Suburban Voice blog #123

We're almost halfway through 2017, the reich, uh, presidency of a certain Mr. Trump is underway and, goddang it, punk's going to be GREAT again! Even a few of the discs reviewed below have a timely nature to them. DOA's once again recycling their "fucked up" song into "Fucked Up Donald" (sad to say, it's not very good). Green Day did a riff on a line from MDC's "Born To Die," inserting "No Trump, No KKK, No Fascist USA" into the song they played at the Grammys. That might be the last time you see that band mentioned in this space, by the way. It might even be the first time I've mentioned them since reviewing one of their albums in the 90s... yeah, I used to review stuff like that.

But since the day the country died (I'm sorry), last November, you keep hearing people say about how we need lots of anti-Trump songs and to go back to the 80s. That punk will be relevant again. Such a fucking myopic view. It also presumes that, since&the Reagan era, there hasn’t been much in the way of punk that has inspired criticism of the political and sociological realms. Also, this is the wake-up call you need? Where have these “make punk great again” people been while people of color, the LGBT community, Muslims and the economically-disadvantaged lives’ have been made a living hell? It’s always been with us but really got ratcheted up after 9/11 and especially after Obama’s election. Trump just brought it out in the open even more. People didn’t have to try to disguise their prejudices anymore. Someone I know also pointed out that it discounts what’s been going on with all the punk movements and communities in the rest of the world.

But, hey, we might as well try. Maybe some of the records reviewed here will inspire some kind of rebellion--starting with personal rebellion. Small steps, my friends...

THE MUSIC PILE...

CAPITLE-Melodies of Capitle (Cacophone 7")/Greatest Hits Vol. 1 (Cacophone, 7")

Capitle were an early 80s Albany, NY hardcore band who only recorded a few demo tapes and appeared on a compilation. Following the death of original bass player Phil Samuels, Capitle returned with a revamped lineup and a pair of newly recorded 7" EPs and it hardly sounds like some lame attempt to recapture past glories. Not fitting any pat category, although there are a few similarities to the Circle Jerks (post-"Group Sex"). Vocalist Jim Romano has a Keith Morris-like cadence at times. Herky-jerky and kinetic, as the words are spat out in semi-narrative fashion, sometimes breaking from the songs’ meter. If this is a mid-life criss, well, let’s hear it for mid-life crises. (www.cacophone.com)

CLITERATI-s/t (Tankcrimes, 7")
Cliterati is the new band with ex-Voetsek vocalist Ami Lawless, who relocated to Portland awhile back. While there are a few grindcore moves here and there, Cliterati favor a crustier hardcore/thrash attack than Ami’s former band—bruising riffs, propulsive drumming and vocals barking out the harsh sentiments. The song was written before the election but “Make America Hate Again” could be a mantra for the new dark age. “Virtue” takes on sexuality—the hypocrisies for people who pledge purity but their actions and fantasies are anything but--“preach purity while practicing perversions.” Powerful, both musically and lyrically. (www.tankcrimes.com)

CONNOISSEUR-Over The Edge (Tankcrimes, LP)
Stoner music i.e. every song is about the joys of smoking weed and, while it’s done with a knowing wink and sense of wit, it’s kind of a one-trick pony. Musically, it’s not your typical stoner metal. It’s a heavy sound with both high-pitched and cookie monster-timbre vocal tradeoffs, but they also have an ugly punk edge to go along with the metallic elements.   I’m actually kind of surprised the vinyl color was pink and not green—the price of the digital download is $4.20 (natch). Maybe if I was high… who knows? (www.tankcrimes.com)

DIRTY & HIS FISTS

DIRTY & HIS FISTS-East Coast Tour 2017 Tape (demo)
High-energy punk rock ‘n roll at a sturdy mid-tempo clip from this LA band. Thick riffs chock full of buzz and burn. “23rd Century” adds some spacey guitar effects to the fray. It’s not wild or out of control but their volume-driven, not too slick-sounding attack does connect. They'll have a 7" later this year on Feel It. (shoutrecordings@gmail.com)

ELIX-R-Six Hours (demo)
Raw and abrasive punk from this Denton, TX band, with yelping vocals buried into a din of buzz-burn instrumentation. There’s a Rudimentary Peni feel, with the thumping repetitiveness. The guitar tone for closing track “Higher” has a bit of a death rock feel. In glorious low fidelity. (elix-r.bandcamp.com)

FATHER FIGURES-Heavy Lifting (Slope, LP)
Another solid offering (their fourth album overall) from the Father Figures, who include JFA's Michael Cornelius in their ranks. A post-punk framework but, instead of jabbing angularity, it’s subsumed into a percolating melodicism, with stinging guitar lines and a high degree of rhythmic dexterity. It’s not sedate—the vocals pack a good deal of emotional intensity and the music has a potent presence. “Rigged” packs a wicked punch, the hardest-edged song on the album, while “USS Destroyer” has a Fugazi-ish pulse to it. More of a sneak attack than a bombardment and an effective one. (www.sloperecords.com)

FEEDERZ-WWHD: What Would Hitler Do? (Slope, 7")
Frank Discussion and his merry band of Feederz return for their first new recordings in 15 years. Maybe they'd been planning it for awhile or perhas the election of you-know-who inspired it. Anyway, age hasn't brought subtlety, not the with a drawing of Cheeto Benito (I can't take credit for that) dressed in a Nazi uniform. "Stealing” is an ode to looting, delivered with a punk-meets-samba rhythm, while “Sabotage,” with the refrain “Time to put this country out of our misery,” packs rhythmic tension with a catchy chorus and is the better of the two. Just so-so and not anywhere close to the classics. On orange vinyl, of course. (www.sloperecords.com)      

FRIED EGG-Back and Forth (Beach Impediment, 7")
Fried Egg continue to exhibit a frenetic hardcore sound, punctuated by ranting, nearly-unhinged vocals going along perfectly with the fast-paced riff attack. Dynamic instrumentation, with intense guitar textures sharing space with nimble bass-lines and hammering drumbeats. No wheel reinvention, just succinct, well-executed rage, with the damaged-sounding “Side By Side” the standout. (beachimpedimentrecords.com)         

FUCK YOU PAY ME-Dumbed Down (Tankcrimes, LP)
This album was actually in the can for a couple of years before its release.. About time because it’s their most kick-ass effort to date. A detonation of rampaging Clevo hardcore that’s raw, fast and relentless and goddamn does Erba sound pissed off. As he says on “Douche Chills,” “Everyone around me puts me in a rage.” You do reach a point in your life where there’s no tolerance for people with hipper-than-thou obnoxious attitudes, to say nothing of shitty work situations or garden-variety knuckledraggers. That latter is the topic of “Ammosexual,” railing at Fox News-loving gun fondlers, while “50 Dudes With Machetes” is pulled from the Cleveland news headlines after some tough-guy gang-banger violence at a hardcore fest there. “Steubenville City Limits” is about college football playing rapists getting protected. And all of this is from 2015. I can only imagine what the next installment could be like—and I hope there is one because we need this kind of punk rock scream therapy. It could make this album sound like soft-rock. (www.tankcrimes.com)

FUTURO

FUTURO-A Torre da Derrota (demo)
The title translates to The Tower of Defeat and, after hearing this, I’m kicking myself for missing this São Paulo band on their recent tour. It would have meant a four hour round trip through a rainstorm but, still… Surging, impassioned vocals (lyrics are mostly in Portuguese, with a few in English) and stinging arrangements incorporating melodic punk, hardcore and a little goth. Includes a cover of Sado Nation’s “Mom and Pop Democracy” that fits in well with their musical style and it’s a band that hasn’t been covered to death. As of now, available on tape and download. (futuro.bandcamp.com)

HVAC-Mentality (demo)
HVAC are another nasty NYC band, albeit in a slightly different vein i.e. they’re not d-beat devotees but still play in a savage ‘n visceral style on their “Mentality” demo. After a tribal-type intro, “The Fuckening,” they kick into overdrive with a full-on blitz and shrieking, ranting vocals. They bash their way through the songs with a blunt aggressiveness, working in thrash and more pounding elements. (hvacnyc.bandcamp.com)

INFANT MORTALITY-Infamous (Violated CD)
Old-timers from Dover, DE who started this band back in the 80s and, after a hiatus in the 2000s, reformed a few years ago. Pretty basic fast, snotrag hardcore punk with metallic guitar leads. It gets a bit monotonous after awhile, although there’s a wise-assed sense of humor. They also tack on the tracks from their 1994 split with Violent Society and a few extras and there’s an enjoyable scrappiness to those songs, which include a cover of Bad Posture's “GDMFSOB.” (violatedrecords.com)

