Suburban Voice blog #61

... hot weather edition... posted while wearing minimal clothing...

Leasa from Instant Asshole... one of the last bands to play at Welfare Records

THANKS “PUNX”

Indeed, thanks from the bottom of my heart. And if you detect a note of sarcasm in my voice, it’s not just a note but an entire fucking symphony. Yep, thanks to the thoughtful “punx” who caused the demise of yet another local venue, one looked as though it might last awhile. I’m talking about Welfare Records in Haverhill, MA. It’s a bit out of the way--about 45 minutes north of Boston, but Mike, the owner, made a strong effort to create a DIY, all-ages space. The building houses a record store, a recording studio, has two apartments on the second floor and, around the back in the downstairs area was a show space that could hold somewhere in the vicinity of 200-300 people (I’m guesstimating). Considering how tough it’s been to find completely DIY venues with halfway decent amenities, this is an unfortunate development. And while I wasn’t into quite a few of the bands who played there and some of the shows occasionally attracted some real knuckleheads, the bookings had a pretty diverse array of punk and hardcore styles. Mike’s actually been talking about selling the business for awhile but, in the meantime, it was a reliable space.

I should mention that the “punx” shouldn’t get 100% of the blame. The cops have been giving Welfare a tough time and it got worse over the past month or so. At the last show, several cops showed up and were trying to bait people and threatened to arrest a woman who worked there when she asked them why they were yelling at kids. But when you have people--some of whom are more than old enough to know better--drinking outside and bringing booze inside, when there are kids hanging out in the parking lot across the street and one of ‘em mentions getting caught pissing in the bushes and when one drunk kid pukes in the parking lot of the convenience store a few doors down, then what the hell do you think is going to happen? And then these same kids will wonder why there aren’t places to have shows anymore. Common sense, people.

One always hears the term “respect the space.” Well, why not pay attention to it? Perhaps there would have been the same police harassment even if some of the “punx” hadn’t engaged in such stupid behavior but it’s inevitable when they do. At a recent show at the Democracy Center at Harvard University (another great space--the building also houses the Papercut zine library), there were some people drinking along the side of the building and gave some attitude to one of the staff people when she asked them to stop. In the interest of full disclosure, I was there for a few minutes talking to those folks and didn’t ask them to stop drinking. And I also got busted while drinking a beer on the roof of the building the summer before by this same staff person. I’d gone up there with guys from one of the bands. So, yeah, I’ve been stupid on occasion, myself and I really felt like an asshole that time.

On a message board I frequent, someone posted a link to a punk band whose name I’d rather not mention since I don’t want to give them any publicity. On their MySpace page, they say “… is a 4 piece punk band. We like to fuck shit up and have a good time. If you have any shows and want us to play, send us a message. If you book us, you will not be sorry, but the club owner may be.” Now THAT’S fucking punk. I’m sure it’s meant partially in jest but it’s not beyond the realm of possibility.

Maybe I sound like an old fogey, an anti-punk snob but I’ve seen this nonsense going on for years. I’ve seen too many venues ruined by idiotic people who think punk’s about destruction and chaos, mindlessly fucking shit up before trading in their punk clothes for something else. Everyone has their own definition of punk, I suppose. I’m not even sure if I can define it for myself anymore. I guess it’s just an outlet to get all the shit that brings me down out of my system. Of course, it gets exacerbated when certain elements of the punk scene itself bring me down, increase my sense of alienation and make me question why the fuck I bother anymore. And the reason is it’s a catharsis through loud music, comfort food for my ears, if I’m allowed to be pretentious for a moment. I don’t care how people dress--to each their own. There’s nothing wrong with having an anti-authoritarian attitude, questioning social mores, trying to go against the grain. There are plenty of sources of that anger but there are more positive, constructive ways to express those thoughts and channel those emotions. And still have one hell of a great time, flaws and all.

PUNK ROCK ‘N STUFF...

BAD SAMARITANS-Re-gur-git-tate (Nickel and Dime, CD)
Fast, thrashy hardcore—a simple yet fitting description for quite a few of the songs on this band’s third album although there are also some mid-tempo rockers, as well. At times, it makes me think of Out Cold and Poison Idea, in terms of guitar tone and vocally. “It Hurts” changes the pace to something a bit more lurching ‘n creeping and the same applies to “Sundance.” “Ted Offensive,” a graphic tale of abduction and abuse, would appear to be a paean to serial killer Ted Bundy and the lyrical imagery ain’t pretty. Their cover of the Partridge Family’s “I Woke Up In Love This Morning” isn’t the definitive cover of that group—that honor will always go to Ism’s “I Think I Love You,” but it brings a momentary lightheartedness. Verdict? Good, if not great, and worth a listen or two. (PO Box 555712, LA, CA 90055, www.nickelanddimerecords.com)

BLACK SS-Terror Of The North East (2004-2007) (Reaper, CD)
The complete, unabridged Black SS story, with both of their demos, first 7”, splits, comp tracks and a live set recorded at WERS in Boston. Whew—a lot to digest. Things haven’t changed much—they’ve always stuck to a no-nonsense, aggressive style of hardcore, complete with Chuck Hickey’s inner Choke forcefully expressed. But you can hear an evolution in playing ability and the production values improve as the disc progresses. Speaking of no-nonsense, that’s the gist of the lyrics. First off, this is a straight-edge band but they stay away from the mosh/tough-core elements that have come to represent modern sXe music (thankfully) although there’s no compromise when discussing drugs or alcohol. The sentiments are pointed, whether dealing with abuse of those substances, “the state of the nation,” to quote “I Want Out” and, to use an ancient song by some DC band, being out of step with the world. Inspiring title: “Droppin’ Many Cider Punx.” Aggro unleashed and also catchy in spots. And I hope this is only anthologizing this band’s first chapter. (PO Box 2935, Liverpool, NY 13089, www.reaperhardcore.com)

CLOAK/DAGGER-Kamikazes/She Cracked (Grave Mistake, 7”)
An honest-to-goodness 45 RPM record like I grew up with, with an album track and the unreleased b-side. “Kamikazes” has the Wipers/Hot Snakes guitar tandem and a good amount of rhythmic bash. The flip is a Modern Lovers cover—a harder-edged take than the original with jittery guitar filling in for the keyboards on the original. Not bad but not essential. (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

DEEP SLEEP-Manic Euphoria (Grave Mistake, 7” EP)
There’s a nerviness, an edginess to Deep Sleep’s music and it hardly fits into a standard punk definition, although that’s the motor that drives things. Busy guitar and bass interplay, particularly for “Textbook Timebomb” but the nimble musicianship doesn’t detract from the overall punch. Four of the songs here clock in at under a minute and “Nothing Left” and “Not Coming Back” throw some thrash into the mix—something of a throwback to their first EP, which had a slightly rougher approach. It’s been a few years since that debut and it was worth the wait. (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

86 MENTALITY-Final Exit (Deranged, CD)
To quote 86 Mentality’s vocalist Steve Clark, RRRRROWF. This is the CD version of 86 Mentality’s final EP tacking on a cover of Blitz’s “4Q,” one other uncredited bonus song (not sure if it’s an original or a cover) and a live set from 2005 in Belgium. Tough ‘n bruising hardcore with a decidedly oi-ish inflection—adjectives I’ve used in previous reviews but just in case you missed it the first time, it’s worth reiterating. Paying tribute to the roots and capturing the bare-knuckled vibe although they have a much more pronounced street punk edge than other retro-leaning hardcore bands. The live songs are taken from their first two EP’s plus a version of the Varukers’ “Soldier Boy.” Not a bad addition although I’m thinking a few live video tracks might have been a good way to convey this band’s no-bullshit presence. One more time, with feeling... RRRRROWF! (2700 Lower Road Roberts Creek, BC V0N 2W4, CANADA, www.derangedrecords.com)

INMATES-Now We Talkin Hardcore! (Kangaroo/Even Worse, 7” EP)
Paul E. Wog is back with his phony English accent and the Inmates are back with their completely shredding version of hardcore. Now we definitely talkin hardcore and that comes from the intro to the whole shebang that pokes fun at the two label proprietors who co-released this slab. Raw, fast swill with buzzbomb guitar, wrecking ball drumming (courtesy of the one and only Wedge) and a whole lot of bad attitude. This time out, there’s slightly cleaner production than in the past but that doesn’t mean they’ve gone high-tech or anything. Nor gotten any nicer—the first lyrical line heard is “do the world a favor, kill yourself today.” This is the real hardcore punk rock shit, accept no fucking substitute. (www.geocities.com/tysonkangaroo or www.geocities.com/evenworserecords).

