tag:blogger.com,1999:blog-325285212024-03-13T07:56:12.972-04:00Suburban VoiceAlhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.comBlogger141125tag:blogger.com,1999:blog-32528521.post-41693478997283975272023-12-31T17:31:00.011-05:002024-01-04T11:54:19.048-05:00Suburban Voice blog #152--The Best of 2023<div style="text-align: left;"><div style="text-align: left;"><p class="MsoNoSpacing" style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOfh4Zx6O_S9c22Pr4Jmy6v3dn2W09ss75P6xLl8ogX2ES1VxpR5lLYxChoSOLT-yhRAuOlFvyXqZDl_lGScd2B-DejMRicY0ufSA0od3IOycDc8BGavHyChyphenhyphenoBzb_OA93GjtdhDETc0skJW_tVG7C0r3sEbMkNfZQ_jzR0mnXadhVBwE-z2c-8Q/s1350/Mhaol.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1350" data-original-width="1080" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOfh4Zx6O_S9c22Pr4Jmy6v3dn2W09ss75P6xLl8ogX2ES1VxpR5lLYxChoSOLT-yhRAuOlFvyXqZDl_lGScd2B-DejMRicY0ufSA0od3IOycDc8BGavHyChyphenhyphenoBzb_OA93GjtdhDETc0skJW_tVG7C0r3sEbMkNfZQ_jzR0mnXadhVBwE-z2c-8Q/w320-h400/Mhaol.jpg" width="320" /></a></div><b><div style="text-align: center;"><b>M(H)AOL (photo: Pete Olshansky)</b></div></b><p></p> Yeah,
I’ve been missing in action all year, at least writing-wise. I’ve been pouring
most of my energies into the radio show. I’m not making an excuse or making it
up when I say that I’ve been suffering from writers block for a few years. It’s
getting harder to write reviews because there’s not a lot I hear that’s not worthy
of hyperbole and I really don’t want to over-praise releases that don’t deserve
it. There are albums that have one or two worthwhile tracks but the rest is
meh. I’ll play the good songs from those on the radio show but it’s not worth
the effort to come up with flowery praise for the rest if I don’t think it’s
warranted. I prefer to focus on ones that have a higher slugging percentage, to
use sports terminology. It’s taken me quite awhile to pull this post together.</div></div>
<p class="MsoNoSpacing"><span style="font-family: inherit;">Anyway,
I’m doing the alphabetical thing for the list again. These are the releases I
spent the most time listening to and will continue to do so after this year.
Most of them, anyway. After that, more reviews for records that are just
“bubbling under.” I could probably have reviewed a lot more than those but,
once again, decided to focus on ones that have a number of strong tracks. And
I’m sure I missed a few. You might see those in the next blog, if it's not too long in the future. I have all of these on vinyl, with the exception of a
few that were only released on tape and/or digital.</span></p>
<p class="MsoNoSpacing"><o:p><span style="font-family: inherit;"> </span></o:p><span style="font-family: inherit;">By
the way, all of the writing here is by me, Al, not A.I. (artificial
intelligence). I don’t cheat.</span></p>
<p class="MsoNoSpacing"><b><span style="font-family: inherit;">THE
TOP TEN</span></b></p>
<div style="text-align: left;"><b><span style="font-family: inherit;">ANTI-MACHINE-Too
Many Eyes (Toxic State, 7”)<br /></span></b><span style="font-family: inherit;">Another
ravaging outing from this NYC crew. In case you need to be reminded, Walker
Behl from Crazy Spirit is the vocalist and he brings his nasally sneer to the
proceedings, accompanied by a hard ‘n fast, two guitar fueled hardcore punk
attack. The production is beefier than on the first EP and the fury is
unleashed. They even add some wild sax skronk for “What Bothers Me.” Chaotic
and cacophonous. (<a href="http://www.toxicstaterecords.com">www.toxicstaterecords.com</a>)</span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4078194745/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://toxicstaterecords.bandcamp.com/album/anti-machine-too-many-eyes-ep">Anti-Machine – Too Many Eyes EP by Toxic State Records</a></iframe>
<div style="text-align: left;"><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: inherit;">BRORLAB-Working
Out In Heaven (La Vida Es Un Mus, 12”)<br /></span></b><span style="font-family: inherit;">Hailing
from Antwerp—that’s in Belgium, for the geographically challenged among
you—this trio lay out some frenzied mechanized punk created by guitar, bass, a
rhythm machine and a vocalist who will cajole, irritate and annoy her way into
your heart. Sometimes playful, as with “Any Way The Wind Blows,” but generally
plowing straight ahead with feverish adrenalin. And there are some goddanged
earworms here, starting with “Shitty Oven.” You can hear some Melt-Banana and
Chrome in there, but Brorlab somehow make this all semi-accessible. Well, not
to everyone, I suppose. In fact, if you want to end a party populated by people
you generally can’t stand, toss this on the turntable. One side features half a
dozen + one recent compositons and the flip adds all of their songs from their
2020 debut 7”. A pure sonic head-rush. (<a href="http://www.lavidaesunmus.com">www.lavidaesunmus.com</a>)</span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=388445566/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://lavidaesunmus.bandcamp.com/album/working-out-in-heaven">Working Out In Heaven by Brorlab</a></iframe>
<div style="text-align: left;"><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><b style="font-family: inherit;">COLLATE-Generative
Systems (Domestic Departure, 12”)<br /></b><span style="font-family: inherit;">Collate
are pretty brazen about their influences at times. Opening song “Authority
Control” is a complete lift from Gang of Four’s “Ether.” I’m not complaining,
though. After that, they mix things up and aren’t as slavish to any band’s
particular approach. I’ve been a fan of Collate since hearing their first demo
back in 2017 . There are some songs that eschew the sparseness and tension,
going for a churning, punkier sound on “New Climate” and “Obliterated By
Flowers,” for instance. This is their second 12” release and it’s post-punk
perfection, to turn a trite phrase. Killer interplay between Jason’s guitar and
Erika’s bass, backed by Janie’s propulsive drumming. The
mono recording adds to the edginess. (<a href="http://domesticdeparturerecords.com">domesticdeparturerecords.com</a>)</span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=949719118/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://collate.bandcamp.com/album/generative-systems">Generative Systems by Collate</a></iframe><a href="https://collate.bandcamp.com/album/generative-systems"></a>
<div style="text-align: left;"><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: inherit;">FUGITIVE
BUBBLE-Delusion (Impotent Fetus/Stucco, tape)<br /></span></b><span style="font-family: inherit;">Frenetic
outsider (if that’s the right word) hardcore that’s tightly-executed but also
has a looseness in the playing. Shards of the Minutemen, Victims Family and
Rhythm Pigs to go along with the mainly fast-paced, semi-hooky tunes. They
cleverly sneak in the riff for The Who’s “My Generation” at the start of the
title track, but it’s just for a fleeting moment as the speed kicks in and the
lyrical cynicism pours out. A restlessness, perhaps a feeling of hopelessness
and anger as the world continues to collapse. Bass player Harley handles most
of the vocals, sometimes melodious, sometimes yearning, sometimes cutting and
the music cuts hard as well. Originally released on cassette only, although
there should be a vinyl pressing on Sorry State in 2024. (<a href="http://stuccolabel.bandcamp.com">stuccolabel.bandcamp.com</a>)</span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2179174278/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://stuccolabel.bandcamp.com/album/delusion-2">Delusion by FUGITIVE BUBBLE</a></iframe>
<div style="text-align: left;"><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: inherit;">HEAVY
DISCIPLINE-Your Scapegoat (Painkiller, 12”)</span></b></div><div style="text-align: left;"><span style="font-family: inherit;">I’ve
become a lot pickier about hardcore records in recent years. There just aren’t
a lot that stand up to repeated listenings and this an exception. Heavy
Discipline push all the the right buttons. Just mean-sounding, raw without
being noisy, tough with no tough guy posturing. This Pittsburgh band remind me
of one from that city from about ten years ago, that being Blood Pressure (and
their vocalist Adam Thomas plays guitar in this band). They also channel Out
Cold on some songs, particularly with the vocals. Reinventing the wheel? Nope.
But it kills. And even though it’s only 12 minutes long, I somehow don’t feel
shortchanged. (</span><a href="http://www.painkillerrecords.com/" style="font-family: inherit;">www.painkillerrecords.com</a><span style="font-family: inherit;">)</span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=193735475/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://painkillerrecords.bandcamp.com/album/pkr-084-your-scapegoat">PKR-084: Your Scapegoat by Heavy Discipline</a></iframe>
<div style="text-align: left;"><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><b style="font-family: inherit;">HEZ-Panamaniacs
(Discos Enfermos, 12”)</b></div><div style="text-align: left;"><span style="font-family: inherit;">Except
for two EPs, Hez have been pretty quiet, release-wise, since 2015. They’re not
quiet, anymore. A raging onslaught right from the start. From Panama, although
coming from a Spanish muse </span><i style="font-family: inherit;">ala</i><span style="font-family: inherit;"> Destino Final or Invasion, along with the
obligatory d-beat on some songs. Echo on the vocals and done at a mainly
mid-tempo to fast pace. Burning power-chords but there are also some
otherworldly guitar effects, sounding like some sort of alien communication. I
don’t really need to further elaborate. Your recommended daily requirement of
scorch. (<a href="http://discosenfermospunk.bandcamp.com">discosenfermospunk.bandcamp.com</a>)</span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=466014340/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://discosenfermospunk.bandcamp.com/album/de-114-hez-panamaniacs-lp">DE #114 HEZ "panamaniacs" LP by Discos Enfermos</a></iframe>
<div style="text-align: left;"><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: inherit;">M(H)AOL-Attachment
Styles (Tulle, 12”)</span></b></div><div style="text-align: left;"><span style="font-family: inherit;">M(h)aol’s
provocative music and lyrics are meant to make people feel uncomfortable.
Certain people, at least. Misgoynists, rapists, abusers, people who don’t
understand or accept gender “non-conformity.” It’s time to shut up, listen and
learn. That’s established at the outset with “Asking For It,” an indictment of
sexual assault that has Róisín Nic Ghearailt starting off with a matter of fact
vocal about vicim-blaming. The scrape and tumult builds and her vocals get
increasingly anguished and desperate. Horrifying and, as I said earlier, meant
to be uncomfortable. The sarcasm drips on “Bored Of Men” and “No One Ever Talks
To Us” <i style="mso-bidi-font-style: normal;">(“unless they wanna fuck”)</i></span><span style="font-family: inherit; mso-bidi-font-style: italic;"><span style="font-family: inherit;">. The arrangements go from churning
post-punk to the Slint-like minimalism of “Cowboy Honey” to the
sparse-yet-intense “Period Sex,” where both the music and vocal build to a
climax (literally). Unsettling and powerful. (<a href="http://www.tullecollective.com">www.tullecollective.com</a>)</span></span></div><div style="text-align: left;"><span style="font-family: inherit; mso-bidi-font-style: italic;"><span style="font-family: inherit;"><br /></span></span></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=363386948/size=large/bgcol=333333/linkcol=0f91ff/license_id=3517/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://mhaol.bandcamp.com/album/attachment-styles">Attachment Styles by M(h)aol</a></iframe>
<div style="text-align: left;"><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: inherit;">NICE GUYS-Coin (self-released, digital)</span></b></div><div style="text-align: left;"><span style="font-family: inherit;">As far as I know, there’s no physical release for
this album yet and I’m not sure if you can buy their album with Nice Guys
cryptocurrency, even after you give them all of your money (as suggested on the
intro). But it’s a worthwhile investment, either way. A wise-assed, driving mix
of punk, post-punk and skewed rock ‘n roll done skillfully. A hyperactive
quality in the vocals and instrumentation that’s both catchy and abrasive,
sometimes in the same song. Nice Guys are quietly one of the best bands in
Boston. (<a href="http://niceguys666.bandcamp.com">niceguys666.bandcamp.com</a>)</span></div><div style="text-align: left;"><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3253145308/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://niceguys666.bandcamp.com/album/coin">Coin by NICE GUYS</a></iframe>
<div style="text-align: left;"><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><b style="font-family: inherit;">NURSE-s/t
(State Laughter, 12”)</b></div><div style="text-align: left;"><span style="font-family: inherit;">I
had no idea that this band from Atlanta were still around but, after a pair of
strong 7”s in 2015 and 2017, they’re back with a 7 song 12” that picks up where
they left off. A haunted, disturbed quality in the hoarse vocals, as well as
the desperate lyrics. The opening song “I Live In Fear” is a proclamation of
dread and cynicism and that’s a running thread through most of these songs. The
music is dark, nettled hardcore punk delivered with full-bore aggression,
driven by thundering bass but there are also some shimmery guitar effects.
Music for often-miserable times. (<a href="http://statelaughterrecords.bandcamp.com">statelaughterrecords.bandcamp.com</a>)</span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=157286995/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://statelaughterrecords.bandcamp.com/album/nurse">Nurse by Nurse</a></iframe>
<div style="text-align: left;"><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: inherit;">SNÕÕPER-Super
Snõõper (Third Man, 12”)</span></b></div><div style="text-align: left;"><span style="font-family: inherit;">A
whirlwind of delirious punk, post-punk, new wave and rock from this Nashville
band. This is their debut album after a bunch of singles. The songs are
fast-paced, semi-jittery and come and go, one into the other, before you can
catch your breath. Even a journey into some harder-edged, expansive rock for
the closing pair of songs, “Unable” and the five minute-plus “Running.”
Lyrically, many are whimsical observations about technology, exercising, even
Powerball—everyday life, in other words and how it’s easy to become a slave to
things that are supposed to simplify life. (<a href="http://thirdmanrecords.com">thirdmanrecords.com</a>)</span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=431204703/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://snooper7.bandcamp.com/album/super-sn-per">Super Snõõper by Snooper</a></iframe>
<p class="MsoNoSpacing" style="text-align: center;"><o:p><span style="font-family: inherit;"> </span></o:p><span style="text-align: center;">*****</span></p>
<div style="text-align: left;"><b><span style="font-family: inherit;">MORE
STUFF I LIKED…<br /> </span></b><b style="font-family: inherit;"><br /></b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy3R7WQlb8DZERzEZTGuxFfAqN_5N_ITAcUkKklgmVhHyuA1XguauI-E9n4AvxZX8wcN4MTkbvaLguctQtF5U9uq5e7qfk_jmZRay7ysswMaC7dD75i72RpkX6OxzclM6qR7QrUR0zwM3-U7Gli8cbeLLnCARnYd3mz6luiBTgnCfOyEPeYlWUlA/s1932/IMG_5455.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1932" data-original-width="1800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy3R7WQlb8DZERzEZTGuxFfAqN_5N_ITAcUkKklgmVhHyuA1XguauI-E9n4AvxZX8wcN4MTkbvaLguctQtF5U9uq5e7qfk_jmZRay7ysswMaC7dD75i72RpkX6OxzclM6qR7QrUR0zwM3-U7Gli8cbeLLnCARnYd3mz6luiBTgnCfOyEPeYlWUlA/w373-h400/IMG_5455.JPG" width="373" /></a></div><b>GEL</b><br /><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><b style="font-family: inherit;">AVSKUM-En
Annan Värld Är Möjlig (Prank, 12”)</b></div><div style="text-align: left;"><span style="font-family: inherit;">D-beat
never dies or, more accurately, the Swedish hardcore take on d-beat never dies.
Avskum return with their first album in 15 years. The title translates to
“Another World Is Possible,” although the lyrical pessmism comes through—and
some songs are done in English. You know the drill—hoarse vocals, galloping
drums, burning guitars et al. Traditionalists who don’t break from what you’d
expect. Done in straight-ahead fashion, without the blown-out noise.
(<a href="http://prankrecords.com">prankrecords.com</a>)<br /></span><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><b style="font-family: inherit;">BEEF-s/t
(Feel It, 12”)</b></div><div style="text-align: left;"><span style="font-family: inherit;">Imagine
Killing Joke, Big Black and Chrome doing stomping new wave-tinged garage rock.
No? OK, well imagine… nah, let’s stick with my first instinct. The opening riff
of “Lying To You” comes from a similar muse as KJ’s “The Wait” and Big Black’s
“Stinking Drunk,” but it’s not an industrial attack, per se. The synth-lines
sometimes seem kazoo-like, in fact. But the compositions are heavy and raucous
and that’s very appealing. (<a href="http://feelitrecordshop.com">feelitrecordshop.com</a>)<br /></span><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><b style="font-family: inherit;">BIG
CLOWN-Beatdown (Swimming Faith, 7”)</b></div><div style="text-align: left;"><span style="font-family: inherit;">Big
riffs, big rock, big sound and beating down your senses. This is Big Clown’s
first vinyl release after a number of tapes. The sound is grungy but it’s not
grunge. Vocals that are abrasively endearing. “Broke” will churn it’s way into
your heart with the thick guitar/bass combo and hammering drums. “Thirsty” is
like a sonic thunderstorm. Heavy music with a punk attitude and surreal sense
of humor. (<a href="http://swimmingfaithrecords.com">swimmingfaithrecords.com</a>)<br /></span><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><b style="font-family: inherit;">BZDET-Maybe
It Is Enough (Tetryon, tape)/Traumy Wystarczy Dla Każdego (Syf, digital)</b></div><div style="text-align: left;"><span style="font-family: inherit;">A
compilation of 20 songs from this one-person project from Poland. Bzdet has
released a lot of music over the past few years, most of it on the prolfiic Syf
label. This is his first US release and has 17 previously-released tracks and
three new ones. It’s a melange of post-punk, dark-wave, goth, dub, industrial
and Krautrock. Echo-laden vocals are generally buried in the mix, sharing equal
space with the music’s headrush. It’s a wide variety, not sticking to any one
stylistic groove and just about all of it has an enticing edginess. A more
recent release, “Traumy Wystarczy Dla Każdego (Enough Trauma For Everyone”)
introduces a slightly poppier feel on a few songs, particularly for “Wrócę.”
It’s a thematic collection, dealing with the ravages of warfare. Definitely
check out Syf’s site. You’ll find plenty of intriguing bands/solo projects.
(<a href="http://tetryontapes.bandcamp.com">tetryontapes.bandcamp.com</a>; <a href="http://syfrecords.bandcamp.com">syfrecords.bandcamp.com</a>)<br /></span><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: inherit;">CEL
RAY-Cellular Raymond (Six Tonnes De Chair, 12”)/Piss Park (Six Tonnes De Chair,
7”)</span></b></div><div style="text-align: left;"><span style="font-family: inherit;">A
pair of EPs (the former on tape and 12”, the latter on 7”) by this Chicago
band. Hectic-sounding post-punkish rock with sharp instrumentation and catchy
bits. Some jabbing riffs but not really “angular” (yes, I’m breaking the rock
critic rulebook) sounding riffs. The songs are delivered in more of a
straight-forward punk fashion. Cutting vocals along with sarcastic
lyrics—“Lakes Mall” brings the lameness of shopping malls into bold relief--and
there’s energy to spare. (<a href="http://celray.bandcamp.com">celray.bandcamp.com</a>)<br /></span><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: inherit;">CITRIC
DUMMIES-Zen and the Arcade of Beathing Your Ass (Feel It, 12”)</span></b></div><div style="text-align: left;"><span style="font-family: inherit;">The
parody cover of a certain Hüsker Dü album cover has me laughing out loud. Even
though this band is from Minneapolis, they sound more like a band from Chicago,
namely Naked Raygun, along with an early Misfits nod, minus the horror angle.
Big and beefy sounding, especially the guitar tone, and there’s an inherent
hookiness to go along with the bruising power. The three members of this band
look like they’ve been around the block a few times and I’d describe this as a
sort of middle-aged rage or about to hit it. Not always a lot of happiness,
especially in the relationship department. They even have a bone to pick with
Larry Bird. T-Wolves fans, maybe? (<a href="http://feelitrecordshop.com">feelitrecordshop.com</a>)<br /></span><b style="font-family: inherit;"><br /></b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCHqK8xMoSPuq3AyDeOvvvemszvfSEhiMgphX-zdZ63I8Zs5HPnvrcTWXpRGkTH7TiAqlYfl00TkAG7vnTpCSGNNm-y5V6rkMAChDW0r7TRS7DcsETop09MqGUBL074e3uVK_lwHpRF1fI5Sl_5IjyKYHRfvLk764O0JwEQlofYONYa0fsYVq71g/s2160/IMG_5377.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2160" data-original-width="1620" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCHqK8xMoSPuq3AyDeOvvvemszvfSEhiMgphX-zdZ63I8Zs5HPnvrcTWXpRGkTH7TiAqlYfl00TkAG7vnTpCSGNNm-y5V6rkMAChDW0r7TRS7DcsETop09MqGUBL074e3uVK_lwHpRF1fI5Sl_5IjyKYHRfvLk764O0JwEQlofYONYa0fsYVq71g/w300-h400/IMG_5377.JPG" width="300" /></a></div><b>ELECTRIC CHAIR</b><br /><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><b style="font-family: inherit;">ELECTRIC
CHAIR-Act Of Aggression (Iron Lung, 12”)</b></div><div style="text-align: left;"><span style="font-family: inherit;">Taking
no prisoners, once again, as this Northwest wrecking unit dish out more
adrenalin-fueled hardcore punk. Angry, phlegmy vocals and careening down the
proverbial roller coaster. “Security Camera” does go for a darker, mid-tempo
musical assault, matching the lyrical desperation. There’s some crossover-style
lead guitar but this is definitely in the hardcore camp. Fast ‘n mean.
(<a href="http://ironlungrecords.bigcartel.com/products">ironlungrecords.bigcartel.com/products</a>)</span></div>
<div style="text-align: left;"><b style="font-family: inherit;"><br /></b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrTk9-akrqZdMJ8dJEGJA-hEUWR7yFVdpzb5R4sRHjq8YHnH_BPc1V9Rqyhk2P5ftgnB22SrqHWjD_7a5VZmu7rc741FzUPaet7Ix1Q20m2jIrOf__mesNW4W1uAhHO6DrMvHCZAm15193Jj86gWP7EpswUcshy_oYwIBfXnGZEalLkMFlim22Tg/s2160/IMG_4608.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2160" data-original-width="1620" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrTk9-akrqZdMJ8dJEGJA-hEUWR7yFVdpzb5R4sRHjq8YHnH_BPc1V9Rqyhk2P5ftgnB22SrqHWjD_7a5VZmu7rc741FzUPaet7Ix1Q20m2jIrOf__mesNW4W1uAhHO6DrMvHCZAm15193Jj86gWP7EpswUcshy_oYwIBfXnGZEalLkMFlim22Tg/w300-h400/IMG_4608.JPG" width="300" /></a></div><b>ENZYME</b><br /><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><b style="font-family: inherit;">ENZYME-Golden
Dystopian Age (Hardcore Victim/La Vida Es Un Mus, 12”)</b></div><div style="text-align: left;"><span style="font-family: inherit;">A
thumping, disorder-ly raw noise attack from these Aussies (with former Krömosom
vocalist Yeap on guitar), although there are a few different wrinkles.
“Masquerade” adds a synth to the mix for an industrialized twist and there’s
also the Krautrock-sounding outro (for real!), after the rage of <span style="mso-spacerun: yes;"> </span>“Farce.” The next to last song is called
“Abuse of Power” and this 12” could be called “Abuse of Eardrums.” Nothing
wrong with that at all. (<a href="http://hardcorevictim.bandcamp.com">hardcorevictim.bandcamp.com</a>; <a href="http://www.lavidaesunmus.com">www.lavidaesunmus.com</a>)<br /></span><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><b style="font-family: inherit;">GEL-Only
Constant (Convulse, 12”)<br /></b><span style="font-family: inherit;">Pounding,
bash your skull in hardcore with a two guitar meat-cleaver attack, along with
Sami’s hoarse vocals. Most of the songs are done at a hammering tempo, although
they hit thrash speed on occasion. Gel call their music “hardcore for the
freaks” and it’s definitely appealing to anyone who feels like an outsider and hate
the idiots who make their lives miserable. The same goes for the hardcore "gatekeepers" who might not always be so welcoming. It’s expressed through the clips on
“Calling Card,” the mellow interlude at the end of side one. This is their
outlet for it. Get out the aggression but also have fun. (<a href="http://convulserecords.com">convulserecords.com</a>)<br /></span><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: center;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9T96x4Q45_WGvRCQBB0HvWkaIeY9Iekz_P3rbguOeNGUCBOO6zlsfQ5ncUgfexwqP46-xLCrA0LaATr4bttuKAZz4ZMK5HPWqYIo6uuEfCySvMC69q43m6WxlZh99CmbIey6zlIkSo_iN7A_Of0PrDgfTtDnLZmDYtpk95R01sMXfPb-Dph-WTw/s1623/IMG_5334.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1623" data-original-width="1605" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9T96x4Q45_WGvRCQBB0HvWkaIeY9Iekz_P3rbguOeNGUCBOO6zlsfQ5ncUgfexwqP46-xLCrA0LaATr4bttuKAZz4ZMK5HPWqYIo6uuEfCySvMC69q43m6WxlZh99CmbIey6zlIkSo_iN7A_Of0PrDgfTtDnLZmDYtpk95R01sMXfPb-Dph-WTw/w395-h400/IMG_5334.JPG" width="395" /></a></div>GOLPE<br /><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: inherit;">GOLPE-Assuefazion
Quotidiana EP (Beach Impediment, 7”)</span></b></div><div style="text-align: left;"><span style="font-family: inherit;">I’m
a bit embarrased to say that I didn’t know Golpe was a one-person project
masterminded by Tazdio Pederzolli and that he uses a rotating group of
musicians for live performances. And they did a pretty damned good job ripping
it up live when I saw them this year. Meat and potatoes, thumping hardcore punk
in short, succinct doses. D-beat inspired and the songs are sharp and
energetic. Themes of day-to-day complaceny and, to borrow a phrase,
Talk-Action=Zero. (<a href="http://beachimpedimentrecords.bigcartel.com">beachimpedimentrecords.bigcartel.com</a>)<br /></span><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><b style="font-family: inherit;">THE
HELL-s/t (Not For The Weak, 12”)<br /></b><span style="font-family: inherit;">No
nonsense hardcore punk from Cleveland done in a lethal and efficient manner,
with one song flowing into the other. The guitar tone comes from the Pig
Champion school and early Poison Idea is definitely one of the influences here.
Final song “What A Laugh” cribs from the riff of “In My Eyes.” So, yeah,
well-tread ground but The Hell keep it fresh-sounding. No songs over two
minutes, no mosh parts, no crunch, just scorch. And anyone who hates their job
can certainly relate to “Bloodstains In the Boardroom.” (<a href="http://nftwrecords.com">nftwrecords.com</a>)</span></div>
<div style="text-align: left;"><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><b style="font-family: inherit;">ISMATIC
GURU-III (Swimming Faith, tape)<br /></b><span style="font-family: inherit;">Third
installment from one of the countless projects emanating from the mind of John
Toohill. Minimalist synth, with guitar, bass and a rhythm machine. There’s
something almost funky and soulful here, although it’s still in a post-punky
framework. Reminds me of Brainiac, at times. </span>(<a href="http://swimmingfaithrecords.com">swimmingfaithrecords.com</a>)</div><div style="text-align: left;"><br /></div><div style="text-align: center;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggA01f527VBg573ycKvRGEJ1cvPA2P-kuPxU0h0upmm1Xk0sHCe-hRNNWNiujqg7mV4U1yyk-0iudEnYDgHrwbZiYryCvTmkKtJhGRjfpi5BQfXiQN8KErmJ7Z1uRZ3IipGff4MB5fYgTbrteytsdiUisW1Lo1Ollp0wQxlA6P5tnJEq14lCEttg/s1988/IMG_5161.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1988" data-original-width="1800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggA01f527VBg573ycKvRGEJ1cvPA2P-kuPxU0h0upmm1Xk0sHCe-hRNNWNiujqg7mV4U1yyk-0iudEnYDgHrwbZiYryCvTmkKtJhGRjfpi5BQfXiQN8KErmJ7Z1uRZ3IipGff4MB5fYgTbrteytsdiUisW1Lo1Ollp0wQxlA6P5tnJEq14lCEttg/w363-h400/IMG_5161.JPG" width="363" /></a></div>LOTHARIO<br /><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: inherit;">LOTHARIO/NEW
BUCK BILOXI-Split (Under The Gun)</span></b></div><div style="text-align: left;"><span style="font-family: inherit;">An
enjoyable tour split for these more or less solo acts who toured together this
year—and used most of the same musicians, switched around, for each set.
Lothario’s pair of songs are a minimalist punk banger, “Doggy” and the poppier
“Missing Person.” Buck’s side includes a stripped-down, catchy punk track
“Frozen Shut” and a version of the Queen Haters’ (from SCTV) snotty punk
send-up “I Hate The Bloody Queen.” (<a href="http://utgrecords.com">utgrecords.com</a>)<br /></span><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><b style="font-family: inherit;">MALLWALKER-Danger
(Tetryon, tape)<br /></b><span style="font-family: inherit;">One
side studio, one side live, recorded at the end of the last decade and in
memory of their vocalist Sarah Underhill, who passed away in December 2022.
Boisterous punk with a whole lot of lyrical agitation about family pressure,
misogyny and sexual abuse. Burning/buzzing guitar riffs and a walloping
backbeat. There are both live and studio covers of Flux’s “Tube Disaster” and
there’s also a live version of the Nubs’ KBD chestunt “Job.”
(<a href="http://tetryontapes.bandcamp.com">tetryontapes.bandcamp.com</a>)<br /></span><b style="font-family: inherit;"><br /></b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie7GXQTJyHKgubxoFdR1mFnsSmPjvvCm7MPQMQjPp6vDR_Ns-DANwEcTWKwZQlZBx9ibo0E2_nHo5eqdVRtx4_QdnWZeGvaWzzFLBtnSOyK_mCuVe_CIKUky9_OcGzG2tYJ5Mwz0ddxLUCp6xcOoYCtLg4D-DRuSyZMZYvaZS3HC3tknLjWLuQlQ/s2097/IMG_3778.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2097" data-original-width="1800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie7GXQTJyHKgubxoFdR1mFnsSmPjvvCm7MPQMQjPp6vDR_Ns-DANwEcTWKwZQlZBx9ibo0E2_nHo5eqdVRtx4_QdnWZeGvaWzzFLBtnSOyK_mCuVe_CIKUky9_OcGzG2tYJ5Mwz0ddxLUCp6xcOoYCtLg4D-DRuSyZMZYvaZS3HC3tknLjWLuQlQ/w344-h400/IMG_3778.JPG" width="344" /></a></div><b>MUTANT STRAIN</b><br /><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><b style="font-family: inherit;">MUTANT
STRAIN-Murder Of Crows (Sorry State, 12”)</b></div><div style="text-align: left;"><span style="font-family: inherit;">Boiling
over rage. I saw this band tear apart a community center in Cambridge. Well,
not literally, but you know what I mean. Scalding, pissed-as-fuck vocals and a
relentless attack. Squalls of feedback and powerchords, along with frantic
drumming. Teetering on the edge of oblvion without going over the cliff. No
skimping on the packaging—a lyric booklet, two-sided foldout poster and even a
“Make a mutant” cutouts. (<a href="http://www.sorrystaterecords.com">www.sorrystaterecords.com</a>)<br /></span><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><span><div style="font-weight: bold; text-align: left;"><span style="font-family: inherit;"><b>NO
FUCKER-Tombs (No Real Music, 7”)</b></span></div><div style="text-align: left;"><span style="font-family: inherit;">First
new release in 15 years for this Discharge-worshiping unit and providing four
ripping tracks of d-beat fury. “Just Another Junkie” is a cautionary tale (of
sorts) based on personal experience. Nice ‘n raw, just the way you like it. (no
website or Bandcamp info but available from many distributors)</span></div></span></div><div style="text-align: left;"><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><b style="font-family: inherit;">PARANOID-S.C.U.M.
(Beach Impediment, 12”)<br /></b><span style="font-family: inherit;">“S.C.U.M.”
(or “Saboteurs and Criminals United In Mayhem”) originally came out as a 7” and
it’s on a one-sided 12” here, with an etching on the flip. Two of the 7” tracks
are extended to over four minutes. Anyway, those are statistics. As for the
musical contents, this Swedish band create a wild ride of Japanese-inspired
noise, d-beat and expansive elements, particluarly on closing track “Taikeiteki
Kunou,” which concludes with almost a minute of static white noise. (<a href="http://beachimpedimentrecords.bigcartel.com">beachimpedimentrecords.bigcartel.com</a>)<br /></span><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><b style="font-family: inherit;">PHAGOCYTE-B.U.D.L.I.T.E.
(self-released, demo)<br /></b><span style="font-family: inherit;">Or
“Bitch, U Don’t Like It? Go Home Then!” Three more songs from Phagocyte, with
rougher-sounding recording quality than the first one. And the playing is
harder-edged, as well—a fast-paced, buzzing punk attack and a venomous attitude to go with it. (<a href="http://phagocyte-doesnt-like-u.bandcamp.com">phagocyte-doesnt-like-u.bandcamp.com</a>)<br /></span><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: center;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0XSriFis9srY-7DSL_-KVx3vMAC3IJzKG_QQRjF6Q1I08pCTysCQL2E1iqAkpBjY5gvQk8wVDZ-3BhQRrtTmA32YnjxnqVz7S4kxLcqgtbUp7U7xjGLk7Q2r9IZW40uEuQfk5u97ZnjhjOEuBm3EJoOMlsSAdgTPf77RZV9LrYPYJpSUJouhAdA/s1898/rat.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1898" data-original-width="1800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0XSriFis9srY-7DSL_-KVx3vMAC3IJzKG_QQRjF6Q1I08pCTysCQL2E1iqAkpBjY5gvQk8wVDZ-3BhQRrtTmA32YnjxnqVz7S4kxLcqgtbUp7U7xjGLk7Q2r9IZW40uEuQfk5u97ZnjhjOEuBm3EJoOMlsSAdgTPf77RZV9LrYPYJpSUJouhAdA/w379-h400/rat.jpg" width="379" /></a></div>RAT-NIP<br /><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: inherit;">RAT-NIP-My
Pillow (Song Book, 7”)</span></b></div><div style="text-align: left;"><span style="font-family: inherit;">Pissed
off d-beat meets American style hardcore punk although they add a little death
rock to “Schemer” and you can feel the darkness (get it?) for “Old River.”
Trigger-finger rage from the get-go. (<a href="http://songbookrecords.bandcamp.com">songbookrecords.bandcamp.com</a>)<br /></span><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><b style="font-family: inherit;">REJEKTS-Manmade
Hell (No Norms, 7”)</b></div><div style="text-align: left;"><span style="font-family: inherit;">Bare-knuckled
punk and hardcore with an oi-ish tinge from this Boston band. If there’s a
theme, it’s feeling trapped by daily life and wary of everything around you.
Timeless sentiments. Rejekts include people who have been around the musical
block a few times, playing in bands like Combat Zone, Bombers, Flaccid, Banshee
and many others, so they’ve got it down at this point. (<a href="http://nonormsrecords.com">nonormsrecords.com</a>)<br /></span><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: inherit;">SAVAGEHEADS-Summer
Demo MMXXIII (Active-8, demo)<br /></span></b><span style="font-family: inherit;">Five
new tracks, including an Insane cover and re-recording of the early song
“Savageheads.” More classic UK-82 style punk done in thumping fashion.
“Overworked” could very well become a Labor Day perennial for my radio show.
This should get a vinyl release. (<a href="http://active8records.bigcartel.com">active8records.bigcartel.com</a>)<br /></span><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: inherit;">SCIENCE
MAN-Mince’s Cain (Swimming Faith, 12”)<br /></span></b><span style="font-family: inherit;">This
is John The Science Man’s most raw-sounding effort. A ripping and ravenous collection
of twisted, sputtering hardcore emanations. A fusillade of gnashing, slashing,
alien guitar tones executed at a high velocity. And the accompanying vidoes,
which can be seen on YouTube if you didn’t get the VHS release or have a
working VHS player, are also twisted and highly creative. Not for the squamish,
though, especially “Magnetic Death.” The title is another anagram of Science
Man—the last one was Nines Mecca—and this will mince your eardrums, as well as
eyes, into oblivion. (<a href="http://swimmingfaithrecords.com">swimmingfaithrecords.com</a>)</span><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: inherit;">SIAL-Sangkar
(La Vida Es Un Mus, 7”)<br /></span></b><span style="font-family: inherit;">After
a 2021 single featuring two lengthy tracks, Sial are back to delivering their
songs in short blasts. Six of ‘em on this 7” and succinctly delivering the
fury. Buzzing riffs accompanied by nettled, repetitive rants. Mixing up the
tempos and rhythms—mostly at a fast clip, although opening song “Tali” goes for
a medium-paced pound. Dishing out the fury for half a dozen years at this
point, with no let-up in sight. (<a href="http://lavidaesunmus.com">lavidaesunmus.com</a>)<br /></span><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><b style="font-family: inherit;">SWEEPING
PROMISES-Good Living Is Coming For You (Feel It, 12”)<br /></b><span style="font-family: inherit;">Gloriously
lo-fi and catchy as hell post-punk/new wave/punk. That’s what makes it
appealing. It adds an edginess that glossier sound quality would wipe away.
This duo sure as hell know their way around a hook. Some of those hooks come
from rangy, swooping vocals, as well as a cool mix of potent and sometimes
quirky instrumentation—strong bass-lines and backbeat, juicy guitar lines,
synth blips, even the occasional sax, which adds nicely to “Conoisseur of
Salt,” the best song here. And the influences aren’t blatant—echoes of Wire,
New Order, Gang of Four and Kleenex, but with their own stamp on it.
(<a href="http://feelitrecordshop.com">feelitrecordshop.com</a>)<br /></span><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><b style="font-family: inherit;">TELEGENIC
PLEASURE-Concentric Grave (Feral Kid/No Front Teeth, 12”)<br /></b><span style="font-family: inherit;">Synth-driven
punk/new wave/pop that’s a colloabortion between Rob Brake from Mononegatives
and Marco Palumbo-Rodrigues, who’s been a number of bands. X-Intruder was one
and I liked their album from a few years ago.<span style="mso-spacerun: yes;"> </span>A stylistic mix with the punky drive of “Sugar Effigy” and “Greed For
Guilt” making the strongest impression. Reminisicent of the Mind Spiders, at
times. Using technology (to use an old phrase) but still sounding human. (<a href="http://nofrontteeth.co.uk">nofrontteeth.co.uk</a>;
<a href="http://feralkidrecords.storenvy.com">feralkidrecords.storenvy.com</a>)<br /></span><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><b style="font-family: inherit;">WET
SPECIMENS-Over Pale Bodies (Brain Slash, 12”)<br /></b><span style="font-family: inherit;">Haunted
emanations emerging from an aural catacomb. Slash and shimmer on the guitars
and harsh, echo-y vocals just beneath the surface, along with synth effects.
Lots of pain and torment going on here, done with a thunderous intensity.
There’s almost a death-rock feel or even a hint of Joy Division, but it’s
strained through their ugly hardcore punk murkiness. Nothing soothing here.
(<a href="http://brainslash.storenvy.com">brainslash.storenvy.com</a>)</span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: center;"><span style="font-family: inherit;"><b>********</b></span></div>
<div style="text-align: left;"><b><span style="font-family: inherit;">SOME
REISSUES AND A BOOK OR TWO:</span></b><br /><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbT-FnRwL6DAK0GpmARteYMqy5MGBXuqfNetwgly4hKsmYRRaIO0IbJR5Opii8MCO8GG304XRBsmWQmQszu-ssypatZABves51bG09gdOmL0gauKkmOXk4uipshXrSPwHZvciNOtWoziSe_FTEMyw0FpXxXVJffi-FcKs-R4dPkvXq0ttoIsxjaQ/s1997/image1.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1670" data-original-width="1997" height="335" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbT-FnRwL6DAK0GpmARteYMqy5MGBXuqfNetwgly4hKsmYRRaIO0IbJR5Opii8MCO8GG304XRBsmWQmQszu-ssypatZABves51bG09gdOmL0gauKkmOXk4uipshXrSPwHZvciNOtWoziSe_FTEMyw0FpXxXVJffi-FcKs-R4dPkvXq0ttoIsxjaQ/w400-h335/image1.jpeg" width="400" /></a></div><b>DYS (photo: Bruce Rhodes)</b><br /><b style="font-family: inherit; mso-bidi-font-weight: normal;"><br /></b></div><div><b style="font-family: inherit; mso-bidi-font-weight: normal;">DYS-Brotherhood (Bridge Nine, 12”)</b></div><div><span style="font-family: inherit;">40th anniversary reissue—yikes! Just for the hell of it, I dug out my original review I published in issue #7 of </span><i style="font-family: inherit;">Suburban Punk</i><span style="font-family: inherit;">. I’m not going to reprint it here because some of it sounds a bit naïve but I suppose it’s hard to feel embarrassed about pointing out that the lyrics are about standing up for what you believe in, seeing beyond fashion, lifestyle and skin color and getting together to fight for a better world. Perhaps a bit idealistic but, hey, we were all young. Anyway, it’s a raging hardcore album, mixing up thrash and medium-speed material. There’s a metal piss-take, “Girl’s Got Limits” and the trippier “Escape,” with the silly King Arthur spoken word intro, and weird vocal effects at the end. Their anthem “Wolfpack” is included but it’s not the original demo version that was actually two songs—the fast one at the end was called “Bible” and was recorded with their first guitarist Steve. This is a later version (I think) with the Hüsker Dü guys doing backing vocals. All of the songs are pressed on one side and the other side has a screen print on it. A high-energy record that conjures up great memories. It nearly inspired me to start thrashing around my room but my knee is fucked up and what would the neighbors think if they looked through the window? Oh well. (<a href="http://bridge9.com">bridge9.com</a>)</span></div><div style="text-align: left;"><br /></div><b>МИР</b><b style="font-family: inherit;">-Mindecision (Beach Impediment, 12”)</b></div><div style="text-align: left;"><span style="font-family: inherit;">Some vintage, ranting hardcore from this Roanoke band that came out on a demo in 1985. The name is MIR in English and it’s Russian for Peace. Mainly fast thrash, although melodic bits pop up here and there. Proof that the hardcore bug reached almost every nook and cranny in the US. Incidentally, their bass player Mary Huff went on to play in the garage/rockabilly/surf band Southern Culture On The Skids. (<a href="http://beachimpediment.bigcartel.com">beachimpediment.bigcartel.com</a>)</span></div><div style="text-align: left;"><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><b style="font-family: inherit;">THE
PROLETARIAT-Indifference (Restless Empire, 12”)</b></div><div style="text-align: left;"><span style="font-family: inherit;">Reissue
of the second Proletariat album, which was actually done posthumously in 1986
and features two different lineups—after drummer Tom McKnight and vocalist Rick
Brown left the band, they were replaced by Steve Welch and Laurel Bowman
respectively, and they appear on two songs. Laurel’s cadence is similar to
Rick’s but perhaps a tad more mellifluous. Anyway, “Indifference” is darker and
bleaker-sounding than their debut LP “Soma Holiday”—not that they were ever a
chipper unit-- but there’s still a lot of energetic burn along with the
politically-charged lyrics, particularly for “Pride, “Marketplace” and
“Instinct.” There’s also more melody mixed into the sonic density. Capturing
the times and, unfortunately, the times have been changing backwards in recent
years. Restless Empire doesn’t seem to have any sort of web presence, except
for a Facebook and Instagram page, but various distributors and Discogs have it
in stock.</span><br /><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: inherit;">QUICKSAND-Slip
(Iodine, 12”)</span></b></div><div style="text-align: left;"><span style="font-family: inherit;">Very
lavish package for the 30th anniversary reissue of Quicksand’s first album—pink swirly colored
vinyl plus a full color glossy hardcover book. The latter is filled with photos,
brief essays, ephemera, flyers and zine articles (including my interview with
Walter form SV). I haven’t listened to this album much over the past 25 years
or so, to be honest. It was part of the early 1990s post-hardcore rock thing I’d
left behind when getting back to hardcore basics but there’s still something
appealing about it. You can tell they were listening to a lot of Fugazi, Jane’s
Addiction and Helmet—most of which Walter readily admits. There’s a
swirling/swaying to-and-fro feel to the bulk of the songs and strong melody
lines emerge. And there’s a warmth in the production. Includes their
stripped-down cover of the Smiths’ “How Soon Is Now.” Quicksand got caught up in
the post-Nirvana signing frenzy and this album stands up somewhat better than
quite a bit of the post-hardcore music I was championing back then. (<a href="http://iodinerecords.com">iodinerecords.com</a>)</span><br /><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: inherit;">SS
DECONTROL-The Kids Will Have Their Say (Trust, 12”)</span></b></div><div style="text-align: left;"><span style="font-family: inherit;">Finally
back in print after over 40 years. A cornerstone of Boston and
straight-edge hardcore, of course and one that’s provided inspiration to
multiple generations of fans. Fast and raging, with a hornets nest of guitar
riffs, strong drumming and bass playing and Springa’s wailing caterwaul on top
of everything. Most of it is at blitz speed although slowed down for “Police
Beat” and, of course, “How Much Art” (AHHHHT!!), a seething critique of
art-punk, post-punk and new wave. The original demo version had a rant with Al calling out names. “A Certain General, A Certain Ratio, a certain
bullshit! New Order—short order!” Many of the lyrics are about rejecting
societal norms and conformity, especially alcohol and drug use (fancy way of me
saying straight-edge) as well as police abuse and mindless patriotism. I think
there are 13 different variations of this reissue, through different stores and
distributors. One is an alternate white cover. It shouldn’t be too tough to
find a copy, though, even if it’s just black. Besides, it’s about the music,
right? Essential. “Get It Away” will be reissued sometime in 2024. By the way,
that whole thing about the Boston Crew slapping beers out of people’s hands?
Urban legend. But don’t them where you heard that. (<a href="http://trustrecordscompany.com">trustrecordscompany.com</a>)</span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit;">…
and just before “Kids” was reissued, the SSD “coffee table” book was released…</span></div>
<div style="text-align: left;"><b style="font-family: inherit; mso-bidi-font-weight: normal;"><br /></b></div><div style="text-align: center;"><b style="font-family: inherit;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4FFX4gYVMjCKIkol9Oie0pm-JTXdSN-RNdt7OwYM8VBKKNdLaXZF9GmmyNY3OcXK5gH2ohVhu9lXF-76Dd2q9sPICBAE6ftyxjzYsWQOe5cDSl6bWyyf0ELnX3FPFArgOcvFGiI9_j5w-BKZKDaIQtlaM1NT2h2orUx62qKpCC3-P6ZiQFkMeyw/s800/HowMuchArtCanYouTake_-Book-Cover_800x.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4FFX4gYVMjCKIkol9Oie0pm-JTXdSN-RNdt7OwYM8VBKKNdLaXZF9GmmyNY3OcXK5gH2ohVhu9lXF-76Dd2q9sPICBAE6ftyxjzYsWQOe5cDSl6bWyyf0ELnX3FPFArgOcvFGiI9_j5w-BKZKDaIQtlaM1NT2h2orUx62qKpCC3-P6ZiQFkMeyw/w400-h400/HowMuchArtCanYouTake_-Book-Cover_800x.webp" width="400" /></a></div></b></div><div style="text-align: left;"><b style="font-family: inherit;"><i><br /></i></b></div><div style="text-align: left;"><b style="font-family: inherit;"><i>HOW
MUCH ART CAN YOU TAKE?</i></b><b style="font-family: inherit;"> photos by Philin Phlash and interviews by
Nancy Barile, Radio Raheem, hardcover </b></div><div style="text-align: left;"><span style="font-family: inherit;">A
combo oral history and photo book by Philin Phlash (Springa from SSD’s brother)
that tells the story through interviews with the band members, along with their
friends/crew from here, Pushead (who illustrated the cover of the “Get It Away” EP)
and the late Mike “Mr. B” Bastarache, who produced the first two records It’s more or
less chronological, starting with the band members’ origins and covering crucial
events in the band’s history. The birth of DIY hardcore shows in Boston at
Gallery East and Media Workshop. Out of town shows, straight edge, even the
infamous pig’s head incident at a show at the Channel. Nancy, who moved up here
from Philly, offers her own observations and how she became involved not only
in a relationship with Al but the local scene. By the way, you should check out
her book from a few years ago, “I’m Not Holding Your Coat” (<a href="http://bazillionpoints.com">bazillionpoints.com</a>)
where she details her own punk and hardcore journey. </span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit;">What’s
interesting is how you had four very disparate personalities</span><span style="font-family: inherit; mso-spacerun: yes;"> </span><span style="font-family: inherit;">(adding a fifth later on, lead guitarist
Francois Levesque) who could often be at odds with each other and they somehow
made it work for four years. Some of the photos will look familiar but many
were unpublished up until now and there are shots both onstage and offstage,
although the emphasis is on the former. There’s a complete set of the photos
from the iconic “Kids” cover shot at the Massachusetts State House. Phil was able to capture the intensity of the early days, where something life-changing for so
many people (including myself) was happening—not only in Boston but around the
country. Worldwide, in fact. A visually striking and sometimes humorous, sometimes poignant
collection. </span><span style="font-family: inherit;">(<a href="http://deathwishinc.com/collections/radio-raheem">deathwishinc.com/collections/radio-raheem</a>)</span></div><div style="text-align: left;"><b style="font-family: inherit;"><i style="mso-bidi-font-style: normal;"><br /></i></b></div><div style="text-align: left;"><b style="font-family: inherit;"><i style="mso-bidi-font-style: normal;">JUST A MINOR
THREAT</i></b><b style="font-family: inherit;">
by Glen E. Friedman, Akashic Books, hardcover</b></div><div style="text-align: left;"><span style="font-family: inherit;">Glen
E. Friedman refers to his work as “making pictures,” instead of shooting
photography. I think he views his work as coming from more of an artist’s
sensibility. I suppose there’s an art to making photos that are 40 years old so
vibrant and that’s the case here. Friedman had this knack for being right in
the fray and getting photos that show every bead of sweat and every emotion
from the people playing this music, as well as the audience—with little or no
separation between the two. All of the photos are black and white, adding to
the dramatic effect. Words are pretty much kept to a minimum, save an intro by
Friedman and essays from Guy Picciotto (Fugazi, Rites of Spring), Ian Svenonius
(Nation of Ulysses), Alec MacKaye and a few others. But it’s not an oral
history—that’s been done in many other places.</span><span style="font-family: inherit;">The
sections are broken down by shows, mostly in DC but also NYC and California, both
live and candid and that includes a collection of the iconic Dischord House stoop
photos, one of which was used for the “Salad Days” EP. It’s not hyperbole to
say that Minor Threat were an important band, in many ways. There was an
honesty and directness, especially in the lyrics and the way Ian MacKaye and
Jeff Nelson conducted “business” with Dischord. It was a great moment and,
without becoming too misty-eyed (OK, a little), listening to those records and
seeing them play changed my life. Many others, as well. </span><span style="font-family: inherit;">(<a href="http://akashicbooks.com">akashicbooks.com</a>)</span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div>
<div style="text-align: left;"><b style="font-family: inherit;">…
IN MEMORIAM…</b></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit;">2023
was a rough year and I can’t say I’m not glad to see it in the rearview mirror.
In the past twelve months, I lost too many people—friends and acquaintances, both
people I grew up with and knew from my musical “family.” All of them gone at
way too young an age…</span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>DEDICATED TO:</b></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxk66GM1OjYfqw9m6spsxd-cC816h2fehVgiqDo5pkG5w89hKjgWbs_fKNoY70JdtXX3FnVbJlgA2BP0HnTYaImoXP898qHgJ2wRWksxdNPmr4SvlH9sL-KrcMb3R3uGU88WQ16XMiX2TZiBrjWjHNYl_AM9FZpF28Vf_L6swyzO27X0k87FNeBw/s603/coop.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="603" data-original-width="497" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxk66GM1OjYfqw9m6spsxd-cC816h2fehVgiqDo5pkG5w89hKjgWbs_fKNoY70JdtXX3FnVbJlgA2BP0HnTYaImoXP898qHgJ2wRWksxdNPmr4SvlH9sL-KrcMb3R3uGU88WQ16XMiX2TZiBrjWjHNYl_AM9FZpF28Vf_L6swyzO27X0k87FNeBw/w330-h400/coop.jpg" width="330" /></a></div><span style="font-family: inherit;"><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div>Amy
Saltz</span></div><div style="text-align: left;"><span style="font-family: inherit;">Dave
Stein</span></div><div style="text-align: left;"><span style="font-family: inherit;">Jimmy
Flynn</span></div><div style="text-align: left;"><span style="font-family: inherit;">Liz
Reagan</span></div><div style="text-align: left;"><span style="font-family: inherit;">Mark
“Stem” Stemniski</span></div><div style="text-align: left;"><span style="font-family: inherit;">Otis
“O” Bartholoumeu </span><span style="font-family: inherit; mso-spacerun: yes;"> </span></div><div style="text-align: left;"><span style="font-family: inherit;">Scot
“Coop” Cooper (in photo with his faux-punk band The Vitamins)</span></div><div style="text-align: left;"><span style="font-family: inherit;">Wendy
Winer Patrinos </span></div>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p></p><p style="height: 0px;"><span style="font-family: inherit;"><br />x</span></p>Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-31903397092842718382023-02-02T17:52:00.005-05:002023-02-02T22:30:56.744-05:00Suburban Voice blog #151--50 years of Raw Power<div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJTqyXNhkVSw_OxkNHVlUtM6MhaggrWXPtOjG9YTGq6TVEgYi4Xj22phJncNSOylSkDISfyhZqToTTksoOxB5HUxN30KQPyTyd0pZ8axxw-jFTGDGhwNegaslaKAuek-WCD09L-zRHmJzcg74C_a78aVreGINVOrh4OWzgjXtYiIMOHsm_YbE/s1379/IMG_1892.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="992" data-original-width="1379" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJTqyXNhkVSw_OxkNHVlUtM6MhaggrWXPtOjG9YTGq6TVEgYi4Xj22phJncNSOylSkDISfyhZqToTTksoOxB5HUxN30KQPyTyd0pZ8axxw-jFTGDGhwNegaslaKAuek-WCD09L-zRHmJzcg74C_a78aVreGINVOrh4OWzgjXtYiIMOHsm_YbE/w400-h288/IMG_1892.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><i style="font-family: inherit;">As we approach the 50th anniversary of the release of Iggy & The Stooges “Raw Power” album (the actual release date was 2/7/73), it provides another opportunity to tell the story of how I discovered this life-changing album. I published this years ago on a MySpace blog (remember MySpace?) and I’ve made a few revisions.</i></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: inherit;">It
was the summer of 1976 and I was in the middle of a somewhat lonely
adolescence. I spent a lot of time in my room listening to records and
devouring music magazines and books like </span><i style="font-family: inherit;">Circus
</i><span style="font-family: inherit;">and </span><i style="font-family: inherit;">Creem.</i><span style="font-family: inherit;"> I had a paperback book
called “Rock Revolution,” about different genres and eras in rock. And you bet
I still have my copy. Two of them, in fact, </span><i style="font-family: inherit;">sans </i><span style="font-family: inherit;">cover. I probably
picked them up for a quarter at a used book shop or discount store. </span></div></div><div style="text-align: left;"><span style="font-family: inherit;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2PLTkrWM4jyZev3iCCueFk_JXGABx7QQ9tdLOgtwtXHszvfMLqqwX7lyM9N2k-IVO2XoAdI0J_Xd5VDy1d7MVCw6ao0jiKtnC4LDe5PgGMkMQWiciAa6ONSo0xf6czia0is6nGutKcMZg92OfaeJ4iQBjf4HdIweON62aLuSu_1uB6yJ54wg/s1572/IMG_1890.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1572" data-original-width="1021" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2PLTkrWM4jyZev3iCCueFk_JXGABx7QQ9tdLOgtwtXHszvfMLqqwX7lyM9N2k-IVO2XoAdI0J_Xd5VDy1d7MVCw6ao0jiKtnC4LDe5PgGMkMQWiciAa6ONSo0xf6czia0is6nGutKcMZg92OfaeJ4iQBjf4HdIweON62aLuSu_1uB6yJ54wg/s320/IMG_1890.jpg" width="208" /></a></div><br />There was
one chapter called “The Heavy Metal Kids” written by the legendary Lester
Bangs. His definition of heavy metal was pretty broad—he considered the Velvet
Underground’s “White Light/White Heat” one of the “definitive heavy metal
statements.” He also mentioned Blue Öyster Cult, the MC5 and Iggy and the
Stooges. It definitely piqued my interest and I ended up checking out all of
those bands over time. Bangs offered very high praise for the Stooges “Raw
Power”:</span></div><div style="text-align: left;"><i><br /></i></div><div style="text-align: left;"><i>
The Stooges have more rage in their music than any other band that ever walked the earth. It's just bottled molten urgency and general disaffection turned to switch-blade aggression. The Stooges had so much of it they burned themselves out after two years, but then they pulled it back together and now they're re-unleashed, as Iggy and the Stooges, and they got this album called "Raw Power" that will turn you to a raving idiot. They're that good. They're the best. All other heavy metal is farina next to them., Just imagine all those vicious whipping guitars, jackboot drums, and Iggy snarling “Search and Destroy!" "Gimme Danger!" "Your Pretty Face Is Goin' to Hell!" "I Need Somebody!" "Death Trip!" The titles alone tell the story. Get 'em.”
</i><p class="MsoNoSpacing"><span style="font-family: inherit;">I
mean, how could I not want to hear <i>that</i>? So not too long after that, I
was in downtown Lynn and hit up a head shop called Headlines Boutique. What
was a head shop, you ask? A place where they sold drug paraphernalia--bongs,
rolling papers, pipes, etc, along with the requisite tapestries and t-shirts (I later got a light blue Kiss one with an iron-on transfer). I
can still remember the smell of incense or maybe it was something else. I never did smoke weed (still haven't). Those stores disappeared when Governor
Ed King, a right-wing Democrat (he eventually became a Republican) signed a
bill that outlawed the selling of drug paraphernalia in Massachusetts. </span></p></div><div style="text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7RzutnY5R9__VImU3d0YWCsk5-AdJ1jRCVFGOMTNxFqZ8H_tcGipeM58-wEQsYNn10H2-ZMV-xEXdo2R2TwVgEVKMvTRcYalkWg4DWYh0ZC-cxzgptqv6RXVQXWgIE7IEvkYadu3bYh7DLfzJ5k20btIHT8ojhOmpF5o7-AwxLrgm5feDJsE/s2654/Iggy-Pop-performing-laying-on-microphone-stand-322345310.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1831" data-original-width="2654" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7RzutnY5R9__VImU3d0YWCsk5-AdJ1jRCVFGOMTNxFqZ8H_tcGipeM58-wEQsYNn10H2-ZMV-xEXdo2R2TwVgEVKMvTRcYalkWg4DWYh0ZC-cxzgptqv6RXVQXWgIE7IEvkYadu3bYh7DLfzJ5k20btIHT8ojhOmpF5o7-AwxLrgm5feDJsE/w400-h276/Iggy-Pop-performing-laying-on-microphone-stand-322345310.jpg" width="400" /></a></span></div><div style="text-align: center;"><span style="font-family: inherit;"><b>LONDON, 1972 (photo: Mick Rock)</b></span></div><div style="text-align: center;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit;">Headlines
had a small crate of used records on the floor. I flipped through them and came
across an LP with a strange-looking guy on the front cover. I flip it over and
the white dripping letters say "Iggy and The Stooges--Raw Power." It
was the album I’d just read about! I asked the clerk if I could hear a bit of
it. The minute I heard the opening chords to "Search and Destroy," I
was sold. He skipped from one track to another--"here's quieter one,"
which was "Gimme Danger" or maybe it was "I Need
Somebody." So I pulled $3 (can't remember if I paid sales tax) out of
my pocket and the record was mine. Best $3 I ever spent.<br /> <o:p> <br /></o:p>I
don't remember how many times I played that record over the first few weeks I
owned it but it was a lot. It was absolutely vicious-sounding--James
Williamson's guitar lashing out like a snake's tongue and Iggy’s seething,
sometimes sensual/sensuous vocals. It was pure overkill. And then there was David Bowie’s production, which was crude and tinny but that’s also lent to its
uniqueness. I remember "Gimme Danger" being used effectively in the
Mad Magazine movie "Up The Academy," every time the villainous
commanding officer entered the room. That was about the only good thing in
that movie, one of the worst ever made. There was the surging title track, with
a plinking piano meshing perfectly with the rhythm. There was the ass-shaking
"Shake Appeal" (duh). Then there was the incendiary conclusion,
“Death Trip.” And then there’s one of the greatest opening lines in rock ‘n
roll history on one of the greatest songs in rock ‘n roll history, “Search and
Destroy”—<i style="mso-bidi-font-style: normal;">“I’m a streetwalkin’ cheetah
with a heart full of napalm.” </i>Genius-level stuff.<br /> <o:p> <br /></o:p>I
have the album in multiple formats—no 8-track or the super deluxe 2010 reissue--but other CD pressings and even a cassette.
I finally upgraded my vinyl version recently. It’s the double LP package, with
the original Bowie mix on one disc and Iggy’s remix on the other. About the
latter—I can’t stand it. In the liner notes, he says “everything’s in the red.”