INTERCISION-Their Names (demo) 
Intercision's tape has a fold out insert that says “No Ban/No Wall/No Registry/No Trump… Fuck White Supremacy.” Thing is this tape could have come out at any time—timeless lyrics about misogyny, religion, police abuse, as well as a poignant letter to a childhood friend who got killed in one of this country’s endless wars. Those words and some of the other lyrics read more like prose or essays than rhyming lines. The demo’s title track reads off the names of people murdered by the police in recent years. Unfortunately, some more names will have to be added soon. Full-on, power-packed hardcore punk—reminds me of Aus-Rotten a bit. Includes a Pist cover. (intercision.bandcamp.com)

ISS-Endless Pussyfooting (State Laughter, demo)
The third tape from ISS—the collaboration between Rick Ivey from Whatever Brains and Edwin Schneider from Brain F≠--is another ear-grabbing excursion of electro-punk/new wave mania. It’s fun picking out the samples they use—the Cure’s “Jumping Someone Else’s Train,” X-Ray Spex's“Oh Bondage Up Yours” and even the yell that starts Faust’s “The Sad Skinhead” are woven into the kinetic musical tapestry. “Peniss Envy” has a chaotic industrialized fervor, while “Hot Boi” mixes in gothy textures and “(919) Sui-Cide” has a downright danceable rhythm. Experimental, yet completely unpretentious. (statelaughter.storenvy.com)

KALEIDOSCOPE-Volume Three (Feel It, 12")
After some tape releases and one 7”, Kaleidoscope’s Volume Three 12” features a somewhat more accessible take on their experimental punk approach. Mastermind Shiva Addanki has also played with the likes of NYC bung rockers Ivy, JJ Doll and Deformity, so there’s a dirty ‘n gritty vibe to these songs, a lowdown bluesiness harnessed to expansive sonic elements. There’s a concept at work, perhaps a cautionary tale of sorts, where man bows to machine but the machines end up inheriting the less-savory elements of the human condition, which makes one wonder who or what is controlling who. (feelitrecordshop.com)

LONG KNIFE

LONG KNIFE-Sewers Of Babylon (Beach Impediment, 7")
Yeah, they still kind of sound like Poison Idea and Colin certainly channels Jerry A. There’s no denying it but they're good at it. High energy hardcore punk with searing guitar licks and metallic flourishes. Sticking to a loud/fast blueprint, although “The Tower” is a fired-up mid-tempo rocker. Keith Testerman (Hellshock, Warcry, etc) now mans the drum kit and provides a potent backbeat that really fires the engines. Floor-rattling. (beachimpedimentrecords.com)

MIRROR-Universal Dismay (Erste Theke Tontrager, 7")
An Austin aggregation including members of such heavy hitters as Vaaska, Criaturas, Glue and others. Needless to say, their Universal Dismay 7” provides a reckless excursion with spacey guitar tones to go with the noisy roar and ranty vocals. Kind of a Finnish hardcore feel at times, particularly Kaaos. Six songs of sonic dynamite. (Erst Theke Tonträger, ersttheke.de)

MOD VIGIL-s/t (X-Mist, LP)
The cover of Mod Vigil’s disc is a tribute to the sleeve for Gang Of Four’s debut 7” “Damaged Goods,” adding a few scientific symbols. They definitely have a semi-angular post-punk pulse in their sound, with the nervy, jabbing guitars but it’s a punkier attack. Surging and stinging, accompanied by nasally, distorted vocals, driving a hole through your skull with the driving “Trout Casualty,” “Driving Is Easy” and “Bad Day,” while “Rare Au Pair” has a stop-start moodiness to it. “K-Hole” provides rhythmic, whirlwind frenzy. As far as I know, this is this Australian band’s debut—no previous demo or 7”, jumping straight to the 12” format and it’s a bold splash. (www.xmist.de)

NEW CROSS

     

NEW CROSS (demo)
Debut demo from this Boston area band that includes Nate Thompson from the late, great Flaccid on vocals. This six song tape starts with a tough, floor-pounding intro and they play no-BS hardcore with a street punk undertow, ala 86 Mentality. It was recorded straight to cassette and, truth be told, these guys need to get into a real studio because these songs deserve a much better recording. (300 Lafayette St, Apt. 4, Salem, MA 01970, xnthompsox@gmail.com)

NURSE-s/t (Scavenger of Death, 7")
Nurse's sophomore 7" is just as potent as their debut. Nasty, scalding hardcore punk but there’s also haunting guitar textures to go with the onslaught. These guys actually sound like Out Cold with darker musical shadings, especially on opening song “Foreign Objects.” Also, like that band, the lyrics reveal a tortured, tormented soul. Ear-rending sounds. (scavengerofdeath.storenvy.com)

POLITICAL CRAP-Slow Death (Slope, 7")
Political Crap was Duane Peters’ first band and the three songs on this disc originally appeared on the 1981 compilation "Who Cares." Young, loud and snotty (where have I heard that before?), capturing the essence of early 80s southern California punk, especially for the brief, hard-hitting “Slow Death”—funny to see the reference to reading a 1991 obituary. The other songs are in more of a tuneful, mid-tempo vein. Duane’s vocals have a snarling quality that’s quite different from the weathered emanations that would come later with US Bombs. A worthwhile unearthing.(www.sloperecords.com)

RAD

RAD/CROISSANTS-Split (Sacramento, 7")
CROSS CLASS-Reflection (demo)
Two Sacramento bands, RAD and The Croissants, have hooked up for a split 7." They're quite different stylistically yet it works. RAD are back with 11 songs of trebly hardcore with no breaks and they do it with a lot of precision, with hairpin tempo shifts. 10 originals--before you finish reading the title of the song, they're on to the next--plus a well-done cover of Jerry's Kids "I Don't Belong" that's longer than the rest of the tracks put together. The songs are laced with humor as well as rage. Lory's vocals have an endearingly-sarcastic cadence The Croissants offer noisy, melodic buzzy, fuzzy punk that's pretty rockin.' "Everyone's A Rocker" sounds like a slowed-down minimalist take of the Ramones' "I Just Wanna Have Something To Do," accompanied by a rhythm machine (or it sounds like it) (sacramentorecords.com)

Cross Class features Craig from RAD. Their six song tape is taken from a future 14 song release. Raw, fast, hardcore punk with the occasional blastbeat and also incorporating some floor-pounding properties. Only one song, the heavier-sounding title track, breaks the one minute barrier. Angry-as-hell sounding but a little kind of goes a long way. (craighancock2011@gmail.com) 

RANK/XEROX-M.Y.T.H. (Adagio830, 12")
It’s been quite awhile since Rank/Xerox released anything, 2011 to be precise, and their self-titled album was one of that year’s best. It was a wiry, angular post-punk attack that conjured up memories of early 80s Boston art-punk bands like Native Tongue. Their new four song 12” M.Y.T.H. fucks with that formula, a bit. In fact, it’s something of a departure. The title track works in synth bleats and it’s got a mutant pop feel ala Total Abuse, as does “Ingenue,” which also cross-pollinates Devo and 154-era Wire. “Zero Hour” and “Deletation” do harken back to what they did on the first album—two edgy and mind-numbing compositions. It did take a few listens but all four songs have an engaging presence, with different shadings. (www.adagio830.de) 

SEEING SNAKES-For Who? For What? (Violated, CD)
Seeing Snakes come from the melodic punk side of the street, with beefy riffs, heartfelt vocals and boisterous backups. They sound like they’d fit perfectly on one of those TKO Records "Punch Drunk" compilations, sharing space with the likes of The Forgotten or Hudson Falcons. Tuneful without devolving into anything saccharine. Nice ‘n loud. (violatedrecords.com) 

SIAL (demo)
Raging stuff from Singapore. Sial generate a buzzsaw fury, both at a fast ‘n ripping clip and songs that have more of a pounding, tribal feel. Guitar and bass riffs that are thick as molasses and Siti’s piercing, urgent sounding vocals with a bit of echo on them that bring to mind Spanish bands like Destino Final or Una Bestia Incontrolable. It’s a big, sense-enveloping sound. (sial.bandcamp.com)

SILVER SCREAMS-Defective Machines (self-released, 12")
A dose of hard-driving, rockin’ melodic punk. Silver Screams are at their best when they plow straight ahead with a volume-soaked attack, as with “Dead Air” and “Brownbagger." Those both connecting with a feisty west coast punk fervor, packing some scorching guitar riffs. The cover of Joy Division’s “Disorder” is well-executed, if fairly faithful. The only real misfire is the more down-tempo, slower-burning “Straightjacket.” (silverscreams.bandcamp.com)

SLIMY MEMBER-Ugly Songs For Ugly People (Drunken Sailor, LP)
It should come as no surprise that Slimy Member, who take their name from a Rudimentary Peni song, would draw at least some inspiration from that band. Their debut album isn’t complete tribute but the latter’s influence can certainly be heard on songs like “Revelations” and “Age Old Time.” Still, it’s the not the whole story. This Dallas band emphasize a goth-tinged ambiance with shimmery and slashing guitar layered over nimble, somber bass-lines and a solid rhythmic kick. The pace is picked up for the fast and furious “No God” and “Destroy and Resist.” While there’s a bleakness, it’s not really dark wave and there aren’t any keyboards. Slimy Member definitely come down on the punk side of the equation. (www.drunkensailorrecords.com.uk)

