Suburban Voice blog #144--The Best of 2020... and more...

COLD MEAT 

I won't be the only person lamenting how absolutely fucking awful this year was... and I'm done apologizing for my habitual lateness in uploading these things. I got to a grand total of five shows this year, so it makes little sense to post a best live list, although I enjoyed sets from Touch Heads (RIP), PCP and the Knives, Gel (from NJ) and Urin (from Sweden). Two shows at the Banshee Den, two at Last House and one at the Hong Kong. I just hope all of those spaces are able to survive a hiatus that is likely going to last well into 2021. 

Anyway, one positive is Sonic Overload has been thriving and my listenership increased. I'd imagine people having more time to check out webcasts and podcasts doesn't hurt. And there was a steady stream of enjoyable releases. Big thanks/appreciation for the people who still fill my mailbox with the tunes, especially Beach Impediment, Feel It, Ryvvolte, Dirt Cult, Atomic Action and Big Neck... and many others. 

So here's my top ten of the year, plus another bunch of reviews. Since I only did two blogs this year, previously-used reviews for the top ten will be condensed a bit. Happy holidays... here's hoping that 2021 will be at least a little better. 

A side note--I used a few photos I didn't take in this blog. I've tried to contact some of the original photographer and I've given proper credit. If it's really a problem, I'll take them down. 

1. COLD MEAT-Hot and Flustered (Static Shock/Helta Skelta, LP)_
Punk rock in 2020? I still love it, especially bands like Cold Meat. They dispense with the bullshit and, even with the nods to the past, it sounds fresh and exciting. I'm not going to call this riot grrrrl, because that's lazy, but it does have that feel. But Cold Meat distill everything to its essence--sharp, ear-grabbing songs with driving power. I'll even give them a pass on the ZZ Top diss ("ZZ Top Hat"), although it's probably facetious. (staticshockrecords.bandcamp.com/heltaskeltarecords.bandcamp.com)

2. SPECIAL INTEREST-The Passion Of (Thrilling Living, LP)

Passionate, indeed... and darkly sexual and sensuous in the lyrical department. Not exactly love songs but dealing with desire and longing. There's also a desire and longing to create a better, more meaningful life away from any sort of rigid social constructs. Sonically, it's a melange of industrialized post-punk. I don't go on dancefloors--hell, I CAN'T go on a dancefloor right now--but the irresistible beats of "Don't Kiss Me In Public" and "Head" would probably get me out there. They take things in a more abrasive direction with "Disco III" and "With Love." Special Interest create quite a heady racket with guitar, bass and synth/effects harnessed to a rhythm machine. Alli's vocals range from agitated to vulnerable to semi-sung for the more accessible, 80s-tinged "Street Pulse Beat." Not sticking to one formula, but creating an identifiable sound that's all their own. (thrillingliving.com)

  

3. DAYDREAM-Mystic Operative (Dirt Cult, LP)

Covers can be deceiving. On first view, one would think it's going to be some sort of blissful psychedelic excursion but that's hardly the case. It's definitely a head-messing excursion, from the opening guitar static/squiggle/noise and drum rattle of "Prophet Of Peace." A collision of hardcore/punk energy with something more damaged sounding. "Baptized & Blessed" really kicks up a storm. If I was going to pinpoint it a bit, it sounds like a hybrid of Uranium Club, Institute and a keyboard-free Hank Wood & The Hammerheads. Dense, volume-drenched scorch. Psycho-delic maybe? That works. (dirtcultrecords.com)