KNUCKLEHEAD-Lost (HG Fact, CD)
Yammering and hammering—the former coming from the ranting, regurgitated vocals, the latter from the aggressive riffing and tumultuous drumming. Hardcore with a metallic bent and making the best impact on track #9 (translating to “To The Crowd”)—that’s a hard-driving speed roar which culminates in blasting rhythms and it fades out ominously. A savage presence for sure, even when the execution threatens to fall apart. This will apparently be their final release and includes some re-recordings of earlier material. (http://www.interq.or.jp/japan/hgfact)

NIGHTSTICK JUSTICE-Claustrophobic EP (Grave Mistake, 7” EP)
These guys are very quickly becoming one of my favorite bands. NSJ are fucking relentless, each song bridged by a whine of feedback. There’s a tinge of the over-the-top Cleveland hardcore burn in their sound. Guitars on stun, bass on bulldoze and goddamn does Jeff Corso sound pissed off. Hardly taking a break with the speed until the stomping conclusion of “Hypocrite,” an epic at over 3 minutes. They’ve also got a new 12” EP, that’s a split release between Even Worse and Way Back When (and there will be a US pressing on Tankcrimes) but my copy showed up warped and another one is on the way. I did listen to the part that was playable and it’s just as blazing—and I’ll have a more thorough review when I have a non-warped copy in my mitts. (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

PANDAMONIUM-s/t (One Percent, 7” EP)
TOTAL FURY/PANDAMONIUM-Tour 2007 (One Percent, 7” EP)
Despite some occasionally leaden-sounding drumming and out-of-sync vocals, the four ladies/one guy in Pandamonium play with a winning old-school hardcore spirit. Jimena’s yelping cadence reminds me of Mish from Sado Nation and the songs on both their own EP and the split with Total Fury rip without any let-up in the speed department. Total Fury begin their side with a cover of Second Wind’s “Bitch,” kind of ironic since that song is a rather nasty put-down of a relationship gone awry and they’re sharing the record with a mostly-female band. But I’m reading into it too much. It’d be tough to top Total Fury’s first 12” but this is better than their last couple of releases. Hard/fast early 80s inspired hardcore given a good throttling. (PO Box 141048, Minneapolis, MN 55414, www.onepercentrecords.com)

Cissie from Pedestrians, 2006

PEDESTRIANS-Killing Season EP (Residue, 7” EP)
Following the same blueprint as in the past—mid-tempo, tuneful but darkly-hued punk, although “Salvation” picks up the pace a bit. As straightforward as the rhythms are, the guitar lines have good blend of sting and warm melody. Vocals that convey outrage without being obvious in a lyrical sense—if there’s any sort of theme, it’s about the senseless loss of life, be it in the inner city or overseas and that indication also comes from the title. The obligatory caveat—if you liked ‘em before, you’ll like this and, if not, get on the bandwagon. (residuerecords@gmail.com)

SOLID DECLINE/RUIDOSA INMUNDICIA-Split (Thought Crime, LP)
These two European bands (SD are from Germany, RI from Austria) both tear through their brief songs with unfettered aggression. Solid Decline’s members all used to be in the band Y and, after a few EPs (including a double), this is their first 12” release (same for RI). Whereas Y operated mainly in grind realm, this band have staked out slightly different territory. Kickass hardcore punk but with other twists and wrinkles. A wild ride executed with super-tightness and including everything from thrash to west coast punk and there’s one song that starts with almost a country-ish shitkick intro before turning on the speedjets. Ruidosa Inmundicia don’t allow any breaks between the songs either. Caro howls at the top of her lungs, accompanied by the musical flail. After a demo and 7” (also on Thought Crime), they’ve perfected their fast hardcore approach. The packaging is top-notch, as well--a screen printed/heavy stock cover presenting an image of tranquil tropical beach scene underneath a black and white image of fighter planes and a bombed out building. (Thomas Franke, Muskauer Str. 19, 10997 Berlin, GERMANY, www.thoughtcrimerecords.de)

Dave from Splitting Headache, 2007

SPLITTING HEADACHE-The World’s My Aim (Chainsaw Safety, 7” EP)
Splitting Headache’s latest missive shows the band in typically ass-kickin’ mode. Fired-up hardcore punk with some sputteringly inspired lead riffs. If offering a comparison with Tear It Up (some of these folks’ previous band) is allowed, this is a more refined approach, not going for the double-speed thing that TIU sometimes relied on. It’s a more reasonably-paced speed attack infused with strong, but not leaden breakdowns. The life of pain and disillusionment continues for Mr. Dave Ackerman, at least from a lyrical standpoint. He says “ten years later and nothing’s changed.” The intent, though, is a critique of someone else pissing their life away. Hell, switch that to 25 years and you’re on to something—OK, that’s not completely true from these quarters. Whatever demons are being fought off, I suppose this kind of outlet keeps ‘ya at least PARTIALLY sane. (PO Box 260318, Bellerose, NY 11426, www.chainsawsafetyrecords.com)

URBAN UNREST-s/t (Evil Corporation/United Shoebrothers, 7” EP)
If you’re going to have a name that not only could be perceived as generic and also have a band logo that’s not far from a certain early 80s NY hardcore band who also had the name Urban in their name (Waste, for the uninitiated), you’d better be pretty damned good because it takes balls to do something like that. Urban Unrest, from Finland, have balls—well, all the band members are guys so that’s a given. Sorry—that’s lame. Something this record isn’t. The sound definitely conjures up that period. Undistorted guitar dishing out the flail and sticking to the loud/fast blueprint. No-bullshit wallop. (www.myspace.com/evilcorporationrecords)

Suburban Voice blog #60

... about fuckin' time, 'eh?

THE GODLIKE POWER OF THE PAGANS

Those words are the god-danged truth, friend. In 1984, there was a student at Boston University who had just moved here from Cincinnati and I became friendly with him. He asked if I’d ever heard the Pagans and when I answered in the negative, he schooled me fast. He had an extra copy of their classic “What’s This Shit Called Love/Street Where Nobody Lives” 7” and we worked out some sort of trade. I’ve been a diehard fan ever since. That single, above everything the Pagans ever did, is their calling card. On the original LP anthology, “Buried Alive,” which included that single, there were testimonials from Tesco Vee and Byron Coley, whose little essay was called “Scorch” and that applies to that single and other songs from the band’s repertoire. Incidentally, not to namedrop, but the guy who turned me on to the Pagans was later the vocalist in the Chrome Cranks under the stage name Peter Aaron. For which I own him an undying debt of gratitude. This is snarlin’ and snotty punk rock with a high scuzz element. Mike Hudson spat out the words with phlegm-encrusted attitude and the “1-2-3-4” leading into the hornets nest of guitar buzz that starts “Shit” is one of those transcendent musical moments that stays with you for eternity. This was a rough-sounding band but, buried in there were 60s rock ‘n roll/garage/protopunk touchpoints and their covers included the Who, Stones and Velvets.

I stole the above title from a Pagans’ live album that came out on Treehouse Records in 1987. Incidentally, the back cover of that record features some rather hot-looking leather-clad dominatrixi (is that the plural?) and one of ‘em went on to be in Babes In Toyland. There’s your trivia for tonight. But I’m not here to write about forgettable 90s rock. I here to tell you about Hudson’s autobiography Diary of a Punk: Life and Death In The Pagans (Tuscarora Books, PO Box 987, Falls Station, Niagara Falls, NY 14303, tuscarora@sysr.com).

Hudson’s book is unflinchingly honest. He’s up front with his sentiments and calls out those who wronged him. People who ripped him off, like their manager Johnny Dromette and Mark Trehus from Treehouse Records, who released several Pagans records for which the band received little if any compensataion. For one thing, he has no respect for the Cleveland rock ‘n roll “establishment” i.e. the press and radio, who never paid any attention to the Pagans when they were around. He particularly had it in for the big FM rock station WMMS. He writes about their buzzard logo and opines “I always thought that the station’s choice of a leering buzzard as its logo was unwittingly appropriate. It was the most honest thing to use that, a carrion bird picking over the rotting carcass of our mortally wounded but not quite dead metropolis.” He laments the death of the old Cleveland, writing about the gentrification of the Flats area that birthed the local scene. That story could be told about any large city.

Hudson’s intelligence and talent as a writer is obvious and it makes sense since he’s had a career as a newspaper reporter as well as a punk musician and this is his second book—the first was Niagara Falls Confidential, co-written with his wife Rebecca. With this autobio, you get a feel for what it was like then, warts and all—drugs, ripoffs, miserable touring experiences, homelessness, interpersonal squabbles and, sadly, the death of his brother, son and close friends. Somehow, Hudson has survived, even with his liver ravaged from years of severe alcohol abuse and he’s not sure how much longer he’ll last. This is all standard rock-bio jazz/boilerplate and well-worn ground but Hudson doesn’t try to romanticize it in any way. He writes that his aspiration was to be “Mick Jagger and Jack Kerouac rolled into one.” The thing is for all his bad-boy imagery, Jagger was a product of the art school universe; Hudson was a 10th grade dropout but carved out a journalism career in addition to a thorny, no-BS musical legacy.