Well, it’s a case of making it worse. I’m glad that the original Bowie mix was
restored on the 2010 CD reissue. It was tweaked a bit but remains true to the
original. And I’ll never part with the first copy. <span style="mso-spacerun: yes;"> <br /></span><o:p> <br /></o:p>“Raw
Power” was unlike any album I’d heard up to that point. I didn't realize it at
the time and never really thought about it for many years but "Raw
Power" was the first punk record I owned. I just thought it was a
great heavy metal or hard rock album, as Lester had described it. I wasn’t
aware of punk, yet. And since it came
out in 1973, they were well ahead of the curve. Whatever </span><span style="font-family: inherit;">the case, it
completely changed my perspective about rock ‘n roll. I wanted to hear more
music that was edgier and dangerous-sounding. Fortunately, punk came along for
me at just the right time, about a year later.</span></div>Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-77345434248389816432022-12-29T11:48:00.005-05:002022-12-29T17:11:03.493-05:00Suburban Voice blog #150--The Best of 2022<div style="text-align: left;"><span style="font-family: inherit;"> </span></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQX4w-7-9rU3vTw_0QtsiYiZ0cDI9qZ6LB2Y56tTXhf4IKke85Nl6fTkGCOkPrf1WOPbn-Zw_ebBU2HblUsSLPCfGKqtKqE6-lnDvFlVDmeFJDw1m4RJZqe6Zu1Nd4HkdAXvrMWCQ5dNaujnAhI4vcrOr9OhDiaIELhNK-24u1k8b2j8B2Wm8/s2069/Savageheads.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2069" data-original-width="1516" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQX4w-7-9rU3vTw_0QtsiYiZ0cDI9qZ6LB2Y56tTXhf4IKke85Nl6fTkGCOkPrf1WOPbn-Zw_ebBU2HblUsSLPCfGKqtKqE6-lnDvFlVDmeFJDw1m4RJZqe6Zu1Nd4HkdAXvrMWCQ5dNaujnAhI4vcrOr9OhDiaIELhNK-24u1k8b2j8B2Wm8/w293-h400/Savageheads.jpg" width="293" /></span></a></div><div style="text-align: center;"><b><span style="font-family: inherit;">SAVAGEHEADS</span></b></div></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit;">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.</span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit;">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 <a href="http://www.sonicoverload.net"><span style="color: red;"><b>Sonic Overload</b></span></a> and check out my <a href="http://www.instagram.com/suburban_voice"><b><span style="color: red;">Instagram</span></b></a> page. </span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit;">Oh yeah, this fall was the 40th anniversary of the first issue of <i>Suburban Punk</i>. 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. </span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit;">In memory of Pat Lynch (1970-2021), Jim Coffman (1960-2022), Chris Corkum (1963-2022) and Marc Tobio (1966-2022)</span></div><div style="text-align: left;"><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: inherit;">THE TOP TEN</span></b></div><div style="text-align: left;"><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: inherit;">CRISIS
MAN-Asleep In America (Erste Theke Tonträger, 12”)</span></b></div><div style="text-align: left;"><div style="text-align: left;"><span style="font-family: inherit;"><span>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 </span><i>hate</i><span> this album. All the more reason to listen to it. US
pressing on Digital Regress.</span></span></div><span style="font-family: inherit;"><br /></span></div><span style="font-family: inherit;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=887482111/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://crisisman.bandcamp.com/album/asleep-in-america">Asleep In America by Crisis Man</a></iframe></span><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: left;"><b><span lang="ES" style="font-family: inherit;">daddy’s boy-GREAT NEWS! (Drunken
Sailor, 12”)</span></b></div><div style="text-align: left;"><span lang="ES"><span style="font-family: inherit;">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.</span></span></div><div style="text-align: left;"><span lang="ES"><span style="font-family: inherit;"><br /></span></span></div><span style="font-family: inherit;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1447384118/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://daddysboy.bandcamp.com/album/great-news">GREAT NEWS! by daddy's boy</a></iframe></span><div style="text-align: left;"><span lang="ES"><span style="font-family: inherit;"><br /></span></span></div><div style="text-align: left;"><span lang="ES"><span><b><span style="font-family: inherit;">FLASH-s/t
(La Vida Es Un Mus, LP)</span></b></span></span></div><div style="text-align: left;"><span style="font-family: inherit;">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.</span></div><div style="text-align: left;"><span style="font-family: inherit;"><span><br /></span><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1481914239/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://lavidaesunmus.bandcamp.com/album/s-t-19">S/T by Flash</a></iframe><b><span><br /></span></b></span></div><div style="text-align: left;"><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><span style="font-family: inherit;"><b><span>IRREAL-Era
Electrónica (La Vida Es Un Mus, 12”)<br /></span></b><span>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<span style="mso-spacerun: yes;"> </span>it’s not crusty noisemongering, finding a
comfortable (if this music could <i>ever </i>be comfortable) nexus connecting
Discharge, Swedish mangel and some of Kaaos’ wanton fervor. An abundance of
slashing guitar and unrelenting bass/drums.</span></span></div><div style="text-align: left;"><span style="font-family: inherit;"><span><br /> </span><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2758912078/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://lavidaesunmus.bandcamp.com/album/era-electr-nica">Era Electrónica by Irreal</a></iframe><b><span><br /></span></b></span></div><div style="text-align: left;"><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><span style="font-family: inherit;"><b><span>JUDY
AND THE JERKS-Music To Go Nuts (Thrilling Living, 12”)<br /></span></b><span>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.</span></span></div><div style="text-align: left;"><span style="font-family: inherit;"><span><br /> <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4087357874/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://thrillingliving.bandcamp.com/album/music-to-go-nuts">Music to Go Nuts by Judy and the Jerks</a></iframe></span><b><span><br /></span></b></span></div><div style="text-align: left;"><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><span style="font-family: inherit;"><b><span>NICFIT-Fuse
(Upset! The Rhythm, 12”)<br /></span></b><span>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.</span></span></div><div style="text-align: left;"><span style="font-family: inherit;"><span><br /> <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3552232499/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://nicfitnag.bandcamp.com/album/fuse">Fuse by NicFit</a></iframe></span><b><br /></b></span></div><div style="text-align: left;"><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><span style="font-family: inherit;"><b>SAVAGEHEADS-Service
To Your Country (Social Napalm, 12”)<br /></b><span>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.<span style="mso-spacerun: yes;"> </span></span></span></div><div style="text-align: left;"><span style="font-family: inherit;"><span><span style="mso-spacerun: yes;"><br /><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=950057201/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://socialnapalm.bandcamp.com/album/service-to-your-country">Service to Your Country by Savageheads</a></iframe></span></span><span><b><br /></b></span></span></div><div style="text-align: left;"><span style="font-family: inherit;"><b><br /></b></span></div><div style="text-align: left;"><b><span style="font-family: inherit;">SCIENCE
MAN-Nines Mecca (Feral Kid/Swimming Faith, 12”)</span></b></div><div style="text-align: left;"><span style="font-family: inherit;"><span>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.<br /></span><b><span><br /><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=958961811/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://scienceman.bandcamp.com/album/nines-mecca">NINES MECCA by Science Man</a></iframe></span></b></span></div><div style="text-align: left;"><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><span style="font-family: inherit;"><b><span>SNIFFANY
& THE NITS-The Unscratchable Itch (Prah, 12”)<br /></span></b><span>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.</span></span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><span style="font-family: inherit;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2350261661/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://sniffanyandthenits.bandcamp.com/album/the-unscratchable-itch">The Unscratchable Itch by Sniffany & The Nits</a></iframe></span><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: left;"><b><span style="font-family: inherit;">UNSANITARY
NAPKIN-All Billionaires Are Bastards (Always Never Fun, 12”)</span></b></div><div style="text-align: left;"><span style="font-family: inherit;">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.</span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><span style="font-family: inherit;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2687793403/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://unsanitarynapkin.bandcamp.com/album/all-billionaires-are-bastards">All Billionaires Are Bastards by Unsanitary Napkin</a></iframe>
<br /></span><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><b>MORE RECORDS & DEMOS I LIKED IN 2022</b><br /></span></div><div><b><span style="font-family: inherit;"><br /></span></b></div><div><div style="text-align: left;"><div class="separator" style="clear: both; font-family: inherit; font-weight: bold; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMkcHK_O73XOkT-dY-YAJ7AQ38ZLOXPGvsImxfSLcELAcZwbMlwuSOXMU-8XNTFakCRp1Cz3RJAVQ8uS6kcEv9rF4KOoqJ1Ap49pnKhxx01CIRIDuSBuz0TAYtTMGm5b4xwWm-s1qOf-G8lZLOIzt0h792Er8ZJezkocC5rssMpFOSiA0imQM/s1728/IMG_2096.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1728" data-original-width="1486" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMkcHK_O73XOkT-dY-YAJ7AQ38ZLOXPGvsImxfSLcELAcZwbMlwuSOXMU-8XNTFakCRp1Cz3RJAVQ8uS6kcEv9rF4KOoqJ1Ap49pnKhxx01CIRIDuSBuz0TAYtTMGm5b4xwWm-s1qOf-G8lZLOIzt0h792Er8ZJezkocC5rssMpFOSiA0imQM/w344-h400/IMG_2096.JPG" width="344" /></a></div><div style="text-align: center;"><b>PHAGOCYTE</b></div><span lang="ES"><div style="font-weight: 700; text-align: center;"><span style="font-family: "Times New Roman", serif; font-size: 12pt; text-align: left;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit;"><b>DADGAD-Control </b><b><span style="line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">(MagicMax/PaintersTapes,
demo)</span></b></span></div><div style="text-align: left;"><span style="font-family: inherit;"><span>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.(</span><span><a href="http://dadgad.bandcamp.com">dadgad.bandcamp.com</a>)</span></span></div></span><p class="MsoNoSpacing"><span style="font-family: inherit;"><o:p></o:p></span></p></div><div style="text-align: left;"><b style="font-family: inherit;"><span lang="ES">ELÉCTRIKA-s/t (Discos Enfermos,
7”)</span></b></div><div style="text-align: left;"><span style="font-family: inherit;">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. (<a href="http://discosenfermospunk.bandcamp.com">discosenfermospunk.bandcamp.com</a>)</span><br /><b style="font-family: inherit;"> <br /></b><b style="font-family: inherit;">GLAAS-Qualm
(Static Shock, 12”)<br /></b><span style="font-family: inherit;">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. (<a href="http://staticshockrecords.bandcamp.com">staticshockrecords.bandcamp.com</a>)</span><br /><span style="font-family: inherit;"> </span><br /><b style="font-family: inherit;">GUTTER
OIL-IX (Helta Skelta, tape/digital)<br /></b><span style="font-family: inherit;">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. (<a href="http://heltaskeltarecords.bandcamp.com">heltaskeltarecords.bandcamp.com</a>)</span><br /> <span style="font-family: inherit;"> </span><br /><b style="font-family: inherit;">KLAZO-Demik
Dementia (Big Neck, 12”)<br /></b><span style="font-family: inherit;">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. (<a href="http://bigneckrecords1.bandcamp.com">bigneckrecords1.bandcamp.com</a>)</span><br /> <span style="font-family: inherit; font-weight: bold;"> </span><br /><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx6_7yK4CiG2ZGt8eHlp2odImhv4sQLjYa3TGsdUaRg6a9wu9zevx2-UO7hvwenVX3Tk9U8TcKnsLw15E191v3prv_5vYoQEwFgq1c-OcvklENr51ovpg4GX-lEHZOSCSG0CWlqFO0tRn5277IZKnRBY1AL1M1ll6qKMLu1139Qt65nzn09Uc/s640/Long%20Knife.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="489" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx6_7yK4CiG2ZGt8eHlp2odImhv4sQLjYa3TGsdUaRg6a9wu9zevx2-UO7hvwenVX3Tk9U8TcKnsLw15E191v3prv_5vYoQEwFgq1c-OcvklENr51ovpg4GX-lEHZOSCSG0CWlqFO0tRn5277IZKnRBY1AL1M1ll6qKMLu1139Qt65nzn09Uc/w306-h400/Long%20Knife.png" width="306" /></a></div><b>LONG KNIFE</b><br /><span style="font-weight: 700;"><br /></span></div></div><div style="text-align: left;"><b style="font-family: inherit;">LONG
KNIFE-Curb Stomp Earth (Beach Impediment, 12”)</b></div><div style="text-align: left;"><span style="font-family: inherit;">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. (<a href="http://beachimpedimentrecords.bigcartel.com">beachimpedimentrecords.bigcartel.com</a>)</span><br /> <span style="font-family: inherit;"> </span><br /><b style="font-family: inherit;">MARAUDEUR-Puissance
4 (Feel It, 12”)<br /></b><span style="font-family: inherit;">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. (<a href="http://www.feelitrecordshop.com">www.feelitrecordshop.com</a>)</span><br /> <span style="font-family: inherit;"> </span><br /><b style="font-family: inherit;">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”)<br /></b><span style="font-family: inherit;">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. (<a href="http://feralkidrecords.storenvy.com">feralkidrecords.storenvy.com</a>; <a href="http://mimeticszine.bandcamp.com">mimeticszine.bandcamp.com</a>; <a href="http://dowdrecords.com">dowdrecords.com</a>)</span><br /> <span style="font-family: inherit;"> </span><br /><b style="font-family: inherit;">NO
KNUCKLE-s/t (House of Tomothy, 12”)<br /></b><span style="font-family: inherit;">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. (<a href="http://noknuckle.bandcamp.com">noknuckle.bandcamp.com</a>)</span><br /> <span style="font-family: inherit;"> </span><br /><b style="font-family: inherit;">PHAGOCYTE-Rat
Thing (demo)<br /></b><span style="font-family: inherit;">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. (<a href="http://phagocyte-doesnt-like-u.bandcamp.com">phagocyte-doesnt-like-u.bandcamp.com</a>)</span><br /> <span style="font-family: inherit;"> </span><br /><b style="font-family: inherit;">SPREAD
JOY-II (Feel It, 12”)<br /></b><span style="font-family: inherit;">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 </span><i style="font-family: inherit;">is</i><span style="font-family: inherit;">
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. </span>(<a href="http://www.feelitrecordshop.com">www.feelitrecordshop.com</a>)<br /> <span style="font-family: inherit;"> </span><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc8b0TNQe20JRtVGpWbWkU8BX_nLzwTRx6PANK8m_AIFIUaYbzrw-1KXRpbqknh0B4wZSaCu4DnTEaoNDlZec9BmmtRZnWheAhsS3-qKhpxZna2VQS7MIHUZWH8HaISkkoicuosd4AQUNum-PQE5AVFvP6Y_EmdPRtngALUhsn6l65FfrkfMo/s960/Terminal.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="960" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc8b0TNQe20JRtVGpWbWkU8BX_nLzwTRx6PANK8m_AIFIUaYbzrw-1KXRpbqknh0B4wZSaCu4DnTEaoNDlZec9BmmtRZnWheAhsS3-qKhpxZna2VQS7MIHUZWH8HaISkkoicuosd4AQUNum-PQE5AVFvP6Y_EmdPRtngALUhsn6l65FfrkfMo/w400-h266/Terminal.jpg" width="400" /></a></div><div style="text-align: center;"><b>TERMINAL ADDICTION (via Facebook)</b></div><b style="font-family: inherit;"><br /></b></div><div style="text-align: left;"><b style="font-family: inherit;">TERMINAL
ADDICTION-s/t (Not For The Weak, 12”)</b></div><div style="text-align: left;"><span style="font-family: inherit;">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. (<a href="http://www.nftwrecords.com">www.nftwrecords.com</a>)</span><br /> <b style="font-family: inherit;"> <br /></b><b style="font-family: inherit;">WANTED-s/t
(demo)<br /></b><span style="font-family: inherit;">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”: </span><i style="font-family: inherit;">“How can I have PMA
when I don’t even exist?”</i><span style="font-family: inherit;"> Songs for the marginalized, queer people in
particular (“Gay Panic”), and getting it done with both lyrical and musical
force. (<a href="mailto:xnthompsox@gmail.com">xnthompsox@gmail.com</a>)</span><br /> <span style="font-family: inherit;"> </span><br /><b style="font-family: inherit;">REISSUES,
etc.<br /> </b><b style="font-family: inherit;"> <br /></b><div class="separator" style="clear: both; font-family: inherit; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkiCurbAxm7tfSs4WMx7rczX02sxFJ0YuV9wkPrh7MbpEMGaL92XcDofLwWuLmy_PcXV7GNNVd7Cmf2rw-3E4lt_dDixq1YxCHO1bHZMjYM-DucS5EA7q06HAWqNOncg6PnLWAE85L6MN0K74E3JQcp1NO4bX05XKU0xZ8rG2iyIEyjNwqVf8/s1336/Offenders.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1336" data-original-width="1040" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkiCurbAxm7tfSs4WMx7rczX02sxFJ0YuV9wkPrh7MbpEMGaL92XcDofLwWuLmy_PcXV7GNNVd7Cmf2rw-3E4lt_dDixq1YxCHO1bHZMjYM-DucS5EA7q06HAWqNOncg6PnLWAE85L6MN0K74E3JQcp1NO4bX05XKU0xZ8rG2iyIEyjNwqVf8/w311-h400/Offenders.jpg" width="311" /></a></div><div style="text-align: center;"><b>OFFENDERS (photo: Lisa Putignano)</b></div><div style="text-align: center;"><span style="font-weight: 700;"><br /></span></div></div><div style="text-align: left;"><b style="font-family: inherit;">CATATONICS-Hunted
Down (Southern Lord, 12”)</b></div><div style="text-align: left;"><span style="font-family: inherit;">Back in those
pre-internet dark ages, you had to </span><i style="font-family: inherit;">work</i><span style="font-family: inherit;">
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 </span><i style="font-family: inherit;">Maximum Rocknroll </i><span style="font-family: inherit;">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. (<a href="http://southernlord.com">southernlord.com</a>)</span><br /><span style="font-family: inherit;"> </span><br /><b style="font-family: inherit;">CIRCLE
JERKS-Wild In The Streets (Trust, 12”)<br /></b><span style="font-family: inherit;">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.</span><br /><span style="font-family: inherit;"> </span><br /><span style="font-family: inherit;">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. (<a href="http://trustrecordscompany.com">trustrecordscompany.com</a>)</span><br /> <span style="font-family: inherit;"> </span><br /><b style="font-family: inherit;">GRAVEN
IMAGE-Studio Sessions: ’82-’83 (Beach Impediment, 12”)<br /></b><span style="font-family: inherit;">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! </span>(<a href="http://beachimpedimentrecords.bigcartel.com">beachimpedimentrecords.bigcartel.com</a>)<br /> <span style="font-family: inherit;"> </span><br /><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJhoezmPVOU8UvvM5L_iDvnq08rAW1enWo4OhXoWterI8KS6YRgcYfEasWyWoiGMaCtRI7wbcOJKt4kAhfPv7QyfXIWH_5WwFBxvtdBDgNqXcvX2IQMmpYaW3rJQjY8ntAGObDt5_rhBwd_hfKmA_T7FVmTeW-L_vS_Rs9PNsGtpROOM6S_oU/s1350/MDC.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1103" data-original-width="1350" height="326" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJhoezmPVOU8UvvM5L_iDvnq08rAW1enWo4OhXoWterI8KS6YRgcYfEasWyWoiGMaCtRI7wbcOJKt4kAhfPv7QyfXIWH_5WwFBxvtdBDgNqXcvX2IQMmpYaW3rJQjY8ntAGObDt5_rhBwd_hfKmA_T7FVmTeW-L_vS_Rs9PNsGtpROOM6S_oU/w400-h326/MDC.jpg" width="400" /></a></div><b>MDC (photo by Claire Sutherland)</b><br /><span style="font-weight: 700;"><br /></span></div></div><div style="text-align: left;"><b style="font-family: inherit;">MDC-Multi
Death Chicken Stains (Beer City, 12”)</b></div><div style="text-align: left;"><span style="font-family: inherit;">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.</span><br /><span style="font-family: inherit;"> </span><br /><span style="font-family: inherit;">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. <a href="goog_272151916">(</a></span><a href="https://beercity.com">beercity.com</a>)<br /><span style="font-family: inherit;"> </span><br /><b style="font-family: inherit;">NASTY
FACTS-Drive My Car (Left For Dead, 12”)<br /></b><span style="font-family: inherit;">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. (<a href="http://leftfordeadrecords.com">leftfordeadrecords.com</a>) </span><br /> <b style="font-family: inherit;"> <br /></b><b style="font-family: inherit;">OFFENDERS-We
Must Rebel (Beer City, 12”)/Endless Struggle (Beer City, 12”)<br /></b><span style="font-family: inherit;">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. (<a href="http://beercity.com">beercity.com</a>)</span><br /><span style="font-family: inherit;"> </span><br /><b style="font-family: inherit;">OUTPATIENTS-Readmitted
(Painkiller, 12”)<br /></b><span style="font-family: inherit;">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. (<a href="https://deathwishinc.com/collections/painkiller">deathwishinc.com/collections/painkiller</a>)</span><br /> <b style="font-family: inherit;"> <br /></b><b style="font-family: inherit;">TOXIC
REASONS-Independence (Beer City, 12”)<br /></b><span style="font-family: inherit;">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.</span> (<a href="http://beercity.com">beercity.com</a>)<span style="font-family: inherit;"> </span></div>
</div><div><b><span style="font-family: inherit;"><br /></span></b></div><div><b><br /></b></div>Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-51423909600866951142022-04-03T18:15:00.001-04:002022-04-03T18:15:39.806-04:00Suburban Voice blog #149<p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi71a0iusfIsTGw9hDTNpeCy4VG3osol5qd5fSTD2F3d0iLgba53q6UM3w1ZlTpdPHCsMcu3W26Noqpr503d-maTDLeKp5wz00_heN96-NoMQ2euyCi_VbyZ4xghafW5WOayg7eh3EHvW9A45BAO70Tp0llNu4ulyQJAGBDo6fzJu8TYj0gO5E=s368" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="310" data-original-width="368" height="338" src="https://blogger.googleusercontent.com/img/a/AVvXsEi71a0iusfIsTGw9hDTNpeCy4VG3osol5qd5fSTD2F3d0iLgba53q6UM3w1ZlTpdPHCsMcu3W26Noqpr503d-maTDLeKp5wz00_heN96-NoMQ2euyCi_VbyZ4xghafW5WOayg7eh3EHvW9A45BAO70Tp0llNu4ulyQJAGBDo6fzJu8TYj0gO5E=w400-h338" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><b>COVER OF SUBURBAN PUNK #7, BY CHRIS CORKUM</b></div><b><br /></b><p></p><p><b>"IT SWALLOWED A GOAT ONCE..."</b></p><div style="text-align: left;">After an abysmal 2021, 2022 isn't off to that great a start either. Things have opened up a bit again and I'm looking forward to seeing more shows in the coming months. It's been a little slow for new music coming my way but there have been a handful of releases that have been worth more than one play. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">Still, it's been several months of personal loss. In my <a href="https://subvox.blogspot.com/2021/12/suburban-voice-147-best-of-2021.html"><b>Best of 2021</b></a> post, I mentioned my friend Pat Lynch's passing. Two other friends (well, one was more of an acquaintance) passed away in January. I met the latter, Jim Coffman, when I was a freshman at Boston University and we lived on the same floor in the Warren Towers dorm. This was the fall of 1978 and there weren't a lot of people into punk in my dorm, although Devo's first album was a big hit with a fair number of people. Not so much with a jockish, disco-loving guy who moved in during the second semester and threatened to "smash those faggot punk records" over my head. Nice. He never did follow through on the threat, though. Also, given the slur he used, it's ironic that his beloved disco had gay origins. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">I remember Jim had a really cool Ultravox shirt and a link chain he'd sometimes wear around his neck (no padlock like Sid, though). When I went to a Halloween party with my girlfriend at the time, Becky, I decided to dress punk. I loved the music but hadn't embraced the fashion. So I took Jim's chain and drew Sex Pistols on a white t-shirt. I went to pick up Becky and, when we walked into her next-door neighbor's room, the girl started screaming at me. Becky got me out of there pretty quickly and told me that either the girl's best friend was Nancy Spungen's sister or her sister was Nancy's best friend. I forget which. Becky said it wasn't my fault, that I didn't know. Anyway, we broke up soon after that. I don't think that was the cause, though. </div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj_GHEG8mYsPzNUMU6nDW_6lv1nl3qNnLMe4eP8dgrVjJ2xpXiRloYOyrCobIsG2KGdLv2IVQxiIJ_LL_5QIQZjN90tOQAKJ0coURZyPTcSg5GS83k6e0GRozKl7zXphuPF1fv4tYk6T-PcVuAp4ABusBiQSOdf7LrHrcD7Oa8vU-Orts-o-Hc=s585" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="479" data-original-width="585" height="262" src="https://blogger.googleusercontent.com/img/a/AVvXsEj_GHEG8mYsPzNUMU6nDW_6lv1nl3qNnLMe4eP8dgrVjJ2xpXiRloYOyrCobIsG2KGdLv2IVQxiIJ_LL_5QIQZjN90tOQAKJ0coURZyPTcSg5GS83k6e0GRozKl7zXphuPF1fv4tYk6T-PcVuAp4ABusBiQSOdf7LrHrcD7Oa8vU-Orts-o-Hc=s320" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><b>JIM COFFMAN AT THE UNDERGROUND</b></div><div style="text-align: center;"><br /></div><div style="text-align: left;">Jim moved out after the first semester but we stayed in touch over the years. He soon opened The Underground club at the intersection of Commonwealth and Brighton Avenues. I never got there and really wish I had because the first local shows by The Cure, New Order (as a trio) and OMD were there. Mission of Burma were sort of a house band and Jim became their manager, along with the Neats. The Underground didn't last too long, as they got forced out by BU. Here's a video of the Cure, shot by Jan Crocker, playing there in April of 1980, right before "Seventeen Seconds" came out.</div><div style="text-align: left;"> <iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/C6nGA8A_iV4" title="YouTube video player" width="560"></iframe> </div><div style="text-align: left;">Jim eventually moved on to work for such record companies as Profile and Atco/East West. The last time I messaged with him was about a year ago. He said he was living on a boat and selling off his record collection. I'm not sure what was going on in his life since then but I hope, whatever the case, he found peace. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhkdsxSwsePXT3WOxO4INC6w3CDMG81uvWp0rUDZJd4PO2QazYVF8uuhaAzW35B5CIdandGlIB-54RPQv01iIpUwBNz1DhWupCvRioHn6TfmX1obF811jlNN6_NIRVkk12j3a8HA7gMZtmjeuj4fOvsibBX6SavsilkPUAMgXXxssfGvctA1ik=s413" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="324" data-original-width="413" height="314" src="https://blogger.googleusercontent.com/img/a/AVvXsEhkdsxSwsePXT3WOxO4INC6w3CDMG81uvWp0rUDZJd4PO2QazYVF8uuhaAzW35B5CIdandGlIB-54RPQv01iIpUwBNz1DhWupCvRioHn6TfmX1obF811jlNN6_NIRVkk12j3a8HA7gMZtmjeuj4fOvsibBX6SavsilkPUAMgXXxssfGvctA1ik=w400-h314" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><b>CHRIS CORKUM, MIKE GITTER (xXx 'zine) AND ME, 2017</b></div><div><br /></div> I first met Chris Corkum--or "Corky," as a lot of people called him (he'd always add a "y" onto the end of names, like calling Bones from Dischage "Bonesy")--standing in line at a Psychedelic Furs show in 1981. We talked about different bands and he mentioned a band called SOA... "DOA?" "No SOA." I saw the record in a store some months after that and picked it up, after remembering his recommendation. <div><br /></div><div>Anyway, a little while after the show, my mom had me pick up a book at a small store in Marblehead called "Neath The Elms." I go in and guess who was there? So I met Corky again and we became fast friends. He and his mom Lorraine (who passed away in 2020) lived above the store and I'd go up to the apartment and listen to records with him. He was a huge Discharge fan and so was I very soon after, when he let me borrow his copy of "Hear Nothing See Nothing Say Nothing." I taped that and the "Why" 12" and it didn't leave my car deck for the entire summer of 1982. I also got the Subhumans' "Incorrect Thoughts" album from him. Corky was part of the old Marblehead hardcore crew which included future members of DYS, Last Rights and Jake Phelps, the future editor of <i>Thrasher</i>. He was also a DJ on the Salem State Radio station, WMWM, and I stopped in there a few times when he was doing his show. <div><br /></div><div>He was also somewhat responsible for the start of my career in punk "journalism." He and his fellow WMWM DJ Carl D'Agostino started a zine called <i>Concentration X.</i> I did some record reviews for their first issue (I'm not sure if there was a second) and, soon after, I decided to start doing my own zine.</div><div> </div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhUXgTl-s--SdLAOIkfU6QIzEJv-lqmlvPGq5WhFZNffpwRzy36-VlSP5hHD2rJ8ZQ9Qg4nToT6oMzDXvVNN0BCSkDPIJkikhrFjkfU479JjxVBcZZJ_5XefNxYfMw4KnkdmLF5pxJ8tEy91gxUoVYd10vrAeotejrF76n4gt1iF2FuovhM8uo=s3300" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3300" data-original-width="2550" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEhUXgTl-s--SdLAOIkfU6QIzEJv-lqmlvPGq5WhFZNffpwRzy36-VlSP5hHD2rJ8ZQ9Qg4nToT6oMzDXvVNN0BCSkDPIJkikhrFjkfU479JjxVBcZZJ_5XefNxYfMw4KnkdmLF5pxJ8tEy91gxUoVYd10vrAeotejrF76n4gt1iF2FuovhM8uo=w309-h400" width="309" /></a></div><div><div><br /></div><div>We started going to shows together... I think the first was the Process of Elimination show (Negative Approach, Necros, Meatmen). I remember he got elbowed in the mouth by a huge skinhead along for the tour and almost got his front teeth knocked out. Then there was the time that we went to an out-of-town show. I had a carload of people and Corky kept talking about how awesome his cock was. At one point, he said out of the blue... "it swallowed a goat once." I started laughing so hard, I almost drove off the road. I have no idea where that came from. Corky was a talented artist and did a pencil sketch of GBH for an issue of my zine, which I framed and have hanging on the wall in my "Rock 'n roll bathroom." He was also the vocalist for 138, who I never got to see.</div><div><br /></div><div>I'd see Corky every so often--running into him in downtown Salem or at the Shaw's Supermarket but we hadn't really hung out in a few decades. He passed away from COVID on January 1 (same day as Jim). He apparently hadn't been vaccinated. </div><div><br /></div><div>I always meant to ask him about the goat thing. It sucks I won't have a chance to do that. </div></div></div><div><br /></div><div><b>... A HANDFUL OF REVIEWS... </b></div><div><b><br /></b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgIqlEVgrNaRu2GkHOZSnU7yt0G-zntavg_Ks1ueCWxwwsqGCcmAk0QNna6e0JUtLtvfh-SfiYsBhEN5ZcHFA_WOJ5BxBHC6tdwhEmjzKHtH2ZKUEaY0QCBT83kn_5iBy_ld3zNFE3aOuUXOvUxv6Dp1ZyJG49ZH3MvubkAebNkjhdZWe9cM18=s4608" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3456" data-original-width="4608" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEgIqlEVgrNaRu2GkHOZSnU7yt0G-zntavg_Ks1ueCWxwwsqGCcmAk0QNna6e0JUtLtvfh-SfiYsBhEN5ZcHFA_WOJ5BxBHC6tdwhEmjzKHtH2ZKUEaY0QCBT83kn_5iBy_ld3zNFE3aOuUXOvUxv6Dp1ZyJG49ZH3MvubkAebNkjhdZWe9cM18=w400-h300" width="400" /></a></div><b>AXE RASH</b><br /><b><br /></b></div><div><b>AXE RASH-Contemporary Ass (Not For The Weak, 7")</b></div><div>First US release for this Swedish wrecking unit, who I was lucky enough to see a few years ago. Thumping D-beat thrash, although "False Pictures" is a mid-tempo pounder and there's some sick lead action for "Wrath." Hilda spits out her vocals with malicious intent, accompanied by the loud attack. Hitting hard both musically and verbally. (<a href="http://www.nftwrecords.com">www.nftwrecords.com</a>)</div><div><br /></div><div><b>COAX-s/t (City to City, demo)</b></div><div>Nasty 'n raw hardcore punk from St. Petersburg, Russia. There's echo on Alena's rabid vocals and a fuzzed-out/buzzed-out wall of power. It's not wanton noise, although it's noisy. Twisted and angry-as-fuck, with a decided chip on the collective shoulder. The titles say it all--"I'm A Sick Bastard," "Fuck This Life" and one for the times, "Social Distancing." An unholy roar wrapping its way around your senses. (<a href="http://coaxspb.bandcamp.com">coaxspb.bandcamp.com</a>)</div><div><br /></div><div><b>CRUCIAL RESPONSE-Puppets (Not For The Weak, 7")</b></div><div>Bare-knuckled, pissed-off hardcore from the mean streets of... Indonesia? It's true--all the subtlety of a boot to the groin and roughly-delivered. Burning riffs and a stomping rhythm. They'd fit in very well with the more bellicose-sounding Boston bands. (<a href="http://www.nftwrecords.com">www.nftwrecords.com</a>)</div><div><b><br /></b></div><div><b>MAN-EATERS-Twelve More Observations On Healthy Living (Feel It, LP)</b></div><div>Another dozen tracks of rockin' rollin' tuneage from this band who formed from the ashes of Tarantulä. Beefy guitar riffs 'n licks finding a way to your skull (and other regions) and gruffly soulful (?) vocals and it kicks plenty of ass. I get the feeling there's a bit of irony in the title of this album, because if you flip through the lyric booklet/zine. which has some provocative illustrations to go with the words, the themes aren't exactly healthy. Lots of references to drugs and closing song, the psychedelically-tinged "Big Rye In The Sky," is about death. In fact, the album is dedicated to the late "Sick Nick" Lovro, who ran the Cowabunga label and also played in Birth Deformities with one of the Man-Eaters. Spirited sounds. (<a href="http://www.feelitrecordshop.com">www.feelitrecordshop.com</a>) </div><div><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUR4uj36k69WxH_AgQL4skfxG-GkWJu45kgU-HIFo8eJjLPJVJmuYGqOqw6y9vIL_yX9KZ9dEciJYb9HHI-2bURgpMQfmX-w6b8QNWM5EU2BqCtX-4x6nmDxCBVhPtzO7ZzMaLsFeYYbdD48RqSVzAH4NNjsccyh50wXy1sIdeTkLAuAUceLI/s1718/Ruby.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1531" data-original-width="1718" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUR4uj36k69WxH_AgQL4skfxG-GkWJu45kgU-HIFo8eJjLPJVJmuYGqOqw6y9vIL_yX9KZ9dEciJYb9HHI-2bURgpMQfmX-w6b8QNWM5EU2BqCtX-4x6nmDxCBVhPtzO7ZzMaLsFeYYbdD48RqSVzAH4NNjsccyh50wXy1sIdeTkLAuAUceLI/w400-h356/Ruby.jpg" width="400" /></a></div><div style="text-align: center;"><b>RUBY FROM MERCENARY (R.I.P.) , 2014</b></div><div><b><br /></b></div><div><b>MERCENARY-Demos Collection (Beach Impediment, LP)</b></div><div>Mercenary's vocalist Michael "Ruby" Rubinstein, passed away last year. I had the pleasure of meeting Ruby when I saw Mercenary in 2014 (I also saw his previous band Bukkake Boys) and he tipped me off about a few bands who became favorites--Nurse and Slugga. Mercenary were no slouches themselves. This is an anthology of--take a guess--demos recorded by this Atlanta band in 2013 and 2014, although the latter, "Atlanta's Burning" demo was taken from a scrapped album (five songs here did come out on a tape). Ruby's bellicose vocals are accompanied by a blazing assault of d-beat-infused mayhem and some twisted axe-mangling, wringing out feedback and mind-bending noisiness, particularly for the conclusion of "Escape Reality." The drumming is absolutely pulverizing, a roiling locomotive that really powers this band's relentless tumult. A crushing tribute. (<a href="http://beachimpedimentrecords.bigcartel.com">beachimpedimentrecords.bigcartel.com</a>)</div><div><br /></div><div><b>NIGHTFREAK-Speed Trials (Painters Tapes, demo)</b></div><div>Pretty basic punk/rock'n'roll from Chicago. Nothing fancy, just power chords, a sturdy backbeat and not lacking in energy. And attitude--don't forget the attitude, expressed succinctly on the chorus of "Surprise!"--<i>"hey... FUCK YOU!"</i> (<a href="http://nightfreakchicago.bandcamp.com">nightfreakchicago.bandcamp.com</a>)</div><div><br /></div><div><b>PEACE DECAY-Death Is Only... (Beach Impediment, 12")</b></div><div>Another Austin amalgamation with a veteran lineup--monster drummer Chris Pfeffer (Severed Head of State and many others) is one of them. Vocalist Enok Vazquez has logged time in Porkeria and, recently, Guerra Final (their 7" is a rager). Metal-infused hardcore drawing a fair amount from the Japanese Burning Spirits bands (Death Side in particular), with some of the guitar trills and it's full-blitz, speed-driven attack throughout. (<a href="http://beachimpedimentrecords.bigcartel.com">beachimpedimentrecords.bigcartel.com</a>)</div><div><b><br /></b></div><div><b>RECKONING FORCE-Broken State (Not For The Weak, LP)</b></div><div>I remember being somewhat underwhelmed by this Virginia Beach band's 2019 EP but that's not the case here. A full-on rampage of d-beat, Ameri-thrash, crossover and even some Motorcharged mayhem for "Last Stand." There's a full-bodied ferocity that was slightly lacking on the debut and the trigger-finger rage comes leaping from the speakers. Just call them <i>WRECK</i>oning Force. Yeah, that's cheesy but it gives you a pretty idea of the blistering nature of the songs here. (<a href="http://www.nftwrecords.com">www.nftwrecords.com</a>)</div><div><br /></div><div><b>SILICON HEARTBEAT-s/t (It's Trash!, 7")</b></div><div>New-wavish punk <i>ala</i> The Spits (and, like that band, they're from Kalamazoo, MI), albeit without the overt hooks and emitting a darker ambiance. Sinister vocals lurk underneath the mesh of guitar buzz and synth lines. Six brief sonic emanations that create an enjoyably sense-enveloping fog. (<a href="http://itstrashrecords.bandcamp.com">itstrashrecords.bandcamp.com</a>)</div><div><b><br /></b></div><div><b>SOCIO LA DIFEKTA-Kreski (Beach Impediment, 7")</b></div><div>Raw, fast, ugly crust-mongerers from Tokyo. I don't mean the people in the band are ugly--hell, there aren't any photos of them and they could be lovely--but it's an ugly sound. A chaotic eruption of scampering drums, six and four string throttle and a male/female vocal tandem. Also, I believe this is the first band I've ever heard sing (or howl) in Esperanto but there are English and Japanese lyrics, just in case you haven't tackled that language yet. (<a href="http://beachimpedimentrecords.bigcartel.com">beachimpedimentrecords.bigcartel.com</a>)</div><div><b><br /></b></div><div><b>S.O.H.-Life On Edge (No Norms, demo)</b></div><div>S.O.H. stands for System of Hate and they play energetic punk done with rapid-fire aplomb. Mid-to-fast compositions and barked-out, impassioned vocals with a bit of echo. S.O.H. have some UK-82 buzz and the intros to some of the songs had me thinking of the Savageheads. (<a href="http://sohsystemofhate.bandcamp.com">sohsystemofhate.bandcamp.com</a>)</div><div><br /></div><div><b>STAR PARTY-Meadow Flower (Feel It, LP)</b></div><div>Two person project involving Ian Corrigan from Vexx and Gen Pop, joined by vocalist Carrie Brennan. A pretty, flowery gatefold cover holds this album. And the music is somewhat pretty, but wrapped in a barbed-wire cocoon. as one poppy gem flows into another. The early Jesus and Mary Chain inspiration isn't had to discern, although the songs are played a quicker tempo. Pop Will Eat Itself and the Fastbacks also come to mind. Carrie's vocals are sweet but the lyrics are often cutting, particularly for "Push You Aside" and "No Excuse." The title track (appending an "s" onto the end) is perhaps a bit <i>too</i> sweet musically, peeling away the noise. Overall, though, it's a tuneful excursion. (<a href="http://www.feelitrecordshop.com">www.feelitrecordshop.com</a>) </div><div><br /></div><div><b>SZLAUCH-Brudny Strumien (Syf, demo)</b></div><div>A video game or computer gone amok? New wave minimalist noise? Check. Szlauch are a mysterious Polish duo making a heady, mechanized punk racket with synth, bass and a rhythm machine. Not sure how many of you fine folks remember NYC synth weirdos Crash Course In Science but the pinging sound that starts this demo reminded me of them. And this is really is a crash course--crash, bang, wallop.(<a href="http://syfrecords.bandcamp.com">syfrecords.bandcamp.com</a>)</div><div><br /></div><div><b>VARIOUS ARTISTS-Wspolna Sprawa (Syf)</b></div><div>A compilation with 18 bands from Poland. According to the Syf Bandcamp page, the proceeds will go to the Polish Centre For International Aid and assist the Ukranian people affected by the war. Anyway, the underground appears to be thriving there and a good percentage of these songs are worth hearing. There's the 2000s era Danish punk-inspired Gwono, thorny, driving post-punk of Future, goth-hued hardcore from Ohyda, gloomy emanations from Higiena and KSY and industrialized mayhem of Pustostany. Something for everyone, as they say. (<a href="http://syfrecords.bandcamp.com">syfrecords.bandcamp.com</a>)</div></div>Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-29984429842366126532021-12-25T18:43:00.019-05:002021-12-28T11:41:12.271-05:00Suburban Voice #148--The Best of 2021<div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhR5cnXVv54uvsKHNZp0UWyJ7u9iuv_yjABSgnD2clqibaXYF1Bc811MqBtj7OFjpGdMqe524PB_37UMXaW4EoS0sODtHxRLPtKrIMSSI68V5RiBLr3NIgcvP23OefvOLeKEGhLcHlE4HBefRCO5-s6dDUPft_8K-5T6dWHS_2nmwuzC3H_YW4=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1800" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEhR5cnXVv54uvsKHNZp0UWyJ7u9iuv_yjABSgnD2clqibaXYF1Bc811MqBtj7OFjpGdMqe524PB_37UMXaW4EoS0sODtHxRLPtKrIMSSI68V5RiBLr3NIgcvP23OefvOLeKEGhLcHlE4HBefRCO5-s6dDUPft_8K-5T6dWHS_2nmwuzC3H_YW4=w400-h266" width="400" /></a></div><div style="text-align: center;"><b>ANTI-MACHINE (photo: Rachael Shorr)</b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;">Yes, I know it's been the better part of a year since I posted/published anything. But I finally pulled it together for a Best of 2021 list. Hope you find something you hadn't heard before. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">I don't have to tell everyone how much this year sucked, yet again. I made it to a grand total of three shows, so having a "best live" listing doesn't make a whole lot of sense, but much appreciation to Kyle for keeping the Banshee Den open and everyone else making an effort to keep DIY punk alive. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">As I said, this year sucked. My friend Pat Lynch passed away last month. He was only 51. We were friends for over 20 years and, before the print version of Suburban Voice went on "hiatus," he helped out with the zine. And he was usually my companion when I took road trips around the country--Thrash Fest in Minneapolis, Chicago Fest a few times, another trip out there to see Infest and Los Crudos and countless shows in the local area. He was just a great guy and I wish he'd taken better care of himself. His family gave me his music collection and I've been having a blast going through it and checking out some music I might have overlooked in the past. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">2022 will be the 40th anniversary of Suburban Voice, which started as Suburban Punk. How will I mark the occasion? That remains to be seen... </div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;">It was a bit tough picking out a "record of the year." So keep in mind that the top ten are the records I listened to and enjoyed the most and what my favorite was depends on the day...</div><div style="text-align: left;"><br /></div><div style="text-align: left;">One last note... thanks to the photographers who allowed me to use their work in this blog. Since I've only been to a handful of shows the past few years, I didn't have many of my own to use or they're bands who haven't made it up this way. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div><b>THE TOP TEN...</b></div><div><b><br /></b></div><div><b>1. M.A.Z.E.-II (Lumpy, LP)</b></div><div>This is a vinyl pressing of M.A.Z.E.'s 2019 tour demo and their best recording to date. It's also the band's first vinyl release since their tepid-sounding s/t 12" on Lumpy. In between, there's been another demo and live tape but this is the best of the bunch. M.A.Z.E. are so goddamned <i>charming</i> sounding. Cute, without being cloying, putting punk, post-punk and pop, along with a whiff of trad Japanese musical touches into a blender and getting it both sweet and coarse. The re-recordings of the songs from their 2018 demo added quite a bit of thorniness. It's their own thing--I really can't think of another band who sound like this--and its quirky appeal will find its way into your heart. </div></div><div style="text-align: left;"><b><br /></b></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2268335479/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://lrdisk.bandcamp.com/album/ii-2">II by M.A.Z.E.</a></iframe><div><b><br /></b></div><div><b>2. SLANT-1집 (Iron Lung, LP)</b></div><div style="text-align: left;">Blazing hardcore punk from South Korea, although their drummer Garrett "Tits" Belair is from Massachusetts. And Slant certainly favor the no-bullshit sound that emanated from Boston's Boiler Room. Double guitar scorch and a solid rhythmic foundation provide the perfect setting for Yeji's scalding razor howl, which doesn't dominate the proceedings but is one part of the band's deadly attack. A good mix of tempos, while never letting up on the intensity. </div><div style="text-align: left;"><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1991639544/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://slant.bandcamp.com/album/1">1집 by SLANT</a></iframe><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>3. LYSOL-Soup For My Family (Feel It, LP)</b></div><div style="text-align: left;">When I was a kid, my old man used to call me an "insolent little bastard." In retrospect, it probably wasn't very nice but maybe he was pissed at me for playing my music too loudly. This is an album I would have played loudly back then and am doing so today, only there's no one here to give me a hard time about it. Lysol ooze insolence and garage/punk/rock 'n roll smarts. They do tip their hand a bit--the Iggy yell during the "TV Eye" rave of "Glasgow Smile." It's not all strut, either. They also take the speedier trek on occasion, as with "Dissociation" and "Blessures Graves." It's not a complex formula but, sometimes, keeping it simple and raw is the right path to follow. </div><div style="text-align: left;"><br /></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=505483399/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://lysolpunx.bandcamp.com/album/soup-for-my-family">Soup for My Family by LYSOL</a></iframe><div><b><br /></b></div><div><b>4. ANTI-MACHINE-EP (Toxic State, 7")</b></div><div style="text-align: left;">Walker Behl, late of Crazy Spirit, is the vocalist in this band and he lends his nasally snarl to a straight-forward hardcore punk attack. Buzzing and burning guitars powered by solid, in-the-pocket drumming. The lyrics document day-to-day frustrations, unable to focus and seemingly unbothered by that. What <i>is </i>bothersome are the nationalists and other right-wing scum, and the death of friends, something that seems to have affected most people I know over the last few years. And this ear-grabbing ass-kickery as least provides some sort of coping mechanism. </div><div style="text-align: left;"><b><br /></b></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1725532499/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://anti-machine.bandcamp.com/album/anti-machine-ep">Anti-Machine EP by Anti-Machine</a></iframe><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>5. CHAIN WHIP-Two Step To Hell (Neon Taste, 12")</b></div><div style="text-align: left;">This isn't a pleasant country step dance and you sure as hell don't need to honor your partner, unless it's picking them up off the dance floor if they slip in the scrum. Slam-bang, semi-catchy punk aggro, with the lyrics spat out with phlegmy venom. And damn they're pissed off, with a pointed critique of late-period capitalism, although this isn't an intellectual dissertation, it's punk rock. Wrapping up with a punchy cover of Subhumans' "Death Was Too Kind," fitting in perfectly with the band's malevolent intent. </div><div style="text-align: left;"><b><br /></b></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3790001181/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://chainwhip.bandcamp.com/album/two-step-to-hell">Two Step To Hell by Chain Whip</a></iframe><div><b><br /></b></div><div><b>6. COLLATE-Medicine/Genesis Fatigue (Domestic Departure, 7")</b></div><div style="text-align: left;">Two songs from their 2019 recording "Symptomatic" and they both pack a wallop. Jarring post-punk remains their calling card and it's particularly churning for the hectic "Genesis Fatigue." Tight instrumental interplay that's enhanced by not-too-slick production values. It's over way too quickly--the remainder of the songs from that session deserve a vinyl pressing, as well. </div><div style="text-align: left;"><b><br /></b></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1753045424/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://collate.bandcamp.com/album/medicine-b-w-genesis-fatigue">Medicine b/w Genesis Fatigue by Collate</a></iframe><div><b><br /></b></div><div><b>7. COCHONNE-Emergency (Sorry State, demo)</b></div><div style="text-align: left;">Post-punk minimalism with abrasive, sarcastic, taunting, high pitched vocals in both French and English. For the English language "Asking For A Friend," things take a dark turn exploring (consensual or non-consensual?) sexual adventures. The final song, "Vampire," with its rollicking organ, is reminiscent of underappreciated Houston band MyDolls (whose lyrics also plumbed uncomfortable regions--yes, I realize there's a potential double meaning there). The instrumentation is sparse but it still sounds full, the way the rhythms, guitar and keyboards bounce off each other. There was also a 200 copy vinyl pressing.</div><div style="text-align: left;"><b><br /></b></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=950715443/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://cochonne.bandcamp.com/album/emergency">EMERGENCY by COCHONNE</a></iframe><div style="text-align: left;"><div><b><br /></b></div><div><b>8. THE COWBOY-Riddles From The Universe (Feel It, LP)</b></div><div>The latest from Cleveland's prolific The Cowboy doesn't mark any drastic change in direction nor does it aim for any sort of musical "maturity." Instead, the idea is to make a sense-enveloping racket, albeit one that's not completely devoid of melody. Throbbing bass-lines, bludgeoning drums and guitar trills that occasionally have the ghost of Keith Levene hovering above (OK, I know he's not dead), if he played more power chords. I'm thinking mainly of "Breeze Machine" there. Post-garage-punk, maybe? Steve Peffer and Josh Banaszak's musical partnership goes back over a decade and a half, starting with Homostupids, and they've perfected it, at this point. </div></div><div style="text-align: left;"><b><br /></b></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2418902228/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://thecowboycle.bandcamp.com/album/riddles-from-the-universe">Riddles from the Universe by The Cowboy</a></iframe><div><b><br /></b></div><div><b>9. X-INTRUDER-Punished For The Crime Of Lacking In Judgement (Discos Enfermos/No Front Teeth, LP)</b></div><div style="text-align: left;">Solo project for a gentleman named Marco Palumbo, who owns the No Front Teeth label and has played in a number of different bands. Mainly mid-tempo anarcho-inspired punk that had me thinking of Cross-Stitched Eyes a bit, minus the Killing Joke proclivities. Peni to an extent, as well. Double-tracked nasally vocals and a sonic, mind-messing buzz of guitar and bass to go along with the beat (man? machine? I'm not sure). Throbbing, repetitive and, if this was some sort of way for Marco to get through the shutdown in 2020, it was a great use of his time.</div><div style="text-align: left;"><div><b><br /></b></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4144624518/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://discosenfermospunk.bandcamp.com/album/de-84-x-intruder-punished-for-the-crime-of-lacking-in-judgement-lp">DE #84 X-INTRUDER "Punished For The Crime Of Lacking In Judgement" LP by Discos Enfermos</a></iframe><div><b><br /></b></div><div><b>10. SPECIAL INTEREST-Trust No Wave (R.A.T.S.)</b></div><div>Special Interest in their embryonic phase, their 2016 demo finally given the vinyl treatment. Vinyl treatment? Get your mind out of the gutter although there's an abundance of dark sexuality and sensuality to go with Special Interest's churning industrial punk. Minimalist rhythms accompany a fusillade of other-worldly, piercing guitar emanations and formidable bass plow, as Alli's vocals weave through the mesh. It's not any sort of rock 'n roll backbeat but a swirling, enticing cacophony. They add on a bonus track, the bad-trip ambiance of "I'll Never Do Ketamine Again." Aiming for the mind, as well as other areas due south and hitting both with gleeful deviance.</div><div><br /></div></div><div style="text-align: left;"><b><br /></b></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1990025374/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://specialinterestno.bandcamp.com/album/trust-no-wave-the-2016-demos">Trust No Wave: The 2016 Demos by SPECIAL INTEREST</a></iframe><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>... BUT WAIT, THERE'S MORE... OTHER PICKS FOR 2021... IN ALPHABETICAL ORDER</b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhDKRK8AdQmramRTS8aj4pjkJ1S45JsTlWsLqJ3n80NfkA7j4aroMJISHAhFooAWagBlnDkqZKmadIXGPhE-BDYO2FOvjqp0kyY6i1rckIyzbjGScHMeXymPirSg3c66JVmfWjCxu5IUNb9vx-x8f2RQvUX8jiW47eGxfUGn2CIOSDZnjl-n0c=s1349" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1349" data-original-width="1299" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhDKRK8AdQmramRTS8aj4pjkJ1S45JsTlWsLqJ3n80NfkA7j4aroMJISHAhFooAWagBlnDkqZKmadIXGPhE-BDYO2FOvjqp0kyY6i1rckIyzbjGScHMeXymPirSg3c66JVmfWjCxu5IUNb9vx-x8f2RQvUX8jiW47eGxfUGn2CIOSDZnjl-n0c=w308-h320" width="308" /></a></div><b>DOLLHOUSE (photo: <span style="font-family: inherit;">Séamus</span>)<br /></b></div></div><br /><div><b>BOOTLICKER-s/t (Neon Taste, LP)</b></div><div>No joke--the last time I saw Bootlicker, at the Ram Ranch in Boston, I started punching the wall. Thankfully, there was no injury to me or the wall. I wouldn't want them to lose their security deposit. On their first 12", after a number of 7"s and a live tape, Bootlicker play the sort of mean-sounding, bootboy punk (pun intended)-meets-hardcore that could still cause wall-punching. The recording quality isn't pretty at all and it brings out the band's blunt force and Lewis' agitated vocals into bold relief. Speaking of relief, they're searching for an escape from the mundanity of everyday life and finding a whole lot wrong with the world. What's right about the world are kickass bands like Bootlicker. (<a href="http://neonwaste.com">neonwaste.com</a>)</div><div><br /></div><div><b>BRUTE SPRING-The Perilous Transformation of Kid Spit (Swimming Faith, demo)</b></div><div>Another one of many projects for John Toohill (Radiation Risks, Science Man, etc). This is in an industrial-meets-early Suicide vein. I'm not talking about Suicide's first album but their original rehearsal tapes on which the accompaniment was even more primitive and the at-time whispered vocals barely audible, as with "Spiritual Leader." Still, there's a higher level of energy for many of the tracks, ala the Wax Trax aggro units--"Into Ribbons" and The Orange Strain," for instance, or the high-speed "Escape Armistice," sounding like a computer in an emergency state. It's not all mechanized, either... slashing guitar lines percolate through a few of the songs. A good balance of intensity and sutblety. (<a href="http://brutespring.bandcamp.com">brutespring.bandcamp.com</a>)</div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgnGM0TqCprEalXFVmrG6Swz5BuyBAjyUlIpmigRUW5uslayQ3uVkU2wCGLw03rIvBU9G9adsDc595GkEwXtTM3Esylu3zJ_Z1mT4krK4NqLkJ6XWsAWo60_-dsbFq1jXO8QsK0RQoJvAZxr-OAzLbHDalX9XPKO95pD_nAa8lUxOESsM0fquM=s747" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="599" data-original-width="747" height="321" src="https://blogger.googleusercontent.com/img/a/AVvXsEgnGM0TqCprEalXFVmrG6Swz5BuyBAjyUlIpmigRUW5uslayQ3uVkU2wCGLw03rIvBU9G9adsDc595GkEwXtTM3Esylu3zJ_Z1mT4krK4NqLkJ6XWsAWo60_-dsbFq1jXO8QsK0RQoJvAZxr-OAzLbHDalX9XPKO95pD_nAa8lUxOESsM0fquM=w400-h321" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><b>CANAL IRREAL (photo: Zeltzin Vazquez)</b></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><div><div><b>CANAL IRREAL-s/t (Beach Impediment, LP)</b></div><div>A band with Martin from Los Crudos, Limp Wrist and many others and Scott Plant, who has played in Droids Blood and Broken Prayer in recent years. Dark-hued goth-tinged punk with Martin's vocals howling through the din. It sounds closer to Scott's recent projects, minus the keyboards. Some haunting guitar lines that stick in the brain. It's not trapped in a morass of gloom 'n doom stasis. Canal Irreal infuse their songs with a burning energy and that prevents the former from happening. (<a href="http://beachimpedimentrecords.blogspot.com">beachimpedimentrecords.blogspot.com</a>)</div></div><div><b><br /></b></div><div><b>DOLLHOUSE-The First Day Of Spring (Toxic State, 7")</b></div><div>A few members of Mommy resurface in this NYC band, including vocalist Mike Caiazzo and the band's name (likely) comes from Mommy's song "In My Dollhaus." Mommy had some industrial elements but that's absent here. It adheres more to the NYC sound spearheaded by Dawn of Humans and Crazy Spirt, especially for "This Is Heaven," with Hank Wood's recognizable drum patterns. One thing that continues is the exploration of mental health issues covered with Mike's previous band. "The Shadow Baby" starts with a gigantic, ear-worm guitar line. "It's The First Day Of Spring!" has more of a melodic pulse harnessed to the sonic mesh, even throwing in some acoustic guitar. A potent statement. (<a href="http://toxicstaterecords.com">toxicstaterecords.com</a>)</div><div><br /></div><div><b>ELECTRIC CHAIR-Social Capital (Iron Lung, 7")</b></div><div>It's 2021 and I still love hardcore punk--when it's done right, that is. No bullshit, no chug, just fast and loud, along with pissed-as-fuck lyrics, be it about disgust with everyday life, social climbers or Proud Boy scum. Even some whiddly metal leads that will annoy those "hardcore has nothing to do with metal" purists but it fits in perfectly, especially for the semi-epic title track. (<a href="http://ironlungrecords.bigcartel.com">ironlungrecords.bigcartel.com</a>)</div><div><b><br /></b></div><div><b>FASHION PIMPS & THE GLAMAZONS-Jazz 4 Johnny (Feel It, LP)</b></div><div>This oddly named Cleveland band (another one with Steve Peffer) don't play jazz. Nope, this is nervy, expansive rock with ear-piercing, otherworldly, earwormy guitar lines, a thundering bass undertow and synthesizer washes and shadings, all delivered at a steady mid-tempo pace. Hints of early Pere Ubu (the synth, in particular), although it's just one part of their modernistic sound. A sarcastic bent to the vocals and lyrics--I'm not 100% sure if "V.R." is meant as a tribute or paean to Elvis and Kurt Cobain--maybe it's both. An aural thundercloud. (<a href="http://www.feelitrecords.com">www.feelitrecords.com</a>)</div><div><br /></div></div><div style="text-align: left;"><div><b>FREAKEES-Freakee Deakee (Tomothy, 7")</b></div><div>Coming to you from the new wave punk garage--three fast ones and one slower track, "Freakee Friday" that takes up the entire flip slide and sputters its way to the end. It kind of drags to be honest. Not the case for the semi-abrasive punk of "Haha" and "The Middle" or the thrashy "Republicans" (their one "political" statement, I suppose). Freakees are a prolific band, having put out over 10 releases in four or so years. A sampling shows this to be one of their more "accessible" efforts but still rough-sounding. (<a href="http://houseoftomothy.com">houseoftomothy.com</a>)</div><div><b><br /></b></div><div><b>GOLPE-La Colpa e Solo Tua (Sorry State, LP)</b></div><div><div>Banging hardcore from Italy. The drumming has all the subtlety of a battering ram, the engine behind the band's mainly mid-to-fast tempo full-on attack. Definitely some d-beat/Swedish scorch in the equation, with surging guitar, along with hoarse vocals. One of the better albums in this particular style I've heard lately--it's loud and in your face, just the way it should be. (<a href="http://www.sorrystaterecords.com">www.sorrystaterecords.com</a>)</div></div><div><b><br /></b></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhWdyNDlc6wPIqRzgd2a08U0TpRiM0gmEDA5HRr0K0-fbH2ISqVlPZWydR75vh1LePRVHpov6AhQJOMHlJQilmNfEtCNNRVIcYPoBYDJjpdQPLAe7CI6aAF4yjn9Tut9FqHxzLDor10ViVjWdU0ThrqweCI3h4ThRn8N7ThbToo8rY8Md-KjJQ=s1308" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1308" data-original-width="1245" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEhWdyNDlc6wPIqRzgd2a08U0TpRiM0gmEDA5HRr0K0-fbH2ISqVlPZWydR75vh1LePRVHpov6AhQJOMHlJQilmNfEtCNNRVIcYPoBYDJjpdQPLAe7CI6aAF4yjn9Tut9FqHxzLDor10ViVjWdU0ThrqweCI3h4ThRn8N7ThbToo8rY8Md-KjJQ=w381-h400" width="381" /></a></div><div style="text-align: center;"><b>HEZ</b></div></div><div><b><br /></b></div><div><b>HEZ-Guerra Interior (Discos Enfermos)</b></div><div>Hez are from Panama but there are some Spanish punk influences, namely the offbeat noise-mongering of Una Bestia Incontrolable. Echo on the nasally vocals and swirly whirly guitar on occasion. On "Esposas," it's like a six string conversation with some sort of alien force. Still, for the most part, this is a loud and fast attack, moreso than in the past. Their first release in four years and back with a vengeance. (<a href="http://discosenfermospunk.bandcamp.com">discosenfermospunk.bandcamp.com</a>)</div><div><br /></div></div><div style="text-align: left;"><b>IMPLODERS-s/t (Neon Taste, 7")</b></div><div style="text-align: left;">The bands on Neon Taste have a certain sound--a prickly brashness mixing punk attitude with bruising hardcore. That's an accurate description for Imploders and "Dimwit" is a point-making calling card, although I think the vocalist is saying "I don't want to be a nimrod." You get the idea, either way. Being that they're from Toronto, I'd say Career Suicide informs their sound to an extent, and that's never a bad thing. (<a href="http://neonwaste.com">neonwaste.com</a>)</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div><b>KRIMI-Demo (Helta Skelta, demo)</b></div><div>Two members of Cold Meat in this band. Post-punk legends Kleenex had a song called "Krimi," so you can probably guess the band's style and they do it very well. Authoritative vocals from Ashley and some strong lyrical matter, as with "Vicious Cycle," which is about the inevitable result from cutting the social safety net--"destined to fail, doomed from the start." Musically, it draws from the UK well ca. 1979-80, favoring a melodic approach to go with the slash and jab. Still, there's a sharp punk focus, as well, particularly for "Friction." (<a href="http://heltaskeltarecords.bigcartel.com">heltaskeltarecords.bigcartel.com</a>)</div><div><br /></div><div><div><b>MUJERES PODRIDAS-Muerte en Paraíso (Beach Impediment, LP)</b></div><div>Another Austin band with Dru Molina (Kurraka, Criaturas) along with compatriots who have played in such bands as Vaaska, Bastard Sons of Apocalypse, Breakout and many others. A serene beach scene on the cover and it's decidedly more melodic than some of the other bands these people are involved in. Instead of guitar shredding, the playing is textured, with a warm tone and adding West coast punk shadings and even a hint of goth on the intro to "El Chico En La Discoteca" and "OVNI." It's not a full-blitz attack, but there's still bite to go along with the tunefulness. (<a href="http://beachimpedimentrecords.blogspot.com">beachimpedimentrecords.blogspot.com</a>)</div></div><div><br /></div><div><b>NAG-Observer (self-released, demo)</b></div><div>Second album in under a year for this Atlanta band, following 2020's "Dead Deer." The production is a little fuller but the band's <i>modus operandi </i>remains pretty much the same. New wave meets post punk meets 80s goth. "Satellite Rock" veers towards the latter, but there's a harder-edged punk feel to "Burning Books." Cyborg rock? It's more human-sounding than robotic. Released digitally and on tape last spring, with a vinyl pressing on Drunken Sailor due this month. (<a href="http://werenag.bandcamp.com">werenag.bandcamp.com</a>)</div><div><br /></div></div><div style="text-align: left;"><b>PARANOIAS-Napalm Springs (Helta Skelta, 7")</b></div><div style="text-align: left;">This came out in mid-December 2020 but close enough. It was probably 2021 by the time it reached the States from Australia anyway. This Perth band play gnashing garage/punk/rock 'n roll with high, singy songy vocals that have an inescapable charm. My guess is they might have borrowed the "Murder Punk" comps of old Aussie punk from their parents or older siblings... who knows? There's a brashness in their playing--sometimes surfy/sometimes slashing guitar lines and it all starts with some hearty bass strum. It's just so goddamned likable that you can't help but smile, while jumping around. (<a href="http://heltaskeltarecords.bigcartel.com">heltaskeltarecords.bigcartel.com</a>)</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>PIGEON-Deny All Knowledge of Complicity (Adagio 830, LP)</b></div><div style="text-align: left;">Hailing from Berlin, Pigeon present a bleak vision, both lyrically and with the blurry black and white images in the accompanying lyric booklet. "Can't Cope With It" states <i>"it happened, that's why it can happen again" </i>and, given their location, it's not hard to figure out what Pigeon are talking about. A kaleidoscope of early 80s influences--Joy Division, Killing Joke, Echo and the Bunnymen, Teardrop Explodes, played with a sharp finesse and the arrangements are quite sprightly, nothing doomy or echo-laden. An abundance of drive and a strong sense of melody, as well. (<a href="http://www.adagio830.de">www.adagio830.de</a>)</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div class="separator" style="clear: both;"><b>RESEARCH REACTOR CORP-Live At Future Techlabs (Sweet Time, LP)</b></div><div class="separator" style="clear: both;">...or live in the lounge room. Is that the same as a den? In any case, hopefully there's soundproofing because this is plenty loud. RRC is from Sydney, Australia, the mastermind of Ishka Meades. It's a solo project but my guess is he had some help, since it's a live recording. Wild lo-fi punk/new wave/garage mania with Devo-esque guitar and cheesy synth, untamed and unleashed. Aussie kin to the Coneheads, VCR and bands/projects of that ilk? I'd say that's accurate. (<a href="http://sweettimerecords.com">sweettimerecords.com</a>)</div></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEieGLcDM_8q2E4nVvvGWgWbIAklLlaQymJOs1SuhX4KnaVeN-VMlW4VxKvz59yZgw8Nw37p4YRxbQlnhWaSLXddqcwTig0_iItYgeCgrVfdCMUWkXuS3P5wn88qaA_tlwuOeYf59ElThhaEhe-_G-DzWUpyzXKhxzLlJ8DZAgrlLVoOAEgpXmc=s960" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEieGLcDM_8q2E4nVvvGWgWbIAklLlaQymJOs1SuhX4KnaVeN-VMlW4VxKvz59yZgw8Nw37p4YRxbQlnhWaSLXddqcwTig0_iItYgeCgrVfdCMUWkXuS3P5wn88qaA_tlwuOeYf59ElThhaEhe-_G-DzWUpyzXKhxzLlJ8DZAgrlLVoOAEgpXmc=w400-h300" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><b>TØRSÖ</b></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><b style="text-align: center;">TØRSÖ-Home Wrecked (Revelation, 7")</b></div><div style="text-align: left;">Short, and not very sweet. The latest from Tørsö is another dose of high-powered, hardcore punk. Blazing guitar, a powerful rhythm, (Giacomo is a monster behind the kit) and Ethan's soaring vocals. Two originals and cover of the Faith's "You're X'd." (<a href="http://revhq.com">revhq.com</a>)</div><div style="text-align: left;"><span style="background-color: #acccdb;"><span style="font-family: inherit;"><b><br /></b></span></span></div><div style="text-align: left;"><b>T-TOPS-Staring At A Static Screen (Magnetic Eye, LP)</b></div><div style="text-align: left;">First full-length album for this Pittsburgh band in about 6 years and it's pretty ground-shaking. T-Tops have always specialized in beefy 90s rock that would have fit in well on Amphetamine Reptile. They check the right boxes with plenty of loud axe-mangling, bludgeoning drums and rough-hewn vocals. Hammerhead did the same thing back then and there's also a hint of "Bleach"-era Nirvana. Heavy without being metal... mental, maybe. (<a href="http://t-tops.bandcamp.com">t-tops.bandcamp.com</a>)</div><div style="text-align: left;"><br /></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjfNfyQqVcTM0sCqd6PjEHHdASuGjn0g4fqQYBlsodMXibe9MMin3EUqkBVjkXNCfm1BqJkJYSWgvugJW1fpMflrQ_I5qSr6zXs01m9EkuwcbSSMOOkZbnobQy49AEX0zB1HuUn-O9TVUAL4B6THgEgFQR0g09cmEiP7J45VIeE4iGtrxwOp7M=s905" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="672" data-original-width="905" height="297" src="https://blogger.googleusercontent.com/img/a/AVvXsEjfNfyQqVcTM0sCqd6PjEHHdASuGjn0g4fqQYBlsodMXibe9MMin3EUqkBVjkXNCfm1BqJkJYSWgvugJW1fpMflrQ_I5qSr6zXs01m9EkuwcbSSMOOkZbnobQy49AEX0zB1HuUn-O9TVUAL4B6THgEgFQR0g09cmEiP7J45VIeE4iGtrxwOp7M=w400-h297" width="400" /></a></div><b>TWOMPSAX (photo: Rob Coons)</b><br /></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>TWOMPSAX-Disgusting Me Out (Manic Noise, demo)</b></div><div style="text-align: left;">On their new demo, Twompsax vocalist Cher Strauberry states right up front what her band is all about--encouraging transgendered people to fight back against systems of oppression and take what's rightfully theirs: the freedom to live. Aurally, it's impassioned, low-fidelity, raucous bedroom punk with a barbed hookiness. It's even more primitive-sounding than their previous demo and two of the songs are just Cher accompanied by guitar, but it ain't no "unplugged" bullshit. (<a href="http://manicnoiserecords.storenvy.com">manicnoiserecords.storenvy.com</a>)</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>SOME REISSUES</b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjgl394XRJeHmseGe9PwGqtjOPFo2W5isZ4QVUiv9v21g49UD08HmcWngKAPUfYwachURK1xdvJurp8iUciAaB4Ag9IS-msGFUn4rs1vorhbQ5fbkXB9lPN0KmKR-8CL0sq1PpIVoOg44irVgc_8OQqJazNIUQ7nHT0aeIAZQbuyTBqJA8qRss=s960" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="764" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEjgl394XRJeHmseGe9PwGqtjOPFo2W5isZ4QVUiv9v21g49UD08HmcWngKAPUfYwachURK1xdvJurp8iUciAaB4Ag9IS-msGFUn4rs1vorhbQ5fbkXB9lPN0KmKR-8CL0sq1PpIVoOg44irVgc_8OQqJazNIUQ7nHT0aeIAZQbuyTBqJA8qRss=w319-h400" width="319" /></a></div><div style="text-align: center;"><span style="font-weight: 700;">7 SECONDS (1984, photo by Cindy Mendes)</span></div></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>GUN CLUB-Fire Of Love (Blixa Sounds, 2xCD)</b></div><div style="text-align: left;">Hard to believe it's been 40 years since this incredible album was released. And if you were listening to it for the first time, you'd assume that the members of the Gun Club were Texas rednecks but they were an LA band and vocalist Jeffrey Lee Pierce actually co-wrote the title track for the Circle Jerks' "Group Sex." And while Gun Club evolved from the punk scene, their sound was inspired by traditional blues, given a revved-up treatment, especially for their cover of Robert Johnson's "Preaching The Blues." There's also a slow-simmering cover of Tommy Johnson's "Cool Drink Of Water." Originals like the punky "Sex Beat" and tour-de-force of "For The Love Of Ivy" are all-time classics. The latter song does have the n-word in it (something they got a lot of grief for) but it also has some truly inspired playing, with the concluding soft to loud jolt and the great line <i>"I was all dressed up like an Elvis from hell." </i>Jeffrey Lee's untamed yet soulful vocals were the obvious focal point, but the secret weapon was Ward Dotson's slide guitar. <br /><br />In addition to the album, the CD tacks on alternate takes and demos, some of which were sketches for their second album "Miami." I've always thought the four track demo of "Devil In The Woods" was superior to the "Miami" (it appeared on the "Keats Rides A Harley" compilation). The second disc is a live set recorded at Club 88 in LA in March of 1981, where the band are going full-tilt. Gun Club were always a live gamble--I saw them nearly upstage the Cramps when they toured this album but they were a complete debacle a few years later at a show at Boston University. Not the case here. "Fire of Love" comes from a dark place and I've played this album more than a few times when driving through rural areas late at night. Perfect accompaniment. (<a href="http://blixa.com">blixa.com</a>)</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7 SECONDS-The Crew (Trust, LP + 7")</b></div><div style="text-align: left;">Deluxe... and I mean <i>deluxe</i> reissue of 7 Seconds first full-length album from 1984. The production was cleaner at this point but, truth be told, it took some of the edge off and the drum patterns are pretty similar throughout--thumpa-thumpa, with few rolls, except during the slower portions. Still, their upbeat songs remain infectious and take me back to when life didn't seem so, uh, <i>complicated</i>, although I might not have known that at the time. And, along with the more melodic sound they'd semi-adopted, there was a positive message throughout, against misogyny, racism and maintaining as much of an optimistic outlook as possible. Aesthetically, it's a beautiful package, opening into a gatefold, with an 18 page glossy booklet. It tells the 7 Seconds story and includes flyers, photos and explanations for the lyrics. And some copies (like mine) include a bonus 7" of six songs taken from a 1983 recording session. They were from an aborted album on Alternative Tentacles (and later released in the mid-90s as "Old School") and have the raw production of the first two EPs. In other words, more of a bootboy feel and embryonic takes of such songs as "Here's Your Warning," "Young Til I Die" and others really kick ass. I'd like to see the full session get another re-pressing. (<a href="http://trustrecordscompany.com">trustrecordscompany.com</a>)</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div><b>WASTED YOUTH-Reagan's In (Jackpot, LP)</b></div><div>"Reagan's In" is both very much of its time, as well as timeless. Loud and fast and catchy. They had a nasty teenage attitude, mainly expressed for "Uni-High Beefrag," a rather misogynistic rant. But the songs are quick, razor-sharp and snotty as fuck, with an anti-authoritarian chip on its shoulder. Pressed on minty (or puke green) colored vinyl. (<a href="http://jackpotrecords.com">jackpotrecords.com</a>) </div></div>Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-63029435256241466912021-05-06T12:10:00.003-04:002021-05-06T12:43:22.103-04:00Suburban Voice blog #147<div style="text-align: left;"><div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-LSj4HLrFgYQ/YJQD3LE6GkI/AAAAAAAACTE/Z-FjI1cBRW47nHruRLqsv1Nkf-QwmFpXwCLcBGAsYHQ/s1600/IMG_7195.JPG" style="font-weight: 700; margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://1.bp.blogspot.com/-LSj4HLrFgYQ/YJQD3LE6GkI/AAAAAAAACTE/Z-FjI1cBRW47nHruRLqsv1Nkf-QwmFpXwCLcBGAsYHQ/w300-h400/IMG_7195.JPG" width="300" /></span></a></div><div style="text-align: center;"><b><span style="font-family: arial;">READ YELLOW</span></b></div><div style="text-align: left;"><b><i><span style="font-family: arial;"><br /></span></i></b></div><div style="text-align: left;"><span style="font-family: arial;"><b><i>Time for another reprint of a </i></b><b>Maximum Rocknroll <i>column, this one from MRR #394 (March 2016), with a few modifications…</i></b></span></div><div style="text-align: left;"><span style="font-family: arial;"><b><i> <o:p></o:p></i></b><b> <br /></b><b>UNDER THE
RADAR—the 2000s<br /></b> <br />I’m
an obsessive maker of playlists for my iPod—either putting together sequences
from my old mix-tapes or having various “best of” collections spanning
different years and decades. I’ve been listening a lot to my best of the 2000s
mixes, lately—the oughts or zeros or whatever you call them, and there are
quite a few songs/bands that might have been lost in the shuffle (not a pun
about the iPod shuffle, honest). So this column is dedicated to those that I
feel flew under the radar a bit. They might not be obscure to everyone but some
of you might want to check these out. And they’re pretty easy of find and won’t
set you back that much, except maybe Nazti Skinz.. So in chronological order…<br /> <br /><b>FAMILY DOG-So
Cal Hardcore (El Pocho Loco, CD, 2000)<br /></b>Another
CD-only release and another band doing the simple and straight-forward hardcore
punk on their one and only release. Definitely not taking themselves too
seriously in a lyrical sense but not devolving into forced funny-punk. From a
musical sense, this is loud, fast, rough and buzzing stuff, stripping it down
to its high energy essence. Family Dog included Monty Messex from Dead Fucking
Last and it’s very similar to that band’s approach. What more could you want?</span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><span style="font-family: arial;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/DQ2ECXIM4tw" title="YouTube video player" width="420"></iframe></span><div style="text-align: left;"><b><span style="font-family: arial;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: arial;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: arial;">REGRESS-Price of
Power (Boot Camp, 7”, 2001)</span></b></div><div style="text-align: left;"><span style="font-family: arial;">Regress
had quite a pedigree—Joe Losurdo from Life Sentence, Anthony Illarde from
Rights of the Accused and Chopper Stepe from Negative Element, all 80s era
Illinois bands. As you’d imagine, this is throwback hardcore and the production
is raw and trebly. Even an anti-Reagan song for good measure. They had another
7” after this and actually appeared on MRR’s “Public Safety” comp and the
second “Histeria” comp on Lengua Armada so maybe they’re not <i>that</i>
obscure but this is the best one and worth hunting down. Check out some audio <a href="http://www.chopperstepe.com/regress.html"><b>here</b></a>.<br /> <br /><b>SPAZM 151-s/t
(Mind Control, LP, 2001)<br /></b>Obliterative
from start to finish. This Dallas band had a gigantic chip on their collective
shoulders, as well as a love for classic US hardcore, including Poison Idea,
Jerry’s Kids and fellow Texans The Offenders (the last song on the album are a
medley of songs by the latter two bands). Thrash that rocks and rolls and it’s
injected with pissed-off venom. Plus cover art from Randy “Biscuit” Turner. How
can ‘ya go wrong?</span></div><div style="text-align: left;"><span style="font-family: arial;"><br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/h8faWs--c8U" title="YouTube video player" width="420"></iframe> <b> <br /></b><b>NAZTI SKINZ-Sic
Semper Tyrannis” (Youth Attack, 7”, 2002)<br /></b>This
is the record that actually gave me the idea for this month’s column. Every
time I listen to it, I wonder why more people don’t know about it. It’s
probably because this LA band was very short-lived, playing only 5 shows and
this 7” had a one-time pressing of 500 copies. They seem to have disappeared
without much of a trace. With members of The Locust, Le Shok, C.R.A.S.H.,
Monorchid and others, the band’s name might have caused some confusion
(although if you look closely, it’s pronounced “nasty skins,” not “Nazi
skins”), along with titles like “Defending Liberty” and “Race War.” It’s a
twisted mix of basic old school hardcore and darker Midwest touches (Mecht
Mensch, for instance). Six songs, none of ‘em topping a minute.</span></div><div style="text-align: left;"><span style="font-family: arial;"><br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/ygPrRrbwm9k" title="YouTube video player" width="420"></iframe> <br /><b>IKARA COLT-Chat
and Business (Fantastic Plastic, 2002)<br /> </b>Being
that they were a UK band and had split up by the middle of the decade, I’m not
sure of their level of familiarity these days but I’m pretty sure they wouldn’t
be a household name to a lot of my loyal readers. Nervy, sometimes moody
math/post-punkish rock, if you want to pigeonhole it. You can hear bits of The
Fall Wire and late 80s/early 90s AmRep rockers Tar, although there’s more drive
in their compositions. It’s perhaps closer to what a band like Hot Snakes did,
minus the Wipers inspiration. Paul Resende has a subtle, yet expressive vocal
style that accompanies the sound, instead of dominating it. A heady mesh.</span><span style="font-family: arial;"> </span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/Tj7EESOea-0" title="YouTube video player" width="420"></iframe></span></div><div style="text-align: left;"><span style="font-family: arial;"><b><br /></b></span></div><div style="text-align: left;"><span style="font-family: arial;"><b>R’N’R-“I’ve Had
It/Your Rules” (Cadmium Sick, 7”, 2002; re-pressed by Dead Alive, 2003).<br /></b>A
band with members from different parts of Massachusetts, this was their shining
moment (along with their furious track “What’s Your Damage” on the “Stab To
Kill” comp on Stab and Kill). After a piss-take rock ‘n roll intro, R’N’R get
down to business with a throttling, mid-paced scorcher and Joe Shumsky (who
played in many bands, including Fit For Abuse, Think I Care and Vaccine)
unleashes the anger full-on. By the time he finishes with the long list of
things/people he’s had it with, you say, “yeah, I guess he really HAS had it.”
