Suburban Voice blog #104

Happy New Year... well, a few weeks later than I planned but this is a pretty extensive installment. Let's get started with...

THE BEST OF 2012

2010 and 2011 were well above-average years for records. But I don’t think that was the case for 2012, at least comparatively speaking. Don’t get me wrong, there were some kick-ass records last year and I didn’t have a lot of trouble coming up with a top ten and it was easy to fill my year-end Sonic Overload with over two hours of strong material. I kept going back and forth between Joint D≠ and Hank Wood & The Hammerheads for album of the year. I picked Joint D≠ because "(I'm) Haunted" was better than any other song I heard all year.

ALBUM OF THE YEAR: 

JOINT D≠-Strike Gently

LP/12"

JOINT D≠-Strike Gently (Sorry State)

HANK WOOD & THE HAMMERHEADS-Leave Home (Toxic State)

CRAZY SPIRIT-s/t (Toxic State)

SCHOOL JERKS-s/t (Grave Mistake)

BOSTON STRANGLER-Primitive (Fun With Smack)

TV FREAKS-s/t (Schizophrenic)

METZ-s/t (Sub Pop)
WHITE LUNG-Sorry (Deranged)

TOKYO STORM WARNING- High Times at The Black Eye (Mind/No Mind)

CREEM-s/t (Katorga Works)

NÜ SENSAE-Sundowning (Suicide Squeeze)
MIND SPIDERS-Meltdown  (Dirtnap)
PLATES-s/t (Big Neck)
SLICES-Still Cruising (Iron Lung)
LAMPS-Under The Water Under The Ground (In The Red)

THE REST... 7”s and demos

All of these are 7”s, in fact, except for the WETBRAIN demo and POOR LILY 3 song CD. More or less ranked in order

BIG EYES-Back From The Moon (Grave Mistake)

DRY HUMP-s/t (Cowabunga)

WETBRAIN-s/t (demo)

BLOODKROW BUTCHER-Anti War EP (Side Two)

BILL BONDSMEN-Overcrowded Control (Fourteegee)

DOUBLE NEGATIVE-Hardcore Confusion Vol. 3 & 4 (Sorry State)

POOR LILY-3 Songs (self-released)

MÜLLTÜTE-2nd EP (HeartFirst)

BRAIN KILLER-3rd EP (Deranged)

ANCIENT FILTH-s/t (Shock To The System)

CRIATURAS

BEST LIVE (in no particular order)

COCK SPARRER, HANK WOOD & THE HAMMERHEADS, CRAZY SPIRIT, CRIATURAS, ANCIENT FILTH, BOSTON STRANGLER, CROSSING CHAOS, HOAX, DOUBLE NEGATIVE, CEREMONY, DRY HUMP, ARCTIC FLOWERS

BLOODKROW BUTCHER

AND NOW... THE REVIEWS

BLOODKROW BUTCHER-Anti War EP (Side Two, 7" EP)
The first release with PJ on vocals, having moved out from behind the drum kit and it's another scorcher. His harsh vocals match the band's d-beat hardcore perfectly. Over time, BKB have stripped away the wall of distortion and opt for a loud but still-raw roar. Four of the five songs are speed-burners but "Reject" has more of an anthemic punk flavor, punctuated by a singeing lead break. One of the best bands from these parts. (6 Wadleigh Place, Boston, MA 02127, www.side-two.com)

BOMB BLAST MEN-Who Is The Master Here? (Vex, 7" EP)
This actually came out awhile ago (I'm pretty sure, at least) but showed up in the same package as the Dishonorable Discharge 12" (see review below). Crusty hardcore with low-tuned guitars and rabid, ravenous vocals. That adds a heavy ambiance to the sound but it's still got trebly sonics. The battering they give to NoMeansNo's "Dad" is momentarily humorous and I also chuckled at the title "Taxi Twat," but otherwise found this rather tuneless. Not that I'm expecting easy listening but it's just bile and not much more. (vex.rex@hotmail.com)

CHAOS CHANNEL

CHAOS CHANNEL-(Magic Bullet) That Works To Feed The Pig (SPHC, 7")
Sad to say I hadn't heard of this band until a few months ago when I saw them play a sick set with the Wankys and Lotus Fucker. They play a noisy, Disorder-inspired style of hardcore but it's not so blown out as to make any sort of nuance inaudible. "The Bird, Singing At Non-Reality" has the same pattern as Disorder's "More Than Fights," starting with the same drum rolls leading into thumping thrash, then there's a lull and the drumming starts off the next volley. The flip, "New Stupid Piece Of Shit, That Doesn't Fuckin' Work" has similar drumming and a buzzin' ambiance. Time to check out the back catalog. (sphc.bigcartel.com)

COMMON ENEMY-As The World Burns (Overdose On Records/multi-label, CD)
Common Enemy have been kicking around since the start of the last decade and continue to hammer out decent meat 'n potatoes hardcore punk rock. Loud, fast and angry, with a few metal guitar lines here and there, and coming across like a merger of bands like the Casualties and early Unseen fused to early '80s hardcore. By the numbers, nothing new or groundbreaking but they play these songs with all the venom and rage they can muster. Good for them... up the punx! (www.commonenemy2000.com)


DISHONORABLE DISCHARGE-Nightmare Visions EP (Vex, 12")
If the name of the band isn't a dead giveaway about the musical contents, you're probably not paying attention. This Norwegian unit do, indeed, take a page from the second word in their name and add some of Anti-Cimex's roughness for good measure. Breaks no new ground, the drumming falters on occasion but I still end up liking it because they're pretty good at hammering out aggressive fodder. Fragmentary lyrics that are kept to a minimum, along with repetitive arrangements. You know what you're getting. (vex.rex@hotmail.com)

DISSENSION-Why Work For Death?/We The Fooled (Bad Idea Music, CD)
Dissension were a southern California band in the mid-to-late 80s and released a pair of albums, now reissued on a convenient single disc. Throttling hardcore punk played at a go-for-broke clip and adding some metallic leads to their thrashy thump, along the lines of DRI and Final Conflict. The metal seeped in further for "We The Fooled," although the hardcore roots were hardly abandoned. "Why Work For Death?" has been a Labor Day perennial on my radio show and I still have the red vinyl copy of that 12" they sent back in 1986. Plenty of buzz, if a bit sloppy in execution and the leads excessive at times. High energy stuff. (PO Box 6052, Huntington Beach, CA 92615, www.badideamusic.com)

EMPTY ROOM-s/t (Subject/Feral Kid, demo)
Buffalo band with the ubiquitous Biff Bifaro (I Object/Brown Sugar/Plates and more) on bass, joined by people from White Whale and Everything Falls Apart. Thundering and pummeling hardcore in short, angry bursts although they take a different turn for the brooding "Americans With Guns" (timely!) and "Ambient Awareness," the latter featuring some damaged-sounding guitar and dark lyrics about internet stalking. Hope to see some vinyl from this band in the not-too-distant future. (feralkidrecords.storeenvy.com)

F/I-Very Negative (Atomic Action, 7" EP)
Some brutal hardcore sounds from this Rhode Island band aka Fucking Invincible. F/I incorporate heavy lurch with manic speed but they sometimes let the blast/hammer effect get in the way. Rather tuneless, in other words. Closing song "Violent Screaming Delusions" works the best, with a scampering drumbeat and scorching guitar work. People from Soul Control, Dropdead and Daughters, among other bands, for those of you keeping track. (atomicactionrecords.bigcartel.com)

HASSLER-s/t (Schizophrenic, 7" EP)
Total ripper of an EP from this Toronto band. They're just flat-out mean-sounding, plying thumping hardcore punk that has plenty of bottom end and mighty pissed-off sounding vocals. And they have more than a few bones to pick with life's irksome elements. That's an understatement--and I'd better give them a good review or prepare to suffer their wrath, as stated on "Nothing For Nothing": "I read your blog, you fuckin' jerk/Waste of time, your friends are twerps/'You're not a punk, you're not hardcore'/Clueless fuck/What's the point? What's the score?" Just bruising and they're not novices, either--one or more of these guys were in the Reprobates, who put out a good 7" on No Way around 5 years ago. (17 W. 4th St., Hamilton, ON L9C 3M2, CANADA, www.schizophrenicrex.com)