Speaking of live albums, there’s a new CD release, “The Blue Album” (Smog Veil, 1658 N. Milwaukee Ave., #284, Chicago, IL 60647, www.smogveil.com). It was recorded in Madison, WI in 1988, during one of the band’s brief revival periods. I don’t know if you could consider it a companion piece to “The Pink Album”; that widely uneven release included various live, demo and unreleased recordings. I imagine this would be something to compare to “Godlike,” although it was recorded a few years after, in ’88. Sound quality is OK—not pristine but not bootleg quality either. Only nine songs and not hitting the 20 minute mark, which seems kind of odd, unless that was the whole set (my copy does have “Multiple Personalities” as a bonus track found on the “extras” section).Some of the band’s better-known songs aren’t here but they do include hard-hitters such as “She’s A Cadaver (And I’ve Gotta Have Her)” and “Real World” and slam through the Who’s “Can’t Explain” with a fiery recklessness. But this really falls into the “fans only” category and the best introduction for the novice is the one of their anthologies. That’s the soundtrack to have on while reading through Hudson’s tome.

THE REST

BATTLETORN-Terminal Dawn (Mad At The World, CD)
Falling into the “came out awhile ago/just sent to me category, this one is a complete rager. A two band thrash machine, although not always relying on brute speed. In the main, “Terminal Dawn” (the CD is also appended with tracks from an earlier EP) stays to a fast, raw and aggressive route, straddling the hardcore/speed metal divide, albeit without any lead guitar lines. With the two piece bands, you wonder if it would benefit from having a bass-player but given the recording’s roughness, just having the guitar and drums makes this a piledriving musical outing. (PO Box 230367, New York, NY 10023, www.matwrecords.com)

BEAR PROOF SUIT-The Objects In The Mirror May Be Fucked Up EP (Repulsion, 7” EP)
Shit, seems as though this came out awhile ago and they’ve now got an LP out. But I’ll review the record I have and this doesn’t follow any sort of predictable path. “Past Tension” starts off in a conventional thrash vein but then a melodic rock influence surfaces midway through that song. I’m not talking about any sort of cock rock thing here but from more of a Black Flag point of view, as the roots remain in punk. It’s in the guitar approach and there’s some heady sputter for “Apothecary.” Not on a mind-blowing level yet but I’ve heard promising elements on both of their 7”s. (2552 N. Booth St., Milwaukee, WI 53212, www.myspace.com/repulsionrecs)

BLOWBACK-Living Vibration (HG Fact, CD)
A whizzle of feedback, a stomping intro and it announces the return of Blowback. This is a savage musical attack. There are some immediate Motörhead-isms at the outset of “Cut Off The World” and other rock-out moments but it’s wrapped up in a full-on sonic nailbomb. It’s relentless, pulverizing and whatever other adjective you want to attach to a band that has a huge, hard-edged sound. Searing leads, gigantic throbbing bass and vocals that sound as though the tonsils are about to burst. Yes, this is an exercise in hyperbole but it’s the only way to convey Blowback’s sheer power. New stuff plus re-recordings of a few earlier songs. (www.interq.or.jp/Japan/hgfact/)

THE BREAKS

BREAKS-… Are Broke (Firestarter, 7” EP)
I remember these guys being pretty good when they hit Boston with The Spark in ’05. A one-sided epitaph for this Midwest hardcore dynamo, five songs that were recorded at the same time as their previous 7”. Plying the thrash in short, agitated bursts driven by hyper drumming and the requisite nettled vocals. There’s not much to distinguish the Breaks from the endless parade of bands playing in this vein but they do it right. A non-stop charge. (2981 Falls Rd., Baltimore, MD 21211, www.firestarterrecords.com)

CRUNKY KIDS-Hardcore Malarkey For Sure!! (Motorchest, 7” EP)
With the nasty vocals, dirty guitar/bass tandem, you’d probably guess this is a Cleveland band and you would be correct. The Crunky Kids have been bashing things around the entire decade and this is their latest missive. If you need a pedigree, it includes Bomb Builder, 9 Shocks, Gordon Solie Motherfuckers etc etc and the current lineup is a power trio with Thuggy Bearbomb, Wedge and Matt Upstab. Thrash and pure punk rock coalesce into a formidable elixir and they’re sure pissed off about things, starting with a certain overseas military conflict and also taking time to comment on a poor Christian Scientist kid who died because of huge amount of fecal backup on “Shit Out The Poison.” That could apply to what the band are doing here. (PO Box 725, Poplar Bluff, MO 63902, www.myspace.com/nocausepunk)

DOG SOLDIER-At My Throat (HG Fact, CD)
There are hellacious shrieks and screams to start things off here, appropriately titled “Chainsaw Intro” and I’m not so sure I want to know what’s going on there. Crust metal, for want of a better term, from this Portland, OR band. Basically, it’s crossover-style thrash metal with grunted, strangled vocals and somewhat echo-y production that brings Sacrilege to mind. One difference, though, is the brevity of the compositions. Pretty good, although I liked the sharper, punchier production of the previous 12” on Hardcore Holocaust. (www.interq.or.jp/Japan/hgfact/)

GLASS AND ASHES-s/t (No Idea, CD)
Heavy, driving hardcore/rock with a howling presence. Letting out the scream, in other words, but you won’t see me tacking an “o” onto the end of that word, even though it’s tempting. There’s an immediate surge for the opening songs “Seconds Before The Floor Drops Out” and “To The Point Of Paralysis.” At other points, there’s a twisting in the wind, melodic somberness that hurts the momentum, a bit. The final song, “The Rebuttal,” merges both properties—a full-on pummel that gives way to bombastic heaviness and a long, frayed fadeout. If there’s a theme here, it could be “dark days coming,” to borrow a line from the old DC band 3 and the stormy photo images on the cover and gatefold seem apropos. While hit and miss, the intensity is convincing. (PO Box 14636, Gainesville, FL 32604, www.noidearecords.com)

GOD FODDER-No Sleep (Motorchest, 7” EP)
Nice ‘n snotty hardcore stripping it all down to its essence. These guys could be a midwet counterpart to Acid Reflux in the rant department and a bright guitar sound working in their favor. Succinct? How about “got no money, got not job, dress like a fucking slob” on “Dead Weight.” Why get poetic when the direct route is more effective? There’s not a lot more to elaborate on here, except that you have to manually remove the needle from side one unless you want to be called a dumbass ad infinitum. Really—these kids today! The kids in God Fodder got it goin’ on. (PO Box 725, Poplar Bluff, MO 63902, www.myspace.com/nocausepunk)

JEAN MILLS SOCIETY TORCH-Start Tomorrow (Firestarter, 7” EP)
Double-speed thrashin’ from this oddly-named band and recorded in 2005. Some humorous and sarcastic lyrics—I like the sentiment about bringing back the old “Headbanger’s Ball” with “the old days of AC/DC, Iron Maiden and Slayer,” but, unfortunately, it’s only fair-to-middling from a musical standpoint. (2981 Falls Rd., Baltimore, MD 21211, www.firestarterrecords.com)

PAINT IT BLACK-New Lexicon (Jade Tree, CD)
Over the past few years, I’ve really become bored with clean (for want of a better term) sounding hardcore. Not chug stuff but hardcore without any grit in the production. The type of music that attracts people with long sleeve t-shirts or hoodies, fingers pointed skyward, sometimes having X’s on the hands. I think you know what I’m getting at, here. In any case, Paint It Black have a clean sound but still grab my ear and there’s some originality. The songs surge and combine rage with unexpected catchiness—that happens with the chorus of “Past Tense Future Perfect,” where Dan Yemin’s rants are accompanied by background harmonies and melodic guitar. There are also some interesting transitions between songs with ambient effects. Maybe the fact that J. Robbins helped produce the album but there’s a Jawbox air to some of the songs—or if Jawbox’s arranging was fused to driving hardcore. The songs have a strong rhythmic base, with Andy Nelson’s bass lines forcing their way up front. You won’t find any rawness here, except in Dan’s frayed, hoarse vocals but there’s a presence and purposefulness here. (2310 Kennwynn Rd., Wilmington, DE 19810, www.jadetree.com)

2ND DEGREE-Chain (HG Fact, CD)
A compilation of 2nd Degree’s EP, including the songs from their recent “Tar” 7” and a re-recording of an older song, “Chain Of Rage.” There’s some power-rock on the newer songs (with a revamped lineup) but this band mainly have 80s era European hardcore (Upright Citizens, et al) and UK-82 trappings. Mid-tempo, catchy compositions with a gritty approach. Plenty of vocal rasp, boys-in-the-gang backups and razor-sharp riffs. (www.interq.or.jp/Japan/hgfact/)

WRETCHED ONES-Less Is More (Headache, CD)
An alternate title for this album could be “KISS” or “Keep it simple, stupid.” Wretched Ones are back with another collection of street punk rock ‘n roll, to steal a phrase. No nonsense, straight ahead both in a musical sense and lyrically. Buzzin’ rhythm riffs with some rockin’ flare-ups and Pit’s gruff vocals. Actually, there’s a little variety in the tempos and arrangements (but no fuckin’ ballads or emo or any of that shite) and Pit shows some vocal range, as well. They’re not above a bit of thievery either—the main riff for “Skin Neighbor” is lifted from “Gigantor,” but I won’t tell anyone. The theme here, if there is one, is don’t let life get you down, have a beer and a laugh and keep things uncomplicated. On the tray is a recycle symbol surrounded by the words “work, drink, sleep, repeat.” A regimen broken up by this type of sturdy, workmanlike musical expression. (PO Box 204, Midland Park, NJ 07432, www.headacherecords.com)

Suburban Voice blog #59

LIBYANS

THIS IS BOSTON AND I’M NOT GOING TO SAY “NOT L.A.”
So what’s happening in Boston, you ask? Well, let me tell ‘ya. This ain’t gonna be about the Dropkick Murphys nor the Unseen nor any of the other higher-profile punk or hardcore bands. As always, underneath that radar, DIY is alive and well here, with new bands emerging all the time and fun shows all over the place, from basements in Somerville and Boston to the Ratscellar warehouse space to various college spaces and halls. Hell, I just saw a fun show in a classroom at the School of the Museum of Fine Arts with Belgian band Sunpower (LP review below) and there was a pretty good turnout for a Monday night. Even the Midway club, in Jamaica Plain, has been doing all-ages shows, although a lot of ‘em feature bands that don’t interest me all that much.