The b-side also kicks ass.<br /> <br /> <iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/0jPusBeERU4" title="YouTube video player" width="420"></iframe> </span></div><div style="text-align: left;"><span style="font-family: arial;"><b><br /></b></span></div><div style="text-align: left;"><span style="font-family: arial;"><b>READ YELLOW-Read
Yellow (Fenway CD, 2003)<br /></b>This
Western Mass. band’s albums were just so-so, but this four song EP is a
scorcher, especially the title track/theme song and “The Association.” Head
crushing riffs and hooks played with a
go-for-broke fervor and edge-of-sanity vocals. Not really punk, not really
hardcore but it’s loud and crushing.</span></div><div style="text-align: left;"><span style="font-family: arial;"><br /> <iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/q2iIqkok-JM" title="YouTube video player" width="420"></iframe> <br /><b>SHELL SHOCK-Born
To Kill (Puke N Vomit, CD, 2005)<br /> </b>Kill,
kill, kill and kill again. A firebomb of hardcore punk—hard ‘n fast and catchy,
especially the circle pit breakdown for “Declaration.” From the opening
exclamation of <i>“WHAT THE FUCK IS GOING ON,” </i>this was one of those albums
that made me remember what I liked about hardcore. Combine that rage with angry
lyrical sentiments and it’s a good way to channel the disillusionment that even
middle-aged reviewers still feel—“<i>We don’t want to be like you</i>” is still
something easy to relate to, even to this day. Adhering to the KISS rule—“Keep
It Simple, Stupid!” Only released on CD.</span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-family: arial;"> <iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/xWR7-XItNvw" title="YouTube video player" width="420"></iframe> </span></div><div style="text-align: left;"><b><span style="font-family: arial;">VIOLENT
MINDS-Eyes Of Death (Parts Unknown, LP, 2007)</span></b></div><div style="text-align: left;"><span style="font-family: arial;">
Philly band connecting with pure Motorcharged aggression. As with Nightstick
Justice above, this band has songs that make you move and the transition from
the slow to fast part on “Fight Authority” is seamlessly-executed. The driving
drums and bass are the engine and the guitar riffs possess a brilliant
simplicity, throwing in the occasional lead line. There’s a perfect balance
between the instruments and Zach’s hoarse vocals.<br /> <b> <br /></b> <iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/gYVKu4VFFDY" title="YouTube video player" width="420"></iframe> </span></div><div style="text-align: left;"><span style="font-family: arial;"><b>NIGHTSTICK
JUSTICE-Claustrophobic (Grave Mistake, 7”,
2008)<br /></b>There’s
been an endless glut of old-school hardcore punk bands from the turn of the
century on, but a lot of it starts to run together after awhile. What made
these guys stand out was their fucking RELENTLESSNESS, particularly on the
opening song “Control.” This song just MOVES-- guitars on stun, bass on
bulldoze, with a tinge of over-the-top Cleveland hardcore burn. And when Jeff
Corso bellows <i>“get the FUCK out of my way”</i> on that song, you get the
feeling you’d better do just that. One song going into other with a feedback
transition, slowing down only for “Hypocrite,” an epic at over 3 minutes. They
had three 7”s and a 12” over their fairly brief tenure and this one’s the best.
Alex from Grave Mistake sent me a test pressing of this record for my 50th
birthday because he knew how much I loved this one.<br /><br /> <iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/sVZevlt7Hik" title="YouTube video player" width="560"></iframe> </span></div><div style="text-align: left;"><b><span style="font-family: arial;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: arial;">BASTARD SONS OF
APOLCALYPSE-Strangled By The System (Todo Destruido/Adelante, 12”, 2008)</span></b></div><div style="text-align: left;"><span style="font-family: arial;">Vocalist
Eddie Leal has been in a number of bands over the years—Vaaska, Criaturas and
Deskonocidos, to name a few. BSA dished out ferocious Discharge-meets-Poison
Idea mania. I don’t know if it’s a D-beat in the strict sense and I don’t give
a fuck about the nuance; all I care about is shredability and BSA definitely
possessed that quality The galloping drumming is what really keeps things
moving here and the occasional lead guitar break always happens at the right
moment. BSA do allude to their musical approach in “No Charge D-Beat
RocknRoll.” Amidst a not-so-cheery worldview, that’s the sole moment of lyrical
levity here, a celebration of “kids playing with no future.” <i>SV</i> record of the year for 2008.<br /> <br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/0tgvNPAPL0I" title="YouTube video player" width="420"></iframe></span></div><div style="text-align: left;"><span style="font-family: arial;"><b><br /></b></span></div><div style="text-align: left;"><span style="font-family: arial;"><div style="font-family: "Times New Roman";"><span style="font-family: arial;"><b><span>WINNING LOOKS-s/t (Waiting, 7”, 2008)<o:p></o:p></span></b> </span></div><div style="font-family: "Times New Roman";"><span style="font-family: arial;"><span>Down ‘n dirty rock ‘n roll in a guitar/drums, both of ‘em sing format. This four song EP from these two NYC ladies was recorded by Bikini Kill’s Kathleen Hanna and there’s a slight hint of her musical pedigree. But it’s just as much garage, really cooking on a song like “Breakdown,” although all four songs have plenty of thump in ‘em. Two voices chanting in near-unison, in a hearty high register and the music has a complementary brazenness. Recorded in 2006 but I'm pretty sure it came out in 2008.</span></span></div></span></div><div style="text-align: left;"><span style="font-family: arial;"><b><br /></b></span></div><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/IxPVrJGG-lE" title="YouTube video player" width="420"></iframe><div style="text-align: left;"><span style="font-family: arial;"><b><br /></b></span></div><div style="text-align: left;"><span style="font-family: arial;"><b>GENERAL
INTEREST-Right By The Beach (Ride The Snake, 12”, 2009)<br /></b>This
Boston band were an offbeat, nimble, ultra-tight musical unit dishing out some
formidable post-punk. Guitar, bass and drums play off each other, hooks
occasionally emerging but the main attraction is the dynamism in these
compositions. But what really makes them unique are Steve Shea’s almost
cartoonish semi-spoken vocals and lyrics that could be “shit from a new
notebook” to quote The Minutemen, one band who were an obvious influence (Gang
of Four and Nation of Ulysses also figured into the equation). There are
political/sociological messages, though they’re combined with a smart-assed
sarcasm. “Crusty Dog Show” aims a vicious barb at, well, traveler crusties who,
while being “freegan” and “going green,” still abuse their dogs <i>(“I’ll bet
you’re not spanging for Kibbles & Bits”</i>). “Capricious Youth” pokes fun
at the type of people who can’t make up their minds about everything from
education choices to relationships.<br /> <br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/94qIECQ-eRU" title="YouTube video player" width="420"></iframe></span></div><div style="text-align: left;"><span style="font-family: arial;"><b><br /></b></span></div><div style="text-align: left;"><span style="font-family: arial;"><b>CATBURGLARS-s/t
(Criminal IQ, LP, 2009)<br /></b>Garagey
punk rock that's full of vim, vigor and fun times. Buzz and bash in the vein of
some of the Rip Off Records bands i.e. the sound is rough and the songs snotty
as hell. Willfully stoopid lyrics... want an example? <i>"You make me
mad/you make me mad/You make me so mad/You make me mad/You never give me what I
want/All you ever do is piss me off."</i> Heavy sentiments there! A
winning tandem of wise-assed attitude and the burn to back it up and their
cover of The Runaways’ “Cherry Bomb” rocks like a motherfucker.<br /> <br /></span></div>
<span style="font-family: arial;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/5C2rlMhYLy8" title="YouTube video player" width="420"></iframe></span>
</div>
</div>Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-84498126571249274662021-04-21T17:00:00.006-04:002021-04-24T14:28:44.158-04:00Suburban Voice blog #146 <div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-czbt7Wjzxhg/YBNLft0HZkI/AAAAAAAACRg/HAzGmJ7En5s97gZkTzgEW_W6qCCyxRdJwCPcBGAYYCw/s1036/magic-spaces-cover-scaled.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1036" data-original-width="672" height="400" src="https://1.bp.blogspot.com/-czbt7Wjzxhg/YBNLft0HZkI/AAAAAAAACRg/HAzGmJ7En5s97gZkTzgEW_W6qCCyxRdJwCPcBGAYYCw/w260-h400/magic-spaces-cover-scaled.jpg" width="260" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div></b></div><div style="text-align: left;"><b>CATCHING UP ON SOME BOOK AND ZINE REVIEWS</b></div><div style="text-align: left;"><b><i><br /></i></b></div><div style="text-align: left;"><b><i>LONG GONE ILLEGAL PUNK VENUES IN BOSTON by Chris Strunk </i>(Free The Future Press, half-size zine, 40 pg.)</b></div><div style="text-align: left;">Pretty self-explanatory--a history of "illegal" DIY spaces in Boston and environs for the first decade and a half of the 21st century. Author Chris Strunk--who played in such bands as Conversions, Vile Bodies and Crisis Actors, as well as booking the occasional show--offers a tour of various basements, warehouses, lofts and college/community/art spaces that hosted unlicensed punk shows. It was a constant game of whack-a-mole, as the police got more aggressive with shutdowns, necessitating a quest for the next space. Because, as we know, it's a major crime for people to get together and enjoy watching music. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">The venues are presented more or less in chronological order and Strunk tells stories not only about the shows, but the atmosphere/people. I can think of a few spaces he missed (Guns of Brighton, Movie Loft and the Box Fort) but it's pretty comprehensive. I've been to probably 2/3 of the venues he writes about and there were a lot. It shows that people really cared about creating an alternative to the rock clubs. Even before the pandemic, DIY spaces had dwindled a bit--one of the best in recent years was Markus Basket, in the Space Studio in Somerville--and that only lasted about six months. But there were a few promising ones before the shutdown that will hopefully be around once things get back to more or less normal. (Incidentally, I contributed photos to this book and the cover drawing is based on one I took of the Boiler Room). (<a href="http://printedmatter.org">printedmatter.org</a>)</div><div style="text-align: left;"><b><i><br /></i></b></div><div style="text-align: left;"><b><i>MODERN MACHINES by David A. Ensminger </i>(Left of the Dial Books, softcover, 154 pg.)</b></div><div style="text-align: left;">A collection of various interviews done over the years by David Ensminger--some from his old zine and website "Left Of The Dial," others from various print and web outlets. A few are brand new (yours truly, Dave MDC, Chip Kinman from the Dils). It's not the most aesthetically-appealing book--print is tiny, layout nothing fancy. But in terms of content, it's top-notch. David has a knack for bringing out the best in his interview subjects and they're in-depth and more conversational than the typical Q&A format, even when they were done through messaging. There are some lengthy deep-dives with musicians and artists who haven't saturated every other book about punk. People such as Scott Ryser from the Units, discussing his musical and literary influences and giving insight into the early SF scene. John Robb from the Membranes offers a historical analysis of the late 70s/early 80s UK era. Eugene Robinson, who originally cut his teeth in hardcore band Whipping Boy and, later Oxbow, has followed an eclectic musical path, as well as becoming an author and fighter. Better-known interview subjects are John Brannon, Bill Stevenson from Descendents and Steve Soto from Adolescents. Plenty to dig into here. </div><div style="text-align: left;"><b><i><br /></i></b></div><div style="text-align: left;"><b><i>PETER AND THE WOLVES by Adele Bertei </i>(Smog Veil, softcover, 93 pg.)</b></div><div style="text-align: left;">The Peter in the title is Peter Laughner, founding member of Rocket From The Tombs and Pere Ubu, as well as many other Cleveland bands. I <a href="https://subvox.blogspot.com/2019/12/suburban-voice-blog-141.html" target="_blank"><b>reviewed a box set of his music a few installments ago</b></a>. Author Adele Bertei has had a lengthy musical career, including a stint with NYC no wave legends the Controtions. This short book is an expanded version of a book she self-published in 2013, originally meant to be part of a full memoir but never got an official release. It details her friendship and wild adventures with Laughner in Cleveland and NYC. He was a musical mentor but also a deeply troubled individual, who was dead before his 25th birthday. He was well-versed in all sorts of music and literature, but also led an unstable life controlled by drugs, alcohol and an unhealthy fixation with guns. Considering his prolific musical career, one wonders what the future would have held.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">The writing is candid and Bertei doesn't flinch from discussing the less savory aspects of his life or people she encountered. Regarding Laughner's tenure in Pere Ubu, Bertei doesn't have a lot of positive things to say about their vocalist David Thomas (aka Crocus Behemoth), who has generally written him out of the band's history (even with significant contributions to songs like "Final Solution" and "Heart of Darkness"). But she also ruminates about the sensitive, inquisitive man who took essentially took her under his wing, encouraged her to pursue her musical passions and made an indelible impact that's lasted with her to this day. (<a href="http://www.smogveil.com">www.smogveil.com</a>)</div><div style="text-align: left;"><br /></div><div style="text-align: center;"><a href="https://1.bp.blogspot.com/-fjT0FfSuDw8/X_DNtMEsewI/AAAAAAAACQ0/5E9eks8bT5oSpR5YssL31iYGAXKa3ajOQCLcBGAsYHQ/s1053/Grecco.jpg" style="font-weight: 700; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1053" data-original-width="900" height="400" src="https://1.bp.blogspot.com/-fjT0FfSuDw8/X_DNtMEsewI/AAAAAAAACQ0/5E9eks8bT5oSpR5YssL31iYGAXKa3ajOQCLcBGAsYHQ/w343-h400/Grecco.jpg" width="343" /></a></div><div style="text-align: left;"><b><i><br /></i></b></div><div style="text-align: left;"><b><i>PUNK POST PUNK NEW WAVE </i>by Michael Grecco (Abrams, hardcover, 240 pg.)</b></div><div style="text-align: left;">This hardcover, coffee table book is a great visual time capsule of music photography from the late 1970s/early 1980s. Michael Grecco is a professional photographer and basically cut his teeth with these selections, taken mainly in Boston, although there are some from other east coast cities.<i> </i>The cover, with Wendy O. Williams from the Plasmatics taking a sledgehammer to a TV in a radio station office, is immediately enticing. The photography includes plenty of live photos, but also candid ones of not only the bands but audience members and local "personalities," as well. There are the requisite "big names"--PIL, Dead Kennedys, Devo, Cramps, Elvis Costello, Killing Joke, Lene Lovich, Iggy and the Ramones, but lesser-known locals Human Sexual Response are featured in a number of photos. Grecco hit up just about every venue, from the DIY space Thayer Street Lofts and grungy clubs like Cantone's and, of course, the Rat to larger venues like the Channel, Paradise and Orpheum Theater. And the photos aren't always pretty. Plenty of sweat, motion and audience interaction. It's all very intimate. </div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-4Hht6K-agrw/X-9_y_ZRGCI/AAAAAAAACQg/jFE351Ix0s4NJu1pRdbBobFQbF9edSdQACPcBGAYYCw/s674/1981%2B08%2B15%2BKilling%2BJoke%2BBoston%2BMichael%2BGreccoconcerts%2Bblogspot%2B%25281%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="611" data-original-width="674" height="363" src="https://1.bp.blogspot.com/-4Hht6K-agrw/X-9_y_ZRGCI/AAAAAAAACQg/jFE351Ix0s4NJu1pRdbBobFQbF9edSdQACPcBGAYYCw/w400-h363/1981%2B08%2B15%2BKilling%2BJoke%2BBoston%2BMichael%2BGreccoconcerts%2Bblogspot%2B%25281%2529.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><b>KILLING JOKE (The Channel, 1981)</b></div><div style="text-align: left;"><br /></div><div style="text-align: left;">Throughout it all, Grecco successfully captures the ambiance (for want of a better term) of what was going on in the music scene. My only critique is the photos don't have any captions or names on them and you have to consult the index in the back. I suppose the names shouldn't matter, just the visual. This brings back a lot of great memories and will provide a view into the past for those who weren't there--or can't remember it! (<a href="http://abramsbooks.com">abramsbooks.com</a>)</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><i>PUNKS AROUND #12-14 </i>(half-sized zines)</b></div><div style="text-align: left;"><span style="font-family: inherit;">The last three issues of Alex Herbert's zine. Each issue takes on a specific topic. #12 deals with non-cis punks, with essays, interviews, drawings and comics contributed by trans, non-binary and gender non-conforming punks (as it says on the cover). If you think you know everything about trans issues, guess again--I learned quite a bit here and, one conclusion is that, for all of its professions of open-mindedness, not even punk is always that welcoming for non-cis people. You can never put yourself in someone else's shoes, but it's still valuable to be exposed to these viewpoints and recognize their daily battles. </span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit;">Issue #13 is about straight-edge, with interviews and essays, including Nancy Barile (Al from SSD is her husband) and Tony Rettman, who wrote <i>"Straight Edge--A Clear-Headed History of Hardcore." </i>He caught some flak from people who didn't think he should write the book because he was no longer straight-edge. Plus a guide to horror movies from Jasmine of <span>TØRSÖ. </span></span></div><div style="text-align: left;"><span style="font-family: inherit;"><span><br /></span></span></div><div style="text-align: left;"><span style="font-family: inherit;"><span>Finally, #14 concerns mental health. A collection of artwork, collages and poetry, plus some pretty intense stories from individuals dealing with different aspects of mental health--dealing with various afflictions, some intense, some milder and finding ways to cope. And it takes courage to write about these travails in a public forum. Anyway, much respect to Alex for publishing 14 issues in an era that's been moving away from self-published zines. (<a href="http://punksaround.com">punksaround.com</a>)</span></span></div><div style="text-align: left;"><b><i><br /></i></b></div><div style="text-align: left;"><b><i>THE STORY OF DEATHREAT IN STILL LIFE by Justin Briggs </i>(Vague Absolutes, zine, 40 full-sized pages)</b></div><div style="text-align: left;">Everything you'd ever want to know about Deathreat--for those who have never heard of them, they were one of many interrelated bands based in Memphis and Portland, OR, which include(d) His Hero Is Gone, Tragedy, Severed Head of State, Criminal Damage, Warcry and lots more. Deathreat offered up a more direct hardcore punk style, brief songs packed with pure rage. Anyway, this zine is a cornwith flyers, photos, miscellaneous ephemera and a few interviews, including one by yours truly that originally appeared in <i>Suburban Voice</i>. The project started in 2013 and was rescued after some technical difficulties where the folder of scans, layout etc. was corrupted. Luckily, the data had been backed up on what was described as an at-first "uncooperative back-up" drive. But persistence paid off and it's finally seen the light of day. I'm glad it did because Deathreat seem to be a somewhat underrated band and this will hopefully inspire people to go back and check them out. (<a href="http://vagueabsolutes.limitedrun.com">vagueabsolutes.limitedrun.com</a>)</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>... and one music review... </b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-CgK4Z7XMw_M/YICP0DdY8rI/AAAAAAAACS0/3BokUe_oIfMILzpfIbHOSM95K6kuNTI-QCLcBGAsYHQ/s1020/g%2Bof%2B4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="612" data-original-width="1020" height="240" src="https://1.bp.blogspot.com/-CgK4Z7XMw_M/YICP0DdY8rI/AAAAAAAACS0/3BokUe_oIfMILzpfIbHOSM95K6kuNTI-QCLcBGAsYHQ/w400-h240/g%2Bof%2B4.jpg" width="400" /></a></div><div style="text-align: center;"><b>GANG OF FOUR </b></div><b><br /></b></div><div style="text-align: left;"><b>GANG OF FOUR-77-81 (Matador box)</b></div><div style="text-align: left;">If I was going to put together a box set for one of my all-time favorite bands, this is how I'd do it. Sure, it's expensive and, if you're on a bit of a budget, there's a CD version, but if you're more than a casual fan, you want this. Trust me. The package (and it's a heavy-duty one, with a cardboard outer shell) includes their first two albums "Entertainment" and "Solid Gold," a 12" with the various singles tracks and a double live album recorded lived at the American Indian Center in San Francisco in 1980. This was done for a live radio broadcast and it's the first official release. Plus there are two badges and a lavish hardcover book with lyrics, essays, photos and even copies of rejection letters from various record labels.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Gang of Four are often referred to as pioneers of post-punk. Considering they started in 1977, that might not be completely accurate. The book mentions about how vocalist Jon King and guitarist Andy Gill visited NYC and checked out the popular bands of the day--Richard Hell and the Voidoids, Ramones, Talking Heads, etc, and brought that inspiration back with them, leading to the formation of Gang of Four. And, yes, it started at an art school in Leeds.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Reviewing albums I've heard hundreds of times can be a daunting task--trying to put their groundbreaking music into non-pretentious terminology and not assuming that everyone has already heard them. But it's my job so I'll try... Gang Of Four's modus operandi featured leftist lyrics touching on various political and sociological issues, sometimes in a broader context, sometimes taken from an personal, observational viewpoint. In other words, it didn't seem like a lecture. They took those words and merged them with jarring and propulsive compositions, but there were also some killer, hook-filled melodies. Gill's guitar lines are jabbing but also melodic and that's accompanied with a superb rhythm section. Dave Allen's bass playing has equal emphasis and Hugo Burnham's drumming is totally in the pocket. King is the main vocalist, with a more "conventional" style, while Gill's vocal turns have more of a somber, resigned-sounding tone. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">The final three songs on "Entertainment" is one of the best ending sequences on any album, starting with the "At Home He's A Tourist," the brooding "5.45" and "Anthrax," with a fusillade of guitar atmospherics introducing the proceedings and featuring one of the all-time great guitar "solos. "Solid Gold" had a more spacious and deliberate sound, although songs like "What We All Want," "Cheeseburger" (with humorous lyrics about the American experience taken directly from truckers they encountered at a pool room in LA) and "In The Ditch" provide a churning, hard-edged charge. It's not a major departure but there's more tension and minimalism. "To Hell With Poverty," from the singles album, was their last great song--almost cheerful, but with a dire message--"Some are insane and they're in charge." The live performance is spread over two discs and features a more-or-less greatest hits selection from the first two albums. The sound is a little echo-y, but doesn't sound like a low-fi bootleg. Hearing these recordings make me once again regret not seeing them on that tour. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">In addition to all of the above, there's a 90 or so minute cassette with various demos, rehearsals and unreleased songs. The real early stuff should probably have stayed unreleased, since it's very rough-sounding and the better-known songs are played at a sluggish tempo. An exception is the poppy "Elevator," which sounds a bit like The Jam or Wire's "Mannequin." Two untitled tracks recorded at Cargo Studios have a solid rhythmic fire. The Polydor demos for the songs that ended up on "Solid Gold" are killer, offering a few different wrinkles from the released versions. Oddly, the vinyl version doesn't include a download for these songs but the CD version does (while eschewing the cassette). </div><div style="text-align: left;"><br /></div><div style="text-align: left;">Only a couple of quibbles--I wish they'd included the original "Damaged Goods" EP, but Hugo told me that they didn't have the rights to those, and "I Found That Essence Rare" on "Entertainment" lops off the introductory riff, which makes zero sense. Otherwise, this is everything you ever need from Gang of Four. "To Hell With Poverty" was the end of the band's first era, with Dave Allen's exit, and they never came close to this level again, moving into less-electrifying territory. But for those four years, they were one of the best bands on the planet. (<a href="http://matadorrecords.com">matadorrecords.com</a>)</div><div style="text-align: left;"><br /></div><div style="text-align: left;">That's it for now... I'll be getting my ass in gear any day now and get around to finishing long-overdue record reviews. </div>Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-41784118656105023542021-01-01T16:36:00.019-05:002021-01-01T22:43:09.264-05:00Suburban Voice blog #145<div style="text-align: left;"><span style="font-family: inherit;">I'm really going to try to publish more blogs this year... some will include reviews, maybe I'll do an interview or two and some will come from the archives, my <i>Maximum Rocknroll</i> columns, in particular. In case you missed it, I retired from <i>MRR</i> last year. I really don't feel like retelling or rehash why and, in the end, I might have burned a few bridges but it was ultimately on my terms and I have no regrets. It was time. 36 years of contributing, the last 15 as a columnist is a good run. </span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit;">This piece (with a few modifications) is from my November 2016 column (MRR #402). It was about the 35th anniversary of what I consider to be one of music's pivotal years, filled with an abundance of landmark releases. I'm sure my readership is familiar with the vast majority of these bands but the point is showing the importance of what happened in 1981. Who knows... maybe some of you will check out bands that were under your radar a bit. </span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-0r_VTmtyrx4/X--VqDgVSwI/AAAAAAAACQo/51opC6mf1CcLXHdj83UUUBUlsmNhUncRACLcBGAsYHQ/s1591/IMG_8453.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="color: black; font-family: inherit;"><img border="0" data-original-height="1242" data-original-width="1591" height="313" src="https://1.bp.blogspot.com/-0r_VTmtyrx4/X--VqDgVSwI/AAAAAAAACQo/51opC6mf1CcLXHdj83UUUBUlsmNhUncRACLcBGAsYHQ/w400-h313/IMG_8453.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div style="text-align: left;"><b><span style="font-family: inherit;">1981--THE YEAR PUNK <i>REALLY</i> BROKE</span></b></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;">September
marks the 30th anniversary of the release of <span>Nirvana</span><span>'s </span><i>Nevermind</i><span> album—you know, the album that brought punk BACK! It was
as if the 1980s and the vibrant punk and hardcore underground had never
happened. Nope, we went straight from the </span><span>Ramones</span><span>, </span><span>Sex Pistols</span><span> and </span><span>Clash</span><span> to
Kurt and the boys’ breakthrough. There was a film called </span><i>“1991: The Year Punk
Broke," </i><span>ostensibly a tour documentary about Sonic Youth that also included
Nirvana, as well as Babe</span><span>s In Toyland and Dinosaur, Jr. The
documentary was shot by Dave Markey, a talented filmmaker who has legitimate
punk bona-fides, having logged time in Sin 34, as well as publishing </span><i>We Got Power</i><span> zine. Speaking of the latter, there's a really good book that includes photos, interviews and reprints of the issues. It's still available </span><a href="https://www.bazillionpoints.com/books/we-got-power-hardcore-punk-scenes-from-1980s-southern-california-by-david-markey-and-jordan-schwartz/"><b>here</b></a><span>. </span></span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;"><span>I don’t
think I need to recap much more about 1991, except that tons of bands got signed in a
major label feeding frenzy and the same happened three or so years later with
Green Day’s breakthrough. Truth be told, <i style="mso-bidi-font-style: normal;">Nervermind</i>
has some solid tracks but I don’t think I need to ever hear “Teen Spirit” again.<br /></span><span><br /></span></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;">But
was that the year punk broke? Of course not. I took a quick look at my 1991 “best
of” list that year and some of my favorite were Superchunk, Jawbox, Fugazi, Tar, Jesus Lizard, Born Against and Cosmic Psychos. Good bands, some of ‘em
great, but not exactly a banner year in the total scope of things.</span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;"><span><br /></span><span>1976
and 1977 are usually viewed as ground zero for punk’s explosion and there was,
indeed, a plethora of timeless, classic albums and 7”s and it wasn’t all one
monochromatic ball of noise, either. There was a lot going on around the globe
and it’s hard to fuck with debuts like the Ramones' and Clash’s self-titled
albums, <i style="mso-bidi-font-style: normal;">Never Mind The Bollocks</i>, <i style="mso-bidi-font-style: normal;">Damned Damned Damned</i>, the early
Stranglers and Saints albums, the early Dangerhouse records and so on. Definitely
an era of change.<br /></span><span><br /></span></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;"><span>But
I think an argument can be made that 1981 was <i style="mso-bidi-font-style: normal;">the</i> pivotal year for punk’s development, a branching out into new
and exciting directions, without giving up its energetic focus. 40 years ago…
hard to believe! There was plenty of diversity and creativity and many great
bands made their vinyl debuts or put out attention-grabbing follow-up efforts.
The first generation of bands had largely moved on, drastically altered their
sound or put out less-interesting albums. But there was a veritable bounty of
greatness that year. It certainly had a profound effect on this writer’s
musical tastes. I got exposed to a lot of it through local college radio shows,
especially “Media Blitz” on <a href="http://wmbr.org"><b>WMBR</b></a> (the MIT station), which played all west coast
punk.<br /></span><span><br /></span></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;">So
let’s start with the west coast and nearby environs. So many incredible records that year,
beginning with TSOL’s debut 12” and <i style="mso-bidi-font-style: normal;">Dance
With Me</i> album. There was an evolution even in the short space of time
between the two, moving from politicized punk into something a bit more
shimmery and gothic, but still providing a solid punch in the gut. Agents Orange’s “Bloodstains” single actually came out in 1980 but their first full-length,
<i style="mso-bidi-font-style: normal;">Living In Darkness</i>, was a perfect
merger of surging melodic punk and surf music and the album was packed with
memorable songs. The Adolescents also helped invent the classic, melodic west
coast punk sound on their debut full-length, following their “Amoeba” single.
“Kids of the Black Hole” is an anthem for the ages. Bad Religion never sounded
better than on <i style="mso-bidi-font-style: normal;">How Could Hell Be Any Worse</i>,
long before the rough edges were smoothed off and the lyrics started reading
like a PhD dissertation. Descendents' first 7, <i>Ride The Wild,</i> came out in 1980, but the first with Milo, the <i style="mso-bidi-font-style: normal;">Fat</i> EP, comes storming out of the gates. Featuring the 12
second classic “Weinerschnitzel” as well as feisty punk gems like “Hey Hey” and
“Global Probing,” which hinted at the more tuneful elements that would follow
on <i style="mso-bidi-font-style: normal;">Milo Goes To College</i>.</span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;"><br /></span></div><span style="font-family: inherit;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/thLGfKh-SWc" width="420"></iframe></span><div style="tab-stops: .25in;"><span><span style="font-family: inherit;"><br /></span></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;"><span>The Slash Records subsidiary Ruby yielded a
pair of groundbreaking albums that year. Gun Club’s </span><i style="mso-bidi-font-style: normal;">Fire of Love</i><span> featured swampy, dark-hued bluesy punk. Jeffrey Lee
Pierce soulfully croons, along with the occasional hell-raising whoop. Seamless
transitions from soft to loud ‘n back again, paying tribute to the original
bluesmen but wrapping it inside of a barbed concoction. Some of the lyrics are
spine-tingling, such as with “For The Love Of Ivy”: </span><i style="mso-bidi-font-style: normal;">“I’m gonna buy me a graveyard of my own/and kill everyone who ever done
me wrong/I’m gonna buy me a gun just as long as my arm/and kill everyone who
ever done me harm.”</i><span> I admit I sing that from time to time when feeling a
bit put-upon. A great album to listen to when driving late at night, especially
through rural back woods.</span></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;"><br /></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;">The
other Ruby release was the second album from the Flesh Eaters, <i style="mso-bidi-font-style: normal;">A Minute To Pray, A Second To Die</i>, which
was a complete overhaul from the frenetic punk of their previous <i style="mso-bidi-font-style: normal;">All Questions Asked</i> album. With an
extended lineup that included people from X, The Blasters and Los Lobos, it was
a mixture of razor-sharp guitar lines, growling and atonal sax and even
marimbas creating a mutant voodoo punk stew (something like that). Chris D’s
vocals could wake the dead, especially his shrieks on “See You In The
Boneyard.” It’s almost joyful sounding but also scary as fuck. This was the
only disc with this lineup, as Chris scaled back to a more compact grouping for
the subsequent <i style="mso-bidi-font-style: normal;">Forever Came Today</i>,
with saxman Steve Berlin the only holdover. I can’t really think of any other
record that sounds like this one.</span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;"><br /></span></div><span style="font-family: inherit;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/3rvA5xfTL_4" width="420"></iframe></span><div style="tab-stops: .25in;"><span style="font-family: inherit;"><br /></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;"><span>Black Flag, of course, were an established band by then but put out three pivotal
records that year—the </span><i style="mso-bidi-font-style: normal;">Six Pack</i><span> EP and
</span><i style="mso-bidi-font-style: normal;">Louie Louie/Damaged</i><span> single, with Dez
Cadena on vocals and then </span><i style="mso-bidi-font-style: normal;">Damaged</i><span>,
with the newly-recruited Henry Rollins taking over the mike. I know there are
naysayers who claim that Rollins ruined Flag. I don’t buy into that
assessment—each of the band’s four original-era vocalists had their merits and I’m actually
most-partial to Dez’s glass-gargling howl. </span><i style="mso-bidi-font-style: normal;">Damaged</i><span>,
though, is fierce throughout, save perhaps the novelty-esque “TV Party.”</span></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;"><br /></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;"><span>Dead Kennedys’ <i style="mso-bidi-font-style: normal;">In God We Trust, Inc.</i> was
something of a jump on the hardcore express and doesn’t really stack up to <i style="mso-bidi-font-style: normal;">Fresh Fruit</i> or <i style="mso-bidi-font-style: normal;">Plastic Surgery Disasters</i> but the back-to-back “Religious Vomit”
and “Moral Majority” capture the dawn of the Reagan era pretty well. Actually,
the most important release on Alternative Tentacles that year was the <i style="mso-bidi-font-style: normal;">Let Them Eat Jellybeans</i> compilation, which was probably an entry point for many novices into the punk underground,
serving up crucial tracks by Bad Brains, Black Flag, Flipper, Circle Jerks, Really Red and Feederz. There were excursions into artier punk forms, as well.<span style="mso-spacerun: yes;"><br /></span></span><span><br /></span></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;"><span>Flipper were raising holy hell in the Bay Area that year with the repetitive, annoying-in-a-great
way <i style="mso-bidi-font-style: normal;">Love Canal/Ha-Ha-Ha</i> and <i style="mso-bidi-font-style: normal;">Sex Bomb/Brainwash</i> singles. The latter
paired a song about the demise of blonde bombshell Jayne Mansfield (that’s what
the crash at the end of the song is) with the endless torture of “Brainwash.” A
cruel DJ on one of the Boston college stations once played that song for 45
straight minutes.<br /></span><span><br /></span></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;"><span>After
a couple of 7” releases, Minutemen’s debut 12” <i style="mso-bidi-font-style: normal;">The Punch Line</i> continued the band’s kinetic, punky and funky oeuvre,
with only two of its 18 songs topping the one-minute mark. Saccharine Trust's <i style="mso-bidi-font-style: normal;">Paganicons</i> 12” had a similar muse
although the songs were longer and Joe Breuer’s vocals cut hard against the
grain. Meat Puppets’ debut 7’ <i style="mso-bidi-font-style: normal;">In A Car</i>
dished out fast ‘n frenzied punk but you could tell they weren’t going to be a
one trick pony, not with the more country-inflected “Big House” or jazzier “Out
In The Gardener.” The Arizona sun was already baking their brains. Or maybe something
else they ingested, if you catch my drift.<br /></span><span><br /></span></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;">Speaking
of Really Red, who were from Texas, their overlooked classic debut 12” <i style="mso-bidi-font-style: normal;">Teaching You The Fear</i> moved punk and post-punk into challenging realms. Like
Really Red, the Big Boys were, of course, also from Texas and <i style="mso-bidi-font-style: normal;">Where’s My Towel?/Industry Standard</i> was
their first studio 12”, following the <i style="mso-bidi-font-style: normal;">Frat
Cars</i> 7” and split live record with The Dicks. The Big Boys certainly
expanded any definition of punk and were also coming from a funky/punk muse <i style="mso-bidi-font-style: normal;">ala</i> the Minutemen and, as with that
band, they could play their asses off but weren’t show-offs.</span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;"><br /></span></div><span style="font-family: inherit;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/E0uDKE7pBoc" width="420"></iframe></span><div style="tab-stops: .25in;"><span style="font-family: inherit;"><br /></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;"><span>Of course, 1981 was the year hardcore exploded
all over the US. In DC, the burgeoning Dischord label already had the Teen Idles 7” under their belts but, during ’81, they unleashed both Minor Threat 7’s, SOA’s </span><i style="mso-bidi-font-style: normal;">No Policy</i><span>, Youth Brigade’s
</span><i style="mso-bidi-font-style: normal;">Possible</i><span> EP and Government Issue’s </span><i style="mso-bidi-font-style: normal;">Legless Bull.</i><span> Not a bad year’s work.
Touch and Go records weren’t exactly slacking either, not with the likes of The Fix’s </span><i style="mso-bidi-font-style: normal;">Vengeance</i><span> and </span><i style="mso-bidi-font-style: normal;">Jan’s Rooms</i><span> EPs, the first two Nercors 7”
s and the </span><i style="mso-bidi-font-style: normal;">Process of Elimination</i><span>
compilation 7”, which marked Negative Approach’s boiling-over debut. Toxic Reasons appeared on that comp and made more noise with their </span><i style="mso-bidi-font-style: normal;">Ghost Town</i><span> 7” (following 1980s’ </span><i style="mso-bidi-font-style: normal;">War Hero</i><span>) featuring Ed Pittman’s
sandpapery snarl and a feisty punk attack, adding a reggae inflection for the
title track. </span><span style="mso-spacerun: yes;"> </span><span>Chicago’s Effigies made
their vinyl bow on the </span><i style="mso-bidi-font-style: normal;">Busted At Oz</i><span>
compilation and their own </span><i style="mso-bidi-font-style: normal;">Haunted Town</i><span>
EP. Not really hardcore but packing one hell of a wallop and the live footage
of them in the </span><i style="mso-bidi-font-style: normal;">You Weren’t There</i><span>
documentary of Chicago punk is worth the price by itself.</span></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;"><br /></span></div><span style="font-family: inherit;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/sEvuEH6XGko" width="420"></iframe></span><div style="tab-stops: .25in;"><span style="font-family: inherit;"><br /></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;"><span>As far as I know, the first band to use
“hardcore” in a record title was DOA, for their second 12” </span><i style="mso-bidi-font-style: normal;">Hardcore ’81.</i><span> They’d been around since ’77 but made things louder
and faster, without losing the melodic sensibility that informed their previous
recordings. I remember picking this one up on the same shopping trip as their </span><i style="mso-bidi-font-style: normal;">Something Better Change</i><span> album and, at
first, was taken aback by having shelled out $8.50 for a relatively short EP
but after getting it home and spinning it three or four times in row, any sense
of being shortchanged quickly disappeared. Quality, not quantity, right?</span></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;"><br /></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;">I
perhaps use the term groundbreaking more than I should but it really applies to
the Wipers’ masterpiece <i style="mso-bidi-font-style: normal;">Youth of America</i>.
The title track is a ten minute tour-de-force showcasing Greg Sage’s
mindblowing guitar wizardry. It’s as much about tone as dexterity and no one
has come close to matching it, even though more bands have been influenced by
these guys (Sage, really—it’s his baby) in recent years. Nor have those bands
been able to replicate the emotional heft in his vocals and lyrics. 1979’s <i style="mso-bidi-font-style: normal;">Is This Real</i> sounded like little else
that year and had a more economical, punky attack, while <i style="mso-bidi-font-style: normal;">Youth of America </i>was a more expansive work.</span></div><div style="tab-stops: .25in;"><br /></div><div style="tab-stops: .25in;"><span style="font-family: inherit;"> <iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/YaUzYISKKAI" width="420"></iframe></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;"><br /></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;">Lest
you think I was only paying attention to what was going on in the States, there
was plenty going on overseas, as well. Discharge continued to rewrite the book
for loud ‘n fast music and 1981 yielded their <i style="mso-bidi-font-style: normal;">Why</i> 12” and <i style="mso-bidi-font-style: normal;">Never Again</i>
EPs, building on the primitivism of the first 7”s and setting the stage for the
sonic bombast that would occur the next year with <i style="mso-bidi-font-style: normal;">Hear Nothing, See Nothing, Say Nothing</i> and the <i style="mso-bidi-font-style: normal;">State Violence State Control</i> 7”. Disorder were creating a
crazier-sounding punk elixir on their first two 7”s, <i style="mso-bidi-font-style: normal;">Complete Disorder</i> and <i style="mso-bidi-font-style: normal;">Distortion
to Deafness</i>, both of which provided the blueprint followed by the
early Finnish hardcore bands and many others since then. Mean, loud ‘n fast
punk definitely made its presence felt in the UK that year and the floodgates
opened in 1982.<br /></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;"><br /></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;"><span class="textexposedshow"><span><span>Two
other UK bands’ sophomore efforts stood out that year—Killing Joke’s <i style="mso-bidi-font-style: normal;">What’s THIS For</i> and Gang Of Four's <i style="mso-bidi-font-style: normal;">Solid Gold</i> LPs (as well as the <i style="mso-bidi-font-style: normal;">To Hell With Poverty</i> 7”). Whereas Killing
Joke’s self-titled first album (following a few earlier EPs) had more of a
lumbering and crushing sound, <i style="mso-bidi-font-style: normal;">What’s THIS
For </i>was looser and more rhythmic, although there was an ominously noisy
cloud hovering over the proceedings. <i style="mso-bidi-font-style: normal;">Solid
Gold</i> had a more spacious, tension-and-release feel than the Gang’s debut,
although songs like the churning “What We All Want” and thumping “Cheeseburger”
were quite direct. Even Public Image Limited’s third album, <i style="mso-bidi-font-style: normal;">The Flowers of Romance,</i> tried something different—having lost
bassist Jah Wobble, the remaining core of John Lydon and Keith Levene mainly
built the songs around drums and synth, sparingly using guitar and bass. The
last PIL album remotely worth hearing. “Banging The Door,” with hammering
drumming by Martin Atkins (who appeared on about half the tracks), is the
standout.<br /></span></span></span><span class="textexposedshow"><span><span><br /></span></span></span></span></div><div style="tab-stops: .25in;"><span class="textexposedshow"><span><span style="font-family: inherit;">UK
Anarcho punk was coming into full-flower and two memorable debuts came from
Flux of Pink Indians, with their <i style="mso-bidi-font-style: normal;">Neu
Smell</i> EP and Rudimentary Peni's first EP.” Flux’s “Tube Disaster,”
bookended by two spoken word passages, is a catchy punk anthem. Peni dish out a
dozen succinct blasts of stripped-down punk, punctuated by Nick Blinko’s edge-of-psychosis
vocals. Zounds' <i>The Curse of Zounds</i> and <i>Demystification</i> offered a more melodic take. </span></span></span></div><div style="tab-stops: .25in;"><span class="textexposedshow"><span><span style="font-family: inherit;"><br /></span></span></span></div><span style="font-family: inherit;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/ChzrirS1-5A" width="420"></iframe></span><div style="tab-stops: .25in;"><span style="font-family: inherit;"><br /></span></div><div style="tab-stops: .25in;"><span style="font-family: inherit;"><span>I
wasn’t as familiar with non-US/Canadian/UK punk at that point. I know Japanese
band The Stalin’s </span><i style="mso-bidi-font-style: normal;">Trash</i><span> came out that
year and cut a pretty original punk path, with strains of the ’77 era,
post-punk and anarcho stylings. In all honesty, though, I didn’t hear that band
until much later on. </span><span style="mso-spacerun: yes;"> </span></span></div><div style="tab-stops: .25in;"><span class="textexposedshow"><span><span style="font-family: inherit;"><br /></span></span></span></div><div style="tab-stops: .25in;"><span class="textexposedshow"><span><span style="font-family: inherit;">I’m
sure I missed a lot, especially from the non-English speaking world, but the
records I’ve covered here make a compelling argument for 1981 being a crucial
year, the bridge between the ’77 era and what followed throughout the 80s. Many
of those bands’ influence can be felt to this day.<br /></span></span></span><br /></div>
Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-33976155898680926912020-12-31T13:22:00.003-05:002020-12-31T13:51:45.791-05:00Suburban Voice blog #144--The Best of 2020... and more... <div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-bwq-umPv5jo/X-OneqjJflI/AAAAAAAACPc/_NGN1QP0f7EvmW5VzqEvlOKW0TWyFHpcACLcBGAsYHQ/s672/cold%2Bmeat.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="372" data-original-width="672" height="221" src="https://1.bp.blogspot.com/-bwq-umPv5jo/X-OneqjJflI/AAAAAAAACPc/_NGN1QP0f7EvmW5VzqEvlOKW0TWyFHpcACLcBGAsYHQ/w400-h221/cold%2Bmeat.jpg" width="400" /></a></div><div style="text-align: center;"><b>COLD MEAT </b></div><div style="text-align: center;"><b><br /></b></div><div style="text-align: left;">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. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">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. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">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. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">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 <i>really</i> a problem, I'll take them down. </div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>1. COLD MEAT-Hot and Flustered (Static Shock/Helta Skelta, LP)_</b><br />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. (<a href="http://staticshockrecords.bandcamp.com/">staticshockrecords.bandcamp.com</a>/<a href="http://heltaskeltarecords.bandcamp.com/">heltaskeltarecords.bandcamp.com</a>)</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1885874446/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://staticshockrecords.bandcamp.com/album/hot-and-flustered">Hot and Flustered by Cold Meat</a></iframe></b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>2. SPECIAL INTEREST-The Passion Of (Thrilling Living, LP)</b></div><div style="text-align: left;">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. (<a href="http://thrillingliving.com">thrillingliving.com</a>)</div><div style="text-align: left;"> <b><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3749261515/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://specialinterestno.bandcamp.com/album/the-passion-of">The Passion Of by SPECIAL INTEREST</a></iframe> </b></div><div style="text-align: left;"><b>3. DAYDREAM-Mystic Operative (Dirt Cult, LP)</b></div><div>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. <i>Psycho-</i>delic maybe? That works. (<a href="http://dirtcultrecords.com">dirtcultrecords.com</a>)</div><div><br /></div><div style="text-align: left;"><div><b><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3385575714/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://dirtcultrecords.bandcamp.com/album/mystic-operative">Mystic Operative by Daydream</a></iframe></b></div><div><b><br /></b></div><div><b>4. ISS-Too Punk For Heavy Metal (Total Punk, 7")/Spikes (demo)</b></div><div>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. (<a href="http://totalpunkrecords.com">totalpunkrecords.com</a>/<a href="http://sorrystaterecords.com">sorrystaterecords.com</a>)</div></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b> <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1614791958/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://totalpunkrecords.bandcamp.com/album/too-punk-for-heavy-metal">Too Punk For Heavy Metal by ISS</a></iframe> </b></div><div style="text-align: left;"><b>5. SIAL-Tari Pemusnah Kuasa (La Vida Es Un Mus, LP)</b></div><div style="text-align: left;">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. (<a href="http://lavidaesunmus.com">lavidaesunmus.com</a>)</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div><b> <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2027088427/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://lavidaesunmus.bandcamp.com/album/tari-pemusnah-kuasa">Tari Pemusnah Kuasa by Sial</a></iframe> </b></div><div><b>6. SMUT-First Kiss (Iron Lung, LP)</b></div><div>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. (<a href="http://ironlungrecords.bigcartel.com">ironlungrecords.bigcartel.com</a>)</div><div><br /></div></div> <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2541332369/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://ironlungpv.bandcamp.com/album/first-kiss-mlp-lungs-156">First Kiss MLP (LUNGS-156) by SMUT</a></iframe> <div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>7. LAFFING GAS-It's A Beautiful Day In The Gulch (Beach Impediment, LP)</b></div><div style="text-align: left;">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. (<a href="http://beachimpedimentrecords.bigcartel.com/">beachimpedimentrecords.bigcartel.com</a>)</div><div style="text-align: left;"><b><br /></b></div> <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2367470246/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://beachimpedimentrecords.bandcamp.com/album/its-a-beautiful-day-in-the-gulch">It's a Beautiful Day in the Gulch by Laffing Gas</a></iframe> <div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>8. </b><b>LITHICS-Tower of Age (Trouble In Mind, LP)</b></div><div>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. (<a href="http://troublemindrecords.com">troublemindrecords.com</a>)</div><div style="text-align: left;"><br /></div> <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3192452648/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://lithics.bandcamp.com/album/tower-of-age">Tower of Age by L I T H I C S</a></iframe> <div style="text-align: left;"><b>9. BRANDY-The Gift of Repetition (Total Punk, LP)</b></div><div style="text-align: left;">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. (<u><a href="http://totalpunkrecords.com">totalpunkrecords.com</a></u>)</div><div style="text-align: left;"><br /></div> <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2005440776/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://totalpunkrecords.bandcamp.com/album/the-gift-of-repetition-lp">The Gift Of Repetition LP by BRANDY</a></iframe> <div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>10. GUMMING-Overripe (Vinyl Conflict, LP)</b></div><div style="text-align: left;"><div>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. (<a href="http://vinylconflict.storeenvy.com">vinylconflict.storeenvy.com</a>)</div><div><br /></div></div> <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1624099143/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://gumming.bandcamp.com/album/overripe">OVERRIPE by Gumming</a></iframe> <div style="text-align: left;"><div><b><br /></b></div><div><b>... BUT WAIT... THERE'S MORE!!!</b></div><div><b><br /></b></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-TpV1-ir6E2c/X-OpQqd4ThI/AAAAAAAACPo/sCjsAF-_c1U78WBENLHHvnM75qlMmMgxACLcBGAsYHQ/s1200/Kohti.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="798" data-original-width="1200" height="266" src="https://1.bp.blogspot.com/-TpV1-ir6E2c/X-OpQqd4ThI/AAAAAAAACPo/sCjsAF-_c1U78WBENLHHvnM75qlMmMgxACLcBGAsYHQ/w400-h266/Kohti.jpg" width="400" /></a></div><b><div style="text-align: center;"><b>KOHTI TUHOA (via Bandcamp)</b></div></b><b><br /></b></div></div><div style="text-align: left;"><b>BITTER BRANCHES-This May Hurt A Bit (Atomic Action, LP)</b></div><div style="text-align: left;">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. (<a href="http://atomicactionrecords.com">atomicactionrecords.com</a>)</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>BRUNSTEN-1500 (self-released)</b></div><div style="text-align: left;"><div>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 (<u><a href="http://brunsten.bandcamp.com">brunsten.bandcamp.com</a></u>)</div></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>DAME-s/t (Beach Impediment, LP)</b></div><div style="text-align: left;">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. (<a href="http://beachimpedimentrecords.bigcartel.com">beachimpedimentrecords.bigcartel.com</a>)</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>DEVIL'S DEN-Barbed New Religion (Atomic Action, LP)</b></div><div style="text-align: left;">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. (<a href="http://atomicactionrecords.com">atomicactionrecords.com</a>)</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>ERA BLEAK-s/t (Dirt Cult, LP)</b></div><div style="text-align: left;">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." (<a href="http://dirtcultrecords.com">dirtcultrecords.com</a>)</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>EXECUTORS/MALE PATTERNS-split (Shock To The System, 7")</b></div><div style="text-align: left;">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. (<a href="http://shocktothesystem.storenvy.com">shocktothesystem.storenvy.com</a>)</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>FRIED E/M-Modern World (Lumpy, LP)</b></div><div style="text-align: left;">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. (<a href="http://lumpyrecords.com">lumpyrecords.com</a>)</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>GELD-Beyond The Floor (Iron Lung, LP)</b></div><div style="text-align: left;">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. (<a href="http://ironlungrecords.bigcartel.com">ironlungrecords.bigcartel.com</a>)</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div style="text-align: left;"><b><span style="font-family: inherit;">GËNØME-Young,
Beautiful & Free (Ryvvolte, LP)</span></b></div><div style="text-align: left;"><span style="font-family: inherit;"><span>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. </span><span>(</span><a href="http://ryvvolterecords.storenvy.com">ryvvolterecords.storenvy.com</a></span></div></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>IRREAL-2020 (La Vida Es Un Mus, 7")</b></div><div style="text-align: left;">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. (<a href="http://lavidaesunmus.com">lavidaesunmus.com</a>) </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div><div><div><b>KOHTI TUHOA-Ela Toduudesta (La Vida Es Un Mus, 7")</b></div>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. (<a href="http://lavidaesunmus.com">lavidaesunmus.com</a>)</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-irRCgREjikM/X-3rsdPpxeI/AAAAAAAACP8/p562289MfYMhWhs6oiYz6iZiAcYfLUd2gCLcBGAsYHQ/s775/Long%2BKnife.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="775" data-original-width="672" height="400" src="https://1.bp.blogspot.com/-irRCgREjikM/X-3rsdPpxeI/AAAAAAAACP8/p562289MfYMhWhs6oiYz6iZiAcYfLUd2gCLcBGAsYHQ/w346-h400/Long%2BKnife.jpg" width="346" /></a></div></div><div><div style="text-align: center;"><b>LONG KNIFE</b></div><div><b><br /></b></div><div><b>LONG KNIFE-Night Of The Hunter (Beach Impediment, 7")</b></div><div>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. (<a href="http://beachimpedimentrecords.bigcartel.com">beachimpedimentrecords.bigcartel.com</a>)</div><div><br /></div><div><div><b>M.A.Z.E.-Tour Tape 2020 (demo)</b></div><div>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. (<a href="http://m-a-z-e.bandcamp.com">m-a-z-e.bandcamp.com</a>)</div><div><br /></div></div><div><b>MOTH-Machine Nation (Polaks, 7")/Modern Madness (demo)</b></div><div>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. (<a href="http://mothtom.bandcamp.com">mothtom.bandcamp.com</a>)</div></div></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>NAG-Dead Deer (Die Slaughterhaus, LP)</b></div><div style="text-align: left;"><div>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, <a href="http://dieslaughterhausrecords.com">dieslaughterhausrecords.com</a>)</div><div><br /></div></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-xwjAjaI3rOM/X-3tI9DDlBI/AAAAAAAACQI/TZFBpLmUkU8pwzAEUVfSFtHysFw33qmggCLcBGAsYHQ/s800/RAD.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="530" data-original-width="800" height="265" src="https://1.bp.blogspot.com/-xwjAjaI3rOM/X-3tI9DDlBI/AAAAAAAACQI/TZFBpLmUkU8pwzAEUVfSFtHysFw33qmggCLcBGAsYHQ/w400-h265/RAD.jpg" width="400" /></a></div><div style="text-align: center;"><b>RAD (photo: Matt Silver)</b></div></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>RAD/CROSS CLASS-split (Sacramento, LP)</b></div><div style="text-align: left;">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. (<a href="http://sacramentorecords.com">sacramentorecords.com</a>)</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>SCIENCE MAN-II (Big Neck, LP)/Match Game (Swimming Faith, 7")/The Gift (Swimming Faith, flexi)</b></div><div style="text-align: left;"><b>SCIENCE MAN/NERVOUS TICK-The Covid Collaborations Vol. 1 (Swimming Faith)</b></div><div style="text-align: left;">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. (<u><a href="http://bigneckrecords.com">bigneckrecords.com</a></u>/<a href="http://swimmingfaithrecords.com">swimmingfaithrecords.com</a>)</div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><b>SEIZED UP-Brace Yourself (Pirates Press, LP)</b></div><div style="text-align: left;">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. (<a href="http://piratespressrecords.com">piratespressrecords.com</a>)</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div style="text-align: left;"><b><span style="font-family: inherit;">SWEEPING PROMISES-Hunger For A Way Out (Feel It, LP)</span></b></div><div style="text-align: left;"><span style="font-family: inherit;"><span>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. </span><span>Definitely a nostalgic, somewhat sepia-tinted flavor to this one, and that's meant as a compliment. (<a href="http://feelitrecordshop.com">feelitrecordshop.com</a>)</span></span></div><div style="text-align: left;"><b><span style="font-family: inherit;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: inherit;">TMA-What's For Dinner?/Beach Party 2000/Just Desserts (Left For Dead, 2xLP/7")</span></b></div><div style="text-align: left;"><span style="font-family: inherit;">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. (<u>leftfordeadrecords.com</u>)</span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit;"><b><span>TORTÜR-Never
Ending Grief (Ryvvolte, LP)<br /></span></b><span>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. (<a href="http://ryvvolterecords.storenvy.com">ryvvolterecords.storenvy.com</a>)</span></span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit;"><b>UNITED MUTATION-Dark Self Image (Radio Raheem, LP)</b></span></div><div style="text-align: left;"><span style="font-family: inherit;"><span>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,</span> 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. (<a href="http://deathwishinc.com/collections/radio-raheem">deathwishinc.com/collections/radio-raheem</a>)</span></div></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: left;"><b><span style="font-family: inherit;">WEREWOLF JONES-Premium (Big Neck, LP)</span></b></div><div style="text-align: left;"><span style="font-family: inherit;">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. (<u><a href="http://bigneckrecords.com">bigneckrecords.com</a>)</u></span></div>Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-75432320522973595232020-09-01T11:00:00.016-04:002020-09-22T18:09:50.931-04:00Suburban Voice blog #143--38th anniversary edition!<div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-VWPgC0DZCU4/X2JZWnj57II/AAAAAAAACNc/3g14VI_Pk8Mc3W8Gkqu5yVNxhNYTd1oJgCLcBGAsYHQ/s1024/49468229277_7956a7954c_b.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="683" data-original-width="1024" height="266" src="https://1.bp.blogspot.com/-VWPgC0DZCU4/X2JZWnj57II/AAAAAAAACNc/3g14VI_Pk8Mc3W8Gkqu5yVNxhNYTd1oJgCLcBGAsYHQ/w400-h266/49468229277_7956a7954c_b.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><b>SNIFFANY AND THE NITS</b></div><div><br /></div><div>Yeah, that's right... 38 years this month. Suburban Voice started as Suburban Punk in early September of 1982 as a four page, xeroxed zine with record and live reviews. And here I am, still hammering away on a keyboard, only it's connected to a computer and I'm sending this off into cyberspace, instead of the copy shop... but I digress...</div><div><br /></div>In case you missed it, I've retired from <i>Maximum Rocknroll.</i> I posted <a href="http://subvox.blogspot.com/2019/06/another-draft-139.html"><b>my final print column</b></a> for them last year. I hung in there for awhile, doing on-line columns but it definitely wasn't the same. And then I hit a bad stretch of writer's block, plus it's been a tumultuous year with coronavirus. So my work has been suffering since the beginning of the year and I thought time time was right to step away from <i>MRR</i> and refocus my energies on getting SV back on track. Starting with the next blog, I'm going to (probably) follow the format of my column... a roundup of various releases, instead of individual reviews, plus additional content. Musings, ruminations, maybe an interview here and there, done in the video or audio format. I don't have the ambition to transcribe any more. I actually have a bunch of interviews from the 2000s that I never transcribed. Maybe I could digitize some of them.<br />
<br />On with the show...<br />
<b><br /></b>
<b>ABSOLUT-Demonstration 2019 (Schizophrenic, 7")</b><br />
This Toronto band have been around for awhile and they're back with four new tracks. A raw tandem of Motorcharged mania, along with some NWOBHM guitar licks that sounds like it's emanating from an abattoir. You can almost feel the studs and smell the eau-de-crust aroma. (<a href="http://schizophrenicrecords.bigcartel.com/">schizophrenicrecords.bigcartel.com</a>)<br />
<br /><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-L-plL2a0cHs/X2JWc3VTaWI/AAAAAAAACNE/QuAnXZtTRq8XrzUXecPmEGoLwSFCatzFwCPcBGAYYCw/s699/AnnTime.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="699" data-original-width="538" height="400" src="https://1.bp.blogspot.com/-L-plL2a0cHs/X2JWc3VTaWI/AAAAAAAACNE/QuAnXZtTRq8XrzUXecPmEGoLwSFCatzFwCPcBGAYYCw/w308-h400/AnnTime.jpg" width="308" /></a></div><b>ANNIHILATION TIME (2002)</b><br /><span style="font-weight: 700;"><br /></span></div><div><b>ANNIHILATION TIME-s/t (It's Alive, LP)</b></div><div>Now <i>this</i> is how you do a reissue--everything but the kitchen sink. A 24 page booklet, poster, inserts that include musings and remembrances, stickers, CD and, oh yeah, the record itself, sounding as kick-ass now as in 2002. Annihilation Time's debut was the only album to include Fred Hammer on vocals... Jimmy Rose took over, starting with "Bad Reputation." While you can already hear the hard rock 'n roll undertow that would later emerge, this still mined a more blatant Black Flag/Bl'ast muse. There's even artwork by Raymond Pettibon--both on the cover and the included fold-out poster. Muscular riffs with an in-the-pocket, ferocious backbeat. This still rocks like a motherfucker--in all honesty, I think this has aged a bit better than what followed. (<a href="http://annihilationtime.bandcamp.com">annihilationtime.bandcamp.com</a>)<br /><div><b><br /></b></div><div><b>COLD FEET-Punk Entity (Feel It, LP)</b><br />
Not exactly an LP, as it's over in a bit under 11 minutes (might have been too long for a 7") but this Baltimore band make the most of it, achieving full impact. Old school hardcore punk, pulling from the Career Suicide well, along with early Boston HC, although it threatens to fly apart, as with the chaotic conclusion of "Acid Death." The production is fuller-sounding than their previous 7" but don't mistake that for something that sounds too slick or overdone. Prepare to be pulverized. (<a href="http://feelitrecordshop.com/">feelitrecordshop.com</a>)<br />
<b><br /></b>
<b>COLD MEAT-Hot and Flustered (Static Shock/Helta Skelta, LP)_</b><br />
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. Many of the songs center around relationships and the trauma and conflict that come with them, as well as creepy individuals in particular. A little Poly Styrene in Ashley's vocals and she cleverly quotes X-Ray Spex's "Plastic Bag" on opening song "Pisces Crises" (<i>"when I cry in line at the supermarket"</i>). 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. (<a href="http://staticshockrecords.bandcamp.com/">staticshockrecords.bandcamp.com</a>/<a href="http://heltaskeltarecords.bandcamp.com/">heltaskeltarecords.bandcamp.com</a>)<br />
<b><br /></b>
<b>THE COWBOY-WiFi On The Prairie (Feel It, LP)</b><br />
Another head-messing, sense-lashing outing from this Cleveland three piece (two of whom were in Homostupids). Driving punk with artier inclinations and dabbling in a bit of Wipers-ish tonalism (the guitar line for "On The Prairie") and a couple of "Pink Flag" inspired licks. It's their own thing, though, not slavish mimicry. Those are just touchpoints. They even chill a bit for the instrumental "Trippy Movies," but this is mainly feisty 'n hammering. Songs like "From The Grave" and "SS" go straight for the skull. (<a href="http://feelitrecordshop.com/">feelitrecordshop.com</a>)<br />
<div>
<br /></div>
<b>DELETÄR-s/t (Kick Rock/Destructure, LP)</b><br />
<div>
Fast 'n ripping Swedish-tinged hardcore from France, including Befa from State Poison, trading his drum kit for a guitar. Pretty clean-sounding, not awash in noise or distortion and accompanied by pissed-off, lower register vocals. All of it at a rapid clip, save the medium-speed "Barricades." Playing is sharp and ruthlessly-executed throughout. (<a href="http://www.kickrock.org/">www.kickrock.org</a>; <a href="http://www.destructure.org/">www.destructure.org</a>)<br />
<div>
<b><br /></b>
<b>FACILITY MEN-It's Fun To Disappear (Big Neck, LP)</b><br />
This comes out of the blue. Facility Men had some pretty good demos in the middle of the last decade and, after a delay (these songs were recorded in 2017), here's their first vinyl release. Seething post-punk rock with a 90s indy rock pulse. The lyrics have a pointed nature--such as making fun of people trying to relive past glories on "Reunion Show." At least I think that's the intent. In fact, a number of these songs seem to be about people living as sheep--life in "The Factory." Teodor's vocals bray over the proceeding and the playing is muscular and hard-hitting. (<a href="http://bigneckrecords.com/">bigneckrecords.com</a>)<br />
<br />
<b>FIRE HEADS/SEX SCENES-split (Big Neck, LP)</b><br />
Two energetic 'n abrasive Wisconsin bands. Fire Heads have been around a bit and this is the loudest, nastiest music they've come up to date. Vocals have are both croony and scathing and the twin guitar attack makes for a head-fucking mesh. Touches of hardcore along with the aggressive bash. The abrasiveness continues with Sex Scenes, who also ply volume-soaked noisy rock. The photos portray nice, friendly-looking gentlemen but there ain't anything nice about this music at all. (<a href="http://bigneckrecords.com/">bigneckrecords.com</a>)<br />
<br /><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-pzBNCyBO220/X2p1x1FJV6I/AAAAAAAACOU/QAooSkQoZJ0aRhfnBqlhvOBmXWjaZlgOQCLcBGAsYHQ/s1053/fitness.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="717" data-original-width="1053" height="272" src="https://1.bp.blogspot.com/-pzBNCyBO220/X2p1x1FJV6I/AAAAAAAACOU/QAooSkQoZJ0aRhfnBqlhvOBmXWjaZlgOQCLcBGAsYHQ/w400-h272/fitness.jpg" width="400" /></a></div><b>FITNESS WOMXN</b><br /><span style="font-weight: 700;"><br /></span></div></div><div><b>FITNESS WOMXN-New Age Record (Sorry State, LP)</b></div><div>
Definitely not new age music, as Fitness Womxn provoke instead of soothe. An excursion into post-punk and dub elements. At times, it sounds like a merger of the Slits and "Second Edition" era PIL, particularly for "Desire + Application" and "Kadzriff." "Easy" takes an edgier, driving turn. A musical minimalism, as synth lines and offbeat percussion accompany the jabbing guitar and pulsating bass. Even with the abrasive elements, you could almost dance to this stuff. I get the feeling they'd smash the disco ball first. (<a href="http://sorrystaterecords.com/">sorrystaterecords.com</a>)<br />
<b><br /></b>
<b>GINO AND THE GOONS-Off The Rails (Big Neck, LP)</b><br />
Fired up and furious rock 'n roll from these Goons, who've been around for over a decade. A whole lot of attitude as they fuse garage and punk into an irresistible and insolent combination. Trebly, in-the-red bash and vocals that sound like they're coming through a cheap mike. Those elements prevent it from sounding slick or overly-produced. The closing title track unloads a sputtering fusillade of six string gnash. A good kick to ass. (<a href="http://bigneckrecords.com/">bigneckrecords.com</a>)<br />
<br />
<b>HERO DISHONEST-Maailma Palaa Taas (IfSociety/Peterwalkee, LP)</b></div><div>Still kicking it out after 20 years or so and Hero Dishonest remain a potent hardcore force. They've always a bit extra to their sound. It's mainly a speed attack but with tempo shifts and stellar musicianship. All the lyrics are in Finnish (they've mixed in some English in the past) but delivered with passion and fury. An explosive rampage from start to finish, threatening to run off the rails but those hairpin twists are negotiated perfectly. (<a href="http://www.ifsociety.com">www.ifsociety.com</a>/<a href="http://www.peterwalkeerecords.com">www.peterwalkeerecords.com</a>)</div><div><b><br /></b></div><div><b>ISS-Too Punk For Heavy Metal (Total Punk, 7")</b></div><div>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." Minimalist post-punk that could have appeared on last year's album. Please sirs, give us more. (<a href="http://totalpunkrecords.com">totalpunkrecords.com</a>)</div><div><b><br /></b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-PdCYQbAUaMs/X2aRJaza6HI/AAAAAAAACOI/pnVmx0CaueQ7z4PpwcSC46DiOgFyM-Y2wCLcBGAsYHQ/s500/laff.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="500" height="300" src="https://1.bp.blogspot.com/-PdCYQbAUaMs/X2aRJaza6HI/AAAAAAAACOI/pnVmx0CaueQ7z4PpwcSC46DiOgFyM-Y2wCLcBGAsYHQ/w400-h300/laff.jpg" width="400" /></a></div><b>LAFFING GAS (photo: Austin Roberts)</b><br /><b><br /></b></div><div><b>LAFFING GAS-It's A Beautiful Day In The Gulch (Beach Impediment, LP)</b></div><div>
No bullshit, no nonsense hardcore punk from these Hoosiers. I'm sure I've written that thousands of times over the years but, when it's done right, it still grabs my ear. 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. A seamless assimilation of the best of 80s US hardcore and it still hasn't gone out of style. (<a href="http://beachimpedimentrecords.bigcartel.com/">beachimpedimentrecords.bigcartel.com</a>)<br />
<b><br /></b><b>LIÉ-You Want It Real (Mint, LP)</b></div><div>Fourth album for lié (name is in lower-case letters) and it's another session of churning goth-meets-post punk. Instead of sparseness or any sort of dynamic tension, they go for a full-throttle, bristling mesh. "Bugs" and "You Got It" ramp up the speed to a near hardcore pace. lié opt for force instead of atmospherics. Aggressive, as well as haunting. (<a href="http://mintrecs.com">mintrecs.com</a>)</div><div><b><br /></b></div><div><b>LIQUID ASSETS-SNC Lava Lamp EP (Schizophrenic, 7")</b><br />
New-ish Ottawa band with former Born Wrong vocalist Scott Paige. Two raw, fast and snotty songs on side one and something a little more rockin' rollin' on the flip, all of blown out with spat-out vocals under the mix. This is nasty. (<a href="http://schizophrenicrecords.bigcartel.com/">schizophrenicrecords.bigcartel.com</a>)<br />
<br /><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-2xO_dZ43LyY/X2QnvTc42ZI/AAAAAAAACNo/NtycsZ-LWj8EJVIghjuh8N2hOjA6vZn3QCLcBGAsYHQ/s960/lithics.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="781" data-original-width="960" height="325" src="https://1.bp.blogspot.com/-2xO_dZ43LyY/X2QnvTc42ZI/AAAAAAAACNo/NtycsZ-LWj8EJVIghjuh8N2hOjA6vZn3QCLcBGAsYHQ/w400-h325/lithics.jpg" width="400" /></a></div><b>LITHICS</b><br /><span style="font-weight: 700;"><br /></span></div></div><div><b>LITHICS-Tower of Age (Trouble In Mind, LP)</b></div><div>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. There's more atonality for the clarinet squawks on "Victim's Jacket" and percussive assault during the mid-section and conclusion of "Mice In The Night." Touchpoints? The usual suspects--Leeds ca. '79, Bush Tetras and Pylon but it's not slavish recreation. Lithics don't settle for an easy formula on every track. (<a href="http://troublemindrecords.com">troublemindrecords.com</a>)</div><div><b><br /></b></div><div><b>MAN-EATERS-Gentle Ballads For The Simple Soul (Feel It, LP)</b><br />
People from Cülo and Tarantulä rocking out. Or, as the fire 'n brimstone preacher says at the start, rocking, rolling, twisting, smoking, drinking, cursing, sniffing glue to get high... well, I don't know if they partake in any or all of it but it certainly has that vibe and it's not hard to discern reference points, at least to my ears. "Slow Demise Of A Futuristic Mind" comes on like Sweet's "Set Me Free," with some Motörhead mixed in. "Taste Concrete" lifts a page from Judas Priest's "Hell Bent For Leather" album. They expand out a bit on closer "Midnight Gleam." Considering their age, I'd imagine they might have tapped into their dads' or uncles' record collection and there are probably a few seeds stuck inside the gatefold. Rock to get the rump shaking. (<a href="http://feelitrecordshop.com/">feelitrecordshop.com</a>)<br />
<b><br />MURO-Pacificar (Beach Impediment, LP)</b><br />
Fast 'n frantic hardcore from Colombia, with the occasional speed metal and Japanese hardcore lick. Muro exhibit a dynamic power hroughout, blending blazing, razor-sharp musicianship with raspy, agitated vocals. This never lets up from start to finish, but it's not an atonal, ultra-fast blur. Ass-kicking. (<a href="http://beachimpedimentrecords.bigcartel.com/">beachimpedimentrecords.bigcartel.com</a>)<br />
<br /><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-tAv3vdFg4s0/X2aMTftWtII/AAAAAAAACN8/m4HwXgFRR3s5H4hXz7vVqu8hMEd0BbNPgCLcBGAsYHQ/s1323/NiceGuys.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1323" data-original-width="1152" height="400" src="https://1.bp.blogspot.com/-tAv3vdFg4s0/X2aMTftWtII/AAAAAAAACN8/m4HwXgFRR3s5H4hXz7vVqu8hMEd0BbNPgCLcBGAsYHQ/w349-h400/NiceGuys.jpg" width="349" /></a></div><b>NICE GUYS</b><br /><span style="font-weight: 700;"><br /></span></div>
</div><div><b>NICE GUYS-s/t (digital)</b></div><div>Yeah, I don't usually review digital releases but, since this isn't (I don't think) available in any other format, here we go. Nice Guys have been kicking around my neck of the woods for at least six years at this point--their first demo came out in 2014 but this is their first full-length. A bashing, crashing mix of punk, garage and 90s furious, twisted, hammering rock-a-rama. "Brunch Poisoning," for instance has guitar fusillade reinforced with a pounding rhythmic crush<i> ala </i>Jesus Lizard. On my radio show, I mention that one of the styles I play is "other loud music." I think that fits the bill here. Loud... very loud... and not very nice. (<a href="http://niceguys666.bandcamp.com">niceguys666.bandcamp.com</a>)</div><div><b><br /></b></div><div><b>NOXEEMA-s/t (..., 7")</b><br />
Good slammin' punk from PDX here. Jabbing, jittery guitars and a whomping rhythm. Opening track reminded me of the Urinals a bit and there's definitely an old-school fervor given a modern finish. Katie's vocals are hyper-caffeinated and tough-as-fuck, delivered in a sometimes staccato cadence. Eight songs, all under two minutes, giving no quarter. Bassist Cissie played in Pedestrians many moons ago. (<a href="http://dotx3.bandcamp.com/">dotx3.bandcamp.com</a>)<br />
<br />
<b>SADIE & THE WIVES-s/t (Schizophrenic, 7")</b><br />
I don't see anyone named Sadie in this band, just three people bashing away like unholy terrors. Well, I hear them doing that. Noisy, ugly hardcore punk mixing up thrash with a medium speed wallop. A frenetic barbed-wire assault accompanied by throat-rending vocals. Raw's an overused term but it fits here. (<a href="http://schizophrenicrecords.bigcartel.com/">schizophrenicrecords.bigcartel.com</a>)<br />
<br />
<b>SCARECROW-Revenge EP (Bunker Punks, 7")</b><br />
Charging Swedish-influenced hardcore executed in piledriving fashion. In all honesty, it's been done thousands of times but they're efficient at it. A little echo on the vocals and a non-stop attack, all at the same fast tempo.Topical subject matter, as with a song about modern-day concentration camps i.e. the cages used to hold undocumented immigrants for "Zero Tolerance." (<a href="http://bunkerpunks.bigcartel.com/">bunkerpunks.bigcartel.com</a>)<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-2-Vw9ip00Mc/XySbGG_-EjI/AAAAAAAACMU/i-y2ubcl3I8Tq4mr1lNTHAenZ6MFBJB4QCLcBGAsYHQ/s1600/schizos.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="741" data-original-width="1200" height="246" src="https://1.bp.blogspot.com/-2-Vw9ip00Mc/XySbGG_-EjI/AAAAAAAACMU/i-y2ubcl3I8Tq4mr1lNTHAenZ6MFBJB4QCLcBGAsYHQ/s400/schizos.jpg" width="400" /></a></div>
<div style="text-align: center;">
<b>SCHIZOS</b></div>
<b><br /></b>
<b>SCHIZOS-s/t (Sweet Time, LP)/F.U.C.K.N In The USA (demo)</b><br />
This is some nasty-sounding shit... the opening song is "Driller" and it starts with a hellacious sounding drill. I don't think I should ever play for my dentist. I don't think she'd like it anyway, because she plays older mainstream stuff in the office. Anyway, mega-distorted, blown-out garage punk bash that will mess up your head aplenty. Even getting a little bluesy for the slower-paced "Bar." Schizos did a 7" called "Fuck Iggy Pop" in 2017 and, besides the ranting vocals, it was completely different, with only synth and drum machine for accompaniment. While this is still abrasive as all hell, it's a huge leap into the morass. Since this platter, Schizos unleashed two more songs on Bandcamp, their own anthem "F.U.C.K.N In The USA" and a cover of the Reatards "Sick When I See. Back to a minimalist approach--guitar, drum machine and nightmarish emanations. Seems like these guys have a rotating lineup but it's loud 'n ugly in any combination. (<a href="http://sweettime.bandcamp.com/">sweettime.bandcamp.com</a>/<a href="http://schizosal.bandcamp.com/">schizosal.bandcamp.com</a>)<br />
<b><br /></b><b>SMUT-First Kiss (Iron Lung, LP)</b></div><div>First kiss? More like a punch to the 'ol kisser. The second I hear the "1-2-3-4" and the blare of guitars come in, I know it's going to be one raucous good time. 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. (<a href="http://ironlungrecords.bigcartel.com">ironlungrecords.bigcartel.com</a>)</div><div><b><br /></b></div><div><b>SNIFFANY & THE NITS-The Greatest Nits (Thrilling Living, 7")</b></div><div>Definite up and comers from the UK. Jabbing punk with lyrics that are inspired by Crass' "Bata Motel" i.e. exploring women being abused and made to feel submissive from a female perspective. It's the other side of the coin from the songs on their demo, where the woman is in the dominant position. Vocals that go against the grain, accompanied by a jittery slash 'n burn. I mentioned Crass earlier and Sniffany (Josie Edwards) and her Nits pull a few tricks from "The Feeding of the 5000." A barbed attack, both musically and lyrically. (<a href="http://www.thrillingliving.com">www.thrillingliving.com</a>)<br /></div><div><b><br /></b></div><div><b>SOAKIE-s/t (La Vida Es Un Mus, LP)</b></div><div>Some venomous hardcore punk and a big 'ol lyrical chip on the proverbial shoulder. Nasssstyyyyy vocals from Summer, who possesses quite a gifted set of tonsils running up and down the scale from a gutteral rasp to shrieks and rants. I could see Summer pointing her finger and yelling in the faces of people in the audience during "Or You Or You." No doubt a great crowd participation song. Tirades against a male-dominated punk scene, fratboys and jocks, plus a call to class warfare. Raw and vicious as all fuck. Yeah, I like this. (<a href="http://lavidaesunmus.com">lavidaesunmus.com</a>)</div><div><b><br /></b></div><div><b>THE SOUND-Physical World (Reminder, 7")</b></div><div>The story of Adrian Borland is a sad one--an immensely talented musician who suffered from lifelong bouts with mental illness, until he took his own life at the age of 41. "Physical World" was The Sound's debut EP, originally released in 1979." There was also an album, "Propaganda," recorded around that time that wasn't released until the late 90s, The title track and "Cold Beat" are driving punk in a similar vein the The Sound's predecessor, The Outsiders. The moodier "Unwritten Law," meanwhile, is a blueprint for what would follow on The Sound's masterpiece, "Jeopardy." In fact, the song was re-recorded for the album. Even in this embryonic phase, The Sound were a force to be reckoned with. (<a href="http://reminderrecords.com">reminderrecords.com</a>)</div><div><br /></div><div><b>SPEEDEALER-Black Nights (self-released CD)</b></div><div>Haven't heard this Dallas band's name in a long time... not surprising since this is their first album in over 15 years, with a reshuffled lineup (Daniel Barron takes over on vocals). Hard rock/metal done in high octane fashion, sounding best when they pump up the tempo--opening song "Never New" and "Losing My Shit," for instance. Sometimes, they delve into slower 'n simmering metal that has heaviness but doesn't always go anywhere. And "Blue Days Black Nights" is a tease-- a sum-minute speed bomb leading into a lethargic piano-laced fadeout. I can't say this is a glorious return. Just a few dazzling moments. (<a href="http://speedealer.bandcamp.com">speedealer.bandcamp.com</a>)</div><div><br /></div><div><b>SPIT KINK-Yes To Everything (Feral Kid, 7")</b></div><div>A one-sided lathe cut disc from this duo, one of whom is the ever-busy John Toohill (Science Man, Alpha Hopper, Radiation Risks, to name a few). Sensuous, sinewy synth minimalism with an incessant mechanized beat. Something that you can almost dance to, especially the title track, although my attempts at dancing these days are pretty pathetic. So I'll stick to listening. A little more bombast and this could have been on Wax Trax. Groovalicious. (<a href="http://feralkidrecords.com">feralkidrecords.com</a>)</div><div><b><br /></b></div><div><b><br /></b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Fk3OOG8UsWQ/X2JXr-l-TnI/AAAAAAAACNQ/x8CEOFoQblIXHoDgwD_Ad9KsnxK3kLSugCLcBGAsYHQ/s1227/UZI1%2Bby%2Byouthnocrew.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="821" data-original-width="1227" height="268" src="https://1.bp.blogspot.com/-Fk3OOG8UsWQ/X2JXr-l-TnI/AAAAAAAACNQ/x8CEOFoQblIXHoDgwD_Ad9KsnxK3kLSugCLcBGAsYHQ/w400-h268/UZI1%2Bby%2Byouthnocrew.jpg" width="400" /></a></div><b>UZI (photo: YouthNoCrew)</b><br /><b><br /></b></div><div><b>UZI-Cadena De Odio (MMM)</b></div><div>
Colombian band playing thumping South American-style punk--that means it has speed and burn, to go along with more melodic touches. That comes out on the title track, opener "Existencia Abusrda," and "Planeta Inviable." Forceful vocals and strong backups to go along with the full-tilt attack. Even with the Spanish lyrics, you can still pick up the passion and fury. This band shares a guitarist with Muro. (<a href="http://discosmmm.com/">discosmmm.com</a>)</div><div><br /></div><div><b>VARIOUS-So This Is Progress? (flexi/zine)</b></div><div>A 7x7 photo zine with a flexi disc tucked into it (songs are also available digitally). It's like one of those book 'n record sets I got when I was kid. Photos of bands mostly from Ohio and Pennsylvania and five bands playing various strains of hardcore. The guilty parties are Forest Fucker, Peace Talks, Nukkehammer, Wounded Paw and Body Farm. Peace Talks' twisted, semi-damaged sounding track stands out and Nukkehammer sound like a crustier Repos-meets-Void. Seeing the photos reminds me of how much I miss shows right now. (<a href="http://sothisisprogress.bandcamp.com">sothisisprogress.bandcamp.com</a>)</div>
</div>
</div></div>Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-38744193859134639602019-12-27T16:56:00.000-05:002019-12-27T16:58:59.712-05:00Suburban Voice blog #142--The Best of 2019<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit; margin-left: 1em; margin-right: 1em;"><a href="https://1.bp.blogspot.com/-Cz4Ht4sw63w/XgAoLSndb3I/AAAAAAAACIk/xKYdYc84qU0kFLhRFhAn1OovIMDlZTRwQCLcBGAsYHQ/s1600/Ubik%2BHot.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="738" data-original-width="1148" height="256" src="https://1.bp.blogspot.com/-Cz4Ht4sw63w/XgAoLSndb3I/AAAAAAAACIk/xKYdYc84qU0kFLhRFhAn1OovIMDlZTRwQCLcBGAsYHQ/s400/Ubik%2BHot.png" width="400" /></a></span></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><b>UBIK (photo: Nick Nolan)</b></span></div>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Damn, where does the time go? The end of the year, the end of the decade. Another batch of pretty good to great records. I'm done making resolutions to publish these installments on a more regular basis. Best laid plans, etc... although I've been working on the regular blog simultaneously to this one so they're being published at the same time. Happy holidays, New Year, etc...</span><span style="font-family: inherit;"> </span><br />
<br />
<span style="font-family: inherit;"><b>1.
