Suburban Voice

Suburban Voice blog #97

2011-11-27T13:55:00.002-05:00

BRAIN F≠

DIGITAL PROMOS SUCK...

... and I won't review them. Never. No exceptions. It seems more labels and publicists only want to send digital files for review. What's especially ridiculous is some send them at low bit-rates like 128 or 160, which sound like shit. Why even bother if you're not presenting the music with the best sound quality? An acquaintance of mine said that's like sending a scratched record for review. Truth be told, I'd rather listen to the scratched record. I know how expensive it is to blindly send out promos in this day and age so I have a compromise--I'll check out the digital download and if it's something I like and would review, then I'll ask if it'd be possible to send a physical copy. If I don't like it or you won't do it, no hard feelings and you've saved both of us the trouble. As for digital-only releases, as far as I'm concerned, they don't exist if they're not in a tangible format.

Taking a hard line? Damn right. Like it or lump it... I've been at this almost 30 years and I'll continue to review music the way I always have--blasting records or even CDs on my stereo. The day those formats aren't available anymore is the day I finally hang up my reviewer's pen or, more accurately, word processor--although I'm not sure if you can actually hang up a word processor...

ZINES!

Yes, I still get them from time to time and it makes me want to bring back a print version of SV. Never say never, I guess. In the meantime, here are five that have showed up in my mailbox lately (well, one was given to me in person but I digress).

Matt Average, late of Engine zine and one-time vocalist of Reagan SS, returns to the zine wars with the first issue of Taste Maker. It has the basic column and interview format but no reviews--he's thinking of only putting them on his on-line blog--but there's a cool "ephemera" section where he displays various set lists. I also collect set lists, but not as much as in the past. I'd actually like to see him go more in depth with memories about the shows or even a thought or two on the band. The interviews are with Total Abuse, Timebombs, artist/musician Gary Panter, Glass Candy and The Secret Society of The Sonic Six and are fairly in-depth. I like the fact that Matt's not sticking to one style although he said the next issue will probably have more of a hardcore bent. (PO Box 25605, LA, CA 90025, tastemakerfanzine.blogspot.com)

The first issue of Stay Cool is a thick effort and was many years in the making (hmmm, that sounds familiar). A smorgasbord of interviews, photo essays and ruminations on various topics, from vegetarianism (even including Mexican recipes) to racial issues to various musings about punk and hardcore and it's with a Latino bent. Interviews are with Lifes Halt, Faded Gray and El Mariachi (that's the sole newer one). Cut and paste and you can tell that Fernando, the creator, is still passionate about this music even at an 'advanced' age. (1920 Jones Ave., LA, CA 90032, staycoolfanzine.blogspot.com)

Narcomensaje takes its name from "drug messages" disseminated by drug cartels in Mexico, mainly to threaten government security forces and rival drug cartels--that's the gist of the intro to the first issue of this zine. As for the contents, there are interviews with Men's Interest and Nuclear Cult, along with a smattering of reviews and full-page photos. Pretty basic, both layout and content-wise. (narcomensaje@gmail.com)

Fastcore Photos is pretty self-explanatory. The second issue, published by Will Butler from To Live A Lie Records, is half-sized and on heavy stock. Actually, half of the zine consists of in-depth live reviews accompanying the photographs, followed by a photo-only segment. The bands veer towards the grind/powerviolence end of the spectrum although there are exceptions. Nice-looking effort. (wcbutler@gmail.com/www.flickr.com/fastcore)

And, finally, Craig Lewis has published the 14th installment of his long-standing zine Upheaval. One double-sided page this time, with an essay that has Craig detailing his ongoing battle with (and recovery from) his ongoing mental health issues, plus reviews of punk and hardcore bands from around the globe. (Upheaval.Fanzine@gmail.com)

SYSTEMATIC DEATH

SYSTEMATIC DEATH--THE PILLAGE CONTINUES

The band Chicago used to number all of their releases with roman numerals. Since they got back together, Systematic Death have been numbering theirs, starting with the Systema-6 LP. And now we have the three latest installments, the just-released Systema-8 on Way Back When/Even Worse, Systema-7 on Armageddon and a split with the Czech Republic's See You In Hell on Insane Society. The latter pair are actually from 2010 but I'm including them here since I'm having a Systematic Death marathon--well for about 20 minutes anyway. Do you really need me to tell you about these guys? True legends, one of the greatest Japanese hardcore bands of all time. They went into hibernation for nearly two decades and then picked up as if no time had passed--both on record and especially live. The hallmarks remain--furious instrumentation, especially the drumming and the hearty lead and backing vocals. Systema Seven sounds a tad muddy production-wise compared to the other pair but it doesn't diminish the savagery all that much. I should also mention See You In Hell, of course. Their split w/SysDeath was pressed for a European tour and the two songs are raw, fast and hammering--a strong Japanese hardcore influence, themselves, so it's certainly a compatible pairing. (Even Worse: www.evenworserecords.com ;Way Back When:www.waybackwhenrecords.com); Armageddon Label: www.armageddonshop.com; Insane Society: www.insanesociety.net)

WHOLE LOTTA ANTiSEEN

Mr. Jeff Clayton sent me a package of five 7" EPs awhile back--new studio recordings with originals and covers, a live EP, a split with veteran hellraisers Zeke and Clayton backed by another band with the moniker The Mongrels and a few other friends join in the festivities. So let's run down the latest from these legends, whose style of punk pays attention to the music's traditionally loud trappings but you'll also hear traditional country, blues and rock 'n roll. The best one is the three song "Exploding Barbed Wire Death Match." The title track is an average Antiseen rager but things pick up on the flip--covers of Cocknoose's "Invader #1 Must Die" and their associate Mad Brother Ward's blazing "Kill The Scene." The next one features a pair of covers, the slow, bluesy take on Louisiana Red's "Sweet Buzz Call," with the band's patented buzz and backed by a rocked-up version of a traditional country song, "Black Eyed Susie," with banjo by their pal Joe Buck. That song reappears with just the banjo (by Buck) on their split with Zeke. Mr. Buck also lends his vocals to Zeke's hard-driving punk rock and Antiseen's pounding"At The Crack Of Dawn."

Moving along, there's a live EP (World Wide Live Ass Kickin') with two songs recorded in scenic Pittsfield, MA and another three from the Speedfest in Holland. The highlight is a blistering version of "Sabu" and their cover of the Sonics' "The Witch" is perfunctory. Finally, the Clayton/Mongrels EP has a lengthy Skynyrd-meets-AC/DC brooder, "Warhero," with tasteful guitar work but drags otherwise. Two medium-speed punk rockers on the flip, covers of Mad Brother Ward's "Need It Bad" and the scurrilous Rupture's "If I Had A Thousand Dollars."

All in all, this is far from the band's best work and probably for completists, only. I'll stick with the likes of "Eat More Possum," "Southern Hostility" or the early EP like "Drastic Plastic" and "NC Royalty." The discs are on various labels but if your interest is piqued, visit the band's website at www.antiseen.com. Quite a bit from the band's extensive back catalog on there.

EVERYTHING ELSE...

BROWN SUGAR

BRAIN F≠-Sleep Rough (Grave Mistake/Sorry State, LP)

Finally, a full length from the artists-formerly-known-as-Brain Flannel, or maybe it's still pronounced that way. I have no idea about that but know that this is a mind-melting excursion. It took me a few listens since some of the songs aren't as immediately-accessible as on their previous demo and 7"s but it's worth the effort. Brain F≠ create a gnarled and gnashing punk sound. It's a distorted whirlwind of tumultuous guitar, bass and drums. It's not an atonal mess, though--in that fray, discernible melody lines emerge from the dense arrangements. And then there are the vocals--Nick and Elise aren't John and Exene or Kevin and Bilinda (from My Bloody Valentine) but their harmonies and tradeoffs are engaging and give the band another distinctive element. I don't have any niche descriptions at the ready except to say they play raucous, boisterous, garagey punk that actually was recorded in a garage. Hopefully, that's enough to convince you. (Grave Mistake, PO Box 12492, Richmond, VA 23241, www.gravemistakerecords.com/Sorry State: sorrystaterecords.com)

BROWN SUGAR-Get Fuckin' Mugged (Feral Kid, flexi)
Ah, the crackle-crackle-crackle of a flexidisc, although you can't hear it too much during the songs themselves. Spirited, non-predictable punk these guys have been honing over the past few years and these recordings are actually from 2009. Three rough compositions pulling in thrash, garage and rock' strains, stretching out and freaking out with sax to wrap things up for "Mind Funk." In all honesty, the first 7" and split with Mayday are better and I'm really looking forward to the LP, because they were kickass when playing here over the summer. (feralkidrecords.com)

BURNING ITCH-s/t (Tic Tac Totally, LP)
Yes, punk rock exists in Knoxville, TN--although where doesn't it exist?--and the songs on this album possess a tuneful quality along with the rough-hewn production values. Certainly rooted in various strains of '70s era proto punk. Slashing, raw guitar underpinned by bubbling bass-lines, trashy drums/tambourine and Ian Lawrence's resonant croon. Some real burners here--"Dead End Street" and the sweetly titled "You Should Fucking Die" stand out although things take a somewhat poppier turn for "Brains Fall Out" and "Stay." Doing it right--with a not-too-slick buzz. (PO Box 558383, Chicago, IL 60655-8383, www.tictactotally.com)

COUGHING FIT-s/t (Loud Punk, 12")
Faaaast and hyper-fast hardcore that also breaks down into mid-paced floor-pounding parts and there's nary a break between songs. Once in awhile, they have a punkier moment, as with "Flash In the Pan." Then, completely out of left field, this one-sided 12" ends with a rowdy (and uncredited) cover of the Kinks' "All Day and All Of The Night." Unhinged, raw aggression threatening to ride off the rails and I think a bit less reliance on brute speed would be to their benefit because there are some moments of dead-on rage here. (PO Box 3067, Albany, NY 12203, www.loudpunk.com)

DAMNABLE EXCITE ZOMBIES!-Discography 1990-1996 (Not Very Nice, CD)
90s era Japanese hardcore band (if you weren't paying attention to the title) and more-than-credible Systematic Death worship. That's meant as a compliment, not a slight--this is pure rage, with just about all the songs played at a fast and throttling clip with the hallmarks of the classic sound. Razorwire guitar, merciless bash-em-up drums with plenty of cymbal involved and harsh vocals from Markey on the majority of songs (they were a three piece with the guitarist and bass player sharing vocal duties in '96). Not as much of the metal influence associated with the "burning spirits" bands, although there's the occasional guitar lead. There's a bonus track featuring a live reunion performance from 2010 that suffers from substandard sound quality. Collecting various EPs and compilations and a handful of unreleased songs. Non-stop obliteration. (chaosonmusica@gmail.com)

DRY HUMP-Fucks Your Ears (SexCult, LP)
Dry Hump come right out and tell you what their album is going to do to ‘ya—Fuck Your Ears. The front cover is rather provocative, with a couple of demonic creatures doing... well, see the photo above. On the back cover, it says "This is Lowell: Fuck Boston." A bit of parochialism directed at a city that is a HUB (pun intended, although only locals might get it) of parochialism itself, both in a universal sense and punk scene sense. Since their Culture Fuck Experience EP, vocal duties have passed from Erik to PJ Kuda, whose formidable drumming skills are on display in such bands as Male Nurses, BloodKrow Butcher, Brain Killer and probably a half-dozen I'm forgetting. Whereas Erik's vocals were delivered in a high-pitched rant, PJ emanations are harsher and gutteral but the music remains the same--rampant, thrashy hardcore with rock 'n roll riffing and leads sprinkled in, such as on the Black Sabbath-y (without the doom) "Sex Cult Pt.2." "I Am The Doorway" has a solid mid-paced Discharge pulse. These gentlemen mainly hail from the suburbs surrounding Lowell and there's a large amount of annoyance directed at their stifling surroundings or "Fucksville," as they call it. Dry Hump effectively channel their bile into a walloping sonic attack. (dryhumpsexcult.blogspot.com)

FAITH-Subject To Change (Dischord, CD)
Dischord's catalog overhaul continues with a reissue of the Faith's "Subject To Change," the 1983 follow-up to their split LP with Void, appended with their first, 11 song demo. "STC" represented a stylistic leap for the band, having added a second guitarist and fusing melodic shadings with their straight-forward, speedy DC hardcore sound. "In The Black," from the split, was kind of a harbinger of what would follow with this EP--moodier, more inventive. And it's a stirring fusion. The bass-playing really shines on songs like "Limitations" and the title track. Whether this disc represented the end of that original era or a bridge to what followed in '85 with the Revolution Summer bands, there was definitely a change, a transitional moment. The demo tracks include 10 songs that were re-recorded for the split and one for STC ("No Choice"). They were still finding their footing a bit and the songs were played at a slightly slower tempo--and I don't think that's to their detriment--but these recordings sound warmer/fuller than the versions on the split. No hyperbole--this is absolutely essential. (3819 Beecher St., NW, Washington, DC 20007, www.dischord.com)

FATAL FIGURES-Blue Zed/Alright (Big Neck, 7")
Ugly, bluesy garage/slop with echo on the vocals for this pair of songs, one an original, the shufflin' "Blue Zed" and the flip being a cover of Pussy Galore's "Alright." The latter title sums things--'tis alright and nothing more. (PO Box 8144, Reston, VA 20195, www.bigneckrecords.com)

GERM ATTAK-Fear Of The Unknown (Loud Punk, LP)
As I've written before, Germ Attak started out pretty strongly inspired by Chaos UK, Disorder, etc and they've still got the UK-82 bug but it's been coming from the Varukers/Exploited/GBH side over the past few albums. The songs are mainly fast-paced ragers that conjure up visions of mohican youth running around in a big circle. If there's a running theme, it could be give us a future, to paraphrase another early 80s UK band, One Way System. Or, more accurately, it might seem as though there's no future, given the sentiments of "Poisonous Lifestyle," "Face The Reaper" or "Back's Against The Wall." This album was recorded by two Germ Attak-ers, with Jo handling guitar, bass and vocals along with his drummer compatriot Will and this will likely be their final missive. I always thought these guys were slightly above average, if not exactly top tier and "Fear Of The Unknown" reconfirms that opinion. Solid, competent headbangin' punk. The limited package is great, by the way--huge poster, flexi disc with two extra songs and colored vinyl. Just watch out for your fingers when handling the rough edges of the record--you don't want to get any blood on it like I almost did! (PO Box 3067, Albany, NY 12203, www.loudpunk.com)

HOLLYWOOD-Stunts (Big Neck, CD)
If you didn't tell me, I'd swear this was a new Mudhoney album, with the Mark Arm-type vocals, tongue in cheek lyrics and somewhat grungy, swampy guitar sound. It could even have been a new Monkeywrench disc, the sporadic collaboration with Mark and his Mudhoney compatriot Steve Turner, Tom Price from Gas Huffer and Tim Kerr. I've heard a new Mudhoney album in recent years and Hollywood's album is quite a bit better. Enough about those bands--let's get to Hollywood's rock 'n roll stew. The best song here is the raucous, rump-shaking "Toe-To-Toe," with a spacy instrumental break. The opener,"(Scary) Cemetery," borrows a lyrical line from the Ramones "Pet Semetary," and pounds along nicely on a sturdy bass-line, thunder-crack guitar and single note piano plink during the chorus. Bluesy, garagey, down 'n dirty rock done with simple, enjoyable aplomb. (www.bigneckrecords.com)

NAIFA-s/t (Faca Cega Discos, LP)
I'm fighting through a bit of writer's block today and having trouble coming with any sort of clever prose in reviewing this album but I'll press on because it's a winner. Naifa are a Brazilian band playing tuneful punk inspired by (though not entirely) classic 80s-era west coast fodder. Plenty of drive and chops from all three musicians, with the guitarist, Arthur, handling the vocals as well. They complement each other perfectly. It's tough to miss the burn and hooks on songs like "Nada," with the jabbing, angular guitar underpinned by a bass line that pushes the melody along and that's also the case for "Pau No Cu and "Colisao." All of this is reinforced with impassioned vocals and it adds up to a strong, power-packed collection. As Arthur yells at the end of side one, all right! (facacegadiscos.wordpress.com)

NEO CONS-Hardcore Elite/Kill The Police (Abscess, 7")
A two song 45, with an original backed by a ravenous cover of a Jezus and the Gospelfuckers song. Speaking (or writing, actually) as someone who has been carping, at times, about the "hardcore elite" in Boston and other places--and lost some people I thought were friends in the process--I have to give this feisty, snotty punk song a big round of applause. The song's target is people who pull the age card and slag off younger kids but I think it can work the other way, as well. You respect me, I'll respect you. OK, end of lecture. Time to turn up the buzz. (www.abscesstrax.com)

NIGHT BIRDS-The Other Side Of Darkness (Grave Mistake, CD)
After a passel of 7" releases, Night Birds unleash their debut album and it's more of the west coast Adolescents-meets-DKs punk sound. Surfy guitar and driving arrangements exhibiting a high level of musical skill fuel the band's catchy oeuvre. Lyrical inspiration comes from plenty of time watching movies, bookwormery and even catching up on the news, occasionally, as with "Paranoid Times." "Hoffman Lens," is based on the schlocky John Carpenter movie "They Live" (you know, with Rowdy Roddy Piper) and there's a Woody Allen reference on "Landfill Land," which is one of the better songs here, encapsulating this band's energetic appeal. Snappy 'n catchy. (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

OBN IIIS-The One And Only (Tic Tac Totally, LP)
OBNIII is actually Orville Bateman Neeley III and this is his rock 'n roll combo and it's an enjoyably rockin' permutation of various influences. There's the Stooges/Radio Birdman bent on "If The Shit Fits" and "New Innocence," the bluesy stomp of Wager My Heart" and catchy Stones-inspired rock on "No Enemies." In lesser hands, this might veer into bar rock but there's enough looseness and ornery, beer soaked spirit to prevent that from happening here. (PO Box 558383, Chicago, IL 60655-8383, http://www.tictactotally.com)

OILTANKER-The Shadow Of Greed (No Funeral/Slainte, LP)
Throttling, crusty hardcore and it's what you'd expect--a tumultuous sound with dramatic riffing, an earthplow bottom end and scampering drums. Only it's not done in d-beat fashion but with more of a rumble and it's all accompanied by harsh vocals from three of 'em. A thick sound drawing from the requisite Swedish/PDX influences. They're from Connecticut and that state has a long history of these types of bands going back to the 90s. Adept at the style although they don't distinguish nor differentiate themselves all that much. (www.myspace.com/oiltankerct)

POISON PLANET-Bleed For Me/Nazi Punks Fuck Off (ThirdxParty, 7")
DKs tribute, with two of their better-known songs given a raw bludgeoning--Nick is certainly a lot meaner-sounding than Jello and, even with the faithful surfy guitar trill on "Bleed," this ain't exactly a subtle treatment. The intro for this version does convey a good amount of menace. The short essays state, in essence, not a whole lot has changed since the 80s regarding economic or foreign policy and that there are still idiots who, pretending or not, think it's funny to spew racist and other hateful terminology. Not bad but not really essential, either. (thirdxparty.blogspot.com)

RESIST CONTROL-Dissipation EP (Feral Kid/Shock To The System, 7")
Is it thrashy powerviolence or violent power thrash? I dunno but these are short/fast/loud songs that the Short, Fast and Loud zine would love but I'm not quite as enamored. Standard criticism--rat-a-tat drumming fused to some hot riffing but the over-reliance on that kind of drumming hurts 'em. The final track, "In Time Of Actual War," is a good example--a solid mid-to-fast song but they feel the need to blast during the chorus where it's not necessary. Ah well. (feralkidrecords.com/www.myspace.com/shocktothesystemrecords)

RETOX-Ugly Animals (Ipecac/Three One G, CD)
People from the Locust and affiliated bands playing frenzied, chaotic hardcore with more than a modicum of relentlessness, as you'd expect. The parties involved have made a career out of playing abrasive head-throttling music. Cacophonous, but there are distinct songs and a few standouts--the Dead Kennedys guitar signature for "Thirty Cents Shy Of A Quarter" or the haunting bash of "A Funeral On Christmas Sunday" and "Piss Elegant Beats," for instance. Cut from the same cloth as the Locust only they've left the keyboards home. The "mysterious guy" hardcore aura although these guys were successfully bashing out this sort of inspired noise long before there was an arguably vague, catchall term for it. (www.threeoneg.com/www.ipecac.com)

SOKEA PISTE-Ajatus Karkaa (Karkia Mistika/Tuska & Ahdistus/Kamaset Levyt, LP)/Oire (Peterwalkee, 7" EP)
Two power-packed discs for this Finnish band, comprised of members of Kyklooppien Sukupuutto, Aortaorta and a few others bands, some of which have names I'm too lazy to spell out. Dark and nasty-sounding, a doomy ambiance harnessed to moderate and slower paced material. Imagine an amalgam of "My War" era Black Flag, the Wipers, Killing Joke and Voivod in various permutations. Something like that and I'm grasping for a description that really captures this band's essence. These aren't happy-sounding, overly accessible compositions but there's a potent, dramatic, near nightmarish dynamic at work. Colorful artwork with kind of an abstract style and the 7" cover is screened. (Band contact: sokeapiste.bandcamp.com/Peterwalkee: www.peterwalkeerecords.com)

TINO VALPA-Walk The Walk (Kangaroo/Even Worse, 7" EP)
Kind of a hideous cartoon-style cover--head stabbings, hangings, etc. On the vinyl, though, there are 15 brief old-school hardcore blasts with bright production and an abundance of well-executed, single-minded aggro. And, offering a reverse on the old Blondie Is A Group statement, Tino Valpa is a guy, not a band and this is his solo project. He plays all the instruments here, along with bellowing the words. "Walk The Walk" is actually his second EP. If there's a theme, it's an exhortation that age ain't shit, that it doesn't mean you need to give up what you love, especially playing music. 13 originals plus a Verbal Abuse and Poison Idea cover. (Way Back When: Taskinlaan 9, 2361XM Warmond, The Netherlands, www.waybackwhenrecords.com/ Kangaroo Records: 9 Corniche Andre de Joly, 06300 Nice, France, www.kangaroo-records.com)

ÜBERKRØPPLING-Kroppen (Blood Sausage, 7" EP)
Snarlin', nasty punk mixed with Detroit-honed garage swill. Vocals are harshly spat out in Danish and the guitars have James Williamson-manufactured guitar venom ready to sink its fangs into your skull. I have a toothache at the moment and this EP's mean, sputtering ugliness somehow seems appropriate. The vocals are a bit much after awhile and the title track is a mid-tempo rocker that goes on way too long. They get it right(er) on the shorter tunes. (www.myspace.com/uberkroppling)

VARIOUS-Noise Ordinance (Maximum Rocknroll, LP)
It's been almost 30 years since the first MRR comp, Not So Quiet On The Western Front came out (and that was released on Alternative Tentacles). It was a two LP collection of Bay Area bands. This is the third comp of area bands--the other was the double 7" Turn It Around. And like the Not So Quiet comp, this one is hit and miss although there aren't any songs I'd consider completely unlistenable. Still, I don't think I really need to hear the grunt 'n grind of I Will Kill You Fucker (great band name, though) or the Mamas and Papas meet punk of Love Songs. But there are different shades of punk here--from the tough, melodic sounds of NN, Ruleta Rasa to the off-kilter Fleshies (they've been around a long time and remain underrated) to post-punk-inclined Airfix Kits and Rank/Xerox to hardcore ragers like Fix My Head, Morpheme and Conquest For Death. I didn't really feel the need to get up and move the needle--I imagine that's a sign it's a pretty good comp. (PO Box 460760, SF, CA 94146, www.maximumrocknroll.com)

WAX MUSEUMS-Zoo Full Of Ramones: The Singles 2006-2008 (Tic Tac Totally, LP)
Entertaining, goofy punk from this Denton, TX band, who also have two other albums to their credit, including the recently-released Eye Times, after a three year hiatus.. Some of the songs here are (to quote Don Imus) laugh out loud funny--"I Eat Vomit" and "Billy's Room," for instance, the latter of which starts with the kid's 'grandpappy' asking what he does after school and the answer is "looking at pictures of naked chicks in Billy's room." Simple '77-era, garage punk that was really primitive and minimalist on their earliest EPs although none of the songs here are exactly high fidelity. One of the unreleased songs, "Livin In The Eyeball," has glorious buzz-fuzz guitar, accompanied with what sounds like a rhythm machine. Hell, there's even a conceptual trio of songs from one 7", Ancient Structures, with the titles "Pyramid," "Stonehenge" and "Catalcombs." In addition to the 7" releases, there are a handful of comp tracks and unreleased songs. A deliriously fun time. (PO Box 558383, Chicago, IL 60655-8383, www.tictactotally.com)

WHITE WHALE-Widow's Peak/Rats In The Snow (Big Neck, 7")
White Whale's previous demo and 7" were decent-enough but the two songs here don't immediately grab me. Frayed, semi-melodic punk working best on the higher-energy "Rats In The Snow," but something's missing, that extra spark to singe the ears. (PO Box 8144, Reston, VA 20195, www.bigneckrecords.com)

Suburban Voice blog #96

2011-10-22T15:56:00.005-04:00

I'm sure you're all tired of my apologies for the tardiness of this blog, as well the standard-issue mea-culpas for not getting all the record reviews done that I wanted and stating that it was high time I published a blog, anyway. So I won't do that...

TELLING THE STOOGES STORY, ONCE AGAIN

British writer Brett Callwood's book The Stooges: Head On, A Journey Through The Michigan Underground, is a revamping of a 2008 book originally published in the UK. As Callwood points out in the introduction, the original book had as much of a personal approach to discovering the Stooges as telling the story of the band itself. The new version sticks with the latter although it's obvious that this is still written from a fan's perspective.

All the main movers and shakers in the band's history are involved--all members of the band (including the late Ron Asheton) plus various individuals who were caught up, one way or another, inside the Stooges universe. These include members of the MC5, Niagara from Destroy All Monsters, activist John Sinclair and various writers and friends who weigh in on how they were affected by the Stooges, both as a band and as people. One thing that makes this book different than the typical tome about this band is Iggy isn't really the main focus. The basic biographical info is there and he's interviewed but you get to know the other players just as well if not more. Bands that the members were involved in both before and after the Stooges are covered at length. Instead of this being merely Iggy's viewpoint, you get to experience what happened through the eyes of the Asheton brothers, "Raw Power guitarist James Williamson as well as saxophonist Steve Mackay, who played on Fun House and late-period Stooges keyboard player Scott Thurston.

The story is told in chronological order and there's an in-depth examination at the songwriting and recording processes and how the different lineups gelled--significant as the story flows from the self-titled album and Fun House into Raw Power although there isn't all that much mention of the sessions they did in '72 that yielded one of their greatest songs, "I Got A Right." It's not done in typical "oral history" style but by weaving extensive quotations into the narrative.

As you'd expect, there are the obligatory tales of debauchery, shenanigans and rock 'n roll excesses that go with the territory but it's not overdone. This isn't a tell-all treatment but, instead, an effort to explore the totality of the Stooges legend and what came after, leading up to the reunion and recording of a new album (not a great idea, in my opinion). There are a few repetitive passages here and there but, as a lifelong Stooges fan, I think it gives a pretty good overview of the band's legacy. And that's the point--they were a band and the musicians' contributions were just as crucial as Iggy's antics. You realize that the second you hear the opening guitar riffs to "I Wanna Be Your Dog" or "Search and Destroy." (wsupress.wayne.edu/paintedturtle)

RECORD DEPARTMENT

ARCTIC FLOWERS

AGAINST EMPIRE-Thieves and Leeches (Profane Existence, LP)
A crust/thrash/hardcore assault in a similar vein as World Burns To Death, Deathreat and the like, along with metal guitar flourishes. Rabid vocals from two of the three gentlemen involved, often in tandem. A scream from the gut, in other words. "Wordsmiths" starts with an extended instrumental intro over which anti-capitalist commentary is sampled from Noam Chomsky and others. I'm loving the Crucifix cover ("Another Mouth To Feed"), too. Well-executed in this band's hands and the rage on their original songs is successfully executed. (PO Box 18051, Minneapolis, MN 55418, www.profaneexistence.org)

ARCTIC FLOWERS-Reveries (Inimical, LP)
I've been waiting for this one, since seeing them last year and giving their previous 7" plenty of play. When I reviewed that EP (and there was also a split 7" with Spectres), I said I think they have a great album in them, and "Reveries" lives up to those expectations. Encompassing early 80s post-punk and goth and hardcore and it's a seamless fusion. Those are just elements and they've got their own sound. Glowing, haunting guitar reinforced with in-the-pocket bass and drums and powerful vocals--not yelling but sung with soaring authority. A track like "Crusaders + Banshees" really brings out the band's strengths--a guitar line and chorus that sticks and packing a primal wallop. Even when they delve into moodier regions, there's no softening in the approach. Nor does the melody disappear when they pick up the pace although I prefer it when they play at a measured tempo. The lyrics tend towards the oblique although that's not always the case--"Vexed" cogently describes dealing with life's day to day struggles. The definition of reveries means to be lost in ones thoughts or daydreaming but the songs sure as hell won't allow you to drift off into blissfulness. On the contrary--they command your full attention. (PO Box 2803, Seattle, WA 98111, www.inimical.com)

ART YARD-The Law/Something In Your Eyes (Ride The Snake, 7")
Back in 1981, there was a loose collective of bands called Propeller that released a couple of 7" compilations and one cassette compilation. If there was a musical commonality, it was a wiry post-punk sound of different shades and permutations and, although they weren't part of this group of bands, Mission of Burma were certainly kindred spirits. While the tape comp was more than a bit uneven, the lead off track by Art Yard, "The Law," was by far the standout song. A driving song but also filled with strong hooks, jabbing guitar and the bass-line carrying the melody and it was all poppy in a unique way. I liked this song so much that I got permission to release it on one of the Suburban Voice CD compilations around a decade ago. Now Ride the Snake have done a single with both of the songs on the cassette comp. The flip is slower and gorgeously haunting, a ballad if you will but one with a strong and warm presence. This band, featuring 3/4 of the membership of the Maps, came and went very quickly but left behind songs that have remained in my consciousness for three decades. Now it's your turn. (ridethesnakerecords.com)

BAD DADDIES-s/t (Central District/Finch, 7" EP)
Wonderful lo-fi buzz-punk-pop. Distorted guitars and killer hooks and Camylle's singing is so damned charming. 7 songs, 6 of which appear on side one and none of which are more than a minute. The flip has one song, the infectiously catchy "Not That Kind of Girlfriend," ending with a squall of feedback. Turns out that's a cover by 90s era band the Smoking Popes but this version is quite a bit better. Only 83 copies so you might want to act quickly. (337 W. Vine Street, Stockton, CA 95203, www.finchrecords.com)

CEREMONY-6 Cover Songs (Bridge Nine, 12")
All-cover records often represent a holding pattern for bands, indicating they're unable to come up with any new ideas on their own. That's not completely true here--and that statement comes from someone who tends to be suspicious of bands following that path. On this one-sided clear picture disc, there are a variety of bands covered and they're not obvious choices. Let's get the not-so-great out of the way--a dull cover of Eddie & The Subtitles' "American Society." It might have worked better if they'd played the faster version of the song instead of the slow-paced one. Their take on Crisis's "Holocaust" sputters a bit, as well. More successful are the versions of Urban Waste's "Public Opinion," helped by appropriately-raspy vocals. Vile's "5 to 10" retains its scurrilous aura, bringing out the punk nastiness and enhanced with sputtering guitar, the Pixies' "Nimrod's Son" and a fairly engrossing version of Wire's "Pink Flag." All in all, though, I'm more interested in what will follow up their last album, Ronhert Park, because that was such a left turn into a garage/post-punk realm from their previous blur-core inclinations. Who knows what's on the horizon? (www.bridge9.com)

CRIPPLED OLD FARTS-s/t (Shogun, 7" EP)
Needless to say, I'm drawn to this Paris band's moniker since some have accused me of being an old fart, at times, and I imagine the crippled part might occur if I ever come out of semi-retirement from the pit (not likely). Standard hardcore punk on this 7 song EP, with one side spinning at 45 and the other at 33. "Like A Disease You Chose To Ignore" is the best of the bunch here, with a catchy mid-tempo pulse and "For The Worst Or The Best" connects in similar fashion. Fairly typical, overall--good, not great. (3 Rue Du Lavoir, 51140 Bouvancourt, FRANCE, www.shogunrecordings.com)

DARK AGES-Can America Survive? (Sorry State, LP)
I have a friend who currently lives in Kansas City, the home turf for Dark Ages, and he can't wait to move back. Being that he's a hardcore leftist, he's felt more than out of place living there. I'm not sure how Dark Ages relate to their middle-America surroundings but given their anti-authoritarian message, it might not always be so pleasant. Whatever the case, this is a hard-hitting, dynamic hardcore band with an impressive debut 12". The title track is divided into two halves, an ominous instrumental building up to a thrash eruption. High-powered throughout although there are a few changes of pace--the catchy, nearly anthemic mid-tempo pace of "Power" and "Why," as well as a cover of "Easier to Die" by Choke (I'm not familiar with the band or song) that dirges it out for over 5 minutes, ending with a numbing mantra of the phrase "easier to die." 80s hardcore influences but from the mid-80s, as opposed to the early stuff. Mid-period Black Flag, Die Kreuzen's first album and Christ on Parade come to mind. A lyrical muse of someone pushed to the edge, wondering where life will take them and also wondering if there's any sort of future to look forward to--will they and/or America survive? (sorrystaterecords.com)

DOUBLE NEGATIVE

DOUBLE NEGATIVE-Hardcore Confusion Vols. 1 and 2 (Sorry State, 7" EP)
Two separate 7"s here, two songs on each disc and I'd imagine there will eventually be parts 3 and 4 because if you put the covers together, it shows half of the Double Negative logo. Ever since their first album, DN have continued to evolve or maybe it's devolve, as their sound gets increasingly intense and continuing to eschew the COC inspiration. Considering that their home state of North Carolina just got hammered by a hurricane, maybe I should avoid such hyperbolic descriptions as tidal wave of hardcore fury or a sonic typhoon but, in all honesty, that's the effect here. "Writhe," the a-side of Vol. 1, batters its way to a numbing, repetitive conclusion while "Cunny Hop" is a brief straight-ahead blast. For the second volume, "Fat City Address" shifts the cacophonous intro pure rock fury and "Face Jam" also operates in a raucous rock mode. This isn't hooky music, it's bombast with an inescapable grip. (sorrystaterecords.com)

EXECUTIONER-s/t (Patac, CD)
Except for four songs that came out on a 7" last year, this is an entirely-unreleased compilation of music by this San Jose band, recorded in '82 and '83, along with a couple of songs recorded in 2008 that I wouldn't have realized unless the liner notes told me. Culled from demo sessions, plus a few live tracks and not presented in strictly chronological order. Sound quality varies, with the 1983 recordings sounding sonically superior and they'd also shown musical advancement since '82. In fact, the other recordings sound rather rough, especially the 6 songs that were released on the "Growing Pains" cassette compilation. Tuneful 'n snotty west coast hardcore, metallic guitar touches and razorwire vocals conjuring up Blaine Cook from the Accused/Fartz. It's a pity this didn't see the light of day until after a quarter century although I probably would have done a vinyl pressing with the '83 session and the two 2008 recordings, in a proper sequence. Still, there's some scrappy punk to be found here. Packaged in a 7" sleeve with a fold-out poster that has a collage by Winston Smith. (www.patacrecords.com)

GLOM DA!/MAKABERT FYND-Split (Sorry State, LP)
Straight-up Swedish mayhem from both of these bands, with a familiar sound. Loud guitars, harsh vocals and a fast pace. Glom Da! have a clear old-school influence, inspired to an extent by the unfettered blaze of Anti-Cimex, albeit with cleaner production. Makabert Fynd have a dual-vocalist tandem and one of 'em is Poffen from the late, great Totalitar. Don't expect anything on that level and I'd probably give the edge to Glom Da but they hold their own in the burn department, adding some rockin' guitar licks. You pretty much know what you're getting here. (sorrystaterecords.com)

GOD EQUALS GENOCIDE/LIBYANS-Split (Shock To The System/Dirt Cult, 7")
Split between two bands on opposite coasts and each band's songs are presented with rough-hewn production. God Equals Genocide have been around awhile but I'm pretty sure this is the first material I've heard by them. Jabbing, almost garagey punk with a certain amount of charm. Adrian's over the top vocal on "Anyone Can Do It" is ear rattling but it really wins me over. The three new songs by Libyans aren't quite as memorable as the tracks on their previous records. They do bring a feisty energy to the songs and "Misquote Me" is the catchiest of the three tracks. It's not really a competition but I've been playing the God Equals Genocide songs more. (PO Box 400296, Cambridge, MA 02140, www.shocktothesystemrecs.com)

IN DEFENCE-Party Lines and Politics (Profane Existence, LP)
In Defence continue to perfect their 80s-era thrash metal-meets-hardcore sound and do so with an occasional touch of tongue-in-cheek humor. The opening song, "The Police Are Fuckin' Rad!" isn't what you might think it's about. It's not a pro-cop song, it's a pro-Police song, as in Sting and the boys. On the other hand, it's not all fun and games, such as the the timely sentiments expressed on the likes of "Corporate Bailout." "Curbside Dentistry" is a combination of the two--lamenting a lack of dental insurance and coming up with a creative solution i.e. getting a curbside treatment courtesy of a skinhead's Docs. You'll laugh, you'll cry, you'll sometimes do both at the same time and be relatively impressed with the metallic bombardment. Nothing earthshaking but enjoyable. (PO Box 18051, Minneapolis, MN 55418, www.profaneexistence.org)

MAJOR DAMAGE-s/t (Even Worse/Way Back When, 7")
Solo project for Brandon Ferrell, who you might know from such fine combos as Direct Control and Government Warning. He played all the instruments and did the vocals for the seven songs here, although he has a live band. Short blasts of old school hardcore with varying tempos, rougher and meaner-sounding than his other bands and he sings in a lower, tougher cadence. It sound like a collision of NYC and Boston hardcore bands, at times. For instance, "Demise" is part Antidote, part DYS. Straight outta '83. (www.evenworserecords.com/www.waybackwhenrecords.com)

NASA SPACE UNIVERSE-Across The Wounded Galaxies (Shogun, LP)
Abraso-core! NSU's sound hitches high-flying hardcore to gnarled 'n gnashing post-punk. Jarring and kinetic, with Kevin's vocals sounding like he's just imbibed an acid cocktail and coming on with a nastier Minutemen inflection at times. I forget the name of the Jeopardy category where phrases are combined in a clever fashion but there are a few here--"Tiny Tim Allen Wrench" and "Denzel Washington DC" and neither song apparently has anything to do with the actor mentioned in the title. The lyrics just seem like a collection of random thoughts and prose, done in ranting fashion and meshing well with the band's barbed attack. (3 Rue Du Lavoir, 51140 Bouvancourt, FRANCE, www.shogunrecordings.com)

ORGANIZED SPORTS-I'm So Proud Of Him (Bulkhead/HIV Town, 12")

Boiling-over, raging hardcore. I've been saying I'm burnt out on this sound lately. The exception is when a band has a certain head-grabbing relentlessness and that's the case here. Drawing from a Systematic Death muse and it also had me thinking of Caustic Christ, with the rough, howling vocals and straight-on fury. They do stretch things out and slow the pace during the mid-section of "Sweet Chin Motion," but it doesn't dilute the furiousness all that much. Every instrument has a pulverizing effect and, to paraphrase one of the lyrical lines, they DO sound cheesed-off. First-person expressions of life's frustrations. Nothing new, of course, but life's been sucking lately so it's easy to feed off this sort of anger. It has me banging my head, stomping my foot and shaking my fist. Consider that an endorsement. (www.bulkheadrecords.com)

RANK/XEROX-s/t (Make A Mess, LP)
Brilliant debut album from this SF trio. You could call it post-punk or art-punk and it wouldn't be off the mark. Jarring guitar gnash underpinned by menacing bass and drums that provide a solid foundation. Some obvious touchpoints are the Fall and early Wire but, to my ears, they remind me of the early 80s Boston band Native Tongue, another trio who had angular guitar lines counterpointed by nimble rhythms. The final song, "Turn To Stone," has a synth melody that you won't be able to get out of your head. Same for "Helpless," only the bass provides the hook on that song. "Padek Man" begins with the lumbering clank of the A Frames before concluding with a frayed climax. "You Might Follow" is darker, with distorted drums and a brooding arrangement. Themes of alienation and isolation permeate the lyrics and that shouldn't really come as any sort of surprise. There's an anti-social sentiment on the aforementioned "Turn To Stone," with the music's cold ambiance complemented perfectly with the opening statement "I got a massive problem, I'm falling apart and people want me to be a part of some kind of race/But I don't feel like you and I don't look like you..." In this era of disillusionment, this album makes for an appropriate and inviting soundtrack. (www.makeamessrecords.com)

RAW NERVES

RAW NERVES-Burnt Skin (Inimical, 7")
Three new songs from Raw Nerves, following their Poison Idea-meets-crust blueprint, at least on the two fast-paced songs on the a-side. The b-side, "S = K LOG W," is a slow, brooding pounder on the Born Against-ish tip with an anti-religion theme. I get the feeling this song works better live, but it's a little tedious here. The other songs are good, though. (PO Box 2803, Seattle, WA 98111, www.inimical.com)

RIPPER-Into Oblivion (Blackwater, LP)
Motorhead-ish hard rock 'n metal, taking a tour through NWOBHM land, as well (New Wave of British Heavy Metal, for you non-headbangers). "Born To Lose" might even be a blatant tip of the cap or pumping of the spiked wristband to Sir Lemmy (has he been knighted yet?). Raspy vocals, lead guitar and lead bass tradeoffs, versatile drumming with an abundance of cymbal riding and it rumbles along at a steady clip. It's a thick sound but sprightly enough and, dare I say it, catchy in spots ("Soldier of Fortune" and "Razor's Edge" for instance). To quote "Soldier of Fortune," let the battlehorns blow. Or let the guitars roar. They do a pretty good job of that, here. (PO Box 5223, Portland, OR 97208-5223, www.blackwaterpdx.com)

SHEGLANK'D SHOULDERS-Skate Assassin (Handsome Dan, flexi)
Two songs on a one-sided flexi so, needless to say, there's a bit of snap-crackle-pop when you drop the needle. I'm grateful for the higher-fidelity MP3 download they provide but it's fine either way. Two rockin' songs concerned with skating (in case you didn't know) and a west coast flavor particularly on "Skate Pit." Recorded in 2009. (www.handsomedanrecords.com)

SMART COPS-Per Proteggere E Servire (Sorry State, LP)
There's always been an air of schtick with the Smart Cops, with the matching outfits but they also delivered the goods with their snotty old-school punk/garage/hardcore sound. For the Cops' debut album (their first release in a few years), the punk jab remains although this is a slicker, more polished effort and they largely eschew the speed these days, while playing up their rock 'n roll side a little more. Sharp and catchy songs and I guess I never realized there's a little bit of the Celibate Rifles in their sound. There's even a bit of a "freakout" jam section of "Nella Giungla" and UFO-type sound effects on "La Soffiata." I miss the roughness but it's still enjoyable. (sorrystaterecords.com)

SSS-Problems To The Answer (Earache, CD)
Thrash revivalists from the UK with a serious Slayer jones, from the meat-cleaver riffs to the vocals with a few differences, the main thing being the brevity of the songs, with 25 of them packed onto this disc. That means the songs aren't particularly memorable, except for the relatively lengthy lead-off "The Kill Floor" and the pounding/raucous "Dismantle The Dream." Mixing up heaviness with thrash and not veering off into powerviolence or grindcore--definitely working to their benefit. If you're a dyed-in-the-wool thrasher, you'll like this. (www.earache.com)

SPASTIC PANTHERS/TEENAGE RAMPAGE-Split (Handsome Dan, 7" EP)
Slam-bang hardcore punk by both bands. Nothing groundbreaking but loud 'n fast 'n energetic and I raise my glass of iced coffee to the Panthers' "I Can't Make The Scene (Without Caffeine)." Some solid bass-playing in both bands and the right amount of attitude. (www.handsomedanrecords.com)

WHATEVER BRAINS-s/t (Sorry State, LP)
Ain't heard anything like this in awhile. I ran into Justin from Double Negative not too long ago and he said Whatever Brains's album is different from any other Sorry State release. He's got that right. For want of a batter term, this is inspired weirdness. There's definitely some Fall-ish tendencies (especially on "Withnail" with the keyboards and jabbing guitar) although the vocals have a snarly, adenoidal cadence as opposed to Mark E. Smith-uh's style. "Math" has a synthy vibe coming across like early what you'd hear on the first Tubeway Army album. "The Future Of Porn" is direct in its repetitive punk riffing but still unconventional. Edgy rockers, music that sounds like it could come from a keyboard store in the mall and other aural delights. (sorrystaterecords.com)

Sonic Overload blog #95

2011-08-07T15:26:00.001-04:00

FOREIGN OBJECTS

Long overdue, once again. Let's get right to it. Sorry to the bands/labels whose records I couldn't squeeze into this installment. Also, make sure you check out my Flickr Page for live reviews and photos of recent shows. I've been to some good ones over the past few months and, as always, listen to Sonic Overload, because I play a many more newer releases than the ones you see reviewed here.

