Suburban Voice blog #49

So I finally got my shit together and put out another SV blog. I don’t know why I’ve been dragging my ass around so badly trying to get this out but I hope it was worth the wait. If it wasn’t, fuck you for not appreciating my hard toil and labor. Just kidding… maybe…

ZINES ON ACTUAL PAPER!

Wow—they still exist. I’ve actually accumulated a pile of pretty good zines lately. Everything from single sheet zines to xeroxed efforts with a staple in the corner (much like early of issues of my zine) to printed ones with a cut and paste format on heavy stock paper, also how I did it for awhile and I miss that smell of paper and ink. So let’s get to it.

Matt Breen, former host of WERS' “Radiobeat,” has been putting out a single sheet effort called Beat Sheet for awhile and has been a champion of those types of zines. When Rabies and Warkrime did a show here over the summer, Matt gave reduced admission to anyone who showed up with their own single sheet ‘zine. Hell, I did one and I didn’t even go to the show—the zine, in part, explained why I wasn’t there, which was because I was at my brother-in-law’s 50th birthday party. I have one of his issues sitting here, #5.5, and it’s a xeroxed single sheet job with what amounts to a travelogue about a trip Baltimore with Blank Stare. (6 Wadleigh Place, Boston, MA 02127-2728, stamp).

Craig Lewis recently revived his zine Upheaval as a one sheeter, sometimes in an 11x17 format, as with issue #11 but, for the past two, it’s 8 ½ x 11 and consists of record and demo reviews, a few flyer reproductions and personal updates. #11 is my favorite of the three, with bigger-size reproductions of flyers, along with the requisite reviews. All of it done cut and paste. (PO Box 301426, Jamaica Plain, MA 02130, rawpunkrock@gmail.com, stamp in US/$1 overseas or trade).

Phil Knowles has been publishing his single sheet Clench zine for some years now and it has tiny print that has me reaching for the magnifying glass (that’s what happens when you get older, sorry to say). This effort often offers a history/critical assessment of an older band, such as Void, Agnostic Front, the FU’s or Black Flag. Reprints of vintage interviews, photos and flyers make it interesting. Issue #9, however, is a 20 page zine that includes an extensive study of Urban Waste, including an interview with their guitarist Johnny Waste. There’s also an interview with Wendy Eager from Guillotine fanzine and Daniel Skibra of Mad At The World Records, who did an Urban Waste reissue a few years back. This is the best issue he’s done. (Phil Knowles, 240 Spring Hill Dr., #210, Roselle, IL 60172-2470, pizzachew@hotmail.com, 2 stamps for #9, one stamp each for #1-8)

On to the full-size zines: Mindless Mutant, published by Matt Rolland (who recently toured with Weekend Nachos), is a ‘zine with an attitude. In other words, Matt calls it as he sees it. For instance, there’s a piece that rips on Terror where he turns their logo into “Terrorible” and criticizes them for what he perceives as attempting to broaden their audience to something more mainstream. The zine was done, as Matt puts it, with a typewriter, pen, pencil, scissors, lots of glue and a photocopier. Ah, glue or, more accurately, rubber cement. I miss that smell. I like the look and the devotion to hardcore, brought out through the interviews, reviews and accounts of his punk rock road trips. The photos look cool, as well—hell, the whole thing looks cool. It looks like a hardcore zine. A chip on the shoulder and a biting sense of humor make this a fun read. Issues #2 and #3 feature Career Suicide, Punch In The Face, Black SS, GO! and more. No joke—this is one of my favorite new zines and I hope he keeps it going. (Matt Rolland, 3108 98^th St. East, Highland, IN 46322, ratmolland8@aol.com)

Distort is a zine from Australia that is now up to 15 issues (I have 8-10 and 14-15) and also favors the xeroxed cut ‘n paste look. Publisher DX seems to be more enamored with older bands although he’s also partial to such current hardcore purveyors as Cold Sweat, Sex Vid and the State (OK, old and new in their case). Interview/review format although there are also pieces on the best unreleased hardcore albums and split LPs and an assessment of the Schism/late 80s youth crew scene that had me laughing out loud (“Effectively, this book is documenting the original contagions which have spread across the world and choked much of the life out of hardcore…”) At $10 for 5 issues, this is a fuckin’ steal. (DX, PO Box 239, North Carlton, VIC, 3054 AUSTRALIA, distorttheworld@gmail.com). Incidentally, this guy also plays in Straightjacket Nation and you NEED to track down their 7”.

Also from Australia comes Us vs Them (issue #3) published by a gentleman named Beau who, like DX, has a love for both old and new punk and hardcore and with an emphasis on US sounds. The interviews are with newer acts—Social Circkle, Life Trap, Socialcide and Straightjacket Nation, to name some of ‘em. The layout is the same as Distort, although the print quality and photos are clearer. Some rather provocative cover art, as you see and it’s pretty obvious that the artist takes a dim view of cops, priests and ravers (Beau says they’re all “assholes just in different ways”). Beau admits he does the zine because “I can’t stand most people.” Sounds like he has the type of inspiration that pushes many of us to these forms of expression. (xbeauxvsthem@hotmail.com)

That’s it for now. I’ll try to have some more zine reviews next time, as well…

REVISIONS DE LA MÚSICA (ooh—blog bi-lingualism!)

AMERICAN CHEESEBURGER

AMERICAN CHEESEBURGER-s/t (Tsunami, 7” EP)/Modern Advice (Rock Bottom, 7” EP)
The band with the somewhat silly name but lethal sound make a really big splash on these two EPs. The self-titled one is the newer of the pair. Wanton rampage favoring a charging thrash style and vocals that sound like razors in the night, uh, throat. The lead guitar on “Camouflage Hairspray, from the new EP” is godawful, so are the horns on the pisstake uncredited track that ends it but they’re also kind of cool elements. They definitely have a creative way with song titles, such as “If Your Face Was Georgia, My Fist Would Be Home By Now,” which is a well-aimed attack on some of the retrograde residents of their home state. The first EP operates in a similar vein albeit a tad more primitive. There’s a decided 9 Shocks influence here and that’s nothing to sneer at. They put on one hell of a live show, too. The band’s unhinged nature comes across well on these recordings. (Band contact: 385 S. Peter St., Athens, GA 30601, shabbah36@hotmail.com)

BUSY SIGNALS-s/t (Dirtnap, CD)
This is the first actual physical copy of any Busy Signals music that I’ve owned, since I don’t have the EPs, as of now. I’ve heard those recordings, though, and, on this album, there’s a smoothing of the rough edges, to use an overused term. In any case, these Chicagoans still have a way with a catchy punk melody, even without the rawness. It only takes a small guitar solo in “Plastic Girl,” for instance, to completely grab onto my ear and shake me up and that doesn’t really stop much after that. Ana’s vocals are both sweet and have an edge. Bad-ass but also vulnerable. They occasionally make me think of the Fastbacks, although that band was never as tough sounding. The guitars jab, the bass throbs and the songs have plenty of punch while piling on the hooks. (2615 SE Clinton St., Portland, OR 97202, www.dirtnaprecs.com)

CANADIAN RIFLE (Criminal IQ, 7” EP)
Super-catchy, yet scruffy punk. A number of influences here—the sturdy, mid-tempo style of fellow Chicagoans Pedestrians, some Clashy jab and and, yet, they come up with something their own. I particularly like the surge for the finale of “Creep,” following a quieter segment. Big melodies, gruff vocals and bursting with an energetic warmth. (3501 N. Southport Ave., Chicago, IL 60557, www.criminaliq.com)

86 MENTALITY-Final Exit (Deranged, 7” EP)
This is probably it for one of the meanest-sounding bands in hardcore. Six new burners and it begins with the slow build up of their “Outro” (which is an intro, to be specific) and then the musical brass knuckles come out. Raw, bruising hardcore punk with catchy properties and having a street punk/oi feel, as well. Boots stomping around the dance floor, a tough vibe but not in the spin-kick/martial arts manner. In the liner notes for the Negative Approach “Total Recall” comp, Tesco Vee referred to “fuckin 81 baby—jack booties wit bandannas, shaved noggins…” That’s the vibe I get with 86 Mentality—that and DC ’81. The thrashing is done at a more moderate pace than those bands and it’s not a straight derivative but an overall feel. Also, only their vocalist Steve sports that look but work with me here. If this doesn’t get you pounding at the wall, I don’t know what will. (2700 Lower Road, Roberts Creek, BC V0N 2W4, CANADA, www.derangedrecords.com)

GET THE MOST-Common Goals (Crucial Response, CD)
Hoods-up Varsity Core (© Quint, 2007)—although Get The Most don’t have the Varsity font in their name, but it’s still there for the EP’s title and lyric sheet. It’s actually a pretty decent, well-recorded take on class of ’87-inspired/youthcrew-ish hardcore. Speed ‘n crunch (hell, one of ‘em is credited with “crunch”), finger pointin’ backups and earnest lyrics and vocals. Kyle also emits a credible Cappo growl when the spirit moves him, although his voice is more along the lines of Kevinsted. I think if I could go back in time to an earlier hardcore era, I’d rather it was ’83 and not ’87 but, as I said, they’re good at this style. (Kaisersfeld 98, 46047 Oberhausen, GERMANY, www.crucialresponse.com)