ISS-“Alles 3rd Gut” LP (Sorry State) </b></span><br />
<span style="font-family: inherit;">ISS (which I've found out stands for In-School Suspension) are the punk rock masters of found sound permutations. I'm not sure how much is live instrumentation and how much comes from samples but it coalesces into something that doesn't come across as cold experimentation. And there are tunes--sublime melodies popping up on "Workshopping and "Fake V Flake," the former sampling Julie Cafritz's FUCK YOU from Pussy Galore’s </span><span style="font-family: inherit;">"Cunt Tease." The spot-the-sample game is always fun. I smiled when hearing the animal noises from Flux's "Neu Smell" and the drumbeat from SS Decontrol's "How Much Art" merging for "Aromatherapy." There are other nods to hardcore, as with "Mac N Me" and "DDYSWHP" (Daddy's Whip) and the back cover is taken from the Beastie Boys' "Pollywog Stew." "White Man In Hammer Pants" rides a dubby PIL bass line. ISS's lyrics are clever and make a strong point without relying on slogans. A common thread is, my god, being an adult can really turn into a suburban soul-sucking existence, can't it? Save your sanity--play this loud and avoid such misery. </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1738718372/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"></iframe><span style="font-family: inherit;"> </span></span><br />
<b>2. UBIK-Next Phase (Iron Lung, 12" EP)</b><br />
Another power-packed outing on Ubik's first 12", following a demo, 7" and a split with fellow Aussies Cold Meat. They're successful at cross-blending various punk shadings, including goth, anarcho, tuneful US west coast and even full-on thrash for the closing song "You Make Me Sick." An sense of urgency and anger come out in Ash's vocals. The lyrical emphasis is worldwide, whether at home ("Peter Dutton Is A Terrorist") or worldwide ("John Wayne Is A Cowboy (And Is On Twitter")).The urgency comes out in Ubik's music, as well.<br />
<br />
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=822094401/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border-style: initial; border-width: 0px; font-family: inherit; height: 120px; width: 100%;"></iframe><br />
<b><br /></b>
<b>3. KØHTI TUHØA-Ihmisen Kasvot (La Vida Es Un Mus, LP) </b><br />
Ravaging hardcore by this Finnish unit and their third album ups the ante with powerhouse playing and production. A statement against a world that "breed psychopaths, cold-hearted monsters who will never regret a thing," according to the English translation of the title track, which translates to "The Face Of Man." And that rage is served up in short, succinct doses. The stomping "Pinnah Alla" has a damaged, head-messing guitar line and that flows seamlessly into the full-blitz attack of "Mulkkujen Maailma," Doing it the right way, with concise, methodical aggression<br />
<br />
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1579584173/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://lavidaesunmus.bandcamp.com/album/ihmisen-kasvot-lp">Ihmisen Kasvot LP by Kohti Tuhoa</a></iframe><br />
<b style="font-family: inherit;"><br /></b>
<b style="font-family: inherit;">4.
SAP-2 (demo)</b><br />
SAP are a scrappy, high-energy punk band who mix different strains together--incorporating post-punk, hardcore, garage and melodic touches into their sound, accompanied by Alex's hyper, expressive vocals. Well-played--the bass playing, in particular, is stellar throughout. Some impressive runs on "Carrot and Stick" and providing a solid counterpoint to the stinging guitar on "Short Stick.”<br />
<br />
<div class="MsoNoSpacing">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1481326235/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://sapma.bandcamp.com/album/2">2 by SAP</a></iframe><span style="font-family: inherit;"> </span><br />
<b>5. CRISIS MAN-The Myth of Moderation (Digital Regress, 7")</b></div>
Ranty, snotty hardcore punk with Ross Farrar from Ceremony on vocals... this is real back-to-the-roots stuff for Ross, as Ceremony moved away (evolved or devolved?) from the punk ferocity of their masterwork "Rohnert Park." Ross punctuates his vocals with painful interjections, like someone's giving him a hotfoot. Gnashing, slashing guitar lines create a heady, twisted effect that goes straight for the skull.<br />
<br />
<span style="font-family: inherit;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1918756391/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"></iframe>
</span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><b><br /></b></span></span>
<span style="font-family: inherit;"><span style="font-family: inherit;"><b>6. </b><b>THE VICTIMS-s/t (In The Red, LP)</b></span></span><br />
Yes, a reissue of sorts. This is an archival godsend of early Aussie punk. I'm sure that anyone with even a passing knowledge of KBD fodder has heard this band's "Television Addict." Details are scant (no liner notes, even with a gatefold jacket) but, essentially, this is a reissue of a Japanese collection from 2011 called "Sleeping Dogs Lie" and side one features all of their recordings from '77-78, plus an unreleased song, "Perth Is A Culture Shock." Side two consists of previously-unreleased demos, just about all of 'em rough, fast and scorching. You could almost call many of these songs proto-hardcore and the demo material sounds akin to UK-82 era bands like the Partisans five years early. A poppier side emerges for "I Understand" and there's a Kinks-ish vibe on "High School Girls." The tour-de-force is the nearly six minute, cacophonic mania of "Disco Junkies." Essential shit.<br />
<br />
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/dp1C4cTF-ew" width="560"></iframe>
<br />
<br />
<b>7. HASH REDACTOR-Drecksound (Goner LP)</b><br />
<span style="font-family: inherit;">Charlotte
and Meredith from Nots join Alec from Ex-Cult and one other individual to form this
unit. It’s closer to Ex-Cult’s loud punk/post-punk mesh. The bouncy
"Floral Pattern" and "Lotion Poet Laureate" owe a debt to The Fall, more from a musical point of view than Alec's vocal cadence, although
it's not completely absent. Some brooding properties are introduced for
"In The Tank," with a bluesy guitar undertow. "Down The
Tubes" goes straight for the throat with jabbing basslines and drum
patterns and twisted guitar lines. A good balance of aggro and darker
properties.</span><br />
<span style="font-family: inherit;"><br /></span>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1743582562/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://hashredactor.bandcamp.com/album/drecksound">Drecksound by Hash Redactor</a></iframe><span style="font-family: inherit;">
</span><br />
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-family: inherit;"><br /></span></div>
<b><span style="font-family: inherit;">8. NOTS-3 (Goner, LP)</span></b><br />
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-family: inherit;">The 3 has
a dual meaning here--it's Nots’ third album and their first as a three-piece,
with Natalie Hoffman handling all guitar and synthesizer/keyboards,
complementing her detached-sounding vocals. Some songs eschew guitar
completely, as the synth creates a heady sonic tapestry --beeps, blips, washes
sometimes generating a frenzy, as with "Floating Hand." The bass and
drums lock in perfectly, moving things along at a driving pace. Paring down the
lineup doesn't compromise Nots’ sweeping sound one bit.<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-family: inherit;"><br /></span></div>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3486578157/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://nots.bandcamp.com/album/3">3 by NOTS</a></iframe><span style="font-family: inherit;">
</span><br />
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-family: inherit;"><span style="font-family: inherit;"><b><br /></b></span></span></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><b>9. NEON-s/t (Square One Again, LP)</b></span><br />
<span style="font-family: inherit;">Neon are abrasive. They’re atonal. They have a way of getting under your skin and
there’s no way to break loose. It’s an incessant assault of frenetic
punk/post-punk/no wave, accompanied by a repetitive word attack that becomes an
extra instrument. Not so much lyrics as words phrases and narratives repeated
ad-infinitum, drenched with sarcasm and cynicism. Those vocals are wrapped
around and run counter to the musical chaos, punctuated by jarring, slashing,
sliding guitar lines, busy bass and walloping drums. It’ll leave your head
spinning. <o:p></o:p></span><br />
<span style="font-family: inherit;"><br /></span>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=973288680/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://neonislife.bandcamp.com/album/neon">NEON by NEON</a></iframe>
<span style="font-family: inherit;"><br /></span></div>
<br />
<b><span style="font-family: inherit;">10. SKIZOPHRENIA-Undead Melodies EP (Kick Rock, 7")</span></b><br />
<span style="font-family: inherit;"><span style="font-family: inherit;">Skizophrenia were one of the more-entertaining bands I've saw in 2019 and this 7" gives you a hint of their trigger-finger power. Classic Japanese pillage </span><i>ala</i><span style="font-family: inherit;"> Systematic Death and these guys can playyyyy.... One of my local musical compatriots mentioned that they reminded him of Laukaus, too, and I'd concur. They've been around for over a decade and these four songs show they're not letting up one bit. Four loud and fast ragers. Out on different labels around the world, including Distort Reality in the US.</span></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span></span>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3420463578/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://kickrock.bandcamp.com/album/undead-melodies-ep">Undead melodies EP by SKIZOPHRENIA</a></iframe>
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span></span>
<b><span style="font-family: inherit;"><br /></span></b><br />
<b><span style="font-family: inherit;">15 MORE RELEASES I LIKED THIS YEAR (in alphabetical order)</span></b><br />
<span style="font-family: inherit;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-dpP-EIpihjU/XgYhoN7BsgI/AAAAAAAACJE/0VWPK5AWtYMyJTSpcyQjl1HQwu8P_ehiACLcBGAsYHQ/s1600/PCP.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="712" data-original-width="960" height="296" src="https://1.bp.blogspot.com/-dpP-EIpihjU/XgYhoN7BsgI/AAAAAAAACJE/0VWPK5AWtYMyJTSpcyQjl1HQwu8P_ehiACLcBGAsYHQ/s400/PCP.jpg" width="400" /></a></div>
<div style="text-align: center;">
<b>PCP & THE KNIVES</b></div>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">CHAIN
WHIP-14 Lashes (self-released, LP)</span><br />
<div class="MsoNoSpacing">
<span style="font-family: inherit;">COLLATE-Symptomatic
(demo)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">CUNTS-s/t
(Ipecac, LP)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">DOTS-s/t
(Dirt Cult, LP)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">DROIDS-Droids
Blood (Drunken Sailor, LP)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">FUTURA-End
It All (demo)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">IRREAL-Fi
Del Mon (La Vida Es Un Mus, LP)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">KALEIDOSCOPE-After
The Futures (Toxic State, LP)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">MACK
ENEMY-s/t (demo)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">MOD
VIGIL-Automatic Remorse (Fozmo, LP)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">PCP
& THE KNIVES-LSD For Breakfast (demo)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">SCIENCE
MAN-s/t (Swimming Faith, LP)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">SLANT-Vain
Attempt (Iron Lung, 7”)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">SOGA-Demo
MLP (Iron Lung, 12”)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">UROCHROMES-Trope
House (Wharf Cat)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<b><span style="font-family: inherit;">BEST LIVE (in alphabetical order)</span></b></div>
<div class="MsoNoSpacing">
<b><span style="font-family: inherit;"><br /></span></b></div>
<div class="MsoNoSpacing">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-6P4TMG2L_2A/XgYgkAoxF9I/AAAAAAAACI4/-k3i_VLoPB08WIcqHe7WYk6amFq69bHpACLcBGAsYHQ/s1600/rubble.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://1.bp.blogspot.com/-6P4TMG2L_2A/XgYgkAoxF9I/AAAAAAAACI4/-k3i_VLoPB08WIcqHe7WYk6amFq69bHpACLcBGAsYHQ/s400/rubble.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><b>RUBBLE</b></span></div>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">AXE
RASH (News Café, 8/6/19)<o:p></o:p></span></div>
<span style="font-family: inherit;">BOOTLICKER
(Ram Ranch, 10/18/19)</span><br />
<div class="MsoNoSpacing">
<span style="font-family: inherit;">IDIOTA
CIVILIZZATO (O’Brien’s, 5/12/19)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">IMPULSO
(Democracy Center, 4/20/19)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">JAD
(Banshee Den, 10/29/19)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">MACK
ENEMY (Black Lodge, 6/4/19)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">PCP
& THE KNIVES (multiple times in 2019)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">RUBBLE
(Harsh House, 1/26/19)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">SKIZOPHRENIA
(Great Scott, 8/12/19)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">URANIUM
CLUB (The Firehouse, 7/1/19)</span></div>
<b></b>Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-67717828497031315302019-12-27T16:50:00.000-05:002019-12-27T16:51:46.869-05:00Suburban Voice blog #141<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-FT9J7BkiIKY/Xf44aVoEEoI/AAAAAAAACIY/KZoebI4PhZUTICOkotsF6YWT9jUPC6sXQCLcBGAsYHQ/s1600/laughner.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="562" data-original-width="438" height="400" src="https://1.bp.blogspot.com/-FT9J7BkiIKY/Xf44aVoEEoI/AAAAAAAACIY/KZoebI4PhZUTICOkotsF6YWT9jUPC6sXQCLcBGAsYHQ/s400/laughner.png" width="311" /></a></div>
<div style="text-align: center;">
<span style="font-weight: 700;">PETER LAUGHNER, 1976</span></div>
<div style="text-align: center;">
<span style="font-weight: 700;">(photo: Mik Mellen)</span></div>
<br />
<span style="font-family: inherit; font-weight: bold;">PETER LAUGHNER... MORE THAN A FOOTNOTE?</span><br />
<span style="font-family: inherit; font-weight: bold;"><br /></span><span style="font-family: inherit;">I’d imagine a fair number of you aren’t familiar with Peter Laughner but you’re probably familiar with some of his bands that he passed through—Rocket From The Tombs and Pere Ubu, for instance. He also logged time in The Original Wolverines, Fins, Cinderella Backstreet and Friction. His song “Ain’t It Fun” made it onto the second Dead Boys album, “We Have Come For Your Children” but the original was by Rocket and co-written by Gene O’Connor, better known as Cheetah Chrome. To give a short history lesson, Rocket basically split off into Pere Ubu and Frankenstein, who eventually changed their name to the Dead Boys. </span><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">Smog Veil has released a five LP or CD box set of Peter Laughner's music, spanning from 1972 to 1977, although he started playing in the 1960s. It's accompanied by a book (my copy of it came in PDF format) that includes a biography, photos and other ephemera. The best part is the collection of Laughner's musical musings that appeared in local arts papers in Cleveland and, later on, <i>CREEM</i> magazine. Peter Laughner's life was short. He died from acute pancreatitis in 1977 at the age of 24. Given his copious alcohol and drug abuse, it wasn't all that surprising. Let's put it this way--if his level of self-abuse was too much for even rock scribe Lester Bangs (who also died very young, at 33), then it was probably beyond the pale. Bangs' tribute to Laughner, originally published in New York Rocker (and later reprinted in the "Psychotic Reactions and Carburetor Dung" collection of Bangs' writing) is included and says as much. </span><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">Laughner's writing came from a self-referential muse, definitely Bangs' spiritual kin, and he called 'em as he saw 'em. He wasn't a Kiss fan--my notes say he referred to them as phony degenerates. Of course, his inspiration came from the real-life degenerates and hard-lifers, not cartoon characters. And his writing from back then has piqued my interest. I'm interested in checking out those Charlie Parker and John Cale records he's raved about. And his review of Lou Reed's contract-breaking double LP of experimental noise, "Metal Machine Music," from <i>Exit</i> magazine (see below) made me laugh out loud. All I can say is, if the internet had been up and running in 1975, the review would have won it that day. Maybe that year. And I can only imagine what sort of Twitter feed he might have had. </span><br />
<span style="font-family: inherit;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-CwYCDxAWsFI/XfwBjiJsnRI/AAAAAAAACIQ/urAeASNypwo7r33oG8_z7yoNmh7MJcSqgCEwYBhgL/s1600/IMG_2517.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="549" data-original-width="405" height="320" src="https://1.bp.blogspot.com/-CwYCDxAWsFI/XfwBjiJsnRI/AAAAAAAACIQ/urAeASNypwo7r33oG8_z7yoNmh7MJcSqgCEwYBhgL/s320/IMG_2517.JPG" width="236" /></a></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><br /></span></div>
<span style="font-family: inherit;">Still, is anyone who some might regard as a musical footnote worthy of a five CD set? Made up mainly of practice tapes, home demos, radio broadcasts and live material? </span> It's not hard to figure out where he was coming from. Laughner was a music fan with a great depth of knowledge and he wore his influences on his sleeve--Dylan, the Velvets and Lou Reed, in particular. He embraced Television, for whom he auditioned when Richard Lloyd left the band for a bit. A lot of the earlier songs, mainly those done with the Original Wolverines, have a folk, blues and country approach and there are cover versions of Dylan, Jimmie Rodgers and the Lovin' Spoonful, among others.The late night recordings on "Nocturnal Digressions" (1977), done shortly before his untimely death are acoustic demos, once again including a number of cover versions, including a slashing version of Richard Hell's "Blank Generation."<br />
<br />
T<span style="font-family: inherit;">ruth be told, there are only a handful of songs that would appeal to the diehard rockers (i.e. your loyal scribe) and that's mainly on the "Rock It Down" (1974-1977) and "One Of The Boys" (1973-1974) discs. There's only one Rocket From The Tombs' song (a live "Ain't It Fun") and nothing from Pere Ubu. "Rock It Down" includes the Rocket song, as well as The Fins and Friction (the latter of which is the best of the non-Rocket/Pere Ubu bands). </span><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">There are fiery covers of the Velvets' "What Goes On," Television's "Prove It" and there's also a jam-out version of the Modern Lovers' "Pablo Picasso" on "Rock It Down.""One Of The Boys" has a crazy cover by Cinderella Backstreet of "White Light White Heat" that's pretty out there for 1973, disintegrating into a drone they title "Call The Ambulance." I wouldn't mind a collection of the heavier moments. And the book is a must and I'd love to see it as a free-standing item someday, although that might not be practical.</span><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">Laughner was always evolving and eventually found his own voice. There was talent and he tried to get the musical ball rolling in Cleveland, aspiring to create something running counter to the mainstream, with a DIY aesthetic. Bangs quotes Laughner's review of Lou Reed's "Coney Island Baby"--</span><i style="font-family: inherit;">"... if you are going to get anything done on this planet, you better pick it up with both hands and DO IT YOURSELF."</i><span style="font-family: inherit;"> </span><br />
<span style="font-family: inherit; font-weight: bold;"><br /></span>I should note this review was largely composed while on a serious caffeine jag. That's my drug of choice and, now that the inevitable crash has happened, my notes look like a few pages of jibberish that required some piecing together. Hopefully, it makes some sense. (<a href="http://www.smogveil.com/">www.smogveil.com</a>)<br />
<span style="font-family: inherit; font-weight: bold;"><br /></span>
<span style="font-family: inherit; font-weight: bold;">... AND NOW, THE REST OF THE STORY...</span><br />
<span style="font-family: inherit; font-weight: bold;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-LNJk-J1E3ho/XgYpoYK91QI/AAAAAAAACJo/kYqs5E_9xkoI-e4rRdhSIo5HgYheXHDSgCLcBGAsYHQ/s1600/brother.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="703" data-original-width="960" height="292" src="https://1.bp.blogspot.com/-LNJk-J1E3ho/XgYpoYK91QI/AAAAAAAACJo/kYqs5E_9xkoI-e4rRdhSIo5HgYheXHDSgCLcBGAsYHQ/s400/brother.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<b>BROTHER</b></div>
<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: inherit; font-weight: bold;"><br /></span></div>
<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: inherit; font-weight: bold;">ADRENALIN OD-The Wacky Hijinks of... 35th Anniversary Millenium Edition (Beer City, LP</span><span style="font-family: inherit; font-weight: bold;">)/Humungusfungusamongus (Beer City, LP)</span></div>
<span style="font-family: inherit;">Following Beer City's reissue of AOD's "Let's Barbecue" EP comes re-waxings of their first two LPs. By the time "Wacky Hijinks came out, the lineup had shuffled, with guitarist Jim Foster departing and Bruce Wingate coming on-board, while vocalist Paul Richard also picked up a guitar. Thrashin’ was AOD’s business and they were quite proficient at it. Raw throughout but introducing some sneaky rock ‘n roll touches with a thickened up two guitar attack. </span><span style="font-family: inherit;">The production was cleaned-up a little for "Humungus etc" and there were poppier touches mixed into the fray but the </span><i style="font-family: inherit;">modus operandi</i><span style="font-family: inherit;"> didn't change that much. </span><span style="font-family: inherit;">You want speed? You want volume? You got it here, along with a wise-assed worldview that was always one of AOD’s winning characteristics. And what a wicked wit they had, right down to barbs at sports cars, cock rockers and other thorns in their collective side. </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">It’s obvious AOD had an anti-norm (for want of a better term) attitude. Lyrics like “</span><i style="font-family: inherit;">How are you? Who cares? Why even talk if you get nowhere/Idle talk for idle minds/I got better things to do than waste my time”</i><span style="font-family: inherit;"> on “Small Talk” could be on any modern-day hardcore record written by this generation of misfits. It’s a timeless sentiment, in other words. </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Is it possible to sound pissed off while having a great time? These speed </span><span style="font-family: inherit;">mavens proved those qualities don’t have to be mutually exclusive. I mean, how serious can you be when writing songs like “Hijack the Senior Citizen’s Bus" or claiming you recorded a song in your underwear? Or doing a surf version of "Hava Nagila" for "Surfin' Jew"? </span><span style="font-family: inherit;">AOD were the antithesis of tough-guy hardcore but still held their own in the aggro sweepstakes. And they even snuck in a message or two, as with the anti-authoritarian "Crowd Control." A frenzied joy ride. </span><span style="font-family: inherit;">(PO Box 1759, Milwaukee, WI 53201-1759, </span><a href="http://www.beercity.com/" style="font-family: inherit;">www.beercity.com</a><span style="font-family: inherit;">)</span><br />
<span style="font-family: inherit;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><a href="https://1.bp.blogspot.com/-qD6BY3PV54c/XgYox8E_6DI/AAAAAAAACJg/pXkm8_BO97Ai3MddYFZTOQ_94sAQNolEQCLcBGAsYHQ/s1600/bootlicker.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="960" height="303" src="https://1.bp.blogspot.com/-qD6BY3PV54c/XgYox8E_6DI/AAAAAAAACJg/pXkm8_BO97Ai3MddYFZTOQ_94sAQNolEQCLcBGAsYHQ/s400/bootlicker.jpg" width="400" /></a></span></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><span style="font-weight: 700;">BOOTLICKER</span></span><br />
<br /></div>
<b>BOOTLICKER-Nuclear Family (Neon Taste, 7")</b><br />
<span style="font-family: inherit;">Sound the fucking battlecry--Bootlicker is back. Mean 'n ugly, thumping, d-beat laced punk providing the full air-raid effect. The crash 'n wallop of the drumming really pushes things along here accompanying Lewis' throat-ripping vocals and the six 'n four string assault. "Shellshock" mentions "the bang of hell's drum." Sounds like a perfect description. (</span><a href="http://neontasterecords.bandcamp.com/" style="font-family: inherit;">neontasterecords.bandcamp.com</a><span style="font-family: inherit;">)</span><br />
<span style="font-family: inherit;"><b><br /></b><b>BORIS THE SPRINKLER-Vespa To Venus (Beer City, LP)</b></span><br />
<span style="font-family: inherit;">First new album from these wiseacres in a couple of decades and it's just as silly and funny as ever. Rev. Nørb and his band of now middle-aged merrymakers are back and, if you think they've matured, think again. Granted, there's <i>almost</i> a bit of political protest for "[What Did The] Dog [Now?]"--<i>"when you hear the news/don't it make you want to cry-yi-yi-i-yii."</i> The orange turd isn't mentioned by name but it shows that Nørb has his hand on the pulse of current events. He probably has his hand elsewhere but I'll leave that one alone. He introduces each song in his cartoonish voice. Musically, it's on the poppy side of the punk spectrum, as they've always been--those Rezillos recores are probably still in regular rotation on the 'ol hi-fi. Vocals are a tad more understated--sweeter, maybe? And this isn't going to blindside you with any raging power but if hearing him read a title like "My Cock's On Drugs" doesn't make you giggle like you were in the 7th grade, you need to lighten the fuck up, Francis. Or Dave. Or Amber... or whatever the hell your name is. (PO Box 1759, Milwaukee, WI 53201-1759, <a href="http://www.beercity.com/">www.beercity.com</a>)</span><br />
<b><br /></b>
<b>BROTHER-s/t (Atomic Action, 7")</b><br />
13 songs (all with single word titles) of crazed hardcore in under 10 minutes and it's not all done at blurry speed. Yes, they're capable of blasting away but it's not mindless grindcore or powerviolence. There are lots of tempo shifts in even the shortest songs. Closing track "Manifest" is heavy and ground-shaking, damn near an epic. George from Dropdead plays bass in this band and it's not far-removed from those guys or Infest. (<a href="http://atomicactionrecords.com/">atomicactionrecords.com</a>)<br />
<b><br /></b>
<b>CHAIN WHIP-14 Lashes (self-released, LP)</b><br />
<span style="font-family: inherit;">14 lashes? More like 14 blows to the skull. Completely ass-kicking hardcore punk infused with speed, venom and hints of melody. The venom comes from Josh's phlegm-emitting messages of disgust, delivered with all of the anti-social rage that he can muster. Different themes are explored, though, such as the false alarm about a nuclear attack in Hawaii for "Hawaii CBM." There's also the creepiness of "Crawl Space Boyfriend" and "Turner Street Ghost Motel." The music is appropriately bare-knuckled, infused with a tinge of brawling, bootboy attitude and darker musical shadings. Inspirational line: "I don't wanna live in a fucked up world." Yeah, that sums it up nicely although I think it could be wanting things to be better than just throwing in the towel. (<a href="http://chainwhip.bandcamp.com/">chainwhip.bandcamp.com</a>)</span><br />
<span style="font-family: inherit;"><b><br /></b><b>CLITERATI-Ugly Truths//Beautiful Lies (Tankcrimes, LP)</b></span><br />
Tough as nails, both musically and attitude-wise. Hardcore that flirts with crossover but avoiding boring chuggishness. Big-ass riffs tied to fast 'n raging arrangements and with a strong message. Vocalist Ami is trans (they/them) and one of the standouts is "Trans Is Beautiful," an important message given that trans people are still subjected to violence and abuse. Ruminations on an increasingly toxic and divided populace (particularly for "Red Neck White & Blue" and "Tribal Politics") and there's a LOT to be pissed off about these days. Cliterati express that succinctly, while bowling you over with a furious blitz. (<a href="http://www.tankcrimes.com/">www.tankcrimes.com</a>)<br />
<span style="font-family: inherit;"><b><br /></b></span><span style="font-family: inherit;"><b>CUNTS-s/t (Ipecace, CD)</b></span><br />
<span style="font-family: inherit;">Hot 'n heavy hardcore/punk/noise. Guitarist Mike Crain slung the six strings for Retox, among other bands. Some of the tracks here follow that chaotic and fast muse, such as "Cholos On Acid," "You Should See My Dad," "Fail At Failure"), but a good chunk of it is crushing, a swirling block of bile aiming straight for the cranium. Pounding and intense, especially for "A Hero's Welcome" and "Cholos On PCP" (I guess different drugs have different effects on cholos). And let's just say they don't exactly fall into the "support our troops" mentality for "Fuck You For Your Service," with a "Semper Fi... die die die" refrain. Packing on the tension until submission is inevitable. (<a href="http://ipecac.com/">ipecac.com</a>)</span><br />
<span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>DAS DRIP-s/t (Sorry State, LP)</b></span><br />
<span style="font-family: inherit;">The insert for this record has the original ad looking for a vocalist--"Angry freak to front new mid-brow Raleigh hardcore punk band. For fans of nihilism, not using chorus pedals and the first Meat Puppets 7"." It sounds like they got what they wanted. Well, I'm not sure if their vocalist Rach is a freak or not--or what qualifies as mid-brow. There's a definite appreciation of that first Puppets' EP, though. Frenetic punk with busy instrumentation and feeling a bit off-kilter. I mean that in a positive sense. I'm not sure if it's complete nihilism but the musical proceedings are certainly chaotic. Only one song breaks the 90 second mark and the adrenaline never flags. <span style="font-family: "times new roman" , serif;">(</span><a href="http://www.sorrystaterecords.com/">www.sorrystaterecords.com</a><span style="font-family: "times new roman" , serif;">)</span></span><br />
<span style="font-family: inherit;"><br /></span><b>EYE WITNESS-Demo 2019 (demo)</b><br />
<span style="font-family: inherit;">Tortured Skull vocalist Ben Lynn also fronts this band and, instead of the more metallic style that band plies, this is straight-forward hardcore punk, delivered with all the subtlety of a boot to the groin. Fast 'n raw, expressing sentiments of dissolution and rage. Sometimes, you need that. (<a href="http://torturedskullma.bandcamp.com/">torturedskullma.bandcamp.com</a>)</span><br />
<span style="font-family: inherit;"><b><br /></b><b>FRENZY-s/t (Distort Reality, LP)</b></span><br />
<span style="font-family: inherit;">Frenzy, indeed--that's what this PDX band create, a total musical frenzy. And while this could be loosely described as noise punk, there's a lot at work here. It's not just a wall of indecipherable rawness.The scampering drums that start "Oblivion" have a similar feel as Disorder's "More Than Fights" but, instead of a d-beat assault, the rhythm quickly becomes whirling and chaotic. Bouncy thump also pops up, as with "Zcum" and "Calculated Genocide." A fusillade of guitar effects and burn, working in phasers and smokin' leads. Vocals aren't larynx-shredding or gutteral, but barked in a rhythmic cadence. Frenzy have a strong pedigree--most of these people also logged time in Nerveskade and Bi-Marks, among many other bands, but it's a different approach. A loud one that will shake you up, of course, but still a bit off the well-trod path. And on bright yellow vinyl and a full-color cover with a spiked, studded and smiling creature. (<a href="http://distortreality.storenvy.com/">distortreality.storenvy.com</a>)</span><br />
<span style="font-family: inherit;"><b><br /></b><b>HAIRCUT-Senstation (Beach Impediment, 7")</b></span><br />
<span style="font-family: inherit;">The follow-up to their 2017 EP on Feel It and with all the hardcore buzz 'n burn you'd want. Juliiana raspily barks out the words in both English and Spanish, accompanied by a beefy, razor-sharp attack falling in between rawness and cleaner production i.e. something that's not slick-sounding. Four songs to get your blood pumping. (<a href="http://beachimpedimentrecords.blogspot.com/">beachimpedimentrecords.blogspot.com</a>)</span><br />
<span style="font-family: inherit;"><b><br /></b><b>HELL BENT-Apocalyptic Lamentations (Atomic Action/Armageddon, LP)</b></span><br />
Three members of 2000s era Providence band Straight To Hell reconvened a few years ago as Hell Bent and here's the debut album, following a demo. Whereas STH followed the Scandinavian blueprint, Hell Bent play in a decidedly metallic vein, retaining some of the Swedish elements. When I say metal, I mean 80s thrash and death metal. The riffage for "Ichthyosis" has a Celtic Frost tinge. They even do a medley of 80s Chicago thrashers Znowhite's "Sledgehammer" and "Hell Bent." Aaron sounds as agitated as ever... age sure as hell hasn't mellowed him one bit... and the band operate with ruthless, meat-cleaver efficiency. (<a href="http://atomicactionrecords.com/">atomicactionrecords.com</a>)<br />
<div>
<br /></div>
<div>
<b>HOLY SHIT!-Not My Tempo (Vinyl Smash/Snuffy Smiles, 7")</b></div>
<div>
Milwaukee hardcore hellions Holy Shit! seem to resurface every so often, with a history going back to 2001. And their approach to hardcore has a lot going on, maybe because their background came from the KBD punk-inspired scene (Chinese Millionaires, Catholic Boys, etc) and, being older guys, they have a wider historical scope. So they've always been a bit off-kilter. Midwest hardcore <i>ala </i>The Fix, early Meat Puppets and Black Flag, the latter on "Narrow The Goal." And on the title track, they say that Weezer, Radiohead, US Bombs and the Chicago Cuts are not their tempo while they take you aboard a well-wound whirlwind (yes, I stole that but I ain't saying where from). That makes me like them even more. (<a href="http://holyshitwi.bandcamp.com/">holyshitwi.bandcamp.com</a>)</div>
<div>
<br /></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><a href="https://1.bp.blogspot.com/-r04g_mIUPCM/XgYoHUk8oEI/AAAAAAAACJY/sBe356C2vVQ7UXUnx-l70Z_tAu5vXQX8ACLcBGAsYHQ/s1600/irreal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://1.bp.blogspot.com/-r04g_mIUPCM/XgYoHUk8oEI/AAAAAAAACJY/sBe356C2vVQ7UXUnx-l70Z_tAu5vXQX8ACLcBGAsYHQ/s400/irreal.jpg" width="400" /></a></span></div>
<div style="text-align: center;">
<b>IRREAL</b></div>
<b style="font-family: inherit;"><br /></b>
<b style="font-family: inherit;">IRREAL-Fi Del Mon (La Vida Es Un Mus, LP)</b><br />
<span style="font-family: inherit;">Spanish punk with a cleaner-sounding take on what Destino Final and Invasión did before that... that means reverb on the vocals and a loud/fast, sometimes mid-tempo blueprint. The latter creates some floor rattling intensity, as with the title track and "Ens Venen A Salvar." Slashing guitar with extra-terrestrial effects. Hitting all the right buttons, a powerful surge of sound. (<a href="http://lavidaesunmus.com/">lavidaesunmus.com</a>)</span><br />
<br />
<div class="MsoNoSpacing">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-rM0XOoQLFgo/XgY0pQLtCjI/AAAAAAAACKA/SMqr60ZlZzQJPzdcrTgwukJUc467ipnDgCLcBGAsYHQ/s1600/jad.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="716" height="400" src="https://1.bp.blogspot.com/-rM0XOoQLFgo/XgY0pQLtCjI/AAAAAAAACKA/SMqr60ZlZzQJPzdcrTgwukJUc467ipnDgCLcBGAsYHQ/s400/jad.jpg" width="297" /></a></div>
<div style="text-align: center;">
<b>JAD</b></div>
<span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>JAD-Strach (self-released, LP)</b></span><br />
Tough 'n nasty hardcore punk from Warsaw. It's not all at one velocity, either. Along with speed, they throw in some bruising breakdowns and thumping, pounding medium-speed tempos. In other words, it's not pro-forma thrash but coming from a dark and intense region, without devolving into mosh-metal nonsense. There are some sick guitar pyrotechnics on the instrumental outro. Krzysiek's gruff and gutteral vocals have a small amount of echo on them, matched perfectly to the full-bore guitar, bass and drums tandem. (<a href="http://jadpunk.bandcamp.com/">jadpunk.bandcamp.com</a>)<br />
<span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>JUDY AND THE JERKS-Friendships Formed In The Pit (Neck Chop, LP)/Music For Donuts (Thrilling Living, 7")/Bone Spur (Earth Girl, demo)</b></span><br />
<span style="font-family: inherit;">It's been a busy year for Judy and her Jerks--a 12" anthology, debut 7" and an even newer demo. "Friendships" is a compilation of their first two demos, adding on unreleased cover songs and it's funny how they show off their diverse roots. Versions of Floorpunch's "True Colors" and Die Kreuzen's raging "Think For Me" share space with the much sweeter renditions of the Go-Go's "Our Lips Are Sealed" and Buzzcocks' "I Don't Mind." Embracing hardcore, snotty punk and post-punk, played with malicious glee. If anything, their hardcore side has come out more on "Bone Spur." Julie (aka Judy) has an engagingly sarcastic, singy-songy vocal style. And they sound like they're having a great time doing it. (<a href="http://neckchoprecords.com/">neckchoprecords.com</a>, <a href="http://thrillingliving.com/">thrillingliving.com</a>, <a href="http://judyandthejerks.bandcamp.com/">judyandthejerks.bandcamp.com</a>)</span><br />
<span style="font-family: inherit;"><b><br /></b></span></div>
<span style="font-family: inherit;"><b>LARMA-s/t (Beach Impediment, LP)</b></span><br />
<span style="font-family: inherit;">People from Skitkids, Heratys, Institution and more. Needless to say, this is straight up classic Swedish mangel hardcore drawing from past endeavors. It's not blown-out or over-the-top and largely eschews any sort of rock 'n roll influences that Skitkids plied. Larma don't really push the envelope, opting for standard hardcore operating procedure but that's enough. Just play it loudly enough. (<a href="http://beachimpedimentrecords.blogspot.com/">beachimpedimentrecords.blogspot.com</a>)</span><br />
<span style="font-family: inherit;"><br /></span><b>LAST RIGHT BRIGADE-Hoy Por La Libertad (Kick Rock, 7")</b><br />
<span style="font-family: inherit;">Scampering hardcore from Mito, Japan with lyrics in Japanese, English and Spanish (well, one line for the title track). No matter the language, they stick to a hard 'n fast blueprint, occasionally veering into hyperspace, as on "What's Freedom?" It definitely has that classic Japanese attack--high energy, throughout. (<a href="http://kickrock.org/">kickrock.org</a>)</span><br />
<span style="font-family: inherit;"><b><br /></b><b>LAST SONS OF KRYPTON/FOAMERS?-Split (Plant Music, LP)</b></span><br />
<span style="font-family: inherit;">Two Wisconsin bands operating in a not-too-serious garage punk vein. Last Sons of Krypton have been kicking around (off and on?) for a few decades. Fast-paced three-chord swill played with instrumental looseness and a wise-assed attitude and it'll keep your toes tappin.' The first track on the two man band Foamers? (that's how they spell it) side, "I Drew A Dumbass," is a trashy joy with squiggly guitar trills. After that, the fidelity drops to transistor radio quality and it's a drive through punk, blues, garage and old-time rock 'n roll. It sounds like an exhumed recording that was recorded in a shack. And it somehow holds together. Spirited sounds from both parties. (<a href="http://pmrc.xyz/">pmrc.xyz</a>)</span><br />
<span style="font-family: inherit;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><a href="https://1.bp.blogspot.com/-9cY5qAqHKnk/XgYnwX0QzAI/AAAAAAAACJQ/9R_94eGgLmMXbl_5O6BuLPVv_Q04wLU4QCLcBGAsYHQ/s1600/Leather.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1066" data-original-width="1600" height="266" src="https://1.bp.blogspot.com/-9cY5qAqHKnk/XgYnwX0QzAI/AAAAAAAACJQ/9R_94eGgLmMXbl_5O6BuLPVv_Q04wLU4QCLcBGAsYHQ/s400/Leather.jpg" width="400" /></a></span></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><span style="font-weight: 700;">LEATHER LICKERS</span></span></div>
<br />
<b>LEATHER LICKERS-EP (Cool Death, 7")</b><br />
<span style="font-family: inherit;">A pummeling attack of hardcore punk out of Melbourne, from this band of pissed-off miscreants culled from the likes of Gutter Gods and Geld. Old school ravage with the throat-ripping vocals subsumed into a blown-out, nearly impenetrable cocoon. A more-recent 7", "Eye Of The Scared," provides more of the same. (<a href="http://leatherlickers.bandcamp.com/">leatherlickers.bandcamp.com</a>)</span><br />
<b><br />LOOSE NUKES-Behind The Screen (Beach Impediment, 7")</b><br />
<span style="font-family: inherit;">Boiling over rage. You want hardcore? This is the real shit. A gathering of Pittsburgh luminaries from a number of killer bands (Direct Control, Blood Pressure, Machine Gun, Sickoids, etc...) and having one of the best drummers in the game, Vince Klopfenstein, doesn't hurt. An outburst of pure, raw fury that reminds me of Out Cold at times, although it's dirtier sounding. Attitude? As they say, "call it cliche... I don't give a fuck." Amen. (<a href="http://beachimpedimentrecords.blogspot.com/">beachimpedimentrecords.blogspot.com</a>)</span><br />
<span style="font-family: inherit;"><b><br /></b><b>PCP AND THE KNIVES-LSD for Breakfast (demo)</b></span><br />
<span style="font-family: inherit;">New band from Salem, MA (home of the witch trials and way too many tourists in October) with a few people from Similar Items. Rough 'n tumble rage with snotty vocals conveying a bad fuckin' attitude. They don't have much use for cops, for one thing, rather pointedly stated on "Paid Vacation." A good mix of thrash and bile-filled punk and the trashy, 4 track production gives it a nasty edge. (<a href="http://pcpandtheknives.bandcamp.com/">pcpandtheknives.bandcamp.com</a>)</span><br />
<span style="font-family: inherit;"><b><br /></b><b>PERSISTENT AGGRESSOR-s/t (Deathcrawl, LP)</b></span><br />
<span style="font-family: inherit;">Persistent Aggressor include a couple of guys who played in early 2000s hardcore band Don Austin. This is a meaner, more vicious-sounding beast (not that Don Austin were exactly pop music)--Persistent Aggressor infuse their dark and intense thrash attack with metallic fury. The closing song, "Old, Grey, Feral," crawls through a damaged-sounding, twisted morass. Aging not so gracefully, with a ferocious statement. (<a href="http://persistentaggressor.bandcamp.com/">persistentaggressor.bandcamp.com</a>)</span><br />
<span style="font-family: inherit;"><b><br /></b><b>POPULATION CONTROL-Death Toll (Beer City, LP)</b></span><br />
<span style="font-family: inherit;">Pure thrash 'n death metal outta Milwaukee. The unholy offspring of Slayer, Bathory and Obituary--at least those are the bands that came to mind when listening. Evil-sounding vocals, meat-cleaver riffing, some furious bass runs and drumming that varies from a straight 4/4 beat to death blasts. All of it is well-executed and it's heavy as fuck, tending to work best at standard thrash velocity. The fact that it still mainly comes from a traditional metallic approach, instead of tuneless, grunted death stylings makes this a more listenable excursion. (PO Box 1759, Milwaukee, WI 53201-1759, <a href="http://www.beercity.com/">www.beercity.com</a>)</span><br />
<span style="font-family: inherit;"><b><br /></b><b>POWER-The Fool/Give It All To Me (Feel It, 7")</b></span><br />
<span style="font-family: inherit;">Two new tracks from Melbourne's Power. A pair of revved-up metallo/boogie rockers. "The Fool" has a </span><span style="font-family: "times new roman" , serif; font-size: 12pt;">Motörcharged feel, while </span><span style="font-family: inherit;">"Give It All To Me" sounds like a sprightlier Saint Vitus. The latter is my pick to click. Deadly even at low volume. (<a href="http://feelitrecordshop.com/">feelitrecordshop.com</a>)</span><br />
<span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>SCHOOL DRUGS-Modern Medicine (Indecision, LP)</b></span><br />
<span style="font-family: inherit;">The first 12" by this New Jersey band mixes driving west-coast influenced hardcore punk with melodic flourishes--kind of like Night Birds without the surfy twang. The double guitar attack creates full-on aggression, accompanied by a walloping rhythm and at-times howling 'n growling vocals. Lyrics that look inward and reveal tortured thoughts and emotions that are expressed passionately. Forceful production, although not too slick-sounding and that gives it a winning edginess. A scream from the soul. (<a href="http://www.indecisionrecords.com/">www.indecisionrecords.com</a>)</span><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;"><b>THE SHAME-Friendly (Crowd Control Media, LP)</b></span><br />
Rowdy singalong oi/punk from this Tulsa firm, who have been doing this thing for close to a decade. Or vocalist/guitarist Chad Malone (who you may remember from Brother Inferior many years ago) has, along with some new recruits. Nice and beefy, with a boisterous twin guitar attack and songs centered around beer, football (soccer, not the gridiron kind) and some pointed political/sociological commentary to go along with it. Hooligans, but thoughtful ones. I'll bet they even say thank you when the next round is served. (<a href="http://theshame-shop.com/">theshame-shop.com</a>)<br />
<span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>SLUMP-Flashbacks From Black Dust Country (Feel It, LP)</b></span><br />
<span style="font-family: inherit;">I don't get high but Slump's new album might be a good one to listen to if I did. Expansive psych/space/stoner emanations which tend to push things a bit--only two songs under four minutes--but when they rock, they do it hard. "(Do The) Sonic Sprawl" has an abundance of head-messing fury. "Tension Trance" has a deliberate power, with all sorts of otherworldly effects, although it sort of floats off into the ether. "Sensory Cocoon" is the opposite--a slow build-up to swirling cacophony. I tend to prefer this sort of thing in short, sharp doses and/or with an explosive nature and that's only true part of the time. (<a href="http://feelitrecordshop.com/">feelitrecordshop.com</a>)</span><br />
<span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>SOGA-s/t (Iron Lung, 12")</b></span><br />
<span style="font-family: inherit;">Vinyl pressing of this Mexico City three piece's demo and, while they're not the most polished-sounding band, who needs it when the energy level is so high? Scrappy, energetic songs with buzz, wheedle and sting in the guitar lines and raspy, ranting vocals to go along with it. Some anarcho punk shadings, as with the Peni-esque "Resistir." They can be near-catchy at times, as well ("Medianoche"). People from Cremalleras and Ratas Del Vaticano, leaning towards the latter stylistically. (<a href="http://ironlungrecords.bigcartel.com/">ironlungrecords.bigcartel.com</a>)</span><br />
<span style="font-family: inherit;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><a href="https://1.bp.blogspot.com/-anJq6aFuMs8/XgYuYVcHzrI/AAAAAAAACJ0/wEk5MMAb7g4XZGvE8h8Qjcs-8pe47jvFACLcBGAsYHQ/s1600/toucheads.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="722" height="400" src="https://1.bp.blogspot.com/-anJq6aFuMs8/XgYuYVcHzrI/AAAAAAAACJ0/wEk5MMAb7g4XZGvE8h8Qjcs-8pe47jvFACLcBGAsYHQ/s400/toucheads.jpg" width="300" /></a></span></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><span style="font-weight: 700;">TOUCH HEADS</span></span></div>
<br />
<b style="font-family: inherit;">TOUCH HEADS-Nostalgia Is Poison (demo)/Try To Get Some Sleep (demo)</b><br />
<span style="font-family: inherit;">Two demos in rapid succession from this Boston band. Rockin' punk with a sturdy, straight-forward flow. Big-ass bass lines, snaky, sometimes surfy guitar lines, rock-solid drumming and super-gruff vocals. Even a "woo-hoo-hoo" for "Simulcara," on the "Nostalgia" tape. And they're not a nostalgic lot. "Bought A Memory," reading between the lines, is about musical nostalgia being commodified, i.e bands on the classic rock or punk or whatever circuit. And, truth be told, while I'll sometimes see the old-timers, I'd rather see bands like this playing in a more intimate environment, where it doesn't feel like it's just something for sale. (<a href="http://touchheads.bandcamp.com/">touchheads.bandcamp.com</a>)</span><br />
<span style="font-family: inherit;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><a href="https://1.bp.blogspot.com/-T-C-DrhUl6Y/XgY1xyiOamI/AAAAAAAACKI/4KVxg2WXjMAjNwV6NHPFPc-XjUyeEQxbwCLcBGAsYHQ/s1600/voids%2B2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="561" data-original-width="611" height="366" src="https://1.bp.blogspot.com/-T-C-DrhUl6Y/XgY1xyiOamI/AAAAAAAACKI/4KVxg2WXjMAjNwV6NHPFPc-XjUyeEQxbwCLcBGAsYHQ/s400/voids%2B2.jpg" width="400" /></a></span></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><span style="font-weight: 700;">THE VOIDS</span></span></div>
<br />
<span style="font-family: inherit;"><b>THE VOIDS-s/t (self-released, 12")</b></span><br />
<span style="font-family: inherit;">First time I've heard from this band in over a decade, but they're back with a reshuffled lineup. Fast, melodic punk <i>ala</i> Vice Squad, along with older west coast influences. The former is an easy comparison since Adri's vocals are akin to Beki's. It's well-played and produced and hits the right buttons. Nothing life or game-changing but it goes down easy, as they say. An energetic blast. (<a href="http://thevoids.bigcartel.com/">thevoids.bigcartel.com</a>)</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><b>WET SPECIMENS-Haunted Flesh (Brain Slash, 7")</b></span><br />
<span style="font-family: inherit;">Haunted, indeed--from the caverns of horrorific misery. Bruising, bare-knuckled hardcore with reverb-laden hoarse vocals and plumbing the dark side of the psyche. There's the occasional gothy guitar shimmer to the bloodcurdling attack on "In Secretion Room" and "Tongue & Teeth." Burning with a cold-blooded intensity. (<a href="http://wetspecimens.bandcamp.com/">wetspecimens.bandcamp.com</a>)</span><br />
<span style="font-family: inherit;"><br /></span>
<b>WOUND MAN/REGIONAL JUSTICE CENTER-Split (Atomic Action, 7")</b><br />
Two bands grindin' it out here (pun intended). Wound Man sound like a more metallic Infest, going between lurching tempos and pure speed. I prefer RGC since their music doesn't spiral out of control and provides a bashin' good time. Speed and heavier breakdowns but it's more damaged-sounding than chuggy, (<a href="http://atomicactionrecords.com/">atomicactionrecords.com</a>)<br />
<div>
<br /></div>
Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-33628321867326943032019-09-30T14:04:00.001-04:002019-12-11T13:17:22.080-05:00Suburban Voice blog #140<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-gkUqhSjZBxQ/XZEt2hvslYI/AAAAAAAACGQ/nd9by3xRBIE0imoW2SZwqCVLdMaHk_pBQCEwYBhgL/s1600/dots%2Bby%2Bcam.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="767" data-original-width="708" height="400" src="https://1.bp.blogspot.com/-gkUqhSjZBxQ/XZEt2hvslYI/AAAAAAAACGQ/nd9by3xRBIE0imoW2SZwqCVLdMaHk_pBQCEwYBhgL/s400/dots%2Bby%2Bcam.jpg" width="368" /></a></div>
<div style="text-align: center;">
<b>DOTS (photo: Cam)</b></div>
<br />
I know, I know, where the fuck 'ya been, Al? Story of my life. Onward! And it won't be as long until the next one.<br />
<b><br /></b>
<b>ADRENALIN O.D.-Let's Barbeque (Beer City, 12")</b><br />
Super-duper deluxe 12" reissue of AOD's debut EP from 1983 and also including the first vinyl appearance of "Scare Tactics" (previously on the 1995 Grand Theft Audio "Sittin' Pretty" compilation CD), plus five unreleased demo recordings from 1982. During the Reagan era hardcore, uh, era, AOD didn't engage in any sort of political diatribes. They were ranting about what was going on in their suburban environment--annoying well-to-do showoffs, annoying senior citizens (BINGO!) and then taking revenge on "Mischief Night" where they smash all that shit up. Something like that. This is fast, let 'er rip, revved-up buzzsaw hardcore punk, with the tongue dug deeply into the cheek. BINGO! (PO Box 1759, Milwaukee, WI 53201-1759, <a href="http://www.beercity.com/">www.beercity.com</a>)<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-iiagkzb4IBY/XZEtstNsxMI/AAAAAAAACGM/b3DMEK3GyA0wmog69d8gI_G8w66wq7qQACLcBGAsYHQ/s1600/Alpha.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://1.bp.blogspot.com/-iiagkzb4IBY/XZEtstNsxMI/AAAAAAAACGM/b3DMEK3GyA0wmog69d8gI_G8w66wq7qQACLcBGAsYHQ/s400/Alpha.jpg" width="300" /></a></div>
<div style="text-align: center;">
<b>ALPHA HOPPER</b></div>
<div style="text-align: center;">
<b style="text-align: left;"><br /></b></div>
<div style="text-align: left;">
<b>ALPHA HOPPER-Aloha Hopper (Radical Empathy/Swimming Faith, LP)</b></div>
Spacey, abraso-punk and post-punk, accompanied by against-the-grain, nearly taunting vocals. Guitar tones that are heavy and snaky, with a lot of effects, including a synthy-sounding one on "Once Again With Feeling." Hints of 90s AmRep rock, Drive Like Jehu, Jesus Lizard, etc, where the six string slam is underpinned by solid rhythms. Furious, but also nuanced, as the songs don't crush under their own weight. (<a href="http://alphahopper.bandcamp.com/">alphahopper.bandcamp.com</a>)<br />
<b><br /></b><b>BLOWBACK-Great Again (Collateral Damage Limited, 7")</b><br />
