Suburban Voice blog #144--The Best of 2020... and more...

COLD MEAT 

I won't be the only person lamenting how absolutely fucking awful this year was... and I'm done apologizing for my habitual lateness in uploading these things. I got to a grand total of five shows this year, so it makes little sense to post a best live list, although I enjoyed sets from Touch Heads (RIP), PCP and the Knives, Gel (from NJ) and Urin (from Sweden). Two shows at the Banshee Den, two at Last House and one at the Hong Kong. I just hope all of those spaces are able to survive a hiatus that is likely going to last well into 2021. 

Anyway, one positive is Sonic Overload has been thriving and my listenership increased. I'd imagine people having more time to check out webcasts and podcasts doesn't hurt. And there was a steady stream of enjoyable releases. Big thanks/appreciation for the people who still fill my mailbox with the tunes, especially Beach Impediment, Feel It, Ryvvolte, Dirt Cult, Atomic Action and Big Neck... and many others. 

So here's my top ten of the year, plus another bunch of reviews. Since I only did two blogs this year, previously-used reviews for the top ten will be condensed a bit. Happy holidays... here's hoping that 2021 will be at least a little better. 

A side note--I used a few photos I didn't take in this blog. I've tried to contact some of the original photographer and I've given proper credit. If it's really a problem, I'll take them down. 

1. COLD MEAT-Hot and Flustered (Static Shock/Helta Skelta, LP)_
Punk rock in 2020? I still love it, especially bands like Cold Meat. They dispense with the bullshit and, even with the nods to the past, it sounds fresh and exciting. I'm not going to call this riot grrrrl, because that's lazy, but it does have that feel. But Cold Meat distill everything to its essence--sharp, ear-grabbing songs with driving power. I'll even give them a pass on the ZZ Top diss ("ZZ Top Hat"), although it's probably facetious. (staticshockrecords.bandcamp.com/heltaskeltarecords.bandcamp.com)

2. SPECIAL INTEREST-The Passion Of (Thrilling Living, LP)

Passionate, indeed... and darkly sexual and sensuous in the lyrical department. Not exactly love songs but dealing with desire and longing. There's also a desire and longing to create a better, more meaningful life away from any sort of rigid social constructs. Sonically, it's a melange of industrialized post-punk. I don't go on dancefloors--hell, I CAN'T go on a dancefloor right now--but the irresistible beats of "Don't Kiss Me In Public" and "Head" would probably get me out there. They take things in a more abrasive direction with "Disco III" and "With Love." Special Interest create quite a heady racket with guitar, bass and synth/effects harnessed to a rhythm machine. Alli's vocals range from agitated to vulnerable to semi-sung for the more accessible, 80s-tinged "Street Pulse Beat." Not sticking to one formula, but creating an identifiable sound that's all their own. (thrillingliving.com)

  

3. DAYDREAM-Mystic Operative (Dirt Cult, LP)

Covers can be deceiving. On first view, one would think it's going to be some sort of blissful psychedelic excursion but that's hardly the case. It's definitely a head-messing excursion, from the opening guitar static/squiggle/noise and drum rattle of "Prophet Of Peace." A collision of hardcore/punk energy with something more damaged sounding. "Baptized & Blessed" really kicks up a storm. If I was going to pinpoint it a bit, it sounds like a hybrid of Uranium Club, Institute and a keyboard-free Hank Wood & The Hammerheads. Dense, volume-drenched scorch. Psycho-delic maybe? That works. (dirtcultrecords.com)

4. ISS-Too Punk For Heavy Metal (Total Punk, 7")/Spikes (demo)

How can you not love a song that's critical about the label that puts it out? That's what ISS do on the title track, mixing scratchy guitar with the bass line from DKs "I Am The Owl." The flip," A MSG 2 U" and "Hittrack" are basically one song and they pilfer Rudimentary Peni's "Nothing But A Nightmare." ISS have also released a brand new five song demo "Spikes," that comes packaged in a box with spikes protruding from it. I can't identify too many samples, except a Pere Ubu one on the title track and it's very subtle. And the sax bleat on "Cellmates" sounds familiar, too. There's a COVID theme with the title track and "Facemasks." Sonically, it's a stylistic mix from post-punk to dance-wave (yes, I just made that up) to pure thrash frenzy, perfectly-executed, as always. You can find the whole thing on YouTube, while waiting for Sorry State to restock. (totalpunkrecords.com/sorrystaterecords.com)

 

5. SIAL-Tari Pemusnah Kuasa (La Vida Es Un Mus, LP)

Another electrifying album by this Singapore band. A razor-sharp attack but there's also a rhythmic emphasis here, starting the tribal fade in for "Abintar." The drumming is the prime element, powering the seamless attack perfectly. There's even a 20 second drum solo for the title track. Side one has no gaps between songs, just a relentless barrage. A mix of tempos, particularly on side two, but all of it is pure blitz. And Siti's echo-laden vocals effectively pierce the band's formidable tumult.  (lavidaesunmus.com)

 

6. SMUT-First Kiss (Iron Lung, LP)

Rip roarin' punk with snotty vocals, blasts of speed and floor-stomping, head-banging mania. Vocals remind of Jimmy Rose from Eel/Annihilation Time, etc... and it packs a somewhat similar buzz, although switch out the Japanese noise influences for more of a US hardcore tilt. Not a whole lotta subtlety in the lyrics, either. Unlucky in love, unlucky in life, and raising a huge middle finger to all of it. (ironlungrecords.bigcartel.com)

7. LAFFING GAS-It's A Beautiful Day In The Gulch (Beach Impediment, LP)

No bullshit, no nonsense hardcore punk from these Hoosiers. The cover art mimics the old Copenhagen hardcore band Asbest. That band came out of the same scene as Amdi Petersens Arme and Laffing Gas are somewhat reminiscent of them. Fast 'n bruising, slowing it down on occasion, as with "Dunce." And these guys can play really well, with an instrumental finesse. (beachimpedimentrecords.bigcartel.com)

8. LITHICS-Tower of Age (Trouble In Mind, LP)

Super-tight post-punk, once again. Guitar and bass lines intertwined into an irresistible combination, along with multi-dimensional drumming and detached vocals. Arrangements have a fair amount of sparseness but then there's a sudden jolt, as with "Hands," that also has one hell of a hook mixed into the slide guitar-laced atonality. Touchpoints? The usual suspects--Leeds ca. '79, Bush Tetras and Pylon but it's not slavish recreation. (troublemindrecords.com)

 

9. BRANDY-The Gift of Repetition (Total Punk, LP)

Apt title, since Brandy's songs have numbing, repetitive arrangements. Fuzzy, dense guitar and driving rhythms, with tambourine being part of the latter and it's a scintillating blending of punk, garage and post-punk. They have a song called "I'm Shipping Up To Boston" which sounds nothing like a certain band... not even a bagpipe. "Christmas Colors," soon to be a holiday perennial, has a jabbing, eerie synthesizer and a colder ambiance. "Clown Pain," previously released as a single and re-recorded here, ends with a spacy interlude. Sometimes expansive but never far from its irresistible stomp. (totalpunkrecords.com)

10. GUMMING-Overripe (Vinyl Conflict, LP)

Abaraso post-punk by this Richmond band, their third release but first on vinyl. Emilie's vocals are flat out nasty. Scathing, sarcastic and taunting, done in a near-growl and the music is equally scathing. A twisted mesh of repetitive drums, bass and guitar lines creating sonic havoc. "Husk" and "Good Boy" are particularly assaultive, the latter with the lyrical line "double dare 'ya," which a certain '90s era rioutous band used, and it comes from that muse, upping the ante. (vinylconflict.storeenvy.com)

... BUT WAIT... THERE'S MORE!!!

KOHTI TUHOA (via Bandcamp)

BITTER BRANCHES-This May Hurt A Bit (Atomic Action, LP)

New-ish band with Tim Singer (Deadguy/Kiss It Goodbye) and it's the heavy stuff... but not heavy as in plodding or dense. Bitter Branches' songs breathe and swing, powered by a versatile, dynamic rhythm section, topped off with snaky guitar lines and howling vocals. Obvious touchstones are Shellac, crossed with Jesus Lizard and Tar--in other words, the AmRep/Touch and Go nexus. A variety of lyrical themes, from the domestic abuse ruminations on "Bad Cold" to "Party Mode," which discusses the extreme political divide in this country, without naming names but it's pretty obvious who it's aimed not. Not a certain resident in DC but his frothing followers. A cogent expression of rage as we enter the third decade of the 21st century. (atomicactionrecords.com)

BRUNSTEN-1500 (self-released)

As with Bitter Branches, this Danish band are bringing back the sound of the early 90s... loud and moody, flowing through heavy crush and somber elements. It's not a monolithic sound, but a variety of guitar tones underpinned by a solid, dexterous rhythmic base. Some slow-cookers, like "If Only I Could See What You See In Me" and "6's & 7's" bristle with intensity. They unleash the fury with the more-succinct "If It Ain't Broke" and "Low Resolution." The cover of Big Black's "L Dopa" is perfectly executed. Quite an impressive debut. Digital-only release on Bandcamp (brunsten.bandcamp.com)

DAME-s/t (Beach Impediment, LP)

