Suburban Voice blog #78

SAWDUST AND SHOPPING CARTS

I've been trying to come up with a way to describe the Evacuate warehouse space in scenic Roxbury, thinking about whether a term like "demimonde" or "darkside" would accurately state things. In any case, it's a spacious, dusty room with a high ceiling and wretched acoustics--at least that was the case for the Hatred Surge, Mammoth Grinder, Total Abuse and Mind Eraser show there on 7/15. Actually, the dust was sawdust and, as for the shopping cart, one of 'em made it into the pit at one point during the show.

My favorite band of the night was Total Abuse, from Austin (all three of the out-of-towners are from there). Rusty didn't have his pedals or electronics (said he's been too lazy to replace the batteries and such) but no trickery was necessary for their tandem of thrashy rage and damaged 'core. Mammoth Grinder mix up the metal and some lower-tuned Swede core into a pummeling combination and some hot guitar leads on their last song. Hatred Surge have the hammering metallisms along with crazed grind. Those may not be the most incisive, elaborate descriptions for these bands but they'll have to do.

SHITTY LIMITS

I made it to two other shows over the past month, both of 'em pretty memorable. Shitty Limits, from the UK and Logic Problem, from North Carolina, had a joint tour and hit PA's Lounge in Somerville on 7/28. have animated vocalists, as you can see in the photos. The Limits are refreshingly original, while drawing from a diverse array of influences including post-punk (a Fall bent on some songs), 60s garage and thrashed-out hardcore punk.

Logic Problem weren't quite up to that level. A thorny, aggressive sound. At one point, I heard a guitar line that sounded very familiar and it turned out they were doing a warp speed cover of Die Kreuzen's "In School." Cool... there's a band from the 'old days' who aren't covered all that much. Libyans played last and debuted some new songs, sputtering at the start but picking up momentum as the set progressed.

Finally, Perdition returned to town on 8/5 at a basement space in a pretty nice Brookline neighborhood. I'm amazed it was able to get almost all the way through (one local band, Isolation, didn't get to play). It was a good-sized room, too, and the acoustics were surprisingly good.

Perdition are from NYC and the last time they were here, they only got to play one song because some traveler fucks who had been thrown out of the show tossed a couple of bricks through the window of the Democracy Center. Completely wailing/raging distorted hardcore punk. Lotus Fucker, from DC, probably played around 10 minutes but it got the job done... an out-of-control vocalist, performing barefoot (as you can see) and the band's sound is a wild, crazed thrash onslaught puncutuated by his screech-your-lungs-out emanations. Finally, The Epidemic marked their return with an energetic array of UK-82 inspired punk.

And now to the music review segment of our program:

RESIST CONTROL

BEAR PROOF SUIT-A Suit To Alter Fate 2005-2008 (Urban Pirate)
A collection of this band's 2008 B.Y.O.B.O.C. LP, two earlier 7"s and a few unreleased songs. A potent hardcore punk band who evade any sort of easy compartmentalization. Jarring guitar lines and riffs--some real scorching stuff--wrapped around a tight bass/drums tandem and accompanied by primary vocalist Ryan Poortenga's throaty growl. In fact, the vocals from Jon Hanson are almost as gruff. There's a good amount of speedy savagery unleashed on most of these songs. Not thrash, so much, but it's a charge of full-bore adrenalin (how much hyperbole can I put in one sentence? Never mind.) "Fourth World" adds a little Bl'ast stop 'n start. And the choice of cover versions shows impeccable taste--the Wipers' "Up Front" (from one of the 7"s), Poison Idea's "Pure Hate" (previously unreleased) and Husker Du's "Real World," one of that band's best songs and handled very well here. They also sneak in a few tips of the hat, such as the opening guitar line for the heavy-sounding "Bear Proof Suit" that borrows, albeit briefly, from Black Sabbath's "Embryo" and "Sans Equity" does the same thing with Blue Oyster Cult's "Before The Kiss (A Redcap)." In an earlier review, I said they were on the right track but not "mind blowing yet." After hearing the songs from the LP and re-evaluating the EPs, I've changed my view on that a bit. Quite a bit, in fact. (1509 Bell Ave., Sheboygan, WI 53083, www.myspace.com/urbanpiraterecords)

CAUSTIC DEFIANCE/NEGATIVE ELEMENT-Split (Akashic, CD)
Straight outta the suburbs of Chicago came these two bad-ass hardcore punk bands ca. 1983. OK, they weren't exactly bad-asses but, instead, typified the fast, generic sound of the day. There are distinctions, though. Let's begin with Negative Element, since they were the first band and perhaps have a bit more notoriety since they got a 7" EP, Yes We Have No Bananas, released back in the day. I've always had a soft spot for this band's goofy approach... songs about Elmer Fudd and the Pillsbury dough boy, an anti-Pac Man song (that was the video craze at the time), as well as the de-rigeur plaints about the cops and religion. The mixes here are different than on the 7", although definitely not slick. There are also some very rough-sounding, unreleaed demos that probably could have stayed that way. So after Negative Element split, due to the Stepe brothers (Chopper and Barry) moving away, Caustic Defiance was born and the sound was much more aggressive. A nastier guitar tone leading to a buzzsaw ambiance. They played the same kind of thrash plenty of other bands did at the time but with enough youthful vigor to make it enjoyable. Just don't expect any sort of revelation. I should mention it's all previously unreleased. Nicely packaged with a booklet that has lyrics and reminiscences. (Mukasoi 1058, Wakayama 648-0025, JAPAN, http://www.myspace.com/akashicrecs)

INSUBORDINATES-1968/Rendezvous (Feral Kid/Crotch Rot, 7")
Two short songs with the a-side a slice of catchy 80s west coast punk and the b-side a garage/surfy instrumental, albeit without the reverb or twang. Definitely a subject for further research, to quote the insufferable rock crtitic Bob Christgau i.e. I'd like to hear more. "1968," in particular, is a real keeper. (379 Ontario St., Buffalo, NY 14207, www.myspace.com/feralkidrecords)

LIFE PARTNERS-AIDS of Spades/Teenager In Trouble (Ride The Snake, 7")
You might think a band with amplified trumpet, occasional organ, screamy and atonal vocals along with guitar and drums would sound like a trainwreck. That's true, but it's an intriguing (and highly abrasive) trainwreck. Yet the songs do follow verse/chorus structure--sort of, anyway. No Wave in the '00s? Something like that, at least on this pair of songs. I'm still not sure if I'd want to hear this more than a few more times but the songs are running through my brain at the moment. (www.ridethesnakerecords.com)

MAKABERT FYND-s/t (Flat Black, 7" EP)
A pack of Swedish rippers laying out the thrash brutality. Damn, how many cliches can I jam into one sentence? But you should still pay attention. Fast and aggressive songs at a mostly quick pace although "Var Fam Ar Er Respekt" has more of a measured velocity, while still stomping your senses. Not specifically following either the d-beat nor downtuned metallic style usually associated with this country's hardcore bands. All that matters is the band's power-filled attack. New album has just been released and it's definitely something I'm looking forward to hearing. (www.myspace.com/flatblackrecords)