In case the title isn't a giveaway, Blowback ain't too fond of the man in the Oval Office, in case you weren't paying attention to the lyrics of the title track or "Don't Need Advice." Nor is it possible to miss the anger expressed on "Out Of Control Bullshit," since the lyrics pretty much boil down to those words. Muscular hardcore but there's a little post-punk mixed into "Frog Trolling" and "A Brief History Of Genocide" The heart's definitely in the right place but it gets a bit overwrought at times. (<a href="http://blowback.org/">blowback.org</a>)<br />
<br />
<b>BONEFIRE-Fade and Decay (FTWNU2, LP)</b><br />
Thrash/metal/hardcore from this Minneapolis band that includes a few former members of Misery. Overarching sentiment? That's stated on opening track "Conceived The Same"--"the world is fucked" and there's plenty of reasons for that. Racism, xenophobia, drugs, mass media control and so on, but there also seems to be a willingness and determination to fight back against all of that. Musically, there's an abundance of speed along with heaviness and a few melodic touches. These guys have been around the block a few times in various bands so the music is executed with a seasoned, lethal skill. The clicky, double-pedal drum sound is a tad distracting but made up for with the mighty riffage and harsh vocals. (PO Box 822, Hopkins, MN 55343, <a href="http://www.ftwnu2.com/">www.ftwnu2.com</a>)<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-XS2dkggQiIE/XZI9Grr1UVI/AAAAAAAACHA/EuJazM40TqkoTFgj5GEoVuVWkK35oBkfACEwYBhgL/s1600/Bruised.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1079" height="400" src="https://1.bp.blogspot.com/-XS2dkggQiIE/XZI9Grr1UVI/AAAAAAAACHA/EuJazM40TqkoTFgj5GEoVuVWkK35oBkfACEwYBhgL/s400/Bruised.jpg" width="268" /></a></div>
<div style="text-align: center;">
<span style="font-weight: 700;">BRUISED</span></div>
<br />
<b>BRUISED-Rotten Codex (Chicago Research, LP)</b><br />
Moody post-punk delivered with an energetic kick. The latter is particularly evident for "Psychic Strain" (with clinking percussion), "Satisfying Texture" and closer "Ceramic Dish," the latter of which attacks with a hardcore ferocity. "No Neutral Architecture," with a lumbering bass-drums signature, creates a burning and hypnotic effect. If bands like Institute, Rank/Xerox and Marbled Eye float your boat, Bruised will have a similar effect. (<a href="http://chicagoresearch.bandcamp.com/">chicagoresearch.bandcamp.com</a>) <br />
<b><br /></b>
<b>CEMENT SHOES-Too (Feel It, LP)</b><br />
That's a sample of Dee Dee's "1-2-3-4" that starts the record, it crashes and then the real crush begins. Richmond band Cement Shoes kick out some jams, motherfucker, taking rock 'n rollitude and harnessing it to a hardcore punk engine. Or maybe it's the other way around. In any case, this is high energy stuff. I might be breaking punk omerta, since they use pseudonyms, but the guitarist is Brandon Gaffney from Brown Sugar and that band's muse definitely informs Cement Shoes. Grunted vocals that sound like the descendant of Mike Brown from United Mutation, reinforced by hot riffing, rubbery basslines and strong drumming. Also, any album that starts with a song called "Unite The Right In Hell" is alright with me. So is one that ends with someone cursing out a sample of Willy Wonka. They've got 'yer musical golden ticket right here. (<a href="http://www.feelitrecordshop.com/">www.feelitrecordshop.com</a>)<br />
<br />
<b>CHRONIC SUBMISSION-Sick of Reality (Schizophrenic, LP)</b><br />
Schizophrenic released this Toronto band's 1984 demo "Empty Heads Poison Darts" awhile back and now they're pressed Chronic Submission's '83 demo. Loud 'n fast hardcore punk with an abundance of youthful piss 'n vinegar. It's a rougher-sounding take than the other demo and the musicianship was also a bit more primitive but they rip their songs out with a snotty, malevolent glee. There's a four song "medley" songs that checks in at just under a minute. No doubt they were influenced by much of what was going on in the US at that point, especially midwest bands. Some of the songs veer into territory staked out by The Fix. Not bad for a bunch of teenage troublemakers. (<a href="http://schizophrenicrecords.bigcartel.com/">schizophrenicrecords.bigcartel.com</a>)<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-RVKu9G2Zlec/XZEq4us6CYI/AAAAAAAACF4/OizZiauHXbQpLdouruHITFm2y4MpfbZjwCLcBGAsYHQ/s1600/Condor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1171" height="368" src="https://1.bp.blogspot.com/-RVKu9G2Zlec/XZEq4us6CYI/AAAAAAAACF4/OizZiauHXbQpLdouruHITFm2y4MpfbZjwCLcBGAsYHQ/s400/Condor.jpg" width="400" /></a></div>
<br />
<div style="text-align: center;">
<span style="font-weight: 700;">CONDOR</span></div>
<br />
<b>CONDOR-Singles 2017-2018 (Beach Impediment, 12")</b><br />
Condor is a solo project by Maxime Smadja (Rixe) and the two recordings that comprise this 12" were actually cassette singles. Presented in glorious low-fidelity and the roughness is a huge attraction here. The hooks of the songs come ringing through, especially for "Que Jeuenesse Se Passe" and "Chacun Pour Soi." There's an Oi flavor but he also takes a UK-82 turn for "Condor." The disc includes one extra track, a punchy cover of 80s band DEM's "Vengeance." A rousing good time. (<a href="http://beachimpedimentrecords.bigcartel.com/">beachimpedimentrecords.bigcartel.com</a>)<br />
<br />
<b>CRISIS MAN-The Myth of Moderation (Digital Regress, 7")</b><br />
Ranty, snotty hardcore punk with Ross Farrar from Ceremony on vocals... this is real back-to-the-roots stuff for Ross, as Ceremony moved away (evolved or devolved?) from the punk ferocity of their masterwork "Rohnert Park." Ross punctuates his vocals with painful interjections, like someone's giving him a hotfoot. Gnashing, slashing guitar lines create a heady, twisted effect that goes straight for the skull. (<a href="http://digitalregress.com/">digitalregress.com</a>)<br />
<br />
<b>DERELICTS-Life of Strife (Digital Warfare, CD)</b><br />
The Derelicts are back with their first new album in 30 years, although there were a few 7"s after that. Still, a long fuckin' time. Two originals return--vocalist Duane Bodenhemier and guitarist Neil Rogers and their new drummer is Donny Paycheck from Zeke. The 14 tracks include re-recordings of old stuff and a handful of new material. Their forte remains snotty, high-powered punk rock 'n roll. The Supersuckers certainly learned a lesson or two from this band... Zeke, too, for that matter.A no bullshit style with vocals that sound like a cross between Mark Arm and Stiv Bators. They can also be surprisingly melodic sometimes, as with "Boxed In" (which was one of my favorite Derelicts songs back in the day). Middle-aged punks with all the "get off my lawn" attitude they can muster. (<a href="http://www.digitalwarfarerecords.com/">www.digitalwarfarerecords.com</a>)<br />
<b><br /></b><b>DESPERATE TIMES-Peace At Last (tape)</b><br />
Both their 2018 and newer "Peace At Last" demos on one handy tape and the newer recording benefits from better recording quality, as well as tightening up as a band. Rough, raw crusty hardcore with anarcho punk overtones. There are Møb and Flux covers and, while they don't slavishly mimic either band, Desperate Times (who are from Nova Scotia) lean towards the latter in terms of the harder edge. And they don't show a whole lot of patience towards crustfund" kids and privileged college students (although I do think secondary education can be a useful thing--unfortunately, it's out of reach for a lot of people). A lot of passion here. (<a href="http://desperatetimes.bandcamp.com/">desperatetimes.bandcamp.com</a>)<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-TQgEcVwZqn8/XZEpnLKcqbI/AAAAAAAACFs/uzpv0JN_IRQ0QSDkUiz-o8Lor81RaRo6ACLcBGAsYHQ/s1600/Direct%2BAction.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="996" height="400" src="https://1.bp.blogspot.com/-TQgEcVwZqn8/XZEpnLKcqbI/AAAAAAAACFs/uzpv0JN_IRQ0QSDkUiz-o8Lor81RaRo6ACLcBGAsYHQ/s400/Direct%2BAction.jpg" width="311" /></a></div>
<div style="text-align: center;">
<b>DIRECT ACTION (1985) </b></div>
<div style="text-align: center;">
<b>photo: Lisa Putignano</b></div>
<b><br /></b>
<b>DIRECT ACTION-Tomorrow Is Too Late--Complete 1984 Tape (Schizophrenic, LP)</b><br />
Another vinyl pressing of an old demo from a Toronto band. Direct Action's song "Hate Generation" was a stand-out on the "Primitive Air-Raid" compilation LP, where they were the only non-Montreal band. Some of these songs were on a Bitzcore release that combined them with songs from their "Trapped In A World" LP. I always liked this demo a lot more because of its rawness. Pure thrash-driven blitz with Bones-y metallic guitar squeals, threatening to run off the rails, taking you with it. They navigate those hairpin turns with instrumental mettle. Underneath the six string slam, there are sick bass runs and thumping drumming, accompanying Tim's over-the-top vocals. Pulverizing. (<a href="http://schizophrenicrecords.bigcartel.com/">schizophrenicrecords.bigcartel.com</a>)<br />
<b><br /></b>
<b>DOTS-s/t (Dirt Cult, LP)</b><br />
Two people from Bad Daddies (Camylle and Matt) are in this band and it's a strong debut. Dirty, fuzzy punk with echo on the vocals and spacey keyboard swooshes to go along with the gnarled guitar/bass/drums attack. Jabbing compositions that also sneak in the occasional hook. And the album keeps picking up steam throughout. Some real potent bashers, especially "Surfs Up" and "Spinal Tap," with the closing track "Judgement" taking a Chrome-ish turn. Not far removed from what their former band were doing--mixing driving punk with quirky elements. (<a href="http://dirtcultrecords.com/">dirtcultrecords.com</a>)<br />
<div>
<br /></div>
<b>DROIDS BLOOD-Be Free (Drunken Sailor, LP)/Bleaker Broadcasts (demo)</b><br />
Droids Blood basically formed from the ashes of Broken Prayer in 2016 (taking their name from the latter's final album), with Scott Plant and Nick Donahue on board. Not far removed from that band, following a frenetic noisy-punk/synth-laden blueprint, although eschewing Broken Prayer's hardcore inclinations. Not that they've eased up on the intensity level, but there are also melodious moments. The title track, punctuated by funereal keyboards, has a brooding, numbing catchiness, as does "Sympathy." It's a head-messing clamor. "Bleaker Broadcasts" is a newer demo and deviates from the path a bit. It plays up an experimental side, veering into abrasive, industrialized realms. Only the pulsating bash of "Murder" sounds more-or-less conventional--we're talking matters of degree, of course. There's still plenty of other-worldly effects. An intriguing departure. (<a href="http://drunkensailorrecords.co.uk/">drunkensailorrecords.co.uk</a>; <a href="http://droidsblood.bandcamp.com/">droidsblood.bandcamp.com</a>)<br />
<b><br /></b>
<b>FLESHIES-Introducing The Fleshies (Dirt Cult, LP)</b><br />
The first new Fleshies album in a decade and a band I've been listening to long enough that they were actually reviewed in the last few print issues of <i>SV</i> (the dark ages!). Embracing punk, thrashy hardcore and pop-inflected ravers, the Fleshies play everything full-tilt, storming right out of the gates with the 1-2-3 blitzkrieg of "Bruisee," "NOMaste" and "Comin' To Get Out Cousins." The melodic side shows up for "Hold Me Up" and "Stone Mason," without compromising the energy level. Buzz 'n burn... good to hear from them again. (<a href="http://dirtcultrecords.com/">dirtcultrecords.com</a>)<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-sKEUbOpJpDI/XZI9KsJIS2I/AAAAAAAACGw/uBZKQsZCcRQAvOgN8hpAwrFcoaicqzbawCEwYBhgL/s1600/Funeral.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1470" data-original-width="1600" height="367" src="https://1.bp.blogspot.com/-sKEUbOpJpDI/XZI9KsJIS2I/AAAAAAAACGw/uBZKQsZCcRQAvOgN8hpAwrFcoaicqzbawCEwYBhgL/s400/Funeral.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-weight: 700;">FUNERAL CONE</span></div>
<br />
<b>FUNERAL CONE-Kill A Ghoulie For Julie (100% Breakfast, 7")</b><br />
Jabbing, hyper garage punk/new wave and there's a Buzzcocksian guitar line for "ABBA C.A.B." (clever title). Flip it over and you get hit with three frenetic quickies and more title/lyrical cleverness, delivered with twisted presence of longtime punk vet Dan Wars. Recorded a few years ago and finally given a vinyl pressing. (<a href="http://funeralcone.bandcamp.com/">funeralcone.bandcamp.com</a>)<br />
<b><br /></b>
<b>GAME-No One Wins (Beach Impediment, LP)</b><br />
Debut vinyl (finally) from UK-based band Game, which includes Ola and Nicky from Arms Race and Jonah from Career Suicide and Fucked Up. Booming production creates an ugly sonic detonation that brings out the band's heaviness, which is a combination of 80s UK metallic thrash (Sacrilege, for one) and Japanese hardcore. They go the full doom metal route for closing track "Foundation & Empire." Ola's vocals (in both English and Polish) have a nasty, from-the-gut fervor and the band's sonic roar is relentless. (<a href="http://beachimpedimentrecords.bigcartel.com/">beachimpedimentrecords.bigcartel.com</a>)<br />
<b><br /></b><b>GLUE TRAPS-Future Shocks (To Live A Lie, 7")</b><br />
I reviewed this Baltimore band's demo awhile back and now there's the full recording on a 7". 12 doses of power-packed hardcore, sometimes adding a catchy twist, as with "Bury Me" and "No Utopia." Songs for short attention spans. Why stretch things out? Hit hard and fast and move on. (2825 Van Dyke Ave., Raleigh, NC 27607, <a href="http://tolivealie.com/">tolivealie.com</a>)<br />
<b><br /></b>
<b>GROSS POLLUTER-Cynical Scumbaggery (Rat Town, 7")</b><br />
Most of the people from Smogtown playing similar high energy west coast punk rock 'n roll that their former band specialized in. Good 'n loud, somewhat catchy, although I wouldn't call it groundshaking. (<a href="http://rattowrecords.com/">rattowrecords.com</a>)<br />
<b><br />HARAM-Where Were You On 9/11? (Toxic State, 7")</b><br />
Haram's latest missive features the same provocative punk as on previous releases, starting with the cover art showing the Twin Towers drawn with Arabic letters. Lyrics are also in Arabic, although it's tough to miss the point with titles like "Bomb In The Sky" or the title track. Haram's vocalist Nader happened to be in school that day and his life immediately changed, as he was subjected to abuse and harassment. Galloping punk with a slight industrial/tribal undertow and razor-sharp riffing. (<a href="http://toxicstaterecords.com/">toxicstaterecords.com</a>)<br />
<b><br /></b>
<b>HASH REDACTOR-Drecksound (Goner, LP)</b><br />
Charlotte and Meredith from Nots join Alec from Ex-Cult and one other individual to form Hash Redactor. This is closer to Ex-Cult's loud punk/post-punk mesh. The bouncy "Floral Pattern" and "Lotion Poet Laureate" owe a debt to The Fall, more from a musical point of view than Alec's vocal cadence, although it's not completely absent. Some brooding properties are introduced for "In The Tank," with a bluesy guitar undertow. "Down The Tubes" goes straight for the throat with jabbing basslines and drum patterns and twisted guitar lines. A good balance of aggro and darker properties. (<a href="http://www.goner-records.com/">www.goner-records.com</a>)<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-NRtG7-rLF08/XZI9J6UQLqI/AAAAAAAACG8/AylhNSN29XQu-gaYBxn0WHOrwh6tvxTYACEwYBhgL/s1600/idiota.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="917" height="400" src="https://1.bp.blogspot.com/-NRtG7-rLF08/XZI9J6UQLqI/AAAAAAAACG8/AylhNSN29XQu-gaYBxn0WHOrwh6tvxTYACEwYBhgL/s400/idiota.jpg" width="381" /></a></div>
<div style="text-align: center;">
<b style="text-align: start;">IDIOTA CIVILIZZATO</b></div>
<b><br /></b>
<b>IDIOTA CIVILIZZATO-Civilta Idiota (Static Shock, 7")</b><br />
Idiota Civilizzato are from Berlin but the members are from all over the world. Their vocalist is Italian and that's where they come from musically, in a decidedly Indigesti and CCM vein (there's the occasional yelp in the vocals), along with some 80s-era US hardcore influences. Loud, fast and a bit twisted-sounding. (<a href="http://staticshockrecords.limitedrun.com/">staticshockrecords.limitedrun.com</a>)<br />
<b><br /></b>
<b>JACKETS-Queen of the Pill (Voodoo Rhythm, CD)</b><br />
Pretty standard garage rock/pop. Well-played, with an abundance of fuzz, psych guitar, tambourine and an in-the-pocket rhythm section, topped off with Jackie Brutsche's soulful vocals. They maintain a consistent energy level throughout, tossing off one brash and catchy rocker after another. It comes across like a revival of a revival, as this has the cleaner sound of the '80s era garage renaissance and not really the rawness of the original article. It hits hard, though, and Jackie's guitar has plenty of bite to go along with her confident vocals. (<a href="http://www.voodoorhythm.com/">www.voodoorhythm.com</a>)<br />
<br />
<b>KALEIDOSCOPE-After The Futures (Toxic State, LP)</b><br />
Kaleidoscope's angriest and hardest-edged release to date. Anarcho-meets-2010s NYC bashing punk viciousness with shuffling, tribal rhythms and nasty, nervy guitar flail to go along with Shiva's hoarse-sounding, spat-out vocals. The instrumental "Suicide" pushes the limits with some free-form wreckery, leading into the throbbing "Exhaustion.' As with their earlier 12" "Volume Three," it's something of a cautionary tale or, perhaps more accurately, a fiery critique of global capitalism, surveillance and oppression. But maybe there's some light? Inside the booklet, there's a dedication to <i>"all of those who are in despair and all of those who demonstrate the courage to fight for something better." </i>Kaleidoscope have put together a pretty damned good collection of fight songs here. (<a href="http://toxicstaterecords.com/">toxicstaterecords.com</a>)<br />
<b><br /></b>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-8U6rH8l_2j8/XZI9JwTq6dI/AAAAAAAACHA/jgZ2PvfJm-w5PUleh99Vuak3lR_AuSPggCEwYBhgL/s1600/mack.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="888" data-original-width="960" height="370" src="https://1.bp.blogspot.com/-8U6rH8l_2j8/XZI9JwTq6dI/AAAAAAAACHA/jgZ2PvfJm-w5PUleh99Vuak3lR_AuSPggCEwYBhgL/s400/mack.jpg" width="400" /></a></div>
<div style="text-align: center;">
<b>MACK ENEMY</b></div>
<b><br /></b>
<b>MACK ENEMY-s/t (demo)</b><br />
Thorny punk from Philly with a Rudimentary Peni bent mixed with thrash. Buzzing guitar and bass, along with demented vocals. This is Mack Enemy's second demo and they've stripped away the occasional synthy flourish on their debut into something a little punchier. A dark, twisted journey brimming with high-energy fervor. The first demo's worth checking out too. (<a href="http://mack-enemy.bandcamp.com/">mack-enemy.bandcamp.com</a>)<br />
<br />
<b>M.A.Z.E.-s/t (Lumpy, 12")</b><br />
A tad disappointing after their demos and split 7" although there's still a good amount of charm. The same merger of post-punk and trad Japanese music that sometimes gets a little cutesy, particularly on the wispy pop of "Eight Channels." The edginess is muted somewhat, but after awhile, the hooks find a way of sinking into the consciousness and, goddamn it, they've got you. (<a href="http://lumpyrecords.com/">lumpyrecords.com</a>)<br />
<b><br /></b>
<b>MOCK EXECUTION-Reality Attack EP (Lengua Armada, 7" EP)</b><br />
A relentless attack... there's plenty of noise but it's not a sheet of impenetrable sound. Howling vocals and a battering-ram approach as they flail away without let-up. A Finnish/Japanese cross-breeding and tipping their hand with a Kaaos cover. Intense, but still something I prefer experiencing in the live setting. (<a href="mailto:mockexecutionpunk@gmail.com">mockexecutionpunk@gmail.com</a>)<br />
<b><br /></b>
<b>NEIGHBORHOOD BRATS-Claw Marks (Dirt Cult, LP)</b><br />
Rough, tough and catchy punk and it's the first time the Brats have been heard from in a bit. Sticking to a high energy approach, with big powerchords and stirring melodies. Jenny's vocals echo Kat from Legal Weapon's and there are a few sonic similarities, as well. There's a little country/rootsy tilt to a few songs, particularly "Searcher" and "Touching The Void," although it's not in terms of the instrumentation--you don't hear a pedal steel or slide guitar--but from the arrangements. "Down 3rd" is sweetly poppy <i>ala</i> the Fastbacks. Pure west coach punch. (<a href="http://dirtcultrecords.com/">dirtcultrecords.com</a>)<br />
<br />
<b>NOTS-3 (Goner, LP)</b><br />
The 3 has a dual meaning here--it's Nots third album and their first as a three-piece, with Natalie Hoffman handling all guitar and synthesizer/keyboards, complementing her detached-sounding vocals. Some songs eschew guitar completely, as the synth creates a heady sonic mesh--beeps, blips, washes sometimes generating a frenzy, as with "Floating Hand." The bass and drums lock in perfectly, moving things along at a frenetic pace. At its core, Nots remain a punk band and that's evident on hard-driving "Surveillance Veil" and "Woman Alone," both of which do feature guitar, as does the post-punk flavored "Persona." Paring down the lineup doesn't compromise Nots' sweeping sound one bit. (<a href="http://www.goner-records.com/">www.goner-records.com</a>)<br />
<br />
<b>OBEDIENCE-MMXIX (Fair Warning, 12")</b><br />
Relentless hardcore punk with a fuzzy rawness. Yeah, you've heard that a million times but, goddamn, this is the real deal. Not 80s US revival, not tough core, just a fast and furious sound. That's to expected when Dave from Tear It Up and members of the Austin Punk Rock Wrecking Machine are involved. One rager after another, with blowtorch guitar, rumbling bass and scampering drums. And as I sit here contemplating the latest news headlines (taking a break from them right now, though), "Snake Oil" perfectly captures the current situation--<i>"we let a madman fabricate a reality of fear and hate/This will never go away when we listen to what you say."</i> Dave could have yelled the same thing in the 80s--shit never changes that much, unfortunately. In the meantime, prepare to be obliterated. (<a href="http://fairwarningrecords.bandcamp.com/">fairwarningrecords.bandcamp.com</a>)<br />
<br />
<b>OUT COLD-Living Is Killing Me (Sorry State, LP)</b><br />
The final salvo from Out Cold and done in similar fashion as "A Heated Display." Mark Sheehan (R.I.P.) and John Evicci recorded basic guitar and drum tracks in late 2005. Then, between 2013 and 2017, the remainder was finished--vocals by original frontman Kevin Mertens, bass and lead guitar from Mikey and Deuce, who were in Out Cold's final lineup, plus guest guitar turns from Bill Close from the Freeze and Michah Smaldone from Pinkerton Thugs. Got all that? Anyway, the same loud, energetic meat and potatoes hardcore punk Out Cold always traded in. Bruising speed burners, along with mid-tempo bashers like "Resentment," featuring duel guitar leads from Close. Even with everything done piecemeal over a dozen years, it flows well. I really miss these guys. It's a fitting epitaph. (<a href="http://www.sorrystaterecords.com/">www.sorrystaterecords.com</a>)<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-ltlZ5Uq3B3o/XZI9Kc5Q5sI/AAAAAAAACHA/gPdIdKwMAsQ7aRqenB3Y-fD6W6sptJv-ACEwYBhgL/s1600/pandemix.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="891" data-original-width="960" height="371" src="https://1.bp.blogspot.com/-ltlZ5Uq3B3o/XZI9Kc5Q5sI/AAAAAAAACHA/gPdIdKwMAsQ7aRqenB3Y-fD6W6sptJv-ACEwYBhgL/s400/pandemix.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-weight: 700;">PANDEMIX </span><br />
<br /></div>
<b>PANDEMIX-In Condemnation (Dirt Cult, LP)</b><br />
There's an overarching seriousness in Pandemix's approach, a lot on the proverbial lyrical plate. This is music for the outsider, for those who feel marginalized by society and, to paraphrase the title of one of the songs, can't or won't assimilate. Sonically, Pandemix pump out loud, powerful melodic anarcho-style punk. There's even a reggae jab popping up for "Through The Night," although it's wed to the arrangement's surging fury. The disc comes with a booklet of drawings and collages to go along with the lyrics and a two-sided poster that also has striking visual images and quotes two lines from "Past Selves": <i>"I've searched for light within the darkness, with no reprieve/I've searched for meaning in chaos--no clarity." </i>Alienation remains a timeless theme and this album helps provide a coping mechanism. (<a href="http://dirtcultrecords.com/">dirtcultrecords.com</a>)<br />
<br />
<b>PHYSIQUE-The Evolution of Combat (Distort Reality, 12")</b><br />
"Silence is death, we make noise" is stamped on the record's label, as well as the back cover of the fold-out sleeve and it continues to be Physiques modus-operandi. A relentless sonic assault, blown-out as fuck. You want noise? How about an unholy acid-bath of blown-out guitar mangling, to go along with rumbling bass and battering-ram drumming that doesn't change speed, save for the thumping "No Better Way," which is the best song here. This style of punk is still better experienced live, where there's no escaping the merciless volume but, underneath the noise, everything is executed with a ruthless precision. (<a href="http://distortreality.storenvy.com/">distortreality.storenvy.com</a>)<br />
<br />
<b>PINK GUITARS-Hand (demo CD-R)</b><br />
Straight-ahead hardcore punk mixing rat-a-tat thrash with different guitar textures--alien-like washes for both "On the Inside" and "Embrace The Freeze or the atonal, short "instrumental" "Reading Books About Zen.." The offkey vocals throw things off a bit but there are some good musical ideas here and there. (<a href="http://pinkguitars.bandcamp.com/">pinkguitars.bandcamp.com)</a><br />
<br />
<b>PISSER-Breaking Chains (Schizophrenic, 12")</b><br />
Thrash metallers from Ontario... six tracks on a one-sided 12" (with an etching on the flip) taken from two different sessions. A crossover blitzkrieg leaning on Bay Area thrash and darker strains. Exodus meets Possessed and vocalist Bonez, with her over-the-top growls could be Paul Baloff's younger sister. Maybe daughter. Hot 'n heavy. (<a href="http://schizophrenicrecords.bigcartel.com/">schizophrenicrecords.bigcartel.com</a>)<br />
<b><br /></b>
<b>THE PROLETARIAT-Move (Radiobeat, CD)</b><br />
The social conscience of Massachusetts punk has returned, even reactivating the old Radiobeat label. The first Proletariat album in over 30 years (preceded by a 7" last year) shows the band have no shortage of bones to pick, with both current and historical events. Critiques of the prison/industrial complex, the attempted smashing of unions with scab labor and looking back to the police bombing of the MOVE headquarters in Philadelphia in the mid-80s. That's just for starters and it shows that not enough has changed since their lengthy hiatus. 3/4 of the 80s-era lineup return, along with new guitar player Don Sanders. The music is just as driving as back then, albeit a slightly more rocked-out, cleaner-sounding take on their post-punk roots. Sputtering, sizzling guitar lines underpinned by the always-sturdy bass/drums tandem, topped off with Rick Brown's agitated vocals--he sounds even more pissed off than he did in the 80s. It's not "Soma Holiday" but The Proletariat are still a vital-sounding band. (<a href="http://www.proletariatband.com/">www.proletariatband.com</a>)<br />
<b><br /></b>
<b>PROTRUDERS-Poison Future (Feel It, LP)</b><br />
Skewed, sometimes meandering rock bringing together different strains--psychedelia and Clevo proto-noise for starters. The opening title track and "Hydrophytol" introduce some free-form elements. Squalling sax on both songs and widdly violin on the latter are subsumed into the aural mire, making for a heady racket. "Stabilizer" is a fiery sub two-minute rocker. Other songs, though, don't always have that spark, despite some outside-the-box musical ideas. The proverbial musical mixed bag. (<a href="http://www.feelitrecordshop.com/">www.feelitrecordshop.com</a>)<br />
<br />
<b>RECKONING FORCE-s/t (Not For The Weak, 7")</b><br />
Pretty by-the-numbers hardcore punk from this Virginia Beach crew, which includes people from Socialcide and other bands. The thumping drums lead the way into the crossover-tinged "In My Head" and they stick to a fast, steady speed throughout, except when slowing down a bit for "Slip Away." Competently-played but not really rising above the ordinary. (<a href="http://notfortheweakrecords.bandcamp.com/">notfortheweakrecords.bandcamp.com</a>)<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-kiGtIQ5nhKk/XZI9NhamjFI/AAAAAAAACHM/wLlwOV0s-z0CLQPb__muDn-p21YH--sggCEwYBhgL/s1600/sap%2B2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1576" data-original-width="1600" height="393" src="https://1.bp.blogspot.com/-kiGtIQ5nhKk/XZI9NhamjFI/AAAAAAAACHM/wLlwOV0s-z0CLQPb__muDn-p21YH--sggCEwYBhgL/s400/sap%2B2.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-weight: 700;">SAP </span></div>
<div style="text-align: center;">
<b><br /></b></div>
<div style="text-align: left;">
<b>SAP-2 (demo) </b></div>
<div style="text-align: left;">
One of the best local demos I've heard in awhile.. one of the better demos from anywhere, in fact. SAP are a scrappy, high-energy punk band who mix different strains together--incorporating post-punk, hardcore, garage and melodic touches into their sound, accompanied by Alex's hyper, expressive vocals. Well-played--the bass playing, in particular, is stellar throughout. Some impressive runs on "Carrot and Stick" and providing a solid counterpoint to the stinging guitar on "Short Stick." Apparently, they're on hiatus for awhile as two of the people are moving to Philly. I hope it's not permanent--I'd love to hear more from them. (<a href="http://sapma.bandcamp.com/">sapma.bandcamp.com</a>)</div>
<br />
<b><br /></b><b>SLANT-Vain Attempt EP (Iron Lung, 7")</b><br />
South Korean band with one ex-pat in its ranks, namely MassHole Garrett Belair (Male Nurses, Zipperhead, Bloodkrow Butcher, etc) on drums. Straight-ahead hardcore punk, not off the mark from Garrett's old bands or Out Cold, particularly on "Dry Heave." Not reinventing the wheel but played with scalding rage, both musically and in Yeji's vocals. (<a href="http://ironlungrecords.bigcartel.com/">ironlungrecords.bigcartel.com</a>)<br />
<b><br /></b>
<b>STACKED DECK-s/t (Same Side, CD)</b><br />
Tough hardcore with some late 80s NYHC moshability. Mean, fast and pissed off and they're definitely sick of it all (pun intended). A couple of guys from used to be in Detroit bruisers Death In Custody about a decade ago and time hasn't softened the rage. (<a href="http://stackeddeckdetroit.bandcamp.com/">stackeddeckdetroit.bandcamp.com</a>)<br />
<b><br /></b><b>UROCHROMES-Trope House (Wharf Cat, LP)</b><br />
Ten songs, three of 'em covers on the latest from Urochromes. Mechanized/electro punk that's always drawn a page from Chrome, particularly for "Spy In The House Of Love" and "Trapped On Planet," although there's the occasional poppier touch ("Rumshpringa"). Their version of Bikini Kill's "Resist Psychic Death" and Leather Nun's "Ensam I Natt" ("Answer Me Not") hew semi-closely to the original, while given a manic thrust, while their take on the Lemonheads' "Style" takes a hardcore turn. Lots of buzz for your buck and, to use a cringeworthy Sonic Youth reference, taking an expressway to your skull. (<a href="http://wharfcatrecords.com/">wharfcatrecords.com</a>)<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-wTK3pvjFwY4/XZI9ND1eajI/AAAAAAAACG0/da4R-FL3oFMyNp6_-qorqcypdf6bVTXsgCLcBGAsYHQ/s1600/witch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="944" height="400" src="https://1.bp.blogspot.com/-wTK3pvjFwY4/XZI9ND1eajI/AAAAAAAACG0/da4R-FL3oFMyNp6_-qorqcypdf6bVTXsgCLcBGAsYHQ/s400/witch.jpg" width="392" /></a></div>
<div style="text-align: center;">
<span style="font-weight: 700;">WITCHTRIAL</span></div>
<br />
<b>WITCHTRIAL-s/t (Beach Impediment, 12")</b><br />
Another six song EP from the bowels of... well, Washington, DC to be exact. Scorching thrash metal, with more ominous passages. A definite early Celtic Frost feel on "Void of Form." and "Ripped To The Crypt." "Wait For The Reaper" has a Motorcharged fervor. Witchtrial press all the right buttons--meat-cleaver riffs, hammer-to-anvil drumming and vocals straight from the gut. (<a href="http://beachimpedimentrecords.bigcartel.com/">beachimpedimentrecords.bigcartel.com</a>)Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-68803702790817891412019-06-27T11:34:00.001-04:002019-06-27T11:40:42.880-04:00Suburban Voice blog #139--The final MRR column<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-Zzw-lu99vO0/XRTPyUoY-GI/AAAAAAAACEw/sgt7IjbsfmccEfpWCT1oPsACoEpQgjLxgCEwYBhgL/s1600/Siege.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1336" data-original-width="888" height="320" src="https://1.bp.blogspot.com/-Zzw-lu99vO0/XRTPyUoY-GI/AAAAAAAACEw/sgt7IjbsfmccEfpWCT1oPsACoEpQgjLxgCEwYBhgL/s320/Siege.jpg" width="212" /></a></div>
<div class="MsoNoSpacing" style="text-align: center;">
<b>SIEGE (photo: Cindy Mendes)</b></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><b><br /></b></span></div>
<div class="MsoNoSpacing">
<b><i>While I continue to work on the next SV post, here's a reprint of my final column for Maximum Rocknroll (Issue #432, May '19). And the good news is I just submitted my first column for the digital edition. That should hopefully be out sometime in July. </i></b><br />
<span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>LET’S
NOT SAY GOODBYE… LET’S JUST SAY SO LONG FOR NOW…</b><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><i>Imagine
you’re riding up a roller coaster. Slowly you ascend to the top. The intensity
level builds, then over the pinnacle you go, plummeting downward, feeling as
though the car is going to go off the track or completely out of control…</i><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">Those
were the first words I ever wrote for <i>Maximum Rocknroll</i>, in issue No. 15 (July
’84) and it was for a piece on the legendary (not a word I use lightly)
Massachusetts band Siege. I’d met and interviewed the band a few months earlier
and they asked me to write an intro of sorts. I’d been reading the zine since
the beginning. I can’t recall if writing for them had crossed my mind up to
that point. I wanted to write something that captured the feeling I had the
first time I saw them play. Maybe the writing was a tad pretentious but I
wanted it to stand out more than “Siege are a fast hardcore punk band from
Weymouth, MA.” And it got my foot in the proverbial door, as I soon began
contributing the Boston scene reports on a fairly frequent basis, as well as
pieces on such bands as Rhode Island’s Vicious Circle and Bostonians Sorry.
Speaking of the latter, check them out if you never have—their second album
“The Way it Is” is one of the most overlooked discs of the 1980s. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="200" src="https://www.youtube.com/embed/6RQ3Uh2GMkM" width="356"></iframe><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">I
was flattered when the coordinator at the time, who I knew from his old band,
asked me to come on board as a columnist in 2005. I think I’ve only missed a
handful of them over the past 14 or so years and that was mainly due to family
emergencies. I wanted to make sure I got at least something published every
month, while I was slacking on my own zine/blog—which I still am, but that’s
another story.</span><br />
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">I
wrote that Siege piece at a time when punk became a way of life for me, so to
speak, or at least an escape from a dreary day-to-day existence, spending eight
hours a day working at a job I hated, in a bank. Putting on that fucking shirt
and tie every day and, at that time, working in a windowless office with
co-workers’ whose chain smoking rivaled the cast of “Mad Men.” <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">At
least there were a few fringe benefits. When I worked in that office (the loan
department), I’d open the envelopes with the loan payments and there would be
at least a few uncanceled stamps. There was a xerox machine nearby so when I
had the office to myself or at least the boss was away, I could make copies of
flyers for my penpals all over the world. They probably figured I wasn’t too
into the job because I eventually got demoted back to teller. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">Even
before I wrote the Siege article, I was already making contacts through the
scene reports and classified ads. The high point of the day would be going home
from work and seeing what treasures waited by the mailbox, then excitedly
carrying them up the stairs to my one room studio apartment and immediately
putting a record on the turntable and clearing away any residual misery from
the last several hours. I can’t stress enough how important that was and how it
kept me more or less sane.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">It’s
really sad to see the decline of print publications. I used to get a fair
number of zines in the mail but that’s pretty much dried up to nothing. And
more publications are going on-line or offering either print or digital
versions. It’s understandable, because mailing and printing costs have become
astronomical. So I have to give respect to individuals who still crank out
print publications. Welly has kept his <b><i><a href="http://www.artcorefanzine.co.uk/">Artcore</a></i></b> print zine going since 1986.
German zine <b><i><a href="https://trust-zine.de/">Trust</a></i></b> started in 1986 and is up to almost 200 issues, printing on a
bi-monthly basis. Jack Rabid (an early MRR columnist) still publishes <a href="https://bigtakeover.com/"><i><b>The BigTakeover</b></i></a>. I don’t like about 95% of the music he covers but he knows his shit
and I admire his dedication. I discovered some favorite bands through his
writing, especially Leatherface. He was an early champion of that band and right
on the money. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">I
also have to give a tip of the hat to <i><b><a href="http://razorcake.org/">Razorcake</a></b></i>, who continue to produce a
quality read every other month, filled with interviews of punk musicians from
the past and present. I have a huge pile I haven’t read yet because, to be honest,
it’s tough to find the time. Story of my life—books, records, magazines—I have
a backlog of all of them. Once in awhile, I’ll open one and read an interview
or two. I’ll think maybe it’s time to throw them out because there’s little
chance I’ll ever catch up but it’s hard to do. A lot of effort went into those
publications and the people at Razorcake, most of whom are lifers (some of them
got their start with Flipside or wrote for this esteemed publication back in
the 80s and 90s), have always been supportive of my writing over the years and
you can tell they’re doing it for the right reasons. They’re not cutting and
pasting press releases and passing it off as music journalism or doing
“premieres” on their websites. They’re not acting as an arm of a music or
publicity company.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">And,
man, there’s some wretched music writing out there these days. To be honest,
there’s always been bad music writing. There aren’t a whole lot of Lester Bangs
or Mick Farrens out there anymore. If you don’t know who I’m talking about,
look it up. Or read my column because I’ve shamelessly stolen from both over
the years (shhhhh).</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">The
terrible writing not only applies to reviews but also for press releases.
Someone must have sold or given my name to dozens of publicists because my
email inbox is clogged day after day with solicitations for music that is far
outside of my scope of coverage. We’re talking hip-hop, Americana, folk, dance
music, etc. Once in awhile, I’ll write back and ask them if they’ve actually
seen my blog, read my columns or listened to my radio show. There are a few who
are at least in the same ballpark—companies that feature some punk, metal,
industrial and so-on. I’ll occasionally bite and find good music for the radio
show. Of course, these are “digital” promos, which I still generally won’t
review.</span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">Speaking
of cutting and pasting, one way I’ve been amusing myself and others lately is
posting passages from some of the most ridiculous press releases that come
through the inbox on my Facebook page. These reek of pretentious drivel that
usually amounts to impenetrable word salad and leaves you scratching your head
wondering what they fuck it is they’re talking about? I know the Siege piece I
wrote in 1984 is also hyperbolic and my reviewing has been criticized as
“useless” by a few people but, as I said a few columns ago, you can’t please
everyone. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">Anyway,
this release, received from a PR firm a few months ago and originally published
by the band in question’s record label, pretty much takes the cake. The
introductory paragraph says they’re a blackened hardcore outfit. But then it
goes on to say: <i>"While lyrically ruminating in the abstract emptiness of
an impervious void and grappling with paradoxical duality, the auditory gloom
of (album title) conjures sorrowing burial strings that furiously discharge
into an onslaught of punishing resonance wrought with crushing despair,
depression, and scavenging hopelessness."</i><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">Shall
I continue? <i>"Pummeling blasts and d-beats pound into peripherally orbiting
shadows of the pixelated black, beneath the pulverizing density of nihilistic
bass distortion in a mournful offering of somber funeral strains; the digested
celestial nothingness of the eaten, frozen in dimensions of cyclical nooses and
gnawing bacterial ether. Conceived incarnations of sorrowful mists from the
harvest, bereaving the morbid light in which we suffer."</i><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">I
think they could have saved time by just saying they’re a blackened hardcore
outfit. I might have added they mixed hardcore, death metal and crust into a
gloomy concoction. There you go. In fact, it’s not really that bad. The songs
are on the long side—the shortest one is still nearly five minutes long—but I
could see some of you who like the heavier stuff enjoying this (I’ll spill
it—the album is “Lament” and the band is Totaled). I might have written a bit
more but I think it conveys things effectively. There’s really no sense in
being as verbose as the author of the press release since I don't get paid by
the word. Hell, I don’t get paid anything. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">There
were some funny responses to it in the thread on my page. One individual said
it looked like something from Mad Libs: Metal Edition. Someone else succinctly
called it “word diarrhea.” Rick Sims, from the late great Didjits, opined, <i>“whatever
happened to “it’s got a good beat and you can dance to it??” </i>If you don’t get
the reference, Google “Dick Clark good beat” and you’ll find out. While you’re
at it, go on YouTube and type in “American Bandstand PIL.” That was one of the
more surreal appearances on Clark’s long-running show. <o:p></o:p></span><br />
<span style="font-family: inherit;"><br /></span></div>
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="200" src="https://www.youtube.com/embed/_u17pbdySQ8" width="356"></iframe><br />
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">After
that, look for Yellow Magic Orchestra’s appearance on “Soul Train,” where they
do a very cool cover of</span><br />
<span style="font-family: inherit;">Archie
Bell & The Drells’ “Tighten Up.”</span><span style="font-family: inherit;">
</span><span style="font-family: inherit;">Seeing a very confused Don Cornelius interview them is pretty humorous.
He asks YMO’s drummer/vocalist Yuki Takahashi about influences. Yuki mentions Kraftwerk
and asks Don if he knows them. Don goes, “of course. Hey, this is Big Don here,
brother!” but then he admits he’s not familiar with the record.</span></div>
<div class="MsoNoSpacing">
<br /></div>
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="200" src="https://www.youtube.com/embed/O0Ytic5OMfg" width="356"></iframe>
<br />
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">Music
criticism is rife with trite phrases, tropes, clichés and so on. Michael
Azerrad is the author of the 2001 book <i>Our Band Could Be Your Life—Scenes from
the American Underground 1981-1991</i>. I’ve only read it once and that was when I
got it but it was more or less an overview for people who generally think
nothing happened musically between the Sex Pistols and Nirvana. The chapters
center around individual bands and covers the “big names” of the 80s era, like Black
Flag, Minor Threat Minutemen, Hüsker Dü, Mission Of Burma, Sonic Youth and
Butthole Surfers. It gives a somewhat adequate overview of what happened then. MRR
is mentioned and the bibliography includes a number of underground
publications, including yours truly’s. But it doesn’t go too far underground.
DIY is only given a passing mention and not always in a positive fashion. And
it’s criminal that a band as important as The Wipers doesn’t garner any
attention at all. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-hG-Joa4qxqU/XRTho_CtxwI/AAAAAAAACE4/AnLyhwDKZiQlpIhF62aE0z9FPXpj2ZB5gCLcBGAs/s1600/law.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="406" data-original-width="281" height="400" src="https://1.bp.blogspot.com/-hG-Joa4qxqU/XRTho_CtxwI/AAAAAAAACE4/AnLyhwDKZiQlpIhF62aE0z9FPXpj2ZB5gCLcBGAs/s400/law.jpg" width="276" /></a></div>
<div style="text-align: center;">
<br /></div>
</div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">In
recent years, Azerrad has a Twitter account called </span><a href="https://twitter.com/RockCriticLaw" style="font-family: inherit;"><b>@RockCriticLaw</b></a><span style="font-family: inherit;">, which
basically pokes fun at music critic crutches and clichés—overused expressions
like “seminal,” “criminally underrated” or “angular.” Writing things like, “Quickly
strummed guitar chords with a lot of distortion MUST be compared to “a buzz
saw” or that a singer with a raspy voice has been “gargling with broken glass.”
Those tweets have been collected into a book called </span><i style="font-family: inherit;">Rock Critic Law: 101
Unbreakable Rules for Writing Badly About Music</i><span style="font-family: inherit;">.</span><span style="font-family: inherit;"> It’s Azerrad’s first since </span><i style="font-family: inherit;">Our
Band Could Be Your Life</i><span style="font-family: inherit;">. It’s a fast, funny read and it also strikes very close
to home because I’m guilty of using many of those expressions and phrases. I’ve
called drummers “sticksmen” and referred to second albums as “sophomore efforts.”
However, I have never used the term seminal in any column or blog I’ve done in
this century. And I’ve only used “visceral,” a word that someone once said I use
too often, about 15-20 times in the past 14 or 15 years. Once a year? Not too
bad, I say.</span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">Azerrad’s
not completely innocent, either. In a Slate magazine article, Matthew Kassel
decided to investigate Azerrad’s books to see if he’d “obeyed” his own laws and
Kassel finds that he’s obeyed about 18 of them—saying that undistorted guitars
are “chiming” or “ringing” or “jangling,” saying a vocalist is “prowling”
across a stage” or a bass player is the only musician who can be “nimble.” He
got busted for those and I’ve used them as well. I use “post-punk” as a common
description and say those bands are “spiky, angular or arty” quite frequently.
In fact, the number is probably a lot higher for me than Azerrad. I didn’t
count how many because, well, it’d be too embarrassing. My only defense is,
after 35+ years of writing about music that’s usually in a limited stylistic
ballpark, at least in the grand musical scheme of things (another cliché!
Ah-HA! You’re so busted, Al), it’s sometimes tough to come up with new and
creative ways to say things and not descend into the maelstrom of
pretentiousness (Oops… I did it AGAIN!).<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">I’d
better quit while I’m still ahead. Thanks to everyone I’ve worked with at MRR,
both past and present, even those I’ve had the (very) infrequent disagreement
or difference of opinion with. And I hope that I’ll be able to continue contributing
on-line. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">This
column and every project I’ve ever done or will do are in loving memory of Jane
Simpkin (1965-2001) and Chelle LaBarge (1966-2015). <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<br />Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-34039479932151872842019-04-04T11:40:00.000-04:002019-04-04T11:51:18.571-04:00Suburban Voice blog #138<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-D8DY7cr2v-0/XKYk3rQmDGI/AAAAAAAACDk/hBBz3VTocVI0eHWD8slZCx8ke9Bi31VjgCLcBGAs/s1600/mc5-header-698x392%25402x.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="321" data-original-width="426" height="301" src="https://4.bp.blogspot.com/-D8DY7cr2v-0/XKYk3rQmDGI/AAAAAAAACDk/hBBz3VTocVI0eHWD8slZCx8ke9Bi31VjgCLcBGAs/s400/mc5-header-698x392%25402x.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: left;">
</div>
<div style="text-align: center;">
<span style="font-style: italic;"><br /></span></div>
<div class="separator" style="clear: both; font-style: italic; text-align: center;">
</div>
<div style="font-style: italic; text-align: left;">
<b><i><span style="font-family: inherit;">Another reprint of a Maximum Rocknroll column, from issue #426 (November 2018) with a few edits... Incidentally, the final print issue is this month...</span></i></b></div>
<div style="font-style: italic; text-align: left;">
<b style="font-family: inherit;"><br /></b></div>
<div style="text-align: left;">
<b style="font-family: inherit;">KICK OUT THE JAMS, COUSIN ROBERT!</b></div>
<br />
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;">So
there was something called MC50 out on tour last year and it was touted as a
celebration of the 50th anniversary of the MC5’s </span><i style="font-family: inherit;">Kick Out The Jams</i><span style="font-family: inherit;"> album, which was recorded live in October,1968
and released in 1969. In fact, the tour ended in Detroit, a few days before the
50th anniversary of the two live shows that the album was drawn from. Wayne
Kramer was the only original MC5 member involved—all the other original members
are dead, except for drummer Dennis “Machine Gun” Thompson, who wasn’t asked to
participate. The personnel included people from Soundgarden, Faith No More, Pearl Jam, Afghan Whigs and, somewhat surprisingly, Zen Guerrilla (vocalist
Marcus Durant) and Fugazi (Brendan Canty).</span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;">There was a Boston show and I could have probably scored free tickets from the publicist who handled the tour but I couldn't have imagined it'd be that great. I never did get to
see the original band—I’m not <i style="mso-bidi-font-style: normal;">that</i>
old, although I did see Brother Wayne on his first solo tour in the 90s and he
played a few MC5 songs. It was enjoyable and he couldn’t have been nicer when I
did an interview with him. I engaged in some total fan boy stuff—I had him sign
my copies of <i style="mso-bidi-font-style: normal;">Back In The USA </i>and <i style="mso-bidi-font-style: normal;">High Times</i>, the latter of which I scored
for a quarter at the Goldfish Pond flea market in Lynn sometime in the 80s. I caught a few clips here and there and, in retrospect, it might have been worth seeing for free, at least.<o:p></o:p></span><br />
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-F6rLyIJs7sE/XKYm3CXkrqI/AAAAAAAACD0/wE84GQRfz44mDmeJ9yQLLVukNwAUhMX7QCLcBGAs/s1600/MC50_ContestHeader_grande.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="511" data-original-width="412" height="320" src="https://4.bp.blogspot.com/-F6rLyIJs7sE/XKYm3CXkrqI/AAAAAAAACD0/wE84GQRfz44mDmeJ9yQLLVukNwAUhMX7QCLcBGAs/s320/MC50_ContestHeader_grande.jpg" width="258" /></a></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><br /></span>
<br />
<div style="text-align: left;">
<span style="font-family: inherit;">I’d imagine this was tied in with Kramer’s autobiography </span><i style="font-family: inherit;"><a href="https://www.dacapopress.com/titles/wayne-kramer/the-hard-stuff/9780306921544/">The Hard Stuff</a></i><span style="font-family: inherit;">, which I read last year and
it’s a pretty candid look at the ups and downs of both his musical career and
personal life. One thing I learned is they recorded four songs for Elektra that
were never released, since they got dropped by the label following </span><i style="font-family: inherit;">Kick Out The Jams</i><span style="font-family: inherit;">. Three of them were
re-recorded for </span><i style="font-family: inherit;">Back In The USA, </i><span style="font-family: inherit;">which
had some killer songs but rather tepid production. About the original
recordings, Kramer said, </span><i style="font-family: inherit;">“these were the
best quality, most creative recording sessions we’d ever done, and it left me
filled with confidence for the future.”</i><span style="font-family: inherit;"> Unfortunately, they don’t seem to
have ever seen the light of day. I can’t find any other information on them.</span></div>
</div>
</div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;">Growing
up, in the 1960s and 70s, I discovered most of the music I loved through the
radio and various music magazines and books. When I was a kid, I had a little
red transistor radio that I had tuned to the Top 40 station WMEX. I’d hear
something I liked and ask my folks to get it for me and they usually obliged.
