Suburban Voice blog #67

LOST CAUSE

WRITER’S BLOCK REALLY SUCKS

I figured it was time to post what I’d written lately, since it’s been over a month and despite the fact I’ve been suffering from miserable writer’s block. I mean, I get a lot of cool records, I play them but it’s sometimes tough to come up with an original way to describe records that I thoroughly enjoy but have to rehash the same words over and over to the point where it might become boring for the reader. Or become one run-on sentence! So this may not be my best work but read between the lines and it shouldn’t be difficult to figure out what’s lighting a fire under you-know-where. And I'm going to keep hammering away at that pile of records and books and DVDs and...

BALLAST-Fuse (Inimical, LP)
Inimical did a remaster of this Montreal band’s album and it was released earlier this year. Melodic crust but the guitars aren’t downtuned and Spoke’s vocals have a rasp but are sung clearly and forcefully. And the haunting quality on a song like “Untitled” has a Wipers-ish feel, as well. I’m not always into the somberness but there’s a warmth and richness paired with the band’s aggressive drive. (PO Box 2803, Seattle, WA 98111, www.inimical.com)

BROWN SUGAR-Deportation EP (Feral Kid, 7”)
The title of the EP is in reference to their vocalist Eddie’s “undocumented” status but that’s the only song with any sort of mention of the immigration issue. The balance of the time, it’s the laundry list of plaints against conformity, big-mouths and the like. Energetic hardcore with a few west-coast elements; basically, it’s loud and catchy (well, my definition of catchy) rough-hewn fodder. (379 Ontario St., Buffalo, NY 14207, xFeral_Kidx@yahoo.com)

CEREMONY-Still Nothing Moves You (Bridge Nine, CD)
Unpredictable, often explosive hardcore from Ceremony. There are brutalizing, hammering properties but also intros and bridges with ominous and droning elements. The instrumental “Overcast,” for instance, leads into the furious “Birth.Conspire. Be. Upset.” The opening song “Dead Moon California (Midnight In Solitude)” slowly builds up and develops over a few minutes until the soul-scream comes in. Quite a dramatic entrance. Their earlier records also had a kinetic attack but, this time out, it comes across as more focused and they’re the better for it. (www.bridge9.com)

CHRIST ON PARADE-Loud and Live-KFJC-08/15/07 (Prank, CD)
A live on the radio recording from the reunited Christ on Parade and they sound like they haven’t lost one step. People can bandy the whole reunion argument back and forth but these songs from the mid-80s spring to life and maintain the aggressive nature. This was a time where things were crossing over a bit and maybe there was the occasional hint of that here but COP still found themselves very much on the thrashy hardcore punk side of the street. If you’re curious, this is the lineup that appeared on “Sounds Of Nature,” with Barrie on vocals. And, as history repeats itself ad infinitum, the lyrics maintain their resonance. OK, the reference to “Ron” on “Another Country” is of its time but lines like “We do it all for the rich/we’re buried in a corporate ditch” may not qualify as poetry but I’d say it’s still relevant. (PO Box 410892, SF, CA 94141-0892, www.prankrecords.com)

COLA FREAKS-Dødt Batteri/Nej! (Local Cross, 7”)
Two jittery gems by the Danish Freaks. Enough rock-crit speak. The Cola Freaks’ first EP (which is all I’d heard up to this point) had a jabbing, stripped down punk sound and it’s maintained here while also adding some haunting melody to the mix. “Dødt Batteri” has a pronounced nervousness, especially vocally. Flip it over and there’s a slightly more straight-forward riff but the tension still bubbles. Definitely a step up for these guys. (16 ½ Suffolk St., Cambridge, MA 02139, www.bloodstainrecords.com/localcross)

JESUS FUCKING CHRIST-Life’s Hateful Seed (Inimical, LP)
A provocative band name isn’t enough... you’ve got to have the sound to back it up and, once again, that’s the case for this trio. There’s a familiarity with JFC that harkens back to bands like Christ on Parade and, with some of the bass-lines, Final Conflict. I could see this coming out on Alchemy Records in the late 80s. Flirting with metal, at times, and also packed with haunting riffs. Vocals going back and forth and if one of ‘em’s a little too cookie monster-ish for my tastes, it’s not a deal-breaker. They also go instrumental for the foreboding “Forty-Third” (about a certain 43rd president about to leave office, one wonders?). And I don’t know what pissed these guys off about the 924 Gilman space in Berkeley, as they rant on “A Living Hell,” but it sounds like they mean it with the refrain “Jesus fucking christ! You’re all assholes! Jesus fucking christ! Go to fucking hell!” Incidentally, not that it really matters and this is a complete non-sequitur but I found out recently that their bass-player Dave Ed is also in Neurosis, who I saw on my honeymoon at, of all places, 924 Gilman! (PO Box 2803, Seattle, WA 98111, www.inimical.com)

LIBYANS-s/t (Upstate Chamber of Commerce, 12”)
Since this band’s 7”, Libyans have had a change in guitarists and the sound is slightly more stripped-down, with less distortion on the guitar. Still, the older lineup wrote most of the songs here and it remains a strong combination of fast old school hardcore and more melodic, west coast punk properties—especially for “Missing Pills.” Also, as with that 7”, the packaging is really cool, with a transparency over the cover and it came with a Libyans wooden airplane, which has been getting a lot of use around here and, fortunately, I still haven’t broken any lamps or windows. One of my favorite local bands over the past year or two. (www.myspace.com/thelibyansarecoming)

LOGIC PROBLEM-s/t (Sorry State, 7” EP)
Some slammin’ hardcore, with four songs culled from two different sessions and there’s definitely a noticeable difference. The “-“ (or negative) side has a rough, demo-like quality with a thorny, gnarled guitar sound leading the way through the slammin’ tunes. Things don’t get much prettier on the other side, since it remains a wailin’ attack but the production has a tad more punchiness but the rawness remains a part of it. Those songs do have more presence, though. (1102 N. Greensboro St., Carrboro, NC 27510, www.sorrystaterecords.com)

LOST CAUSE-Walk Alone (Love The Music, Hate The Scene, 7” EP)
Four blazing new songs from this Philly band, their second piece of vinyl. The opening song “Ending Time,” in addition to being a virulent critique of shallow interactions and the search for “meaning” in life (amen, Brother Ned), has a hint of rock ‘n roll swagger. “Broken Mirrors, Broken Minds” also follows a medium-paced blueprint while the other pair of songs have a go-for-the-throat speediness as Ned spits out the angry words of alienation. Still pissed, still raging. (www.myspace.com/trackedtofail)

OUT COLD/FOR THE WORSE-Split (Kangaroo/Even Worse, 7” EP)
No bullshit hardcore and a perfect pairing. That’s pretty much all that needs to be said but I imagine a little elaboration wouldn’t be a bad thing. Well, Out Cold don’t need any sort of deep explanation. The three songs here are pure roughness although “Colder” changes the pace and throws in some formidable lead breaks. For The Worse keep up the raw pace with a tight, classic sound and include a solid version of Cops and Robbers’ “Dropping Like Flies”—now, there was an underrated Boston band. Mike McCarthy barks away in typically rabid fashion and the songs possess the usual ferocity. (www.geocities.com/tysonkanagroo or www.geocities.com/evenworserecords/)

RAMMING SPEED

RAMMING SPEED-Brainwreck (Teenage Disco Bloodbath, CD)
Thrash metal maniacs who also embrace some NWOBHM moves—you should have heard their live cover of Grim Reaper’s “See You In Hell”--but the spirit of ’87 is the main emphasis. While there’s a nod and a wink in the execution, it’s interesting that the lyrics explore some serious topical issues. Well, sometimes—“Shane Embury Is The Brad Pitt Of Grindcore” is a tribute to the Napalm Death bassist. But “Immigrant Song” is about nativism, “Bogus Facade” deals with racism and “Speed Trials” deals with the drudgery of day to day existence (actually, for the latter two songs, that’s a timeless theme). Shredding with a sense of purpose. (www.tdbrecords.com)

SHELL SHOCK-Comics, Transformers, & Punk (multi label, 7” EP)
Sadly, this ends up being a posthumous release—not only the band’s recorded swan-song but, more poignantly, in that vocalist Jeff DiLorenzo passed away earlier this year at the way-too-young age of 32. That’s something difficult to get my mind around. This five song EP was released as a tribute to Jeff and given away at a benefit show for a non-kill animal shelter. Continuing in the same no-bullshit hardcore vein as their fine album a few years back (with their original vocalist Andy). That means blunt, aggressive sounds and lyrics. Scoot, their guitarist, mentioned that he wasn’t satisfied with the three songs on the b-side but I think the roughness adds something to it. And there’s a sad irony to the opening song “Not Like You,” with the chorus that states, in part, “I may have inherited my father’s addictions, but I refuse to live with his curse... You may be gone but I wish you were here/Unlike you I’ll do something good with my life.” I hope that Jeff found that sort of satisfaction during his brief life. (www.myspace.com/shellshock)

SMART COPS-s/t (Sorry State, 7” EP)
Italian band with people from the late, great La Piovra and Ohuzaru. As with La Piovra, it’s a fast/rough hardcore punk attack with a whole lotta snot. There’s a mid-tempo thump for the righteously rockin’ “La Soffiagta” and “Tra Le Reclute Un Pessimo Soggetto. No idea what it’s about but I suppose I could punch it into a translator. I’ll tell you this much—if Italian is one of the romance languages, the Smart Cops are trying to refute that tradition. Their tradition is punk fuckin’ rock and that’s something worth preserving. (1102 N. Greensboro St., Carrboro, NC 27510, www.sorrystaterecords.com)

SPECIAL PATROL GROUP-s/t (tape)
Just ripping old-school hardcore with a skate punk flavor on occasion and an anti-authoritarian bent—what else would you expect with songs like “Ignorant Assholes” and “Destroy”? Wouldn’t mind hearing more from these guys. (www.myspace.com/spgspecialpatrolgroup)

STATIONS-s/t (Abiology, 12”)
Stations, in case you hadn’t heard of ‘em before (I did review a previous 7”) are a Philadelphia wrecking machine that let forth a formidable hardcore sound. Vocalist Kane sounds as though he’s trying to expel demons or at least a particularly awful Geno’s cheese steak from his inner being. Or perhaps he’s vegan or has the common sense not to patronize such a lousy establishment, since their food is always awful and they’re right-wing assholes, anyway. No matter. Stations have a sound that brings 9 Shocks to mind, especially in the vocal dept. In other words, it careens like a motherfucker, with an abundance of speed and hot riffs. All of ‘em fast, except for a slight respite with “Recycled Air,” which closes the first side. J. Robbins’ recording brings out a fullness without making it sound overproduced, keeping the rawness a part of the equation. Lyrical concerns tie together, for one thing, a sterile middle class existence and consumption, while “Shepards” is a critique of band reunions that are divorced from any sort of sincerity and how that inspires a defiant DIY attitude. Blazin’. (www.myspace.com/stationspunx)

Suburban Voice blog #66

THE LAST POGO

It was the spring of 1978 and I was listening to one of my favorite radio shows, The Demimonde, on one of the local college stations. I had the tape deck ready to go and the host with the odd moniker Oedipus (whose real name is Eddie Hyson) announced a song by a Toronto band called Teenage Head. Over the intro to the song, Oedi went “you’re tearin’ me apart honey.” It was one rockin’ tune, still a favorite. And, it turns out, a different version from the one that appeared on their debut single of the same name, possibly a demo version. In any case, I’ve never heard/seen it anywhere else so I imagine I have something of a rarity, there. Actually, some months before that, Circus Magazine, which generally covered more mainstream rock and pop and with little of the irreverance of Creem, has a “Punk Rock Special” issue in November of 1977. Henry Winkler was staring out from the cover, there were pieces on Foghat, Black Oak—they’d dropped the Arkansas by then and Jim Dandy Mangrum was calling himself JD--and the woman who played Lt. Uhura on Star Trek. There was also a Star Wars poster of C3PO. So it was as much for the nerds as the rockers.

