SAVAGEHEADS
Hey, it's your long-lost punk rock scribe. Yeah, it's been a long, up and town, tumultuous year and it's caused me to neglect this blog. Things are more or less on the upswing. I've been to a number of great shows in the last few months and seem to have partially snapped out of my chronic writer's block.
I'm doing the top ten thing a bit differently this year. I'm putting them in alphabetical order. There really wasn't one stand-out album for me. It depends on the day but the ten selections probably got played more than anything else. I also know they're all 12"s. I do have some 7"s and demos reviewed below and give all formats airplay on my radio show. I hope to not be missing in action as much in 2023 as I was in 2022. And while you're waiting for your SV fix, you can always listen to my radio show Sonic Overload and check out my Instagram page.
Oh yeah, this fall was the 40th anniversary of the first issue of Suburban Punk. Rest assured, it won't slip by without me doing something to commemorate it but it won't be until sometime in 2023. I really am working on something.
In memory of Pat Lynch (1970-2021), Jim Coffman (1960-2022), Chris Corkum (1963-2022) and Marc Tobio (1966-2022)
THE TOP TEN
CRISIS
MAN-Asleep In America (Erste Theke Tonträger, 12”)
Crisis
Man’s first album is a punk rock State Of The Union address. “Woke” has become
the epithet-du-jour in the past few years. So I imagine all those
self-described anti-woke twits think that any sort of progress, education or
just plain common decency and compassion are to be scorned. Well, fuck ‘em.
Vocalist Ross Farrar (who also sings in Ceremony) barks and spits out the
vocals in a snarly, snotty cadence. Punchy, thorny and energetic punk in sharp,
concise bursts that manages to avoid any sort of rote execution. Thumping
bass/drums, along with stinging, jabbing guitar lines. Crisis Man remind me of
the Bill Bondsmen somewhat (another band you should check out). The anti-woke
types will hate this album. All the more reason to listen to it. US
pressing on Digital Regress.
daddy’s boy-GREAT NEWS! (Drunken
Sailor, 12”)
The band’s name is in lower-case letters and the album
title is in caps, so I want to make sure I get it right. This Chicago band sure
as hell get it right. Churning, rhythmic and explosive right from the start,
with the pounding drumming that introduces “work won’t love you back.” That’s
the dominant instrument, sharing space with rumbling bass and thorny,
sputtering guitar lines. As for that song, it’s so fucking relatable,
especially the line “we’re a family here and you wouldn’t want to disappoint
your family, would you?” I heard that shit enough times in my younger,
post-collegiate years. Music scribe Jes Skolnik is the vocalist and they have
a sung/spoke style. A sardonic, sarcastic critique of modern day problems
(although some are timeless). “brb fetching the guillotine” could be a
modern-day “Let’s Lynch the Landlord” and “superspreader” is about Covidiots.
To borrow an album name from another Chicago band, it’s a real hammer party.
FLASH-s/t
(La Vida Es Un Mus, LP)
This
isn’t the prog unit from the 1970s, but a newer band from the Basque region.
Minimalist, sometimes new wavish punk that wouldn’t be out of place on the
Lumpy label, although it has a warmer, sometimes poppier flavor to it
(particularly on the last two songs). In other words, it sounds like human
beings making it and not some cyborg. Jittery and jumpy, with raspy vocals,
buzzing guitar, synth washes and blips, but the latter isn’t a dominant factor.
If it’s a case of man vs/or machine here, it’s man harnessing machine into some
seriously rocking permutations.
IRREAL-Era
Electrónica (La Vida Es Un Mus, 12”)
Rampaging punk from Spain, Irreal’s first 12” since 2019. Capable of pummeling overdrive but they also sneak in the occasional hook, as on the chorus of the mid-tempo “Carn Pell Sang.” A tiny bit of echo on the vocals but it’s not crusty noisemongering, finding a comfortable (if this music could ever be comfortable) nexus connecting Discharge, Swedish mangel and some of Kaaos’ wanton fervor. An abundance of slashing guitar and unrelenting bass/drums.
Rampaging punk from Spain, Irreal’s first 12” since 2019. Capable of pummeling overdrive but they also sneak in the occasional hook, as on the chorus of the mid-tempo “Carn Pell Sang.” A tiny bit of echo on the vocals but it’s not crusty noisemongering, finding a comfortable (if this music could ever be comfortable) nexus connecting Discharge, Swedish mangel and some of Kaaos’ wanton fervor. An abundance of slashing guitar and unrelenting bass/drums.
JUDY
AND THE JERKS-Music To Go Nuts (Thrilling Living, 12”)
Judy (whose real name is Julie) and her Jerks keep cranking out one fun record after another. With song titles like “Dog” (with a first-animal narrative) and “I Lost My Feet,” one might think this a lighthearted band but that’s not completely true. On the back cover, it says “living in society has filled me anxiety.” Their hometown of Hattiesburg, MS has a thriving punk community and I imagine it’s a good way to cope although “California” is a poppy, somewhat tongue-in-cheek ode to getting out of the south. Most of the songs are high-speed hardcore punk, played with skill and aplomb (such as the bass-line for “Dog”). There’s a bit more tension for “Future Imperfect” and the slower-paced “Control.” Truly lovable punk, if that’s the right expression.