The only time my mom refused was when I asked her to get me Bloodrock’s gory
hit “DOA,” which details a plane crash in bloody detail and somehow made it
into the top 40, despite being banned on a lot of stations (not in Boston,
though). </span><br />
<span style="font-family: inherit;"><br /></span></div>
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/QzY5i8zHWdw" width="560"></iframe>
<br />
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;">Usually, though, it was the standard hits of the day—Beatles, Rolling Stones, Animals, Paul Revere & The Raiders, etc. But I’d also hear more psychedelic stuff
like Electric Prunes' “I Had Too Much To Dream Last Night” and the Blues Magoos' “We Ain’t Got Nothin’ Yet,” both of which remain favorites to this day. And
here’s a bit of trivia--Erika Daking from the underrated late 90s/early 2000s
LA hardcore punk band F-Minus’ dad is Geoff Daking, who played drums in the
Blues Magoos! Yep, I’m just full of useful information… or not-so-useful. Or
just full of it. But let’s move on…</span><span style="font-family: inherit;"> </span><span style="font-family: inherit;"> </span><br />
<span style="font-family: inherit;"><br /></span></div>
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/TOWOdKs6KUo" width="560"></iframe>
<br />
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">I
didn’t have a lot of friends growing up and the ones I had didn’t tend to have
the most-adventurous musical taste. But then my second cousins on my mother’s
side moved back to our neighborhood, after having lived down south for a number
of years. There were five kids and I started hanging out with the two oldest,
Jimmy and Steve. They were both a few years older than me—I was 14 and I think
Steve was 18 and Jimmy was 20. They were both big music fans and were mainly
into blues-oriented rock. I’ve referred to them as my “stoner cousins” because
they liked the weed but they didn’t share it with me. </span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">They did share their
record collection with me, though, letting me borrow and tape them. They were
musical mentors and opened my ears to a lot of great stuff. Some of those
records ended up in my collection for good since they, uh, moved to Florida
before I could return them. Things like Jimi Hendrix’s <i style="mso-bidi-font-style: normal;">Smash Hits</i> album, the first Captain Beyond, a terrific hard rock
album that had a 3D cover, The Yardbirds’ <i style="mso-bidi-font-style: normal;">Having
A Rave-Up </i>and Ted Nugent's <i style="mso-bidi-font-style: normal;">Tooth Fang
and Claw</i>. I know, but as I joked in my April Fool column for <i>MRR</i> last year,
it was pre-racist Nugent. They were both talented guitarists and Jimmy, who
I’ve reconnected with in recent years, still plays in a blues band. And, for
the record, he’s just as disgusted with the Nuge’s racist political views as I
am.</span><br />
<span style="font-family: inherit;"><br /></span>
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/QbTX8N9RKgY" width="560"></iframe>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;">Getting
back to the MC5, I took a slightly different path to discovery. I’d probably
seen the name here and there but hadn’t encountered their music. Anyway, when I
was about 16, I was visiting my Aunt Bette and Uncle Bernie’s house and their
son, my cousin Richard, was in his room listening to records. Richard’s about
the same age as I am but we didn’t really like each other that much. I remember
walking in and he was listening to America’s “Sister Golden Hair” and playing a
flute along with it. That was one good reason to have a low opinion of him,
with such dubious musical taste. And a flute? Not quite as cool as Jimmy and
Steve’s guitars. They probably would have laughed at him or done something
nasty with that flute. They were pretty bad-ass. My childhood friend Mark, who
lived across the street from them, told me there always seemed to be a police
car showing up at their house. They were troublemakers, but my mother loved
them and they were always great to me.</span></div>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Richard,
on the other hand, was a studious, upper-middle class Jewish kid and a bit of a
snot, to be honest. At that time, I was rockin’ out to Aerosmith, Bad Company, The Sweet, Blue
Öyster Cult, and bands of that ilk. So the America record ends and Richard takes out
another record and he said, in essence, we’re about to hear something
completely ridiculous. I thought him playing America was ridiculous enough
(although I’ll admit I liked “A Horse With No Name” when I was 11 or so). The
record was </span><i style="font-family: inherit;">Kick Out The Jams</i><span style="font-family: inherit;"> and, the
minute the opening chords of “Ramblin’ Rose” burst through his stereo speakers,
it was love at first listen. He thought this was silly, stupid music. </span><br />
<span style="font-family: inherit;"><br /></span>
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/CYg-a3W35CE" width="560"></iframe>
<br />
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<div style="text-align: center;">
<div style="text-align: left;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;">I figured
the record belonged to one of his older brothers or, less likely, his sister
since he was the youngest of four kids. All I know is that it was some of the
highest energy shit I’d heard up to that point. Around the same time, I also
heard the censored, “brothers and sisters” instead of “motherfuckers” version
of “Kick Out The Jams” (the song) on one of those cheapie comps on the Warner
Bros. “Special Products” imprint. I found it at the Paperback Booksmith (later
a Waldenbooks) in the Swampscott Mall. They had a pretty good record section
and would have some decent cutouts, if anyone remembers what those were. I
probably didn’t pay any more than $4 or $5 for that double elpee, which was
called </span><i style="font-family: inherit;">Heavy Metal</i><span style="font-family: inherit;"> but, while it had
bands like Black Sabbath, Led Zeppelin, Deep Purple and Uriah Heep, it also had
decidedly non-metal acts like The Eagles, Grateful Dead and Yes. I can’t recall
if I picked that up before or after the visit to my aunt and uncle’s house.</span></div>
</div>
</div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-Em8yXud8BU0/XKYek24JZtI/AAAAAAAACDE/WuX-rhF2cogfaI1jxqxCMB44AEggzjyXQCEwYBhgL/s1600/hm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://3.bp.blogspot.com/-Em8yXud8BU0/XKYek24JZtI/AAAAAAAACDE/WuX-rhF2cogfaI1jxqxCMB44AEggzjyXQCEwYBhgL/s320/hm.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><br /></span></div>
<span style="font-family: inherit;">Over
the years, I always wondered whose record it was. As I said, Joanne, the
oldest, was probably didn’t seem like the rock ‘n roll type. She was a
Presidential scholar and I still remember the picture of her shaking hands with
LBJ that was on top of my grandparents’ TV set. </span><span style="font-family: inherit;"> </span><span style="font-family: inherit;">That left the two middle sons, Jeff and
Robert. I was at a family gathering a couple of years ago so I thought I’d try
to solve the 40 year-old mystery. When I asked them, it turned out it was
Robert’s record. That made complete sense, in retrospect, because I remember
when they visited us at our cottage in New Hampshire and, at the time, Robert
had mentioned how much he liked the Joe Walsh album with “Rocky Mountain Way”
on it (and I still think it’s a great song and if that makes you laugh, piss
off). So it turns out he was the rocker in the family and we had a good time
talking about records for a bit. Better than talking about politics, because
he’s a Trump-lover and retweets garbage from Ted Cruz. I sent him a picture of
my three MC5 records through Twitter—and he got a kick out of it-- but I ended
up unfollowing him after seeing some of the right-wing drivel on his page.</span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;">By
the way, Richard grew up to be a pretty great guy and I find him a lot more
likable now. He’s an economics professor at Wesleyan and <a href="https://www.amazon.com/Richard-S.-Grossman/e/B003AVW9AA">writes books</a> about
banking and other financial topics. A bit different from the drivel I've been peddling for decades (oops). I didn’t get a chance to ask him if he’d ever changed
his mind about the MC5, though. Maybe at the next get-together, I can play him
some of their stuff on my iPhone. It <i style="mso-bidi-font-style: normal;">is</i>
the 2010s, after all. I’ll bet those MC5 and America albums are long-gone…<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<br /></div>
<b><i></i></b>Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-77696577491546283062019-03-28T10:25:00.000-04:002019-03-28T10:49:02.486-04:00Suburban Voice blog #137<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-SJdQk31czi0/XJvmjpuWFzI/AAAAAAAACBo/g_keyPaS3UsgVWw62c2HE3TB6T_Hp4aqwCLcBGAs/s1600/IMG_7303.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://2.bp.blogspot.com/-SJdQk31czi0/XJvmjpuWFzI/AAAAAAAACBo/g_keyPaS3UsgVWw62c2HE3TB6T_Hp4aqwCLcBGAs/s400/IMG_7303.JPG" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><b>LOST SOUNDS (2005)</b></span></div>
<span style="font-family: inherit;"><b>A BIG NECK...</b></span><br />
<span style="font-family: inherit;"><b><br /></b>
Big Neck Records specialize in provocative sounds most of the time. There's spirit, there's attitude and the bands often make a(n) (in)glorious messy racket. And some of the same parties are responsible for different shades and slices of this sort of mayhem. The split record with <b>Football</b> and <b>White Savage </b>is one such example. Both bands include Jimmy Hollywood and Jered Gummere, who, between them, have logged time in such bands/projects as Tyrades, Baseball Furies, Ponys, Bare Mutants, A/V Murder and a slew more. Both of these bands will bash your fucking skull in although White Savage have a more expansive stew, as the standard guitar/bass/drums instrumentation is augmented by sax and keyboards thrown onto the heap. Football just keep things brief and ugly, with "Hit By Flying Glass" delivering what the title promises.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><b>Richard Vain</b> isn't a person but a band spearheaded by the aforementioned Jered Gummere and quite different. As in totally different. His/their 12" <i>Night Jammer</i> is a mix of shoegaze, Jesus and Mary Chain, early Stereolab and strains of krautrock. Throbbing, fuzzy soundscapes with melancholy vocals and creating a bliss-filled effect. The exceptions are the brief, harder-edged tuneful rush of "Ratz" and the more-bashing "Tar Pits." Music that envelops your senses with volume and hooks.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><b>Dumb Vision</b>'s <i>Modern Things</i> is a hard-driving, mainly fast-paced dose of punk energy. It's a dense sound--hammering drums, guitar lines with surfy and garagey tinges. This is delivered with a full-bodied roar, with vocals having a flat, sort of non-expressive nature that are bubbling near or just below the surface. This Madison, WI band create an inviting cacophony that doesn't fit into an easy niche. It's just loud.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><b>Wood Chickens</b> are another Madison band and <i>Well Done!</i> is their second Big Neck album. Cowpoke punk that sometimes gets a little corny although when they nudge up against a Meat Puppets influence, things get interesting. That's the case with "Mall Cop" and "I Live In Your Basement and Eat Mice," while "We Skate In Boots" and "Porkfinger" are manic punk rock joyrides.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Moving on to a couple of archival items, <b>Sweet JAP </b>(or J.A.P. or Japanese American Princesses) were an early 2000s Minneapolis band that included native Japanese members and they released a few EPs and a full length and appeared on a few comps. <i>Be My Venus</i> is a one-sided 12" of unreleased and compilation track material from '03-'04. High energy garage-tinged rock 'n roll cooking up a nice head of steam on "Debusen," "SJAP" and "I'm Only Moonlight," along with the occasional poppier tune (the title track and "La Rock"). I'm not sure this was an essential unearthing but there's some spark here.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">The other exhumed offering is a reissue of <b>Lost Sounds' </b>2000 debut album <i>Dead In Memphis</i> album. It's a more primitive-sounding affair than what followed. Lost Sounds were a three piece at this point--Jay Reatard, Alicja Trout and Rich Crook. A spooky, nightmarish keyboard-drenched collection of gothic rock and garage. Alicja sounds perfectly possessed on "Satan Bought Me." There's a tough garage undertow to "Memphis 99," "Don't Bother Me."and "Don't Ask Why." Some worthy moments, although I think <i>Black Wave</i> remains their high water mark, especially the dramatic and haunting "Don't Turn Around." (<a href="http://www.bigneckrecords.com/">www.bigneckrecords.com</a>)</span><br />
<div style="text-align: center;">
<span style="font-weight: 700;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-UNEoOPPkA9I/XJvxJhYb5dI/AAAAAAAACCc/aYcic97eqs0D8Vo4sBUrHe9HoLVixnxvQCLcBGAs/s1600/SBF_PromoPic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="624" data-original-width="1000" height="248" src="https://1.bp.blogspot.com/-UNEoOPPkA9I/XJvxJhYb5dI/AAAAAAAACCc/aYcic97eqs0D8Vo4sBUrHe9HoLVixnxvQCLcBGAs/s400/SBF_PromoPic.jpg" width="400" /></a></div>
<div style="text-align: center;">
<b>S.B.F.</b></div>
<span style="font-family: inherit;"><b>... CHOPPED!</b></span><br />
<span style="font-family: inherit;"><b><br /></b>
Time for Round 7 of Neck Chop's campaign of destruction. Two LPs and three 7"s this time around. Starting with the smaller round slabs, UK purveyors of rough trade rock <b>Suburban Homes </b>will jitter their way into your hearts on their <i>E.P 3</i>. These four songs were originally slated to be released on In The Red some years back but the label kept dragging its feet and it got delayed until now, with Neck Chop coming to the rescue. The sound of '79, given a modern finish and delivered in glorious mono. "Corporate Hijack" layers on a psych-fuzz guitar flourish and is as angry as they get here, although there's a good amount of drum bash for "City Life." Observational straight-forward assessments, described as songs that, <i>"at least say something about our crappy society."</i></span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">With an opening song titled "Everybody Looks Like a Fucking Idiot," <b>Baby's Blood</b> capture my heart right away on their self-titled EP. Mean, agitated punk masterminded by Drew from Sick Thoughts, joined by three Finnish friends and recorded in Helsinki. Growling guitars and vocals conveying a kick-you-in-the-nuts attitude. All 47 seconds of "Sex Punk" list all of life's necessities--<i>"gimme death gimme booze gimme punk gimme sex." </i>Not necessarily in that order, of course.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><b>Natural Man & the Flamin' Hot Band</b> are a different kettle of fish altogether. Sax-laden, funky, punky and soulful no-wavy rawk (is that a little "TV Eye" I hear for "Sudden Wave"?)--more or less. I imagine they're aiming for something revolutionary or righteous and I get the feeling they're a bit tongue in cheek but it's not something I'm ready to raise a fist or take up arms for.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">For pure unadulterated awfulness, there's <b>Neo Neos</b>' <i>Kill Someone You Hate</i>. Yes, I said awful. It's also funny as fuck, so you could say it's awful in a good way. Loopy, rough, raw minimalist punk barely holding together. Rantings and ravings from Minnapolis resident Connie Voltaire, who has cranked out a couple of full-length cassettes and a handful of 7"s since 2016. Some of the songs here have appeared on those releases and these versions were recorded throughout 2016. The funniest thing is Connie is taking the piss out of all of those lo-fi home recording projects--"The Boneheads," as he calls them and doing exactly the same thing only more sloppily and way more obnoxiously. Yup, "Drum Machines Are So God Damn Lame" is accompanied by a drum machine. For deep philosophical treaties, look no further than "Life Sucks and Then It Doesn't." Want historical epics? Try "Hitler Wuz A Nazi." "The Kinks Are Who's Who" will rock your socks off. The lyric sheet is a collage of hand-scribbled words on pieces of scrap paper. And it was double take time when the last thing heard was a sample of the intro to FOD's song on the first <i>Flipside Vinyl Fanzine</i> comp... "the Ardmore assault is on!" So is the Neo Neo's assault. And it's also far from dumb.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Finally, <b>S.B.F.</b>'s first album <i>Same Beat Forever</i> (or <i>Sour Bee Fiasco)</i> is a mechanized joy created by two punk rock wizards, Cruz Somers and Ray Schmidt. This isn't some quirky, new wavy weirdness but much more aggro. The rhythms are punchy--perhaps the descendants of Roland from Big Black--and sometimes veer into near-industrial territory, as with "Mortician Bee," "Honeycomb" and "Rock To The Head" (the latter of which also has a near-catchy chorus). Harsh vocals accompanied by burning guitar textures. The earlier recordings were pretty damned good but this pushes it into a more intense realm. Cruz's solo recordings are worth pursuing, as well, especially <i>Take Me To Hell When I Can Dance</i>, which is cut from similar cloth from S.B.F., albeit a tad more minimalist. (<a href="http://neckchoprecords.com/">neckchoprecords.com</a>)</span><br />
<span style="font-family: inherit;"><br /></span><b><span style="font-family: inherit;">MOVING RIGHT ALONG...</span></b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-weS1Yx_IVzg/XJvt4QCxmhI/AAAAAAAACCI/RMenfQ11EX0YP08indOB40R9Mqxa77E1wCLcBGAs/s1600/rubble.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="904" data-original-width="960" height="301" src="https://1.bp.blogspot.com/-weS1Yx_IVzg/XJvt4QCxmhI/AAAAAAAACCI/RMenfQ11EX0YP08indOB40R9Mqxa77E1wCLcBGAs/s320/rubble.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<b>RUBBLE</b></div>
<div style="text-align: center;">
<br /></div>
<b style="font-family: inherit;">ANEURYSM-Awareness (Tor Johnson, LP)</b><br />
<span style="font-family: inherit;">Throwing it back to the 90s, in a way, with heavy riff-rock-a-rolla. Not metal but bashing volume-soaked fodder that might have fit in on Sub Pop or Amphetamine Reptile, yet it doesn't sound dated. You can hear some echoes of Nirvana and even Mudhoney on a few songs--"Newport" comes across as a merger of both bands. Keeping things up to date, it shouldn't be too difficult to figure out who "National Embarrassment" is aimed at and it's emitted with a whole lot of ferocity. That's the case for just about every song here. Walloping drums and an unholy tandem of big-ass guitar and bass crush, to go with the somewhat-buried expressions of rage revealing a tortured soul. Or something like that. This doesn't require deep analysis--it just rocks like a motherfucker. (<a href="http://www.torjohnsonrecords.com/">www.torjohnsonrecords.com</a>)</span><br />
<span style="font-family: inherit;"><br /></span>
<b><span style="font-family: inherit;">ARCTIC FLOWERS-Straight To The Hunter (self-released, LP)</span></b><br />
<span style="font-family: inherit;">Arctic Flowers' first full-length in four years and, after a decade, they remain a potent band. Raw melody men and women, to borrow a title from New Model Army, who have certainly influenced this band but it's harnessed to a punk-infused attack. The songs have a haunting melodicism but also a good solid punch, especially with songs like "Waking Things." "Rose In Bend," "In Silence" and a cover of Toxic Reasons' "Dreamer," which appeared on that band's third album <i>Within These Walls</i>. I didn't even realize it was a cover until their guitarist Stan mentioned it--it's not one of my favorite albums by that band and, after listening to it again, Arctic Flowers' version is a lot harder-edged and forceful. And the lyrics about an increasingly divided world are just as pertinent now as they were then. Maybe more so. They also delve into music inspired by shimmery 80s post-punk/goth, although it's not the main focus. Forgive me for this but <i>Straight From the Hunter </i>goes straight to the heart. (<a href="http://arcticflowers.bandcamp.com/">arcticflowers.bandcamp.com</a>)</span><br />
<span style="font-family: inherit;"><b><br /></b>
<b>COMBATANT-Witness To Destruction (Not Like You, 12")</b></span><br />
<span style="font-family: inherit;">Same program on both sides--stop trying to confuse an old man, Combatant! Standard d-beat hardcore punk delivered at a healthy clip, with lyrics about police abuse, foreign entanglements and fascism at home. Proof that even in small town Mane, there's plenty of anger about the state of the world. Loud and fast, just how you want it. (102 Richmond Dr. SE, Albuquerque, NM 87106, <a href="http://www.notlikeyourecords.com/">www.notlikeyourecords.com</a>)</span><br />
<span style="font-family: inherit;"><br /></span>
<b><span style="font-family: inherit;">COWBOYS-The Bottom of a Rotten Flower (Feel It, LP)</span></b><br />
<span style="font-family: inherit;">The Cowboys are one of those bands I've just never been able to get into and that remains the case. I'd say it's power-pop but it's not powerful enough to even fit that category I don't hate music that has a tuneful bent but these songs mainly come across as cloying and precious. Only a few songs have enough fire to catch my (passing) interest, those being "Pie In My Eye" and "Red-headed Girlfriend," which pack a slightly more energetic surge. Ultimately, it's still innocuous and inoffensive. Maybe that's the problem--at least for this listener. (<a href="http://www.feelitrecordshop.com/">www.feelitrecordshop.com</a>)</span><br />
<span style="font-family: inherit;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><a href="https://4.bp.blogspot.com/-991lbOt9HW4/XJvtG6DSeEI/AAAAAAAACCE/qZ4CZFi4dXspFLeSKkCybDpzeaie2zddACEwYBhgL/s1600/dissek.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="874" data-original-width="960" height="363" src="https://4.bp.blogspot.com/-991lbOt9HW4/XJvtG6DSeEI/AAAAAAAACCE/qZ4CZFi4dXspFLeSKkCybDpzeaie2zddACEwYBhgL/s400/dissek.jpg" width="400" /></a></span></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><b>DISSEKERAD</b></span><br />
<span style="font-family: inherit;"><b><br /></b></span></div>
<span style="font-family: inherit;">
</span>
<b style="font-family: inherit;">DISSEKERAD-s/t (Varning, 7")</b><br />
<span style="font-family: inherit;">By-the-books Swedish hardcore from people who have been around the block... a few blocks, in fact, with their vocalist Poffen, whose pedigree goes back to the 80s with Totalitär and has continued with Institute, Krigshot, Makabert Fynd and others. Four song EP that was pressed for the Varning fest last year (yes, I'm late). Loud, fast and angry, the genuine article. Accept no substitute. (no info)</span><br />
<span style="font-family: inherit;"><br /></span>
<b><span style="font-family: inherit;">DRUX-s/t (Static Age Musik, LP)</span></b><br />
<span style="font-family: inherit;">Mean, well-played hardcore punk from Leipzig, Germany and balancing speed with stompier elements. Rough and tumble production to prevent it from sounding too slick. Lyrics are in English and concerned with hating people, hating romance, hating being judged and just hating life in general but, in the end, "I want to free myself," as they say on "Stuck In The Past." Did I say it's mean-sounding? Tucked inside a heavy stock, screened cover. (<a href="http://staticshockmusik.com/">staticshockmusik.com</a>)</span><br />
<span style="font-family: inherit;"><b><br /></b><b>FRIED EGG-Square One (Feel It, LP)</b></span><br />
<span style="font-family: inherit;">The sound of alienation, a soundtrack for coping with misery and disappointment. Not exactly cheery but Fried Egg's first full-length provides an effective platform to work through it. Edgy, sense-warping hardcore that's evolving and maintaining their core intensity. Ravenous thrash, as well as slower creepy crawl bringing Bl'ast to mind a bit and this is definitely coming from a dark place.The vocals exude snarly rage and that alienation I mentioned earlier comes from a lyrical standpoint as well, with titles like "Why Bother," "Fatalist" and "Grin and Bear" (<i>"sold a lie. told life was fair, it's all a ruse."</i>) The older I get, the more I feel that way. Life often sucks. Idealism is dead. Thankfully, this sort of provocative music isn't. (<a href="http://www.feelitrecordshop.com/">www.feelitrecordshop.com</a>)</span><br />
<span style="font-family: inherit;"><b><br /></b>
<b>HEAVY MANTLE-Weights & Measures (Tor Johnson, LP)</b></span><br />
<span style="font-family: inherit;">12 songs pressed onto a clear single-sided 12" and--I hate to use the phrase--emotionally-charged punk and indy-style rock that sounds like a throwback to the 90s/early 00s. Not overwrought but there's definitely some soul-baring going on here. There's strong instrumental interplay and a warmth in the tone. The best songs here--"Sleep Escape Artist" and "Filming Cops"--have a gyrating, cascading hookiness. It's not quite enough, though, and the somewhat sludgy production doesn't help, either. (<a href="http://www.torjohnsonrecords.com/">www.torjohnsonrecords.com</a>)</span><br />
<b><span style="font-family: inherit;"><br /></span></b>
<b><span style="font-family: inherit;">HYÄNE-Demontage und Zerfall (Static Age Musik, LP)</span></b><br />
<div class="MsoNoSpacing">
<span style="font-family: inherit;">Hyäne do a great job of mixing melodic post-punk and gloomy elements with surging punk. That's especially true with songs like "Regress/Exzess" and opening track "Kreisel." "Eiszeit," underpinned by a rhythm machine and synth lines, goes into more of a goth realm, as does "Leitung Tot." A mixture of moods and textures, always with an ear-grabbing presence. (<a href="http://staticshockmusik.com/">staticshockmusik.com</a>)<o:p></o:p></span></div>
<span style="font-family: inherit;"><b><br /></b>
<b>MASK-World Gone Crazy (Slugsalt, tape)</b></span><br />
<span style="font-family: inherit;">People from Urochromes, The Guests and Stagger and it's a dark-hued punk excursion. Gothic guitar shimmer but it's more of a sonic accoutrement to the band's fury. Definitely a potent, haunting quality but, to be honest, I wish the sound was better because it mutes their power a bit. Maybe there's some vinyl in the offing? A re-release of their 2017 demo. (<a href="http://www.slugsaltrex.com/">www.slugsaltrex.com</a>)</span><br />
<span style="font-family: inherit;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-5rsLrbTRwEk/XJzU7UvxHfI/AAAAAAAACCo/ZN1m5puPcxUijWuikPkBKqaGYqe26wM_ACLcBGAs/s1600/MAZE.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1065" data-original-width="1600" height="266" src="https://2.bp.blogspot.com/-5rsLrbTRwEk/XJzU7UvxHfI/AAAAAAAACCo/ZN1m5puPcxUijWuikPkBKqaGYqe26wM_ACLcBGAs/s400/MAZE.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<b style="font-family: inherit;"><span style="font-family: inherit;">M.A.Z.E. (photo: Naoshi Sugiura) </span></b></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><b style="font-family: inherit;"><br /></b></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><b style="font-family: inherit;">M.A.Z.E.-Tour Tape (demo)</b></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><b><span style="font-family: inherit;">M.A.Z.E./NICFIT-split (Episode Sounds, 7")</span></b></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><span style="font-family: inherit;">Japanese band M.A.Z.E. was one of those random discoveries I made last year, either through a blog or surfing Bandcamp. I honestly can't remember but their demo ended up being one of my favorites of 2018. This year starts with two new releases and M.A.Z.E. have been gradually getting tougher sounding. The tour tape includes three thorny new compositions with an engaging edginess, plus re-recordings of all of the songs from last year's and the band's garage/post-punk/punk is a lot more in-your-face. Same for the songs on their split 7" with another Japanese band, NicFit. Their pair of tracks connect with some fierce post-punk, punctuated by gnarled guitar lines. M.A.Z.E. have a record due on Lumpy sometime this year. I'm definitely looking forward to that. (</span><a href="http://m-a-z-e.bandcamp.com/" style="font-family: inherit;">m-a-z-e.bandcamp.com</a><span style="font-family: inherit;">)</span></span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><a href="https://3.bp.blogspot.com/-4ezeRRiZpXk/XJvuSl0NaBI/AAAAAAAACCQ/bZavgKG6EZYNbUDaXa0YIYiszlLs7-y0gCLcBGAs/s1600/Red%2BDelicious%2Bfrom%2Bbandcamp.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="614" data-original-width="747" height="328" src="https://3.bp.blogspot.com/-4ezeRRiZpXk/XJvuSl0NaBI/AAAAAAAACCQ/bZavgKG6EZYNbUDaXa0YIYiszlLs7-y0gCLcBGAs/s400/Red%2BDelicious%2Bfrom%2Bbandcamp.jpg" width="400" /></a></span></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><span style="font-weight: 700;">RED DELICIOUS (from Bandcamp)</span></span></div>
<br />
<b style="font-family: inherit;">RED DELICIOUS-Far From The Tree (Slugsalt, 7")</b><br />
<span style="font-family: inherit;">Buzz and burn from this Illinois Portugeuse-language band. They alternate tempos, from mid-speed Rudimentary Peni-inspired fodder to thrashier compositions. Nasty, raspy vocals, along with a trebly tandem of razorwire guitar, thick basslines and cymbal smashing drumming. Nothing nice here. (<a href="http://www.slugsaltrex.com/">www.slugsaltrex.com</a>)</span><br />
<span style="font-family: inherit;"><b><br /></b>
<b>RUBBLE-s/t (Distort Reality, LP)</b></span><br />
<span style="font-family: inherit;">UK82-inspired punk from PDX and the songs are loud 'n catchy with a thumping beat, burning guitar and dynamic bass playing, the latter of which really stands out. With Mare's high-pitched vocals, there's definitely a Vice Squad and Action Pact feel on a few songs, especially "B.P.A," Lyrical themes are timely/timeless--pollution, police brutality and the meaningless trope of "Thoughts & Prayers," which has become a buzz-phrase to offer meaningless platitudes instead of doing something about rampant gun violence. One of those bands with a winning scrappiness that makes this album very enjoyable. (<a href="http://distortreality.storenvy.com/">distortreality.storenvy.com</a>)</span><br />
<span style="font-family: inherit;"><br /></span>
<b><span style="font-family: inherit;">SCIENCE MAN-s/t (Swimming Faith, LP)</span></b><br />
<span style="font-family: inherit;">After a fine demo, here's Science Man's debut album. In case you missed the review, it's a one man project masterminded by John from Radiation Risks and, according to the letter he sent me, while some of it was recorded in a van traveling between cities, he also recorded it in random attics, basements and kitchens ("including my own"). And he's created something that sounds human and fleshed out--nervy, guitar-oriented punk, new wave and rock with a mechanized backbeat. Even with the bargain basement (literally) recording approach, there's a vibrant brashness that doesn't <i>sound</i> like it was recorded in those settings. Music that sears your nerve impulses and hits hard. (<a href="http://scienceman.bandcamp.com/">scienceman.bandcamp.com</a>; <a href="mailto:swimmingfaithrecords@gmail.com">swimmingfaithrecords@gmail.com</a>)</span><br />
<span style="font-family: inherit;"><br /></span>
<b><span style="font-family: inherit;">THESE BASTARDS-Old and Pissed (self-released, 7")</span></b><br />
<span style="font-family: inherit;">At LAST, a band I can truly relate to at this point in my life. At LAST, a band with a song called "Get Off My Lawn" although it's about a larger lawn being spoiled--their Bay Area environs being taken over by the tech boom. Raw, fast, sometimes griniding thrashcore with metallic guitar licks and featuring miscreants from such bands as Conquest For Death and Venkman. While there's a whole lot of ranting going on, it's not mindless or completely negative. In fact, some of the lyrics have a fair amount of intellectual heft. Up the old punks! (<a href="http://thesebastards.bandcamp.com/">thesebastards.bandcamp.com</a>)</span><br />
<span style="font-family: inherit;"><br /></span>
<b><span style="font-family: inherit;">TROPICAL TRASH-Southern Indiana Drone Footage (National Waste Products, LP)</span></b><br />
<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: inherit;">Head-messing music that has expansive properties without becoming some hippy-dippy excursion. We're talking bad trip time but with a punk attitude. They're capable of Stooges-informed bash with the title track, awash in fuzz and wah-wah, along with through-the-floor drumming. "Third & Fourth Ingredient" dips into some no wave skronk--sax and clarinet pop up in the mix and that occurs elsewhere. It provides a drony effect for the methodical crush of "Leather Charm." A dense, chaotic aural concoction you just might drown yourself in. (39 Emeline St., Providence, RI 02906, <a href="http://nationalwasteproducts.com/">nationalwasteproducts.com</a>)</span></div>
<span style="font-family: inherit;"><b><br /></b>
<b>VAASKA-Inocentes Condenados (Beach Impediment, 7")</b></span><br />
<span style="font-family: inherit;">Continuing to bash out the relentless d-beatery with shit-hot guitar work. That's what separates Vaaska a bit from other bands playing this style--Victor's six string wizardry. "Atrapados" starts with the same sort of fanfare as Discharge's "Fight Back" and they proceed to fight their way through six tracks without any sign of losing their fired-up rage. (<a href="http://beachimpediment.bigcartel.com/">beachimpediment.bigcartel.com</a>)</span><br />
<div style="text-align: center;">
<br />
<span style="font-family: inherit; margin-left: 1em; margin-right: 1em;"><a href="https://4.bp.blogspot.com/-BktyPEB797k/XJvlN2L3-PI/AAAAAAAACBc/Dj4K6VCGMxwUTJHwIZeW_tHwQf1rNHMTQCLcBGAs/s1600/RADIO006_800x.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="801" data-original-width="800" height="320" src="https://4.bp.blogspot.com/-BktyPEB797k/XJvlN2L3-PI/AAAAAAAACBc/Dj4K6VCGMxwUTJHwIZeW_tHwQf1rNHMTQCLcBGAs/s320/RADIO006_800x.png" width="319" /></a></span></div>
<span style="font-family: inherit;"><b><br /></b>
<b>VILE-Vile Says Fuck Off (Radio Raheem, 7")</b></span><br />
<span style="font-family: inherit;">An unreleased song ("Overload") and a pair of alternate takes from their album--"Definitions" and perhaps their best known song, "5 to 10." I imagine many of you know the story with this band but in case you don't, Vile were from Mansfield, MA (near the Rhode Island border) and made a rather strong impression at their show opening for the Angelic Upstarts in 1982 (I was there). What I mean by that is they engaged in some pretty nasty crowd baiting--racist and homophobic taunts, a mike stand fired off the stage--and then thrown right back at the vocalist Bill Bile. They barely made it out of the club in one piece. This was followed by back and forth letters in <i>Boston Rock</i> magazine between someone who was offended by their act and the band pretty much saying they didn't give a shit. There was also an ad that's reproduced for this cover. Their drummer Joe O'Hare (who sent me "Overload" in 2012). told me they had kind of a tough time getting shows after that.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Anyway, they recorded an album and distributed it by leaving it on car windshields in the Channel parking lot and throwing the rest into the Fort Point Channel. Yeah, the lyrics are <i>really</i> nasty but it was a complete wind-up, aimed at pissing off the local hardcore scene. Some people dug it, though. I remember Choke from Negative FX and Slapshot saying that Vile was his favorite new band. I still have my copy. Anyway, that's the gist of the story. As for this record (oh yeah, this <i>is</i> a review), it's quite entertaining. Musically, they were damned good at what they did--fast and snotty hardcore punk, skillfully played, and that's what you get here. "Overload" doesn't sound like some crappy outtake and, since the album's again out of print after a 2004 reissue, this is the only Vile disc currently available. (<a href="http://deathwishinc.com/collections/radio-raheem">deathwishinc.com/collections/radio-raheem</a>)</span>Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-76549259254248168182019-01-23T15:43:00.000-05:002019-03-22T11:22:13.427-04:00Suburban Voice blog #136<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit; margin-left: 1em; margin-right: 1em;"><a href="https://1.bp.blogspot.com/-ziXchR5avSQ/XEjHN0ex_ZI/AAAAAAAACAk/0fxu_N5LCzgBMcbeR8J84rqCrlNcwq42wCLcBGAs/s1600/IMG_7739.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1274" data-original-width="1600" height="317" src="https://1.bp.blogspot.com/-ziXchR5avSQ/XEjHN0ex_ZI/AAAAAAAACAk/0fxu_N5LCzgBMcbeR8J84rqCrlNcwq42wCLcBGAs/s400/IMG_7739.jpg" width="400" /></a></span></div>
<div style="text-align: center;">
<b><br /></b></div>
<b>CHANGES AT MAXIMUM ROCKNROLL... PLUS A COLUMN YOU MIGHT HAVE MISSED</b><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">I'd imagine many of you have heard the news that <i>MRR</i> will be ceasing the print version of the zine with the May issue, after nearly 37 years of publishing. It's a tough time for print zines. I haven't done a print issue since 2003. A lot of it has to do with procrastination or, as somewhat less benevolent might say, pure laziness. I know a blog isn't the same as a print zine and I DO want to return to print for at least one more issue and some kind of book that people has asked me about for years. I just don't know if I have the dedication, ambition or perseverance to do that again. Cost is another consideration, with printing and shipping rates having increased astronomically since I last published. I'd have to sell some advertising, like in the past, but might find that a bit more challenging. That's one of <i>MRR</i>'s problems--a large decline in print sales. There are other problems, as well, but that's one of the biggest. </span></span><br />
<div>
<span style="font-family: inherit;"><br /></span></div>
<div>
<span style="font-family: inherit;">I'm sorry to say that there will never be a 100+ page issue of the zine again. It's not all that necessary since this (sporadically published) blog features record reviews. I know it lacks the interviews and live reviews that the print issue featured. I haven't done a band interview in several years at this point and the last few I did weren't really up to snuff and I never even bothered transcribing them. Maybe someday I'll see what I can salvage. </span></div>
<div>
<span style="font-family: inherit;"><br /></span></div>
<div>
<span style="font-family: inherit;">Getting back to <i>MRR</i>, I've been reading it since almost day one. My collection starts with the second issue and I have every single one of them up to the present, except for issue #1, which I have a copy of. Those of you who have spent your entire lives gleaning musical knowledge strictly from the internet might not understand the importance <i>MRR </i>and other print zines. I touched on that in my tribute to Tim Yohannan that ran in <i><a href="https://subvox.blogspot.com/2018/04/suburban-voice-blog-129.html"><b>SV blog #129</b></a></i> from last year. I'd scour the interviews, record reviews and ads looking for new records to order or try to trade my zine for. I connected with penpals all over the country and around the world from the classifieds in <i>MRR</i> and <i>Flipside</i>. I even found romance (briefly) through one of those ads. I still have the tapes, records and flyers I received in trade--many of my classic Finnish and Swedish hardcore records come from those penpals. </span></div>
<div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
</div>
<div>
<span style="font-family: inherit;"><span style="font-family: inherit;">I sound like a fossil but there wasn't the instant access to information that you have now. I love that too... best of both worlds. I'll read a review about a band in <i>MRR</i> and if it piques my interest, I'll hop on-line and try to find their music. Within a few minutes, I'll be putting the good ones on my iPhone, plugging it into my home or car stereo and playing it nice and loud. If I like it, I'll try to track down a physical copy. The process is definitely streamlined. I fully support instant gratification but I also love perusing the stack of various books and magazines next to my recliner, although I do have a tablet and now read digital books in addition to printed ones. </span></span></div>
<div>
<span style="font-family: inherit;"><br /></span></div>
<div>
<span style="font-family: inherit;">Anyway, as of now, <i>MRR</i> will be increasing its <a href="http://maximumrocknroll.com/" style="font-weight: bold;">online content</a>, including the records review. I'm not sure what other content will be moving there--I'd like to continue my monthly column but that's up in the air. They'll also eventually be launching an on-line digital archive that will include <i>"the complete print run of the magazine, dating back to 1982. Each issue is meticulously catalogued to the article level and presented as a high-quality searchable PDF, completely free of charge."</i></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><i><br /></i></span>So, yeah, it's the end of an era but, whether people like it or not, <i>MRR</i> isn't going away. I just hope I'm part of their future.</span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">In the meantime, here's a column you might have missed... let's just say...</span></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span><b>YOU CAN’T PLEASE EVERYONE</b></span><br />
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;">Putting one’s opinions in print—or online, for that matter—occasionally leads to criticism or objections. It goes with the territory, of course. It’s been intensified in this era of social media. Such things moved a bit more slowly back then. Instead of jumping on-line, you had to write letters to the editor. This publication used to have a very lively letters section, with people going back and forth over several issues.</span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;">The thing is, some people hang onto their resentments. I know a few people who have carried grudges for that long over perceived slights I gave them in the 80s. One of them admits he’s still a dick to me because I didn’t give his band enough respect back then. In fact, he crossed the line once, meddling in my personal life but I’d rather not go into it. And all over a fucking review. Sheesh, get a life, will ‘ya?</span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;">I’ve been pretty fortunate over my writing “career” to have not received all that much in the way of harsh criticism, abuse or threats. Maybe I’m doing something right or maybe people just don’t care all that much or have the fortitude to call me out. Anyway, it’s happened from time to time, starting with one of my early issues. One of my writers at the time, Kathi Whalen, did a review of a show where she said the Boston band Stranglehold “tore through a typical hardcore set that actually wasn’t too bad at all, just a little on the predictable side.” This apparently inspired the members of the band to call me—collect—to take issue with what she’d written, even though the criticism was mild. Of course, being an idiot, I accepted the charges. It sounded like they were a bit more than inebriated while giving me grief and asserting that Kathi’s assessment of them being a typical hardcore band was far off the mark. They did have a point. After hearing their music later on, which came from more of a hard-driving melodic punk impulse, it’s obvious that Kathi’s review wasn’t entirely accuarate. She was a good writer, though, and eventually parlayed her talents into a “legit” writing career with the <i style="mso-bidi-font-style: normal;">Washington Post</i> and <i style="mso-bidi-font-style: normal;">City Paper.</i><o:p></o:p></span><br />
<span style="font-family: inherit;"><i style="mso-bidi-font-style: normal;"><br /></i></span></div>
<span style="font-family: inherit;"><iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/u-1p__UiXm8" width="480"></iframe>
</span>
<br />
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span></span></div>
<span style="font-family: inherit;">
</span>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><span style="font-family: inherit;">I got a call another time—not collect, thankfully—from a woman who objected to a review I gave of SSD’s third 12”, <i style="mso-bidi-font-style: normal;">How We Rock.</i> You know, the one where they “went metal.” She didn’t identify herself but we went back and forth for a good 20 minutes, debating the accuracy of my assessment that the album was basically second-rate AC/DC. In retrospect, that’s not completely accurate but it’s still mediocre rock with incessant guitar wanking and really awful vocals. Anyway, neither of us convinced each other to change our opinions and, while the conversation was spirited, it never devolved into nastiness. I eventually realized who it probably was some time later—someone close to the band—although she claims she doesn’t recall it and/or flat-out denies it. I’m not buying it but I won’t name names.<o:p></o:p></span></span></div>
<span style="font-family: inherit;">
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;">Annoying phone calls aren’t as bad as physical threats, of course. I was only threatened physically one time. There was a small group of Nazi-wannabes who came to shows in the mid-80s and would engage in sieg-heiling. I called them out in the ‘zine. The main instigator, a guy named Flea (not to be confused with the bass player from the west coast), confronted me in the parking lot of the Channel club in Boston. He basically said bad things would happen to me if kept saying bad things about them. I told him I wasn’t going to stop and, wouldn’t you know it, nothing ever came of it. I’ll admit it made me nervous.<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;">Speaking of skinheads and Nazis, one of the biggest incidents involved a skinhead zine in the early 90s called <i style="mso-bidi-font-style: normal;">Under Siege.</i> The issues the publisher sent me featured interviews with racist bands like Stormwatch and Straw Dogs (the UK one) and other bands who flirted with sketchiness. There was also a pathological hatred of gay people. In fact, there was a pathological hatred of anyone who didn’t embrace their nationalist right-wing ideology. Their slogan was “Burn Fags, Not Flags.” One columnist who said he was a kindergarten teacher suggested that his readers “Bash fags. Bash satanists <i style="mso-bidi-font-style: normal;">(sic)</i>. Bash homeless winos. Bash feminists. Bash drug dealers but most of all, bash liberals! Let them know that we will not give into their pseudo-hippie ways.” I could go on but you get the idea.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;">Unfortunately, I published an ad for this zine in issue #32 of <i style="mso-bidi-font-style: normal;">Suburban Voice</i>, before I’d seen it. I’d been assured by an acquaintance whose band was also interviewed (a non-racist band, I might add) that there wasn’t anything objectionable in it. Oh boy was I embarrassed. More than that—it made me sick. I actually sent a letter to <i style="mso-bidi-font-style: normal;">MRR</i> that was published in issue #113 (October 1992) where I offered a <i style="mso-bidi-font-style: normal;">mea culpa</i>, stating that I’d been taken and felt like a sap. I followed that up in my column in the next issue of <i style="mso-bidi-font-style: normal;">SV</i>. Well, needless to say, the individual behind <i style="mso-bidi-font-style: normal;">Under Siege</i> didn’t take it too well. I made their “no thanks” list, where I was listed as “Al Queer” and the review of <i style="mso-bidi-font-style: normal;">SV</i> said it was a “fag rag.” (I think I detect a trend here).<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;">Not only that, but I got a letter from one of the ‘zine’s fans, a gentleman named Joe whose nickname, if I remember correctly, was “Animal.” He was writing from a prison in New York state where he was apparently doing 6 to 12 years for what he said was a “bullshit” charge, namely that he “stabbed a cop like 30 times, and then his friend 20 times at a biker bar.” Now I’m not saying the Animal is guilty—I wasn’t there after all—but he did send me a rather nasty missive. Yes, I keep all of my fan mail, good and bad. It was addressed to “Dickie Do aka The Traitor, Commie” and the salutation was, “Hey Al, you mother fucking commie, cock sucking…” um, I think I’ll leave out the rest except to say it was two pages of every gay slur you could possibly think of. Once again, I think I detect a trend. Animal definitely had some anger-management issues. I hope he was able to eventually overcome them and once again become a productive member of society. <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;">There were two songs that had my name attached to them. One was “Al Quint Is An Emo Pussy” by Tiltwheel and the other was “Mr. Quint” by the Connecticut thrash band Atrocity. The former, on TILTWHEEL’s <i>Hair Brained Scheme Addicts,</i> wasn’t meant to be anything malicious, it was just their guitarist/vocalist Davey poking fun at me for thinking that Uriah Heep was better than Thin Lizzy. Davey’s a real diehard fan of Thin Lizzy—he has a tattoo of their logo. In recent years, I might come down on the Lizzy side of things. Maybe not—depends on the day. In any case, the lyrics don’t even mention me. The entirety of them are “Wonder why I’m so depressed? Fuck the world and then I’ll take you with me.” People have sent me messages over the years asking for an explanation and why Davey would write a song with such a nasty title.</span><br />
<span style="font-family: inherit;"><br /></span></div>
<span style="font-family: inherit;"><iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/O0kWovrQc2w" width="480"></iframe> <span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">On the other hand, the Atrocity song wasn’t any sort of love bouquet. Nope, it was pure malevolence and a response to a negative review I gave the band when they played their first area show, at TT the Bear’s in Cambridge. This was confirmed by their bass player Rich, when I contacted him on Facebook. I wrote that they had the stage presence of a “sack of potatoes.”<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></span></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;">I didn’t even know about this song until the early 2010s, when Brian from Dropdead told me about it. It appeared on their 1988 demo <i style="mso-bidi-font-style: normal;">Mangled.</i> I tracked it down on YouTube. 40 seconds of grind/thrash bile that breaks down into a riff on the “Mr. Grinch” song from Dr. Seuss’ <i style="mso-bidi-font-style: normal;">How The Grinch Stole Christmas.</i> Here are the lyrics: <i>“Quint, Quint can't you see?/Your opinion means shit to me/We don't play to please you/Take your fucking rag and screw/He's a dickhead—Mr. Quint/He's an asshole—Mr. Quint/You talk shit—Mr. Quint/You maggot Mr. Quint…”</i></span><br />
<span style="font-family: inherit;"><i><br /></i></span></div>
<span style="font-family: inherit;"><iframe allowfullscreen="" frameborder="0" height="344" src="https://www.youtube.com/embed/fSI18LvNoIs" width="459"></iframe></span><br />
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;">Anyway, Rich and I had a good laugh about it. He also said I was probably right and that they always found the review to be “funny as shit.” The demo even came out on vinyl in 2016. Rich was nice enough to send me a copy and it’s still available. Let’s just say it falls into the unnecessary reissue category but if you can’t get enough of late 80s thrash/death/grind mayhem, go to <a href="http://www.foadrecords.it/">www.foadrecords.it</a>. In all honesty, it’s fairly entertaining.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;">I’m always open to constructive criticism, though. And I’ve set up a special email address for it. Share your thoughts with me at HeresADimeCallSomeoneWhoCares@gmail.com.<o:p></o:p></span><br />
<div>
<span style="font-family: inherit;"><br /></span></div>
</div>
Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-47910823190475711312019-01-17T17:00:00.001-05:002019-01-17T17:00:38.239-05:00Suburban Voice blog #135<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-GJ0O4T1uGgE/XD_C3GyLW7I/AAAAAAAAB_0/gXTyEYetugkgGScYTp6eqElHQpoeEaI3gCLcBGAs/s1600/glue%2Btraps%2Bpunk%2Bbetty.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://2.bp.blogspot.com/-GJ0O4T1uGgE/XD_C3GyLW7I/AAAAAAAAB_0/gXTyEYetugkgGScYTp6eqElHQpoeEaI3gCLcBGAs/s400/glue%2Btraps%2Bpunk%2Bbetty.jpg" width="400" /></span></a></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-family: inherit;">GLUE TRAPS (photo: Punk Betty)</span></b></div>
<b><span style="font-family: inherit;"><br /></span></b>
<b><span style="font-family: inherit;">ANOTHER STAB AT MY NEVER-ENDING ATTEMPT TO KEEP UP WITH THE DEMO PILE...</span></b><br />
<b style="font-family: inherit;"><br /></b>
<b style="font-family: inherit;">Glue Traps</b><span style="font-family: inherit;"> have Tony Pence from Deep Sleep on vocals but, instead of Descendents-inspired punk, they go for a traditional loud, fast hardcore punk style on their </span><i style="font-family: inherit;">Future Shocks</i><span style="font-family: inherit;"> demo. Five songs in under four minutes and it's pure burn. Except for brief "Nuke DC," the lyrics veer more towards the personal, just getting through life theme. Doing it well. And plenty of blank tape to fill it up with your own hardcore mix, just like I used to do. (</span><a href="mailto:celebratedsummerrecords@gmail.com" style="font-family: inherit;">celebratedsummerrecords@gmail.com</a><span style="font-family: inherit;">; </span><a href="http://gluetraps.bandcamp.com/" style="font-family: inherit;">gluetraps.bandcamp.com</a><span style="font-family: inherit;">)</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Bloomington, IN band </span><b style="font-family: inherit;">The Bills</b><span style="font-family: inherit;"> have a taut, minimalist punk sound on their </span><i style="font-family: inherit;">Take Two</i><span style="font-family: inherit;"> demo. Not cutesy and while there's a hint of new wave, there's not a keyboard in sight. The tape also includes their </span><i style="font-family: inherit;">Take One</i><span style="font-family: inherit;"> demo. One of the songs on there, "Isolation," has a slightly more post-punk feel. No excess, no fucking around, just short songs with a good amount of sarcasm in the vocals. (</span><a href="http://bill.bandcamp.com/" style="font-family: inherit;">bill.bandcamp.com</a><span style="font-family: inherit;">)</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">London continues to produce a promising crop of young bands and </span><b style="font-family: inherit;">Naja</b><span style="font-family: inherit;"> are one those. Their self-titled EP has a snaky goth/dark hue to it but also dips into the Rudimentary Peni well. Hitting a sturdy mid-to-fast clip, with a slight amount of echo on the vocals and a thick yet textured guitar tone. (</span><a href="http://najaband.bandcamp.com/" style="font-family: inherit;">najaband.bandcamp.com</a><span style="font-family: inherit;">)</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Also operating in somewhat minimalist vein are </span><b style="font-family: inherit;">XL hell</b><span style="font-family: inherit;">, whose</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Evel</i><span style="font-family: inherit;"> demo provides gnashing punk although they have a harder, faster, thrashing edge. Vocals climb the ladder up to a piercing squeal and the arrangements are really basic. Proving the point that the simple approach is often better. (</span><a href="http://xlhell.bandcamp.com/" style="font-family: inherit;">xlhell.bandcamp.com</a><span style="font-family: inherit;">)</span><br />
<b style="font-family: inherit;"><br /></b>
<b style="font-family: inherit;">Podium</b><span style="font-family: inherit;">, from Valencia, Spain, don't have song titles on their demo--there are seven in all--but they're all sharp blasts of nervy, new wavey punk. From what I've been able to glean about Podium on-line, it appears to be a solo project that has just started doing live performances. Drill press guitar, synth shadings, mechanized rhythms and low-in-the-mix vocals, all generating some catchy hooks. Echoes of Devo, some Chrome, not really low-fi and it sounds like it'd be at home on Lumpy or Neck Chop. (</span><a href="http://podiumpodium.bandcamp.com/" style="font-family: inherit;">podiumpodium.bandcamp.com</a><span style="font-family: inherit;">)</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><b>Tired of Everything </b>(are they pals with Sick Of It All?) hail from North Carolina and Will Butler fromTo Live A Lie Records handles vocal duties. Six songs of thumping, thrashing uptempo hardcore punk with strong words, among other things, about animal abuse and hypocritical "punk progressives" who commit sexual assault. Tired of Everything pretty much stay away from the grindcore and powerviolence that Will's label usually specializes in, opting for something at a more measured pace and they're good at it. (<a href="http://www.tolivealie.com/">www.tolivealie.com</a>)</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><b>A TASTE OF NEON</b></span><br />
<div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
</div>
<div style="text-align: center;">
<span style="font-weight: 700;"></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/--EqHG_7rVKQ/XD-_-q4iV7I/AAAAAAAAB_c/hpjWuTm_tYkB_E1KFLf4wLie1fx0ehhVgCEwYBhgL/s1600/boot2.jpg" imageanchor="1" style="font-weight: 400; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1416" data-original-width="1465" height="385" src="https://3.bp.blogspot.com/--EqHG_7rVKQ/XD-_-q4iV7I/AAAAAAAAB_c/hpjWuTm_tYkB_E1KFLf4wLie1fx0ehhVgCEwYBhgL/s400/boot2.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><b>BOOTLICKER</b></span></div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<span style="font-family: inherit;">
<div style="text-align: left;">
<span style="font-family: inherit;">Three recent 7"s on the Neon Taste label offer different slices of bruising hardcore punk.</span><span style="font-family: inherit;"> </span><b style="font-family: inherit;">Chain Whip</b><span style="font-family: inherit;">'s self-titled EP starts off with a thrasher, "Self Destruct," but the rest operates in more of a mid-tempo oi-tinged, street punk vein. Brash and to the point and quite catchy at times. Another self-titled EP is by</span><span style="font-family: inherit;"> </span><b style="font-family: inherit;">Cheap Appeal</b><span style="font-family: inherit;">, featuring people from Vacant State, and they work in various shadings from Negative FX (the vocalist sounds like he could be Choke's meaner younger brother), Minor Threat and even some </span><span style="font-family: inherit;">Motörhead. No excess, just meat 'n potatoes hardcore with a rockin' edge. </span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;">Finally, </span><b style="font-family: inherit;">Bootlicker</b><span style="font-family: inherit;">'s </span><i style="font-family: inherit;">6 Track E.P.</i><span style="font-family: inherit;"> is also rough 'n tough, starting with the martial drums and machine gun riffs leading into a good musical ass-whuppin'. The mentality can be summed up succinctly by a phrase from "Fragments"--the songs are, indeed, about "societies atrocities." In more of a UK-82 vein than the other bands. The only distraction is the production is a bit muddy. Not that one would expect high fidelity, of course. By the way, Bootlicker have another 7", </span><i style="font-family: inherit;">Who Do You Serve</i><span style="font-family: inherit;"> on the Warthog Speak label in the US and it's just as ripping. (</span><a href="http://neontasterecords.bandcamp.com/" style="font-family: inherit;">neontasterecords.bandcamp.com</a><span style="font-family: inherit;">)</span></div>
<div style="text-align: left;">
<b style="font-family: inherit;"><br /></b></div>
<div style="text-align: left;">
<b style="font-family: inherit;">A CASE OF SCHIZOPHRENIA</b></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-pUW9x8YVz2Q/XEABKGrvNMI/AAAAAAAACAI/D5_X1e1anok1RkqJlct0Ook0yt7tQ8xywCLcBGAs/s1600/CHRONIC%2BSUBMISSION%2B-%2Bback1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="990" data-original-width="1500" height="263" src="https://4.bp.blogspot.com/-pUW9x8YVz2Q/XEABKGrvNMI/AAAAAAAACAI/D5_X1e1anok1RkqJlct0Ook0yt7tQ8xywCLcBGAs/s400/CHRONIC%2BSUBMISSION%2B-%2Bback1.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="text-align: center;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;">Five, count 'em, five new releases from Schizophrenic Records, two of them plumbing the archives of 80's Toronto hardcore and the other three of more recent vintage. The older material comes from </span><b style="font-family: inherit;">Chronic Submission</b><span style="font-family: inherit;"> and</span><span style="font-family: inherit;"> </span><b style="font-family: inherit;">M.S.I. </b><span style="font-family: inherit;">(aka More Stupid Initials). Chronic Submission's</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Empty Heads Poison Darts</i><span style="font-family: inherit;"> was originally released as a demo in 1984 (I have a copy in my collection). Brian Taylor from the old Toronto band Youth Youth Youth produced it and there are some musical similarities. Chronic Submission were young teenagers when they started the band in 1981. The songs on the demo are fast, peppy hardcore thrash with a sense of melody, as well as metallic flash. The record's accompanied by a booklet that features an a reprint of an extensive 2012 interview done by Stephe Perry from</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Equalizing Distort</i><span style="font-family: inherit;">. In it, the members mention that Jello Biafra was interested in recording them for Alternative Tentacles and advanced them some money, which they proceeded to spend on glue to huff. Oh well. Better late than never. This is high energy stuff and, needless to say, this vinyl pressing was long overdue. </span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;">Unfortunately, the M.S.I.</span><b style="font-family: inherit;"> </b><span style="font-family: inherit;">material hasn't aged quite as well, although it's still enjoyable. Taken from 1986 and 1988 sessions and it's fast, peppy hardcore that doesn't take itself too seriously--how can it with covers by the Archies, Village People and a song taken from the "Wizard of Oz" cartoon series--although some of the lyrics express serious concerns. Slam-bang thrash with hints of melody, occasionally out of sync but with energy to burn. The accompanying booklet is filled with lyrics, photos, flyers and anecdotes, including the time they played with Slapshot and one of them was mocking Choke's hockey stick moves. </span></div>
<div style="text-align: left;">
<b style="font-family: inherit;"><br /></b></div>
<div style="text-align: left;">
<b style="font-family: inherit;">Uncontrollable Urge</b><span style="font-family: inherit;"> don't sound DEVO-esque, as you might have expected, on their debut album. Instead, it's a tandem of garage, punk and even a little psych No hippy-dippy excursions but tight and rocking, particularly on the hard-hitting "Never Now," "Never Mine" and "Dark Days." "Your Way Out" and "Faked It" have a knotty post-punk fervor. Former members of TV Freaks, adding vocalist/guitarist Angie Lanza and it's not far removed from what that band was doing. </span><br />
<b style="font-family: inherit;"><br /></b>
<b style="font-family: inherit;">Flesh Rag</b><span style="font-family: inherit;">'s </span><i style="font-family: inherit;">Inside Your Mind</i><span style="font-family: inherit;"> is pretty much straight-up rawk. Right from the outset, the influences aren't tough to figure out. The title track is an amalgam of the Stooges' "I Got A Right," "1969" and "Little Doll." "Just One Kiss" is MC5-ish. "Love Dump" starts with some AC/DC style riffing. It's on the ordinary side and "Ballad of Nova" is definitely a skip-over track but there are some good rump-shakin' moments here and there, "Bleed For Me" in particular. Checking out some of their back catalog, this album seems to have smoother production. Their debut, self-titled 12" has a lot more of a raw edge to it. I kind of wish they'd maintained that. </span><br />
<b style="font-family: inherit;"><br /></b>
<b style="font-family: inherit;">No Blues</b><span style="font-family: inherit;">' </span><i style="font-family: inherit;">A Collection of Love Songs</i><span style="font-family: inherit;"> is limited to 100 copies on vinyl and collects their demos and 7" tracks, plus five previously-unreleased tunes. Masterminded by Scott Paige from hardcore band Born Wrong (he's also dabbed in Crime-inspired rock with X45), No Blues are quite a different animal. Unabashed power-pop-punk that's catchy as fuck. No high-fidelity and, even with the yearning vocals, there's enough distortion on it to avoid any saccharine OD. Most of you probably won't remember New Sweet Breath but they were a 90s band who did this sort of thing very well. And if you're into the Marked Men or Exploding Hearts (one of No Blues' songs has that title), you'll love this. </span><br />
<span style="font-family: inherit;"><br /></span>
<b>IN RYVVOLTE</b></div>
</span><div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-7gd7tGQX7yw/XD-_9vs5OBI/AAAAAAAAB_k/_VKUIkuiMtY2Ej6fE7oh8PvoNarKv68SQCEwYBhgL/s1600/Syringe.jpg" imageanchor="1" style="font-family: inherit; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1273" data-original-width="1250" height="400" src="https://4.bp.blogspot.com/-7gd7tGQX7yw/XD-_9vs5OBI/AAAAAAAAB_k/_VKUIkuiMtY2Ej6fE7oh8PvoNarKv68SQCEwYBhgL/s400/Syringe.jpg" width="392" /></a></div>
<div style="text-align: center;">
<b><span style="font-family: inherit;">SYRINGE</span></b></div>
<b><span style="font-family: inherit;"><br /></span></b>
<span style="font-family: inherit;">Three (relatively) new 7"s from the Philly label Ryvvolte are by <b>Syringe</b>, <b>Nightfall</b> and a split 7" with two acts from South American, <b>B.E.T.O.E. </b>and <b>Besthoven</b>. The latter is a tribute to Swedish legends the Shit Lickers EP, where each band (or in Besthoven's case, one man project) offer their own interpretation of this classic EP. I'd give the slight edge to B.E.T.O.E., who come closer to the original's raw spirit, although both are played with affection. I wouldn't call it essential, though.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Nightfall's </span><i style="font-family: inherit;">Deadly Game</i><span style="font-family: inherit;"> is a rampaging dose of encrusted Swedish hardcore, done in go-for-the-throat fashion and with Discharge-haiku type lyrics. Self-deseribed as "noise and distortion against the fucking bloodsuckers." That sums it up. Finally, Syringe's vinyl debut, the </span><i style="font-family: inherit;">Rotten Cycle EP</i><span style="font-family: inherit;">, features raw-throated twin vocalists and a fast 'n burning crust-core/d-beat assault, with feedback and wah-wah being part of the guitar aresenal. Syringe also have a new two song flexi, </span><i style="font-family: inherit;">The Leash</i><span style="font-family: inherit;">, on the Dark Raids label (</span><a href="http://darkraidslabel.storenvy.com/" style="font-family: inherit;">darkraidslabel.storenvy.com</a><span style="font-family: inherit;">) that continues in a similarly loud and raging fashion. (</span><a href="http://ryvvolterecords.storenvy.com/" style="font-family: inherit;">ryvvolterecords.storenvy.com</a><span style="font-family: inherit;">)</span><br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<b style="font-family: inherit;">BUT WAIT... THERE'S MORE...</b><br />
<b><span style="font-family: inherit;"><br /></span></b>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-uPAwHCEM3z0/XD_AWnidK_I/AAAAAAAAB_s/RVsp5MdZcpMiDlhmXjtUZntKnOCeGZLlACEwYBhgL/s1600/vanilla-poppers-angela-owens-600.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="600" height="266" src="https://2.bp.blogspot.com/-uPAwHCEM3z0/XD_AWnidK_I/AAAAAAAAB_s/RVsp5MdZcpMiDlhmXjtUZntKnOCeGZLlACEwYBhgL/s400/vanilla-poppers-angela-owens-600.jpg" width="400" /></a></div>
<div style="text-align: center;">
<b><span style="font-family: inherit;">VANILLA POPPERS (photo: Angela Owens)</span></b></div>
<b><span style="font-family: inherit;"><br /></span></b><b><span style="font-family: inherit;">BAD MOJOS-I Hope You OD (Voodoo Rhythm, CD)</span></b><br />
<span style="font-family: inherit;">This Swiss band have no doubt listened to more than their fair share of Spits records because that comes through both musically and vocally. Totally blatant, in fact, but they do it damned well. Succinct and to the point, avoiding deep lyrical poetry and just going for a knee to the groin. </span>Plenty of snot, fuzz 'n buzz for your buck. (<a href="http://www.voodoorhythm.com/">www.voodoorhythm.com</a>)<br />
<b><span style="font-family: inherit;"><br /></span></b>
<b><span style="font-family: inherit;">BRANDY-Laugh Track (Monofonus Press, LP)</span></b><br />
<span style="font-family: inherit;">Big-ass riffarola noise-rock with one former member (Matthew Hord) of Running, who specialized in this sort of ear-splittery. While Brandy could very well have been on Amphetamine Reptile and the music is heavy, it's not metal. <i>El distorto </i>bass-lines pulverizing everything in their path, hornet-swarming guitar and whomping drums, to go along with the buried-in-the-mix vocals and everything turned up nice and loud. Chome, Unsane and Jesus Lizard could be some touchstones. "Blandy" is about as close to melodic as they come and even that song rages like crazy. Prepare to be wrecked. (<a href="http://monofonuspress.com/">monofonuspress.com</a>)</span><br />
<span style="font-family: inherit;"><b><br /></b></span><b>CELEBRITY HANDSHAKE-That's Showbiz, Baby! (Eastern Prawn, 7")</b><br />
Two songs of noisy-as-fuck garage bash--just guitar, drums, barely-audible rinky-dink keyboards and unhinged vocals. About as primitive and tuneless as it gets, a wanton sonic excursion that's abrasive as fuck. In other words, it'll clear the people from any room... including me. (<a href="http://celebrityhandshake.bandcamp.com/">celebrityhandshake.bandcamp.com</a>)<br />
<b style="font-family: inherit;"><br /></b>
<b style="font-family: inherit;">DEATHWISH-Rock 'N' Roll's One Hell Of A Drug (Beer City, 2xLP)</b><br />
<span style="font-family: inherit;">When I was much younger, you'd occasionally come across two-fer vinyl packages, combining two previous releases into one. There were a pair of them for early Who albums, as well as sets for Syd Barrett and Jeff Beck. Of course, the CD era made those types of pairings a lot more common. Now this Wisconsin powerhouse have put their first two 12"s (2015's <i>Out For Blood</i> and 2017's <i>Unleash Hell) </i>together for maximum kill effect and, of course, it's limited to 666 copies. The term "Motörcharged" is becoming overused but it's an accurate description for this loud 'n fast unit. Searing, blazing double-barreled guitar riffing along with a rumbling bottom end. At their core, Deathwish are just a fast 'n furious band. Songs like "Flat-Line," and "Six Bullet Roulette" and while "There Will Be Blood" rocks like a motherfucker. Rock 'n' roll definitely remains my preferred kind of drug. (<a href="http://www.beercity.com/">www.beercity.com</a>)</span><br />
<span style="font-family: inherit;"><br /></span>
<b><span style="font-family: inherit;">EXOTICA-Musique Exotique #03 (La Vida Es Un Mus, 7")</span></b><br />
<span style="font-family: inherit;">More noise from Casa de Rata, that is Dave Rata, who's played in a number of bands over the years (Ratas Del Vaticano, Muerte, Pobreza Mental) both in Mexico and NYC. Exotica keep the thumping and chaotic NY bung-punk tradition alive, with scampering drums and buzzsaw guitar (the sizzle-whizzle effects on "Desciendo" are mind-melting), merging it with anarcho touches. Pure burn.(<a href="http://www.lavidaesunmus.com/">www.lavidaesunmus.com</a>)</span><br />
<b style="font-family: inherit;"><br /></b>
<b style="font-family: inherit;">LIÉ-Hounds (Monofonus Press, LP)</b><br />
<div class="MsoNoSpacing">
<span style="font-family: inherit;">Everyone who bags on <i>Maximum Rocknroll </i>probably haven't read it in decades, if ever. One reason I'd read it, even if I wasn't a columnist, is that I still find out about new bands or ones I've missed. A recent interview with this band in those pages piqued my interest and "Hounds," their third, is a scorcher. Surging, jarring, jabbing rock with a dark edginess and a goth tinge. Ear-messing, swirling guitar lines, throbbing, distorted bass and hard-hitting drumming, along with vocals that pack both sadness and rage. You can hear a little Siouxsie Sioux, although the timbre is lower. Like a fierier version of White Lung. (<a href="http://monofonuspress.com/">monofonuspress.com</a>)</span><br />
<span style="font-family: inherit;"><br /></span>
<b>MAN DESTROYS-Everything (Not Like You, 7" EP)</b><br />
Pretty standard raw, fast and angry hardcore with Simon from Supermarket Trolleys and Jeff from Final Conflict. A vinyl pressing of their demo, it's a d-beat infused attack, accompanied by well-tread lyrical concerns--cops, war, puppies... OK, I'm kidding about the last one. Pink vinyl--maybe blood red would have been better? (102 Richmond Dr. SE, Albuquerque, NM 87106, <a href="http://www.notlikeyourecords.com/">www.notlikeyourecords.com</a>)<br />
<br />
<div style="text-align: center;">
<a href="https://4.bp.blogspot.com/-3iLtHfd0qyc/XD-_9Qlz7rI/AAAAAAAAB_c/7b9lyc96LZgJGL4Pya_oAtqOvNkD0ZnVACEwYBhgL/s1600/Nasho.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="674" data-original-width="1200" height="222" src="https://4.bp.blogspot.com/-3iLtHfd0qyc/XD-_9Qlz7rI/AAAAAAAAB_c/7b9lyc96LZgJGL4Pya_oAtqOvNkD0ZnVACEwYBhgL/s400/Nasho.jpg" width="400" /></a></div>
<div style="text-align: center;">
<b>NASHO</b></div>
<b style="text-align: center;"><span style="font-family: inherit;"><br /></span></b>
<b style="text-align: center;"><span style="font-family: inherit;">NASHO-s/t (Nopatience, LP)</span></b></div>
<span style="font-family: inherit;">This multi-racial, multinational band based in Australia have very strong feelings about colonialism, racsim and gentrification, to name a few things, on their first album. Nasho is short for nationalist, something that's on the rise in Australia (as in many places). Those sentiments are combined with a dark, power-packed sound. Echo and reverb on the vocals buried a bit in the mix, along with a dense musical ominousness. Hardcore, punk and goth, with Peni-esque shadings and it's a potent statement. (www.nopatience.org)</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-NJ_D-ocZHpk/XD-_9nKq7pI/AAAAAAAAB_Y/STnqK0LAYKgtfH-FEzgORwjGhFV0KHDdQCEwYBhgL/s1600/NB.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1333" data-original-width="1600" height="332" src="https://3.bp.blogspot.com/-NJ_D-ocZHpk/XD-_9nKq7pI/AAAAAAAAB_Y/STnqK0LAYKgtfH-FEzgORwjGhFV0KHDdQCEwYBhgL/s400/NB.jpg" width="400" /></span></a></div>
<div style="text-align: center;">
<b><span style="font-family: inherit;">NIGHT BIRDS</span></b></div>
<div style="text-align: center;">
<b><span style="font-family: inherit;"><br /></span></b></div>
<b><span style="font-family: inherit;">NIGHT BIRDS-Roll Credits (Fat, LP)</span></b><br />
<span style="font-family: inherit;">A band steeped in the history of punk, trashy TV, real crime and also with a bit of a political conscience. You get all of that here, starting with the back cover parodying the <i>Killed By Death</i> comps and the Stiff Records nod for the record's label. Running the gamut from hardcore ("Onward To Obscurity, with backing vocals by Poison Idea's Jerry A and the anti-Trumpster rant "White Noise Machine"), tuneful west coast-inflected punk and opening and closing instrumentals--truth be told, the closing title track goes on a bit long. "Uranium Girl," underpinned by spooky organ and shit-hot guitar playing, is catchy as fuck and kudos for covering the Suicide Commandos, although I might have picked a different song than "I Need A Torch." Maybe "Burn It Down" or, if you wanted to keep in more of a sci-fi bent, maybe "Mr. Dr." Get on it, guys! (<a href="http://www.fatwreck.com/">www.fatwreck.com</a>)</span><br />
<b><span style="font-family: inherit;"><br /></span></b>
<b><span style="font-family: inherit;">PRIORS-New Pleasure (Slovenly, LP)</span></b><br />
<span style="font-family: inherit;">Nervy punk/new wave/garage from this Montreal band that have me thinking they're a more guitar-driven, less mechanized cousin to ISS. Gnashing guitar spearheading this band's heady attack, topped off with squiggly synth lines and echo-laden vocals bubbling just beneath the surface. A psycho-head blowout--yes, that's borrowed and you'll have to look it up--to mess up your mind. A new EP, <i>Call For You</i> is already in the pipeline. (<a href="http://www.slovenly.com/">www.slovenly.com</a>)</span><br />
<span style="font-family: inherit;"><b><br /></b></span>
<b style="font-family: inherit;">TOMMY AND THE COMMIES-Here Come (Slovenly, 12")</b><br />
<span style="font-family: inherit;">Technically a one-sided 12", with the program repeated on the second side. Sneaky bastids! Anyway, this is unabashed bright 'n sprightly power-pop/punk although it's tougher than your garden variety skinny tie combo. Tommy and his Commies add a sharp mod revival flair, as well as Undertonesy guitar licks percolating through the hook-laden arrangements. Infectiously fun. (<a href="http://www.slovenly.com/">www.slovenly.com</a>)</span><br />
<span style="font-family: inherit;"><br /></span>
<b><span style="font-family: inherit;">U-NIX-Nuke Portland (Feel It, 12")</span></b><br />
<span style="font-family: inherit;">Nuke Portland? But what about all of those cool record stores? Voodoo Doughnuts? Poison Idea Park? OK, I realize there <i>is</i> no Poison Idea Park but there should be or, at the very least, a Pig Champion statue. I feel 'em, though. I sometimes wish they'd nuke the city where I live. U-Nix's guitarist John Cardwell used to do the fretwork for the somewhat underappreciated Nasa Space Universe, who tread in oftentimes unpredictable off-kilter hardcore. U-Nix have some of those qualities but it sometimes sounds even meaner and more unhinged. Sputtering and angry, borth musically and vocally, negotiating hairpin time changes with ruthless efficiency. Threatening to fly apart at any second but they're too tight for that happen. Not even nine mutes long and you're left spent. Time to play it again! (<a href="http://feelitrecordshop.com/">feelitrecordshop.com</a>)</span><br />
<b style="font-family: inherit;"><br /></b>
<b style="font-family: inherit;">VANILLA POPPERS-I Like Your Band (Feel It, 7")</b><br />
<span style="font-family: inherit;">Four more rockin' rollin' punk songs from the Poppers, who had one of my favorite albums of 2017. Christina Pap's vocals have a cutting, ranting quality and the lyrics are pointed, semi-satirical observations about human interactions and struggles (?). "I Am Adult Baby" shows how hard it can be to get your shit together while the title track is a wise-assed poke at scenester types. Big-ass riffs with plenty of fuzz and an abundance of rhythmic wallop. (<a href="http://feelitrecordshop.com/">feelitrecordshop.com</a>)</span><br />
<span style="font-family: inherit;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-92MvpQ_fyTE/XD-_-I_oCqI/AAAAAAAAB_U/4o9B6Qv3rwQXpz9DuKFNXSRgBfS583npACEwYBhgL/s1600/WM.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1472" data-original-width="1431" height="400" src="https://2.bp.blogspot.com/-92MvpQ_fyTE/XD-_-I_oCqI/AAAAAAAAB_U/4o9B6Qv3rwQXpz9DuKFNXSRgBfS583npACEwYBhgL/s400/WM.jpg" width="388" /></span></a></div>
<div style="text-align: center;">
<b><span style="font-family: inherit;">WASTE MANAGEMENT</span></b></div>
<b><span style="font-family: inherit;"><br /></span></b>
<b><span style="font-family: inherit;">WASTE MANAGEMENT-Tried and True (Painkiller, LP)</span></b><br />
<span style="font-family: inherit;">Well, it's about time this longtime (as in over a decade) Mass. band got an album out and, to use the cliche, yes it was worth the wait. This is a primer in classic hardcore, both from early 80s Boston, as well as NYHC later in the decade and given a modern feel. SS Decontrol, Negative FX and Jerry's Kids figure into the equation from this neck of the woods. Craig sounds pissed off as hell and, while the lyrics express disgust, there's a surprising amount of positivity. Don't let anything stand in your way, fight through it. It's almost like a musical power of positive thinking course. Yes, I'm being a bit of a joker but this is well-played, powerful and urgent hardcore. (<a href="http://painkillerrecords.limitedrun.com/">painkillerrecords.limitedrun.com</a>)</span><br />
<b><br /></b>
Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-88365596674472049142018-12-28T11:07:00.000-05:002019-03-22T11:29:18.754-04:00Suburban Voice blog #134--The Best of 2018<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-jLEC6ATRPTE/XJT-Y3kKBDI/AAAAAAAACBI/aJhplwWTHUI0iJ9GEEeEiPnSV9_87BxyACLcBGAs/s1600/Attachment-1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="790" height="400" src="https://3.bp.blogspot.com/-jLEC6ATRPTE/XJT-Y3kKBDI/AAAAAAAACBI/aJhplwWTHUI0iJ9GEEeEiPnSV9_87BxyACLcBGAs/s400/Attachment-1.jpeg" width="328" /></a></div>
<div class="separator" style="clear: both; margin: 0px; text-align: center;">
<b style="font-family: inherit;">SIAL (photo: M. Thorn)</b></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;">Yup,
another year passes and this one wasn’t as completely fucked up as recent years.
Sure, we still have a fucking fascist asshole for a president. There are also
some personal challenges ahead but nothing insurmountable. On a very happy
note, my beautiful wife Ellen and I celebrated our 30th wedding anniversary
this past June. The Red Sox won the World Series. And punk rock continues to be
the balm that helps me cope with life’s pressures. </span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">So here are my favorites of the year, more or less in order, subject to change, void where
prohibited, mileage may vary, check with your doctor or pharmacist… <i>(note: there are a few changes from my Maximum Rocknroll Top 10... what did I say about subject to change?)</i><o:p></o:p></span><br />
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<b>THE TOP TEN</b><br />
<span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>1.
MARBLED EYE-Leisure (Digital Regress, LP)</b><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">This
band operates in a similar realm as Institute, in that there's an air of
melancholy and detachment, both lyrically and vocally. One difference, though,
is the enunciation is sharper i.e. neither vocalist sounds as though they're
slurring their words. The songs are built on sublime chord progressions and
changes that often add a subtle, sneaky hookiness. It's not somber music,
though. Everything is sharp and energetic, melodic and muscular. It all meshes
perfectly, twin guitar lines swirling around each other, supported by a
hard-hitting, rhythmic versatility. Some jarring post-punk moves here and there
but, for the most part, the songs aren't herky-jerky. They have a steadier flow
and will burn into your brain. <o:p></o:p></span><br />
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3199296187/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://marbledeye.bandcamp.com/album/leisure-lp">Leisure LP by MARBLED EYE</a></iframe>
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>2. BETA BOYS-Late Night Acts (Feel It, LP)</b></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;">Their best stuff to date, following a
number of 7”s. Snotty, snarly hardcore punk with textured guitar shadings <i style="mso-bidi-font-style: normal;">ala</i> <i style="mso-bidi-font-style: normal;">Dance
With Me </i>era TSOL. There’s an overarching darkness both musically and
lyrically but not really falling into the goth category, even with
doomy-sounding songs like the title track and “L’Appel Du Vide.” A power-packed
journey destined to give you nightmares. <o:p></o:p></span><br />
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3473021420/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://feelitrecords.bandcamp.com/album/late-nite-acts">Late Nite Acts by Beta Boys</a></iframe>
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>3. NO LOVE-Choke On It (Sorry State, LP)</b><br />
Feverish and frenetic punk by this NC band. There's melody but there's also a
high bash quotient that keep the songs surging along. I hear a little bit of White Lung (without the gothic trappings) and No Love’s label mates Joint D≠, the
latter due to the sonic dust-cloud effect, and these are thrown into a hardcore
swirl. Three years since their first 7", worth the wait. <o:p></o:p></span><br />
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4204121155/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://noloveraleigh.bandcamp.com/album/choke-on-it">Choke On It by No Love</a></iframe>
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>4. BLOOD PRESSURE-Surrounded (Beach Impediment, LP)</b><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">The
return of one of the best hardcore bands in the US, this is just as relentlessly
raging as Blood Pressure's <i>Need To Control</i> album. Fast and
burning with Adam Thomas' angry-as-fuck vocals and one blazer going straight
into the other. The execution is perfect and the anti-social attitude remains
as in-your-face as ever. "Misanthropy," "Useless," "Hate"...
you get the idea. Suffering no fools. This is the real shit, accept no
substitute. Unfortunately, this is the end of the line as they're splitting up at the end of the year.<o:p></o:p></span><br />
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1058516938/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://beachimpedimentrecords.bandcamp.com/album/surrounded">Surrounded by Blood Pressure</a></iframe>
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>5. PHYSIQUE-Punk Life Is Shit (Iron Lung, 12")</b></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;">“<i style="mso-bidi-font-style: normal;">We
make noise because noise is natures (sic) own politic.”</i> That’s what it says
on the back cover of this one-sided 12” and noise is what you get, although
it’s not wrapped in an impenetrable sonic cocoon. This Olympia band dish out
blistering/pulverizing fodder with the requisite Discharge/Disorder/Kaaos bent,
all of it done at a fast clip, save for the pounding “Game.” Reverb on the
vocals and a razor-sharp musical attack. <o:p></o:p></span><br />
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1520696292/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://ironlungpv.bandcamp.com/album/punk-life-is-shit-mlp-lungs-117">Punk Life Is Shit MLP (LUNGS-117) by PHYSIQUE</a></iframe>
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>6. LITHICS-Mating Surfaces (Kill Rock Stars, LP)</b><br />
Sharp, jabbing art-punk or post-punk or whatever hackneyed expression you want
to use. Tightly-executed compositions with busy instrumental interplay and
Aubrey Hornor's detached-sounding vocals. At times, there's a UK flavor to
them. "Still Forms" is reminiscent of the Fire Engines, for instance.
"Boyce," meanwhile, has a No Wave vibe. Sometimes, they go for more
of a straight-ahead punk sound, as with "Flat Rock" or "Dancing
Guy," the latter of which also has some stop/start no wavish-flourishes.
Nervy and edgy, throughout.</span><br />
<span style="font-family: inherit;"><br /></span>
<br />
<div class="MsoNoSpacing">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3820636070/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://lithics.bandcamp.com/album/mating-surfaces">Mating Surfaces by Lithics</a></iframe><br />
<b style="font-family: inherit;"><br /></b>
<b style="font-family: inherit;">7. SIAL-Binasa (La Vida Es Un Mus, 7")</b></div>
<span style="font-family: inherit;">This band from Singapore played Boston a few months back and there was something I had to do that I absolutely, positively couldn’t get out of, so I missed their show. And that’s something I’m going to be kicking myself about for a long time to come. That’s especially true when listening to this crushing EP. Trebly raw punk with barbed-wire guitar mangling and reverb on Siti’s vocals and she sounds like she could be Dru from Criaturas’ Singapore sister. A sonic buzzsaw, as dangerous as a disturbed hornets nest.</span><span style="font-family: inherit;"></span><br />
<br /></div>
<div class="MsoNoSpacing">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=860230252/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://lavidaesunmus.bandcamp.com/album/binasa-ep">Binasa EP by Sial</a></iframe>
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><b>8.
COLD MEAT-Pork Sword Fever (Static Shock/Helta Skelta, 7")</b><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">Another
Aussie band, this one from Perth, and they play tough, gnashing post-punk and
Riot Grrrl-tinged punk (you following me here?). Ashley’s commanding vocals are
pissed-off sounding and, right from the outset, there’s no missing the point of
“Boys Riot”—<i style="mso-bidi-font-style: normal;">“Alpha fuck off mate!”</i> An
exploration of interpersonal relationships and roles, done in stomping fashion.