NIGHT OWLS-s/t (Hex, CD)
Pretty tuneful rock 'n roll with a DC-ish touch--I thought a bit of the first Gray Matter album, although "Fake Blood" definitely has a Nirvana vibe to it and that inflects a couple of other songs as well. And there's a thrashier side for "Results Inconclusive." These guys show it's possible to play nervy rock music without any sort of cheesiness. There's an abundance of juicy/sharp riffage and it whets the appetite for more. The six studio songs are appended with a not-so-shabby live set. (201 Maple Ln, N. Syracuse, NY 13212, hanginghex.blogspot.com)

NUCLEAR FAMILY-s/t (Loud Punk, 7" EP)
Three engaging songs favoring a melodic and edgy sound. Jen's vocals swoop over, under and sideways around the arrangements--maybe a tad grating in spots but certainly distinct. "Doublespeak" is the best of the three, a straight-ahead song powered by Paul Henry's always-impressive sticksmanship and buzz-sting guitar. (PO Box 3067, Albany, NY 12206, loudpunk@gmail.com)

PSYCHED TO DIE-Year One (Dirtnap, CD)
A compilation CD (no duh) of this band's new EP, Scatter Brained, out on Dirtnap plus their earlier Sterile Walls EP and demo. Bright 'n punchy melodic hardcore created by a band that includes former Ergs, only with a harder edge than that band. An air of futility and anger permeates the lyrics--confusion about life's direction, jobs that grind people down and ultimately deciding that, no matter what, we may still be fucked. Despite the lyrical cynicism, they don't sound defeated and the music exudes a fighting spirit (if that's possible). Don't miss the hidden bonus track, a cover of Freestone's "Bummer Bitch," which wraps things up on a lighter note. (2615 SE Clinton St., Portland, OR 97202, www.dirtnaprecs.com)

RAW NERVES-Murderers Among Us (Poisoned Candy, 7" EP)
New-ish Portland, OR band with people from Squalora, Forced March and a few other combos. They had a CD demo earlier this year that I neglected to review (but have played on the radio show so maybe you heard 'em already) and four of the seven songs have been re-recorded for this EP. Raw hardcore featuring Matt Svendsen's rabid howlings and a feisty tumult that incorporates crusty thrash (or is it thrashy crust--no matter) and more ominous passages. Opening song "Hello To Oblivion" actually opts for the latter, with that kind of intro before settling into a bruising mid-speed assault. Not-so-cheery politically oriented lyrics fit the music's mood very well. To quote a pretty well-know band from their city, feel the darkness. (www.poisonedcandy.com)

RESIST CONTROL-s/t (Peterwalkee, CD demo)
Pummeling fodder toggling pretty seamlessly back and forth between DRI-ish double-speed thrash and circle-pit-inducing and hammering moments. The first thing you hear is an earth-moving bass-line and that really drives things throughout, complemented by raging guitar, drums and vocals. The playing is tight and executed in effective fashion. Twelve songs in twelve minutes. (408 Richmond Ave., Buffalo, NY 14222, www.peterwalkeerecords.com)

SPREAD 'EM-Pizza Crisis EP (Peterwalkee, 7" EP)
Hardcore/punk/rocknfuckinroll for a band that probably doesn't take itself all that seriously, as some of these ditties are titled "Too Many Zits" and "Jamie Lee Curtis Fingerbang." That song raises the question as to whether Jamie Lee is an "X or Y," if you catch their drift. Meanwhile, "Fuck Megatron" flashes some metallic trills 'n thrills. Fun and raucous. (408 Richmond Ave., Buffalo, NY 14222, www.peterwalkeerecords.com)

Suburban Voice blog #77

SMART COPS

I figured it was time to finally publish a new one despite the fact, as usual, I haven't reviewed everything I'd have liked to. So, in addition to sporadically writing this material and actually getting out of the house occasionally, I made the trip to Richmond, VA the weekend of June 19-21 for the third No Way Records fest. Three days of music and over 20 bands is a bit much, especially since I didn't get to do quite as much non-show stuff as I would have liked. I did have the pleasure of spending most of the Saturday afternoon with an old friend, Briant, who is from my hometown of Swampscott, MA and I hadn't seen in over 20 years. Had a nice lunch with him and his wife.

As for the fest itself, I performed the first No System set since 1986 with the superb assistance of Biff, Glenn and Brandon from Buffalo band Brown Sugar and that was a lot of fun. I managed to get through the set without blowing out my voice or needing oxygen. Big thanks to Brandon and Alex for letting us borrow their practice space for the one full band practice we had! The Zero Boys headlined the second and third nights and it was cool to finally get to see them play after nearly three decades of fandom. Among the other highlights were the scorching garage/punk/hardcore of Italy's Smart Cops and crazed performances from Government Warning, Wasted Time, Omegas, Direct Control and Chronic Seizure. And it was great getting to spend time with my pal Donna, whose sister and brother-in-law were gracious enough to provide a place to crash over the weekend. The central AC was especially appreciated with all the heat and humidity (98 on Saturday... gross...)

So let's move on the main part of our program... the music reviews!

BRAIN KILLER

BOMBER-Mourning (Cowabunga, 7" EP)
I got these songs on a CD demo awhile back but, as often happens, it got a bit lost in the shuffle. Now I get a second chance as it’s been pressed on vinyl by Cowabunga Records. Punk with a garage tinge and slobbering, ranting vocals. This is some quality noise that makes me feel badly about missing it before. Brief, tough-sounding songs—6 of ‘em in about 7 minutes—with the verbal sneering accompanied by barbed-wire guitar/bass/drums jolt. (1441 N. Mountain Ave., Claremont, CA 91711, www.cowabungarecords.com)

BRAIN KILLER-s/t (Deranged, 7" EP)
Brain Killer are one of the most exciting bands to emerge from these parts in awhile. Overdriven, chaotic scorch. Marcus’s vocals are gutteral as fuck and it’s not a stretch to say there’s a bit of a DISCLOSE influence here. Wild thrash with each song connected by a whizzle of feedback and the delivery is manic, to say the least. The connector from “Black Cloud” to “They Live//We Sleep” pushes it to an even more ominous level, as if the black cloud is about to burst, much like all this fucking rain around here lately. If you like it loud and raw, these four guys will make your day. (www.derangedrecords.com)

DARK AGES-Vicious Lie (Cowabunga, 7" EP)
Manic hardcore packed with a musical and vocal urgency, punctuated by creative guitar lines, some formidable bass runs and a good amount of instrumental intricacy. No musical masturbation from this Kansas City band, though, as the chops-flexing never becomes excessive. It makes me think of the period in the mid-80s where bands built on a thrashy base but also added different elements without crossing over in metal territory. (1441 N. Mountain Ave., Claremont, CA 91711, www.cowabungarecords.com)

DIRECT CONTROL-Farewell (Feral Ward, 12")
"Farewell" was originally released in a limted-to-100 copies pressing for No Way Fest 2 but now it's been given a wider release. I haven’t been completely blown away by much of this band’s output since "You’re Controlled" but this is a fairly good effort. Just don’t expect "You’re Controlled." Fast, throttling hardcore with rough production and Brandon’s vocals sound raspier than in the past. Definitely a fatalistic world view... society’s collapsing but all anyone cares about is what’s going on in Hollywood. Half of the second side is taken up by the title track, a four minute instrumental written by the late, great Mikey Offender but I’m afraid it goes on a bit too long. I do have to compliment Eric’s bass playing, though—it’d do Mikey (one of the best hardcore bassists ever) proud. (http://feralward.com)