Getting to those recordings, though, first up is the three song 7” by LIBYANS, “Welcome To The Neighborhood” (Shock To The System, PO BOX 300991, Jamaica Plain, MA, 02130, www.myspace.com/shocktothesystemrecords) The poppy title track owes more than a little to the Avengers’ “Cheap Tragedies,” although vocalist Liz Panella has a lower, somewhat rougher voice. I imagine the Dangerhouse type logo on the record isn’t meant to be ironic—and I don’t mean that as a slight, either. It’s a catchy song. The two songs on the flip, “Cough It Up and “Higher Standards,” take a faster hardcore punk turn.

Next is a demo tape by GENERAL INTEREST (59 Myrtle St., Somerville, MA 02145, generalinterestpunk@gmail.com), who are a fairly new band with two people from the Conversions and one from Red Thread, all playing different instruments than in their other bands. Meanwhile, lead mouth Steve Shea conveys some sarcastic sentiments. You can’t read along to his words because the lyrics sheet features a passage about Hitler’s sexual history but “Out With A Bang” is an undisguised slam at the Italian band (“would it shock you if I called you a fag?”) and their so-called shock value, no doubt inspired by a show they played in Boston last year, where there was a fight during their set. “Myth of The Female Musician” pokes fun at the all-too-prevalent mentality from some males that, in essence, girls can’t rock. From a musical standpoint, it doesn’t fit an easy definition, although shards of post-punk mix with a punk attitude. “Bagley,” the final song, has a serious Minutemen jones. Stretching the boundaries like the Conversions, albeit without the hardcore element.

Another new band with a cassette demo is LIKE RATS (likeratsboston@gmail.com), who have the Conversions’ vocalist Terry Cuozzo on guitar and Pat Wilding (Mecchanibal, Daggers Rule) on vocals. An energetic hardcore sound with a hint of Poison Idea, particularly in Pat’s raspy vocals. A quick-paced, no nonsense approach and thoughtful lyrics on a variety of topics—“Grandfather Clause,” which is about moving on and refusing to acknowledge what you were a part of. I imagine that weighs on the so-called “older” punks, who sometimes question their continued involvement in what some perceive as immature pursuits.

WEAPONS GRADE (PO Box 301426, Jamaica Plain, MA 02130, www.myspace.com/weaponsgradeboston), the latest band fronted by Craig Lewis (ex-Melee, Keep Laughing) use a combination of raw thrash and more melodic properties that isn’t easily pigeonholed. The lyrics are intense and personal, dealing with very real pain and emotional trauma and passionately exorcised. In all honesty, it’s tough to listen to, at times. This recording sounds like a band still looking for its footing, although there are solid moments (“Put To Sleep,” Razor Blades”). Having seen Weapons Grade improve in the live setting over the past few months, I hope that will be reflected the next time they hit the studio.

In a loud ‘n spirited garage/punk vein come HOSPITAL RATS (www.myspace.com/thehospitalrats). Their CD demo is packaged in a paper bag. Organ-drenched gnash as these four guys effectively bash their way through their material. There’s definitely ­a 60s mind-bending angle, particularly the chaotic conclusion for “The Beast,” but it still doesn’t come across as a Nuggets/Pebbles retro trip. That tune is one of four live tracks that accompany five studio (or maybe basement) tracks. Sure, there’s no denying where the Hospital Rats are coming from, but they add their own appealing (?) crudeness to it, each song introduced with a bit of hiss/hum and a hearty “1-2-3-4.” Just so you know, the bag has enough room for a 12oz Pabst, if that’s your brew of choice—and at least you’ll have good musical taste, if not taste in beer.

Ending the Boston segment, NOTHING BUT ENEMIES, formerly known as Slimy Cunt and The Fist Fucks (for real), have their first album, “Mental Damage,” out on Welfare Records (58 River St., Haverhill, MA 01832, www.welfarerecords.net). There’s a declaration from this band’s vocalist Opie at the outset—a shout-out to all the rejects, freaks, drunks, mentally ill, dropouts and others, including the people “that ain’t even accepted by your so-called friends in punk rock… come join us!” A-fuckin’-men to that sentiment and the pure hate is conveyed with a direct hit. Opie rants and brays and the music is a heady, mainly mid-tempo hardcore punk bash. A visceral ugliness but it’s also a controlled, concise assault. A Blitz-ish touch figures into “No Apologies” and “Detonation” reminded me of the Dead Boys a little. This is music for the anti-social, the ugly and proud, to quote the late, great Sheer Terror.

Incidentally, the General Interest and Like Rats demos were recorded at Side Two studios, which is located in the building that hosts the Ratscellar and the recordings coming out of there sound good and the rates are reasonable. For more info, check out their site at http://www.sidetwostudio.com).

THIS AIN’T BOSTON… BUT THAT’S OK!

DFC/PRESTO?-Inferno Na Terra (Peculio, CD)
Both of these Brazilian bands have the crossover thing, to an extent. Hardcore ‘n thrash with a driving and a ruthless, murderous attack. Another commonality the brevity of the compositions. As for differences, Presto? throw in some blastbeats , chuggier elements, plus slightly lower tunings, as well but it doesn’t impede the power—but since DFC eschews those things, I like their half a bit more. I have to say that the sampling of the “1-2-3-4” from Pantera’s “Fucking Hostile” on one Presto? song is pretty damned clever, too. If you like metal in your hardcore or vice versa, there are worse ways to spend 24 minutes. (CX Postal 393, Santos-SP, 11001-970, BRAZIL, www.peculiodiscos.com.br)

D.O.N.D.O.N.-Last Warning (Schizophrenic, CD)
Reissue of this Japanese band’s 1991 album, long out of print and appended with three compilation tracks. The initials stand for Detestation of Negative, Destruction of Nuclear and it’s throttling hardcore that would have made much better listening for yours truly than the grunge shit I was into at the time. Let’s not talk about that—let’s talk about the pummeling content here. D.O.N.D.O.N had a visceral aggressiveness and, along with the thrash, incorporated metallic guitar trills and even a few odd effects. There are a couple of slower songs that sound like they came off the “Protest and Survive” assembly line but, for the most part, it’s raw, clattering thrash in the traditional Japanese style. Not on the same level as the Japanese hardcore legends but still making a loud statement. (17 West 4th St., Hamilton, ON L9C 3M2, CANADA, www.schizophrenicrex.com)

IRON LUNG-Sexless//No Sex (Prank, CD)
This is death or, more accurately, Iron Lung’s latest opus is about death. Physical death, mainly, but also death of the soul and one could say those often go hand in hand. It’s a hammer-shock musical effect, grinding out ultra-fast thrash and oozing slowdowns that are far from accessible or tuneful but appropriate for the mood, here. For a two-piece, Iron Lung have a huge sound. The final track, the lurching “Cancer,” ending with another blast and an abrupt ending, seems a fitting conclusion. Accompanied by haunting artwork from Rudimentary Peni’s Nick Blinko. I’ve never really been an aficionado of powerviolence (everyone who reads my stuff knows that by now), except seeing it live. But this never gets completely out of control and one thing that stands out here is Voivod-ish guitar touches, especially effective on a song like “Politics Of Science.” Enough inventiveness and variety to keep it interesting. (PO Box 410892, SF, CA 94141-0892, www.prankrecords.com)

NO PEACE-Zombie Brains (Decision Of Fate, 7” EP)
Raw, nearly blown-out sounding hardcore and there are both old school Swedish and Japanese hardcore influences, at least to my ears. It’s just a way to give an indication that it’s high energy fodder. From Cleveland and definitely sharing the devil-may-care aggro of other DIY bands from that region. The fact that other Clevo hardcore “luminaries” were involved in the mixing and mastering of the recording is another indicator that this ain’t gonna be no pleasant-sounding sonic excursion. Feedback, wheedling lead guitar and agonized vocals. The only misstep is the semi-sung, off-key vocal for the slightly slower-paced “Thanks Friend.” (2122 Robbins Ave., #108, Niles, OH 44446, play_it_faster@hotmail.com)