THE REVIEWS...

ANAL WARHEAD-Time To Die (Suburban White Trash, 7" EP)
"Loud Music For Total Shitbags," eh? That's the title of the shortest song on this five track EP, the second by this Albany band. Raw, pissed-off hardcore punk with sloppiness here and there. The type of band you'd see at a rowdy basement show. The title track has the big build up and then the mayhem ensues. Not much change from their first EP except for beefier production. (PO Box 270594, Fort Collins, CO 80527-0594, www.myspace.com/punkrockjoel)

ANS/RAMMING SPEED-Split (Tankcrimes, LP)
Texans and MassHoles who proudly wave the crossover/metal flag. Both of these bands have been playing this kind of loud 'n heavy muzak for years, now. There's not a huge difference--ANS and Ramming Speed each trade in heavy riffage bolstered by manic speed and bellicose vocals. ANS's songs have a decidedly early Exodus vibe, although concluding track "Roehrs' War" (a tribute to the late, great MRR writer Bruce Roehrs) goes for stoner vibe and it's a bit on the long side. Ramming Speed aren't all that different--Bay Area thrash, though the drumming is a tad more manic. And kudos for the anti-homophobic message of "Dogmatic Horde." Metallic brothers from different mothers. (www.tankcrimes.com)

BRUTAL KNIGHTS-Blown 2 Completion (Deranged, LP)
The final salvo from this merry band of punk rock miscreants. The Knights have been an enjoyable proposition for years, flinging out energetic, catchy fodder concerned with such important issues as chicken wings, getting out of household chores, food shopping and there's even an ode to iced coffee for "Summertime Coffee." I'm raising my medium cup of iced Dunks right now. It's empty but I'll still raise a toast and then see if there's another drop left in there. That track is unique for a minimalist electro-punk sound powered by a mechanized rhythm. "Bad Choice," which also appears on the "City Limits" comp reviewed below, is the toughest punk track here with Nick doing his best Damian Abraham (from Fucked Up) impression. Always fun, always kick-ass. I'm glad I got to see them a bunch of times. (www.derangedrecords.com)

BURNING SENSATION-s/t (Vertex, LP)
Aussies Burning Sensation are a hardcore band but they also exhibit some expansiveness in their bare-knuckled approach. A healthy dose of X-Claim/Boston hardcore fused to a Zeke-ish beat (no rawk, though). What's interesting is they're apparently unfamiliar with the early Boston fodder. Whether that's true or not, the songs have a straight-forward energy but there are diversions--"Weeping Wound" has a decidedly west coast punk sound, favoring slashingly melodic guitar with a few surfy trills and "Terminal Decay" follows that blueprint, as well. "I Wonder" also possesses a near-poppy, tuneful pulse with tasteful, surging guitar licks and a supple bass-line. Some diabolical song titles, too--"I Fear Erections," "I Chopped It Off," "Wrapped Up In Plastic." Burning Sensation manage to avoid any sort of thrash ghetto. There's more at work here and it's intriguing. (vertexaudio@gmail.com)

CRIME WAVE-Savage Reaction (Agro-Wax, LP)
Being that Crime Wave are a Houston band, you figure the members have been in a myriad of other bands and you'd be correct. You also figure it's high energy fodder and you'd be correct on that account, as well. Vocalist/guitarist Mike Grayum had the same job in Janitor (I review their 7" below) and, more recently, the PMRC (reviewed in blog #93). In Crime Wave's case, it's not that far-removed from what the PMRC were doing. There's still the urge to thrash but they also temper things with melody and fit in nicely between west coast punk and a band like the Celibate Rifles. "Get With The Sickness" fits the latter description. No-nonsense, hard-driving punk rock."Fashion Assassinate" even touches on that, with an admission of playing "standard issue punk rock shit" but staying away from the inbred "tattooed gene pool." No matter what bands these guys play in, you get the feeling it's not a fashion statement, whatsoever, and they're in it for the long haul. (agrowax.blogspot.com)

CREAMERS-Modern Day (Jolly Dream, 7" EP)
The guv'nah of Texas, Mr. Good-Hair Rick Perry, just had a day of prayer and fasting at a big-ass football stadium in Houston and there were gospel and Christian rock performers. Somehow, I doubt this band would have been invited 'cause this kind of music just invites sinnin'. Not to be confused with the old LA band, these Creamers come from Austin and dish out a boisterous '77-informed garage punk sound. Braying vocals--the vocalist sounds like he might have downed a few Lone Stars--accompanied by plenty of gnash and slash. I wanna hear more. (jollydreamrecords.blogspot.com)

CÜLO

CÜLO-Toxic Vision EP (Deranged, 7" EP)

Damn, what an ornery bunch these guys are--vocals, guitar and drums and no bass so there's almost a garagey quality to their old-school hardcore sound. Inspired by old Boston stuff, Void and early DRI. Raw guitar, squealin' feedback and, if the drumming gets a little sloppy at times, the purity in their aggression will still win you over. The title track, a cautionary tale about addiction, flirts with catchiness. (www.derangedrecords.com)

DEATH TRAP-No Hicks (Feral Kid/Warm Bath Label, 7" EP)
From King City, on the central coast of California and, according to the liner notes, that was basically the middle of nowhere but it still spawned this snotty punk band in the early 80s. The four songs on this 7" are taken from a four track recording ca. 1983. Rough in more ways than one, as Pat Grindstaff rants along with and sometimes out of sync with the music, with all the venom he can muster up about their surroundings ("No Hicks," "Peer Pressure") but the environmentalists might be bothered by "Fuck The Whales, Save The Humans." Garage-tinged punk--there are even cheesy keyboards and odd guitar noodling on a few tracks--and it's a wonderful mess. (www.feralkidrecords,com, warmbathlabel.wordpress.com)

LE FACE/DVA DAMAS-Split (Psychic Handshake, 7" EP)
Two LA bands coming from darker regions. Le Face's two songs are frenetic, twisted punk creations. Jabbing, intense but also sinister-sounding. DVA Damas's electro-minimalism is engaging, especially on "Man Skin Pants." Detached, cajoling, echo-laden vocals along with a surfy guitar signature, atmospheric keys and a drumming that sounds like a rhythm machine but a drummer is listed. Who knows? Both of these bands are quite cool. (www.myspace.com/psychichandshake)

FOREIGN OBJECTS-No Sensation (Vinyl Rites, LP)
On their first 12" release, the Objects go from being a good band to a great one. The songs are sharp and catchy and the musicianship really gels here--from Melissa's jabbingly melodic guitar lines to Meghan's solid, full-bodied bass playing to Dan's straight-ahead, skillful drumming. Terry sings in an impassioned high timbre, stretching the lyrics around and over the stirring music. Foreign Objects are somewhere in that region between punk and post-punk. It might just be by accident, but the Objects would have fit in well with some of the 80s era Propeller label bands, a loose-grouping of Boston bands who generally favored a jarring approach but combined it with memorable hooks. "One Made Two," in particular, brings that to mind. Actually, that song reminds me of Mission of Burma or even Sorry, a younger, underrated Boston band in the early to mid-80s. The lengthy closer "Obliteration" pushes things into an abrasive realm although they don't stray into free-form territory. "No Sensation" is an album that is probably headed for my top ten of 2011 and this band transcend any easy category. (Vinyl Rites, PO Box 924, Gainesville, FL 32602, www.vinylrites.net)

FRUSTRATION-Broken Defective (Inimical, 7" EP)
Fast-paced hardcore with super-gruff and hoarse vocals (not always an asset) and a semi-melodic pulse at times. People in this band have played with various crust-styled bands but the sound here isn't that distorted nor tuned down. The follow up to their self-titled EP that was released on the same label last fall and this one is stronger, overall. Not bad but not mind-blowing, either. (PO Box 2803, Seattle, WA 98111, www.inimical.com)

GET RAD-Choose Your Own Adventure (Get Rad/Halo of Flies/The Perpetual Motion Machine, 7"EP)
When I was a kid, I had a Bugs Bunny set that came with a book and two 10" records that spun at 78. Yes, I'm old, deal with it. Get Rad's latest missive is accompanied by a booklet where you're given choices to make and then flip to whatever page your choice leads you. The lyrical contents echo that narrative. As usual, with this Milwaukee band, the music is enjoyable, buzzing old-school hardcore punk with burn and occasional melodic touches. And it's a good thing it plays at 45 instead of 78 because my turntable doesn't have that speed option. (4144 S 1st Place, Milwaukee, WI 53207, www.thunderinyourheart.com)

GONE BAD-s/t (self-released, 7" EP)
Gone Bad bash away at their songs crudely and rudely. Loud, boisterous garage punk powered by a stomping beat and a full-bodied guitar roar. Coco's vocals convey a don't-fuck-with-me rage. "Let The Poison Out" goes on a bit long, timing out at a shade over 4 minutes, but it's entertaining listening to them beat their songs to a bloody pulp. (gonebadrocks.blogspot.com)

GUNNAR HANSEN/UTI-Split (Schizophrenic, LP)
Two bands from Hamilton, ON--NOT Toronto. I've been told that bands from Hamilton get testy if you lump them in with Toronto bands. Anyway, Gunnar Hansen had a pretty good 7" about 5-6 years ago and most of the songs here were recorded in 2008. Bruising punk/rock 'n roll/hardcore with a bile-filled orneriness. Occasionally sounding like Fucked Up, particularly for "Phil's Song." The harder rocking side is shown off for "My Crimes," with a sputtering guitar break. UTI are also a nasty-sounding, aggro-laden band. Leah is a venomous-sounding vocalist and songs like "Commodity" and "Klaebouter Manniken" harken back to the days of Babes In Toyland, et al. And while "Fake As Fuck" is a credible thrasher, they don't fare as well on "A. Fish." All in all, this isn't merely two bands from Hamilton, ON. It's two nasty-sounding bands from Hamilton, ON. (17 W 4th St., Hamilton, ON, CANADA L9C 3M2, www.schizophrenicrex.com)

HAZARDOUS WASTE-Destroy EP (Schizophrenic, 7" EP)
Raw thrash agitation, in terms of sound quality and delivery. Both of 'em work to their advantage. Some similarities to Career Suicide, although Durk's rant is in a lower register. "I wanna destroy everything" kind of sums up their outlook on life. Enjoyable, albeit generic. (17 W 4th St., Hamilton, ON, CANADA L9C 3M2, www.schizophrenicrex.com)

JANITOR-s/t (Agro-Wax, 7" EP)
Recordings from a Houston hardcore band from 1999 and 100 copies were released last fall. I got it a few months after and I'm FINALLY reviewing it. Better late than... well, moving on, this is thrashed-up hardcore done in economical fashion. The band existed from the mid-90s to mid-00s and members went on to play in the PMRC, Crime Wave (you just read the review of their record above!), No Talk and more. It could have come out/been done at any time and you probably wouldn't know the difference. It reminds me of another late 90s US band, namely Rat Bastards, who had a no bullshit, straight ahead sound. It might be tough to find but do some Googling. A distro or two might still have it. The label's site has a download, anyway. (agrowax.blogspot.com)

JESUS H. BOMBS-Push The Button (Bookoven, 7" EP)
I love the way these guys just bash their way through their songs with raw, snotty punk attitude. They put their guts into it--yelling, screaming and battering the songs with all the subtlety of truncheon. From what I gather, these songs were recorded at various points during the past decade. It's also another record that's been out for awhile and (as per usual) neglected by yours truly but it's still available. (bookovenrecords.com)

KIELTOLAKI

KIELTOLAKI-s/t (Moo Cow, LP)/Dying System (Feral Ward, 7" EP)

The self-titled full-length isn't a new album but a compilation of the band's demo, first two 7"s and compilation songs. With Kieltolaki, there’s a respect for the Finnish hardcore tradition but it’s not a pure retro trip. Loud, fast and blistering throughout (although they slow it down on occasion) and with harsh vocals accompanied by ripsaw guitar, thundering bass and charging drums. "Dying System" has throwback artwork that looks like it could have come out on Propaganda Records in the 80s and it's more of the same--taking the best of the era and bringing it up to date. A double dose of destruction--and even a Destrucktions cover on the LP. (Moo Cow, 38 Larch Circle, Belmont, MA 02478, www.moocowrecords.com/Feral Ward: www.feralward.com)

KICKER-Innit (Tankcrimes, 7" EP)/Broke (Inimical, 7" EP)
Even though KICKER's two EPs are on different labels, they showed up around the same time. Both of them are packaged in heavy stock, gatefold covers. I figured they might be a UK band due to the vocalist's accent and verbiage ("shite," "nicked" etc) but it turns out they're from the Bay Area and the disparaging commentary about the college students on Telegraph (as in Berkeley's Telegraph Ave) on the thrashy "Two Hats" should have been a giveaway. Not a bunch of happy campers--a life of pain, poverty, drugs and god knows what else. Although "Two Hats" follows a traditional HC blueprint, that's not always the case here. "Broke" has a FALL-ish lope and "Wrong Things" favors more of an anthemic punk flavor. Likeable, gritty buzz. (Tankcrimes: www.tankcrimes.com/Inimical: PO Box 2803, Seattle, WA 98111, www.inimical.com)

KROMOSOM

KROMOSOM-8 Tracks (Havoc/multi-label, LP)
After Kromosom's demo, with their original vocalist Doom, he's gone and guitarist Yeap moves over to vocals, taking the same role he did in the late, great Pisschrist. While his former band had a driving Swedish hardcore sound, these guys offer up more distortion and rawness along the lines of Kaaos, early Riistetyt or Disorder but the crazed, gutteral howlings remain in effect (and thank god for lyric sheets). Relentless and I hope y'all had a chance to see them on their recent US tour because it was ear-shredding, a wall of noise. On this disc, though, you can make out the songs. (www.havocrex.com)

LEATHER-Sterile (Jade Tree, 7" EP)
Unsettling hardcore that's rather hookless but potent. "Relapse," for instance, has an explosive stop 'n start pummel and leads into "Novitiate," which works off the riff from Joy Division's "Warsaw" a bit. "Zek" is a faster burst. Some good ideas and I'd be curious to see what they're like live. Further developments will bear watching/listening for. (2310 Kennwynn Rd., Wilmington, DE 19810, www.jadetree.com)

LIEUTENANT-s/t (Art Of The Underground/Warm Bath/Peterwalkee, LP)
This LP sat on the proverbial shelf for a long time--I've had a CD-R of it for well over a year and their origins go back to the early part of the last decade. Members of No Time Left, John Brown's Army, To Hell and Back, Resist Control and others and this is pummeling hardcore driven by bulldozer bass and vocals that sound like a cross between Springa and Tony Erba. They also have a sound akin to one of Erba's former bands, namely Nine Shocks Terror. The vocals do get a bit over-the-top at times and Lieutenant are hardly the most unique band at playing this style but the production is hot and powerful. Glad this saw the light of day. Nice screen printed cover, too. (408 Richmond Ave., Buffalo, NY 14222, www.peterwalkeerecords.com)

NEO CONS-s/t (Deranged, 7" EP)
Neo Cons follow up their solid demo with a scorching vinyl debut that includes re-recordings of all four demo songs. As I said in the previous review, they're a scrappy punk band with an appealing roughness. And, the more I've listened to these guys, the more I realize that Jason's vocals are semi-reminiscent of Mark Sheehan (R.I.P.) from Out Cold and there are times where they have that kind of buzz, especially on the last song (and one of the new ones) "Don't Touch Me" and it has the same sort of lyrical sentiment as Out Cold too, i.e. "leave me the fuck alone!" The title to "Teenage Snark" had me laughing on its own--snark is such a great word--and the song is a complete ripper. Makes me regret not seeing them when they were here awhile back. (www.derangedrecords.com)

NIGHT BIRDS-Fresh Kills-Vol. 1 (Grave Mistake, CD)
A collection of the band's three 7" discs and demo and showcasing their peppy, catchy blend of surfy/slashing west coast punk, even though they're New Jersey-ites. Opening song "Killer Waves" and "Triple Feature" could be a DI outtakes, with surging guitar lines, sturdy backbeat and "ahhh-ahhh" backing vocals on the first two. The faster, hardcore-tinged songs aren't quite as memorable but they're dead-on most of the time. Even better live. (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

NIHILIST CUNT-You're Next (Suburban White Trash, 7" EP)
Maybe it's kind of a silly band name--and lest there be charges of sexism, the vocalist is a woman. Charging punk and lyrics offering poison observations along the same lines as the Profits, especially with Becca's vocals. Songs about decaying mental, physical and emotional health and feeling at odds with societal norms and a pair of songs railing against the likes of the homophobic Fred Phelps and corporate hegemony. 30 years and the themes remain the same. In other words, it's not terribly original but the sentiments come across as heartfelt. (PO Box 270594, Fort Collins, CO 80527-0594, www.myspace.com/punkrockjoel)

NO CLASS-Keine Klassed (Deranged, 12")
Ravenous hardcore incorporating different shadings, only they're all dark and pissed-off. The rampage of Double Negative or Sex/Vid and some NYHC bile. Bass and drums to club you into submission, big guitar riffs that bridge the songs with feedback and concluding with a few minutes of noise that will force you to lift the needle. Or maybe not, if you're a masochist! Add a whole lot of vocal agitation spewing out pure venom and this is a heady, hard-hitting mixture. (www.derangedrecords.com)

NO PROBLEM-And Now This (Deranged, LP)/Paranoid Times (Handsome Dan, 7" EP)
A new album and EP from No Problem, who continue to crank out rousing, spirited punk. The 7" preceded the album and the title track ended up on the album. The difference between the two is in the recording quality--the album sounds rough and trebly by comparison and it really gives the songs an edge. Slamming guitar riffs, strong melodies and heartfelt vocals with some killer choruses--"Enemies," in particular. Paranoia (duh), turmoil and even bands cashing in on past fame--all part of the lyrical oeuvre here and it meshes well with the songs' punch. (www.derangedrecords.com/www.handsomedanrecords.com)

OBNOX-I'm Bleeding Now (Smog Veil, LP)
Obnox or obnoxious? Both! Obnox IS obnoxious. Low-fi garage/blues/psych bash underneath a wall of noise. If the intent is to be jarring and abrasive, this essentially one man band (the perpetrator's name is Lamont Thomas) succeeds. Not that there's anything wrong with that. There's still the occasional recognizable song in there, such as the down 'n dirty title track. And is "The Get It Inn" some sort of twisted ballad? Could be. It eventually reaches a cataclysmic conclusion on "Whaddup Young Blood," subtitled the "Drum Thunder Suite." Free-sounding degeneration powered by a storm of guitar mayhem and clattering drums. Exhausting by the end and I'm not quite so sure I feel like another go-round. (www.smogveil.com)

OUTDOORSMEN-Tell Your Folks I'm A Goner (Psychic Handshake, 7" EP)
"... I'm A Goner" is gloriously scuzzy, revved-up garage slop that will hamfistedly worm its way into your heart. On the flip, "Stink Up The Bathroom" continues in a similar vein while "She Wants To Go Steady" is their (semi-successful) stab at a poppier song, albeit with not-so-sweet lyrics. Kind of in take it or leave it territory although they've got the right idea, especially for the title track. (www.myspace.com/psychichandshake)

POOR LILY-s/t (self-released, CD)
What a walloping effort and it's always a pleasure to be blindsided by something out of the blue like this album. The musical pedigree of some of the members include various New York hardcore bands but that isn't all that relevant here. Let's take this album/band on its own terms, without any preconceptions. Imagine NoMeansNo or the Minutemen off on a hardcore bender. Bands like the Rhythm Pigs and Victims Family used to do the same thing. Music that's ostensibly punk in attitude and intensity but incorporates a tight musical dynamic to the proceedings. Like those bands, these guys are a trio (I know NMN did eventually add a second drummer) and incredible musicians. While the chops are obvious, they don't let things get so busy or overcooked that it dilutes the power--even with the jazzy interplay on a song like "Regular Guy" or "Pretty Little Uniform." There's a nervousness in Poor Lily's music and it also comes out through the edge-of-a-breakdown lyrics espoused on a number of songs and, what the hell, "sanity is for the insane," anyway, as they sing on "Decide To Sleep." Although that might be debatable--I'm thinking of when GANG OF FOUR sang "some are insane and they're in charge" on "To Hell With Poverty." Enough thinking, though--I'd rather have the braincells rattled in a more positive way and this might be the ticket. (www.poorlily.com)

SHIRKS-s/t (Grave Mistake, 7" EP)
Three songs of garage/punk/rock 'n roll. The hallmarks of the sound are here--guitar riffs with a rockin' swagger delivered at a mid-to-fast pace. "Prostitution Summer" is a decent Saints knockoff and there's a New Bombs Turk-ish inspiration, as well. Those aren't bad touchpoints and, while it doesn't get the walls shaking as much as I'd like, they get the job done. (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

VARIOUS-City Limits (High Anxiety/No Idea, LP)
A showdown between Montreal and Toronto that's more intense than the Canadiens/Maple Leafs rivalry. OK, maybe not. I'm sure there's plenty of musical kinship. Anyway, one side is from TO and one from Mtl. and features a hit and miss array of punk, hardcore and rock 'n roll talent, with more hits than misses. On the Toronto side, things get started with snotty fodder by Career Suicide. Not the best song they've ever done but it's good to something unheard. Speaking of CS, their guitarist Jonah Falco's solo project Mad Men connects with some tribal punk minimalism. Bad Choice, Brutal Knights and School Jerks rip out feisty punk--same for Urban Blight, who add a distorted rawness. On the flip, Castevets have a tough garage-fueled attack and that applies to Slobs, as well. Dead Wife bash through their song with riot grrrl ferocity. Unfortunately, the slugging percentage isn't quite as high, here. Inepsy's rock tune goes on a bit long and the Omegas song isn't nearly as good as on their other releases. I'll probably be playing the Toronto side a lot more. (www.noidearecords.com)

VARIOUS-Speed Trials: Worst Bands Of West Michigan Vol. 1 (Punks Before Profits, LP)
A one-sided compilation on red vinyl with an artistic rendering of the state of Michigan on the other side and tucked inside a screened cover. The xeroxed booklet is tough to read on some pages. Song titles are always nice, in some instances. The whole thing was recorded on one day, where the 17 bands each recorded a single song. All loud and fast hardcore, thrash and grind and varying quality, as you would imagine--sad to say, most of it is tuneless and forgettable. In fact, only a few of 'em really stick out, in a good way. Shattered Badge's ravenous thrash packs a solid punch, Attention Span feature scalding vocals and a musical edginess and Dissertation's raw d-beat might be cool to see live. Otherwise, there's not much else I'd want to hear again. (PO Box 1148, Grand Rapids, MI 49501, grscreamer.com)

VICTIMS

VICTIMS-Dissident (Tankcrimes, LP)

This Swedish band have been around since the late 90s, having released five albums, a split LP with From Ashes Rise and a number of 7"s. Over the years, they've moved towards a heavier Swedish sound with thicker, lower-tuned riffs that accompany the speedy attack and harsh vocals. All of this is in line with their countrymen Skitsystem, Wolfbrigade and others. The new album gets the job done with concise bursts of rage that will warm the heart of anyone who wears a studded vest. I do prefer the earlier recordings, especially Neverendinglasting--much rougher and raw sounding --but they remain a pulverizing live band and that comes across pretty well on this album. Full-gatefold sleeve with some wild artwork.(www.tankcrimes.com)

Suburban Voice blog #94

2011-06-03T12:48:00.001-04:00

THE RETURN

Yeah, I suck at this blog business. I've been rather hermit-like--as of this writing, I've only been to half a dozen shows the entire year. It's been almost three months since the last blog and I figured I was long overdue to post one even though the review pile hasn't diminished all that much. Ah well--it happens when you get old, the weather gets nice, you're suffering from writer's block or some combination thereof. It's not like I don't listen to the new music that shows up here and I manage to get a lot of the material onto the radio show at least.

I did manage to get through the biography about Hüsker Dü by Andrew Earles, Hüsker Dü: The Story Of The Noise-Pop Pioneers Who Launched Modern Rock. It's kind of a lofty premise, I suppose, and Earles spends over 200 pages trying to make that claim. The Hüskers certainly deserve their legendary status and it's an entertaining read but there are some flaws/shortcomings. The biggest one is that Bob Mould, who is publishing his own memoir, wasn't interviewed for the book although Grant Hart and Greg Norton were, as well as people involved with the band over the years.

Earles also tends to repeat certain passages and the chronology gets a bit jumbled. He over-analyzes in spots and there's the occasional factual error, such as saying that Television and Blondie recorded for Sire (it was Elektra and Chrysalis, respectively). And while the inter-band conflicts are given mention--particularly between Bob and Grant--it doesn't delve into them that deeply. Not that the book has to be a tell-all soap opera but it doesn't need to be glossed over, either. And while Earles is complimentary towards their hardcore-leaning material, some comments seem to be a tad ridiculous: "No hardcore band offered the acute wallop of something like Land Speed Record or In A Free Land." I could think of a lot of records in that time packing that kind of wallop but LSR is admittedly raw and over-the-top. I also don't know if I agree with the description of "Wheels" (from Everything Falls Apart) as being "No wave influenced." And while side two of Zen Arcade is arguably their most visceral eruption of hardcore since Land Speed Record, I don't hear the Discharge influence that the author mentions. At least there isn't unconditional love for each release--Warehouse gets a much-deserved panning.

I should also mention that Earles never got to see them play live. It shouldn't disqualify him from writing about the band but I'll admit I'm prejudiced in that regard. I saw them around a dozen times. I obsessed over Zen Arcade for months. They were an IMPORTANT band to me and some of those records are reliable "go-to" albums to this day. As an (irrelevant?) aside, I was stoked to see Earles use quotations from the interview I did with Bob in issue #8 of my 'zine. Surprised would be a better term, actually, since it wasn't all that great an interview--not Bob's answers but my lame questions. He was more than gracious and patient.

Criticism aside, there are some cool photos, flyers and other artifacts displayed. I think he manages to tell the Hüskers' story fairly competently--how they came together, the "scene" they helped create, a peek behind the scenes of the recording process and dissection of their records. Earles tends to look at them through the prism of how they inspired a more mainstream pop/punk and indy rock aesthetic, even going to far as to list bands they've influenced, who have covered them, etc--and that doesn't seem overly-necessary, although I never knew that Robert Palmer did a snippet of "New Day Rising" live. Go figure.

I'm really looking forward to Bob's book (which has just been published), especially if he doesn't filter himself. I definitely want to hear his reflection on things...

RECORD REVIEWS... just skimming the surface...

I'm going to begin this segment with a rundown of the most-recent batch of records from Lengua Armada, Martin Sorrondeguy's label. Maybe not so recent since, as I said above, this blog is ridiculously tardy. Hopefully, some of them are still available. Martin’s records tend to go out of print fairly quickly so you might want to shoot him an email at martincrudo@yahoo.com to see what’s available or check with your friendly distro. We begin with Bay Area band Vaccuum and their massive onslaught of distortion. The buried-in-the-mix vocals are provided by Robert Collins (Artimus Pyle, etc) and, while the attack isn’t as noisy as, say, Lebenden Toten or Nerveskade, the aesthetic leans towards that. A sonic terror. Japan’s Totsugeki Sensya offer a similar type of terror for the five song Chain of Tragedy EP. Harsh vocals and a trebly, distorted blaze that has an old-school Japanese hardcore fervor. Necromongo, from Peru, offer plenty of speedy d-beat wreckage on their five song Grabaciones Desde La Ultratumba EP, although “La Perdicion” slows things down. “Vamos” takes a Raw Power-ish turn, especially with the guitar buzz.

Upon hearing some of the shredding guitar leads and overall tone on Criaturas’s Aranas en el Corzon EP, I thought it sounded a bit like Vaaska. It turns out Criaturas are from Austin and include a couple of Vaaska-ians, namely guitarist Vampis and that band’s vocalist Eddie appears here on bass. Dru’s vocals are sometimes more offkey/abrasive than I handle but the songs have a potent surge. Actually, their songs do have a hint of melody here and there, such as on “Paranoide.” Solid d-beat thump with metallic flourishes.

Finally, there’s Porcodio, a project with Anti You drummer Paolo on vocals joined by various Richmond luminaries from Government Warning, Direct Control, etc. Bass-driven hardcore providing a pummeling effect—as always, Brandon Ferrell’s drumming provides an abundance of locomotive-like bash. Given their Euro/American composition, the sound draws from both regions although the main emphasis is old Italian hardcore and Paolo’s nasally timbre sounds inspired by the vocalist from Indigesti.