LAMPS-Under The Water Under The Ground (In The Red, LP)
This is one mind-fucker of an album--heavy and muscular and the effect is punishing but also applying those properties to forays into Fall-ish rock, garage and even a lumbering cover of a Bo Diddley song--"H.B.D." aka "Hey Bo Diddley" that offers a radical reworking of the "shave and a haircut, two bits" beat. The aforementioned mind-fuckery is established at the outset, with the post-punk arrangement interrupted with sheets of atonal noise. Pure guitar wreckery, punctuated by fuzz, power-chords and whizzling chaos, along with gigantic bass-lines and drumbeats. Pure, unadulterated abraso-rock with a relentless quality throughout. (PO Box 50777, Los Angeles, CA 90050, www.intheredrecords.com)

NEEDLES-Desesperación (Iron Lung, 7" EP)

The latest from Needles,  a band that features (in case you didn’t know), Martin Sorrondeguy (Limp Wrist, Los Crudos), Scott from Limp Wrist and Brian and Jim from Talk Is Poison, so you know this is going to be pure aggro and they deliver. Martin sounds as rabid as always and the sound is blistering hardcore with frayed, slashing guitar and bone-crushing bass and drums. Six songs, no breaks (except when you flip the record over) and, while there’s plenty of anger, “Not Losing Faith” sounds, dare I say, a bit hopeful about “the youth.” And that song is way better than the one that goes “I believe the children are the future.” (Iron Lung, (PO Box 45521, Seattle, WA 98145, ironlungrecords.bigcartel.com)

NO PROBLEM-Living In The Void (Debt Offensive, 7" EP)
Three more songs of sturdy punk by these Edmontonians--is that the right term? Well, they're from Edmonton. There's oomph 'n punch in the arrangements and gritty vocals. Some of the guitar lines are almost surfy, giving a bit of a west coast flavor. Definitely a dark mood, lyrically--life's travails, chafing against convention and conformity. Timeless themes and delivered with a sound that's both assertive and tuneful. (debtoffensiverecs.bigcartel.com)

RAYGUN-Pommeja Taivaalta (Kämäset Levyt, LP)
Half of the record was recorded in 2012 and the b-side consists of recordings from '93 and '95 and '06. The new stuff is actually the best--it shows them to still be a vital, rip-roaring unit with a classic Finnish sound that's closer to Appendix than the well-known bands in that there are catchy elements to go along with the thrash-driven arrangements. New(er) vocalist Jonne adds a snottier dimension, as well. It has a vintage sound without coming across as dated. The older songs vary in sound quality but stick to a similar musical format. The vocals don't have as much presence, though, so it was definitely the right move to add Jonne. (Iisakinte 18, 37560 Lemaala, FINLAND, EUROPE, www.punkinfinland.net/kamanen)

RECIDE-Statues (Even Worse, 7" EP)
Some ugly-sounding hardcore. A feedback-laden intro starts things off and the guitar playing sputters and slashes, along with the band's trebly rhythmic bash and throat-shred vocals. Bursts of speed are interspersed with moments of pounding and hammering. I just wish the songs were more memorable as a whole. "Before False" is a good example: a tribal beat and guitar sizzle that conjures up Bad Brains's "Big Takeover," then ratchets up the speed but the effect is disjointed. Some good ideas here--hope they can find a bit more focus. (www.evenworserecords.com)

SAILBOATS ARE WHITE-Best of Turbo II (Schizophrenic, 7" EP)
Brash, face-grabbing noise/punk/damage concocted from guitar, bass, programmed drums and serious synth-mangling. It's not as "artsy" as that sounds, though--this is mainly visceral music with an experimental twist, I suppose. Some similarities at times to one of Jay Reatard's many bands, Lost Sounds, especially "Dead Man's Clothes" and "Seven Aaron Winger." This is a vinyl pressing of 7 songs taken from a 9 song 2008 recording and the band's history goes back to the early '00s. (17 W. 4th St., Hamilton, ON L9C 3M2, CANADA, www.schizophrenicrex.com)

SOCIETY  NURSE

SOCIETY NURSE-s/t (Iron Lung, LP)
Dark and visceral sounds by Society Nurse, including a couple of guys from Walls and Cold Sweat, namely Jensen Ward and Nick Turner. Jensen plays guitar in this band the drumming is more-than-ably handled by Todd Hoffman. Bruising fodder with plenty of speed but there are also hammering moments and a sense of drama in the arrangements. New vocalist Donald Abel (another guy sang on their previous 7") delivers the words of despair in an agonized and gutteral style. Society Nurse have something of a similar vibe to the bands mentioned earlier but this takes more a direct, hardcore route and it will leave your senses shattered. (PO Box 45521, Seattle, WA 98145, ironlungrecords.bigcartel.com)

SYNTHETIC ID-Apertures (1-2-3-4 Go!, 12")
A San Francisco post-punk band working in the same thorny terrain as Rank/Xerox, as well as the Minutemen at times. That means busy, nervous-sounding arrangements punctuated by throbbing bass, solid drumming and dexterous guitar playing that is both jarring and mellifluent, especially for "Pressure Gauge." The only problem is with the vocals, which are off-key and flat-sounding. The band's kinetic sound makes up for it, though. www.1234gorecords.com)

TERVEET KADET-Musta Hetki (Kämäset Levyt, LP)
Finnish hardcore legends Terveet Kadet have never broken up and here they are 30 years down the road. Only vocalist Läjä remains from the original lineup and his voice is lower and throatier than in the early days. It's a high energy effort but something seems a bit off, at times.The songs are played at piledriving speed but the drumming is occasionally out of sync with the other instruments and Läjä's vocals don't always time well with the music, either. Maybe if they'd slowed it down a bit, it might have meshed better--that's accomplished for the more-reasonably paced "Verinen Syli" and "Viimeinen Naula." Somewhat disappointing but I'm looking forward to seeing them live. (Iisakinte 18, 37560 Lemaala, FINLAND, EUROPE, www.punkinfinland.net/kamanen)

TRUNCHEONS

TRUNCHEONS-Stuck On The Block (Distort Reality, 7" EP)
Janick and Matt from After the Bombs are in this band and it's a somewhat different beast. Instead of the longer, epi-crust compositions, these are short sharp shocks (sorry) of distorted Disorder/Chaos UK-style punk. Buzz-stun guitar with a whole lotta distortion and echo on Janick's throaty vocals. On the back of the record, it says "models and musicians out of punk. Keep hardcore for the ugly and talentless. That's not really the case here. Sure, it's an ugly sound and they ain't virtuosos but this is one blistering racket.(distortreality.storenvy.com)

TV FREAKS-s/t (Schizophrenic, 7" EP)
A stormin' follow-up to their album. More rough-hewn garage-infused punk bash. It sounds like the speakers are going to blow for the cacophonous conclusion of "Upper Hand" and they show no let-up on the other three songs here. While the album had a bit of Eddy Current jitter, that's not really noticeable here, except on "Freelancer," and that song sneaks in bit of a hook at the end. That track also has a few similarities with Career Suicide. "Identity Crisis" is dark and pounding before picking up the pace at the end. All in all, this is a concise and relentless statement. (17 W. 4th St., Hamilton, ON L9C 3M2, CANADA, www.schizophrenicrex.com)

UV RACE/NATIVE CATS-Split (Ride The Snake, 7")
Two Australian bands. UV Race have released some strong records over the years (the new one, "Racism," has some excellent tracks) but this isn't really one of them. Opening and closing with a downbeat Modern Lovers-ish dirge and one another , "Wire Strainer," they nearly get it right for the garage-ish clamor of "Shat It's Self" but this is pretty forgettable. Native Cats' one song, "Ten Years Transportation," was recorded in 2010. It's a two-man band with a bassist and vocalist accompanied by minimalist programming. The repetitive drumbeat had me thinking Faust's "It's A Rainy Day Sunshine Girl" but this isn't sunny-sounding at all, especially the mournful synth comes in towards the end. Not a complete triumph but intriguing. (www.ridethesnakerecords.com)