The “punk special” had kind of a world-wide roundup with the usual suspects, although some of the descriptions were rather humorous—Generation X were “ghoul rock”? Maybe due to Billy’s shock-white hair but I can’t think of another reason anyone would use that description. There were small segments on LA, Boston and then Chicago, Ohio and Toronto. A few bands were mentioned including Teenage Head and the Viletones (“with their lead singer Nazi Dog”) With the latter, I was simultaneously repulsed and intrigued and, once I heard the two (or was it three?) chord buzzsaw riff, the repulsion went out the window.

I was thinking about those introductions to Toronto punk while watching “The Last Pogo,” a documentary about the city’s punk scene ca. 1978. Actually, this 26 minute piece, shot in 16mm, is a document of the last show at a venue called the Horseshoe Tavern, which had hosted punk gigs for the previous 9 months. Each band is represented by one song plus there’s commentary from band and audience members between each song and the best one comes from the vocalist of a band that wasn’t invited to play—that’s Mickey DeSadist, mastermind behind the Forgotten Rebels (of “Surfin’ On Heroin” fame, who were actually from Hamilton). He calls the event “one big farce” and complains that they can’t take a real punk band. He then starts mocking the voice of the Mods’ frontman and the film goes right into this skinny tie band’s performance. Actually, Mickey has a point about the annoying nature of that guy’s melodramatic timbre. In a more positive vein, the two guys named Gary behind the bookings talk about their motivation, which basically boiled down to booking music they loved and said the “new generation deserves recognition.”

Punk is a fairly broad definition here. The Scenics had a Who-ish/60s beat influence. There’s a little of that with the Cardboard Brains, Secrets and Mods, as well. The Ugly, on the other hand had the pure punk snottiness and attitude. Ditto for the Viletones and things started getting rowdier during their set. The cops eventually showed up to shut things down, due to overcrowding but Teenage Head still got to do one song, “Picture My Face.” That’s a fairly laid-back song in their repertoire--who knows what would have happened if they’d played one of their faster-paced songs. Actually, things did get smashed up anyway when it was announced the show was over. A chaotic conclusion.

This was the first time I’ve ever had the opportunity to see live footage of these bands and it definitely whets the appetite for more. Because, while not all the bands here are mesmerizing, I’m a punk history buff and enjoyed seeing it documented at the time it unfolded, as opposed to a more “modern” take like “American Hardcore.” Just a few extras—commentary by Chris Haight from the Viletones that you can play with the film and there’s also a full recorded-in-the-studio set from the Scenics that showcases their taut approach.

And here’s some good news. Brunton is doing a more comprehensive film, “The Last Pogo Jumps Again, about the punk scene there from ’76 to ’78. He’s also set up a website, www.thelastpogo.net, with a blog that includes updates, stories, etc. plus ordering info for the DVD.

AVSKUM (Boston, 2005)

WORKING ON THE REVIEW PILE
Once again, the caveat that some of these records have been out for awhile but just came into my possession. Hey, better late than never. I suppose, anyway.

ADRENALIN OD-The Wacky Hijinks of... (Chunksaah, 2xCD)
Thrashin’ was AOD’s business and they were quite proficient at it, especially on these recordings. This double disc includes their debut album plus there’s a second disc that features their “Let’s Barbecue” EP, live stuff (including a complete set from Pat Duncan’s show on WFMU in ’82) and a few other obscurities. Raw throughout but introducing some sneaky rock ‘n roll touches by the time the album was recorded in ’84, with a thickened up two guitar attack. Most (all?) of this material was released on Grand Theft Audio’s “Sittin’ Pretty” AOD anthology in the mid-90s but I’d say this usurps it.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 they 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.” The antithesis of tough-guy hardcore but holding their own in the aggro sweepstakes. (PO Box 977, Asbury Park, NJ 07712, www.chunksaah.com)

AVSKUM-Uppror Underifrån (Prank, CD)
A molotov mix of perfected Swede-core and lyrical anger—Avskum are back, once again, to blast through the dreck. They’ve honed it down to the essence—blazing riffs driven by rumbling bass and crashing drums. Three of the songs are in English, the rest in Swedish and it’s not too tough to ascertain that these guys are quite pissed about the state of the world—I don’t even need to look up “Masskonsumtions Helevetet” to know where they’re coming from. One little wrinkle that stood out was the undistorted riff that begins “The Massacre In Fallujah,” before the burn kicks in. Incidentally, that’s about an American obliteration of an Iraqi village. My advice? Plant yourself between the speakers and prepare for the bombardment. (PO Box 410892, SF, CA 94141-0892, www.prankrecords.com)

Gx3-En Nuevo Enemigo (Lengua Armada, LP)
The name (alternately spelled G3 or G-3) comes from the fact all three members of this band have first names that start with “G.” Simple, eh? Gx3 were from Peru and formed from the ashes of Autopsia (Cochebomba Records released a 7” of that band awhile back). This has been a widely-circulated demo over the years and is now available in a more permanent format. A rough-sounding recording that doesn’t hinder this band’s energetic approach. A mix of hardcore and early 80s UK punk, all of it fairly tuneful. There are also times where they draw from a US influence, especially 7 Seconds. That’s particularly true for “Presion” and “En Tus Ojos (Nunca Mas), right down to the “woooahs” on the former. A fine punk rock excavation and with a creative hand-made sleeve. (martincrudo@yahoo.com)

GAUZE-Binbou Yusuri No Rizumu Ni Notte (Prank, 12”)
I had to copy the title of the album from the Prank website, since the translations for the song titles are clumsy—the title loosely translates to “Riding In The Rhythm of the Poverty Shaking.” But is it really necessary to be concerned with these types of details when it comes to the unholy sound that Gauze unleashes? I don’t think so. The band’s first record in over ten years rages like a motherfucker. A raw, uncompromising 13 minute onslaught, favoring a razor-sharp guitar attack , rabidly delivered vocals and drumming that flails away without letup. Would you expect anything different? Once again, I don’t think so. And the cover art looks like the Gauze logo as interpreted by Van Gogh (or someone inspired by him), as tumultuous looking as the music in the grooves. (PO Box 410892, SF, CA 94141-0892, www.prankrecords.com)

LOST BOYS-s/t (Shogun/multi-label)/Fuck You (Still Holding On, 7” EP)
A new EP and a vinyl pressing of their demo (that’s the record with “Fuck You” on the cover). This French band know how to kick out the rough ‘n ready punk rock. One of those bands who bring a hardcore attitude to a garage-tinged sound. Or maybe it’s a garage attitude to hardcore. I don’t know but bands like Dean Dirg are very good at that kind of mix ‘n match to create a sound that grabs ‘ya and the Lost Boys are no exception. A fatalism in the lyrics and also a desire to stay out of the workaday environment and climb trees or lie on the grass—hard to argue with that. And, on “Nerds,” a willingness to let the world burn as long as the record collection stays intact and the cover of the new EP reflects that sentiment. It reminds me of when my house got flooded and the first question people asked me was if my records were OK (they were). These two records (and the demo one is limited to 300) are worth protecting and, more importantly, playing nice ‘n loud. (Band contact: http://stillholdingon.free.fr/lostboys)

NOISE A GO GO-Rock ‘n’ Noise Grind ‘n’ Roll (HG Fact, CD)
Like it says in the album title and it is a weird kitchen-sink combo, a stylistic collision, often in the same song. An amped-up trad rock/blues/garage framework throwing in blast beats and low-register growls accompanied by some shrieks. It’s a mess—and that’s the intent. It’s also giving me a mixed response—it’s a lot of fun on first listen but there’s also something of a novelty element and it’s questionable as to whether it would stand up to repeated listening. There’s definitely a fun atmosphere, though, and I can’t say I’ve heard anything quite like this in recent memory. (www.interq.or.jp/japan/hgfact)

PISSCHRIST-Victims Of Faith (Yellow Dog, CD)
The Australian terror known as Pisschrist return with another burning dose of crust-core. No surprises, no change in formula—just loud ‘n fast Scandinavian-inspired wreckage. Vocals that are hoarse beyond belief and pounding riffage and drumming. I mean, it’s nothing that hasn’t been done a million times before but lest that come across as damning with faint praise, this is a solid effort. Hopefully they’ll get back to the states so I can stop whining about missing them in ’07. (www.yellowdog.de/)

SACRED SHOCK-s/t (Schizophrenic, 7” EP)
In case you forgot or didn’t see my review of their demo, Sacred Shock are from Texas and include three of the four members from Army Of Jesus, with a new vocalist. Speedy hardcore punk punctuated by Alex’s hoarse vocals and and plenty of guitar pyrotechnics, from the string scrape on “Overshadowed//Underestimated” to the speed metal trill on “Double Standards,” which also has feisty circle pit break. Some of those guitar lines also add a dash of melody to the proceedings but make no mistake—this is obliteration. (17 W. 4th St., Hamilton, ON, CANADA L9C 3M2, www.schizophrenicrex.com)

SLANG-The Immortal Sin (Schizophrenic, CD)
Savage sounds on the latest from this veteran Japanese band and age ain’t slowing them down one iota. An overdriven Discharge influence imbued with searing guitar and punishing drums, accompanied by the obligatory harsh vocalizing. It’s not cookie cutter tribute, either, but just one element of their attack. One ripper after another and achieving the desired (by this listener) gut punch. I’m writing euphemistically, of course. There are four cover versions appended onto the disk, including yet another take of Negative Approach’s “Ready to Fight”—and it’s the second time they’ve done it, with the previous version on a comp called “Back On The Streets.” More interesting are their versions of songs by Kuro, Ratos De Porao and Ripcord which adapt well to their full-bore pillage. (17 W. 4th St., Hamilton, ON, CANADA L9C 3M2, www.schizophrenicrex.com)

