Suburban Voice blog #38

THE STATE

FINALLY, THE STATE HIT BOSTON

The State, as in the Michigan hardcore wrecking machine. A quick schooling, if you don’t know who they are. The State’s history actually dates back to the 70s but their first 7” EP, “No Illusions,” came out in 1983 and is one of the more overlooked vinyl artifacts from that era and also one of my favorites. A raw, pissed-off hardcore sound that merged the brawn of the time with some innovative guitar scorch by Art Tendler. They stuck around until sometime in the late 80s. In ’03, three quarters of the “No Illusions” lineup reunited to play a benefit for an area record store, State Control Records, and have been back together ever since. 2006 saw their first new recordings in two decades, in the form of the “All Wrong” LP.

Time may have passed but the State sound just as pissed and agitated as ever. Vocalist Preston Woodward is all business, barking out the words and going onto the floor to get up in peoples’ faces and make sure they get the point. They began the set by playing the 7” in order, in its entirety and the balance consisted of songs from the LP, another 80s vintage song, “State,” one new song (they have 15 new songs recorded) and an encore of Discharge’s “State Violence State Control.” A friend of mine gets pissed when I bring up age, since she thinks it’s a state (no pun intended) of mind and she may have a point. Still, it’s pretty damned cool to see people in my age vicinity that are still committed to making a loud statement and don’t look ridiculous doing so. Hell, they could teach some bands half their age about the fine art of raging.

I didn’t get to see much of the other bands—I did see Mind Eraser’s intense, punishing set of speed and heavy crawl and a few songs from Scapegoat, who operate in a similar vein. Standing next to the PA during those bands is akin to having bricks clapped hard onto the sides of your head. I missed Psycho since I was interviewing the State at that point.

THE RETURN OF TOTAL FURY

Not to stereotype but it seems as though, no matter the style, most Japanese bands I’ve seen over the years know how to put on one hell of a show. This goes for garage punk bands like Teengenerate and Guitar Wolf, street punk like Tom and Boot Boys and such hardcore purveyors as DSB, Forward, Warhead and these guys. Total Fury were in the States in ’01 and ’02 and their pure rush of energy quickly won people over. Drawing heavily on early 80s hardcore, particularly of the Dischord variety but not restricted to that. In any case, it’s 2007 and they’re back and ready to raise havoc once again. No disappointment. Sure, it was chaotic, sometimes threatening to fly apart but the floor exploded when they opened their set with SSD’s “Glue.” Kenji held up a Red Sox logo as a tribute, although he did admit to me he’s a Yankees fan. That’s OK—I’ll give him a pass. Actually, except for the covers, there weren’t always a ton of people dancing. There was a sideshow that had started earlier in the evening with two guys doing low-budget pro wrestling moves. I was amazed they didn’t kill themselves while partaking in the elbow drops. The “TO-TAL FU-RY” chant was resurrected from ’01—think about the “Let’s Go Red Sox” and the rhythmic clapping that follows. That’s what the chant is based on. At the end, everyone’s sweaty and there’s a satisfying feeling. Hmm… that could be taken a few ways but I’m talking about the music’s effect. I counted 24 songs on their set list and it didn’t take them long to rip through all of ‘em. Their cover of Scream’s “New Song” was a pleasant surprise—very few bands cover Scream. One of those sets where it’s tough to fight off the urge to go in the pit and raise hell.

Total Fury were on tour with Reagan SS, who were on the east coast for the first time, and Albany band The Jury. Reagan SS have a whirlwind sound that was bookended by a heavy-as-fuck intro and outro. Matching Flying V’s for the guitarist and bass-player and that four-string plucker, Andy, was the weapon here. Wanton finger-picking and making the floor rumble in a Mikey Donaldson (Offenders/MDC) kind of way. Matt and The Jury’s vocalist Mike have something in common. Both scream until their voices are raw and their faces turn purplish-red in the process. The Jury are pared down to a four piece these days but the sound remains razor-sharp and aggressive.

REAGAN SS

There were three local openers and they all put in solid performances. This was my first time seeing Step Forward and I liked their brief, catchy hardcore blasts. Close Call have recently re-formed and they have a good blend of speed and heavier elements. Waste Management have a tough, muscular 80s-inspired sound. A great night all around.

MUSIC REVIEWS

BLACK SS/HOW WE ARE-split (Stop Whining, Start Winning/Specimen 32, 7” EP)
Black SS return with three more hearty, bruising hardcore punk songs. “Subhuman” is on a level with their album, the other tracks slightly less so. How We Are, meanwhile, merge hardcore and some melodic elements. Heavy and driving, but Black SS are the attraction here, by far. (SWSW: 58 Belaire Dr., Horseheads, NY 14845, swx2records@gmail.com)

BORN BAD-s/t (Fashionable Idiots, 7” EP)
Sheesh—this is bad-ASS. Raw hardcore punk in a stripped-down format. Three fast ones on the A-side but, on the flip, they slow it down a tad and get a little more rockin’ for “Walls” and “Dead Or Alive.” The lyrics fall into the rantology realm—“I don’t need your bullshit, I don’t need your fuckin’ rules” is the opening salutation for “Authority Bullshit.” Rantology coupled with bruiseology—you get the idea. (PO Box 580131, Minneapolis, MN 55458, www.fashionableidiots.com)

HOMBRINUS DUDES-Politi-Kill (I Deal, LP)
Ear canal-a-kill. A grinding/thrashing two piece that bash out some nasty sounds—subterranean growls and high-pitched shrieks and the lyric sheet is a necessity. It also helped me in figuring out the name of the band, which is pretty damned close to illegible on the cover. The duo’s lyrics about a world in decay are on the money. I just wish their brand of early Napalm Death-inspired brutality was more listenable. Nice “Supernaut” lick at the end of their cover of Sepultura’s “Anti-Cop.” (19 Goldsmith St., Littleton, MA 01460, www.i-dealrecords.com)

ICU-17 Minutes (Put-On, 7” EP)
All that noise is coming from just guitar and drums? There’s enough fuzz that the bass isn’t missed on this three song EP. Attitudinal punk rock/garage bashing from guitarist/vocalist Peewee and her drummer accomplice Memphis Mike for both “17 Minutes” and “AP,” while the flip is their volume-drenched take on Pink Floyd’s “See Emily Play.” Nice ‘n loud. (131 Grand St., Brooklyn, NY 11211, www.passoutrecordshop.com)

KVOTERINGEN-Bister Prognos (Terötten, LP)
I’d probably mangle this Swedish band’s name if I tried to pronounce it—I’ll bet I did when I played songs off this LP on the radio show. The band’s guitarist, Jallo, has logged time in Totalitär, Meanwhile, Krigshot and other prime units of raucous shredabililty. One side features new, unreleased material and the flip has tracks taken from two EPs and a split with Pisschrist, all recorded over the past few years. To say that Discharge is an inspiration on some of these songs would be an understatement—“Om 40 År” is a melding of “Death Dealers” and “Free Speech For The Dumb.” “Det Var Då Väl Det Va!?” is a take on “Protest and Survive.” That doesn’t go for every song but the pillaging and decibel level never wanes. What makes this album so goddamned good is the rawness and wanton way in which they smash out these songs. When this style is played too cleanly, it can detract a bit. No problem here. (distr. in US by Havoc, PO Box 8585, Minneapolis, MN 55048, www.havocrex.com)

SEX/VID-Tania EP (Dom America, 7” EP)
This band have an assaultive way of doing things. Over-the-top aggression fueled by shit-hot guitar/bass that creates unholy havoc. I’ve hyperbolized enough. Sex/Vid just bring it in no quarter hardcore punk fashion. Incidentally, the mid-tempo, bashing title track refers to Patty Hearst’s guerilla name after she was kidnapped by the Symbionese Liberation Army and developed a case of Stockholm Syndrome. Killer… now, anyone want to hook me up with their first record? You can probably find this record through various distributors. The record only has a band contact—PO Box 2066, Olympia, WA 98507)

STATE-Nixed Life (Grand Theft Audio, CD)
It’s tough to beat an anthology that leads off with one of the best US hardcore 7”s of the early 80s. I’ve sung the praises of this band’s “No Illusion” EP since I got it ca. 1983. Even with the remixed version, it’s still a killer. Pissed-off sentiments and a sound that had the thrash elements, accompanied by some noise-damaged guitar ear-singe. That’s followed by a boatload of unreleased material—their ’83 demo, which showed the State playing up the bootboy angle a bit, while maintaining the razor-sharp hardcore. This is a raw as fuck recording and, even through the hiss, the power emerges. Then there are a few so-so rehearsal demos, rebounding for a smokin’ live radio set from 1983. The recordings reach as far back as 1980-81, when there was a different lineup, with guitarist Art Tendler on vocals, and the songs take more of a garage/rock ‘n roll turn, particularly for “I’m On The Outside,” which has Stooge Ron Asheton’s guitar playing all over it. Except for the political nature of some of the lyrics, there’s definitely a stylistic difference from what would follow later on. There are extensive liner notes that tell a very interesting story about this band’s evolution. Also, you should be grateful that they left off the not-so-hot 1986 LP, “False Power.” (501 W. Glenoaks, PMB 313, Glendale, CA 91202, www.myspace.com/grandtheftaudiorecords)