Judy (whose real name is Julie) and her Jerks keep cranking out one fun record after another. With song titles like “Dog” (with a first-animal narrative) and “I Lost My Feet,” one might think this a lighthearted band but that’s not completely true. On the back cover, it says “living in society has filled me anxiety.” Their hometown of Hattiesburg, MS has a thriving punk community and I imagine it’s a good way to cope although “California” is a poppy, somewhat tongue-in-cheek ode to getting out of the south. Most of the songs are high-speed hardcore punk, played with skill and aplomb (such as the bass-line for “Dog”). There’s a bit more tension for “Future Imperfect” and the slower-paced “Control.” Truly lovable punk, if that’s the right expression.
NICFIT-Fuse
(Upset! The Rhythm, 12”)
Japanese band Nicfit started in 2009 but this is their debut long-player. Mathy, post-punk agitation that has its moments of atonality, as with the opening of “Count.” Sputtering, slashing and rubbery (?) guitar lines and throbbing, versatile bass to go along with Hiromi’s semi-offkey vocals and it all meshes very well. There’s also some surging punk with “Boundary.” Not sparse or spacious but, instead, a non-stop instrumental churn.
Japanese band Nicfit started in 2009 but this is their debut long-player. Mathy, post-punk agitation that has its moments of atonality, as with the opening of “Count.” Sputtering, slashing and rubbery (?) guitar lines and throbbing, versatile bass to go along with Hiromi’s semi-offkey vocals and it all meshes very well. There’s also some surging punk with “Boundary.” Not sparse or spacious but, instead, a non-stop instrumental churn.
SAVAGEHEADS-Service
To Your Country (Social Napalm, 12”)
This was kind of unexpected. Savageheads haven’t been the most prolific band. Their 7” came out in 2014 and there was a demo in 2013 and a live tape from 2015 I never even knew about. It turns out this was recorded in 2019 and is finally seeing vinyl, after a few delays. What they do is deceptively simple—catchy, thumping UK ’82-style punk with plenty of punchy riffs, martial drumming and done in streamlined fashion. Lyrics touch on police abuse, anti-immigrant bigotry and mindless patriotism. Their best-sounding recording (well, there haven’t been that many), with re-dos of three songs, including one of their best, “Trained Killer.” Rousing and energetic.
This was kind of unexpected. Savageheads haven’t been the most prolific band. Their 7” came out in 2014 and there was a demo in 2013 and a live tape from 2015 I never even knew about. It turns out this was recorded in 2019 and is finally seeing vinyl, after a few delays. What they do is deceptively simple—catchy, thumping UK ’82-style punk with plenty of punchy riffs, martial drumming and done in streamlined fashion. Lyrics touch on police abuse, anti-immigrant bigotry and mindless patriotism. Their best-sounding recording (well, there haven’t been that many), with re-dos of three songs, including one of their best, “Trained Killer.” Rousing and energetic.
SCIENCE
MAN-Nines Mecca (Feral Kid/Swimming Faith, 12”)
The
Science Man’s most relentless album to date—the man behind the mask or curtain
or console or whatever, John Toohill, did it all himself again (although he has
a full band for live sets). It’s a bombardment of guitar-driven punk fury
mainly at warp speed, although “No Quarter For The Brute” slows it to a more
sinister-sounding tempo. And Science Man has put together conceptual videos for
all nine songs on YouTube and it’s a trip and a half. I’m not sure exactly
what’s going on but it’s definitely not MTV fodder. Lots of blood, leather and twisted
craziness, overflowing with all sorts of wild special effects, but you don’t
need the visuals to have your head completely messed up by this sonic
onslaught.
SNIFFANY
& THE NITS-The Unscratchable Itch (Prah, 12”)
The sound of a ferocious breakdown, especially with Josie Edwards’ aka Sniffany’s frantic-sounding vocals. This is set to an intense, manic punk attack that comes across as desperate and haunting, especially on the slower songs like “Clam Chowder,” “1000 Hours” and “Grandma.” The two songs re-recorded from their demo, “Good Boy” and “Piggy,” sound angrier and edgier than on the previous renditions. There’s more texture and nuance in the arrangements, a product of the improved production. Guitar lines that shimmer and shred. And lyrics that continue to express, often in a sarcastic fashion, the give and take/agony and ecstasy of sexuality and relationships. And it’s a dark vision, to go along with the musical one.
The sound of a ferocious breakdown, especially with Josie Edwards’ aka Sniffany’s frantic-sounding vocals. This is set to an intense, manic punk attack that comes across as desperate and haunting, especially on the slower songs like “Clam Chowder,” “1000 Hours” and “Grandma.” The two songs re-recorded from their demo, “Good Boy” and “Piggy,” sound angrier and edgier than on the previous renditions. There’s more texture and nuance in the arrangements, a product of the improved production. Guitar lines that shimmer and shred. And lyrics that continue to express, often in a sarcastic fashion, the give and take/agony and ecstasy of sexuality and relationships. And it’s a dark vision, to go along with the musical one.