SLOPPY SECONDS-Endless Bummer (Kid Tested, CD)
Wow, I didn’t know these guys were still around. But it’s now two decades of naughtiness from Sloppy Seconds. Their calling card has always been catchy punk in a similar vein as the Queers, Weasel, etc and these guys started in the same decade. No Johnny-come-latelys, in other words. The source for all of those bands was the Ramones—and tribute is paid with “You Can’t Kill Joey Ramone.” BA sounds as snotty as ever and there’s more of a pronounced rasp this time around. Tweaking the PC sensibilities with a song like “Thanks For The Mammaries.” Still, the boys are getting more responsible in their old age—“Let Me See Your Driver’s License” urges care in checking the age of a potential partner lest one be busted for statutory rape. Ummm... moving right along... “Everybody Hates The United States” has a souped-up Beach Boys inspiration and straddles the line between satire and flag-waving. And they cover Sweet’s “Action” (my favorite song by the band), turning it into more of a pop/punk song than the more hard rockin’ pulse of the original but it’s tough enough for me. Proving that tuneful doesn’t have to mean wimpy. (www.kidtestedrecords.com)

VARIOUS-I Thrash, Therefore I Am (Schizophrenic, LP)
This compilation of vintage international hardcore sounds originally came out on BCT as a cassette in 1985 and also had a CD release some years back with 55 songs (as opposed to the 30 here). No complaints, here. That’s impossible when you drop the needle down and get assaulted by Mob 47’s classic raw thrash and that’s just for starters. I’m sure the connoisseur is familiar with the likes of Anti-Cimex, Enola Gay and Moderat Likvidation but Product Assar, Existenz and Akutt Innleggelse (including a future member of Turbonegro!) might not be as well known. The blueprint is loud, fast ‘n buzzing and done in wanton fashion. For people who are unaware of BCT’s history, it was a tape-only label that featured a wide array of bands from all over the world and, along with comps like “Welcome To 1984” and “Cleanse The Bacteria,” introduced many of us ‘mericans to formidable noise outside the country. After hearing Raw Power’s “Fuck Authority” on “WT84,” for instance, I sent away for BCT’s Raw Power release. I look at a comp like this an introduction to spur further exploration. It provides an impetus to track down more music by these bands. In those pre-internet days (aka the Dark Ages!), you relied on trading with pen-pals overseas to dig even further. Hopefully, that’ll be the case with this album. Nicely packaged with the insert/foldout featuring an interview with Chris BCT where he tells the story behind the label. (17 W. 4th St., Hamilton, ON, CANADA L9C 3M2, www.schizophrenicrex.com)

Suburban Voice blog #65

.... another long overdue installment. Once again, my apologies...

BRAIN KILLER

CATCHING UP ON SOME MORE LOCAL DEMOS

Brain Killer’s 8 song tape is, pardon the pun, totally fucking killer and this is one of the better new local bands to come along in a bit. Including folks from Libyans (Marcus Benamati, trading in his guitar for a microphone) and Terminal Youth. Raw, aggressive distorted hardcore with each song flowing into the next with a flourish of feedback and punctuated by searing guitar, rampaging bass and drums and Marcus’s bowel-moving growl. Sure, there’s the Dis-aspect (Dis-respect? Never mind...) but some variations in tempo and arranging separate it from your run-of-the-mill rehashing of dis sound. (610 Cambridge St., Allston, MA 02134, DIYcrust@yahoo.com)

The women in Eunuch offer bass-driven lurch ‘n grind, mainly the former. Slow and ominous before erupting into a blast zone. Eunuch recently added a guitar player to their lineup—or, more accurately, a creator of feedback but Liz Panella’s thick, heavy bass lines remain the focal point, along with Nay Rosario’s soul-screaming vocals. (59 Myrtle St., Somerville, MA 02145, eunuchcave@gmail.com)

Draize’s CD-R demo has the lurching element, as well, along with whirlwind thrash parts. Laying down some fierce, heavy sounds and the lyrics, angrily expelled by Tom, even bring up some local topics, such as a bio-lab being built in the South End of Boston that’s created quite a bit of controversy. (11 Alleghany St. #1, Boston, MA 02120, xdraizex@gmail.com)

Male Nurses’ full-tilt thrash makes a pretty good impression and that was further proven seeing them live. Ranting vocals and a thorny attack on this brief 5 song demo that includes a cover of Koro’s “Dear Sirs.” These guys need to get in a real studio pronto. (hotmalenurses@gmail.com)

Morne’s debut demo is actually a proper CD release, jewel case and all. Doom ‘n gloom, as you’d expect, incorporating heavy riffs. The demo is introduced with tribal rhythms with a melodic/somber undertow and former Filth of Mankind guitarist Milosz’s pained vocals don’t appear until six minutes in. That soon turns over to the relatively sprightlier “Force.” And while there are lumbering pieces, Morne also choose to pick up the pace fairly frequently. The atmospheric keyboards are something that Morne have eschewed live and, given that they’re going to re-record these songs for a “proper” release, I don’t think they’d be missed. Think Amebix and “Souls At Zero” period Neurosis and you wouldn’t be far off the mark. An epic ‘n heavy approach. (www.myspace.com/mornecrust)

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

ANTIDOTE-No Communication (Rodent Popsicle, CD)
Just in case you didn’t know, this is the veteran Dutch band Antidote, not the early 80s NYHC band. Uptempo, no BS punk rock with an adequate amount of drive ‘n burn. Drawing from the more tuneful side of the early 80s UK spectrum ala One Way System or Partisans, for instance. Yep, been done before and they’ve stuck to their guns for a decade, now. It’ll get the kids with the mohawks running in circles in no time flat and it gets this old fart’s toe tapping from time to time. Just don’t expect any sort of mind-blowing revelation. (PO Box 1134, Allston, MA 02134, www.rodentpopsicle.com)

BRING DOWN THE HAMMER-s/t (Know, CD)
When I got this album from BDTH vocalist/guitarist Chad Malone, he mentioned how psyched he was to be playing hardcore again, as he did with Brother Inferior and Assembly of God. The urge to rage continues to grab at his being and it comes out loud and clear with the sentiments expressed. As you would expect, given his past lyrical history, Chad continues to have a major issue with religion and also throws barbs at reactionary “pundit” Ann Coulter and those who suppress the rights of the worker. On the more positive side, there’s a salute to the over-30 punk folks with the street-punk flavored “Never Give In, Never Give Up.” Musically, it’s mainly a barrage of double-speed thrash with some more measured arranging from time to time and, truth be told, those are the best songs here. I also smiled when the first riff heard on the album nicks from Love’s “7 and 7 Is,” leading right into the pillage of “Bring Down The Hammer.” For a complete changeup, the album ends with a punked-up treatment of folk song “The World Turned Upside Down,” a modernized version of a Diggers protest song from the 17th century and it was also covered by Billy Bragg (thank you Wiki)... I’m not going to write a book report here—look it up, if you’re curious. I’ll let other reviewers use the “hammering” description and, uh, I just did. Fits, too. (PO Box 90579, Long Beach, CA 90809, www.knowrecords.com)

FIX MY HEAD-s/t (Vinyl Addict, 7” EP)
When the wife and I visited SF in 2000, we went to a show at Mission Records (RIP). If memory serves me correctly, I wasn’t really familiar with the bands and one of them, Scurvy Dogs, blew me away. Some years later, Matt’s got a new band, Fix My Head, and these guys are also quite ass-kickin.’ You need the lyric sheet to figure out what Matt’s ranting about and it runs the gamut from environmentalism on “Garbage Existence” and “Swirling Vortex” to “jock edge violence,” as he puts it on “I Sharted My Pantaloons.” Semi-raw production brings out the thrashy intensity to blast a hole in your skull, euphemistically speaking. For a non-euphemistic flavor, just put it on, crank it and prepare to bowled over by the savagery. (1835 De Bourgogne, Sherbrooke, Quebec, CANADA, J1J 1B1, www.vinyladdictrecords.com)

ICON GALLERY-s/t (Dear Skull, 7”)
A couple of people in this band—vocalist Chani and bass-player Aaron—used to be in Die Screaming (aka Aphasia) but this takes a much more melodic route. Mid-tempo rock with searing guitar lines and a solid bass/drums foundation, accompanying Chani’s dramatic vocals—and she’s still capable of summoning an angrier side. These two songs have plenty of forceful presence. (www.myspace.com/dearskullrecords)

I HATE THIS-Serious/KILLIN’ IT-Party 4 Ever (Give Praise/self-released, 7” EP) RAW SEWAGE/I HATE THIS-split (BS Propaganda/Give Praise, 7” EP)
A pair of splits, both of ‘em including I Hate This, who have a murderous-sounding style. Fast, piledriving hardcore thrash along with some impassioned lyrics and that includes topics that aren’t very ordinary—such as the commodification of herbal medicine (their vocalist De is a herbalist). And “Reprieve” is a gutsy revelation of a sexual assault. There’s even a tribute to Kurt Vonnegut. Those all come from the split with Killin’ It. All of their songs serve as visceral primal scream therapy and they’ve come quite a way from their first demo. Moving on to their vinyl partners (sounds interesting!), Killin’ It are a compatible pairing. Good ‘ol ripping thrash, albeit with some monorhythmic drumming affecting things a little. Raw Sewage operate in more of death metal/grind realm, not really offering anything particularly memorable. (www.myspace.com/wehatethis, www.bspropaganda.com, www.givepraiserecords.com)

KULTURKAMPF-Existence EP (Trench Rot, 7” EP)
Crusty stuff with metallic overtones and at its best for “Whores Of War,” which follows a good ‘n raging blueprint and their cover of Aus-Rotten’s “Fuck Nazi Sympathy” isn’t too bad. On the other hand, the death-metal fodder of “Existence” is an ill-advised side step. The vocal grunts hurt things—I never understood why bands opt for something that detracting. The first song shows some promise but still nothing all that spectacular.
(www.myspace.com/upthebonerpunx)

LEGIT!-s/t (Loud Punk/Shit Son!, 7” EP)
Legit! pack their music with a sense of foreboding and drama, contained within a framework of powerful hardcore. The howling vocals are accompanied by a combination of thrash and the occasional technical flourish in the guitar playing, with an on-a-dime navigation between tempos. The lyrics read more like prose taken from a journal and lash out at conformity and complacency, to shine something of a light on it—and that’s in the punk scene as well. That’s presented on “Legitimacize,” where people “dream of a brighter world through colored vinyl.” Because, as we all know, that’s what leads to change, right? “Three cheers for all the punx.” My kind of sarcasm and those words are accompanied by a musical attack that reinforces the overall cynical outlook. (PO Box 3067, Albany, NY 12203, loudpunx@gmail.com)

MASSGRAV-This War Will Won By Meat Eaters (Sound Pollution, CD)
The air-raid warning sounds and the blitzkrieg commences. Double-speed thrash craziness, a pair of vocalists hoarsely screaming out the words. I was thinking it had something in common with the speed-blitz of fellow Swedes Diskonto and it reminded me that they did a split together some years back. The instrumentation has a chainsaw intensity but really loses something with the blinding tempos. Standard lament—it’s still a powerful sound, regardless. And the lyrical synopses are to the point. My favorite: “Let’s fact it—your life sucks and it ain’t gonna get better.” Definitely not posi youth, here. (PO Box 11742, Covington, KY 41017, www.sound-pollution.com)