UV RAYS-Night Of The Living Dudes (Garagepop, CD)
I suppose you could spell it “rawk” for these upstate Noo Yawk rawkers. I’m sorry for the previous sentence but it’s accurate. In any case, this is fired-up fodder with loud guitars and a hint of sleaze, with the partyin’ lyrics but it’s a dark party. “Kick The Corpse” takes more of a political turn, for instance—visions of dead politicians and I imagine there will be one hell of a party after that happens. Of course, it’s not likely but it’s still a nice sentiment. The vocalist, who goes by the name of Ultra-What?, has a nasally-yet-confident cadence, like a more pissed-off Axl Rose at times. Furiousness on display. One minor quibble—the world doesn’t need yet another cover of Gang Green’s “Alcohol.” (PO Box 88003, Rochester, NY 14618, www.garagepoprecords.com)

VARIOUS-Brandon Hardcore: Music For The Kids (Burn Brandon, 7” EP)
A free compilation 7” (if you’re not a local, just send postage money to cover the shipping cost) that includes some kickass hardcore from the area. Brandon is just outside of Tampa and the scene centers around the Sound Idea store. I’ve been there a few times and it was refreshing to see such an enthusiastic hardcore gathering point in the midst of depressing urban/suburban sprawl. The bands are a mixed lot—I’m not too enamored of the grindier Small Talk Death, for instance, but Machete Attack and Bad Eating Habits rage with authority. Reckless Deerhunters’ sole song is a fairly rockin’ punk tune and Gross National Product’s straight-ahead hardcore has come quite a way since their demo. Control De Estado mangle the Pink Lincolns’ “I’ve Got My Tie On” beyond recognition. Hey, can’t beat the price. (sndidea@ix.netcom.com)

Suburban Voice blog #37

I ADAPT

There are times lately I’ve been suffering from horrible writers’ block, especially when it comes to the reviews. It seems as though I constantly use the same phrases and descriptions and reach for a new and unique way to describe these records, CDs and tapes. Even now, I’m trying to come up with an effective way to convey my frustration. The idea has always been to give the reader an idea of the band’s sound, influences and where it lies along the spectrum of greatness to garbage. Most releases fall in the middle but why dismiss something when it catches my ear, even momentarily? As much as these records, for the most part, aren’t really breaking new ground, many have a spirited, energetic (a word I use way too much) approach to their music and those elements make their recordings worthwhile.

On a more positive note, it looks as though there will be quite a few killer, kick-ass bands on tour throughout the spring and summer. In the coming months, there will be tours from Total Fury (with Reagan SS and The Jury), Look Back and Laugh, Pisschrist (from Australia) and, just this week, Out With A Bang from Italy, Brutal Knights from Toronto, The Vicious from Sweden and The Horror from the UK.

Speaking of overseas bands, I saw I Adapt play at the Museum of Fine Arts school in Boston on 4/10. The show happened in the lobby of the building and, even with the high ceilings, the sound wasn’t that bad. They’re the first band I’ve seen from Iceland and I resisted the urge to make Bjork jokes. Their sound is in the heavy, angst-filled/melodic style of a band like Modern Life Is War and that’s not always something I’m too enamored with but these guys have a killer live thing. The played with Coctopus, Blake and Phil from Bones Brigade’s new hard rock/wah-wah-oriented band and the hammering doom ‘n grind of Backstabbers Inc., make a rare local appearance. I didn’t stick around for The Body but, as I was walking back to my car, I could hear them from a quarter mile away. That’s how loud they were.

REVIEWS… HOPEFULLY NOT TOO INCOHERENT

ANNIHILATION TIME

ALABAMA THUNDERPUSSY-Open Fire (Relapse, CD)
So the label sent one of those lousy packages without the lyric booklet… just a cardboard sleeve with the cover art and one paragraph hyping the album on the backside. I generally refuse to review these kind of packages. I’m only reviewing it this time to point out the fact that it does the band a disservice in that their work doesn’t get a complete representation. Hell, I can’t even play it in my computer or use it on my MP3 player. Actually, I CAN but I’m taking the fifth on telling you how I did it. In any case, heavy, sorta stoner-ish rock with stentorian vocals from new mouth Kyle Thomas. His gruff pipes tend to overpower things, actually—maybe if they were subsumed in the mix a bit more. Good strong riffage and boogie chops, though—it’s retro without completely having that ambiance. While the more melodic elements detract slightly from the crunch and there are times some cheesiness sets in, it still rocks. That’s all you need to know. (www.relapse.com)

ANNIHILATION TIME-Cosmic Unconsciousness EP (Tankcrimes, 7” EP)
A five minute rock ‘n roll epic on the a-side (“Reality”) and the flip has two older songs originally done with their first vocalist. The rock ‘n roll meet Flag/Bl’ast-ish tendencies remain in place, especially in the guitar riffs and the sound is as fired-up as ever. In fact, these songs are better than just about anything on the band’s second album. The very psychedelic artwork, by Marcello Crescnenzi, is an eye-catching visual complement to this decidedly non-psychedelic band. Unless you’re talking about one bad motherfuckin’ trip. (PO Box 3495, Oakland, CA 94609, www.tankcrimes.com)

BEAR PROOF SUIT-Science Is Dead (Criminal IQ, 7” EP)
Bear Proof Suit have one of my favorite song titles so far in this fairly young year—“Prosecutors Will Be Violated” and it’s not just about the title. Furious punk with a Scandi-core guitar signature on that song.. There’s a convincing aggressiveness throughout, especially for the title track. “Sans Equity” offers a tad more complexity and sneaks in a coda of Blue Oyster Cult’s “Before The Kiss (A Redcap)” at the end. And it takes brass ones to cover the legendary Wipers and the band is up to the task with their version of “Up Front.” (3501 N. Southport, Chicago, IL 60657, www.criminaliq.com).

BRODY’S MILITIA-All Bridges Burned (Brickwoods Butcher, demo)
This cuddly band are back to bash your skull in. Six songs, which will all appear on various splits, except for the Nun Slaughter cover, “Slut Burner” (lovely) that is slotted for a tribute album to that band. Nasty, raw thrash and punk that occasionally hits grind-like levels of velocity. “Same Shit, Different Dress Code” stands out, with its street punk meets rock ‘n roll style. “Won’t Change A Thing” is also in more of a rockin’ vein and it comes as no surprise it’ll be on a split with Antiseen. Definitely not for the weak. (PO Box 377, Mount Orab, OH 45154, www.thrashyourface.com/butcher)

CIVIC PROGRESS-s/t (tape)
St. Looie, um, St. Louis has produced some pretty good hardcore bands in the past few years and Civic Crisis are among them. Full-bore, speedy hardcore punk with old school power, pushed along by pissed-off vocals and raw guitar. Civic Progress aren’t going to win any poetry awards for their lyrics—still, there’s something enjoyable about hearing someone yell the words to “Ignorant Fucking Assholes” and “Kill The President” Extra kudos for their song “Crimethinc Is A Joke,” where they’re called out for the “privileged idiots” they are. I like the angry attitude and the music complements it. (5216 Morganford Rd., St. Louis, MO 63116, civicprogress@hotmail.com)

DESTRUCKTIONS-Complete Destructions (Hardcore Holocaust, LP)
Vintage Finnish hardcore from the early 80s and this LP discography includes demo tracks, in addition to songs previously released on vinyl. Destrucktions kept to the blueprint of thumping bass and drums, distort-stun guitar and ranty vocals in a higher register. There’s sonic similarities to Disorder but they didn’t push the envelope as far into unhinged territory as a band like Kaaos. Still, this is some primo blitz and very nicely packaged with a gatefold sleeve and liner notes in both English and Finnish written by the band’s guitarist, Poko. (www.hardcoreholocaust.com)