UNSANITARY
NAPKIN-All Billionaires Are Bastards (Always Never Fun, 12”)
This
New Zealand band, who have been kicking around for about half a dozen years,
are one angry and pissed-off lot. The title is a giveaway and it’s a scathing
critique of late period capitalism, transphobia, racism and police abuse for
starters. There’s a pronounced early Rudimentary Peni/UK anarcho punk feel to
the material, especially the bass lines and rabid vocals, hitched to a full-on
hardcore attack. 20 minutes of relentless bile, ending with a cover of Crass’
“Do They Owe Us A Living.” Do you owe this a listen? Of course you fucking do!
As jaded as I’ve become in recent years, it takes a record like this one,
delivered with passion and intensity, to snap me out of it.
MORE RECORDS & DEMOS I LIKED IN 2022
PHAGOCYTE
DADGAD-Control (MagicMax/PaintersTapes,
demo)
Solo
project by a person from Italy and the four songs here are quick-hitting,
minimalist mechanized punk/post-punk with some strong hooks but not in an
overtly pop sense. That’s especially true for the moody “Snap Your Fingers,”
with the synth plink.(dadgad.bandcamp.com)
ELÉCTRIKA-s/t (Discos Enfermos,
7”)
A
vinyl pressing of their 2021 demo. This is a rough and manic buzzbomb of
hardcore fury from Mexico City. Thick guitar and bass riffs and “Agonia” (one
of the song titles) is a good description of Diana’s vocal style. It’s noisy
but not a wall of noise and the tempos are mainly mid-to-fast paced. A howl
from the soul. (discosenfermospunk.bandcamp.com)
GLAAS-Qualm (Static Shock, 12”)
A churning post-punk/semi-goth amalgamation that often erupts into a dense, atmospheric sonic cloud. That’s particularly true for the lengthy “An Ode To Ravachol.” Initially, I thought there was a melodica (ala Gang Of Four) in the aural stew but it turns out to be synthesizer and that wafts its way in and out of the compositions. “Easy Living,” the standout, kicks hard and the synth creates the hook. Vocals are a little one-dimensional, but that’s not true for the forceful musical push. This isn’t some ambient crapola that floats away into the ether. Glaas connects because of their hard-edged, driving core. (staticshockrecords.bandcamp.com)
GUTTER OIL-IX (Helta Skelta, tape/digital)
Mean and nasty hardcore punk from down under, with the tongue planted in cheek and a complete DGAF (don’t give a fuck) attitude, at least on the surface. There’s certainly disgust with a certain country’s mindless patriotism (take a guess), while destroying other countries, as on “Operation Bomb Hospitals.” Low-fi guitar burrrrn and thudding drums to go along with the nasty vocals. Some similarities with the Inmates, although a lot more raw. (heltaskeltarecords.bandcamp.com)
KLAZO-Demik Dementia (Big Neck, 12”)
A furious, fuzzy garagey punk attack from this London, ON duo, who make one hell of a racket. Overdriven guitar that sounds like a disturbed hornets nest, accompanied by skull-bashing drums and a pure fuck-you attitude. Quite a bit of it is delivered at a breakneck pace, too. And they have great taste in cover versions, bashing German punks’ Pack’s “Nobody Can Tel Us” to a bloody pulp and they also gleefully hammer through Cleveland legends Electric Eels “Jaguar Ride.” Vocalist/guitarist/etc Rob Brake is involved in a number of different aggregations, including Mononegatives (see review below) and none of it is exactly easy-listening. (bigneckrecords1.bandcamp.com)
LONG KNIFE
GLAAS-Qualm (Static Shock, 12”)
A churning post-punk/semi-goth amalgamation that often erupts into a dense, atmospheric sonic cloud. That’s particularly true for the lengthy “An Ode To Ravachol.” Initially, I thought there was a melodica (ala Gang Of Four) in the aural stew but it turns out to be synthesizer and that wafts its way in and out of the compositions. “Easy Living,” the standout, kicks hard and the synth creates the hook. Vocals are a little one-dimensional, but that’s not true for the forceful musical push. This isn’t some ambient crapola that floats away into the ether. Glaas connects because of their hard-edged, driving core. (staticshockrecords.bandcamp.com)
GUTTER OIL-IX (Helta Skelta, tape/digital)
Mean and nasty hardcore punk from down under, with the tongue planted in cheek and a complete DGAF (don’t give a fuck) attitude, at least on the surface. There’s certainly disgust with a certain country’s mindless patriotism (take a guess), while destroying other countries, as on “Operation Bomb Hospitals.” Low-fi guitar burrrrn and thudding drums to go along with the nasty vocals. Some similarities with the Inmates, although a lot more raw. (heltaskeltarecords.bandcamp.com)
KLAZO-Demik Dementia (Big Neck, 12”)
A furious, fuzzy garagey punk attack from this London, ON duo, who make one hell of a racket. Overdriven guitar that sounds like a disturbed hornets nest, accompanied by skull-bashing drums and a pure fuck-you attitude. Quite a bit of it is delivered at a breakneck pace, too. And they have great taste in cover versions, bashing German punks’ Pack’s “Nobody Can Tel Us” to a bloody pulp and they also gleefully hammer through Cleveland legends Electric Eels “Jaguar Ride.” Vocalist/guitarist/etc Rob Brake is involved in a number of different aggregations, including Mononegatives (see review below) and none of it is exactly easy-listening. (bigneckrecords1.bandcamp.com)
LONG
KNIFE-Curb Stomp Earth (Beach Impediment, 12”)
On
their first full-length album in 8 years, Long Knife expand their sound or, more accurately, augment the instrumentation with keyboards
and even some free-form sax Don’t worry, though. Long Knife are still a
hardcore punk band. And they may be tired of hearing it and it’s probably a
reviewer crutch (guilty!) but post-“War All The Time” Poison Idea remains a
cornerstone of Long Knife’s sound. Full-blitz tracks like “Trip To The River,”
“Scum” adds spooky synth blips, while “Survival” adds those sax bleats,
followed by a scorching guitar solo. The playing is perfectly exectued and
having one of the best drummers in punk—Keith Testerman—doesn’t hurt, either.