LOST CAUSE-Kill What’s Inside (Love The Music Hate The Scene, 12” EP)
There have been many bands called Lost Cause over the years and I almost think their label name, Love The Music Hate The Scene, would be a cooler band moniker. This band is from Philly and includes Ned, who has logged time as the vocalist for Balance of Terror, Sangre De Los Puercos and Endless Nightmare and could be one of the tallest frontmen in punk. Other bands on the resume for the various members include AOS, Violation and Witch Hunt. That should give you a fairly good indication that this is loud, aggressive music. There’s definitely a Scandinavian bent in the band’s approach but also some Poison Idea inspiration, the latter coming from the guitar sound and delivery. Ned’s hoarse voice effectively conveys the words of rage. “Through The Cracks,” about people lacking health insurance, is timely in light of the fact that Bush has vetoed an expansion of health care coverage for children. It’s always a good sign when the record ends and you crave more. I’ve played it through two times while writing this review. (Mitchell Brochu, PO Box 37271, Philadelphia, PA 19148, miskatonica@hotmail.com)

THE PMRC-Polyphonics For The Modern Renaissance Cannibal (Motorchest, 7” EP)
Fiercely rockin’ hardcore punk. There’s a speed metal vibe on these songs without the lead guitar—it’s just a throttling tempo, such as on “My Annihilation” and that song pillages like a motherfucker. That’s the effect most of the time, in fact. Guitarist/vocalist Mike Grayum has a throaty, soulful cadence similar to Serge from the Goons (if you’ve ever heard of that band). Lyrically, there are takes on personal trials and tribulations and larger issues and they’re both direct and perhaps a bit more abstract. The bottom line is agitation both in words and music. (PO Box 725, Poplar Bluff, MO 63901, www.myspace.com/thepmrcband)

RIOT/CLONE-Success (Dr. Strange, CD)
Thoughtful, solid punk from this long-time UK anarcho band. I like the personalized explanations that accompany the songs. There are tracks that cast a wider lyrical net but, just as often, vocalist Dave Floyd will write about his own experiences. Similarities with their contemporaries from “back in the day”—Subhumans, Conflict et al and it’s accessible as well. They’re not above introducing a Pistols-ish touch for “Intellicide” and there are bits of the UK-82 sound, as well. Tuneful and cutting and Floyd’s vocals have an ingratiating gruffness. The only other full-length I ever owned from Riot/Clone was “Do You Want Fries With That,” an animal rights treatise and this album is more enjoyable—both from a musical standpoint and the variety of topics covered. I should also mention they do their own “interpretation” of Secret Affair’s “Time For Action” as a medley of sorts with their own “Cows With Guns.” That makes my heart dance—and if you get the reference, good for you. (PO Box 1058, Alta Loma, CA 91701, www.drstrange.com)

RUINER-Prepare To Be Let Down (Bridge Nine, CD)
Brawny modern hardcore with a melodic bent, in a soul screaming sort of way. In other words, there’s no angelic, high-voiced vocalist here. Rob Sullivan sings harshly and from the gut. The tempo is mainly fast, with the requisite slowdowns/breakdowns—going for the crunch mode on “40 Miles North,” for instance. Some nasty lyrics that express disgust with those who do, indeed, let them down. “A Song For Beggars” comes across as a song of romantic betrayal and rather blunt in its sentiments. The same sort of betrayal comes across in “Kiss That Motherfucker Goodnight.” It’s a rant of frustration. It also seems a tad overwrought and, despite the up-front nature of the music, it doesn’t always connect with this particular screaming soul. (www.bridge9.com)

SAHU MARU-Never Too Late (Inimical, CD)
Figured this would be some heavy overseas crust stuff, with the ominous fog depicted on the cover. Not exactly. This is an Oakland three-piece who do have darkness in their sound but it comes from more of a Deathreat direction, in that the crust influence is there but without the lower tuning or sonic thickness. Another difference is most of the songs take on personal subjects—coming of age, confusion, lost love, etc, but without sounding emo (thank whatever). A few songs hit a slightly epic length. There’s the three minute build-up for “Bliid Of Luna,” accompanied by a spoken word piece about humanity’s murderous nature (“a pile of dead piled to the sky”), after which it’s back to the thrashing and it ends up being a powerful statement. This isn’t new or innovative but still rates on the rage-ometer. (PO Box 2803, Seattle, WA 98111, www.inimical.com)

TOKEN ENTRY-The Re-Issues (I Scream, CD)
… of their second and third albums, “Jaybird” and “Weight Of The World” and showing their age. Token Entry always had something of a more melodic take on NYHC. Guitarist Mickey Neal wasn’t averse to throwing some metallic flash into the songs and there was the occasional nod to west coast hardcore, as well. As with many releases from that time, there’s the cavernous sound, especially on the drums and vocals. Time hasn’t treated “Jaybird” particularly well but there are moments that bring back pleasant memories. Their brand of hardcore had a heartfelt energy. It’s also a LOT better than “Weight Of The World,” which is flat-out embarrassment. There was a lineup shuffle, with a different bassist and drummer. With this album, Token Entry introduced funk into the hardcore/metallic stew and it was a very bad idea. As was Timmy attempting to rap on a few of the songs. There’s no other way to put it—“Weight Of The World” was a wretched album. The era of Scatterbrain, Limbomaniacs, 24-7 Spyz and “Weight” was Token Entry’s contribution, even while hanging on to some of their hardcore roots. All of it is best committed to the dustbin of musical history. (Broekstraat 10, 1730 Kobbegem, BELGIUM, www.iscreamrecords.com)

VARIOUS-Propaganda Is Hippies (Kämäset Levyt, LP)
All those narrow bands and the tribute of sorts to the Propaganda records label. 34 unreleased sonx (as the sleeve notes put it) by seven of the newer crop of Finnish hardcore bands. Any piece of vinyl that starts off with the raging Kieltolaki is off to a great start, indeed. Viimeienen Kolonna keep the speed attack going but there are a few UK anarcho elements, as well. Väarinkäsitys bring it back to the old-school Finnish buzzbomb sound. Flip it over and Totuus rip it up furiously although the speed sometimes gets the best of them. Sotatila, with people from Finland and Austria, only have three songs, one of ‘em a Mellakka cover (“Ei/Oikeus Valita”—a well-played version) and make the most of it. Omaisuusvahinko are a tad monorhythmic but still blistering. Probably the weakest of the bunch, though. Finally, Yhteiskunnan Ystävät? bring it home with a relentless assault. The bottom line is it doesn’t matter where you drop the needle on this record. The volume explodes from the grooves and pure rage emanates. (Nakari, Sorinkatu 6 B, 33100 Tampere, FINLAND, http://www.punkinfinland.net/kamanen)

ZOOPARTY-You Are Here (ACME, CD)
A variety of classic punk sounds, from songs inspired by the Boys and Professionals (“The Race Has Begun,” “This Time Around”) to harder-edged rock ‘n roll to fast ‘n snappy compositions—“Remember To Forget” and the album’s standout, “Crime Scene Instigators,” fall into the latter category. Glen Matlock from the Pistols/Rich Kids shows up on one song and Brian James from the Damned on a pair but, in all honesty, this band doesn’t need any “star power.” If anything, those are the less memorable songs here. This trio have an ingratiating loud and brash style. (PO Box 441, Dracut, MA 01826, www.acmerecords.net)

Suburban Voice blog #48

CIVIC PROGRESS at the Ratscellar

ANOTHER NEW DIY SPACE
Last week, the Ratscellar began having shows. It’s actually a warehouse space somewhere in Boston (sorry—can’t dilvulge the address here but if you ever need to know where it is, drop me an email). I’m hoping it’ll last awhile because they set this place up right. The residents soundproofed the room, built a small stage, put in a PA and it’s a good sized space. My guess is it could hold 100 people—maybe more. The sound is loud, probably due to the concrete walls but that’s what earplugs were invented for. The décor is rather interesting—tie-dye walls. You read that right. It was apparently recommended by a guy who lives there, when he was in a drunken state. I won’t reveal his identity to protect the guilty. It’s a bit different from the graffiti décor at Baby Safe Haven. The picture above, of St. Louis band Civic Progress, gives you an idea of the interior decorating. Those guys played an absolutely raging set of pissed-off hardcore punk. They were joined on the show by thrash/grinders Mecchanibal, Positive Reinforcement and Sgt. Slaughter, who played one of the worst sets I’ve seen all year. They’re a good band but had equipment problems, were hopelessly out of tune and only played a few songs. One of the more entertaining moments came when their vocalist Aaron showed his displeasure with guitar player Nelson and you can see a very brief video clip here:

In all fairness, they were a lot better the following Saturday up at Welfare Records, when they played with Guilty Faces (see demo review below), Fruit Salad and a few other bands who I missed.