4. ISS-Too Punk For Heavy Metal (Total Punk, 7")/Spikes (demo)

How can you not love a song that's critical about the label that puts it out? That's what ISS do on the title track, mixing scratchy guitar with the bass line from DKs "I Am The Owl." The flip," A MSG 2 U" and "Hittrack" are basically one song and they pilfer Rudimentary Peni's "Nothing But A Nightmare." ISS have also released a brand new five song demo "Spikes," that comes packaged in a box with spikes protruding from it. I can't identify too many samples, except a Pere Ubu one on the title track and it's very subtle. And the sax bleat on "Cellmates" sounds familiar, too. There's a COVID theme with the title track and "Facemasks." Sonically, it's a stylistic mix from post-punk to dance-wave (yes, I just made that up) to pure thrash frenzy, perfectly-executed, as always. You can find the whole thing on YouTube, while waiting for Sorry State to restock. (totalpunkrecords.com/sorrystaterecords.com)

 

5. SIAL-Tari Pemusnah Kuasa (La Vida Es Un Mus, LP)

Another electrifying album by this Singapore band. A razor-sharp attack but there's also a rhythmic emphasis here, starting the tribal fade in for "Abintar." The drumming is the prime element, powering the seamless attack perfectly. There's even a 20 second drum solo for the title track. Side one has no gaps between songs, just a relentless barrage. A mix of tempos, particularly on side two, but all of it is pure blitz. And Siti's echo-laden vocals effectively pierce the band's formidable tumult.  (lavidaesunmus.com)

 

6. SMUT-First Kiss (Iron Lung, LP)

Rip roarin' punk with snotty vocals, blasts of speed and floor-stomping, head-banging mania. Vocals remind of Jimmy Rose from Eel/Annihilation Time, etc... and it packs a somewhat similar buzz, although switch out the Japanese noise influences for more of a US hardcore tilt. Not a whole lotta subtlety in the lyrics, either. Unlucky in love, unlucky in life, and raising a huge middle finger to all of it. (ironlungrecords.bigcartel.com)

7. LAFFING GAS-It's A Beautiful Day In The Gulch (Beach Impediment, LP)

No bullshit, no nonsense hardcore punk from these Hoosiers. The cover art mimics the old Copenhagen hardcore band Asbest. That band came out of the same scene as Amdi Petersens Arme and Laffing Gas are somewhat reminiscent of them. Fast 'n bruising, slowing it down on occasion, as with "Dunce." And these guys can play really well, with an instrumental finesse. (beachimpedimentrecords.bigcartel.com)

8. LITHICS-Tower of Age (Trouble In Mind, LP)

Super-tight post-punk, once again. Guitar and bass lines intertwined into an irresistible combination, along with multi-dimensional drumming and detached vocals. Arrangements have a fair amount of sparseness but then there's a sudden jolt, as with "Hands," that also has one hell of a hook mixed into the slide guitar-laced atonality. Touchpoints? The usual suspects--Leeds ca. '79, Bush Tetras and Pylon but it's not slavish recreation. (troublemindrecords.com)

 

9. BRANDY-The Gift of Repetition (Total Punk, LP)

Apt title, since Brandy's songs have numbing, repetitive arrangements. Fuzzy, dense guitar and driving rhythms, with tambourine being part of the latter and it's a scintillating blending of punk, garage and post-punk. They have a song called "I'm Shipping Up To Boston" which sounds nothing like a certain band... not even a bagpipe. "Christmas Colors," soon to be a holiday perennial, has a jabbing, eerie synthesizer and a colder ambiance. "Clown Pain," previously released as a single and re-recorded here, ends with a spacy interlude. Sometimes expansive but never far from its irresistible stomp. (totalpunkrecords.com)

10. GUMMING-Overripe (Vinyl Conflict, LP)

Abaraso post-punk by this Richmond band, their third release but first on vinyl. Emilie's vocals are flat out nasty. Scathing, sarcastic and taunting, done in a near-growl and the music is equally scathing. A twisted mesh of repetitive drums, bass and guitar lines creating sonic havoc. "Husk" and "Good Boy" are particularly assaultive, the latter with the lyrical line "double dare 'ya," which a certain '90s era rioutous band used, and it comes from that muse, upping the ante. (vinylconflict.storeenvy.com)

... BUT WAIT... THERE'S MORE!!!