DOA-Punk Rock Singles 1978-99 (Sudden Death, CD)
Another addition to the DOA catalog series or whatever you call it. In any case, it’s pretty awesome to have a collection of their rare early EPs in one place. And while the later stuff i.e. most of the recordings after 1983, aren’t quite as choice, they still come up a good track every so often, such as their cover of “Marijuana Motherfucker,” a reworking of a couple of David Peel songs. Still, the attraction are such miscreantic (?) treats as “Disco Sucks,” the first song and introduced with Joey Shithead’s bellowing of the title. If I’d heard this in 1978, I would have had my fist raised in anti-disco solidarity. Ask me about my less-than-enjoyable Senior Prom/Saturday Night Fever torture night, sometime. Some of the band’s best-known songs are here—some of which were re-recorded for “Something Better Change.” That includes “The Prisoner,” “13,” “Woke Up Screaming” and “World War 3.” DOA’s forte was always combining snotty punk energy and an inescapable catchiness. Also, DOA stuck to their punk rock guns during a time when there seemed to be a bit of a lull between the original ’77 era bands and the rise of hardcore. A devil-may-care attitude and punk rock defiance—always a good tandem and it’s good to see Joey (or Joe, these days) hang onto it as he’s hit his 50s. (Cascades PO, Box 43001, Burnaby, BC, CANADA V5G 3H0, www.suddendeath.com)

HAPPY BASTARDS-Box Of Hard Knocks (Profane Existence, CD)
Punk that defies expectations. The first song, “Nacimento,” is a quiet, Zoundz-like instrumental, a deceptive prelude to what follows. Rampaging punk tempered with melody and vocals that are sung, not growled or shouted. In all honesty, that was something of an acquired taste at first, but Christy Chatfield avoids excessive over-emoting. “Neither Here Nor There,” coming in the middle of the album, is a knockout. It begins with the speedy attack and alters the speed to a medium tempo, with Christy’s lead vocal complemented by a backing vocal carrying the melody. There’s definitely a subtle UK anarcho feeling here, especially the more tuneful passages but it doesn’t dissipate the impact at all. If anything, it enhances it. (PO Box 8722, Minneapolis, MN 55408, www.profaneexistence.com)

REPERCUSSIONS-11 Songs EP (540, 12” EP)
Strong hardcore punk from Texas and the guitar player is Stan from Signal Lost/Deathreat/Balance of Terror and there are also people from Pedestrians, Army of Jesus and other bands. A combination of US style hardcore, particularly Poison Idea, along with Scandinavian influences. And, to quote the rotund Oregonians, there’s plenty of pure hate expressed here, particularly on the topic of religion. “Bomb The Pulpit,” “On Your Knees” and “Body Of Blood” make that point rather succinctly. “Breeding Contempt,” meanwhile, lament “breeders,” stating “Do we really need more of us? (Timmy Hefner, 1012 Brodie St., Austin, TX 78704, timmythetexasturd@gmail.com)

SACRED SHOCK-s/t (tape)
Three former members of Army of Jesus, along with a new vocalist, Alex from Iron Age, among other bands. Good surging hardcore punk, a bit more melodic than AOJ but it’s still not radically different. Also, the tuneful qualities don’t overwhelm things—the aggressiveness is still at the fore. That comes out full-tilt for “Bridge Burner” and “Best Interest.” I hope to see some vinyl in the not-too-distant future. They’re ready. (www.myspace.com/sacredshockatx)

SOCIALICIDE-Sick Of The Pressure (tape)
Rippin’ fast hardcore punk. They’ve got it down, with tightness and rage and it blows by without let-up. Standard themes of alienation, confusion, etc. Goddamn, I remember those days. They’re still going on, actually. No complaints, here. (816 Nugent Dr., Chesapeake, VA 23322, myboilingpoint@hotmail.com)

WARCRY-Deprogram (Feral Ward, LP)
There isn’t one ounce of originality on this record, Warcry’s second album. Nada. This is a formula. A set method. Basic, crusty hardcore punk with a Dis-inclination, although it’s not really straight D-beat fodder. And, you know what? I fucking love it. Whether fast or at a more moderate pace, all the right buttons are punched. The identities are hidden but Todd Burdette from Tragedy/Deathreat/et al is the vocalist and this is clearly a loving indulgence of the style. Hoarse vocals, shredding guitar riffs and cool bass runs and the latter is a highlight on “One Last Warning.” When this style is played the right way, it’s a joy to hear. (www.feralward.com)

So I'm apparently a hippie!

... I'll occasionally indulge in some ego gratification by doing a Google search on my name and I stumbled across a blog by Henry Yu, a former MRR columnist. He was let go in '05 (which was ridiculous--he had a good column) and decided to analyze the various columns that were left, including yours truly's...

http://whatwedoissecret.blogspot.com/2005_08_01_archive.html

... quite humorous. I mean that--it made me chuckle. But I'll always defend liking CCR... no need to be defensive about it, actually.

Here's the column in question:

Having just wrapped up the review section for this column, I now have the radio on, tuned to the local sports station. I was all set to tear apart wackjob fundamentalist Pat Robertson for saying that Muslims shouldn’t be judges and for his sickening comments on ABC’s “This Week With George Stephanopoulos” where he said, in essence, liberal judges were more of a threat to America than “a few bearded terrorists who fly into buildings.” Just the latest shocker in a long history of demagoguery from this fringe character who still gets a lot more mainstream media exposure than he should. His words speak volumes and it’s frightening that he still has any sort of following.

So that’s what I was planning on writing about but what more needs to be said, really? It gets exhausting and seems like screaming at a wall, to be honest. Robertson will be back on the chat shows and this episode will probably pass from the public consciousness until he says something else that’s equally crazy. Anyway, I’m half-listening to the radio and they had an ad for the upcoming John Fogerty/John Mellencamp concert at the corporate rock shed in the sticks--it used to be called Great Woods but is now named after a stereo chain. As with many of these “shed” venues, there are plenty of boomer-friendly acts playing there. The oldies or nostalgia circuit.

There’s a snippet of “Fortunate Son” that plays in the ad. It’s not the classic CCR version but a newer rendition by Fogerty. The grit and anger in his voice is long gone. It sounds tame. No intensity. It sounds as though he’s trying to summon the Fogerty of old but it’s not quite happening. But I’m sure it’ll be crowd-pleasing, anyway. I can see the middle-aged patrons (and, yes, I know I’m also middle-aged) in their hideous patterned shirts covering their paunches (have one of those too!) swaying and singing along, before getting in their SUVs with the yellow ribbons and heading back to their homes in the ‘burbs.

CCR--PUNK AS FUCK!

When that song came out in 1969, it sounded ferocious, especially to this 9 year old kid who had just started listening to the radio a lot more. It was a song I always looked forward to hearing. I didn’t get the record for a few more years—it was kind of a beat-up copy I got at a thrift store but it remains in my collection. That sturdy bass-line, steady drum-beat, the spare guitar riff and then Fogerty’s gem of a voice. Vic Bondi from Articles of Faith called it “the voice of American rock and roll,” if memory serves me correctly. Snarly, angry, cantankerous. This wasn’t hippie pie-in-the-sky. Fogerty was from more of a working class background and this was song was about how people of his background got the short end of the stick. These were the kids getting sent off to fight that terrible conflict in Vietnam. “Fortunate Son” and the Bob Seger System’s “2+2=?” are my two favorite war-themed songs from back then. No flower-power, just pure rock ‘n roll. I didn’t know that much about the horrors of war at that age. A few years later, when I was 11 or 12, I became more aware of the horrors of what was going on over there and had fears that it’d still be going on when I turned 18 and I had a pretty good idea I wanted nothing to do with it.

Getting back to “Fortunate Son,” though, it’s been stripped of its meaning, hasn’t it? It’s not just that the new version sounds so weak. The original version was used in a commercial and I’m purposely forgetting the product but I think it was for jeans. You know, the clothing of choice for the counterculture. The commercial included the line “some folks are born made to wave the flag/ooh, they're red, white and blue” as there’s an image of a flag waving. Not so surprisingly, in this commercial, the next line of the song is omitted: “and when the band plays “Hail To The Chief,” oh, they point the cannon at you, Lord.” I know Fogerty probably had nothing to do with the placement of his song in this ad since he lost the rights to his back catalog years ago and, in fact, wouldn’t perform any Creedence songs for a long time. Still, if someone’s exposure to that song is only through the jeans commercial, they probably think it’s just a song about being a good flag-waving American. They don’t have the context. Something’s wrong about that. I could go off on a tirade about how a lot of songs I loved as a kid and teenager have been bastardized in this way but I don’t have the space.

So Fogerty and Mellencamp are on the nostalgia circuit. I just saw MDC play two nights in a row, with the original lineup—Dave Dictor, Mikey “Offender” Donaldson (one of the best bass players in hardcore), Ron Posner and even Al Schvitz. It was a bit loose at times but I’m not averse to a trip down memory lane and those songs still have meaning to me. They played well and they were playing DIY venues, touring around in a van and a trailer. No rock star trips. Doing it because they still want to, I imagine. It seems genuine and still heartfelt.

