Suburban Voice blog #101

CRAZY SPIRIT

Damn, nearly two months again? Apologies for suffering from severe procrastination. Incidentally, this month is the 30th anniversary of Suburban Voice, which began as Suburban Punk in 1982. I don't know the exact date but I'm going to be making the entire issue (all four pages!) available in another post. I want to find some way to mark the occasion in the not-too-distant future and I have some ideas but you're just going to have to "stay tuned," as the cliche goes.

BEHOLD... THE RECORD REVIEWS... 

BAD AMERICAN-Pretty/Ugly (Bad Recordings, LP)
I always find it interesting that some bands get hyped because they're on a certain label or embraced by various elitist hardcore cliques. I get the impression that since this album isn't on one of the hip/happening labels, it might get overlooked. Pity, because Bad American manage to fuse aggressive hardcore with brain-damaged elements and turn ugliness into a virtue. This band had a 7" a couple of years ago that I described as sounding pissed off. That hasn't changed with this album. Agitation, agitation, agitation from the opening salvo, a pounding song entitled "Dirty Waters." At other times, they're reminiscent of Out Cold, such as the back-to-back "Joe Ego" and "Blink," which is preceded by the howling build-up of "Pre-Load." Their theme song "Bad American" takes a page from "Lost" by Jerry's Kids. Bruising, bare-knuckled and definitely more ugly than pretty. (852 N. Clewell St., Bethlehem, PA 18015, badamerican.bigcartel.com)

BAD JESUS EXPERIENCE-s/t (Tuska & Ahdistus/Kamaset Levyt/multi-label, 10")
Don't let the cute kittens on the cover fool you. Bad Jesus Experience don't play anything cuddly. This is fast, ravenous raw hardcore with stinging guitar lines and harsh female vocals that repel the words with a machine gun-like cadence in time with the thumping drumbeat. Listen closely and there's some dexterous muscianship propelling the band's howling attack. (T&A: www.elisanet.fi/tuskajaahdistus/KL: www.punkinfinland.net/kamanen)

BATTALION OF SAINTS-Second Coming/Live At CBGB'S 1984 (Taang, CD)
Reish of BOS's first full-length album and it's still a scorcher, riding the ridge of thrash and metallic touches at a time where the term crossover was just coming into existence. A relentless pillage of razor-sharp guitar and thrash speed, along with a good amount of lyrical cynicism. The studio album wraps up with one of the better covers of Motorhead's "Ace of Spades" set to vinyl. There's also a warts 'n all set from CB's with most of the songs from "Second Coming," a few older ones and a cover of the Damned's "New Rose." Pretty good, sloppy in spots but it doesn't add much. I also wish the CD packaging was better. No booklet, just a four panel fold out with no lyrics, liner notes, etc. Reissues such as these should provide perspective, reminiscences, history, etc and someone needs to fire the quality control department because there's a glitch between "Intercourse" and "Solitary Is Fun." Incidentally, if you ever get a chance, check out the 7" version of "Second Coming," because it's way wilder/crazier-sounding than the one here. And, yes, this is recommended. (3830 5th Ave., San Diego, CA 92103, www.taang.com)

BRAIN KILLER-Third EP (Vinyl Rites/Framework, 7" EP)  
Same stun-effect but a few different wrinkles on Brain Killer's latest EP. There's the usual feeback-drenched Discharge-inspired assault they're known for and that's as formidable as ever. But it''s "Controlled Reality" that's the centerpiece here, with a stutter-step rhythm and an instrumental segment that creates a cacophony of demented chaos. Sheets of guitar noise before going back into the main riff and cascading into the finale of "Desperation." Brain cells will definitely perish when played at the appropriate volume. (Vinyl Rites: PO Box 341, Athens, GA 30603, vinylrites.net/Framework: 4 Elm St, Ipswich, MA 01938, frameworklabel.com)

 BUKKAKE BOYS

BUKKAKE BOYS-s/t (Sorry State, LP)
Once you get through chortling about this band's name (if you don't know what people are chortling about, look up the first word), prepare to be assaulted by some unfettered hardcore rage from these Atlantans. After a few 7"s dating back to 2008, here's their long overdue 12" platter. At the outset, a big swell of feedback builds and the terror ensues. All fast songs, except for the mind-melt of "Weakness," which closes side one and, after the feedback whizzle-frenzy, abruptly cuts off without a fade. One of the songs is called "Ugly World" and, well, it is an ugly world. I'd imagine that would apply to their home state, with the hot, humid summers and retrograde environment, except for a few small pockets here and there. Maybe I'm off-base but that's this MassHole's perception, anyway. This isn't a political album, it's more of a universal expression of disillusionment and disenchantment and it really comes through in the nettled-sounding music and harsh vocals. (www.sorrystaterecords.com)

CLAW TOE-s/t (Criminal IQ, 12")
There's something rather sinister-sounding about Claw Toe. It started as a solo project by Darius from Criminal IQ and has been fleshed out into an honest-to-goodness band. The songs have familiar elements but are imbued with a darkly-enticing freshness. "Another Saturday Night" sure as hell isn't the oldie by Sam Cooke. It's a hard-edged rocker with a post-punk pulse and synth texture percolating through. "The Drug Song" pushes into a clambering, experimental/industrial realm. "Geriatric Stalker" is flat-out creepy, telling a tale of, well, you probably figured it out, riding a mechanized rhythm and buzz-press guitar and seething vocals. "Kamikaze," a cover by the underrated Chicago band Functional Blackouts, pounds its way into your consciousness with a numbing, twisting guitar line. "Panic Attack" wraps things up with a Big Black-ish rhythm and a fired-up nerviness.Moody, brooding and electrifying, embracing various musical shadings and strokes. (clawtoe.bandcamp.com)

COPS-s/t (Rob's House, 7" EP)
Atlanta amalgamation with former Carbonas Jesse Smith and Greg King and Ryan Bell from Bukkake Boys, joining up for some slam-bang, gnashing and catchy punk. Not the standard three chord burn, either. There's a nervous, jumpy quality with slashing guitar and thumping bass/drums playing off each other. Squiggly and wah-wah driven guitar lines are occasionally layered on top of the slash 'n jab, as well. Taut and energetic. (www.robshouserecords.com)

CRANK-s/t (self-released, CD)
A NY power trio playing some ugly 90s Amphetamine Reptile-inspired swill with beefy aplomb. Big, rubbery bass lines--which comes across as the lead instrument at times--jabbing guitar and crashing drums, accompanying gravelly vocals. While a song like "Another Dead Place" gets a little lumbering, the direct attack of such songs as "(You Bought Your Ticket) Take The Ride," "Sour" and opener "The OrganGrinder" have no lack of throttle. And the cover choice of the Crucifucks' "Democracy Spawns Bad Taste" is inspired although, let's face it, no one's going to come close to Doc Dart's inimitable vocal. Quite an immense sound. (crankpunks@gmail.com)

CRAZY SPIRIT-s/t (Toxic State/Ground Zero, LP)
Here's this NYC band's first longplayer and it's a killer, from the superb packaging to the musical contents. This disc comes tucked inside a heavy stock, screened sleeve and is accompanied by a poster and booklet.with some eye-catching sketches and artwork. They also have a unique, fresh musical approach. Sick 'n raspy vocals--sometimes buried in the mix--buzz-stun guitar and clattering, galloping beats that turn this into something of a hardcore hoedown. For a change of pace, "What Have I Become?," the penultimate song, features creepy-sounding instrumentation with weird percussion and nearly subliminal vocals. This record is just about certain to end up in my top 10 of 2012. Crazy Spirit's (and this label's) records can be tough to find but it's worth the effort.  (toxicstate.blogspot.com)

CREEM

CREEM-s/t (Katorga Works, 12")
Out of the ashes of Nomos comes Creem (hmmm... maybe I should re-phrase). Tough and rockin' hardcore punk all irritable and pissed off sounding but there's more to it than that. Sure, there's the speedy blaze of "Never End" but they also throw in some No Future Records guitar trills for "The Wrong Man" and cover an obscure early 80s punk song, "What The Fuck," by Black Easter. At its heart, though, Creem bash through their songs with bruising aplomb and pay equal attention to US strains, such as the the "City To City" (DYS) tribute for "Lucid." 7 songs to get the foot stomping and head banging. Can't wait to hear more. Great live band, too. (katorgaworks.com)

DEATH BY SNOO SNOO-Tasta Saat! (Creative Class War, CD)
This Finnish band with an odd name have created an album with an odd and charming quirkiness. They flow easily from roiling punk to sweeter moments to moodier rock to bouncy, poppier material. Hanne's vocals have a girlish, over-the-top nature and there are times where a little goes a long way but damn it if she doesn't hook you in. She also adds melodica on some songs--a mouth instrument kind of similar to a harmonica only it has a keyboard. Gang of Four used it on some of their songs and I wonder what my melodica-tooting grade school music teacher Mr. Boujoukos would have made of this? A spirited romp and an unpredictable one at that. (deathbysnoosnoo.bandcamp.com)