UBIK (demo)
Melbourne, Australia continues to crank out quality bands and Ubik is one of the latest. A tuneful post-punk meets anarcho-punk sound. Ash’s vocals have an engaging quality, with a passionate cadence. One song is about a right-wing Australian crank named Andrew Bolt, who seems to be a racist, down-under counterpart to the Breitbart acolytes that pollute the political stream in this country. A stirring message and stirring, sharply-played music (ubikpunk.bandcamp.com)

UNA BÈSTIA INCONTROLABLE-Metamorfosi (La Vida Es Un Mus, LP)

The latest from this Barcelona band has them continuing to fuse repetitive tribal rhythms to a powerful, numbing, guitar buzz, a sound they hone into a fiery concoction. Propulsive and explosive, particularly for “Estic Buit Per Dins” (”I’m Empty Inside”), with a relentless burn. “Tot Sol” (“Alone”) is a short, industrial excursion ala Ministry or Young Gods. To paraphrase Killing Joke (a band these guys certainly draw from), it’s time to go the fire dances. Smoothing off the rough edges a bit, perhaps a tad more melodic/accessible but still mighty powerful. (La Vida Es Un Mus, lavidaesunmus.com)

VIDEO FILTH

VIDEO FILTH/MUTANT ITCH-split (Dark Raids/Total Fucker, 7")

Video Filth have become one of the hottest live bands in Boston over the past year or so and their split release with Fresno’s Mutant Itch proves that out pretty well. Brian’s a soft-spoken guy but his vocals are harsh and guttural and it’s matched with the band’s meatgrinder Swedish-influenced hardcore. Mutant Itch have an ear-damaging sound that’s part noisy Japanese hardcore, part Disorder/Chaos UK-frenzy with the vocalist’s emanations basically being AAAAAAAAGGHH, as it says on the lyric sheet. (Dark Raids, darkraidslable.storenvy.com; Total Fucker, whokilledfucker.blogspot.com)

Hey, in case any of you have the urge to send me something the old-school way

Al Quint

PO Box 43
Peabody, MA 01960

and you can email at subvox82@gmail.com

Suburban Voice blog #122

*Early last year, something I wrote for another publication was rejected, for reasons I'd rather not get into. Anyway, I'm finally getting around to sharing it in this space, with a few revisions to reflect recent events. I should note it's almost entirely non-music related. Enjoy...

Too early for Thanksgiving?

A MAN AND HIS LAWNMOWER (AND OTHER NEIGHBORHOOD TALES)

We’ve lived in our neighborhood for almost 20 years. While I’ve mentioned many times that Peabody isn’t a city with that high a collective IQ, our neighborhood’s nice, a quiet, dead end street with little traffic. I've looked out the window at the neighbors’ houses, and realize I’ve never even been in some of them. I don’t really consider any of our neighbors close friends, although most of them are friendly enough. I at least wave or say hi to the ones at our end of street. At the entrance of the street, at the top of the hill, I only really know one of the families. I’m friendly with the mother, Traci (we’re even Facebook friends), and her teenage son Chris mows my lawn sometimes and has done some yard work for me. He's polite and ambitious. 

I wish I could say the same for the kid at the other end of the street, who shall remain nameless. I admit I haven’t made it easy by having a total “get off my lawn” moment with him awhile back which really was a get off my lawn moment. He and a friend decided to set up a ramp on the sidewalk in front of my house to do some skating tricks. I was trying to sleep and came downstairs, opened the door and asked if they could do that someplace else. Yes, total grumpy old man reaction. How pathetic. This was a few years ago and let’s just say we haven’t been on friendly terms since then. Not that we ever were. It wasn’t helped when he and a friend decided to lob a snowball at my car when I was driving up the street a few years ago. I’m acquainted with his parents and they’re OK, although my opinion of them suffered a little when I walked through their house once and Fox News was on.

I used to be really friendly with the elderly couple who live between their house and ours. When I had my shoulder surgery in 2009, they raked the leaves in our yard and the woman used to bring us cookies around the holidays. My lawnmower has been busted for a number of years now and a few summers ago, I decided to mow it myself again and asked the man if I could borrow his lawnmower while mine got fixed (I never did do it, though). I did it a total of three times and by the third, he got pissed about it. “Why don’t you go to the store and get your own fuckin’ lawnmower?” He muttered something about having just had a heart attack. Whatever it was, he was in a foul mood. He still let me take it but didn’t seem all that happy. I might have fucked the mower up a bit when I hit a rock, unfortunately, but I didn’t mention it. I know that wasn’t the right thing to do but he’s used it since so maybe there wasn’t a problem. Anyway, ever since then, he’s been unfriendly. 

Things really went south a few months ago when I was cleaning out my garage after we'd had a drainage system put in and I leaned a few things against the fence that divides our yards. He came into my yard (twice) and knocked them over and then came up to the door and proceeded to scream and yell at me in a completely irrational manner. He'd really fucking lost it. He's really territorial about that fence. I imagine he might not have been pleased I've hit it a few times when backing out of the driveway. I guess I am a shitty neighbor. I thought maybe it was due to his age (I think he's over 90) but the neighbors on the other side said there didn't seem to be any cognitive issues. I guess he's just had enough of me. Oh well...

There were some neighbors—a brother and sister, Ron and Myra--that we were good friends with but they moved away over ten years ago after running into some financial problems. We've stayed in touch with Myra on Facebook but haven't seen them in years and I feel badly about that. Ron was kind of a Mayor of the Neighborhood type, always keeping a close eye with what was going on and always quick to lend a hand. He once helped me break into our house after I’d locked myself out. I’ll admit it was kind of entertaining watching Ron, who isn't all that thin, go through the second floor window but he did it. He also helped me when our house got flooded and when my snow blower wouldn’t start.

Whenever I showed appreciation for his help, he brushed it off and said he was just being a neighbor. I tried to find out his musical tastes and asked him if he’d like me to hook him up with some tunes but he didn’t hit me up on the offer, although I did burn him a disc of a Buffalo Springfield album (Ellen’s copy, not mine—she’s the hippie in the family). Speaking of music, I forget how it came up but he mentioned how he’d been on the stage when Jethro Tull played the Boston Garden in the early 70s and he’d partied with the guys from Ten Years After after the show. Maybe he was pulling my leg but it’s kind a cool story, bro.

Neighbors like Ron and Myra are hard to come by. Ron and I didn’t have a ton in common, except for both being passionate Boston sports fans and I suppose that’s a typical thing guys bond over. I miss having him around—and not just because he’s helped me out with stuff. It’s because there’s something comforting about coming home to a neighborhood where people look out for each other. That’s still true to an extent and some nice people have moved here in recent years. But to this day, when I look out of my window after I wake up in the morning, there’s still no red van, no hockey net in the driveway, no Ron walking around outside. And something doesn’t feel right about it…

PS—while I was working on this column, the kid from the end of the street and his equally obnoxious friend were outside making a racket trying to do tricks with his Razor scooter and tossing the pieces of a broken skateboard at the powerline in front of my house. Would it be mean to want it to come down and... ZZZZZAPP?  I guess it would. 

THE WONDERFUL WORLD OF RECORD REVIEWS... 

BAD NOIDS

ALPHA HOPPER-Last Chance Power Drive (One Percent Press/Radical Empathy, LP)    

From Buffalo, Alpha Hopper's sound is a potent mesh of post-punk grind and heavier impulses. Loud and intense, with guitar lines that weave an often-nightmarish tapestry and that's reinforced with a rhythmic power-boost (given the space exploration theme, I'm not being very clever, am I?). Irene Rekhviashvili's vocals have the same sarcastic timbre as Natalie from Nots. Such songs as "Launch Pad Blues" and "Chief Of The Edge" have a NoMeansNo-sounding fury. Music to shake up your senses.(PO Box 279, Buffalo, NY 14213-0279, onepercentpress.com)

BAD NOIDS-Doggie Bag World (Feel It, 7")

Always thought this band had a few screws loose, especially when seeing them live and their singer set his hair on fire, made an awful joke about the Marathon bombings and jumped on my head. Anyway, they continue to ply loopy-sounding punk slop. "Into The Future" is some Crime-inspired rawk while, on the flip, they rant 'n rave their way through two quickies. They'd probably be at home on Lumpy. (www.feelitrecordshop.com)

BEASTEATER-s/t (Big Neck, LP)
Tom Potter has been kicking around the Michigan music scene for years, having played in Bantam Rooster, Dirtbombs and others. His new band, Beasteater, includes people from Blowtops and Fatal Figures, two loud Buffalo bands of note. Got all that? Their self-titled album provides plenty of loud, heavy, fuzzy riff-o-rama. Noisy, buzzy and boisterous and, yes, it’s got a garage rock pulse but it’s under a heavy cloud of distortion. More psycho than psychedelic and, to quote the lyrics on the lengthy “I Eat Scum,” they really do sound like they’re about to lose their minds. Cool cover choice in Swell Maps’ “International Rescue,” which is given a good battering. This disc will give your ears a good battering. (www.bigneckrecords.com)