PERTH EXPRESS-s/t (Teenage Disco Bloodbath, CD)
A 22 song anthology for this band from Germany and, after listening to nearly an hour of this heavy, doom-laden music, it’s had a draining effect. I don’t really mean that in a positive sense, either. The effect is largely overbearing and oppressive. Anguished, lower-register vocals and tuned-down, thick ‘n ominous arranging. On occasion, it connects—the speed roar of “Schon Gewusst? and “1001,” although the drumming seems a bit out of sync. Probably of interest to people who like the newer Swedish hardcore/metal stuff and maybe it would have been better in shorter doses but it gets numbing after awhile. (www.tdbrecords.com)

STATE-Verboten EP (Statement, 7”)
On the State’s latest record, the hook is that two of the songs are in German and the other pair in English. The EP was originally supposed to come out in Germany but the band ended up doing it themselves. Gritty hardcore punk, as always, imbued with speed and agitation and the songs here are better than the ones from their recent split with I Object. The not-so-secret weapon in this band remains guitarist Art Tendler, adept at both scorching leads and buzzing rhythm work . Lyrics casting a jaundiced eye, especially towards those who genuflect before their god or their government. Age is only a number and they kick the ass of many bands half their age and younger. (www.statenoillusions.com)

SUNPOWER

SUNPOWER-Pain For Profit (Holy Shit!/Still Holding On, LP)
Ah, the LP with the gatefold cover—how I love them, even with the depressing drawing of an animal about to be murdered so the woman on the back can wrap its fur around her neck. Sunpower are from Belgium but are clearly influenced by US punk and hardcore. “BXHell,” for instance, has surfy guitar ala the Dead Kennedy and.Mike Meat’s vocals sound like a cross between Jello and Willy from Young Wasteners. Once in awhile, there will be a change-up, such as the jazzier rhythm for “Gore’s World.” Most of the time, though, they play at a faster speed and songs are short and catchy. And add “Stuck Inside The Midlife Crisis” to the ever growing library of “getting older in the scene” odes. I don’t necessarily “wish I was a teen again,” like Mike sings, but also have similar feelings of ambivalence. But fuck it… do what you want and look at this as a musical fountain of youth. (www.myspace.com/stillholdingonrecords)

SUPERBUICK-s/t (Motherbox, CD)
I’ll avoid the car references in this review—like “souped-up” “high octane” rock ‘n roll,” “taking a manic ride,” etc etc. Nope, not my style. Errr… moving right along, this is some pretty rockin’ rollin’ stuff from dudes with a hardcore punk background—people from Violent Society, Race To Die (who had a pretty good demo awhile back), Fisticuffs and more. There’s some bad-assery in the vocal department, although there tends to be an overbearing element to them, as well. To be honest, that’s not always that great a thing and the one thing here about which there are any reservations. Otherwise, while it’s well-tread rawk terrain, Superbuick’s songs have a lively punch and plenty of adrenalin and feisty guitar riffs. This isn’t strut ‘n swagger—it’s more like tearing down the road with the pedal to the metal. Oops—there I go again. (12 Madison St., Lynbrook. NJ 11563, http://www.myspace.com/motherboxrecords)

YOUTHS-Generationless (Still Holding On, 7”)
It’s been awhile since the Youths’ demo, which was pressed on vinyl by Criminal IQ, came out so I was happy to see this 7” show up. Catchy, anthemic punk with a garage tinge. Not a lot of variation from track to track—just sturdy, tuneful songs with bright-sounding guitar and plenty of rhythmic punch. Along with the boisterousness comes some sharp commentary about flag waving and religion, to name a few. Restless youth, to borrow a trite phrase but nothing trite about the music. (www.myspace.com/stillholdingonrecords).

Suburban Voice blog #58

I’VE GOT VISUAL PROOF!

Usually, I’ll just post a photo of a band who I’ve seen live and hope that it at least partially captures what the experience was like. Of course, that’s not really possible which is why the advent of YouTube and other video venues are such a great tool. Well, it’s great for a number of reasons—digging up episodes and clips of long-lost TV shows, embarrassing moments for the well-known and not-so-known and even as a pathetic way of getting attention. And, while a video clip doesn’t put you there, I like the fact it’s available for people to at least get an indication of what I’m talking about.

I saw American Cheeseburger play at the Ratscellar in Boston a few weeks ago. Their set was off the fucking rails. Fast, frenetic and non-stop. I don’t know how James, their vocalist, gets through a set without collapsing—a non-stop ball of motion and shredding vocal chords. And I’ve got the visual proof right here:

Pretty sick, isn’t it? As I’ve said countless times in the past few years, while I feel withdrawn and alienated from a lot of the so-called hardcore/punk scene (and all the cliquish sub-scenes), what you see there is the elixir, what keeps me going. I don’t think there’s any more need to elaborate. Maybe I’ll expound on other musical matters next time but I’ll leave you to peruse the lengthy review section…

ACID REFLUX-Secret Power EP (No Way, 7”)
The whistle sounds—for real--and Acid Reflux’s second EP is out of the starting gate with the thrashy adrenalin of “Paid To Ruin Fun” and that’s maintained for “On The Run” and “Not Another Day,” the latter song even featuring a brief (very brief) drum solo, if that’s the term. The somewhat slower “Half Spic” has a “lalalalalalalala…” and I can’t quite decide if it’s annoying or endearing. There’s also an uncredited reggae dub track to wrap things up and I was trying to remember what other hardcore band did that one time and it was the Cro-Mags on their original “Age Of Quarrel” demo. Acid Reflux aren’t nearly as mean as the Cro-Mags but they still kick ass. (3211 Idlewood Ave., Richmond, VA, 23221 www.nowayrecords.com)

ACURSED-Tunneln i ljusets slut (Prank, CD)
No song titles, no lyrics, a mysterious image of what looks like a tunnel with a shadowy figure off on the distance—translation “light at the end of the tunnel”? (that’s what an internet tool says). Those are the elements that accompany this sonic opus from Acursed, which was recorded in late ‘04. The album is introduced with a spoken word piece (in their native Swedish) that leads to the throttling attack of anguished vocals, low-tuned guitar blaze and clattering drums—hallmarks of some of the modern-day Swedish bands (and Tragedy draw from this well, too). There are other spoken segments that bridge the onslaught of certain tracks. A mournful ominousness and heavy cloud of despair inform the ambiance but it’s not quiet by any means, as the songs possess plenty of speedy burn. I tend to gravitate towards other strains of Scandinavian hardcore and would probably prefer these songs in the live setting but the brevity of the songs does increase their impact. (PO Box 410892, SF, CA 94141-0892, www.prankrecords.com)

AUTOPSIA-Poder Represion y Corrupcion (Cochembomba, 7”)
Rough, crude punk out of Peru from the mid-80s and their vocalist Silvio went on to be in Ataque Frontal and the others were in Gx3. Most of the tracks are medium-speed and almost have a street punk essence to it. This is rudimentary stuff, both from a playing and production perspective but it has a winning determinedness, like the little engine that could. (23 Concord Sq., Apt. B, Boston, MA 02118, cochebomba@msn.com)

BORN BAD-Moron Music (Fashionable Idiots, 7”)
Born Bad return with another scorcher. The emphasis remains on full-bore hardcore punk that boils over with pissed-offedness, to coin a phrase (which I just might have done). If you ever heard a band like Deathreat, it’s in that vein, from both a musical and vocal perspective. US-inspired hardcore but with a relentless quality but I imagine these guys might have listened to Discharge a little, as well. If you liked the last one, you’ll like this and if you haven’t heard them yet, get on it. (PO Box 580131, Minneapolis, MN 55458, www.fashionableidiots.com)

BRAIN HANDLE-s/t (No Way, LP)
Brain Handle released this 10 song 12” last year in a quantity of 300 and it sold out just before they got to Boston and laid waste to the small basement they played. Still, I had it in the MP3 format and it made my year-end best-of list and, now that it’s got a wider release on No Way, there’s a damn good chance it’ll make this year’s list as well. Look at the flowery cover and you’d think it’s going to be some 60s psychedelic retread and, on the lyric sheet, there’s a reference to “psychedelic trout droppings for boss.” But throw the needle down and, within seconds, the band’s potent hardcore quickly eviscerates that notion. Insert the adjectives here if you’d like but most of the songs take a loud/fast tack yet the influences aren’t instantly definable, except to say it’s not a straight-forward 80s tribute. The final song, the slower “Wallet Sniffin’” will make you want to wreck things whenever you hear it—it even got this jaded old fuck to try to take over the pit when they played it. Vocalist Ed Steck aka The Family Circus (or whatever pseudonym he’s going under here) spits out the words with a restless irritability, trying to “make sense of this decay” while escaping the M-F existence with the weekend’s crazy events. Brain Handle’s music not only creates that type of cathartic escape for themselves but anyone caught up in their hardcore whirlwind. (3211 Idlewood Ave., Richmond, VA, 23221 www.nowayrecords.com)