RECORD REVIEWS... (and still just skimming the surface)

NOTHING BUT ENEMIES

BANRAN-Stop Kor (Even Worse/Way Back When, 7" EP)

A band from South Korea who play in a fast thrashy vein with buzzed-up guitar and howling vocals. And while South Korea is the “democratic” part of Korea, that doesn’t mean that its leaders were admirable. For instance, there was Park Jeoung Hee, who was the president of the country in the 60s and 70s and had an apparently oppressive regime (yes, I did a bit of research while the record was spinning). Banran rant against his racist, anti-Japanese sentiments. But this isn’t a history lesson, it’s a review of a punk record and this is a mostly-effective blast. The noisy, whizzling tumult during “Being Retarded” stands out a bit. (Way Back When, Taskinlaan 9, 2361XM Warmond, THE NETHERLANDS, www.waybackwhenrecords.com/Even Worse, Van Ostadestr 93-F, 1072SR, Amsterdam, THE NETHERLANDS, www.evenworserecords.com)

BLACK CLOUDS-s/t (Ride The Snake)

OK, so this 7" has been out for quite awhile but I only got a copy in the last few months and you punters need to know about it. The Black Clouds play simple, bashing ‘n bluesy garage rock that fans of the Oblivians, Cheater Slicks, et al will enjoy. I’m enjoying it myself. The best of the four songs here is "5 Years Behind My Time” and maybe it’s a sly in-joke about playing this music after any sort of so-called trend. I’m too busy being mesmerized by the string slamming and delirious tempo. Recorded at the late, great Twisted Village store in Harvard Square.(6 Wadleigh Place, Boston, MA 02127, www.ridethesnakerecords.com)

BRAIN F≠-So Dim (Grave Mistake, 7" EP)
Another record I neglected for awhile and shouldn’t have because it’s a real keeper I’ve been playing this record and tracks from their earlier demo on the radio show. From North Carolina and also known as Brain Flannel, this is some spirited, rough-hewn garage/punk bash, with semi-distorted male/female vocals. A full-length is due in the not-too-distant future. (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

COKE BUST-Degradation (Grave Mistake, 7" EP)
As always, Coke Bust's music has all the subtlety of a jackhammer. While this band's musicianship has always been stellar (their drummer Chris Moore is a monster behind the kit), I still wish they didn’t rely so much on the velocity, although I guess it makes the crushing, if brief, breakdowns stand out. And “Deathbed” is a pounder in the tradition of Negative Approach’s “Evacuate.” I’ve enjoyed Coke Bust when I’ve seen them live but I don’t listen to their records all the time. (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

DEEP SLEEP

DEEP SLEEP-Turn Me Off (Grave Mistake, LP)
Deep Sleep's full-length debut, following three previous EPs (which were compiled by Grave Mistake on the Three Things At Once CD that came out last year). Turn Me Off is a little more polished than the earlier records but the songs still have a good amount of energetic drive. This Baltimore band have always emphasized a Dag Nasty-meets-Descendents-inspired melodic pulse in their sound, reinforced with Tony Pence’s urgent and emotional (but NOT emo!) vocals. Still, they come storming out full-force for “Live Forever” and other songs. Speaking of the Descendents, that band’s Stephen Egerton mastered the album, so I imagine the band wanted that kind of biting-yet-tuneful ambiance. (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

HELLMOUTH-Gravestone Skylines (Paper + Plastick)
A scorching metal eruption with a no-nonsense leanness. Sure, you definitely hear mid-80s thrash ala Slayer--ominous riffs and all that, along with various hardcore and crossover influences. There are also chuggy and blastbeat moments but they're not detracting factors. Hellmouth, who hail from Detroit, charge through their songs with ruthless, relentless efficiency and the howling vocals more-than-effectively convey the lyrical ruminations on a world in decay, if I can use such a trite expression (too late!). When they sing about resisting control, I admit I clench my fist a bit. A good mix of heaviness, speed and haunting riffs. I haven't been too impressed with metallic fodder in recent years but this album is an exception. When it comes to this type of music, maybe I'm not such a jaded fuck, after all. (paperandplastick.com)

HERDS-Michigan (Residue, 7" EP)
Each of Herds’ records have had a common theme running through them. For their album, the loose theme was about seasonal cycles and how it affects nature, wildlife and humans. For Michigan, Herds write about tragic events in different areas in their home state—a devastating mine explosion, the collapse of a building, a tornado and slow death caused by toxic contamination. So these songs are mainly about man-made atrocities although, in the case of the tornado in “Bay City,” the tables are turned to an extent. But it’s the music that really commands your attention. Pillaging, crust-tinged hardcore with ferocious instrumentation and vocals. Many bands playing this style put reverb on the vocals (sometimes to good effect) but Herds resist that temptation and it enhances the songs’ impact. A familiarity in the music, perhaps, but powerfully-executed and the lyrical themes don’t cover the standard-issue topics. (www.residue-records.com)

IMMORAL DISCIPLINE-Complete Discipline (DSI, CD)
UNION STRIKE-The [Demo]lition (demo)
Passable bootboy punk from DC recorded from '87 and '89 and including Immoral Discipline's demo, EPs and an unreleased album's worth of material. The music is simple and straightforward punk--definitely paying tribute to early 80s UK strains, both oi-ish material and faster material. Flyin' the flag for the good 'ol (?) USA on "Boots and Braces, Stars and Stripes," but also exuding an anti-racist attitude. Punks and skins unite, etc... Shawn Garard has kind of a flat voice in the vein of the vocalists from the Hates and Crucial Youth. Can't say this didn't make me smile, at times. For a good cause--proceeds are being donated to St. Jude's hospital, the Human Society, a food bank and the ALS (aka Lou Gehrig's Disease) Association. The same package brought a CD pressing of Union Strike's 1988 demo. They were another street-style DC punk band from the same period. A slightly heavier sound punctuated by gruff vocals, buzzing guitar but not all distinctive otherwise. And there's a ton of hiss on the recording--cleaning it up might have helped a bit. (PO Box 346, Dunn Loring, VA 22027, www.myspace.com/dsirecords)

NOTHING BUT ENEMIES-Creepy Crawl (Welfare, CD)
Creepy crawl was part of the Black Flag/SST Records vernacular and NBE have taken it to heart. Unsettling punk that crawls its way into your brain and rips it apart. OK, that's hyperbolic, even more than usual for this writer. This is one of the best albums to come out Boston in awhile. Ominous and fiery from the outset, as Opie brays over the Flag-meets-Fang sonic setting that appears most prominently on such songs as "Dropout" and "Another Day Of Nothing." "Tonight" is more upbeat, with a tuneful No Future Records pulse. The title track is also melodic but in a different way--fusing a nearly goth-like arrangement to the punk burn. Punk is supposed to be the music of the rejects but it often ends up with elitist pecking orders, just like in so-called real life. NBE are the rejects of the rejects and perfectly happy with it. And there's an originality in the songwriting, sparked by solid, powerful musicianship and reinforced with an animated vocal presence. (58 River St., Haverhill, MA 01832, www.welfarerecords.net)

OLDE GHOST-Use Yer Illusion 3'N'4 (Handstand, LP)

The cover for Olde Ghost's debut album parodies a certain west coast hard rock band (guess) but that’s the end of the similarity. This is nervy, pounding rock with howling vocals and a muscular musical focus—a few Drive Like Jehu touches but you can also hear bits of Swiz and Rorschach (especially vocally) in there, too. Former members of the underrated Books Lie and it’s a heavier-sounding proposition. Only misstep is an ill-advised cover of “Don’t Let Me Be Misunderstood” by the Animals. (PO Box 110398, Brooklyn, NY 11211, handstandrecords.com)

OUR BAND SUCKS-Pic 'N' Save (self-released, CD)
West coast old-timers return for another go-round. Sloppy Seconds-ish poppy-punk with semi-goofy lyrical matter although the liner notes inside the disc are actually more humorous. Four quick songs, mildly entertaining and the title track is catchy but nothing essential. (www.myspace.com/machoshithead)

POISON PLANET-Nothing Gets Done (ThirdXParty, 7" EP)
Nothing seems to get done around here, that's for sure. That's why it's been three months between blogs and this record review is also overdue. Oh, that's right--this is a record review. ThirdXParty honcho Nick Baran is the vocalist in this Chicago band, who have shown steady improvement with each subsequent release Poison Planet ply the kind of rough hardcore you’d expect, also inspired by early Boston rumblings (though not exclusively)—that point is made obvious by a cover of DYS’s “No Pain No Gain.” And, as I’ve said before, while I’m old, jaded and cynical, I recognize and admire this band’s idealism and attempt to shake people out of their apathy. It’s a tough battle. thirdxparty.blogspot.com

PUPPY MILL

PUPPY MILL-Demo
This relatively new Boston band play various permutations of punk, garage, rock and even hardcore on their debut demo. “Pet Sounds” provides some jabbing garage rock, “Control” picks things up to a thrashier pace, while “Suffocation” and “Men For Men” are both moody rockers. There’s post-punkish flavor for “Vaccine” that intersperses a steady pulse with freeform bursts. The cover choice is pretty obscure—the Rings’ ’77 one-off “Automobile.” Jessica sings in a lower register but she’s expressive and has range. An auspicious debut and reinforced with warm, punchy production. (puppymillcore.blogspot.com)

RATZ-Uniformed Youth (Kink, 7" EP)
This German band showcase a west coast hardcore guitar surge on their five song EP, fusing it to a fast-paced attack on side one and, for the second side, slowing it down and coming up with a pair of catchy songs. Those are the stronger tracks here although the whole thing is pretty decent. (www.kink-records.de)

SCHOOL JERKS-s/t (Cowabunga, 7" EP)
Another self-titled EP for Toronto's Jerks, their third and another snotty punk excursion. Yep, the Jerks in the name is appropos since they occasionally bring to mind another west coast band that shares part of their moniker and other bands from that time/region--Amdi Petersens Arme did the same sort of thing. As I've mentioned before, some of the personnel here used to be in Terminal State and this has a similar feel--ranting vocals accompanied by taut, razor-sharp compositions. (www.cowabungarecords.com)

SHARDS-s/t (Sorry State, LP)
Here's a band that's not all that easily-classified. Shards merge a shadowy west coast punk and Naked Raygun vibe (without the “whoahs” or overt pop influences) and take those elements and stomp all over ‘em. And while it’s a shortcut to call lyrics “dark,” what else to make of songs about “watersports” (and I ain’t talking about diving or polo) or ingesting harmful items? The production sounds a bit muddy at times and the songs don’t have obvious hooks but there’s enough burn to hold interest. (www.sorrystaterecords.com)

SLOBS-Look Busy, Do Nothing (Cowabunga, 7" EP)
Here I sit at my computer, reviewing a record for my on-line blog and the song playing is "Technophile Society," about "being connected yet so alone." I suppose there's some truth in that statement and the songs here have an overall theme of dehumanization and alienation. Montreal's Slobs might be alienated, but they connect furiously with three thrashers and one song (the concluding "Assembly Line") with a garagier touch. Hardcore punk that's endearingly scrappy. (www.cowabungarecords.com)

SORRY STATE-s/t (Lifeline, 7" EP)/Listen With Prejudice (Third x Party, 7" EP)
One new, one not-so-new record. Both of 'em serve up some mean hardcore with pounding breakdowns interspersed with speedy thrash. Elements of Infest and early Boston HC, both from the “crew” bands and Siege. These guys are “nailed to the X,” so to speak, but straight edge themes doesn’t permeate the lyrics. On the Lifeline EP, there’s a lament about losing a family member to smoking and there’s no attempt to conceal the anger. Actually, there’s nothing held back on either of these records. (Lifeline, PO Box 692, Midlothian, IL 60445, www.lifelinerecords.net/ThirdXParty, thirdxparty.blogspot.com)

STRIPMINES-Sympathy Rations (Sorry State, 7" EP)
Hammering hardcore punk that’s somewhat reminiscent of a band like Deathreat, at times. The drumming seems a bit off on occasion but the riffs are thick and mean-sounding, along with the hoarse vocals. A reliance on speed but they can get you pounding the floor, too--see the intro to "Aneurysms" or "Empty Threat." Not too shabby a debut. Not at all. (www.sorrystaterecords.com)

SWEET TOOTH-Japanese Void EP (Cowabunga, 7" EP)
Blasting hardcore done in relentless fashion--sometimes too relentless in the speed department where the drumming becomes a tad monorhythmic. Still, it's not grindcore--this is flaying thrash with some solid breakdowns and tempo changes and the lurching conclusion for "Don't Come Close To Me" is attention-getting. Definitely something you have to be in the mood for--a bad mood. (www.cowabungarecords.com)

THINK TWICE-National Sacrifice Zone (Give Praise, 7" EP),

This band, with former Life Crisis vocalist Sean, create some savage crust-inflected hardcore. A three-piece with harsh back and forth vocals that are buried in the mix a bit. Opposed to corporate bailouts, thinking that the Obama administration is just more of the same ‘ol shit and, of course, chafing at the dehumanizing nature of the workplace. They sound properly and credibly agitated over the course of these five songs. (PO Box 494, Barnstable, MA 02630-0494, www.givepraiserecords.com)

TO HELL AND BACK-Will We Be Torn Apart (Peterwalkee, LP)
Straight-ahead hard rock/metal and somewhat better than THAB's first album, a few years ago. That could be due to a revamped lineup. There's still a propensity for vocal overkill and some of the arrangements stretch out a lot longer than necessary. NWOBHM meets 70s inspirations that occasionally pushes the right buttons, with punchy riffing and strong drumming but the vocals really do hurt things here. A mixed verdict. (408 Richmond Ave., Buffalo, NY 14222, www.peterwalkeerecords.com)

URBAN WASTE-Recycled (Rebel Sound, LP)
Urban Waste's 1982 EP is one of the greatest to ever come out of NYC. Almost 30 years later, there's this new album. It probably isn't fair to make comparisons to the first EP but it's inevitable and I'll give it a fair assessment. This isn't a complete failure, by any means. Some songs do have a speedy, semi-metallic feel and they also hammer out some credible straight-ahead rock 'n roll (particularly the opening song "Eat Cake"). On the other hand, some of the attempts at old-school hardcore (songs that were actually composed back then) feel forced, especially "Urban Waste." Kenny Ahrens' voice lacks little of the manic intensity of old. And I can definitely live without the groove rock of "No Joke." In all honesty, I kind of wish they hadn't done this. Even with 3/4 of the original lineup involved, it's a shadow of their one-time greatness. (PO Box 281 Dalton, MA 01227-0281, rebelsoundrecordsthestore@gmail.com)

VILE NATION-Tight Leash (Way Back When/Even Worse, 7" EP)
A stripped-down, somewhat lo-fi thrash attack with bass up in the mix and, along with the thumping drums, creating the foundation for the guitar slash ‘n sputter. The playing is definitely on the primitive side yet I ended up liking it. Just don’t expect anything exceedingly original. (Way Back When, Taskinlaan 9, 2361XM Warmond, THE NETHERLANDS, www.waybackwhenrecords.com/Even Worse, Van Ostadestr 93-F, 1072SR, Amsterdam, THE NETHERLANDS, www.evenworserecords.com)

Suburban Voice blog #93

2011-03-11T15:28:00.002-05:00

THE MEN

I WON'T CALL THIS SECTION ANYTHING CHEESY LIKE "DEMO-LITION"

Time for another round of demo reviews. Even though the Sony Walkman isn't being manufactured anymore, even though tape decks in newer cars are a thing of the past, even though cassettes are a rather inconvenient format, I listen to 'em when I can and still proudly have a deck in my 2000 Corolla. And, given life's circumstances, that will remain my car for sometime to come!

Out of the ashes of underrated Boston band Fruit Salad comes Ancient Filth, with vocalist Matt and bassist Andrew joined by three new recruits. These guys go for more of a straight-forward thrash sound as opposed to the more powerviolence approach of Fruit Salad. Matt still rants like a maniac and the more-measured tempo works in their favor. 10 songs (unless I miscounted) and a Zero Boys' cover. An elaborate lyric sheet with explanations for each track and covering a number of topics concerning both human and societal conditions. The sound quality is so-so but they're off to a good start. They've since done a recording at Dead Air and a 7" should be out in the not-too-distant future. (www.ancientfilth.com) Another relatively new local band is Aspects of War, who plow through four songs of raw, blown-out DIS(torted) core. As with Ancient Filth, I'd like to hear a better recording. Plenty of rage, here. (Who Killed Fucker, http://whokilledfucker.blogspot.com)

Aussie band Kromosom actually have a Massachusetts connection--their vocalist Doom lived here for many years and yelled for Kirrotu (a Finnish-style hardcore band with Finnish lyrics). The guitarist is Yeap, former vocalist for Pisschrist. Credible distorto-burn with reverb on the vocals and buzzing guitar. The first song is called "Systematic Death" and that gives you something of an idea as to where they're coming from, although there's equal inspiration from the likes of Kaaos and the "epic" pound of "Et Sa" makes that fairly obvious. (dbeat_holocaust@yahoo.com)

Night Prowler are from the Bay Area and, on their "Crime Wave" 5-songer, connect with a no-nonsense old school sound mixing in such influences as Negative Approach, DYS and Urban Waste. Hardly groundbreaking but pretty effective. Packaging is cool--the box is designed like one you'd see from Warner Bros. back in the day, right down to the text, as well as on the tape itself. Sonics are excellent, as well. (1617 47th Ave., San Francisco, CA 94122, www.kramrecords.bigcartel.com). Meanwhile, former 86 Mentality drummer Jason Halal has moved out from behind the kit, moved to the Bay Area from DC and grabs the microphone in Neo Cons. Rough 'n tumble hardcore punk with a winning scrappiness. "Overstimulation" is reminiscent of the Skulls' "Fuck You" (best known version is by the Subhumans). Expect a 7" on Deranged by the end of March. (neoconsyall.blogspot.com)

Two French bands, Take Warning and Pervers Et Truands team up for a split tape. Neither of 'em are particularly mind-blowing. Take Warning play rock 'n roll flavored punk but lack much in the way of ferocity. Pervers et Truands are a heavy, slow 'n doomy band. Not to the point of pure sludge but it gets painful at times and the sound quality isn't that great, either. (perversettruands.blogspot.com)

Finally, the last cassette isn't really a demo but a cassette compilation, New York Rules, packaged in a printed manila folder and with a newspaper poster. A collection of mostly-released songs by the likes of hardcore rippers Nomos, brain-pounders The Men (who turn in a fun cover of Devo's "Gates Of Steel"), tuneful Cali-style punks the Nightbirds and catchy rock of Pregnant. Hank Wood & The Hammerheads cover garagey terrain, while Dawn of Humans play Dinosaur-ish swill. The noisier Dawns of Human and shoegazery (?) Nude Beach. A decent enough sampler with a diverse lineup. (66 Steuben St., #3, Brooklyn, NY 11205, burnbooks.org)

I WON'T CALL THIS SECTION ANYTHING CHEESY LIKE "RECORD RIOT"

DISASTER STRIKES

AGORAPHOBIC NOSEBLEED/ANS-Tribute To Gang Green (Tankcrimes, 5")
I didn't know labels were still putting out those tough to play 5" records. but here's a tribute to the Boston hellions. ANB capably proffer yet another cover of "Alcohol," while ANS wail through "Let's Drink Some Beer," preceded by their own metallish rocker "Bl'azing Saddles." On lime-yellow vinyl or maybe it's meant to replicate the color of piss, after drinking all that beer. Not a crucial release, although I wouldn't use it as a coaster for a bottle of beer, either. (www.tankcrimes.com)

BRAIN CAR-Rock + Roll Bologna (Reel Time, 7" EP)
When this record showed up, I noticed some sort of rubbery substance with the words "Rock + Roll" carved into and tucked inside in a plastic bag attached to the sleeve. Since I wasn't paying a lot of attention, I figured it was plastic puke and filed it in the review box. A few weeks later, I'm going through the box and there's a rather pungent odor. Turns out it was a real piece of bologna and had, um, aged a bit. After airing out the box and sleeve (and deep-sixing the bologna), things are more or less back to normal. So the bologna's gone but the record remains and it's a good one. A satirical bent in the lyrics and semi-abrasive hardcore/punk music with an almost garagey twist and ranting vocals. Fun. (32 Engel Pl., Rochester, NY 14620)

BROKEN NECK-s/t (Art Fraud, 7" EP)

Raw-sounding metal-tinged punk on this six song EP. The cover is a tribute to Black Sabbath’s Masters of Reality and they have a song called “Paranoid” that sneaks in a snippet of the Sab song but isn’t a cover. Scalding vocals from Holly—it’s a wonder she hasn’t destroyed her vocal chords yet—and a good amount of bash. (artfraudrecords@gmail.com)

CONFIDENCE MEN-Funnypapers (Art Fraud, 7" EP)

Stirringly dark, mid-tempo punk that makes me think of another Pittsburgh band, Brain Handle. An urgency to the songs and speeding things up for a moment on "Catching Flies." Looking forward to hearing more from this band. The guitar sound is particularly grabbing, with a haunting and jarring burn. (artfraudrecords@gmail.com)

DESCARADOS-El Canto De Los Humildes (Stonehenge, 7" EP)
I hesitate to refer to anything as emo-core, since it’s such a loaded term/description but that’s the musical realm occupied by Descarados. On their new EP, the band follow a similar blueprint as on their previous 12”. Melodic punk with a DC-ish tilt—think Rites Of Spring, only without being completely overwrought about it. Warm, stinging guitar lines and hard-hitting drumming give the songs presence, while Carlos sings in an impassioned style, quite the opposite of his high-pitched rant in his other band Sin Orden. Packaged nicely in a screen-printed fold out sleeve, printed inner sleeve and with a poster. (BP 30005, 33037 Bordeaux, FRANCE, www.stonehengerecords.com)

DIRECT CONTROL-Bucktown Hardcore (Tankcrimes, LP)

Oh hell yeah...a collection of this band's demos. The first side is the band's 13 song demo recorded in 2003 and with Ryan from Municipal Waste on bass and his nimble runs really stand out here--in fact, as great as Direct Control's first album "You're Controlled" was, these performances outdo them. Flip it over and there's a four song session from '05 that yielded comp tracks for one of the "No Bullshit" discs and MRR's "Public Safety" comp and some really rough four track recordings from 2002 with the original North Carolina lineup. Humble origins and the '03 demo represented a pretty big leap. You probably know the deal with these guys by now but, just in case, it's early 80s-styled hardcore played with reckless enthusiasm—loud, fast and kicking ass from start to finish. The way it should be done. (www.tankcrimes.com)

DISASTER STRIKES/BRING DOWN THE HAMMER-Split (Overdose On Records, CD)
It's hard to believe that Disaster Strikes have been around for over a decade. More accurately, vocalist JR has continued with a dizzying amount of personnel changes. Their three songs here are throttling, aggressive hardcore taking on the health care racket, religion and corporate predators. Leftist boilerplate, for sure, but you won't hear criticism here because I know JR's backed up his words with action over the years. Bring Down The Hammer, in case you haven't heard of them before, is Chad Malone from Brother Inferior/Assembly of God/etc's latest band. Short blasts of mainly hyper-speed hardcore, although some of it is played at more of a measured pace and there are some heavier, crushing moments as well (trying to avoid 'hammer' terminology, here). Lyrics mainly concerned with ongoing economic and political battles. A varying amount of success but "Public Lands--Private Hands" is a good example of what they can do with a more focused attack. That's only about half the time, though. (PO Box 525, Fleetwood, PA 19522, www.overdoseonrecords.com)

GASMASK TERROR

GASMASK TERROR-Black Sun/Fake Gold (Solar Funeral, LP)
Ces enfants terribles, les créateurs de la violence D-beat, de retour pour une autre session de gravure. Il n'y a rien de compliqué ou de fantaisie sur ce jeu Gasmask Terror. Ceci est fort, rapide, de la musique brûle. Il est brutal. C'est premières. Vous allez adorer. (I apologize if my French is mangled or nonsensical. I used Google Translate.) English synopsis? More loud, raw d-beat mania from these enfant terribles. And the wall of sound is stripped away for a rough-hewn, scrappier approach. Mainly fast-paced fodder but "The Cult" is damn-near catchy rocker. (www.solarfuneral.org)

GIRLS OF PORN-s/t (self-released, 7" EP)

An abrasive, trebly, blown-out mess of a garage punk sound along the lines of Homostupids. Those are positive attributes in this instance although I think extended exposure could cause my (or other listeners’) head(s) to explode. It comes with a 3D cover and glasses and that’s pretty nifty but the music is plenty head-messing on its own without additional visual effects. (369 Hamilton St., Apt. 2, Albany, NY 12210, girlsofadultfilm@gmail.com)

HERO DISHONEST-Dangerous (IfSociety, LP)

This veteran Finnish band have never strayed all that far from aggressive hardcore punk and on Hero Dishonest's latest album, that remains the primary focus. It’s not the whole story, though. The closing song on the first side, “Space Command,” starts out full-tilt but then settles into an ominous lope with an odd sci-fi narrative recorded by Hewhocorrupts’ vocalist Ryan Durkin. Things take a slightly more expansive route on the flip, starting with the Black Flag-meets-Effigies inspiration (to my ears) for “Company Bad Man” and both “Finger On A Button” and Like A Moth To A Flame” display a driving rock dynamic. “A Cult Of Comfortable Everyone,” alternates between a stew of barbed ‘n sputtering guitar over percolating bass line, interrupted by some manic thrash. There’s something of a whimsical, semi-abstract nature to certain song titles and lyrics. Perhaps to confuse the listener or, in this case, record reviewer, some of the titles listed on the back of the cover and record label don’t always match the titles on the lyric sheet, although there’s thematic link: is it “Fag Agenda” or “From Fred Phelps With Love,” about the Westboro Bapstist church i.e. “God Hates Fags” psychopaths? When one writes that an album is “interesting” or “creative,” it could be considered damning with faint praise. No “grit in the grooves,” to use a phrase heard on a radio ad many years ago. Trust me—that’s not the case here. Hero Dishonest are a dynamic, unpredictable band. (www.ifsociety.com)

KITTY LITTLE/SCIENTIFIC MAPS-Split (Peterwalkee, 7" EP)
The pair of songs by Kitty Little operate in a power-poppy region along the lines of Superchunk. A warm guitar tone, a fairly nifty drum 'n percussion break on "Milkshake" and a tad edgier for "Never Stay." Mildly enjoyable although not something mind-melting. I really can't get into the bouncy, lightweight 60s-inspired pop w/trumpet of Scientific Maps. One step above twee. (408 Richmond Ave., Buffalo, NY 14222, www.peterwalkeerecords.com)

LOW THREAT PROFILE-Product #2 (Deep Six/Draw Blank, LP)

LTP are one of those bands spoken about in hushed tones. Add my voice to the choir of people lauding the virtues of their new 12”. A collaboration between members of No Comment, Lack of Interest and Infest and it took a long time for this 12” to see the light of day, with the music recorded in 2000 and Andy’s nettled vocals in 2010. The Infest comparisons are inevitable, with Matt Domino’s guitar sound and the tempo shifts—and those are executed with ruthless precision. Beyond that, there’s an obvious affection for early Boston hardcore (Negative FX, in particular) and early DRI. These “old-timers” can definitely teach the youngsters a lesson or two and the sentiment behind “My One and Only True Love,” about a life-long affection for this kind of music I’m writing about, seems sincere. Too bad they’re not going to be doing any sort of touring or all that many live shows. (www.deepsixrecords.com)

MANIPULATION-s/t (Sorry State, 7" EP)
Another session of punishing hardcore on Manipulation's second self-titled EP. Rampaging soundbeds, as one song goes into another, bridged by squalls of feedback and creating the accompaniment for Jordan’s venomously emanated words. If there’s a theme at all, it’s pretty well summed up on “Under The Influence”—“there’s no such thing as a world of plenty” and a lot of people are finding that out the hard way. I’ve repeatedly talked about a return to an 80s state of mind, full of despair and Manipulation express those thoughts with unabated anger both in a lyrical and musical sense. And they don’t try to slavishly recreate the sounds from back then—this has a forceful, contemporary feel to it. (www.sorrystaterecords.com)

MURDERESS-The Last Thing You Will Ever See (Aborted Society, LP)
A cavernous hodgepodge of 80s crossover hardcore/metal along with doomier crust trappings. The pit 'o doom ambiance brings Sacrilege to mind, as well as early Voivod and even Venom (sound-wise) but coming from the hardcore side of things. Rachel Nakanishi handles guitar and bass on this recording, in addition to her nasty, howling vocals and the emanations are nightmarish. Same for the lyrics--well, expressing a nightmarish world where only death is certain, if I can use a cliche here. Dark and intense but not bogging down into a sloggish morass. (1122 E. Pike St, #1377, Seattle, WA 98122-3934, abortedsociety.com)

NARCS-s/t (Reel Time, 7" EP)
From the same label that brought us the Brain Car EP. No bologna or other luncheon meats included with this one but not that dissimilar, in that these guys mix up snotty/thorny punk, hardcore, garage, even some surf and don't take themselves too seriously. Not a joke band, though--sharp playing and a kinetic approach. (32 Engel Pl., Rochester, NY 14620)

THE PMRC-Politics, Morality, Religion, Cash (Motorchest, LP)

The "lost album" by this band who come from the incestuous Houston scene, where it seems as though everyone is in a dozen bands. This three piece dish out rockin’ punk with hardcore touches and smart topical lyrics. But they reach into other musical regions, as well, such as on the moody “Civilized Vultures.” Songs like “Get Away From Me,” “Mass Infection” and “Leaders of the Free World” slam in a Big Boys-ish manner although Mike Grayum’s vocal style is throaty and beefier (for want of a better term). They wrap it up with a cover of Cracked Actor’s infamous “Nazi School.” As with other Houston bands (The Energy, No Talk, Secret Prostitutes), punk is used a starting point but the PMRC refuse to fit any strict mold. Some heavy vinyl, too—210 gram!—and tucked inside a screened cover. Limited to a one-time pressing of 200 copies. (www.myspace.com/nocausepunk).

RKL-Come On In, The Water's Fine (Live At The Pound SF) (Malt Soda, 2 CD/DVD)
A pretty elaborate package for this band--two CDs of shows recorded in '04 and '05 and the 2004 one is also presented on DVD. RKL started out as a straightforward hardcore band from the legendary Oxnard scene and were eventually bitten by the metal bug by the time their second album "Rock 'n Roll Nightmare" came out. They were together up until the time of these recordings, except for a hiatus in the early 90s. Truth be told, the band's recorded legacy is pretty spotty and these live performances don't really change my mind. They play well, they mix up the set list and have a wise-assed nature but there are annoying elements--the late Jason Sears wasn't as funny as he thought he was and the thwacky finger-picked bass sound detracts a great deal. In terms of sonics, the '04 recording sounds a lot better and the video is a multi-camera shot that would have been better if they'd lost the camera shooting from the audience. The '05 recording is inferior soundwise. There's actually an overarching sadness with the braggadocio about alcohol and weed use, given that Jason died in a detox clinic from pulmonary thrombosis not long after the 2005 show, their last performance. There's no sense of going through the motions, nothing pretentious but these aren't shows I would have felt badly about missing. (PO Box 617127, Orlando, FL 32681, www.maltsoda.com)

SWANN DANGER-s/t (Mess Me Up, 7" EP)
The starting point is between the Banshees and Bauhaus but it's just bass, drums and atmospheric effects. Unfortunately, Cynthia's vocals, kind of like a melodramatic Siouxie Sioux, become a detriment and it overshadows he two musicians' interesting, churning rhythmic attack. A rather large detriment, in fact, which is unfortunate because that basically sinks it. (1442A Walnut St., #419, Berkeley, CA 94709, messmeuprecords.com)

TIMEBOMBS-Mumbling (Cowabunga/Quiet Down Silence Death, 10")
More noisy 'n chaotic fodder and increasing both elements on this three song 10" EP. Howling, harsh vocals and a gnarled mess of feedback-spewing guitar, bass 'n drum clatter along with appropriately-harsh vocals. The b-side is a backwards track. Maybe there are some sort of subliminal tricks going on there but it's quite unlistenable. Pretty much the deal for this whole disc, unfortunately. I wouldn't expect any sort of melody here but any sense of structure is buried under the sonic howlings. (www.cowabungarecords.com)

VOMIT SQUAD-Amon Ra Bless America (Psychic Handshake, 12")
A complete mess... and an intriguing one at that. With the involvement of the ubiquitous King Khan, this is developmentally delayed (it's not PC to say retarded anymore) proto punk played, no doubt, with a sly grin. Tuneless, offkey vocals mixed that dominate the mix and playing that would seem to be willingly inept but if you listen closely, the simple melodies are executed quite competently . Beyond goofy--they offer up a punk version of the alphabet song. What's on their mind(s)? Conspiracy theories! Fighting Satanic forces! Rapture guns! And those buggers sneak in some pretty cool guitar effects for the song about that particular weapon. The kind of record you really have to be in the mood for but I can see that happening from time to time. (www.myspace.com/psychichandshake)

Suburban Voice blog #92

2011-01-22T15:16:00.000-05:00

VAASKA

BEST OF 2010

Happy New Year! Well, after a week or two of plowing through the past year or so of releases, which I consider December 2009 to November 2010, here's my 'best of,' not necessarily in any order although my two favorite 12"/LPs of the year were Double Negative's "Daydreamnation" and Vaaska's "Ruido Hasta La Muerte." Overall, I found 2010 to be a better year for records than the last few.

A few of the records below didn't get reviewed in the previous blog. So let me give the capsule reviews. I’m ashamed to admit I hadn’t heard of longtime Japanese band Genbaku Onanies before. Their album "Solid" is a rockin’ and rollin’ treat that embraces heavier rock as much as punk. Even a Minutemen/NoMeansNo bass pummel on one song and a cover of the Yardbirds' “Shapes Of Things.” Nothing typical here, going through various chord-driven permutations. Unfortunately, only available on CD from Japan and quite expensive. This should be more widely available. (Trippin' Elephant Records)

Heratys are quickly becoming one of my favorite current Swedish hardcore bands. A traditional approach and appropriately harsh vocals but the wall of sound is traded in for more of a stripped down feel. Relentless songs to pump your fist until you feel as though your arm will fall off. I’ll cut ‘em slack for the SHAMELESS plunder of “Ace Of Spades” on one song because this is a riveting album and the new 7", "Helvettiin Ja Takaisin" is just as good. You can get both the 12" and 7" from Havoc Records (www.havocrex.com)

I reviewed a Secret Prostitutes 7" in a previous blog but just got their LP before the end of the year. Their 12", "Never Mind The KBD, Here's The ADD," has been a constant on my turntable and iPod ever since. 23 tracks that definitely sound as though it’s made for people with ADD and the hyperkinetic energy of these songs won’t alleviate it. A Houston band but drummer/vocalist Amit sings in Indonesian (!) and in high, nasally cadence. A ’77 spirit but not easily nailed down. The songs also have a garagier jitteriness at times. Unfortunately, there were only 400 copies pressed but check with their label Bad Hair Life anyway.

... and now, the list...

LP’s and 12”

DOUBLE NEGATIVE-Daydreamnation (Sorry State)

VAASKA-Ruido Hasta La Muerte (US pressing: 540/Euro pressing: Hardware)

YOUNG OFFENDERS-Leader Of The Followers (Deranged)

GENBAKU ONANIES-Solid (Trippin’ Elephant)

THE ENERGY-The Energy’s First Album (Team Science)

EDDY CURRENT SUPPRESSION RING-Rush To Relax (Goner)CATBURGLARS-s/t (Criminal HERÄTYS-s/t (Not Enough)

SECRET PROSTITUTES-Never Mind The KBD, This Is ADD (Bad Hair Life)

FLAG OF DEMOCRACY-Home Lobotomy Kit (Motherbox)

7”s:

MANIPULATION-s/t (Fashionable Idiots)

CONFINES-s/t (Labor Of Love/Side Two)

ARCTIC FLOWERS-s/t (self-released)

SCEPTRES-Flatline Generation (Dire)

DRY HUMP-Culture Fuck Experience (Shogun)
SUNSHINE SS-Throw My Brain Against The Wall (Death Agonies and Screams)

Demos:

MURDER-SUICIDE PACT

ZERO ZERO

NINPULATORS

BOSTON STRANGLER
VACCUUM

VILE BODIES

Live:

SYSTEMATIC DEATH, TALK IS POISON, YOUNG OFFENDERS, SLANG, BASTARD, JERRY’S KIDS, NOMOS, THE TROUBLE, EDDY CURRENT SUPPRESSION RING, MALE NURSES, CONFINES, BLOODKROW BUTCHER, BRAIN KILLER, BUZZCOCKS

MORE RECORD REVIEWS:

COKE BUST

CIVIL VICTIM-No False Hope (Loud Punk, LP)

These guys, from Germany, had a 7" on Loud Punk a couple of years ago and things haven't changed much. Nothing-out-of-the-ordinary hardcore punk touching on both the early and late 80s period with a modern polish. "Workmares," for instance, has the sweep of Chain Of Strength. The tempos are mixed up here and there but it's your basic loud and fast fodder. Packed with enough throttling energy to keep me listening. (PO Box 3067, Albany, NY 12203, www.loudpunk.com)

COKE BUST-Lines In The Sand (Six Weeks, CD)

This disc collects Coke Bust's album plus comp, demo and 7" tracks. They're a good live band and have an incredible drummer in Chris Moore. On record, the hyper-space thrash doesn't always have quite the same effect although these guys are very tight and have some crushing moments, such as the mid-speed stomp of "Countdown to Death." Full-sounding production without any sort of slickness and it brings out Nick's pissed-off vocals and the hammering instrumentation in bold relief. (www.sixweeksrecords.com)

COLA FREAKS (2007)

COLA FREAKS-s/t (Hjernespind, CD)

Finally a debut album and an increasing emphasis on keyboards. That adds an experimental new wave (I guess) element to the nervy guitar/punk mesh. "Sniper" comes across like a slightly more accessible, guitar-driven Screamers. The whole thing is reminiscent of some of Jay Reatard's expansive body of work. In fact, a couple of these guys played in Jay's band before his untimely passing. An evolution into new regions but maintaining the engaging nervousness that's always been part of the Freaks' sound. (PO Box 505, 2200 Copenhagen N, DENMARK, www.hjernespind.com)

DE HOJE HAELE-Skal Vi Aldrig Vidre? (Hjernespind, CD)

And another Danish band on Hjernespind. De Hoje Haele have a taut, pubby punk sound (as in pub rock) played with a farily light touch. The songs are catchy and engaging at times ("Hak Hak Hak" and the snappy "Udan Ilt," in particular) and the playing much more than adept but it only sporadically sparks into anything beyond that. It's probably a case where I'd like them more in the live setting and there are enough good songs that make me keep it around but not much beyond that. (PO Box 505, 2200 Copenhagen N, DENMARK, www.hjernespind.com)

FEAR OF TOMORROW-No Fucking Future No Way (Charged//Distorted, 7" EP)

You probably get a pretty good idea of the not-so-chipper subject matter with the record's title and the anger is conveyed through both the words and gut-bucket buzzin' crust thrash attack. The production is a tad muddy but the songs are merciless in their ferocity. Doomsday artwork by Chany from Inepsy that, once again, matches the mood. (PO Box 21530, 1424 Commercial Dr., Vancouver, BC V5L-5G2, CANADA, distortvancouver@hotmail.com)

INERDS/COWORKERS-Split (Feral Ward, 7" EP)

Two abrasive bands. Inerds have a lower-tuned, crusty sound with nasty male/female vocal tradeoffs with straight-forward thrash and blast rhythms. Sad to say, this is rather tuneless fodder. Coworkers are a bit more interesting with strong instrumentation but their mix of 90s era screamy hardcore with the occasional grind touch comes up lacking, as well. (www.feralkidrecords.com)

I OBJECT-Save Yourself (Feral Kid, 7" EP)

First new music for this band in quite sometime and recorded as a three piece, with Biff playing both guitar and bass and he's quite proficient on both and generates a fiery wall of sound. Three blistering songs--the thrashy "Savior," mid-tempo "Taboo" and a hammering cover of the Screamers' "In A Better World," which obviously takes on a different dimension with the addition of non-keyboard instruments. And quite a colorful cover, as you see... Glad to have 'em back. (www.feralkidrecords.com)

MAYDAY!-s/t (Feral Kid, 7" EP)

Scrappy surf punk with somewhat overbearing vocals and that kind of wrecks things here. Actually, it makes it rather excruciating. Too bad because there are a few intriguing musical ideas, such as the slower, intense segment for "Blud Beach." Not enough, though. (www.feralkidrecords.com)

NUCLEAR FAMILY-s/t (Loud Punk, LP)

Albany's Nuclear Family have just called it quits but leave behind their first and final 12" release. Jen packs every ounce of passion that she can muster into her vocals. There's a danger of overwhelming the songs and while a little goes a long way, it's an integral element and ends up being an asset instead of a liability. Her exclamation of "THEY JUST WANT YOUR MONEY!!" for the TV evangelist critique of "Believer's Voice Of Victory" will make your hair go back like in that old Maxell ad with the guy sitting in front of the speaker. Driving and melodic compositions that hammer home strong rock hooks. Going out with a shout and that's true in both a literal and alliterative sense. (PO Box 3067, Albany, NY 12203, www.loudpunk.com)

PATH OF DECAY-s/t (Ha-Ko Bastards, CD)

Surging, beefy punk with plenty combined with beefy vocals. This Serbian band sound as though they've learned a few lessons from Pegboy, Pedestrians and Naked Raygun. Maybe that's not intentional but it comes across that way at times and you won't get any complaints here. ""Repent" takes a thrashed-out turn but that's the exceptions to the balance of the material. The songs rock hard with commanding riffage and a rhythmic punch. (www.myspace.com/hakobastards)

PREGNANT-s/t (Burn Books, LP)

Some original, non-predictable rock. Kevin Manion has a gruff style in the manner of John Reis from Rocket From The Crypt. It's not party rock but disarmingly catchy in spots--the poppy, but jittery melody of "Help" and the soothing chorus for "Safe & Sound," for instance. "Wormie" has a harder-edged drive that borrows a little from the Who's "My Generation." "You Give It To Me" actually sounds like a cross between a horn-less RFTC and one of Mr. Reis' other bands, Hot Snakes. So does "Toothache," for that matter. A pleasant surprise, a record whose charms envelop you with repeated listening. (burnbooks.org)

RED RED RED-New Action (Big Neck, CD)

This Detroit band has Piranhas drummer Ryan Sabatis handling vocals, manning the axe and adding the occasional bit of Fun House sax-squawk. A heady collection of fired-up rock ‘n roll, punk and garage with a nod to Ryan’s musical heritage but adding other elements. “Greatest Hit/Regeneration,” a quick medley of two songs, careens with whizzle-singe guitar coming in somewhere between The Users' “Sick Of You” and you-know-who’s “Raw Power” (the song, not the album). The distorted vocals are part of the mix instead of dominating things and tuneful touches emerge from time to time, such as the chorus of “Another Plane" or guitar line of "It Never Ends." Boisterous and having an air of atonal unpredictability to go with the rock. (Big Neck, PO Box 8144, Reston, VA 20195, www.bigneckrecords.com)

SPECTRES/ARCTIC FLOWERS-split (Charged//Distorted, 7")

Each band draws on early 80s post-punk influences but does it a slightly different way. Spectres' track, "Pattern Recogntion," incorporates synth into a driving punk gnash. Arctic Flowers follow up their excellent 7" with "Rats In The Walls," another forceful, hauntingly melodic song. My copy is pressed off-center and it took some effort to get it set on the turntable so it wouldn't sound wobbly. Completely worth the effort! (PO Box 21530, 1424 Commercial Dr., Vancouver, BC V5L-5G2, CANADA, distortvancouver@hotmail.com)

SUNSHINE SS-Throw My Brain Against The Wall (Death Agonies and Screams, 7" EP)

The front cover of this record is rather disturbing, involving a syringe, a male appendage and I think I'll just leave it at that. Get past that and this is an impressive debut by this NC punk band. Plenty of punk snottiness but also elements of Black Flag, particularly on "For Your Consideration." The vocals remind me of Al from the Pist. Ain't no sunshine, just burn. (PO Box 19555, Asheville, NC 28815, deathagoniesscreams.wordpress.com)

VAASKA-Ruido Hasta La Muerte (Hardware, LP)

This is the Euro pressing for Vaaska's second 12" and it's actually a 'two-fer,' with the band's debut platter pressed on the other side ("Ruido Hasta.." also came out on 540 in the US). In the d-beat realm, Vaaska are one of the more distinct bands plying this style. That mainly comes from the warm, subtly melodic quality to the guitar tone and that’s fused to the band’s straight-on-wallop. Piercing leads are added to the charging fray and show off incredible chops without dominating the proceedings. I wouldn't say the songs are hummable but a track like "Destruye" certainly worms its way into your consciousness. A formidable ripper. (www.hardware-records.com)

ZERO ZERO-s/t (CD demo)

Not to be confused (thankfully) with the awful US band that included Ari Katz from Lifetime. Surging, slamming punk from these Brazilians. They do suffer from a pretty bad case of vocal overkill as Juliano wails over the band's driving compositions, sometimes punctuated with whoops and yells. Nothing to fault musically, though. A half-dozen hard driving, jolting songs riding the line between hardcore and semi-melodic inclinations. If you can get past the vocals (and it's tough, sometimes), Zero Zero have an attention-grabbing sound. (www.myspace.com/zerozerospace)

Suburban Voice blog #91

2010-12-05T12:47:00.003-05:00

REISSUES AND SUCH
A plethora of reissues, anthologies and like have been crossing my desk lately. That sounds so pretentious--does something really cross a desk? Does it really come through my mailbox? Sure, some music gets piled up on my desk but it's not in motion. Am I being too literal? Should I move on to the reviews? Not a bad idea...