CONCEALED BLADE

CONCEALED BLADE-s/t (Beach Impediment, LP)

A barrage of throat-grabbing hardcore. This crew was one of the best bands I saw last year. A speedy attack interspersed with some floor-pounding breakdowns. Not chuggy tough-guy hardcore, just a mean sound, guttural vocals and lyrics filled with plenty of rage and negativity. Sounds like fun, huh? Bruising, no-nonsense hardcore and few bands are doing it as well as they are these days. (beachimpedimentrecords.bigcartel.com)

DAUÐYFLIN-Drepa Drepa (Erste Theke Tonträger, 7”/demo tape)

This mostly-female Icelandic band includes three members of Börn, but instead of that band’s goth emanations, this is a thornier, abrasive punk take. I might give the edge to the 7” but the demo is also worth your time. Screaming vocals that could wake the dead and an unholy, feedback-laden musical attack. “Elthrellir” is punctuated by a sinister laugh and the atonal sax squall for “Við erum Daudyflin” is also quite jarring, in the best possible way. (erstetheke.de; daudyflin.bandcamp.com)

DAVIDIANS-City Trends (Sorry State, LP) 

Davidians debut album (following a demo and 7") is a potent dose of nervy, tension and release hardcore with an abundance of rhythmic complexity. There’s also a haunting guitar sound, eschewing power chords for something sinewy and sinister. Once again, a band that could fit into what I’ve been tagging “outsider hardcore”—a frayed ambiance, a sense of foreboding that doesn’t follow standard verse/chorus/verse structures. There’s also the willingness to experiment a bit, as with the minute or so of feedback damage bridging “Lousy With Hagar” and “Track Suit Glasses." Potent music not fitting in with any specific hardcore niche. (www.sorrystaterecords.com)

EXTERMINATORS-Product Of America (Slope, LP)

When one hears about a band getting back together for the first time in 40 years, it usually sets of alarm bells. They’re louder when the band had never recorded before. Well, you can silence those alarms because the Exterminators' long-delayed debut album is pretty damned good. To make the story short, the band formed in Phoenix in 1977, contemporaries of the great (and also underrated) Consumers but fell apart fairly quickly and the members scattered into such units as the Germs, Bags and Feederz—drummer Don Bolles, who wrote the liner notes, was one of the members. Three of them return, with the late Rob Ritter replaced by Cris Kirkwood from the Meat Puppets on bass. So what do you get from four guys in their late 50s? Some damned fine loud, rowdy punk. It may not have the rawness of ’77 and some of the leads are on the metallic side, but the attitude remains intact. That comes out for songs like “I Hate You,” “I Don’t Give A Fuck” and “Bionic Girl” (a song later done by the Feederz). “Sometimes I Don’t Know” delves into thrash a bit. The closing songs for each side provide a change of pace—the brooding “Destruction Unit” and “Serena II,” a poem set to a mass of feedback that really doesn’t work. Otherwise, this is roaring good time. (sloperecords.com)

IN SCHOOL

IN SCHOOL-Cement Fucker (Thrilling Living, 7")

On In School's latest, there are no punches pulled, just a fuzzbomb attack of vicious guitar and bass lines, spot-on drumming and harsh lyrical sentiments—“making my plans for your destruction… “bloodlust is right”… “I have no pity for you anymore…” Those are just a few snippets and this is In School's most powerful recording to date. (www.thrillingliving.com)

JJ DOLL-s/t (Katorga Works, 7"), 

JJ Doll was formed out of the ashes of Ivy, shifting Sara from guitar to vocals. It’s not a major musical change, with the noisy stew of punk, hardcore and garage remaining intact. Sara’s vocals are something of an acquired taste, as she coos, squeals and yells around the songs but there’s a certain charm to their uniqueness. It just takes awhile. But the songs are vibrant and energetic and the personnel change hasn’t hindered anything. (shop.heavenstreetrecords.com)

MONGOLOID-Plays Rock And Roll (Deranged, LP)  

Rock and roll is kid of a misnomer, although MONGOLOID’s brand of hardcore punk does have a slight rock ‘n roll undertow, if you count the “Louie Louie”-ish intro and rockin’ fervor of “Slam Pig.” If anything, there’s a POISON IDEA tilt to this Portland band’s sound and Sam’s vocals echo Jerry A’s. It’s all done with gleeful, chip-on-the-shoulder malevolence.

OMEGAS-Power To Exist (Beach Impediment, LP)

The rampaging drums for "Boom Boom" introduces the first Omegas album in over five years and, as always, they uncork thorny, high-energy hardcore in brief flashes of fury. Save the nearly three-minute creepy crawl of "Duster's Blues," only one other song breaks the 90 second mark. An off-kilter ride that shifts easily from one tempo to another--kinetic thrash, floor-pounding savagery and good 'ol rock 'n roll fodder, delivered with lurking around the corner, knife-behind-the-back menace. (beachimpedimentrecords.bigcartel.com)

POOR LILY-Dirt On Everyone (TV-Mayor, LP)

How did that Nirvana song go? Just because you're paranoid don't mean they're not after you? I know they got that from somewhere else but I digress. Poor Lily's latest (their third full-length overall) is a concept album about NSA surveillance and it plays as one long piece. The digital download is one long track.  It's not the type of record where you can drop the needle anywhere. The only way is to hear it from the beginning. As usual, they navigate through a dynamic and complex musical post-punk/rock/hardcore domain, as one composition flows into another. No hooks, so to speak, but an attention-grabbing sound and, in this era of Wikileaks, Ed Snowden and possible manipulation of the election, it's hard not to feel as though everyone is under constant surveillance, where whatever nefarious entity you can think of has "dirt on everyone." The album comes with a collage-style booklet that's a visual assault, a bombardment of disjointed words and imagery, although there's no missing the point of the Uncle Sam parody that says "You Got Nothing To Hide Until You Do." A riveting dystopian musical nightmare. (www.poorlily.com)

REACHAROUNDS-Hunter Gatherer (Push and Pull, LP)

There have been a few bands named the Reacharounds over the years--this one's from Springfield, MO and their album brims with a kinetic energy and a lot of rhythmic muscle. An instrumentally dexterous unit providing the soundscape for brash vocal emanations and pointed lyrics that ruminate on life's day-to-day struggles, getting more direct with the anti-police tirade of "I Can't Breathe." (the title comes from when Eric Garner was murdered by police in NYC). Stirring energetic post-punk/hardcore drawing from the well of the Big Boys and some late 80s DC hardcore and even a touch of Mission of Burma in spots. The blunt production, emphasizing the bottom end, really enhances the music's power. (511 E. Edgewood, Springfield, MO 65807, alwaysgodown.bandcamp.com)

S.L.I.P.-Slippy When Wet (Sorry State, LP)

This band includes members of Concealed Blade and Blood Pressure, but they offer something different from those bands. It's a rockin-n-rollin’ concoction but not cock rock. This is something darker, along the lines of earlier Annihilation Time, punks scratching their rock itch although they don't completely leave the hardcore behind, as on "Not Your Prey." Twin-guitar riffing offering an arsenal of edgy, Ginn-inspired squalls. “There’s No Hope For The USA,” is a bit of protest music for the New Dawn, a comment on “the perfect storm of human trash.” “Trend Setter” packs a whole lot of sarcastic snark for its tongue-in-cheek putdown of every stereotypical punk subgroup you can think of. (www.sorrystaterecords.com)

UBIK-s/t (demo) 

This Melbourne band's demo has been logging a lot of time on my various musical playback devices. A tuneful post-punk meets anarcho-punk sound. Ash’s vocals have an engaging quality, with a passionate cadence. One song is about a right-wing Australian crank named Andrew Bolt, who seems to be a racist, down-under counterpart to the Breitbart acolytes that pollute the political stream in this country. A stirring message and stirring, sharply-played music (ubikpunk.bandcamp.com)

VIVISEKTIO-Ydintalvi (multi-label, 7") 

This Finnish band was around the in 80s and got back together in 2008. Their latest 7”, the title of which translates to “Nuclear Winter," is a power-packed outing. Four old-school Scandi-core rippers plus the more melodic, gothy title track, which is actually the highlight. An urgent, spirited male/female vocal tandem, along with the full-on musical attack. (band contact: vivisektio83@gmail.com)

WARTHOG

WARTHOG-s/t (Beach Impediment, 7")  
Four new tracks of brutal hardcore from this NYC wrecking machine. It's a fusillade of big guitar chords, pulverizing bass and drums and Chris Hansell’s rage-filled vocal howls. Three fast ones and then the brooding ‘n powerful dirge “Coward,” which was a set standout at the last Boiler Room show in Boston, and that song has a fast and blazing conclusion. Big and nasty-sounding. (beachimpedimentrecords.bigcartel.com)