VARIOUS-Destroy Music, Start Your Own Band (Hammer City/Schizophrenic, LP)
This compilation album of Hamilton, ON bands is dedicated to the memory of Imants Krumins, who passed away last year. Imants was a tireless supporter and passionate fan of punk (and other music), an endless fount of knowledge and an all-around nice guy. I was fortunate enough to meet him a couple of time and correspond with him a bit over the years. His spirit hovers over the whole thing, including some soundbites of him between songs. On to the musical contents--it's the typical mixed bag of inspired noise-making along with some less-memorable material--real hit and miss. A diverse assortment, not just sticking to one style, with all sorts of punk, hardcore, garage and straight rock represented. As for the highlights, TV Freaks and Sailboats Are White, whose discs are reviewed elsewhere in this installment, both make solid showings. The Freaks song isn't as strong as the tracks on the new EP but gets things off to a loud 'n rousing start. The two Sailboats songs are new recordings and continue with the band's noise-drenched attack.The ominous industrial clatter of Skull Servant is intriguing. Born Wrong viciously burn through their one song with a raw hardcore-meets-garage attack. The bruising hardcore of Haymaker was sometimes a case of "a little goes a long way" but I do like their pummeling of Suicidal Tendencies' "Memories Of Tomorrow" (their pair of songs were recorded in 2002).  Not everything is great--the dull rock of Wiggler and The Tiny Humans or the uneven noise wreckery of Snake Charmer, for instance. Still, one thing that comes through with the whole package, especially the booklet, is a true DIY spirit. The people involved run a record store, run a label and put on shows and have been doing so since the 80s. On the back cover, it says "You Are The Scene" and, corny as it sounds, it's true. (17 W. 4th St., Hamilton, ON L9C 3M2, CANADA, www.schizophrenicrex.com)

Suburban Voice blog #103

FIGHTING MY WAY THROUGH WRITER'S BLOCK...

So here we are again, tardy as always. 2012 is drawing to a close and it's almost time to work on my Best of 2012 list, which is underway. That will be in the next blog. In the meantime, here's the latest, long-overdue installment.

ARTCORE #30 + STATE FUNERAL Protest Music 7"
I've got to hand it to Welly, the head honcho of Artcore --he's certainly a lot more diligent in sticking to the printed format than yours truly and he's been at this zine thing almost as long as I have. Not that I've given up on ever publishing a print issue again but he's kept plugging along for years and doesn't seem to have lost his passion for the music or the anti-authoritarian sentiments at its core. And Artcore remains a quality read, both in content and printing quality. In his latest issue, there are interviews with Drew Stone, the filmmaker behind the xxx All Ages xxx film about Boston hardcore, Aston from the Boss Tuneage label, a short one with Ron Reyes from Black Flag, an assessment of the Faith/Void split involving members of both bands, "historical" pieces on Dutch hardcore and Government Issue and an excerpt from Helge Schreiber's Network of Friends book about '80s Euro hardcore. My only complaint is the review section is hard to read because of the background. Welly should know some of us old-timers have faltering eyesight!        

In addition to the printed contents, there's also a 7" by State Funeral, Welly's current band. No skimping in the packaging department here, either--it's an 8 page lyric booklet. It presents a harsher sound than his previous band Four Letter Word. There's still some melody in the driving, politically-oriented punk but Welly's vocals are nastier sounding and it comes across as a more aggressive package. The only drawback is the drumming, which is a bit one-dimensional for the faster segments and there's too much snare in the mix. (www.artcorefanzine.co.uk)

THE REST OF THE (LENGTHY) REVIEW SECTION:

HANK WOOD & THE HAMMERHEADS

AGNOSTIC FRONT- Live At CBGB (Bridge Nine, LP) 
"This is the title track of our first album, an album called Victim In Pain... this song's also called Victim In Pain." So began AF's first live album, originally released in 1989 and given the semi-deluxe treatment in 2012--embossed cover, limited-edition RED, WHITE and BLUE vinyl (natch). The set list is culled from all of their records up through "Liberty and Justice For," with more than half coming from "United Blood" and "Victim In Pain." It includes the still-idiotic anti-welfare "Public Assistance," where Roger Miret claims, this is not a racist song, it's just the goddamned fucking truth." OK, maybe not racist but still dumb (and since it was written by Pete Steele, who had some dicey lyrics in his Carnivore days, well...). There's also the pledge of allegiance because, after all, they're an AMERICAN band (they'll come into your town, they help you party... ). I'll stop now. At the time, with the five piece lineup, the sound was more metallic and it definitely fit in with the era--bands that were blurring the line between metal and hardcore. While most of the earlier songs stand "the test of time," the grittiness is missed. It's a good performance and not without merit, but, in retrospect, I don't think it was the best era for AF.  Best stage banter? CBGB's stage manager Dennis stating that, "a lot of you ain't gonna live to see tomorrow if you keep fuckin' around this way." (www.bridge9.com)

ALLIGATORS-Time's Up, You're Dead (Bridge Nine, LP)
Speaking of Agnostic Front, Roger teams up with three members of Insted to rip through sixteen songs of old-school hardcore, complete with venomous, succinct anti-authoritarian sentiments. They play the songs with veteran aplomb yet it doesn't really connect The production's not really slick but something's missing, here. And the world certainly doesn't need another cover of Negative Approach's "Ready To Fight."  I've heard worse and the playing is more-than-competent but the songs come and go without leaving much in its wake. Time to put on "Victim In Pain," again. (www.bridge9.com)

ANOTHER SOCIAL DISEASE-Brain Damage EP (Social Disease, 12")
Another Social Disease--or ASD for short--include former members of early '00s hardcore thrash merchants Down In Flames but their new band goes straight for a late 80s crossover NYHC sound, Leeway in particular. A cleanly-executed sound with meat-cleaver guitar riffs and searing leads, punchy bass and drums and tough vocals from Sean that sound like he's channeling Lou from Sick of It All, although he starts things off with some nasty gutteral pukes for "Heroin." I'd imagine most of the guys in this band were too young to have experienced these bands during that period but they have the sound down pat. The kick drum is a little too prominent in the mix but, otherwise, there's little else to complain about. Fast and heavy--this could have been on Combat or Profile back in the day. (anothersocialdisease.blogspot.com)

ARCTIC FLOWERS

ARCTIC FLOWERS-Procession (self-released, 12")
Five new songs by the Flowers and they maintain their forceful melodicism while offering different shadings. There are the sturdy, hard-edged rockers like "True Words" and "The Wrecking" but "Strange Ports Of Call," takes a different turn. It fades in and then out and sounds like an excerpt of a longer song. While other songs hint at it, this one delves into the early 80s gothic/post-punk realm, riding a New Order-ish bass-line and adding effects to Alex's voice so it sounds like she's beneath the surface. Once again, there's stellar and dynamic interplay between the instruments, with Lee's supple bass-lines complemented perfectly by Stan's stinging, haunting guitar and nuanced drumming that picks up the pace where necessary or percolates gently under the melody. There's not one song that really grabs you like "Crusaders + Banshees" on the first album--it's a bit more tempered, overall, but the songs have stick-in-head presence. (arcticflowers.wordpress.com)

BELGRADO-s/t (MMM, LP)
This is a US pressing of Barcelona band Belgrado's 2011 album. They're another band playing in an early 80s gloomy, post-punk vein ala Arctic Flowers and many others. It's a spacious sound with shimmering, haunting guitar, bubbling melodic bass-lines and soothing yet emotional vocals. But it's not just an atmospheric approach--there's an assertive punch on such songs as "Zapomnijmy" and "Visions of Massacre," which utilizes a similar drum pattern as Killing Joke's "Pssyche." And, as with other bands playing this style, there's the echo of early Siouxsie and Joy Division. A "hot" style at the moment but Belgrado are quite adept at it, drawing you into a blissful yet forceful musical realm. (www.mmmrecords.bigcartel.com)