The songs on “Millions of Dead Cops” forever corrupted my thinking. At the shows, Dave talked about punk being a music for the freaks—I may not look like a freak on the outside, having never really gone in for punk fashion, except for wearing band shirts and some buttons on my jacket, but I always felt like one on the inside. A misfit. An outsider. “Business on Parade,” “America’s So Straight,” “Church and State” and “Born To Die” Those hit me goddamned fucking hard as I played a tape of the album while commuting to a much-despised job in 1982.

The thing is, unlike the probable audience for Fogerty/Mellencamp show, the audiences in Cambridge and Haverhill, Mass. were mostly made up of people who were born after the first MDC album came out. I don’t know if that’s the case elsewhere, but it was true around here. It made me wistful, in a way, because I wonder what happened to all those people I used to see in the 80s. There were a few older faces at both shows but it was a vast minority. In Cambridge, Dave put his arm around my shoulder and pointed out to the youthful gathering that I was probably the only person there who saw them in ’82. I’d guess that’s also true for their 1983 Rock Against Reagan show. But we’re both still here. I’ll leave it to others to decide if that’s cool or pathetic. I’m kind of happy about it, myself.

Suburban Voice blog #36

MY FRIEND THE PIT

That line is taken from an Impact Unit song. A friend of mine from Nevada was telling me about how she was at a punk show and how the pit (she calls it a mosh pit and I explained to her that it’s definitely not cool to use that term) had an unfriendly feel to it. We were talking about “friendly” and “unfriendly” pits. It got me to thinking that, for most of the shows I go to, the pit has a more or less “friendly” vibe. No karate moves or spin kicking, like you see at more tough-core or ’87-inspired hardcore shows—you know, the kinds of bands whose merch usually includes hooded sweatshirts.

It’s a contrast between something being communal and something being individualistic. I do think punk is about individualism and I’m also skeptical as all hell about the “communal” aspect but it’s a nice concept, at least, and the shows where people aren’t beating the living crap out of each other in the pit are more fun. With the martial arts pit crowd, it’s more a sense being self-centered, showing off your style and if someone gets in the way and they get clocked, too bad. They’re not HARD enough. Fuck that. So—to quote the Spark, circle pits, not karate kicks!

And, while I’m sure he’s so humble that he doesn’t want to be pointed out, a round of applause for Boston’s most enthusiastic dancer, Circle Pat. If you go to any DIY punk show around here, you’ll see him dancing like a maniac back and forth to just about any band. Hell, he dances to his own band, Apeshit. And the great thing about Pat is he goes nuts without crashing into people on the side. Even when he dives on people’s heads, there’s no malice. He’s so considerate that when I’m taking photos, he ducks down so he won’t ruin my shot. Agile as hell, too—when Benjamin from Blank Stare was engaging in some serious Roger Daltrey mike swinging and Pat came into the line of fire, he ducked just in time to avoid getting nailed. That’s probably the most impressive dance move I’ve ever seen from the guy.

PAT

Just the other night, I was at a show at MassArt that included three all-female bands, Condenada, Bruise Violet and Joda. Positive Reinforcement and Legion of Hell (watch out for these crust-metallers) started things off. During those three bands’ sets, the dance floor was taken over by the ladies and when a few of them started playing leapfrog, that was an awe-inspiring moment.

BRUISE VIOLET

MUSIC REVIEWS

TWO 7’S PREVIOUSLY REVIEWED AS DEMOS:

Two very good demos that I had reviewed before (is there an echo in here?) are now available in the vinyl format. The first is from The Youths, whose “We’re The Youths,” has been given a lovely yellow pressing on Criminal IQ Records (3501 N. Southport, Chicago, IL 60657, www.criminaliq.com). This Portuguese band hammer out five songs of catchy garage/punk snot and a slight amount of non-pretentious artsiness. When a song has handclaps and makes me want to clap along, as it the case with “Decontrol,” it’s a good sign. The other record is from the California hardcore band Nightstick Justice, a split release between Even Worse and Way Back When Records (WBW: Noel de Boer, Saenredamsraat 44-2, 1072 CH Amsterdam, HOLLAND, www.geocities.com/evenworserecords). This band’s boiling-over sound grabbed me with the demo format and it sounds even better on vinyl. No let-up, no breaks, except when you have to turn the record over, and it’s pure throttle. I guess they heard me when I said the demo “begged for a demo release.”

ENCROACHED-Shoot The Icons (Shock To The System, 7” EP)
Off-the-rails hardcore by this Japanese band and they have a sound that pays tribute to their forebears. Raw distorted production and an attack that merges howling vocals and a clamorous tandem of razor-sharp guitar, earth-moving bass and powerful drumming—all of it moving at high velocity. I have no idea what they mean by “I’ll sabotage the surface relation” nor “Get chance to the rusts,” but these songs make a direct connection and then some. (PO Box 300991, Jamaica Plain, MA 02130, http://shocktothesystemrecords.com)

FRUIT SALAD

FRUIT SALAD-Blood Power (Teenage Disco Bloodbath, 7” EP)
Thrash, grind and heaviness from this local (well, to Boston) band with the oddball moniker and on pretty green vinyl. A combination of serious and not-so-serious lyrics. “Natures Revenge Association” (aka “NRA”) advises arming the animals… you know, protect the right to arm bears. I’m still more a fan of seeing grind bands live than on record but these guys have gotten better lately and this recording reflects it. Tight, aggressive playing. (www.tdbrecords.com)

LEFTOVER CRACK/CITIZEN FISH-Deadline (Fat, CD)
They toured together, so here’s a split CD (vinyl on Alternative Tentacles). Each band covers the other—plus LOC cover the Subhumans and Citizen Fish cover Choking Victim. Got it straight? LOC’s songs here are a lot better than on their not-so-great second album. Tuneful punk along with ska and the guitar lines grab ‘n singe. Best of all, I can listen to the songs without being surrounded by their godawful fan base. I have to admit I’m a sucker for their sense of melody. As for the Fishies, they also tread the ska/punk line. I sometimes think the songs that have horns would be better without them but it doesn’t sound like third wave garbage, at least. What’s interesting is the jaunty, upbeat feeling to the compositions even with the deadly serious subject matter. The best song is the urgent, driving punk of “Getting Used To It” that almost has a Rocket From The Crypt feeling to it. No real duds here. (PO Box 193690, SF, CA 94119-3690, www.fatwreck.com)

POUND FOR POUND-For Our Fallen Brothers (Surprise Attack, CD)
When I turn this disc on, I get the urge to start pumping iron. No joke—I was pantomiming some heavy lifting in my den here since I don’t have any barbells. In any case, stentorian hardcore with the requisite bellowing vocals and metallic riffage. Pound for Pound have spent as much time listening to “And Justice For All” and “Vulgar Display Of Power” as they have “The Age Of Quarrel.” As you can probably tell by the title of the record, the subject matter isn’t very cheerful. Such lines as “This world is so full of hurt. The tide of pain left to rip us apart.” I have to admit some of these songs have enough groove to get by but it still ends up being tedious chug-chug. Incidentally, there’s a sad sidebar to this album. It’s dedicated to their friends, at least some of whom were killed in Iraq (I found out by Google-ing their names). Such a tragedy for no legitimate reason. Just as sad is the desire to exact revenge, as expressed on “Stand Our Ground.” That enmity should be directed more at the madmen who had the idea to invade Iraq in the first place. (PO Box 63704, Philadelphia, PA 19147, www.surpriseattackrecords.com)

ROTTENFUX-s/t (Six Weeks, 7” EP)
The thumpa-thumpa drumming is kind of weak but this band’s super-raw early 80s hardcore punk sound is rife with feedback-laden guitar buzz and sputtering leads. The throat rippin’ vocals come from a gentleman who goes by the name Filthy. This sounds as though it could be some lost Killed By Hardcore EP from back in the day and that’s something to be impressed with, much in the same way I’m impressed with one of the guy’s Mecht Mensch hat. (225 Lincoln Ave., Cotati, CA 94931, www.sixweeksrecords.com)

TRANZMITORS-Teenage Tragedy/Invisible Girl (Deranged, 7”)
The latest in a string of singles and the A-side is driving pubby, piano-spiced punk and the flip taking a power pop/semi-glam direction, with nary a skinny tie in sight. Both songs have Thunders-without-the-sleaze guitar licks. The Tranzmitors seem to have multi-faceted pop instincts and I’m curious to hear their upcoming full-length. These two songs are good but don’t completely blow me away. 1166 Chaster Road, Gibsons, BC, V0N 1V4, CANADA, www.derangedrecords.com)

TWENTYSEVENSHOTS-s/t (self-released, 7” EP)
Surging hardcore punk with rock ‘n roll and melodic touches. The lyrics are brooding, “heart on my sleeve,” to quote the title of one of their songs and there are two vocalists/guitarists who take turns howling out those words. Dare I say there’s emotional content in there? Umm… perhaps but before you run away with your hands over your ears, these guys sound pissed off and not the type of guys who are going to cry onto their keyboards while writing LiveJournal entries. Nope—I’d call this a good solid ear-whuppin’. (2704 Garfield Ave., Apt. 1, Minneapolis, MN 55408, twentysevenshots@hotmail.com)

WAR ALL THE TIME/WHOLE IN THE HEAD-Split (Crimescene, 7” EP)
Two raging bands from the UK. Sned, one of the guys in War All The Time, sent a witty note that said “here’s some more stuff from grizzled veterans” or something like that—it was in reference to my review of Violent Arrest. Anyway, I don’t care if they’re 20 or 50, all that matters is their songs rip hard in a Scandinavian-meets-late 80s UK hardcore vein. Whole In The Head, meanwhile, come on like early Agnostic Front for “The Boy Who Told Lies.” Double-speed thrash and they also have some of the Scandi-core style, as well. Nuance, nuance, nuance. The first sentence I wrote actually sums it up the best. (Unit 3, Lodge Causeway Trading Est., Fishponds, Bristol BS16 UK, http://www.crimescenerecords.co.uk)

Suburban Voice blog #35

WHITHER WEBCASTING?