I’m still going to do a zine review section—hopefully in the next blog. I don’t want it to come out half-assed and also wanted to get this blog out in a timely fashion…

MUSIC REVIEWS

ANGLEWORM-Ruin Your Scene (Triumph of Life, CD)
It’s town vs. gown! These kids are from New Haven and not going to take any more shit from those Yale assholes. Punk, ska and reggae—or is it a punkish take on ska and reggae? Something like that. An anti-authoritarian streak in the lyrics and a desire to escape their surroundings. Who can blame ‘em? I’d go nuts if I lived in Connecticut, too. In any case, while the words express anger, the music comes up lacking in that department as they seem happier operating in a more laid back groove than go-for-the-throat punk burn. (30 Wildem Rd., Berlin, CT 06037, www.myspace.com/triumphofliferecords)

ANTELOPE-Reflector (Dischord, CD)
Minimalist post-punk rock, for want of a better term. Intertwining guitar/bass/drums with a melodic pulse and high-timbred singing that softens the edges—maybe more than I’d like and that’s the weak link here. Some songs, in fact, eschew the guitar for just bass and drums. Even with that softening, there’s still tension in the sound. There’s definitely a nod to the Minutemen and Gang of Four and even early Cure in the rhythmic nature and sparseness of the compositions. Something as hypnotic and hook-laden as “The Demon” is hard to resist. (3819 Beecher St., NW, Washington, DC 20007, www.dischord.com)

CIVIL CRISIS

APESHIT/CIVIL CRISIS-Split (Welfare, 7” EP)
Vinyl debut for two Boston-area bands. Apeshit, fronted by Boston’s most enthusiastic punk rock dancer Circle Pat, favor double-speed thrash ala Siege on some of these songs and it occasionally sputters. The recording sounds a bit muffled, too. Interesting lyrics for “Gender-Cide,” which takes issue with the negative viewpoint that some women have towards all men; that they’re “brutish pigs,” to paraphrase Pat’s words. A friend has told me that I need to understand why some women do have that attitude and (to simplify it more than I should) I see the point but that doesn’t mean it’s not bothersome to me and these words reflect that, as well. Has its moments but there’s room for improvement.Civil Crisis have a raw, ranty hardcore punk approach. The high-pitched vocals (from one of ‘em) and speedy thrash bring 9 Shocks to mind, albeit without the rock ‘n roll impulse. An effective pissed off sound from these young men. (58 River St., Haverhill, MA 01832, www.welfarerecords.net)

DEATH SENTENCE-Until The End Of The Sentence (Burrito, CD)
This is the Aussie Death Sentence and the recordings date from the mid to late 80s. A complete anthology and including a number of unissued/rare recordings. This band traded in ultra-fast hardcore, sometimes coming across as disjointed but never flagging in energy. Death Sentence did show some evolution, even as the band had a number of personnel changes and endured the death of one of their drummers. Reading the liner notes, written by their manager Maureen, it’s obvious this was one bad-ass band, especially their vocalist Peter McGrath. He’s lived a self-abusive punk rock life and has apparently paid the price for it. There are some punkier sounding songs in later batches—“My Love” and “Bitchin’,” for instance. The sound quality is spotty at times, especially the unreleased ’85 recording and rehearsal tape from ‘86, both of which sound like a later generation tape copy. We’re talking about hardcore, though, and pristine sound quality isn’t mandatory and there aren’t problems elsewhere. This was one raw-sounding band. These guys were doing something similar to what Heresy were doing in the UK. Looking towards the States and adding a more extreme speed element. An intense whirlwind of cacophony. (PO Box 3204, Brandon, FL 33509-3204, www.soundideadistribution.com)

DEGENERICS-Generic Record Collection (Soulrebel, CD)
Just what it says, collecting this Jersey band’s vinyl releases, comp songs, a few unreleased songs, a demo track and live stuff. A strong, often dramatic sound that blended hardcore ferocity, including some Die Kreuzen-ish touches, metal (“Rising Sun Experience,” for instance), reggae and ska. The latter adds to a song such as “What’ll You Do.” The main emphasis, though, is burn and sting. Craig’s vocals were ranty but also exuding an impassioned purposefulness. There’s a clear evolution from their 7”s to the album although, even in their embryonic days, the full-tilt hardcore was already incorporating diverse influences. An occasional misfire, such as the straight reggae (only a few songs) but far overshadowed by the power of the vast majority of songs here. And some good news—they’ve started playing again. (http://www.myspace.com/thedegenerics)

DOA-Smash The State: The Raw Original DOA 1978-81 (MVD, DVD)
Oh hell yeah—a collection of DOA performances during their early years, when they were at their best. I never got to see the lineup that included Randy Rampage and Chuck Biscuits and, along with Joey Shithead and Dave Gregg (for most of the songs), and they were absolutely smokin’. Their stage presence and slam-bang, catchy punk ranks among the best that time period offered and these clips perfectly bridge the original punk era and birth of hardcore. Biscuits, in particular, is incredible to watch. He was 15 when he joined the band in ’78, according to Joey’s book “I, Shithead” and is a powerhouse of brawn and finesse. Goddamn I wish I could have seen this lineup—even had a chance in ’81. I had just picked up their “Something Better Change” and “Hardcore ‘81” albums and was stoked to see they’d be playing at the Paradise. That show got canceled because of low ticket sales and, unknown to me, it got moved to a smaller club down the street. So Ellen and I went to see GG Allin and the Jabbers instead. Still an unforgettable experience, I suppose—this was GG in his snot-punk days before he’d shit on stage. I didn’t see them until ’82, when Brian Goble and Dimwit had replace Rampage and Biscuits.

Back to the review: the live stuff consists of single camera shots, varying in quality but watchable. The best performance, I think, is from the On Broadway in SF, where they were opening for another band (DK’s?). The opener “New Age” sounds a clarion call and there's no let-up. There’s also a TV studio performance of “The Enemy” that has Simon “Stubby Pecker” Wilde on bass, doing his best to mimic Rampage’s bounce around exploits though not quite nailing it. The earliest stuff is from a show they played at the Anarchist Anti-Canada Day in July of ’78. Joey is interviewed and doesn’t exactly articulate himself well, although he does act punk as fuck by shoving a butt up his nose. The audience looks silly and the “norms” and cops are amused. They almost didn’t get to play but the authorities relented. Even at that point, DOA were fairly solid although they’d improve dramatically in the next few years. Finally, there’s a conceptual video of “World War 3” with that lots-of-white background, live in the studio feel and a TV report about the punk scene in Vancouver. No extras and this isn’t a documentary, it’s just them playing live. Fine with me. Any video that gives you the “wish I was there” feeling doesn’t need anything else. If anything, it’d just detract. (PO Box 280, Oaks, PA 19456, www.mvdvisual.com)

DOWNHILL FAST-s/t (Rock Vegas/Eating Rats, CD)
Being a parochial Bostonian (who lives in the ‘burbs), it always does my heart good to see Boston references on a CD cover—in this case, a “T” train—public transit to you outsidahs. Vocalist Jimmy Flynn is an aficionado of the heavier/metallier Boston hardcore sound that took root in the city in the late 80s/early 90s. They even appropriate the “BHC” logo that was in use back then. Most of that music hasn’t held up too well but this isn’t bad. Not really the style of hardcore I’m into but well-played. “Trolley Dodger” conjures up Wrecking Crew and Leeway. And it avoids the mournful/more spiritual bent of some of the bands from that era. Some chugarama along the way and, when they stay away from that, the results are better. At least there’s not that echo-laden, bombastic production that hindered the recordings from that era. (http://www.myspace.com/downhillfastbhc)

GUILTY FACES

GUILTY FACES-demo (CD-R)
Two guys from Rat Byte are in this band and they’re off to a fine start with this demo. Rockin’ mid-tempo punk and a few hardcore songs. Tommy spits out the vocals with a snotty cadence and the songs are punchy and drip with a bad attitude. Hatin’ life, hatin’ the burbs, longing to get the fuck out, much like Angleworm, who were reviewed above. If I lived in Connecticut, I’d want to get out too! Sorry—I won’t disparage my wife’s home state anymore. Bands such as Guilty Faces justify its continued existence. (3 Clearview Ave., Bethel, CT 06801, tommyhperkins@aim.com)

SANCTUM/STORMCROW-Split (No Options, LP)
Two brutal-sounding bands—Sanctum, from Seattle and Bay Area-ites Stormcrow. Both bands trade in metallic crust and each vocalist exercises (exorcises?) their inner demon—gutteral and necessitating the lyric sheet, which ain’t that easy to read either. They’re printed on the inside of the colorful gatefold sleeve that pictures some kind of medieval battle and maybe that’s the concept here. It’s obviously not cheerful material—it’s doom and bombast to accompany the heavy sounds. Sanctum have a speedier, rampaging attack and make the stronger impression. Their songs have a more-than-effective ravenousness. Stormcrow largely stake out lumbering terrain, an aural decay that gets bogged down under the weight, especially after Sanctum’s obliterative apporoach. Out of their three songs on this split, “Beneath The Earth” is the one that shows the most signs of life, pummeling ahead in authoritative style, making me wish the other songs were in that vein. (PO Box 22285, Oakland, CA 94623, www.nooptionsrecords.com)