GARBAGE STRIKE-United and Slam Against The System (demo)
A new Boston band with the legendary Dan Wars, late of Poison Control, on vocals. I'm not quite sure if I've got the title right but that's what it says on the cover of the booklet. In any case, the demo is nicely packaged with that booklet that includes lyrics, photos and a few collages, a pin and my copy came with a CD-R as well. Good ‘n snotty punk rock with a hardcore edge. Another cool thing is the use of samples from an early Boston rock ‘n roll DJ named Arnie “Woo-Woo” Ginsburg. I imagine one of ‘em must have had the knowledge handed down from a parental figure because I’m an old guy and only vaguely remember hearing him on my small red transistor radio when I was a youngster. The radio motif goes further for “Coast To Coast,” the overnight conspiracy-oriented radio show. They’re off to a hell of a good start, here. Stirring songs with plenty of punchiness. (GarbageStrike@gmail.com)

GENERAL INTEREST-Right By The Beach (Ride The Snake, 12")
General Interest's overdue vinyl debut (good rhymin' or what?) showcases a nimble, ultra-tight band dishing out some formidable post-punk, for want of a better term. The lazy critic will mention the Minutemen and Gang Of Four and yes, I’m lazy. Add some Nation of Ulysses to that, as well. Still, it’s just a starting point. Guitar, bass and drums play off each other, hooks occasionally emerge but the main attraction is the dynamism in these compositions. Meanwhile, Steve Shea’s lyrics could be “shit from a new notebook” to quote one of the above bands. There are political/sociological messages, though it’s combined with a smart-assed sarcasm. “Crusty Dog Show” aims a vicious barb at, well, crusties who, while being “freegan” and “going green” still bring dogs to shows. The ultimate hope is that “your dog eats you/when you OD.” “Capricious Youth” pokes fun at the type of people who can’t make up their minds about everything from education choices to relationships. My copy came inside a spray-painted cover that looks pretty damned cool. So are the aural contents. (www.ridethesnakerecords.com)

GOVERNMENT WARNING

GOVERNMENT WARNING-Paranoid Mess (Grave Mistake/No Way, LP); Executed (Grave Mistake/No Way, 7")
A new LP and a 7" with songs that aren't on the LP. Following me here? While you get a good share of pummeling thrash, Government Warning further embrace the west coast blueprint created by Agression, Adolescents, et al. That applies to “Urban Warfare,” “Stop Again,” Blurred Yellow Line” and a few others. Kenny rants like a post-adolescent (sorry) maniac, emitting words of confusion, anger and, as the LP title would indicate, paranoia. The cover drawing, by Scott Langlais, is reminiscent of the Cro-Mags’ “Age Of Quarrel” inner sleeve, a frightened-looking guy in the midst of mayhem that swirls around him. "No Martyr" remains this band’s recorded pinnacle but I’m definitely not damning with faint praise here. The praise is genuine and this is some razor-sharp hardcore punk on both the LP and 7.” The latter includes an unlisted cover of Battalion of Saints’ “Modern Day Hero.” (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com or 324 S. Pine St., Richmond, VA 23220, www.nowayrecords.com)

GROINOIDS-Radio Beat Sessions (Boston's Finest/Fatalist, 7" EP)
You might remember The Groinoids from the "Boston, Not LA" and "Unsafe At Any Speed" hardcore compilations from 1982 where they contributed a pair of songs, the speedy “Angel” and thumping “Empty Skull.” Those songs and three unreleased tracks show up on this 7". A scuzzier take on hardcore, with “Burn” being up to the standard of the previously-mentioned song and mocking for the brief and stoopid “Doy.” “4.6 Billion Vampires” is a slower, murkier track. The Groinoids had a kinship with other local bands like The Sickness and, later, Kil Slug (and shared some members)—hard-edged but also on the verge of collapse. This 7” sold out almost immediately but a repressing is being discussed. (www.i-dealrecords.com/fatalist)

KOROVA-Another Happy Customer (self-released, CD)
Korova's style of hardcore punk doesn’t follow any set blueprint. On this album, there’s an abundance of thorny anger. Howls from the gut and a dollop of Black Flag-ish damage on the slower songs and even the bluntness of The Nihilistics at times. They go between hammering ugliness and bursts of speed. It wraps up with the heavy ‘n epic crawl and bash of “Factor X.” I haven’t heard too many good bands from Alabama and these guys are an exception. I’m guessing there’s a lot of political retrogression in their state and if I lived there, I’d probably want to express myself the same way as these three guys. (i_hate_you_too@hotmail.com)

LIKE RATS-s/t (Like Rats)
Like Rats' vinyl debut is hit and miss. There’s a whiff of Poison Idea from time to time, especially with Pat’s gruff vocals, but also some melodic properties. “Receptor Potential” hits all the right buttons--a mid-to-fast tempo and solid riffing. When they try to speed things up, the results are less than stellar. Has its moments but I like ‘em better live, at this point. (610 Cambridge St., Allston, MA 02134, Likeratsboston@gmail.com)

LOGIC PROBLEM-No Center (Grave Mistake, 7" EP)
"No Center" picks up where Logic Problem's first EP let off—in fact, I’d argue they’ve gotten even better. It’s loud/fast hardcore but there are some knottier, dense elements lurking beneath the surface and it enhances the songs’ kinetic qualities. The words on the lyric sheet are laid out willy-nilly like puzzle pieces. Scattered thoughts but everything falls in place from a musical standpoint. (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com

REVILERS-Isolation (Patrac, 7" EP)
A kick-ass debut for this Cape Cod band although I don't think they're all from that area. No matter. Four songs of sturdy, street-wise punk and rock ‘n roll is the name of the game, here. You can hear a little bit of Blitz at times, particularly for “Dead End,” but a song like “Next In Line” is fired up, rockin’ fodder. Beefy guitars and gruff, heartfelt vocals. The songs are melodic without being wimpy, exuding a defiant spirit and a pure punk heart. (www.patacrecords.com)

ROGUE NATIONS-Be Your Own Rogue Nation (Suicide Watch, LP/CD)
After a not-so-bad 7" comes the debut full-length from North Carolina band The Rogue Nations. This is sharp, catchy mid-tempo punk with strong burn ‘n hooks and vocal back-ups. The lyrical sensibility is also sharp—sure, there’s “political” content and it seems as though they spend quite a bit of time watching cable news and drawing out the day to day absurdities, tragedies and the like. The upbeat music almost seems as odds with the ideas expressed. I can hear a bit of Marked Men and Naked Raygun from time to time although vocalist/bassist Chris Peigler sings in a higher voice than Jeff Pezzati. Plenty of punk bash to go with the poppier inclinations. (PO Box 9599, Charlotte, NC 28299, www.suicidewatchrecords.com)

SACRED SHOCK-You're Not With Us (Residue, LP)
Following a couple of 7"s and a split with Deskoncidos, Sacred Shock have released their first full-length album--or, more accurately, Residue have released it. A rampaging, modern-day Swedish hardcore inspiration along with some later period Poison Idea-ish riffage. And Alex Hughes’s hoarse vocal style makes me want to loan him some lozenges. Not always blindingly fast but still a speedy rumble and it creates something powerful and driving. The lyric sheet—handwritten white lettering on a washed-out background--is tough to read, right down to the song titles but the expressed rage comes through loud and clear. Best stuff to date for these Texans. (www.residue-records.com)