RELIGIOUS AS FUCK

MEHKAGO NT-s/t (Vinyl Rites, 12” EP)
RELIGIOUS AS FUCK-Collection (Drugged Conscience, tape)
RELIGIOUS AS FUCK/MEHKAGO NT-split (No Idea, 7” EP)
I let Mehkago NT’s 12” sit for too long and that’s a pity ‘cause it’s a crusher. A heavy sound with an arsenal of speed and heaviness. I hesitate to call it crust but it’s definitely got some elements of that, especially in the gutteral howlings and lyrical negativity. The leadoff track is called “Negative Outlook,” in fact. Their new split with Floridians Religious As Fuck continues in a similar vein. Moving on to RAF, they’ve got more of a thrashy hardcore punk approach but not in the early 80s sense. This is angry and visceral music and taking it up another level from their debut 7” (which was quite good). Blazing loud/fast fodder. The cassette collection includes the tracks from this split and their first, self-titled 7” plus, on the b-side of the tape, a live performance. Everything here, from both bands, provides a potent soundtrack for these bleak times. (Vinyl Rites: PO Box 924, Gainesville, FL 32602, vinylrites@gmail.com/Drugged Conscience: 5140 Tamarind Ridge Dr., Naples, FL 34119, www.druggedconscience.com/No Idea, PO Box 14636, Gainesville, FL 32604, www.noidearecords.com)

SHORT CHANGED-Burn Down Wagon Town (Goat Power Recreation/Pyrate Punx, 7” EP)
Lovely green/gray vinyl mixture and, in the grooves, this is romping, stomping fast hardcore punk. “Bottle or The Knife” is another song offering a reflection on ones life and, as they put it, “how you deal with it is the key.” Amen to that and this band’s charged sound. Down with the (Oakland) Raiders but up with the Pyrates! (http://pyratepunxrecords.com)

SOCIALCIDE-Unapproachable (Even Worse/Kangaroo, 12”)
A hot mix, with these dozen songs spread over 12 inches of wax. Hmm... perverted description—again? (second time this blog!) Anyway, the production is cleaned up a bit from their other records and doesn’t suffer at all. Blazing, no BS hardcore punk with a pretty negative attitude or perhaps, more accurately, impatient and accusatory. “SDA,” for instance, which stands for “Stupid Drunk Asshole.” Even the double-speed moments are done with ruthless efficiency. Poison Idea provides some of the inspiration and a song like “Will Call” has an old-school west coast ‘core flavor, as well. Really comin’ into their own here. (www.geocities.com/evenworserecords or www.geocities.com/tysonkangaroo)

STATE-Sanctimony EP (Punks Before Profits, 7” EP)
The State continue to crank out the vinyl and, once again, they’re blasting out the thrashy punk with rawness and anger. The lyrics are fragmentary sentences and blunt in their intent—critiques of “white male dumbinance,” to quote BGK and, at the end of the day, owning up to being a bleeding heart, raging against social Darwinism and shitty politicians. Some impressively sputtering git-playing from Mr. Art Tendler to accompany Preston’s emanations and his style has always been a defining factor for this band. Another effective, pissed-off missive. (www.myspace.com/punksbeforeprofits)

Suburban Voice blog #64

THE CONVERSIONS’ LAST WALTZ

Hey, that’s what the band called it, not me. And it comes from the Band’s documentary (directed by Marty Scorcese, no less) of their final show in 1976. Of course, like many “classic rock” bands, they did reform in the 80s—well, most of ‘em, anyway. So now it’s 2008 and the Conversions were playing their “last ever” show, since vocalist Terry Cuozzo will be moving to Austin. This noisy soiree occurred at the Democracy Center at Harvard or the Papercut Zine Library, if you want to call it that, since it’s housed in that building. It’s a pity they have to pack it in because the Conversions were constantly expanding their sound. The arrangements became increasingly complex and moved away from straightforward hardcore while not abandoning the style and any band with Terry’s in-your-face presence and acerbic scream is going to keep it in that realm. Some bands can’t achieve such a widening of scope without adding an aura of pretense and that never happened here. They wrapped it up with a completely enjoyable change-up—a cover of Sham’s “If The Kids Are United” and it was one warm, sweaty group hug to bid them farewell. By the way, if the Conversions ever did decide they wanted to play again, I sure as hell wouldn’t complain about it.

This was a pretty crazy show, overall—Scapegoat preceded the Conversions with their spasmatic/lurching hardcore tandem, Mark stalking the floor like a madman and the bodies were flying everywhere. There were people getting hurt—for real. Ah, the war wounds of hardcore. Between that and the Sham sing-along, I felt like I’d been beaten up after that show. I was scolded by Ellen for still wanting to engage in this sort of physical participation—despite the fact that I’m “pushing 50,” as she reminded me. OK, that’s true and so what if I didn’t want to leave my recliner the next day? Where’s that ice-pack?

Brain Killer opened things up with a scorching take on the Disclose type of raw thrash distort. It’s not a completely noise-drenched attack but there’s more than enough buzz to go around and Marcus proves himself to be an aggressive frontman. I was told they’ve been sloppy in the past but this was dead-on. Life Partners were the other band—it’s an indescribable combination of art-punk, stoner rock and psych—I guess. The set up is guitar, drums, a trumpet treated with pedal effects and a vocalist alternating between keyboards and bass. The visual spectacle was intriguing, although the music seemed formless and ponderous at times...

CHRONIC SEIZURE

THE REKKID REVIEW SEKTION...

ANTISEEN-The Best Of (TKO, 2xCD)
Let’s get this straight—Antiseen don’t like you. Especially if you’re one of them crusty or hippy punks or lookin’ for spare change, are a vegetarian or fall into any other “PC” category. In other words, they like to push buttons but do so with a knowing wink. At least I think they do. Antiseen’s credo is “Fuck All Y’all” and, while I don’t share quite a few of their political/social viewpoints, I do subscribe to that credo a hell of a lot more in recent years. Antiseen never wanted to be cool or loved. They just wanted make bile-filled, buzzsaw punk rock and they’ve been succeeding at that for 25 years, without any sign of packing it in. I’d say it’s a distinct possibility that Jeff Clayton’s parents force-fed him sandpaper stew when he was a young’un because, even in the beginning, that voice was a nasty instrument. And, speaking of nasty instruments, Joe Young’s guitar fills that bill. That’s where the buzzsaw description comes from. Two discs/40 songs covering their illustrious history of mayhem. Antiseen have never really refined their approach all that much over the years. Truth be told, that’s the way it should be. No compromise, just volume and a bad attitude to match. I still start grinning ear to ear when hearing the opening chords to “Hippy Punk” and it makes me want to smash their skateboards, too. (8941 Atlanta Ave. #505, Huntington Beach, CA 92646, www.tkorecords.com)

BASTARD SONS OF APOCALYPSE-Strangled By The System (Adelante/Todo Destruido, 12”)
Great god of hell, this is absolutely killer, essential, ripping and every other adjective you want to attach. After a few EPs, BSA’s new 12” lives up to the promise on those records. These boys lay down ferocious Discharge-meets-Poison Idea mania. I don’t know if it’s a D-beat in the strict sense and I don’t give a fuck about the nuance; all I care about is shredability and BSA definitely possess that quality The galloping drumming is what really keeps things moving here and the occasional lead guitar break always happens at the right moment. BSA do allude to their musical approach in “No Charge D-Beat RocknRoll.” Amidst a not-so-cheery worldview, that’s the sole moment of lyrical levity here, a celebration of “kids playing with no future.” Crank it, motherfuckers and get a move on ‘cause there’s only 525 of these PVC slabs. (adelantediscos@gmail.com or http://www.myspace.com/tododestruido)

CHRONIC SEIZURE-Ancient World (No Way/Fashionable Idiots, LP)
The opening chords strike, it sounds like the Dead Boys’ “Ain’t Nothin’ To Do” but the speed burst comes in and it’s quickly apparent that this band’s anarchic spirit is from a pure hardcore punk muse. That’s always been the case with this band. Chronic Seizure’s first 12” effort is slightly more “produced” when compared to the previous EPs but it’s still a full-bore trebly attack. There’s also more variety in tempo than in the past, not always relying on the brute speed—“Disaffected” is an out and out pounder, for instance. Vocals spat out with agitated urgency, both from Austin and bass-player Pat, who logged time as the Rat Bastards’ frontman. With titles like the previously-mentioned “Disaffected,” “Stark Reality” and “Slow Death In The City,” it’s not too difficult to figure out where these guys are coming from message-wise, if that’s the term. Meeting, hell, exceeding your daily throttle allowance. (No Way: www.nowayrecords.com; Fashionable Idiots: PO Box 580131, Minneapolis, MN 55458, www.fashionableidiots.com)

CITIZENS PATROL-Dead Children EP (No Way, 7” EP)
Nothing like keeping it simple and that’s what Citizens Patrol do—pure hardcore mania, with a razor-edge rasp in the voice (Kenny could be Blaine Fartz’s baby brother) and thumping songs that move like a motherfucker to the point where your head’s still moving even after the last chord has burst from the speaker. I’d say they’re not too enamored with day to day life, given the words for “I Want To Be Boring” and “Life On Repeat.” I’m definitely enamored with Citizens Patrol’s musical nailbomb. (www.nowayrecords.com)

DISKELMÄ-Fun Is Over (Kämäset Levyt, LP)
Ah, the magic three letters at the head of this band’s moniker. I wonder what they sound like? Actually, it’s not a pure tribute although there’s definitely an element of that in there. What we have here is shredding hardcore imbued with an abundance of speed, red-hot riffs and leads and the words expelled with the requisite agitation. Blending some metallic guitar flourishes into the burning rampage. And a formidable rampage it is—this is searing fodder. (Valliktu 28 A 2, 33240 Tampere, FINLAND, www.punkinfinland.net/kamanen/)

FORCA MACABRA-Aquié O Inferno (Black Water, LP)
Forca Macabra are back with their first album since 2002. Around since the early 90s, the band’s from Finland but they’ve always had a kinship with Brazilian hardcore, going so far as to sing (or bark) the words in Portuguese. Ratos De Porão is at or near the top of the list for their inspiration and, like that band, there’s a blending of the thrash and metal impulses, even more now than in the past. “Guerreiro Do Rock” is a salute to all that is heavy with the title translating to “Soldier of the Rock” and words that vow to fight to the end for it and for the women and the beer. Sporting long hair and a beard as symbols of rebellion. OK, maybe I goofed a bit on the translation but it’s definitely a bit tongue in cheek and also more of a trad metal sidestep from the speed pillage that dominates the rest of the time. Uma guerra worth supporting! (PO Box 5223, Portland, OR 97208, www.blackwaterpdx.com)