Debut 12" by this Boston synth/coldwave band who, in actuality, aren't cold-sounding at all. Dame bring a peppy, punk edge to their songs, eschewing any sort of austerity in their sound for something livelier-sounding. Diana's vocals are warmly expressive. Guitar shimmers and slashes, synth adds color and all of it is powered by a potent bass/drums combination. Accompanied by a striking, fold out lyric poster with artwork by their guitarist Anna Cataldo. Sense-enveloping. (beachimpedimentrecords.bigcartel.com)

DEVIL'S DEN-Barbed New Religion (Atomic Action, LP)

Merciless hardcore blaze. The people from this band also play in Blindside USA but this is a slightly different animal. They swap a more metallic hardcore style for pure fast 'n ugly rage, although they also add some breakdown stomps. Cavernous production, reverb on the harsh vocals and a ravenous sound looking towards both Japan and Scandinavia. (atomicactionrecords.com)

ERA BLEAK-s/t (Dirt Cult, LP)

Good blend of driving punk punch and post-punk sting along with piercing, clarion-call vocals hovering over all of it. Straightforward expressions of paranoia, confusion and disillusionment, while struggling with life's choices and directions. It doesn't sound dour, though.  I hear a bit of The Vicious and The Estranged, although they're just as likely to rip things up a bit more. That's the case for closing track "Night Of The Curse" and "Tinderbox." (dirtcultrecords.com)

EXECUTORS/MALE PATTERNS-split (Shock To The System, 7")

Two mean-sounding bands. Executors bash out a combo of metal, punk and oi on their two songs, with some maniacal laughter during "Leave Me Alone" and bootboy chorus for "Days Of Desperation" (originally by NJ band No Parole). Male Patterns return with three bare-knuckled hardcore bruisers  and Brendan's vocals are even rougher than in the past. Not a whole lot of subtlety from either band and that's the way they probably like it. (shocktothesystem.storenvy.com)

FRIED E/M-Modern World (Lumpy, LP)

Another St. Looie combo on Lumpy and their drummer is Lumpy Records chief Martin. Snarly, snotty hardcore punk that exudes a don't-give-a-fuck spirit. Sputtering, scorching leads and on-target pulverizing drumming and bass-playing to go along with the ranty vocals. They have a song called "Capitalist Eyes" and there's a photo of their vocalist wearing a Germs shirt. It has a bit of that vibe but not as nihilistic. And, with all the venom, the songs are nearly catchy. Well, sort of. (lumpyrecords.com)

GELD-Beyond The Floor (Iron Lung, LP)

Geld's latest provides a rampage of thrash burn and also slowing it down for heavier, twisted elements to create ominous hellscapes. Raspy, nasty vocals lurking beneath the din of wrecking machine drums, bass rumble and a lethal arsenal of powerchords and ominous tones. The last two tracks, stretching out to 8 minutes, have them plumbing the darker regions but, most of the way, it's a blistering speed assault. Pure relentlessness. (ironlungrecords.bigcartel.com)

GËNØME-Young, Beautiful & Free (Ryvvolte, LP)

Not exactly beautiful sounds, and you could probably figure that out from the cover, with the skull with the eyes bulging out. This is raw punk attack from Sweden that draws on that country's legacy, but it's uglier and nastier. I hear a bit of Hellbound in there. The blistering bass and battering-ram drums that start "Out Of Order" are pure savagery. The whole thing is. A non-stop roar. (ryvvolterecords.storenvy.com

IRREAL-2020 (La Vida Es Un Mus, 7")

Five new tracks, three of 'em fast, two more mid-tempo and they've got it down at this point. If I was going to use any touchstone, it might be a Finnish band like Kaaos, but without the reverb or loopy vocals. Big riffs, catchy bits here and there (especially for "Inutil") and done with a fired-up spirit,. Well-tread territory but well-done, with power to spare. (lavidaesunmus.com) 

KOHTI TUHOA-Ela Toduudesta (La Vida Es Un Mus, 7")

On the English translation for the song "Humanity Obligates," the lyrics conclude with "The ghosts of the 1930s are not ghosts anymore/they're real monsters and they want tyranny." Ain't THAT the truth I'm not sure if raging against tyranny through hardcore punk will change anything but Finnish band Kohti Tuhoa at least provide some sort of catharsis. Coming on full-throttle, as always, but the standout mid-tempo title track is a formidable floor-rattler. "Vesi Virtaa" features sputtering guitar lines accompanying their thrash attack. (lavidaesunmus.com)

LONG KNIFE

LONG KNIFE-Night Of The Hunter (Beach Impediment, 7")

A good 'ol fashioned two song 7"--or 45, as we called them in ye old days. As usual, it owes more than a small debt to Poison Idea, especially Colin's vocals. "Night Of The Hunter" is a furious, fired-up rocker while the flip, "Rough Live," picks up the pace a bit. Maybe a tad more polished sounding than in the past but the edge is still there. (beachimpedimentrecords.bigcartel.com)

M.A.Z.E.-Tour Tape 2020 (demo)

M.A.Z.E.'s 12" last year was a bit of a disappointment but their lower-fidelity demo recordings are remain a treat. Yeah, they're cute-sounding but there's plenty of post-punk angularity and abrasiveness and "Typical Credit" is pure straight-ahead punk. As always, it's hard not to be completely charmed by this band. (m-a-z-e.bandcamp.com)

MOTH-Machine Nation (Polaks, 7")/Modern Madness (demo)

Two releases from this Melbourne project masterminded by an individual named Darcy Berry. The 7" came out about a month before the demo and each has four songs operating in similar vein. Synth lines and effects weaved through a tense, driving post-punk gnarl. "Work" is kind of an outlier, with a lower-fidelity, mechanized effect. A band I stumbled across when checking out some Bandcamp pages and I'm glad I did. (mothtom.bandcamp.com)

NAG-Dead Deer (Die Slaughterhaus, LP)

This Atlanta band have been kicking around since 2016 or so, releasing a handful of 7"s and demos, and now here's their first full-length. Punk and post-punk jab, coming across like a less-robotic A-Frames, at times. More human-sounding, in other words. The songs build on repetitive and dynamic bass/drums rhythms, with various guitar textures layered over it. The first 40 or so seconds of "Linoleum Gare" offer bashing hardcore before sliding into some stinging guitar/bass interplay. They occasionally sound more mechanized, as with "Paper" and "Uninformed Argument" but Nag's songs are mainly living, breathing and loud. Music honed by years of experience in various bands that had a nervy edge and you get that here. (PO Box 160168, Atlanta, GA 30316, dieslaughterhausrecords.com)

RAD (photo: Matt Silver)

RAD/CROSS CLASS-split (Sacramento, LP)

Posthumous material by each band. Craig, who played drums in both told me that there were originally supposed to be 7" releases by each. So they ended up combining them into a 12" and both Rad and Cross Class hammer through their songs with relentless verve. On Rad's side, after an ominous instrumental, Return Of The Thrash Revival, they blaze through another 10 songs in under five minutes in hyper fashion and there are some cheeky old-school nods with the titles--"Ready To Fight: The Expansion" and "The Kids Will Have Their State." Thrash, although "No Fun, No Rules" slows it to an anthemic pound. Thing is, even with the frenetic tempo, the playing is incredibly tight and there are some sick guitar licks. Cross Class, meanwhile, rely more on brute force, with a thicker, heavier sounding attack and bellicose vocals. A definite Infest vibe, at times, navigating through ten of their own songs with skillful, decimating aplomb. (sacramentorecords.com)

SCIENCE MAN-II (Big Neck, LP)/Match Game (Swimming Faith, 7")/The Gift (Swimming Faith, flexi)

SCIENCE MAN/NERVOUS TICK-The Covid Collaborations Vol. 1 (Swimming Faith)

It's been a busy year for the Science Man John Toohill. Two new vinyl slabs, plus a flexi and a demo collaboration with Nervous Tick and the Zipper Lips. No matter the format, it's always a spirited, frantic and frenetic concoction. A scorching sort of minimalism generated by an incessant drum machine and a fusillade of drill-press guitar buzz and sick licks. Yet, with these tools, there's not a lack of variety. The second full-length comes on full tilt, but wraps up with an ambient piece. The flexi. one song called "The Gift," came with the LP. It's a rant laying out the path to world destruction. The 7", "Match Game," starts with three thirty-three second blasts and has a darker, more sinister ambiance to it. Rougher and nastier. The split with Nervous Tick (John's Radiation Risks bandmate Biff) has one original by each, one cover of the other artist and a joint collaboration on the other two songs. Science Man's "The Mask" is a slow 'n sturdy stomper. Getting back to that world destruction thing, I don't know if that's going to happen but I'd say the path to sonic destruction--or at least deconstruction--is underway here. (bigneckrecords.com/swimmingfaithrecords.com)

SEIZED UP-Brace Yourself (Pirates Press, LP)

The members of Seized Up are grizzled west coast hardcore and punk vets, starting off with vocalist Clifford Dinsmore, from Bl'ast. He teams up with people who have played in such bands as Good Riddance, Distillers, Nerve Agents and many others.  Bl'ast's sound used to be tension and release. Here, it's pretty much all release from the get-go. Big beefy riffs and it's a mix of speed and brute force. They mix in some sonic decay--sputtering, darker guitar shadings but this is pretty much pure powerchords, with the musical dexterity to pull it all off. Check out the bass/guitar interplay on the closer, "Shadow Panther." A cogent, succinct expression of vitriol, both musically and lyrically. A whole lotta rage here. I mean, how can there not be? Its 2020, motherfuckers.  (piratespressrecords.com)

SWEEPING PROMISES-Hunger For A Way Out (Feel It, LP)