As a lot of you probably know, I host an internet radio show called Sonic Overload (http://sonicoverload.moocowrecords.com). There’s some distressing news about internet radio—new royalty rates announced earlier this month by the Copyright Royalty Board. What it means is web stations have to pay a royalty for songs they play on their shows. The fees will be prohibitively expensive, especially for smaller scale webcasters. Here’s a news article by Clea Simon that appeared in the Boston Globe. A few other folks have mentioned this issue to me as well.

Once again, the lords of the music industry attempt to shoot themselves in the foot and negatively affect artists, as well. Independent web radio is becoming an increasingly effective way for artists who are marginalized by mainstream, corporate radio to be heard. As the Globe article mentions, it provides an outlet for specialized programming. Even though one has to have the equipment or access to create this programming, it still provides an alternative. In this era of media consolidation, these outlets are more vital than ever.

SONIC OVERLOAD RECORDING SET-UP

I’ve received e-mails from listeners asking if I’m going to have to suspend my webcast and my answer is NO FUCKING WAY. Even though my listenership continues to increase, I’m still pretty far under the radar and that’s fine with me. I had dreamed of doing a radio show since I was a kid and finally got my chance in the late 90s when I ended up co-hosting a show on the Masconomet High radio station WBMT. Steve Lord, who had a show called “The Next Generation” asked me to guest DJ in ’98 and it went so well that I ended up staying on until he graduated in ’99. In 2000, when Allston-Brighton Free Radio, a low-power community radio station began broadcasting, I was given airtime for my own show, initially called Inflammable Material and changed to Sonic Overload after a few months. For a time, the station would send playlists to one of the publishing companies, BMI, but I don’t think we ever paid any fees. The station operated under Part 15 of the FCC guidelines, which enabled us to broadcast at 100 milliwatts without any licensing. Once a more powerful transmitter was installed, for all intents and purposes, we were a pirate station. I’m working from memory here but our power varied between 20 and 50 watts. Not exactly a wide range but, at its peak, the station could be heard several miles away. At the original wattage, it was only a few blocks. Even so, since I wanted to expand beyond A-B Free’s limited range, I began webcasting my show in 2003 and, once the station closed, it became a ‘net only program. .

This is something I do as a hobby, as a labor-of-love. I don’t accept advertising. My show is not for sale. I play the music I want. I do take requests but, in all honesty, if it’s something I’m not into, it doesn’t get on the air. As with my writing, the intent is to get people to check out music that I’m into and it’s gratifying when a reader or listener will thank me for getting them to check out a band/record. That’s the whole point—it’s not about making money. Most of the bands reviewed below probably don’t get a whole lot of radio airplay and I’m willing to bet that a majority, if not all of these artists don’t want the stations/outlets who air their music to be forced to cease broadcasting or webcasting.

MUSIC REVIEWS

AKIMBO-Harshing Your Mellow (Alternative Tentacles, CD)
Does anyone use that phrase anymore? Hell, does anyone use the term “mellow”? Ted “Right Wing Neanderthal Racist Scumbag” Nugent told his audience that anyone who wanted to get even a little bit mellow could get the fuck out of the venue. Whatever swill the Nuge is putting out these days, I’m sure it sounds positively tame next to Akimbo. Originally released in 2001 and back to shatter skulls. Abrasive, mind-jerking, jolting, lurching aggression. I mean, this is an attack. No other way to put it. Howling vocals, powerful guitar and bass licks and the drums bashing things around pretty well. Akimbo’s music has a hardcore intensity but uses it as a base for something more expansive—and achieves that without any air of pretentiousness. Nor subtlety, either. None whatsoever. (PO Box 419092, SF, CA 94146, www.alternativetentacles.com)

ASSHOLE PARADE-Embers (No Idea, CD)
Anyone who reads my stuff regularly knows that I’m not a fan of grind/blast-beat driven hardcore. Asshole Parade are an exception, at least with this EP. Maybe I just didn’t pay enough attention before but this 21 track effort flat-out blazes. Sure, there’s the hyper-speed element but it doesn’t go out of control. It’s not even really grindcore, I imagine. There’s a musicality to it—not just wanton flailing. Tight as hell and discernible riffage, to go along with the message-oriented lyrics that are coated in humor and irony. Hell, the protest even extends to assholes who try to sneak 30 items through the express line (happens all the time!). A seamless blend of ominous heaviness (without low tuning) and thrash along with the typhoon-like speed. Clever nods, as well—the “Children Of The Grave”-ish rumble of “Soldiers 3-The Final Chapter” and the crush of Judge’s “The Storm” for “Still Love My Moms.” A pleasantly ripping surprise. (PO Box 14636, Gainesville, FL 32604, www.noidearecords.com)

BEHIND ENEMY LINES

BEHIND ENEMY LINES-One Nation Under The Iron Fist Of God (Profane Existence, CD)
There’s really no missing the point of Behind Enemy Lines’ crusade; there’s not much subtlety. Behind Enemy Lines’ third musical state of the world address includes commentary about US military aggression, the profound neglect of the victims of Hurricane Katrina and the attacks on so-called looters, overseas aggressive and the dangers of religious fundamentalism. Cries of pain, to quote Discharge. The same sonic missive—thick, heavy Scandinavian-inspired hardcore at a quick pace and the lead and backing vocals are angry and anguished. The disc comes with a bound booklet that includes lyrics and visual imagery. Once again, no missing the point. Unbridled intensity. (PO Box 8722, Minneapolis, MN 55408, www.profaneexistence.com)

CHELSEA-Faster, Cheaper & Better Looking (TKO, CD)
The hook for the first new album for Chelsea since the 90s is that two 70s-era members, James Stevenson and Chris Bashford, are back. They actually came back when the band toured in ’99. Chelsea were always something of a second-tier UK punk band. A handful of stellar songs but never really evolving into any sort of godhead status—“Urban Kids” remains the best song they ever did. In any case, “Faster, Cheaper & Better Looking” is listenable but inconsequential. The opening song “Living In The Urban DK” is emblematic—mid-tempo, tepid, just not all that ferocious or edgy, even with the basic guitar/bass/drums lineup. It’d be nice to have heard what they could have done with the tuneful riff on “45 RPM” if it they’d put a lot more voltage through it. Let’s face it—with most of these old-guard bands, it’ll be the original albums that will get played. Chelsea aren’t an exception to that rule. (8941 Alabama Ave., Suite 505, Huntington Beach, CA 92646, www.tkorecords.com)

EVERYTHING FALLS APART-Escape (self-released, 7” EP)
EFA are from Buffalo and describe the city as “Frozen, rusted and dead.” “Planning My Escape” is about how they can’t wait to get out of there. The hardcore punk on this EP acts as an expression of their feelings of frustration and anger. Dang, that sounds pretentious so let’s get down to the facts. Pat’s vocals are ranty and pissed-off and there’s a good balance between thrashed-up songs and more medium-paced punk rock compositions. (www.everythingfallsapart.org)

FUNERAL DRESS-Hello From The Underground (SOS, CD)
Another punk band who have been around forever and a day. The kind of songs that one would refer to as rousing. Brash, loud, melodic and made for singing along, particularly “Here We Go.” A few of the songs catch the ear—the rousing (there’s that word again) “Detonator,” and “Suicidal Riot Girl” (there are still riot girls?) and “SPR,” the most burnin’ song here. Still, the tin-whistlin’ Irish jones has hit ‘em for “Holiday” and “Freedom and Liberty” and it comes across as bandwagon jumping. Funeral Dress have always been a middling band—there will be a few songs where you go “hey, that’s not bad” but, once the moment passes, it’s not something that really sticks. (PO Box 3017, Corona, CA 92878, www.sosrecords.us)