DRY HUMP-s/t (Cowabunga, 7" EP)
I'm playing this back to back with the Creem 12" and it makes sense since they come from a similar muse--PJ's harsh vocals are much the same as the vocalist from that band and it's not standard-issue old school hardcore. Their latest four song EP pushes things into a harder-rocking direction with the floor-pounding "Fist Your Heroes" (a near anthem) and "China White." Same for "Everybody Loves You." "Mein Herr," meanwhile, is in more of a traditional thrash vein. Ryan Straker's piercing guitar lines stand out, adding a distinct element and the lyrics come from dark, sometimes deviant regions. One of this area's best bands right now. (www.cowabungarecords.com)

FLIP SHIT-Outgoing Rockers (Reel Time, 7" EP)
The opening song on this disc is a power-packed snot-punk rocker called "Amerika" and, if you didn't realize the tongue was very deeply in cheek, you might take lyrics like "This is my land/go get your own/call it ethnic cleansing/I call it cleaning my home," something that was conjured up by a performer at a teabagger rally. And I'm sure at least some of the people attending the recent Republican convention would shake their heads in agreement, completely missing the point. I know they shook their heads--I heard the rattling. Most of these songs explore speedier territory and they create some heady hardcore punk rocknrollarama. Oh yeah, rock is definitely part of it--check out the scorchin' leads on "Stoop Rock." Incidentally, I need to read record labels more closely--I've been referring to this band as the Outgoing Rockers before realizing this was the title of the disc and the band is actually called Flip Shit. Oops.(1087 Clinton Ave. S, No. 3, Rochester, NY 14620, reeltimerecordss.bigcartel.com)

FRENZY-Noizey Trouble (Distort Reality, 7" EP)
Noizey indeed but not a complete sheet of noise. There's no doubt about Frenzy's DIS-tort leanings but the drumming doesn't always stick to that pattern and there are additional elements, such as the odd, space-like sonic effects for "Nightmare Convulsions" and "Daily Indoctrination." And I imagine that the title "SS Control" might be a tip of the hat to a certain Boston band since there's a whiff of early 80s US hardcore for that song and "Calls From The Grave." Or maybe I'm wrong. Whatever the case, these 7 tracks provide a potent buzz-bomb. (distortreality.storenvy.com)

GOD EQUALS GENOCIDE-Rattled Minds (Razorcake/Dirt Cult, LP)
After a plethora of 7"s, splits, etc, God Equals Genocide make their "long playing" debut and it's just so goddamned likable. GEG gleefully bang their way through their compositions and manage to be aggressive without the slightest hint of a tough-guy/gal ambiance. The lyrics aren't always that sunny, either, although "You're Different" is a bit of self-affirmation. You'd expect angry vocal emanations but Adrian and Daryl intertwine their voices in quite the opposite fashion. Adrian, in particular, strains to go as high as she can and all the windows in the house threaten to shatter, especially for "Wasting Time." And it's perfect--this is about as unaffected as it gets. There's also a "bonus"--a song to end each side by Dumbag Daryl & The GEG Bags that I would gather includes the same personnel but they feature jolly-sounding organ and a bouncy pop flavor. The whole thing is punk as fuck but with their own personality stamped all over it. (Razorcake: PO Box 42129, LA, CA 90042, www.razorcake.org/Dirt Cult: 713 Stagecoach Dr., Las Cruces, NM 88011, www.dirtcultrecords.com)

LÖGNHALSMOTTAGNINGEN-Gomorra Sverige (Kenrock, 7" EP)

This duo--one Brit who lives in the US and one Swede, with a very-tough-to-pronounce name (although one of them said I did a pretty good job when saying it on the radio show)--have a new-ish 7". This was originally released as part of a four 7" box set, Burning Hell Vol. III, in 2011 and now has a limited re-press. Rough old-school US hardcore mixed with '77 punk shadings. One of them plays all the instruments, accompanied by vocals that sound like Nikki Sudden from Swell Maps with a Swedish accent. In fact, early Swell Maps isn't a bad touchpoint, either. A fun, jabbing racket. And a new album has just been released. (www.myspace.com/kenrockrecords)

MALE NURSES-Wanna Play Doctor?/GI Jock (Cowabunga, 7")
Two new tracks by this not-exactly-prolific Boston band. The A-side is a scrappy west coast-style punk song and the b-side adds thrash for the first half. The rough production definitely works to their benefit. Two songs ain't enough. Get to work, guys! (www.cowabungarecords.com)

NEGATIVE APPROACH-Nothing Will Stand In Our Way (Taang, CD)
Another collection of rarities, demos and live recordings from one of the all-time great bands. NA were an absolute holy terror live and while recorded evidence will never completely capture it, you get a pretty good idea. The real find here is the 1981 Clubhouse demo, with good sound quality and raging runthroughs of the by-now familiar material. In fact, it gives the 7" recordings a run for their money, although original drummer Zuheir wasn't as accomplished as OP Moore. Also of note is a live soundboard recording of their 8/1/82 set at NYC's Mudd Club, recorded during the Process of Elimination tour (my first encounter with them would be less than two weeks later). There are also a couple of outtakes from the 7" session--"DABF" and a piss-take cover of the 4 Skins "Chaos" (those songs also show up other times, as well). Rounded out by two other gigs and very early demos that are more completist items. Some of this stuff has been making the bootleg rounds for years but Jim Diamond has done a great job remastering things. As with the Battalion of Saints disc reviewed above, the packaging is bare-bones but that's the only quibble. Hard to believe it's been 30 years and NA has inspired countless bands and hardcore fans during those three decades. (3830 5th Ave., San Diego, CA 92103, www.taang.com)

NIGHTBRINGER-Fight Like Hell (self-released, 7" EP)
One blazing original on side one and three cover songs by Michigan bands on the flip--a snippet of the Amboy Dukes's "Journey To The Center Of The Mind," rudely interrupted by takes on the Necros' "Face Forward" and Cold As Life's "Addiction" (the original of which I'd only heard recently), both given thumping renditions. "Fight Like Hell" is a blitzing, boiling rager. Something of an older Japanese hardcore influence here and played loud and fast. (2715 Radcliffe, Ann Arbor, MI 48104, nightbringerA2@gmail.com)  

NITAD

NITAD-Rastlos Och Vild (Mourningwood, CD)
Restless and wild, eh? No, this isn't an Accept tribute album, it's the latest from veteran Swedish band Nitad. Not that Nitad were ever exactly a soft rock band but they seem to have increased the aggression, increased the adrenalin, increased the intensity and made things more blown-out sounding. In addition to the thrash/fast trax, they verge into slower, psychotic realms with the opening title track and especially the closer "Tryggheten," a lumbering, clambering instrumental. "Vem Ska Lita Pa?" is pure rampage and "Raggare Is Still A Bunch Of Motherfuckers," a play on an old Rude Kids song, is a forceful rocker. Vild, indeed! (mourningwoodrec.com)

PEACE OR ANNIHILATION-Fear Control (Shogun, LP)
D-beat following the blueprint to the letter--relentless cymbal-bashing drumming, maintaining the same fast tempo throughout, buzzsaw guitars with squiddly leads during the break, titles like "Killing Continues," "Modern Holocaust" and "To Hell and Back." Yep, this Indonesian band have it down pat and it's a faithful reproduction, no more or less. Not sounding all that polished works in their favor. You pretty much know what you're getting here. (3 rue du Lavoir, 51140 Bouvancourt, FRANCE, shogunrecordings.com)

POOR LILY-Three Songs (self-released, CD)
One of last year's pleasant surprises return with three new songs (in case you weren't paying attention). High powered, high caliber wrecking-ball rock drawing from the well of NoMeansNo, Victims Family, etc. Vocals that channel the ghost of D. Boon and the songs are jarring, particularly the final, three-minute-plus "Third Rail," which rides a scintillating guitar signature into more of a focused frenzy. The other two song possess a chaotic, ripsaw approach. Definitely worthy of your attention. (www.poorlily.com)

SUPER FRISKY-For Buddy (Burai Core, LP)
Hell-raising metal/hardcore/rock 'n roll by this Japanese band, consisting of members of Akutare, Judgement and Tetsu-Arrey (and the late, great Chelsea from Paintbox was an original member and wrote the songs). The lead-off song "No" mines "The Hammer" by Motorhead for all it's worth but this most certainly is NOT a tribute album and little else copies that blueprint, unless you want to consider the bass pulverization. Yoko's vocals soar and sometimes flutter and, after a deluge of Japanese bands with gravel-voiced growlers, her timbre is a refreshing and distinguishing factor. The band's full-bore attack doesn't mess with excess, either. High-powered, high energy rock that's meant to be cranked up really high. Yeah, I know some of you are groaning over that line but it's advice well-worth heeding. (buraicore.blogspot.com)

UPHEAVAL #15 (zine)
I've got to hand it to Craig Lewis--he manages to get a zine out on a much more frequent basis than yours truly. Actually, that applies to most people. Craig's latest installment is a 36 page half-sized effort and features a rather provocative interview with Keith Bennett (Wrecking Crew, Panzerbastard) where he candidly talks about, among other things, at one time declaring himself a "National Socialist," mental health issues, appearing on a short lived TV show about a moving company, "Deathwish Movers" and, of course, his long-lasting musical career. There's still something of a sketchy aura regarding his agreement with Nazi and white power groups but he denies he's ever been a racist. Moving on, there are interviews with Co-Arse, from the Philippines, Overkill For Profit from Azerbaijan (formerly part of the Soviet Union), plus a plethora of record, CD and demo reviews. Craig doesn't cover just the hip and trendy bands. Instead, he seeks to write about bands from all corners of the world, taking a truly universal scope and his enthusiasm is embedded into every cut 'n paste page. (upheaval.fanzine@gmail.com)

UTAH JAZZ-s/t (Feral Kid, 7" EP)
Not jazz but some offbeat, engaging weirdness from this band that includes Brandon from Brown Sugar. Don't let the hippie-looking front cover drawing fool 'ya. At the core, there's a wild garage punk influence and, I swear to god, I never thought I'd like a punk song that has flute on it, but that applies to "Contact Low." It also shows up on "Florida," which does have a psych-rock headiness. The opening instrumental "Lookin' Like Howwywood" sounds like Pussy Galore on a speed bender. Utah Jazz's trebly sound will gnash its way into your heart. (feralkidrecords.com)

AND IN CONCLUSION...