BILL BONDSMEN-Nineteen/Things Fall Apart (4TG, 7")
I've probably said it before but the Bondsmen are one of the more underrated, overlooked punk bands in the US and have been banging out quality sounds for years, without fitting any strict mold. Here are a couple of more songs from the session they did in late 2011 (I have 9 songs in the digital format but only four have been released so far). Dark and menacing, with vocals teetering close to the edge of sanity and a fiery, hard-edged mid-tempo wallop, especially for the frayed charge of "Things Fall Apart." Let's hope the other songs from that session see the light of day at some point. (15106 Paris, Detroit, MI 48101, billbondsmendetroit@gmail.com)

BI-MARKS-Sleepless (Black Water, 7" EP)
Three revved up hardcore rockers--punks playing music inspired by NWOBHM and Lemmy's crew with all the piss 'n snot they can muster, at least on the two a-side tracks. On the flip, there's a thrashier flavor with heavier segments. I should probably go back and check out their previous full-length because these songs are fairly impressive. (PO Box 5223, Portland, OR 97208, www.blackwaterpdx.com)

CITIZENS PATROL-Retarded Nation EP (Way Back When/Too Circle/Spastic Fantastic 7" EP)
More rampaging, old school hardcore from Citizens Patrol, who haven't tinkered with the formula over the past half dozen-or-so years. The opening guitar chords for "Short Attention Span" makes you think they're about to try their hands at a tuneful UK-82 sound but, uh uh, the thrash quickly comes in and things stay that way until the end, where they cover fellow Dutchmen Seein Red's "Diktatuur Van De Wekker," the only non-English song on here. More of the same but played with a good amount of musical adeptness, especially the shit-hot bass runs. (www.waybackwhenrecords.com)

DESPERAT-Demokrati Eller Diktatur? (Beach Impediment, 7" EP)
This Swedish band, with members of the legendary Mob 47 and Warvictims, have several releases already and this is a US pressing of their first 7", from 2011. On the lyric sheet, it says "Once hardcore, always fucking raw hardcore!" And they live up to it--blazing fodder in a classic Swedish vein. No low tunings, just a razor-sharp sound. In addition to the lyrical themes about governmental and religious abuses and environmental destruction, there's also a lament about people being tied to cellphones, with the clever title "Mobilterror," while "Bandlogga" simply states that band names and logos don't need to be so complicated. Yeah, I think these guys know what they're doing. (beachimpedimentrecords.blogspot.com)

DOUBLE NEGATIVE 

DOUBLE NEGATIVE-Hardcore Confusion Vol. 3 & 4 (Sorry State, 7" EP)/Hits (Sorry State, 7" EP) 

One brand new record and one not-so brand-new record from the always pummeling Double Negative.  HC 3&4 is just one disc with four songs, this time, instead of two separate singles with two songs apiece as on the first two volumes of HC and if you put the three sleeves together, it makes a full -/- logo. Confused? Don’t be. It’s their first release with Cameron on vocals, replacing Kevin Collins. Their new drummer Bobby Michaud had already joined for Hits. There’s not a dramatic change in vocal style and the band continue to rip out furious and frenzied hardcore with blistering guitar and scampering speed. Some of the sounds that Scott Williams pulls out of his guitar are mind-blowing--unsettling chords and whizzling noise. Hits has rougher production with less bottom-end, but Bobby's locomotive drumming makes an immediate impression on the opener "Suicide Suicide." That song mentions Scott's 48 years on this earth and how he's "worm(ed) my way back." Yep, let's hear it for the old-timers! The guitar and bass intertwine into a howling mesh and, if there aren't any hooks per-se, the cumulative effect on both of these discs remains riveting. (www.sorrystaterecords.com)

ENDLESS GRINNING SKULLS-Fear, Ignorance, Control (Viral Age, 7" EP)
Hammer-smash sounds from the Skulls (I know--hammered skulls; not original), with a fast, crusty hardcore assault, and harsh vocal tradeoffs although things get slowed down for "Grovel". On that song, the vocals that sound like Nick Blinko from Rudimentary Peni with a sore throat or mixed with Deek from Oi Polloi and it does have a Peni-like cadence. But in the main, they go straight for the jugular. The sleeve folds out into a poster that offers a bleak, black and white visual accompaniment to musical contents. viralagerecords.blogspot.com)

FATAL FIGURES-Caterwaul (Big Neck, LP)

Most of this band’s membership was in The Blowtops, who hammered out dirty, noisy garage blues churn. There’s still something of that here and they drag their songs through the muck pretty well. The songs that favor a spirited shuffle work best here—“Party Girl,” “Break Me” or “Blue Zed,” the latter song previously appearing on a 2011 single. It’s less-successful for the dragged-out “Wayne Bent” and “New God,” sounding like a musical interpretation of a hangover. Maybe not as much “VROOM” as their previous band (you should check out the Blowtops’ Blackstatic if your curiosity is piqued) but they have the right idea at times. (PO Box 8144, Reston, VA 20165, www.bigneckrecords.com)

FERAL FUTURE-Come Out Swinging (Western Medical, 12")
They do come out swinging, that's for sure. Abrasive, yet textured rock from three women and one guy who stomp 'n bash their way through five songs on this one-sided `12". The best song, "College," has a ranty chorus and sarcastic theme about going to college for the "MRS" degree, if any of you ever heard that term and does have a hint of melody during the verses. Churning fodder that definitely has a 90s riot grrrl (at times) feel to it and an endearing spirit. (www.westernmeds.com)

HANK WOOD & THE HAMMERHEADS-Go Home (Toxic State, LP)

"Go Home" came out some months back but I was finally able to score a copy. It’s on Toxic State so of course it was going to be a pain in the ass to come by (the same thing happened with the Crazy Spirit 12") and I'm glad I was persistent because this is one of the year's best. Raw 'n nasty garage punk, adding organ and various percussive twists into its spirited gnash. The lyrics are cantankerous and, at times, repeated until you’ve been numbed into submission—“It’s murder” or “walking down the street/fuck walking down the street” or “I don’t play games, I’ll kill him” stated ad infinitum until you think it might be a good idea to avoid the narrator at all costs. Don’t avoid their musical attack, though—whether it’s the strut of “Trouble” and “It’s Hard On The Street” (great drum clatter on that one) or the charging rave-up of “I Don’t Play Games.” this is attitudinal stuff that backs it up with raucous might. (toxicstaterecords@gmail.com) 

HYGIENE-Hygiene/Hygene (Sorry State, 7")
Hygiene have always been a mixed bag--let's just say a little of the offkey vocals go a long way and it was tough to get through their album. However, for this 7", with one song in English and one in French, there's a loopy charm. The English side has a clunky, offbeat hookiness that comes across like the Television Personalities. The French side is bouncy and jabbing, but leaves out the poppiness and devolves into a chaotic instrumental mesh. It sounds like a recipe for disaster yet somehow works--that's the case for both songs. (www.sorrystaterecords.com)

ICON GALLERY-Valiance/The Pact (Solar Funeral, 7")
Straight-up tuneful hard rock--you could even call it metal, with the NWOBHM guitar lines. I give the edge here to the more concise "The Pact." Burning arrangements along with soaring vocals, which veer into near-overkill territory but it doesn't detract from the band's churning power. Thumping bass and drums complement the six-string authority quite well. (solar-funeral.org)

KABUL GOLF CLUB-Le Bal Du Rat Mort (Uproar For Veneration, CD)
Here's another band working the visceral, 90s-era AmRep sound. From Belgium, KGC utilize tribal rhythms that stomp and swing around like a tetherball that’s going to wrap itself around your throat, along with nightmarish guitar squalls and jabs and a vocalist who howls like the spawn of Ministry’s Al Jourgensen. No real hooks to grab onto but it's very easy to get caught up in the power of these compositions and there are things you notice, like the snaky guitar line for "5 Minutes 2 Midnight." (www.kgc-band.com)