KOHTI TUHOA (via Bandcamp)

BITTER BRANCHES-This May Hurt A Bit (Atomic Action, LP)

New-ish band with Tim Singer (Deadguy/Kiss It Goodbye) and it's the heavy stuff... but not heavy as in plodding or dense. Bitter Branches' songs breathe and swing, powered by a versatile, dynamic rhythm section, topped off with snaky guitar lines and howling vocals. Obvious touchstones are Shellac, crossed with Jesus Lizard and Tar--in other words, the AmRep/Touch and Go nexus. A variety of lyrical themes, from the domestic abuse ruminations on "Bad Cold" to "Party Mode," which discusses the extreme political divide in this country, without naming names but it's pretty obvious who it's aimed not. Not a certain resident in DC but his frothing followers. A cogent expression of rage as we enter the third decade of the 21st century. (atomicactionrecords.com)

BRUNSTEN-1500 (self-released)

As with Bitter Branches, this Danish band are bringing back the sound of the early 90s... loud and moody, flowing through heavy crush and somber elements. It's not a monolithic sound, but a variety of guitar tones underpinned by a solid, dexterous rhythmic base. Some slow-cookers, like "If Only I Could See What You See In Me" and "6's & 7's" bristle with intensity. They unleash the fury with the more-succinct "If It Ain't Broke" and "Low Resolution." The cover of Big Black's "L Dopa" is perfectly executed. Quite an impressive debut. Digital-only release on Bandcamp (brunsten.bandcamp.com)

DAME-s/t (Beach Impediment, LP)

Debut 12" by this Boston synth/coldwave band who, in actuality, aren't cold-sounding at all. Dame bring a peppy, punk edge to their songs, eschewing any sort of austerity in their sound for something livelier-sounding. Diana's vocals are warmly expressive. Guitar shimmers and slashes, synth adds color and all of it is powered by a potent bass/drums combination. Accompanied by a striking, fold out lyric poster with artwork by their guitarist Anna Cataldo. Sense-enveloping. (beachimpedimentrecords.bigcartel.com)

DEVIL'S DEN-Barbed New Religion (Atomic Action, LP)

Merciless hardcore blaze. The people from this band also play in Blindside USA but this is a slightly different animal. They swap a more metallic hardcore style for pure fast 'n ugly rage, although they also add some breakdown stomps. Cavernous production, reverb on the harsh vocals and a ravenous sound looking towards both Japan and Scandinavia. (atomicactionrecords.com)

ERA BLEAK-s/t (Dirt Cult, LP)

Good blend of driving punk punch and post-punk sting along with piercing, clarion-call vocals hovering over all of it. Straightforward expressions of paranoia, confusion and disillusionment, while struggling with life's choices and directions. It doesn't sound dour, though.  I hear a bit of The Vicious and The Estranged, although they're just as likely to rip things up a bit more. That's the case for closing track "Night Of The Curse" and "Tinderbox." (dirtcultrecords.com)

EXECUTORS/MALE PATTERNS-split (Shock To The System, 7")

Two mean-sounding bands. Executors bash out a combo of metal, punk and oi on their two songs, with some maniacal laughter during "Leave Me Alone" and bootboy chorus for "Days Of Desperation" (originally by NJ band No Parole). Male Patterns return with three bare-knuckled hardcore bruisers  and Brendan's vocals are even rougher than in the past. Not a whole lot of subtlety from either band and that's the way they probably like it. (shocktothesystem.storenvy.com)

FRIED E/M-Modern World (Lumpy, LP)

Another St. Looie combo on Lumpy and their drummer is Lumpy Records chief Martin. Snarly, snotty hardcore punk that exudes a don't-give-a-fuck spirit. Sputtering, scorching leads and on-target pulverizing drumming and bass-playing to go along with the ranty vocals. They have a song called "Capitalist Eyes" and there's a photo of their vocalist wearing a Germs shirt. It has a bit of that vibe but not as nihilistic. And, with all the venom, the songs are nearly catchy. Well, sort of. (lumpyrecords.com)