WETBRAIN-s/t (Residue, 7")

Five new songs (including a cover of a song by one of guitarist Shaun Filley's old bands Possessor) and it's another dose of Clevo HC. Not as blown-out or raw-sounding as the old-time purveyors but these are still throttling songs with hot guitar licks. If there's any sort of theme, it's how people get anesthetized by their social media while staying in the dark about drone strikes and other political malfeasance. Cynical punk for cynical times. (www.residue-records.com)

X=-5 Walls (self-released, LP)

This Pennsylvania band have a number of releases under their belt, dating back to 2012, but “5 Walls” 12” is the first I’ve heard. Impassioned hardcore with lyrics that look at the state of the world, sometimes in straightforward fashion, sometimes a bit more obliquely. A mish-mash of fast hardcore, more melodic compositions (such as the ear-grabbing “Body of Evidence”) and some songs that stretch into a rock-meets-Fugazi vein, as with the title track. Makes me think of some of the late 80s/early 90s hardcore bands where they were moving into more tuneful realms. It’s not 100% successful but there are stirring moments. Beautifully-packaged in a screened sleeve with a screened lyric book and on clear vinyl. Only 100 of ‘em, too. (exequals.bandcamp.com)

BOOK REVIEW

Spoke compiled by Scott Crawford, Akashic Books

Subtitled Images and Stories from the 1980s Washington DC Punk Scene, this book is essentially a coffee table tome that provides a primer to that city's legendary punk legacy. Crawford has been immersed in the scene since he was a pre-adolescent in the early 80s, going to shows and publishing Metrozine. He also produced the documentary film Salad Days, which got some mixed reviews--I liked it but some found it a bit stylized, some were disappointed that it didn't have more of a hardcore emphasis--but DC's punk universe was always evolving and expanding. That's captured here. It's an oral history format, with quotes taken from the film, accompanied by striking black and white photography and a clean layout. The narrative is a little choppy but you do get different perspectives--I especially liked the candor from the various members of Dag Nasty. Done chronologically, starting with Bad Brains and the HarDCore bands, through the "Revolution Summer" period--Embrace, Rites of Spring, Beefeater and Gray Matter--and ending where things got much more diverse--Fugazi, of course, bands like Ignition and Swiz taking a page from the earlier era, the more rock-oriented, melodic sounds of Jawbox, Soulside and Shudder To Think to the provocative, unclassifiable Nation of Ulysses. Band members, photographers, label people and fans get their say, including an outsider perspective from the ubiquitous Thurston Moore. It's not a comprehensive history--that's been covered in other books--but Spoke works very well as a visual artifact. (www.akashicbooks.com)

Suburban Voice blog #121--The Best of 2016

No one wants to read yet another intro about how shitty a certain year was but, alas, 2016 really, really sucked. Two friends of mine—Brandon Ferrell and Shawn Wenzel—passed away this year, as did some other people I was acquainted with, including John Stabb and Barker Gee. Good people, all of ‘em. Then there’s what happened in early November. At least on a personal level things are tolerable and I always try to stay cautiously optimistic. What else can ‘ya do? And there’s still lots of good punk rock to help me (and many of you, I’d imagine) get through it.

Note: this list has a few changes from my list for Maximum Rocknroll. I had to submit that in early December and came across a few other releases since then that deserve to be in this top ten. I've also appended it with other choices for 12"s, 7"s and demos, as well as live performances...

Happy New Year!

THE TOP TEN

1. BLOOD PRESSURE-Need To Control (Beach Impediment, 12”)

As much as hardcore has become predictable and perhaps a bit stale, there are bands who push the envelope a bit and Pittsburgh’s Blood Pressure are one of them. Nothing complicated—loud as fuck rage, from the vocals to the music’s relentless nature, imbued with a Swedish/d-beat tilt. It’s over before it hits the 13 minute mark but to use the cliché, it’s quality, not quantity. Best live band I saw in 2016, as well, as they ripped apart the late, lamented Boiler Room.



2. REPOS-Poser (Youth Attack, 12”)

A pain in the ass tracking down a vinyl copy of this but worth it, as this is the best Repos material since their first two 12”s. As with Blood Pressure, there’s nothing complex. Blistering, aggressive hardcore done right and the production brings out the band’s ferocity without making it sound slick. Only a few songs top the minute mark and it’s one rager after another.

3. JOINT D≠-Intelligence (Scavenger of Death, tape)

I didn’t know there was going to be a new Joint D≠ album, as it’s been a few years since Satan Is Real Again, Again. That was a fine effort (and their first album Strike Gently topped my list in 2012) and this one is even better, packing much more of a wallop. A burning and intense sound, with a complexity in the arrangements while maintaining a straight-forward forcefulness. I love the clever nod to the Swell Maps, with the titles of two instrumental passages, “The Weather ///” and “/// The Leather,” which comes from that band’s “Vertical Slum.” “Atlas Rote” is a nice little dig at Ayn Rand and that’s reinforced by a burning copy of Atlas Shrugged on the cover. Just available as a tape or in the digital format for now, although Sorry State is doing a vinyl pressing in 2017..

4. QUANGO-Fatality (Danger, 12”)

This is technically a 2016 release, although the songs were originally released in demo and 7” forms in 2013, with a few different permutations. Got that? Anyway, there’s a certain sepia-toned quality to the songs here—an aged, vintage feel. The title track is a total earworm, a stinging guitar hook accompanying a spoken word narrative about someone getting hit by a train. Punk and post-punk mixed together, in glorious low fidelity, inspired by Swell Maps, Buzzcocks and Joy Division's Warsaw era. A heady bash throughout.

5. VIRUELA-s/t (Runstate, tape)

Two people from Mexico, one from Montreal (who played in Dead Wife) and they've already come and gone but left behind one hell of a demo. A thick, blistering and pounding punk sound with buzzing guitar and bass. The lyrics take no quarter at all, especially on "Gettin' Home," telling predatory misogynists to fuck off--"if you touch me, I'll fuckin' kill you." "Never Enough" is about sexual assault. In a time where sexual violence is as much a fact of life in the punk scene as well as the "real world," those are words to be heeded and they're reinforced with a good swift musical blow to the skull.



6. RUNNING-Wake Up Applauding (Castle Face, LP)

Kind of an unheralded band, in my opinion, although I'm kind of out of the loop as to what's heralded or not. Third album from this Chicago three-piece and it's another furious, howling bit of drill-press rock. A screechy, squalling ultra-fuzzy guitar tone ala Helios Creed and you can hear bits of Chrome's harder-edged material, without the experimental impulses. This is very much a punk concoction, if your conceptions of punk branch beyond the ordinary.  

7. NOTS-Cosmetic (Goner, LP)/Cold Line (Goner 7”)

Memphis’s Nots conjure up a scintillating concoction of post-punk and cold wave on their second album. Percolating compositions with synth washes, guitar effects and sarcastic vocals. This isn’t a goth revivalist unit by any stretch. The best qualities of the band come together for the 7+ minute mind-numb of “Entertain Me.” There was a single released beforehand, with a different, slightly more minimalist take on album track “Cold Line,” backed with a driving, repetitive cover of The Normal's “TVOD” and that’s also worth seeking out.

8. NANDAS-s/t (Toxic State, 7”)

This NYC band have the Crazy Spirit/Dawn of Humans sound down pretty well. Four quick songs with buzzing guitar and bass and thumpa-thumpa-thump drums, presented with barbed-sounding production. One slight change is Anahit's vocals are breathier than on their 2014 demo. While some of the musicians who developed this sound are moving on to other things, Nandas keep it alive.

9. LEISURE WORLD-s/t (demo)
Leisure World are a band who don’t really fit any sort of set hardcore or punk genre. Their seven song demo has them carving out their own path, with sputtering and frayed guitar licks and a manic intensity topped off with nightmarish vocals. Outsider hardcore? Yet another genre? Just listen to the demo. They make their own nervy sort of noise, with the axe-mangling accompanied by a thick, propulsive bottom end. It’s kind of along the lines of what Bill Bondsmen or NASA Space Universe do and one can hear some Pissed Jeans-ish touches, as well. The gut punching recording brings out those attributes in bold, head-grabbing relief.

10. LUMPY AND THE DUMPERS-Huff My Sack (Lumpy, LP)

I was laughing like a junior high kid when I saw the album’s title and cover. Lumpy’s 12” debut (besides the singles comp) revels in its bad attitude, driven by Marty’s nasally vocals and a prickly (sorry) sonic dust cloud. Brief, thorny blasts save the epic “Spider Bite” and moody, nasty cover of the somewhat obscure UK band Slime’s “Loony,” a band that included the Damned’s Captain Sensible. Scabrous punk at its best.