I'm going to begin with a DVD. There haven't been a ton of archival releases from the early Boston punk/post-punk/etc bands. Mission of Burma and Unnatural Axe have been documented, there's the upcoming early 80s Boston hardcore documentary "xxx All Ages xxx" scheduled for next year but not much else. La Peste were one of the earliest Boston punk units, a three-piece who slammed out such memorable ditties as "Kill Me Now," "Don't Wanna Die In My Sleep Tonight" "Spy Master" (later covered by Jerry's Kids) and the infamous "Better Off Dead," with the classic line "that girl's only 13/she ain't never given head." Nasty, for sure, with a buzzing, jabbing no-nonsense sound, although they could take poppier turns with a song like "Color Scheme" or lighter fare like "Let Me Sleep." Not your standard-issue KBD fodder--there was something of a UK bent here.

This DVD, shot in black and white at the Paradise in Boston in 1979, is fairly no-frills in terms of packaging but the multi-camera shots and creative effects successfully capture LaPeste's burning, driving sound. Actually, there was some "cheating" involved according to Jan Crocker, one of the filmmakers. In a recent interview with Boston Groupie News, he said that the audio came from a show at the Rat and the footage of the pogoing audience came from other venues. All things considered, he did a good job making it look seamless.

Extras? Some conceptual videos mixing live and studio performances with photos and other imagery and a picture gallery with songs that aren't included in the live set. It gives you a feel for what Boston punk was like ca. '79. (www.kinodv.net)

Dischord Records have dug into the vaults. (Actually, is there really a vault? Or were they tapes on a shelf or in a box? GET ON IT WITH IT, AL!). The CD Dag With Shawn is the original 1985 Dag Nasty demo with Shawn Brown on vocals. Most of this material has circulated over the years, most notably as part of a 7" box set on Selfless Records. On this disc, there are 9 tracks and all but one ended up on Can I Say, with Dave Smalley on vocals. Shawn's agitated emanations aren't always well suited for the material--he struggles on "Circles," for instance. But the angry, impassioned delivery gives a grittier edge to these well-known compositions. Shawn really came into his own for Swiz (who don't always get the acclaim they deserve) but these remastered recordings are well-worth hearing.

Meanwhile, Government Issue's Boycott Stabb has been appended to include an entire side of outtakes. This was the band's 12" debut, following the Legless Bull EP and their appearance on Flex Your Head. (The Make An Effort EP was actually recorded before the album) and marked Tom Lyle's shift from bass to guitar. Blistering hardcore with a fuller sound and improving musicianship. The version of "Sheer Terror" here adds some twisted effects and vocal manipulations, stretching out over three minutes and featuring some blowtorch string bending. I've heard this record so many times over the years, I assume everyone else has and those are the hardest reviews to write since they're so embedded in my consciousness. Boycott Stabb doesn't offer any indication of the melodic elements that would eventually emerge, starting with Joy Ride, but it's unquestionably a leap from the early recordings. As for the outtakes, most of them are re-recordings of songs off the two EPs and compilation, complete with studio banter that gives insight into the creative process ("I can't do it fast because I just wrote the words") and Stabb's more mannered vocals that don't always work as well with those tracks. The only previously-unheard songs are "Snubbing," which would have fit in on the album and the piss-take "Georgetown Blues," which we should be grateful wasn't on the original. Look at the original record as a classic and the bonus songs as something to listen to once in awhile.

Government Issue's tenure extended into the late 80s. Artificial Peace's existence, on the other hand, only lasted a year from '81 to '82 before 3/4 of the members moved on to form Marginal Man. Only three songs were "officially" released, on Flex Your Head, although the other 14 songs appeared on a 1992 Lost and Found disc that also had Marginal Man's Double Image album. But here it is with a fresh remaster and these guys bang out some credible "of-its-time" hardcore. The three songs that were picked for Flex were their most accomplished, especially the guitar intro for their theme song "Artificial Peace." I can live without the cover of "Wild Thing" and they weren't really on the level of Minor Threat or Void but they certainly held their own. Glad to see this get a "proper" vinyl release. (Dischord, 3819 Beecher St. NW, Washington, DC 20007, www.dischord.com)

Fraticide, from Vancouver, were supposed to have had a split 12" release with Dutch band Neuroot in the mid-80s on Pusmort but it only reached the test pressing stage. Some 24 years later, their tracks from the split have come out on a release from Schizophrenic and Ugly Pop Records. This fits in well with the crossover sounds of that era, albeit coming from the hardcore side of the aisle. Thrashin' aggro with red hot metallic riffs and leads and scampering drums. Jonzo (who, in recent years, has been with Hong Kong Blonde) has a raspy, phlegm-projecting style along the lines of Blaine from the Accused. The faster songs have the same flailing tumult as that band or Heresy. Never losing control--about the time you think it's gong to fly apart and create a hail of iron shards, they shift into pounding mid-tempo mode. Exactly the kind of music Pushead lauded back then and you wonder why it never came out. It's a moot point, now. (Schizophrenic, 17 West 4th St., Hamilton, ON, CANADA L9C 3M2, www.schizophrenicrecs.com)

The debut release from Chris Prorock's More Than A Witness Product label is Connecticut band CIA's God, Guts, Guns, with the original 1983 7" expanded to a full LP with outtakes, earlier demos, rehearsal and live stuff. Shredding hardcore for the most part, although catchy punk roots are exposed on a song like "I Hate The Radio." That song was later recorded by 76% Uncertain, a band that included most of the members of CIA (a few more outtakes also resurfaced with 76%). CIA actually started out as more or less a traditional punk band but caught the hardcore bug and started playing loud and fast. An all-time classic? No, but this is still above-average hardcore from that bygone era. (3 Webster Place, Newtown, CT 06470, morethanawitnessarchive.blogspot.com)

Our Gang were a late 80s NYC hardcore band who recorded three sessions at Don Fury's studio in '88-89 but didn't have a "proper" release except for the Uprising demo tape. More than two decades later, those sessions have been compiled on a 12" disc entitled, oddly enough, Uprising. Truth be told, this is pretty much second tier NYHC. Scampering thrash with vocals that try to squeeze in as many words as possible into the musical contents. Eschewing the youth crew trappings of the era for something more along the lines of the punk-driven hardcore bands of the early 80s. They've got the right idea at times but it doesn't always gel. (Jack Roy Records, jackroyrecords.blogspot.com)

Finally, Philly band Pagan Babies were one of the bands on Hawker Records, the short-lived hardcore imprint distributed by Roadrunner that also released records by Wrecking Crew, Rest In Pieces, No For An Answer and Token Entry. Their Last: An Anthology gathers all of their studio recordings including songs from their Next album on Hawker, an early 7" on Positive Force, live tracks, unreleased songs, etc. It's packaged with a DVD documentary where the band members revisit their old haunts and it's interspersed with live material from 'back in the day' and from a 2007 reunion show. Semi-tuneful hardcore with tasteful metallic leads and skate punk roots along the same lines as Token Entry. Enjoyable, even if it's showing its age a bit. (DRP Records, PO Box 6257, Wyomissing, PA 19610, www.drprecords.com)

... AND THE REST...

CONFINES

BAD AMERICAN-s/t (Bad Recordings/Discontent, 7" EP)
Pissed-off hardcore from Bethlehem, PA. I imagine if I lived in Bethlehem, PA, I might be pissed-off too. Well, more pissed-off than I already am. This is raging hardcore that thrashes about half the time and pounds away at a slightly slower pace the rest of the time. "Rodent" has a pretty sinister, noise-drenched intro before picking up the pace and it comes across like early stuff from Total Abuse. Did I mention they sounded pissed-off? No sarcasm, here--I like this band's pissed-off sound. Oops, there I go again. (852 N. Clewell St., Bethlehem, PA 18015, www.myspace.com/badamericanpunk)

BLOODTYPE-s/t (Cowabunga, 7" EP)
Anti-social. Not here to make friends. As Bloodtype start blasting away on "Dropout," it's clear that they've found it difficult not only dealing with the outside world but even the hardcore subculture drives 'em nuts. Blazing hardcore that occasionally loses its way with the speed but when they pull it together, especially for "Welcome To Hell," the hair-trigger aggro is quite successful, building on the chord progression of "In My Eyes." Pure hate delivered with buzzsaw rage. (www.cowabungarecords.com)

CONFINES-Withdrawn (Labor Of Love/Side Two, 7" EP)
Newish Boston band including people from Cut The Shit, Blank Stare and other bands--Ryan Abbott, who has played drums in a number of bands, handles guitar duties here and the vocalist is Andrew Jackmauh. An intense package, both from a musical standpoint, as well as the visual/written elements. For the aural component, this is a ravenous, brutalizing hardcore sound with some Ginn-ish guitar lines and powerful arrangements that incorporate thrash and cascading bash. As for the latter, there's a foldout poster sleeve that includes the lyrics but also a two panel hand-written treatise of sorts with a somewhat over-intellectualized verbosity (there I go!) that might provide difficult reading for some. A detailed analysis would have us here all day but the gist of it (as well as in the lyrics) displays tremendous outrage and disappointment not only with the continuing ascent/re-emergence of regressive political policy but there's also a scathing critique of people involved in punk and hardcore--pointing out that there seems to be more concern over social acceptance and a ready willingness to conform to what's accepted. In the meantime, the world is collapsing, the political situation is fucked up and the author wonders where the outrage went. The critique turns inward, as well. That's just a simplified take on things and I'm sure I left something out. But, ultimately, even if you have trouble following the text, there's no missing the agitated vocals and unsettling music. I imagine the national election results will only increase the intensity next time around. I look forward to it... (56 Pearson Rd., #2, Somerville, MA 02144, ittsalaboroflove@gmail.com or 6 Wadleigh Place, Boston, MA 02127, sidextwo@gmail.com)

THE ESTRANGED-The Subliminal Man (Dirtnap, LP)
Things are perhaps a bit more polished for the Estranged on their second album but that shouldn't be construed as a softening in sound. There's always talk of how much this Portland band is influenced by the Wipers--and it shows up in some of the guitar lines, no doubt. There's no missing the Sage-isms for "Statue In A Room," previously released as a single (this is a new version, though) and it's the strongest track here. Haunting, hooky, propulsive and emblematic of the musical synthesis they've created during their existence. The other aspect of said synthesis is what was good on the other side of the Atlantic during the emergence of post-punk during the late 70s/early 80s. There's the melodic yet intense emotionalism of the Sound and, as I've mentioned before, strains of early Cure and Banshees. I hate to be repetitive but that's still accurate. As if to prove my point, they cover the UK band the Flys song "Love And A Molotov Cocktail"--and the 1977 original was post-punk that was ahead of the curve. And while I've spent half this review mentioning other bands' influences, I'm not being trite (honest!) in saying these guys have found their own identifiable sound and the songwriting/musicianship to back it up. (2615 SE Clinton St., Portland, OR 97202, www,dirtnaprecs.com)

INSUBORDINATES-s/t (Cowabunga, LP)
Not sure how the surfing is in Rochester, NY but the Insubordinates' music displays an affection for that style of music, with a punk twist. Two of the songs are instrumental and sax is sporadically added to mix, although it doesn't dominate the arrangements. Other times, they go for a thrashy hardcore approach or a darker, heavier sound on "Cuckoo Cass E." The best song here is "River City R'N'R," a solid west coast punk tune and "Hipster County" works well in a similar vein. Not a bad effort although there are only a few songs I keep going back to. (www.cowabungarecords.com)

LADIES

LADIES-Six More Reasons To Hate... (Grave Mistake, 7" EP)
Third 7" already by this Richmond band fronted by the infamous Tony Bitch. This is semi-tuneful punk/garage/thrash. I imagine a few of you might be offended by the front and back cover and some of the lyrics but it's not completely over the edge. OK, maybe a bit. Think Dwarves around the time of "Sugar Fix" and you'll be on the right track. That's the "sensibility" here and they've got it down pretty much perfectly. (PO Box 12484, Richmond, VA 23241, www.gravemistakerecords.com)

LAPINPOLTHAJAT-s/t (Hohnie/Roku/multi-label, LP)
Every time I play this Finnish band on Sonic Overload, it's always a challenge to pronounce it. That's an ongoing thing because I like this record and it's been getting a good amount of airplay. These guys definitely mine their country's hardcore heritage, a sound that's both muscular and melodic. There's plenty of presence without being overly heavy-handed. No metallic blowtorch effects here--guitar burn but a more tasteful selection of lead licks, along bass playing and drumming that relies as much on finesse as force. Lapinpolthajat let us know that classic Finnish-style hardcore is alive and well. (www.hohnie-records.de or www.rokurecords.com)

LOSE THE TUDE-s/t (Sacred Plague, 7" EP)
I'm not sure I'd exactly call these guys posi-core but the band's name and a song like "Give A Shit" make me think of RKL's "Keep Laughing"--THINK POSITIVE! Enjoyable, energetic hardcore with instrumental dexterity and keeping things upbeat although I'm tempted to lift the needle before the concluding minute-plus free form sonic collapse of "Fleas." Speaking as the jaded type of person they're trying to avoid becoming, I still like the 'tude here. (www.losethetude.tumblr.com)

NO PROBLEM-Your Eyes (Handsome Dan, 7" EP)
Graeme from the Wednesday Night Heroes fronts this new band, adding guitar to his vocal duties. Four solid tracks of gut-punching, catchy punk. The two guitars give the band a beefy presence, to accompany Graham's passionate emanations. It's not far removed from what the Heroes did, maybe a little less blatantly poppy save the chorus of "Your Eyes." (3244 31A Ave. SE, Calgary AB, CANADA T28 0HB, handsomedanrecords.com)

SPASTIC PANTHERS/THE THROWAWAYS-Split (Handsome Dan, 7" EP)
For their second release (I think), the Panthers continue to ply spirited hardcore punk with a decidedly non-serious bent, exemplified by "(I'm Gonna) Punch You In Dink." Well, maybe they're dead serious about it. Not bad, if fairly routine. The Throwaways have a garagier approach, two of 'em with a hardcore sound, two of 'em on the poppy side--"Mikey Erg!" even sounds Ergs-ish, albeit rougher. Once again, not bad, maybe a little less routine than the Panthers. (3244 31A Ave. SE, Calgary AB, CANADA T28 0HB, handsomedanrecords.com)

VILE BODIES

VILE BODIES-s/t (Razors and Medicine, tape)
Vile Bodies is essentially a continuation of the Conversions, with the musical core of that band joined by vocalist Jeff Walker (Sleeper Cell/Balance of Terror/Bloody Gears). The modus-operandi remains the same. Challenging, dynamic music that works in straight hardcore with noisier/atonal elements, often within the same song--"The Healer" is one such example. The playing exhibits a tremendous amount of skill as they effortlessly maneuver through the different musical aspects. As with Terry Cuozzo, the Conversions vocalist, Jeff offers a howling approach that syncs up perfectly. Complex but not so much that it dilutes things--Vile Bodies are very much a hardcore band but without the standard trappings. (vilebodieshc.blogspot.com)

WORMEATERS-Wardeath (Sorry State, 7" EP)
Well, there's nothing as graphic as the forced prison sex lyrical theme for "Dutch Roulette" that was on the Wormeaters' previous 7" but they haven't gone pop or anything nor have the lyrics gotten any sunnier. Nope, not a chance. Blazing, angry, fast-paced hardcore, although there's the slower, equally crazed "Scabs" to wrap things up. There's a new vocalist, PJ, whose pipes are as nasty as his predecessor, albeit higher on the timbre scale and, to be honest, he's an improvement. Best stuff to date. (www.sorrystaterecords.com)

ZERO PROGRESS-Derailed (Piledriver, 7" EP)
As I read through this band's lyrics, it's apparent that things don't change too much with hardcore bands--well, the ones who use this musical style to express their venom at what causes life's turmoil, what pisses them off. Zero Progress are no different. Positively negative (not original, I know) and pounding out the fast hardcore the same way countless bands have done it for three decades. Passable, but that's about it. (antiprogrock@gmail.com)

Suburban Voice blog #90

2010-10-30T15:55:00.004-04:00

PYROKLAST

Same old story--I don't review records on a timely-enough basis, they pile up and multiply, I do what I can to at least play them on the radio show but the blog gets neglected. Lack of motivation, procrastination. Excuses, excuses I know. And then I look at some of the past print issues of SV and wonder how the hell I did that. It must be because I was younger and more ambitious. Well, enough of that. I've kept y'all waiting two plus months so it's time to at least publish something. No promises as to when the next installment with be. Bear with me--and enjoy the blog.

Also, my radio show Sonic Overload has a new site at www.sonicoverload.net. Same show, but now with stereo sound quality (128 kpbs for the more technically-minded out there). Think of it as a version of Suburban Voice where you can actually hear the music first.

'Til next time...

ANTIDOTE-Thou Shalt Not Kill (Bridge Nine, 7" EP/CD)
A long overdue reissue of one of the high-water marks of early 80s New York hardcore. There was a CD on Hellbent Records in '04 but even that's out of print. Pure scorch packed with speed and rawness and catchy, memorable songs—especially “Real Deal” and “Life As One.” Granted, the lyrics for “Foreign Job Lot,” about them pesky “aliens from another world” who come to the US and take up all the jobs are on the dicey side and that could be a sore point with some people. The same applied to Agnostic Front's "Public Assistance.” And like AF with “Fascist Attitudes,” these guys have their own song in that vein, “Nazi Youth.” In this day and age of scapegoating of undocumented immigrants, maybe I shouldn’t give them a pass, maybe it’s fencewalking but there’s no denying this record is completely blazing. Faithful to the original, maybe a little less “bright” production-wise than the first pressing (you won’t notice, anyway) but its reissue is long overdue. (www.bridge9.com)

AUTISTIC YOUTH-Idle Minds (Dirtnap/Black Water, LP)
The second album from Autistic Youth has them continuing to play the kind of tuneful punk that their hometown of Portland, OR has been spawning in recent years. Not as post-punk inspired at the Estranged nor as mannered vocal-wise as Red Dons (reviews of both can be found below) although the melody quotient is high. Sonically, Autistic Youth are akin to the latter band. They follow a driving, burning blueprint working in classic 80s west coast punk influences and plenty of emotional gravitas in the lyrics. The minds are hardly idle, they're filled with plenty of intense thoughts--the title track is particularly direct about the feelings of despair. Definitely not happy-sounding music but the energetic surge doesn't devolve into primal screamo therapy nor completely somber wallowing. Strong vocal harmonies, potent musicianship (especially the bass playing), quite lively-sounding. (PO Box 5223, Portland, OR 97208, www.blackwaterpdx.com or www.dirtnaprecs.com)

CONCENTRATION SUMMER CAMPS-Amour Et Sourires (Trabuc, 12")
The band's name might make you cringe but how can you not be drawn to the colorful, psych-o-delic cover as shown above. Looks are deceiving although the final song, "Coffee and Coke," is an extended garage/psych mind-messer. The rest of the time, CSC specialize in hardcore punk with tunecraft and drive. Innovative guitar playing--a little East Bay Ray here and there but there are other things going on in the sonic mesh. And it should be noted that "Discharge Were Right" doesn't sound anything like Discharge, although the words confer with the band's worldview. No easy pigeonholing here and that's a refreshing asset. (PO Box 160, -46740-, Carcaixent (Valencia), Spanish State, www.nodo50.org/trabucrecords)

DISPARO-s/t (Stomp/Trabuc, 7" EP)
The first song, "No Quiero, Ser Como Tu," comes off fast and heavy at the outset but those aren't the only tricks this Spanish band possess. Burning, semi-melodic songs along the lines of No Hope For The Kids or a Pedestrians-type stomp. In fact, speed is kind of an anomaly here--the songs stick to a mainly moderate speed. In Spanish with English translations and willing to provoke, such as "Estrellas de David," about Israeli aggression, which probably won't win them much of a Zionist following. I imagine Disparo would have little problem with that. (PO Box 160, -46740-, Carcaixent (Valencia), Spanish State, www.nodo50.org/trabucrecords)

DOUBLE NEGATIVE-Daydreamnation (Sorry State, LP)
It's been three years since Double Negative's debut album, my album of the year for 2007. They were also my favorite live band that year--you could compare it to Ichiro winning Rookie of The Year and MVP in his first year. For their second album, the band have one again appropriated the name of an 80s era album (The Fall last time, Sonic Youth this time) but the only commonality I can find with the latter are the brain-melting atmospherics. While the band's rampaging approach remains, they've pushed things into slightly less-predictable realms. The production is hazier, denser, for want of a different term, and Kevin's vocals deeper in the mix. He also widens his range, with a lower register howl for "Endless Disappointment"--and let me make the one COC comparison here--it's Mike Dean-esque. There's an explosive experimentalism without being pretentious about it. Die Kreuzen-ish haunt shows up in some of the guitar lines and there's also a kinship to some of the ferocious Amphetamine Reptile bands from the 90s, Hammerhead in particular. That band had an aggressively piledriving sound but you couldn't really lump it in with standard hardcore and DN's sound takes that sort of chaotic, frayed sound, propelled by a rhythmic wallop. "Beg To A Vile Nude," for instance, lurches along like the punishing slop from that period until the speed-burn conclusion. There are so many generic bands out there and Double Negative find a way to stand out. They did it again... this will, without question, be in my top 10 of the year. (www.sorrystaterecords.com)

EVERYTHING FALLS APART-Ghost (EFA/One Percent Press, 7" EP)
WHITE WHALE-s/t (self-released, 7" EP)
I'm reviewing these together because there are some of the same personnel involved, namely Pat Shanahan and Derek Raybeck, who play in both bands. There's a restless quality to each group. Everything Falls Apart put out a pretty solid album this year and neither of these songs really match the high points of that release. "Ghost" is a sturdy mid-tempo, semi-hooky rocker while "Brace Position" degenerates into frayed, sputtering chaos. Heady and a little more interesting sonically than "Ghost" but it doesn't really stick with you. As for White Whale, their debut 7" is quite good. They have a burning hookiness--"1995" could be from 1995 and performed by New Sweet Breath, with the same sort of fevered surge and vocals that have emotional and gutteral qualities. In my review of their previous demo, I mentioned some similarities to Gaunt and I don't think that's off the mark, either. Melody without the pablum. (23 Manchester Pl., Buffalo, NY 14213, www.everythingfallsapart.org, www.thepalewhale.com)

FAGGOT-s/t (Selfish Satan, CD)
Excessive and depraved in more than a few ways, starting with the "Penis Landcape" tribute on the cover. This is raw rawk with a garage and punk edge that sounds messy and often unhinged. That's particularly true on the 11 minutes of endless musical butchery for "Black and Blue," the grand finale to this 8 song disc. Apparently, it's the live thing with Faggot--the photos make 'em look like a homoerotic combination of GWAR and GG Allin and I think I'd probably wear older clothes or stand towards the back if I was at a show. On a purely musical level, this is some blistering fodder. The fuzzed/blown-out guitar on the likes of "The Cleaner" and "You're Dead," the latter with some formidable string torture towards the end, is the most appealing element. If Faggot are out to provoke (and it's pretty obvious they're trying to do that by the name of the band alone), they do a pretty good job of it. They do a pretty good job at rockin' hard, too--and yes, the pun is intentional. Incidentally, there's also a video for "The Cleaner" and let's just say it doesn't leave a lot to the imagination, nor is it really for the kids. (www.selfishsatanrecordings.com)

GAS CHAMBER-s/t (Warm Bath Label, LP)
The record starts with the sound of static--industrial experimentation? Not exactly, although those elements reappear from time to time. Nope, it's a gateway to spasmatic, scampering thrash emanations. Howling vocals, all-over-the-place drumming, blistering guitar but the thing that really stands out is the dexterity of the bass-playing. If only it held together better. Gas Chamber have energy to spare but would benefit from tightening things up. Not completely rein things in but gain some control over the mayhem. As it stands, the band's chaotic flail is still partially effective but room for improvement, as they say. (PO Box 652, Buffalo, NY 14215, www.myspace.com/warmbathlabel)

INSERVIBLES-s/t (Shogun, 7" EP)
A vinyl pressing of this Mexican band's 2008 demo and it's pretty wild. Reverb-drenched vocals and a kinetic hardcore sound taking an 80s-era Italian route despite their geographic locale. Lyrics are in Spanish but there are handy descriptions of the songs--who would think "Risa de Puta" would be about quantic (sic) physics and pizza. Their theme song "Inservibles" is about "girls laughing at us because we are really ugly." I have no idea if they're fibbin' or not, since I don't speak the language but the guy could be spitting out the weather report and I wouldn't know the difference, just that the band have an engaging craziness. (3 rue du Lavoir, 51140 Bouvancort, FRANCE, www.shogunrecordings.com)

LACKEY DIE-s/t (Feel It, 7" EP)
Lackey Die were from Charlottesville, VA, together from '82-'86, never releasing anything during their tenure. Some 25 years later, here are recordings taken from two sessions, one in '84 and the other in '85. According to the printed interview and letter that accompanied the record, they were older "townie" guys in a college town and, obviously, that leads to friciton. Anyway, after being in other bands since the late 70s, the members caught the hardcore bug and started playing in a faster vein. Pretty standard in every way, with the thrashy delivery and lyrics that touch on religion (even stealing a lyrical line from Minor Threat's "Filler"), nuclear warfare and personal alienation. Not a lot of vocal presence but played with a good amount of scrappiness. (4630 Mill Run Ln, Earlysville, VA 22936, feelitrecords@gmail.com)

LIBYANS-A Common Place (Sorry State, 12")
A brief blast from Libyans, packing in 13 songs in 16:21, give or take a second. For their second album, guitarist Kevin Gebo handled the recording and it's kind of tinny and distorted sounding. Once you get past that (and I'm not 100% past it), this is a solid effort. Sharp, frantic, economical hardcore with melodic underpinnings and Liz's vocals are cutting and sweetly emotional and it's usually a combination of both although they lean towards the former. Plying west coast elements in much the same way some of the Danish bands do but you can also hear mid-80s DC hardcore--Dag Nasty in particular--in the mix. The lyrics are printed with circular text so it's dizzying if you try to read them, exacerbated by the head-rush these songs provide. (www.sorrystaterecords.com)

MURDER-SUICIDE PACT-Do It Or Don't (Give Praise, 7" EP)/Full Time (Bacon Towne, 7" EP)
MSP re-formed in the past few years and, as I mentioned in the review of a demo CD from last year, they sound better now than back then and that's no bullshit. The songs from these two EPs are pulled from the same December '09 session and most of these. Feisty mid-tempo hardcore, with some thrashers mixed in, as well, and there's a dark/twisted quality to it. "I Respect You and All Your Body Parts" certainly proves out that point by offering a sick love poem--very sick, as in murderous. The thing about MSP is the guitar lines have a way of embedding themselves into your consciousness--the line for "Heavy Hand" is ringing through my brain at the moment. Black Flag-inspired? No doubt but a song like "My Own Poison" also conjures up Swiz. Bob Suren's vocals convey the requisite menace and the production is punchy without any sort of slickness. Collect the whole set--well, the two installments here, at least. (Band contact: PO Box 3204, Brandon, FL 33509, www.myspace.com/mspfl)

NASA SPACE UNIVERSE-Brainrailers (Shogun, 7" EP)
A wild collision of speedy hardcore, Flag-ish twists and off-kilter craziness, including some harsh vocal screamitude "BWAP," the opening track on the flipside, showcases some rockin' furor, as does "Bukkake Sake," something I hope to never imbibe. Hell, I don't even like regular sake. I like this band's jolting sound, though. (3 rue du Lavoir, 51140 Bouvancort, FRANCE, www.shogunrecordings.com)

NO ESCAPE-Generation Trap EP (Trabuc, 7" EP)
Spanish band with a melodic, mid-tempo punk sound along the lines of Insomnio, who've also had releases on Trabuc (and No Way in the US). I mentioned a No Hope For The Kids influence in the Disparo review above and that's true here as well. Buzzing guitars and sturdy, lively bass-playing/drumming although it doesn't make an exceedingly strong impression overall. Falling into that "pretty good" realm. (PO Box 160, -46740-, Carcaixent (Valencia), Spanish State, www.nodo50.org/trabucrecords)

NO FRIENDS-Another Wrong/OFF WITH THEIR HEADS-Fields Of Darkness (No Idea, 6")
Two bands covering other bands, but not each other. No Friends, Tony from Municipal Waste's punkier sounding band, do a decent job of Dag Nasty's "Another Wrong, ditto for Off With Their Heads' take on Pegboy's "Fields Of Darkness." Probably something for the collectors but the songs are handled with energetic affection, particularly No Friends. (PO Box 14636, Gainesville, FL 32604, www.noidearecords.com)

RAW NERVES

RAW NERVES-s/t (Inimical, LP)/We Must Be Dreaming (Inkblot, 7" EP)
The two latest releases (following an earlier 7") by Portland's Raw Nerves, continue to convey a combination of influences—echoes of Poison Idea (particularly in Matt Svendsen’s voice) and Articles Of Faith but it’s got a crustier tinge that’s in kinship with their Oregonian compatriots. As you’d expect, there’s a dim view of the current state of world affairs. “Slave Trade,” for instance, ruminates on economic exploitation and collapse, while those being exploited still fly the flag and think these corporate interests will be their saviors. Sound familiar? Yep, I’m making another allusion to Teabagger Nation, those who are manipulated by those “leaders” and organizations into foolishly believing in the “take back America” gospel. There’s a reliance on dramatic effect and pure power over catchy verse/chorus/verse arranging but it has the intended result. I mentioned Poison Idea earlier and “Lifetime Guarantee,” the opening song on the Dreaming EP does have some similarities. The EP also includes a cover of Youth of Today's “Live Free,” which was a highlight of their Boston show over the summer--a set which a lot of the local DIY elite chose to stay outside for. Oh well--their loss. (Inimical, PO Box 2803, Seattle, WA 98111, www.inimical.com/Inkblot: www.inkblotrecords.net)

RAW POWER-The Reagan Years (Beer City, 2xCD/DVD)
A package that includes Raw Power's first four albums--"You Are The Victim," "Screams From The Gutter," "You Are The Victim" and "Mine To Kill," the "Wop Hour" EP and the song that introduced a good chunk of the world to Raw Power, "Fuck Authority," off the "Welcome To 1984" compilation. What's not included is their 1983 demo, which ended up being released in the US by BCT on cassette and later on CD by Grand Theft Audio. That's still my favorite Raw Power recording (it's where "Fuck Authority" came from), which may not be the slickest recording but I don't think they ever matched the ferocity of it. Still, you won't hear me complaining too much about the re-recordings of many of those songs for "You Are The Victim," recorded in '83 and "Screams From The Gutter," recorded in '84. Blazing thrash, accompanied by whizzling guitar squalls. "Victim" sounds primitive but that's part of its charm. "Screams" is a tour-de-force of mayhem. Mauro was the main vocalist and he's a serviceable frontman but the band's music is the main attraction. Unfortunately, what followed with "After Your Brain" and, especially, "Mine To Kill," wasn't quite up to the same level. The former maintains some of the band's loose & ravaging qualities but there's a big decline for "Mine To Kill." Increasingly metallic and with some dragging/thud-like compositions. Even the faster songs don't provide a lot of inspiration. The DVD is taken from two live shows in '85 and, sadly, is quite poor in quality. The sound is wretched and it's really a shame because Raw Power were one of the most ferocious, over-the-top bands I've ever seen.

I'm not trying to be entirely negative, here--there's some great music contained on these discs and it's a worthy introduction to the band for the novice. Just don't expect a 100% success rate. (PO Box 26035, Milwaukee, WI 53226-0035, www.beercityrecords.com)

REACTIONARIES-1979 (Water Under The Bridge, CD)
A split CD of sorts, with songs from a practice tape by this San Pedro band recorded, if you weren't paying attention, in 1979. Who were the Reactionaries? They were the predecessor to the Minutemen, featuring vocalist Martin Tamburovich plus D. Boon, Mike Watt and George Hurley. And while you can hear hints of what would come later, such as "Getting Existential On The Beach." The Reactionaries decidedly fell more in the punk rock camp. It's obvious that those visits to Hollywood to "drink and pogo," as Boon sang on "History Lesson Pt. 2" made an impression on their sound--echoes of the Dils, Middle Class and no doubt other bands. "God and Country" has the same sort of political urgency as what would come later. While things would get refined a bit when the musical core moved on to their better-known aggregation, these songs are edgy and energetic and the playing is solid. So how is this a split CD? The ten songs are covered by different permutations of members of bands with San Pedro roots. That includes Messrs. Watt and Hurley, Jack Brewer and Joe Baiza from Saccharine Trust, Todd from Toys That Kill and others who I'm too lazy to detail (and don't know who they are, anyway). While it might seem redundant, it doesn't have that "tribute album" cheesiness to it. The songs aren't overproduced, maintaining some of the lively/unfettered feel of the originals--basic, stripped down punk treatments. The originals, though? Killer... (PO Box 1794, San Pedro, CA 90733, www.waterunderthebridgerecords.com)

RED DONS-Fake Meets Failure (Deranged, LP)/Pariah (Deranged, 7")
A new album and 7" (one LP song/one non-LP) for the Red Dons, who continue to offer scintillating melodic punk. It's not that simple, though, even if I mentioned such touchpoints as Naked Raygun, Buzzcocks and Hot Snakes. I mention the first two bands due to pealing guitar notes. It's still not a complete picture. "Pieces," the closing song on the first side, is the real standout, here. The main guitar line twists its way into your brain matter and is reinforced with a heady wallop, fading out for a semi-subliminal voice collage and then kicking back in until its acoustic fade-out. The non-LP track, "It's Your Right," is also far from a throwaway. There's a depth, a density to their sound and engineer Stan Wright (Arctic Flowers/Signal Lost) has way of bringing out those elements. Doug Burns' impassioned vocals float over the mesh of potently surging and jabbing guitar, bass and drums. Red Dons have turned it up a notch here and moved away from merely being a continuation of the Observers. (www.derangedrecords.com)

ROOFIE & THE NIGHTSTALKER-GHB/Total Dementia (Rich Bitch, 7")
Balls-out rock 'n rollin' punk--well, in a manner of speaking since the vocalist is named Jenny. She rants 'n raves effectively along with the two burning, hard-driving tunes here. Unfortunately, the band have already split up. Pity. (richbitchrecords.com)

TALK IS POISON

TALK IS POISON-Straight To Hell (self-released, 7" EP)
Released to coincide with their reunion shows awhile back, these are Talk Is Poison's first new recordings in a decade. Still raging, still pissed-off but it doesn't sound exactly the same as their "vintage" recordings. OK, it's not that radically different. If they were a new band, though, I'd give it kudos. Raw, fast thrash with piercing leads, slowing it down for the jabbing "Keep The Peace." Beautifully packaged, from the heavy stock cover right down to the screened inner sleeve. Welcome back--and I hope it's not the last we'll hear from them. (PO Box 5783, Oakland, CA 94605, www.badskulls.com)

UX VILEHEADS-Catch 22 EP (Sorry State, 7" EP)
People from Regulations, ETA, DS-13, etc etc--and pretty much the kind of fast, no-BS hardcore punk you'd expect. The skate punk-sounding "Kill For Peace" provides a slight departure. It isn't the Fugs song but it takes a similarly sarcastic approach. Not oozing originality but the playing sounds quite inspired and exhibits skill. Enough to make me want to track down their other 7". (www.sorrystaterecords.com)

VIOLENT SOCIETY-We Don't Believe (Creep, CD)
First new recording since VS reconvened a few years ago. Vocalist Pat Society logged time with Cranked Up during the downtime. "We Don't Believe" features a few re-recordings and one of 'em, "You're Gonna Fall," has Greg from the Boils on vocals. "Coming Back For You" remains one of their all-time best songs. VS always traded in a straight-ahead sound that blurred hardcore and UK-82 punk and cover Kill Your Idols' "Hardcore Circa '99," retitled here as "Hardcore '77," to reinforce that point. Pat's vocals are gruffer and more weathered than in the past. Memorable songs with power and catchiness. A stirring return. (www.myspace.com/violentsocietypunks)

WARTORN/PYROKLAST-The Last Line of Resistance (Profane Existence/multi-label, LP)
These Madison, WI bands recently toured together and also pair up for this split LP. Different shades of crusty hardcore punk here. Wartorn's side consists of two lengthy songs. I'm trying to avoid using the term "epic" here but the tracks flow from doomy intros to speed to pounding heaviness and, in the case of "Overdose," an acoustic conclusion. The death-grunt backing vocals are an acquired test--oh, let's be honest: they're terrible although main voice Bitty fares better with an impassioned, higher tone. Fair to middling--their low-tuned style providing moments of crush. Pyroklast steal the show, here--raging thrash in half a dozen blasts. Relentless in its speedy execution and, here, the harsh, larynx-shredding vocals are quite effective--the howl at the end of "Victims Of All Nations" is maniacal. Impressive both live and on record. (www.profaneexistence.com)

Suburban Voice blog #89

2010-08-22T18:05:00.009-04:00

Hey! Only about a week and a half this time. See what happens when I put my mind to it? I've still got some kick-ass records sitting by the turntable that will get the deserved attention shortly so watch out for another installment in the not-too-distant future...

DETROIT HARDCORE (and more) IN THE PRINTED FORM

In recent years, my bookshelves have been crushed under the weight of the seemingly endless glut of tomes concerning various aspects of the history of punk and hardcore. In terms of the latter, Steve Blush’s American Hardcore seemed to get the ball rolling—both the printed version and the film that followed. I’ve expounded on AHC in the past, finding it to be a flawed work with its good and bad points and also recognizing the fact that no one book or film is going to provide a comprehensive view of hardcore (or any musical genre, for that matter). I did think it was lame that Blush referred to hardcore (or Hardcore, since he felt the need to capitalize the term) as a “lost subculture.” The book had a consummate “in my day” attitude, dismissing anything that had come in recent years as redundant or not worthy of attention. Not to generalize too much but it seemed as though the people who loved the book and film the most were the “old timers." There seemed to be a split verdict among the younger folk.

Over the years, there have been different projects aimed at covering certain geographical areas and a pair of books connected to the Detroit scene have come out practically simultaneously—one is Why Be Something That You’re Not: Detroit Hardcore 1979-1985 by Tony Rettman and the other is Touch and Go, The Complete Hardcore Punk Zine ’79-83. The former takes the oral history format, bringing together such scene “movers and shakers” as Tesco Vee (who wrote the intro in his inimitable style), members of the Necros, The Fix, Negative Approach and other bands, Touch and Go co-founder Dave Stimson, even the teacher who helped create the cable TV show that book is named after (which came from an NA song, of course) and featured these bands playing live in the studio.

The book’s broken down into short chapters interspersing Rettman’s observations with recollections from the various parties. First-hand accounts of such “legendary” events as the shows at the Freezer Theater, early Touch and Go record releases, the Process of Elimination tour and their invasion of the “Saturday Night Live” set for the infamous Fear appearance. It documents the rise and eventual fall of that era—regressive elements being introduced (nazi bullshit) and band members moving on to new musical and life adventures. There are plenty of vintage photos, flyers, set-lists, et al, with the last third of the book given over to a gallery of such ephemera.

It’s also humorous to see that certain rivalries persist a quarter century after the fact—I’m thinking of the mutual admiration society that Steve Miller from The Fix and Barry Henssler from The Necros still seem to have for each other. When I interviewed Barry in ’92, he expressed a less-than-complimentary viewpoint about the virtues of The Fix’s music and Steve wrote a rather caustic letter in reply, which I printed in the following issue. It seems as though time hasn’t softened those feelings.