HUMAN MESS-s/t (No Way, 7” EP)
A slightly less-recent No Way release and Human Mess offer a rough punk sound that would have fit in nicely with the Rip Off Records bands. The DGAF (“Don’t Give A Fuck,” ©A. Quint) attitude, spewing out the antisociality with all the bile they can muster and reinforced with a jagged guitar minefield. (www.nowayrecords.com)

LIFE TRAP-Solitary Confinement (No Way, 7” EP)
At the risk of being redundant, more of that rough, fast hardcore punk stuff and if you think it sounds a bit like Direct Control, you wouldn’t be mistaken and Nico sounds like Brandon from DC with a sore throat. And it’s music/lyrics for the new recession, at least on “Too Young To Die,” a lamentation about being unable to afford life’s necessities. These youngsters continue to prove themselves adept at the style and there are some shit-hot guitar and bass-lines. (www.nowayrecords.com)

REPROBATES-Stress EP (No Way, 7” EP)
Kinetic energy unleashed on the debut vinyl from Toronto’s Reprobates. These guys could be the descendents of Jerry’s Kids and Gang Green—it has that kind of feel. A slammingly chaotic charge of raw hardcore punk—it sounds as though everything going to come flying apart, a din of guitar, bass and drums that somehow manage to make a cogent attack out of this seeming mess. The buildup for “Failure” creates an ominous foreshadowing that something unhinged is on the way and that’s exactly what happens. (www.nowayrecords.com)

SEX VID

SEX VID-Nests (Dom America, 7” EP)
The week before Sex Vid played in Springfield, Mass., I was giddy with excitement, to the point where it was starting to annoy my wife. She even said she was thinking of starting a Sex Vid drinking game where she’d do a shot every time I mentioned the band. Now that I’ve listened to this record, I hesitate to go upstairs to give her my opinion because it’s too early in the day for her to start drinking. “Nests” and “Exorcism” dishes out the speed but also add hammering accents. “Always Home” eschews the thrash for a slower attack. It was the set closer at that Springfield show and is a brooding song using the Stooges’ “I Wanna Be Your Dog” as a starting point and the guitar playing becomes increasingly frayed by the song’s conclusion. The lyrics create an image of a psychological bunker, the protagonist screaming to be left alone and the music creates the perfect mood. Damaged-sounding? No Flag illusions intended but the damaged description fits the bill. (available from www.bistrodistro.com)

SOTATILA-Eepee (Kämäset Levyt/Plauge Bearer, 7” EP)
Scandinavian perfection—Sotatila are a Finnish band favoring blistering tempos, dead-on instrumentation and harsh vocals with the accent on the last syllable (lots of “ahrrrs”). Once again, I could spend all day analyzing the various nuances, micro-influences but it’s hard to analyze anything when being hammered with Sotatila’s tumult. Honoring the tradition but it’s also a modern sound, particularly production-wise. In other words, no “distort” but it fucking blazes. Yep, there’s an aura of familiarity here with no surprises... just everything falling perfectly into sync. (Valliktu 28 A 2, 33240 Tampere, FINLAND, www.punkinfinland.net/kamanen/)

STATUES-Terminal Bedroom (Deranged, CD)
Collecting early EPs and Statues are one of those brash ‘n poppy bands with a jumpy spring in their musical step. Taut, tuneful songs with an abundance of energy and even if they don’t wear skinny ties, I could almost visualize them fitting in with the more accessible version of late 70s punk. That’s not meant as a dis, either and, even with the older touchpoints, it doesn’t come across as retro nor, more importantly, twee. That’s become a dirty word in some quarters and justifiably so—that sort of shitty pop seems have taken over most of the commercials I see between innings of the ball game, for instance. Statues do pay tribute to the roots by covering fellow catchy Canadians (Statues are from Ontario) the K-Tels and the Pointed Sticks. Sure, the vocals are melodious but that’s accomplished without being mannered. And things are toughened-up with a hint of garage rock for “Adult Teeth.” The guitar tone has enough jabbing growl to give things an edge and it seems as though they try to make that point with the unreleased 24 second thrashin’ throwaway that ends the disc. These guys have nothing to prove on that account. (2700 Lower Road, Roberts Creek, BC, V0N 2W4, CANADA, www.derangedrecords.com)

THREATENER-The Hammering, The Fastening, and The Bending Of Throats (625/I-Deal, CD)
The first thing you hear is the uttering “18 wheels of hell” and then the hammering mentioned in the title begins. 18 wheels of hell? Try 28 minutes of it. An anthology disc covering all of this Michigan band’s 7” releases, their appearance on one of the “Tomorrow Will Be Worse” comps, their first demo and a live radio set that lasts all of 7 or so minutes. These boys loved brevity—their Boston set some years back lasted less than 10 miniutes as well. Enough numerology. Thrash ‘n blast, getting increasingly raw and distorted-sounding as time passed. The first EP almost sounds conventional by comparison, although that ain’t no sonic day in the park, either—it just sounds cleaner and I can’t believe I hear a tambourine on “Societal Runoff.” That’s also the most palatable segment. Each of their 7”s had part of what could be loosely termed a short story of desperate lives in ruin and they’re combined here. I’m being vague but, in detailing sick sexual encounters, it attempts to get to the core of humanity or, more accurately, the animal that lies within and that seems to be the lyrical thrust, as well. Not that you can make out what they’re screeching about, anyway. Very uneasy listening and only recommended for those who like the effect of a two by four applied viciously to the back of the skull. (www.i-dealrecords.com/fatalist or www.625thrash.com)

VIIMENIEN KOLONNA-Tuhat Aurinoka (Kämäset Levyt/Hardcore Holocaust, 7” EP)
New noise from VK and I like the overall sound on this EP more than previous releases, a raw, hammering approach that brings the band’s power out in bolder relief. Yep, this is dis-worship but, man, if they don’t have it nailed. There are sick bass-runs to accompany the guitar chord inferno, pounding drums and from-the-gut vocals. And reading the translation for “Tuhat Aurinkoa,” which means “people are ugly” makes me smile. So does everything else here. (Valliktu 28 A 2, 33240 Tampere, FINLAND, www.punkinfinland.net/kamanen/ or www.hcholocaust.com)

WARKRIME-Tighten Up (No Way, 7” EP)
I’ve always found this band’s semi-spastic take on hardcore to be somewhat disjointed and that continues to be the case here. I imagine it’s a change from the standard verse/chorus/verse setting that many hardcore bands follow, a case of defying the convention a bit. There’s some early Void and COC in the buildups and guitar damage, along with the ranting vocals. And, somewhere, Arthur Lee will roll over in his grave if he hears their cover of Love’s “7 and 7 Is.” Maybe he’ll be grooving on it—they do batter it up pretty well. The idea to create something that goes against the grain is intriguing and there are moments where everything does fall into place; I just wish the execution was more consistent. (www.nowayrecords.com)

WINNING LOOKS-s/t (Waiting, 7” EP)
Down ‘n dirty rock ‘n roll in a guitar/drums, both of ‘em sing format, recorded in ’06 and just seeing the light of day in the past few months. Whew. This four song EP from these two NYC ladies was recorded by Bikini Kill’s Kathleen Hanna and there’s a slight hint of her musical pedigree. But it’s just as much garage, really cooking on a song like “Breakdown,” although all four songs have plenty of thump in ‘em. Two voices chanting in near-unison, in a hearty high register and the music has a complementary brazenness. The EP comes with a free digital download of the songs, too—best of both worlds and I’m glad that more labels/bands are doing that. (band contact: http://www.myspace.com/winninglooksrock)

WOMEN-s/t (FDH, 7” EP)
Wrapping my ears around this one and it’s a mish-mash of punk, hardcore and garage. Yeah, that’s real helpful I’m sure. Well, the songs all don’t sound the same. There’s the thrash of “Strangler,” but most of the other songs take a snottier punk tone.” “Radiation” has one of those snappy choruses that sticks in your head. There’s a loose spiritedness infused into these raucous tracks. (http://fdhmusic.com)

WORLD BURNS TO DEATH-The Graveyard Of Utopia (HG Fact, CD)
A new 8 song mini-album or whatever you want to call it. It’s brief compared to its predecessor “Totalitarian Sodomy” and features a streamlined, full speed ahead sound, compared to that album, which had some much heavier material. Recorded in Japan and featuring appearances by the late, great Chelsea (Paintbox, Death Side), Souichi from Forward and Keiro of Akutare, all of ‘em laying down some fierce guitar leads and WBTD axeman Zac Tew does a fine job, himself. There’s no doubt that the surroundings inspired the songwriting beforehand and it ends up sounding like a throttling Japanese hardcore record, blending in the speed with overpowering metal licks. There’s a conceptual gist to the lyrics, emitted with strangled-larynx aplomb by Mr. Control. The subject matter deals with historical atrocities in Russia and other Soviet regions. “Come And See” states “come and see the beauty of inhumanity” and mentions how flowers grow best on top of mass graves. While perusing the lyrics, all I could think about was a former co-worker’s pet phrase that summed up the world’s ills as being “man’s inhumanity to man” and that’s detailed throughout this album. And, of course, there’s the perverse juxtaposition of things of beauty with the obliteration of the innocent. It’s not as graphic as on “Totalitarian Sodomy” but still conveys some powerful imagery and that’s paired with equally powerful music. (www.interq.or.jp/japan/hgfact; vinyl available on Prank Records, PO Box 410892, SF, CA 94141, www.prankrecords.com)

Suburban Voice blog #63

CATCHING UP ON SOME DVDs

It’s a rainy day, there’s no baseball game so I decided to have a bit of a marathon and watch some of the DVDs I’ve been neglecting. I still have some others to check out but it’s a start, at least. First on the list is TSOL’s “The Early Years Live” (MVD Visual, PO Box 280, Oaks, PA, 19456, www.mvdvisual.com). It’s a little bit of a misnomer in that it’s not the band’s earliest days. It’s also a rather glaring misnomer to print, on the back of the box, that “this footage clearly defines TSOL as the founding fathers of vicious grindcore.” HUH? Attention Marketing Dept: these guys had about as much to do with grindcore as the Bay City Rollers.

The performances are from around ’82-83. The bulk comes from a college performance with the “Beneath The Shadows” lineup and the set-list leans heavily towards that album although some of the band’s earlier classics, like “Code Blue” and “Superficial Love” are included. It’s kind of humorous to see a mix of punks and more normal-looking college kids looking on. It’s a single-camera shot and, as the crowd activity picks up towards the end, the view gets blocked quite a bit. “Beneath The Shadows” was a marked change for the band, moving into poppier territory (it’s been called their take on the Damned’s “Black Album” and that’s not completely inaccurate) but the songs have more punch in this setting. That set came from a Flipside video release. There are also a pair of songs from a Target Video, probably shot in ’82 and taken from the “Weathered Statues” EP. I’d really like to see stuff from the time of the first EP or “Dance With Me,” if it exists. One thing that’s never changed throughout the band’s history is Jack Grisham’s imposing presence. He almost seems playful at times but someone who could do serious damage if fucked with. The “extra stuff” includes a lengthy interview with Jack, guitarist Ron Emory and keyboard man Greg Kuehn, done at the same time as the college gig and it’s disjointed but occasionally humorous, with some of the tales of debauchery. There’s also a live song from ’07 where they look as imposing as ever—and a funny moment where Jack stops the song to offer a critique on a kid’s stage diving technique and give him another try at it. Finally, there a brief reading from Jack’s upcoming autobiography that promises to be quite vivid in its imagery. It’s not any sort of comprehensive TSOL document, just capturing a certain moment in the band’s transitional history.