SMART COPS-Cominciare A Vivere (Sorry State, 7" EP); Untitled "Cop Medley" one sided 7" (Hell Yeah!)
One of the best bands I saw at No Way Fest (and I’ve seen them one other time since then in Boston) was Smart Cops. They may wear silly costumes when playing live—black t-shirts with an “SC” logo and black running pants with a red stripe—but there’s nothing silly about this Italian band’s kick-ass punk sound. On "Cominciare A Vivere," they continue with the jabbing tandem of old-school punk, hardcore and garage—the latter most evident for “Gambe Levate.” I’m a sucker for this stripped-down, catchy approach. The other record doesn't have a title on it, just the band's logo screened on one side and the music on the other. Those contents are a medley of anti-cop songs. Favorites from The Boys, Doom, The Kids, Black Flag, The Dicks and and others, played seamlessly in their own sharp style. Hell Yeah! Records made only 300 of ‘em and it was for their tour. I’m not sure how easy it’ll be to get at this point but it’s definitely worth mentioning and seeking out. (1102 N. Greensboro St., Carrboro, NC 25710, www.sorrystaterecords.com).

WASTED TIME

WASTED TIME-Futility (Grave Mistake, LP)
Futility? Try hostility! This record just boils over with a ferocious aggressiveness and I’m not being hyperbolic. When I was in Richmond for the No Way Fest, someone said to me that there weren’t many other bands doing American-style hardcore this well and I’d say there might be a more than a few grains of truth there. Fast rippers, circle pit starters and if “Withdrawal” isn’t a fucking anthem, then I don’t know what is. A full-bore attack and Mark Shubert’s angry vocals are appropriately nettled-sounding. No sunshine and flowers in the lyrics, as you might imagine, and “For The Fatherland,” another stomper, is an effective critique of the military/industrial complex. It's been awhile since Wasted Time released anything and "Futility" was definitely worth the wait. (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

Suburban Voice blog #76

BOSTON STRANGLER

Less of a delay this time. Maybe I'm finally getting my shit together. Maybe not. In the meantime, things are picking up show-wise and I've seen three--count 'em--three bands from Sweden in the past month or so. There was the old-school Swedish hardcore of Project Hopeless, who played the Guns of Brighton basement space. Then, at Great Scott, there was Victims, whose over-the-top assault just might be the best set I've seen so far this year. Their vocalist Johan has taken over bass duties but it doesn't mean any less presence. That ain't gonna happen when you have Jon on guitar and he has the fucking moves. Finally, Nitad were just in town this week at the Midway and come from more of a hardcore punk direction with catchy bits and their vocalist Modde has an in-your-face presence.

I should also mention Sex Vid's long overdue return to Boston, part of an intense bill at the Democracy Center/Papercut Zine Library that also included Mind Eraser, Failures, Confines and the debut of Boston Strangler, who damn near stole the show with their spot-on replication of early 80s Boston hardcore. The sound was pretty abysmal all night--the vocals were inaudible. Someone joked it was the best instrumental show he'd been to all year. Sex Vid have added a second guitarist and his axe-mangling makes 'em sound even crazier. I loved their cover of Bauhaus' "Dark Entries." The other cover version that blew me away was Confines' take on Born Against's "Well Fed Fuck," one of the best encapsulations of the soul-sucking nature of the work environment from both a musical and lyrical sense. And speaking of presence, any band with Andrew Jackmauh (ex-Cut The Shit) on vocals will likely grab your attention. Andrew was a busy man that night--he also plays bass in Boston Strangler and the crazed-sounding Failures. Good, hard-driving hardcore punk stuff. What an awesome way to spend part of my wedding anniversary although my lovely wife might have a different opinion. But I did take her out for a nice dinner beforehand and she was an incredibly good sport about indulging her husband's punk rock obsessions.

A WHOLE BUNCH OF STUFF FROM TRABUC RECORDS

I don't usually do label spotlights in this space but Eduard from Spanish label Trabac Records sent me a huge package a little while ago that included five LPs and a 7" (by the Lost Boys and that was already reviewed in Blog #66).

In a letter that came with the package, Eduard, who is the vocalist in Anti-Playax, mentioned that Derrota, Desguace and Anti-Playax have common members and they're at the core of "Orxata Negra" collective in Valencia. They also do DIY booking, zines and silk-screening. He writes that they're in the process of opening a social center/DIY venue there and they're also organizing their third "Orxata Fest" in a local squat. A social center/DIY venue... wouldn't that be something great for Boston? Or any other city for that matter? This city's come close a few times--I think of the original Regeneration warehouse space in Dorchester, which had a handful of shows and was also going to do silkscreening and have a zine library but it only lasted a month before getting shut down by the authorities since it wasn't up to code. There are non-club spaces for all-ages/DIY shows here but they're often fleeting or not always available on a consistent basis.

So let's get down to it, starting with Anti-Playax and their album "Valencia Marca Registrada." Released in April '08, these guys feature a rippin', stripped-down sound. The guitar has no distortion, as was the case with Amdi Petersens Arme, Anti You, etc. It's that kind of no bullshit punk approach. They concentrate on some local issues in the lyrics, such as for "Treball-Platja-Mort," which is about the contrast between asylum-seeking Africans attempting to enter Europe via boat in a way the bigots would call "illegal" and then coming in contact with whom they describe as "luckier" people lazing on the beach. Then there's the anti-tourist rant "Ole!" And big ups for "You Smoke, I Die" (sung in English) about tobacco smoke at shows. I can relate after attending a couple of recent shows in a sickeningly smoky basement.

Horror have a brutallizing sound with a Scandinavian bent that comes across as equal parts Finnish (in the vocal delivery, mainly) and Swedish, with the hot guitar and bass riffing and relentless drumming. Their 9 song 12" "Descontroladas" is a non-stop attack of hardcore mayhem. Sure, it's pretty much by the numbers but the band's rawness really grabs me.

Derrota also possess a similarly raw attack--speedy, crusty hardcore but, in this case it's thicker and heavier sounding. On the lengthy closing song "Abismo Interior," there's some Sabbathy heaviness wrapping things up but without any sort of stoner rock-ism although it drags on a tad long. This one has a full-sized 20 page booklet with the lyrics translated into a few different languages including English. Quite a bit of rage on this one along with the occasional hint of melody.

Melody is at the fore on Insomnio's second album "Happy Loneliness" (released in the US with a different cover by No Way Records). This ain't no pop record, though--it's just that the band have an accessible punk sound. There's an abundance of rock 'n roll burn and a decided west coast punk inspiration, much in the same way that No Hope For The Kids looked that way. That means beefy rhythm guitar overlayed with some tasty lead licks. Insomnio don't change tempo that much--it's a sturdy mid-tempo style that has a lot of presence. The production isn't as gritty as on their debut album "No Escape" but you won't hear any complaints, otherwise. And it REALLY sucks that this band has been denied entry to the US because of one of them having a criminal record. Fuck you, US Customs!