GELD-Beyond The Floor (Iron Lung, LP)

Geld's latest provides a rampage of thrash burn and also slowing it down for heavier, twisted elements to create ominous hellscapes. Raspy, nasty vocals lurking beneath the din of wrecking machine drums, bass rumble and a lethal arsenal of powerchords and ominous tones. The last two tracks, stretching out to 8 minutes, have them plumbing the darker regions but, most of the way, it's a blistering speed assault. Pure relentlessness. (ironlungrecords.bigcartel.com)

GËNØME-Young, Beautiful & Free (Ryvvolte, LP)

Not exactly beautiful sounds, and you could probably figure that out from the cover, with the skull with the eyes bulging out. This is raw punk attack from Sweden that draws on that country's legacy, but it's uglier and nastier. I hear a bit of Hellbound in there. The blistering bass and battering-ram drums that start "Out Of Order" are pure savagery. The whole thing is. A non-stop roar. (ryvvolterecords.storenvy.com

IRREAL-2020 (La Vida Es Un Mus, 7")

Five new tracks, three of 'em fast, two more mid-tempo and they've got it down at this point. If I was going to use any touchstone, it might be a Finnish band like Kaaos, but without the reverb or loopy vocals. Big riffs, catchy bits here and there (especially for "Inutil") and done with a fired-up spirit,. Well-tread territory but well-done, with power to spare. (lavidaesunmus.com) 

KOHTI TUHOA-Ela Toduudesta (La Vida Es Un Mus, 7")

On the English translation for the song "Humanity Obligates," the lyrics conclude with "The ghosts of the 1930s are not ghosts anymore/they're real monsters and they want tyranny." Ain't THAT the truth I'm not sure if raging against tyranny through hardcore punk will change anything but Finnish band Kohti Tuhoa at least provide some sort of catharsis. Coming on full-throttle, as always, but the standout mid-tempo title track is a formidable floor-rattler. "Vesi Virtaa" features sputtering guitar lines accompanying their thrash attack. (lavidaesunmus.com)

LONG KNIFE

LONG KNIFE-Night Of The Hunter (Beach Impediment, 7")

A good 'ol fashioned two song 7"--or 45, as we called them in ye old days. As usual, it owes more than a small debt to Poison Idea, especially Colin's vocals. "Night Of The Hunter" is a furious, fired-up rocker while the flip, "Rough Live," picks up the pace a bit. Maybe a tad more polished sounding than in the past but the edge is still there. (beachimpedimentrecords.bigcartel.com)

M.A.Z.E.-Tour Tape 2020 (demo)

M.A.Z.E.'s 12" last year was a bit of a disappointment but their lower-fidelity demo recordings are remain a treat. Yeah, they're cute-sounding but there's plenty of post-punk angularity and abrasiveness and "Typical Credit" is pure straight-ahead punk. As always, it's hard not to be completely charmed by this band. (m-a-z-e.bandcamp.com)

MOTH-Machine Nation (Polaks, 7")/Modern Madness (demo)

Two releases from this Melbourne project masterminded by an individual named Darcy Berry. The 7" came out about a month before the demo and each has four songs operating in similar vein. Synth lines and effects weaved through a tense, driving post-punk gnarl. "Work" is kind of an outlier, with a lower-fidelity, mechanized effect. A band I stumbled across when checking out some Bandcamp pages and I'm glad I did. (mothtom.bandcamp.com)

NAG-Dead Deer (Die Slaughterhaus, LP)