Also on MVD Visual, The Dead Boys’ “Return Of The Living Dead Boys” is taken from a 1986 NYC reunion show on Halloween night. No bells and whistles—as with most of the TSOL DVD, it’s a one camera shot that keeps focusing in and out but you get the idea. If Stiv Bators isn’t quite as crazed as in the 70s and there really isn’t any sort of dangerous, chaotic vibe, they don’t look like they’re phoning it in, either. Far from it. Stiv, by himself, has learned his lessons from the School of Punk Rock Frontmen, black hair flying everywhere, throwing himself, skinny/muscular frame and all, into the crowd and, for the final encore of “Sonic Reducer,” revealing quite a bit more, if you catch my drift. Incidentally, you KNOW it's the 80s from the parade of idiotic stage divers. I cheered when a mulleted bouncer gave one of ‘em a pretty good heave-ho.

This is over an hour of mayhem, covering just about everything you’d want to hear, including the disarmingly sentimental/melodic “Won’t Look Back” and “Calling On You,” along with thorny favorites like “Sonic Reducer” (duh), “Ain’t Nothing To Do,” “What Love Is” and “Caught With The Meat In Your Mouth.” Even with the scuzz punk rep, the Dead Boys’ weren’t afraid to exploit their poppier instincts and Stiv acknowledged that before their cover of the Stones’ “Tell Me.” He also acknowledges the band’s obvious debt to the Stooges before doing “Search and Destroy” and it’s never been any secret how much these guys drew from “Raw Power.” In a more whimsical (?) vein, Stiv mentions how if Mama Cass hadn’t had that meat in her mouth and if Karen Carpenter had had the meat in hers, they may both still be alive. He also comments on how much the bald-pated Cheetah Chrome bears a resemblance to Uncle Fester. But it’s unlikely that Uncle Fester could dish out the spark ‘n burn emitting from Cheetah’s guitar.

The one bonus feature is a segment taken from a Yougstown, OH morning TV show featuring a smarmy host named Gary Cubberly. Cubberly interviews Stiv and Frank Sechich, who joined the Dead Boys after Jeff Magnum left and then worked with Stiv on his solo album “Disconnected.” After a few minutes, you get the urge to smack this guy silly for his inane questions and I’m sure the thought crossed Stiv and Frank’s minds a few times. Interestingly (or maybe not), Cubberly moved on to have a TV news career in Detroit that ended abruptly after he was killed in ’92 when he suffered a heart attack and crashed his car. Moving on from that irrelevant tidbit (thank you Google), that clip also includes a cool music video of “Sonic Reducer” that I’d never seen before.

As long as I’m writing about the “old timers,” there’s another Clash DVD, “Live: Revolution Rock” (Epic/Legacy). 22 live songs from ’77 to ’83, up through the last show with the Strummer/Jones lineup at the US Festival in ’83 (no “Clash Lite,” in other words). The songs are presented mainly in their entirety—some have appeared on other Clash DVDs and video releases but it’s a good career spanning retrospective. And I’m eternally grateful for the option to watch the songs without the cheesy documentary-style voiceovers in the regular format. That boils down to every dodgy rock-doc cliché imaginable. There’s still the occasional voiceover from Joe Strummer on the audio-only setting but that’s not any sort of annoyance. I know there are plenty of people who think the Clash were overrated, sold out their principles, etc etc and it’s definitely kind of odd seeing them play at Shea Stadium, opening for the Who. But I’m biased—they’re still one of the best live bands I’ve ever seen and these videos reinforce that opinion. In the earlier days, in particular, the performances are impassioned, every drop of sweat genuine. Appended with two interview segments, one from a NYC news/talk show and another from Tom Snyder (there are also two songs from that show). In those settings, the Clash didn’t interview well—it almost seems as though they were reserved in the more “mainstream” arena, much like Stiv’s interview on the Dead Boys DVD.

Finally,“La Escena” (“The Scene”) is a documentary about punk in Puerto Rico, created by Guillermo Gómez Álvarez. The dialogue is in Spanish, with English subtitles and the film centers around interviews with a handful of people who have been and/or are still involved and are also at different points in their lives. One person is homeless and addicted to heroin. Another is working on a PhD but is still connected to the skinhead movement. The person who runs the Discos de Hoy label (a co-distributor of this DVD) exudes enthusiasm about the DIY aesthetic. At the outset, there’s an introductory manifesto, so to speak that says, in part (translated), “Aren’t we looking for authenticity or being heard? Or is it a relief from our frustrations? Or is it simply pure fucking rage?” The film tries to create a sense of punk history in Puerto Rico and what’s interesting is how the motivation for involvement doesn’t differ that much from the US or anywhere else. Chafing against a conservative society, what’s expected from an individual. For many, the attraction is the loud/fast/energetic music. People come and go, different influences come and that could apply to punk rock anywhere. There is mention about how things evolved from talking about just records and turned more towards protest

The film traces Puerto Rico’s punk scene’s ups and downs, including an upsurge in activity in recent years, after things were nearly destroyed with violence and drug abuse. There’s a segment about “Rock en Espanol,” where there was an attempt at mainstream cooptation of the scene (sound familiar? Lollapalooza? Warped?) and some bands took the bait and tried to cash in. This set up a dividing line and, like in the US and elsewhere, the DIY community became more defiant about creating an alternative to the commercialization of their music.

There is a passing explanation of what makes punk in Puerto Rico unique compared with the rest of the world but maybe it could have gone a little more in-depth there. There are certainly universal motivations, influences, etc. but when I’ve seen bands from Puerto Rico (like Tropiezo, Juventud Crasa and Cojoba), those bands undoubtedly offer their own musical twist and a perspective that comes from their surroundings. I also wouldn’t have minded seeing a bit more of a sociopolitical context. Finding out more about Puerto Rico itself although the film’s scope is likely aimed at educating people in the country of the existence of this scene. There’s plenty of musical footage covering the past decade and a half or so, of varying quality and covering a variety of punk and hardcore genres. One commonality is there seems to be a joyousness at many of these shows, people bouncing around and singing along, creating their own refuge from the “real world.” Where it can encompass all of the elements mentioned above—being heard, relieving frustrations and expressing “pure fucking rage.” An interesting glimpse into the Puerto Rican scene. (SouthKore Records, 2814 S. Spaulding, Chicago, IL 60623, www.southkorerecords.com)

VINYL PRESSINGS OF CDs ALREADY REVIEWED

... and they all sound better. Many of you are reading this and saying, “of COURSE they sound better, idiot” but I needed to be reminded of that on occasion. Anyway, I’ve acquired three records of releases already reviewed in these pages and that will be the format pulled out of the stacks when I need a fix.

There really is a sonic difference with the Red Dons’ “Death To Idealism” LP. Their vocalist Doug Burns told me that this was a different mix than on the CD and it has much more punchiness. As mentioned previously, this is pretty much a continuation of the Observers, with Doug’s mannered vocals paired with a melodic, driving ’77 impetus and, in case you didn’t figure it out from the title, a rather disillusioned lyrical approach. “No Pain,” the song that directly mentions this idealistic demise, brings the album to a slashing conclusion. Definitely a case where some tweaking makes things better. (Deranged, 2700 Lower Road, Roberts Creek, BC V0N 2W4, CANADA, www.derangedrecords.com)

Unseen Force’s “In Search Of The Truth” is given a long-overdue vinyl repress on No Way Records (3211 Idlewild Ave., Richmond, VA 23221, www.nowayrecords.com). In this case, owning the CD isn’t necessarily a bad thing since it also included a live set and demos from 2000 Maniacs, a predecessor to Unseen Force. This remains an underappreciated album from that time. Originally released in 1986 and this Richmond band created a stinging, scrappy hardcore sound with a whiff of metal guitar. In retrospect, they could be seen as east coast brethren (and sister, since they had a female bass-player) to Christ On Parade. If hardcore was dead or dying by ’86, as reported by certain clueless authors, no one told Unseen Force. The opening line on the album declares “Some people in this world make me sick....” and ain’t that still the truth in way too many of life’s situations.

Meanwhile, Black Water Records (PO Box 5223, Portland, OR 97208-5223, www.blackwaterpdx.com) have unleashed the LP version of Blowback’s “Living Vibration,” originally released on CD on HG Fact in their native Japan. Completely obliterative, overdriven hardcore-meets-steamhammer rock ‘n roll. That covers it—over the top in every way, from the unhinged, hoarse vocals to the band’s blazing approach. Blowback are definitely in the upper echelon of Japanese bands and it’s a shame their recent tour didn’t hit the east coast. I suppose the west coast deserves to get good international touring bands on occasion. As mentioned in the previous review, this album features new material and re-recordings of a few older songs.

... AND THE REST...

BAD REACTION

ANTI YOU-Making Your Life Miserable (No Way, 7” EP)
“Guess what? You suck!” Yeah, I’d say that’s a good way to get your attention. Nothing like coming out and saying exactly what you think. Thrash thrash thrash from Italy’s Anti You plying the early 80s-inspired sound with bright guitar, spot-on drumming and those anti-social (natch) lyrics. Andrea has the vocal attitude to pull it off and this is a brash statement. They’ve got a newer 7” on Puke ‘n Vomit that I still need to get. This will do for the time being. (3211 Idlewild Ave., Richmond, VA 23221, www.nowayrecords.com)

BAD REACTION-Had It Coming (Reflections, CD)
This CD includes Bad Reaction’s two recent EPs (on Flat Black and Blind Spot) plus a cover of the Bad Brains’ “Pay To Cum” as a bonus. Catchy, energetic hardcore punk with punchy (but not overdone) production that brings out the band’s surge and the occasional lead guitar lines are done tastefully—there’s definitely a love for the rock in the background here. The lyrics touch on standard topics of employment, religion, people who act pretentiously and I’ll give ‘em bonus points for the title “Keep Your God Out Of My Peanut Butter.” A handy format but track down the vinyl if you can. (www.reflectionsrecords.com)

BESTHÖVEN/SUBURBAN SHOWDOWN-split (Subterranean, 7” EP)
With Besthoven, you pretty much know what to expect at this point and that’s dead-on D-crush and they don’t disappoint. Production is actually fairly clean for these songs but the rawness remains. Suburban Showdown, from New Hampshire, offer a Dis-inspired feel for “Victims Of Conformity” but stretch out on “Time Runs Out,” a different hardcore punk tack going through tempo shift, complete with a heavier breakdown to wrap things up. First release for this label and it’s a good one. (106 Fourth St., Dover, NH 03820, DIYcrust@yahoo.com)