The final record in this package is "Yo Me Se Cuidar" by Desguace. Another band who rely on a more melodic approach (once again, think of the Danish bands) but there's also a nervy/edgy guitar sound to go with the punk and hardcore trappings. A rootsy rock undertow, at times, coming to the fore on "El Hombre Mas Fuerte De Cornella." Desguace will jab their way into (or through) your heart.

Here's the contact info: PO Box 160, Carcaixent (Valencia), SPAIN, www.nodo50.org/trabucrecords.

AND NOW THE REST:

THE HORROR (2007)

ABADDON-Life Out Of Balance (Sacred Plague, 12")
A crush of death metal 'core with wanton riffing and a tandem of blast, thrash and pummel and covered in crust. Inhumanly low vocals that growl out incomprehensibly and, with the band's attack, this has all the subtlety of a meat-cleaver to the head. "Peace Maker" is more of a piss-take with stop/start instrumentation and goofy vocals in all possible accents/accentuations that had me reaching for the tone-arm. Brutal? Sure... but that's not always enough and, with a lack of memorable songs (except for that infernal "Peace Maker"), there ain't much more here to recommend. (Kaleb Keefer, 7746 Whitehall Cir E, West Chester, OH 45069, www.sacredplague.com)

ACCIDENTAL GUN DEATH-Skies Are Blue (Blind Spot, 7" EP)
Absolutely raging hardcore punk as this three piece rip through 11 songs in a small space of time. A definite Minor Threat bent at times, only with much more rawness and a nastier tone in the vocals, except for "Forward," where there aren't any vocals and they get to show off their instrumental muscle a bit. The lyrics are filled with thoughts about battling against self-doubt and trying to overcome it. That might read as a tad corny but it isn't expressed that way and they've got the electrified rage to back it up. (PO Box 40064, Portland, OR 97240, www.accidentalgundeath.com)

CRAWLERS-Level The Forest (Blind Spot, LP)
After a mighty impressive 2007 12", The Crawlers return with another crackerjack punk rock attack. These guys have it nailed--aggressive without any bluster and a good mixture of thrashy hardcore and pounding mid-tempo fodder. If any of you remember a Chicago band called No Empathy, it's along those lines. If not, I hope the above description at least provides adequate information. And to use a trite expression, they have "something to say," as well, with songs about overdevelopment in their hometown of Portland, OR, football player Michael Vick, who was convicted of murdering dogs, "righteous" evangelists and a rather visceral rant at someone who done someone else wrong for the creatively-titled "Cold As A Veal Farmer." It's a bit early but I think this will definitely end up on my best-of 2009 list. Everything that's still good about hardcore in one head-grabbing package. (PO Box 40064, Portland, OR 97240, www.myspace.com/thecrawlers)

DEATHCAGE-Chaos Nightrider (Schizophrenic, 7" EP)
On the record label, it says "Distort Sydney" but this Aussie band's sound is more in league with some of the 'burning spirits' Japanese bands. That means a coupling of aggressive thrash and metallic guitar leads. Hardly groundbreaking but the band's overall roughness is definitely a plus. (17 W. 4th St., Hamilton, ON L9C 3M2, CANADA, www.schizophrenicrex.com)

DETONATE-s/t (Distort, LP)
If the drawing on the front cover of a peace sign with the barbed wire outer rim and the sign itself consisting of a dove impaled on a missile doesn't give you an indication of Detonate's approach, you're not really paying attention. Fast-paced thrash/crust with Yvette's piercing yelp trying to rise over the fray (Yvette's duties have since been taken over by someone else). Not much deviation from one song to another after the buildup on the opening track "Boys Don't Cry" (NOT a Cure cover). Fans of bands like Aus Rotten, Detestation et al will love Detonate. Nothing that really makes it stand out from the pack but they've got the sound down quite well. (PO Box 80338, Minneapolis, MN 55408, skell_@hotmail.com)

DISCO ASSAULT-Saturday Night Bleeder (Schizophrenic, 7" EP)
Cranked up and ready to kill, or at least assault. Sorry--rock writer lameness at work. But Disco Assault accomplish that, at least in a euphemistic sense. Loud 'n fast hardcore with throat-shredding vocals. There's the same no-bullshit mode as Out Cold, particularly for the opening song "My Fate" and the vocalist who calls himself The Mangler lets out some hellacious screams, especially on "Work To Survive." Covering semi-obscure Florida punk legends Roach Motel's "More Beer" shows an astute sense of history and they even offer a shout-out to that band's George Tabb, urging support (George has suffered from health issues since 9/11). Angry as fuck but I get the feeling they're having a blast making this noise and I'm having a blast listening to it. (17 W. 4th St., Hamilton, ON L9C 3M2, CANADA, www.schizophrenicrex.com)

GIANT HAYSTACKS/YOUNG OFFENDERS-Split (625, LP)
The tracks on this album were recorded in 2007. There’s a “sale” sticker printed on the upper-right corner of the cover and I suppose you could say this is Giant Haystacks' going-out-of-business sale since these are their last recordings. They’re probably sick of having the Minutemen and Gang Of Four reference points pinned on ‘em but they’re hard to avoid, especially with the spaciousness and tension for “We’re All In This Together.” Still, it’s more in the structure of the music as these gentlemen also add some strong hooks here and there. So it’s a starting point but not the totality of their sound. They might have been popular in their Bay Area home base but I still don’t think this band totally got their due. Meanwhile, Young Offenders have a sharp, brash sound with melodic properties underpinning their jabbing attack. Strong harmonizing and a solid mesh of instruments. I like the way the guitar and bass play off each other on the last track “Battleships.” A nice break from the hardcore. (www.625thrash.com)

THE HORROR-Spoils Of War (Grot, CD)
A party not heard from in awhile since it's been approximately three years since the last Horror album. For those who need a refresher course, they've been together since early in the decade and spun off from Voorhees, with four-fifths of that band's membership at the time adding a new vocalist, the hoarse-voiced Andy Bryant. Fast, brutallizing hardcore sticking to the UK tradition established by the likes of Ripcord, early ENT and some US bands--"The Menace," for instance, has a mid-period Poison Idea feel. In other words, loud and blazing throughout. Sure, they borrow on occasion, such as the intro to "Blame The Kids" coming from the Bad Brains' "Big Takeover." Once in awhile, the speed doubles but, for the most part, this is streamlined, ruthlessly efficient fodder. There's also a lyrical pragmatism. Sure, there's plenty of ranting against political atrocities but there are also barbs aimed at social climbing and affluenza. "Choose Your Fight," though, lays the claim that "For all our talk of repression, control and faux democracy; if there's one thing this country gives guys like you and me; this is the privilege of being angry; the gift of biting the hand that feeds." Stating that not all battles can be fought, not everything can be changed but then there are still doubts about that kind of compromise and acquiescence. In other words, significant change could be a load of bollocks. Some might view that as giving in too easily but I think it's a credible reality check. Or maybe I'm just cynical. Whatever the case, there's no missing the impact of these sounds. (www.myspace.com/grotrecords)

VARIOUS-Toronto's Burning (Schizophrenic, LP)/NO T.O. (Schizophrenic, 12")
A pair of comps from the ever-busy Schizophrenic Records, both of them featuring Toronto bands (in case you couldn't tell). "Toronto's Burning" is one of them thar scene comps and a pretty good one, overall. There's some stylistic diversity, from the rippin' hardcore of the Reprobates and School Jerks (I imagine there's some punnery at work since "High School" sounds more than a bit like the Circle Jerks' "Red Tape") and Black Spokes. Hazardous Waste favor the less-distorted hardcore punk attack. The thrashy UTI's vocalist Leah unleashes vocals that sound as though her vocal chords have had an acid rinse. They slow it down for "Schadenfreude," where she really gives those chords a workout. Rammer bring on the crossover metal for their sole track, "Leatherface." Living Darkness have a lower-tuned Swede-core assault. Black Spokes also incorporate a hint of crossover but it's clearly on more of the punk rock side of things. Madmen, a project for Jonah from Career Suicide and Fucked Up, provides some formidable, high-energy bash. Urban Blight have a raw, speedy tumult with a strong breakdown for "Waste." Only the power-poppy Dangerloves don't do all that much for me.

