

When I think of that Neighborhoods show, I can still see David Minehan jumping around, with a sinister grin, making scissor kicks with his legs, the guitar angled like a weapon—it was overpowering and their single that came out around then, “Prettiest Girl” b/w (backed with, for those who don’t know) “No Place Like Home,” was damned good but didn’t capture their live sound at all. Still, Ellen loves hearing that single and other records from that time because she says it reminds her of when we were first dating. Certain records from that time period have the same effect on me. I just found a video on YouTube of those two songs, performed live for a Boston TV show and that'll give you an idea of what they were like at the time:

That’s what makes this punk rock thing special to me. Even if that wide-eyed feeling of newness is never going to be completely recaptured, there’s still enough that’s going on now to inspire me and fend off that aging process. Well, somewhat!

And now, some of those newer sounds…

CREATURES OF THE GOLDEN DAWN-An Incident At Owl Creek Bridge (Get Hip, CD)
The band’s first album in over a decade and offering up light garage/psych//beat pop—more melodic than raunchy and that neutralizes the desired buzz. The final track, a cover of the Red Crayola’s “Hurricane Fighter Plane” does have a higher energy level and I wish the rest had that much “oomph” to it. Listenable, but with more sting, I have a feeling it could have been killer (PO Box 666, Canonsburg, PA 15317, www.gethip.com)

DEADFALL-Mass Destruction (Six Weeks, CD)
Collecting all the 7”s, comp tracks and a rough-sounding demo track. Bay Area thrash—raw and unadorned, angry, etc. Early DRI is a clear influence —short, fast songs and it might be a tad more effective if they eased up on the ultra-fast speed from time to time. The occasional curve-ball, such as the surf-flavored “What A Bogus.” You get your bile’s worth, here and don’t expect a lot of melody, just fury. (225 Lincoln Ave., Cotati, CA 94931, www.sixweeksrecords.com)

GENERATIONS-Our Times (Mankind, CD-EP)
I hate to say it but this is pretty laughable. That’s what pops into my head while playing 5 song plus an intro CD. An earnest, emotional vocal delivery, gang backups, sweeping riffs, floorpunchin’ breakdowns and this Connecticut band also add a melodic quotient. OK, as simple as the lyrics are, I’ll give ‘em credit for the critique of government policy on “Perdition” but the rest is edge boilerplate. (PO Box 265, Bellflower, CA 90707, www.mankindrecords.com)

GOLDBLADE-Punk Rockers In The Dance Hall (SOS, CD)
Jack of all trades, master of… well, you probably know the rest. If not, this is a wide-ranging collection (a compilation of their previous four albums) incorporating everything from Clash-ized punk to Hellacopters-inspired rawk to soul to reggae to pop. Goldblade play with enthusiasm—punchy production, a certain tunefulness but it doesn’t do a thing for me. It’s more like a revue than punk rock—there’s something cheesy about it and not in a particularly good way. (www.sosrecords.us)

MIDNIGHT RESURRECTOR-Life and Definition (HG Fact, CD)
M-E-T-A-L! The real stuff, man. Well, thrash/power metal and Midnight Resurrector haven’t completely left hardcore behind. “Revert To The Brains” is a sub-minute blast. Kid brays out the vocals in a hoarse cadence—some of the enunciation reminds me of Tom G. Warrior. The axeman, Daisuke Yamaguchi wields an impressive Flying-V. There’s even an acoustic interlude that avoids pretentiousness (not an easy feat). The English lyrics do seem clumsy and it may have made more sense to sing in their native language but, in all honesty, it’s more a way they read than sound. At least he encourages knowledge, chiding people with “Intellect-Phobia.” Maybe they’re inventing their own language. Midnight Resurrector aren’t writing a new musical language but it’s a scorching one, nonetheless. (www.interq.or.jp/hgfact)

PULLING TEETH-Vicious Skin (A389, 10”/Chainsaw Safety, CD)
Vocalist Mike Riley logged time as the vocalist of the Spark and this band is decidedly more metal sounding, while hanging on to some of the hardcore influence. But there’s a Slayer-like charge to “Prepare For The Worst,” especially the opening segment which takes a few notes from “Piece By Piece.” That’s not the only Slayer-esque moment, either. Plenty of adrenlain and the metal is convincing, instead of some lunkheaded chug chug approximation. The 10” comes with a huge fold-out poster that replicates the cover art. (A389: PO Box 12058, Baltimore, MD 21281, www.a389records.com/Chainsaw Safety: PO Box 260318, Bellerose, NY 11426, www.chainsawsafetyrecords.com)

SHORT FUSE

SHORT FUSE-s/t (Assault/Underestimated, LP)
This album’s been out for awhile but I just got a copy and it’s been on the ‘ol turntable quite a bit since then. Short Fuse are from Germany but have a decidedly US hardcore approach. The sharp, back-to-basics sound with a clean, slashing guitar tone and agitated vocals. And while the sound is familiar, sometimes a chaotic element is added to a guitar or bass riff. “Confused,” for instance, has a bumblebee bass line that instantly brings Void’s “Explode” to mind. I’m going to stop overanalyzing now. Confrontational music, confrontational lyrics—for one thing, they’re not fans of Turbojugend (Turbonegro)…and they don’t hold back. (1349 N. Bell, Chicago, IL 60622, underestimatedrecords@gmail.com)

SICK ON THE BUS-Go To Hell (SOS, CD)
You know, Sick On The Bus need a little less subtlety in their lyrics. I mean, there’s a poetic quality to the opening line “So Jesus is coming to save me, well he can suck my cock.” Abstract words from a sensitive muse. You can stop laughing now. Punk/thrash/metal crossin’ over and back from this grizzled unit. The album was originally released in 2002 and catches SOTB in high energy mode. A whole lotta GBH and Broken Bones in the sound—especially the warped wit of the former. It won’t make you forget either band, though. (www.sosrecords.us)

TERMINAL YOUTH-s/t (To Live A Lie/DeRok/Give Praise, LP)
With their first album, Terminal Youth have taken it up a notch. Hammering thrash and grind/powerviolence moves that don’t overwhelm things. Tight playing, easily able to navigate the tempo transitions and the addition of a second guitarist adds to the band’s overpowering qualities, as well. Elements of early Dropdead, Crossed Out, while the songs that close each side of the LP have more of an anthemic, mid-paced style that bring 9 Shocks Terror to mind. Will Killingsworth’s recording is full-sounding without being too slick. Terminal Youth have evolved into a raging band. (www.terminalyouth.tk)

TERMINAL YOUTH

VIOLENT ARREST-s/t (Deranged, LP)
When I first played this record on my radio show, I said the members of Violent Arrest were grizzled UK veterans and that’s an apt description. I could list some of the pedigrees here—Excrement Of War, Heresy, Ripcord—three quarters of the band, here—and a couple of ‘em were in Dumbstruck a few years back. As you’d guess, these guys play it loud and fast but there’s an inherent tunefulness—well, in a hardcore punk framework. Work with me here. They’re not completely reliant on speed, either—“Cannon Fodder” pounds away at a more measured pace. “Leavin’ With Fuck All,” meantime, has more of a DisScandiThrash (© Quint, 2007) feel. I’m around the same age as these guys (maybe a little older) and it’s always good to see that, for some, the urge to rage, the need to have an outlet to exorcise life’s frustrations, irritations and disappointments doesn’t end when you hit 25 or 30. People who scoff at those sentiments are invited to go fuck themselves. Good job by these chaps. (www.derangedrecords.com)