DANGERLOVES-Easy (DeadIdeas, 7” EP)
Heart-on-sleeve pop/punk tuneage and I was about to say they share the same approach as the Bayonettes (both bands are from Toronto)—and, it turns out, two people from that band are in this one. “Home” has what sounds like a toy xylophone to add some cutesy content and I need to check my sugar content after that one. And while the upper register vocals are also rather precious, the other pair of songs have more than enough drive to avoid the dreaded twee region. (PO Box 851, Austin, TX 78767, www.deadideas.com)

DEFIANCE-The Very Best Of Defiance (HG Fact, CD)
You’d usually associate a collection with this title with more mainstream bands—a greatest hits package for the holiday season or the casual fan. That’s not meant to denigrate this 15 song disc, released to coincide with Defiance’s Japanese tour. Besides, the ‘subtitle’ of the album is “And We Don’t Care.” Over the years, the personnel might have changed (the most significant being the departure of vocalist Gibby, with guitarist Mike Arrogant taking over that job) but Defiance always stuck with the pure punk attitude. An undeniable affection for the rousing, catchy sound of the No Future bands and the Cockney Rejects, plus adding a faster attack on some songs. That was more evident with these guys than other bands on the Punk Core label, who have maintained the band’s catalog. Defiance’s lyrical mentality is laid out right at the start, with “No Future No Hope,” but the tuneful, singalong nature of the song almost sounds contradictory to what they’re singing. The first five tracks here come from that album and it remains Defiance’s defining (couldn’t resist) album. The later songs aren’t always as inspiring but don’t represent any sort of drastic departure, either. It’s wrapped up with a cool bonus cover of the Partisans’ “Time Was Right.” (www.interq.or.jp/japan/hgfact)

FORBIDDEN TIGERS-Magenetic Problems (Dead Beat, CD)
Shake ‘em up rock ‘n garage trash but not really on the lo-fi tip. There are a few songs that sound like my right speaker has been blown out, though, and I had to take a look to make sure that wasn’t the case. These guys do like to fuck with sonic effect and not maintain a similarity in tone for every song. The overall ambiance is bluesy with an echo in the lower-timbred vocal—coolness without crossing over into caricature. Showing an affection for the source material. T’ain’t bad at all and gettin’ real gone for “Neanderthal.” (PO Box 361392, Cleveland, OH 44136, www.dead-beat-records.com)

LAUDANUM-s/t (Pyrate Punx, 7” EP)
Somewhere between epic crust and thrash (just a minor part of the equation) along with some metal for good measure. The lead vocals are occasionally countered with subhuman grunts that sound like a frog expelling its lunch. The playing exhibits a high degree of technical skill and packed with aggression but the songs aren’t particularly memorable. (3704 West St. #A, Oakland, CA 94608, http://pyratepunxrecords.com)

VIOLENT SOCIETY-The Complete Punk Collection (Puke N Vomit, CD)
Well, almost complete—they left off the debut “You’re Gonna Fall” 7” from ’94 but, far as I can tell, all other 7”, comp and split appearances are here, plus a few unreleased goodies. Violent Society were a 90s bright spot, one of those bands who helped revitalize the no-bullshit punk sound. An assimilation of spiky, UK-inspired punk and US hardcore—there’s no way they could deny the “quotation” from Minor Threat’s “Seein’ Red” for “Indivisible,” for instance--and with an inherent catchiness. The sound of frustration but also played in upbeat fashion. A lot of slash ‘n agitation, especially in the way Pat Society spits out the words. Unlike Pat’s recent band Cranked Up, which directly tackled certain political issues, the words here are of a more bellicose, personal nature—the diissafection of the outsiders and the pissed-on and an unwillingness to deal with life’s bullshit. And these guys got increasingly aggressive as time passed, as well. This disc provides a crash course of Violent Society’s sonic blitz. (PO Box 3435, Fullerton, CA 92834, www.punknvomitrecords.com)

Suburban Voice blog #62

TOTAL ABUSE

THE SUMMER DOLDRUMS

Actually, no doldrums in terms of quality music coming through SV world HQ, either from the generosity of bands, labels, etc or my own purchases. The doldrums come from a lack of shows I’ve felt like attending. I did skip this year’s No Way Fest. Definitely some regrets there. I should mention, though, that there are finally some good shows coming up so I can now stop whining! As of this writing, it’s been four weeks since I’ve been to a show—Total Abuse, at the Ratscellar. It ended up being a six band show on a Monday night, although late minute additions Tipper’s Gore and Bad Reaction basically split a set. And wouldn’t you know that the show started at the advertised time of 9 on the dot, I got there at 9:15 or so and managed to miss Tipper’s Gore. FUUUUUUUUCK!! Oh well. Total Abuse were an interesting band. Their earlier material was more or less straight hardcore. There was an indication something would be different when there were a bunch of effects set up on a table in front of the stage and their vocalist started banging around on them, including a wired-up tin can. Alternating between the expected thrash and heavier, more (for want of a better term) offbeat material. Something other than expected and that’s meant in a positive fashion.

Another apology for the delay and, yes, I know I’m behind on reviews. Believe me, I feel badly about it. No excuses but there has been some writer’s block of late and I don’t want to half-ass it... although some might feel this batch of reviews are half-assed. Well, let’s get to it...

AMEBIX-No Sanctuary—The Spiderleg Recordings (Alternative Tentacles, CD)
These early recordings, from ’82 to ’85, are exercises in often-potent, anarcho-primitivism. The liner notes by vocalist/bassist Rob “The Baron” Miller, seem almost dismissive of some of the earliest work but I think he sells it a bit short. You can hear that they’re in an embryonic phase but the Stooges “1970”-inspired “Curfew” is a liberating sonic blast. For much of the material, there’s a numbing repetitiveness but, for the most part, it’s entrancing. A doomy ambiance with sheets of guitar underpinned by tribal rhythms and pumping bass-lines, strained through Killing Joke ca. “What’s THIS For.” It sounds like a blueprint for what followed with “Arise.” It may be sacrilege to the Amebix diehards but I like some of the songs here better than on that album. (PO Box 419092, SF, CA 94141, www.alternativetentacles.com)

ANGRY 4 LIFE-Some Songs We Recorded 2004-2006 (Vinehell, CD)
As it says, an anthology from this band. A tough melodicism and encompassing a few different styles—rootsy and folky elements but played with loud electric instruments, except for the fiddle on “The Sky Is Falling.” I’d prefer to live without those influences on some of those songs but they do hit the mark every so often. There’s the sturdy/catchy “Smoke,” for instance. Covering Asta-Kask’s version of “Who Can Sail Without The Wind” (aka “Vem Kan Segla”) makes me think there’s some kinship with that classic Swedish band’s approach, as well. Hitting the middle ground with the occasionally inspired moment. (PO Box 36131, San Jose, CA 95158, www.vinehell.com)

BILL BONDSMEN-Swallowed By The World (Dead Beat, LP)
Finally, the Bondsmen’s first album and it maintains the trigger-finger animosity of other compatriots from their native Midwest region—the guitar buzz certainly sounds like some of the wanton Cleveland acts like 9 Shocks Terror or the Inmates. Add to that the pure rage of MassHoles (that’s a term of endearment for people from Massachusetts) Out Cold, with whom they shared a split 7” last year. It’s not a musical carbon copy but it’s all in the attitude and feel and the Bondsmen still manage to add their own stamp onto it. Lyrically, it doesn’t present all that cheery a picture. These songs scream about lousy jobs, making mortgage payments, paying for prescriptions, having the electricity shut off when they can’t pay the bill. These guys KNOW the score. Instead of going for any sort of slick sound, things sound rougher, especially with the vocals. To my ears, the production on those sound cruder and that’s meant in a positive sense since it enhances Gabby’s larynx-rending utterings. There’s an abundance of go-for-the-throat thrash but other little elements. The circle-pit inducing breakdown for “Another Wave” is one such moment. So is the stop/start thrash of “It’s Always Darkest After Shutoff,” interspersing guitar and bass atonalities, if that’s the term. Everything comes to a screeching halt for the final cut, “A Bird In The Hand Means You’ve Been Dead For A Few Days” and it’s a slower, desperate-sounding song, the culmination of all that’s been touched on already, building up and then slowing down as the guitar mimics the sound of something/someone lingering and abruptly stopping. Think of it as a cautionary tale and, as Black Flag sang on “Depression” all those years, “they say things are gonna get better—all I know is THEY FUCKING BETTER.” “Swallowed By The World” may not make you feel better but it’s still some damned good scream therapy. (PO Box 361392, Cleveland, OH 44136, www.dead-beat-records.com)

DESTROY EVERYTHING-Freedom Of Speech Means Talk Is Cheap (Tent City, CD)
Destroy Everything are a punk rock band, in case you couldn’t tell by the haircuts and silly names like Stiff Mittens, Señor Citizen and Cheddar Nines. If those are their given names, I apologize. But looks are deceptive. This isn’t simple-minded street punk. Instead, it’s a tuneful mix of influences—speedy west coast-inspired stylings, old-school hardcore and some ’77 era UK nods—the intro to “Alter Or Abolish” nicks from The Professionals’ “The Magnificent,” for instance. They sport two vocalists, one of ‘em handling backups. The lyrics are far from cliched—there’s not a lot of optimism, a strong disdain for everyday life and an outsider’s perspective. That perspective applies to the world in general but also to those who turn rebellion into money (my words and where have I heard that before?), rebellion co-opted, as stated on “The Kids Are All Liars”: “the road to pop-star opulence is paved with false belligerence/And every time the call goes to take it to the streets, the kids turn to the corporate mother and suckle at her teats.” The guys in this band aren’t kids and I imagine that cynicism is born from experience. Definitely a heartfelt quality, both lyrically and musically. (101 W. 23rd St., Box 2341, NY, NY 10011, www.tentcityrecords.com)

THE ESTRANGED

THE ESTRANGED-Static Thoughts (Dirtnap, CD)/Entranced (Dead Ideas, 7”)
I could mention the band members’ resumes but that’s kind of irrelevant—they’re from Portland, OR and have played in some other bands that are stylistically different. So I’ll just attempt to review the music from the Estranged on its own terms and this is one of the better albums I’ve heard, lately. Considering they’re from Portland and are a trio, Wipers comparisons have been inevitable but it’s not really accurate, although “The Message” veers into that territory. There’s definitely the emotionalism in the vocals and Mark Herman’s voice also has a similarity in timbre to Clint Conley from Mission of Burma. I could mention a plethora of bands that give the Estranged inspiration—early 80s US and UK post-punk, mainly, but there’s a harder-edged undercurrent. On this album, they assimilate it into something striking and contemporary-sounding. The playing is tight as fuck and the songs engaging, blending power with strong hooks. And, just before posting this installment, a new two song 7” showed up. These tracks were recorded before the album, at the same time as the band’s previous 7”. Slashing and energetic, possessing more raucousness than on the album—particularly for the title song. “Vilified” isn’t quite as manic but still packs a nervy hook. (Dirtnap: 8615 SE Clinton, Portland, OR 97202, www.dirtnaprecs.com/DeadIdeas: PO Box 851, Austin, TX 78767, http://deadideas.com)