As for the other comp, it's actually a tribute to the "Yes L.A." Dangerhouse Records compilation--the original was a 6 song, one-sided picture disc and that's what you get here, with bands from T.O. covering those songs. The bands add their own touch to the songs and the results are very mixed. Stef and The Studs go through fairly standard renditions of the Bags' "We Don't Need The English" and the Alley Cats' "Too Much Junk." There's a snotty gnash to the sound although Stef's vocals chafe a bit. Instead of organ, Career Suicide use piano for their take on the Eyes' "Disneyland." It's a good song but I'm not particularly enamored with their treatment and it could be one of the weakest songs I've heard from the band. Actually, considering the fact that it's been bouncing around in my brain since hearing it, perhaps there's some sort of subliminal charm that's connecting. Perhaps. The Brown Knuckler's reading of Black Randy's "Down At The Laundrymat" doesn't deviate much from the original but manages to replicate the song's offbeat charm. Meanwhile, as much as I wasn't too into the Dangerloves on the "Omnibus" comp, they fare better with X's "Los Angeles" and the John 'n Exene vocal parts are well-done. Finally, metallions Legion 666 bash through a rockin' rendition of the Germs' "No God," complete with acquired-taste cookie monster vocals. I'm kind of looking at this as a novelty deal but if it piques your interest, there are only 300 of these suckers. (17 W. 4th St., Hamilton, ON L9C 3M2, CANADA, www.schizophrenicrex.com)

Suburban Voice blog #75

HJERTESTOP

Considering I took ANOTHER month to post a blog, I figured it was time to get something up here even though I didn't review quite as many records as I would have liked. I suppose that's due to the fact that some kick-ass stuff has been coming through here lately. My show-going hasn't been too crazy lately but the international invasion--OK, more of a friendly visit--continues to go on. In the past month, the area was graced with the presence of Danish tuneful punk unit Hjertestop who played with an ingratiating looseness and bite and Japan's Crude, who provided some ferocious hardcore with pretty incredible instrumentation. I also grabbed the reissue of their 2000 album "Attitude" which is quite raging, although I thought $12 for a US LP was kind of steep. It was also warped but, miraculously, that didn't effect how it played.

Being that both of these bands are trios, you don't have a vocalist jumping around like a madman (that was definitely the case for Crude's tour mates Unit 21, though) but there was still plenty of presence. And I'm looking forward to Swedish band Nitad's appearance at the Midway on June 9.

So let's get on to the recorded matter for this installment... yeah, they're almost all positive reviews--someone once said I was too easy in my reviews--but, as has been the case in recent times, I'd rather write about the releases I find worthwhile.

ATTACK DISARM TAKEOVER-s/t (Mess Me Up, CD)
Bay Area ragers playing a streamlined, seamless style of crust, US hardcore 'n UK-82. In the latter's case, for instance, "Blood, Bullets and Bones" had me thinking of Varukers. The songs here aren't raw, production wise, but there's still an abundance of musical and verbal bellicosity. Some of these guys used to play in Deathtoll and that band had the same sort of inspiration. Pretty much one speed and that's fast. Basically, you know what you're getting--and I'm not complaining one bit because they play it with plenty of pissed-off vigor. (1442A Walnut Street #419, Berkeley, CA 94709, www.messmeuprecords.com)

BLANK STARE

BLANK STARE-s/t (Refuse, 12")
Ferocious, no-holds-barred hardcore from what could now be called a veteran Boston band. This is one angry-sounding combo (does anyone still refer to bands as "combos"), starting off with Benjamin's curmudgeonly lyrics and vocals that encompass outrage, but without the typical screaming . OK, he's not an old man or anything but there's no suffering of fools here. I'd say "Fuck Your Life" provides a pretty good clue and the lyrics are rants burst out in fragmentary fashion. For the most part, it's frenzied thrash with no breaks, just hot-as-fuck riffing and bass-lines and stellar drumming. For a change of pace, there's the Bl'ast-like sputter of "Another Blessing" and the pounding "Better Odds," the latter making its entrance with an ominous intro. They wrap things up with an uncredited cover of Last Rights' "Chunks" and it's almost as good as Dinosaur Jr.'s version. Just kidding. No weak shit, here. (PO Box 7, 02-792 Warszawa 78, POLAND, www.refuserecords.prv.pl)

COUGHING FIT-The Reptar EP (Homewreckords, 7" EP)
Thrashin' mania navigating the twists and turns pretty well plus a few heavier breakdowns that will make you want to punch the floor and some youthful yell-alongs. In the lyrical department, Coughing Fit express the agitation that bridges adolescence into adulthood--and beyond. Par for the course--not bad, not mindblowing, but right in the middle and still enjoyable. (37 Imperial Ave., Cohoes, NY 12047, www.myspace.com/homewreckordsny)

DEEP SLEEP-Paranoid Futures (Grave Mistake, 7" EP)/Three Things At Once (Grave Mistake, CD)
A new 7" EP and, on the CD, that's combined with Deep Sleep's previous two EP's. The newer material moves into slightly catchier terrain although that's always been an element for these guys. Some of the drum patterns and guitar lines are quite Descendents-like and I can also hear a slight mid-late 80s DC emo touch wrapped up in the band's punk rock package. A tweaking without changing the formula and the balance of the material on the CD offer a quick/easy way to catch up with this band's punchy 'n tuneful sound. (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

DISCARGA-Musica Pra Guerra (625, CD/Refuse, LP)
Multi-label releases for both the CD and LP and I'm listing where I got 'em from... the CD came out awhile back, the LP more recently. Now that we have that out of the way, one of the first things you notice on the lyric sheet is this longtime Brazilain band own up to where they got ideas for the songs although it only occasionally reveals the truth. It's true, though, that the guitar lick for "Somente Mais Um Numero" does grab from the Angelic Upstarts' "I Understand" and it's also one of the standout tracks here. Also notable is the cool guitar tone and the concluding (mechanized?) rhythm for "O Porque Da Violencia." While the drumming is a tad wooden on the hyper-paced thrashers, this is still a mostly-effective, ravenous affair. You know my thoughts about different variants on speed, at this point. The last track, "Sob Influencia" is a list of various R&B/jazz/hip-hop artists set to a reggae arrangement. Kind of a novelty, to be honest. On the CD, their songs from a split with H-Zero is put on one track, with them blasting out six songs in the space of just a couple of minutes. (www.625thrash.com, www.refuserecords.prv.pl)