THE REST OF THE BEST

12"/LP
EX-CULT-Negative Growth
MONGOLOID-Plays Rock and Roll
REACHAROUNDS-Hunter Gatherer
SCUZZ-Songs Of The Sordid
SUNSHINE WARD-Order

7"
ANCIENT FILTH-Earth Brains (flexi)
DAUDOFLIN-Drepa Drepa
DYE-Savages With Power
G.L.O.S.S.-Trans Day Of Revenge
JJ DOLL-s/t

DEMOS

BASEMENT RAT-Pura Mujer
GROTTO-Manic Evil
MACE-Tour Tape
SPOTTING-s/t
TRASH KNIFE-s/t and Trash Life

                             LATEX

LIVE
BLOOD PRESSURE
CAREER SUICIDE
CONCEALED BLADE
DEATH SIDE
DOUBLE NEGATIVE
INFEST
LATEX
MOMMY
PROLETARIAT
WARTHOG

Suburban Voice blog #120

BOILER ROOM R.I.P.

Since our last installment, one of Boston's most vital DIY spaces has closed. The Boiler Room had quite a bit of longevity, lasting just a little over three years until it closed in early June—the last show was actually in late May but  that wasn't the intention. For those of you who never got to visit the Boiler Room, it was in the basement of a delapidated building in the middle of a truck lot in Allston. The relatively isolated location probably allowed it to last as long as it did. The shows there had a generally late starting time. I used to refer to it as "Boiler Room O'Clock," which usually meant about 2 1/2 hours after the listed starting time--that's when you would know about the shows in the first place. The people running the space eschewed and discouraged creating on-line events and if you weren't "in the loop" or got a flyer, you often didn't know about the shows. But word of mouth was effective since almost every show was full. And the shows were crazy--loud, smoky and it wasn't surprising to be bombarded by showers of beer or various types of fireworks. Even with all the chaos, everyone seemed to get along, for the most part. I don't recall seeing any serious altercations, although I guess there were a few from time to time. And the acoustics were better than most clubs I go to, although if there wasn't a good PA, the vocals were sometimes tough to hear.

FUN AT THE BOILER ROOM

A few months ago, there was an investigative report on one of the local TV stations, about how there was an “illegal late night party” in a loft building around the corner from where the Boiler Room was. The reporter, Mike Beaudet, who also teaches journalism at Northeastern, sent in three “undercover” students, to conduct an investigation as a class project. They’d found out about the “concert,” as one of the reporters described it, on-line and there was actually an advance ticket sale, with the location being disclosed a few hours beforehand. With techno music thumping in the background and ominous narration, hidden-camera video was taken and it showed a cash bar (with no ID required—oh nooooo!!!”). It showed people using marijuana and cocaine (the HORROR!). The report also said that there had been more than 30 of these underground events in the last two years. I guess the people behind this report don’t get out that much. The city inspector talked about “inappropriate use of space that puts people in a dangerous situation.” Is he sure he isn’t talking about city hall?

This was the same building where three DIY spaces were shut down at the same time in 2013. They’d hosted shows with bands that probably wouldn’t have been booked in local clubs and, truth be told, the shows would have been a lot lamer in those venues. There were never any problems, just people getting together to see bands and have a good time. Something the city officials apparently consider to be a serious crime.           

Same as it's always been... a big game of venue whack-a-mole and I'm sure another one will emerge at some point. 

LOUD, BLARING PUNK ROCK...
... that was the original name for the Albany based Loud Punk label and Mr. Chris Lawrence continues to release a steady stream of records from bands around the country and overseas. Beginning in his neck of the woods, there's the debut album from Scuzz, Songs of the Sordid. following a few demos, a 7" and split with Male Patterns. Over the course of 18 or so minutes, they unleash the hardcore fury with few breaks between songs. Bringing back pleasant memories of bands like 9 Shocks Terror or even their Albany forebears The Jury. Fast and frenetic, without going completely out of control, just a buzzcloud of pure energy and the penultimate track is a successful stab at The Mad's "I Hate Music." I Maniaci is basically the Neon Maniacs incognito. This two song, one-sided 7", Clone My Cock" and "Snoopy Is A Paedophile," w recorded in 2010. A pair of enjoyably-scabrous, snotty, guitar-driven rockers.

The other three Loud Punk records are of varying vintage--Lower Class Brats' Primary Reinforcement Plus covers this Austin band's 7" output from 1995 to 1999. A lifetime spent watching A Clockwork Orange and The Warriors (their label is Orphan music and they had a song about that gang on another record) and listening to a steady diet of 80s-era UK punk 'n Oi--Last Resort, Blitz, etc. That was the blueprint for the earlier songs but they eventually added more of a driving rock 'n roll element. Some fist-pumping, singalong rousers here, particularly their final salvo, "Rather Be Hated." This is an expanded version of a 1997 compilation of their first three 7"s.

Slightly less-enticing is a reissue of Scottish band External Menace's 1997 album The Process Of Elimination, appended with a few unreleased songs. Instead of the rough 'n scrappy punk produced by the earlier lineup of the band, the songs here have a lighter touch, with bits of reggae and funky bass parts. The bass parts are overplayed and are more prominent than the guitars at times. It's still energetic on occasion--"The Process Of Elimination" and "Bullet Of Persuasion" are punchy punk ravers but there's not enough raw energy.

That's not the case for another Scottish band, Last Rites, with the re-release of their 1984 7" (their second) Fascism Means War. '82 in '84, keeping the ragtag punk spirit alive when some other bands were "evolving" a bit. Mainly loud 'n fast and "Convicted Without Trial" adds an oi-ish element to the buzz. A worthwhile unearthing. (PO Box 6115, Albany, NY 12206, www.loudpunk.com)

... and more noise...

ANCIENT FILTH

ANCIENT FILTH-Earth Brains (self-released, flexi)
Well, six years in and Ancient Filth still haven't released a 12". There have been two 7"s and some demos and the band's latest installment is this three song flexi and it's another ripping effort. Full-tilt hardcore with sputtering guitar lines and kickass drumming to go with Matty's vocal rants. But he's not just mindlessly ranting--the title track is a riff on a passage in Kurt Vonnegut's The Sirens Of Titan--yes, I looked it up--and the refrain is "terror grief desolation comes to every earthling nation." There are feelings of helplessness and that's often been expressed through this band's lyrics. Still one of Boston's best and with the usual quality packaging, with this release including a lyric booklet and poster. (www.frankleclair.com/AF)

ASCEND/DESCEND-Murdock Street (War Fever/Dead Tank/Tor Johnson, LP)
Driving hardcore fusing thick riffs and heaviness with Scandi-thrash but there are melodic nuances, such as the guitar tone on "Murdock," which is named after a street in Allston but is thematically about personal turmoil.That applies to a number of songs here. "Trigger Warning" throws the currently disparaged and mocked term back in people's faces, dealing with the aftermath of a rape--so the next time someone makes jokes about safe spaces, perhaps this song should played back at them at full volume. Michelle pours out her heart with plenty of anger and emotional heft and the latter applies to the music, as well. (www.torjohnsonrecords.com)

BARRICADED SUSPECTS-s/t (Closet Landscapes, 7')
"Fuck This Shit World"... yeah, I'd say that fits the attitude of this Nashville band. Barricaded Suspects, who I'm guessing take their name from the old Toxic Shock compilation album, come storming out the gates with a simple, straight-forward hardcore attack. Loud, fast and pissed and I doubt they'll be playing the Grand Ole Opry or any other "respectable" venue anytime soon. (PO Box 60294, Nashville, TN 37206, barricadedsuspects.bandcamp.com)

BILL BONDSMEN-Until The Razor Cuts (Mastermind, LP)
The Bondsmen have been around for over ten years and Until The Razor Cuts is only their second full-length. In fact, it was culled from two recording sessions, one in 2011 and one in 2014. Some of the non-LP selections from the 2011 session already appeared on various 7"s. Another dark and intense collection of electrifying, nightmarish punk. The latter also perfectly describes Tony's cutting, soul-purging vocals, which have just enough distortion on them to enhance the effect. In addition to the straight-ahead fury for the bulk of these songs, there's new territory explored. "Gears" has a sinister aura, adding some spooky-sounding organ to a deliberate, mind-messing excursion. The knife pictured on the cover and the title give you a pretty accurate picture of what's on the vinyl. (mastermindrec.com; billbondsmen.bandcamp.com)

BLACKBALL-Visions Of The Third Eye Undone (Sorry State, 7")
Bone to pick, eh? That's not only the first song on this record but the overall feel from this band from Richmond and Raleigh. Ericka emits pure bile and the sound mixes slam-bang US hardcore with some Scandinavian influences along the lines of a band like Talk Is Poison. Rage you can feel. (www.sorrystaterecords.com)