LEGENDARY WINGS-Making Paper Roses (Dirtnap, LP)
I wonder if you can get good wings in Kalamazoo, MI? That's something I was pondering a little while listening to this band's album. Power-poppy rock that sounds like it could have come out of the late 80s/early 90s Berkeley scene--if any of you remember Sweet Baby Jesus, it's somewhat in that vein. And while the songs have a good amount of tunefulness, there ain't a lot of power to go along with it. "Too Far" comes close, with a stinging guitar melody line and ear-grabbing vocal harmony but this is mainly on the lighter side of the melodic punk spectrum and I like more buzz with this style of music. (www.dirtnaprecs.com)

LOS MONJO/RULETA RUSA-Split (MMM, 7" EP)
A strong split by Mexico's Los Monjo and Bay Area band Ruleta Rusa, with a pair of songs apiece. Los Monjo favor a sturdy, buzzin' mid-tempo punk sound on their songs. Ruleta Rusa, with former Peligro Social vocalist Jose, come down on the more melodic side of the spectrum for "Delincuencia"  but this is still hard-edged, driving fodder, especially for "Destruye La Television." Killer split. (www.mmmrecords.bigcartel.com)

MÜLLTÜTE-2nd EP (HeartFirst, 7" EP)
German punk band with a trebly style that reminds me a bit of Amdi Petersens Arrme and the Regulations mixed together. In other words, there's something of a Danish bent here. Jabbing and thumping, along with a judicious amount of feedback. Both of their 7"s (the earlier EP was self-released in 2011) are worth hearing. Yep, it's old school and, as I've said, there's been a burnout factor of late but these guys have an appealing sharpness. (www.heartfirst.net/Band contact: boite1333@hotmail.com)

NEIGHBORHOOD BRATS-Ocean Beach Party (Falsified, 7")
Two song quickie from the Brats and it's a pair of rockin' punk ravers. It's a rough time--shitty weather, sharks. Not much of a party. "Ocean Beach Party" is quick and to the point, with an energetic burst while the flip, "Shark Beach," is slower and moodier, but 'ol Jaws does have a way of disrupting the fun. I'm still kicking myself for missing this band when they came through my area in 2011. More, please! (4940 Franklin Ave #7, Los Angeles, CA 90027, neighborhoodbrats.bandcamp.com)

NERVOUS IMPULSE-s/t (Undercurrent, 12")
Serge from the Goons is the vocalist in this DC band and his vocals are a double-edged sword. Distinct, for sure, soaring and whooping over the music but a little goes a long way with his throaty croon. Musically, it's not far-removed from Serge's old band or some of the other units his bandmates toiled in, such as Striking Distance and VPR (who had a pretty good album in 2003 or so). Loud, fast hardcore with rock/metal leads, slowing it down a bit for "Build A Bomb Or Shut Up." If there's an overall theme, it's about life's difficulties, disappointments and disillusionment (say that three times fast). You vote but nothing happens. Hours wasted working but still falling behind economically and, in the meantime, as Serge sings on "Louder Than Stupid," all you get for information on TV or radio comes courtesy of bloviating "pundits" while "level heads just get ignored." Anyway, if you can get past some of the vocal excesses, this is pretty good. (nervousimpluse.bandcamp.com)

NO TOMORROW-Nuclear Exposure (Sorry State, 7")

Ravenous, crusty hardcore with thick 'n meaty riffs dished out in a mid-speed manner for "Nuclear Exposure" and a faster-paced attack on "Burning Inside." Something of a Japanese influence with the metallic, but tasteful guitar trills punctuating the band's onslaught. There ain't much discernible enunciation in the twin howlings but the music crushes quite effectively. (www.sorrystaterecords.com)

NÜ SENSAE

NÜ SENSAE-Sundowning (Suicide Squeeze, LP)
Nu Sensae started as a bass/drums duo playing aggressive rock with an early 90s muse ala Babes In Toyland. Even with just two instruments, the sound was booming—that was certainly the case when I saw them play in the summer of 2011. Both bass and drums had an authoritative punch and Andrea Lukic accompanied her four string calisthenics with vocals ranging from howling to measured. Since then, they’ve added a guitar player and, if it’s a somewhat more conventional approach, the results on this album are hardly disappointing. In fact, it has more power and, yes, fullness. After a quiet guitar intro, it’s full on for “First Born” which does, indeed, sound like the Babes. And the new member, Brody McKnight, doesn’t just add powerchords to the equation. There are nervier shadings, as well, like on “Dust.” There’s some desert twang for the lengthy instrumental passage on “Whispering Rule.” “Spit Gifting” offers a jarring, post-punk drive while the relentless “Eat Your Mind” sounds a bit like Sonic Youth. A heady whirl. (PO Box 80511, Seattle, WA 98108, www.suicidesqueeze.net)  

RED DONS-Auslander/Mauvaise Foi (Dirtnap, 7")
Another pair of melodic songs from the Red Dons, whose members are scattered around the country (and globe) at this point. A warmth in the compositions but there's a sting just beneath the surface. There's something almost Buzzcocks-ian about what they do, in terms of the guitar harmonics, albeit without the pop trappings--in fact, the guitar lines go in a chaotic direction at the conclusion of "Auslander," before abruptly ending. Nothing that rises to the heights of "Pieces" on their 2010 album (still my favorite song by this band by far) but this is more than simplistic tuneful fodder, both musically and lyrically. (www.dirtnaprecs.com)

REPLICA-s/t (self-released, flexi)
Blistering Bay Area hardcore (Oakland, to be precise), showing off some strong instrumental chops and appropriately agitated, gutteral vocals from Dharma. A good mix of thrash and medium-paced burn, staying away from tuneless blasting. All of this is expertly navigated from one song to another--B, the drummer, has long shown-off his skill in such bands as No Statik and Scholastic Deth and it makes a difference. Good debut. (r-e-p-l-i-c-a.bandcamp.com)

RIPPER-Death Rider/Never Enough (Black Water, 7")
Two new tracks for Portland metallions Ripper. More than a bit of Fast Eddie era Motor-you-know-who in the engines, played in a semi-fast manner. You know the drill--train-like drumming and searing riffing 'n leads to go along with the husky vocals. Something to appeal to your denim jacket-festooned soul. They were a pretty damned good when I saw them with Warcry awhile back. (PO Box 5223, Portland, OR 97208, www.blackwaterpdx.com)

SCHOOL JERKS

SCHOOL JERKS-s/t (Grave Mistake, LP)
Snarlin' and snotty punk from this band, who have a handful of 7"s under their belt and now commit to the 12" format, pressed on lime-green vinyl or maybe an approximation of the color of infected nasal discharge. I have no idea. But it's quality burn. There are older touchpoints for sure--it has that SoCal flavor (they ain't called Jerks for nothing), executed in the same manner that Amdi Petersens Arme used a decade ago (yes, like mentioned above in the Mulltute review above although these guys have a sloppier take on it. Vocals aren't so much enunciated as spat out with a tantrum-like cadence. The music is lean and mean--slashing guitar, ratty drums, played fast and not messing around with anything too complicated. No grand statements, no polished production--just a bashing good time. (www.gravemistakerecords.com)

THE SHAME-The World Is Ours (Profane Existence, 7" EP)
The first release for Profane's "Limited Edition Singles Series" is this four-songer by Tulsa's The Shame. Singer/guitarist Chad Malone is probably best-known for his time in Brother Inferior (he's also played in Bring Down The Hammer in recent years) and this is straight up oi-style punk with a tuneful boisterousness. That means buzzin' guitars and hearty vocals, to go along with lyrics espousing a working class point of view and also extolling a love for soccer (or football, as its known everywhere else) and raising a pint or three. Oi Oi Oi! (PO Box 18051, Minneapolis, MN 55418, www.profanexistence.com)

