Suburban Voice blog #96

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

TELLING THE STOOGES STORY, ONCE AGAIN

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

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

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

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

RECORD DEPARTMENT

ARCTIC FLOWERS

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

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

 

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

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

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

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

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

 DOUBLE NEGATIVE

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

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

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

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

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

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

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

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

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

 

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

 RAW NERVES

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

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

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

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

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

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

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

Suburban Voice blog #95

FOREIGN OBJECTS

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

THE REVIEWS...

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

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

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

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

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

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

 CÜLO

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

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

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

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

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

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

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

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

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

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

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

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

KIELTOLAKI

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

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

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

 KROMOSOM

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

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

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

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

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

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

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

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

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

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

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

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

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

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

VICTIMS

VICTIMS-Dissident (Tankcrimes, LP)

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

Suburban Voice blog #94

THE RETURN

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

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

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

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

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

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

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

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

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

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

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

NOTHING BUT ENEMIES

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

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

BLACK CLOUDS-s/t (Ride The Snake)

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

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

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

 DEEP SLEEP

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

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

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

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

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

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

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

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

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

PUPPY MILL

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


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


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

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

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

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

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

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

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

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

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

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

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

Suburban Voice blog #93

  THE MEN

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

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

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

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

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

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

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

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

DISASTER STRIKES

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


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

BROKEN NECK-s/t (Art Fraud, 7" EP) 

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

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

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

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

DIRECT CONTROL-Bucktown Hardcore (Tankcrimes, LP)

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

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

GASMASK TERROR

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

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

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

HERO DISHONEST-Dangerous (IfSociety, LP)

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

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

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

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

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

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

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

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

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

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

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

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

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