I had no idea Sweeping Promises are from Boston, but it's been kind of tough to get out and see bands live this year (as in impossible), so there's a good reason they've been under my radar. Catchy post-punk with a late 70s UK bent, with spacious, supple instrumentation and breathy vocals that have a nearly rhythmic cadence to them. The title track is one of the biggest earworms of the year. Vibrant, throbbing bass lines and repetitive drum signatures set up many of these songs, along with a near-surfy guitar tone and bloopy synth from time to time. The production is on the lower fidelity end of the spectrum and that adds to its charm. Definitely a nostalgic, somewhat sepia-tinted flavor to this one, and that's meant as a compliment. (feelitrecordshop.com)

TMA-What's For Dinner?/Beach Party 2000/Just Desserts (Left For Dead, 2xLP/7")

Elaborate package for this NJ band's two albums, released in 1984 and 1987, respectively, plus a bonus 7" of early material (which is also available separately, on colored vinyl). The covers have been revised and it's housed inside a larger sleeve. And the remastering job is top-notch. While both albums are high-energy affairs, each has its own feel. "What's For Dinner?," done with vocalist Dave Oldfield, is filled with kick-ass hardcore punk gems, while also showing a good amount of musical skill, especially some of the guitar leads. There's an abundance of NJ punk wise-assery, with a similar wit as fellow Jersey-ites Adrenalin OD or Detention. "Nancy," a love ode to the "Just Say No" first lady, has shown up on a few different compilations. "Beach Party 2000" was done as a three-piece, with guitarist Mike Demko taking over vocals and there's a decided shift in sound. More melodic, with different guitar shadings and textures that look west--both for the surfy touches, as well as some songs that have a TSOL feel. There are some knockout hooks, especially on "You Can Try." There's plenty of punk drive but I suppose you could say there was a "maturation." of sorts. Finally, the 7" offers up six songs recorded in 1983, in a straight-forward hardcore vein. Once again, the playing is sharp and adept, especially for "Cylenol." A somewhat obscure band who are hopefully obscure no more. (leftfordeadrecords.com)

TORTÜR-Never Ending Grief (Ryvvolte, LP)
Never-ending ear torture by this LA band plying nasty d-beat punk. And that’s meant in a positive way. Ten songs each hovering around the minute-long mark and it’s relentless. Razor-sharp guitar flail, pummeling drums and bass and glass-gargling-while-suffering-from-stomach-distress vocals. They’ve earned their Raw Punk (©) merit badges, for sure. (ryvvolterecords.storenvy.com)

UNITED MUTATION-Dark Self Image (Radio Raheem, LP)

As is the case with all of the Radio Raheem archival releases, this is a great one, both from a visual and, of course, musical standpoint. United Mutation were always kind of an outlier in the DC hardcore scene. Part of that was due to the fact that they weren't from the city and also never gave a damn what anyone thought of them. They also had a number of weirdo musical influences mixed into their razor-sharp hardcore attack. The guitar solos definitely come from a different sonic realm. And Mike Brown's vocals sound like they emerged from a murky, muck-filled pit, a low, nearly subhuman growl. The songs come from their 1982 and 1983 sessions. Tracks that ended up on their first 7' and the "Mixed Nuts Don't Crack" compilation, plus a handful of unreleased songs. The earlier tracks  have a ramshackle, unhinged quality that were better honed by the time they got to the session that yielded the "Fugitive Family" EP.  It doesn't include their second EP "Rainbow Person," which showed them expanding beyond the hardcore universe ("Sensations Fix" is one of their best songs and worth tracking down). It comes with an elaborate 24 page 12x12 booklet filled tons of photos, flyers, as well as background information. Essential. (deathwishinc.com/collections/radio-raheem)

WEREWOLF JONES-Premium (Big Neck, LP)

Grunge in 2020? Sort of. Perhaps grungy is a more apt description. Dark, dirty and murky rock, powered by fuzzy guitar and getting pretty nasty at times. The fiery "Jobless" and "Running Digital" hammer hard. "I Got It All" is more of a mind-messing hellride. Lots of volume and raspy vocals. Werewolf Jones are from Detroit and it has the requisite trigger-finger, raucous attitude. (bigneckrecords.com)

Suburban Voice blog #143--38th anniversary edition!

SNIFFANY AND THE NITS

Yeah, that's right... 38 years this month. Suburban Voice started as Suburban Punk in early September of 1982 as a four page, xeroxed zine with record and live reviews. And here I am, still hammering away on a keyboard, only it's connected to a computer and I'm sending this off into cyberspace, instead of the copy shop... but I digress...

In case you missed it, I've retired from Maximum Rocknroll. I posted my final print column for them last year. I hung in there for awhile, doing on-line columns but it definitely wasn't the same. And then I hit a bad stretch of writer's block, plus it's been a tumultuous year with coronavirus. So my work has been suffering since the beginning of the year and I thought time time was right to step away from MRR and refocus my energies on getting SV back on track. Starting with the next blog, I'm going to (probably) follow the format of my column... a roundup of various releases, instead of individual reviews, plus additional content. Musings, ruminations, maybe an interview here and there, done in the video or audio format. I don't have the ambition to transcribe any more. I actually have a bunch of interviews from the 2000s that I never transcribed. Maybe I could digitize some of them.

On with the show...

ABSOLUT-Demonstration 2019 (Schizophrenic, 7")
This Toronto band have been around for awhile and they're back with four new tracks. A raw tandem of Motorcharged mania, along with some NWOBHM guitar licks that sounds like it's emanating from an abattoir. You can almost feel the studs and smell the eau-de-crust aroma. (schizophrenicrecords.bigcartel.com)

ANNIHILATION TIME (2002)

ANNIHILATION TIME-s/t (It's Alive, LP)

Now this is how you do a reissue--everything but the kitchen sink. A 24 page booklet, poster, inserts that include musings and remembrances, stickers, CD and, oh yeah, the record itself, sounding as kick-ass now as in 2002. Annihilation Time's debut was the only album to include Fred Hammer on vocals... Jimmy Rose took over, starting with "Bad Reputation." While you can already hear the hard rock 'n roll undertow that would later emerge, this still mined a more blatant Black Flag/Bl'ast muse. There's even artwork by Raymond Pettibon--both on the cover and the included fold-out poster. Muscular riffs with an in-the-pocket, ferocious backbeat. This still rocks like a motherfucker--in all honesty, I think this has aged a bit better than what followed. (annihilationtime.bandcamp.com)

COLD FEET-Punk Entity (Feel It, LP)
Not exactly an LP, as it's over in a bit under 11 minutes (might have been too long for a 7") but this Baltimore band make the most of it, achieving full impact. Old school hardcore punk, pulling from the Career Suicide well, along with early Boston HC, although it threatens to fly apart, as with the chaotic conclusion of "Acid Death." The production is fuller-sounding than their previous 7" but don't mistake that for something that sounds too slick or overdone. Prepare to be pulverized. (feelitrecordshop.com)

COLD MEAT-Hot and Flustered (Static Shock/Helta Skelta, LP)_
Punk rock in 2020? I still love it, especially bands like Cold Meat. They dispense with the bullshit and, even with the nods to the past, it sounds fresh and exciting. Many of the songs center around relationships and the trauma and conflict that come with them, as well as creepy individuals in particular. A little Poly Styrene in Ashley's vocals and she cleverly quotes X-Ray Spex's "Plastic Bag" on opening song "Pisces Crises" ("when I cry in line at the supermarket"). I'm not going to call this riot grrrrl, because that's lazy, but it does have that feel. But Cold Meat distill everything to its essence--sharp, ear-grabbing songs with driving power. I'll even give them a pass on the ZZ Top diss ("ZZ Top Hat"), although it's probably facetious. (staticshockrecords.bandcamp.com/heltaskeltarecords.bandcamp.com)

THE COWBOY-WiFi On The Prairie (Feel It, LP)
Another head-messing, sense-lashing outing from this Cleveland three piece (two of whom were in Homostupids). Driving punk with artier inclinations and dabbling in a bit of Wipers-ish tonalism (the guitar line for "On The Prairie") and a couple of "Pink Flag" inspired licks. It's their own thing, though, not slavish mimicry. Those are just touchpoints. They even chill a bit for the instrumental "Trippy Movies," but this is mainly feisty 'n hammering. Songs like "From The Grave" and "SS" go straight for the skull. (feelitrecordshop.com)

DELETÄR-s/t (Kick Rock/Destructure, LP)

Fast 'n ripping Swedish-tinged hardcore from France, including Befa from State Poison, trading his drum kit for a guitar. Pretty clean-sounding, not awash in noise or distortion and accompanied by pissed-off, lower register vocals. All of it at a rapid clip, save the medium-speed "Barricades." Playing is sharp and ruthlessly-executed throughout. (www.kickrock.org; www.destructure.org)

FACILITY MEN-It's Fun To Disappear (Big Neck, LP)
This comes out of the blue. Facility Men had some pretty good demos in the middle of the last decade and, after a delay (these songs were recorded in 2017), here's their first vinyl release. Seething post-punk rock with a 90s indy rock pulse. The lyrics have a pointed nature--such as making fun of people trying to relive past glories on "Reunion Show." At least I think that's the intent. In fact, a number of these songs seem to be about people living as sheep--life in "The Factory." Teodor's vocals bray over the proceeding and the playing is muscular and hard-hitting. (bigneckrecords.com)