All the college students have returned to Boston and Cambridge and it makes me think of this song (a Sonic Overload perennial!)

 

What's Mark E. snarling on about? Here's a sample:

"Hey student, hey student, hey student,
You're gonna get it through the head"

So welcome back, kids. And stay out of my way! 

Suburban Voice blog #100

Here it is, installment #100 of the Suburban Voice on-line blog. I remember thinking that my goal would to reach 50 print issues of the zine but that stalled out after 45 of 'em (#33-34 was a "double" issue) and I seriously doubt you'll see that happen since it's been 9 years this month since the last one. Where does the time go? This year is also the 30th anniversary of Suburban Voice (originally Suburban Punk), around the end of August/early September--I forget the exact date of when I published the first one. I suppose I should have some sort of celebration but given my past difficulties and/or failure to get people and bands to help out with putting a show together, don't hold your breath...

THE AVENGERS!

There was this girl who I went out with for a short time and, the first night we were together, she put on the Avengers' album--the one with the pinkish cover that included their Dangerhouse EP, tracks from their four song 12" and some other odds and ends. Thinking about that night still brings a smile. Alas, it wasn't to be, although I did stay in touch with her until a few years ago. She told me she still loved the Avengers record although she had to turn down the song "Fuck You" when her twin toddler daughters were playing in the vicinity. Sorry to get all nostalgic on 'ya but I'm sure you have records that conjure up various memories. In any case, here's a long-overdue repackaging of the Avengers' material, a definitive set spread over two CDs, after their catalog has been in disarray, legal entanglements and the like for years. Superlatives like timeless, essential, classic can be legitimately bandied about here.

The Avengers were part of the nascent SF scene in the late 70s, playing impassioned music that packed a punch but also full of glorious, melodic hooks. Maybe not so much in "Car Crash," which careens with a churning fury over the course of its four minutes and "Fuck You," as you can imagine, is pure rant. On the other hand, "We Are The One" is an instant singalong, a youthful call to action. "Open Your Eyes" and "No Martyr" have a similar urgency, cutting lyrics and "Second To None" is a boisterous Pistols tribute, which makes sense since it was produced by Steve Jones and the Professionals later did that song with different lyrics as "1-2-3." "Cheap Tragedies" is equally catchy.

Breaking it down, the first disc is "The Pink Album" while the second features demos, live songs and rarities--some of these already appeared on Lookout Records releases from '99 and '04. Included are the far superior mixes of "The American In Me" and "Uh-Oh" (a song with some rockin' piano) that were on the original 12" but replaced on "The Pink Album." Early demos like "Teenage Rebel" and "Friends Of Mine" have a barbed-wire spirit but you can still pick up the fact they were more than just simplistic pogo fodder. Some of the live material is sloppy--Penelope sometimes slurs the vocals--although I imagine the songs where they opened for the Pistols would be of historic interest and she goes off on quite a tirade during "I Believe In Me." Still, this is still mostly top notch stuff. And I hope that my old girlfriend somehow hears this as well. I'd like to see her get her life back on track, given that she turned into a right-wing Mormon. She could use a good dose of the Avengers defiant, spark-filled music. In fact, everyone needs that. (Water,101 Glacier Point, Suite C, San Rafael, CA 94901, www.penelope.net)

BUT WAIT! THERE'S MORE!

 BAD ADVICE

BAD ADVICE-Do Not Resuscitate (Grave Mistake, 7" EP)
A Richmond band bashing out some pretty good hardcore punk that also has a garage feel at times.This was recorded a few years back and the lineup included Brandon and Eric from Government Warning/Direct Control. Not all that far removed from GW at times, although Tony Bitch's vocals are raspier and "Chemical Imbalance" takes a more brooding turn. (PO Box 12482, Richmond, VA 23241,www.gravemistakerecords.com)

BAD DADDIES/WHITE FANG-Split (CDR/Finch, 7" EP)
A cool split by two California bands--Bad Daddies' last 7" was reviewed in this space and was an unexpected delight. They combine fuzzy hardcore punk with the occasional pop hook and ranty female vocals. And in my 30 or so years of writing, they've written the first song I've ever seen about Sargent Shriver, the 1972 Democratic VP candidate, whose wife was Eunice Kennedy Shriver--so with the Mass./Kennedy connection, of COURSE I'm inclined to like this. White Fang ply rough garage/punk/hardcore on their two tracks (the latter on the second song "I Hate Anything"). A winning primitivism. I like this. (www.finchrecords.com)

BIG EYES-Back From The Moon/I Don't Care About Friday Night (Grave Mistake, 7")
This band have been around a few years, having previously released an album, Hard Life, on Don Giovanni last year, as well as another 7" and demo. But this is the first time I've heard them and "Back From The Moon" is the best pop/punk song I've heard in a long time. Guitarist/vocalist Kate Eldridge is a sweet, yet powerful vocalist and she really nails it on that song. A total earworm and the flip is nearly as catchy.Something that harkens back to the Fastbacks, delivering the hooks with a real kick. (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

BIGGY STARDUST AND HIS WRETCHED HIVE-Bad Excuse For Bad Manners (Scat Boy/Mystery School, LP)
Semi-obnoxious punk rock 'n roll that's a little off-color/wise-assed without entering into scatology or anything like that. It's more like your grumpy uncle who's had a bad week and holes himself up with some pals to blow off some steam. And I'd imagine this hits the spot with other folks who have had crappy weeks and want to blow off some steam, themselves. In this case, it means plugging in instruments and turning it up loud to chase the blues away.  Sometimes reminiscent of Blanks 77, although this has more of a rock 'n roll focus. In fact, while Biggy exclaims that "we don't need another r-n-r band," that's pretty much what they are. The organ for "Gimme Gimme A Tommy Gun" is a nice touch and they should use that more. Nothing terribly original, just loud and boisterous, the way it should be. (biggystardust.com)

BILL BONDSMEN-Overcrowded Control/Untitled (Fourteegee, 7")
The Bondsmen have long been an underrated band and have been plying quality music for a decade. They have a new two song 7”, their first release in a couple years and they continue to avoid any obvious mold. “Overcrowded Control” pairs harsh, edge-of-psychosis vocals with a razor-sharp mid-speed pound that features some haunting, snaky guitar lines. The untitled flip has a long, ominous intro building up like Black Flag's “No More,” only it maintains a moderate tempo and has the same sort of guitar texture. This is a band you should be paying attention to. (15106 Paris, Detroit, MI 48101, billbondsmendetroit@gmail.com)

BLOODY GEARS-Frozen Rain (Grave Mistake, 7" EP)
A real split verdict from this Boston three-piece. The long title track is moody and down-tempo and never builds much of a head of steam although it's grown on me a little.  The two songs on the flip (including a re-recording of "Bite The Hand," originally on their demo) are sprightlier and make up for the semi-tedium of "Frozen Rain." I'll go ahead and  play the W(ipers) card, given Jeff Walker's vocal delivery and the melodic guitar trills. (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

CLUSTERFUCK & COJOBA-Split (Computer Crime, 7" EP) 
Clusterfuck aren't really an active band and their three songs (with nary a break between them) were recorded a few years ago. Fast and scorching hardcore delivered with precision and the lyrics are scathing and satirical, particularly the ruminations of "Warped tour pretty!" people on "Eek Eek Eek." It's over way too quickly. Cojoba, relocated from Puerto Rico to NYC, also operate in a speedy hardcore vein, although the instrumental skill pales next to Clusterfuck, especially for "Papeles." The melodramatic vocals detract, as well. Not really into their side. (24 Circular Ave, #1B, Bridgeport, CT 06605, wheres_the_unity@hotmail.com)

DOOM TOWN-s/t (New Dark Age, 7" EP)
Jabbing, yet somewhat melodic punk from this St. Louis band. Male/female vocals ala X although I, to be honest, I found 'em kind of grating at times. A shame, really, because the songs and production aren't overly polished and it creates a winning brashness. The vocal excesses are reined in on "No Rumors," which ends up being the strongest song here. I have to make the inevitable comparisons to Gorilla Angreb and Masshysteri--lazy, I know, but that's where they're coming from and if you like those bands... (newdarkagerecords.blogspot.com)

HARABALL-The Rope (Fysisk Format, 7" EP)
Haraball are here to remind us that Norway isn't just the bastion of black metal and that quality hardcore still comes from there. It was always the case, of course. The Rope is a four song 7" and the band includes former members of Fairfuck (who put out a pretty good 7" in the late 90s) and Tiebreak, an 80s era band. A definite old-school feel although it comes from more of a late 80s US muse. Economically-delivered aggro, good if not anything overly distinctive. (www.fysiskformat.no)