SHORT CHANGED-We Will Bury You (Rodent Popsicle/Goat Power Recreation, LP)
Short Changed's second album introduces their new vocalist Bekka but the band’s attack remains similar—fast ‘n crusty hardcore played at a breakneck tempo and I’d imagine this is best-experienced in one of their home base of Oakland's warehouse facilities, if they still exist. And it could be scream therapy for ‘em, since the lyrics are about people and institutions that disappoint them but then they take solace in the music they’re laying down here—a release and that’s something we all need. While there are global concerns for some of the lyrics, there are also tongue-in-cheek sentiments, such as “Fuck You, Fight Me” which is about differences of opinion over... video games? Don’t laugh—I’ve been in heated arguments over which side of Black Flag's "My War"  is better (for the record, I’ll take side one). One of the standout songs here is actually an unlisted cover of Sepultura’s “Refuse/Resist,” the closing track and an absolute crusher from that band’s best album Chaos AD. It’s fairly standard fodder and, while I miss the rougher production of the debut, it’s still a good, hard-hitting effort. (Rodent Popsicle/Goat Power Recreation, www.rodentpopsicle.com, shortchanged.bandcamp.com)

SOMETHING FIERCE/OCCULT DETECTIVE CLUB-Split (Dirtnap, 10")
Two power poppy punk bands from Houston--OK, enough with the alliteration already. Both of these bands pack their songs with bright, brash arrangements and catchy hooks although Occult Detective Club imbue it with a harder edge. The vocals are gruffly emotional, the bass-lines throb--that instrument really carries the melody line for the opening song "Brick By Brick." The vocals are higher and sweeter for Something Fierce, who I wish sounded more fierce than they do. About the closest they get is "Get On Or Get Off," and that's still on the lightweight side, despite some decent guitar/bass gnash. Ear-catching but slight. (www.dirtnaprecs.com)

URBAN WASTE-s/t (Way Bay When/Even Worse, 7" EP)
Repress of one of the greatest 7"s to come out of the early 80s New York hardcore scene and one that should be included with the best-ever, period. Few records have had as SICK a guitar sound as Johnny Waste, with a trebly, hornets nest effect, while Kenny Ahearn emits the vocals in harsh, larynx-shredding fashion. With the abrupt jolt of "Police Brutality," your attention will be immediately commanded, with all the subtlety of a truncheon to the skull. "Public Opinion" remains an anthem of individuality for the ages: "I'm not into punk rock/I'm not into hardcore/Don't you try and label me..." and they're just getting started with the antisocial agitation except for the tender love ballad "Banana-Nut-Cake." Um, yeah. It's neither tender nor a ballad. Hard to believe it's been almost 30 years since this sonic timebomb was unleashed but it sounds as manic and raw now as it did back then. No legitimate hardcore record collection is complete without this. (www.waybackwhenrecords.com/www.evenworserecords.com)

VITAMIN X-About To Crack (Tankcrimes, LP)

Vitamin X are still going strong after a decade and a half and return with their first new album in four years, the second in a row recorded by Steve Albini and Pushead-inspired artwork by John Baizley. They continue to dish out boiling-over hardcore punk that includes metallic and hard rockin' leads (Marc knows his stuff in that department). Call it crossover, if you want, although it's from the hardcore side of the aisle and not the same as what, say, Municipal Waste are doing. The opening riff for "Carnival of Fools," for instance, is reminiscent of "Screams"-era Raw Power. And while there's certainly anger in Vitamin X's sound, it still manages to sound upbeat. A rip-roaring good time, as always. (PO Box 3495, Oakland, CA 94609, www.tankcrimes.com)

ZEITGEIST-s/t (Cobra Cabana, 12")
Fired-up rock 'n roll from this female fronted Pittsburgh band. The music has a formidable thump to it, especially the blistering rockers "Let's Play House" and "Relationshit." Tilley's vocals have range, from soaring to screaming and, unfortunately, they're somewhat overwrought and that hurts things. This disc has its moments but it didn't completely grab me. (201 N. Fairmount St., Pittsburgh, PA 15206, cobracabanarecords.com)

Suburban Voice blog #102

Here's another installment of the SV blog. I wanted to add a few more reviews but vacation is coming up and I didn't want to have another week and a half pass. This time, I feature spotlights of recent releases from Nada Nada Discos out of Brazil and Cowabunga Records from the good 'ol USA...

NADA NADA!

Nada Nada Discos, from Brazil, sent along a generous package of records—two LPs and four 7”s (some of them have been out for awhile). The first is a reissue of a split live album, Ao Vivo No Lira Paulistana, featuring RATOS DE PORAO and COLERA, recorded in 1985 as part of three day event to mark the release of Colera’s first album. Raw, warts ‘n all performances by both bands. RDP did the show as a three-piece, during a time that main mouth Gordo wasn’t in the band. Revved-up thrash with a strong DISCHARGE influence at times. Colera’s songs have a slightly more tuneful quality and they keep the speed to a moderate clip. Sound quality is acceptable but I’d still say it’s more of a historical document than anything essential, but that’s just my bias about live albums in general. I wouldn’t have minded being at this show, of course. I did manage to see RDP on their only US tour (a whopping total of 5 dates in 2000) and they were completely raging.

O INIMIGO ply a mid-to-late 80s DC sound on their album Imaginário Absoluto. It’s musically solid, taking cues from Embrace, Dag Nasty and Rites Of Spring (the bass-lines, in particular) but the over-the-top vocals—akin to an over-caffeinated Rob Pennington from By The Grace Of God—are often excruciating and nearly sink the whole thing. It’s a shame because the songs manage to blend brawn with a strong melodic sense.

As for the 7”s, there’s another reissue, INOCENTES’ 1983 debut Miséria E Fome. As the liner notes explain, 13 songs were recorded but only 4 made it past the censors. The one track on side A, “Apenas Conto O Que Eu Vi,” is a mid-tempo punk buzzer and the three on the flip take a thrash route. Raw, gritty and no doubt reflecting the repression they endured at the time. Meanwhile, SPEED KILLS offer up blistering d-beat hardcore with the usual hallmarks—feedback/distortion wrangling on the guitar, hoarse vocals and a full-speed ahead approach. FUTURO provide a change of pace with “Sair De Mim” and “Destrói Você on their three song EP. A melodic wash to go along with the punk punch and Mila’s pealing vocals. The final song, “Mãos Atada,” a cover of a song by fellow Brazilians B.U.S.H., is a brief buzz-burst. Finally, VENENO LENTO have a hearty ‘n tuneful punk sound. I hesitate to call it ‘street punk’ but there’s a streetwise, singalong quality to it. The gruff vocals do strain at times. Otherwise, not bad. (Nada Nada Discos, www.nadanadadiscos.com)

BRAIN DEFORMITIES

COWABUNGA!

I also got a generous package of records from this Illinois label. I'll start with the BRAIN DEFORMITIES' 10", Suburbanized. The band includes members of Cülo and the vocalist is Cowabunga honcho Nick. Snarlin' hardcore punk that manages to sneak in a few foreign hardcore influences, such as "You Can't Catch Me," which sounds similar to a Kaaos song and the title track has a similar feel, bookended by some festering feedback. Mainly, it's just nasty, trigger-finger fodder and the line "got so much pent up bile" could be something of a mantra. Comes with a 20x20 poster of the rather colorful artwork.