KING AUTOMATIC-I Walk My Murderous Intentions Home (Voodoo Rhythm, CD)
A one man band. As in the King plays all the instruments simultaneously, except for a guest sax player on two songs. Pretty amazing if you think about it. This is bash-it out garage primitivism, sometimes with R&B-ish and bluesy touches. King Automatic, who hails from France and whose real name is Jay, is a drummer by trade. He’s played with Thundercrack and Billy Childish. Some of the songs here have a Childish vibe, in fact, with the simple, stripped-down approach. The reggae excursion for “Here Comes The Terror” is somewhat ill-advised but the songs are pretty much spot-on the rest of the time. Cool. (Jurastrasse 15, 3013 Bern, SWITZERLAND, www.voodoorhythm.com)

KRUM BUMS-As The Tide Turns (TKO, CD)
Up-da-punx music to get the boots and mohawks crew going in a big circle pit. Fast, Unseen-ish punk with attention paid to melody. With the harmony vocals, it almost comes across as west coast style punk ala No Use For A Name, etc. Some of the guitar leads also indicate one or more of these guys listened to his/their share of metal growing up. There are a few songs here worth another listen—“Last Breath,” in particular, with its galloping intro and the speed metal bridge on the title track makes me think these guys would have made one hell of a headbanger outfit. In their punk rock incarnation, the album is listenable but hardly extraordinary. (8941 Atlanta Ave., #505, Huntington Beach, CA 92646, www.tkorecords.com)

MIDNIGHT BOMBERS-Evil Streets (Wondertaker, CD)
The Bombers’ vocalist Jerry is a native MassHole (i.e. he’s from my neck of the woods), formerly with Bastard Squad. He relocated to the Bay Area some years back and now fronts this band, originally known as Deadfalls (not to be confused with Deadfall). They’ve released a 7” and I’ve got a demo CD-R, as well. Solid punk rock with a brashness and straight-ahead energy. But there’s some snakiness in the guitar playing and other twists—such as the PIL-like dubbiness that starts “Satan’s Children.” The more interesting songs have those little wrinkles and it’s all played at a fast pace. The lyrics expose a tortured psyche—introspective and troubled and it’s echoed by the darker shadings in the music. (PO Box 470153, SF, CA 94147-0153, www.wondertaker.com)

THE SHINING-The Word Is Fiction (Pick Up/multi-label, 7” EP)
The second off-the-rails ripper for The Shining. This disc is packaged in an elaborate gatefold sleeve and the music is just as striking. Hell, if it came in a plain white sleeve, I’d feel the same way. Fast, ferocious hardcore punk, a whiff of crossover and hitting all the right buttons. The tinny-to-loud transition to start “Koopziek” is followed by a high-powered rampage that doesn’t let up. I could use even more hyperbole, like saying that smoke is coming from the needle but I think you get the idea. (Rogier Heumakers, Frederiksstraat 3, Hoog 1054 LA, Amsterdam, NETHERLANDS, rogierheumakers@hotmail.com)

VARIOUS-Planet Of Friends (Boycott The Fencewalkers Records, CD)
This is an international compilation put together by a gentleman from Russia named Vova, who plays in a few of the bands on this comp (Hoods Up 495, Frank Castle Gonna Break Your Neck and The Razor Bois). It’s to benefit his friend Alem Assefa, a dark-skinned man of Ethiopian descent who was beaten into a coma by nazi scumbags in Moscow. Alem is disabled and the funds from this comp will go towards his medical treatment. The collection is haphazard and the sound quality is equally uneven. Gleaning the highlights: Learn’s sweeping hardcore is well-executed. Common Enemy and the 4 Sivits’ straight-ahead punk fare pretty well. Dean Dirg’s brief garage punk blast is one of the best moments here. Black SS are raging, as always. Some other bands of note include ANS, Vitamin X and the Tangled Lines. Punk, hardcore, street punk, crust, even some hip hop from Hoods Up 495. Even if the lineup of bands here (27 of ‘em) doesn’t entice you, at least check out the webpage set up to help Alem—http://en.pomogi.org. (www.myspace.com/pxoxfx)

VICE SQUAD-Defiant (SOS, CD)
Sometimes, it’s not such a good idea for reunited bands to release new albums and “Defiant” falls into that category. A few fired up punk tracks here and there, such as “Voice Of The People” and “Fast Forward,” but “War Of Attrition” almost sounds like mainstream new wavish pop (why am I thinking of Billy Idol’s “Eyes Without A Face”?). Same for “Antisocial Security” and the less said about the reggae-ish “The Great Fire Of London,” the better. Beki’s voice has turned into a raspy instrument and that’s not necessarly a bad thing. The problem is the material she’s working with here. Standing strong but not something to be proud of. Sorry—couldn’t resist. (PO Box 3017, Corona, CA 92878, www.sosrecords.us)

WITCHES WITH DICKS

WITCHES WITH DICKS-Manual (Kiss Of Death, CD)
Maybe it’s not fair to use the word pop/punk since, these days, it’s associated with twee, wimpy music. I had my fill of that stuff years ago. So I’m happy to write that WWD do the punk w/melody thing right in the tradition of the early Lookout Records bands, along with a good helping of Dillinger Four. Words sung at the top of their lungs (not always on-key, either—a slight detriment), nothing held back and walloping their way through the catchy songs. “Your Job Does Not Rock Balls,” repeated from their demo and split 7” with the Conversions (all the songs from those releases are on here, in fact), remains a song that sticks in your fucking head. “It’s Not Me It’s You” does the same thing, starting with a knock-out bassline over the rolling drums. Then there’s the striking guitar melody during the bridge of “He Was Yelling At Me.” Hell, I like this album enough to overlook the fact that they thank Green Day on the credits. (PO Box 75550, Tampa, FL 33675, www.kissofdeathrecords.com)

Suburban Voice blog #34

Not too long ago, I was walking around the track at the YMCA and had Agnostic Front’s “Victim In Pain” playing on my iRiver (NOT iPod because their self-contained software can suck it). First off, after some 23 years, it holds up pretty damn well. I’d deign to call it a classic, in fact. I mean, when that breakdown for “No Justice” comes on, I almost break into circle pit mode on the track.

But there seems a bit of a contradiction in the lyrics, on back to back songs. Nothing major, just one of those things that crossed my mind, around lap 21 of the 25 I was walking. Something I’ve actually thought about for quite awhile when listening to this album. On “Hiding Inside,” Roger sings about keeping feelings bottled up inside, keeping the real person hidden behind a façade. A “character in a hardcore handbook,” as he calls it. And the last line states “we don’t need anymore great American heroes but real people being themselves and not weirdos.” Now, isn’t hardcore and punk meant to be a place for the misfits, the freaks, the “weirdos”? That’s what Dave from MDC said in the “American Hardcore” movie. Of course, I seem to recall a flyer of a NY skinhead grabbing a punk kid wearing an MDC shirt by the nose. By the way, discussing the song itself for a moment, that is one great “Yeeeeeowwww” to kickstart the song. It almost sounds like a tribute to one of those older Warner Bros cartoons.

In any case, after “Hiding Inside,” the next song is “Fascist Attitudes,” which gives a wag of the finger (thanks, Stephen Colbert) for people who are intolerant of others’ style choices. The lyrics go “why should you go around bashing one another? If they look or think different, why let it bother. Everyone’s got their own style, their own thoughts. Don’t let it bother you, don’t let it caught” and also mentions how “we’re all minority and everyone of us counts.” Another plea for unity but if someone wants to be a “weirdo,” shouldn’t that be respected?

Ah yes… a classic case of nitpicking. One of those little things I think about more than I probably should. Idle thoughts to keep my mind off of my thighs getting stiff after all those laps. So if any of those NYHC folks (especially the ones with big muscles) take this the wrong way, please don’t beat me up. In the end, I suppose it doesn’t matter. Well, maybe it does—cliques, divisions, etc remain a fact of life. Scene unity is always a nice ideal, as expressed on “United and Strong,” another track on “Victim In Pain.” Unfortunately, idealism and reality often isn’t the same thing. And what’s a “scene” anyway? Truth be told, I get tired of labels. I have a friend who talks about someone being a crusty or a hardcore person or a peace punk. I can’t keep up with all the sub-groups anymore. Nor do I really want to. I’m getting too old to worry about this stuff. I do love being a weirdo, though.

What a great album, though! No other subsequent AF release has come close to it….