<o:p></o:p></span><br />
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3380197905/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://staticshockrecords.bandcamp.com/album/pork-sword-fever">Pork Sword Fever by Cold Meat</a></iframe>
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>9. BB & THE BLIPS-Shame Job (Thrilling Living, LP)</b><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;">Bryony Beynon (Scepters, Good Throb) has relocated
to Sydney, Australia and didn’t waste a lot of time putting together a pretty
damned good new band. Snappy and catchy songs, accompanied by Bryony’s low to
high, back and forth sweeping, sarcastic vocals. It flows easily from the title
track’s punk punch to the fast and furious “L.I.B.I.D.O.” to thumping “Bitcoin
Baby” to brooding “The Ballad of Personal Growth” to post-punkier “Cyborg.” Sorry
for the run-on sentence. This is a joy from start to finish, brimming with
passion and fury but it’s also charming as hell. <o:p></o:p></span><br />
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=462997812/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://thrillingliving.bandcamp.com/album/shame-job-lp">"Shame Job" LP by BB and the Blips</a></iframe><span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><b><br /></b></span></div>
<div class="MsoNoSpacing">
<b><span style="font-family: inherit;"><span style="font-family: "times new roman" , serif;">10. </span>TERRORIST-American Today (Toxic State, 7")</span></b></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">A killer 7" by NYC band Terrorist. Pancho's vocals are gruff and pugnacious and this unit delve into some furious anarcho punk, with a pounding mid-tempo stomp and plenty of guitar pyrotechnics. "Corruption and Lies" is a numbing mantra that embeds itself in your brain. All of these songs will.</span><br />
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2345376547/size=large/bgcol=333333/linkcol=0f91ff/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://terroristpunknyc.bandcamp.com/album/american-today">American Today by Terrorist</a></iframe>
<br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<b>JUST BUBBLING UNDER (in alphabetical order)</b></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://f4.bcbits.com/img/0011450566_10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="533" data-original-width="800" height="266" src="https://f4.bcbits.com/img/0011450566_10.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<b>MUJERES PODRIDAS (from Bandcamp page)</b></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><br /></span></div>
<div class="separator" style="clear: both; text-align: left;">
BAD BREEDING-Abandonment (One Little Indian, 12")</div>
</div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">BILLS-Take Two (demo)</span><br />
<span style="font-family: inherit;">BRANDY-Laugh Track (Monofonus Press, LP)</span><br />
<span style="font-family: inherit;">COLLATE-Limited Returns (self-released, LP)</span><br />
DAUÐYFLIN-Dauþiflin (Iron Lung, 7")<br />
<span style="font-family: inherit;">DONKEY BUGS-Ancient Chinese Secrets (Fish, 12")</span><br />
<span style="font-family: inherit;">IV-Magnesium (Total Punk, 7")</span><br />
<span style="font-family: inherit;">JUDY AND THE JERKS-Roll On Summer Holidays (Earth Girl Tapes, demo)</span><br />
<span style="font-family: inherit;">LIÉ-Hounds (Monofonus Press, LP)</span><br />
<span style="font-family: inherit;">MUJERES PODRIDAS-Sobredosis (demo)</span><br />
<span style="font-family: inherit;">NAJA-s/t (demo)</span><br />
<span style="font-family: inherit;">NASHO-s/t LP (Nopatience, LP)</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><b>BEST LIVE (in alphabetical order)</b></span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-DIKuC2aoGIs/XCWS1soHCbI/AAAAAAAAB-U/pMTGUKFTwLIdk3Ye8EbAwp1MfTVVwPniQCLcBGAs/s1600/LOTION.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="797" height="400" src="https://4.bp.blogspot.com/-DIKuC2aoGIs/XCWS1soHCbI/AAAAAAAAB-U/pMTGUKFTwLIdk3Ye8EbAwp1MfTVVwPniQCLcBGAs/s400/LOTION.jpg" width="331" /></a></div>
<div style="text-align: center;">
<b>L.O.T.I.O.N.</b></div>
<br />
C.H.E.W.<br />
FUTURA<br />
<span style="font-family: inherit;">GELD</span><br />
<span style="font-family: inherit;">IMPALERS</span><br />
<span style="font-family: inherit;">JESUS
LIZARD</span><br />
<span style="font-family: inherit;">L.O.T.I.O.N.</span><br />
<span style="font-family: inherit;">PHYSIQUE</span><br />
<span style="font-family: inherit;">TOZCOS</span><br />
<span style="font-family: inherit;">VIDEO FILTH</span><br />
<span style="font-family: inherit;">WASTE
MANAGEMENT</span><br />
<span style="font-family: inherit;"><br /></span>
<b>ONE OF MY FAVORITE SONGS OF THE YEAR</b><br />
The album didn't quite make my top ten but I can't get enough of this song by the Cleveland duo Donkey Bugs, which features Steve Peffer (9 Shocks Terror, Homostupids, Pleasure Leftists and more) and Haley Morris (Pleasure Leftists)<br />
<br />
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/g6SLK4s9VqI" width="560"></iframe><br />
<b><br /></b>
<b>IN MEMORIAM</b><br />
<b><br /></b>
Lillian Shapiro (my cousin)<br />
Todd "Youth" Schofield<br />
Francesca ArayaAlhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-12933002946632739662018-11-24T14:42:00.001-05:002018-11-24T14:42:22.455-05:00Suburban Voice blog #133<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-7tVW35NYXRk/W_mTbjgg9pI/AAAAAAAAB80/5LfLT7AOdh4XiQxa9Fj7NjsWi1qrhAyAQCEwYBhgL/s1600/Judy%2Band%2Bthe%2BJerks.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="478" data-original-width="638" height="298" src="https://3.bp.blogspot.com/-7tVW35NYXRk/W_mTbjgg9pI/AAAAAAAAB80/5LfLT7AOdh4XiQxa9Fj7NjsWi1qrhAyAQCEwYBhgL/s400/Judy%2Band%2Bthe%2BJerks.jpg" width="400" /></a></div>
<div style="text-align: center;">
<b>JUDY AND THE JERKS</b></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>TIME TO ATTACK THE DEMO TAPE PILE</b><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><b>The Uncommited</b>'s self-titled demo features thrashy hardcore with super-gruff vocals and a pedal steel guitar to go along with the more traditional electric six string. In addition to their five original tracks, there's an updated version of the Fugs' (via Sun City Girls) "CIA Man," retitled as "See Aye." A wild 'n wooly hardcore hoedown. (<a href="http://uncommitted.bandcamp.com/">uncommitted.bandcamp.com</a>)</span></div>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Next, we have tapes from two North Carolina bands. <b>Vittna</b> have released a teaser tape for their upcoming 7" EP on Bunker Punks--two of the EP songs, plus three live songs, one of which is a cover of Sacrilege's "Dig Your Own Grave." Scalding vocals and a rampaging attack that also adds some textured tones in the guitar playing. The live tracks are rough but don't sound like they were recorded on a boombox. Jeff from Vittna also plays in <b>Scarecrow</b> and Daniel from Sorry State Records is their bass player. Straight-up Swedish-style hardcore driven by thumping drumming and full-bore guitar crunch/sizzle, with vocals buried a bit in the mix. No surprises, just blaze. (<a href="http://bunkerpunks.bandcamp.com/">bunkerpunks.bandcamp.com</a>)</span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span></span>
<span style="font-family: inherit;"><span style="font-family: inherit;">The two most recent releases from More Power Tapes are by </span><b style="font-family: inherit;">Science Man</b><span style="font-family: inherit;"> and </span><b style="font-family: inherit;">Cyber Bullies</b><span style="font-family: inherit;">. Science Man is a solo project masterminded by John Toohill from Alpha Hopper and Radiation Risks and the insert says it was recorded mostly inside a moving van. That's a tour van, not one you use to move furniture and it was moving. I hope he wasn't driving, too. Bashing, synth and guitar-driven compositions with an angry edge, a bit along the lines of Destruction Unit. There's nothing quirky-cute or mechanized-sounding about it. This comes from a darker impulse. "Science Monster," in particular, is plenty skull-smashing. The one exception is the semi-ambient instrumental "Airport Underground" that won't be mistaken for Eno's "Music For Airports" anytime soon. John's put together a live incarnation and apparently does science experiments while they play. Science gone too far? Let's hope so. (<a href="http://morepowertapes.bandcamp.com/">morepowertapes.bandcamp.com</a>)</span></span><br />
<span style="font-family: inherit;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-4dyHhMJdDPE/W_mTdd7hYSI/AAAAAAAAB9g/R0YSBTOfgaI2RPB8hY2Urvmzkb1-r0NwgCEwYBhgL/s1600/P1160337.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1249" data-original-width="1600" height="311" src="https://3.bp.blogspot.com/-4dyHhMJdDPE/W_mTdd7hYSI/AAAAAAAAB9g/R0YSBTOfgaI2RPB8hY2Urvmzkb1-r0NwgCEwYBhgL/s400/P1160337.JPG" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><b>LAWMAN</b></span></div>
<span style="font-family: inherit;"><br style="mso-special-character: line-break;" /></span><span style="font-family: inherit;"><b>Lawman</b>'s <i>On Patrol </i>demo provides some mean 'n ornery punk/rock 'n roll. Dave Shay (ex-Fast Death/Purgatory) belts out the words with a tonsil-shredding growl and the band exhibit solid high-powered chops. Two mid-tempo crushers, as well as the Motörcharged fury of "Manslaughter." Bare-knuckled pillage. (<a href="http://lawman-rnr.bandcamp.com/">lawman-rnr.bandcamp.com</a>)</span><br />
<b style="font-family: inherit;"><br /></b>
<b style="font-family: inherit;">Sick Burn</b><span style="font-family: inherit;"> includes 3/4 of Sacramento ragers RAD (different guitarist), and, to borrow one of the song titles, it's a demonstration of the joy of thrashing. Loud-fast slam-bang hardcore punk destined to get everyone into a frenzy. "O.P.I.G."</span><br />
<div class="MsoNoSpacing">
<div class="separator" style="clear: both; text-align: center;">
</div>
<span style="font-family: inherit;">("Old Punks Is Grumpies") is about old punks talking about the good 'ol days while putting down people keeping things alive. All I have to say is #NotAllOldPunks! See you in the pit. (<a href="http://sickburn.bandcamp.com/">sickburn.bandcamp.com</a>)</span><span style="font-family: inherit;"><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;"><b>Barricaded Suspects</b> mix up driving hardcore with edgier elements on their latest demo, Enough. There's the nervy, mid-tempo burn of "Usurp" and the jarring "You've Got A Beard," as well as the mid-tempo thump of "Pyramid" deviating from the thrash formula. High energy material. (<a href="http://barricadedsuspects.bandcamp.com/">barricadedsuspects.bandcamp.com</a>)</span><span style="font-family: inherit;"><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">Biff and Nicky from Radiation Risks moonlight in <b>Cyber Bullies</b> and their <i>Leather and Lazers</i> demo is a wise-assed, snot-nosed 80s keyboard-laced new wave/garage/punk throwback full of manic energy. These ain't Devo clones--if anything, it's probably closer to Dow Jones & The Industrials' wilder moments. Funny '80s-oriented lyrics about Gorbachev and the Reagan assassination attempt written by people who were born in the 80s, not the mid to late 60's as they claim on the opening song. (<a href="http://morepowertapes.bandcamp.com/">morepowertapes.bandcamp.com</a>) </span><span style="font-family: inherit;"><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">A few years ago, More Power released a pretty good demo by the Hattiesburg, MS band Big Bleach and there's been a merger of member(s) of that band and another Hattiesburg band Baghead for <b>Judy and the Jerks</b>, who have just released their fourth tape, Roll On Summer Holidays. Fun, spirited hardcore punk with a rambunctious attitude and sharp musicianship. That comes out for the bass and guitar runs on "Dog." "Goblin Reprise" is the tour-de-force, starting with a lumbering bass/drums/feedback tandem that sounds a lot like Gang Green's "Selfish," and, along the way, Judy gives a narrative about one day killing all the people making her life miserable, especially at work. There's a noisy free-form freakout in the middle of the song before settling back into the main riff. A total blast. (<a href="http://judyandthejerks.bandcamp.com/">judyandthejerks.bandcamp.com</a>)</span><span style="font-family: inherit;"><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">Chicago band <b>Slaughter Rule</b>'s modus operandi is raw and angry hardcore whose intent is expressed rather succinctly with "Kill Him," ending with what sounds like a power-tool coming to a stop. Distortion on the vocals and coming from the same dark realm that a band like Hoax populated, especially for "Never Better" and the opening duo of tracks, "The Dream/What's Real." Distorted vocals just add to the menacing ambiance. (<a href="http://slaughterrule.bandcamp.com/">slaughterrule.bandcamp.com</a>)</span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br style="mso-special-character: line-break;" /></span><span style="font-family: inherit;"><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><b>MUSIC IN OTHER FORMATS...</b></span><br />
<span style="font-family: inherit;"><b><br /></b></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-gkc-jYyk7U4/W_mTgBRNnhI/AAAAAAAAB9o/Ivx8eExdkn0XQRjkjPfl6Vvc6do-UGQkwCEwYBhgL/s1600/collate.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://2.bp.blogspot.com/-gkc-jYyk7U4/W_mTgBRNnhI/AAAAAAAAB9o/Ivx8eExdkn0XQRjkjPfl6Vvc6do-UGQkwCEwYBhgL/s400/collate.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<b>COLLATE (photo: Charlie Zaillian)</b></div>
<b style="font-family: inherit;"><br /></b>
<b style="font-family: inherit;">ABOLITIONIST-The Instant (1859, LP)</b><br />
More charging, urgent-sounding melodic punk from this Portland band. There's a bit of a Propagandhi feel at times, although with a rougher edge than that band has plied in years. It all sounds pretty damned upbeat, even as the world crumbles around us. That's what's gleaned from the lyrics. The timeless sentiment of feeling out of step with the world (where have I heard that before?), and striving for some sort of movement to fix it all. I'm not all that optimistic about that happening but I'm a cynical old fuck. What can you do? Anyway, it's another enjoyable effort burning with an energetic passion. (<a href="http://abolitionist.bandcamp.com/">abolitionist.bandcamp.com</a>)<br />
<span style="font-family: inherit;"><b><br /></b></span><span style="font-family: inherit;"><b>AGAINST-Welcome To The Aftermath (Radio Raheem/Coladicto, LP)</b></span><br />
<span style="font-family: inherit;">Against were a somewhat more obscure SoCal hardcore punk band in the early to mid-80s and this is a worthwhile unearthing. It's actually the second time these recordings--a 1984 unreleased album and 1983 demo--have been unearthed. The first time around was on the Grand Theft Audio CD <i>No Arms</i> that came out sometime in the 90s. But this is the first time on vinyl and it's beautifully packaged, with a fold-out poster that has lyrics and liner notes. This is manic hardcore drawing from Discharge school, adding hoarse vocals and shredding guitar leads to the velocity-driven onslaught. This was at a time where the US wasn't overrun with Dis-inspired bands and Against didn't really fit into the old school US hardcore mold. </span>The demo sounds rougher than the subsequent recording and I actually prefer the former's lack of polish, although both hit hard. (<a href="http://deathwishinc.com/collections/radio-raheem">deathwishinc.com/collections/radio-raheem</a>)<br />
<span style="font-family: inherit;"><b><br /></b></span><span style="font-family: inherit;"><b>BEYOND PEACE-What's There To Be So Proud Of? (Slugsalt, 7")</b></span><br />
<span style="font-family: inherit;">Blistering, nearly out-of-control hardcore from Iowa City. A bit sloppy but boiling over with pure anger. There's a white supremacist named Steve King is a Congressman in their state (though not in their district) who just got reelected. The title track takes dead aim at the type of people who support him i.e. what's there to be proud of just because you have white skin? Unfettered protest music (<a href="http://www.slugsaltrex.com/">www.slugsaltrex.com</a>)</span><br />
<span style="font-family: inherit;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><a href="https://3.bp.blogspot.com/-DrwA5NJz-8w/W_mTeODcLPI/AAAAAAAAB9Y/3mX8P9-dDdIQsa5p51kJPmIcTqjzXQgYgCEwYBhgL/s1600/20160806_163557.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="971" data-original-width="1600" height="242" src="https://3.bp.blogspot.com/-DrwA5NJz-8w/W_mTeODcLPI/AAAAAAAAB9Y/3mX8P9-dDdIQsa5p51kJPmIcTqjzXQgYgCEwYBhgL/s400/20160806_163557.jpg" width="400" /></a></span></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><b>BLOOD PRESSURE</b></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><b style="font-family: inherit;"><br /></b></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><b style="font-family: inherit;">BLOOD PRESSURE-Surrounded (Beach Impediment, LP)</b></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><span style="font-family: inherit;">Your blood pressure will be sky high after listening to this... the return of one of the best hardcore bands in the US. Just as relentlessly raging as Blood Pressure's </span><i style="font-family: inherit;">Need To Control</i><span style="font-family: inherit;"> album. Fast and burning with Adam Thomas' angry-as-fuck vocals and one blazer going straight into the other. The execution is perfect and the anti-social attitude remains as in-your-face as ever. "Misanthropy," "Useless," "Hate"... you get the idea. "Exposed" is about people who act all politically righteous but use it as a front for sexual conquest. Suffering no fools. This is the real shit, accept no substitute. (PO Box 26348, Richmond, VA 23260, </span><a href="http://beachimpedimentrecords.bigcartel.com/" style="font-family: inherit;">beachimpedimentrecords.bigcartel.com</a><span style="font-family: inherit;">)</span></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><b style="font-family: inherit;"><br /></b></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><b style="font-family: inherit;">BOUND-Lost Songs (Warthog Speak/Figure Four, 7")</b></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><span style="font-family: inherit;">Central Mass. band from the 90s who more or less morphed into Hatchetface (track down their killer 12" if you get the chance). What we have here are two unreleased songs from their 7" session plus a song off a compilation 7". Frayed, intense, heavy hardcore riding an emotional crest and lashing out with speedier blasts on occasion, accompanied by scream from the soul vocals. And there's a download with a shit-ton of material--demos, an original and remixed version of the 7"and a folder of photos. (</span><a href="http://warthogspeak.com/" style="font-family: inherit;">warthogspeak.com</a><span style="font-family: inherit;">)</span></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><b style="font-family: inherit;"><br /></b></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><b style="font-family: inherit;">CASUAL BURN-Tomorrow Problem (Slugsalt, 7")</b></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;">Chaotic punk with gothy overtones. An echoey ambiance and vocals that could best be described as Siouxsie Styrene. Hard-edged but also overcooked and overbearing at times. An ugly morass of sound and that's sometimes good and sometimes not so good. (<a href="http://www.slugsaltrex.com/">www.slugsaltrex.com</a>)</span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><a href="https://4.bp.blogspot.com/-fGRQ4mE--kk/W_mo0-EKOpI/AAAAAAAAB9w/nwURbTMv51cnYovq6c4x6mgPvCCHq2wWwCLcBGAs/s1600/P1170844.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://4.bp.blogspot.com/-fGRQ4mE--kk/W_mo0-EKOpI/AAAAAAAAB9w/nwURbTMv51cnYovq6c4x6mgPvCCHq2wWwCLcBGAs/s400/P1170844.JPG" width="400" /></a></span></div>
<div style="text-align: left;">
</div>
<div style="text-align: center;">
<span style="font-family: inherit;"><b>C.H.E.W.</b></span></div>
<br />
<b style="font-family: inherit;">C.H.E.W.-Feeding Frenzy (Iron Lung, LP)</b><br />
Damaged, off-kilter sounds on C.H.E.W.'s first 12" release. With nary a break between songs, it's fusillade of feedback and bash possessing an abrasive intensity and culminating in a six minute noise dirge. Some of the sputtering guitar fray brings Die Kreuzen to mind on occasion, but this is from a much less-accessible region. And the lyrics express a pointed agitation and disgust. "Open Secret" is about turning a blind eye or blaming the victim for sexual assault. Savage sounds from a bruised, yet defiant soul. (<a href="http://lifeironlungdeath.blogspot.com/">lifeironlungdeath.blogspot.com</a>)<br />
<span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>CHILLER-s/t (self-released, 7")</b></span><br />
<span style="font-family: inherit;">Another raging hardcore punk band from Pittsburgh. From the opening strains of guitar feedback and rumbling bass, Chiller's sound is dead-on. The longest of the six tracks clocks in at 1:13 but this isn't blur-core. A few songs pick up the pace but they operate in a mid-to-fast vein guaranteed to generate some furious circle pits. Not far removed from what a band like Blood Pressure are doing. There must be something in the Allegheny River fueling this sort of anger. (<a href="http://chillerpgh.bandcamp.com/">chillerpgh.bandcamp.com</a>)</span><br />
<span style="font-family: inherit;"><b><br /></b></span><span style="font-family: inherit;"><b>COLLATE-Liminal Concerns (self-released, LP)</b></span><br />
<span style="font-family: inherit;">If you've ever read Collate's bass player Erika's column in <i>Maximum Rocknroll</i>, which mainly focuses on post-punk, this band's musical approach should come as no surprise. Unreconstructed late 70s UK sounds, starting with the Au Pairs tribute of "Who Cares About Tradition?" "Occurences" takes a page from the Fire Engines. Straight-forward, nervy, in-the-pocket playing, with snaky 'n sputtering guitar interlocking perfectly with the supple bass and minimalist drumming. They're damned good at what they do. (<a href="http://collate.bandcamp.com/">collate.bandcamp.com</a>)</span><br />
<span style="font-family: inherit;"><b><br /></b></span><span style="font-family: inherit;"><b>KINGPIN-s/t (Atomic Action, 7")</b></span><br />
<span style="font-family: inherit;">Kingpin were a band from Holliston, MA (about 30 miles southwest of Boston) and yours truly released their debut 7" <i>Holding Tomorrow</i> in 1991. After that, they recorded an EP that was originally supposed to be released on Redemption Records but it sat in the can for over 25 years. Heavy, melodic hardcore that took over part of the Boston area scene in the early 90s (see also: Eye For An Eye, Said and Done, Third Degree) and much of it hasn't held up particularly well. The four songs here show a lot of instrumental skill and finesse but it's the kind of hardcore that was far removed from any sort of punk influence. Instead, the songs are laborious and overwrought sounding. I hate to say it, but this is an era in Boston's hardcore history I'd kind of like to forget about. (<a href="http://atomicaction.bandcamp.com/">atomicaction.bandcamp.com</a>) </span><br />
<span style="font-family: inherit;"><b><br /></b></span><span style="font-family: inherit;"><b>LAMOUR-Look To The Artist: 1978-1981 (Beach Impediment, LP)</b></span><br />
<span style="font-family: inherit;">Lamour--or L'Amour as it's spelled in the liner notes--were an early Richmond punk band who released one three song 7" in 1979. Those songs are here, along with demos that were recorded about a month before the 7" tracks and there's also a side of live material from 1984. This wasn't really a KBD-sounding band. Lamour's songs have more of a pub rock 'n roll sound and the demo songs have slightly more edge than their 7" counterparts.There's a snappy catchiness to "Sunglass Party." Still, this was more bar rock than punk. The live songs have them expanding the song lengths--three of them top the four minute mark--but there's not a lot of excitement, just something rather pedestrian that doesn't have a whole lot of grit. The album has its moments but I wouldn't say this falls into the "necessary reissue" category. </span>(PO Box 26348, Richmond, VA 23260, <a href="http://beachimpedimentrecords.bigcartel.com/">beachimpedimentrecords.bigcartel.com</a>)<br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;"><b>MARBLED EYE-Leisure (Digital Regress, LP)</b></span><br />
Marbled Eye operate in a similar realm as Institute in that there's an air of melancholy and detachment, both lyrically and vocally. One difference, though, is the enunciation is sharper i.e. neither vocalist sounds as though they're slurring their words. The songs are built on sublime chord progressions and changes that often add a subtle, sneaky hookiness. It's not somber music, though. The songs are sharp and energetic, melodic and muscular. Everything meshes perfectly, twin guitar lines swirling around each other, supported by a hard-hitting, rhythmic versatility. Some jarring post-punk moves here and there, particularly on "Isle," riding a Minutemen-meets-Burma crest. But, for the most part, the songs aren't herky-jerky. They have a steadier flow and will burn into your brain. A stellar album. (<a href="http://digitalregress.com/">digitalregress.com</a>)<br />
<br />
<b>MODERN CONVENIENCE-So So Modern (What's For Breakfast?, LP)</b><br />
One of those bands that don't fit into any easy pigeonhole. In fact, it's not really a band but a one man project by a guy named Mikey Bibbs. There are elements of post-punk but they're submerged into surging, gnashing art-punk arrangements. Not overpowering but providing a steady, tuneful kick. "Run To The Mirror and Look!" is the strongest track here, a hard-edged mesh of guitar sting and thumping rhythm. "No Strings On Me" has a similarly assertive flavor. Mac Blackout did the cover art and Modern Convenience do occasionally sound like a slightly less manic version of his old band Functional Blackouts. Truth be told, earlier recordings I've heard from him had a rougher edge. especially his 2014 demo <i>Reckless Dreamer.</i> Still, <i>So So Modern</i> is hard to dismiss and it's an album that grows on you. (<a href="http://wfbrecords.com/">wfbrecords.com</a>)<br />
<br />
<span style="font-family: inherit;"><b>MÜLLTÜTE-s/t (self-released, LP)</b><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">This German duo's second album, although they have some help from friends on synth and vocals. The emphasis remains scrappy, stripped-down hardcore punk ala Amdi Petersens Arme, although there are other wrinkles. Opening song "Halbschlaf" begins with a new wavish synth mixing in with the staccato attack. "Argnhgst"is definitely full of the angst mentioned in the lyrics, achieved with a jarring, sometimes atonal breakdown--that's as in brief blasts of free noise. The final two songs that follow that one also incorporate a slight sense of melancholy into a fired-up framework, with some of the harshest vocals on the album. The simplicity is deceptive--there's plenty going on in here. (<a href="http://muelltuete.bandcamp.com/">muelltuete.bandcamp.com</a>)<o:p></o:p></span><br />
<span style="font-family: inherit;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><a href="https://3.bp.blogspot.com/-p7CFPXpXgyU/W_mTeOCl_MI/AAAAAAAAB9c/mN8Z32CPOtAeASPW7CN42jFkZQXFjeiCwCEwYBhgL/s1600/P1170384.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1551" data-original-width="1600" height="387" src="https://3.bp.blogspot.com/-p7CFPXpXgyU/W_mTeOCl_MI/AAAAAAAAB9c/mN8Z32CPOtAeASPW7CN42jFkZQXFjeiCwCEwYBhgL/s400/P1170384.JPG" width="400" /></a></span></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><span style="font-weight: 700;">NEGATIV</span></span></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><b style="font-family: inherit;"><br /></b></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><b style="font-family: inherit;">NEGATIV-Projections (Mirthless Laughter, 12")</b></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;">Walloping, power-packed punk from this Oslo band on their debut 12", following a few demos and a 7". A twisted concoction of UK anarcho punk, Rudimentary Peni in particular, infused with bursts of hardcore adrenaline. Vocalist Ken Doll has a throaty yowl that sounds as though it emanates from a dark part of the soul. On many songs, the cadence is similar to Mike Brown from United Mutation and there are some musical similarities. On the short side but quite ass-kicking. Quality vs. quantity, right? (<a href="http://mirthlesslaughterrecords.com/">mirthlesslaughterrecords.com</a>)</span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><b style="font-family: inherit;"><br /></b></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><b style="font-family: inherit;">PUBLIC ACID-Easy Weapons (self-relased, LP)</b></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><span style="font-family: inherit;">Burning, buzzing d-beat/raw punk. You know the drill--distortion on the guitars, thick bass-lines and held down with thumping drums. And it's not completely blown-out noise and the tempos are at a fast-but-not-too-fast clip. </span>It's been done thousands of times already, it'll be done thousands more but Public Acid have enough energy and rage to keep you listening. (1110 Lexington Ave., Greensboro, NC 27403, <a href="http://publicacid.bandcamp.com/">publicacid.bandcamp.com</a>)</span></div>
</div>
<div class="MsoNoSpacing">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-WKoguYdZ9FA/W_mTe_wlHGI/AAAAAAAAB9k/z2WAIV_qwy0XOe07YQNkNIVnFogqSEq1gCEwYBhgL/s1600/P1170683.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1559" data-original-width="1600" height="388" src="https://4.bp.blogspot.com/-WKoguYdZ9FA/W_mTe_wlHGI/AAAAAAAAB9k/z2WAIV_qwy0XOe07YQNkNIVnFogqSEq1gCEwYBhgL/s400/P1170683.JPG" width="400" /></a></div>
<div style="text-align: center;">
<b>RAT CAGE</b></div>
<b><br /></b>
<b>RAT CAGE-Blood On Your Boots (La Vida Es Un Mus, 7")</b><br />
Raging hardcore punk perfection by this one man wrecking machine, Bryan Suddaby. Throat shredding vocals and full-bore blaze, save the slower, boot-stomping "Ain't Got A Clue." His previous 7", <i>Caged Like Rats</i>, is also worth hunting down. And he's also put together a devastating live lineup who I was lucky enough to see recently. The four songs here will leave blood on your turntable. (<a href="http://lavidaesunmus.com/">lavidaesunmus.com</a>)<br />
<b><br /></b>
<b>SCHIACH-s/t (Phantom, LP)</b><br />
Get out your bilingual Schiach hymnal that comes with this record and bow your head. It's time for a daily affirmation or, more accurately, a protest against the "right and proper" that bores you, against a life populated by annoying, ignorant people. After all, Schiach means ugly or nasty. And now for the hymns. You'll hear a gnarled post-punk concoction driven by jabbing guitar lines but with melodic underpinnings provided by throbbing, fluid bass lines. Echoes of Warsaw (Joy Division in their early days) and Swell Maps at times, only with an angrier edge. After you're done listening, finish the Soduko puzzle in the back of the booklet and please leave your donation on the way out. Bless you. Damn everyone else. (<a href="http://www.phantom.tk/">www.phantom.tk</a>)<br />
<br />
<b>SCHOOL DRUGS-Relative Suffering (Hell Minded, 7")</b><br />
A lot of suffering--all of the songs by this New Jersey band deal with mental anguish and suicidal thoughts and those words are delivered with Josh's vocals sounding like he's on the edge of a nervous breakdown. Musically compatible, they play a dark, nervy and edgy style of hardcore with dramatic double-barreled guitar riffs and sturdy rhythms along the lines of the Nerve Agents (if anyone remembers them). Soul-rending. (<a href="http://hellmindedrecords.com/">hellmindedrecords.com</a>)<br />
<br />
<b>SILVER SCREAMS-Alive In The Afterlife (Voodoo, CD)</b><br />
Three new songs by this Mass. band. The title track is one of their toughest-sounding recordings to date, a boisterous, driving and catchy punk tune. "Stiches Up" is a fairly tuneful rocker and they wrap things up with a fairly good cover of Goverment Issue's "Understand." Not bad at all. (<a href="http://silverscreams.bandcamp.com/">silverscreams.bandcamp.com</a>)<br />
<b><br /></b><b>SLOKS-Holy Motor (Voodoo Rhythm, CD)</b><br />
Holy shit! This is some raw, dark, nasty, bloozy garage punk primitivism. Real fucking primitive. Guitar, drums and snarly, whooping vocals. Sloks, who are from Italy, revel in a fuzzy, clattering attack, hammering away in repetitive fashion. The minute-long "Killer" is about as close to pop as they get, although the wailing vocals means it won't be in Top 40 rotation anytime soon. Nor any other song on this album. (<a href="http://www.voodoorhythm.com/">www.voodoorhythm.com</a>)<br />
<br /></div>
<div class="MsoNoSpacing">
<b>SPEED BABES-Orangetape (What's For Breakfast?, tape)</b><br />
Primitive garage punk rock'n roll type muzak with not-so-high fidelity and having a bedroom feel to it. A winning simplicity and it also eschews any sort of cutesy new wavey overtones. It's just the rock, except for the closing pop song "Nothing Will Ever Be The Same," which seems a bit out of place. Otherwise, this is a spirited no-muss no-fuss joyride. (<a href="http://wfbrecords.com/">wfbrecords.com</a>)<br />
<b><br /></b>
<b>STIGMATISM-s/t (Beach Impediment, 7")</b><br />
A vinyl pressing of Stigmatism's 2017 demo. A two man studio project, stretched out to a five piece for live performances and the one of the (guilty) parties are Marc Grillo (Vagra, Pleasure Industry, Olde Ghost) both drumming and bellowing the words of hate and Kevin "Spoiler" Alen (Omegas, Proxy) taking care of the string section. Hammering hardcore with a strong early Agnostic Front influence, along with some boot-stomping passages. "Your Demise" and "Death Sentence" have a total <i>United Blood</i> vibe, although the production is a lot less primitive-sounding. No lyric sheet but there's a strong anti-war message to "Bloodshed." Real mean-sounding (PO Box 26348, Richmond, VA 23260, <a href="http://beachimpedimentrecords.bigcartel.com/">beachimpedimentrecords.bigcartel.com</a>)<br />
<span style="font-family: inherit;"><b><br /></b></span><span style="font-family: inherit;"><b>TRASH KNIFE/DUMB VISION-Split (Kitschy Spirit, 7")</b></span><br />
Philly meets Madison (Wisconsin, that is) on this enjoyable split. Trash Knife continue to dish out scrappy, snotty and catchy punk with a trashy spirit (pun intended). Dumb Vision also have a tuneful bent, wrapped up in a buzzy guitar cocoon and it's not too saccharine-sounding although it's nothing mind-blowing, either. To be honest, I'll be listening to the Trash Knife side a lot more. (<a href="http://kitschyspirit.com/">kitschyspirit.com</a>)<br />
<span style="font-family: inherit;"><b><br /></b></span><span style="font-family: inherit;"><b>VERBAL ASSAULT-Trial (Atomic Action, LP)</b></span><br />
<span style="font-family: inherit;">Three decades since this album came out? And the members are now in their 50s? Say it ain't so! This was Newport, RI band Verbal Assault's debut long-player (and their second 12"), on the short-lived Giant Records label and it's been out of print on vinyl for a long-ass time. Verbal Assault started as a pretty straight-forward, uptempo hardcore band inspired by 7 Seconds and the like. By the time this record came out, they'd evolved into a more "mature," melodically-inclined band with longer, intricate compositions that were still capable of packing a punch, especially the lead-off title track, the best song they ever wrote. Chris Jones' emotive vocals were delivered in a MacKaye-ish tone and the band were certainly inspired by what was going on in DC in the mid-to-late 80s. They could also hold their own musically with any of those bands. It may not hit me same it did thirty years ago but it does still strike something of a chord. Given a good-sounding remix and packaged in a much better-looking cover. Three decades??!! (<a href="http://atomicaction.bandcamp.com/">atomicaction.bandcamp.com</a>)</span><br />
<span style="font-family: inherit;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><a href="https://1.bp.blogspot.com/-Inr-c4ZIGHk/W_mTgA9HUMI/AAAAAAAAB9o/DFykX8cVCVgSf2ufjAbcyvs2WzVTfnpEQCEwYBhgL/s1600/P1170768.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1382" height="400" src="https://1.bp.blogspot.com/-Inr-c4ZIGHk/W_mTgA9HUMI/AAAAAAAAB9o/DFykX8cVCVgSf2ufjAbcyvs2WzVTfnpEQCEwYBhgL/s400/P1170768.JPG" width="345" /></a></span></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><span style="font-weight: 700;">VITAMIN X</span></span></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><b style="font-family: inherit;"><br /></b></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><b style="font-family: inherit;">VITAMIN X-Age Of Paranoia (Southern Lord, LP)</b></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><span style="font-family: inherit;">More than two decades in, Vitamin X's debut for Southern Lord, their first album in six years, see the Amsterdam four piece continuing to bash out fast and furious hardcore punk with metallic touches. While there's plenty of speed and burn, the rock 'n roll fervor comes to fore a bit more than in the past, as Marc Emmerik dishes out an array of tasty guitar riffs and leads. The title track's intro is quite Iommi-esque before kicking into a vintage Raw Power feel. Executed like a well-oiled machine at this point and always a fun excursion. (</span><a href="http://www.southernlord.com/" style="font-family: inherit;">www.southernlord.com</a><span style="font-family: inherit;">)</span></span></div>
</div>
<div class="MsoNoSpacing">
<br />
<b>WAY OUT-Age Of Descent (Atomic Action, LP)</b><br />
Gothy post-punk with vocals that sound like an overly melodramatic Peter Murphy. To be honest, that detracts a bit as it can overwhelm everything. If you can get past that, the music is gripping and surging. This isn't wallow in the muck material played at a snail's pace. The echo-laden arrangements have a gritty power, while also using various 80s touchstones. The guitar tone echoes the Cure's early days and you can also hear strains of the Chameleons. (<a href="http://atomicaction.bandcamp.com/">atomicaction.bandcamp.com</a>)<br />
<br />
<b>WIRMS-Ain't Gonna Find Me (What's For Breakfast?, LP)</b><br />
Hell-raising garage/blooze/slop from a guitar 'n drums two piece. I'd really like to hear these songs with a bass player because I think it'd sound fuller but they do a good job at making an unhinged racket. Sometimes a bit too unhinged, if that's possible, but it'll probably scare the bejesus out of your average White Stripes fan. Closing song, the leering "Merry Christmas," certainly beats the snot out of any of the standards, including punk takes on them. Certain to wreck any party, holiday or otherwise. (<a href="http://wfbrecords.com/">wfbrecords.com</a>)</div>
Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-66991215623439216792018-09-05T11:34:00.002-04:002018-11-22T12:10:57.004-05:00Suburban Voice blog #132<br />
<i><b>Here's another in the occasional series of my Maximum Rocknroll columns. This originally appeared in the October 2015 issue (#389)</b></i><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-rZrq_xemWYw/W4_8Xinn7lI/AAAAAAAAB7A/dFJcbN8-r8YEZUZzVxWaFyft72h2iJ9NgCLcBGAs/s1600/IMG_5011.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="517" data-original-width="640" height="322" src="https://3.bp.blogspot.com/-rZrq_xemWYw/W4_8Xinn7lI/AAAAAAAAB7A/dFJcbN8-r8YEZUZzVxWaFyft72h2iJ9NgCLcBGAs/s400/IMG_5011.jpg" width="400" /></a></div>
<div style="text-align: center;">
<b><br /></b></div>
<b>PROTO-THIS ‘N THAT</b><br />
<br />
My email inbox is clogged nearly every day by an abundance of music biz press releases, most of them from a small group of publicity companies. The releases usually provide a link to a digital “promo” for me to review. I wrote about this a few years ago, as part of an April Fools column in MRR, where I said I’d only be reviewing digital promos from that point forward and the email address to send them to would be whoneedsrecords@sonicoverload.net. It’s still an active address but, except for the occasional spam message, it’s pretty quiet. Some wiseass subscribed me to a “cougar” website. I’m much too old for any “cougar” to be interested in me. And I know many people are offended by the term so let’s just move on.<br />
<br />
A couple of recent ones stick out. There was one pushing a cover of the <b>Troggs</b>’ “With A Girl Like You” by an artiste named William Alexander. There was a link to check out the song on a site called Culture Collide. As you can imagine, it wasn’t very good. Alexander does his damnedest to sound like the Troggs’ Reg Presley and comes up a bit short. The whole thing comes up short because there’s little chance any cover is going to capture the primitive gleefulness of that song. But the accompanying blurb caught my attention. It called “With A Girl Like You,” “perhaps the best Troggs song (and likely the only memorable one aside from "Wild Thing.”)” My immediate thought was, are you fucking kidding me? Only memorable songs? I left a comment on the page asking if the writer had actually listened to the Troggs. I emailed the publicist and told her the same thing and she replied and said, “off the record, I think you’re right.” I guess it’s not really off the record anymore but I doubt William Alexander or his handlers read this column.<br />
<br />
Incidentally, if you do ever want to check out a rather, uh, unique cover of “Wild Thing,” look up <b>Fancy</b>’s 1974 version of it—it’s on YouTube. Fancy was basically a studio group who got together to do this song and they hired a Penthouse Pet named Helen Caunt (I am NOT making that up) to do the vocal—which was basically her whispering and grunting and groaning her way through it. They rearranged it into a minimalist, Gary Glitter-ish hand clapper with some choice synth and wah-wah guitar lines in the middle. After it proved to be a hit and an album was released. (I got it for my 15th birthday, along with ELP’s three record live opus <i>Welcome Back My Friends To The Show That Never Ends</i> aka the album that never ends), Ms. Caunt—whose vocal performance wasn’t credited—had been replaced by Annie Kavanaugh (who appears on the album cover), an adequate belter but the songs, save the “Wild Thing” retread “Touch Me,” were forgettable. It’s still on my record shelf. The ELP record is long-gone.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="344" src="https://www.youtube.com/embed/mxGKdiBQDvk" width="459"></iframe><br />
<br />
The other press release was for a band who play "Proto-punk influenced post-punk." That makes absolutely no sense. I mean, using those genre terms is a reviewer crutch of which I am 100% guilty. The band, Dark Palms, actually sound more like the Stooges-meet-shoegazer rock, if I had to pin it down. It wasn’t that bad, honestly.<br />
<br />
So it got me to pondering whether or not there was music you could call “proto-hardcore”—music that had speed and velocity and inspired hardcore but predated it. It’s arbitrary but I guess you could call something proto-hardcore if it came out before 1980, maybe even 1979. I know <b>Black Flag</b> started earlier than that but I don’t think “Nervous Breakdown” is really hardcore. A strong argument could be made for <b>The Germs</b>' 1979 <i>(GI)</i> album being one of the first pure hardcore albums.<br />
<br />
<b>The Ruts</b>’ <i>The Crack</i> album came out in ’79 and features a few songs that have the speed of hardcore—“Society” and “Criminal Mind” pick up the pace a great deal. “Society” was also the b-side of their “Babylon’s Burning” single.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="344" src="https://www.youtube.com/embed/olTt5pQVvhE" width="459"></iframe><br />
<br />
<b>Punishment Of Luxury</b> weren’t really a dyed-in-the-wool punk band, having come from more of a Roxy/Bowie/early Ultravox muse. But the b-side of their 1979 <i>Secrets</i> 7” is a different matter altogether—a fired-up ripper called “Brainbomb.” Pure explosiveness with an engaging “B-B-B-B-B-B-B-B, Brainbomb!” tagline and a wacked-out noisy mid-section before the pillaging resumes. Chaos UK covered it on their Chipping Sodbury Bonfire Tapes album.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/wL_W5sQHK_8" width="480"></iframe><br />
<br />
There were other UK bands who inspired hardcore bands. “Disease,” from the <b>UK Subs</b>’ 1979 debut album <i>A Different Kind Of Blues</i>, had the requisite speed and SOA sped it up considerably for their cover on “Flex Your Head.’ Minor Threat covered Wire's “1 2 X U” on the same compilation. That came from <i>Pink Flag</i> and that song wasn’t really proto-hardcore but “Mr. Suit” sure as hell was. Another DC band, Second Wind, did that one on their <i>Security</i> album. 999’s “No Pity,” from 1977, has a near thrash beat, going along perfectly with Nick Cash’s cat-thrown-into-the-fire snarl.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="344" src="https://www.youtube.com/embed/atYYBbiVpzA" width="459"></iframe><br />
<br />
One could make a convincing argument that the UK band who had the biggest influence on hardcore was <b>The Damned</b>. There are some pretty formidable bashers on their debut album <i>Damned Damned Damned</i> and their cover of The Stooges'’ “1970” (re-titled “I Feel Alright”) is non-stop bedlam. But it’s the title track of their third album, <i>Machine Gun Etiquette</i> (1979) that dishes out the speed and fury and “Love Song” isn’t far behind. Swiz covered “MGE” on one of their records. It makes sense that you see Ian MacKaye, Henry Rollins and Keith Morris all singing the praises of the Damned in the <i>Don’t You Wish That We Were Dead</i> documentary (granted, they’re in EVERY music documentary but still...). By the way, the title comes from the lyrics of “Machine Gun Etiquette.”<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/1hBwEUGoi48" width="480"></iframe><br />
<b><br /></b>
<b>The Middle Class</b>' <i>Out of Vogue</i> EP came out in ’78 and the title track and “Insurgence” are relentless. They did gradually move into a post-punk relam (I know...) but those early recordings are certainly what one could call proto-hardcore.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="344" src="https://www.youtube.com/embed/4PQNTtZ3qXs" width="459"></iframe><br />
<br />
Going back even further—and maybe stretching things a bit—<b>Blue Öyster Cult</b>'s “The Red and The Black,” from their <i>Tyranny and Mutation</i> LP, has a pretty rapid tempo for 1973.The Minutemen liked it enough to cover it later on. Hell, I might give a nod to the rave-up (i.e. unhinged) part of the <b>Count Five</b>’s 1966 hit “Psychotic Reaction”—which sounded like a more up-tempo Yardbirds knock-off.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/IeOMHRkz14U" width="480"></iframe><br />
<br />
What about “I Got A Right” by <b>Iggy & The Stooges</b>? I once wrote a column about that, stating it was ahead-of-its-time punk rock and, given the upbeat arrangement, it does come close—and, of course, has been covered by a number of hardcore and punk bands over the years, but I don’t think I’d really call it proto-hardcore. It’s the same for the Belgian band <b>Blast</b>’s two song single “Damned Flame/Hope.” At the very least, it’s some pretty raw punk-sounding fodder for 1972 and has a similar feel as “I Got A Right,” in its Detroit punk predilection. It just got a legit reissue on the Death Vault label but it’s already sold out (and, of course, I snoozed and missed out). Yes, lines can get blurry but the bottom line is both of those records were pretty off-the-rails for that time period.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/SYCUIeyfEy0" width="480"></iframe><br />
<br />
Maybe next time, I can do a column about proto-straight edge. Like “I’m Straight” by the <b>Modern Lovers </b>or the anti-drug “Kicks” by <b>Paul Revere & The Raiders</b>, written by Barry Mann and Cynthia Weil, from 1966, with these inspiring lyrics: “Kicks just keep gettin' harder to find/And all your kicks ain't bringin' you peace of mind/Before you find out it's too late, girl/You better get straight.”<br />
<br />
<iframe width="560" height="315" src="https://www.youtube.com/embed/Aor4Z5jWP0o" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
Maybe not... I should probably quit while I’m still ahead.<br />
<br />Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-25473361245652985722018-08-15T10:00:00.000-04:002018-09-05T10:12:35.527-04:00Suburban Voice blog #131<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-Fxg7Q9Wwo2g/W3hcvdK20cI/AAAAAAAAB6g/S6yJJm2dxysEqp5eMu3-XArSDg22-IM4gCEwYBhgL/s1600/Neck.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="617" data-original-width="640" height="385" src="https://2.bp.blogspot.com/-Fxg7Q9Wwo2g/W3hcvdK20cI/AAAAAAAAB6g/S6yJJm2dxysEqp5eMu3-XArSDg22-IM4gCEwYBhgL/s400/Neck.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<b><span style="font-family: inherit;">NECK CHOP ROUND SIX</span></b></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">The poster accompanying the press release touts this as Washington vs. Indiana,with the former represented by<b> Kid Chrome, Lysol</b> and <b>Stiff Love</b> 7" slabs and the latter by odds 'n sods compilation LPs from <b>Liquids </b>and <b>Erik Nervous</b>. Neck Chop keeps cranking out a quality assortment of spirited punk sounds.</span></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Out of the Pacific Northwest comes the latest from <b>Lysol</b>, two songs of slam-bang punk. "Teenage Trance" is a collision of hardcore and garage, throwing in a nod to Bad Brains' "Right Brigade." Meanwhile, "Chemical Reaction" has a purer garage feel, with a keyboard-less Hank Wood and the Hammerheads type arrangement. All you need to know is it fuckin' rocks.</span></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">The two other 7"s from that part of the country include people from Lysol. Kid Chrome is the <i>nom-de-punk</i> for Chad Bucklew's solo project. His latest musical ommunique features three re-recorded songs from earlier demos and the recordings are sharper and clearer but far from pretty or polished. The rhythm remains mechanized but the guitar riffs slash and burn and the vocals are full of soulful howls. Stiff Love has Lysol's Christine Lundberg (under the name Lazy Susan) handling guitar and vocals and their four song <i>Trouble</i> 7" is a fun 'n brash garage punk excursion, with sneaky hooks and a whomping backbeat. What's not to love?</span></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Northwest Indiana, as many of you probably know, has been a hotbed of quirky, weirdo punk for the past several years, an incestuous scene where it seems like everyone involved plays in multiple bands or have their own solo type projects. Liquids' <i>Hot Liqs Revenge</i> offers 20 rip roarin' tracks in about 30 minutes (19 are listed and the one that isn't is a rough 'n ready cover of Nick Lowe's "Heart In The City.") I can't keep up with the band's prolific discography but, as far as I can tell, this is the first time these songs have been on vinyl, although they've been available digitally. Liquids mastermind Mat Williams has a pure punk rock 'n roll heart and he takes the traditional trappings and lowers the fidelity, more on some tracks than others. "Don't Give A Fuck About You" is the attitude and that's there in spades. Almost all of 'em are loud, fast and snotty.</span></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Erik Nervous (real last name Hart), who is actually from Kalamazoo, MI and not Indiana, has a similarly minimalist bent. He also orders listeners to "stop calling it DEVO-core." Well, Erik has a point, because these songs won't make you think of the Spuds from O-H-I-O. The closest he comes to that is synth-driven track "(Do The) Simulate." If anything, he draws from the Urinals (who he covers) and early Wire, along with jabbing post-punk ("Misfit Right In" sounds like Delta 5). "&&&" is near pop. There are some offbeat cover versions--the somewhat obscure "Bridgeport Lathe," by the Boston band the 2x4's, which is a longtime favorite song of mine. It sounds a bit off but I'm impressed he (un)covered it (pun intended). His dismemberment of blues chestnut "I'm A Man" is also quite entertaining. For bedroom recordings, the fidelity isn't that low, either. Taken from a number of demos and 7"s on Total Punk and Neck Chop plus a few unreleased songs and only a small sampling of what he's released over the years. Check out <a href="http://eriknervous.bandcamp.com/">eriknervous.bandcamp.com</a> for a lot more. (<a href="http://neckchoprecords.com/">neckchoprecords.com</a>)</span></span><br />
<div>
<span style="font-family: inherit;"><br /></span></div>
<b><span style="font-family: inherit;">SOME DERANGED MUSIC</span></b><br />
<b><span style="font-family: inherit;"><br /></span></b>
<b><span style="font-family: inherit;"></span></b>
<br />
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-family: inherit;"><a href="https://3.bp.blogspot.com/-f-pyuY96MkE/W3hdWfIhN9I/AAAAAAAAB60/eWyie1paN9o9aseiZK2-eOhgSB4sq1ARwCLcBGAs/s1600/Tarantu%25CC%2588la-17-18-750x514.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="514" data-original-width="750" height="273" src="https://3.bp.blogspot.com/-f-pyuY96MkE/W3hdWfIhN9I/AAAAAAAAB60/eWyie1paN9o9aseiZK2-eOhgSB4sq1ARwCLcBGAs/s400/Tarantu%25CC%2588la-17-18-750x514.jpg" width="400" /></a></span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-family: inherit;"><b><span style="font-family: inherit;">TARANTÜLA</span></b></span></b></div>
<br />
<span style="font-family: inherit;">Deranged Records has been going strong for over a decade and a half at this point and label founder Gord continues to put out quality releases. The latest batch includes some gems, although not all of them fall into that category. Chicagoans </span><b style="font-family: inherit;">Tarantüla </b><span style="font-family: inherit;">maintain their full-bore power on their third 7" </span><i style="font-family: inherit;">The Very Best of Sex and Violence.</i><span style="font-family: inherit;"> They could have added "drugs" to the title, as well, as three of the songs here deal with substance use and abuse. The musical attack remains muscular, mid-tempo punk rock 'n roll with gutteral vocals and, as I've written before, it sounds more complete and focused than Tarantüla's predecessor Cülo. </span><br />
<b style="font-family: inherit;"><br /></b>
<b style="font-family: inherit;">Damager</b><span style="font-family: inherit;">s</span><b style="font-family: inherit;">' </b><span style="font-family: inherit;">self-titled 7" is a vinyl pressing of their demo from last year and provides a bruising hardcore punk assault with a bootboy undertow. Nothing new or different, just loud and energetic fodder with floor-thumping drumming and plenty of anger.</span><br />
<span style="font-family: inherit;"><b>No Problem</b>'s third full length, <i>Let God Sort 'Em Out</i>, is their first in four years and they still offer urgent and earnest melodic punk. The title track is a collage of musical and audio samples, with the main rhythm coming from DYS' "Wolfpack" (cool) and that fades into their west coast-inspired sounds, albeit with a darker undertow at times. "Warpaint" comes on strong with a vintage Adolescents-tinged approach. "Eyes Of A Killer" and "Let It Bleed Pt. II" both have a sinister edginess. The heart-on-sleeve sentiment sometimes gets more than a bit obvious--"No Justice No Peace" comes to mind--but it's in the right place.</span><br />
<br />
<span style="font-family: inherit;">
<span style="font-family: inherit;"><b>Spiritual Cramp </b>probably take their name from the Christian Death song but don't sound like that band and the lead off track on their <i>Police State</i> EP is called "Spiritual Cramp" but its not a cover version. It's also the best song by far, a feisty, energetic garage punk stomper. Unfortunately, the other three songs don't live up that--the lilting reggae of "850 Bryant," the reggae/rock of "I Feel Bad Bein' Me" and melodic "Blood Clot" are a complete letdown after that promising start. Strong lyrical messages, describing the grittiness of their San Francisco home, but the music doesn't match up.</span></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><b><br /></b></span><span style="font-family: inherit;"><b>Criminal Code</b> are another band who haven't been heard from in a bit--<i>2534</i> is their first album since 2013 and second overall. They continue to ply melody-driven punk mixed with goth but, while they had a shimmery rawness in the past, that's been cleaned up on this new collection. There are strong hooks on such songs as "Exiled" and "Cancer," but it seems as though some of the band's previous edginess has been lost. The expanded lengths on the closing tracks for each side tend to drag things out. Still, they exhibit solid tunecraft and, at times, you can hear echoes of a band like the Chameleons. It just doesn't leave all that strong an impression. (<a href="http://www.derangedrecords.com/">www.derangedrecords.com</a>)</span></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-IE_DvP6-7YM/W3hczabDKVI/AAAAAAAAB6o/HNpAMthSGVAqNHqH3uB1noBeeoy1hs52gCEwYBhgL/s1600/hive%2Bno%2Bskin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="380" data-original-width="380" height="320" src="https://3.bp.blogspot.com/-IE_DvP6-7YM/W3hczabDKVI/AAAAAAAAB6o/HNpAMthSGVAqNHqH3uB1noBeeoy1hs52gCEwYBhgL/s320/hive%2Bno%2Bskin.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><b><br /></b></span></div>
<span style="font-family: inherit;"><b>FUCK THE WORLD... AND YOU TOO!</b></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">... or FTWNU2 for short. That's the moniker for a relatively new label out of Minnesota. They specialize in brutal hardcore. Not a pop song to be found on the pair of 7"s or two CDs that showed up here. The <b>Hive/No Skin</b> split 7" is a rager. Hive have a crusty heaviness on their two songs, punctuated by soul-screaming vocals. But I prefer the flip. No Skin, in case you missed my review of their 12", includes Ben Crew from In Defence and Damage Deposit. Rabid, raw hardcore punk done the right way, boiling over with venomous intent.</span></span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><b>Bonefire</b> also pack a of rage into their <i>Murderapolis</i> CD. Energetic Motörcharged hardcore punk, pulling a few early Final Conflict tricks out of their collective amps. Nothing to change the world but the production is raw and the there's some nasty bass rumble underneath everything. Includes two somewhat unnecessary live tracks but the five studio tracks are worthwhile.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">I'm not as enamored with <b>Dissident Clone</b>. Their <i>Civilized </i>CD is pretty much by-the-numbers grind/thrashcore/death metal created by two guys handling all the instruments and vocals. Blasting away in pretty much tuneless fashion. <i>Creating The Consumed</i> is a vinyl pressing of a 2014 recording, just guitar and drums, no bass, maybe a little more on the death metal side of things. (PO Box 822, Hopkins, MN 55343, <a href="http://www.ftwnu2.com/">www.ftwnu2.com</a>)</span><br />
<span style="font-family: inherit;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-L9Xz6qpxxYs/W3hc2HWcGPI/AAAAAAAAB6s/nUSSX9tlMPcH0RLahrNRb2gvNLKJ6tDHgCEwYBhgL/s1600/Option.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://3.bp.blogspot.com/-L9Xz6qpxxYs/W3hc2HWcGPI/AAAAAAAAB6s/nUSSX9tlMPcH0RLahrNRb2gvNLKJ6tDHgCEwYBhgL/s400/Option.JPG" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><b>OPTION</b></span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><b><br /></b></span></span>
<span style="font-family: inherit;"><span style="font-family: inherit;"><b>YOU WANT SOME MORE? </b> </span></span><br />
<span style="font-family: inherit;"><b><span style="font-family: inherit;"><br /></span></b>
<b><span style="font-family: inherit;">AQUARIUM-Hex (Lumpy, 12")</span></b></span><br />
<span style="font-family: inherit;">Jittery, wiry, garagey, post-punk from Minneapolis, but all the lyrics are in German. One of the band members played in the similarly-minded band Uranium ClubNo matter the language, the vocals are spirited and so is the music. It had me thinking of early west coast punk purveyors like the Urinals, Modern Warfare and the Plugz, in that the band favors a kinetic, trebly sound. An angular attack. (<a href="http://www.lumpyrecords.com/">www.lumpyrecords.com</a>)</span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>BASEBALL FURIES-All-American Psycho (Big Neck, LP)</b></span></span><br />
<span style="font-family: inherit;">A reissue of the Furies' 1999 10" EP, adding on the four songs from their 1998 "Sounds Of Mayhem" 7" to add up to twelve inches of prime, raw 'n nasty garage punk. Distorted, nasally vocals and a gnarled and barbed mess of low-fidelity slop. I mean that in the best possible way. Sure, "Rapid Fire Attack" borrows a little from "I Got A Right," but they condense it to a minute and a quarter of fury. "Last Man," which was the last track on the original 10", is a cacophonous rave-up. And the four songs from the 7" are even rougher-sounding. To use a hoary reference from the movie where they took their name, time to come out and play. But watch out for the bats. (38977 Thomas Mill Rd., Leesburg, VA 20175, <a href="http://bigneckrecords.com/">bigneckrecords.com</a>)</span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>BLANKZ-White Baby/Sissy Glue (Slope, 7")/(I Just Want To) Slam/Baby's Turning Blue (Slope, 7")</b></span></span><br />
<span style="font-family: inherit;">The gimmick for this Phoenix band is to release a bunch of 7"s and then press them on a 12". Here are the first two installments. Driving, catchy new wavish-punk with an early LA feel and also along the lines of the Briefs. Things do feel a bit forced and obvious at times but "Sissy Glue," in particular, has a winning charm, driven along by cheesy keyboards. I just wish it was a bit grittier-sounding. (<a href="http://sloperecords.com/">sloperecords.com</a>)</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-fuYlHvAugKE/W3hculx05bI/AAAAAAAAB6k/ciVJJarAt_IByeELlm4AGh71BCONXeL2gCEwYBhgL/s1600/Brown%2BSugar.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://1.bp.blogspot.com/-fuYlHvAugKE/W3hculx05bI/AAAAAAAAB6k/ciVJJarAt_IByeELlm4AGh71BCONXeL2gCEwYBhgL/s400/Brown%2BSugar.JPG" width="300" /></a></div>
<div style="text-align: center;">
<b><span style="font-family: inherit;">BROWN SUGAR</span></b></div>
<br />
<b style="font-family: inherit;">BROWN SUGAR-Long Strange Drip (Feral Kid/The Loki Label, LP)/Adumdum (Feral Kid/The Loki Label, tape)</b><br />
<span style="font-family: inherit;">Two compilations and over an hour and a half of music (35 songs stretching over almost an hour on the 12"! Talk about bang for your buck...). "Long Strange Drip" collects the band's various 7"s and flexis, plus a few unreleased songs, starting with a rockin' cover of "Hey Joe." The tape features live material and various demo songs, including a cover of Antidote's rather racist "Foreign Job Lot." What makes it funny is the fact that their vocalist, Eddie, is an undocumented immigrant. Brown Sugar were always a wonderful mess, a cascade of punk, hardcore, garage and rock 'n roll with a devil-may-care wittiness. Not that there wasn't a message with the madness--"Deportation" certainly deals with a serious topic. The sharp wit also comes out in the detailed liner notes written by their guitarist Brandon. There was an evolution over time as a good chunk of the earlier material had a thrashy emphasis but still exhibited a good amount of musical skill. They eventually broadened their horizons a bit, while always having a manic and frenetic edge. The live set on "Adumdum," recorded in Cleveland, has them going full-tilt but never falling into disarray. Considering that Eddie was usually charging around like a madman during their sets and I'm sure that it was a wild scene, that's quite an accomplishment. Never predictable and always potent. (<a href="http://feralkidrecords.bigcartel.com/">feralkidrecords.bigcartel.com</a>/<a href="http://thelokilabel.storeenvy.com/">thelokilabel.storeenvy.com</a>)</span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>FIRE HEADS-s/t (Big Neck, LP)</b></span></span><br />
<span style="font-family: inherit;">Another band with the involvement of the ever-busy/ubiquitous Bobby Hussy, who also recorded and mixed it. Fire Heads incorporate strains of punk, garage and even country/roots music. No acoustic guitars, though, except for the last track "Night Comes Again," an almost Jandek-type solo guitar/vocal piece that eventually gets subsumed by feedback. Most of the songs are at a high-energy clip, providing a headlong rush, while also maintaining a melodic sensibility. Pretty good. (38977 Thomas Mill Rd., Leesburg, VA 20175, <a href="http://bigneckrecords.com/">bigneckrecords.com</a>)</span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>GALLERY NIGHT-s/t (Big Neck, 7")</b></span></span><br />
<span style="font-family: inherit;">Big rock-riffarola by this Milwaukee three piece, including a former member of the Baseball Furies. A whoop 'n holler, AmReppy Stooges-meets-Jesus Lizard inspiration fused to a propulsive grind and they pound their way through your senses. Ugly and heavy, but with plenty of rhythmic drive. (38977 Thomas Mill Rd., Leesburg, VA 20175, <a href="http://bigneckrecords.com/">bigneckrecords.com</a>)</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-bMvs_ifDcQg/W3hcugRiVfI/AAAAAAAAB6s/gj0BSdoe7KAzEpQykzwSnorAFOYdAF3XwCEwYBhgL/s1600/Geld.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1549" data-original-width="1600" height="386" src="https://3.bp.blogspot.com/-bMvs_ifDcQg/W3hcugRiVfI/AAAAAAAAB6s/gj0BSdoe7KAzEpQykzwSnorAFOYdAF3XwCEwYBhgL/s400/Geld.jpg" width="400" /></a></div>
<div style="text-align: center;">
<b><span style="font-family: inherit;">GELD</span></b></div>
<br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><b>GELD-Perfect Texture (Iron Lung, 12")/Demo EP (Nopatience, 7")</b></span></span><br />
<span style="font-family: inherit;">A wild hardcore ride. On Australian band Geld's 12" debut, there's an ominous lead-in for about half of opening track "Cleaver" and then the sonic eruption begins. Razor-gargling vocals mixed into a relentless attack but they mix odd guitar effects and phasing in there, along with some formidable shredding. Pronounced echoes of 80s-era Italian hardcore turned into something fresh. It's a twisted concoction, leading to the sputtering, cataclysmic conclusion of "Parasitic Fucker," where everything fades out except for Al's vocals, howling right 'til the end. Meanwhile, Nopatience Records has pressed their 2016 demo onto vinyl. There's not as much of the swarm effect but they still leave behind a wanton trail of destruction. Fast 'n raw. (<a href="http://www.ironlungrecords.com/">www.ironlungrecords.com</a>; <a href="http://www.nopatience.org/">www.nopatience.org</a>)</span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>GEN POP-II (Feel It, 7")</b></span></span><br />
<span style="font-family: inherit;">Olympia band with Maryjane and Ian from Vexx. The first two songs, "Oh No" and "No Change," are loud 'n fast hardcore chargers and just when you think this is going to be pure rage, they go do a near 180 into the moody 'n brooding "Plastic Comb" and follow that with the art-punk attack of "Waxing State." Then it's back to the hardcore races for "No Identify" (part of it, at least) and then another dose of jarring art-punk. Quite a ride and it keeps you guessing as to what will come next. (PO Box 25045, Richmond, VA 23260, <a href="http://feelitrecordshop.com/">feelitrecordshop.com</a>)</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-_1uVwffrFyw/W3hctsK6uoI/AAAAAAAAB6g/PXMg7sHGOxMovJy0GsQaB05EYgSgMt-gwCEwYBhgL/s1600/Haystacks.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://1.bp.blogspot.com/-_1uVwffrFyw/W3hctsK6uoI/AAAAAAAAB6g/PXMg7sHGOxMovJy0GsQaB05EYgSgMt-gwCEwYBhgL/s400/Haystacks.JPG" width="300" /></a></div>
<div style="text-align: center;">
<span style="font-weight: 700;">GIANT HAYSTACKS</span></div>
<br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><b>GIANT HAYSTACKS-This Is All There Is (Mistake, CD)</b></span></span><br />
<span style="font-family: inherit;"><i>This Is All There Is</i> is an anthology of this Bay Area band's singles and EPs, plus one song recorded live on WFMU. A post-punk pulse but there were always melodic underpinnings, accompanying the dynamic, jabbing interplay. There's a familiarity in what you're hearing (Minutemen, especially, but it wasn't a reenactment of their influences. Giant Haystacks mixed those with observational lyrics done in a non-sloganeering style. Singing instead of shouting out any sort of obvious buzz phrases. It's hard to believe it's been over a decade since this band existed but the material still sounds fresh and brash. (<a href="http://gianthaystacks.bandcamp.com/">gianthaystacks.bandcamp.com</a>)</span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
<b><span style="font-family: inherit;">INSINUATIONS-Prompt Critical/US Muscle (Feel It, 7")</span></b></span><br />
<span style="font-family: inherit;">Obscure, quirky punk from Richmond ca. 1980. Punk is kind of a misnomer, so would be art-punk or post-punk but Insinuations don't follow your standard KBD blueprint. Two offbeat, engaging compositions with male/female vocals and barbed, minimalist instrumentation. Satirical lyrics about a nuclear meltdown on the a-side and a poke at the so-called American dream on the flip. (<a href="http://www.feelitrecordshop.com/">www.feelitrecordshop.com</a>)</span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>LANDLORDS-Hey! It's A Teenage House Party (Feel It, LP)</b></span></span><br />
<span style="font-family: inherit;">Awhile back, Feel It put out an unreleased Landlords album, <i>Fitzgerald's Paris</i> and now there's a reissue of this Charlottesville, VA band's album from 1984. Two of the people, John Beers and Charlie Kramer, went on to do Happy Flowers. It's a joyous hardcore punk smorgasbord that incorporates the standard thrash of the day, along with some tuneful and heavy metal elements. Collegiate wiseasses making a fun racket. There's also a cover of Moving Sidewalks' (Billy Gibbons from ZZ Top's early band) garage/psych chestunt "99th Floor." Some of that wit showed up later on in the Flowers was certainly incubated in the Landlords, although there could be darker lyrical material, as well. Includes a booklet with lyrics, flyers, photos and reminiscences and the download tacks on another 18 demo songs. (<a href="http://www.feelitrecordshop.com/">www.feelitrecordshop.com</a>)</span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>LITHICS-Mating Surfaces (Kill Rock Stars, CD)</b></span></span><br />
<span style="font-family: inherit;">Sharp, jabbing art-punk or post-punk or whatever hackneyed expression you want to use. Rock critic crutches for sure, but that's where Portland, OR band Lithics are coming from on their second album, following 2016's <i>Borrowed Floors</i>. Tightly-executed compositions with busy instrumental interplay and Aubrey Hornor's detached-sounding vocals. At times, there's a UK flavor to them. "Still Forms" is reminiscent of the Fire Engines, for instance. "Boyce," meanwhile, has a No Wave flavor. Sometimes, they go for more of a straight-ahead punk sound, as with "Flat Rock" or "Dancing Guy," the latter of which also has some stop/start no wavish-flourishes. Nervy and edgy, throughout. (<a href="http://killrockstars.com/">killrockstars.com</a>)</span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
<b><span style="font-family: inherit;">MALE PATTERNS-Headaches (Peterwalkee, LP)</span></b></span><br />
<span style="font-family: inherit;">Male Patterns had a song on their first 7" called "Pissed and Old" and you could say they're just as pissed. Maybe more so. Definitely older, as the 7" came out in 2015. Well-played anger-driven hardcore that's semi-catchy, like a cross between 86 Mentality and Poison Idea. The title track is a cogent expression of frustration and anger borne of life's monotony. Yup, life's a pain in the ass. So play loud and tell the neighborhood kids to get the fuck off your lawn. (<a href="http://www.peterwalkeerecords.com/">www.peterwalkeerecords.com</a>)</span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>NEUTRALS-Promotional Compact Disk (self-released, CD)</b></span></span><br />
<span style="font-family: inherit;">Neutrals is Giant Haystacks guitarist/vocalist Allan McNaughton's latest band, following his stint with Airfix Kits. Two demos--one from 2016, one from 2016--on one CD, in case you weren't paying attention. This is a simpler, straight-forward and tuneful approach as opposed to the post-punk angularity of Giant Haystacks (although that's a subtle element). Instead, it's a mainly different strain, taking more from late 70s UK, Rough Trade bands. Lyrical wittiness, as well--"Swiss" points out that while the band are "Neutrals," they are <i>not</i> Swiss, while tweaking some of that country's traditions (neutrality, Swiss Army knives, Kleenex--the band, not the product). Once again, using the past as an inspiration but it's not a sepia-toned image. (<a href="http://neutrals.bandcamp.com/">neutrals.bandcamp.com</a>)</span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><b><br /></b></span>
<span style="font-family: inherit;"><b>NO LOVE-Choke On It (Sorry State, LP)</b></span></span><br />
<span style="font-family: inherit;">Feverish and frenetic punk by this NC band (including Sorry State honcho Daniel Lupton). There's melody but there's also a high bash quotient that keep the songs surging along. I hear a little bit of White Lung (without the gothic trappings) and Brain F≠, the latter due to the sonic dustcloud effect, and these are thrown into a hardcore swirl. Re-recordings of the two songs from their 2015 7" plus a cover of ISS's "Back Taxes & Anaphylaxis," given a rocked-up reading and riding an engaging <span style="font-family: inherit;">guitar line. Three years since the 7", worth the wait. (<a href="http://www.sorrystaterecords.com/">www.sorrystaterecords.com</a>) </span></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span></span>
<b>OPTION-The Hour Of Action (demo)</b><br />
This Boston three piece includes Dan from No Sir I Won't and Brain Killer and Sam from Innocent and Mundo Muerto. Continuting in a somewhat similar vein as NSIW, only sharper. Punchy UK-style anarcho punk with an urgent delivery and top-not playing--buzzing guitar and a pumping rhythmic undertow, along with outspoken lyrics given a forceful delivery. And it's all quite catchy, especially "The Front Page." (<a href="http://anotheroption.bandcamp.com/">anotheroption.bandcamp.com</a>)<br />
<b style="font-family: inherit;"><br /></b>
<b style="font-family: inherit; text-align: center;">PEZZ-More Than You Can Give Us (Truant, LP)</b><br />
<span style="font-family: inherit;">The songs on Pezz's latest were recorded in 2012 but are just now seeing a vinyl and digital release.This Memphis unit has always plied a melodic take on punk, along with impassioned lyrics that takes on societal concerns with a first person approach, such as with "Welcome To Palestine." The title track is the best of the lot, providing an energetic surge of older Bad Religion-inspired power and closing song "Guilty" provides a speed-driven conclusion. About the only misstep is the nearly four minute ballad "Miss You So Bad" and, sorry, I'm in favor of keeping cellos out of punk. Not bad, otherwise. They've beefed things up with a three guitar lineup and everything meshes well, a combination of burn and tunefulness. (<a href="http://facebook.com/pezz.memphis">facebook.com/pezz.memphis</a>; <a href="mailto:marvinstockwell@gmail.com">marvinstockwell@gmail.com)</a></span><br />
<span style="font-family: inherit;"><a href="mailto:marvinstockwell@gmail.com"><br /></a></span>
<span style="font-family: inherit;">
</span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-mmkZNCkZMw0/W3hc3gfgFAI/AAAAAAAAB6w/jX7jVSILD00_IEwWFVQQ-wNdvW55lBN7gCEwYBhgL/s1600/Proles.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://2.bp.blogspot.com/-mmkZNCkZMw0/W3hc3gfgFAI/AAAAAAAAB6w/jX7jVSILD00_IEwWFVQQ-wNdvW55lBN7gCEwYBhgL/s400/Proles.JPG" width="300" /></a></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><b><span style="font-family: inherit;">THE PROLETARIAT</span></b></span></div>
<span style="font-family: inherit;"><b><span style="font-family: inherit;"><br /></span></b></span>
<span style="font-family: inherit;"><b><span style="font-family: inherit;">THE PROLETARIAT-The Murder Of Alton Sterling (Bridge Nine, 7")</span></b></span><br />
<span style="font-family: inherit;">Yes, new stuff by the Proletariat, their first new recordings in over 30 years. 3/4 of the original lineup--Rick Brown, Peter Bevilaqua and Tom McKnight are joined by new guitarist Don Sanders. Not exactly picking up where they left off, after their somber-sounding "Indifference" album (which was culled from different sessions). The two songs here are aggressive, in-your-face punk, with the title track a sub-two minute rage session ripped from the headlines, as they say, about an unarmed black man being gunned down by the police. "Push Back" infuses a post-punk pulse into a rocking arrangement. A good return and they've got more new material already in the pipeline. (</span><a href="http://www.bridge9.com/" style="font-family: inherit;">www.bridge9.com</a><span style="font-family: inherit;">)</span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
<b><span style="font-family: inherit;">RULETA RUSA-Viviendo Una Maldicion (Sorry State, LP)</span></b></span><br />
<span style="font-family: inherit;">First full-length album since 2013's <i>Aqui No Es</i> and featuring re-recordings of the 7 songs on their Euro 12" from 2015, plus three new originals and bashing covers of two songs by early 80s Spanish band Paralisis Permanente. A rough 'n tumble array of fast-paced hardcore mixed with tuneful punk ("Vivre Sin Ti" is damn near poppy), along with raspy vocals sung in Spanish. No translations but a title like "Todos Es Mierda" gives a pretty good indication where they're coming from--"World Of Shit." There's an anger in the way the words are projected but the music has an energetic, upbeat appeal. Scrappy and boisterous. (<a href="http://www.sorrystaterecords.com/">www.sorrystaterecords.com</a>)</span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
<b><span style="font-family: inherit;">STUN EVENT-s/t (Antitodo, LP)</span></b></span><br />
<span style="font-family: inherit;">Despite the fact that this band includes three former members of Out Cold--vocalist Keven Mertens, drummer John Evicci and guitarist Freddy Defecto adding some lead work (Kevin also plays guitar)-- Stun Event don't really sound like that band. The songs here are herky-jerky hardcore compositions with odd time signatures. There's a post-punk or even jazzy sensibility, but it's something they incorporate instead of it being an obvious element. There aren't always standard song structures or the brevity has them moving on to the next one just about when you've gripped what's playing. In other words it's fairly hookless but the playing is sharp and inten<span style="font-family: inherit;">se. (<a href="mailto:antixtodo@gmail.com">antixtodo@gmail.com</a>, <a href="http://stunevent.bandcamp.com/">stunevent.bandcamp.com</a>) </span></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><a href="https://3.bp.blogspot.com/-NVpssBFKz94/W3hcy9wrhZI/AAAAAAAAB6k/c84JmiwW7x4odRSEzKJT4kJy0xJV_HKdQCEwYBhgL/s1600/Tozcos.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1231" data-original-width="1600" height="307" src="https://3.bp.blogspot.com/-NVpssBFKz94/W3hcy9wrhZI/AAAAAAAAB6k/c84JmiwW7x4odRSEzKJT4kJy0xJV_HKdQCEwYBhgL/s400/Tozcos.JPG" width="400" /></a></span></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><b><span style="font-family: inherit;">TOZCOS</span></b></span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><b><br /></b></span></span>
<span style="font-family: inherit;">
</span>
<span style="font-family: inherit;"><span style="font-family: inherit;"><b>TOZCOS-Sueños Deceptivos (Verdugo, LP)</b></span></span><br />
<span style="font-family: inherit;">Rough hardcore punk <i>en Espanol </i>from this Santa Ana, CA band, although there are European punk influences, as well. Monse's vocals exude raspy rage and passion and the band sound muscular, with a warm, buzzing guitar tone. There's nuance, though, and darker, semi-goth shadings emerge on "Ritmo De La Muerte" and there's also a near-four minute, intense dirge in "Un Hogar." Most of the time, though, they play at a mid-to-fast clip and avoid having the "all the songs sound the same" syndrome. Solid live band too. (<a href="http://verdugodiscos.storenvy.com/">verdugodiscos.storenvy.com</a>)</span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
<b><span style="font-family: inherit;">TV SLIME-Slime Demon (Byaaaaaah!, 7")</span></b></span><br />
<span style="font-family: inherit;">The first release in three years from this Chicago crew and their second 7" overall and it's a riff monster, much heavier than their debut. Crushing, punk-driven AmRep style rock, in the same ballpark as a band like Metz, only meaner-sounding. Three sturdy mid-tempo blasts plus one speed bomb ("Timber"). Ugly and crushing. (<a href="http://tvslime.bandcamp.com/">tvslime.bandcamp.com</a>)</span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
<b><span style="font-family: inherit;">PRINTED MATTER:</span></b></span><br />
<span style="font-family: inherit;"><b><span style="font-family: inherit;"><br /></span></b></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><a href="https://3.bp.blogspot.com/-qk-SLKZndnY/W3hcujKgJcI/AAAAAAAAB6o/5PLhJjPVxQQ7aUgrtdkIRKbWAjpyl-znACEwYBhgL/s1600/Inflammable%252BMetropolis%252Bfront%252Bcover.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="750" height="320" src="https://3.bp.blogspot.com/-qk-SLKZndnY/W3hcujKgJcI/AAAAAAAAB6o/5PLhJjPVxQQ7aUgrtdkIRKbWAjpyl-znACEwYBhgL/s320/Inflammable%252BMetropolis%252Bfront%252Bcover.jpeg" width="240" /></a></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><b style="font-family: inherit;"><i>LIFE IS POSERS</i>--<i>Inflammable Metropolis</i></b></span></div>
<span style="font-family: inherit;">The latest installment of Mike "Rufio" Kadoyima's </span><i style="font-family: inherit;">Life Is Posers </i><span style="font-family: inherit;">comic series is about the return of Poserton punk legends The Opposers, about to play their first show in over 20 years. Needless to say, this creates much excitement for Bazz and Skuzz and their punk compatriots. In fact, Bazz is so excited that he can't wait the month until the show and enlists his friend Spit to create a time travel elixir, which is a "carefully crafted mixture PCP, crushed pills, lemon blast moonshine and formaldehyde." As you'd imagine, the results don't come out as expected. And having Frisbee and the Ratpunks opening the show creates other problems, big ones...</span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">For this issue, Rufio has enlisted other artists to draw panels and there are multiple contributions at the end that capture a pivotal Posterton punk event and many of these drawings take a very dark turn. Another thing to look out for are the selections of Posteron's various food establishments. You can get Rudimentary Panini at UK Subs or Springa Rolls at the Chinese Takeaway food truck.</span></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Entertaining as always and Rufio's created his own little on-line punk kingdom where not only can you check out his books but also sample the music of Posterton's various bands, including the Opposers. (<a href="http://lifeisposers.bigcartel.com/">lifeisposers.bigcartel.com</a>)</span></span><br />
<span style="font-family: inherit;"><br /></span>
Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-88534937104278461882018-05-09T11:54:00.000-04:002018-05-09T19:02:09.325-04:00Suburban Voice blog #130<div class="separator" style="clear: both; text-align: center;">
</div>
<b><i><span style="font-family: inherit;"><br /></span></i></b>
<b><span style="font-family: inherit;"><i>(This installment was originally published in </i>Maximum Rocknroll <i>last year...)</i></span></b><br />
<b><span style="font-family: inherit;"><i><br /></i></span></b>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-aB-pjWGG7IU/WvMUz99brPI/AAAAAAAAB5Q/HJrVgwi6uTUl22KZHCh3RxTFFEADFqW5wCEwYBhgL/s1600/ground%2Bzero.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="504" data-original-width="500" height="320" src="https://4.bp.blogspot.com/-aB-pjWGG7IU/WvMUz99brPI/AAAAAAAAB5Q/HJrVgwi6uTUl22KZHCh3RxTFFEADFqW5wCEwYBhgL/s320/ground%2Bzero.jpg" width="316" /></span></a></div>
<div style="text-align: center;">
<span style="mso-bidi-font-weight: normal;"><span style="font-family: inherit; font-size: 10pt;"><b><br /></b></span></span></div>
<span style="mso-bidi-font-weight: normal;"><span style="font-family: inherit; font-size: 10pt;"><b>HOW
MUCH ART CAN YOU TAKE?</b></span></span><br />
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;">When
people think of Boston’s original punk era, their attention is usually focused
on bands like the <b>Real Kids</b>, <b>Un</b><b>n</b><b>atural Axe</b>, <b>LaPeste</b>, <b>Neighborhoods</b>, <b>DMZ</b> and
<b>Nervous Eaters</b>. They think of legendary clubs like The Rat (or Rathskeller, as
it was formally known). Thing is, while those bands were doing something loud
and energetic, it was still rock ‘n roll based. Nothing complicated, nothing
too arsty-fartsy.</span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;">Still,
there were bands who had artier inclinations, who came from a different muse
than the more rock ‘n roll oriented bands. Not that they didn’t rock but there
was a wider variety of influences and approaches. <b>Ground Zero</b>, <b>The Girls</b> and <b>The Molls</b> are a few examples.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><b>Ground Zero</b> released a pair of 7” EPs, in 1979 and 1980, each with four songs, all of
them compiled onto a self-titled album on the Rave-Up label as part of their
“American Lost Punk Rock Nuggets” series. In addition, there’s a nearly
half-hour video called <i style="mso-bidi-font-style: normal;">Televoid. </i>It’s a video and aural bombardment that’s mostly a
collage of miscellaneous clips and a few glimpses of the band in the live
setting.