FIRE HEADS/SEX SCENES-split (Big Neck, LP)
Two energetic 'n abrasive Wisconsin bands. Fire Heads have been around a bit and this is the loudest, nastiest music they've come up to date. Vocals have are both croony and scathing and the twin guitar attack makes for a head-fucking mesh. Touches of hardcore along with the aggressive bash. The abrasiveness continues with Sex Scenes, who also ply volume-soaked noisy rock. The photos portray nice, friendly-looking gentlemen but there ain't anything nice about this music at all. (bigneckrecords.com)

FITNESS WOMXN

FITNESS WOMXN-New Age Record (Sorry State, LP)

Definitely not new age music, as Fitness Womxn provoke instead of soothe. An excursion into post-punk and dub elements. At times, it sounds like a merger of the Slits and "Second Edition" era PIL, particularly for "Desire + Application" and "Kadzriff." "Easy" takes an edgier, driving turn. A musical minimalism, as synth lines and offbeat percussion accompany the jabbing guitar and pulsating bass. Even with the abrasive elements, you could almost dance to this stuff. I get the feeling they'd smash the disco ball first. (sorrystaterecords.com)

GINO AND THE GOONS-Off The Rails (Big Neck, LP)
Fired up and furious rock 'n roll from these Goons, who've been around for over a decade. A whole lot of attitude as they fuse garage and punk into an irresistible and insolent combination. Trebly, in-the-red bash and vocals that sound like they're coming through a cheap mike. Those elements prevent it from sounding slick or overly-produced. The closing title track unloads a sputtering fusillade of six string gnash. A good kick to ass. (bigneckrecords.com)

HERO DISHONEST-Maailma Palaa Taas (IfSociety/Peterwalkee, LP)

Still kicking it out after 20 years or so and Hero Dishonest remain a potent hardcore force. They've always a bit extra to their sound. It's mainly a speed attack but with tempo shifts and stellar musicianship. All the lyrics are in Finnish (they've mixed in some English in the past) but delivered with passion and fury. An explosive rampage from start to finish, threatening to run off the rails but those hairpin twists are negotiated perfectly. (www.ifsociety.com/www.peterwalkeerecords.com)

ISS-Too Punk For Heavy Metal (Total Punk, 7")

How can you not love a song that's critical about the label that puts it out? That's what ISS do on the title track, mixing scratchy guitar with the bass line from DKs "I Am The Owl." The flip," A MSG 2 U" and "Hittrack" are basically one song and they pilfer Rudimentary Peni's "Nothing But A Nightmare." Minimalist post-punk that could have appeared on last year's album. Please sirs, give us more. (totalpunkrecords.com)

LAFFING GAS (photo: Austin Roberts)

LAFFING GAS-It's A Beautiful Day In The Gulch (Beach Impediment, LP)

No bullshit, no nonsense hardcore punk from these Hoosiers. I'm sure I've written that thousands of times over the years but, when it's done right, it still grabs my ear. The cover art mimics the old Copenhagen hardcore band Asbest. That band came out of the same scene as Amdi Petersens Arme and Laffing Gas are somewhat reminiscent of them. Fast 'n bruising, slowing it down on occasion, as with "Dunce." And these guys can play really well, with an instrumental finesse. A seamless assimilation of the best of 80s US hardcore and it still hasn't gone out of style. (beachimpedimentrecords.bigcartel.com)

LIÉ-You Want It Real (Mint, LP)

Fourth album for lié (name is in lower-case letters) and it's another session of churning goth-meets-post punk. Instead of sparseness or any sort of dynamic tension, they go for a full-throttle, bristling mesh. "Bugs" and "You Got It" ramp up the speed to a near hardcore pace. lié opt for force instead of atmospherics. Aggressive, as well as haunting. (mintrecs.com)

LIQUID ASSETS-SNC Lava Lamp EP (Schizophrenic, 7")
New-ish Ottawa band with former Born Wrong vocalist Scott Paige. Two raw, fast and snotty songs on side one and something a little more rockin' rollin' on the flip, all of blown out with spat-out vocals under the mix. This is nasty. (schizophrenicrecords.bigcartel.com)

LITHICS

LITHICS-Tower of Age (Trouble In Mind, LP)

Super-tight post-punk, once again. Guitar and bass lines intertwined into an irresistible combination, along with multi-dimensional drumming and detached vocals. Arrangements have a fair amount of sparseness but then there's a sudden jolt, as with "Hands," that also has one hell of a hook mixed into the slide guitar-laced atonality. There's more atonality for the clarinet squawks on "Victim's Jacket" and percussive assault during the mid-section and conclusion of "Mice In The Night." Touchpoints? The usual suspects--Leeds ca. '79, Bush Tetras and Pylon but it's not slavish recreation. Lithics don't settle for an easy formula on every track. (troublemindrecords.com)

MAN-EATERS-Gentle Ballads For The Simple Soul (Feel It, LP)
People from Cülo and Tarantulä rocking out. Or, as the fire 'n brimstone preacher says at the start, rocking, rolling, twisting, smoking, drinking, cursing, sniffing glue to get high... well, I don't know if they partake in any or all of it but it certainly has that vibe and it's not hard to discern reference points, at least to my ears. "Slow Demise Of A Futuristic Mind" comes on like Sweet's "Set Me Free," with some Motörhead mixed in. "Taste Concrete" lifts a page from Judas Priest's "Hell Bent For Leather" album. They expand out a bit on closer "Midnight Gleam." Considering their age, I'd imagine they might have tapped into their dads' or uncles' record collection and there are probably a few seeds stuck inside the gatefold. Rock to get the rump shaking. (feelitrecordshop.com)

MURO-Pacificar (Beach Impediment, LP)
Fast 'n frantic hardcore from Colombia, with the occasional speed metal and Japanese hardcore lick. Muro exhibit a dynamic power hroughout, blending blazing, razor-sharp musicianship with raspy, agitated vocals. This never lets up from start to finish, but it's not an atonal, ultra-fast blur. Ass-kicking. (beachimpedimentrecords.bigcartel.com)

NICE GUYS

NICE GUYS-s/t (digital)

Yeah, I don't usually review digital releases but, since this isn't (I don't think) available in any other format, here we go. Nice Guys have been kicking around my neck of the woods for at least six years at this point--their first demo came out in 2014 but this is their first full-length. A bashing, crashing mix of punk, garage and 90s furious, twisted, hammering rock-a-rama. "Brunch Poisoning," for instance has guitar fusillade reinforced with a pounding rhythmic crush ala Jesus Lizard. On my radio show, I mention that one of the styles I play is "other loud music." I think that fits the bill here. Loud... very loud... and not very nice. (niceguys666.bandcamp.com)

NOXEEMA-s/t (..., 7")
Good slammin' punk from PDX here. Jabbing, jittery guitars and a whomping rhythm. Opening track reminded me of the Urinals a bit and there's definitely an old-school fervor given a modern finish. Katie's vocals are hyper-caffeinated and tough-as-fuck, delivered in a sometimes staccato cadence. Eight songs, all under two minutes, giving no quarter. Bassist Cissie played in Pedestrians many moons ago. (dotx3.bandcamp.com)

SADIE & THE WIVES-s/t (Schizophrenic, 7")
I don't see anyone named Sadie in this band, just three people bashing away like unholy terrors. Well, I hear them doing that. Noisy, ugly hardcore punk mixing up thrash with a medium speed wallop. A frenetic barbed-wire assault accompanied by throat-rending vocals. Raw's an overused term but it fits here. (schizophrenicrecords.bigcartel.com)

SCARECROW-Revenge EP (Bunker Punks, 7")
Charging Swedish-influenced hardcore executed in piledriving fashion. In all honesty, it's been done thousands of times but they're efficient at it. A little echo on the vocals and a non-stop attack, all at the same fast tempo.Topical subject matter, as with a song about modern-day concentration camps i.e. the cages used to hold undocumented immigrants for "Zero Tolerance." (bunkerpunks.bigcartel.com)

SCHIZOS

SCHIZOS-s/t (Sweet Time, LP)/F.U.C.K.N In The USA (demo)
This is some nasty-sounding shit... the opening song is "Driller" and it starts with a hellacious sounding drill. I don't think I should ever play for my dentist. I don't think she'd like it anyway, because she plays older mainstream stuff in the office. Anyway, mega-distorted, blown-out garage punk bash that will mess up your head aplenty. Even getting a little bluesy for the slower-paced "Bar." Schizos did a 7" called "Fuck Iggy Pop" in 2017 and, besides the ranting vocals, it was completely different, with only synth and drum machine for accompaniment. While this is still abrasive as all hell, it's a huge leap into the morass. Since this platter, Schizos unleashed two more songs on Bandcamp, their own anthem "F.U.C.K.N In The USA" and a cover of the Reatards "Sick When I See. Back to a minimalist approach--guitar, drum machine and nightmarish emanations. Seems like these guys have a rotating lineup but it's loud 'n ugly in any combination. (sweettime.bandcamp.com/schizosal.bandcamp.com)

SMUT-First Kiss (Iron Lung, LP)

First kiss? More like a punch to the 'ol kisser. The second I hear the "1-2-3-4" and the blare of guitars come in, I know it's going to be one raucous good time. Rip roarin' punk with snotty vocals, blasts of speed and floor-stomping, head-banging mania. Vocals remind of Jimmy Rose from Eel/Annihilation Time, etc... and it packs a somewhat similar buzz, although switch out the Japanese noise influences for more of a US hardcore tilt. Not a whole lotta subtlety in the lyrics, either. Unlucky in love, unlucky in life, and raising a huge middle finger to all of it. (ironlungrecords.bigcartel.com)