FOR THE WORSE/ENEMIES FOR LIFE-Split (Tourist Trap, 7" EP)
Sort of the bastard children of local hardcore--FTW being Bostonians and EFL coming from Providence, although their vocalist Kevin is from Mass. and used to shout for Suckerpunch a long-ass time ago. Bastard children who would put a firecracker up your ass or, in the case of FTW vocalist Mike McCarthy, piss on your heads. I've seen the latter happen! Anyway, his band lay it out hard and fast and "PND" has a Slapshot inspiration, although Mike's vocals are a high yelp as opposed to Choke's growl. Their side ends with a rowdy cover of Fang's "Skinheads Smoek Dope." EFL mix up the speeds with a good chunk of double speed thrash and more reasonably paced fodder, particularly for "News For Me." Their side's a little on the sloppy side but there's still plenty of chaotic fodder by both bands. (58 Lexington Dr., Hyannis, MA 02601, touristtraprecords.blogspot.com)

GUILTY FACES

GUILTY FACES-Nightmares (Room 101, 7")
Guilty Faces' vinyl debut (after a GREAT demo a few years ago) is this 3 songer. A tandem of snotty punk and tuneful properties. Stinging guitars, a solid backbeat and Tommy Perkins' phlegm-spewin' vocals. There are some strong hooks on the choruses, particularly for "Hospital Eyes." Looking forward to their album, which Tommy claims is a lot better. This ain't bad, though. (PO Box 37271, Philadelphia, PA 19148, www.room101records.com)

HAMMER & THE NAILS-s/t (Rock and Roll Disgrace, tape)
Debut demo and this local band dish out the mid-speed street-style punk. The lyrics for a few of these songs take a hardline on the crime and punishment issue, such as with "Legislation, Not Rehabilitation" although they don't trust the cops all that much on "Dirty Cop." Brian's vocals are tough-as-nails (sorry) and the musical approach is OK, if not overly energetic and I'm not enamored with some of the conserv-Oi!-tive lyrics (sorry, again!) (24 Sadler St., Lynn, MA 01905, rnrdisgrace@gmail.com)

KRIEGSHOG-Hardcore Hell EP (HeartFirst, 7" EP)
A reissue of this Japanese band's long-gone EP and adding an extra song, to boot. Raw-as-fuck DIStort-core to blow your eardrums to pieces. Everything is in the red here but not to the point where it's buried in a morass of noise (such as with a band like Lebenden Toten). Feedback-spewing guitar blaze, earth-moving bass and cymbal-destroying drumming along with a little echo on the rabid vocals to complete the sinister effect. To quote one of their songs, this is battlefield indeed! (Landsberger Str. 146, 80339 Munchen GERMANY, www.heartfirst.net)

LIGHTS OUT!-Destroy-Create (Dead Beat, CD)
It's a punk rock smorgasbord in that Lights Out! (from Germany) smush together different flavors of punk, thrash and garage. "Something Is Rotten In The Age Of Hope" has vocalist Jay Hell adding a Rottenesque twist in his enunciation and it's snotty sounding but in a gruffer vein. Jabbing instrumentation with an abundance of spirit. The guitar sound doesn't rely on powerchords but, instead, has a stripped-down ambiance and the bass/drums are sharp and snappy. There's a particularly impressive bass run on the title track. Kind of along the same lines as the Regulations and Jay's voice does remind me of Otto's a bit. Rockin' with attitude and quick-hitting drive. (PO Box 361392, Cleveland, OH 44136, www.dead-beat-records.com)

PSYCHED TO DIE-Sterile Walls (Grave Mistake/Firestarter, 7" EP)
An impressive debut EP for these Jerseyites. There's definitely a catchy quality in their songwriting and considering that one of these guys (maybe more?) used to be in The Ergs, it's not a stretch although this is a much harder-edged punk band. There's a west coast feel at times, particularly drawing from the well of The Adolescents for "Staged Reality" and "Five Year Plan" and TSOL-ish "Sterile Walls." On the more basic hardcore side of the equation, there's "OCD Life" (clever Rikk Agnew reference, by the way). Solid stuff all around. (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

TIME TO ESCAPE-Cost Of Living EP (Grave Mistake)
Despite sharing a name with a Clash EP, this is pretty much boilerplate US-style thrash. There's no revelation, no unique personality emerging, just no-BS 'core with speed and burn. The attitude? Succinctly expressed on "World Of Shit," which is what they think of the state of society. Records/DIRECT CONTROL/GOV'T WARNING, etc. What's not to like? (PO Box 12482, Richmond, VA 23241, www.gravemistakerecords.com)

URBAN UNREST-On A String (self-released, 7" EP)
Urban Unrest's second EP possesses the same boil-over qualities as the first one. Six rippers dispensing with any pretense of artiness. Nope, these are rough-hewn songs although the production isn't that rough. These guys could very easily be on either No Way Records or Grave Mistake but the band put it out on their own label in coordination with United Shoebrothers (Tahtikalliontie 12, 00240 Espoo FINLAND, rabbitsfoot@mail.com)

VARIOUS-Does It Hurt? (Thought Crime, LP)
An international comp that has no weak shit... Let's break it down, band by band. Sotatila are back with their old school Finnish hardcore, especially in the vocal department, albeit with modern production qualities. Can't get enough of these guys. Dumbstruck's contribution consists of unreleased songs from 2002, with the first one "Weakness" being an epic blazer. Most of these guys were in Ripcord and it's the same kind of balls-out thrash. The paisans called Charlie, from Italy, thrash like crazy themselves. Definitely a Scandinavian touch but there's little more of a crazy, unhinged quality, as well. No Slogan are probably the most melodic of the lot here but these two songs are more aggressive than on their recent album and "Columbine" is a poignant reminder of what happens when kids get pushed too far, "just like Columbine." There's no excusing such actions but it also shows how there can be an extreme response to bullying. Ruidosa Inmundicia push the speed envelope as far as they can without crossing over into blastarama and do so with a combo of savagery and tightness and Caro has a scalding vocal style. These songs are from '05. Yellow Eyes are the other American band besides No Slogan and their sound is plenty ravenous with one fast one and two of 'em more moderately paced. A combination of hardcore sounds, from early COC to Discharge to Poison Idea all melded together for direct impact. There are some sick bass runs for the hammering "Beyond Hope." Finally, German band Narsaak have two songs to complement their hot 7" from awhile back. A slightly lower-tuned, heavier sound but still sprightly. A rippin' collection. (Muskauer Str. 19, 10997 Berlin, GERMANY, www.thoughtcrimerecords.de)

Suburban Voice blog #74

THE ADULT CRASH

Just what is an adult crash? Well, it's taken from the song "Minor Threat" by some DC band whose name escapes me at the moment. The whole "it's not how old I am/it's the way I feel" sentiment. That's the question Dave Brown posited to various individuals for his book titled, oddly enough, Adult Crash. It's a collection of his photos, taken over approximately two decades of show-attendance, along with reminiscences by folks with long-involvement in the "scene." Yes, it's another book to add to the hardcore retrospective shelf but, as Dave explains in the opening salvo, "this is not a 'hardcore history book' by any means--you are simply seeing what I saw when I happened to have a camera with me at shows over the years."