IMPALERS-Demo (Beach Impediment, 7" EP)
On this vinyl pressing of the Impalers' 2010 demo, you get some explosive Discharge/Swedish-inspired, rockin' rollin' mayhem with echo on the vocals and a speedy attack except for the mid-tempo bash of "Return To Eden" that will have you furiously banging your head. OK, "Turn Me Loose" couldn't sound any more like Discharge if they tried but the problem is? The rest of the songs aren't as blatant about it but you know where they're coming from. (beachimpedimentrecords.bigcartel.com)

KRANG-Sounds Of Death (Sacred Plague, LP)
A long time ago, I saw Nun Slaughter play here and, at one point, their vocalist took a bone and tapped it against a human skull and said "this is what the dead sounds like!" I'm not so sure this album is what death sounds like but it could be the soundtrack to impending doom. Hardcore/metal/crust with epic propensities and it's not always to their advantage. As someone who prefers this sound without any excess and in and just gets down to business, there's quite a bit to wade through. The extended narrative of "Acceptance; Here At The End of All Things," basically a spoken piece set against a somber musical passage, is sleep-inducing. When they just tear into the faster material, it works better. The build-up on opening track "Black Standards" does achieve a speed-driven payoff and "The Unbearable Weight Of Knowing" is a solid ripper. Those moments are too few and far between, unfortunately. (www.sacredplague.com)

NO MORE ART-Peripeteia/Evil Eyes (New Dark Age/Erste Theke Tontrager, 7")
Two tracks by this Berlin band, although one of the guitarists, Will Kinser, is an American. He's played in bands like Born/Dead and other hardcore units but he also plays in the Red Dons and NMA's sound is more in that vein. Driving, melodic punk with powerful female vocals, and it's also musically similar to Arctic Flowers and Masshysteri. I wouldn't mind hearing more. (newdarkagerecords.blogspot.com/erstetheketontraeger.blogspot.com)

POISON PLANET-Boycott Everything (Third x Party, 12")
It's PARTY time with the Planet! Those booze-guzzling, weed-toking bon vivants are back to take you higher. OK, just having a bit of fun here. This is a five track, one-sided 12" bristling with aggressive, pissed-off hardcore punk that, at its lyrical core, is a critique of predatory capitalism, as well as racist, anti-immigration initiatives and even cruelty in language ("I Hope You Choke"). I have a friend who is always lamenting "political correctness." Even though he's not a bad guy and, as far as I know, not prejudiced, I point out to him that it's a term bigots often use to justify their hateful words. Some full-bore rippers here, especially the title track with a sick breakdown in the middle and sputtering lead. "Border Fences" packs the same type of punch as their fellow Chicagoans, The Repos, who were one of the best bands I saw in the past decade. Big build-ups, bursts of speed and the words are spat out with bilious authority. Comes with a lyric booklet and big fold-out poster. (thirdxparty.blogspot.com)

P.R.O.B.L.E.M.S.-s/t (Doomtown Sounds, CD)
P.R.O.B.L.E.M.S. are from P.O.R.T.L..., uh, Portland and the band hammer out some hard rockin ‘n rollin’ punk. Not a cock rock, not metal although there are hints of it. A reliance on volume, searing riffs, with more of a Detroit tinge at times. The final song, “Graveyard Kiss,” takes a darker and moodier turn. The CD includes earlier single and EP tracks. (www.problemspdx.com)

RED DONS-A Forced Turning Point/Se Foi (Taken By Surprise/New Dark Age, 7")
A pair of new songs by the Dons and no major change. Two tuneful songs with strong musicianship and Doug Burns's mannered vocals. This band has always featured great instrumental interplay. The a-side is far and away the best of the pair, with much more oomph than the less-sprightly "Se Foi." The melody brings the late, great Boston band Moving Targets to mind. (newdarkagerecords.blogspot.com)

SECTARIAN VIOLENCE

SECTARIAN VIOLENCE-s/t (Grave Mistake, 7" EP)
Sectarian Violence is an international band with Nick from Coke Bust on vocals, joined by three Brits and a Swede. Is there a joke in there somewhere? I know one thing for sure--you won't see them walking into a bar given their straight edge beliefs. I like this better than Coke Bust as it's straight-on thrash (along with pounding breakdowns) without the powerviolence. Anger and agitation honed into a sharp weapon. (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

 SICKOIDS

SICKOIDS-s/t (Residue, LP)
Prior to this album, Sickoids had only released a not-so-great sounding demo tape but they make the jump to the vinyl format with a jarring debut. This Philadelphia three-piece, with Rob and Vince from Witch Hunt joined by Eric from Direct Control and Government Warning, slam out some piledriving hardcore but there are barbed-wire melodic touches ala Husker Du that are burned into the fray (such as with “Hope Subsides”). Some of the guitar lines echo Die Kreuzen’s haunting slash via Voivod, whose drummer Away has admitted to purloining some of DK’s guitar sound. That’s particularly true for “Bleached Bodies,” “Clarity” and “Human Steps.” Despite the snatches of melody, this is still an abrasive, ear-challenging proposition at times and sometimes tough to grasp onto. Still, Sickoids have put together an attention-grabbing assault and they’re on the right track. (2023 W. Estes Ave., Chicago, IL 60645, www.residue-records.com)

UNHOLY THOUGHTS-The Attic (Even Worse, LP)
Another Richmond crew with "members of..." (including Government Warning) dishing out the agitated hardcore/punk, along with a dollop of rock 'n roll that you've come to expect from that city's 'core-meisters. Snotty 'n ranty vocals with a decidedly "leave me the fuck alone" mentality and burning arrangements throughout, leading off with the momentum building "Excess." And if you think "Whiskey Weed Girls and Speed" is a cover of an obscure Motley Crue song, that's not the case Intsead, it's a rampaging thrasher and you wonder if they're serious or being sarcastic when talking about needing those things to get by day to day. Bruising sounds from these miscreants. (www.evenworserecords.com)

WHITE WHALE-No Solace/Waxing (Feral Kid, 7")
WHITE WHALE/MALLWALKERS-Split (Feral Kid, 7")
White Whale have been putting out quality records for a few years now. Their calling card is driving punk with tuneful properties emerging from the fray. Here are two new discs, one of 'em a split with another upstate NY band, Mallwalkers. On "Waxing," the sound is denser and poppy, with gnashing guitar supported by a bass-line carrying the melody. Meanwhile, Mallwalkers play what could be loosely described as mod/pop/punk with horns. A decent groove and it almost works but not quite. (feralkidrecords.com)

Suburban Voice blog #99

Only two and half months this time. I'm still not publishing quite as often as I'd like but at least it's a step in the right direction--and only one away from the century mark!

Before hitting the review section, I should mention that the Boston hardcore documentary xxx All Ages xxx recently had its "world premiere" at the Brattle Theatre in Cambridge, as part of the Independent Film Festival. Directed by Drew Stone, who was in the early local band The Mighty CO's, it covers the 1980-84 period and features the requisite talking head interviews along with photographic images and show footage. It should be noted that one of the prime movers, Al Barile of SS Decontrol, refused any involvement. The premiere was fun, since it was essentially another reunion of people who were around back then and it proved to be a rowdy gathering. In fact, the vast majority of the audience was over 40. At least one critic in attendance was put off by that, saying it seemed self-congratulatory. To an extent, that's true--there's really not a lot of objectivity nor one single narrator--but I think it does a pretty good job capturing the essence of what went on back then. [Disclosure: I did archival work for the film and was interviewed]. More screenings are planned and a DVD will be released around the end of June. For more info, go to allagesbostonhardcore.com.

ON TO THE REVIEWS...

 BOSTON STRANGLER

BOSTON STRANGLER-Primitive (Fun With Smack, LP)

The Strangler have been a much-hyped band of late and it's justified. The Strangler started as a solo project for Ban Reilly and he played everything on the Outcast demo released in 2010. He then put together a lineup for live shows and this album is a full-band effort. After too many delays (like a year), Primitive has been unleashed. Let’s be blunt—this is an absolutely shameless Boston hardcore tribute, borrowing more than a few riffs here and there and that’s from just about all of the early-80s crop of bands. It’s humorous to realize that all of those bands had broken up (some would re-form, of course) before or soon after Ban and his bandmates were born. Primitive is Boston through-and-through, with the opening and closing “busts” having local references—the Winter Hill Gang and its boss, Whitey Bulger, who was arrested last year after nearly 15 years on the lam, which explains the title “Bulger Breakout.” Then there’s Ban’s Mass accent (“get out of HEAH,” “doesn’t MATTAH...”). Mostly, though, it’s in the music—SS DECONTROL riffs figure most prominently but you also catch snippets of DYS and the FU’s (“First Offense” sounds like “Civil Defense” sped-up). The stomping, circle storm-inducing title track is instantly memorable and will likely end up being one of the best songs of the year, even though it’s not even half over at this point. I’ve had arguments with other “old timers” about the whole “it’s been done before so why bother” argument. 100% true, in that it’s been done before but when it’s as dead-on as this, why should anyone complain? I’d much rather hear a band do this in 2012 than old bands getting back together and doing it half-hearted or releasing embarrassingly-bad new music (cough*DYS*cough). There’s nothing half-assed about Primitive. It boils over with lyrical and musical maliciousness. (872 Pleasant St., Raynham, MA 02767, www.myspace.com/funwithsmack)