SNIFFANY & THE NITS-The Greatest Nits (Thrilling Living, 7")

Definite up and comers from the UK. Jabbing punk with lyrics that are inspired by Crass' "Bata Motel" i.e. exploring women being abused and made to feel submissive from a female perspective. It's the other side of the coin from the songs on their demo, where the woman is in the dominant position. Vocals that go against the grain, accompanied by a jittery slash 'n burn. I mentioned Crass earlier and Sniffany (Josie Edwards) and her Nits pull a few tricks from "The Feeding of the 5000." A barbed attack, both musically and lyrically. (www.thrillingliving.com)

SOAKIE-s/t (La Vida Es Un Mus, LP)

Some venomous hardcore punk and a big 'ol lyrical chip on the proverbial shoulder. Nasssstyyyyy vocals from Summer, who possesses quite a gifted set of tonsils running up and down the scale from a gutteral rasp to shrieks and rants. I could see Summer pointing her finger and yelling in the faces of people in the audience during "Or You Or You." No doubt a great crowd participation song. Tirades against a male-dominated punk scene, fratboys and jocks, plus a call to class warfare. Raw and vicious as all fuck. Yeah, I like this. (lavidaesunmus.com)

THE SOUND-Physical World (Reminder, 7")

The story of Adrian Borland is a sad one--an immensely talented musician who suffered from lifelong bouts with mental illness, until he took his own life at the age of 41. "Physical World" was The Sound's debut EP, originally released in 1979." There was also an album, "Propaganda," recorded around that time that wasn't released until the late 90s,  The title track and "Cold Beat" are driving punk in a similar vein the The Sound's predecessor, The Outsiders. The moodier "Unwritten Law," meanwhile, is a blueprint for what would follow on The Sound's masterpiece, "Jeopardy." In fact, the song was re-recorded for the album. Even in this embryonic phase, The Sound were a force to be reckoned with. (reminderrecords.com)

SPEEDEALER-Black Nights (self-released CD)

Haven't heard this Dallas band's name in a long time... not surprising since this is their first album in over 15 years, with a reshuffled lineup (Daniel Barron takes over on vocals). Hard rock/metal done in high octane fashion, sounding best when they pump up the tempo--opening song "Never New" and "Losing My Shit," for instance. Sometimes, they delve into slower 'n simmering metal that has heaviness but doesn't always go anywhere. And "Blue Days Black Nights" is a tease-- a sum-minute speed bomb leading into a lethargic piano-laced fadeout. I can't say this is a glorious return. Just a few dazzling moments. (speedealer.bandcamp.com)

SPIT KINK-Yes To Everything (Feral Kid, 7")

A one-sided lathe cut disc from this duo, one of whom is the ever-busy John Toohill (Science Man, Alpha Hopper, Radiation Risks, to name a few). Sensuous, sinewy synth minimalism with an incessant mechanized beat. Something that you can almost dance to, especially the title track, although my attempts at dancing these days are pretty pathetic. So I'll stick to listening. A little more bombast and this could have been on Wax Trax. Groovalicious. (feralkidrecords.com)

UZI (photo: YouthNoCrew)

UZI-Cadena De Odio (MMM)

Colombian band playing thumping South American-style punk--that means it has speed and burn, to go along with more melodic touches. That comes out on the title track, opener "Existencia Abusrda," and "Planeta Inviable." Forceful vocals and strong backups to go along with the full-tilt attack. Even with the Spanish lyrics, you can still pick up the passion and fury. This band shares a guitarist with Muro. (discosmmm.com)

VARIOUS-So This Is Progress? (flexi/zine)

A 7x7 photo zine with a flexi disc tucked into it (songs are also available digitally). It's like one of those book 'n record sets I got when I was kid. Photos of bands mostly from Ohio and Pennsylvania and five bands playing various strains of hardcore. The guilty parties are Forest Fucker, Peace Talks, Nukkehammer, Wounded Paw and Body Farm. Peace Talks' twisted, semi-damaged sounding track stands out and Nukkehammer sound like a crustier Repos-meets-Void. Seeing the photos reminds me of how much I miss shows right now. (sothisisprogress.bandcamp.com)

Suburban Voice blog #142--The Best of 2019

UBIK (photo: Nick Nolan)

Damn, where does the time go? The end of the year, the end of the decade. Another batch of pretty good to great records. I'm done making resolutions to publish these installments on a more regular basis. Best laid plans, etc... although I've been working on the regular blog simultaneously to this one so they're being published at the same time. Happy holidays, New Year, etc... 

1. ISS-“Alles 3rd Gut” LP (Sorry State) 
ISS (which I've found out stands for In-School Suspension) are the punk rock masters of found sound permutations. I'm not sure how much is live instrumentation and how much comes from samples but it coalesces into something that doesn't come across as cold experimentation. And there are tunes--sublime melodies popping up on "Workshopping and "Fake V Flake," the former sampling Julie Cafritz's FUCK YOU from Pussy Galore’s "Cunt Tease." The spot-the-sample game is always fun. I smiled when hearing the animal noises from Flux's "Neu Smell" and the drumbeat from SS Decontrol's "How Much Art" merging for "Aromatherapy." There are other nods to hardcore, as with "Mac N Me" and "DDYSWHP" (Daddy's Whip) and the back cover is taken from the Beastie Boys' "Pollywog Stew." "White Man In Hammer Pants" rides a dubby PIL bass line. ISS's lyrics are clever and make a strong point without relying on slogans. A common thread is, my god, being an adult can really turn into a suburban soul-sucking existence, can't it? Save your sanity--play this loud and avoid such misery. 

 
2. UBIK-Next Phase (Iron Lung, 12" EP)
Another power-packed outing on Ubik's first 12", following a demo, 7" and a split with fellow Aussies Cold Meat. They're successful at cross-blending various punk shadings, including goth, anarcho, tuneful US west coast and even full-on thrash for the closing song "You Make Me Sick." An sense of urgency and anger come out in Ash's vocals. The lyrical emphasis is worldwide, whether at home ("Peter Dutton Is A Terrorist") or worldwide ("John Wayne Is A Cowboy (And Is On Twitter")).The urgency comes out in Ubik's music, as well.



3. KØHTI TUHØA-Ihmisen Kasvot (La Vida Es Un Mus, LP) 
Ravaging hardcore by this Finnish unit and their third album ups the ante with powerhouse playing and production. A statement against a world that "breed psychopaths, cold-hearted monsters who will never regret a thing," according to the English translation of the title track, which translates to "The Face Of Man." And that rage is served up in short, succinct doses. The stomping "Pinnah Alla" has a damaged, head-messing guitar line and that flows seamlessly into the full-blitz attack of "Mulkkujen Maailma," Doing it the right way, with concise, methodical aggression



4. SAP-2 (demo)
SAP are a scrappy, high-energy punk band who mix different strains together--incorporating post-punk, hardcore, garage and melodic touches into their sound, accompanied by Alex's hyper, expressive vocals. Well-played--the bass playing, in particular, is stellar throughout. Some impressive runs on "Carrot and Stick" and providing a solid counterpoint to the stinging guitar on "Short Stick.”

  
5. CRISIS MAN-The Myth of Moderation (Digital Regress, 7")

Ranty, snotty hardcore punk with Ross Farrar from Ceremony on vocals... this is real back-to-the-roots stuff for Ross, as Ceremony moved away (evolved or devolved?) from the punk ferocity of their masterwork "Rohnert Park." Ross punctuates his vocals with painful interjections, like someone's giving him a hotfoot. Gnashing, slashing guitar lines create a heady, twisted effect that goes straight for the skull.



6. THE VICTIMS-s/t (In The Red, LP)
Yes, a reissue of sorts. This is an archival godsend of early Aussie punk. I'm sure that anyone with even a passing knowledge of KBD fodder has heard this band's "Television Addict." Details are scant (no liner notes, even with a gatefold jacket) but, essentially, this is a reissue of a Japanese collection from 2011 called "Sleeping Dogs Lie" and side one features all of their recordings from '77-78, plus an unreleased song, "Perth Is A Culture Shock." Side two consists of previously-unreleased demos, just about all of 'em rough, fast and scorching. You could almost call many of these songs proto-hardcore  and the demo material sounds akin to UK-82 era bands like the Partisans five years early. A poppier side emerges for "I Understand" and there's a Kinks-ish vibe on "High School Girls." The tour-de-force is the nearly six minute, cacophonic mania of "Disco Junkies." Essential shit.



7. HASH REDACTOR-Drecksound (Goner LP)
Charlotte and Meredith from Nots join Alec from Ex-Cult and one other individual to form this unit. It’s closer to Ex-Cult’s loud punk/post-punk mesh. The bouncy "Floral Pattern" and "Lotion Poet Laureate" owe a debt to The Fall, more from a musical point of view than Alec's vocal cadence, although it's not completely absent. Some brooding properties are introduced for "In The Tank," with a bluesy guitar undertow. "Down The Tubes" goes straight for the throat with jabbing basslines and drum patterns and twisted guitar lines. A good balance of aggro and darker properties.