STREET TRASH-Into The Wasteland (No Class, LP)
This was recorded awhile ago and was apparently supposed to come out on My War Records. It doesn’t matter, really. All that matters is this is one scorcher of an LP—well, if 15 or so minutes is considered an LP. The modus punkerandi (sorry) remains the same—phlegmy vocals and a no bullshit tandem of punk and hardcore. The bass-playing is particularly sick-sounding—towards the end of “Five Dirty Fingers,” there’s some dirty-ass Lemmy-isms. Hell, it’s all cool—a wreckless, relentless rush of power and adrenalin. And the yellow/red splattered vinyl makes a bold artistic statement as well. (PO Box 40158, Long Beach, CA 90804, www.noclassrecords.com)

TARRAKIAN-The Swarm (No Options, 12” EP)
Three long, heavy songs—well, four if you consider “Surman Suukun 1 & 2” two separate songs, although one flows into the other. Part 1 is actually quite catchy, more of a traditional hard rock/metal tune with an early Sub Pop vibe and, although a lot of that stuff has aged badly, this is a solid song. Some of it is too sprightly to completely fall into a stoner metal category but that’s still the overall vibe, especially for “S.S. Part 2.” I’d like to hear more songs like “S.S. Part 1.” (PO Box 22285, Oakland, CA 94623, www.nooptionsrecords.com)

TRANZMITORS-s/t (Deranged, CD)
A full-length album for the Tranzmitors and, with “Genocide,” introducing itself with a snappy burst straight out of a late 70s power-pop mold. A balance of force and fluff—you’ve got your noo-wave keyboards, jabbing guitar lines, Brit-affected vocals, angelic harmonizing, the works. They could be kin to old-school British Columbians the Pointed Sticks. Sometimes, I’ll find a little too cutesy but then a song like “Is Your Head Hollow” will come bursting through the speakers and shake things up. Shake it up nicely, in fact. (2700 Lower Road, Roberts Creek, BC V0N 2W4, CANADA, www.derangedrecords.com)

Suburban Voice blog #47

COLA FREAKS

I’ve managed to fall way behind on shit, once again. Story of my life. I was hoping to have a section devoted to the cool zines I’ve been getting in recent months. I’ll try to get that in the next blog, which won’t take as long. In the meantime, it’s been too long a gap since I last posted one of these so I wanted to get something up this weekend.

So, over this past weekend, I attended a crazy-ass show at the Baby Safe Haven house in Somerville. Not a fancy venue. Not in the least and this show had it all. Drunk punk rockers, weed, a couple of fights, allegedly a dead cat in a bucket, which I did NOT see and a puddle of sewerage in a corner of the basement floor and it was making a steady advance but, fortunately, things wrapped up before it moved too far. That didn’t stop someone from falling into the puddle around the end of the show. I also saw people outside hosing down their feet between sets. My sneakers are a rather clay-ish color right now. Basement show dirt. But I don’t think it’s anything more than that. I hope…

Who played, you asked? I’m getting to it. Patience. The show featured the Cola Freaks, from Denmark, plus locals Praxis, Fruit Salad and Unholy Goatfucker. Quite a diverse bill. As usual, the show was on punk rock time. I figured showing up two hours after the time listed on the flyer would suffice but, when I got there, they were still waiting for microphones. I think I should keep a microphone in my bag for situations such as these. No matter—I marched into the living room, announced I was going to be watching baseball and demanded to know where the giant remote was. This remote is around 12 x 18 inches. Fucking huge. The games was Sox/Yankees—do you think I’m going to miss the end of that? Not on your life. I figure who’s going to stop the cranky old guy from getting his way. And when one local punk rock artiste made a bit of a wisecrack about it, I told him that the fact he was wearing a Mickey Mouse t-shirt and was over the age of 12 disqualified him from commenting on it. I don’t think he heard me since he was already just about out of the room but others got a chuckle from it. So, the bottom line was I didn’t mind waiting, especially since the Red Sox were crushing the Yankees at that particular moment. As I told the others, life doesn’t get much better—baseball and punk rock in the same space.

A quick story before I finally get to the review here. In 2004, when the Red Sox were in the American League Championship Series against those same Yankees, there was a huge show at a Polish hall in Dorchester with Hammer, from Japan, Caustic Christ, Signal Lost and Mind Eraser. That happened to be the night of Game 5 of that series. So Jeff, one of the guys involved with the show and a huge Sox fan, brought a TV and set it up in the back of the room in case anyone wanted to keep tabs on the game. As the night progressed and the game went into extra innings, some people were staying in the back and watching the game and not paying attention to some of the bands. I kept going back and forth and didn’t miss any of the bands’ sets. This annoyed the wife of one of Jeff’s bandmates at the time and she attempted to unplug the TV. It set off a bit of an altercation, but peace was restored and the TV remained on. This situation also irked some of the out-of-town people playing or accompanying some of the bands. Not being from Boston, they just didn’t understand the passion for the Red Sox, especially since, the night before, in a win or go home game, the Sox pulled off a 12^th inning win. Same for this game—as I said, it went into extra frames and lasted 14 innings, stretching into when Hammer were playing. At that point, David Ortiz of the Red Sox got the game winning hit and, in a moment of euphoric jubilation, about 20 die-hard Sox fans charged the dance floor and set off one motherfucker of a pit. So the moral of the story is there’s room for both!

UNHOLY GOATFUCKER

Back to the show—Unholy Goatfucker began with some truly evil, tongue-in-cheek death metal. All made up in Gene Simmons-goes-to-hell fashion and more musical than your metallic mayhem unit. And yes, those really are two goats’ heads in the picture. Lovely, eh? Next up, Fruit Salad did the thrash and grind thing to an enthusiastic response, ending with a cover of Youth of Today’s “Put It Aside” that created a nice youth crew mosh. As I’ve said in previous reviews, they’ve really evolved as a band over time. I passed on Praxis, since I needed a bit of a breather and just saw them a couple of weeks ago. Finally, the Danes took the stage, uh, floor. Some tall guys in that band, especially their vocalist, who has to go around 6’5”. A jittery, nervy, tuneful punk mix that fits in with the bands who proudly exhibit an affinity for those vintage sounds. People were worked into delirium and, as I said, the sewerage was mainly held at bay until they were done.

One hell of a good time… a real punk rock show, to quote Craig, who put this together.

BANDANOS-We Crush Your Mind With The Thrash Inside (625, CD)
DESTRUCTION’S END/BANDANOS-Thrash From The Dead (625, CD)
Thrash? Don’t mind if I do. Where have I heard that before?* I’ve certainly heard bands like Bandanos and Destruction’s End before. Bandanos are from Brasil and have the retro crossover sound down pat. A rough ‘n tumble Bay Area thrash influence, stripped down and throwing in a touch of early COC. The strangled vocals have some Mike Dean in ‘em, tag-teamed with Blaine Accüsed. Another throwback is the photo collage in the centerfold for “We Crush Your Mind.” Oddly, the songs on the split, which was released before the full-length, have fuller-sounding production and it creates more impact. Either way, it’s throat-grabbing fodder. As for Destruction’s End, it’s a good fit with Bandanos. Another band blurring metal and hardcore with a straight-forward speed attack. Hell, they make the 80s tribute more complete by including a sample from the Rambo “First Blood” movie and that’s the title of the leadoff song, as well. This band have gotten quite a bit better since their ’04 album on Mike Fitzgerald Records. It’s tighter, and has better drumming and recording quality. Viva la crossover! (*the answer is Municipal Waste, in case you didn’t know) (www.625thrash.com)

CLUSTERFUCK-How The West Was Won (Vital Center, LP)
Rip-roarin’ hardcore punk with a rowdy spirit. Short songs that seamlessly blend into each other without missing a beat. It’s not just simple thrash, either—busy bass and guitar lines and stop-on-a-dime tightness. Donn has a memorable voice in much the same way Jello does. A higher pitched snotty yelp-croon that drips with sarcasm. That sarcasm is coupled with a sense of anger, a sense of numbness as mentioned on “I’m Fine, Thank You,” followed by “OK, Now I’m Unhappy,” expanding the numbness into hopelessness. The notes on the inner sleeve call it an “exercise in American protest music.” Even with those feelings, the songs are imbued with an irresistible liveliness. Only 300 of these suckers so you best not sit still. (38 Wall St., Valhalla, NY 10595, www.myspace.com/clusterfuckcthc)

CULT RITUAL-s/t (Burrito, 7” EP)
Boiling over hardcore—a forceful clatter of white hot guitar, thick, bulldozing bass-lines and wild drumming. Lurching savagery interspersed with thrash and more straight-forward riffing. The vocals are buried in the mix a bit and Dan does his damnedest to cut through the din. Some mighty intense and crazed sounds emanating from the purplish-brown grooves of this record. That may seem hyperbolic and reminiscent of an old Pushead MRR review but it’s the truth. (PO Box 3204, Brandon, FL 33509-3204, www.soundideadistribution.com)