SLUGZ, from Richmond, VA, dish out hard-edged rockin' punk on their three song Empty Space EP. Slammin' riffs and raspy vocals add up to a savage, fierce-sounding disc. RATIONAL ANIMALS are also a fierce-sounding band but in a slightly different manner. Their approach is heavier. A wall of sound with braying vocals, reveling in ugliness for their new single. "Gabrielle" is mid-speed rocker with a subtle Black Flag undercurrent as part of the bargain. There's some serious string mangling going on for "Eating My Words, slowing to a sputtering conclusion. THE NARCS, who like Rational Animals are from upstate New York, had a pretty good 7" on Reel Time awhile back and this one, Long Hot Summer, is also quite good. A trebly sound that has the trashcan garage punk ambiance that stomps away in bruising fashion. From the bluesy raunch of the harmonica-drenched "Mobile Jail" to the stomping 'n simple "Rat Bone," it's quite an inviting racket. Not nearly as inviting is the latest 7 song 7" missive by SICK/TIRED. It's definitely a racket and a hammering tandem of ugly thrash and grind. I've gotten somewhat sick/tired of this sort of tuneless wreckery, although there are moments where they pull it into a sharper, hammering focus, especially "Us Vs. Them."

Finally, for something completely different (where have I heard that before?), there's the album by TENEMENT, The Blind Wink. Eclectic doesn't begin to cover it. It's essentially a solo project for a guy from Wisconsin named Amos Pitsch, assisted by two other people on some of the tracks. Amos definitely has a pop heart and expresses that through different musical shadings that bring to mind, at different times, Dinosaur Jr., the Beatles, Bowie, Guided By Voices and the Jesus and Mary Chain (although without the sheets of feedback)--those are the names I jotted down. At its best, there's a knack for a solid hook, such as "(Messy Ending) In Middle America," "The Pleasure We Get (In Scratching An Itch)" and "Viscous." "Urinal" is a warmly-engaging, albeit lengthy dose of tuneful rock. Unfortunately, you have to wade through some overly precious and twee material to get to the gems. Maddeningly inconsistent. (www.cowabungarecords.com)

MORE OF THOSE PLASTIC PLATTERS...

WHITE PAGES

ABORTION SQUAD-Demo 1983 (Who Cares?, LP)

Manchester, NH—home of the Union Leader, one of the most right-wing papers in the US. Home of Channel 9, which once featured a children’s host named Uncle Gus, who didn’t seem to like children all that much. And home of the Abortion Squad, a hardcore trio who started as a punk band called the By-Produx but caught the hardcore bug. They recorded a demo 20+ song demo in 1983 and it’s just been given a limited vinyl pressing on French label Who Cares. (full disclosure—I had the source tape for this release and did the ‘rip’ myself—unfortunately, there’s some tape hiss. I was hoping the guy releasing it would fix up. It still came out sounding fairly clear). Very much “of-its-time,” with a fast thrash sound --some might call it generic--punctuated by buzzsaw guitar, 1-2-1-2 drumming and standard anti-authoritarian sentiments—“No Authority No Rules” was their anthem of sorts and there’s no missing the point of “Fuck You Ronnie,” “Stupid Jerk” (unfortunate use of the word “faggot”) and “Pledge Allegiance.” There was something of an outsider kinship with bands like Psycho, Cancerous Growth and, a bit later, PTL Klub, bands that weren’t really accepted by the Boston hardcore elite but built up followings away from the city. An endearing grittiness though far from top tier. Sadly, I recently found out that the band’s vocalist/guitarist Pat Landry passed away after a long battle with cancer. He was only 48. I always liked seeing these guys play and I offer my condolences to his family and friends.(www.whocaresrecords.com)

BLACK WINE-Hollow Earth (Don Giovanni, LP)
Super-catchy, melodic rock. The vocals (both male and female) are sweet and melodious but don't fall into twee territory (I HATE twee!). OK, the quieter song "Blurry" does veer awfully close to that but not enough to make me sprint to the turntable to lift the needle. But these two guys/one gal know their way around a hook and have probably boned up on the likes of Guided By Voices, Big Star, the Undertones, Fastbacks and the Pixies because there are bits and pieces of those bands sprinkled into their compositions. And Black Wine pull off the feat of making it more than the sum of those parts. There's a manifesto of sorts on the lyric sheet where Black Wine talk about being "no core" and it encourages, in essence, just being yourself. "Stop thinking about how you can label yourself/sell yourself/make yourself accommodating, marketable and attractive and start thinking about what makes you actually happy." I think they're on to something there. (www.dongiovannirecords.com)

BLUE CROSS-Mass Hysteria (Shogun, LP)
An Ottawa duo with Jo from Germ Attak collaborating with a vocalist named Jess and quite a bit different than the UK-82 punk of his other outfit. This is goth-tinged, post-punk rock with a hovering, warm shimmer and texture. They proudly wear their influences--definitely Siouxie in the vocals (although it's a more soothing cadence) and there's borrowing from Bauhaus on "Disconnect" and "End Up Alone." But it's not as derivative as you might assume and there are other shadings, such as the sizzling guitar noise for "Headstone." Music to pull you into a dreamlike state, although that's likely to be jarred loose for the near-cacophony of "Calling Combatants." This came out some time back (I know, tardy as usual) and they have a newer album that I haven't heard yet but my curiosity is certainly piqued. (3 rue du Lavoir, 51140 Bouvancourt, FRANCE, shogunrecordings.pagesperso-orange.fr)

COLTRANES-I've Got Heaven In My Smile (Shogun, LP)
A tandem of hardcore and hard rock, with a vocalist summoning his inner Danzig at times, but also letting out some blood-curdling shrieks. It's not really thick enough to qualify as stoner metal for the heavier compositions but songs like "20/40" and "Fear Of Frozen Foods" certainly follow a St. Vitus template. There's even a little "Bleach"-era Nirvana with the snaky riff of "Cataracts." Fairly rocking at times but the production is thin and it negates the power-level. Also, a little of the vocals go more than a long way. Not really into this. (3 rue du Lavoir, 51140 Bouvancourt, FRANCE, shogunrecordings.pagesperso-orange.fr)

FOREIGN OBJECTS

FOREIGN OBJECTS-Mammonism/Fable (Cut The Cord That..., 7")
It's tough to follow up the best album of 2011 but this 7", the first recording with new bass-player Andrew Farr, fares pretty well. "Mammonism," provides some edgy rock with some atonal trumpet bleating mixed in with a sturdy bass-line and Terry's piercing vocal. "Fable" is a succinct, straight-forward burner. In all honesty, it took a few listenings to sink its hooks in but it's another solid release. (ctct-records.tumblr.com)

THE GUNS-s/t (Red Hour/Smog Veil, 2xLP)
Long overdue "legit" release of this great lost Cleveland punk band's album. It's been booted over the years and I've had MP3s that I've been listening too for probably a decade at this point. They had a few songs on the "New Hope" compilation and another compilation or two but that was it. The Guns were a teenage band (early teens, in fact) who got caught up in the nascent Cleveland hardcore scene in the early 80s and bashed out some credible noise full of teenage angst and anger. That's pretty much epitomized on the anthemic "I'm Not Right." Later material introduced a metallic element into the sound, as the lineup shifted a bit. Besides the various studio recordings (which sound the most pristine), there are songs from a radio broadcast and various, not-too-great live recordings. But it's worth it alone for the primo hardcore swill and it's presented in a gatefold package with extensive liner notes by Tom Dark, the brother of the late Scott Eakin, who was the guitarist/vocalist in this band and later played in Step Sister with Tom. (245 E. 235th St., Euclid, OH 44123-1507, www.smogveil.com)

HAUTE COUTURE-Max's Rooms (Shogun, 7" EP)
The cover pays tribute to the Fix's "Jan's Rooms" EP, right down to the last detail and French band Haute Couture slam out some thorny, agitated-sounding hardcore punk that sounds at least partially inspired by that band. Mainly fast and raw, although "Hello Finn," the best song here, is a mid-paced stomper. Max's Rooms probably aren't as plush as the ones you can get at the Hotel California but I'd rather hear this than the Eagles anytime. (3 rue du Lavoir, 51140 Bouvancourt, FRANCE, shogunrecordings.pagesperso-orange.fr)