BROWN SUGAR-...Sings Songs Of Birds and Racism (Feeble Minds/Feral Ward, LP)/Tropical Disease (Fashionable Idiots/Feral Kid, 7" EP)

Two impressive musical missives from Brown Sugar. The full-length has been out for awhile (but quickly sold out the first press) and the 7" is brand new. Brown Sugar bring creativity and cleverness to their music although the messages in the songs are pretty straight forward--racism, gender issues, general stupidity and ignorance and Eduardo's vocals have an almost conversational, sarcastic tone. On the album's cover, there are visions of death and decay juxtaposed with an American flag on the front and the Statue of Liberty on the back but it's different from the standard issue, cliched imagery seen on countless other albums. From a musical perspective, it's hardcore but there are other elements at work--hints of garage, melodic touches and a few sax squalls along the way. Different guitar shadings as well, sometimes slashing, sometimes turning down the distortion and that adds to the garage-like ambiance for certain tracks (such as "Sweet Water Pink Boat"). Even a nod to Pink Floyd's "Interstellar Overdrive" on "I Wanna Be A Somali Pirate," the track that closes the album. On the new 7”, the opener “La La Land” starts a suggestion to a friend that eating bugs isn’t such a great idea, accompanied by a nearly Nirvana-esque vibe before settling into garage-hewn rock. An air of unpredictably but maintaining an energetic focus throughout. (feralkidrecords.com)

 CEREMONY

CEREMONY-Zoo (Matador, LP)

Let me get this out of the way, first--Zoo, Ceremony's debut album for Matador, doesn't eclipse what will probably remain their masterwork, Rohnert Park. This is a more polished effort, less jarring than that album and representing nearly a complete break with their hardcore past. There's an increasing warmth in the guitar tone and an embrace of differing influences. The brief “World View” is one of the best songs here, stopping and starting and possessing a nearly mantra-like chorus (“talking into telephones...”). “Citizen” and “Ordinary People” provide some fired-up garage-tinged rock. “Brace Yourself” takes a page from Wire’s “Pink Flag” (the song). “Community Service” is influenced by The Fall. A few of the songs drag on a bit, particularly the bluesy closer “Video.” I’ll admit I was mildly disappointed at first, but Zoo continues to reveal its depth with each subsequent spin on the turntable. It’ll grow on you. (www.matadorrecords.com/)

CHROME CRANKS-No Life In Blood (Thick Syrup, CD)

The Cranks reconvene for the first time since the late 90s and they're back in righteously rocking form. Though initially from Cincinnati, a few of the members moved to NYC in the early 90s and hooked up with Bob Bert and Jerry Teel, who toiled in such bands as Sonic Youth, Pussy Galore and Boss Hog. The latter two followed a down 'n dirty bluesy punk oeuvre and that's what you'll find here, along with some Birthday Party strut, most noticeably on "Rubber Rat." There's some fiery straight-ahead, stompin' rock with "I'm Trash," "Living/Dead," "Broken Hearted King" and "Black Garage Door" (originally by Cincy band the Libertines) and those are the songs I keep coming back to. "Broken Hearted King" has some nasty slide guitar action. There are two other cover versions, including a 10 minute take on the Byrds' "Lover Of The Bayou," that's quite a bit more energized than the original but does go on for too long and a few other songs drag, as well. All in all, though, this is a fairly impressive return. (www.thicksyruprecords.com)

CHUMPS-s/t (Forge, LP)

Everything goes in cycles--in the past few years, there's been a revival of heavy, nervy rock that used to be affiliated with labels like Touch and Go and Amphetamine Reptile in the early to mid 90s. Chumps could very well have recorded for those labels back then. On this 12", Chumps play heavy music but without the metallic bombast and a good amount of suppleness. It's got a dark, nearly sinister vibe to it. There's a seethe in the vocals similar to Scott from Girls Against Boys and some decidedly Jesus Lizard-like touches on a song like "Dirt." That song features lumbering bass and drums joined by jabbing guitar accents. They even add a catchy hook on the chorus of "Black." Guitar, bass and drums churn out a dynamic tapestry, Pushing and pulling and drilling its way into your psyche with dynamic precision. (www.forgerecords.com)

DEATH CRISIS/DIATRIBE-Split (Too Old To Die, 7" EP)

Two San Diego hardcore bands dishing out the aggro. Death Crisis are dead-on with their full-bore thrash blitz over the course of their three songs. Potent riffs power this band's aggressive approach, in something of a Poison Idea vein. Diatribe, who were around in the 80s and got back together in recent years, go for more of a D-beat inspiration, a mesh of barbed-wire guitar intertwined with vocal howlings and bridging the two main songs with a wash of feedback acting as a sound bed for some right-wing paranoid prattle (at least I think that's what it is). I like the Death Crisis side a bit more but they both offer some quality stuff here. (diatribe.bandcamp.com/deathcrisis.com)

HANGOUTS-A.D.D. Generation (Cutthroat, 7" EP)

Loud, boisterous 'n catchy punk rock with plenty of guitar buzz and attitudinal female vocals. There's something rather endearing about the way she sneers out "you're such a fuck face" on the song with the same title. The title track and "Derby Doll" are tough and taut. Only the faster-paced songs ("Get Well," Get Straight") fall flat. (5711 Hoover St., Houston, TX 77092, www.myspace.com/cutthroatrecs)

IMPALERS-Demo (Beach Impediment/No Way, 7" EP)

In case you weren't paying attention, this is a vinyl pressing of this raging Texas band's 2010 demo. Explosive Discharge/Swedish-inspired, rockin' rollin' mayhem with echo on the vocals and a speedy attack, except for the pounding  mid-tempo "Return To Eden" that will have you furiously banging your head. OK, "Turn Me Loose" couldn't sound any more like Discharge if they tried but the problem is? The rest of the songs aren't as blatant about it but you know where they're coming from. And they're coming to tear you a new one. (beachimpedimentrecords.bigcartel.com)

JOINT D ≠-Strike Gently (Sorry State, LP)

This band was known as Joint Damage until recently but had to change the spelling of their name to what you see above since there’s a really bad rap-rock duo from Rhode Island who have a legal claim to it and even had their lawyer send a nasty cease and desist letter. What’s funny is their guitarist/vocalist Nick Goode also plays in Brain F≠ aka Brain Flannel and this album has vocal assistance from two other members of that band. It’s more of a hardcore affair than Nick’s other unit although there are some sonic similarities. There’s a density in the sound—gnashing and bashing throughout—along with the spat-out vocals. Still, many of the songs are infused with a speedy scamper driven by wild drumming and thorny guitar flail. The middle section of “(I’m) Haunted” is louder and has a head-grabbing noisiness that’s offset by Elise’s soothing backing vocals. Not ghettoizing themselves into a generic hardcore sound but there’s a nastiness imbuing their songs. A winning, whirling cacophony. (www.sorrystaterecords.com)

LEGION DCLXVI-The Final Days (Schizophrenic, LP) 

These self-described disseminators of True Canadian Misanthropic Blackened Hardcore do, indeed, peddle the metal on their latest opus The Final Days, their first album since 2008. Raw venom in the vocals and a meat-cleaver attack covered in crust. These are punks who are well-acquainted with the work of Bathory, Hellhammer and other purveyors of thrashy and heavier nastiness. Despite the intense, gloomy lyrical matter about the coming apocalypse (as predicted by some religious figures), it does seem a bit tongue-in-cheek and they wrap things up on an exuberantly upbeat note with their cover of the 4 Skins "Evil." It'll make you want to get down with your evil self. (17 W 4th Street, Hamilton, ON Canada L9C 3M2, schizophrenicrex.com)

MEAN JEANS-On Mars (Dirtnap, CD)

Sunny, power-poppy rock that brushes the edge of syrupy without getting too cute, although I could live without the xylophone that pops up on a few tracks. I like a little more brawn, a bit more oomph with my melodic rock and the Jeans achieve that for the opening song "Ready To Rip" and, especially, "Nite Of The Creeps." In the same vein as the Marked Men, Exploding Hearts, etc. I still wish it rocked harder. (3840 SE Gladstone St., Portland, OR 97202, www.dirtnaprecs.com)

MIND SPIDERS-Meltdown (Dirtnap, CD)

Ostensibly a solo project for the Marked Men's Mark Ryan, this is the second Mind Spiders release and it follows a path from pleasant, poppy compositions into darker and nervier territory, though never straying too far from its melodic underpinnings and the sonic densities are present at the outset--a mesh of guitar warmth, happy sounding organ and Ryan's nasally vocals. There are certainly songs with a Marked Men flavor, such as "Play You Out." The final four songs of the album descend into synthy realms, although the last song on the first side, "Fall In Line," hints at what lies ahead with a numbing, repetitive riff and concluding with a clattering effect. I actually find these compositions more intriguing, especially the jolting "Wait For Us."  By the time of the instrumental title track that closes the album, there's a bliss that mines Krautrock, along with early OMD tinges--I'm thinking of their song "Bunker Soldiers," with a similar melody. An enjoyable, engaging musical excursion. (3840 SE Gladstone St., Portland, OR 97202, www.dirtnaprecs.com)