DEADLINE-8/2/82 (Peterbilt, CD)
Deadline appeared on the “Flex Your Head” compilation and, after those songs were released, recorded 11 more. Those sat in the can until ’89, when Peterbilt records released a one-time pressing of 1000 copies and that’s been scarce as hell, ever since. So, finally, here’s a long-overdue reissue. Deadline very much kept in the HarDCore sound—rough hardcore punk played with youthful agitation and aggression, mixing up fast and slower tempos. In fact, several of those songs fall into the latter category. I’d have to say, out of all the other bands from that era, they came closest to the Faith, sound-wise. Maybe a notch below their better-known brethren but still a worthy artifact. (distr. by Dischord, 3819 Beecher St. NW, Washington, DC 20007, www.dischord.com)

DEATH TOKEN-4 Track Attack (Even Worse, 7” EP)
A primitive D-Beat or Dis-attack, more accurately. The reverb on some of the vocals is a combination of cheesy and cool. They address the recording method on the title track, calling their sound “a busted ear tape salad to go” and they also endorse their “exclusively crap equipment.” The last track, “Eye Hardly Exist,” is a moody instrumental with guitar and ocean effects—there will be quiet after the storm? Oops—wrong band. Otherwise, Death Token keep things in a purely pillaging mode, definitely busting eardrums along the way if you hold ‘em too close to the speakers. (www.geocities.com/evenworserecords)

DISNIHIL-s/t (Chainsaw Safety, CD)
A strong debut album for this Swedish hardcore-inspired band from New York. Dark, dramatic riffing and a heavy, powerful approach. Hell, they even offer a Sabbathy tip of metallic hat during the bridge of “Markings Consistent With Butchery.” Speedy, stun-kill fodder with the occasional somber passage, although the latter isn’t a dominant characteristic. In other words, you’re not going to hear me bandying about terms like “epic.” Besides, only two songs top the three minute mark. A chip off the From Ashes Rise block and those are winning qualities. (PO Box 260318, Bellerose, NY 11426, www.chainsawsafetyrecords.com)

ENDLESS BLOCKADE/HATRED SURGE-Split (Schizophrenic, LP)
Two mayhem-oriented bands—grind is part of the deal for both of ‘em. The Endless Blockade start and end their side with dirge-like compositions, with the opener “Abraxas” sounding like a walk to the entrance of hell and then the listener is forced through the door and immediately savaged with brutal blasting. Hatred Surge’s side was created by two people—Alex and Amy, both contributing vocals and Alex handling all the instruments (they have a full band for live performances). As with the Endless Blockade, the final song is a slow piece that takes up nearly half the side. Actually, the coolest moment is their over-the-top cover of Agnostic Front’s “Society Sucker.” Both bands have the modus operandi of blastbeats, thrash, heaviness and harsh vocals. This style continues to remain an acquired taste and I still haven’t really acquired it. (17 W 4th Street, Hamilton, ON Canada L9C, www.schizophrenicrex.com)

NIGHTMARE/BURIAL/CRUDE-Axis Of Wolves (HG Fact, CD)
Three bands, two of ‘em Japanese, one of ‘em German (Burial) and two songs apiece. This is ostensibly their tour CD and each band contributes powerful material. Nightmare trade in lengthy songs and somehow hold the flailing attack together. With Burial (who have some other solid releases), if I was going to take a blindfold test, I’d guess that they were a Japanese band, stylistically. A relentless aggression. Crude’s songs have a stripped-down roughness and it works to their advantage. Each band have their own sound and, taken together, it’s a strong lineup. I wish this tour was coming my way. (www.interq.or.jp/japan/hgfact)

NIPPLE VIOLATOR-Double Suck (Bloody Stump, LP)
What hath Maine wrought? I’ve heard and seen some weird and/or fucked up bands from that state over the years. In any case, this was recorded in 1993, unleashed on the record-buying public in 2007 and it showed up in my mailbox on a nice sunny day this summer. I imagine you could say what GG Allin was to New Hampshire, Nipple Violator are to Maine. Well, maybe not quite as extreme as that and I don’t think these guys will ever reach that level of infamy but Nipple Violator hold their own with the scatological content. The music is snotty, semi-competent punk rock—and, once again, the GG comparison is inevitable. They get by on attitude and it provides the backdrop for such tender songs as “You’re My Fuck Toy,” “Feces Addict” and their ode to the lord, “Jesus Wants To Fuck You.” Share it with that special someone. Hmm… if you want them to remain special, maybe that’s not such a good idea. (distr. by Foreign Frequency, http://www.foreignfrequency.com)

SOCIALCIDE-Burn In Hell, Bundy (Kangaroo/Even Worse, 7” EP)Slam-bang hardcore, following a rip-snortin’ demo that Even Worse pressed on vinyl. One interesting thing is the new recording sounds rougher than the demo. In any case, Socialcide’s calling card is raw, old-school hardcore, established ca. 1982, although their cover of Wolfpack NYC’s “Suicide” dates from the later part of the decade. In fact, there’s an early Revelation Records feeling, as well, with the fuzzed-out guitar and breakdown style. And those bands were trying to bring back an older feel, as well. These guys do justice to those influences. (www.geocities.com/evenworserecords or www.geocities.com/tysonkangaroo)

UNDER PRESSURE

UNDER PRESSURE-Black Bile (Fashionable Idiots, LP)
Under Pressure continue with their dark blend of hardcore and fired-up rock ‘n roll. Maybe rock ‘n roll is a misnomer since that will sometimes conjure up visions of guys in clichéd poses but, well, this is pretty rockin’. The lead licks are worked into the arrangements instead of dominating them. It should be noted that their guitar player does come on like Angus Young live but it’s more like Angus in the midst of a caffeine jag. Cam’s hoarse, strangled vocals sound like Celtic Frost’s Tom G. Warrior with a bad cold—kind of. So there are some heady tunes here, especially the speedy “Whip and Rein” and the charged-up title track. Unfortunately, the momentum comes to a screeching halt with the snail’s pace, endless “The Last.” This song painfully drones on for over half of the second side and is a tedious exercise, intense effect aside. Otherwise, it’s another strong release for this Winnipeg band. If it had been a one sided 12”, without “The Last,” it would have been 100% killer. (PO Box 580131, Minneapolis, MN 55458, www.fashionableidiots.com)

WATCH IT BURN-How America Motherfucking Works (Trigger On The Dutendoo, 12”)
The cover for this record weighs a ton—it consists of two pieces of black and white vinyl tile with stickers slapped on the front and back with the track list and the like. And I like the cover a bit more than the record itself. Recorded in ’98 (Oct 30-32? Huh?) and they indulge in some heavy jams. Not hippie stuff and it’s structured—guitar/bass/drums with the first side featuring shorter compositions and the flip a lethargic, extended exercise. Metallized riffage, howling vocals and a solid rhythmic foundation. These muck-monsters do have the right idea on occasion and the playing skill to pull it off, but the songs don’t really go anywhere. (http://www.myspace.com/triggeronthedutendoo)

Suburban Voice blog #46

“THAT’S NOT MUSIC!”

So there I was, one summer night in 1980, working at the Richdale store in Marblehead, MA. The classic summer job and I’d encounter some interesting characters. Like this one kind of sketchy looking dude who would come in every night, walk around for awhile and then usually buy a box of muffin mix or something like that. I wondered what he was doing the rest of the time. One night, I ventured out from behind the counter and found him over at the magazine rack, looking through the “personals” section of the Boston Phoenix with his hand down his pants. When I caught him, you never saw anyone bolt out a place so quickly and I don’t think I ever saw him again. We also sold beer and wine and I’d have to “card” people. At the time, the drinking age was 20. I sold some brew to a guy who looked as though he was over 20. Nope—he was 18 and the cops nailed him when he left the store. Then they came in to have a little talk with me. Fortunately, nothing happened, not even when they called my boss. He told me not to worry about it. Can you imagine what would have happened to me today? There’s no doubt I would have been fired and possibly busted for selling to the kid.

As usual, music helped keep me sane, both at work and not at work. The radio brought much joy. WERS, the Emerson College station, had a cool show called “Niteklub,” named after the Specials’ song. WMWM, the Salem State station, had some crucial programming, as well, particularly “Depraved Dave’s Cave,” hosted by Dave Dodge. That was where I first heard the Dead Kennedys’ “California Über Alles.” I also heard a local band called the Transplants and a few of their songs ended up on a mix tape along with that DK’s song, DOA, SLF and the early GG Allin single “Cheri Love Affair.” Other songs that stood out were “This World of Water” by New Musik, “African Reggae” by Nina Hagen,” the salacious “Stained Sheets” by the Contortions (basically phone sex between James Chance and Lydia Lunch, performing as Stella Rico), “Burn It Down” by Dexy’s Midnight Runners, two years before “Come On Eileen” and “Academy Fight Song” by Mission of Burma (what an awesome record). Incidentally, the first time Ellen and I saw Burma, in late spring, we walked out on them because they were bad that night. Then I heard the single a few weeks later and we've both been fans ever since. Some of the other songs mentioned didn’t really stick with me back then but I’ve come to love them ever since.