As for the T&G anthology, it's over 500 pages that will keep you occupied for weeks and a warning--if you read it on the hopper, it'll make your legs go numb if you sit there too long. It includes all 22 issues of the ‘zine, reproduced exactly as they first appeared, along with brief introductory pieces by Tesco, Stimson, Miller, Ian MacKaye and a few others. Tesco and Dave weren’t afraid to call things as they saw them, barbs pointed and expelled very sharply at their targets. These targets included a good chunk of the original crop of Detroit punk and new wave bands, radio stations and DJs peddling safe swill and whatever else bored, bemused or enraged them. As Tesco mentioned in Rettman’s book, that necessitated the creation of his pseudonym. Tesco said, “I came up with the pen name so I could trash the people I hated while extolling the virtues of others without being tracked down and killed. We always tried to write reviews that entertained first and informed second.”

Their musical taste was unpredictable—in the pre-hardcore days, there was an affection for plenty of British post-punk/experimental music such as Pop Group, Cabaret Voltaire, Gang of Four, PIL et al, along with late 70s/early 80s west coast bands (Black Flag, Circle Jerks, Germs, Avengers) and such UK fodder as 999 (Tesco’s first zine, reproduced here, was 999 Times, devoted to that band), Blitz, Revillos, etc. But it was the burgeoning Detroit hardcore punk scene that provided the most inspiration, documenting in real time what the Rettman book covered, so they complement each other very well.

The T&G honchos’ bible was Slash and it certainly inspired their own irreverent attitude and, at first, a more “artistic” layout approach. To quote Don Imus (does anyone quote him anymore?), this is laugh-out-loud funny stuff. These guys eventually took scatology to new heights—or, more accurately, depths. In fact, the gross-out humor only increased over the ‘zine’s life span. There are some screamingly-funny forays into juvenilia. When I interviewed Tesco for issue #20 of SV, he talked about driving around in a $40,000 RV talking about poop. Well, here, they put it on the printed page--euphemistically speaking, of course. While we're on the subject of private functions and body parts, I’ve never seen so many creative descriptions for male genitalia—“pork sword”and "beef bayonet" are just two favorites.

As T&G progressed through subsequent issues, they tightened up the layout and increased the content, introducing an increasing number of interviews with many of the “choice” (one of Tesco’s favorite terms) bands of the time. The layout never reached a slick level--it still had a cut and paste look--but they made better use of the space. And you can see how they inspired other punk zines, Forced Exposure in particular. Both zines championed their respective scenes but also made connections outside the city, generating a solid network particularly connecting Boston, DC and Detroit, although not so much New York. The exception from that area was the Misfits, who were from New Jersey, anyway. To use yet another cliché, you’re watching history unfold as it happened. (Why Be Something: Revelation Records Publishing, www.revelationrecords.com/T&G: Bazillion Points, www.bazillionpoints.com or www.touchandgobook.com; Amazon has ‘em, as well)

THE RETURN OF UPHEAVAL 'ZINE
One of Boston's longest-running punk zines makes a return and in a different format than before. Craig is back for his first full issue since 2002 (hell, even longer than the last printed SV!) although he did a few single page issues in the interim. In the intro, Craig said it took him about 3 years to finish it. Tucked inside a screened manila envelope, you'll find 17 double-sided 8.5 x 11 pages--they were originally packaged loosely, like the one I got, but Craig decided to staple the rest when people found it unwieldy. Craig has always been a tireless supporter of the underground, international DIY punk scene and the coverage of bands from around the globe, both in the reviews and interviews, proves that out. He writes passionately about this music, knowledgeably describing the sonic contents and often the way he interacts with it. The interviews are with Agitator (Serbia), Malazar (Turkey) and Hellowar (Indonesia). In those interviews, he tries to go beyond the music to find out more about their respective countries and lives. There's also an interview with another Boston mainstay, Pat "Opie" Foley, who currently spews his venom for the band Nothing But Enemies and is quite candid in revealing his life story and opinions about punk rock. Good job. Now where's my stapler? (upheaval.fanzine@gmail.com)

RECORDS AND STUFF:

ANTI YOU

ACEPHALIX-Aporia (Prank, CD)
Molten emanations of metallic savagery that attack without mercy. Sorry--I guess I was channeling the Puszone there for a moment but that's the kind of reaction Acephalix bring out on their first album, following last year's 7". Although there are crusty trappings, Acephalix are, for all intents and purposes, a metal band harnessing crossover elements, the occasional Voivod-ish guitar line and nasty, gut-heaving vocals. I'm not talking bandana thrash but the kind of brutal metal that hardcore people can appreciate. Heavy-duty riffage, quite a bit of it delivered at sprightly tempos, although they often opt for the crush effect, such as with "Gift of Death" and the closing epic "Only The Dying," concluding with the final expelling of vocal venom. You feel relieved for the guy. It does drag a bit in spots but the crushing nature of this band's pillage is quite effective. (PO Box 410892, SF, CA 94141-0892, www.prankrecords.com)

ANTI YOU-Two-Bit Schemes And Cold War Dreams (Six Weeks, LP/CD)
No bullshit, no muss, no fuss hardcore courtesy of the Anti You paisans. The low-distortion guitar sound keeps things clean and very lively. There are definitely moments where you suspect they've got crib notes on American hardcore--"Contaminated" sounding like the Circle Jerks' "Coup D'Etat" or the bass intro to "Cop Out" making you think they're about to cover the FUs' "What You Pay For." Danged catchy, too--if "Operation SS" or "H-Bomb" don't get your toe tapping, check your pulse. As for "Punks Quit"--a song about growing out of punk, abandoning all those ideals you once vehemently spouted--the thought crosses my mind occasionally. After all, this music has been around 30 years, it's been done the same way a million times and is it possible to get excited about every no bullshit, no muss, no fuss hardcore band? Not always but Anti You's rambunctiousness still manages to win me over. Good job, boys, and I'll stop the navel-gazing for now. The CD version also includes the "Johnny Baghdad" and "Pig City Life" EPs and serviceable covers of Discharge's "Hear Nothing See Nothing Say Nothing" and the Descendents' "I'm Not A Loser," both played with their scrappy style. (www.sixweeksrecords.com)

CEREMONY-Rohnert Park LP (Bridge Nine, LP)/Sick (Bridge Nine, 7")
Anyone used to Ceremony's spasmatic hardcore is in for giant shock with "Rohnert Park," because it's almost a 180 degree change in direction. Ceremony remain an edgy band but in a much different manner this time. The intro, "Into The Wayside Part 1" makes you think they're about to break into the Minutemen's "This Ain't No Picnic," then the drum pattern leads into a numbing mid-tempo rocker, "Sick." That's a litany of complaints from vocalist Ross Farrar, emitted in a convincing rasp as he goes off on everyone from Republicans to Obama to Baptists to Black Flag to himself. Completely equal-opportunity. "MCDF" follows with a jabbing garage style. There are also forays into moody rock that's almost Pavement-esque ("The Doldrums") or the bitter, My Bloody Valentine-ish acoustic guitar sound for Parts II and III of "Into The Wayside." "Don't Touch Me," "All The Time" and "Night To Life" are searing mid-paced rockers ala Black Flag/Bl'ast/early Fucked Up, while "The Pathos" provides a brief throwback to thrashy hardcore. Same for the uncredited bonus track tucked onto the end of the album. I'm sure some of Ceremony's older fans might end up scratching their heads but it takes cojones to radically alter things and talent to completely pull it off. That's the case here. The single has a brief non-LP track, "Life As A War" that seems to bridge the old and new, with a speed attack going into an abrasive pound. (www.bridge9.com)

CITIZENS PATROL-s/t (Way Back When/Even Worse, LP)
Hardcore for the rejects, for those lacking social skills, who suffer from cabin fever, who live with panic attacks and need medical care and dental work but can't afford it. Talk about a song I can relate to--it's the latter one, entitled "Plastic Teeth." I guess the Netherlands' dual health care system doesn't work for everyone because it's not single-payer. Anyway, Citizens Patrol had some previous releases on No Way and they continue to play their hardcore punk in competent, straight-forward fashion. Raspy, ranty vocals over clockwork, thrashy arrangements. Not one positive song, either. Somehow, I don't think it would be fitting. The world does pretty much suck these days. (www.waybackwhenrecords.com or www.evenworserecords.com)

PAHAA VERTA-s/t (Bad Hair Life, LP)
Finnish rippers with an old school tinge encompassing US hardcore from both the east and west coasts, perhaps similar to their countrymen Hero Dishonest. The drumming and the rest of the instruments are a bit out of sync at times. The aggressive nature gets 'em by, though, and they're unafraid to throw in catchy bits here and there, such as for "Krapula" or "Kirje Rintamalta." A solid release. (www.badhairliferecords.blogspot.com)

THE PIST

THE PIST-Live And Still Pist (Rabid Dog, LP)
I'm not really a fan of live albums and it's probably a safe bet that I'll continue to listen to the two volumes of "Input Equals Output" (which anthologizes EPs, comp appearances and the like) and "Ideas Are Bulletproof" more than this one. Those were released by Havoc Records awhile back, incidentally. That stated, this disc documents a September 2007 set at Emo's in Austin and was released at this year's Chaos In Tejas fest. The recording quality is so-so--the vocals and drums are mixed way higher than the guitar and bass. The songs still resonate--catchy, timeless street punk/UK '82/hardcore and all the "classics" are here--"We're The Pist," "Black & Blue Collar," "Street Punk," "Destroy Society"--basically, every song you'd want to hear. I think if they'd wanted to make this better, including a DVD of the set might not have been a bad idea although that might have made the price prohibitive. Limited to 400 copies, in a heavy stock, screened cover and a keepsake for the kids. I'm not sure about availability so drop 'em a line to find out (www.thepist.com)

SECRET PROSTITUTES-Mati Di Moskow (P.Trash/Bad Hair Life, 7" EP)
At first, I couldn't figure out if the record was supposed to spin at 33 or 45 because at the latter speed, the vocals sound sped up but after going to their MySpace page, that's the way it's supposed to be--and their vocalist/drummer Adit sings in Indonesian! This is deliriously jittery and thumping punk from the ever-incestuous Houston scene. There are several bands from Astros-land that share members--The Energy, No Talk, Crime Wave and some that I'm no dobut missing. These guys love to cross-pollinate different punk sounds, but it mainly sounds like KBD fodder on speed or at least some pretty strong coffee and they take a pretty successful stab at the Nubs' "Job." Looking forward to hearing their album. (www.badhairliferecords.blogspot.com)

SICK/TIRED-Highlife (To Live A Lie, LP)
Mainly tuneless blast-core, although the instrumentation is pretty solid. They favor howling vocals that sound like the guy is in the middle of being electrocuted. That's not necessarily a bad thing--and what I mean is the vocals are cool, not that he sounds like he's being electrocuted. He reminds me of Charles from Rorschach, in a way. I do like their cover of Phobia's "Day By Day" and the metallic guitar sound is appealing, particularly for the slower, heavier "Banishment" that closes things out. Maybe that's the way to go for them, because their thrashier songs are far from memorable. (www.tolivealie.com)

UNDER AL KRITIK-s/t (Bad Hair Life, LP)
So let's see--there are bands trying to replicate the early 80s US sound, there are bands that take more than a few pages from west coast/Dangerhouse type punk and others who go for the crossover/thrash inspiration. Under Al Kritik, from Denmark, are somewhere in the middle. Their influences come mainly from the mid-80s--not so much crossover but it was a time where bands would flirt with metallic squeals and melodic, moodier inclinations in their sound. Darker shadings--there are ominous guitar lines and screams on both "Sort Psykose" and "Forrykt," exploring the regions of craziness and psychosis (I translated the titles--I admit it). A familiar ring but not sounding like it's been beaten to death and with an engaging quality. (www.badhairliferecords.blogspot.com)

UNDERDOG-Matchless (Bridge Nine, 2xLP)
This collects two demo sessions on the first LP and the "Vanishing Point" album on disc #2. Hate to say it, but "Vanishing Point" has not aged well, at all. First, it has that cavernous late 80s production which detracts from the overall effect and their attempt at an "I Against I" Bad Brains sound isn't all that successful. What we have is rock with a mid-tempo groove and some reggae flourishes and it lacks the full-on forcefulness of their NYHC contemporaries at that time. The musicianship isn't a problem, especially Chuck Treece, who has always been a talented guitarist but the songs don't really go anywhere. As for the demo tracks, the first side is the 1985 session that yielded their debut 7" (re-released by B9 awhile back). Granted, there were some of the same elements but it had a directness, a punchiness that "Vanishing Point" lacked. As I said in the review of the 7", "Say It To My Face" is the kind of song that makes one want to break things. The b-side are early demos for the album, with vocalist Richie Birkenhead playing guitar instead of Chuck and the rougher quality works in their favor although the songs still don't really connect.

When the LP package was being compiled, there was too much material for a small insert so they put together a 64 page booklet that includes photos (including pix from recent reunion shows), flyers, interviews and other ephemera in scrapbook fashion. Worth checking out if you're interested in the story of the band as it happened in real time. Bass player Russ Iglay apparently saved every last letter (including a letter from an A&R guy at a label who wanted them to have more "metal-flavored material") and it's a fun scrapbook for fans. (www.bridge9.com)

Suburban Voice blog archive!

2010-08-12T10:59:00.004-04:00

In case you couldn't tell by the title, I've set up an archive for the first 15 Suburban Voice blogs, which originally appeared on MySpace and were published from August 2005 to July 2006. Since that site seems to be rather moribund these days, I've decided to post those installments here. There were some other articles posted on that blog and I might re-post some of those here, as well. The archive can be found at subvoxarchive.blogspot.com.

Consider the reviews a snapshot of my opinions at that point in time. There's always the chance I underrated or--more likely--overrated something back then but they'll stand as written... You'll also notice I wrote about other topics in these blogs, some of them non-musical, while I've pretty much stuck to music content for quite some time. Perhaps that will change again.

If you're still on MySpace, the blog can be found at blogs.myspace.com/suburbanvoice. There's also a Facebook page for SV that includes a gallery of all the covers for the zine as well as other photos and content.

Suburban Voice blog #88

2010-08-08T11:15:00.017-04:00

COUNTDOWN TO ARMAGEDDON (2007)

Another long delay. Strictly music reviews this time. In the next blog, there will be a few zine and book reviews, including the Touch & Go anthology and the oral history of Detroit Hardcore, Why Be Something That You're Not. Soon, I promise...

CATCHING UP WITH THE CASSETTES

Time to attack the growing pile of cassettes--actually, not really a pile since I keep them on a shelf but I digress. I don't get to recordings in this format as often as I should, which is strange because I still have a tape deck in the car. But, with the lovely deck I inherited from my beloved old man, it's time to blast the tunes. As I listen to them, it does reveal that the format does have limitations. A good chunk of them would benefit from better reproduction/sound quality. It may be nitpicky and I don't want everything pristine but the power of the performances can be lost, sometimes. That said, thanks to Robert Collins for hooking me up with most of these tapes. I've provided some contact info below but I'm sure he'd point you in the right direction, as well: iamtheverybadman@gmail.com.

COUNTDOWN TO ARMAGEDDON are a three piece from Seattle plying a dark, aggressive, crusty hardcore sound. They actually formed in '03, but had some downtime. Not dissimilar from other bands from the Northwest region (Portland, in particular). Howling vocals from a pair of them, dramatic riffage and in a mainly speedy vein and adding up to an intense soundscape (www.myspace.com/countdowntoarmageddon).

SUICIDE BOMB were a short-lived Bay Area unit that existed for a few months in 2009 and included guitarist Will Kinser and Mr. Collins on bass (both of whom have played in tons of bands you might have heard of--Born/Dead and Artimus Pyle are a couple of note). Hardcore punk at a mid-to-fast pace ("Looking Back" is a thrasher, though) and while I wouldn't exactly call it catchy, it doesn't go for tuneless brutality, either. The sound on the tape is a little tinny but the songs are memorable. (nooptionsrecords@gmail.com)

CONQUEST FOR DEATH return with their first new material in a few years--this stuff was actually recorded in '08 and '09. Since the members are spread out across the globe (the Bay Area is the home base, though), they don't get together all that often. The border-stretching message is addressed on the title track, "Many Nations, One Underground" and in this era of xenophobia and nationalism, without sounding too naive (OK, maybe I do), you've got to love it. There's a departure on the first couple of songs, with a mid-tempo hardcore sound but then the throttle-hammer returns. As with their previous output, all of this is executed with incredible precision, navigating the various shifts, twists and turns. (www.conquestfordeath.com)

Robert also shows up, this time on vocals, for VACCUUM's demo and it's relentless, raging fodder with the distortion turned way up. My favorite of the bunch, here. NO STATIK have the description "raw sound, recorded by us" on their demo, and it lives up to that billing. Very raw, agitated hardcore that would definitely benefit from a better recording. The last of the tapes he sent comes from OPT OUT, another Bay Area band, bashing out 9 tracks of rough-hewn, no bullshit hardcore, all of it first take and successfully capturing the "of the moment" spirit.

ZERO PROGRESS's tape doesn't offer much fidelity-wise and their thrashy hardcore is fairly typical. They've made the songs available as a download, too, and it sounds a little better there although these 9 songs don't offer anything that really stands out. Not bad, not great--in the middle. If you're curious... (http://0progress.blogspot.com)

TIME FOR THE RECORDS (and a CD or two):

MALE NURSES

ARCTIC FLOWERS-s/t (self-released, 7" EP)
A more-than-impressive debut for Portland band Arctic Flowers, whose guitarist is Stan Wright, late of Signal Lost. There are similarities and I'm not just making the obvious one that both bands have/had female vocalists and bass-players. There's a strong post-punk emphasis but they maintain the punk roots. That's most obvious for the fast-paced "Neon Tombs." While Stan's guitar tone attracts the most immediate attention, a burn and buzz amalgam of Gang Of Four and Ruts inspiration, the other instruments make their presence felt and Alex's vocals have nuance as well as power. Three distinct songs. "Slouching Towards Bethlehem" (the best, in my opinion) has a stinging surge while the lengthy "Technicolor Haze" builds on Lee's New Order bass-line and engaging melody. I've got a feeling this band has a killer album in them. (www.myspace.com/arcticflowerspdx)

DAYLIGHT ROBBERY-Through The Confusion (Residue, LP)
This was an LP that slowly grew on me as the melodic charms revealed themselves over repeated listenings. The ragged male/female harmonizing of Christine and David Wolf definitely conjure up John and Exene, although the music doesn't have much in common with X. Also, the timbre isn't quite the same except when their voices join together. Tuneful, post-punkish rock with sneaky hooks, favoring a clean guitar sound and supple support from the bass and drums. There are subtle flourishes here and there--a slight copping from "Youth Of America" (without the blowtorch ambiance) for "Rerun" or the reggae jab on "Ignominious Defeat," for instance. The songs have a presence without any sort of bombast. A somewhat somber quality but too lively to sink into mopedom. I wrote this band off a little bit in the past and this makes me want to go back and listen to their previous 7"s. (www.residue-records.com)

DEFECT DEFECT-s/t (Residue, 12")
It makes perfect sense for Defect Defect to be on Residue records since they have sonic elements akin to Residue honcho Jordan's band, Pedestrians. Brash, tuneful punk with beefy guitars and strong hooks and, when at a medium pace, the Pedestrians comparison is apt. The lead-off song, "Stolen Land," is likely to become a Columbus Day staple on my radio show, with its theme of imperialist, murderous conquest, stating that "this ain't no new world/it's a graveyard." The guitar line for "Post-Apocalypse" brings to mind the underrated 80s-era Chicago band Bloodsport. But Defect Defect are from Portland and in recent years, such bands as the Observers, Autistic Youth and now Arctic Flowers have gone for a sturdy but catchy approach. And some of the folks here have played in some of those bands (I cheated to find that out) so it makes even more sense. A hard-driving, impassioned surge and one hopes they'll never become the "Ex-Punks" they deride, as corny as that might sound. I'm jaded as hell lately and this un-jades me a little. (www.residue-records.com)

DRY HUMP-Culture Fuck Experience (Shogun, 7" EP)
These guys had personnel change recently, with PJ Kuda, drummer for Male Nurses and Bloodkrow Butcher, replacing Erik on vocals. This 7" was recorded before Erik's departure. The first pair of songs, “Culture Fuck Experience” and “Let Down” ply the speed with some impressive, feedback-laden noisemongering providing a bridge between them. Erik’s distorted vocals just add to the rawness. The Disorder-ly buzz introduces the dirge-like track on the flip, “Sex Cult.” This used to be their opening song and, here, it’s accompanied by a call into one of those national talk shows by one of the band member's relatives where he talks about paranormal experiences. Thing is you can't always hear what's going on as most of it is submerged under the racket but that's the gist of it. The same track also appeared on their 2008 demo but that’s the only repeat. I don’t want to know what kind of subliminal effect this piece might have on me but the intensity will draw ‘ya in. (Recordings, 3 Rue du Lavoir, 51140 Bouvancourt or nribas138@gmail.com)

EDDY CURRENT SUPPRESSION RING

EDDY CURRENT SUPPRESSION RING-Rush To Relax (Goner, LP)/Wet Cement (Mexican Summer, 7")
It's taken me a little while to completely warm to this album. A tough task considering the pure brilliance of "Primary Colours." I can't see them ever topping that album. So for "Rush To Relax," the songs remain engaging, an assimilation of X, Wire, The Fall, hell, even the TV Personalities come to mind on "Tuning Out." "I've Got A Feeling" sneaks in the descending riff from "(I'm) Stranded." The title track nicks from the Stooges' "1969," with its tribal rhythm, minus the fuzz. But ECSR have developed their own distinctive sound, centered around Brendan's flat-yet-expressive vocals and Eddy's intricate guitar patterns, given steady rhythmic support. For a real change of pace, there's the 7 minutes of "Second Guessing," with Eddy (who's real name is actually Mikey) replacing the guitar with an electric piano to glorious effect, completely numbing the senses. For the shorter attention span, there's the driving "Isn't It Nice." (www.goner-records.com)

ECSR recently toured the US and I had to schlep to NYC to see them play at a beyond steamy Cake Shop. It was worth the miserable traffic approaching the city and every drop of sweat that was endured. and And they had a new three song 7" with two of 'em (title track, "Hey Mum") recorded last year and one back in 2007 ("Through The Trees"). The latter creates the most impact, since it harkens back to the material on their first album. "Wet Cement" is a tad lethargic but things pick up nicely for the post-punk danceability of "Hey Mum." Worth having and apparently limited to 1000 copies. (www.mexicansummer.com)

THE ENERGY-The Energy's First Album (Team Science, LP)
You look at the front cover and see the abstract collage drawing and it could lead you to believe that it's going to be some kind of psychedelic revival. But the dagger through the bird on the back cover quickly dispels that notion. They don't sound like Discharge, either, by the way. Ever hear the expression murder ballad? Well, let's call the songs here attempted-murder non-ballads. No ballads, just jittery, edgy rock accompanied by near deadpan vocals that still manage to be expressive. Maybe it's the matter-of-fact delivery for such songs as "I'm Gonna Cut You To Pieces," "Stabbing In The Dark" or "Drugged Skull On The Jagged Rocks" that make things even more chilling. No musical chill, though--it's a jabbing, chaotic sound. "Destroy Imagination" introduces the affair with five plus minutes of stop/start/surging delirium--just when you think the song is over, it comes back for another round. Maybe it is somewhat psychedelic, if you're thinking bad trip--perhaps the squall for "Girls Don't Like Me" might indicate that kind of experience. Some garage inspirations, as well, such as "Perfectly Possessed," with a single note piano plink joining the fray. "I Won't Let You Waste Me" is dense and raucous with searing guitar lines bubbling up through the rhythmic slash. A sonic dagger puncturing the skull. (www.myspace.com/theenergyhtx)

ERGS-Thrash Compactor (Grave Mistake/Firestarter, 7" EP)
The Ergs were generally known for playing hyper-melodic punk ala the Descendents but these five songs that are slapped on a one sided 7" show their hardcore punk side. Four of them recorded in '03, one in '07 and harnessing their high level of musical skill to loud and fast material and it's over before you know it. So play it again. Gratuitous slams at both Johnny from Goo Goo Dolls ("Johnny Rzeznick Needs His Ass Kicked" and Dubya ("I Shot The Devil's Son"). Accompanied by witty liner notes. (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

FLAG OF DEMOCRACY-Home Lobotomy Kit (Motherbox, CD)
More than a quarter-century as a band and still raging, with few lineup changes--the current drummer, Bob Walker, came on board in 1986. This new album actually isn't all that new, since it was recorded in 2005 but, even at that point, who'da thunk FOD still had this much frenetic energy left? Perhaps it's the fact that FOD don't release albums all that often (the one before this came out in 2000) that maintains their sonic quality. They've always found a way to mix up speedy, crazed, tumultuous hardcore with incredibly stinging melody lines that fight their way through the fray. Songs like "Glimmerglass" and "Number 1" provide an incredible powerload, to quote the title of a song from their first 7", fusing the rage with poppiness. The vocals take the primal scream route but it's a damned harmonious one, particularly when Jim and Dave's emanations end up tangled together. They haven't lost a step. (www.myspace.com/motherboxrecords)

KIELTOLAKI-Massahypnoosi (Feral Ward, LP)
Finally, 12 inches of Kieltolaki's blazing hardcore. They're Finns but draw as much from Swedish fodder as their own country's tradition (Kaaos, in particular, but without the reverb). Splitting hairs, I suppose, a case of over-analyzing. Buzzing guitars with a dollop of feedback and plenty of rhythmic rampage. Speaking in the figurative sense, this kills everything in front of it. Maybe I should put the speakers outside--it'll get rid of the weeds a lot easier than any gardening tools. Probably scare the neighbors too, but that's their problem. It'll keep those annoying little kids away from me for a bit. (www.feralward.com)

KVOTERINGEN-Samhallets Forradare (Feral Ward, LP)
Second album from this Swedish band that includes Jallo from Totalitar, Meanwhile, Krigshot et al so you pretty much know what to expect here and it's as promised. Cranking out the Swedish hardcore rage, playing what they know, which is d-beat inspired mayhem with enough rawness to give it an edge and the adequate amount of vocal venom. They've got a newer split with Nitad and their tracks on there sound even rougher but I like these recordings better. Quality noise. (www.feralward.com)

LETS GROW/JAIBO!-Split (Thrashbastard/multi-label, LP)
Lets Grow recently called it quits so I imagine this might be it for the long-standing Belgrade band. With this recording, Lets Grow have pretty much abandoned the hyper-fast thrash, save one song, and complete the evolution towards a powerful, mid-to-fast sound ala early Annihilation Time, right off the bat for "Tired," "Gone" and other songs, although there's more of a melodic hardcore fervor for a song like "Judge and Jury" and "Darker Place." Sorry to see 'em go. Jaibo!, also from Belgrade, marry rock 'n roll, metal and boogie elements to their hardcore sound. Fairly tasty, musically, although the vocals get a little overbearing at times. I'll stick to the Lets Grow side. (thrashbastard@yahoo.de)

MALE NURSES-s/t (Deranged, 7" EP)
FINALLY, some vinyl from these guys. About fucking time. The Nurses started out as more or less a straight-up ’82 era hardcore band. That influence permeates a good chunk of this EP with the rampaging “Red, White, Blue” being the standout. They’ve also added a snottier west coast punk-meets-Dead Boys element as well, particularly for “Pull The Trigger.” Vocalist Nick Norrman conveys the appropriate attitude and there are some impressive guitar squalls throughout. (www.derangedrecords.com)

NIGHT BIRDS-s/t (Grave Mistake/Dirtnap, 7" EP)
They might be from NJ, but the Night Birds are looking westward and go for some punk rock surfing. Well, only the instrumental "Harbor Rats" is pure surf but other three songs have that tinge to varying extents. More than a little East Bay Ray in those six string exercises, especially for the walloping punk of "Prognosis: Negative." The brief "Unanswerable" eschews the surf for straight hardcore. A strong vinyl debut after a not-so-shabby demo. (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

RED INVASION-Ugly To Know So (Rebel Sound, CD)
These trashy rockers aren't afraid to brazenly flaunt their musical inspirations, those being the Dolls and other 70s strut-rockers. Damn if it doesn't work--up to a point. If they were rougher and even trashier, I'd probably be a tad more impressed. Still, Joey Boy's Bators-conjuring yowl matches the band's rock 'n roll brashness and, speaking of Stiv, there's a Lords Of The New Church flavor to "Disappear." Also, to be fair, it's not a carbon-copy tribute. Opening song "Gimme A Lot" is a fast-paced, surging blast that gets things off to a strong start. Good enough to keep around. (146-A North St., Pittsfield, MA 01201, www.myspace.com/redinvasion)

RENEGADES OF PUNK-s/t (Thrashbastard, 7" EP)
A reissue of a 7" that came out a few years ago. This Brazilian band blast out fast, slam-bang punk with a stripped down, non-distorted guitar sound. Within the confines of this sound, Daniela's voice has a gritty but sonorous quality, emphasis on the former. An energetic combination of garage, '77 and early '80s hardcore influences. (thrashbastard@yahoo.de)

UNNATURAL AXE/NASTIES-Split (Lawless, 7")
Two songs apiece from the Axe and Italian band the Nasties, each covering a song by the other band. Unnatural Axe's side is their first new recording in well over a decade. The original, "I Am The Way," is an average mid-tempo rocker while their version of the Nasties "Back To LA" is fairly tepid pop. As for the Nasties, I think they upstage the Bostonians with the punk pop of "Maybe" and a punchy cover of the Axe's "The Creeper." Overall, kind of underwhelming. (PO Box 689. Hingham, MA 02043, elaw@fifieldfabrics.com)

VIPER-Committing The Seven Deadly Sins (540, 7" EP)
Emanations of pure evil with a hardcore punk take on Venom and Hellhammer, cavernous production and all. This is the entertaining brainchild of a couple of guys, who augment the lineup to a five piece for live performances. Definitely not polished and the lyrics about the deadly sins (on six tracks--"Pride and Desire are combined) are appropriately nasty. “Gluttony” threatens a buttering of the flesh and inserting a certain male organ in a certain place, followed by a blood spitting facial. I think I might look into a diet. (Band contact: 113 Cowls Road, Amherst, MA 01002)

YOUNG OFFENDERS

YOUNG OFFENDERS-Leader Of The Followers (Deranged, 12")
The band's first 12" release--well, they were on a split 12" with Giant Haystacks if you want to be technical about it. An abundance of jittery energy and big hooks, underpinned by adept playing and strong harmonies. It sounds as though the Offenders have ingested some of the "Black Coffee" they sing about on the song with that name. Still, their approach is much more pop-oriented than the mutant dance inclinations you'd usually associate with this musical territory. Continuing to crank out the quality music and I hope they can somehow find their way to the east coast, 'cause they were great at Chaos in Tejas. (www.derangedrecords.com)

Suburban Voice blog #87

2010-06-26T14:14:00.011-04:00

WELCOME BACK MY FRIENDS...

ARCTIC FLOWERS (at Chaos In Tejas)

...to the blog that never ends (where have I heard that before? Never mind.). Sure, it doesn't get updated as often as it should. I've reached the conclusion I'm never going to catch up. I shouldn't even put up the pretense I will. I really appreciate all the sick records people have been sending my way and do the best I can to at least play them on the radio show but it's a daunting task to review a million records in each blog. Besides, actually hearing the music makes it easier to figure out what you'll like or won't, correct? I'd also like to do other things with this space on occasion. So don't get disappointed if I don't review something--it doesn't mean I didn't like it but I just can't seem to work my way through the review pile that efficiently.

I finally made it to the Chaos In Tejas fest over Memorial Day weekend. In brief, it was a hell of a lot to absorb over four days and the recovery period was a lot longer than that. I have a photo gallery from the fest with a rundown of the festivities at my Flickr page. Check that out and a number of other sets I've posted recently.

As for when the next blog will be, there's always hope it won't take as long. I'll aim for having one done well before the end of July.

REVIEW TIME

KYKLOOPPIEN SUKUPUUTTO

ALLIANCE-Resonant Agitate (HG Fact, LP)
A sweeping and powerful effort from Alliance. I know some people have recommended a moratorium on the term "epic" when referring to musical performances but I can't really come up with anything better to describe it--most of these songs cross the four minute mark as the songs unfold through various segments. A visceral cacophony of guitar/bass/drums accompanied by rabid vocals although there are melodic guitar underpinnings--maybe a hint of Voivod here and there? I think there is. It creates a haunting quality on the bridge of "Cry Earth." A colorful 6 panel sleeve with the front page folding out a twisted rendition of buildings, cars and highway, all of it in a non-linear state of chaos. I imagine that's their way of visually presenting the chaotic musical ride. (www.interq.or.jp/japan/hgfact)

BROKEN-Active Denial (Vex, CD)
Broken are still going strong in 2010. As agitated at the world as always--you can hear the outrage in Jim Martin's bellicose vocals. Heavy-duty crust-core reinforced with a bruising wall of guitars and rhythmic rumble. Lyrics about diminishing civil liberties, environmental destruction and economic globalization. Timeless lamentations that never seem to show improvement, do they? I'd imagine the devastation caused in the Gulf of Mexico by BP could be next on their lyrical agenda, as well as other bands. I'll be listening for it. (www.myspace.com/vexrecords)

COMMON ENEMY-Living The Dream? (Overdose On Records/Horror Business, CD)
They claim they're "still having fun" and it sounds like they are, bashing out the noise that makes life bearable. Pretty standard thrashy hardcore, ranty vocals and drumming that sometimes cause things to fall apart a bit. OK, more than a bit. Not adding anything unique to the hardcore canon yet it's enjoyable at least some of the time. (www.myspace.com/overdoseonrecords)

CULO-Nuke Abuse (Punks Before Profits, 7" EP)
While Culo would probably benefit from the addition of a bass-player, some of these songs will get the circle pit going. When I mentioned to Ryan from PBP that one of the songs ("Shock Troops") sounded somewhat garagey to me, he scoffed about how much he hated garage rock but, for a moment, it does have that feel until the speed kicks in and "Kill The Pain" favors straight-forward punk that's close to catchy. Without the bass, though, it sounds thin. (PO Box 1148, Grand Rapids, MI 49501, www.punksbeforeprofits.org)

DEFIANCE-Johnny Was A Soldier (HG Fact, 7")
Wow, Defiance are still kicking around and, these days, have Brian Hopper from Hellshock on guitar. Each song shows a different side of the UK 82 thang, with "Johnny" taking a tuneful route and the b-side, "Will We Survive," going for the speedier attack. Listenable but paling in comparison to their classic 90s era releases. (www.interq.or.jp/japan/hgfact)

DEVOUR-Insect Circuitry (Headcount, 7" EP)
Another barbed-wire hardcore attack on this new five song EP. The vocals remain raspy and nasty and the songs stick to a speedy assault although there's a change-up with the noise-field fade for "Laugh Track" before the pillage continues with "Living Scraps." As I mentioned in the review of their LP, there's a hint of early COC in terms of the bass runs, drumming style and arranging but it's not pure tribute. Devour forge together a hardcore sound with a bulldozing presence. (www.headcountrecords.com)

FIX MY HEAD/KNIFE IN THE LEG-Split (Inimical, 12")
Fix My Head, in case you forgot, have former Scurvy Dog Matt McDonald on vocals and he sounds as rabid as always. Mainly raw and fast thrash, along the same lines as 9 Shocks Terror--maybe not as crazed--but these guys channel the Japanese hardcore sound in much the same way and add US influences. The slower "8 Years" is a critique of how Obama's regime, so far, seems to be more of the same on some issues and you won't get any argument here. Knife In The Leg, meanwhile, are from Poland and also play energetic, surging hardcore but with more of a melodic emphasis. I like the sentiment behind their song "Kill/Die For Limited Edition," about the fetishization of collectible records. Record collectors have become as insufferable as baseball card nerds. On black vinyl--damn, now I can't flip it on eBay. Not that I'd want to because this is one kick-ass split. (PO Box 2803, Seattle, WA 98111, www.inimical.com)

KYKLOOPPIEN SUKUPUUTTO-Likana Valikoimassanne (Primitive Air-Raid, 12")/Kusisessions Vol. 1 (Kissankusi, 7" EP)
On their second 12", there remains an off-kilter sound with this Finnish band. Explosive and challenging, the latter attribute not necessarily a plus all the time. The three songs on the first side are frantic, unhinged hardcore that sounds like an eruption of instruments doing battle and the drumming threatens to overpower everything else. Flip it over and change the speed to 33 1/3 and there's a distinctly different approach--slower, intense but still a scream from the inside. More of a focus, a cohesiveness especially for "Matka Unholaan" but difficult and I don't think it's something that would find its way into regular rotation here. The 7" is a collection of earlier recordings that originated, according to the info, during 2006 but took a few years to complete, press, etc and here it is. Much rougher production for the thorny, sputtering hardcore following a slightly more conventional path though still veering out of control. Sometimes, I'll say a record benefits from cruder sound quality--in this record's case, it would probably work better with better sonics. A "for the fans" artifact. (www.primitiveairraid.com, www.kissankusi.com)

LÖGNHALSMOTTAGNINGEN-Fina Nyanser i Nya Finanser EP (Local Cross, 7")
When I've played this record on the radio show, I've given up trying to pronounce the name of this 2 piece Swedish band, whose name loosely translates to Liars Recption (thanks, Google Translate). One guy handles the vocals, the other all the instrumentation. Semi-noxious old school punk where the songs are fun, catchy and primitive. One of the songs, "Positivt Tankande," is actually a cover of "Positive Thinking" from Australian obscuros the Young Identities. Yes, I looked it up and even found the snotty-sounding original version (which you can find on a CD compilation called "Shakedown: Original Brisbane Punk.") Back to this record, though, this duo have the KBD spirit and if some might find that passé, it's their problem. (www.localcross.com)

MANIPULATION-s/t (Fashionable Idiots, 7" EP)
God DAMN is this a ripper. New ragers from Chicago with Jordan Atkins (Pedestrians) on vocals and Bryan Welch (Chronic Seizure/Fourteen or Fight) manning one of the axes. Is it lame to call a guitar an axe? Well, it has the same impact. Lest you think I'm being hyperbolic, just listen to the damned record. Jordan howls in a much harsher cadence than he did in Pedestrians, getting back to his hardcore days in Dearborn SS some ten years ago--he sounds like the vocalist for the Repos, here. Rampaging hardcore with a Swedish tinge but minus the rock 'n roll inclinations. The drumming on "White Scare" sounds like a locomotive at times, with the twin guitar squalls creating some accompanying mayhem. Plenty of overdriven mayhem contained in these five songs. (www.fashionableidiots.com)

PERDITION-s/t (Distort Reality, 7" EP)
ARRRRRRGH... The first emanation heard here. and it's not the last exhortation of that type, either. Vocals that sound as though the individual is trying to expel something causing him great agony. Maybe it's life. More raw, blown out hardcore from this NYC crew and As I've said many times, it's all in the delivery, how far a band pushes things without it turning into formless noise. Clattering drums, sputtering guitars, distortion, feedback and unfettered rage. Dis-core by way of Swedish noisemongering, if one was to pin it down. This will pin down or, rather, pin back your ears without very much difficulty. (PO Box 80338, Minneapolis, MN 55408, skell@hotmail.com)

PLAGUE RATS THROUGHOUT HISTORY-Comorbid (Primitive Air-Raid, 7" EP)
Crude and crazy garage/new wave/punk pulling 70s era proto-punk-muck screaming through a hellacious time warp. Jabbing guitars, spooky keyboards and a wild 'n wooly ambiance, all of it in glorious low-fi. Young, fast and scientific raw rock mutancy. To paraphrase a song title, I'd love to know what kind of spoilage these two guys are diving into because it's obviously created quite the violent infection. (www.primitiveairraid.com)

POSITIVE NOISE

POSITIVE NOISE/XTRA VOMIT-Xtra Noise (IFB, 7" EP)
Thrasharama in full-effect with two Michigan bands, with the man who goes by the name of Sock playing in both bands. Now that we've taken care of the details, they're each loud and fast, with the occasional variance in speed and, in the case of Positive Noise, it adds to the songs' impact. Xtra Vomit take a grindier route and the songs don't hold together quite as well. (2311 Katherine St., Ft. Myers, FL 33901, www.ifbrecords.com)

SHORT CHANGED-s/t (Rodent Popsicle, CD)
Ever have one of those days where you just want to scream at the top of your lungs? Well, the bloodcurdling yell that starts "Bottle Or The Knife," the second track on Short Changed's first album, provides such a moment. That song appeared on their 7" from a few years ago but that's the only repeat (well, besides "Send In The Clones"). This is revved up, raw and boisterous hardcore punk. Angry-as-fuck vocals and, instead of guitar, the instrument with the strings is named "chainsaw." No stretch there. Observations about gentrification, white flight and the tragedy of assholes that smoke half your stash. Even though I don't smoke weed, I can feel their pain. Anyway, not a lot of nuance either, just bile, and there are days when one definitely needs a dose of that. (www.rodentpopsicle.com)

THURNEMAN-Tegelsten-For-Tegelsten EP (Sorry State, 7")
Thurneman's songs are mainly in a fast hardcore vein but there are some melodic change-ups on about half the songs, although shards of tunefulness poke through other songs, as well. Those moments make this disc a little more distinct than other 7"s in the current review pile. (1102 N Greensboro St, Carrboro, NC 27510, www.sorrystaterecords.com)

Suburban Voice blog #86

2010-05-08T16:19:00.010-04:00

RAW POWER REDUX

IGGY & THE STOOGES-Raw Power: The Legacy Edition (Legacy, 2xCD)
Right up front, "Raw Power" is my all-time top five albums and continues to blow my mind some 34 years after first buying a used copy for $3 at a head shop in Lynn, a story that you can read here. In fact, that could basically be the review but I won't be that lazy. Bottom line, though, is the tattered album still resides on my record shelf. This will be third version of "Raw Power" I own on CD (I also have it on cassette). The most important thing the listener should be grateful for the restoration of Bowie's original mix--tinny thin sound and all, where the bass is pretty much inaudible, largely drowned out by Iggy's sneering vocals and James Williamson's guitar slash. And it SHOULD be heard that way. The remixed, 1997 reissue of "Raw Power," was an ill-advised abortion, an unforgivable defilement that has thankfully been rectified. This mix brightens things up a little but maintains the integrity of the original.