IMPERIAL LEATHER-Do You Know Where Your Children Are? (Profane Existence, CD)
Since Imperial Leather’s last album, “Something Out Of Nothing,” they’ve shed the twin vocalist lineup and tweaked the sound a bit. Guitarist Kenko contributes secondary vocals but Amyl Nitrate becomes the focal point and there’s a raspy grittiness that wasn’t there before. And, for want of a better term, the musical approach sounds a tad more stripped down. Jarring punk with an older California vibe and garage/riot grrrrl tandem and Amyl’s commanding vocals. Lyrics expressing disillusionment, disappointment with the human condition—that’s a rather catch-all description but it fits for several songs here and the words seem to be directed at specific individuals without naming names. Wedded to a musical performance that’s taut, edgy and muscular-sounding. (PO Box 18051, Minneapolis, MN 55418, www.profaneexistence.com)

KAIBOUSHITSU-Dokuro Dokuro Dokuro (HG Fact, CD)
An interesting amalgam of hard rockin,’ metal-tinged punk that would have fit in well with some of the Amphetamine Reptile bands of the early to mid-90s but also operating in a faster hardcore vein on some of the songs. An aggressive guitar fusillade equally capable of dishing out the powerchords and heady, falling-apart effects, especially on the last track. The semi-melodramatic vocals are something of an acquired taste but, ultimately, add uniqueness and the playing is solid throughout. Something a bit different. (http://www.interq.or.jp/japan/hgfact)

MOB 47-Dom Ljuger Igen (Communichaos, CD-EP)
There’s always skepticism/controversy/what have you when a band with “legendary” status gets back together. What are these guys thinking of? Shouldn’t they leave their legacy alone and not tarnish it? Out with old, in with the new. Well, if I didn’t know this 8 song EP was a new Mob 47 release, I’d still think it’s a ripper. Pillaging hardcore going over the rails, the drums scamper but things somehow stay together. “Brutal Nedladdning” works in more “Dis”-ability (sorry) than the other songs, a very slight change of pace. The production isn’t raw distort but not slick, either. Whatever the motives, these songs hold up on their own merits. (www.communichaos.com/distributed in US by Profane Existence, PO Box 18051, Minneapolis, MN 55418, www.profaneexistence.com)

NIGHTSTICK JUSTICE-s/t (Even Worse/Way Back When, 12”)
As mentioned last time, the first copy that showed up was warped and that’s now been rectified (thanks Noel!). For their first big-sized record, the mode remains the same—pulverizing hardcore punk done right. One change, though, is in the production. The thick bottom end on previous recordings is muted and the recording has a slightly cleaner sound. That doesn’t negate the band’s power—the hot guitar licks emerge from the speakers like poisoned tentacles and equally poisonous or venmous or what-have-you is Jeff Corso’s vocal agitation. “Calling you out, bringing you down/black and blue... callin’ you out/now it’s coming back to you.” Paraphrasing Slapshot, ain’t no friend of his! This record has become a friend of mine, though, having spent a fair amount of time on the turntable, already. (www.geocities.com/evenworserecords or www.waybackwhenrecords.com)

RELIGIOUS SS DISORDER-Demo (tape)
Scrappy hardcore from this band, with former I Object bassist Ryan on guitar and, as with that band, there’s a female vocalist. Claire expresses the words in sort of a spoken/sung cadence and the songs favor a medium speed, for the most part, with occasional bursts of thrash. Despite the band’s moniker, the lyrics are more about personal issues, such as commenting on such things as sexism and overuse of prescription medications. Very basic but not a bad start. (PO Box 1148, Grand Rapids, MI 49501, www.myspace.com/punksbeforeprofits)

RESTARTS-Outsider (Rodent Popsicle, CD)
UK vets with a new full-length. Tough, catchy 82-era inspired punk punctuated by gruff vocals (low ‘n high), buzzsaw riffs and pealing melody lines. I can even live with the ska songs here, since they’ve got a punk pulse to ‘em. One ironic thing, though, and this isn’t blaming the band—they’ve got a song on here called “Bored,” which talks about how “as soon as we get a venue, the council shuts us down.” The Restarts recently played Welfare Records around here and, due to the stupidity of some of the show’s attendees (as mentioned in the last blog), it ended up being the last show there. So perhaps their audience should consider those words. Come to think about it, one of the Restarts was complaining a little about the prohibition against alcohol at the venue. Sigh... In any case, some good ‘ol headbangin’ punk rock here. (PO Box 1143, Allston, MA 02134, www.rodentpopsicle.com)

SATANIC THREAT-In To Hell (Gloom, 7” EP)
Clevo crazies—members of Gordon Solie Mofos, Nunslaughter and Midnight--doing a darkside tribute to, well, you can probably guess the subject of the tribute but, if not, visualize DC and pay attention to titles like “Guilty of Hating Christ” or “Don’t Follow Him.” The over-the-top vocals, though, are from more of the Pat Dubar (Uniform Choice) school and best taken in short doses. They nail the old-school hardcore sound. Scorching songs and scorching sentiments taking a dim view of religious topics. Packaged inside a six panel sleeve with two overlaps. (1463 Ocean Ave Apt 2 B, Brooklyn, NY 11230, www.gloomrecords.com)

SEE YOU IN HELL-2003-2007 (Not Very Nice, CD)
An anthology of this band from the Czech Republic, covering the years mentioned—I’m sure my astute readers were able to figure that out themselves. Solid hardcore punk with some 80s era European influences but still managing to not sound dated. Metal leads pop up from time to time and that adds some flair to the proceedings, but it’s not a constant element. Ripping, full-bore material. On the inside of the sleeve, it says to “play loud” and I recommend you obey that suggestion. (PO Box 2, Bloomfield Hills, MI 48303-0002, chaosnonmusica@gmail.com)

SQUALORA-s/t (Repetitively Futile/Wantage USA, CD)
Released in late ’07, Squalora consists of guys from Ass End Offend, now transplanted from Montana to Portland, OR. This is visceral hardcore with some crust elements, not dissimilar from what the boys were doing in Missoula. Thick slabs of riffage, dished out at both a raging pace along with the heavier crush. “Sugar Coated Submission” has a weighty, ominous tone yet doesn’t get bogged down in the mire. The same description could apply to the intro of “Identity Crisis,” before turning on the speed attack. A prevailing doominess, an appropriate sonic setting for the lyrical mood, yet avoiding an oppressive murkiness. That mood expresses disappointment with inertia, with allowing shit to happen unchallenged and, when brought up, being labeled as “pc nazis.” And the anger is produced with a powerful sound encompassing varying musical shadings. (Wantage USA: PO Box 8681, Missoula, MT 59807, www.wantageusa.com)

STATE OF THE UNION-To The Bitter End... A Discography (Profane Existence, CD)
A band originally from South Dakota who eventually relocated to Seattle and were around from ’92-’01. Lumbering, drawn-out compositions drawing from the well of Neurosis, especially with the gloomy, ominous intros. Heavy and plodding, with harsh, throat-rending vocals, metallic guitar riffs and a rhythmic undercurrent that does hit a solid groove. This 79 minute disc features an unreleased album recorded in 2000 plus an earlier LP and trio of EPs. In all honesty, none of the material here, earlier or later, is all that scintillating. The differences are in the recording quality, with the earliest songs sounding muddy and the performances less-refined--if refined is an appropriate term. Whatever the appropriate description, the results are tedious, in spite of the nimble musicianship. (PO Box 18051, Minneapolis, MN 55418, www.profaneexistence.com)

STRAIGHTJACKET NATION-Cheap Kicks (Shortfuse, 12”)
Hard kicks from SJN... kicks, punches and other attacks of brutality. That’s in the figurative sense although seeing this band live brought out quite a physical reaction and some of that was provided by their vocalist Daniel. He howls his way through these rampaging compositions. One cool transition is the conclusion of “Winter,” with a nasty concluding exhortation, then it stops cold, there’s a break and it goes into the appropriately-titled, floor stomping “Get In The Boot.” I could just say “old school” influence at leave it at that but, to put a finer point on it, there’s a strong nod to early Boston hardcore on some of these songs. There’s no need to put a fine point on it. There’s nothing fine—it’s quite blunt in execution. If you have any interest in current hardcore punk, you need to hear this band. (PO Box 239, North Carlton, Vic. 3054, AUSTRALIA, www.culthardcore.org/straightjacketnation)

TEACHER’S PET-s/t (Smog Veil, CD)
Obscuro late 70s Ohio noo-wave/ garage punks who played catchy ditties laced with cheese-whiz vox organ and a whole lotta teen angst. A bouncy vibe with rapid-fire vocals and nervous-tic musical accompaniment. The lead guitar breaks give away a rock ‘n roll background (some of these people were in a covers band called Wizard) that indicates familiarity with the Dolls, for one, although it’s wrapped in an era-fashionable cocoon. The band only released one single so everything else here is previously unreleased and it also includes three live songs. The cover band origins surface for an eclectic selection including Herman’s Hermit’s “I’m Henry VIII (I Am),” given a lyrical tweaking, 999’s “Let’s Face It” and Status Quo’s “Big Fat Mama.” The disc also includes some very badly lip-synced video clips with hilarious posing and dubious fashion sense—just the sort of entertaining visual element one would expect. (www.smogveil.com)

VARIOUS-Fuck Detroit, This Is Grand Rapids (Punks Before Profits, 7” EP)
Done in one day, with 8 different bands recording one song apiece at the same locale, namely Ryan from PBP’s livng room. The results are widely varied. The thud-core of Final Word is quite wretched, for instance. The best song (by far) comes from The Real Bitters, who dish out their straight-forward punk with gritty aplomb. Attention Span’s raw hardcore comes across fairly well, as does the twin vocal/speed attack of Jesus Crisis—definitely no love for religion on some of these songs. Religious SS Disorder have a similar musical vibe as I Object, Ryan’s former band. Overall, there are competeent moments but, for the most part, not a lot that transits into anything that blows me away. (PO Box 1148, Grand Rapids, MI 49501, www.myspace.com/punksbeforeprofits)

YOUTH OF TOGAY-Tossed Salad Days (Rejected, LP)
The balancing act of tribute, parody and, at its core, attempting to combat homophobia in the hardcore scene—particularly in the straight edge universe. I guess their modus operandi has created some controversy with some folks from that corner of the hardcore spectrum (Have Heart, in particular). This is ’87-inspired youth crew hardcore brushed with modern elements, such as the tougher sounding “Tough Gays.”. Some of the songs are covers with altered lyrics—“Banned In Tennessee,” for instance, which borrows a riff from a certain Bad Brains song and there’s more irony when you consider the Brains’ undisguised homophobia. The slide whistle (in lieu of a guitar solo) is a humorous touch. So is the “sproing” noise on their cover of Righteous Jams’ “Bust It.” Still, I think Limp Wrist do this sort of thing better a lot better, especially from a musical perspective. (mero32@eircom.net)