<span style="mso-spacerun: yes;"> </span>The song “Ground Zero” is
accompanied by video of nuclear tests, while “Cybernetic War” shows a primitive
video game (Asteroids, maybe?). No narration or words of wisdom from the band.
They let the art speak for itself.<o:p></o:p></span><br />
<span style="font-family: inherit;"><br /></span></div>
<span style="font-family: inherit;"><iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/r5vUUsmXTq0" width="560"></iframe>
</span><br />
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;">To
give a bit of background, Ground Zero formed at the Star Systems Loft in
Boston’s South End. I never had the privilege of going there but it was an
early DIY space and was home to a number of performances by the likes of LaPeste, The Girls and Mission of Burma and visiting acts like The Contortions (my
god, can you imagine what it must have been like to see those guys at a loft
show?) According to the liner notes on the Rave-Up abum, Star Systems was “a
group of musicians, film makers, photographers, xerographers, artists, and
videographers who decided to join skills to produce an anarchic, movable
musical and visual feast combining post-war angst, deconstructed 60s pop with
Dada and existential influences.” Pretty heady stuff—certainly an ambitious
scope. And if that seems too arty for you, at their core, Ground Zero dished
out some pretty hard-edged fodder. One can hear similarities to Chrome, with
the drill-press guitar sound and synth washes. But Ground Zero were capable of
straight-ahead punk blasts, too, as with “Nothing” on the first 7”. That song
ended up on the <i>Killed By Death</i> <i>#12</i> compilation, and the liner notes
were kind of dismissive of them (dross and pseudopunks were two terms used),
but they’re wrong. The sleeve for that first 7” comes in an oversized
full-color xerox jobbie with small images from live shows. Not quite abstract
but certainly leaning that way.</span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><br /></span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><a href="https://1.bp.blogspot.com/-lBiQSSltDAg/WvMUzu1YUFI/AAAAAAAAB5I/ry09Qmp50v8yNzrInHsyCqpf_wm3vPiIQCLcBGAs/s1600/The%2BGirls.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="640" height="252" src="https://1.bp.blogspot.com/-lBiQSSltDAg/WvMUzu1YUFI/AAAAAAAAB5I/ry09Qmp50v8yNzrInHsyCqpf_wm3vPiIQCLcBGAs/s400/The%2BGirls.jpg" width="400" /></a></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><b>THE GIRLS</b></span></div>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">The Girls were also part of that loft scene and they’d also play places like the
Punkt/Data Gallery and their practice space was at the Modern Theatre, a
building that bordered on Boston’s “adult entertainment” district the Combat
Zone (the Modern also screened adult films in the 70s). During their existence,
ca. 1976 to 1980, they only released one 7”, “Jeffrey I Hear You,” on Pere Ubu linchpin David Thomas’ Hearthan label. Mr. Thomas produced it, in fact. It’s
one of the great lost gems from that era of Boston punk, a nearly six minute
excursion that builds to a psychotic conclusion. Daved Hild’s vocals become
increasingly desperate and unhinged and the song’s driving rock is punctuated
by Robin Amos’ synth mania, which was a key part of their sound. The b-side is
a nice bit of Ubu-esque melody-meets-atonality. </span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span><iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/dGb2Ug9FpCs" width="560"></iframe> </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Besides the 7”, there was a
1986 album </span><i style="font-family: inherit;">Reunion</i><span style="font-family: inherit;"> that wasn’t a
reunion but a collection of unreleased songs, along with “Jeffrey” (but not
“Elephant Man”). The quality of material varies but they hit the mark a good
chunk of the time. “Vietcong Women,” with its synth drone and eastern guitar
lick would, once again, fit in nicely on an early Ubu album. They were capable
of wanton punk bash, as well, on the relentless “Keep It Simple” and “Methodist
Church,” which cribs a bit from the Sex Pistols’ “Sub-Mission.” Elements of
Krautrock certainly inspired their music, Can in particular. If you listen to
that band’s “Father Can’t Yell,” it’s not too hard to discern where they were
coming from on “Jeffrey.” In fact, Amos later worked with former Can vocalist
Damo Suzuki in his band Cul-De-Sac.</span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span></span>
<span style="font-family: inherit;"><span style="font-family: inherit;">Unfortunately,
the single and album are long out-of-print and definitely worthy of reissue.
There are a couple of easier-to-find releases. </span><i style="font-family: inherit;">Live At The Rathskeller 5.17.79</i><span style="font-family: inherit;">, with somewhat lo-fidelity sound
quality, but they effectively bash their way through their material. Some real
punk scorchers here, “Just Got Back” and “Stiff Bird” in particular. The 2015
Feeding Tube Records release </span><i style="font-family: inherit;">Punk-Dada
Pulchritude</i><span style="font-family: inherit;"> (a pretty good description) is a collection of rough-sounding
early demos. Opening track “Never Did Believe In” is a numbing, repetitive
mindblower and the best song by far. There are two versions of “Little Suburban
Territory” and the second one dabbles in No Wave mania. They were more
experimental at this point, not yet veering into more traditional punk
territory.</span><span style="font-family: inherit;"> </span></span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/2DrBAVcJXC0" width="560"></iframe>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><br /></span><br />
<span style="font-family: inherit;">The Molls' single </span><i style="font-family: inherit;">White Stains </i><span style="font-family: inherit;">is </span><span style="font-family: inherit;">a stomping avant-punk classic. It had the requisite pogo punch but was
accompanied by driving keyboards and even electric bassoon. Future Mission of Burma drummer Peter Prescott played on the record. They played the first punk
show I ever saw, with The Plasmatics at the Rat. They didn’t upstage Wendy and
her chain saw but I remember that particular song. The b-side, “Is Chesty
Dead,” is atonal skronk and not as memorable. </span><br />
<span style="font-family: inherit;">Most of these guys went on to
play in Someone and the Somebodies in the 80s, with a fair amount of success.
Their best song, “People Are Dumb,” was only released as a demo. That’s something I’ve been
singing a LOT lately. Their bass player Tris Lozaw became a music journalist, one
of the few credible local rock scribes.</span><br />
<span style="font-family: inherit;"><br />
<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/YOENsLb2-RI" width="560"></iframe>
<br />
</span></div>
<div class="MsoNoSpacing" style="tab-stops: .25in;">
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">If
any of this intrigues you, my old friend Jordan Kratz (from early Boston punk
band The Transplants) has a website with a shitload of free downloads including
music from all three bands. Hit it up at <a href="http://www.bigmeathammer.com/koehler.htm">www.bigmeathammer.com/koehler.htm</a>.
Make sure you check out The Transplants, too. They were more of a
straight-forward punk band and had LaPeste drummer Roger Tripp in their ranks
for a time.<o:p></o:p></span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/mH4CN_ggr8Y" width="560"></iframe>
</span>
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><br /></span></div>
<b><i></i></b>Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-65211888541173116392018-04-07T17:31:00.000-04:002018-04-07T17:33:05.568-04:00Suburban Voice blog #129<div class="MsoNoSpacing" style="text-align: center;">
<o:p> </o:p><a href="https://3.bp.blogspot.com/-D1FV1Nnk6JY/WsZMRddDI5I/AAAAAAAAB3c/kaBFU_IdDU4Ah9awCd5EZBuKN0433c3EwCLcBGAs/s1600/tim%2Band%2Bmartin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="293" data-original-width="444" height="263" src="https://3.bp.blogspot.com/-D1FV1Nnk6JY/WsZMRddDI5I/AAAAAAAAB3c/kaBFU_IdDU4Ah9awCd5EZBuKN0433c3EwCLcBGAs/s400/tim%2Band%2Bmartin.jpg" width="400" /></a></div>
<div class="MsoNoSpacing" style="text-align: center;">
<b>TIM (right) and MARTIN SPROUSE, 1987</b></div>
<div class="MsoNoSpacing" style="text-align: center;">
<b>(from MRR site)</b></div>
<div class="MsoNoSpacing">
<b><br /></b></div>
<div class="MsoNoSpacing">
<b>IN TRIBUTE TO TIM...</b></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
This month marks the 20th anniversary of the death of Tim
Yohannan, one of the founders of <i>Maximum Rocknroll</i>. Tim passed away
on April 3, 1998, from non-Hodgkins lymphoma. He was only 52 years
old. I’ve written about my interactions with Tim in different print
outlets in the past but I'll re-tell
them in case you missed it the first time around. </div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
I stayed at MRR headquarters a few times, in March 1985
when he was living in Berkeley and again in October 1986, when they were on
Clipper St. in San Francisco. That has to have been one of the steepest hills I
ever walked up. My shins still ache just thinking about it. I even got to be a
shitworker when I was there, helping to pack up and ship out a new issue, which
was #43. I just took the issue out and there I am, forever immortalized. Maybe
“got to be” wasn’t the right term. I think drafted might have been more
appropriate. I suppose it was a fair trade for the free lodging and being able
to tape a bunch of the records in the <i>MRR</i> collection. I mean
record them—not actually put the legendary green tape on the record covers.
That was one task I didn’t get to take part in. </div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
Tim had me on the radio show a couple of times. In case
you don't know the story of <i>MRR</i>, it actually started as a radio
show in 1977 and the zine began in 1982. I have a tape of my first appearance
and listened to it awhile back. No wonder he made fun of my Mass. accent. It
was pretty bad back then. I’ve managed to rein it in a bit over the years but
it still slips out. The second time Tim had me on the radio show, he came up
with the brilliant (devious?) idea of having me interview the Virginia band
Unseen Force, even though I’d never heard their music and only knew at least
one of ‘em had been in White Cross. Incredibly, I managed to get through it
without making a complete idiot of myself—at least I don’t think I did. I remember
Tim also took me over to the as-yet-unopened Gilman Street Project and had me
get up on a ladder and hammer in a few boards—“now you can say you helped build
this place.” </div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
Even though we didn't agree about everything and he could
be intransigent in some of his beliefs, he always treated me very well and
made me feel at home. He was supportive of my work over the years,
something I’ve always appreciated. Before my first trip to the Bay Area, I
was already contributing to the zine, doing scene reports and the occasional
interview, so I was already acquainted with him. People would always
mention his hilarious seal-like laugh and that was one of the first things I
also noticed when I met him. I wasn’t really following baseball at that point,
but he seemed excited that the Red Sox were in the ’86 World Series against the
Mets (let’s not mention Bill Buckner, OK?) and, now that I’m more of a diehard
Sox fan than ever, I’ll note that any native of New Jersey who roots for the
Sox is OK in my book.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
Tim did give me crap about being a fan of Agnostic Front
and the FUs—I think he believed I was some kind of right-winger or at
least tolerant of those elements because of the reputation of certain segments
of Boston and NYC’s hardcore scene. That was far from the case, though. Even
back then, I knew how dumb AF’s anti-welfare song “Public Assistance” was. And
when my politics took a sharper turn to the left after the ’94 Republican
takeover of Congress and their Contract ON America, he made a positive note of
it in a letter to me just before he passed away. </div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
I always appreciated <i>MRR</i>, period. People
like to rip on it, question its relevance, question its dogmatism. One of my
dear friends originally contacted me on-line because she was a fan of my column
in <i>AMP</i>, which I wrote for for a number of years. When I told her
that I felt more privileged to write for <i>MRR</i>, she sniffed that the
‘zine is elitist. I told her that she was entitled to her opinion but getting
the opportunity to take up 2000 or so words of valuable space in each issue was
something that I truly appreciated.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-w_p98PWwFDk/WsZO_hqzCcI/AAAAAAAAB30/YTNG-R5vSHwUjbaKBqXfTu6y0DJROdNUACLcBGAs/s1600/MRR006_cvr.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="584" data-original-width="450" height="400" src="https://3.bp.blogspot.com/-w_p98PWwFDk/WsZO_hqzCcI/AAAAAAAAB30/YTNG-R5vSHwUjbaKBqXfTu6y0DJROdNUACLcBGAs/s400/MRR006_cvr.jpg" width="307" /></a></div>
<div class="MsoNoSpacing" style="text-align: center;">
<i><br /></i></div>
<div class="MsoNoSpacing">
<i>MRR </i>really meant a lot to me during those
first few years after college, where I had a lot of confusion/anxiety over what
direction my life would be taking. Was it going to be a so-called straight
career path? Within six months after graduating, that was clearly not the
case—or so I thought. I still ended up taking a job at a bank as a teller and
simultaneously got a one-room studio apartment in Lynn. </div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
By then, hardcore
and punk had become a much bigger part of my life. I remember bringing my copies to
work with me at the bank where I was employed and I’d peruse it in the lunch
room—wondering if I’d be in trouble if one of the bank’s officers came in and
saw the cover of whatever issue I was reading. How would they react to the
cover of issue #6, the infamous “The Dicks: A Commie Faggot Band???!”? Nah, one
of ‘em, Tom, was probably too busy harassing female employees. I found out
later on that he got into some hot water over that. Anyway, all of those issues
are in plastic bags but quite yellowed since I didn’t take care of ‘em for a
long time. That musty newspaper smell isn’t all that pleasant on the occasions
when I’ll pull them out of the plastics but it’s more than compensated for by
having an opportunity to once again read a first-hand history of hardcore as it
was unfolding.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-bC-uNqhmXlw/WsZMvnoPUlI/AAAAAAAAB3k/XpS7O28bv-shuHfFDKInVxNxK0oYQbO5wCLcBGAs/s1600/tyTimYo-from-Mike-Lavella-site_-_Copy-527x379.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="379" data-original-width="527" height="287" src="https://2.bp.blogspot.com/-bC-uNqhmXlw/WsZMvnoPUlI/AAAAAAAAB3k/XpS7O28bv-shuHfFDKInVxNxK0oYQbO5wCLcBGAs/s400/tyTimYo-from-Mike-Lavella-site_-_Copy-527x379.jpg" width="400" /></a></div>
<div class="MsoNoSpacing" style="text-align: center;">
<b>TIM IN HIS VOLVO (from Lavella-Blog!)</b></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
While Tim could be dogmatic and had a narrow definition
of what was or wasn’t punk, his knowledge and passion always came out in his
writing. Who could forget his review for Die Kreuzen’s first album—<i>“This is
fucking great! This is fucking great! This is fucking great…”</i> repeated
nearly ad infinitum. Sure, it didn’t exactly convey the musical contents but
you had to figure if it had such an enthusiastic stamp of approval, it was
probably at least decent. Same for New Bomb Turks' <i>!!Destroy-Oh-Boy!!”</i> album.
Tim’s 1993 review said it was the best record of the past five years. Once
again, I figured it’d at least be halfway decent and that was an
understatement. From the opening buzzsaw chords of “Born Toulouse-Lautrec,” it
was like all the shitty music I’d been listening to in recent years got blown
away with one sonic blast. It’d take a few years before I stopped listening to
godawful grunge music and warmed-over cock rock and get rid of the long hair
but it was definitely a step in the right direction. So thanks Tim. Thanks for
giving me a shot as a writer and thanks for the musical recommendations. It’s
time to pay the best tribute I can—put on that Turks album nice and loud…</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b>... AND NOW, AS WE SAY IN MASSACHUSETTS, REKKID
REVIEWS...</b></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-ap7hHpa2JqQ/WsktsWKMdOI/AAAAAAAAB4Q/6oRFZnt6Q7EFB2SojlaHjGlV7xyD50BtwCLcBGAs/s1600/P1150973.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="478" data-original-width="648" height="295" src="https://1.bp.blogspot.com/-ap7hHpa2JqQ/WsktsWKMdOI/AAAAAAAAB4Q/6oRFZnt6Q7EFB2SojlaHjGlV7xyD50BtwCLcBGAs/s400/P1150973.JPG" width="400" /></a></div>
<div style="text-align: center;">
<b>FLOWER</b></div>
<b><br /></b>
<b>BIG CHEESE-Aggravated Mopery (Quality Control HC,
7")</b></div>
<div class="MsoNoSpacing">
There's a less-than-subtle late-80s NYHC sound in this
band's oeuvre but damn if they don't have it down, drawing from Sick Of It All
and Leeway in particular. I’m reminded of the former due to the vocal delivery
and the latter from the metallic riffery that pops up here and there. The
production even has the cavernousness of that era of hardcore but it’s not a
detriment. Bringing back the floor-pounding Sunday matinee sound. Nicely
packaged with a foldout lyric poster. (<span style="color: windowtext;"><a href="http://qualitycontrolhc.bigcartel.com/">qualitycontrolhc.bigcartel.com</a></span>) </div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b>CLUSTERFUCK-Losing The War Of Ideas (self-released,
12")</b></div>
<div class="MsoNoSpacing">
This was released in mid-2016 (just got it recently,
though), right before that dark day in November and maybe the war of ideas has
been lost since then. Clusterfuck reconvene from different parts of the country
every few years--they've been doing the band since 2003--and this was actually
their first 12" since 2009. More spirited and tuneful hardcore with a good
amount of sarcasm and absurdism in the lyrics. Not overtly political, reading
more as prose than any sort of standard verse/chorus/verse structure. At
times, it comes across like a less-frenetic Flag Of Democracy i.e. there doesn't seem to be
as much caffeine involved. Donny's vocal range goes from hyper to soothing and
the brief compositions showcase solid chops that navigate through the high
energy songs--fifteen of 'em in a bit over 14 minutes. Ideas are a potent
weapon in Clusterfuck's hands, although you have to read between the lines a
bit. The music is equally potent. (<a href="http://clusterfuck.computer/">clusterfuck.computer</a>)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b>COMBATANT-Sick Plot (Not Like You, 7")</b></div>
<div class="MsoNoSpacing">
Haven't heard a ton of quality hardcore out of the state
of Maine over the years but here come Combatant to raise holy hell. Mean,
full-speed ahead old-school bile with a meat-cleaver riffs and in-the-pocket
arranging, along with bellicose vocals and sentiments. The production brings
out the power without being too slick. Yeah, by the books, but with a savage edge. (<span style="color: blue;"><a href="http://www.notlikeyourecords.com/">www.notlikeyourecords.com</a></span>)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b>CYBERPLASM-What Is Flesh? (Fuckers Will Pay, demo)</b></div>
<div class="MsoNoSpacing">
Heady noise-mongering creating a buzz-stun effect. Chrome
and Metal Urbain figure into the equation, with drill-press guitar and
mechanized rhythms infused with punk speed, but there's also the nightmarish
industrial excursion of "Perfect Body." The entire second side of the
tape is taken up with a twelve-and-a-half atmospheric/ambient piece, "The
Psychic Hologram," that's pretty unnecessary. The rest is prime,
ear-wrecking scorch. (<a href="http://cyberplasm.bandcamp.com/">cyberplasm.bandcamp.com</a>)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b>DEVILS-Iron Butt (Voodoo Rhythm, CD)</b></div>
<div class="MsoNoSpacing">
For a two-piece, The Devils make one hell (pun intended)
of a racket and that continues for their second album <i>Iron Butt</i>.
This ain’t no White Stripes garbage, this is raw, nasty garage/blues/punk slop
done at a healthy clip—or maybe unhealthy. Sure, there are traditional blues
influences--that really comes for the slow cookin’ “White Collar Wolf”—but they
harness it to a wanton, high-octane fuzzed-out attack and take you for one
nasty hellride. A few different wrinkles here and there, such as the numbing cacophony
of “Red Grave,” with an unholy rant from drummer/vocalist Erica Toraldo. To
quote a quite different band, the sound of an enormous door slamming into the
depths of hell. (<span style="color: windowtext;"><a href="http://www.voodoorhythm.com/">www.voodoorhythm.com</a></span>)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b>DIATRIBE-The Black Parade (Rancid Cat, LP)</b></div>
<div class="MsoNoSpacing">
San Diego band Diatribe’s history goes back to the 1980s.
Their 1985 <i>Aftermath</i> demo came out on vinyl in 2007 on the Get
Revenge label and they’ve been an active band again in recent years, with
vocalist Vince Udo the sole original member. Their new 12”, <i>The Black
Parade,</i> was recorded between 2012 and 2014 and is finally out, with a
limited pressing of 200 copies, on splattered vinyl and with a screened cover.
A blunt, rough hardcore punk sound embracing crust, thrash and d-beat and
harnessing it to still-angry sentiments. This is all spat out in angry bursts,
particularly on songs like “Fraternal Order Of Hate” and “Emblem.” Three
decades later, there’s still a bone to pick with the world and raw musical
emanations remain a suitable weapon of choice. (<span style="color: blue;"><a href="http://diatribe.freehostia.com/">diatribe.freehostia.com</a></span>)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b>EXILES-No Comply (Shredding Material, CD)</b></div>
<div class="MsoNoSpacing">
Sturdy mid-tempo punk with melody and incisive lyrics
about personal travails and corrupt "democracy." The guitar has a
whole lotta buzz and the vocals are earnest-sounding. Listenable, although not
really providing any sort of full-on rush. Catchy, though.
(<a href="mailto:theexilesband@gmail.com">theexilesband@gmail.com</a>)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b>FLOWER-Violent Crusades (demo)</b><br />
Nothing flowery about this music. It's a raw expression of rage, a maelstrom of fast hardcore and melodic, anarcho-punk shadings, complemented by impassioned vocals. The words aren't flowery either--they express dismay at the ravages of religion, nationalism and a system set up to grind you down. They're all part of an oppressive whole. Potent and powerful, both on this recording and live. (<a href="http://flowernewyorkcity.bandcamp.com/">flowernewyorkcity.bandcamp.com</a>)<br />
<b><br /></b>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-Tp2eqhcSv70/WsktrhKqvnI/AAAAAAAAB4M/kSkVVT5DQV8tvxFuInWXqdR760UxMQNJQCEwYBhgL/s1600/P1150762.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1179" height="400" src="https://4.bp.blogspot.com/-Tp2eqhcSv70/WsktrhKqvnI/AAAAAAAAB4M/kSkVVT5DQV8tvxFuInWXqdR760UxMQNJQCEwYBhgL/s400/P1150762.JPG" width="293" /></a></div>
<div style="text-align: center;">
<b>FUTURA</b></div>
<b><br /></b>
<b>FUTURA-Spit On The Flag (En Tu Kara, 7")</b><br />
The words that Erika sings on some of the songs on this EP could very well have been written in the 1980s--at least the title track and "Boom," about nuclear obliteration. The other three songs deal with personal turmoil, especially "Eyes Wide Open," about the death of a relationship. Fast and peppy hardcore punk played with skill and ragtag spirit. (<a href="http://entukara.bigcartel.com/">entukara.bigcartel.com</a>)<br />
<b><br /></b>
<b>GAME-Who Will Play (Quality Control HC, flexi)</b> </div>
<div class="MsoNoSpacing">
I really wish this had been done on vinyl—too much damned
surface noise—but Game are a ferocious unit. Opening track “Game” comes
charging full-speed out of the gates, coupled with Ola’s angry, raged-filled
vocals. “Crush” threatens to stomp itself right through the floor, before
kicking into faster gear with a Sacrilege inspiration and you can hear echoes
of that elsewhere. Still, Game come down on the hardcore side of things and
it’s a murderous attack. Five songs, two of them with Polish lyrics and one of
them, the fast and ripping “Rząd i Osioł,” provides an obliterative
conclusion. (<span style="color: windowtext;"><a href="http://qualitycontrolhc.bigcartel.com/">qualitycontrolhc.bigcartel.com</a></span>) </div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b>HAIRCUT-Shutting Down (Feel It, 7") </b></div>
<div class="MsoNoSpacing">
No-BS, speedy hardcore punk with some early Poison Idea
in the engines. Not exuding originality—what does these days—but they keep the
energy level high. It does exude a pointed lyrical outlook, both in English and
Spanish. “Fucked Up” is a song about sobriety that’s done without flying a
“nailed to the X” straight edge flag, while “Boys Club” is about not needing
acceptance from any group of people. Kicking up a storm. (<span style="color: windowtext;"><a href="http://www.feelitrecordshop.com/">www.feelitrecordshop.com</a></span>)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b>ISS-s/t (Sorry State, 7") </b></div>
<div class="MsoNoSpacing">
A new four song 7" by the dynamic duo of Eddie
Schneider (Brain F≠) and Rich Ivey (Whatever Brains). Hammering mechanized
punk, but it sounds human, not robotic. "I Wanna Be Dated" has some
serious guitar shredding. "Armchair Aryan (Richard Spencer's Gifts),"
in addition to having one of the coolest titles of the year, is a spot-on
perfect excoriation of the alt-right dickheads, calling them out for the
cowards they are. "C.H.U.D.F.R.E.A.K. Swamp Meet" takes a moodier
turn and the kill effect returns for "My Miata." And, yes, once
again, there's clever sampling from old punk records, including Dead Kennedys'
"Nazi Punks Fuck Off" and Flipper's "Nothing." Fucking
brilliant. Eddie told me they've only done a couple of live shows, since he and
Rich live in different cities. I hope that changes, at some point. (<span style="color: windowtext;"><a href="http://www.sorrystaterecords.com/">www.sorrystaterecords.com</a></span>)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-dvhJp0Z0h88/WsktvZugBjI/AAAAAAAAB4Y/MMGFZGggS5sifa5f-5uRLGbYoBmwiS2xQCEwYBhgL/s1600/P1150942.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://4.bp.blogspot.com/-dvhJp0Z0h88/WsktvZugBjI/AAAAAAAAB4Y/MMGFZGggS5sifa5f-5uRLGbYoBmwiS2xQCEwYBhgL/s400/P1150942.JPG" width="300" /></a></div>
<div style="text-align: center;">
<b>LAUGHING STOCK</b></div>
<b><br /></b>
<b>LAUGHING STOCK-Rough Crowd (Not Like You, 7")</b></div>
<div class="MsoNoSpacing">
The vinyl debut for these Massholes, who've been around
four years at this point. Manic hardcore with cavernous production and it makes
me think back in time to the Mystic Records compilations or the old Toronto
band Youth Youth Youth (look 'em up if you've never heard them). There are a
few double-speed rhythms, as well as melodic touches, singeing leads and even a
split-second skank on "Just My Luck." Not bad at all. (<span style="color: blue;"><a href="http://www.notlikeyourecords.com/">www.notlikeyourecords.com</a></span>)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b>M.A.Z.E.-s/t (Abonormal Broadcasting, tape)</b></div>
<div class="MsoNoSpacing">
Jittery post-punk/garage minimalism from Japan, in
glorious trebly low-fidelity. The brittle guitar lines sometimes have a
nearly-traditional Japanese feel, but you get the feeling they listen to more
Kleenex than shamisen records. For "Spread The Girmicide," it's a
funkier arrangement, while "Pain In The Gum" is a sprightly frolic.
Their previous demo had more of a poppy approach and, while their are some
hooks, these songs sound edgier and rougher. (<span style="color: windowtext;"><a href="http://abnormalbroadcasting.bandcamp.com/">abnormalbroadcasting.bandcamp.com</a></span>)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b>NEGATIVE SPACE-Gestalt (Drunken Sailor/Always
Restrictions, LP)</b></div>
<div class="MsoNoSpacing">
Classic post-punk from the UK that probably should have been in my top ten last year. They're not really sons of Gang of Four, although it's probably not a stretch to say they've listened to that band and Wire. Piercing guitar lines that also flame like embers at times, along with rhythmic perfection, interlocked and intertwined to create a gyrating whole. The bass-lines on this album are massive. The vocals are emotional but it's borne from anger, not lamentation, although the lyrics exude a dark-soul desperation and it culminates with the deliberate, brooding tension of "Payday Loan," that builds to a noisy conclusion, before going into the driving punk of "Without Jealousy." I like these guys for the same reasons I like Mod Vigil or Rank/Xerox. Nods to the past but given a powerful updating. (Drunken Sailor, <a href="http://drunkensailorrecords.co.uk/">drunkensailorrecords.co.uk</a>; Always Restrictions, <a href="http://alwaysrestrictions.com/">alwaysrestrictions.com</a>)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b>NO BLUES-s/t (demo)</b></div>
<div class="MsoNoSpacing">
Members of Ontario ragers Born Wrong do a 180 into
tuneful, ragtag punk territory with hooks galore. Bright, snappy compositions
but there’s a snarl underneath and the semi-low fidelity gives it all an edge.
Pop without the pap. (<span style="color: windowtext;"><a href="http://blowbloodrecords.bandcamp.com/">blowbloodrecords.bandcamp.com</a></span>)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b>NUMBER ONES-Another Side Of The Number
Ones (Sorry State, 7")<o:p></o:p></b></div>
<div class="MsoNoSpacing">
Power-pop that's unafraid to lay on the glop a bit and,
alas, it gets a little cutesy. When I say power-pop, I don’t mean the skinny
tie variety but the kind of bands you’d hear from the UK and Ireland in the
late 70s. Still, the production is rough around the edges and there’s sting in
“Lie To Me” and “Long Way To Go,” but a little preciousness goes a long way. (<span style="color: windowtext;"><a href="http://www.sorrystaterecords.com/">www.sorrystaterecords.com</a></span>)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-V2hXkVJ7aGk/WskttbP5PkI/AAAAAAAAB4U/nKqTnf_ZO9o-OnAzczpB14Wt_O-6C0RrACEwYBhgL/s1600/P1150901.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1561" data-original-width="1600" height="390" src="https://2.bp.blogspot.com/-V2hXkVJ7aGk/WskttbP5PkI/AAAAAAAAB4U/nKqTnf_ZO9o-OnAzczpB14Wt_O-6C0RrACEwYBhgL/s400/P1150901.JPG" width="400" /></a></div>
<div style="text-align: center;">
<b>OPTION</b></div>
<b><br /></b>
<b>OPTION-The Hour Of Action (demo)</b></div>
<div class="MsoNoSpacing">
New Boston band with members of No Sir I Won't, Brain
Killer, Innocent, Purgatory and others and it's one hell of a debut. Buzzing,
burning Crass-inspired anarcho punk delivered with incredible precision and
passion. Max sounds like he's playing two drum kits and locks in perfectly with
Dan's nimble bass and Sam's razor-sharp guitar lines. The vocals, mostly from
Dan, occasionally from Sam, have an outspoken fervor, particularly for
"Four More Years." Even with the somewhat dour sentiments, there's still
a musical uplift. This should be on vinyl. (<span style="color: windowtext;"><a href="http://anotheroption.bandcamp.com/">anotheroption.bandcamp.com</a></span>)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b>RAD-Sacramento Is Rad +1 (tape)</b></div>
<div class="MsoNoSpacing">
RAD's latest pays tribute to their Sacramento punk
forebears, as well as Poison Idea (“Cult Band,” from <i>Pick Your King</i> is
the “+1” selection). They tear through a pair of Rebel Truth songs, “Child
Hosts the Parasite” and “All I Know” and one from Lizards, “Coke Up My Butt,”
with reckless, yet precise aplomb. Rebel Truth tend to be a bit overlooked so
it’s good to see them get the recognition. Maybe RAD could cover Square Cools
or Tales of Terror on their next Sacramento tribute. (<span style="color: windowtext;"><a href="http://sacramentorecords.com/">sacramentorecords.com</a></span>)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-mgJ61Gjid_U/WsktrWY5cmI/AAAAAAAAB4k/0qcZYdQdu7YB5IxK-R1fQw_PcO-A4ZOOgCEwYBhgL/s1600/P1150650.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="459" data-original-width="612" height="300" src="https://1.bp.blogspot.com/-mgJ61Gjid_U/WsktrWY5cmI/AAAAAAAAB4k/0qcZYdQdu7YB5IxK-R1fQw_PcO-A4ZOOgCEwYBhgL/s400/P1150650.JPG" width="400" /></a></div>
<div style="text-align: center;">
<b>RATS IN THE WALL</b></div>
<b><br /></b>
<b>RATS IN THE WALL-Warbound (Programme
Sounds/Indecision)</b></div>
<div class="MsoNoSpacing">
RITW, with former F-Minus axeman Brad Logan, have been
kicking around for about five or six years, with a number of releases under
their belts. The latest is <i>Warbound, </i>a five song 7” that comes
with a download that has a bonus track. Stomping and pounding hardcore punk
that’s angry and damaged-sounding. It ups the level of intensity heard on their
previous recordings. I’ve been using the term “heartfelt punk” as an epithet,
lately, to describe beefy punk with an often-corny, heart-on-sleeve style. This
really <i>is</i> heartfelt punk, coming from the gut and reveling in
not fitting into life’s plastic molds… chafing against authority. Eva’s vocals
are pissed-off and raspy and I’m with her when she yells, <i>“and maybe
our parents were right—maybe punk rock ruined my life/it’s the only place I’ve
ever belonged, my chosen family—as dysfunctional as they come.”</i> Preach!
(Programme Sounds, <span style="color: windowtext;"><a href="http://programmesounds.com/">programmesounds.com</a></span>; Indecision, <span style="color: windowtext;"><a href="http://indecisionrecords.com/">indecisionrecords.com</a></span>)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b>RIK & THE PIGS-Blue Jean Queen (Feel It,
7")</b><br />
Three new songs from the prolific Pigs, branching into a rawk ‘n roll sound,
without as much of the low fidelity. They’ve also added a saxophonist to the lineup
and it doesn’t really add much to the songs. They redo “TV Bloopers” and I
prefer the roughness of the original. The title track is a fired-up
70s-inspired rocker with vintage references—the Stones, Sonny & Cher,
etc and is the best of the trio.“Off/On” is a dragged-out blooze rocker. Kind
of disappointing. (<span style="color: windowtext;"><a href="http://www.feelitrecordshop.com/">www.feelitrecordshop.com</a></span>)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b>SECT MARK-Worship (Iron Lung, 12")</b></div>
<div class="MsoNoSpacing">
Relentless noisy hardcore, driven by killplow bass and
burning guitar mangling, along with echo-laden vocal howlings. They're from
Italy and it comes across like a mix of their native thrash forebears and
Japanese-style hardcore. "Scouts" provides a slightly slower,
thumping change of pace, although it mows down everything in its path. Flat out
nasty, a fusillade of musical hell being unleashed. And it leaves you wanting
more. (<span style="color: windowtext;"><a href="http://ironlungrecords.bigcartel.com/">ironlungrecords.bigcartel.com</a></span>)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-PmYnyrlG-88/WsktrMuxR2I/AAAAAAAAB4c/f9_64az1Pq4h2FzYrl6N7A4obDOKotp_ACEwYBhgL/s1600/P1150445.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="485" data-original-width="570" height="340" src="https://2.bp.blogspot.com/-PmYnyrlG-88/WsktrMuxR2I/AAAAAAAAB4c/f9_64az1Pq4h2FzYrl6N7A4obDOKotp_ACEwYBhgL/s400/P1150445.JPG" width="400" /></a></div>
<div style="text-align: center;">
<b>SKINNED ALIVE</b></div>
<b><br /></b>
<b>SKINNED ALIVE-s/t (demo)</b></div>
<div class="MsoNoSpacing">
Even with the paucity of DIY venues around here, Boston’s
hardcore punk scene keeps regenerating itself in different permutations.
Skinned Alive fit that bill. People from Chain Rank, Combat Zone, Contingent,
2x4, Bloodkrow Butcher and many others plying, as you’d imagine, no-nonsense
scorch. Their four song demo tape provides kick-to-the head hardcore buzz mainly
in a loud/fast vein, with “Forced To Die” adding a bit of bootboy punch. (J.
Damage, 12 Morton St., Somerville, MA 02145, <a href="mailto:twerpjerks@gmail.com">twerpjerks@gmail.com</a>)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b>SO BE IT-s/t (Deep Six, LP)</b><br />
So Be It is a punk/noise/sludge metal/hardcore anti-war opera (whew!) created by Siege drummer Robert Williams, who wrote all the music and lyrics, with a few exceptions He enlisted the help of his Siege compatriots Chris Leamy and Ernie Kim, as well as a collection of vocalists from bands both local and around the world to sing the different parts. These include Ami Lawless (Voetsek, Cliterati), Dan Harrington (Fistula), Jeff Heyward (Grief), Stoffel (Yacopsae), Larry Lifeless (Kilslug) and Giulio (Cripple Bastards). The theme, as you probably already guessed, looks at the ravages of war from the perspectives of the dead and the living, all of them victims. You have grieving mothers, both American and Arabic. Ron Kovic from "Born On The Fourth Of July" (voiced by Giulio) makes an appearance. as do the ghosts of a soldier and the corpse of Uncle Sam. You also have a giddy president who can't wait to send more young men off to war.<br />
<br />
Inserted into the musical battleground of volume-driven fodder are snippets of "Taps," "The Star-Spangled Banner," the World War I song "Over There" and early 60s R&B song "Soldier Boy." There's also a kick-ass cover of Alice Cooper's "Elected," sung by Jeff Heyward. The cacophonous conclusion, "Mission Accomplished," begins with Larry Lifeless, playing Uncle Sam who has just risen from his casket, intoning those words. According to the written narration, Uncle Sam is joined by the ghost of the soldier and one of the grieving mothers for a kick line. This is done over a dirge that degenerates into a mass of free-form skronk, with Ernie Kim letting loose on his saxophone over the guitar histrionics and hammer-to-anvil-like pound. I'll resist the urge to call it "A Corpse Line" and just say mission accomplished. War sucks and So Be It are here to remind you of that. (<a href="http://deepsixrecords.com/">deepsixrecords.com</a>)<br />
<br />
<b>STAGES IN FAITH-Forgiving Man (Quality Control HC,
7")</b></div>
<div class="MsoNoSpacing">
Stages In Faith draw inspiration from the melodic punk
created by bands in the late 80s/early 90s on both sides of ocean whose members
were rooted in hardcore or more aggressive punk but were opting for something
more tuneful. And there’s nothing wrong with that, as long as the songs have
grit and drive. That’s not really the case here. Decently-crafted but a little
too poppy for my liking, especially with the vocal harmonies. (<span style="color: windowtext;"><a href="http://qualitycontrolhc.bigcartel.com/">qualitycontrolhc.bigcartel.com</a></span>)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b>STALEPHISH-Pole Jams (Not Like You, LP)</b></div>
<div class="MsoNoSpacing">
Peppy, uptempo skate-themed punk. Musically, this reminds
me of the 90s-era melodically-inclined bands. Not Green Day-type swill but
music of the snottier variety, something that might have been on the Johann's
Face or VML labels. Energetic, with hearty backups, although nothing all that
distinctive. And what's up with the hip-hop pisstake at the end? (<span style="color: windowtext;"><a href="http://www.notlikeyourecords.com/">www.notlikeyourecords.com</a></span>)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b>THERAPY-Demo 2018 (demo)</b><br />
Not to be confused with the 90s-era Irish band Therapy?, this band is from San Diego and the six songs on this tape pack a wicked punch. Fast, bruising hardcore punk with a crusty undertow and hint of Swedish hardcore. Loud production, bringing the band's meat-cleaver riffage and pulverizing rhythms into bold relief, along with Chris' scalding, nasty vocals. A fine debut. (<a href="http://therapysd.bandcamp.com/">therapysd.bandcamp.com</a>)<br />
<b><br /></b><b>TRASH KNIFE-TK (Crapoulet/P.Trash/FDH, 7")</b><br />
The newest Trash Knife 7" combines four of the songs from their 2016 demo tape with a couple more recorded last year. Slam-bang punk/rock 'n roll filled with both melody and anger, along the lines the Bags or, for a more recent reference point, Neighborhood Brats. Lauren's vocals have a sarcastic, pissed off edge, whether taking aim at self-absorbed selfie takers ("Kill Your Selfie") or abusive restaurant customers ("Tips"). Tuneful but with a razor's edge. (band contact: <a href="http://trashknife.bandcamp.com/">trashknife.bandcamp.com</a>)<br />
<b><br /></b>
<b>UGLIES-Keeping Up With The Uglies (Nopatience, LP)</b></div>
<div class="MsoNoSpacing">
A couple of ex-Vaginors play in this loud, fast 'n nasty
Australian band. Instead of the loopy punknoxiousness of that band, the Uglies
stick to meat 'n potatoes ass-kicking hardcore punk. No wank, no bullshit,
although there's a sick bass run on "(I Got No) Self-Control." No
suffering of fools, either--that comes out most-blatantly in "Make Punk
Great Again" i.e. it's not so much an anti-Trump protest as telling
privileged so-called punks to fuck off. And that's just for starters. Ugly and
proud? Where have I heard that before? Pure malevolence, gleefully delivered. (<span style="color: windowtext;"><a href="http://nopatiencerecords.bandcamp.com/">nopatiencerecords.bandcamp.com</a></span>)</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b>VICIOUS CIRCLE-Born To Destroy (Not Like You, LP)</b></div>
<div class="MsoNoSpacing">
Back to destroy, although Aussie hardcore veterans
Vicious Circle have never really gone away. In the 16 page, full-size lyric
book that accompanies this record, vocalist/guitarist Paul Lindsay states
that, <i>"hardcore, punk, to me, is a way of life. Of being that I
carry with me."</i> And, after more than thirty years as a band, the
sound is as vital as ever, as is the message. The lyrics speak out against
injustices and life's obstacles and tribulations, while also trying to maintain
an upbeat, self-empowering attitude. Rough and tumble hardcore, punctuated by
Paul's super-gruff vocals, a few metallic licks here and there and executed in
bare-knuckled fashion. Long may they rage. (<span style="color: windowtext;"><a href="http://www.notlikeyourecords.com/">www.notlikeyourecords.com</a></span>)</div>
<div class="MsoNoSpacing">
<br /></div>
<br />Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0tag:blogger.com,1999:blog-32528521.post-11920529062719406622018-02-21T13:08:00.000-05:002018-03-24T15:11:40.608-04:00Suburban Voice blog #128<div class="separator" style="clear: both; text-align: left;">
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: left;">
<b>GETTING SAVAGE WITH </b><b>HÜSKER DÜ</b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-oSTSMhoEav8/WraX_zC1I3I/AAAAAAAAB18/KzFTlbRQC0ohkNq5CJPNxQHn5bQCCFIMwCLcBGAs/s1600/HuskerChets0001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="846" height="317" src="https://4.bp.blogspot.com/-oSTSMhoEav8/WraX_zC1I3I/AAAAAAAAB18/KzFTlbRQC0ohkNq5CJPNxQHn5bQCCFIMwCLcBGAs/s400/HuskerChets0001.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<b>At Chet's Last Call, June 1984</b></div>
<b></b>
<b><b><br /></b></b>
<b>HÜSKER DÜ-<o:p></o:p>Savage Young Dü (Numero Group, box set)</b><br />
<span style="font-family: inherit;">An exhaustive overview of Hüsker Dü's early years, spanning from 1979 to 1982 i.e. material up until their SST debut <i>Metal Circus</i>. There are different configurations--mine is the four LP version. There's also a vinyl version that came with a bonus 7" of <i>Metal Circus </i>outtakes called <i>Extra Circus</i>, but the vinyl version is currently out of print and you can only get it on CD or a digital download, so that kind of sucks. Pity because the songs are raw, visceral rage, save for the early version of "Standing By The Sea," which would show up on <i>Zen Arcade</i> and the somewhat more melodic "Won't Change" (which came out on a couple of compilations in the 80s). I hope they do a repress but I'm not holding my breath. There's also a 3 CD version and all come with a hardcover book filled with photos, flyers, detailed information on the recording sessions, as well as a lengthy essay telling the story of their savage young years. It's quite an impressive package.</span><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">Getting to the four records, the first features early demos and live tracks and shows a band working on finding an identity. "Do You Remember?," "Sore Eyes," "Sexual Economics" and an early version of "Do The Bee" (which is very rough sounding) are good snotty punk rousers. But it's wildly hit and miss. The demo of "Data Control," is inferior to the live version on <i>Land Speed Record </i>(more on that later). Definitely some skip-over tracks--their mid-tempo poppy songs hadn't really gelled yet. "Outside" is an exception, a stinging mesh that has stinging guitar work and endearing ragged harmonizing. </span><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">The second is also on the haphazard side, although it gets off to a great start with the sturdy post-punk of their debut single "Statues." "Writer's Cramp" and "Let's Go Die" are both sharply catchy. But other songs suffer from substandard sound quality and, once again, things hadn't completely gelled and there's a good reason why many of those songs didn't last long in the set list. The early, deconstructed version of <i>Metal Circus'</i> "Wheels," is done as tense, moody dirge with repetitive keyboards, far-removed from the chugging arrangement on <i>Everything Falls Apart.</i> </span><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">Things took a 180 degree turn for their first 12" release, <i>Land Speed Record</i>. A live recording that shows the band hammering out blistering high-velocity thrash, seldom taking a break between songs. However, it's not the original version of the album that came out on New Alliance and later SST (no doubt due to licensing issues). This comes from a show taped two weeks after the one that was on the original release and holds its own quite well. It's a bit cleaner and the set list is the same with the exception of three songs--"Do The Bee," "Tired of Doing Things" and "Data Control," all of which appear elsewhere on the box. As I said, it's a shame about "Data Control," because that was a show-stopper, a slower, bashing conclusion to the speedy mania that precedes it. However, there are five songs from the second set they played the night of the original recording and it includes an early version of <i>Metal Circus'</i> "Diane." The songs are much more tuneful, a harbinger of what's to follow. That really started with the <i>In A Free Land</i> EP. It's a slightly different mix than the original 7" but the title song remains one of their all-time greats. A politically-charged, speedy anthem with a knockout chorus and guitar line. The two other songs were in a <i>LSR</i> vein and there are two outtakes of songs that'd end up on their <i>Everything Falls Apart</i> album, blazing renditions of "Target" and "Signals From Above." </span><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">Finally, the last disc is a remastered version of the aforementioned <i>Everything Falls Apart,</i> along with half a dozen unreleased live tracks, including three live versions of <i>Metal Circus </i>songs. "Travel In Opposite Car" is a tuneful track that should have been done in the studio. <i>EFA </i>solidified the transition or yin and yang, if you will, of their balancing hardcore savagery with blatantly poppier compositions like the title track and "Gravity." Even the harder hitting tracks (well, all the songs here are hard-hitting) offered glimpses of melody--the guitar line between verses of "From The Gut," for instance. It set the stage for what would follow, at least up through <i>Zen Arcade</i>--a smorgasbord of high energy punk, pop and hardcore. </span><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">Obviously, this box is only one chapter of the Hüsker story and I'd recommend <i>Zen Arcade</i> for novices, but it's a vital history lesson, a treasure trove for lifelong fans and shows them going from a hodgepodge of styles into something focused and highly influential. (<a href="http://www.numerogroup.com/">www.numerogroup.com</a>)</span><br />
<span style="font-family: inherit;"><br /></span>
<br />
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><b>ROCKING AND WALKING ON THE STRAIGHT EDGE</b><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-dUfdlccO--4/WradpvL4GwI/AAAAAAAAB2M/nVCVBWADvyYJ9_1dQb8WVQsE3yUJf1uuACLcBGAs/s1600/STRAIGHT-EDGE-Tony-Rettman-ZITE.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="649" data-original-width="460" height="400" src="https://2.bp.blogspot.com/-dUfdlccO--4/WradpvL4GwI/AAAAAAAAB2M/nVCVBWADvyYJ9_1dQb8WVQsE3yUJf1uuACLcBGAs/s400/STRAIGHT-EDGE-Tony-Rettman-ZITE.jpg" width="282" /></a></div>
<div class="MsoNoSpacing" style="text-align: center;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">The
title for this review comes from a sticker on the cover of 7 Seconds 1988 album
<i>Ourselves</i> that was put there by their
record company. When I sent a photo to Kevin Seconds, he said, <i>“even at my corniest, I couldn't have come
up with anything that ridiculous. The first time i saw it, I just about threw
up.”</i> As bad as that sticker is, the album’s contents aren’t much
better—tepid melodic punk with abysmal, echoey production that was fairly
common on late 80s albums. Let’s just say it won’t make you forget <i>Skins, Brains & Guts, The Crew </i>or <i>Walk Together, Rock Together</i>. In fact,
some opted out with <i>New Wind</i> and <i>Praise</i>, the latter of which had a
decided REM vibe. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">I
thought of that sticker while reading Tony Rettman’s latest book <i>Straight Edge—A Clear-Headed Hardcore Punk
History</i>, an oral history presentation that traces straight edge back to its
roots in the embryonic DC hardcore scene with Teen Idles and Minor Threat. From
there, it delves into three decades of the edge story and just about all of the
major players are heard from—members of Youth of Today, Uniform Choice, Insted, Earth Crisis, Judge, Chain of Strength, Mouthpiece, Ten Yard Fight and Floorpunch. as well as fanzine publishers and record label people who continue to keep the
straight edge banner flying. The subjects talk about how they embraced straight
edge and, in some cases, left it behind and what it’s meant to them in their
lives. Various feuds and beefs are discussed and some mention how they were
ostracized after “breaking” their edge—that became particularly true in the
early 2000s. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">It’s
interesting to read the comments by the old-timers. You get the feeling some of
them felt like they might have created something of a monster, something that
strayed from the original intent. For instance, John Stabb (R.I.P.) of
Government Issue said, “<i>straight edge is
not a movement to me</i>” and that “<i>“Straight
Edge” is a great song but it’s a song about anti-obsession… it’s not a fucking
religion. It’s a song.”</i> Brian Baker from Minor Threat said, <i>“the band didn’t brand ourselves a straight
edge entity. The idea of having straight edge bands came after us, with the
Boston people.”</i> Baker’s bandmate and Dischord co-founder Jeff Nelson says, <i>“Straight edge became a religion, and it’s a
very strange feeling to be one of the unwitting founders of this religion.”</i><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">Indeed,
over the years, straight edge increased in militancy and codification in some
quarters. As Baker mentions, the Boston bands added a vehemence to their take
on straight ege. The philosophy was expanded by some to embrace
vegetariasnism/veganism and spirituality (Krishna consciousness, in
particular). It was taken to ridiculous extremes with the Hardline movement
(Vegan Reich, Raid and Statement), which also embraced regressive viewpoints,
such as being anti-choice. All eras are covered—the mid-to-late 80s “youth
crew” scene, its revival in the late 90s to the subsequent generations of bands
and individuals keeping the flame burning.</span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">There’s
a discussion of straight edge fashion—an effort to separate from the punk
style. It became, in the words of Sammy Siegler (Youth of Today, Judge, Side By Side), <i>“a powerful culture and look, like
in hip-hop, in that there was an identifiable look.” </i>A certain amount of
conformity set in. Ray Cappo from Youth of Today described it as, <i>“a bubble, a scene within a scene that
wasn’t really interested in anything that wasn’t straight edge.”</i> The
fashion element has certainly never gone away. Ray’s bandmate John Porcelly
owns a company called True Till Death Merch that sells clothing with a straight
edge theme. The demand is certainly there. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">Straight
edge as a worldwide movement is also covered—straight edge bands and scenes in
the UK, Europe and Scandinavia (Umeå, Sweden, home of Refused)—and how a lot of
those people faced resistance and hostility from other punks. People from LÄRM
talk about how left-wing politics had more of an influence than in the straight
edge scene in the States. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">I
have to mention one noticeable element—just about every person interviewed is a
white male. Only a few non-males are mentioned in the story and Vique Martin,
from <i>Simba </i>fanzine and Revelation
Records, is the only one who speaks at length. And there isn’t any mention of
LGBT people in straight edge. You have to look elsewhere for that. </span>The 2012 book <i>Sober Living For The Revolution </i>(edited by Gabriel Kuhn, PM Press, <a href="http://pmpress.org/">pmpress.org</a>) covers more diverse territory. It provides a wider variety of perspectives on straight edge. An assortment of voices are heard from--activists, non-male and LGBT straight-edgers and it visits different countries. It gives more voice to individuals who look at straight edge being part of an activist mentality. Tak<span style="font-family: inherit;">en together, those two books provide a more complete survey of a
subculture that continues to bring a wide variety of reactions and opinions to this day.
(Bazillion Points, <a href="http://bazillionpoints.com/">bazillionpoints.com</a>)</span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><b>NECK CHOPPIN’</b><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-oWA9e9DEloQ/WragpUlkt5I/AAAAAAAAB2Y/sdiCRyjfH1U8LFnrCCUewUYl-o4DnVERwCLcBGAs/s1600/neck.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="786" data-original-width="960" height="327" src="https://3.bp.blogspot.com/-oWA9e9DEloQ/WragpUlkt5I/AAAAAAAAB2Y/sdiCRyjfH1U8LFnrCCUewUYl-o4DnVERwCLcBGAs/s400/neck.jpg" width="400" /></a></div>
<div class="MsoNoSpacing" style="text-align: right;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">Neck Chop Records, out of Fullerton, CA, started in
2016 and, in that brief time, already have 25 releases in print. Lest you think it’s
just throwing shit against the wall to see what sticks, most of these have been
quality releases, including the likes of <b>Erik Nervous, Acrylics, Macho Boys, Woodboot, Mark Cone</b> and plenty more. The tagline for my radio show is “punk,
hardcore, garage and other loud music” and that’s what Brandon puts out, in
different forms and permutations. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">Label honcho Brandon
sent me a huge package of 13 records, seven of which were released at the same
time and that’s what we’ll focus on here. <b>Knowso</b>’s one sided 12”, <i>Look At The Chart</i>, sounds like a
slightly-less mechanized A-Frames but there’s a robotic element. The title
track is a paranoid tale of science possibly gone too far. The speed up and
slow down of the riff signature at the end sounds like an adjustment is being
made to the narrator’s wiring until the plug is pulled. Straddling the line
between post-punk and nervous new wave, with an edgy intensity.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><b>Jackson Politick</b> is another solo project for Andy Jordan <i>aka </i>Andy Human. His <i>Paste V.1</i>
album is a wide-ranging effort of punk and pop minimalism and the results are
scattershot. The lo-fi punk of “Habit” and “Learning To Live With It” are nervy
delights and “I Am A Raver” has an engaging catchiness. The early
OMD-meets-bedroom pop of “The Hours” has an offbeat charm. Other songs are on
the too-cutesy/twee side. If you’re into the C86 bands or Tenement, you might
like those songs more than I do. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><b>Living Eyes</b> are from Australia and I’d imagine there’s a good chance they’re named
after Radio Birdman’s second album but you can only hear faint echoes of that
band and it’s not really a major component of their muse. Their third album <i>Modern Living</i> is a hit and miss
collection of tuneful punk with garage and psych shadings. “Better Think
Again,” “Party Theme,” “Stuck In A Hole” and “Horseplay” are all good charging
rockers but other songs don’t have nearly as much presence. All in all, kind of
an average effort—some good moments but not always that gripping. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">Moving
on to the 7”s, Winnipeg band <b>Whip'</b>s self-titled EP is a raucous joy. Snotty,
insolent-sounding punk with a trebly guitar attack and a whole lot of fuck-you
attitude in Ferro’s vocals. Pretty straight-forward, although they add some
against-the-grain elements at times, as with the post-punk jab for “Double
Life” and “Melle.” In addition to this 7” (their vinyl debut), Whip also just
released a new demo, <i>Can Con Icon</i>,
which includes a cool cover of Dow Jones & The Industrials’ “Can’t Stand
The Midwest.”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><b>Gee Tee </b>is another solo project, this one masterminded by an Australian named Kel
Gee, who plays in garage mavens The Draggs. Hissy, lo-fi, quirky new
wave/punk/pop that has an appealingly skewed nature. A cruder-sounding version
of Ausmuteants-meets-Spits-meets-UV Race-meets-Total Control. Something like
that. There are hooks to go along with the weird, mad-scientist ambiance. <i>Death Race</i> is his second 7”, following
the <i>Thugs In Cars</i> EP released on
Goodbye Boozy early last year and that one is just as enjoyable as this
scorcher.</span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">Philly
bashers <b>Penetrode</b> and Chicago hellions <b>C.H.E.W</b>’s split tape <i>Strange New Universe</i> has been given a
vinyl pressing and both bands generate some skull-crushing sounds with
different wrinkles. Penetrode’s songs have a mean/stomping old-school hardcore
cadence <i>ala</i> 86 Mentality at times,
although “Egocentric” takes an anarcho punk turn. C.H.E.W. impressed on their
split with Rash last year and their four songs on this split. Nightmarish
hardcore with a relentless quality, accompanied by anguished and howling
screams from the soul. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><b>Color TV</b>’s second 7” <i>Paroxeteens</i> is a pair
of jabbing, tuneful punk gems along the same lines as Marked Men. The chorus
for the title track has an absolutely knockout hook and “Night After Night” is
just as punchy. These two songs feature denser, less-clean production than on
their debut and that makes it sound harder-edged. Fine with me. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">I
have to mention a few of the other releases—<b>Science Project</b>’s <i>Basement Blues</i> is entertaining
one-man-band synthy weirdness. The culprit is Cody, who hails from Nova Scotia,
and also plays in a bunch of other projects including Booji Boys. His cover of
Negative FX’s “Might Makes Right” is hilarious, as he explains <i>“we ain’t gonna stop… fuck you!,”</i> just
like Choke did at NFX’s final Boston show. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">Raymond
Schmidt is another one-man science project, <b>Race Car</b> and <i>B.Y.O.G.K. </i>(or <i>Build Your Own
Go-Kart</i>) was originally released on tape on Abnormal Broadcasting. While
synths and programmed drums are part of the equation, it’s a noisier,
clattering, head-messing approach laced with searing guitar licks. Channeling Metal Urbain and Chrome and stripping them to their barest elements? That works. If
you can’t get enough of that sort of thing, Raymond has another project called
<b>S.B.F.</b> who released a really good demo on Abnormal Broadcasting a few years
ago. Along the same lines with programmed drums and drill-press guitar,
although it’s more of a straight-forward punk attack. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">Another
Abnormal Broadcasting release that’s been pressed onto vinyl by Neck Chop comes
from <b>Process of Elimination</b>, once again featuring one performer, Grant Berry.
Three songs of electrifying mechanized primitivism with distorted vocals and
spacy synth and guitar effects. Grant
also plays guitar in <b>The Snails</b>, whose two Abnormal Broadcasting demos have
been given the vinyl treatment (hmmm… something doesn’t sound right about
that). More traditional-sounding punk and hardcore bordering on nerdy new wave,
but with live drums and no synths. Just buzz.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">Round
Six, with five more releases, is already in the works and should be out very
soon. It includes a new <b>Liquids</b> LP, an <b>Erik Nervous</b> singles compilation LP and
new 7”s from <b>Kid Chrome</b>, <b>Lysol</b> and <b>Stiff Love</b>. (PO Box 5635, Fullerton, CA
92838,<a href="https://neck-chop-records.myshopify.com/">neck-chop-records.myshopify.com/</a>)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><b>BUILDING BRIDGES</b><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-errzQiD_2wE/WrahDWXGJHI/AAAAAAAAB2c/of5g5LU_Hts4TcxFPBrFPI1OIajCWfe-gCLcBGAs/s1600/bridge.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="400" src="https://1.bp.blogspot.com/-errzQiD_2wE/WrahDWXGJHI/AAAAAAAAB2c/of5g5LU_Hts4TcxFPBrFPI1OIajCWfe-gCLcBGAs/s400/bridge.jpg" width="400" /></a></div>
<div class="MsoNoSpacing" style="text-align: center;">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">Chris
Wrenn started Bridge Nine Records in 1995 while he was a college student in
Vermont and, over the past 23 or so years, it’s grown from a tiny DIY label run
on a shoestring budget to one run out of a large warehouse in Peabody, MA,
about five minutes from my house. Chris is up to over 250 releases at this
point, a long way from running the fledgling label out of his dorm room.</span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><i><br /></i></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><i>The First Nine Years</i> is a box set with
five 7” EPs, each with a heavy stock picture sleeve, with songs drawn from the
label’s first 50 releases—29 songs in all—accompanied by a 128 page soft-cover booklet.
It tells the Bridge Nine story—all the trials and tribulations and the creative
ways he financed and promoted the label, like painting the company’s name in
the middle of the night on a bridge over the Charles River that was usually painted
by rowing teams. He talks candidly about his struggle to keep things afloat
when he runs into a serious snag with his distributor. There are reminiscences
about the bands who had records released on B9 during that time. It’s been an
interesting journey, one borne of an abiding passion for the music and that
continues to this day. There’s never been anything half-assed about a Bridge
Nine release.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">Bridge
Nine’s roster has become more diverse in recent years—my favorite release is
<b>Ceremony</b>’s <i>Rohnert Park</i> album from
2010, which branched out into post-punk, garage and shoegazer rock along with
more traditionally hardcore sounding material. During the early era, though, the
emphasis was on straight-edge hardcore that generally used early Revelation
Records as a starting point. Opening band <b>Tenfold</b> sound more than a little like
Chain of Strength. In fact, the last song is taken from B9’s reissue of Project X’s <i>Straight Edge Revenge</i> EP. There
are darker shadings from the likes of <b>Panic</b> and <b>Give Up The Ghost</b> (aka American Nightmare). <b>Cops and Robbers</b> hearken back to classic early 80s hardcore, as
their song “On The Decline” borrows from Negative FX’s “VFW.” But it’s mainly
aggressive, pummeling material from some well-known parties—<b>Terror, Carry On, No Warning </b>and <b>Hope Conspiracy</b>, along with the slightly-underrated <b>Striking Distance </b>and <b>Holding On</b>. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
</div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: inherit;">It
has to be noted that this end of the hardcore spectrum was (and still is) a
very male-oriented scene, at least in terms of the bands included—that’s my
perception, anyway. You don’t see that many women in the photos and few are
mentioned in the story. Still, this is a well put-together package, coming out
some thirteen years after its projected release. Better late than never!
(<a href="http://www.bridgenine.com/">www.bridgenine.com</a>)</span><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
<div>
<span style="font-family: inherit;"><br /></span></div>
Alhttp://www.blogger.com/profile/18228807784570416888noreply@blogger.com0