MUSIC REVIEWS

APPALACHIAN TERROR UNIT-Armageddon Won’t Be Brought By The Gods (Profane Existence, 7” EP)
Straight outta West Virginia—crusty hardcore punk. A spoken intro with somber accompaniment and then the pillage begins. Harsh female/male dual vocals and heavy, piledriving riffage and metallic squalls. The subject matter isn’t exactly cheery, as you’d expect, summed up on the title track with the line “humanity has been lost.” Following a standard musical/lyrical path but it’s convincing. (PO Box 8722, Minneapolis, MN 55408, www.profaneexistence.com)

BAYONETTES-We’re Doomed (Deranged, 7” EP)
Brash, tuneful punk without being sappy-sounding. Vocals that go from sweet to piercing and back again. Despite the upbeat-sounding music, there’s some darkness in the title track and “Take This Pill,” while the other two songs deal with affairs of the heart, also from a less-than-cheery outlook. There’s a tough ’77 era spirit, something that’s quite in vogue of late, but bands such as the Bayonettes make it sound fresh all over again. (1166 Chaster Rd., Gibsons, BC, VON 1V4, CANADA, www.derangedrecords.com)

BELCHING PENGUIN-Demos 1985/1988 (Burrito, 7” EP)
First off, one complaint. This record has way too much surface noise. Perhaps it’s from the colored vinyl but, in any case, it detracts a bit. Belching Penguin were a Florida hardcore punk band—they released one album in 1986, “Draft Beer… Not Me.” Side one features songs from their ’85 demo, done as a three-piece and the flip consists of uncirculated demo songs from ’88. Raw, energetic hardcore punk inspired by DRI and a tiny whiff of crossover. They also had a sense of humor and I imagine that the name of the band probably tips their hand. I imagine that’s also made obvious by “Dead People Can’t Drive” and “Senators’ Wives.” There’s even a childhood trauma revisited on “Box Lunch.” What was interesting is the fact that the guys stuck to the thrashin’ approach in ’88, after it had fallen out of favor. Comes with a xeroxed photo/flyer booklet and fold out poster—and that has a recent interview with their bass-player Jeff Jewhurst. A nice bit of archaeological musical digging here. (PO Box 3204, Brandon, FL 33509-3204, www.soundideadistribution.com)

BREATHING FIRE

BREATHING FIRE (Painkiller, 7” EP)
This southeastern Mass. band just reconvened after a few years off and this is a pressing of their 2004 demo. Spasmatic thrash and heavier, oozing breakdowns that create a menacing ambiance. “Exile,” for instance, slows to a snail’s pace and just hangs there in the air. There’s definitely a doomy metal influence in there (particularly for “Gates Of Ivory’) to go along with the piledriving hardcore. You gotta be in the mood for this type of bludgeon effect. Like a killing spree mood. (8 Burney St., #1, Boston, MA 02120, www.painkillerrecords.com)

BRUTAL KNIGHTS-Feast Of Shame (Deranged, CD)
The Toronto garage/punk miscreants are back for another go-round. The hand-written lyric sheet is tough to read (I REALLY need to invest in a magnifying glass) but the sarcasm-with-a-message-sorta comes through for “Government Asshole,” “The Perfect Buffet” and “We Have A Website.” Jay Reatard did the mixing and the result is a rougher and trebly sound this time around but the Knights haven’t altered the formula that much. It remains loud, rambunctious and a lot of fun if not quite as good as the first album. (1166 Chaster Rd., Gibsons, BC, VON 1V4, CANADA, www.derangedrecords.com)

CAREER SUCIDE-Attempted Suicide (Deranged, CD)
Career Suicide seldom disappoint and this album is no exception. What do you need to know? Snotty, ranting vocals and a high-powered hardcore punk sound that also rocks. Not in that contrived gas station jacket wearing, clichéd devil horn way. Not RAWK, in other words. It’s mixed into the flail and the songs hang onto their catchiness, as well. Having drummer Brandon Ferrell (Direct Control, Government Warning, Municipal Waste) behind the kit makes a big difference, as well—dude can flat out PLAY and he keeps the songs moving like a motherfucker, even when they slow it down a tad for the title track. Bottom line—this is one of the best bands going today. After so many releases, one would think they’d be getting stale but Career Suicide sound positively inspired and inspiring here. (1166 Chaster Rd., Gibsons, BC, VON 1V4, CANADA, www.derangedrecords.com)

DOA-Bloodied But Unbowed (Sudden Death, CD)
This compilation originally came out in 1983, when DOA’s “Something Better Change” and “Hardcore 81” albums were out of print. (it also came out in the early 90s on Restless Records, with their “War on 45” EP tacked on). So the songs presented here were gleaned from both albums, plus there was a new version of the Subhumans’ “Fuck You.” Unfortunately, the songs were remixed and had way too much echo. A few of them were edited, as well. Another case of remixing detracting from the material. Too bad because these songs completely stand the test of time—rousing gems such as “The Enemy,” “New Agee” and “Smash The State,” the scurrilous “13” and “001 Loser’s Club,” or the tuneful “2 + 2” and “Whatcha Gonna Do.” Yep, I’m kind of a purist when it comes to retaining the integrity of the original recordings. Fortunately, the two aforementioned albums (“SBC” and “HC81”) are once again available with their original mixes and running order intact. That’s the place to discover the greatness of DOA. (Cascades PO, Box 43001, Burnaby, BC, CANADA V5G 3H0, www.suddendeath.com)

GOONS/LEGBONE-Split (Rat Town, 7” EP)
I neglected this split for awhile (seems to happen a lot lately). The Goons, from DC, have been around a long time and hammer out two sprightly hardcore punk songs. Serge’s dramatic, over-the-top vocals remain an acquired taste but the songs hit hard. Ohioans Legbone also have a speedy hardcore punk style and are pretty successful at it. In that middle area, where I don’t want to say it’s either great or garbage. That’s the truth about this split. (PO Box 50803, Jacksonville, FL 32240, www.rattownrecords.com)

RETAINERS-Teenage Regrets (Fashionable Idiots, 7” EP)
Love the packaging here—a cut manila folder with a hand screened cover. As for the EP, it’s OK. Raw, distorted garage and surfy elements and nearly-inaudible vocals under the din. Side one, with “Teenage Regrets” and “Zombie Caliente,” are the best tracks. PO Box 580131, Minneapolis, MN 55458, www.fashionableidiots.com)

SCAPEGOAT (Painkiller, 7” EP)
Lumbering heaviness alternating with blast-thrash mania. A few Boston area bands are following this Crossed Out/Infest-inspired template and Scapegoat are one of them. Lyrical fragments screamed from the gut and a thick, cacophonous sound delivered intensely. This isn’t catchy stuff—it’s intense and the recording is full-sounding. Provocative fold-out poster sleeve, as well. (8 Burney St., #1, Boston, MA 02135, www.painkillerrecords.com)

WOUND UP-s/t (Painkiller, 7”)
Three songs of angry punk rock bile, done at a medium pace and quite rockin’. The first song is “How To Make Friends and Influence People” and, if anything, Wound Up don’t sound as though they want to be anyone’s friend, in light of the two other songs, “Fuck Fashion” and “You’re All Wrong.” It’s a lame description, but Donald Jeffers’ vocals are murderous sounding and, yes, they do sound wound up. Incidentally, one of the guitar players used to play with late 80s youth crew stalwarts Unit Pride but this is something a lot different. And better. (8 Burney St., #1, Boston, MA 02120, www.painkillerrecords.com)

Suburban Voice blog #33

You know what’s irritating? When records are pressed in super-limited quantities and, unless you know the secret handshake (to quote the always quotable Aaron Ulcer, late of Straight To Hell, Paindriver and Ulcer) or find out about it the day it’s relased, it’s likely you’ll miss out. A perfect example is the Sex Vid 7” that came out a few months ago. Came and went before I even knew about it and now all I have are MP3s to listen to. Better than nothing, I suppose. If it’s going to be re-pressed, I apologize. At least I have the second 7” on the way. Hopefully…

Seriously, though, if there’s demand for a record, why let it go out of print and end up on eBay a few weeks after it’s been released? I know some people defend this by saying it forces people to search things out, not have it come to them in a passive manner. I call bullshit—it just creates collector elitism. I don’t really care if it’s a first or second pressing—just try to make the damn thing available. Otherwise, what’s the point?

Enough said about that. I’m not going to any shows this weekend but last Saturday, there was a pretty kickass show at the Cambridge Elks with I Object, The Tangled Lines, Out Cold, Minefield, Helping Hand and Sick and Tired. By the end of the night, my head was pounding due to the volume of the bands and the loud DJ’ed music between sets. I was responsible for some of the platter-spinning but, in all seriousness, it doesn’t have to be at an ear-piercing volume. A constant aural bombardment wears thin after 3-4 hours and it’s impossible to carry on a conversation. That’s something I loathe about rock clubs because they think every moment has to be filled with volume. If these shows are meant to be a social gathering as well as a musical one, there should be a lull in the noise for a bit.