NEGATIVE DEGREE

NEGATIVE DEGREE-s/t (Offside, 7" EP)

Real basic, raw stripped down hardcore punk with primitive production and that becomes part of its charm. Not a lot of distortion on the guitar, ala Amdi Petersens Arme, and Negative Degree have a baaaad attitude about stuff. The middle finger is thrust into the air and they revel in telling various annoying people and nemeses to fuck right off. I could see "Punch Out" and "Service Industry" becoming Labor Day perennials on Sonic Overload. Doin' it the right way. This is a vinyl pressing of their demo. (www.offsiderecords.com)

THE NERVOUS-Genital Panic! (Nervous, 7" EP)

The Nervous and Negative Degree share the same guitarist, Johnny, but the Nervous operate in more of a garage/77 punk region. Jen's vocals go from singing to screaming in the same song (sometimes in the same verse or chorus) and the compositions are sharp and memorable. They can be driving and aggressive on a song like "Greatest Generation" or more tuneful, as with "Dead Fret," although that song also has a punchy fervor. This reminds me of Gorilla Angreb's early recordings, at times. A fine debut. (toonervous.blogspot.com)

REPORTS-Dimano Cambridge (Ride The Snake, LP) 

Head-messing rock with a density of sound, a gnash of guitar, bass, drums and organ, along with soothing vocals. Not as in some sweet pop style but there’s a certain amount of joyous blissfulness in the band’s approach. It’s poppy without being pop. They create a heady drone, especially for the 12 minute title track that settles into a Krautrock-styled motorik, and it’s rough enough to appeal to punk fans. To save you the trouble of consulting Wiki, it’s a repetitive rhythmic style that was used primarily by NEU! in the early 70s and also adopted by Stereolab in their early days. And there’s the hovering spectre of the Velvets. Lest you think this is something that falls outside the punk realm, the rough-hewn pound of “Turnaround,” “Kittenface” and “The Valley,” with an ear-grabbing organ hook, should quickly dispel that. It's hard not to get caught up in this band’s joyfully cacophonous swirl. (www.ridethesnakerecords.com)

REVILERS-s/t (Patac, LP)

The ReVilers have both a punk and rock 'n roll heart and mix those together in their boisterous compositions. Heart on the sleeve, to use a cliche--I mean, it's hard to miss the point of "Quit My Job," with the refrain, "before I kill my fucking boss."  There's a winning energy to some of these songs--"First Law" and "1860" in particular--which pack a catchy, surging punch. Still, there's not a lot that stands out here. (www.patacrecords.com)

ROGUE NATIONS-Regi Mentle Rides Again (Suicide Watch, 7" EP)

The Nations take a break from their politically-oriented lyrics to write music that accompanies lyrics written by Regi Mentle. To provide a brief synopsis/encapsulation, Regi was a mainstay of the early LA punk scene, part of the Germs' "inner circle." I remember reading his contributions to Flipside in the 80s and they were always provocative. He was convicted of killing a man in the early 80s (most likely in self-defense), given a 16 years-to-life sentence and is coming up for parole. This record's proceeds will go towards his legal defense fund. The musical contents are a successful take on classic west coast punk, especially the Germs, as you'd probably expect, although Chris Peigler's vocals are in a higher cadence than Darby's style. The lyrics have a dark, twisted nature, some of it autobiographical, especially for "Parole Board." This is the Nations' sharpest-sounding music to date. (www.myspace.com/theroguenations)

ROTTEN CADAVER-Hi-Jacked Reality (Black Water, 12")

This album was recorded in 2007 and, after ridiculous delays, it's finally been unleashed. Blistering, loud 'n fast hardcore/crust by this Portland wrecking unit. Fast picked-guitar relying more on tension and fray than pure powerchords, thumpa-thumpa drums, nimble bass-lines and hellacious, throat-ripping vocals. The lyrics don't really follow a verse/chorus/verse pattern but are brief exclamations of, to quote two of the titles, "Our Rage" and "Disillusion." The band's name insinuates something ugly and you get your money's worth on that account--and it commands your attention (PO Box 5223, Portland, OR 97208, www.blackwaterpdx.com)

SISTA KRIGET-8 Track Horror (Black Water, 7" EP)

And, for the millionth time (give or take), here's a band playing straight-ahead, Discharge-influenced Swedish hardcore and damn if they aren't quite proficient at it. The band includes members of Fy Fan and Pisschrist so that should tell you right there that it's going to be some quality music. Everything you'd want--just a pummeling, raw (though not noisily-distorted) sound, harsh vocals and relatively catchy. Well, as catchy as this sound gets i.e. it's not just a wall of noise. Recorded in 2009 and this is a reissue. (PO Box 5223, Portland, OR 97208, www.blackwaterpdx.com)

STRIPMINES-Crimes of Dispassion (Sorry State, LP)

If there's one thing that could be said about Stripmines, it's that they're hardly dispassionate. They muster every bit of passion, every bit of bile and rage to fuel their boiling-over style of hardcore. Stripmines batter their songs to a pulp with a tandem of guitar burn, drum bash, roiling bass and harsh vocals. Not slavish to one stylistic aspect--there are Swedish influences but you can hear echoes of Lifesblood's bruising nature and "Political Correction" even has a slight Cro-Mags inflection. That song also takes aim at people in the punk scene who have arrogant, know-it-all, judgmental mentalities that can alienate potential allies. Starting and ending with the same ominous tone and, in between, hell is unleashed. Raw, fast and just plain MEAN sounding, especially in the vocal department. (www.sorrystaterecords.com)

UNCURBED/WARVICTIMS-Split (Sacred Plague, LP)

The front cover is a reinterpretation (I guess) of the Germs' logo, with a bomb fuse on the upper right and doves flying out of the lower left. Two veteran bands continuing to ply the same sort of full-bore Swedish hardcore they've been at for years. In Uncurbed's case, it's about two decades and this might be their swan-song. There's a running theme for Uncurbed's songs, depicting the harsh, cruel realities of life for the less-privileged, brought on by everything from homelessness to imprisonment to personal demons. Warvictims follow, commenting about a world on the brink of destruction. Both bands have the thick, heavy sound and gutteral vocals, although Uncurbed's guitar tone is a shade lower. Recorded in 2009 and this is the US release. (4919 NE 33rd Ave, Portland, OR 97211, www.sacredplague.com)

UNRULED-s/t (Schizophrenic, 7" EP)

Unruled released a CD awhile back with the guitarist and bassist from the original lineup joined by the singer and drummer from Inepsy and the songs from the original EP were included. Now there’s a vinyl reissue. Well-done fast punk in a decidedly UK-82 vein, complete with the catchy Blitz-type guitar for “Time Is Running Out,” which is the best of the bunch. The other three songs (they’ve added an extra song which has demo-sounding production) also sound as though they’d fit in nicely on any Riot City/No Future release at that time, with “Forced Mistake” taking a Discharge turn. Not bad but “Time” is the pick-to-click here. (17 W 4th Street, Hamilton, ON Canada L9C 3M2, schizophrenicrex.com)

URBAN UNREST/PARENTAL SHOCK-Split (United Shoebrothers/Rabbit's Foot, LP)

Pretty basic '82 inspired hardcore by both of these Finnish bands and more ties to the 80s with cover art by Brian Walsby although his graphic style has certainly evolved since those days. I mean, the songs here are OK--fast, peppy and tight but not essential. Urban Unrest pack more a punch on their songs and the lyrics exude frustration and disillusionment in a convincing manner. As we say here in Mass., wicked average. (unitedshoes@hotmail.com/rabbitsfoot@mail.com)

VARIOUS-PDX Vol. 2 (Black Water, 7" EP)

There's a certain sound emerging from Portland besides the power-driven hardcore/thrash style. It shows an affinity for something gothic or, perhaps more accurately, early 80s UK doom 'n gloomers. A melodic, melancholic sound from the four bands here, including the superb Arctic Flowers. An earlier version of one of their best songs, "Crusaders + Banshees" leads things off with a punchy, melodic sound and that also comes out on the Funeral Parade track. Speaking of Banshees, Moral Hex certainly borrow from early music by that band (as in Siouxsie and...). Meanwhile, with the synth lines, Bellicose Minds take a page from New Order. Not happy-sounding music by any stretch but the punk undertones sidestep prevent these songs from sinking into a mucky abyss. (PO Box 5223, Portland, OR 97208, www.blackwaterpdx.com)

 

WILD//TRIBE-Endless Nights (PunkAlive, CD)

Burning hardcore done with a full-throttle blitz. Wild//Tribe hail from Austin and bring their hometown brethren Spazm-151 and early World Burns To Death to mind. In the latter case, it's due to the low, strangled-sounding vocals offset by higher emanations. "Power" is the perfect title for the leadoff track since it sets the stage for what follows. A relentless barrage of hardcore drawing from Swedish and Japanese influences and underpinned by a pure rock 'n roll kick. Not reinventing the sound, just reinvigorating it a bit. This is a scorcher. (punkaliverecords.blogspot.com)

WYMYNS PRYSYN-Payday (Scavenger, Of Death, 7" EP)

A dense thundercloud of blown-out sounding punk/garage/noisy rock and the two songs on the a-side ("Payday," "Cat Pills") bury the songs' melody lines inside. The flip, the instrumental "John Titors Blues," approximates Dinosaur-meets-shoegazer rock. Something like that. The songs with vocals fare better. Loud, heady stuff. (wymynsprysyn.bandcamp.com)

Suburban Voice blog #98

THE SPITS

I'm not going to apologize for taking over three months. And, yeah, I have a huge pile of unreviewed records although the better ones can be heard on Sonic Overload  Let's just say I feel like a sloth-like schmuck and leave it at that. With that out of the way...