BORN WRONG-s/t (Schizophrenic, LP)
The first 12" release for this somewhat unheralded band from Hamilton, Ontario. Blistering hardcore full of pent up rage and enough off-kilter ear damaging properties to separate it from the mundane. That lasts from the floor-pounding stomp of "Nailed" until the all-out speed-driven onslaught of "How Will I Survive." Lamentations of a harsh existence--for instance, anyone dealing with a soul-sucking job will be able to relate to "Disposable" and those words are delivered with a pain-drenched howl. The accompanying poster is an illustration of a pretty winter scene, children playing in front of a mansion. But flip it over and you're confronted with a drawing of genome surrounded by "your life is a prison" and the front side seems to be but a fantasy and not real life for many people. If you haven't been paying attention to this band and the likes of Hoax, Glue or Gag float your boat, you will love Born Wrong. Limited to 300 copies. (17 W. 4th St., Hamilton, ON CANADA, L9C 3M2, schizophrenicrex.com)

THE BROOD

THE BROOD-October Dreams (tape)

Another strong (their third) release from Philly's Brood. In case you forgot, this band includes people from Witch Hunt, Lost Cause, Endless Nightmare and many others. Plenty of burn, embracing Swedish hardcore and some UK anarcho punk (particularly on the title track). And, with age, optimism continues to fade, if it was ever there to begin with. "Dying Futures" sums it up succinctly, beginning with Ned's howl and everyone exulting "Nothing to hope for, no one to care, nowhere to go, no one is there" although the message is more that this is the only life and there isn't anything beyond that. Make the most of it, I suppose. This at least provides a cathartic release. (www.filthybrood.com)

COMFORT-No Hurt (tape)
Power-packed hardcore from down under--Brisbane, to be exact. (do Aussies call us Americans "up over"?). Comfort shift easily from thrash to heavier, moodier, darker shadings, with a pulverizing instrumental skill and full-throated vocals. Taking a few moves from Bl'ast, such as occasionally whispered vocal on opening track "Grief Toilet" and the driving "Not About You," which also adds a haunting guitar lick. Nothing comforting here. (comfortzenwar.bandcamp.com)

DEVILS-s/t (Voodoo Rhythm, CD)
A fierce two-piece garage punk dynamo from Italy and boy do they make a racket with such a minimalist lineup. Ten songs varying between revved-up ravers and bluesier stompers, three of 'em being instrumentals. Satan's on the thank-you list, of course, and the song titles reflect the devious subject matter, poking fun (pun intended) at the Catholic church, in particular, as the guy and gal who comprise the Devils dress in religious finery. Both contribute vocals although drummer Ericka Toraldo takes the mike most of the time. Fuzz and bash that's formidable enough to shake up your very soul. (www.voodoorhythm.com)

FLESH RAG-s/t (Schzophrenic, 7")
While listening to this, I was thinking these guys sound a little like the TV Freaks and it turns out their drummer Nathan is in that band. Actually, I like this better than the most recent Freaks material--this is ass-kicking garage punk delivered in no-nonsense fashion. "Stay Away" is acting kind of Childish, if you can read between the lines. "Tonight" is a butt-shaking rocker and "Watch It Burn" is brief and furious. This is how 'ya do it. (17 W. 4th St., Hamilton, ON CANADA, L9C 3M2, schizophrenicrex.com)

FRIED EGG-Delirium (Negative Jazz, 7")
A hammering hardcore concoction and the title is fitting, with the ranting vocals, which are similar to Aaron from the Repos, delivering the words in a machine-gun cadence. In fact, a song like “Second Fiddle” isn’t far off from what that band does. “Mixed Feelings” has a rock ‘n roll flavor in the guitar shadings but there’s a dark intensity, especially on the pounding “Eggshells.” (negativejazz.bigcartel.com)

GET OFF THE COP-Lipstick Tim (Schizophrenic, 7")
Brooding, tension-filled bash centered mainly around thick-as-molasses bass-lines and cymbal-smashing drumming, to go with the Yow-ish vocal emanations. "Beef Babe" is a dose of stop 'n start squall but the other pair of songs (one of 'em, "Golden-Hair/Making Love" is actually a two song suite, I guess) follow a more deliberate path to your skull. (17 W. 4th St., Hamilton, ON CANADA, L9C 3M2, schizophrenicrex.com)

GLITTER

GLITTER-Toy Of A Toy (Lumpy, 7")
I caught this Calgary band at a basement show in Jamaica Plain a few years ago. I hadn't heard of them before and they turned out to be a very pleasant surprise. Their 12" was a feisty delight and it's more of the same for their debut on Lumpy. Yowling vocals and a mesh of barbed guitar and loping bass lines, compressed in a morass of trebly garage-punk-noise and the guitar and bass lines that start the songs on each side--"Garden" and "Merry Xmas"--have an ominously haunting quality. Lumpy is the perfect home for them. (spottedrace.bigcartel.com)

HERO DISHONEST-Liha Ja Teräs (Peterwalkee, LP)

The album's title translates to "Meat and Steel" and Hero Dishonest continue to dish out fast, frenetic hardcore that's never fit any pat category. When they stay away from the pure thrash, things get a little more interesting. The likes of "Suomi On Rasistinen Perahikia," "Sepalusten Laskija" and "Donitsit" all have a snaky intensity that show off muscular, edgy chops to go along with the harsh-tongued vocals. Even in a speedier track like "Viulut Vireeseen," the instrumentation is tight and dynamic. Not the best album I've heard from them, but still quality stuff. Only 100 copies for the first pressing. (www.peterwalkeerecords.com)

IMPULSE-Backbreaker (To Live A Lie, 7")
Not your typical grinding stuff at all. If anything, Impulse lean more towards floor pounding hardcore and the songs come and go in a flash--11 of 'em jammed onto this 7". There's the occasional blast-beat but it's used sparingly and all of it is tightly-executed. (www.tolivealie.com)

LEISURE WORLD-Demo (tape)
There are bands like Bill Bondsmen and NASA Space Universe who don't fit into any strict hardcore genre, hewing to their own muse. This usually encompasses sputtering and frayed guitar licks and a manic intensity topped off with nightmarish vocals. Outsider hardcore? Maybe I just invented another pat description but it fits. Anyway, that's how I'd describe Leisure World. Beholden to no specific group, just making their own nervy sort of noise, with the axe-mangling accompanied by a thick, propulsive bottom end. You can hear bits of Pissed Jeans in there, as well, especially on the closing "Real Manly MEN." And the gut punching recording brings out those attributes in bold, head-grabbing relief. (leisure-world.bandcamp.com)

LUMPY AND THE DUMPERS-Huff My Sack (Lumpy, LP)
I had a nice Beavis and Butt-Head-type laugh when I saw the title of this album, as well as the scatological artwork. Martin, er, Lumpy is one provocative character and I'm risking getting slapped by his nutsack by writing this review but so be it. "HMS" is Lumpy's first 12" opus (get your mind out of the gutter), not counting the previous anthology, and it's scabrous punk at its best--nasally vocals and a prickly (sorry, again) sonic dust cloud. "I'm Gonna Move To New York" mentions being like Thurston Moore but sounds more like a tribute to Crazy Spirit. The cover song here, "Loony" (he spells it "Looney") is an obscure '78 b-side by the UK band Slime. If the guitar line sounds like the Damned's "Suicide," that's because Captain Sensible played guitar on the original and Lumpy's version sounds even nastier. Brief, thorny blasts, except for the aforementioned "Looney" and epic (all 3+ minutes!) "Spider Bite." (spottedrace.bigcartel.com)

MAD EXISTENCE-s/t (Vinyl Conflict, 7")
Mad is RIGHT... these guys sound mad, ticked off, enraged and whatever other adjective you wish to use. Hardcore with a brawny, stomping vibe along the lines of Wasted Time and 86 Mentality. "My Richmond" is a parochial lament or--more accurately--an unhinged expression of anger about losing their city to police oppression and an annoyingly transient population. That'd be my guess, anyway. Whatever the case, this is pummeling fodder, as subtle as a boot to the face. (324 South Pine St., Richmond, VA 23220, vinylconflict.com)

MONSTERS-The Jungle Noise Recordings (Voodoo Rhythm, CD)
A collection of mid-to-late-90s material from Voodoo Rhythm patriarch Rev. Beat-Man Zeller's longtime band. "Jungle Noise" was a 10" release and the remainder is culled from various 7"s, etc. The Monsters started as more of a rockabilly style band but eventually embraced a tougher garage focus, although they embrace different shades here--bare-knuckled fuzzbusters, heavier blues ("In Hell") and rootsy, pre-British Invasion rock 'n roll. At the center of this is Beat-Man's razor-sharp rasp and he sure ain't no crooner. Even with the occasional dud (their cover of Ricky Nelson's "Lonesome Town" falls flat), there's a good amount of rantin' and ravin' quality to be found. (www.voodoorhythm.com)

NANDAS-s/t (Toxic State, 7")
This NYC band have the Crazy Spirit/Dawn Of Humans muse down pretty well. One song is titled "Dawntown" and perhaps that meant to be tongue-in-cheek.The four quick songs feature buzzy guitar and bass and thumpa-thumpa-thump drums, with barbed-sounding production. One slight change is Anahit's vocals are breathier than on their 2014 demo. Comes with a fold-out poster and small lyric book. More New York punk goodness. (nandas.bandcamp.com)