One night, I was working at Richdale and either listening to a tape or the radio. All I remember is “Suicidal Tendencies” by the Transplants came on and I was digging it. A woman in her 40s or 50s came up to the counter. She definitely was NOT into the music playing at that moment. She was friendly enough and we started talking a bit and I still remember her saying, about that song and the stuff I liked in general, “that’s not music.” It’s one person’s opinion but it’s stuck with me ever since. It’s been a point of pride that I like music that falls outside the mainstream. I can’t remember what she did consider music Maybe it was Dixieland jazz or blues or something like that. I honestly can’t recall it. If it was older rock ‘n roll, then we were on the same page. I guess where we would part company is a lot of early rock ‘n roll, the non watered-down type, had a sense of spirit and rebellion that remains at the core of a lot of punk and hardcore. And if that’s noise instead of music then, to quote a well-known hip-hop group (also considered worthless non-music by many people), bring the noise!

MUSIC AND NOISE:
Catching up, as always. Some of these records came out awhile ago.

BEOWÜLF-Westminster & 5th (I Scream, CD)
Beowülf’s first, self-titled album that came out in ’87 was a killer (and I still need a copy of the original vinyl). It was the crossover era, they were on Suicidal Tendencies’ label and had a solid Tank/NWOBHM-meets hardcore-inspired sound. That album also had some rather ribald songs, such as “Drink, Fight, Fuck.” At some point, vocalist/guitarist Dale Henderson discovered Jesus and later put out the wretched “Un-Sentimental” in the early 90s, an album that I no longer own. So here’s his first album under the Beowülf name since the mid-90s and it has the metallish sound of their early material. Only the religious references remain and it’s tough for me to get past that—the title track has the refrain “God is watching over me” and there ain’t no irony. That’s not the only thing to critique, though. The music is solid but doesn’t have nearly the heaviness and crunch of those old recordings. Yeah, I know it’s been over 20 years but a comparison is inevitable. In any case, there’s a reissue of the band’s first two albums that came out a few years back and that’s a hell (sorry) of a lot better. (www.iscreamrecords.com)

BIRDS OF A FEATHER/IN DEFENCE-Split (Give Praise, 7” EP)
Yet another record that got sat on—well, not literally, but I’ve had it since May. Birds Of A Feather play sweeping hardcore and fly the X, at least on the sleeve. The usual speed/breakdown transitions but lively and none of it plods. The two In Defence songs also have the youthful spirit, although vocalist Ben Crew is in his early 30s—that’s the point of “Hardcore Is Dead,” an affirmation of sorts. Sounding angry and posi at the same—maybe a tad corny but coming across as sincere. (www.givepraiserecords.com)

FIX MY HEAD-s/t (tape)
The first missive from this Oakland band that includes former Scurvy Dogs vocalist Mike. Four songs of potent, 80s inspired hardcore punk, with some double-speed touches that don’t detract. Pretty straight-forward lyrics, albeit with sarcastic properties at times. The main emphasis is an extended middle-finger/fuck you mentality and that also comes out through the band’s aggressive musical nature. (248 Third St., #725, Oakland, CA 94607, www.myspace.com/fixmyheadhc)

I ADAPT-From Town To Town (Six Feet Under, 7” EP)
Three songs spread over two sides, including the lengthy (trying to avoid saying epic) song “Future In You.” I Adapt have the heavy, somber soul-screaming style of hardcore also explored by Modern Life Is War and the faster part of “Subject To Change” conjures Tragedy, a bit. Powerful stuff although I liked it more in the live setting. (http://www.myspace.com/iadapt)

INTELLECTUALS-Invisible Is The Best (Dead Beat, CD)
Another disc I sat on for some inexplicable reason—I think I’ve had this since the end of last year. Sorry about that. I’m reviewing it ‘cause it’s pretty good. Primitive bluesy garage punk with guitar, drums and organ. Besides their own rough tunes, the Intellectuals do a good job bashing around some cover versions—X-Ray Spex’s “Identity” and the Jesus and Mary Chain’s “Never Understand” in particular. It took me maybe 15-20 seconds to realize they were decimating the latter song and that kind of ravaging is more intriguing than a straight-forward cover. Kind of the same change-up as when the Hex Dispensers covered Gary Numan’s “Down In The Park” awhile back. Better late than never with this review, I suppose. (PO Box 361392, Cleveland, OH 44136, www.dead-beat-records.com)

JOHN THE BAKER/MILLIONS OF DEAD COPS-Unplugged (Tankcrimes, 7” EP)
I have respect for both John the Baker and Dave Dictor. It’s humorous to hear John singing “the cops are fucking little girls” and Dave turning “Let’s Kill All The Cops” into a jaunty campfire singalong. In other words, this is a punk rock approach with acoustic guitars. John’s liner notes about how he had to deal with a bullying pig in Woodstock, NY says a lot about the power trips in which these so-called protectors of the law engage themselves. It also shows how they don’t often live up to those “lofty” standards. Still, I’m not into acoustic music but do find the spirit inspiring. (PO Box 3495, Oakland, CA 94609, www.tankcrimes.com)

KULTURKAMPF-Too Cold To Smell The Dead (Trench Rot, 7” EP)
The title track is a long, ominous instrumental with some Black Flag-ish guitar squiggle pressing into a thrashy burst. The first part is actually the most interesting thing on the record. Raw UK-style hardcore played with enthusiasm if not always the best musical skill, especially the drumming. “Macho Man (Jock Song)” quotes from Survivor’s “Eye Of The Tiger” and Sabbath’s “Iron Man,” with the balance of the fast punk arrangement wrapped around. Standard “up the punx” fodder and just fair, at best. (www.myspace.com/upthebonerpunx)

LIFE TRAP

LIFE TRAP-Bleak Reality (No Way, 7” EP)
Jeezus… nope, I haven’t converted. It’s more a matter of renewal, of inspiration and Life Trap provide that on their first EP. Boiling over hardcore from Nashville. My guess is all these guys were born after the music that influenced them was created. Hell, even their logo appears to be inspired by Articles of Faith’s. They’ve learned their lessons well. Fast and tight as fuck. On the lyrical front, “Lost Cause” deals with racism and I imagine that comes from personal experience since two members of Life Trap are people of color. Critiques of the American dream, conformity, stale suburbia—universal, timeless laments and a timeless musical style, as well. (3211 Idlewood Ave., Richmond, VA 23221, www.nowayrecords.com)

LOST BOYS-Fuck You (tape)
In the middle of the front cover for this tape, there are stencil style letters that spell out “Fuck You.” This snotty hardcore/punk/garage band most assuredly convey those feelings. There’s a bug up the ass about working, clean-cut assholes and, let’s see, what else—I’d imagine a good chunk of the human race. Hell, on “Nerds,” the record collection means more than death, destruction and torture. Priorities! My priority is to wear out this tape in the car. (Louche Bertrand, 10 quai de la pêcherie, 69001 Lyon, FRANCE, stillholdingon.free.fr/lostboys.html)

MASSMORD-Unleashed (Yellow Dog, CD)
Heavy crust with male/female vocals and a thick, intense sound. This is a pure Scandinavian hardcore attack. Some Tragedy-like guitar lines and since that band takes cues from this style, it boomerangs back. Lyrically, there’s the well-worn laments about oppression, the rise of racist regimes, soul-crushing daily existence, but also a tip of the hat to the activist community. There’s a sonic thickness, a dark cloud-like ambiance created with all of these elements and played in speedy fashion from start to finish. (PO Box 550208, 10372 Berlin, GERMANY, www.yellowdog.de)

108-A New Beat From A Dead Heart (Deathwish, CD)
The heavy crush of metal core. Metal? Sure—the repetitive chug of the riff on “Angel Strike Man” is separated at birth from Slayer’s “Criminally Insane.” Rob Fish howls as though his limbs are being ripped from his torso and the lyrical matter carries as much weightiness. A heaviness, a groove, even a reggae turn for “Our Kind.” This album was recorded in Salem by Kurt Ballou from Converge and there are definitely some similarities. I’m not really into this sort of soul-screaming heaviness although there’s one blindsiding moment here—the soul stirring chord change on “Guilt.” Incidentally, Kurt’s studio is less than 10 minutes from where I live and I’m kind of surprised I couldn’t hear them laying down the tracks. (www.deathwishinc.com)

RINGERS-Detention Halls (1-2-3-4 Go!, CD)
I’m not quite as enamored of Ringers’ second album as the first. The sound is similar—tuneful punk that comes across as a combination of the Clash and the late 80s Bay Area pop/punk sound, but it doesn’t always have as much of the boisterousness. Such songs as “Duck and Cover,” “Walking Ghost” “New Sins” and “Amateur Hour” do possess the punchiness that made “Curses” such a treat and the lyrical eye (if I may use such illiteration) remains sharp. Being a parochial MassHole, I like the local references to such spots as Harvard Ave and the Back Bay. When played back to back, though, there seemed a tad more grittiness in the sound on “Curses” and, interestingly, they were both recorded at Dead Air in Western Mass. Ultimately, just a slight let-down and there are some strong moments here. (S. Stevenson,1321 Glenfield Ave,Oakland, CA 94602, www.1234gorecords.com)