CIVIC PROGRESS

CIVIC PROGRESS-Disposable EP (Fashionable Idiots, 7”)
Maybe Civic Progress are trying to make a point with the minimalist packaging—just a white sleeve with the band name and title stamped on there and a small insert plus there’s the recycle symbols on the record’s label. Some of the lyrics here do have an environmental/anti-conspicuous consumption theme, at least on the first side. On the flip, the commentary comes from more of a perspective of personal alienation. It doesn’t come across as preachy; rather, it’s a plain statement of facts. Basic 1-2, 1-2 thrash and the vocals have a hoarse, almost voice-cracking quality that also goes into more of a spoken style, as well, particularly for “Falling Apart,” which is delivered at a slightly slower speed with some accented drumbeats. Another good effort. (PO Box 580131, Minneapolis, MN 55458, www.fashionableidiots.com)

COMPLETE WASTE-s/t (Give Praise/Rock Bottom, 7”)
Fast, loud, to-the-point and divided into the short and shorter sides. No, I didn’t get out a stopwatch to see if that’s the case. The double-thrash segments for “Why Do I Bother” are a slight misstep. Othewise, these six songs are spot-on. The kind of hardcore that continues to grab my interest, even if this band isn’t in the super-strata. (www.givepraiserecords.com)

CRIMINAL INTENT-s/t (Sewercide, 7”)
I think this is a concept EP—the concept is how much life sucks. Boring zines, in fact a boring life in general, getting hassled by the fuzz, relationship problems and the final act results in suicide. OK, it’s probably just some steam-blowing-off and, actually, the 2 AM skating session on “GSD” indicates that “nothing’s wrong, all is well.” Skating and some ripping, thrashy hardcore with an abundance of frenetic, intense energy, to quote Agression. All is definitely well. (Dave Brown, 1211 College St. 2,Toronto, ON M6H 1C1 CANADA, www.myspace.com/sewerciderecords)

DEATH IN CUSTODY-Infected With Rage (Insurgence, CD)
I played a little word game while playing this long-overdue release from Detroit maulers Death In Custody (their previous demo came out quite awhile ago). I played a little word game while blasting this on the stereo and wrote down various impressions while listening and came up with “agitation,” “mean,” “toughness,” “no BS.” I mean, start with the title. That tells you right there this ain’t no garden party. Death In Custody come right at ‘ya with a tough, about-to-explode hardcore sound that has a brawny approach but avoids the chug/breakdown element. Instead, part of the influence comes from older Boston and NYC hardcore and I was thinking that before hearing their cover of Last Rights-via-Slapshot’s “Do What You Want.” A lyrical line that sums it all up? “That smirk that covers your face is where my boot will find its place.” That’s from “Done,” it’s about an asshole boss and there’s also reference made to said individual “staring down the barrel of a gun.” Subtle. That’s one word that didn’t make my list. (2 Bloor St. W, Suite 100-184, Toronto, ON M4W 3E2, CANADA, www.insurgence.net)

FRIGHTENER-Guillotine (Chainsaw Safety, CD)
This will frighten you if you’re not ready for Frightener’s death/thrash pummel. Some slow/heavy lurch to go along with the speed attack and sub-gutteral vocals. Frightener are from the UK and remind me a bit of early Entombed stuff, both in the vocal cadence and the lower-tuned riff crush. “Legion,” with a slightly less ooze-like tempo, showcases the band at their most effective. Several listens have beaten me into submission—this is the way to play this style of crushing music. (PO Box 260318, Bellerose, NY 11426, www.chainsawsafetyrecords.com)

KAKKA-HÄTÄ-77-Totaalinen Kakkahätä (Combat Rock Industry, CD)
Combining two EPs from this Finnish band and providing some tough, catchy punk rock. Packing some Heartbreakers’ punch without any sense of rawk posing, just in the way they dish out the licks ‘n riffs. Hmm… that sounds as though it could be taken a few ways but never mind. Add in a hint of street punk (but not the boots ‘n braces variety) and this will pound its way into your heart in short order. (Fredrikinkatu 58, 00100 Helsinki, FINLAND, www.fireinsidemusic.com)

ROT SHIT-Have You Scene Rot Shit? (Fashionable Idiots, 7”)
Crude, damn-near psychopathic bash. The recording is primitive, the attitude really bad and I absolutely love the sentiments behind “Fuck Yer DJ Night” and “What The Fuck Is Weird Punk, which concludes with a hearty, chanted “FUCK FUCK FUCK...” etc. Hardcore and garage thrown together and then dragged through the gravel until bloody and disfigured. Five quickies on side one, one more on the flip (“Drive Fucked Up”) and that ends with another chant, this time it’s “DEAD DEAD DEAD…” This music will definitely fuck with ‘ya and, even without a lyric sheet, it’s not hard to feel the malevolence. (PO Box 580131, Minneapolis, MN 55458, www.fashionableidiots.com)

SOCIAL CIRCKLE-I’ve Got Afflictions EP (No Way, 7”)
On their second EP, Boston’s Social Circkle have taken a hardcore turn, favoring a faster approach ala Career Suicide in particular for “Afflictions” and “Canned Response.” “I Don’t Want,” meanwhile, harkens back to the more anthemic punk style of the debut and “Life Crisis” is along those lines, as well. There’s a change in drummers, with Ryan Abbott (Positive Reinforcement/Blank Stare) stepping in and his aggressive style definitely powers things along. The words convey a first person narrative of nervousness, frustration and apprehension. There isn’t quite the catchiness of the songs on the first record but Social Circkle are one of Boston’s best bands and “I’ve Got Afflictions” will give you damn solid proof. (3211 Idlewood Ave., Richmond, VA, 23221 www.nowayrecords.com)

UNKIND-Hangen Syliin (Combat Rock Industry, CD)
The deceased figure on the cover and blood drops on the inner tray indicate something ominous and that’s what’s present here. Dark, heavy, crusty hardcore that has those so-called “epic” qualities i.e. there’s an attempt at a sense of drama and some of the song lengths are up there. In the main, there’s a speed driven ferocity at work, accompanied by harsh vocals throughout. This is not cheery, uplifting material and the final song, the 6 minute plus “Hangen Syliin” (“Into The Arms Of The Snow”) ends things on a somewhat laborious note. A manic aggressiveness yet sometimes on the ponderous side. ((Fredrikinkatu 58, 00100 Helsinki, FINLAND, www.fireinsidemusic.com)

UNSEEN FORCE-In Search Of The Truth (Grave Mistake/Vicious Circle, CD)
UGLY LAW-s/t (Atavistic, 7”)
So I was in San Francisco in 1986, staying at Maximum Rock ‘n Roll house and this band from Richmond called Unseen Force were staying there, as well. Tim Yohannan, the moving force behind MRR, even had the brilliant idea of me interviewing Unseen Force on the radio show, even though I’d never heard their music up to that point and it went surprisingly well. Anyway, they were nice folks and gave me a copy of this album, which has finally been given a CD pressing. Good loud/fast fodder with a scrappy nature and a hint of metal guitar but without falling completely into crossover. Lyrically, there’s an anti-authoritarian/anti-religion and populist bent, appropriate for the age of Reagan. In fact, appropriate for this day and age, as well. Unseen Force came along at a time when hardcore was in a transitional phase of embracing some heavier elements without giving up the thrash. There’s going to eventually be a vinyl reissue but if you’re not a complete purist, this CD is an expanded edition, with an entire live radio set from 1986 and a dozen songs from the band 2000 Maniacs, based in Pennsylvania and including two future members of Unseen Force (Greta and Scott). The live set includes a few songs that were written after the album but are in a similar vein. The 2000 Maniacs songs favor a rougher hardcore approach, although you can hear the roots of what Unseen Force would be doing. Pretty basic stuff and the drumming is occasionally stiff.