8. NOTS-3 (Goner, LP)

The 3 has a dual meaning here--it's Nots’ third album and their first as a three-piece, with Natalie Hoffman handling all guitar and synthesizer/keyboards, complementing her detached-sounding vocals. Some songs eschew guitar completely, as the synth creates a heady sonic tapestry --beeps, blips, washes sometimes generating a frenzy, as with "Floating Hand." The bass and drums lock in perfectly, moving things along at a driving pace. Paring down the lineup doesn't compromise Nots’ sweeping sound one bit.

9. NEON-s/t (Square One Again, LP)
Neon are abrasive. They’re atonal. They have a way of getting under your skin and there’s no way to break loose. It’s an incessant assault of frenetic punk/post-punk/no wave, accompanied by a repetitive word attack that becomes an extra instrument. Not so much lyrics as words phrases and narratives repeated ad-infinitum, drenched with sarcasm and cynicism. Those vocals are wrapped around and run counter to the musical chaos, punctuated by jarring, slashing, sliding guitar lines, busy bass and walloping drums. It’ll leave your head spinning. 

10. SKIZOPHRENIA-Undead Melodies EP (Kick Rock, 7")
Skizophrenia were one of the more-entertaining bands I've saw in 2019 and this 7" gives you a hint of their trigger-finger power. Classic Japanese pillage ala Systematic Death and these guys can playyyyy.... One of my local musical compatriots mentioned that they reminded him of Laukaus, too, and I'd concur. They've been around for over a decade and these four songs show they're not letting up one bit. Four loud and fast ragers. Out on different labels around the world, including Distort Reality in the US.




15 MORE RELEASES I LIKED THIS YEAR (in alphabetical order)

PCP & THE KNIVES

CHAIN WHIP-14 Lashes (self-released, LP)

COLLATE-Symptomatic (demo)

CUNTS-s/t (Ipecac, LP)

DOTS-s/t (Dirt Cult, LP)

DROIDS-Droids Blood (Drunken Sailor, LP)

FUTURA-End It All (demo)

IRREAL-Fi Del Mon (La Vida Es Un Mus, LP)

KALEIDOSCOPE-After The Futures (Toxic State, LP)

MACK ENEMY-s/t (demo)

MOD VIGIL-Automatic Remorse (Fozmo, LP)

PCP & THE KNIVES-LSD For Breakfast (demo)

SCIENCE MAN-s/t (Swimming Faith, LP)

SLANT-Vain Attempt (Iron Lung, 7”)

SOGA-Demo MLP (Iron Lung, 12”)

UROCHROMES-Trope House (Wharf Cat)

BEST LIVE (in alphabetical order)

RUBBLE

AXE RASH (News Café, 8/6/19)

BOOTLICKER (Ram Ranch, 10/18/19)

IDIOTA CIVILIZZATO (O’Brien’s, 5/12/19)

IMPULSO (Democracy Center, 4/20/19)

JAD (Banshee Den, 10/29/19)

MACK ENEMY (Black Lodge, 6/4/19)

PCP & THE KNIVES (multiple times in 2019)

RUBBLE (Harsh House, 1/26/19)

SKIZOPHRENIA (Great Scott, 8/12/19)

URANIUM CLUB (The Firehouse, 7/1/19)

Suburban Voice blog #141

PETER LAUGHNER, 1976

(photo: Mik Mellen)

PETER LAUGHNER... MORE THAN A FOOTNOTE?

I’d imagine a fair number of you aren’t familiar with Peter Laughner but you’re probably familiar with some of his bands that he passed through—Rocket From The Tombs and Pere Ubu, for instance. He also logged time in The Original Wolverines, Fins, Cinderella Backstreet and Friction. His song “Ain’t It Fun” made it onto the second Dead Boys album, “We Have Come For Your Children” but the original was by Rocket and co-written by Gene O’Connor, better known as Cheetah Chrome. To give a short history lesson, Rocket basically split off into Pere Ubu and Frankenstein, who eventually changed their name to the Dead Boys. 

Smog Veil has released a five LP or CD box set of Peter Laughner's music, spanning from 1972 to 1977, although he started playing in the 1960s. It's accompanied by a book (my copy of it came in PDF format) that includes a biography, photos and other ephemera. The best part is the collection of Laughner's musical musings that appeared in local arts papers in Cleveland and, later on, CREEM magazine. Peter Laughner's life was short. He died from acute pancreatitis in 1977 at the age of 24. Given his copious alcohol and drug abuse, it wasn't all that surprising. Let's put it this way--if his level of self-abuse was too much for even rock scribe Lester Bangs (who also died very young, at 33), then it was probably beyond the pale. Bangs' tribute to Laughner, originally published in New York Rocker (and later reprinted in the "Psychotic Reactions and Carburetor Dung" collection of Bangs' writing) is included and says as much. 

Laughner's writing came from a self-referential muse, definitely Bangs' spiritual kin, and he called 'em as he saw 'em. He wasn't a Kiss fan--my notes say he referred to them as phony degenerates. Of course, his inspiration came from the real-life degenerates and hard-lifers, not cartoon characters. And his writing from back then has piqued my interest. I'm interested in checking out those Charlie Parker and John Cale records he's raved about. And his review of Lou Reed's contract-breaking double LP of experimental noise, "Metal Machine Music," from Exit magazine (see below) made me laugh out loud. All I can say is, if the internet had been up and running in 1975, the review would have won it that day. Maybe that year. And I can only imagine what sort of Twitter feed he might have had. 

Still, is anyone who some might regard as a musical footnote worthy of a five CD set? Made up mainly of practice tapes, home demos, radio broadcasts and live material?  It's not hard to figure out where he was coming from. Laughner was a music fan with a great depth of knowledge and he wore his influences on his sleeve--Dylan, the Velvets and Lou Reed, in particular. He embraced Television, for whom he auditioned when Richard Lloyd left the band for a bit. A lot of the earlier songs, mainly those done with the Original Wolverines, have a folk, blues and country approach and there are cover versions of Dylan, Jimmie Rodgers and the Lovin' Spoonful, among others.The late night recordings on "Nocturnal Digressions" (1977), done shortly before his untimely death are acoustic demos, once again including a number of cover versions, including a slashing version of Richard Hell's "Blank Generation."

Truth be told, there are only a handful of songs that would appeal to the diehard rockers (i.e. your loyal scribe) and that's mainly on the "Rock It Down" (1974-1977) and "One Of The Boys" (1973-1974) discs. There's only one Rocket From The Tombs' song (a live "Ain't It Fun") and nothing from Pere Ubu. "Rock It Down" includes the Rocket song, as well as The Fins and Friction (the latter of which is the best of the non-Rocket/Pere Ubu bands). 

There are fiery covers of the Velvets' "What Goes On," Television's "Prove It" and there's also a jam-out version of the Modern Lovers' "Pablo Picasso" on "Rock It Down.""One Of The Boys" has a crazy cover by Cinderella Backstreet of "White Light White Heat" that's pretty out there for 1973, disintegrating into a drone they title "Call The Ambulance." I wouldn't mind a collection of the heavier moments. And the book is a must and I'd love to see it as a free-standing item someday, although that might not be practical.

Laughner was always evolving and eventually found his own voice. There was talent and he tried to get the musical ball rolling in Cleveland, aspiring to create something running counter to the mainstream, with a DIY aesthetic. Bangs quotes Laughner's review of Lou Reed's "Coney Island Baby"--"... if you are going to get anything done on this planet, you better pick it up with both hands and DO IT YOURSELF." 

I should note this review was largely composed while on a serious caffeine jag. That's my drug of choice and, now that the inevitable crash has happened, my notes look like a few pages of jibberish that required some piecing together. Hopefully, it makes some sense. (www.smogveil.com)

... AND NOW, THE REST OF THE STORY...

BROTHER

ADRENALIN OD-The Wacky Hijinks of... 35th Anniversary Millenium Edition (Beer City, LP)/Humungusfungusamongus (Beer City, LP)

Following Beer City's reissue of AOD's "Let's Barbecue" EP comes re-waxings of their first two LPs. By the time "Wacky Hijinks came out, the lineup had shuffled, with guitarist Jim Foster departing and Bruce Wingate coming on-board, while vocalist Paul Richard also picked up a guitar. Thrashin’ was AOD’s business and they were quite proficient at it. Raw throughout but introducing some sneaky rock ‘n roll touches with a thickened up two guitar attack. The production was cleaned-up a little for "Humungus etc" and there were poppier touches mixed into the fray but the modus operandi didn't change that much. You want speed? You want volume? You got it here, along with a wise-assed worldview that was always one of AOD’s winning characteristics. And what a wicked wit they had, right down to barbs at sports cars, cock rockers and other thorns in their collective side. 

It’s obvious AOD had an anti-norm (for want of a better term) attitude. Lyrics like “How are you? Who cares? Why even talk if you get nowhere/Idle talk for idle minds/I got better things to do than waste my time” on “Small Talk” could be on any modern-day hardcore record written by this generation of misfits. It’s a timeless sentiment, in other words. 