SHOOT IT UP-s/t (Fashionable Idiots, 7” EP)
Guitar/drums/vocals garage punk-a-rama. The vocals are snotty, the guitar has a slashing primitivism and the drummer sounds as though he’s using garbage can lids for cymbals. It’s probably Shoot It Up’s intent to create such an ugly, occasionally disjointed clatter but I think they’d benefit from fleshing out their sound with a bass-player. Either way, the results would be nasty. (PO Box 580131, Minneapolis, MN 55458, www.fashionableidiots.com)

VARIOUS-Twin Cities Hardcore 2007 (Give Praise/TC Hardcore Journal 7” EP)
State of the scene? Well, there are 8 bands here, one side representing Minneapolis, the other representing St. Paul. Is there a winner? What a trite question. No matter the home base, most of these bands acquit themselves quite well. It’s mainly fast, thrashy hardcore from the likes of In Defence, Pandamonium, Complete Waste and Useless Wooden Toys. Twenty Seven Shots, who had a pretty good full-length not too long ago, add a more tuneful element to their song without losing the hardcore drive. My copy doesn’t have a booklet or insert (maybe misplaced but I can’t find it) but that’s a small distraction. The aforementioned state of the scene is pretty good. (www.givepraiserecords.com)

VICIOUS CYCLE-I’m Watching You (Vinyl Addict, 7” EP)
Mining the old-school hardcore sound and, as I’ve written countless times, if done right, it remains inspiring. Vicious Cycle, from Sudbury, Ontario, have it down. Fast and pissed-sounding and it has my foot pounding the floor as I listen. Some feedbacky guitar on occasion, especially in the middle part of “Bent.” “I’m Watching You” also slows it down and has an early 80s west coast punk vibe. More, please. (1835, De Bourgogne, Sherbrooke, QC, CANADA, J1J 1B1, www.myspace.com/vinyladdictrecords)

Suburban Voice blog #45

Who the hell is Kenny Chesney? And why did 50,000 people go to see him? I know he’s a country singer. I assume he’s a country singer since I always see him pictured in a cowboy hat. Man, I must REALLY be out of touch, eh? Proudly so. I’m also glad I didn’t drop $95 or $225 on the Police shows at Fenway Pahhhk. As stated before, I’m not opposed to reunions but this smacks of a cash-in. No duh, Al. I suppose these are the shows I’m supposed to go see. After all, I’m in the age range of people who went to see artists such as the Clash, Police, Elvis Costello, Blondie, et al in the late 70s/early 80s.

On that list, the only one I got to see was the Clash. In fact, I got to catch them on their first tour, in early ’79, when they played the Harvard Square Theatre. That’s still one of the greatest shows I’ve seen in my life. I wasn’t a Costello fan. In fact, I’m still not that big a fan although I’ve come to appreciate some of his earlier stuff. “No Action” is one hell of a catchy song. I managed to miss the Police’s Boston debut at the Rat in Kenmore Square, where they played four nights. Nor did I ever see them play live, as I alluded to above. I’d heard the “Fall Out” single on Greg Riebman’s show on WERS, the Emerson College station, sometime in late ’77 or early ’78 and thought it was a pretty good punk song but never did get the record. So I was a freshman at Boston University and it’s late October, 1979. I stop by the room of one of my dorm-mates, Mark, and see a 45 record on his desk. He tells me they were giving them out at Strawberries, a record store in Kenmore near the Rat. It was “Roxanne” by Police, as they were listed on the record. I told him I’d heard of the band, that they were punk and he seemed repulsed by that fact and told me I could have the record. I thought it was OK—kind of surprised to hear the reggae in the verses but the chorus had a pretty punk rock feel to it, I thought at the time.

I did like the first two Police albums. In fact, I tried to convince myself I liked stuff after that. I suppose “Zenyatta Mondatta” had a few good songs. I remember listening to “Ghost In The Machine” when it came out and even thinking some of that wasn’t bad but, these days, it’s “Outlandos D’Amour” and “Regatta De Blanc.” Hell, I think there are some incredibly underrated songs on those records--at least I think they’re underrated. “Contact,” from “Regatta.” The subtle tempo shift for the chorus and the brittle guitar line pack a subtle wallop—if a wallop can be subtle. On “Outlandos,” I have a real soft spot for “Be My Girl—Sally,” where the song starts and ends with a charging arrangement and harmonized vocals repeating the title over and over. The middle section, “Sally,” is a spoken word segment from Andy Summers that’s an ode to a blowup doll, with his words accompanied by whimsical-sounding piano. Maybe it’s the fact that it brings back some pleasant memories of the spring of ’79, when I met the woman who’s now my wife and that line, “be my girl,” still rings through my brain and there was a happy outcome there.

Maybe it’s the memory of how I got that album. It was in early April of ’79—or maybe late March—and it was a beautiful spring afternoon. I was sitting in a classroom at Boston University, waiting for the start of my class in Quantitative Methods aka Linear Programming aka a fancy way of describing what was ostensibly a math course, as taught by Melanie Lenard. I remember that Prof. Lenard had brownish hair with a white patch and, thinking back, kind of a Midwestern-ish twang. In any case, I was sitting there and Tom Hetrick, another guy from my dorm, had the idea of blowing off class and going over to Harvard Square to pick up the new Police album. So we hopped in Tom’s pretty fancy car (it might have been a convertible) and hit Discount Records to purchase said record and it took up residence on my turntable for the rest of the semester.

TOM

That's quite a photo of Tom, eh? Taken in his dorm room, guerrilla style, that spring. Nice shorts and socks. At least he had the legs to pull it off.

So those are the types of memories the Police conjure up. Maybe they would have been revived had I seen the show at Fenway. But I seriously doubt it. Playing my well-worn copy of that album works better. Still—I saw a recent photo of Andy Summers standing next to a blown up copy of an early set list and it had songs from the first two albums, plus “Fall Out.” If they had guaranteed to only play the songs on that list, I might have taken the plunge. Hell, do what Cheap Trick did, when they played their first three albums in order, over three consecutive nights at the Paradise in Boston. They did the albums and then added on some “greatest hits” after, which was hit and miss but getting to hear the likes of “He’s A Whore,” “On Top Of The World” and “Stiff Competition” made it worthwhile. Hell, Sonic Youth just played “Daydream Nation” in order at the Pitchfork festival and an acquaintance of mine was talking about how great it was and how that’s the only Sonic Youth show he’ll ever need to see. So if the Police play their first two albums in order and MAYBE include a few later songs, I’d be there. But it’s not going to happen and I just saved myself nearly $500 on two tickets.

YE NEW MUSIC REVIEWS:

CANCER BRIDES-Like Fairy Tales Of Modern Times (Brass Jacket, CD)
Can I get away with calling this emo? Well, emo-ish? Before you start puking, realize that I’m talking about the mid-to-late 80s style of this music. You know, when it was still rooted in hardcore and didn’t sound like whining. I mean, sure, you could say that Guy from Rites of Spring sounded like he was bawling and I’ve heard stories of their audience chucking flowers and being moved to tears. In any case, the Brides’ vocalist Abel is gruffer. Second, while it’s melodic, the arrangements have brawn. Hell, metal inclinations show on occasion—especially for “A Former Lie”—with some Maiden-esque guitar trills and a fiery lead break. And goddamn if some of the melodic guitar lines on “Pipe Bomb” and “The Wrong Kill” effectively go in for the kill. Even with the “poetic” type lyrics and occasional penchant for a sacrifice of brevity, the Cancer Brides still mainly win me over. (PO Box 1468, Tucson, AZ 85702, www.myspace.com/cancerbrides)

CRIMSON SWEET-Wired For The Last Move/Basement Star (Slow Gold Zebra, 7”)
Haven’t heard from this NYC band in a bit. Poppy yet burning and vocals that go from angelic to something a bit more south of heaven. “Wired For The Last Move,” in particular has a real strong hook while “Basement Star” isn’t quite as stirring. A hit and miss proposition but when they hit, it strikes paydirt. Unfortunately, since this record's release, they've called it quits. (PO Box 20506, Tompkins Sq. Station, NY, NY 10019)

DIMWITS-Hey Man, Good Set (Winter St., CD)
If I was going to say anything to the band about this album, it’d be “hey guys, adequate set.” The agenda is wise-assed lyrical swipes a-la The Queers—in fact, there’s a name-check on the song “Maggie.” Overall, it’s fair-to-middling punk with oi-ish (some “hey hey heys”) and a modicum of tunefulness. The Dimwits are the type of band who aren’t terrible but I probably wouldn’t go out of my way for, either. (64 Tell St., Providence, RI 02909, www.myspace.com/winterstreetrecords)