This Atlanta band have been kicking around since 2016 or so, releasing a handful of 7"s and demos, and now here's their first full-length. Punk and post-punk jab, coming across like a less-robotic A-Frames, at times. More human-sounding, in other words. The songs build on repetitive and dynamic bass/drums rhythms, with various guitar textures layered over it. The first 40 or so seconds of "Linoleum Gare" offer bashing hardcore before sliding into some stinging guitar/bass interplay. They occasionally sound more mechanized, as with "Paper" and "Uninformed Argument" but Nag's songs are mainly living, breathing and loud. Music honed by years of experience in various bands that had a nervy edge and you get that here. (PO Box 160168, Atlanta, GA 30316, dieslaughterhausrecords.com)

RAD (photo: Matt Silver)

RAD/CROSS CLASS-split (Sacramento, LP)

Posthumous material by each band. Craig, who played drums in both told me that there were originally supposed to be 7" releases by each. So they ended up combining them into a 12" and both Rad and Cross Class hammer through their songs with relentless verve. On Rad's side, after an ominous instrumental, Return Of The Thrash Revival, they blaze through another 10 songs in under five minutes in hyper fashion and there are some cheeky old-school nods with the titles--"Ready To Fight: The Expansion" and "The Kids Will Have Their State." Thrash, although "No Fun, No Rules" slows it to an anthemic pound. Thing is, even with the frenetic tempo, the playing is incredibly tight and there are some sick guitar licks. Cross Class, meanwhile, rely more on brute force, with a thicker, heavier sounding attack and bellicose vocals. A definite Infest vibe, at times, navigating through ten of their own songs with skillful, decimating aplomb. (sacramentorecords.com)

SCIENCE MAN-II (Big Neck, LP)/Match Game (Swimming Faith, 7")/The Gift (Swimming Faith, flexi)

SCIENCE MAN/NERVOUS TICK-The Covid Collaborations Vol. 1 (Swimming Faith)

It's been a busy year for the Science Man John Toohill. Two new vinyl slabs, plus a flexi and a demo collaboration with Nervous Tick and the Zipper Lips. No matter the format, it's always a spirited, frantic and frenetic concoction. A scorching sort of minimalism generated by an incessant drum machine and a fusillade of drill-press guitar buzz and sick licks. Yet, with these tools, there's not a lack of variety. The second full-length comes on full tilt, but wraps up with an ambient piece. The flexi. one song called "The Gift," came with the LP. It's a rant laying out the path to world destruction. The 7", "Match Game," starts with three thirty-three second blasts and has a darker, more sinister ambiance to it. Rougher and nastier. The split with Nervous Tick (John's Radiation Risks bandmate Biff) has one original by each, one cover of the other artist and a joint collaboration on the other two songs. Science Man's "The Mask" is a slow 'n sturdy stomper. Getting back to that world destruction thing, I don't know if that's going to happen but I'd say the path to sonic destruction--or at least deconstruction--is underway here. (bigneckrecords.com/swimmingfaithrecords.com)

SEIZED UP-Brace Yourself (Pirates Press, LP)

The members of Seized Up are grizzled west coast hardcore and punk vets, starting off with vocalist Clifford Dinsmore, from Bl'ast. He teams up with people who have played in such bands as Good Riddance, Distillers, Nerve Agents and many others.  Bl'ast's sound used to be tension and release. Here, it's pretty much all release from the get-go. Big beefy riffs and it's a mix of speed and brute force. They mix in some sonic decay--sputtering, darker guitar shadings but this is pretty much pure powerchords, with the musical dexterity to pull it all off. Check out the bass/guitar interplay on the closer, "Shadow Panther." A cogent, succinct expression of vitriol, both musically and lyrically. A whole lotta rage here. I mean, how can there not be? Its 2020, motherfuckers.  (piratespressrecords.com)

SWEEPING PROMISES-Hunger For A Way Out (Feel It, LP)