Welcome back. (beachimpedimentrecords.bigcartel.com)
MARAUDEUR-Puissance 4 (Feel It, 12”)
Some duty now for the present. Forgive the Devo pun but some of the songs here are drawn from that muse. Minimalist new wavish post-punk created by synthesizer, bass, drums and occasional guitar and multi-layered sung/spoken vocals. The songs have a melodic edginess that don’t contain obvious hooks. (www.feelitrecordshop.com)
MONONEGATIVES-Kill Mono (Feral Kid, flexi)/New Exit In Shards (Dowd, 7”)/Facsimile (Squirt Shit, tape)/split with Mystery Girl (Brain Slash/Feral Kid, 7”)
It’s been a busy few years for this London, ON project/band. An LP last year, along with a steady stream of 7” vinyl (including one split with Mystery Girl) and a flexi. I’m focusing on just a handful here, some of which I only have digitally. Pretty much everything is worth hearing, though. Mononegatives started as a solo project for a guy named Rob Brake but he’s expanded his circle of musicians. Mononegatives aren’t slavish to one style. The single track “Kill Mono” flexi provides a heavy industrial meltdown but there’s a melody line percolating underneath. The title track of “Facsimilie” is poppy and catchy, with synth and barbed guitar tradeoffs. “Vision Out Of Scope” from the same EP, connects with a sonic forcefield. The songs from the split provide a formidable hammer effect. A fair amount of this is reminicsent of “Read and Burn”-era Wire, the recordings they did in the early 2000s (which you should check out) and elements of Total Control, as well. The Mystery Girl songs on the split operate in a power-pop meets rock ‘n roll vibe but the two songs (one of which is a Hollywood Brats cover) don’t leave that strong an impression. (feralkidrecords.storenvy.com; mimeticszine.bandcamp.com; dowdrecords.com)
NO KNUCKLE-s/t (House of Tomothy, 12”)
Pretty solid punk/post-punk, with tense guitar/bass interplay, adding in some catchy choruses. Angular riffs but they also hit hard on such tracks as “Sanitation” and “Patience.” In a similar vein as Giant Haystacks in that there’s an inherent warmth to the songs, instead of sounding cold and detached. (noknuckle.bandcamp.com)
PHAGOCYTE-Rat Thing (demo)
A new Boston punk band connecting with four potent tracks. A couple of mid-tempo songs and two faster ones with in-the-pocket bass and drums, along with razor-sharp guitar and Sam’s expressive, agitated-sounding vocals. Quite the auspicious debut. Can’t wait to hear more. (phagocyte-doesnt-like-u.bandcamp.com)
SPREAD JOY-II (Feel It, 12”)
Non-stop mania from this overcaffeinated-sounding bunch. Totally wired post-punk with hyperkinetic, stellar instrumental interplay. “Ow” gets things off to a start with a sub-minute speed barrage. “Repetition” is pretty Wire-y, nicking a little of “Three Girl Rhumba,” although not the same way Elastica did and, halfway through, the song picks up the pace. The Kleenex-inspired “Chatter” also rides a similar riff, adding some atonal guitar trills. “Discomfort Is Palpable” certainly is discomforting, with vocalist Briana Hernandez basically crying her way through it. Elsewhere, she rants, cajoles and croons in charming fashion. Engaging and ear-grabbing and no crash afterwards. (www.feelitrecordshop.com)
MARAUDEUR-Puissance 4 (Feel It, 12”)
Some duty now for the present. Forgive the Devo pun but some of the songs here are drawn from that muse. Minimalist new wavish post-punk created by synthesizer, bass, drums and occasional guitar and multi-layered sung/spoken vocals. The songs have a melodic edginess that don’t contain obvious hooks. (www.feelitrecordshop.com)
MONONEGATIVES-Kill Mono (Feral Kid, flexi)/New Exit In Shards (Dowd, 7”)/Facsimile (Squirt Shit, tape)/split with Mystery Girl (Brain Slash/Feral Kid, 7”)
It’s been a busy few years for this London, ON project/band. An LP last year, along with a steady stream of 7” vinyl (including one split with Mystery Girl) and a flexi. I’m focusing on just a handful here, some of which I only have digitally. Pretty much everything is worth hearing, though. Mononegatives started as a solo project for a guy named Rob Brake but he’s expanded his circle of musicians. Mononegatives aren’t slavish to one style. The single track “Kill Mono” flexi provides a heavy industrial meltdown but there’s a melody line percolating underneath. The title track of “Facsimilie” is poppy and catchy, with synth and barbed guitar tradeoffs. “Vision Out Of Scope” from the same EP, connects with a sonic forcefield. The songs from the split provide a formidable hammer effect. A fair amount of this is reminicsent of “Read and Burn”-era Wire, the recordings they did in the early 2000s (which you should check out) and elements of Total Control, as well. The Mystery Girl songs on the split operate in a power-pop meets rock ‘n roll vibe but the two songs (one of which is a Hollywood Brats cover) don’t leave that strong an impression. (feralkidrecords.storenvy.com; mimeticszine.bandcamp.com; dowdrecords.com)