I mean, where to begin when talking about an album I've listened to hundreds of times? "Search and Destroy" is a clarion call of snarly, sizzling guitar leading into Iggy's opening boast/declaration of being "a street-walkin' cheetah with a heart full of napalm." Oft-quoted but it's brilliant, isn't it? The title track, "You're Pretty Face Is Going To Hell" and the apocalyptic closer "Death Trip" are equally hell-driven. Even the two "acoustic" songs, the bitter ballad "Gimme Danger" and stutter-stepped, pleading "I Need Somebody," are pure ballsiness.

Speaking of ballsiness, that's what you get for the previously unreleased live disc "Georgia Peaches." A recording from the fall of '73 with fairly good sound quality. Four songs from "Raw Power" and four non-LP songs, which will be familiar to Iggy aficianados, those being the Who-ish "Head On," barrelhouse "Heavy Liquid," ribald "Cock In My Pocket" and downer blues of "Open Up And Bleed." They'd added pianist Scott Thurston by this point and it added an early rock 'n roll flavor. Truth be told, the performances are stretched out, except for the explosive brevity of "Cock," with a mind-bending solo from Williamson. There's plenty of crowd baiting, threatening physical violence to a "little cracker boy" and urging him to "suck my ass." At one point, Iggy asks if anyone can hear him and that doesn't mean with their ears. Screaming at a wall? Itching for a fight? Conquering their senses? Maybe all of the above.

Disc #2 also has an outtake from the "Raw Power" sessions, "Doojiman," with Iggy making jungle noises and yelps over a rhythmic, repetitive musical accompaniment and a rehearsal version of "Head On." Neither of them are all that revelatory or essential. There's also a deluxe version that includes a third CD of various outtakes/alt mixes/etc, a "making of 'Raw Power'" DVD, 7" of "Search and Destroy," prints and a book. Probably a condom and Swiss army knife, too, but I'm not sure about that. In any case, it's something that I'm definitely going to need. Even if you don't want to shell out for something that elaborate, make sure you have at least one copy of "Raw Power" in your collection. No offense, but if you don't like "Raw Power," you really don't get punk or rock music in general. Reckless, fearless, ear-shredding, obscene and sensual. I'm being hyperbolic but "Raw Power" captures the essence of great, timeless rock 'n roll.

THE REST...

CONVERSIONS

ANTISEEN/HOLLEY 750-Split (Zodiac Killer, CD)
To channel the late, great Bruce Roehrs for a line or two (and I'm really not worthy to do this), the Boys from Brutalsville are back to terrorize you fucks. The Antiseen material includes new songs, a few covers and a pair of live songs and they haven't lost a step. Clayton still growls with psychotic soul and the burn continues unabated. Their cover of the Sonics' "The Witch" features wacky theremin effects as part of this crushing rendition. "Curses" and "One Shot, One Kill," the pair of new songs, maintain the band's tradition of unfettered agitation and aggressiveness. As for Holley 750, they play passable "high octane" punk rock 'n roll along the lines of Zeke, Supersuckers, etc. Not an incompatible pairing and they're good at what they do but I'll admit it--I'm here for Antiseen. I don't know if Bruce got hear this but, if he did, I have little doubt he'd give it a resounding Fuck Yes! (www.zodiackillerrecords.com)

ASSPISS-Fuck Off And Die (Suburban White Trash, 7" EP)
Let's see--band name, record title, record beginning with the sound of someone taking a leak, vocalist named Germ Warfair. Yep, this is punk rock. Kind of clumsy-sounding, UK-82 inspired, antisocial up-da-punx fodder although the guitarist seems to have heard his share of metal. And it comes with not one but two stencils for your own punk rock tagging excursion. Almost on the level of unintentional parody but I'd be lying if I said I didn't somewhat enjoy it. (PO Box 270594, Ft. Collins, CO 80527-0594, www.suburbanwhitetrashrecords.com)

BILL BONDSMEN-Disaster Prone/36th (Local Cross, 7")
The Bondsmen have never been a predictable band but they push things in a new direction here. That sometimes sets off alarm bells but it shouldn't be the case in this instance. Two lengthier songs this time out. "Disaster Prone" matches Tony's ranting vocal with a jabbing guitar line and bashing off-beat drumming that also adds more complex rhythms. "The 36th" mainly operates in an early 80s post-punk realm, atmospherics and a percolating undertow setting the table for a powerful burst of rage towards the end. There's a darkness, an ominousness with these songs. Another quality release for the burgeoning Local Cross label and for this often-overlooked band. (www.localcross.com)

CLAW TOE-Ingrown Ego/Girl From the Gas Station (Criminal IQ, 7")
A mysterious project masterminded by Criminal IQ honcho Darius Hurley, whose vocals convey pure deviancy. How to describe the musical contents? "Ingrown Ego" has a sinister ambiance and the production is muffled and claustrophobic. Using "Metal Box"-era PIL and Chrome as starting points (sorta), the guitar lines have an alien vibe, accompanied by deeply buried bass and and even more deeply buried synthetic beat. "Girl," meanwhile, has brighter production, electronic rhythms and a Helios Creed-type acid bath guitar tone. In other words, this side really does sound quite a bit like Chrome. Offbeat and highly engaging. (3057 N Rockwell 2nd Floor Chicago, IL 60618, www.criminaliq.com)

CONVERSIONS-Spineless Wonders (Ride The Snake, LP)
This posthumous release was recorded in 2007 and finally sees the light of day. The Conversions were one of the more interesting and talented bands to come out of Boston in recent years. The speed and thorniness of hardcore but, with all the odd time shifts in the drumming (not much 4/4 here) and tension between the instruments, there was as much of a post-punkish flair. Terry Cuozzo's angrily acidic vocals meshed perfectly with the innovative music and they were always evolving without moving into any sort of pretentious realm. The lengthy "Cause and Effect" really pushes things, a mesh of martial drumming, deconstructive guitar and bass damage. If that sounds too artsy for some of you, it's really not the case. Goddamn, I miss this band. Terry is now the vocalist with Foreign Objects and the three musicians have reconvened as Vile Bodies with Jeff Walker (ex-Sleeper Cell/Balance of Terror) on vocals, with both bands continuing to defy convention while maintaining plenty of edginess. (6 Wadleigh Place, Boston, MA 02127, www.ridethesnakerecords.com)

DEAD WIFE-s/t (Psychic Handshake/No Vacation, 7" EP)
Lest you think that, with the band's name and a song titled "Gentleman Rapist," this is a group of tawdry male sexist scumbags, 3/4 of the membership of this Montreal band are women. Kick-ass hardcore-tinged garage with distorted and/or echo-y vocals chafing against the blunt buzzsaw guitar/bass/drums tumult. I'm not sure what "D.W.S.Y.H.F." stands for but "TXT Me" is a 21st century statement and anyone who does that during one of their sets (seems to be a common occurrence at shows here in Boston) should pay attention or get bashed over the skull with a guitar or something. You'll feel bashed by this recording, that's for sure--and that's a compliment. (www.myspace.com/psychichandshake)

EMPTY VESSEL-s/t (Blind Spot, 7" EP)
There are 12 songs here and you figure it'd be a standard hardcore release. Wrong! Sure, there an abundance of hardcore rage but there's also more complexity at work here. "Poison" draws from the Minutemen well, for instance. "Portland" pounds away at a mid-tempo pace before the dramatic finale of "Beneath The Surface." The band's name gives a good insight into their lyrical pulse--shards of angst and frustration. Life is either half empty or half full (to quote two of the song titles) but it doesn't sound particularly upbeat either way. I mentioned the Bill Bondsmen being an unpredictable band. So are Empty Vessel. Only 200 copies pressed so get crackin' (PO Box 40064, Portland, OR 97240)

EXECUTIONER-1983 (Patac, 7" EP)
Unreleased material by a San Jose band recorded, in case you couldn't guess, in 1983. An inspired tandem of gnarled punk, thrash and some metallic-meets-Cheetah Chrome guitar flourishes and topped off with some raspy, psychotic vocals. A good alternating of mid-speed moodiness and quicker-paced bursts. There's also an unreleased album that's expected to finally see the light of day. Hard to believe this sat in the "vaults" (or someone's closet) for such a long time. (www.patacrecords.com)

FACE VALUE-Rode Hard, Put Away Wet: Clevo HC '89-'93 (Smog Veil, CD+DVD)
Another anthology of a Cleveland band from Smog Veil. Face Value, who featured the one and only Tony Erba on vocals, were very much of their time. They were in line with the heavier/groove-style hardcore many bands plied at that point although there was an embrace of wanton speed, as well. In fact, you can hear a diversity of influences--the boogie emerging about halfway through "Open Wound," for instance and there are quite a few metallic riffs throughout these recordings. The earlier recordings are thrashier, some songs better executed than others. The catchy, youth crew-tinged "Coming Of Age" is one particular standout. The DVD has various live performances spanning '90 and '93, with varying quality both visually (you can even see the band once in awhile!) and musically. Erba hadn't quite perfected the witty banter yet but it gave the band more personality, compared with other HC bands of the time. The collection includes their first LP "The Price of Maturity," part of the second LP "Kick It Over," their debut 7" "Coming Of Age" and '89 demo. In all honesty, while there's an urgency and sincerity to these songs and the occasional gem here and there, a lot of it doesn't hold up too well. It might not be fair to say it, but Erba's later bands--H-100s, Nine Shocks Terror and Gordon Solie Motherfuckers in particular--left a much greater legacy. (1658 N. Milwaukee Ave., #284, Chicago, IL 60647, www.smogveil.com)

FUNEROT-And Then You Fucking Die Man (Inimical, LP)
With the band's name, the cemetery gates on the front cover and many songs dealing with life's end or at least waiting for it, you figure this is going to be a doom metal style band--especially with the backwards masking that starts the album. Not exactly. This band actually play various strains of punk, hardcore, metal and there's even an acoustic hoedown of sorts ("The Way Out") that I suppose you could say is unexpected. Max Gorbman's stentorian, gravelly vocals are the focal point and the guitar playing deceptively skillful. There are decent moments here and there, such as the disarmingly tuneful "Washed" and the rockin' punch of "Remote Control." The album's on the lengthy side, though, and it's not always that gripping. (PO Box 2803, Seattle, WA 98111, www.inimical.com)

GERM ATTAK-Cruxshadow (Loud Punk, LP)
When reviewing an album by a band with a few releases under its proverbial belt, it's a cliche to say "it's their best album yet." A lot of the time, that's complete bullshit but it's really true here. Germ Attak started off as a so-so assimilation of Chaos UK/Discharge/et al but they've tightened up and refined the sound a bit over the course of their second and now on "Cruxshadow," their third long-player. Yes, it remains pure early 80s UK worship and you can easily pick out where they're borrowing from. The first song, "Life In Exile," is more than a bit like GBH's "No Survivors" and there are also echoes of the Partisans, Exploited and Abrasive Wheels. The latter band's "Vicious Circle" certainly inspired "Public Enemy Number One" and there's even some Iron Maiden-esque guitar trills to close that song out. OK, I'm saying Germ Attak are derivative as all hell but it's not so much about originality as it is about whether they make it sound fresh and vibrant. "Cruxshadow" fits that description and, yes, it is their best album yet. (PO Box 3067, Albany, NY 12203, www.loudpunk.com)

GET RAD-I Can Always Live (Gilead Media/Hyperrealist, LP)/What The Fuck Happened To Common Sense (Underground Communique, 12")
Two new records--chronologically, "What The Fuck" etc is the most recent recording although they came out around the same time. Got it? Anyway, not much of a change in approach. A melding of youth-crew hardcore with boisterous back-up vocals and rougher, more pissed-off elements. That's due, in no small part, to Kevin Herwig's vocals. It finally dawns on me that he sounds like Lou Koller from Sick Of It All, only without the New York accent. While it's just about all loud 'n fast, you can hear different influences here and there. With the surging guitar and supple bass-line for "I Can Always Live" track "I Want To Kill A Priest" (timely, given yet another Catholic sex scandal in which the Pope could be complicit) has Get Rad sounding like a harder-driving version of No Use For A Name (I'm thinking "Exit"). Don't let that scare you off. This isn't Warped Tour shite. There's an equal surge on the ascending melody line of the chorus of "It's Not A Fire."

"What The Fuck" is a one-sided 12" and the merging of aggression and semi-tunefulness continues, starting off with the Gorilla Biscuits-inspired "I Found A Reason." For both records, the lyrics express some wit along with the highly-charged, personalized lyrics that often express outrages of one sort or another. "Octo-Butt," for instance, is about people indulging in internet voyeurism, watching someone put an octopus up their butt for one thing. In fact, the front and back cover artwork features an octopus with its tentacles hugging the globe and the backside showing, uh, a certain point of entry for some of those tentacles. "Entitlement Is For A-Holes" is actually an anti-welfare abuse song, lamenting that scammers take the money away from the people who really need it, talking about people who "embrace your laziness/let's live off the government checks." Without turning this into a sociological/political discussion, I think the issue a little more complex but I don't think this is Get Rad's version of Agnostic Front's "Public Assistance." Both records provide quality hardcore although I'd give a slight nod to "I Can Always Live" for having a tad more ripping-ness. (Underground Communique,(www.myspace.com/undergroundcommuniquerecords and Gilead Media, PO Box 292, Oshkosh, WI 54901, www.gileadmedia.net)

GG KING-Babbling Voices (Local Cross, 7")
I know a few people who have cringed at this artiste's moniker but, hey, what's wrong with paying tribute to Dee Dee King, you know, Dee Dee Ramone's embarrassingly bad solo project? Thankfully, that's the only connection. There are a couple of Carbonas involved in this project the two songs here provide some decent garage rock, especially the bashing b-side "Insomnia." His (their?) demo wasn't bad either, particularly the cover of the Box Tops' "The Letter." (www.localcross.com)

HOMICIDES-Black Leather Redneck (Vertex, 12")
The first thing you hear on this 12" EP from the Australian band the Homicides is a squeal of atonal guitar and then comes the nastiness. The first lyrical nugget is (on "666 Pack") is "Everytime I see your fucking face/I beat my meat to the human race." At least I think that's what's being said. If I'm off a bit, blame it on the lack of a lyric sheet but you pretty much don't need one. Stormin' garage/punk/rock 'n roll with a real loutish, obnoxious attitude--what else to say about a song called "I Fuck Girls Too Young For Me." They also give a damned good ass-whuppin' to the Fuck-Ups' "I Think You're Shit." Wrap it up with an unlisted song titled "I Hate You" and what more could you want? Formidable ax-slinging, a vocalist that seems to have an id running amok and these guys don't seem to be too concerned with who they offend. And isn't that what punk rock is about? (vertexaudio@gmail.com)

MUCH WORSE-Proper Execute (Pass Judgement, 7" EP)
With the pile of retro/old-school hardcore records that clog the distro boxes and other methods of distribution, it's tough to stand out from the proverbial crowd. Much Worse grab my ear, though. This is merciless, pillaging hardcore punk without let-up. It's something in the production that pushes it over. It's loud, it's got plenty of rawness and "oomph," for want of a better term. It has the same effect as when I heard Nightstick Justice or Straightjacket Nation for the first time. Here are bands that don't hold back, don't sound tentative--it's just pure burn. (www.passjudgementrecords.com)

SCHOOL JERKS-s/t (Cowabunga, 7" EP)
The second EP from these Toronto punk miscreants. Possessing an early Black Flag/west coast punk fervor and the vocals are venomously spat out in an abrasive ranting cadence colliding against the taut, no bullshit musical delivery. There are a couple of ex-Terminal State guys in this band and they're rougher and less catchy but it maintains a back-to-basics appeal. (www.cowabungarecords.com)

UDI-Unidentified Drunken Injury (Spider Cuddler, 12")
Boys just wanna thrash? Yes... yes, they do and that's exactly what these boys from Michigan do. Fast fast fast hardcore punk going full tilt over the course of these 14 songs on a one-sided 12", including a splendid cover of Raw Power's "Fuck Authority," although I have to admit I miss the cowbell from the original. Vocalist Mike Ratt lets the words fly--it's amazing how he's able to sing without taking much of a breath on these songs. I imagine not a lot of you ever heard of the underrated San Diego band the Neighbors, but these guys bring 'em to mind, both in terms of the speed and Mr. Ratt's phlegmy vocal delivery. This has a mid-80s vibe, when hardcore had been around for a bit but there were bands sticking with the tried and true formula. That's the case on this 2010 release and it's still highly enjoyable to these ears. (PO Box 887, Warren, MI 48090, www.spidercuddler.com)

UNDERDOG-s/t (Bridge Nine, 7" EP)
Another vintage NYHC reissue from Bridge Nine, the 1986 debut 7" from Underdog. There's also going to be a double LP/CD release coming soon that will include "The Vanishing Point" and songs from the '85 and '88 demos. This 7" has a faithful reproduction of the Sean Taggart artwork, insert and the sound is a bit brighter than on the sonically-muddy original pressing. Burning hardcore that encompassed speed and as well as a mid-to-fast paced groove and some catchy songwriting. The standout--and best Underdog song, in my opinion--remains "Say It To My Face." A timeless, confrontational anthem for the shit-talkers, wrapped up in a floor-pounding chorus and the bonus beats at the end add a distinct twist. A few years ago, a certain individual who shall remain nameless did some "talkin' bullshit behind my back" and I dedicated that song to him on the radio show next week. A personal take but, really, haven't we all had situations like that one? Step back! (119 Foster St., Building 4, Floor 3, Peabody MA 01960, www.bridge9.com)

YOUNG LIONS-1982-84--From The Vaults (Schizophrenic, LP+7")
Toronto punk excavation time--this three-piece's previous vinyl output was an appearance on BYO's "Something To Believe In" comp and their "Welcome To The Freak Show" album. Before that, it was a series of demos and tape compilations and that's where the material for this collection comes from. Sound quality is quite rough at times but the hooks of these songs burn through, from the incredibly catchy "Things Are Gonna Change" and "United" to the almost post-punkish "Pray For Julie" on the bonus 7". The Young Lions dabbled in hardcore from time to time but mainly played anthemic, fist-pumping '77-tinged punk with "political" lyrics touching on the issues of the day--"Young Amerikkka," "National Security," "Defy The State," etc. On the back cover, they state "We had ideas. We wanted to change the world." Naive, perhaps, but quite a few of us felt that way back then, that the power of punk could topple governments and social institutions. Kind of pathetic, I suppose, but we MEANT it! And as one gets older and more cynical/jaded, these songs do bring back memories of a simpler punk rock era, a simpler time in one's life. Youthful idealism set to a stirring soundtrack. (17 W. 4th St., Hamilton, ON CANADA, L9C 3M2, www.schizophrenicrex.com)

AND IN CONCLUSION...

I'm sure at least some of you (hopefully more than some of you) remember Flipside, the long-running zine that, along with Maximum Rocknroll, was one of the most influential publications covering underground punk and other styles of music. It's been 10 years since Flipside abruptly ended, after 122 issues. Some Flipside-ers (but not Al) have revived the zine as an on-line entity and the first issue is available for free download as a PDF file. A full-color, 38 page effort featuring live reviews, lots of photos both current and from the "archives," an Alex Chilton tribute, even a Brian Walsby cartoon. As Flipside have returned, many of the bands who are covered have made returns of sorts--Legal Weapon, Mau-Maus (who are on the cover), The Crowd (who have been back for a while), Saccharine Trust and the Gears. The emphasis is clearly on the visual as much as, if not more, than the printed word. I look forward to future installments and almost wonder if I should print it out for easier reading. To get the zine, go to this link. And check out the Flipside Fanzine Memorial page on Facebook.

Suburban Voice blog #85

2010-04-06T13:51:00.010-04:00

BRUCE ROEHRS (1950-2010)

This blog is dedicated to the memory of my fellow Maximum Rocknroll columnist Bruce Roehrs, who passed away unexpectedly last month. I never got to meet Bruce in person. Ellen and I were in SF a couple of summers ago and I had it in the back of my mind that I’d try to get in touch with him and see about joining him for a few beers at that bar he always mentioned. And after reading the outpouring of reminiscences and tributes to Bruce, it’s obvious he was universally loved and respected and a really unique character. I read about such exploits as selling acid for Grand Funk Railroad, about his love for all styles of music, including the fact that he owned every record Fats Domino ever released and the first record he bought was the 13th Floor Elevators’ “You’re Gonna Miss Me.”

It’s obvious Bruce lived and breathed music and never got jaded, that his enthusiasm never wavered—every “FUCK YES!” that punctuated his writing seemed genuine and sincere. I found that goddamned inspiring, since he had a decade on me and there are times when I do feel jaded as hell. From what I read, he was able to intelligently converse on just about any topic, not just music. As someone said on a message board where there was a thread paying tribute, “he lived life to the FULLEST.” It makes me think that’s something we’d all better do every single day, because who knows how long that life’s going to be. I still hope I’ll have a chance to meet Bruce at the bar someday and the first round is on me, ‘ya fuck!

*****

I figured it was high time I posted a new blog even though, as always, I didn't get everything reviewed that I wanted to. But what else is new? I can only promise a quicker update. One thing that's changed over the past month and a half is I've started attending more shows again and that's reflected on my Flickr page. I've still got a few more sets to post but they'll likely be up there a few days after this installment hits the web.

Let's get to those reviews:

BUKKAKE BOYS

ANAL WARHEAD-s/t (Loud Punk, 7" EP)
Credible early Poison Idea-type hardcore, right down to Cannonball's (that's the name he uses) channeling of Jerry A. Basic basharama, nothing breathtakingly original but they've got it down. (PO Box 3067, Albany, NY 12203, loudpunk@gmail.com)

BUKKAKE BOYS-s/t (Sorry State, 7" EP)
These Georgia jokers were one of the pleasant surprises of last year's No Way fest and they make a mighty return on their second EP. Uncorking a clattering barrage of hardcore agitation somewhere between early Poison Idea (yes, again) and COC, favoring raw production and a whole bunch of bile. If you read the Slimy Cunt and the Fist Fucks review below, I mention about that band reveling in being excluded, hated if you will. Bukkake Boys know who their enemies are and express it with "Elite" and "Trend Junkie." A liberating ugliness in this band's sound. (1102 N Greensboro St, Carrboro, NC 27510, www.sorrystaterecords.com)

CATBURGLARS-s/t (Criminal IQ, LP)
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? "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." Heavy sentiments there! I mean, that sums up life's disappointments in a nutshell. The tongue is planted so far into the cheek that it's in danger of poking through. A winning tandem of wise-assed attitude and the burn to back it up. (3057 N Rockwell 2nd Floor Chicago, IL 60618, www.criminaliq.com)

CUTE LEPERS-Smart Accessories (1-2-3-4 Go!, CD)
I thought this was going to be some cutesy power-pop fodder--and, no, it wasn't because of the band's name. While there is a certain squeaky-clean and bouncy chipperness, a fair number of these songs have teeth in them. Not all of them--there's a lighter touch here and there and a few that approach bar rock territory but overall, things are sharp 'n smart (there I go again). The horn-laced title track is a stand-out with a tip of the cap to Rocket From The Crypt, the Fleshtones and "Eternally Yours"-era Saints. "Young Hearts," "Thanks For Not Showing Up" and "Some Hits Hurt" possess an irresistible hookiness along with the hearty musical sting. You can tell they've listened to a fair amount of Buzzcocks and Undertones, judging by some of the guitar lines. Nothing wrong with that and this is a vibrant, enjoyable effort. (www.1234gorecords.com)

FOR THE WORSE/WEDNESDAY NIGHT HEROES-Split (Patac/Give Praise, 7" EP)
Boston punk legend Mike McCarthy and his socially deviant combo are paired with Canadian punx the Wednesday Night Heroes. One original and one cover for each band. “Revenge” by FTW is a mid-tempo punk basher, kind of a departure from their fast hardcore sound with loud riffing and topped off with Mr. McCarthy’s piercing yelp. Meanwhile, The Bruisers' “American Night” is given a buzzsaw airing. Both songs were recorded in ’06. As for the WNH, “No Control” is a feisty ‘n catchy full-bore anthem and their cover is a decent-enough rendition of the ZERO BOYS’ “Civilization’s Dying.” (Patac, www.patacrecords.com/Give Praise: www.givepraiserecords.com)

LOST BOYS-Work, Life, Regret (multi-label, 7" EP)
LOST BOYS/IRRADIATES-split (multi-label, 12" EP)
Two new records by this fine fine French combo—one of ‘em a new four song 7” and the other being a split 12” with their countrymen The Irradiates. The 7” is another cut ‘n slash burst of no-nonsense, fast snot-punk. A revved up tandem of garage and early 80s hardcore styles, although slowing it a tad for “Some Won’t Come Back Tonight.” The perfect complement to the caffeine surging through my veins at the moment. And if you remember that song by Rockwell, “Somebody’s Watching Me” (I’d rather not), the same kind of paranoia rings through the lyrics of “They’re Watching,” but they also note that folks aren’t watching the watchers and satisfied with their complacency on “Keep Your Smile.” The cover choice is also inspired—a bolt through MIA’s “I Hate Hippies,” an early song from those guys that hasn’t been flogged to death elsewhere. Their pair of songs on the 12” are slightly different—an older California sound with a surfy inflection for “Big Day Big Fun” and straight into the surf for the instrumental “Neist Point.” Well-played but kinda ho-hum. The Irradiates are more of a straight-up surf-punk band, also offering one instrumental and one vocal track and the latter, “When The Birdmen Flew,” is a catchy rocker. The LOST BOYS solo 7” kind of blows this split out of the water (sorry).(www.lostboys.fr)

NINPULATORS-2009 Demo (Teenage Riot, CD)
OK, as of this writing, 2009 has been over for over three months but, to use a cliche, better late than never, I suppose. West coast thrash and skate punk are the main musical tools—not an uncommon approach these days—see Smart Cops, Hjertestop and many more—but the basic sounds laid down by this Hungarian band are quite good. Their vocalist Viktor claims that the lyrics in Hungarian are “translations of either early Madball or late Dead Moon songs” but I think he might be pulling the wool over my eyes. Who knows—maybe he’s telling the truth. I’m too lazy to find out. (www.myspace.com/teenageriotrecordsbp)

PINKO & THE ACTION BOYS (2005)

PINKO & THE ACTION BOYS-Louder Than Everything (self-released, LP)
When I was a youngster, my family vacationed a few times at a blissful place called the Wyonegonic in North Bridgton, ME. It was somewhat run-down but there were comfy cabins, delicious meals in the main building, swimming in the pool or nearby pond, shuffleboard, etc. It still operates as a camp, but I haven’t been there in 40 years and have no idea what it’s like these days. But punk rock DOES exist there. Pinko & The Action Boys, from the adjoining town of Bridgeton, have been around for many years but Louder Than Everything is the band’s first 12” release. Nothing sedate or restful here. It’s whomping high energy hardcore punk with agitated, gritted-teeth vocals and a rough and fast oeuvre. Yeah, the drumming loses the beat once in awhile but these guys have such an unaffected feel that it’s impossible not to love it. The packaging is superlative—clear vinyl (one of five colors), a hand-screened inner sleeve, CD version and a “Pinko Moxie Army Field Manual” booklet about their “unconventional warfare tactics and techniques.” This tome not only provides the lyrical matter (along with a guitar pick tucked inside!) but lays out the agenda. The hopped-up-on-Moxie PINKO are into political as well as musical subversion, keeping a wary-yet-winking eye not only oppressive forces but also laying down the punk rock law, demanding the return of the circle pit. Not much to add except, as they say on “Organization Of A Raid Force,” “up the fucking PMA!” Amen, comrades. (www.pinkoandtheactionboys.com)

SCEPTRES-Flatline Generation/The Tow (Dire, 7")
Another fine release from the up 'n coming Dire label. The Sceptres play sturdy punk-verging on-post punk that's underpinned by dynamic bass and drums, jabbing guitar and charming vocal calisthenics from Bryony, sometimes double-tracked so it sounds like she's harmonizing with herself. The band includes members of the Shitty Limits. (www.direrecords.com)

SLIMY CUNT AND THE FIST FUCKS-Bastards (Patac, 7" EP)
Ah, the band name some people love to hate. In fact, SCFF revel in being hated, being the "bastards with big mouths." Mean, mid-tempo punk bruiseability with Opie's agitated bray at the fore--even a few demonic grunts to start things off. This is middle-finger, anti-social punk for the rejected and, uh, anti-social. Those who never quite adjusted either to "norm" society or the elitist punk pecking order. When all those here-today-gone-tomorrow types have moved on to their Brooklyn apartments and lame bands, the SCCF boys will continue to haunt Boston's punk demimonde. What did a certain DC band* say years ago? Hated and proud! (www.patacrecords.com)

SLUTTY CHURCH CHIXX-s/t (No Proift)
Subtle band name, eh? OK, NOT subtle, especially the closeup photo of bible resting on a woman’s thigh and I imagine about to be used in a quite unholy fashion. That lack of subtlety also applies to the raw musical contents. Loutish hardcore punk and fairly inept, sad to say. They sound pissed off as hell and I imagine I’d be the same way if I had to live in Alabama, in the middle of the bible belt, to mention one of the song titles. That doesn’t change the fact this isn’t that great. (2724 Glastonbury Rd., Apex, NC 27539, www.myspace.com/noprofitrecords)

SOUTHSIDE STRANGLERS-Too Much TV (Grave Mistake, 7" EP)
These Richmond Stranglers have Kenny and Brandon from Government Warning indulging their more rockin ‘n rollin’ inclinations. Kenny adds a bit of swaggering bravado to his vocals while maintaining the snottiness and the songs are ass-kickers devoid of any sort of cock rock cheesiness—the semi-raw production prevents that from happening. There's a newer 7" on Fashionable Idiots that just came out, but I haven't heard it yet. (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

THE STATE-Nihil Ex Nihilo (Punks Before Profits)/Excommunicated (Statement)
The stream of State 7"s continues unabated. Add two more to the collection. There are a pair of absolute scorchers on "Nihil Ex Nihilo, "Destroyed Rock City” and “Vixen." Both songs feature great guitar work by Art Tendler, channeling Mr. Ron Asheton and dumping it into a punk rock acid bath. "Excommunicated" is the newer recording and release. It starts with another rocked-up anthem, “Dropout,” the best of the four songs here, although “Excommunicated” and “Reign Of Terror” have plenty of fieriness, as well. (www.myspace.com/statenoillusions, www.punksbeforeprofits.org)

THIS MOMENT IN BLACK HISTORY-Public Square (Smog Veil)
A tumultuous, cacophonous rock ‘n roll joyride. That’s not really giving you much to go on, is it? It also wouldn’t help if I said this band doesn’t really sound like anyone else. What you have a is fist-pumping amalgam of punk energy and some hard rockin’ 70s impulses filtering through. It’s loud, guitar-oriented rock although there are also organ shadings. They don’t veer that far from the nervy/edgy thrust all that often—well, except for the brief hip-hop throwaway “My Notes.” When I say you hear some funk in the bass-line of “Photonegative,” I’m not talking about JB or Sly Stone. I mean funk as in Grand Funk. Somewhere, Mel Schacher is smiling (Mel was GF’s bass-player, in case you couldn’t figure it out). There’s a little more of that “red album” Grand Funk (and maybe some Sabbath) for the concluding “Precinct.” The tornado-like “Theophylline” conjures up the best of Amphetamine Reptile noise with a dollop of Jesus Lizard. Then there’s the sonic eruption of “MFA” and jarring groove of “90% Tone.” I imagine there a conscious brazenness in all of this rockitude but it still hooks you. (1658 N. Milwaukee Ave., #284, Chicago, IL 60647, www.smogveil.com)

Suburban Voice blog #84

2010-02-27T16:52:00.007-05:00

MALE NURSES

Someone just interviewed me for a zine and asked why I was publishing this blog less frequently. I really didn't have a good answer. It's not due to a shortage of material. The bombardment continues and I always hope I won't overlook anything mindblowing. I just can't seem to get my shit together lately. Story of my life...

The year's kind of been off to a slow start, in terms of getting out and seeing live music. February's almost over--I didn't see one show in January and made it to three this month, one of which was for my 50th birthday, on 2/13 (my birthday was actually the 12th). In all honesty, that was a nightmare to put together. I asked so many different bands to play and they couldn't (or maybe wouldn't) for one reason or another. I won't call 'em out on it because the show ended up being a blast, with one of my current local favorites, Male Nurses, knocking out both their early 80s-influenced hardcore and recent compositions that veer in a snottier punk rock direction. Payload did their FU's tribute (the band has John Sox and Slade from Straw Dogs on guitar) and I got to cross one thing off the "bucket list" by getting to sing "What You Pay For" with them. Two grind bands from Philly, Backslider and Nothing Is Over, got things started and, as far as grind goes, they were both decent.

Then there was the debacle of a set by the first band I played in, Isolated Youth, with yours truly on bass and lead vocals on a couple of songs. People seemed to be into it but after just two practices and it being our first show since '82 (and only second-ever show), let's just say it was on the rough side and I'm being generous. But thanks to everyone who came down for it, to Kimberly and Tom for their hard work promoting and running the show and Mick providing some of the PA (along with Tom). And, of course, the bands...

As always, you can see photos from the shows I attend at my Flickr page.