Is it possible to sound pissed off while having a great time? These speed mavens proved those qualities don’t have to be mutually exclusive. I mean, how serious can you be when writing songs like “Hijack the Senior Citizen’s Bus" or claiming you recorded a song in your underwear? Or doing a surf version of "Hava Nagila" for "Surfin' Jew"? AOD were the antithesis of tough-guy hardcore but still held their own in the aggro sweepstakes. And they even snuck in a message or two, as with the anti-authoritarian "Crowd Control." A frenzied joy ride. (PO Box 1759, Milwaukee, WI 53201-1759, www.beercity.com)

BOOTLICKER

BOOTLICKER-Nuclear Family (Neon Taste, 7")
Sound the fucking battlecry--Bootlicker is back. Mean 'n ugly, thumping, d-beat laced punk providing the full air-raid effect. The crash 'n wallop of the drumming really pushes things along here accompanying Lewis' throat-ripping vocals and the six 'n four string assault. "Shellshock" mentions "the bang of hell's drum." Sounds like a perfect description. (neontasterecords.bandcamp.com)

BORIS THE SPRINKLER-Vespa To Venus (Beer City, LP)
First new album from these wiseacres in a couple of decades and it's just as silly and funny as ever. Rev. Nørb and his band of now middle-aged merrymakers are back and, if you think they've matured, think again. Granted, there's almost a bit of political protest for "[What Did The] Dog [Now?]"--"when you hear the news/don't it make you want to cry-yi-yi-i-yii." The orange turd isn't mentioned by name but it shows that Nørb has his hand on the pulse of current events. He probably has his hand elsewhere but I'll leave that one alone.  He introduces each song in his cartoonish voice. Musically, it's on the poppy side of the punk spectrum, as they've always been--those Rezillos recores are probably still in regular rotation on the 'ol hi-fi. Vocals are a tad more understated--sweeter, maybe? And this isn't going to blindside you with any raging power but if hearing him read a title like "My Cock's On Drugs" doesn't make you giggle like you were in the 7th grade, you need to lighten the fuck up, Francis. Or Dave. Or Amber... or whatever the hell your name is. (PO Box 1759, Milwaukee, WI 53201-1759, www.beercity.com)

BROTHER-s/t (Atomic Action, 7")
13 songs (all with single word titles) of crazed hardcore in under 10 minutes and it's not all done at blurry speed. Yes, they're capable of blasting away but it's not mindless grindcore or powerviolence. There are lots of tempo shifts in even the shortest songs. Closing track "Manifest" is heavy and ground-shaking, damn near an epic. George from Dropdead plays bass in this band and it's not far-removed from those guys or Infest. (atomicactionrecords.com)

CHAIN WHIP-14 Lashes (self-released, LP)
14 lashes? More like 14 blows to the skull. Completely ass-kicking hardcore punk infused with speed, venom and hints of melody. The venom comes from Josh's phlegm-emitting messages of disgust, delivered with all of the anti-social rage that he can muster. Different themes are explored, though, such as the false alarm about a nuclear attack in Hawaii for "Hawaii CBM." There's also the creepiness of "Crawl Space Boyfriend" and "Turner Street Ghost Motel." The music is appropriately bare-knuckled, infused with a tinge of brawling, bootboy attitude and darker musical shadings. Inspirational line: "I don't wanna live in a fucked up world." Yeah, that sums it up nicely although I think it could be wanting things to be better than just throwing in the towel. (chainwhip.bandcamp.com)

CLITERATI-Ugly Truths//Beautiful Lies (Tankcrimes, LP)
Tough as nails, both musically and attitude-wise. Hardcore that flirts with crossover but avoiding boring chuggishness. Big-ass riffs tied to fast 'n raging arrangements and with a strong message. Vocalist Ami is trans (they/them) and one of the standouts is "Trans Is Beautiful," an important message given that trans people are still subjected to violence and abuse. Ruminations on an increasingly toxic and divided populace (particularly for "Red Neck White & Blue" and "Tribal Politics") and there's a LOT to be pissed off about these days. Cliterati express that succinctly, while bowling you over with a furious blitz. (www.tankcrimes.com)

CUNTS-s/t (Ipecace, CD)
Hot 'n heavy hardcore/punk/noise. Guitarist Mike Crain slung the six strings for Retox, among other bands. Some of the tracks here follow that chaotic and fast muse, such as "Cholos On Acid," "You Should See My Dad," "Fail At Failure"), but a good chunk of it is crushing, a swirling block of bile aiming straight for the cranium. Pounding and intense, especially for "A Hero's Welcome" and "Cholos On PCP" (I guess different drugs have different effects on cholos). And let's just say they don't exactly fall into the "support our troops" mentality for "Fuck You For Your Service," with a "Semper Fi... die die die" refrain. Packing on the tension until submission is inevitable. (ipecac.com)

DAS DRIP-s/t (Sorry State, LP)
The insert for this record has the original ad looking for a vocalist--"Angry freak to front new mid-brow Raleigh hardcore punk band. For fans of nihilism, not using chorus pedals and the first Meat Puppets 7"." It sounds like they got what they wanted. Well, I'm not sure if their vocalist Rach is a freak or not--or what qualifies as mid-brow. There's a definite appreciation of that first Puppets' EP, though. Frenetic punk with busy instrumentation and feeling a bit off-kilter. I mean that in a positive sense. I'm not sure if it's complete nihilism but the musical proceedings are certainly chaotic. Only one song breaks the 90 second mark and the adrenaline never flags. (www.sorrystaterecords.com)

EYE WITNESS-Demo 2019 (demo)
Tortured Skull vocalist Ben Lynn also fronts this band and, instead of the more metallic style that band plies, this is straight-forward hardcore punk, delivered with all the subtlety of a boot to the groin. Fast 'n raw, expressing sentiments of dissolution and rage. Sometimes, you need that. (torturedskullma.bandcamp.com)

FRENZY-s/t (Distort Reality, LP)
Frenzy, indeed--that's what this PDX band create, a total musical frenzy. And while this could be loosely described as noise punk, there's a lot at work here. It's not just a wall of indecipherable rawness.The scampering drums that start "Oblivion" have a similar feel as Disorder's "More Than Fights" but, instead of a d-beat assault, the rhythm quickly becomes whirling and chaotic. Bouncy thump also pops up, as with "Zcum" and "Calculated Genocide." A fusillade of guitar effects and burn, working in phasers and smokin' leads. Vocals aren't larynx-shredding or gutteral, but barked in a rhythmic cadence. Frenzy have a strong pedigree--most of these people also logged time in Nerveskade and Bi-Marks, among many other bands, but it's a different approach. A loud one that will shake you up, of course, but still a bit off the well-trod path. And on bright yellow vinyl and a full-color cover with a spiked, studded and smiling creature. (distortreality.storenvy.com)

HAIRCUT-Senstation (Beach Impediment, 7")
The follow-up to their 2017 EP on Feel It and with all the hardcore buzz 'n burn you'd want. Juliiana raspily barks out the words in both English and Spanish, accompanied by a beefy, razor-sharp attack falling in between rawness and cleaner production i.e. something that's not slick-sounding. Four songs to get your blood pumping. (beachimpedimentrecords.blogspot.com)

HELL BENT-Apocalyptic Lamentations (Atomic Action/Armageddon, LP)
Three members of 2000s era Providence band Straight To Hell reconvened a few years ago as Hell Bent and here's the debut album, following a demo. Whereas STH followed the Scandinavian blueprint, Hell Bent play in a decidedly metallic vein, retaining some of the Swedish elements. When I say metal, I mean 80s thrash and death metal. The riffage for "Ichthyosis" has a Celtic Frost tinge. They even do a medley of 80s Chicago thrashers Znowhite's "Sledgehammer" and "Hell Bent." Aaron sounds as agitated as ever... age sure as hell hasn't mellowed him one bit... and the band operate with ruthless, meat-cleaver efficiency. (atomicactionrecords.com)

HOLY SHIT!-Not My Tempo (Vinyl Smash/Snuffy Smiles, 7")

Milwaukee hardcore hellions Holy Shit! seem to resurface every so often, with a history going back to 2001. And their approach to hardcore has a lot going on, maybe because their background came from the KBD punk-inspired scene (Chinese Millionaires, Catholic Boys, etc) and, being older guys, they have a wider historical scope. So they've always been a bit off-kilter. Midwest hardcore ala The Fix, early Meat Puppets and Black Flag, the latter on "Narrow The Goal." And on the title track, they say that Weezer, Radiohead, US Bombs and the Chicago Cuts are not their tempo while they take you aboard a well-wound whirlwind (yes, I stole that but I ain't saying where from). That makes me like them even more. (holyshitwi.bandcamp.com)

IRREAL

IRREAL-Fi Del Mon (La Vida Es Un Mus, LP)
Spanish punk with a cleaner-sounding take on what Destino Final and Invasión did before that... that means reverb on the vocals and a loud/fast, sometimes mid-tempo blueprint. The latter creates some floor rattling intensity, as with the title track and "Ens Venen A Salvar." Slashing guitar with extra-terrestrial effects. Hitting all the right buttons, a powerful surge of sound. (lavidaesunmus.com)

JAD

JAD-Strach (self-released, LP)
Tough 'n nasty hardcore punk from Warsaw. It's not all at one velocity, either. Along with speed, they throw in some bruising breakdowns and thumping, pounding medium-speed tempos. In other words, it's not pro-forma thrash but coming from a dark and intense region, without devolving into mosh-metal nonsense. There are some sick guitar pyrotechnics on the instrumental outro. Krzysiek's gruff and gutteral vocals have a small amount of echo on them, matched perfectly to the full-bore guitar, bass and drums tandem. (jadpunk.bandcamp.com)