AUSSIE DISTORTION
Three nice new discs from Australian label Hardcore Victim, via their US distributor Havoc. Maybe nice isn’t the right term, when it concerns the musical contents. Two 12”s and a 7” and all of ‘em favoring raw, distorted hardcore. Kromosom's 8 track 12”, cleverly titled 8 Tracks, has been remastered and remixed. There seems to be a tad more brightness in the mix but there’s nothing glossy or polished about the blazing Kaaos/Disorder-inspired assault. Yeap (former Pisschrist vocalist) is quiet and soft-spoken until he gets the microphone in his hands and then terror gets unleashed. And it’s not buried under a wall of impenetrable feedback, making it a much more listenable proposition. If Yeap’s a gutteral vocalist, the yin to his yang (or is it yan to ying?) is Vaginors’ vocalist Rat Boy, with a high-pitched helium yowl that sounds like a ranting Doc Dart from the Crucifucks fronting another band inspired by Kaaos, along with some older Japanese influences. On their Nuclear Papsmear 12”, the drums and bass are up front, with the guitars generating sheets of distortion behind them. The synth bleeps (I think that’s what they are) for “”A.D.D.” are a very cool touch. Total annoy-the-neighbors music that’s a whole lot of loud fun. The final selection in this trilogy of terror comes from Leprosy on their 5 Tracks 7”. Basic, crusty thrash that gets the job done, no more or less, and I don’t mean that as a slight. Leprosy imbue their music with a vigorous rage. (PO Box 8585, Minneapolis, MN 55408, www.havocrex.com)

MORE OF THOSE ROUND, BLACK THINGS (except if they're colored vinyl or CDs) 

 ANCIENT FILTH

ANCIENT FILTH-s/t (Shock To The System, 7" EP)
Finally, some vinyl from these guys. Fast, rippin’ hardcore punk with a high-pitched vocal bark and in-the-pocket musical delivery. This is a lavish package with a heavy-stock fold-out sleeve, lyrics poster and plastic transparency on top of it. The lyrics are accompanied by explanatory essays and it’s a plea to break away from complacency and conformity, in the punk scene and in so-called real life. Gaining control and not falling prey to societal norms while also not falling prey to clichéd punk norms, as well. Boston hardcore continues to regenerate itself and Ancient Filth are good example of that—fiercely DIY and conveying a more-than-convincing amount of heartfelt passion, both musically and lyrically. (Shock To The System, PO Box 400206, Cambridge, MA 02140)

CRIATURAS-Oscuridad Eternal (Trabuc, LP)
Coming on hard and fast with a high-powered combination of punk, crust, hardcore, speed metal and rock ‘n roll in various permutations. I’ve warmed up to Dru’s rant-sing—there’s range there—and the songs mix things up stylistically. There’s the rockin’, catchy theme song “Criaturas,” the full-on rampage of the title track, “Nunca Va A Cambiar” and “Quemado En La Hoguera. “Anarkia” is carried along by a scintillating bass melody by Eddie Lael and shit-hot axe wrangling from Victor Gutierrez, who delivers an arsenal of shredding leads and warmer textures (as with his and Eddie’s other band Vaaska). Criatuas successfully balance full-on blitz with more tuneful shadings. (www.nodo50.org/trabucrecords/Distributed in the US by Todo Destruido, tododestruido.blogspot.com)

CRUDDY-Negative World (12XU, LP)
This album would most-assuredly have been in my top ten of 2011 if I’d acquired it before the end of the year. Hell, I hadn’t even heard of them until stumbling across some of their music on the internet and it instantly hooked me. Knotty, gnarled punk with a kinetic nervousness. Staccato, jabbing guitar playing off throbbing bass and drums, along with sing/speak vocals. Digging in a bit, there’s definitely a bit of The Fall's thorniness. The rumble of the brief opening song, “Slow News Day,” had me thinking of the old Aussie bluesy pigfuckers Feedtime, albeit without the slide guitar. “Burn It Down” by the Suicide Commandos is an inspiring cover choice, too. Cruddy’s the type of punk band I find appealing these days—bringing a liveliness, a freshness and variety of influences into the basic guitar/bass/drums setup. (3005 S. Lamar Blvd., D109-403, Austin, TX 78704, www.12xu.net)

DIVINE RIGHT-Pray For Me (Residue, 7" EP)
I thought about using religious punnery, like "oh hardcore lord who art on the dance floor" but I'll resist the temptation (lead us not...). This is just rough, straight-ahead hardcore punk punctuated by aggressive riffing and snarlin' vocals. There are definitely 80s touchstones (Poison Idea, early COC) and it's convincingly venomous. (www.residue-records.com)

 EDDY CURRENT SUPPRESSION RING

EDDY CURRENT SUPPRESSION RING-So Many Things (Goner, 2xLP)
A collection of singles, EPs and compilation tracks dating back to 2004 and, to use a cliche, these guys have come a long way from their humble and primitive origins. The first song, the title track, is minimalistic, with simple keyboards and vocals that almost seem ad-libbed. After that, though, the band's hallmarks quickly come into bold view. Over the years, ECSR have honed a synthesis of punk, garage and post-punk. I know that's a pat, all-encompassing and broad definition but it works and there are stylistic variations, from the brooding "Demon's Dance," which surges to a thrilling conclusion, to the gleeful-sounding "We'll Be Turned On" to the jerking garage delights of "Hey Mum" and "It Ain't Cheap," to the nervous jitter of "You Let Me Be Honest With You." I could probably live without the Go-Gos cover ("We Got The Beat") but the stabs at other people's music are better-executed, especially their take on Aussie obscuros The Chosen Few's "There's A Lot Of It Going Around." They definitely honor the roots of late 70s Aussie punk, as X could clearly be cited as an influence. Dynamic musicianship, especially Mikey's versatile guitar playing--jabbing and angular but balanced with subtlety and nuance and his occasional keyboards add colorful flourishes to some of the songs. That's along with the steady bass/drums and gloved vocalist Brandon's sung/spoke vocals--they could be an acquired taste for some but they have a winning charm. A godsend for the long-time fans and not a bad introduction for the novice, since it encompasses their varied musical arsenal. Time for a new album, boys... (www.goner-records.com)

FAMILY CURSE-Julia Armant/Last Days (Drawing Room, 7")
Two killer songs by this Brooklyn band--hard-edged post-punk rock. "Julia Armant" has features stinging/angular guitar lines with a surge in the chorus accompanied by lively bass and drums--the production is bright. I know I'm making a shit-load of Fall comparisons lately but Erick Bradshaw is obviously a fan of Mark E. Smith. The flip rides of a gyrating bass-line with another catchy chorus. They have an album due on Dead Beat that I'm definitely looking forward to hearing. (www.drawingroomrecords.com)

FRONT LINE-Basic Training EP (Beach Impediment, 7")
'82 style hardcore--which makes complete sense since this actually was recorded in 1982. Front Line were a Norfolk, VA band who appeared on Master Tape Vol. 2 and a tape comp but this is otherwise unreleased, originally intended to be a 7" but the band broke up and it was shelved. Trigger-finger, raw hardcore punk done with unfettered anger. The flyers on the insert show that they played a number of shows with White Cross and they come from that sort of muse. They're mean-sounding but there's still some wise-assery with a song like "Quaker Meeting" and the piss-take cover of "Blue Velvet." This is a ripper. (beachimpedimentrecords.blogspot.com)

KIM PHUC-Copsucker (Iron Lung, LP)
Pittsburgh's Kim Phuc have been lurking about for a number of years and, finally, here's their subtly-titled debut album. A moody, yet muscular sound with droning, fiery properties, although it’s not always at a slackened tempo. In fact, after the mid-paced “23,” that opens side two, there are three quick-hitting scorchers in a row. Kim Phuc have the same sort of early-80s UK haunt that permeates the sound of a band like Arctic Flowers, although the riffing here is chunkier and it’s a tougher-sounding male vocalist. And there’s warmth in the crush of “Prostitute” and the closing “Wormwood Star,” even when it’s not the happiest-sounding music. An ear-enveloping collection. (PO Box 95521, Seattle, WA 98145, lifeironlungdeath.blogspot.com)

NO STATIK

NO STATIK-No Hospice/Clean Sweet Sunshine (Prank, 7" EP)
A bit of a letdown after their killer 12" and seeing them live, though not bad. "No Hospice" is an intense, mid-tempo track  with a burning ambiance and the flip is a faster rager, fading off into a cloud of feedback. Ruby's an acid-larynxed hellion and it's a piledriving crusty hardcore attack. As I said, though, the 12" is better. (PO Box 410892, SF, CA 94141-0892, www.prankrecords.com)