REKKIDS

RELIGIOUS AS FUCK

AMERICAN CHEESEBURGER/RELIGIOUS AS FUCK-Split (No Idea, LP)
Blazing, blazing blazing--and that description applies to both of these Florida bands. With ACB, it had always been the live thing up to this point. Not that the records were terrible or anything but they didn't capture this band's in-person mania. No more--the band's 9 Shocks-ish scorch comes leaping at 'ya like a gasoline-generated fire. Former vocalist James Greer (since replaced by Jeff Rapier) demonically emits the words while the band's full-tilt thrash is meticulously executed. "Faster Than The Speed Of Night" brings their side to a metal-singed conclusion after the hardcore blast subsides. And we're only half-way done. RAF also pack a mighty 'n speedy punch with seamless tempo shifts. Some blasting here and there but not to the detriment of the songs' impact. Slightly darker in tone than ACB, hints of crust but nothing "epic." These are short doses of hammering mania. Comes with a download code and I've been rockin' this while on the treadmill. Add this to your own workout regimen. (PO Box 14636, Gainesville, FL 32604, www.noidearecords.com)

APPLACHIAN TERROR UNIT-Discography Pt. 1 (Profane Existence, CD)
Anthologizing ATU's first EP and "Greenwashing" album. ATU came out of West Virginia some years back, dishing out dual-vocal crust punk with metallic overtones. "Greenwashing," for instance, draws from Slayer's "Reign In Blood" album and early Celtic Frost in its intro. Weighty lyrical content--anti-government, anti-religion, anti-capitalist, speaking up for those who suffer without health care (talk about timely!) and even keeping it local for the opening treatise about strip-mining. That's a big issue where they live and some anti-mining protests have been disrupted by violent pro-mining thugs. "Sago," a song about mining, points its wrath at companies who pillage their surroundings. While some of the compositions are on the lengthy side, with quiet passages setting up the charging blitz, it still creates a bruising ambiance. (PO Box 18051, Minneapolis, MN 55418, www.profaneexistence.org)

ASPIRIN-We Do Painkilling To Your Anger (Schizophrenic, 7" EP)
Wild, crazy Japanese hardcore with all the subtlety of a nailbomb, musical shrapnel flying in multiple directions. Even with the drumming nearly out of control and the bombardment of powerchords and leads and howling vocals, it somehow holds together. Aspirin have more in common with bands like Framtid, Systematic Death, Gauze, et al than the "burning spirits" stuff and that's actually more to my liking, anyway. (17 West 4th St., Hamilton, ON CANADA L9C 3M2, www.schizophrenicrex.com)

AVSKUM-Folk Som Har Sanger Kan Inte Do (Prank, 7" EP)
The wily Swedish veterans return... sheesh, sounds like I'm talking about a still-crafty pitcher here but this is hardcore punk and they can still get it over the plate. Enough baseball analogies--besides, that's probably not the main sport in Sweden. Maybe I should talk about hockey. Maybe I should knock it off. All the hallmarks of this style--roiling, blazing riffage driven by strong drumming and howling vocals that are reinforced on some songs by Diana from Shades of Grey. The standout is "Glom Aldrig Hiroshima," with a tad more melody (relatively speaking) and solid lead break. Furious... (PO Box 410892, SF, CA 94141, www.prankrecords.com)

CLOAK/DAGGER-Lost Art (Jade Tree, CD)/Don't Need A (Grave Mistake, 7" EP)
Cloak/Dagger continue to not fit any set niche while kicking out some brash music. Hell, they say as much on "Don't Need A," which states "avoid classifications at all costs." Jabbing punk/post-punk/garage in various permutations. Do I use the words nervy or edgy too much? Probably, but it fits the bill here. The songs rock AND roll with authority but there's almost an aura of nervousness, here, too much caffeine coursing through their collective veins. Not only in Jason's vocals, but instrumentally, as well. The guitar is snakier, not relying solely on powerchords and generating a speedy gnarl. And while it was recorded at the same studio as their first album, "Lost Art" benefits from what seems like some tweaking in the production qualities--on the last album, the bottom end was a tad too prominent. There's still a good amount of rhythmic punch but it's not as claustrophobic-sounding. From speed bombs like ""Fast Food Dream," "Same Old Story" and "Deathbed Rebels" (and, truth be told, those aren't the stronger tracks) to the moodier "Dead Town Beat" and "Lost Art" (both Hot Snakes-esque) Cloak/Dagger keep things moving with an appealing, energetic pulse. Add this one to my best of '09... The 7" pairs the aforementioned "Don't Need A" with two non-LP tracks--the fast and frenetic "Jesus Had A Twin" that moves seamlessly into the bashing "Twenty On One." Collect 'em all. (Jade Tree: 2310 Kennwynn Rd., Wilmington, DE 19380, www.jadetree.com/Grave Mistake: PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

COCOCOMA-Things Are Not All Right (Goner, CD)
Toe-tapping, poppy garage rock that has an unaffected snappiness to it and it's good 'n all but not an album that really grabs me. A few things have changed--not as much of the Farfisa as on the firt one and it's not as rough-around-the-edges. I'll accentuate the positive, though--the bouncy charm of "The Right Side," the taut, sharp "Water Into Wine," the enjoyably Real Kids-like "Lie To Me." But if you're expecting any sort of loose, out-of-control savagery, it's not here. (2152 Young Ave., Memphis, TN 38104, www.goner-records.com)

CONDENADA-Mother Tongue (Thought Crime, 7" EP)
Condenada continue in a jarring vein featuring against-the-grain punk with a semi-warm, yet thorny guitar tone, nimble bass-playing and clattering drums. As always, Mariam's vocals soar with visceral authority--alternately crooning and raspily gutteral, emitting more than a modicum of anger. Truth be told, that can occasionally overwhelm things. The songs have presence and the crude production adds an edge. Not predictable although I still don't think their recordings completely connect. I suppose you could say my praise is lukewarm. (Muskauer Str. 19, 10997 Berlin, GERMANY, www.thoughtcrimerecords.de)

DEATH CRISIS-s/t (Too Old To Die, 7" EP)
Out of the ashes of Life Crisis (clever, eh?) comes this boiling-over San Diego band. Rippin' hardcore carnage in short, loud and fast doses. Half the songs are in Spanish, half in English and, for "El Masturbador," Alberto channels his inner Martin Crudos. That song's not all that serious but "Until We're All Dead" and "Saddam Is Dead" take on corporate conquest, mindless consumption and the "war on terror," all of it intermingled. No artsy fartsy stuff--just direct, to-the-point burn. (www.myspace.com/deathcrisis)

MALINHEADS-Probegepogt Aus Spandau (Thought Crime, 7" EP)
Reissue of this Berlin band's debut three song EP from 1983. Even though they called Germany home, the Malinheads drew more than a bit from early Scandinavian hardcore and various strains of early 80s UK blaze, with lyrics in English. An abundance of buzz-distort, phlegm-rant vocals and wrecking everything in sight. (Muskauer Str. 19, 10997 Berlin, GERMANY, www.thoughtcrimerecords.de)

MORPHEME-s/t (Prank, 7" EP)
Had these guys pegged as a Japanese band because of the song titles and band members' names but it turns out that, while one of them is from that country, they're actually from the Bay Area. It really doesn't matter, anyway. Raw as fuck hardcore with reverb on the vocals and a distorto guitar attack. I hear more of a Finnish inspiration, actually (Kaaos, mainly) but we're splitting hairs. This is brain-melting pillage, something these ears can never get enough of. Nor yours, hopefully. (PO Box 410892, SF, CA 94141, www.prankrecords.com)

PRIMATES-Control Salvaje (Thought Crime, 7" EP)
From Barcelona, no bull... sorry, that's bad. The Primates are far from bad--this is damn near perfect hardcore punk. Ultra-tight, fast, catchy with no breaks to catch your breath. Tasty, dexterous guitar lines and propelled ahead with in-the-pocket drumming and bass-playing. Mostly done in rapid-fire fashion, although "Venganza" slows the pace for a moment. Pretty much flawless. (Muskauer Str. 19, 10997 Berlin, GERMANY, www.thoughtcrimerecords.de)

SCRAMS-s/t (self-released, 7" EP)
Organ-laced garage punk with echo on the vocals and a loose spiritedness, if that's a word. If not, I just invented it. It's certainly not clean or polished but also absent of trash-can production or noise overload. Two quick ravers ("Ralph Rook," Dram Shopper") and two more danceable ditties. Enjoyably trashy. (scrams.bigcartel.com)

SEVERANCE PACKAGE-All Down Hill (Shut Up, 7" EP)
Robin and Josh from Black Fork comprise 2/3 of this band. Tuneful punk with Billy Zoom-esque guitar lines, particularly for the title track, the strongest of the three. Unfortunately, the somewhat off-key dual vocals are on the grating side (that was something of a debit for Black Fork, as well). Some musical merits but not that great, overall. (www.shutuprecords.com)

SHITTY LIMITS-Yesterday's Heroes (Motorchest, 7" EP)
The Limits' earlier EPs have gradually been re-released on different labels. This is from 2007 and showcases the band at its most furious--on side one, there are three fast ragers that flail by in 104 seconds. The b-side has one song that goes over a minute (the title track) and two sub-minute ones preceding it. Same kind of guitar sound as Amdi Petersens Arme (in other words, not much distortion) and while there's a throwback hardcore sound, the velocity doesn't completely mask their garagier impulses. The full-length had the Limits spreading out, trying new ideas. This is the band's attack condensed to its purest essence. The cover parodies an old 4 Skins sleeve. (PO Box 725, Poplar Bluff, MO 63902, www.myspace.com/nocausepunk)

SIN ORDEN

SIN ORDEN-Arte, Cultura Y Resistencia (Emma Navajas, LP)
After a decade of band-hood (although there was a hiatus), Sin Orden have finally released their first full-length album, which was recorded in 2007. Uncorking ravenous hardcore punk that seldom lets up, except for the occasionally subdued intro. Carlos's high-pitched bark does engender comparisons to Martin from Crudos et al, and add the crazy-sounding vocalist on some of Raw Power's recordings as well. "Too Punk To Be," the closing song, actually sounds like Raw Power. The mix on the drums isn't too hot, unfortunately, being kind of heavy on the snare. This makes the songs sound mono-dimensional, on occasion. Ultimately, though, the band's raging approach more than compensates for that shortcoming. (PO Box 803251, Chicago, IL 60680, emmanavajas@gmail.com)

SLAYER-World Painted Blood (American, CD)
Friends, metal-heads, Slayer fans--lend me your ears. There is no way in hell this band will EVER top "Reign In Blood" or perhaps "South of Heaven." There's always skepticism as to whether the old guard 80s thrash metal combos can deliver the proverbial goods. Well, "World Painted Blood" is a pretty noble attempt and better than anything they've put out this decade. I'm not damning with faint praise, either. Sure, one could roll their eyes with the dramatic build-up for the opening title track that sounds more than a little like "Raining Blood." For the seething 'n gripping track "Playing With Dolls," I also have to make a bit of a comparison to "Spill The Blood." There's the bridge for "Beauty Through Order" where you're waiting for Araya to bray "I HAVE YET ONLY JUST BEGUN TO TAKE YOUR FUCKING LIFE." Speaking of which, one of the most chilling things I ever experienced at a show was when "Criminally Insane" was being played between sets at the Orpheum and over 2000 headbangers yelled that line in unison. Getting back to "WPD," though, it's lean, streamlined speed metal that has no fancy stuff. Lyrics certainly express zilch optimism, from the first line, "disease spreading death/entire population dies." "Americon" delves into American occupation in other lands that's "all about the motherfuckin' oil." Blood, death and destruction, just the way you like it. "WPD" is definitely a back-to-the-roots album and there could be some scoffing about rehash and the like. A comment like that could easily be said about the umpteenth generation D-beat knockoff too. It's about playing it well, playing it the right way and that's the case here.

VARIOUS-Boston Underground (KemoTherapy, CD)
Four band split of (mostly) new local bands, all of 'em operating in some sort of hardcore punk vein. Superpower have been around awhile and their vocalist is Dave from the late Boston band Tree. A mish-mash of full-bore hardcore, thrash and metal in a similar vein as Dave's former unit. Allston Pants are reminiscent of early Unseen at times with sore-throat vocal tradeoffs. I'm not sure if the ode to Pabst ("PBaRtsy") is meant as tribute or critique but I still don't know how people can drink that shit. There are a few technical glitches on their songs--mainly the volume jumps and drops during a couple of the tracks. I can DEFINITELY live without the ska-inflected "Suicide Girls." No Shit keep things going in a loud/fast vein and Colin and the Cancer (from my current locale of Peabody) inject some melody into their hardcore punk buzz. Nothing groundbreaking but each band have their feisty moments. (www.kemotherapyrecords.com)

ZOOPARTY-Re-Fuse (ACME, CD)
The term '77-inspired punk is often bandied about, including by your faithful scribe, but what does it really mean? Ramones? Sure... but going across the pond, it can also encompass such bands as the Boys, Lurkers and, of course, Pistols. Well, Zooparty conjure up those bands on their latest and, just to reinforce things, bring along some heavy-hitters for "Re-Fuse." Glen Matlock from the Pistols/Rich Kids and Brian James from the Damned are all over this record, contributing some tasteful guitar scorch, Thunders toss-offs and the like. Well-tread rockin' punk but damn if it doesn't do the trick with the songs' formidable hook-craft. Every buzzin' guitar line and harmonious backing vocal perfectly in place for a rousing good time. (PO Box 441, Dracut, MA 01826, www.acmerecords.net)

Suburban Voice blog #83--best of 2009

2010-01-20T10:01:00.012-05:00

AMERICAN CHEESEBURGER

Yeah, this is a bit late and there should hopefully be a "regular" blog in the not-too-distant future. I'm spending WAY too much time watching "Mad Men" (a new addiction) instead of reviewing records. What can 'ya do?

So, with that in mind, there were a fair amount of good records in 2009 but only a handful I'd consider great, that will stand the "test of time," so to speak. You never know, though. I'll occasionally go back and re-discover a record I might have underrated at that particular time.

Here's the list, not in any sort of strict order but my two favorite 12" releases of the year were from Destino Final and Wasted Time (although the echo-y vocals detract a little on the latter but not on the former--go figure). My top 7" EP was the Pisschrist/Framtid split. The Framtid songs were OK--not particularly well-produced. The Pisschrist songs, on the other hand? Mind-melting stuff, a blown-out dose of raw-as-fuck hardcore. It makes me hope even more that they'll return to the States someday and I can stop kicking myself for missing them a few years ago.

BLANK STARE

LP/12"/CD's

WASTED TIME-Futility
DESTINO FINAL-Atrapados
AMERICAN CHEESEBURGER/RELIGIOUS AS FUCK-Split LP
VAASKA-s/t
SHITTY LIMITS-Beware The Limits
SYSTEMATIC DEATH-Systema 6
BLANK STARE-s/t
LIGHTS OUT-Destroy-Create
AVO-Domestic Violence Kept The Neighbourhood Quiet
VARIOUS-Does It Hurt? (compilation)

7"

PISSCHRIST/FRAMTID-Hardcore Detonation Attack
MUNDO MUERTO-Rompe El Silencio
BRAIN KILLER-s/t
NITAD-Nu Borjar Minnena Komma Tillbaka
FASHION-s/t
HYGIENE-Jan. '09 EP
REPORTS-Bill Wyman Metal Detector
ACCIDENTAL GUN DEATH-Skies Are Blue
A/V MURDER-Tourettes
OMEGAS-s/t

DEMOS

MURDER-SUICIDE PACT
GARBAGE STRIKE
CONFINES
POINTBLANK

OMEGAS

BEST LIVE BANDS
(note: I saw some of these bands more than once and they were consistently good)

TOTAL ABUSE
SMART COPS
MALE NURSES
WASTED TIME
OMEGAS
SHITTY LIMITS
BRAIN KILLER
RORSCHACH
CHRONIC SEIZURE
BUKKAKE BOYS
BRAIN HANDLE
PROJECT HOPELESS

Suburban Voice blog #82

2009-12-24T12:02:00.013-05:00

GIVE UP (2003)

IN CASE YOU MISSED IT...

Once again, please note my new address. I'm also not sure how much of my mail is being forwarded to my new box so, if it bounces back, now you know the reason why.

Suburban Voice/Al Quint PO Box 43 Peabody, MA 01960

A whole lot of reviews, with plenty to go. About one third are reissues/anthologies/etc and the balance comprise newer slabs. I was originally planning on making this an all-reissue blog but I didn't want to neglect some of the worthwhile recent releases...

Coming soon, a wrap-up of 2009...

THE REVIEW DELUGE...

I HATE THIS
(with the guy who writes this swill, second from right)

AGNOSTIC FRONT-Victim In Pain (Bridge Nine, LP)/United Blood (Bridge Nine, 7" EP)
Long-overdue vinyl reissues of two undisputed stone hardcore classics, that being the 1983 debut 7" and 1984 LP for the one and only AF. There was a little bit of controversy over these repackagings since the original artwork for both records has been relegated to the inner sleeves. Some folks viewed this as a compromise, especially in the case of "VIP" with its rather provocative cover of Nazi death camp imagery and a lynching. But the embossed outer sleeves are a hell of a lot better than the late 80s Combat reissue. And for "Victim In Pain," it's still a gatefold release with the original inner portions reproduced.

"VIP" is, in my opinion, the best of the early NYHC 12" releases (I'm talking pre-"Age of Quarrel"), a firebomb of buzzsaw thrash and sick circle-pit inducers. The breakdown of "Blind Justice" still makes one want to kill. So many incredible moments--Roger's "YEEEEEOW" that starts "Hiding Inside," the "STIGMA" yell that leads into Vinnie's sputtering solo for "Power," the rumbling bass that starts "Fascist Attitudes" and ominous pattern for "Last Warning" and so on. I've listened to this album hundreds of times over the years and it's not stale yet. As for "United Blood," the band were rougher-sounding than on "VIP." Double-time, martial-beat thrashers (with the tubs thumped by Raybeez), one brief blast after another and including an early version of "Last Warning." AF sound as if they were finding their footing a bit but the results are still explosive and demolish everything in sight. Along with the Urban Waste, Antidote and Abused EPs, this is one of early NYHC's Holy Grail releases. Two great recordings created by anti-social beings capable of battering their instruments into a bloody pulp. (www.bridge9.com)

A/V MURDER-s/t (Local Cross, 7")
These guys are from Chicago and the first thing that crossed my mind while listening to these two songs--well besides the fact that this is damned good stuff--is their sound is what I call "nervy" punk band, a garagey primitivism but also some weirder, offbeat impulses. Daily Void and the Krunchies (see review below) are good at that sort of thing, as were the Tyrades. Turns out one of the band's members is Jim from the latter band. I wouldn't necessarily classify "Tourettes" as an anthem, but the gang-vocal cadence that repeats the one-word chorus moves it near that realm. The flip, "Fight Like A Man," heaves into darker terrain, a little Yow-ish vocalese and some sax skronkin' in the stew. More, please! (1619 Commonwealth Ave., #2, Boston, MA 02135, www.localcross.com)

BROKEN NEEDLE-Discography (Lengua Armada, CD)
A west coast band playing hardcore with a classic, catchy style ala Uniform Choice and the like--kind of stating the obvious since they cover two of that band's songs but it fits. Bright, punchy guitars, urgent-sounding vocals and all of it is spot-on. Given the band's name and the artwork with a hand snapping a syringe, one might expect standard-issue edge lyrical themes but that's not the case. Sure, there are the personalized songs about betrayal, confrontation and the like but also ones about larger issues--boilerplate sentiments on church, state, greed, etc and I find it hard to disagree. And "Trash This Place" takes venue-wrecking morons to task. Talk about a timeless theme. Taken from their demo, 12", 7", comp tracks and one of the UC covers ("Use Your Head") is unreleased. Well-worn for sure but they nail it. I'll always have a soft spot for this type of direct, uncomplicated burn. Incidentally, the insert fold-out includes flyer artwork from the late, great Randy "Biscuit" Turner from the Big Boys. (www.myspace.com/brokenneedle)

CRACKS-Dirty Floor (Slipping Grip, 7" EP)
Buzzin' punk and hardcore with some real rawness in the guitar department, even if the snotty vocals chafe a bit. As Obama leads the US into a surge in Afghanistan, the message of "Yellow Ribbons" rings true--pumping up the warmongering while soldiers come home with bloody stumps that you don't always see on TV. Not amazing but it has its moments. (www.myspace.com/cracksstab)

EVERYTHING FALLS APART-Relief (self-released, LP)
A fine 12" debut (following a couple of 7"s, which were actually compiled on an LP) for this Buffalo band, who dip quite a bit into the mid-to-late 80s DC sound-scape--Rites of Spring, Ignition and the like--for inspiration. But instead of merely mimicking that sound, they use it as a piece of their frenetic, feverish tumult. Emotional? Well, sort of, although Pat Shanahan doesn't sound like he's about to break out into tears. But the warmth of the guitar tone offset by throbbing bass and propulsive drumming certainly conjure up that impression. I mean that in the best possible sense. It's a feverish swirl that veers closer to hardcore for the likes of "Paralyzed" and "First Time." But it's a song like "Leave No Record," with the stop/starts and stinging guitar line, that leaves (sorry) an even stronger impression. It's been a few years since their last 7" and EFA have shown growth as a band, infusing their hardcore roots with an infectiously melodic focus. (www.everythingfallsapart.org)

FUNERAL SHOCK-California's Dead/Petty Motherfuckers (Tankcrimes, 7")
"California's Dead" is a driving punk tune with the brute, bruising properties that informed Funeral Shock's previous efforts. Harsh vocals and a solid mid-tempo burn. The song details the state's decay with ass-kicking success. Unfortunately, the stretched-out, slower "Petty Motherfuckers" fares badly. The anger seems real, especially with the stentorian vocals, but it really drags. One out of two ain't bad, I suppose. (PO Box 3495, Oakland, CA 94609, www.tankcrimes.com)

GEARS-Rockin' At Ground Zero/D.I.s-Rare Cuts (Hep Cat, 2xCD)
The deal is this a two-fer/double pack/whatever you want to call it. The commonality is both bands featured vocalist Axxel G. Reese (clever) and drummer Dave Drive. Each band had its own style, the Gears playing mainly lively punk, albeit with a stronger emphasis on melody, while the D.I.s (not to be confused with the Adolescents-affiliated D.I.) dove headlong into the country-meets-blues-meets rock 'n roll that became popular in LA in the early to mid-80s. The Gears disc has more tracks than on the previously-released Bacchus Archives anthology from about ten years ago, tacking on five demo tracks from '79. Axxel's vocals could occasionally overwhelm the punk tuneage. Not as gritty or hard-edged as other bands from the time and you can hear the direction that would be taken with the D.I.s, such rockabilly-ish title track. Some classic songs, though--the thumping "Don't Be Afraid To Pogo" is a perennial favorite and the leering "High School Girls" equally potent. The D.I.s, meanwhile, were more polished-sounding and had their moments of rock-itude, especially on the songs produced by X's Billy Zoom (most of which ended up on their first 7" and 12") but the punk roots only show up on occasion. They'd really gotten slick by the time of their unreleased A&M session from 1985. Essentially, this is bar-band rock. Mild thumbs up for the Gears, not the case for the D.I.s. (PO Box 1108, Orange, CA 92856, www.hepcatrecords.com)

GIVE UP-s/t (Peterwalkee, CD)
A compilation of this band's 7"s (there were only 100 of the second one), demo and a radio set. Raging, rabid-sounding hardcore, the latter element particularly true with Liz's vocals. It's a fast-paced assault, with short and blistering songs. For a change of pace, there's the punkier "Boring," complete with a "whooah" or two. From the early part of the decade and a band that shouldn't be overlooked. (408 Richmond Ave., Buffalo, NY 14222, www.peterwalkeerecords.com)

I HATE THIS-s/t (American Waste/Blastcat, 7" EP)
Blazing hardcore done with tight execution and full-on aggression, the strongest material yet from I Hate This, especially production-wise. Song structures are increasingly diverse, with on-a-dime tempo shifts and getting downright crushing for "Sick" and "Virus." An old-school hardcore influence informs some of the songs here. As always, there are strong and pointed lyrical sentiments aimed at those who see fit to denigrate others, destroy the environment and oppress workers. The final song, "Fuckface," is about the dangers of botox injections and it hits close to home because I have a close, 50-ish friend who is trying to fight against her natural aging process with plastic surgery and a recent procedure put her in intensive care. I don't want to tell people how to live their lives but I don't understand that mentality. Just vanity, I suppose. My copy also came with a booklet about emergency herbal remedies "for the punx," where their vocalist De offers help for fungal infections, ringworm and other nasty afflictions. This is a rager. (www.myspace.com/americanwasterecords or www.myspace.com/blastcatrecords)

INSURANCE RISK-Violence In Our Minds (Crucial Response, LP)
Beyond shameless, beyond derivative, from the band's name being plucked from a DYS song to the plucking of song structures lock stock and barrel from that band, SS Decontrol, Negative FX and The FU's. Complete with Springa-with-a-bellyache emanations. And you know what? It's a blast. They do cross the line of stupidity with the shock-homophobic "We Don't Care," meant to piss-off the so-called "politically correct people," as drummer/bassist Ollie puts it in the liner notes. OK, keep backpedaling. I just think it's dumb but not enough to get all self-righteous about it. This LP compiles the Norwegian edgers two 7"s from '99 and '02 (shit is it that long ago?) and the remastering job brings out the bile in bold relief. (Von-der-Mark-Str. 31, 47137 Duisburg, GERMANY, www.crucialresponse.com)

JOHNS TOWN ALOHA-Digworker EP (HG Fact, 7" EP)
This band's last EP, "Blood Ravens Wander" (which I didn't review) featured a band with a noisy, chaotic hardcore sound. "Digworker,"the band's third release, is no less chaotic but the delivery seems sharper. Sputtering feedback and a dirty, frenzied attack. Pure noise that throws up a razor-wire curtain and dares you to try to cross through. You'll be bloodied, for sure, but the prize is there. Ex-members of Exclaim and Breakfast. (www.interq.or.jp/japan/hgfact)

KAMIKAZE (2003)

KAMIKAZE-The Spirit Of Battle (Soulrebel, LP)
Kamikaze's vocalist Craig was/is in Degenerics and, as with the Degenerics discog LP awhile back, he does the same thing for this sick early-'00s (weird to see that) band--all the stuff was recorded in 2003. "The Spirit Of Battle" collects the band's LP, 7" and one compilation song for this boiling-over volume. It's fast and frantic hardcore that has more of a stripped-down sound than Degenerics, who at times had a Die Kreuzen-ish flair. One song here, "Going Through The Motions," does echo that and, of course, Craig's yowl 'n rant remains the same. "Nothing Seems Real" brings the proceedings to a torturous (not in a negative sense, though) conclusion and a trail of doubt, anger and rage is strewn behind them. And if there's an admission of "singin the same ol' song" and "another cliche about changes," it remains a timeless and universal theme. And even if starting the album with a clip from "Repo Man" (the one where the grocery store manager is lecturing Otto about not paying attention) is also a bit of a cliche, it's still a great starting point as Otto's "FUCK YOU!" leads into the lament of "Coma Life." Direct and soul-grabbing. (www.myspace.com/xsoulrebelrecordsx)

KRUNCHIES-s/t (SouthKore, 7" EP)
Fast garage punk, nearing hardcore speed occasionally, on this new EP from Chicago's Krunchies and it's the first stuff I've heard from them in awhile. I missed their 7" a few years ago so the most recent disc I have by them is '05's "In De Winkel" and time hasn't dulled this three piece one bit. There's a lot of scrappiness and brashness but the musicianship is also creative, particularly for "Victim All The Time." Jagged, thorny songs and the Krunchies will slash their way into your heart. (2814 S. Spaulding Ave., Chicago, IL 60623, www.southkorerecords.com)

MAD WORLD-s/t (Even Worse/Kangaroo, 7" EP)
Given that they're from North Carolina and the band's name could possibly have been taken from a COC song title, I was expecting something along those lines. That's definitely part of the sound but not nearly the whole story. This is hammering hardcore punk, sometimes going into a double-speed vein and with an abundance of guitar whizzle and scorch, battering drums and hoarse emanations. A raw presence, here. (evenworserecords.com or www.myspace.com/henkangaroo)

PELIGRO SOCIAL/TV EVANGELISTS-split (Tankcrimes, 7" EP)
A couple of new tunes from Peligro Social--well, one's an original, while "Ruidos" is a cover of an early 80s Spanish punk band called La Uvi. The latter has a catchy, almost No Future records sound on their rendition. "Salvame" mines a successfully tuneful route, as well. The TV Evangelists apparently consist of the legendary purevyors of the form. In fact, this could be Oral Roberts and Tammy Faye Baker's final recorded appearances. Enough feeble attempts at humor. "Farewell Falwell" (fitting the theme, here) has something of a west coast skate punk feel and that continues to an extent for "Generation RX." 'Tis OK. (PO Box 3495, Oakland, CA 94609, www.tankcrimes.com)

PISSCHRIST/FRAMTID-Hardcore Detonation Attack (HG Fact, 7" EP)
Holy motherfucking shit... this is the real deal. There are plenty of bands who play d-beat styled crust, to the point where they're a dime a dozen. Pisschrist are a notable exception. They're just so over-the-top and punishing that it makes me want to punch the wall. Walls, for that matter. Sick and insane vocals along with a relentless musical pillage including one hell of a circle-pit part for "Extinction." Perfection, from the full-bore drumming to the guitar/bass fusillade to Yeap's throat-rending vocals. And then it's time to flip it over for Framtid, with their first new recordings in some time. The same sort of walloping attack as Pisschrist--three songs with the subtlety of a rhino charge. No hyperbole, here--one of the best records of 2009. (www.interq.or.jp/japan/hgfact)

RORSCHACH-Remain Sedate/Protestant (Gern Blandsten, 2xLP)
I think Rorschach are a band I appreciate more now than I did back then and I was definitely a fan at that point, as well. I was late to the party in realizing the importance of the DIY ethic that sprung up in NYC during the late 80s/early 90s. That changing of the decades was something of a fallow time for quality hardcore, as the testosterone levels grew in some quarters and the music largely became sluggish and static. With the passage of a decade and a half, listening to these remastered/remixed albums gives perspective, a handle on where Rorschach were coming from. It's trite, but they were coming a dark region. Howling vocals, dramatic arrangements shifting between heavier lurch and blasts of adrenalin. The twisted guitar lines drew from the well of Die Kreuzen and, to an extent, Voivod although the latter was certainly influenced by the former, themselves. And the nods to Black Flag have to be acknowledged, as well, although it's a subtler take than, say, Bl'ast. That stated--and to once again be a tad trite--they twisted those musical ideas into something of their own. The albums are separated by two years and, while it's simplifying things a little, the first of the pair, "Remain Sedate," had it's moments of more straightforward hardcore, particularly on the speedy "Checkmate." The brain damaged elements already had started to rear its theoretical head. Roraschach's approach proved that it's possible to play heavy and intense music without any sort of mindless machismo or boring chuggishness. And this reissue is done right, with a gatefold sleeve and 180 gram vinyl (on different colors--one was sold in each city of the reunion tour)--the sound is killer. Brutal and brilliant. (www.gernblandsten.com)

SPG-Special Patrol Group (American Waste/Give Praise, 7" EP)
Solid old-school hardcore mixing up thrash and punkier sounds ("Destroy," "Thought Control," "Never Give In"). "Rhetoric" takes a provocative stance on treating soldiers as heroes (these guys don't think that's the case) and there's pissed-off finger pointing at patriots, the media elite and, let's see, political leaders. Ah, to be young and pissed-off, again. Well, I'm old and still somewhat pissed-off and this kind of hardcore remains capable of providing a charge, even with a sense of familiarity. (www.myspace.com/americanwasterecords or givepraiserecords.com)

ULTRATUMBADOS-s/t (SouthKore, 7")
An interesting mix of punk and garage not fitting any pigeonhole. The A-side, "Autogesto, Al Exceso," includes a nifty instrumental break with near-spacy guitar, underpinned by a throbbing bass-line. The bass leads the way for the flip, their "theme song," adding in some Raygun-ish whoops to the heady bash. I definitely want to hear more from these guys. (2814 S. Spaulding Ave., Chicago, IL 60623, www.southkorerecords.com)

WHITE LOAD-s/t (Leather Bar, 7" EP)
Talk = Fuck, yelled as many times as possible and it's also the last word you hear. "Talk" is the first of three rippers on this one-sided 7", pressed on lovely Pepto Bismol-colored vinyl. Actually, that word about fornication is about the only one I can make out but they lay out some gloriously raw punk bash here. Two fast ones that careen into the slower, sinister 'n savage "Chemicals." No self-consciously low fidelity, as far as I can reckon, but this wouldn't work nearly as well with cleaner sonics. Play loud but be careful not to scratch the record on the staples when removing it from the sleeve. (www.myspace.com/leatherbarrecords)

WORLD BURNS TO DEATH-The War Can Go On Forever/Black Becomes The Sun (HG Fact, 7")
WORLD BURNS TO DEATH/BLOWBACK-Split (HG Fact, 7")
The latest from WBTD features the band's hallmark, bulldozing sound. Swedish and Japanese hardcore meets metal and both songs on their own 7" and the split with Japanese wreckers Blowback are raging as always. Their song on the split, "Here A Dream Dies Everyday," has a tasteful, non-overblown classic metal touch. As for Blowback, how can you not love a song called "Fuck Fuck Fuck." Nasty vocals and pure rampage from the guitar scorch and hard-driving drumwork. Like WBTD, they have the Dis-metal elements although it's slightly scrappier. Blowback are definitely one of the better Japanese bands in recent years. (www.interq.or.jp/japan/hgfact)

NEW ADDRESS FOR SUBURBAN VOICE

2009-11-20T14:51:00.002-05:00

after 23 years of having my box in Lynn, I've decided to move it closer to home. So please send all correspondence to:

Al Quint
PO Box 43
Peabody, MA 01960

if you're shipping UPS or via someone that requires a street address, email me for it.

Suburban Voice blog #81

2009-11-14T15:26:00.002-05:00

And so it begins again. First, a mea culpa or perhaps I should say I got "pwned" or "punk'd," and I wonder if it's a good idea for a nearly 50 year old guy to be using internet terms in a feeble attempt to still look cool. Or if it's a good idea for a nearly 50 year old guy to still be doing a punk zine/blog/whatever. But I digress. In the last blog, I reviewed a Bunny Skulls 7" and mentioned it was recorded by Steve Albini, yet it still sounded like a boombox recording, as was the case for their first 7". Well, the joke's on me--it was a basement recording. Bunny Skull Scott told me that a lot of people had fallen for the gag. What is it about bands with bunny or bunnies in their name? First there were the Lil Bunnies, the uber-obnoxious garage punk terrorists from Sacramento in the 90s. Never heard of 'em? You're in luck--here's a sample of their unique talents, from a rather pathetic video clip made by yours truly in about five minutes. Literally...

Then you have Nobunny, running around with a bunny mask and creating annoyingly clever minimalist pop ditties that charm, grate or a bit of both. And now Bunny Skulls... those impish little jokers. But it just has me looking forward to the next installment of their punk rock chaos...

I WON'T CALL THIS NEXT SEGMENT ANYTHING AS CHEESY AS "DEMO-LITION"
... but I can't think of anything more snappy than "demo reviews." I do tend to neglect the demo cassettes and CD-Rs that come my way and that's not on purpose. A few sneak in here and there but let's plow through some of the recent and not-so-recent ones that have shown up here.

Let's start with the tapes. First up is Slump, a German band mixing ominous, low-tuned ooze (particularly for the crush that starts things off) and grind blasts. A good-sounding recording but nothing all that memorable beyond the "brutal" nature of the music. (Kink Records, www.kink-records.de) Backslider are also on the grind tip/trip, a guitar/drums duo blasting out Spazz-ish compositions in very short permutations and, once again, pretty much a tuneless flail-fest but the grinders will love it. (www.myspace.com/bsfastcore) Magnum Force's demo is on the same label as Backslider, that being Blastcat, and it's in a similar vein. Ultra-fast hardcore although they do come across as a tighter-sounding unit. Their version of Infest's "Peace Test" is handled fairly well. (bwastbeat@gmail.com) From Virgina, Total Wreck play fast and raw old school shiznit and the songs are competently executed. 7" apparently in the works and I'd be interested in hearing it. (www.myspace.com/totalwreckva)

Iron Hand's demo says 2008 on it so this review is long past due. Decent thrashy-crust favoring howling vocals and a sound akin to Born/Dead, From Ashes Rise, Wolfpack et al. A thick wall of guitar and bass and crashing drums power things along nicely. (32 Fairview Ave., Middletown, CT 06457, www.myspace.com/ironhandcrushesall) Over Vert's tape is also from 2008 but no matter. Their monstrous-sounding "Gagging + Swallowing" is one of the best in this batch. The first words you hear are "GET THE FUCK OUT!" and that command is repeated many times. A heady 90s-era Touch & Go/Amphetamine Reptile nerve/noise/core attack driven by pillaging bass and ample guitar shock. If you crave the days of Jesus Lizard and other skull-wreckers who play hard-cored and hardcore music, then this will be right up your alley. Recorded by Steve Albini and I don't think it's a fib, this time. (www.myspace.com/oververt)

With the Peace Creeps, you've got three former members of the late, great Last In Line--vocalist DJ Podolski and guitarists Deuce and Mikey Flynn and two other compatriots trying their hands at snappy punk, rock 'n roll, even a bit of Misfits-meets-surf for "Psychomania" and "Werewolves On Wheels." The latter two songs add some schizophrenia--sounds like a different band, almost, but it's a good start. (Rock & Roll Disgrace, 24 Sadler St., Lynn, MA 01905, www.myspace.com/rocknrolldisgracerecords)

The sound quality for the demo by Albany's Girls Of Porn isn't that great but it's due to the tape since the tracks sound a tad better on their MySpace page. Wacked-out rock/thrash/noise/weirdness, with a lengthy dub-style piece wrapping things up. "Howard's Johnson" is the most straight-forward ripper. Moments of intrigue and not predictable. (www.myspace.com/thegirlsofadultfilm)

From the other other end of New York, Buffalo to be precise, White Whale dish out some enjoyably-tuneful punk in the same way Gaunt did. That means it's poppy but not sweet and the vocals sound as though they're coming through a cheap mike. With this kind of production, it works perfectly well. Two of these guys also play in Everything Falls Apart. (turnuptuneout@hotmail.com)

The Confidence Men sent their demo on both CD-R and cassette and, in either format, it wasn't anything particularly exemplary. A band with UK anarcho-punk propensities, particularly in some of the guitar lines (echoes of early Banshees there, too), while mixing in some thrash. Trying a few different ideas but not all-that-successfully yet. And their cover of Rudimentary Peni's "Teenage Time Killer" on the CD version is pretty bad. (dontfeedtherats.blogspot.com)

Continuing with the CD demos, Fucked For Life connect with three songs of furious distort-core and one song in a rock 'n roll vein--not as good, either. The title track, "Distortion and Death," sums things up: "Life is simple, simple for us/We crave distortion, all we see is death... all we drink is whiskey and beer/all we know is distortion and death." Whatever gets you through it. I like the rawness, here. (www.myspace.com/fuckedforlifethrash) The Love Below aren't quite as distorted but lean towards a crusty 'n raw sound along with heavier elements. Vocals howl painfully and the band's bash has presence. Nothing amazing but some flash. (www.myspace.com/thelovebelowhc)

Excuse The Blood is another demo CD I sat on for awhile and the band's energetic, upbeat yet still hard-edged hardcore and punk wears well. Catchy songs--even the reggae parts that pop up aren't that bad. I could still live without them but it doesn't ruin everything. (www.excusetheblood.com)

Minnesota band Thanks! play clever, fairly good pop/punk on their "It's Not Funny" demo and do it without being cutesy about it. Getting close at times--"Winning A Marble Eating Contest Isn't Winning" ups the cloy quotient, but this is mainly rough and hook-filled. It'd probably be less appealing with too-clean production. (317 Raymond Ave., St. Cloud, MN 56304, www.myspace.com/thanksband) Finally, MRKAXN, from the UK, have a heavy and lurching hardcore sound. Not really metal but a dark 'n anguished ambiance with the occasional speed break. The final song is a lengthy dirge and beyond the tolerance threshold after awhile. Some interesting twists but largely not going anywhere beyond that. (mrkaxn.blogspot.com)

... and a few records (with many more to come next time)

DESTINO FINAL-Atrapados (La Vida Es Un Mus, LP)
This is just as great as people have been saying it is. Spainiards Destino Final are essentially a continuation of Invasion. Simply blazing, brimming with sizzling-whizzling guitars, drumbeats packing plenty of straight-on speed blitz along with some tribal rhythms and vocals that act like a cutting, razor-like instrument. As with Invasion, the reverb remains on Guille's emanations although the production isn't as echo-laden. It just provides a more direct route to the band's savage burn, anyway. A tandem of Disorder and Discharge-isms and some anarcho touches, all of it coalescing into something remaining distinctive. There's pure excitement in the way a song like side two opener "Laborinto II" builds through an intro and provides a satisfying, powerful payoff, careening from one song to the next, each side ending with a mid-paced ravager. One of the best of '09. (www.lavidaesunmus.com)

PREYING HANDS-Through The Dark (Inimical, LP)
Some (well at least their vocalist Spoke) of the people in this Montreal band used to play in Ballast and, as with that band, there's a good amount of melody in their overall approach. The difference is things are cleaner-sounding, with nothing down-tuned or plodding. A warmth in overall tone but still driving and some intense howls emerge from Dave's backing vocals. Lyrically, it's a cry for help in a world gone mad (thank you, Agent Orange) or, at the very least, a plaint. It's a single voice asking questions but also exuding defiance, as with "Sinking," asserting that "I'm never giving in... not until I've got you by the throat." Despite that latter phrase, the lyrics aren't overly bombastic nor the music funereal. No acoustic passages or any of that nonsense and that makes Preying Hands eminently more listenable. (PO Box 2803, Seattle, WA 98111, www.inimical.com)

SWORN LIARS-Vile Device (Big Neck, CD)
Snarlin', nervy punk and garage with some electronic effects scattered here and there. The title track offers the invitation "welcome to my doom" (that's what it sounds like, anyway) and it's gladly accepted. The traditional garage/psych side is played up on the likes of "Kill Me" or "Foul Thing" but most of the time, it's pure throttle, as with "Down," "Bubble Boy" or "Mental Fissure." There's something sinister at work here. These German deviants include members of the underrated Moorat Fingers and you should seek out their album "Punk (As In Prison)" from 2002 or so. (PO Box 8144, Reston, VA 20195, www.bigneckrecords.com)

Suburban Voice blog #80

2009-10-28T14:18:00.006-04:00

I wanted to try to get another blog published by the end of the month and here it is. Realize that as I type this, my arm is in a sling and I'm on painkillers, due to shoulder surgery last week. That means you have to forgive any sort of incoherence, even though most of this was written over the course of the month!

Show-wise, kind of slow for yours truly. I made it to the Midway a couple of times, the first to see Sista Sekunden from Sweden and the second show featured Bring Down The Hammer, Chad from Brother Inferior's latest band. Photos and reviews of the shows can be seen at my Flickr page.