OBEDIENCE-2016 Demo (tape)
Some ripping hardcore from this Austin band, which features ex-Tear It Up frontman Dave Ackerman, along with people from Breakout, Severed Head Of State, Critaturas and more. Drummer Chris Pfeffer provides a formidable engine to this band's full-tilt sound, throwing in d-beat bash, although Obedience don't strictly fall into that category. It's just high speed pillage from start to finish, with Dave barking out the words with as much anger as always. And without naming names, there's plenty of disgust with what's going on in the contemporary political universe and, sadly, some things never change. (obedience.bandcamp.com)

OPEN WOUNDS-s/t (Refuse, 12")
A Dutch band that includes Vitamin X vocalist Marko on guitar. Pretty straight-forward old-school, melodic hardcore, mainly hewing to a loud/fast approach, although they go for more of a singalong punk style on "Shades of Grey." Peppy and well-played, with bright, energetic arrangements, although they don't really push it to the next level. (www.refusemusic.net)

PRAGMATICS

PRAGMATICS-No Rules, Just Fashion (Prax, 7")
Four songs of brawny, catchy punk rock 'n roll with people from such Boston bands as Fruit Salad, Garbage Strike, St. Ripper and plenty more. Sentiments worn on the sleeve--OK, I'm using a bit of a pun for the title track, about fashion punks and scene status and these guys have been around long enough to know exactly what they're talking out. And they also know how to keep it simple and play with a lot of heart. (pragmatics.bandcamp.com)

RAKTA-III (Iron Lung, LP)
Rakta have pared down to a three piece, eliminated guitar as an instrument, and have moved into more of an experimental realm for their second full-length album. An entrancing effort, a collection of soundscapes, with lengthy instrumental passages, tribal drumming, propulsive bass-lines and an array of vocal, synth and keyboard effects. Don't let this fool you into thinking it's soothing, ambient music--there's still a directness in some of the compositons but not as much as on the debut and I have to admit that their first album, with more of a straightforward goth flavor, will probably remain the go-to one. But for those times you want something more sense-enveloping, "III" more than does the job. (ironlungrecords.bigcartel.com)

RIK AND THE PIGS-Life's A Bust (Feel It, 7")
These guys have been around a few years but I’m late to the party and his/their latest, Life’s A Bust, is my introduction. Turns out Rik is :Lumpy's older brother and, although the Pigs aren’t really sonically similar, it’s still against the grain stuff, from the artsy garage/post-punk of “Vile Order” to Conheads-ish “Nothing” to the slow-burn swamp blues of the title track, which kind of pales in comparison to those sharper, briefer tracks. It’s enough to make me go back and explore earlier releases. (feelitrecordshop.com)

SEX HOGS II-Part One (Diaper Cake, tape)
An excursion into 50s and 60s-inspired rock 'n roll, with rough 'n tumble vocals, accompanied by guitar, drums, tambourine and occasional sax, plus bass on one song. Energetically-executed (except for the slow-dance ballad "Sacrifice") and while it's far from polished, if it was a lot dirtier-sounding i.e. even lower fidelity than it is, it'd probably hold more interest for me. (sexhogs.bandcamp.com)

SLANG-Devastation In The Void (Prank, LP)
Long-delayed US release for the latest album from this longtime Sapporo, Japan band (home of the 1972 Winter Olympics! Japan scored three medals) and it's a scorcher. Slang started out, many years back, as a NYHC-inspired hardcore band but that's long in the rear-view mirror. Their sound is an assimilation of Burning Spirits hardcore--hoarse, agonized vocals and a hard-charging attack. That means there's a fair amount of crossover metallic riffage, taking a few bows in Slayer's direction. Relentless and furious. By the way, it turns out that Sapporo is in the running for the Winter Olympics in 2026 or 2030. Maybe Slang can play the opening ceremonies. (PO Box 410892, San Fransciso, CA 94141-0892, prankrecords.com)

TRASH KNIFE-Trash Life (Endless Daze, tape)/Trash Knife (tape)
A pair of releases from this Philly band. "Trash Life" is the older of the two and has since been released on a 7". Anyway, some tuneful punk/rock'n roll. Not pop-punk but the songs are infused with a bit of garage snarl. The vocals have a sing-songy sarcasm (how's that for alliteration?) but there's a subtle anger. "Kill Your Selfie" is a well-aimed barb at self-absorbed smartphone snappers and "Tips" deals with the frustration of restaurant work. On the more positive side, "Ronda," about the UFC fighter, is a bouquet to the former champ and it's one of the catchiest songs here. Engaging stuff. (endlessdaze.storenvy.com; trashknife.bandcamp.com)

TV FREAKS-BYOT/The Pits (Schizophrenic, 7")
What happened? This band's first two albums were killer but the third, "Bad Luck Charms," was something of a letdown (I never got a copy, just heard MP3s)--not awful, in fact some of it grew on me a bit, but some songs lacked the kinetic spark of before. Sad to say this single isn't that hot, either. "D.Y.O.T." is four-minutes-plus of mid-paced rock that never really takes off. "The Pits" is better--some wild 'n wooly, stompin' slop but still not quite up to previous levels. (schizophrenicrex.com)

UROCHROMES-s/t (Lumpy, 7")
Six of the eight songs from their "Get In Line For Mental Decline" demo and these Western Massholes have a somewhat unclassifiable sound. Loud and boisterous with different strains of punk, hardcore and garage filtered through and it's a thoroughly rockin' concoction. To add a different wrinkle, they use a rhythm machine and it adds quite a wallop, along with the snarling and sneering vocals. (spottedrace.bigcartel.com)

VAASKA-Futuro Primitivo (Beach Impediment, 7")
Nothing new to report here--Vaaska keep cranking out one solid d-beat hardcore disc after another. Truth be told, I kind of miss the semi-melodic warm guitar tone from the early records since that added a different wrinkle but this is still sturdy, streamlined, floor rattling stuff. They also stand above the pack a bit by merit of Victor Gutierrez's formidable guitar shredding. Originally released in Japan for their tour there and now given a US pressing. (beachimpedimentrecords.bigcartel.com)

VARIOUS-No Sun Shines Here (Ryvvolte, 7")
The sleeve is a bit of a riff on the Mob's "No Doves Fly Here" and this collects six of the current crop of Philly hardcore bands from the more aggressive side of the spectrum, bands that operate in heavier, crustier realms. The Brood get things off to a rattling, d-beat infused start. Dronez, Alement and Incisor have heavier crust inspirations, while Dopestroke (the one defunct band here) have a more traditional hardcore sound. Interloper wraps things up in a fast, stripped-down fashion with the cleverly-titled "Rizzo Baby Attacked By Rats," as in Frank Rizzo, the fascistic former police chief and mayor. Nothing terribly groundbreaking but a good representation of one part of Philly's vibrant scene. (ryvvolterecords.storenvy.com)

X45-EP2 (tape)/EP1 (tape)
This Hamilton, ON band, with people from School Jerks and Born Wrong, kick out some tough rockin' n' rollin' stuff. Their first tape, released earlier this year, somehow got lost in the pile and that shouldn't have happened because both of 'em are pretty damned good. It has a proto-punk feel ala Crime, possessing an insolent swagger to go along with the Thunders-punctuated buzz. Attitude to spare. (exfortyfive.bandcamp.com)

BOOK REVIEW: 

Descending Memphis by Robert R. Moss (Valor Books, 195 pages)

Rob Moss's roots are in the DC hardcore scene, having played in Government Issue and Artificial Peace but this novel doesn't touch on his punk roots--at least on a superficial level. Descending Memphis is a gritty crime story with a slight musical twist that's set largely in Memphis in 1956, at the dawn of the rock 'n roll era. Told in the first person by the novel's protagonist Tommy Rhodeen, it's a tale of his yearning to follow a passion for music, having recorded a demo for Sun Records but he's ended up working as a private investigator, mainly employed to retrieve people's property--cars, jewelry, etc. His Aunt Norma is trying to convince him to become an auto mechanic, something he doesn't desire to do because he fears it will trap him in a dead-end life.

One day he get summoned by a wealthy businessman to retrieve something quite a bit different--his daughter Helen, who has vanished, seemingly into the seedy underbelly of Memphis's music scene. Tommy spends a lot of time pursuing Helen, coming up empty and getting himself into a whole lot of trouble along the way--drugs, murder and political corruption all play a part in the story. There are racial elements, as well, and while Tommy uses terms like "colored," he doesn't come across as a racist as it's revealed that a black laborer at his house was the person who taught him how to play guitar and planted the seed for his musical passions. There's a wariness between the races, a lot of (understandable) mistrust, but it's not a main part of the plot line.

It's not too tough to figure out the gist of what's going to ultimately happen and the threads of the story seem a bit disjointed at times. There's an undercurrent of finding one's way in life, figuring out the path to follow. Is this all Tommy is going to be doing with his life or is there something more? A fun, pulpy read.