PLATES-s/t (Big Neck, LP)
Like Kim Phuc, Plates have been around for a few years, as well and and their self-titled LP is a volume-drenched head messer. Thick, huge slabs of guitar and, especially, bass (played by Biff from I Object/Brown Sugar/etc) stake out the band’s pummeling attack.   I’m not sure about the point of calling one side “Flashing The Steel” and the other “Gang Shower,” but plenty of musical steel is flashed here (damn, that’s some crappy rock critiquery). This is the type of heavy, semi-abrasive rock that wouldn’t have been out of place on Amphetamine Reptile in the 90s. Nods to Hawkwind, with some of the whizzly guitar effects, and “Sentimental Jenny Jones Fodder” manages to be crushing and somewhat trippy at the same time. For pure punk-imbued raucousness, look no further than “Sociology 101” or “Under Suspect Tutelage.” Something tells me I’d need heavy-duty earplugs if I saw these guys live. I hope I get the chance. (Big Neck, PO Box 8144, Reston, VA 20195, www.bigneckrecords.com)

 POISON PLANET

POISON PLANET-Demo 7" (Offside)/Ugly Truths Vol. 1 (CTW, LP)
A couple of records released for Poison Planet's Euro tour. The demo recording shows the band at its rawest, a blast of pure, primal hardcore vitriol and it's better than I remember it being the first time I heard it. The Ugly Truths disc collects the band's Oblivious and Undermine EPs, adding on a few unreleased songs--the "medley" of "Pleather Jacket Attitude" and "Leveraged Debts" are absolutely smokin' (no tobacco, though--this is a straight-edge band, after all). What's interesting--and it probably wasn't intentional--is that the essay along with "Leveraged Debts" talks about the ongoing battle between liberal and conservative schools of economic thought. Unfortunately, the free-market oriented Milton Friedman bullshit has thrived for the past 30+ years. I say it's interesting because they cover DYS's "No Pain No Gain" and Dave Smalley from DYS is a conservative libertarian who is a true believer in the Friedman school. He even tried to talk about it with me when I saw DYS in 2010 but I wasn't in the mood. Maybe Nick will debate him if DYS makes it to Chicago! Urgent, impassioned hardcore without an ounce of contrivance. (Band contact: thirdxparty.blogspot.com)

POWERBLESSINGS-s/t (Manhattan Chemical and Electronic, 7" EP)
The guys in Powerblessings aren't really old-timers but did play in some 90s-era bands (Maude, Pageant, a few others--I admit I looked it up) and it definitely has a 90s vibe. No, not metal or grunge shit but something nervier. Surging, energetic rock that has melody and kick but it doesn't cross over into a cringe-inducing emo region--the vocals are too rough for that. Opening song "Stunt Whale" is the strongest track, with a mellifluent guitar hook playing nicely off the bass-line and drumming. (manhattanchemicalandelectronic.bigcartel.com)

SHITTY LIMITS-Speculate/Accumulate (Sorry State, 12")
This 6 song 12" will serve as the Limits' vinyl epitaph. Not hitting the quality level of their full-length but still connecting with jittery aplomb. The Fall spectre hovers most brazenly for "Future Mantra," with Louis channeling his best Mark E. He also channels Lydon a bit towards the end of "Medication Time," where the bass riff  nicks a bit from a segment of the Pistols' "New York." Barbed post-punk/garage frenzy right in your face. (111 Old Pittsboro Rd., Carrboro, NC 27510, www.sorrystaterecords.com)

SMASH DETOX-Shanguri-La/Like Water (Prank, 7")
Not sure if you'd say it's a supergroup but there are people from Forward, Judgement, World Burns To Death and a few others in this band. Tour-de-force Japanese hardcore overkill with metallic leads, a semi-melodic heaviness and male/female vocals. Let's just say a little of Ishiya's gutteral vocals goes a long way and afraid that's not a big compliment. The best thing I can say is if you're into the bands mentioned above, you'll probably like this. (PO Box 410892, SF, CA 94141-0892, www.prankrecords.com)

THE SPITS-V (In The Red, LP)
The Spits have released their fifth self-titled album and there aren’t any real surprises, although the massacre depicted on the cover might make you wonder if this is going be their thrash metal excursion. Nope, it’s just more boisterous, catchy punk rooted in a classic ’77 sound although there are spacier/wavier elements, as usual, and different sonic textures from track to track. “All I Want” is a standard Ramones-ish opener but there are twists—such as the mechanized-sounding beat on “Tomorrow’s Children,” with a nervy guitar break.   Sometimes, there’s jarring effect, as when the engaging punk of “Fed Up” just abruptly cuts off without warning. Buzz-burn guitar, keyboard flourishes and drones, the latter showing up most-predominantly for “Last Man On Earth.” No cartoonishness—this has a darker, sinister ambiance and it’s such fun. (PO Box 50777, LA, CA 90050, www.intheredrecords.com)

SUNSHINE SS-Teen Choices (Sacred Plague, 7" EP)
More stinging, rocking punk done at a medium clip. These guys are tough and snarly, powered by beefy guitars and, as I’ve said before, the vocals remind me of Al from The Pist, a bit. Flag-via-Annihilation Time propensities (without the cock rawk) at times and it'll getcha doing the creepy-crawl or whatever kind of punk rock dance you do. (www.sacredplague.com)

TAKE WARNING-s/t (PurePainSugar, 7" EP)
Fine, loud poppy punk from France (lyrics are in English) with beefy guitars and hooks galore. More than a hint of Naked Raygun, especially for "You Are What You Buy," with the "oh-way-ohhh" vocal line. The production isn't too slick, either--just the way 'ya want it and that's what makes it rise above the mundane. (www.purepainsugar.com)

TV FREAKS-s/t (Schizophrenic, LP)
In this blog, I've already mused about Eddy Current Suppression Ring and Shitty Limits. TV Freaks could be the offspring of both bands since there's a similar vibe, only angrier. The edgy garage/punk thing and agitated as all hell. The last track, "You're Cool," confronts the listener/target with "are you lookin' at ME?" In recent months, I've once again seen Blue Velvet, Goodfellas and Taxi Driver and all three of those movies have characters stating words to that effect. I don't think these guys are about to pull a Frank Booth, Tommy DeVito or Travis Bickle on anyone but that's what crossed my mind. Hell, they even make a song about skating ("Four Wheels") sound like a threat. A brash, trebly sound with murder in its heart. And recorded in a barn. (17 W 4th Street, Hamilton, ON Canada L9C 3M2, schizophrenicrex.com)

USELESS EATERS-The Moves (Jolly Dream, 7" EP)
Down 'n dirty, semi-hooky garage/KBD punk with somewhat primitive production. There's a barbed minimalism that almost edges into post-punk territory but this guy probably ain't been to no art school. There's only one Eater and that's a character from Nashville named Seth Sutton. It's a one-man project and he's rather prolific--3 albums in the past year! The first song, "American Cars," is a tad underwhelming but the other songs are throbbingly energetic. Cool EP and I've got some catching up to do. (jollydreamrecords@gmail.com)

UX VILEHEADS-Hardcore XI (Sorry State, LP)
Well, (MM)XI has passed and we're now into (MM)XII which, by my count, is year XXXI for hardcore, give or take year or two. No more Roman numerals, let's just talk about the hardcore part of the album's title. After a few 7"s, the Vileheads' debut 12" provides a feisty dose of what's listed on the package. Fast, tight, energetic and peppy with a few change-ups i.e. they delve into some really tuneful punk on a couple of songs, "My Path" and "Kitchen Knife." The former has a nice west coast hook to it and the latter connects with a catchy chorus. Those songs indicate there's something besides hardcore purity coursing through their veins and I could see them moving beyond a basic thrash attack--which they're quite proficient at. Smart songwriting, as well. (111 Old Pittsboro Rd., Carrboro, NC 27510, www.sorrystaterecords.com)

BETTER LATE THAN ETC... SV BEST OF 2011 (more or less in order)
It was a pretty good year...

 ALBUM OF THE YEAR: FOREIGN OBJECTS-No Sensation (Vinyl Rites)

THE REST OF THE LPs/12"s

RANK/XEROX-s/t (Make A Mess, LP)

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

DRY HUMP-Fucks Your Ears (SexCult)

FOLDED SHIRT-s/t (Fashionable Idiots/Proud To Be Idiot)

THE SPITS-V (In The Red)
BRAIN KILLER-Every Actual State Is Corrupt (Deranged, LP)

TOTAL CONTROL-Henge Beat (Iron Lung, LP)

ARCTIC FLOWERS-Reveries (Inimical, LP)

VIDEO-Leather Leather (Play Pinball!, LP)

7”

MANIPULATION-2 (Sorry State)

BRAIN F≠-So Dim (Sorry State)

BLOODKROW BUTCHER-s/t (Total Fucker)

DOUBLE NEGATIVE-Hardcore Confusion (Volumes 1 & 2) (Sorry State)

SYSTEMATIC DEATH-Systema-8 (Way Back When/Even Worse)

SUNSHINE SS-Teen Choices (Sacred Plague)

NEIGHBORHOOD BRATS-We Own The Night (Abscess)

NEO CONS-s/t (Deranged)

SOCIAL CIRCKLE-Expiration Date (Side Two)

BAD DADDIES-s/t (Central District/Finch)