DAS REVIEWS:

LOGIC PROBLEM

ACEPHALIX-s/t (Prank, 7" EP)
A crushing amalgam of metal and crust with a riveting, thick sound and gut-punched vocalizing. In fact, the latter could be likened to Cronos of Venom being gut-punched. The opening song, "Nothing," is dirty, fast and nasty with some tasty wah-wah guitar punctuation and that continues with the careen of "Embodied In Skin." "Patricide" is in more of a pounding vein and things wrap up another speedy blast, "Confession." Thunderous. (PO Box 410892, SF, CA 94141, www.prankrecords.com)

ANS-Pressure Cracks (Tankcrimes, LP)
With "Pressure Cracks," ANS move even closer to the metallic realm. At the outset, there's a clip asking if they're going "a little slow heavy metal" and the reply is "a little bit zany, a little bit wastey." That could be name-checking a certain zany Waste-oid band from Richmond but this definitely isn't a carbon copy of 1987. They embrace a sprightly heaviness, if that's not a contradiction, while maintaining the Bl'ast-Flag inspirations, especially the first part of the hybrid. That applies to the words, taking a search inside and finding painful questions to deal with and express but also leaving time to "party with bros," as stated on ("If You Don't Get It Now) You Never Will." That's the only song that mentions their passion for skating, incidentally. Most of these songs here have a fired-up, rocking fervor reinforced with scorching guitar riffs and leads and wailing drumming. The last pair of songs take chances but aren't quite as successful. "Instru-Monu-Mental" uses the same modus operandi as "Walk Down My Way" from the last album, with spoken word over an instrumental vamp. It's kind of like combining the spoken word and instrumnetal sides of Black Flag's "The Process Of Weeding Out." "Bleeding Out" goes through an excruciating passage of purgatorial emanations (huh?) before finding a groove. Still, those songs aren't complete disasters, just a bit tough to get through. That's definitely not the case the rest of the time. (PO Box 3495, Oakland, CA 94609, www.tankcrimes.com)

ANTIBODIES-... Are Here (Patac, 7" EP)
The head honcho at Patac told me these are older guys who felt the urge to get together and start a punk rock band to work through the midlife crisis--well, I surmised the latter. And that they've done--started a punk rock band, that is. A drunken, loutish, obnoxious one. That description definitely applies to the vocalist. Meanwhile, his musical compatriots batter the snot out of their equally loutish and obnoxious compositions. Maybe they're trying a bit too hard but it takes something--though I'm not sure what that something is--to come up with a song as inspiringly stoopid as "Penis Intravenus." You wonder if their kids would tell THEM to turn down the racket. I say turn it up even louder. (www.patacrecords.com)

BUNNY SKULLS-18 Song EP (Punks Before Profits, 7" EP)
Formerly a duo, now a trio and I neglected to review their first 7". Distored, raw hardcore in short, sharp installments. I mean, you're not going to find any three minute epics here. It's not all blinding thrash either. "Daily War" actually has something of a melody. Pretty tongue-in-cheek and particularly contemptuous of crusties, suicide punx, youth crew-ers and people who wear Hooters shirts. What's funny is this sounds like it was recorded on a boombox or four-track but it was actually recorded by Steve Albini at his studio. And he does a great job of making it sound like a boombox recording. I just went back and listened to their first, one-sided EP and that was recorded on a four-track and is sonically similar. Maybe you can still score one. Go to www.myspace.com/bunnyskullsband. (PO Box 1148, Grand Rapids, MI 49501, www.punksbeforeprofits.org)

EDDY CURRENT SUPPRESSION RING-s/t (Goner, CD)
First US pressing for ECSR's 2006 debut and if you haven't heard these Aussies yet, what the heck are you waiting for. This is one of the cooler bands to come along in the past five or so years. The individual who introduced me to these guys (and it spurred me to lay out a pretty good amount of money for the import pressing of this album) said they sounded "old" as in having something of a vintage sound. They certainly use the Australian band X as a starting point, along with early Wire but this isn't a museum excursion. ECSR favor a gnashing, gnarled sound with jabbing guitars reinforced by in-the-pocket bass and drums. Vocalist Brendan Suppression has a knack for sounding both self-assured and nervous. Repitition is a not-so-secret weapon--a song like "Having A Hard Time" gradually builds to a manic crescendo. "Insufficient Funds" replaces the guitar with organ and has the same kind of mind-numbing effect and if the sharp, catchy "It's All Square" doesn't bring on some sort of blissful sensation then it might be good idea to get thyself a stethoscope and check ye pulse. That applies to this album taken as a whole and the follow-up, "Primary Colors," is nearly as great. (2152 Young Ave., Memphis, TN 38104, www.goner-records.com)

LEWD ACTS-Black Eye Blues (Deathwish, CD)
Hardcore of an eruptive and powerful nature. Bursts of blazing speed, pummeling crunch and a dramatic metallic coating. The latter element brings early Voivod to mind, believe it or not, at least in the jarring guitar lines. Things get plodding at times, particularly the laborious closer, "Nowhere To Go" and that makes "Black Eye Blues" frustrating at times but when they unleash the full-bore fusillade of sonic terror (a pretentious way of saying when they play it faster), watch the fuck out. (www.deathwishinc.com)

LIPKICK-s/t (Kink, 7" EP)
Bashing, thrashy punk by four German women. The musicianship is on the primitive side (the drumming isn't too sharp, to be honest) and sounds as though it's going to fall apart at times. Their anger and aggression gets them through to a point but there's definitely room for improvement. (www.myspace.com/kinkrecords)

LOGIC PROBLEM-s/t (Abuse, 12")
A pile-driving attack of hardcore punk, the best material yet from this NC band. Well, the discography isn't that extensive yet, just a previous 7" and demo but this is high quality rage. Speedy songs that do follow a slightly similar rhythmic pattern as early COC or Double Negative (yeah, inevitable touchpoints from my lazy keyboard) but this is more blown-out sounding, as the guitar blasts out a sound akin to a nettled hornets nest. Cameron's vocals, with a tinge of distortion, cut through the raw mayhem with raspy authority. And they turn Gang Of Four's "5.45" into the type of bloody violence that appears on the "18 inch screen" in the lyrics, falling apart into a sputtering mess and battered beyond recognition. I imagine there's no room in there for the melodica used on the original. Nothing held back here. (www.myspace.com/abuserecords).

NIGHT BIRDS-s/t (demo)
Psyched To Die drummer Brian Gorsegner is the vocalist for this NJ band. The four songs each have a distinct approach--an echo of the Descendents for "Send Me Home," a little bit of Buzzcocks crossed Agent Orange for "Paranoid Times," some garage on "Can't Get Clean." This is sharp, jumpy punk fusing melody with the instrumental jab. Not a bad debut. (6 Clydesdale Ct. Tinton Falls NJ 07701, www.myspace.com/nghtbrds)

PINHEAD GUNPOWDER-Kick Over The Tracks (Recess, CD)
There's someone named Billie in this band and I think he might be the singer for some huge band but that's not really relevant here. Well, it's relevant in the fact that this kind of tuneful punk wears a lot better. Enough sly joking--Pinhead Gunpowder was another musical vehicle for Aaron Cometbus, who played drums and penned the lyrics. Three new songs continuing in the same snappy and catchy vein and the balance of the material is a "greatest hits" compendium from a band that didn't have any hits so to speak. If there was ever a classic Lookout Records sound, these guys fit the bill. And Aaron's lyrics are sharply observational and self-referential. Perhaps a bit sugary at times, especially the acoustic "On The Ave.," one of the new songs--and I was a lot more into this kind of sound in the early 90s before catching the hardcore bug again--but some of the songs remain engaging. I'm just not sure that it's enough to come off the shelf all that often. (www.recessrecords.com)

PISSED JEANS-King of Jeans (Sub Pop, CD)
With Pissed Jeans, up to now, it's been more about the live show than the recordings. Each of their previous albums had their moments of sonic crush but this is their strongest effort to date or perhaps most consistent. For want of a better term, "King Of Jeans" has a bit more accessibility. Accessible in the sense that the songs seem to have a sharper focus--NOT accessible in the sense that they're writing catchy pop ditties. Not to put too fine a point or box things in but they conjure up Scratch Acid (Matt Korvette has more than a little David Yow in him), Laughing Hyenas and the Melvins mix-mastered together in different permutations. And speaking of the latter, look no further than "Spent," crushing away for over 7 minutes. This song provides a musical approximation of dragging your ass out of bed, sleeping for 8 hours but still waking up tired. Talking about how drinking water didn't satisfy. I imagine, though, that a caffeine jolt could have been an inspirational spark for the furious blast of "False Jesii Part 2" "She Is Science Fiction" and "Human Upskirt"--the latter is particularly explosive. Raucous and dangerous-sounding. (2013 4th Ave., 3rd Floor, Seattle, WA 98121, www.subpop.com)

THE POGO-Police War EP (Loud Punk, 7" EP)
The ranting vocals here might be coming from Jorge of the Casualties' cousin or clone or whatever. And while the two, speedy songs on the flip take on a few of that band's properties, there's something subtly different in interplay between the guitar and bass. It's almost like early 80s anarcho punk on speed along with the "punx" trappings. And the whole thing sounds sped up as it is--it plays on 33 but sounds like it's on 45. Effectively flailing. (PO Box 3067, Albany, NY 12203, www.loudpunk.com)

POINTBLANK-s/t (demo)
An Albany band with Joe (ex-Jury) on vocals and another demo I neglected for a bit, although it's had a good amount of airplay on the radio show. They were originally called Reagan's Still Dead and maybe they should have kept in since there have been a ton of bands called Pointblank over the years. No matter--this is full-bore hardcore punk that isn't the most original-sounding stuff but it more than gets the job done. Cranked up, fast and Joe's vocals bear a resemblance to Mr. Tony Erba from Gordon Solie Motherfuckers, Face Value et al. (www.myspace.com/bloodshotmind)

RAMMING SPEED

RAMMING SPEED-Always Disgusted, Never Surprised (Punks Before Profits, 7" EP)
Boston's metallic hellions Ramming Speed are back with four new tracks. The main muse is straight-up thrash metal with some blowtorch leads. That's particularly true for "Too Close To Almost," the best song here and almost close to catchy (sorry). Given to blasting on occasional and Jonah Livingston has the sticksmanship to pull it off but they're at their best when sticking to the traditional trappings. The lyrics deal with economic collapse and putting too much faith in political leaders i.e. the current occupant of the White House to make things better for the underclass ("No Hope"). Pretty good but you really need to see them in their live, hair-flying fury. (PO Box 1148, Grand Rapids, MI 49501, www.punksbeforeprofits.org)

RELIGIOUS SS DISORDER-Prey (Punks Before Profit, 7" EP)
Dark and churning punk with tribal-like rhythms, buzzing guitar and bass, plus vocals with a whole lotta reverb on them. The title track begins with collage of clips repeating the word "terrorism" ad infinitum leading into the musical fray. The more aggressive punk side comes up for "Critically Think" and "People Not Property," but there are other times where there's an anarcho punk vibe and that adds a distinctive flair. One of the better recent releases from this label and well-packaged with a hand screened cover and poster. (PO Box 1148, Grand Rapids, MI 49501, www.punksbeforeprofits.org)

REPORTS-Bill Wyman Metal Detector/Attleboro Trailers (Ride The Snake, 7")
Yet another record that came out awhile ago. Two engaging songs with a skewed, primitive and chaotic beauty. In other words, poppy without being obvious about it. "Bill Wyman..." pulls one hell of a vocal hook out of the chorus and it all builds to a fever pitch with a gnashing, feisty determination. "Attleboro Trailers" favors a garage-style bash with searing guitar leads. The recording is perfect--it'd probably lose something in the traslation with cleaner production although calling it lo-fi is something of a misnomer. (www.ridethesnakerecords.com)

REVILERS-Stand Or Fall (Patac, 7")
Another fine dose of hearty 'n tuneful punk rock. As with the first EP, they favor punchy arrangements and endearinly gruff vocals, a '77-era meets No Future Records sound. "Road Rage" aims for a Motorhead style and sounds more like Motorhead-lite but that's the only misstep here. They're not changing the world but it's still decent. (www.patacrecords.com)

SHITTY LIMITS-Beware The Limits (Sorry State, LP)
Beware, indeed. There's a newer crop of UK punk bands playing with a rough 'n jarring sound that incorporates post-punk and garage into the aural mixer. This year has brought stellar 7"s from Fashion and Hygiene and the Shitty Limits come from the same region (London and surrounding regions) and a similar muse, that being a penchant for shaking things up. After a slew of earlier 7"s, some of which have been re-released, "Beware The Limits" is their first bigger-sized release and it uncorks a delirious, jittery sound. "Transitions" has a Fall-like tinge to it and if their vocalist Louis doesn't parrot Mark E. Smith, he still has a sing/speak/shout cadence. He practically drove himself into convulsions when they performed here over the summer and I wondered if he was going to have an aneurysm from shaking his noggin too hard. The same thing might happen to you once the needle hits the vinyl. (1102 N. Greensboro St., Carrboro, NC 25710, www.sorrystaterecords.com)

STATE-Wuste dtld EP (Gossenwelt, 7")
The State's second German and English languages EP (the title means "Dregs 'o Detroit") with two songs apiece in each tongue and taken from recordings ca. late '07/early '08. "You Against The World" is a solid change of pace for these guys, taking a rockin' punk turn with some blowtorch guitar. The other three songs run the gamut from a mid-speed wind-up ("Emo-X") to hammering hardcore ("Wuste Deutschland") to the no bullshit rager "Pop Tart." Not the greatest record ever by these stalwarts but the "You Against The World" and "Pop Tart" are definite keepers. (www.myspace.com/statenoillusions)

TASTE THE FLOOR-s/t (Rising Riot, CD)
Cleanly-produced fast hardcore respecting the roots but having the modern twist. Maybe a little too clean for my liking since hardcore, at its best, needs some roughness but it's not a deal-breaker. The songs bristle with an urgency, both musically and in the vocals. These Italians eschew the chug and don't sweeten things up too much, either. Overall, nothing all that out of the ordinary--just songs that are well-played and energetic. (www.myspace.com/tastethefloor)

WHORES OF WAR-s/t (self-released, 7" EP)
Due to my now-standard tardiness, the Bay Area band Whores of War have broken up before this review gets published. Ranting, thrashy hardcore from these three ladies/one gentleman and they would have fit in well on the early 80s Northern Cal. comp "Not So Quiet On The Western Front." Kat's vocals are murderous and the songs equally-nettled sounding. Not anything real distinctive about this crew (i.e. a tad generic) but it sounds good coming out of the speakers. 300 copies. (1033 Rosewood Ave., San Carlos, CA 94070, www.myspace.com/whoresofwar)

Suburban Voice blog #79

2009-10-02T19:11:00.003-04:00

RORSCHACH

Hi! Remember me? While Suburban Voice has been lagging in the print arena for, oh, six years, I've been trying to keep the blog running on a regular basis. And not successfully of late. I'm REALLY going to try to have another one of these posted in the next week or so since I have a backlog of record reviews. I do appreciate all the fine music sent my way and, even if I somehow fail to publish a review here, I try to get it on the radio show at least. So, with that in mind...

BRING ON THE WARHORSES
... the last three shows I went to, during the span of 17 days in September, featured what one would call "heritage" acts i.e. bands who have reunited or been around a wicked long time, as we say in MassLingo. One of 'em, Youth Brigade, were only broken up for a few years anyway. Their show and the one featuring Naked Raygun were both at the larger downstairs room of the Middle East and it was the first time I'd been there in a number of years. I was trying to remember when it was but it could have been 2002, when I saw the Rezillos. I did get to the upstairs room for the first time in perhaps five years in August to see another reunited band, Chronic Sick but that wasn't particularly good so I think I'll move on. The other show was at the ICC in Brighton with Rorschach, reunited for their first shows since '93.

People I talked to after the Naked Raygun show were telling me how they thought it was awesome, incredible etc. I wasn't nearly as overwhelmed. It was definitely great to hear the likes of "Treason," "Home of the Brave" (the opener), "I Don't Know" (yes, I was singing "what poor gods we do make" like everyone else) and especially the killer "Rat Patrol" and "Surf Combat." But it wasn't all that energetic. I know that Jeff Pezzati hasn't been in the best health but the playing was still on the tame side. I still don't think that Bill Stephens was ever an adequate replacement for John Haggerty. Incidentally, Haggerty's own "heritage" band, Pegboy opened for Face to Face at the House of Blues the following week but I refuse to patronize that corporate club with oppressive security unless it's the show of a lifetime or something. Getting back to this show, though perhaps it's something being lost in the large club environment. I've become accustomed to the intimacy of basements and smaller venues. Whatever the case, hardly a mindblowing performance.

That was pretty much the same case for Youth Brigade. They're out for a 25th anniversary tour, a couple of years late actually, to promote the "Let Them Know" project--a package with a book, DVD that tell the story of the band and BYO Records and either a double LP and CD or a smaller version with the CD. The musical portion features bands covering songs from the BYO catalog. I got the DVD and CD discs sans book and haven't had an opportunity to check out either one yet.

The Brigade did a career-spanning set and, truth be told, I haven't listened to much after "Sound and Fury" in recent years. It was fairly enjoyable and, yes, I sang along to "Sink With California" like everyone else! Just like with Raygun's songs. And like Raygun, the songs are strong on melody and this lineup has plenty of instrumental dexterity, particulary their newer bass-player Joey, who also contributes strong backing vocals.

Rorschach, on the other hand, did deliver the goods and then some. Hell, the usually-abysmal sound at the ICC was tolerable for once. Still plenty of echo due to the high ceilings but you were able to hear the vocals and that's a rare occurrence. I'm pretty sure the last time they were here was in '92 with Econochrist and Face Value at a church basement near Harvard Square. A heavy, lurching sound given to spasms of speed and Charles Maggio's throat-shredding timbre hasn't been dulled by the passage of time. This was also likely the first time I've ever heard both King Crimson ("21st Century Schizoid Man") and Black Flag ("My War") covered in the same set. Lots of old faces came out of the woodwork for this one and it was great to see one-time Suburban Voice photographer Justine DeMetrick for the first time in years.

REVIEWS OF RECORDS, TAPES, CDs (but no 8-tracks):

MURDER-SUICIDE PACT
(taken from their MySpace page/pic: Simon Faulkner)

BATTLE RUINS-s/t (Rock'n'Roll Disgrace, tape)
New Mass. band with Brendan Radigan (XFilesX, Mind Eraser) on vocals and the ubiquitous Justin DeTore on drums. A sturdy rock-core sound with lyrics about the ravages and glory of various battles, with "traitors stomped out," to quote one of the song titles. Imagine Criminal Damage without the blatant No Future Records-isms and you're on the right track. Brendan's vocals soar with authority and the volume-drenched sound wears well. (www.myspace.com/rocknrolldisgracerecords)

DAMAGE-Our World (self-released, 12")
There have been any number of bands called Damage over the years. These four lads are Swedish and have a decidedly old-school hardcore sound. Or, rather, taking those influences and playing them with the non-distorted guitar attack utilized by the likes of Smart Cops, Amdi Petersens Arme, et al. The drumming is a little bit one-dimensional but, otherwise, I have few complaints about their no-bullshit style. I got a nice note with the record talking about how it was co-released with a "DIY human resource bank called Eldsjal" (hope I spelled it correctly) that provides info on releasing records and printed matter, booking shows, etc. Anyway, this band has a winning scrappiness. (www.myspace.com/damagelkpg)

EQUALITIES-On The Street! (Loud Punk, LP)
The view on the back cover is facing the stage and you see people in leather jackets festooned with the logos of Abrasive Wheels, Special Duties and Adicts and hair spiked or mohawked (?) and getting ready to sing along with the Equalities. There are plenty of boisterous singalongs on thie LP from this Japanese band. Hearty UK-82 inspired punk that also dips into the '77 yearbook for the Pistols-ish "The Spring Of "Haruko," with the "Holidays In The Sun" guitar sweep. This sound kind of played itself out for me some years back but, every once in awhile, it's fun to hear this sort of "up the punx" fodder and the production is booming instead of slick. (PO Box 3067, Albany, NY 12202, www.loudpunk.com)

IN DEFENCE-Into The Sewer (Learning Curve, CD)
The Minneapolis band who have their name spelled wrong, claims to contrary on “In Defense Is Our Name Spelled Wrong” (maybe they think they’re from the UK), go over the metallic cliff here and welcome the collision I’d imagine. This is some fired up riffa-thrash-a-rama starting with the opening chords of “Lessons In Headbanging.” Crunchy bits of NYHC slip in there, as well. Ben Crew barks out the vocals with conviction as he emotes about such pressing issues as the lameness of pizza (“The Only Good Thing About Pizza Is The Crust”), a dearth of circle pits (“Don’t Call Me A Moshist”) and even throws in an anti-Reagan sentiment or two (“Total Filler No Killer”). Yeah, it’s kind of silly and one wonders how much of it is wise-assery and how much is serious. I used to wonder the same about Good Clean Fun but In Defence are WAY better than those guys and these songs throttle nicely. (PO Box 18378, Minneapolis, MN 55418, www.learningcurverecords.com)

MURDER-SUICIDE PACT-Summer 2009 demo (CD)
This Florida band, fronted by the one and only Bob Suren (of Sound Idea/Burrito Records fame), are back from the dead and come back with a vengeance. Fourteen songs of damage-core played in a deliberate and full-bore fashion. A Black Flag/Bl'ast inclination has always been part of the band's sound and they harness it in a somewhat similar fashion as a band like Annihilation Time but with only a smidgen of the metalisms of the former. While a good chunk is at a medium clip, they'll occasionally bring on the thrash, such as for "Get Bored And Die." For a "laptop" recording, the sound isn't bad at all--good and punchy, not overly slick. I also think they're better now than 'back in the day.' Dark aggression and that darkness extends to the lyrics. Well, sometimes there's a self-improvement, keep forging ahead theme, as with the fiery "Full Time." Bob has a sinister, close to murderous (sorry) timbre in his voice, matched very well by the music. Good to have them back. (PO Box 3204, Brandon, FL 33509, www.myspace.com/mspfl)

PAINTBOX-Trip, Trance & Travelling (HG Fact, CD)
As I wrote about the "Gemstone" EP earlier this year (I referred to it as "Raw Ore" but that was one of the songs), Paintbox follow a musical everything-but-the-kitchen-sink approach. In that particular song--re-recorded for this album--you've got 70s-style rock guitar, female harmony vocals and a thrash break with sax bleating. In one song. Quite a few of the 16 songs here are mini-epics and you hear everything from traditional Japanese hardcore to balladry to metal to a reggae take on a traditional Japanese dance. Some of the songs are re-recordings of earlier material accompanying the new compositions. At their crazed best, the riffs have a ferocious attack as the late great Chelsea juggles power-chords and soaring metallic leads. That's the attraction, along with Mune's inaniac vocals and the pummel often has an inherent hookiness. And weird references come to mind--the opening guitar line for "Cry Of The Sheeps" has me thinking of "Laughing" by the Guess Who, the horn charts echo Chicago, the harmonica on "Save The Ground" conjures Blues Traveler and THAT's not good but made up for by the rampage and Ziggy Stardust guitar strum. It's a lot to get through and pretty overwhelming in one sitting but it's also an album you're not likely to forget, be it good or bad and that's definitely the case here. For instance, I don't think I need to hear the jazzy ballad "A Field In The Moonlight," even with the heavier takeover in the midsection, again. But, man, I can't stop singing "Cry Of The Sheeps." If you're adventurous, this is one thrilling ride. It's something of a cliche but I can't think of another band that sound quite like this. I should mention that the packaging is stellar, with a colorful gatefold sleeve and lyric booklet. (www.interq.or.jp/japan/hgfact)

RAKKAUS-Jokainen Paiva On Taistelua (Tuska & Ahditus, LP)
A blending (sheesh, sounds like I'm talking about coffee) of different styles but this is a melodic sound with elements of Swedish and Japanese hardcore and the occasionally epic propensity. The guitars aren't tuned that low so things don't collapse under their own weight. When the compositions are kept brief and throttling, it's the best display of this Finnish band's power. Katri has a commanding vocal presence--sandpaper rough but not one dimensional. There's the occasional instance of dreaded snare slam taking a shortcut to speed things up but that hinders more than helps. Definitely not a light-hearted affair--the lyrical translations mention daily struggles, pain "within me that cuts deep," etc. "The sky is filled with dark clouds" from the song with the English title "Rain" kind of sums thing up. Nothing really bogs down to a crawl and the band's inherent power is effectively conveyed. Might be a little somber for fans of the raw/aggressive Scandi-core. (Kannaksenkatu 6 as.7, 33250 Tampere, FINLAND, www.elisanet.fi/tuskajaahdistus)

RF7-Hatred On The Rise (Just 4 Fun, CD)
Kind of a round-robin deal here or maybe showdown, if a band can have a showdown against itself. The deal is there are two lineups of RF7 on this disc--the original lineup from the 80s play on the odd-numbered songs and the newer lineup on the evens and they're all current recordings. Vocalist Felix Alanis and guitarist Nick Lamagna are the only performers in both of them. Differences? To these ears, the '00s version has a tad more sprightliness in the playing. In both cases, it's the same sort of straight-forward fast west coast punk they've always plied and Felix's vocals remain some of the gruffest in the business, without degenerating into indecipherable growls. Read closely and there's a religious element to a few songs, particularly "Witness," basically offering a warning of a "burning fire/gnashing teeth" fate for the non-believer. Hmmm... In any case, RF7 have always been a decent but not outstanding band, with the occasionally killer song and that's the case for this album. In other words, fairly average. (www.j4f.dk)

ROT IN HELL-Hallways Of The Always (Grot, CD)
Metal, hardcore and crust merging together. I’m tiring of having to compartmentalize everything but that’s the broad description. The riffing is hot and heavy and Rot In Hell utilize a few familiar riffs here and there, be it the Celtic Frost-isms of “Final Word” or the even-more-brazen appropriation of Slayer’s “Angel of Death” for their own “Black Omega." It does falter towards the end, with the lengthy “Psionic Annihilation” and “Now, Today, Tomorrow and Always,” more of an experimental piece with acoustic guitar fading into some sort of sonic collage with a religious sermon underneath it. I’m sure there’s some kind of grand statement being attempted but it’s not worth spending the 8 minutes to wade through it. Otherwise, a more than adequate amount of ragingness. (www.myspace.com/grotrecords)

SLAP THE CULTURE-s/t (Cock Suck, CD)
This came out awhile ago (as in last year) but just landed in my mailbox recently and it's been landing on my CD player quite frequently. It also made its way into my iPod, which doesn't happen that much for newer albums. This Japanese band have a snotty early 80s-inspired thrash sound along the lines of Street Trash or Total Fury and the vocal delivery is similar to those bands' vocalists Josh and Kenji . Brief catchy-but-flailing songs following each other in quick succession. The three bonus songs--adding up to a total of 16 in around 12 minutes--are rougher and a tad more chaotic, especially "I Wana (sic) Skate." Lyrics are in English and aren't exactly poetic but convey a middle-finger attitude quite effectively. Inspiring wrecklessness. (www.cocksuckrecords.com)

SPITS-The Spits (Recess, CD)
The Spits release their fourth self-titled album, their first for Recess. It's unofficially called "IV," much like Led Zeppelin's fourth album was called the same thing. And they get through about 7 of the 10 songs in the time it'd take you to listen to "Stairway To Heaven." The closest thing to an epic here is "Flags," timing out at 2 1/2 minutes. This is punk minimalism possessing a crude '77-era catchiness but they let wavier/nervier chunks in the mix--synth lines and washes and plenty of distortion effects on the instruments and vocals. "Flags," mentioned earlier, is the roughest song here, driven by muffled guitar and prominent bass and the chorus "wooah" perfectly played. You might be thinking of accusing them of "d-u-m-b" schtick but it's very clever, dark schtick that'll have 'ya pogoing around. And "School's Out," with the line "we're gonna burn the teacher's car tonight" is way cooler than "Rock 'n Roll High School." (www.recessrecords.com)

TIMEBOMBS-Belong In Hell (Cowabunga, LP)
Hell? Hellacious! A cataclysmic barrage of pure energy music from the feedback-laden intro to "Safe For The Whole Family" to the bombastic conclusion of the final pair of songs, "I Belong In Hell" and "Not Safe." That's for sure! The instruments sputter and squeal in an eruption of pure craziness while vocals fight to rise over the clatter. You won't be humming the songs but you'll certainly feel the impact. This is the same sort of heady noise that's been plied by Sex Vid the past few years and I could see this band being a violent force of nature in the live setting. It's a pretty formidable force right here in the listening room. (www.cowabungarecords.com)

WITCH HUNT-Burning Bridges To Nowhere (Alternative Tentacles, CD)
So I've been watching all this back and forth about the health care debate, how it fosters socialism, a takeover of the government and so on. It's time for a musical respite but that doesn't mean it's time to stop thinking about those issues and Witch Hunt's "Sick Industry" puts it into an angry lyrical focus. "Burning Bridges To Nowhere" continues the move to a more tuneful sound while maintaining the energetic hardcore emphasis. There are moments that bring late 80s DC 'core like Gray Matter to mind (as with the aforementioned "Sick Industry" and "Counting Down The Days") and the warm guitar textures channel a Leatherface influence. There's also a sense of dramatic intensity for "Void" and parts of "Counting Down The Days." One change is Rob Fitzpatrick handling an increasing amount of the vocals although Nicole and Janine are hardly silent here. The progression continues and nothing's diluted. (PO Box 419192, SF, CA 94141, www.alternativetentacles.com)

Suburban Voice blog #78

2009-08-12T10:38:00.010-04:00

SAWDUST AND SHOPPING CARTS

I've been trying to come up with a way to describe the Evacuate warehouse space in scenic Roxbury, thinking about whether a term like "demimonde" or "darkside" would accurately state things. In any case, it's a spacious, dusty room with a high ceiling and wretched acoustics--at least that was the case for the Hatred Surge, Mammoth Grinder, Total Abuse and Mind Eraser show there on 7/15. Actually, the dust was sawdust and, as for the shopping cart, one of 'em made it into the pit at one point during the show.

My favorite band of the night was Total Abuse, from Austin (all three of the out-of-towners are from there). Rusty didn't have his pedals or electronics (said he's been too lazy to replace the batteries and such) but no trickery was necessary for their tandem of thrashy rage and damaged 'core. Mammoth Grinder mix up the metal and some lower-tuned Swede core into a pummeling combination and some hot guitar leads on their last song. Hatred Surge have the hammering metallisms along with crazed grind. Those may not be the most incisive, elaborate descriptions for these bands but they'll have to do.

SHITTY LIMITS

I made it to two other shows over the past month, both of 'em pretty memorable. Shitty Limits, from the UK and Logic Problem, from North Carolina, had a joint tour and hit PA's Lounge in Somerville on 7/28. have animated vocalists, as you can see in the photos. The Limits are refreshingly original, while drawing from a diverse array of influences including post-punk (a Fall bent on some songs), 60s garage and thrashed-out hardcore punk.

Logic Problem weren't quite up to that level. A thorny, aggressive sound. At one point, I heard a guitar line that sounded very familiar and it turned out they were doing a warp speed cover of Die Kreuzen's "In School." Cool... there's a band from the 'old days' who aren't covered all that much. Libyans played last and debuted some new songs, sputtering at the start but picking up momentum as the set progressed.

Finally, Perdition returned to town on 8/5 at a basement space in a pretty nice Brookline neighborhood. I'm amazed it was able to get almost all the way through (one local band, Isolation, didn't get to play). It was a good-sized room, too, and the acoustics were surprisingly good.

Perdition are from NYC and the last time they were here, they only got to play one song because some traveler fucks who had been thrown out of the show tossed a couple of bricks through the window of the Democracy Center. Completely wailing/raging distorted hardcore punk. Lotus Fucker, from DC, probably played around 10 minutes but it got the job done... an out-of-control vocalist, performing barefoot (as you can see) and the band's sound is a wild, crazed thrash onslaught puncutuated by his screech-your-lungs-out emanations. Finally, The Epidemic marked their return with an energetic array of UK-82 inspired punk.

And now to the music review segment of our program:

RESIST CONTROL

BEAR PROOF SUIT-A Suit To Alter Fate 2005-2008 (Urban Pirate)
A collection of this band's 2008 B.Y.O.B.O.C. LP, two earlier 7"s and a few unreleased songs. A potent hardcore punk band who evade any sort of easy compartmentalization. Jarring guitar lines and riffs--some real scorching stuff--wrapped around a tight bass/drums tandem and accompanied by primary vocalist Ryan Poortenga's throaty growl. In fact, the vocals from Jon Hanson are almost as gruff. There's a good amount of speedy savagery unleashed on most of these songs. Not thrash, so much, but it's a charge of full-bore adrenalin (how much hyperbole can I put in one sentence? Never mind.) "Fourth World" adds a little Bl'ast stop 'n start. And the choice of cover versions shows impeccable taste--the Wipers' "Up Front" (from one of the 7"s), Poison Idea's "Pure Hate" (previously unreleased) and Husker Du's "Real World," one of that band's best songs and handled very well here. They also sneak in a few tips of the hat, such as the opening guitar line for the heavy-sounding "Bear Proof Suit" that borrows, albeit briefly, from Black Sabbath's "Embryo" and "Sans Equity" does the same thing with Blue Oyster Cult's "Before The Kiss (A Redcap)." In an earlier review, I said they were on the right track but not "mind blowing yet." After hearing the songs from the LP and re-evaluating the EPs, I've changed my view on that a bit. Quite a bit, in fact. (1509 Bell Ave., Sheboygan, WI 53083, www.myspace.com/urbanpiraterecords)

CAUSTIC DEFIANCE/NEGATIVE ELEMENT-Split (Akashic, CD)
Straight outta the suburbs of Chicago came these two bad-ass hardcore punk bands ca. 1983. OK, they weren't exactly bad-asses but, instead, typified the fast, generic sound of the day. There are distinctions, though. Let's begin with Negative Element, since they were the first band and perhaps have a bit more notoriety since they got a 7" EP, Yes We Have No Bananas, released back in the day. I've always had a soft spot for this band's goofy approach... songs about Elmer Fudd and the Pillsbury dough boy, an anti-Pac Man song (that was the video craze at the time), as well as the de-rigeur plaints about the cops and religion. The mixes here are different than on the 7", although definitely not slick. There are also some very rough-sounding, unreleaed demos that probably could have stayed that way. So after Negative Element split, due to the Stepe brothers (Chopper and Barry) moving away, Caustic Defiance was born and the sound was much more aggressive. A nastier guitar tone leading to a buzzsaw ambiance. They played the same kind of thrash plenty of other bands did at the time but with enough youthful vigor to make it enjoyable. Just don't expect any sort of revelation. I should mention it's all previously unreleased. Nicely packaged with a booklet that has lyrics and reminiscences. (Mukasoi 1058, Wakayama 648-0025, JAPAN, http://www.myspace.com/akashicrecs)

INSUBORDINATES-1968/Rendezvous (Feral Kid/Crotch Rot, 7")
Two short songs with the a-side a slice of catchy 80s west coast punk and the b-side a garage/surfy instrumental, albeit without the reverb or twang. Definitely a subject for further research, to quote the insufferable rock crtitic Bob Christgau i.e. I'd like to hear more. "1968," in particular, is a real keeper. (379 Ontario St., Buffalo, NY 14207, www.myspace.com/feralkidrecords)

LIFE PARTNERS-AIDS of Spades/Teenager In Trouble (Ride The Snake, 7")
You might think a band with amplified trumpet, occasional organ, screamy and atonal vocals along with guitar and drums would sound like a trainwreck. That's true, but it's an intriguing (and highly abrasive) trainwreck. Yet the songs do follow verse/chorus structure--sort of, anyway. No Wave in the '00s? Something like that, at least on this pair of songs. I'm still not sure if I'd want to hear this more than a few more times but the songs are running through my brain at the moment. (www.ridethesnakerecords.com)

MAKABERT FYND-s/t (Flat Black, 7" EP)
A pack of Swedish rippers laying out the thrash brutality. Damn, how many cliches can I jam into one sentence? But you should still pay attention. Fast and aggressive songs at a mostly quick pace although "Var Fam Ar Er Respekt" has more of a measured velocity, while still stomping your senses. Not specifically following either the d-beat nor downtuned metallic style usually associated with this country's hardcore bands. All that matters is the band's power-filled attack. New album has just been released and it's definitely something I'm looking forward to hearing. (www.myspace.com/flatblackrecords)

NIGHT OWLS-s/t (Hex, CD)
Pretty tuneful rock 'n roll with a DC-ish touch--I thought a bit of the first Gray Matter album, although "Fake Blood" definitely has a Nirvana vibe to it and that inflects a couple of other songs as well. And there's a thrashier side for "Results Inconclusive." These guys show it's possible to play nervy rock music without any sort of cheesiness. There's an abundance of juicy/sharp riffage and it whets the appetite for more. The six studio songs are appended with a not-so-shabby live set. (201 Maple Ln, N. Syracuse, NY 13212, hanginghex.blogspot.com)

NUCLEAR FAMILY-s/t (Loud Punk, 7" EP)
Three engaging songs favoring a melodic and edgy sound. Jen's vocals swoop over, under and sideways around the arrangements--maybe a tad grating in spots but certainly distinct. "Doublespeak" is the best of the three, a straight-ahead song powered by Paul Henry's always-impressive sticksmanship and buzz-sting guitar. (PO Box 3067, Albany, NY 12206, loudpunk@gmail.com)

PSYCHED TO DIE-Year One (Dirtnap, CD)
A compilation CD (no duh) of this band's new EP, Scatter Brained, out on Dirtnap plus their earlier Sterile Walls EP and demo. Bright 'n punchy melodic hardcore created by a band that includes former Ergs, only with a harder edge than that band. An air of futility and anger permeates the lyrics--confusion about life's direction, jobs that grind people down and ultimately deciding that, no matter what, we may still be fucked. Despite the lyrical cynicism, they don't sound defeated and the music exudes a fighting spirit (if that's possible). Don't miss the hidden bonus track, a cover of Freestone's "Bummer Bitch," which wraps things up on a lighter note. (2615 SE Clinton St., Portland, OR 97202, www.dirtnaprecs.com)

RAW NERVES-Murderers Among Us (Poisoned Candy, 7" EP)
New-ish Portland, OR band with people from Squalora, Forced March and a few other combos. They had a CD demo earlier this year that I neglected to review (but have played on the radio show so maybe you heard 'em already) and four of the seven songs have been re-recorded for this EP. Raw hardcore featuring Matt Svendsen's rabid howlings and a feisty tumult that incorporates crusty thrash (or is it thrashy crust--no matter) and more ominous passages. Opening song "Hello To Oblivion" actually opts for the latter, with that kind of intro before settling into a bruising mid-speed assault. Not-so-cheery politically oriented lyrics fit the music's mood very well. To quote a pretty well-know band from their city, feel the darkness. (www.poisonedcandy.com)

RESIST CONTROL-s/t (Peterwalkee, CD demo)
Pummeling fodder toggling pretty seamlessly back and forth between DRI-ish double-speed thrash and circle-pit-inducing and hammering moments. The first thing you hear is an earth-moving bass-line and that really drives things throughout, complemented by raging guitar, drums and vocals. The playing is tight and executed in effective fashion. Twelve songs in twelve minutes. (408 Richmond Ave., Buffalo, NY 14222, www.peterwalkeerecords.com)

SPREAD 'EM-Pizza Crisis EP (Peterwalkee, 7" EP)
Hardcore/punk/rocknfuckinroll for a band that probably doesn't take itself all that seriously, as some of these ditties are titled "Too Many Zits" and "Jamie Lee Curtis Fingerbang." That song raises the question as to whether Jamie Lee is an "X or Y," if you catch their drift. Meanwhile, "Fuck Megatron" flashes some metallic trills 'n thrills. Fun and raucous. (408 Richmond Ave., Buffalo, NY 14222, www.peterwalkeerecords.com)