NO KNUCKLE-s/t (House of Tomothy, 12”)
Pretty solid punk/post-punk, with tense guitar/bass interplay, adding in some catchy choruses. Angular riffs but they also hit hard on such tracks as “Sanitation” and “Patience.” In a similar vein as Giant Haystacks in that there’s an inherent warmth to the songs, instead of sounding cold and detached. (noknuckle.bandcamp.com)
PHAGOCYTE-Rat Thing (demo)
A new Boston punk band connecting with four potent tracks. A couple of mid-tempo songs and two faster ones with in-the-pocket bass and drums, along with razor-sharp guitar and Sam’s expressive, agitated-sounding vocals. Quite the auspicious debut. Can’t wait to hear more. (phagocyte-doesnt-like-u.bandcamp.com)
SPREAD JOY-II (Feel It, 12”)
Non-stop mania from this overcaffeinated-sounding bunch. Totally wired post-punk with hyperkinetic, stellar instrumental interplay. “Ow” gets things off to a start with a sub-minute speed barrage. “Repetition” is pretty Wire-y, nicking a little of “Three Girl Rhumba,” although not the same way Elastica did and, halfway through, the song picks up the pace. The Kleenex-inspired “Chatter” also rides a similar riff, adding some atonal guitar trills. “Discomfort Is Palpable” certainly is discomforting, with vocalist Briana Hernandez basically crying her way through it. Elsewhere, she rants, cajoles and croons in charming fashion. Engaging and ear-grabbing and no crash afterwards. (www.feelitrecordshop.com)
TERMINAL ADDICTION (via Facebook)
TERMINAL
ADDICTION-s/t (Not For The Weak, 12”)
Demos
from 2020 and 2021 paired on one piece of wax in 2022. Blazing Swedish-style
hardcore from Russia and, even though the lyrics are in Russian (although the
titles are listed in English), Polina’s vocals convey plenty of fury. Not noisy
or blown-out, but straight-forward and high energy throughout. (www.nftwrecords.com)
WANTED-s/t (demo)
Salem band with members of PCP & The Knives, Flaccid, Bombers and others playing straightforward hardcore punk in short, succinct bursts. Josh states the message right at the start on “Wave of Crushing Force”: “How can I have PMA when I don’t even exist?” Songs for the marginalized, queer people in particular (“Gay Panic”), and getting it done with both lyrical and musical force. (xnthompsox@gmail.com)
REISSUES, etc.
WANTED-s/t (demo)
Salem band with members of PCP & The Knives, Flaccid, Bombers and others playing straightforward hardcore punk in short, succinct bursts. Josh states the message right at the start on “Wave of Crushing Force”: “How can I have PMA when I don’t even exist?” Songs for the marginalized, queer people in particular (“Gay Panic”), and getting it done with both lyrical and musical force. (xnthompsox@gmail.com)
REISSUES, etc.
OFFENDERS (photo: Lisa Putignano)
CATATONICS-Hunted
Down (Southern Lord, 12”)
Back in those
pre-internet dark ages, you had to work
to find out about bands—college radio, tape trading and, of course, fanzines. I
used my own zine as a calling card for trades—I’d scour Maximum Rocknroll every month and if a record caught my eye, I’d
send a zine, hoping a band would want to do a trade. Sometimes it worked, sometimes
it didn’t. It worked with the Catatonics. I saw a review or someone told me
about them—I forget which—so I gave it a shot. Soon after, a package showed up
from their drummer Belvy (who played in 7 Seconds for a time) and I wasn’t disappointed. Slam-bang hardcore thrash played with raw
ferocity. The sound is cavernous, raw and sometimes gloomy-sounding, as with
opening track “Descending in E,” which was on the second “Flipside Vinyl
Fanzine.” In addition to that and the original 7” tracks, there’s some live and
early, punkier-sounding demo material, all of which is pretty rough-sounding
and don’t add that much, to be honest. The 12 page booklet is cool, though. I’m
glad I sent that zine way back in 1985. (southernlord.com)
CIRCLE JERKS-Wild In The Streets (Trust, 12”)
The Jerks’ sometimes-maligned second album has been given the deluxe reissue treatment. It’s tough to follow up one of the all-time great hardcore punk albums, “Group Sex,” but I’ve grown to appreciate “WITS” more in recent years. The tempos are a bit slower at times but there’s still an abundance of snotty hardcore punk fervor, starting with the rough-hewn cover of the Garland Jeffreys’ song that gives the album its title. Some spirited ranting to go along with the trigger-finger aggro, with the likes of “Trapped,” “Stars and Stripes” and “Question Authority.” Being in the throes of the Reagan era, there’s more politically-tinged anger. Meanwhile, “Defamation Innuendo” pokes fun at rock critics with a stick up their collective asses. And they’re unafraid to pay tribute to their sixties roots, with a medley of Paul Revere and the Raiders’ “Just Like Me” and Jackie DeShannon’s “Put A Little Love In Your Heart,” a preview of what would follow on “Golden Shower of Hits,” with a longer medley.