THE EAT-It’s Not The Eat, It’s The Humidity (Alternative Tentacles, 2xCD)
Oh ho-ho-ho, what a clever fuckin’ title. OK, I can appreciate a pun as much as the next person and I can appreciate the Eat, as well. Maybe not two hours and twenty minutes at once, so you’ll want to space it out. The Eat put out a few of those holy grail records that diehard collectors jizz themselves over—the “Communist Radio” 7” and “God Punishes The Eat” EP. They also include the cassette-only “Scattered Wahoo Action,” recorded in 1982 and a ’96 EP. There’s other unreleased stuff, too. I’m not sure of exact details since one of the pages in the booklet ran twice and I wonder if that’s where info was. No matter. So does the music match the collectability factor? Is it that awesome? Overall, it’s pretty sweet. These guys mixed it up. Sure, there was a punk attitude but the some of the songs also had a gloriously poppy bent, especially the famous “Communist Radio.” The Eat were definitely a band that didn’t take themselves too seriously—irreverent and funny. The second disc is all live and, while it’s probably a one time listen (maybe), these are solid, spirited performances. Their own songs are here but they also bash around some “classic rock”—“LA Woman,” “We’re An American Band,” “Wooly Bully” and “Flower Punk” is a sideways cover of “Hey Joe.” They sound as though they were a whale of a band in that setting. Maybe even a manatee of a band (my own bad pun)—and please smack your knees, not those gentle giants, as mentioned in “Manatee Smacker.” And you can easily skip over the white boy funk of “Nixon’s Binoculars,” as well. I’m sure the Eat were a welcome alternative in the land of Skynyrd—no fuckin’ “Free Bird” here, thank whatever. (PO Box 419092, SF, CA 94146, www.alternativetentacles.com)

EPISODE-s/t (self-released, 7” EP)
A mystery band with no info or song titles, just lyrics. Actually, I do know the participants but if I tell you, it could mean BIG trouble for me. OK, it’s the guys from Fall Out Boy trying to regain punk cred. Enough joking. The first song comes out of the gates like 9 Shocks Terror, at least in the vocal and musical delivery and the words are a warning call against the warmongering “leaders.” A swell of feeback leads into the next song and offering the solution. Episode orders the listener to take out a certain leader but I’d better not be any more specific since I don’t need the Secret Service breaking down my door and giving me a one-way ticket to Gitmo. Thorny punk with heart and adrenalin and not amelodic, either—the piercing guitar line on the last song has a good amount of sting and, if I was once again going to put it in a bit of context, it made me think of some of the 80s era Euro hardcore bands who would have those kinds of leads. This is some kickass stuff. (http://www.myspace.com/episodesellouts)

GHOUL-Splatterthrash (Tankcrimes, LP)
This is my first time entering Ghoul’s evil demimonde or, rather, the fictional place called Creepsylvania. The Ghouls are hooded, covered with blood and I’d imagine put on quite an entertaining live show. Their third album, or chapter, and it’s a wild, spot-on amalgam of thrash metal, more Euro-metal flavored stuff, creepy theremin and robotic effects and even surf music (“Psychoplasm,” “Baron Samedi”). Some of the vocals sound slowed down a bit to add to the wickedness. We’re talking high concept here, most likely allegorical in nature—I’d be here all day offering details but it’s a battle to the death for Ghoul, along with the former bullied “twerp” turned “Mutant Mutilator” by their side, as they take on the insidious cult leader. Something about a grail called the Crystal Skull. As I said, I came into this story in the middle. But it turns out this so-called leader is bent on Creepsylvania’s conversion into a community of Christo-Fascism—hell, he even puts in a Disney Store—NOOOOOOOO! I said allegory before? We may be on to something here.The full color gatefold sleeve, with front cover art by Greg Oakes, is a perfect accompaniment to Ghoul’s tongue-in-cheek, comic book come to life. It’s horrorific! (PO Box 3495, Oakland, CA 94609, www.tankcrimes.com)

KILL YOUR IDOLS (2004)

KILL YOUR IDOLS-Salmon Swim Upstream (Vicious Circle, 7” EP)/Something Started Here (Lifeline, CD)
KYI have reached the end of the line and I don’t know if these will be their final releases but “Salmon” features five songs recorded as demos in 2006 and, as a result, the sound quality is rough. That’s absolutely fine with me—KYI were always a back-to-basics hardcore punk band and this provides the perfect ambiance, so to speak. Four rousers of their own plus a cover of “Skinhead Girl,” popularized by The Oppressed—the latter could have been excised and the EP wouldn’t lack for it. “Something Started Here” is an “odds and ends” anthology of EP and split tracks, comp appearances outtakes and the like and it spans KYI’s entire history. Kill Your Idols always maintained the aggressiveness and would let melody seep in on occasion. One thing that never changed was Andy West’s barking cadence, no matter the song. For that reason, KYI would never be too sweet-sounding or saccharine. And they also had a knack for putting life in overdone cover versions. Just when you think the world doesn’t need another cover of “Can’t Tell No One,” they pull it off and it takes brass ones to cover Sheer Terror (twice), but I’m sure Paul B. would approve—if he ever approved of anything. No slick production on most of these songs means it’s a bruiser of a disc. The detailed liner notes give a play by play behind the songs, what was going on in the ranks and it’s obvious this band meant a great deal to Andy and Gary, who wrote the text. That enthusiasm always came through in the power of their music. (Vicious Circle: www.vcrecs.com/Lifeline: PO Box 682, Midlothian, IL 60445, www.lifelinerecords.net)

LOOK BACK AND LAUGH

LOOK BACK AND LAUGH-State Of Illusion (self-released, 12” EP)
A quick four song, one sided EP—with a skeletal figure looking over a pair of TVs on the flip and the message being how media can be used to anaesthetize the public. If you haven’t heard this band before, it’s a thorny, thrashy style with US hardcore and Scandinavian touches mixed together. Tobia’s vocals are snarling and nasty and it makes for a visceral combination. Impressive packaging, impressive music, as always, and they’re also one of the best live bands out there. (PO Box 3103, Berkeley, CA 94703, www.lookbackandlaugh.net)

PYRAMID SCHEME-House Arrest (Art Squad, 7” EP)
For Pyramid Scheme’s second 7”, it’s more rough hardcore plowing straight ahead, sometimes indulging in some double-speed thrash. Smart-assed lyrics, whether dealing with their Pittsburgh ‘hood of Squirrel Hill on “Under The Radar” (I did like Jerry’s Records when I visited there, though), chug-a-lug christian hardcore (“Jesus Floorpunching Christ”) or wannabe-rockstars (“We’re A Band”). Pissed and pretty damn raging. (1749 Broadway Ave., Pittsburgh, PA 15216, www.myspace.com/pyramidscheme)

SOUL CONTROL-s/t (Rivalry, 7” EP)
Melodic thrash/chug hardcore—a tad Bad Brains-ish but with a heavier bent. There’s a groove to the songs, solid production but it falls into a joyless, angst-ridden trap. (PO Box 5242, Concord, CA 94524, www.rivalryrecords.com)

TILTWHEEL-s/t (Razorcake, 7” EP)
TOYS THAT KILL-s/t (Razorcake, 7” EP)
I’m reviewing these together because they showed up together, have similar packaging and, besides, I figured I’d pay attention to the liner notes. It ‘splains that they should be viewed as a pair, part of their “sister series” and the two sleeves form a big picture. In any case, each band does two of their own songs and one of the others. Got it? Both bands operate in a melodic realm. Tiltwheel don’t sound as overpowering as in the past, although the songs still have a winning tunefulness and ridiculously long titles (well, for the originals) that would give me carpal tunnel if I typed them out. The Toys That Kill cover (“Birds In Catsuits”) has a tad more punch. Moving on to Toys That Kill, I found their songs underwhelming. The best of the three cuts is their cover of Tiltwheel’s “All I Care About Is Me, My Rum and You.” Their own songs, “O” and “O^2,” have the pop but not much snap or crackle (oof—I deserve to have my writing license revoked for that). The urgency and drive aren’t there. (PO Box 42129, LA, CA 90042, www.razorcake.org)

TOE TAG-Machete Killah (Bag Of Hammers, 7”)
Blaine Cook from the Accused fronts this band, joined by two other ex-Accused dudes, and it’s a heavier rock sound. That’s obvious since the b-side is a cover of a semi-obscuro Sabbath song “Junior’s Eyes” (off “Technical Ecstasy.” “Machete Killah” picks up the pace, Seattle rock (if that’s still a valid term) with more roughness and Blaine’s always-distinct yowl. They included a live DVD with the 7” and it comes closer to the Accüsed aggro and I’d be curious to hear that material in the recorded format. (PO Box 70513, Seattle, WA 98127, www.myspace.com/toetagofficial)

ZERO DEFEX-War Hero—1983 Demos (Get Revenge, 7” EP)
This disc is part of Get Revenge’s “Demolition Series,” where they’re exhuming hardcore demos lost to time. One listen to this raw, fast Clevo band and it’s easy to figure out where some of the more recent scummy bands from that city drew some inspiration. Incidentally, scummy is meant in a positive sense. I’m talking about the yowling vocals, rip-snortin’ guitar and anti-social attitude. Here’s an origination point—I’m sure the likes of the Inmates, H-100s, 9 Shocks, et al had this demo in their various tape decks at one time or another and those bands have the same shit-flying spirit. It’s not all a lightning fast pace—“Drugs,” for instance, has segments that sound like an aural withdrawal although there’s the sped up chorus segment. Bile unleashed. By the way, the guitarist Tommy Strange later moved to the Bay Area and took a different musical turn with the likes of Strawman and Songs For Emma. A limited pressing so don’t fuck around. (PO Box 27071, Knoxville, TN 37917, www.getrevengerecords.com)