I OBJECT

This was a fun time, though. The sets were kept short—in fact, things were ahead of schedule so there was an “intermission” between Minefield and Out Cold. Speaking of the latter, this was one of the best sets I’ve seen from them in awhile. Nary a break between songs—one right into another, a ravaging hardcore punk assault done with clockwork precision. It was one of those sets where they NAILED it. The Tangled Lines played high-energy hardcore, as well, and brought out a spirited response. Luise, their vocalist, put on a Red Sox hat during the set--a sure way to win over the always-parochial Boston audience. OK, maybe not but at least it wasn't a Yankees hat. I've said it before but I Object have really turned into a powerhouse live band in the past few years and Barb loves to get up in people’s faces. There’s a sincerity, here—nothing seems contrived either with the message or presentation. As for the other three bands, I wasn’t too blown away by Helping Hand’s more melodic hardcore but it was serviceable. Sick and Tired ripped out the aggro in much the same way as at the Greyskull basement space not long ago and Minefield’s crusty hardcore is rough around the edges but on the right track.

THE TANGLED LINES

MUSIC REVIEWS

CIDER-They Are The Enemy (Painkiller, LP)
Most of these songs originally came out on a 7” on Painkiller but the band weren’t happy with the sound quality so here it is again on a 12”, along with three decent demo recordings from ’96 and a live song recorded in 2004. A much hotter mix this time. The Clevo nastiness—as mentioned in the review of “Battle of The Worst Bands” compilation, Cider and their compatriots had a chip on their shoulder, to use a cliché. A wanton, fuzzed-out sound with guitar and bass merged into a molten sheet of sound. A combination of breakneck hardcore and taking an oi-ish turn for the live “Thanks For Nothing.”. A phony British accent (“we’re British from Cleveland”) that turn redneck (?!) by the end of the 7” tracks. Quality antisocial punk rock. (8 Burney St., #11, Boston, MA 02120, www.painkillerrecords.com)

COKE BUST-Demo 7” (Headcount, 7” EP)
From DC, with a couple of guys who used to be in Bail Out. Flying the edge flag, going so far to claim that “when I die, there will be an X on my casket.” Giving new meaning to “true ‘til death,” I imagine. Aggressive, fast, in-your-face hardcore punk with the occasional burst of double speed (there’s the usual reservations about that) and some tough breakdowns. Even a metal lead for “No Middle Ground.” There’s definitely an early Revelation Records vibe here and the anger comes through. (www.headcountrecords.com)

GET RAD-Say Fuck No To Rules, Man (Hyperrealist, LP)
This one came out awhile ago but it just got sent to me. The brightly colored cover immediately catches your eye—Get Rad in large letters and a big multi-colored rainbow—which is coming from a broken skull and a bicycle cuts through a road made out of brains. Get Rad offer a similar juxtaposition—in a way, I guess. There’s a positive attitude in many of the songs, along with gang style vocals but also a good amount of anger, both vocally and with some of the sentiments, here. There’s the youthful (aka youth crew) element but without conjuring up the late 80s finger-pointin’ ambiance. It’s hardcore PUNK and they’ve got a sense of humor. In fact, the more I think about it, the tongue seems to be planted firmly into the cheek. In any case, it’s an infectiously upbeat sound and the blink-n-you-miss “Peein’ Red” (to the tune of a certain Minor Threat song you should have no trouble figuring out) is a clever touch. (PO Box 9313, Savannah, GA 31412, www.hyperrealist.com)

MONSTERS-The Worst Of Garage Punk. Vol. 1 (Voodoo Rhythm, dbl. CD)
I didn’t realize this Swiss band had been around since ’86 but that’s the case and here’s a double disc of loose ends—a lot of it live, along with radio performances, demos, out of print vinyl. These guys have always been about keeping it rough—from Beat-Man’s raspy yowl to the garbage-can aural aesthetics on a lot of these songs. In case you weren’t paying attention, the main focus is garage, along with some bluesier and surfier touches. They get crazed and unhinged on some of these songs—a fucked-up sounding “Voodoo Love,” with vocals that sound as though they’re coming through a transistor radio and some backward loop effects for the guitar. In the beginning, there was more of a Childish air at times, such as “Baby I Love You.” A mixed bag, to be sure, and that’s usually been the case with most of the releases I’ve heard from this band. In other words, it’s probably not the best starting point for newcomers to the band, yet there are nuggets scattered over the two discs. (Jurastrasso 15, 3013 Bern, SWITZERLAND, www.voodoorhythm.com)

NOTHINGTON-All In (BYO, CD)
Remember Tsunami Bomb? If not, you should be grateful—they were one of those terrible pop/punk bands that are staples of the Warped Tour. In any case, some of the guys in that band have formed Nothington and, instead of playing pop/punk, they’ve opted for the Social D/heartfelt/heartland kind of approach, with traces of emo/pop/punk still in there. The design matches that songwriterly approach—scribbled words on torn pieces of notebook paper, empty cans, a full ashtray, etc. In any case, I don’t like this band much more than Tsunami Bomb. The gruff, husky vocals aren’t bad at all, but that’s about the only positive I can come up with. (PO Box 67609, LA, CA 90067, www.byorecords.com)

RABIES-Test Your Might (Sorry State, LP)
Snotty west coast skate ‘n destroy punk and picking up where the 7” left off. The production is bright without getting too flashy—it enhances Rabies’ burning properties. Also, there’s no way I would have known that “Plateau” was a Meat Puppets cover if I hadn’t read the credits and Rabies’ version is a high speed dismembering of the Puppets’ laid back acoustic-flavored composition, at least until the end. The other cover is by Magnolia Thunderpussy, an 80s SST Records band and, while I remember the band’s name, I don’t remember the song. It’s another changeup, an oddball ending to this searing album. To steal from Agression (another skate punk band) a bit, these guys have found an effective way to release intense energy. (www.deadmetaphor.com/sorrystate)

TERMINALS-Forget About Never (Dead Beat, CD)
Lo-fi, blown out, organ drenched garage/psych(otic) primitivism. That’s a mouthful, I guess. It begins with a gospel church organ signature but the spirit is aimed at the other place, if you know what I mean. You’d think, with my appreciation for this sort of garage rock noise-mongering, it’d be right up my alley. Sad to say, but it’s just not happening for me. Their cover of the Castaways’ “Liar Liar” is more than just a carbon-copy rendition but, overall, it comes up short. Something is lost, not translating from the sonic whirlwind. The effect is akin to sticking your head into a metal garbage can and having someone smash the side with the cover. In this case, that’s not too pleasant. (PO Box 361392, Cleveland, OH 44136, www.dead-beat-records.com)

VARIOUS-Public Safety (Maximum Rock ‘n Roll, CD)
Not a lot of compilations seem to have much thought put into them these days—there’s the occasional exception. The “Mein Comp” 7” collection a few years ago was killer and the “No Bullshit” 7” comps are off to a fine start, as well. Still, it’s not the heyday when you’d have such classic collections as “This Is Boston Not LA,” “Flex Your Head,” “Someone Got Their Head Kicked In” and the first two MRR comps, “Not So Quiet On The Western Front” and, especially, “Welcome To 1984.” The latter is one of the greatest international anthologies of all time—Raw Power’s “Fuck Authority” completely blew my head off its shoulders. Those comps were an important entry to sample what was going on in the hardcore universe and I imagine that’s the intent here. This is MRR’s first comp since the not-so-great “They Don’t Get Paid” collection in the early 90s and the crew have done a good job here. A worldwide collection of bands that will be familiar to avid hardcore fans but some of the bands aren’t quite as well known. There’s a heavier emphasis on US bands, with half the bands coming from within this country’s borders so maybe it’s not quite as international as it could be. Also, a few of the songs do sound like leftovers. I’ve heard better Observers and Gorilla Angreb songs, for instance. Still, there’s diversity, from the straight-up hardcore of Look Back and Laugh, Direct Control, Limp Wrist, Career Suicide, Strung Up and Regress (an underrated Chicago band with 80s hardcore veterans). Israelis Smartut Kahol Lavan also deserve to be heard by a larger audience. The more tuneful, punkier side of the spectrum is visited by No Hope For The Kids, Smalltown, Pedestrians and Signal Lost (whose song is a little rougher sounding than in the past and that’s a plus). Regulations connect with their patented snotty punk. Youth crew stalwarts The First Step offer a short, energetic song. Aaritila and Sunday Morning Einsteins bring the Scandinavian aggro. Is it perfection? No, but there’s still plenty to recommend here. (PO Box 460760, SF, CA 94146, www.maximumrocknroll.com)