I had no idea Sweeping Promises are from Boston, but it's been kind of tough to get out and see bands live this year (as in impossible), so there's a good reason they've been under my radar. Catchy post-punk with a late 70s UK bent, with spacious, supple instrumentation and breathy vocals that have a nearly rhythmic cadence to them. The title track is one of the biggest earworms of the year. Vibrant, throbbing bass lines and repetitive drum signatures set up many of these songs, along with a near-surfy guitar tone and bloopy synth from time to time. The production is on the lower fidelity end of the spectrum and that adds to its charm. Definitely a nostalgic, somewhat sepia-tinted flavor to this one, and that's meant as a compliment. (feelitrecordshop.com)

TMA-What's For Dinner?/Beach Party 2000/Just Desserts (Left For Dead, 2xLP/7")

Elaborate package for this NJ band's two albums, released in 1984 and 1987, respectively, plus a bonus 7" of early material (which is also available separately, on colored vinyl). The covers have been revised and it's housed inside a larger sleeve. And the remastering job is top-notch. While both albums are high-energy affairs, each has its own feel. "What's For Dinner?," done with vocalist Dave Oldfield, is filled with kick-ass hardcore punk gems, while also showing a good amount of musical skill, especially some of the guitar leads. There's an abundance of NJ punk wise-assery, with a similar wit as fellow Jersey-ites Adrenalin OD or Detention. "Nancy," a love ode to the "Just Say No" first lady, has shown up on a few different compilations. "Beach Party 2000" was done as a three-piece, with guitarist Mike Demko taking over vocals and there's a decided shift in sound. More melodic, with different guitar shadings and textures that look west--both for the surfy touches, as well as some songs that have a TSOL feel. There are some knockout hooks, especially on "You Can Try." There's plenty of punk drive but I suppose you could say there was a "maturation." of sorts. Finally, the 7" offers up six songs recorded in 1983, in a straight-forward hardcore vein. Once again, the playing is sharp and adept, especially for "Cylenol." A somewhat obscure band who are hopefully obscure no more. (leftfordeadrecords.com)

TORTÜR-Never Ending Grief (Ryvvolte, LP)
Never-ending ear torture by this LA band plying nasty d-beat punk. And that’s meant in a positive way. Ten songs each hovering around the minute-long mark and it’s relentless. Razor-sharp guitar flail, pummeling drums and bass and glass-gargling-while-suffering-from-stomach-distress vocals. They’ve earned their Raw Punk (©) merit badges, for sure. (ryvvolterecords.storenvy.com)

UNITED MUTATION-Dark Self Image (Radio Raheem, LP)

As is the case with all of the Radio Raheem archival releases, this is a great one, both from a visual and, of course, musical standpoint. United Mutation were always kind of an outlier in the DC hardcore scene. Part of that was due to the fact that they weren't from the city and also never gave a damn what anyone thought of them. They also had a number of weirdo musical influences mixed into their razor-sharp hardcore attack. The guitar solos definitely come from a different sonic realm. And Mike Brown's vocals sound like they emerged from a murky, muck-filled pit, a low, nearly subhuman growl. The songs come from their 1982 and 1983 sessions. Tracks that ended up on their first 7' and the "Mixed Nuts Don't Crack" compilation, plus a handful of unreleased songs. The earlier tracks  have a ramshackle, unhinged quality that were better honed by the time they got to the session that yielded the "Fugitive Family" EP.  It doesn't include their second EP "Rainbow Person," which showed them expanding beyond the hardcore universe ("Sensations Fix" is one of their best songs and worth tracking down). It comes with an elaborate 24 page 12x12 booklet filled tons of photos, flyers, as well as background information. Essential. (deathwishinc.com/collections/radio-raheem)

WEREWOLF JONES-Premium (Big Neck, LP)

Grunge in 2020? Sort of. Perhaps grungy is a more apt description. Dark, dirty and murky rock, powered by fuzzy guitar and getting pretty nasty at times. The fiery "Jobless" and "Running Digital" hammer hard. "I Got It All" is more of a mind-messing hellride. Lots of volume and raspy vocals. Werewolf Jones are from Detroit and it has the requisite trigger-finger, raucous attitude. (bigneckrecords.com)