INSULT/RAMPANT DECAY-Split (Patac, 7" EP)
Kind of "outsider" Massachusetts hardcore bands in that they've never been part of the cool clique. Insult were around in the 90s but haven't been heard from that much in recent years. These 2010 recordings show them to still be a pretty potent outfit. Occasional blasting/double-speed thrash but with stop-on-a-dime tightness and "Diddler On Parole" takes a dirgier route. Rampant Decay have a little death metal in their engines but the hardcore side also comes out on their three pounding songs. Should I be trite and say both bands play ugly songs for ugly times? Oops--too late. (www.patacrecords.com)

NIGHT STALKERS-s/t (Who Cares?, 7" EP)

A one-sided 7" featuring some fast, ’82-inflected rough ‘n tumble hardcore going the “punk-noxious” route i.e. dicey lyrics exuding drugging, drinking, killing, etc. Yes, they have a song called “True Punk Fags” and I imagine that’s going to disqualify this record for some of ‘ya. They’re definitely suffering from a case of arrested development and/or it’s just good ‘ol fashioned button pushing. Yeah, we get it, punk shock value. Pretty stupid. It’s one of those records I almost hate myself for liking. (www.whocaresrecords.com)

NO MISTAKE-Connect The Dots... Complete The Puzzle (demo, CD)
With the old-school layout, semi-generic name, SS Decontrol and Negative Approach covers, you know what you're getting right off the bat. Thumping old-school hardcore punk from four guys who don't look like they're kids. The guitarist (and occasional vocalist)  is Mike Bullshit from Go!, and it sounds like the late 80s NYHC bands who took cues from the earlier part of the decade and molded into something of their own. And while they express outrage and a chip-on-shoulder attitude, there's no bluster. Songs about environmental destruction, corporate ladder climbers and even the colonization of Hawaii. Well-tread ground and they get it right. I'll bet they're a lot of fun live. (PO Box 59321, San Jose, CA 95159, nomistake.bandcamp.com)

PINK LINCOLNS-Yinz: The Live Album (24 Hour Service Station, CD)
Florida punk legends captured live in their drunken glory in Pittsburgh in 2005. Loud 'n snarly with some crowd-baiting banter between songs. It sounds like vocalist Chris Barrows got increasingly inebriated as the set progressed. The Lincolns operate at the nexus of '77 punk and thrashy hardcore, along with rock 'n roll touches. Sputtering and spirited in mostly a good way, although they didn't include my favorite song, "I've Got My Tie On" and I probably would have been "that guy" yelling for it. I'm sure Chris would have given me a beer shower as a reward. At least I can stay dry while listening to this. (www.24hourservicestation.com)

PLASTIC CROSS-Grayscale Rainbows (Don Giovanni, LP)
NJ band with members of Kamikaze, Degenerics and other aggregations and continuing in a similar vein--that means frantic, heartfelt hardcore with melodic sting in the guitar and passionate vocals. No chug or metal--this is a tuneful approach with some mid-to-late 80s DC hardcore inspiration and the occasional Gorilla Biscuits-ish guitar trill. I'm guessing most if not all of these guys are in their 30s at this point and they continue to make energetic, potent hardcore that's the product of skill and experience. And I imagine it's a way of coping with the adult world that's "so full of shit" and chafing against expectations of others and elements that attempt to submit people into numb compliance. I can certainly relate to that! Music for misfits, for those who still refuse to "fit in," no matter the numerical age. (www.dongiovannirecords.com)

POTTY MOUTH-Sun Damage (Puzzle Pieces/Ride The Snake/Feeble Minds, 12" EP)
An impressive debut by this Western Mass. band. Snaky punk/post-punk with strong melodies that, at times, make me think of another band that started in WMass, the Pixies, at least with some of the semi-surfy guitar lines. It's just one element, though. Six downright catchy songs with the hooks emerging from the arrangements as well as Abby's charming vocals that flow from sweet to assertive shout 'n swoop for a song like "Superfriends" while the band bash away behind her. Potty Mouth don't go for a brazenly pop sound but that's the effect--a blissfulness sets in but it also has an edge. (pottymouth.bandcamp.com / Ride The Snake: www.ridethesnakerecords.com)

WHITE PAGES-s/t (Can't Stand Ya!, 7" EP)
Fast, geeky and fun punk by this Cambridge, MA three piece. The songs made me think of early Showcase Showdown with the trebly guitar sound and unaffected charm, although Joe's vocals are more nervous-sounding. And I doubt you'll be able to get Christine's "ah-ah-ah" backing vocals from "Please Kill Them" out of your head. Quite enjoyable. (whitepages.bandcamp.com)

ZOOPARTY-You Must Be Joking! (Devil, CD)
Third album for this Swedish trio and, for the third time, they're joined by some well-known friends, namely Glen Matlock (Sex Pistols/Rude Kids) and Brian James (Damned/Lords Of The New Church) contributing to a few songs. Unsurprisingly, this is straight-ahead tuneful trad-punk with a definite Pistols/UK-77 slant. "Sick Of The Racket," for instance, owes a bit to "The Great Rock 'n Roll Swindle" (the song). They also occasionally pick up the pace, such as on the title track and "Shout It Out" but the mid-tempo, anthemic songs are better. If the bands I mentioned above float your boat, you'll like this. (www.facebook.com/DEVIL.RECORDS)

Suburban Punk Issue #1

This month is the 30th anniversary of the rather humble beginning of my 'zine, which was Suburban Punk for the first 10 issues and renamed Suburban Voice starting with the 11th. In all, I published 45 print issues between 1982 and 2003. It was never my intent to stop publishing a print edition of SV but let's just say life got in the way, as well as my own procrastination, feeling a lack of inspiration and the like. That still continues at times--and that's why there haven't been as many blogs the past couple of years. Fear not--I'm not going to stop anytime soon and, yes, I still hold out hope to publish another issue of the zine, maybe even a book or two. I've learned to stop making promises, at this point.

I'm sure many of you have read the story about the origins of SV/SP but for those of you haven't--I started the zine kind of on an impulse, without any grand plan. I'd done a few reviews for a zine called Concentration X and they edited my writing, in what I thought was incompetent fashion. At that time--summer 1982--I was simultaneously starting my post-collegiate "adult" life and also starting to go to more hardcore shows. When I saw a few shows at the legendary Gallery East in Boston, that was life-changing. I decided I needed to start writing about this stuff so, in either late August or early September 1982 (I don't have the actual date), I typed out some live and record reviews over the course of a few nights, leaving the top of the front page blank since I didn't have a name for the zine yet. After finishing, I just scrawled out Suburban Punk in the blank space, along with my name, address and price, which was a quarter. There was no great brainstorming process over the name, it was just something that popped into my head. My dad worked for GTE and had access to a copier. He'd made copies for me in the past--small newsletters and the like. He ran off fifty copies of the four page first issue, I took them to a few shows (it might have been one, it might have been two--I can't remember) and I sold them all fairly quickly. I think he did a second run of 40-50 more. It's all kind of hazy.

The next issue was done on a ditto machine at the Hadley School in Swampscott. My mom was a sub in the school system (I also did some subbing while between jobs in late '82). I forgot the exact number--somewhere between 50 and 100, with 9 one sided pages and a cover with a xeroxed photo of Discharge taken from a UK punk magazine. That was because I featured a review of their new "State Violence State Control" 7". Issue #3 was the first one to be professionally done, at a local copy place and, except for four issues (#12-#15, where a friend xeroxed them for me at his work), the rest have always been done at printing places.

So there 'ya have it. The zine was born of a love for this music and, while I feel older and don't have the energy or perhaps some of the enthusiasm I used to, I still feel the need to make some kind of contribution and not merely be a spectator. That comes from my writing, doing the radio show and posting photos on my Flickr page. In the latter case, though, I've recently decided to put the camera away for a good amount of the set, once I feel I have what I need, and just watch the band. Because that's why I'm there, right?

So here's Issue #1 of Suburban Punk for you to download. It's a PDF file that you can open using a program like Adobe Reader. You can even print it out and staple it together and you'll have your own copy. I look at that issue and I cringe at quality of the writing but I also marvel at some of the shows I covered.

A hearty thanks for the support, kind words and, of course, free records over the years!

Al Quint
9/7/12