Twenty years after Unseen Force packed it in, Scott and Bobby (guitar and drums respectively) have teamed up with bassist/vocalist Andy in Ugly Law. It’s back-to-the-roots time with a fast, ferocious sound and Andy’s wailing vocals have a similar cadence as Kevin from Double Negative. The parallels are inevitable, of course, because this is a band with “veteran” folk having another go at it, although they’re not musically identical. Prickly and angry-sounding, both musically and vocally, with lean production and each instrument has presence, especially the bass lines, ending with a FlagSab flourish for “Wasted Space.” Long may they agitate. (Grave Mistake: www.gravemistakerecords.com; Ugly Law: www.myspace.com/uglylaw)

WEEKEND NACHOS

WEEKEND NACHOS-Punish and Destroy (Cowabunga, LP)
Unless I’m missing some deep meaning, the band’s name is pretty goofy, this double-blast thrash is typically better experienced live but there’s definitely some punishing, destructive (oof) music here. Mixmastered Infest/Crossed Out style murder-core played with tightness and solid execution, incorporating blinding speed but, also, some slow, bring-the-hammer-down sludge and it was recorded with two people, Aaron Ross on guitar and bass and John “Caution” Hoffman handling drums and vocals sounding like a bear with its foot caught in a trap. The lyrics are pointed—not much positivity to be found as there are tirades against fucks who bring dogs to shows and other assholes who show up and make people’s lives miserable. Notice I managed to say all this without using the word “brutal.” Oops. And, of course, any record that has a song called “Suburban Voice” is GUARAN-FUCKING-TEED a good review in this space. (www.cowabunga-rex.tk)

Suburban Voice Blog #57

I start this (somewhat overdue—sorry) blog with a couple of book reviews:

PUNK IS DEAD, PUNK IS EVERYTHING by Bryan Ray Turcotte, Ginko Press, 5768 Paradise Drive, Suite J, Corte Madera, CA 94925, www.gingkopress.com)

This tome is another “coffee table” book put together by one of the two folks responsible for 1999’s “Fucked Up and Photocopied” and the premise is somewhat similar. A hardcover book with glossy color pages and featuring punk rock artifacts and memorabilia—flyers, photographs, zine covers and even set lists. I’d almost like to have seen a trivia quiz for guessing the band for each set list, with answers on another page, but I was able to figure out most of them anyway There are also writings and reminiscences from a number of people intimately involved in the wide-ranging punk universe—musicians, writers, artists and people who associated with those individuals, starting off with an interview with Ian MacKaye. A cross-section of folks and giving a list means I’m bound to miss someone but, glancing through, there’s an off-the-wall entry from Mark McCoy of the Oath/Charles Bronson etc, which makes sense because those bands are a bit off the wall or, more accurately, unhinged. David Yow, Wayne Kramer, Pooch from Flipside, skater Tony Alva and several people I’m not as familiar with but their involvement and memories are just as valid and maybe fresher since they’re not quoted everywhere else. Much like the recently published “My First Time,” about people’s first shows, there’s the sharing of the spark that led the participants into the punk demimonde. It’s a lavish production and it’s worth looking through slowly so you don’t miss the details. This book attempts to capture the feel and diverse dynamics of what punk encompasses—casting its net wide—a musical genre but also much more.

For instance, one of the contributors, Cali Dewitt (I had no idea who he was but a search revealed that he worked at the Jabberjaw club in LA, was a nanny for Kurt and Courtney and posed in drag for the CD face of “In Utero”) writes the “punk is dead” essay, where he basically calls out anyone who still uses the word punk to identify themselves. He has particular disdain for those who describe themselves as “old school”: In his words, someone like that “been a moron for a longer period of time.” He goes on to talk about how the “new generations” are creating something different and new, “identifying as nothing but them selves.” Dewitt’s interpretation of punk is something stale, pre-packaged, irrelevant. It’s hard to deny, in a more mainstream perception, there’s more than an element of truth but I have a different take on it and, while I don’t really like labeling myself as anything other than “Al,” punk still does mean everything to me.

The organization is a little different. In “FUAF,” the segments were broken down regionally. This time, the organization isn’t always based on geography. There are segments that travel through NYC and California, for instance—that occurs in the largest segment of the book, “Myth Vs. Legend.” Other sections are broken up by genre, category and medium. There are sections for activist punk, zines, skate punk, genres outside of punk but tangentially related—speed metal, crossover, glam rock and sections dedicated to photography and artwork.

For me, having been “around” a bit, I always feel wistfulness when looking through these types of collections. It’s easy to be swept up into nostalgia and question myself about the whole attitude about punk being “dead,” being redundant, that it’s somehow irrelevant, as I alluded to above. There are thoughts that, as much as I did get to see a lot back then, I still missed out on quite a bit and probably didn’t realize it at the time.

It kind of puts things in perspective but, even with the passage of time, certain events remain strong in memory. This book conjures up the excitement, the newness of it all at the time also makes me realize that many things have become ritualized, constantly repeated ad infinitum. The same arguments—what’s punk and what isn’t. Should punk be political or just about the music. So on and so on. Just a rite of passage for many people while others stick around for the long haul, become “lifers” in the parlance of some of my acquaintances.

Unlike Steven Blush’s book “American Hardcore,” which was strictly a period piece and seemed dismissive of any current manifestation of a “hardcore renaissance.” this book brings things up to date and shows the same kind of ephemera that was used back then—the flyers, for instance. Some of them look like a throwback, with the cut and paste style or an approximation of it. The flyers for the Charles Bronson and Oath shows, for instance, could have been made in 1982 and some might question the creators’ originality. Also, in the present tense, ephemera might not be the appropriate term since people are probably more likely to hang onto the flyers and zines. There’s perhaps more of a recognition that these items should be saved because it provides an “in the moment” history. Back then, it was just fun to collect stuff but I didn’t realize the value of such archiving until later on.

I recently started a “pen-pal” (i.e. internet-free) relationship with a guy from Baltimore named Paul. He sends me handwritten, multipage letters that just flow with passionate opinions of punk and hardcore. He doesn’t own a computer and I don’t think he even has a CD player—although I know many people reading this column have a purist attitude towards vinyl, as well. It’s like stepping back into time and I have to admit it’s fun to make the effort to do it “the old fashioned way.” I just sent off a pair of mix tapes, which I made from a list that he had sent. I did use modern technology to make it. Since I didn’t have vinyl copies of some of the songs he wanted, I was able to track them down on a file sharing program and, with those songs, other MP3 files and CD rips, I put the songs on a playlist on my MP3 player and then recorded it onto tape. Kind of a complex way to do it but it was a means to an end. I also have to type the letters on my computer because my handwriting is nearly illegible and my hand shakes a bit when I write due to the epilepsy medication I have to take. Writing by hand is a difficult chore, unfortunately.

This is how I used to do it—sending packages of zines, flyers, records and tapes for trade with people around the US and all over the world. One of the few perks of my bank job from ’83-85 was having access to a copy machine and I would run off tons of copies of flyers to trade with people. And, as I’ve written before, coming home from that shitty job and seeing a few packages waiting by the mailbox made it worthwhile. Hell, some days, I’d go home during lunch to see if the mail had shown up yet.

With “Punk Is Dead, Punk Is Everything,” there’s a lot to take in and, much like the chaotic nature of this music, it’s presented in such a fashion. No images on a page can completely put you there but I think it still captures punk’s essence. You can tell this book was created by someone whose own life was irrevocably touched by this music, much like this author and I’m sure many of the people reading this piece..

OUT OF VOGUE: hardcore punk live shots by Patrick Baclet, Syntax666. Katzwanger Hauptstr 42 , 90453 Nürnberg, GERMANY, www.syntax666.de)

Patrick refers to his photography as “analog,” i.e. without the use of digital technology and I have to say the photos here (all in black and white) do display a warmth and depth that the digital image doesn’t often deliver. I suppose it’s the same argument regarding vinyl vs. digital formats and Patrick falls into the former camp on that topic as well. Except for a brief intro where he explains the purpose of the book which, simply, “to show a variety of important hardcore and punk bands through my works of 14 years,” the only other written material comes at the end, where he gives a brief biographical sketch and describes the equipment he used, which is pretty basic. No commentary accompanies the photos and, truth be told, it’s really not necessary. I’m far from an expert on photography—I just point and shoot my digital camera and hope I get a decent shot--but, while some photos have a straight-forward design, others use different effects such as blurring (if that’s the appropriate term).

The photos are set against different backgrounds which occasionally include band lyrics or names and, in the case of Fucked Up, the 12” label for “Generation.” All the photos were taken in Germany and encompass just about every underground hardcore/punk style and that’s as wide-ranging as the crust of Harum Scarum to old-school purveyors like Cut The Shit and Dead Stop to those on the snottier/garagier tip like Henry Fiat’s Open Sore. Most of the photos do strictly feature the band members although you do get a sense of their surroundings. Occasionally, there are pictures that also include interaction with the various audiences. The classic singalong shots, which are a staple of punk and hardcore. That’s one of the appealing elements of DIY—to use a cliché, the breaking down of barrier between performer and audience. Sure, the “bonding” is often superficial, only temporary—I guess that’s some cynicism setting in—but being in the moment is still a wonderful thing when a band is putting every ounce of energy and emotion on the line and the photos in this book capture that beautifully.