Now the one complaint—this is the same mix as the later 1988 CD version on Frontier, which had a little more echo on everything and a few changes. There’s no typewriter on “Defamation Innuendo,” for instance. It may be a matter of taste, but I prefer the blunter production on the original pressing. This pressing does have a warmer sound than the CD, though. Four rough-sounding (meant as a compliment) live songs are appended onto the end of the record. The 20 page, full-sized glossy booklet is superb, lots of photos, flyers, etc. accompanying a lengthy essay by LA punk vet/journalist Chris Morris detailing shenanigans involving record labels, recording sessions and, of course, touring. (trustrecordscompany.com)
GRAVEN IMAGE-Studio Sessions: ’82-’83 (Beach Impediment, 12”)
A Richmond, VA band that I first heard on the first “We Got Power” compilation, which had 60 tracks and their song “My World” stood out (really!) because of the brief bits of atonal guitar shred. Somewhere along the line, I got their 7” “Kicked Out of The Scene” and did a mail interview with their vocalist Dwayne Curd. Then they made it to Boston and played a show with JFA and Sun City Girls. That’s how it was back then—you’d see an ad or hear a random track and it created a desire to connect with the band. Anyway, getting to the point, this anthology includes those 7” tracks, the songs from their demo with Honor Role, a couple from a tape comp and a handful of unreleased tracks. Accompanied by a glossy booklet, the recordings are rough and raw and the demo songs sound like early Agnostic Front at times, as well as some Minor Threat and Void. Fast, thrashy hardcore with earnest-sounding vocals and sputtering guitar leads here and there. Youthful idealism and critical of groupthink, even when it comes to rejecting religion out of hand—“Nails and Thorns” had some people thinking they were a Christian band but, in the interview I did, Dwayne said that wasn’t the case. Graven Image weren’t a groundbreaking band but hearing these songs conjures up pleasant memories, because it ties into an era where I felt a sense of community and still had a bit of youthful idealism. I suppose I still feel something communal about punk but the idealism is long gone. It happens! (beachimpedimentrecords.bigcartel.com)
MDC (photo by Claire Sutherland)
CIRCLE JERKS-Wild In The Streets (Trust, 12”)
The Jerks’ sometimes-maligned second album has been given the deluxe reissue treatment. It’s tough to follow up one of the all-time great hardcore punk albums, “Group Sex,” but I’ve grown to appreciate “WITS” more in recent years. The tempos are a bit slower at times but there’s still an abundance of snotty hardcore punk fervor, starting with the rough-hewn cover of the Garland Jeffreys’ song that gives the album its title. Some spirited ranting to go along with the trigger-finger aggro, with the likes of “Trapped,” “Stars and Stripes” and “Question Authority.” Being in the throes of the Reagan era, there’s more politically-tinged anger. Meanwhile, “Defamation Innuendo” pokes fun at rock critics with a stick up their collective asses. And they’re unafraid to pay tribute to their sixties roots, with a medley of Paul Revere and the Raiders’ “Just Like Me” and Jackie DeShannon’s “Put A Little Love In Your Heart,” a preview of what would follow on “Golden Shower of Hits,” with a longer medley.