JUDY AND THE JERKS-Friendships Formed In The Pit (Neck Chop, LP)/Music For Donuts (Thrilling Living, 7")/Bone Spur (Earth Girl, demo)
It's been a busy year for Judy and her Jerks--a 12" anthology, debut 7" and an even newer demo. "Friendships" is a compilation of their first two demos, adding on unreleased cover songs and it's funny how they show off their diverse roots. Versions of Floorpunch's "True Colors" and Die Kreuzen's raging "Think For Me" share space with the much sweeter renditions of the Go-Go's "Our Lips Are Sealed" and Buzzcocks' "I Don't Mind." Embracing hardcore, snotty punk and post-punk, played with malicious glee. If anything, their hardcore side has come out more on "Bone Spur." Julie (aka Judy) has an engagingly sarcastic, singy-songy vocal style. And they sound like they're having a great time doing it. (neckchoprecords.com, thrillingliving.com, judyandthejerks.bandcamp.com)

LARMA-s/t (Beach Impediment, LP)
People from Skitkids, Heratys, Institution and more. Needless to say, this is straight up classic Swedish mangel hardcore drawing from past endeavors. It's not blown-out or over-the-top and largely eschews any sort of rock 'n roll influences that Skitkids plied. Larma don't really push the envelope, opting for standard hardcore operating procedure but that's enough. Just play it loudly enough. (beachimpedimentrecords.blogspot.com)

LAST RIGHT BRIGADE-Hoy Por La Libertad (Kick Rock, 7")
Scampering hardcore from Mito, Japan with lyrics in Japanese, English and Spanish (well, one line for the title track). No matter the language, they stick to a hard 'n fast blueprint, occasionally veering into hyperspace, as on "What's Freedom?" It definitely has that classic Japanese attack--high energy, throughout. (kickrock.org)

LAST SONS OF KRYPTON/FOAMERS?-Split (Plant Music, LP)
Two Wisconsin bands operating in a not-too-serious garage punk vein. Last Sons of Krypton have been kicking around (off and on?) for a few decades. Fast-paced three-chord swill played with instrumental looseness and a wise-assed attitude and it'll keep your toes tappin.' The first track on the two man band Foamers? (that's how they spell it) side, "I Drew A Dumbass," is a trashy joy with squiggly guitar trills. After that, the fidelity drops to transistor radio quality and it's a drive through punk, blues, garage and old-time rock 'n roll. It sounds like an exhumed recording that was recorded in a shack. And it somehow holds together. Spirited sounds from both parties. (pmrc.xyz)

LEATHER LICKERS

LEATHER LICKERS-EP (Cool Death, 7")
A pummeling attack of hardcore punk out of Melbourne, from this band of pissed-off miscreants culled from the likes of Gutter Gods and Geld. Old school ravage with the throat-ripping vocals subsumed into a blown-out, nearly impenetrable cocoon. A more-recent 7", "Eye Of The Scared," provides more of the same. (leatherlickers.bandcamp.com)

LOOSE NUKES-Behind The Screen (Beach Impediment, 7")
Boiling over rage. You want hardcore? This is the real shit. A gathering of Pittsburgh luminaries from a number of killer bands (Direct Control, Blood Pressure, Machine Gun, Sickoids, etc...) and having one of the best drummers in the game, Vince Klopfenstein, doesn't hurt. An outburst of pure, raw fury that reminds me of Out Cold at times, although it's dirtier sounding. Attitude? As they say, "call it cliche... I don't give a fuck." Amen. (beachimpedimentrecords.blogspot.com)

PCP AND THE KNIVES-LSD for Breakfast (demo)
New band from Salem, MA (home of the witch trials and way too many tourists in October) with a few people from Similar Items. Rough 'n tumble rage with snotty vocals conveying a bad fuckin' attitude. They don't have much use for cops, for one thing, rather pointedly stated on "Paid Vacation." A good mix of thrash and bile-filled punk and the trashy, 4 track production gives it a nasty edge. (pcpandtheknives.bandcamp.com)

PERSISTENT AGGRESSOR-s/t (Deathcrawl, LP)
Persistent Aggressor include a couple of guys who played in early 2000s hardcore band Don Austin. This is a meaner, more vicious-sounding beast (not that Don Austin were exactly pop music)--Persistent Aggressor infuse their dark and intense thrash attack with metallic fury. The closing song, "Old, Grey, Feral," crawls through a damaged-sounding, twisted morass. Aging not so gracefully, with a ferocious statement. (persistentaggressor.bandcamp.com)

POPULATION CONTROL-Death Toll (Beer City, LP)
Pure thrash 'n death metal outta Milwaukee. The unholy offspring of Slayer, Bathory and Obituary--at least those are the bands that came to mind when listening. Evil-sounding vocals, meat-cleaver riffing, some furious bass runs and drumming that varies from a straight 4/4 beat to death blasts. All of it is well-executed and it's heavy as fuck, tending to work best at standard thrash velocity. The fact that it still mainly comes from a traditional metallic approach, instead of tuneless, grunted death stylings makes this a more listenable excursion. (PO Box 1759, Milwaukee, WI 53201-1759, www.beercity.com)

POWER-The Fool/Give It All To Me (Feel It, 7")
Two new tracks from Melbourne's Power. A pair of revved-up metallo/boogie rockers. "The Fool" has a Motörcharged feel, while "Give It All To Me" sounds like a sprightlier Saint Vitus. The latter is my pick to click. Deadly even at low volume. (feelitrecordshop.com)

SCHOOL DRUGS-Modern Medicine (Indecision, LP)
The first 12" by this New Jersey band mixes driving west-coast influenced hardcore punk with melodic flourishes--kind of like Night Birds without the surfy twang. The double guitar attack creates full-on aggression, accompanied by a walloping rhythm and at-times howling 'n growling vocals. Lyrics that look inward and reveal tortured thoughts and emotions that are expressed passionately. Forceful production, although not too slick-sounding and that gives it a winning edginess. A scream from the soul. (www.indecisionrecords.com)

THE SHAME-Friendly (Crowd Control Media, LP)
Rowdy singalong oi/punk from this Tulsa firm, who have been doing this thing for close to a decade. Or vocalist/guitarist Chad Malone (who you may remember from Brother Inferior many years ago) has, along with some new recruits. Nice and beefy, with a boisterous twin guitar attack and songs centered around beer, football (soccer, not the gridiron kind) and some pointed political/sociological commentary to go along with it. Hooligans, but thoughtful ones. I'll bet they even say thank you when the next round is served. (theshame-shop.com)

SLUMP-Flashbacks From Black Dust Country (Feel It, LP)
I don't get high but Slump's new album might be a good one to listen to if I did. Expansive psych/space/stoner emanations which tend to push things a bit--only two songs under four minutes--but when they rock, they do it hard. "(Do The) Sonic Sprawl" has an abundance of head-messing fury. "Tension Trance" has a deliberate power, with all sorts of otherworldly effects, although it sort of floats off into the ether. "Sensory Cocoon" is the opposite--a slow build-up to swirling cacophony. I tend to prefer this sort of thing in short, sharp doses and/or with an explosive nature and that's only true part of the time. (feelitrecordshop.com)

SOGA-s/t (Iron Lung, 12")
Vinyl pressing of this Mexico City three piece's demo and, while they're not the most polished-sounding band, who needs it when the energy level is so high? Scrappy, energetic songs with buzz, wheedle and sting in the guitar lines and raspy, ranting vocals to go along with it. Some anarcho punk shadings, as with the Peni-esque "Resistir." They can be near-catchy at times, as well ("Medianoche"). People from Cremalleras and Ratas Del Vaticano, leaning towards the latter stylistically. (ironlungrecords.bigcartel.com)

TOUCH HEADS

TOUCH HEADS-Nostalgia Is Poison (demo)/Try To Get Some Sleep (demo)
Two demos in rapid succession from this Boston band. Rockin' punk with a sturdy, straight-forward flow. Big-ass bass lines, snaky, sometimes surfy guitar lines, rock-solid drumming and super-gruff vocals. Even a "woo-hoo-hoo" for "Simulcara," on the "Nostalgia" tape. And they're not a nostalgic lot. "Bought A Memory," reading between the lines, is about musical nostalgia being commodified, i.e bands on the classic rock or punk or whatever circuit. And, truth be told, while I'll sometimes see the old-timers, I'd rather see bands like this playing in a more intimate environment, where it doesn't feel like it's just something for sale. (touchheads.bandcamp.com)

THE VOIDS

THE VOIDS-s/t (self-released, 12")
First time I've heard from this band in over a decade, but they're back with a reshuffled lineup. Fast, melodic punk ala Vice Squad, along with older west coast influences. The former is an easy comparison since Adri's vocals are akin to Beki's. It's well-played and produced and hits the right buttons. Nothing life or game-changing but it goes down easy, as they say. An energetic blast. (thevoids.bigcartel.com)

WET SPECIMENS-Haunted Flesh (Brain Slash, 7")
Haunted, indeed--from the caverns of horrorific misery. Bruising, bare-knuckled hardcore with reverb-laden hoarse vocals and plumbing the dark side of the psyche. There's the occasional gothy guitar shimmer to the bloodcurdling attack on "In Secretion Room" and "Tongue & Teeth." Burning with a cold-blooded intensity. (wetspecimens.bandcamp.com)

WOUND MAN/REGIONAL JUSTICE CENTER-Split (Atomic Action, 7")
Two bands grindin' it out here (pun intended). Wound Man sound like a more metallic Infest, going between lurching tempos and pure speed.  I prefer RGC since their music doesn't spiral out of control and provides a bashin' good time. Speed and heavier breakdowns but it's more damaged-sounding than chuggy, (atomicactionrecords.com)