MUSICA

AKUTARE-Riot City (Schizophrenic, 7” EP)
Akutare hail from Japan and include a couple of guys from Extinct Government. Fired up rock ‘n roll with a raw punk edge to it. Pretty good—maybe MC5 crossed with Teengenerate, to an extent—but not on that level. That would be asking for too much anyway. They’ve still an abundance of energy and I get the feeling they’d be fun to see live. (17 West 4^th St., Hamilton, ON L9C 3M2, CANADA, www.schizophrenicrex.com)

BAD CHOPPER-s/t (ACME, CD)
Bad Chopper had a 7” under its former name Warm Jets a few years ago and the b-side, “Diabla,” was a killer. With the name-change comes their first album and this band, which includes CJ Ward (aka Ramone) on vocals and bass and Out Cold’s Mark Sheehan on drums and rhythm guitar, bash out basic, sturdy three chord punk rock ‘n roll with a Noo Yawk vibe. In fact, there’s not a lot of differentiation from song to song except for the harder-driving rant of “Why” (with Mark on vocals). The minute I hear the lead guitar lick for “Sick Of It,” it makes me think of the Heartbreakers and, lo and behold, Walter Lure from that band is playing it. Daniel Rey, onetime Ramones producer (and guitarist for Shrapnel back in the day!) contributes guitar on a few songs, as well. CJ’s vocals have a swagger and arrogance, a little overbearing at times but appropriate for the material and it’s made up for with the searing buzz here. And “Headshot” is the first punk rock song I can recall referencing Watergate criminal/talk radio host G. Gordon Liddy. (PO Box 441, Dracut, MA 01826, acmerecords.net)

CONCRETE FACELIFT

CONCRETE FACELIFT-Loud Fast Raw (Welfare, CD)
Thrash thrash thrash by CFL, currently on hiatus and leaving behind this quick-paced effort. The songs, as with their past releases operate mainly at a hyper speed, although there are some breakdown and slower passages. “Loud Fast Music,” for instance has an ominous intro and “I’m Not Done” medium speed, interspersed with the thrash, stands out a little more than the rest of the songs. An endearing boil-over quality to these songs, even if it gets monorhythmic on occasion and the drums suffer from some tinniness. Their motto could be skate, rant, party and repeat. And, having driven I-84 through Connecticut many times and having to ‘hold it in,’ as they say, while waiting for the next rest stop coming up, I can empathize with their about-to-burst bladders. Maybe that’s more information than you need. (58 River St, Haverhill, MA 01832, www.welfarerecords.net)

CYNICS-Here We Are (Get Hip, CD)
The first Cynics album in some years and, as a long-time fan, it’s something of a disappointment. Let’s do a little comparison. “Rock ‘n Roll,” which is their benchmark album (in my humble opinion), starts with the fuzz-buzz of “Baby What’s Wrong.” This time, it’s an acoustic guitar that introduces the album’s title track and a ballad is never a good way to begin. While there’s some cuttin’ loose for “Coming Round My Way,” there’s not a whole lotta rawwnch evident until “Last Mistake.” That starts a trio of ferocious rockers, along with “Hard To Please” and “What She Said.” Those are the Cynics I know and love but that’s the exception here. The rest of the time, there are fair-to-middling forays into Who/Creation-ish pop (“The Ring,” which is actually pretty good), Byrdsy-inspired psychedelia (“Me Wanting Her”) and soul w/horns (“All About You”) ending on another soft note, with the piano ballad “Courtney.” Come to think of it, “Rock ‘n Roll” ended with a ballady whimper, as well. Interestingly, all the songs are originals—usually, garage inspired bands throw in a cover or two—so that’s unusual. Ultimately, while there are moments, “Here We Are” really doesn’t hold a candle to the band’s classics. Even this album’s predecessor, “Living Is The Best Revenge” packed a wicked punch helped along, no doubt, by Tim Kerr’s production/guidance. (PO Box 666, Canonsburg, PA 15317, www.gethip.com)

DOA-The Black Spot (Sudden Death, CD)
Another reissue of a 90s era DOA album, this one from ’95 and the last album with long-time bass-player Brian “Wimpy Roy” Goble. While Joe Keithley penned a good amount of the material, the other members make contributions and the fill-in drummer, John Wright from NoMeansNo, is solid. There are hints at the band’s catchy punk sound such as the “Nutwrencher Suite,” with three songs connected together by chainsaw sounds and “Cut Time” has a hint of the band’s old spirit. Same for “Je Declare” and the best song here is a cover or, more accurately, an adaptation of David Peel’s “Marijuana Motherfucker.” Ultimately, it’s not an album that ranks anywhere near the band’s best. That might make me a traditionalist but there’s just not much to get excited about here and, if you’ve ever heard “Something Better Change” or “Hardcore ’81,” you’ll know what I’m getting at. (Cascades PO Box 43001, Burnaby, BC, CANADA V5G 3H0, www.suddendeath.com)

F-Four From ’84 (Burrito, 7” EP)
When people think about the Florida band F, they might believe that it was the band that put out “You Are An EP” and appeared on one of the Flipside Vinyl Fanzine comps but that wasn’t the original band and, in fact, there were two F’s for awhile. Confused? Bob from Burrito includes an extensive interview with F vocalist Flash, who started the original F and he’s kept things going until this day. Unlike the hardcore of “You Are An EP,” these recordings present more of a snotty punk sound, drawing on 70s influences. Flash’s raspy vocals grate at times and the opening song, “I Saw Your Vision In A Three Car Collision,” drags a bit. The tracks were recorded in ’84 and part of a cassette-only release. A rough appeal although not what I’d call essential. (PO Box 3204, Brandon, FL 33509-3204, www.soundideadistribution.com)

KING SEXY-Like A Dog In Heat (Dammitman, CD)
Jeff Coleman has banged the drums for such bands as Seizure and Clusterfuck over the years and, in King Sexy, he straps on a guitar and steps in front of the mike for a fun, spirited, buzzing garage/punk/rock ‘n roll excursion. The method is the KISS one—“keep it simple, stupid” and the lyrics, delivered in a spoken-sung style by Jeff, don’t go for any complexity—they aim somewhere else and the intent is to be “sexy,” using his parlance. Whether Jeff fits that bill or not I’ll leave to others to decide. From a vocal standpoint, I don’t think you’ll hear anything else quite like this right now and the trashy, mid-tempo arrangements get the job done. And you won’t forget the female backing vocals going “Ewww!!!” on the song with the same name. (24 Circular Ave., #1B, Bridgeport, CT 06605, www.kingsexyband.com)

NIGHTSTICK JUSTICE-Mindless Violence (Way Back When/Even Worse, 7” EP)
Speaking of “punk is dead” or “hardcore is dead,” if anyone says that after hearing this new EP by Nightstick Justice then THEY must be dead. This band’s demo (later pressed on vinyl) was a complete ripper and this one is no less explosive. Jesus fucking christ—this is a musical buzzbomb with gigantic guitar and bass powerchords and malevolent lyrics—justified malevolence, I might add, towards people who engage in domestic violence and sexual abuse of children, which are two lyrical topics covered here. And there are some absolutely STOMPING breakdowns (not the martial arts type—the circle pit type) for the title track and “No Trust.” Set the stereo knobs for kill. (Noel de Boer, Saenredamstraat 44-2, 1072 CH Amsterdam, HOLLAND, www.geocities.com/evenworserecords)

NUCLEAR TOMORROW-s/t (self-released, CD)
Good hardcore punk from San Diego with a an old school sound and snotty attitude fueled by plenty of alcohol, judging by such titles as “Let’s Start Drinking” and “DUI.” There’s definitely a west coast inspiration and I hear some early Suicidal Tendencies in there, although these guys have more of a stripped-down sound. There’s nothing particularly original here but it’s one of those discs I keep going back to—I like the no bullshit approach. (http://www.myspace.com/nucleartomorrow)

PECHBLENDE-Collapse (Tuned To You, CD)
I kept this sitting around awhile (not intentionally). A pretty pronounced Born Dead Icons influence for this Quebec City band, in terms of the heavy-yet-melodic approach and rough-hewn vocals.. Still, this band don’t have the same intensity level. There are moments—the speedier “Consent” and Cars Make Shadows,” but there’s definitely a mixed level of success here. An attempt at epic-ness (?) that sometimes drags its musical feet. (1695 Lavoisier Apt. 13, Saint Romauld, QC G6W 2H9, CANADA, www.tunedtoyou.com)

RESONARS-Nonetheless Blue (Get Hip, CD)
The Resonars sound as though they stepped out of the 60s—their oeuvre being beat pop and mild psych that really only cuts loose on the final song, “Three Times Around.” Pleasant harmonies and arrangements and, thankfully, it doesn’t fall into the folkier or more baroque tendencies that the original “artyfacts” produced but this is still on the light side and lacks grittiness or any sort of mind-bending presence. (PO Box 666, Cannonsburg, PA 15317, www.gethip.com)

REVISIONS-Revised Observations (Dirtnap, CD)
This is a band project for people from the Red Dons and Observers. I can’t keep the lineups for those bands straight but the vocalist is Douglas Burns, who handles(d) that job in those band. Before I snuck a peek at the liner notes or press sheet, I thought the voice sounded familiar. The wrinkle is the Revisions play acoustic-based rock, including some “revisions” of Observers songs, such as “Lead Pill.” The hooks are there but the energy level is missed, with the complete absence of electric guitar. I suppose that’s the idea—a new way of approaching the material, but I’m not going for it. Also, the violin-laced “Empty House” has too much of a “Dust In The Wind” vibe for me to stomach. Pass. (2615 SE Clinton St., Portland, OR 97202, www.dirtnaprecs.com)