Now the one complaint—this is the same mix as the later 1988 CD version on Frontier, which had a little more echo on everything and a few changes. There’s no typewriter on “Defamation Innuendo,” for instance. It may be a matter of taste, but I prefer the blunter production on the original pressing. This pressing does have a warmer sound than the CD, though. Four rough-sounding (meant as a compliment) live songs are appended onto the end of the record. The 20 page, full-sized glossy booklet is superb, lots of photos, flyers, etc. accompanying a lengthy essay by LA punk vet/journalist Chris Morris detailing shenanigans involving record labels, recording sessions and, of course, touring. (trustrecordscompany.com)
GRAVEN IMAGE-Studio Sessions: ’82-’83 (Beach Impediment, 12”)
A Richmond, VA band that I first heard on the first “We Got Power” compilation, which had 60 tracks and their song “My World” stood out (really!) because of the brief bits of atonal guitar shred. Somewhere along the line, I got their 7” “Kicked Out of The Scene” and did a mail interview with their vocalist Dwayne Curd. Then they made it to Boston and played a show with JFA and Sun City Girls. That’s how it was back then—you’d see an ad or hear a random track and it created a desire to connect with the band. Anyway, getting to the point, this anthology includes those 7” tracks, the songs from their demo with Honor Role, a couple from a tape comp and a handful of unreleased tracks. Accompanied by a glossy booklet, the recordings are rough and raw and the demo songs sound like early Agnostic Front at times, as well as some Minor Threat and Void. Fast, thrashy hardcore with earnest-sounding vocals and sputtering guitar leads here and there. Youthful idealism and critical of groupthink, even when it comes to rejecting religion out of hand—“Nails and Thorns” had some people thinking they were a Christian band but, in the interview I did, Dwayne said that wasn’t the case. Graven Image weren’t a groundbreaking band but hearing these songs conjures up pleasant memories, because it ties into an era where I felt a sense of community and still had a bit of youthful idealism. I suppose I still feel something communal about punk but the idealism is long gone. It happens! (beachimpedimentrecords.bigcartel.com)
MDC-Multi
Death Chicken Stains (Beer City, 12”)
MDC were a band
that meant a lot to me in that early post-collegiate period, when I started my
first “real” job at the Zayre retail chain, while simultaneously immersing
myself in the hardcore scene and getting this zine off the ground. In fact, I
reviewed their Gallery East show in my first issue and the tape I’d made of
their first album, “Millions of Dead Cops,” logged a lot of time in the deck of
my 1980 Chevy Chevette on my way to and from a job I quickly got to despise. By
the way, that tape is of the original mix and sequence and I would love to see
that restored someday.
This is a collection of their first three EPs, plus a few bonus tracks—“Multi Death Corporation,” “Millions of Dead Children aka Chicken Squawk” and the original “John Wayne Was A Nazi/Born To Die” 7”, before they changed their name to MDC. The Stains versions are played at a slightly slower place than the album versions and pack a raw, snotty, fuzzy punch. Same for the early takes of “Corporate Deathburger” and “Dick For Brains.” Still, truth be told, outside of the first album, MDC were never truly as great at hardcore as their contemporaries. Lots of food-for-thought, but it sometimes got lost in a mono-rhythmic blur, trying to jam in an overwhelming whirlwind of plaints and complaints. There are still some standouts, though. “Radioactive Chocolate” has a similar groove as the early recordings and “Chicken Squawk” is a fun, goofy singalong. The package includes reproductions of a huge, Crass-style foldouts that accompanied the second and third EPs. A ripping, if sometimes flawed, time capsule. (beercity.com)
NASTY FACTS-Drive My Car (Left For Dead, 12”)
A reissue of one of the best punk singles from the early 80s. “Drive My Car” is about as perfect a song as you’ll ever hear—fast and frantic, starting with a vrooming engine and the screeching tires, crashes and other high octane automotive sounds dart in and out of the catchy, earworm melody. Tasty guitar licks, killer bass lines and Cherl’s sweet/tough vocals. And the other pair of songs, “Gotta Get You” and “Crazy ‘Bout You,” offer more of the same. This is pure pop-punk, the real thing, not that weak sauce shit. Pressed on a 12” (mine has blue vinyl) and the mix is hot as fuck. Glad to see this back in print. (leftfordeadrecords.com)
OFFENDERS-We Must Rebel (Beer City, 12”)/Endless Struggle (Beer City, 12”)
I know some people hate when bands are referred to as “underrated.” But the Offenders definitely fall into that category. Maybe underappreciated? At least their two albums have stayed in print off and on, over the years. JJ was a somewhat limited vocalist but this was a band that could play their fucking asses off, especially bass-player Mikey Donaldson (R.I.P.) , whose frantic, versatile riffing really powers things along. His solos that lead off the title track and “New Militia” are completely mesmerizing and pulverizing. “We Must Rebel” is relentless, a start-to-finish power-bomb. “Endless Struggle” cleaned up the production a bit and has a slightly heavier feel, especially on the title track, but it’s still a mainly fast-paced rage-fest, starting with the “Face Down In The Dirt.” Lyrical matter deals with oppression of both personal and global matters. One of those bands I’m really glad I had a chance to see—twice, in fact. (beercity.com)
OUTPATIENTS-Readmitted (Painkiller, 12”)
Western Mass. hardcore heroes who never completely got their due outside of their area during their early incarnation. Part of the problem is they only had three songs released on vinyl between 1983 and 1985, the time frame of this anthology—two on “Bands That Could Be God” and one on the first “Flipside Vinyl Fanzine,” all of which are here, along with the songs from their first demo and a few later songs that had them moving into a metal direction. Those songs—one of which is the near-poppy “Barriers To Bridges”—don’t really measure up to the rest. It should also be said that it was always the live thing with the Outpatients. The demo recordings didn’t really capture what they could do live but they still shred with plenty of reckless abandon and instrumental skill. The bass runs for “G.P.D.” are killer and “Fight” is an anthem. “Backwards Explosion,” which I seem to recall closed their sets, ends in a chaotic frenzy. The remastering sounds good and it’s accompanied by liner notes from xXx ‘zine’s Mike Gitter. Along with Deep Wound, the Outpatients were at the top of the WMHC heap. (deathwishinc.com/collections/painkiller)
TOXIC REASONS-Independence (Beer City, 12”)
So here’s the 40th anniversary millennium edition of this kickass album, the band’s first full-length and the only one with original vocalist Ed Pittman. His Brit-inflected, sandpaper growl is the perfect accompaniment for the Reasons’ scrappy ‘n catchy punk. Songs like “Mercenary,” “Killer” and “Noise Boys” are pure, fist-pumping anthems. While they were eventually more or less aligned with the Midwest hardcore scene, the Reasons had a more overt UK punk inspiration. So, for this edition, they use the original artwork and also include the booklet that accompanied the first pressing, along with reminsicences from the band members and a few friends. Still my favorite album by them, a rouser from start to finish. (beercity.com)
This is a collection of their first three EPs, plus a few bonus tracks—“Multi Death Corporation,” “Millions of Dead Children aka Chicken Squawk” and the original “John Wayne Was A Nazi/Born To Die” 7”, before they changed their name to MDC. The Stains versions are played at a slightly slower place than the album versions and pack a raw, snotty, fuzzy punch. Same for the early takes of “Corporate Deathburger” and “Dick For Brains.” Still, truth be told, outside of the first album, MDC were never truly as great at hardcore as their contemporaries. Lots of food-for-thought, but it sometimes got lost in a mono-rhythmic blur, trying to jam in an overwhelming whirlwind of plaints and complaints. There are still some standouts, though. “Radioactive Chocolate” has a similar groove as the early recordings and “Chicken Squawk” is a fun, goofy singalong. The package includes reproductions of a huge, Crass-style foldouts that accompanied the second and third EPs. A ripping, if sometimes flawed, time capsule. (beercity.com)
NASTY FACTS-Drive My Car (Left For Dead, 12”)
A reissue of one of the best punk singles from the early 80s. “Drive My Car” is about as perfect a song as you’ll ever hear—fast and frantic, starting with a vrooming engine and the screeching tires, crashes and other high octane automotive sounds dart in and out of the catchy, earworm melody. Tasty guitar licks, killer bass lines and Cherl’s sweet/tough vocals. And the other pair of songs, “Gotta Get You” and “Crazy ‘Bout You,” offer more of the same. This is pure pop-punk, the real thing, not that weak sauce shit. Pressed on a 12” (mine has blue vinyl) and the mix is hot as fuck. Glad to see this back in print. (leftfordeadrecords.com)
OFFENDERS-We Must Rebel (Beer City, 12”)/Endless Struggle (Beer City, 12”)
I know some people hate when bands are referred to as “underrated.” But the Offenders definitely fall into that category. Maybe underappreciated? At least their two albums have stayed in print off and on, over the years. JJ was a somewhat limited vocalist but this was a band that could play their fucking asses off, especially bass-player Mikey Donaldson (R.I.P.) , whose frantic, versatile riffing really powers things along. His solos that lead off the title track and “New Militia” are completely mesmerizing and pulverizing. “We Must Rebel” is relentless, a start-to-finish power-bomb. “Endless Struggle” cleaned up the production a bit and has a slightly heavier feel, especially on the title track, but it’s still a mainly fast-paced rage-fest, starting with the “Face Down In The Dirt.” Lyrical matter deals with oppression of both personal and global matters. One of those bands I’m really glad I had a chance to see—twice, in fact. (beercity.com)
OUTPATIENTS-Readmitted (Painkiller, 12”)
Western Mass. hardcore heroes who never completely got their due outside of their area during their early incarnation. Part of the problem is they only had three songs released on vinyl between 1983 and 1985, the time frame of this anthology—two on “Bands That Could Be God” and one on the first “Flipside Vinyl Fanzine,” all of which are here, along with the songs from their first demo and a few later songs that had them moving into a metal direction. Those songs—one of which is the near-poppy “Barriers To Bridges”—don’t really measure up to the rest. It should also be said that it was always the live thing with the Outpatients. The demo recordings didn’t really capture what they could do live but they still shred with plenty of reckless abandon and instrumental skill. The bass runs for “G.P.D.” are killer and “Fight” is an anthem. “Backwards Explosion,” which I seem to recall closed their sets, ends in a chaotic frenzy. The remastering sounds good and it’s accompanied by liner notes from xXx ‘zine’s Mike Gitter. Along with Deep Wound, the Outpatients were at the top of the WMHC heap. (deathwishinc.com/collections/painkiller)
TOXIC REASONS-Independence (Beer City, 12”)
So here’s the 40th anniversary millennium edition of this kickass album, the band’s first full-length and the only one with original vocalist Ed Pittman. His Brit-inflected, sandpaper growl is the perfect accompaniment for the Reasons’ scrappy ‘n catchy punk. Songs like “Mercenary,” “Killer” and “Noise Boys” are pure, fist-pumping anthems. While they were eventually more or less aligned with the Midwest hardcore scene, the Reasons had a more overt UK punk inspiration. So, for this edition, they use the original artwork and also include the booklet that accompanied the first pressing, along with reminsicences from the band members and a few friends. Still my favorite album by them, a rouser from start to finish. (beercity.com)
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