One thing you immediately notice is how time stands still--there's no dating of the photos but it doesn't really matter if it's a Killing Time or Gorilla Biscuits show from 20 or so years ago (I can tell the vintage since Anthony and Civ both have more hair!) or Wasted Time from recently. Hell, many of the t-shirts being sported are for older bands. Never mind that quite a few of the people in those audiences weren't even a gleam in their parents' eyes when Killing Time or the Biscuits played those shows. Of course, the youngsters do still have a chance to see those bands, albeit with more follically-challenged vocalists.

The other thing that one notices is how there's a commonality in theme from the various contributors--trying to maintain some kind of creative, youthful spark while, at the same time, many of them have had to be pragmatic, as well--having conventional elements to their lives such as "regular" jobs, marriages, mortgages and the like but hanging on to something distinctly different from the "norms" (my word and it's a loaded one, I agree). Hardcore is something that remains an affirmation, an element that can be inspirational as well as comforting. Taylor from Four Walls Falling writes about how he's just listened to "Dehumanization" by Crucifix for the millionth time in his life and how it never gets old. I feel the same way about that record (hell, I can recite Sothira's poetry that starts "Annihilation" verbatim) or Discharge's "Hear Nothing" or a lot of other records. It still stirs something. I can't imagine life without it.

I have to admit a book like Adult Crash does bring some mixed feelings to the surface--hardcore is still something important in my and the other contributors' lives. There are also times when it feels stale, alienating and infuriating. Love/hate. You do the sense of deja-vu perusing the photos and reading the text. And no mere photograph is going to capture what it feels like to be in those environs. I have my reservations, I have my doubts and--in the interest of full disclosure--I wrote something along those lines for this book. But as long as there are new bands, new records, certain shows and still meeting great people, it remains personally worthwhile. Something to pull me away from life's cold realities at least for awhile and perhaps remind me (and hopefully the reader) that there's still something to this noise even after a quarter century. I'd say this book serves that purpose pretty well.

The book is accompanied by a four song comp 7" with each band contributing covers--Down To Nothing doing Four Walls Falling, Cloak/Dagger doing Warzone, Kill Your Idols doing Token Entry and Slumlords playing a Gut Instinct song. Some of this stuff is fairly "moshy" but the production values are very raw and distorted and that makes these performances quite appealing, especially Cloak/Dagger's take on "Escape From Your Society." And while Token Entry's material hasn't aged well, KYI's "The Edge" is plenty furious. (Six Feet Under/Vicious Circle, www.sixfeetunderrecords.com or www.myspace.com/vcrecs)

...AND NOW ON TO THE CURRENT CROP OF RELEASES (with more to come soon--I promise!)

CHEAP TRAGEDIES

ATAKKE-March To The Gallows EP (Mountains of Madness, 7" EP)
Crust/metal with molten, thick guitar riffs and nasty hellion-like vocals from Chloe. There's definitely a kinship with the likes of After The Bombs, Sacrilege, Hellshock, etc... The drums are a little on the tinny side, sonically, but the crush quotient doesn't hurt for it. Two burners and one heavier track that doesn't stack up quite as well. You'll still bang your head or shake your fist at least some of the time. (302 Bedford Ave., Box 367, Brooklyn, NY 11211)

CHEAP TRAGEDIES-Volume 1: Souvenirs & Evidence (Mad At The World, LP)
Tony Erba's had quite the punk/hardcore/rock 'n roll career, as both a bass-player and vocalist--from the bruising hardcore of Face Value to the Jap-buzz of H100s and 9 Shocks Terror to the raw blowout of Gordon Solie Motherfuckers to a stint with rawkers Step Sister. Cheap Tragedies doesn't really sound like any of those bands, either. It's a tandem of punk, hardcore and some rock 'n roll that has a strong melodic base. Don't expect any out-of-control craziness but the songs do have plenty of presence. The lyrics explore the dark side of the human existence, whether it's about the Zodiac killer ("I Am The Zodiac") or Manson murders ("Sadie's Eyes"), Opus Dei conspiracy theories, mental illness and a the death of "Americana," as described on "Going Going Gone." The record is tucked inside a great gatefold cover with a mugshot of a defiant Jane Fonda, taken after a 1970 bust, staring out at you. I could say something cheesy that this music exudes a similar sense of defiance but... oh, I just did. "Ain't Dead Yet" does resemble that remark, expounding on still trying to have fun, still trying to keep sane when there's a 4 in your age and it's not the second number. By the way, Tony contributes to the Adult Crash book reviewed above and pretty much states the same thing as in the song. At the end of the day, this album hardly sounds like anyone's death song, punk or otherwise. (PO Box 230367, Ansonia Station, New York, NY 10023, www.matwreckords.com)

DAYLIGHT ROBBERY-Red Tape EP (Residue, 7")
Three new songs from this Chicago three-pice. "Red Tape" is their second 7". "Vamp" and "Reach Out" are both sprightly and tuneful with some tight instrumental interplay and male/female tradeoffs that do have a hint of X but the music has more of a post-punk flavor. "Circles" is on the too-mellow side although there's a nice build-up in the middle--still comes up a bit short and that's pretty much my overall take at this point. (1446 W. Elmdale, Apt. 3W, Chicago, IL 60660, residuerecords@gmail.com)

DILLINGER FOUR-C I V I L W A R (Fat, CD)
It's been six years since the last D4 album, "Situationist Comedy" and, from the opening chords of "A Jingle For The Product," preceded by a snippet from a disco dancing instructional record, there's an instant familiarity. As for whether it's been worth the wait, the answer is pretty much yes. I'll be right up front and say that "Midwestern Songs Of The Americas" remains the best album of the past 20 years, in my opinion. This time out, the surging and punchy punk rock melodies remain, as always, but polished to a smooth finish--OK, we're not talking about some inanimate object but I think you know what I mean. One thing that's largely absent are vocal contributions from bassist Paddy Costello and, on his turns at the mike, he sounds a tad too sweet--his melodious bellow (?) provided a counterpoint to Erik's raspily earnest tone and one wishes that was more in evidence here. But when he sings the tale of economic desolation for "Minimum Wage Is A Gateway Drug" with an ironic, instead of dogmatic approach, it still shows D4's clever lyrical twist. Ultimately, the songs here have presence but, in all honesty, they're not sticking in the head nearly as much as they used to. Consider that a reserved recommendation--D4 haven't ever made a complete clunker but it'd be a stretch to say that "C I V I L W A R" is anywhere near their best work. (www.fatwreck.com)

DRY HUMP

DRY HUMP-Sex Cult (demo)
Dry Hump want you to know they're NOT from Boston--or, rather, their vocalist Erik wishes to convey that info. Why anyone would want to brag they're from the Lowell area is beyond me but that's just some inside MassHole joking. Four songs, with three of them being solid fast/raw hardcore and vocals that sound like they're coming through a cheap mike. On the other hand, the title track, in the #3 slot, is a different matter. A dirge laying down a repetitive pattern and some guitar sputter on top but it's accompanied by a call into one of those national talk shows by one of the band member's relatives where he talks about paranormal experiences. Thing is you can't always hear what's going on as most of it is submerged under the racket but that's the gist of it. I imagine there's a subliminal aspect here and I'm going to wake up under the control of the Dry Hump Cult or something. That sounds downright scary but it won't stop me from recommending this demo. (cspraker@gmail.com)

FOREIGN OBJECTS

FOREIGN OBJECTS (demo)
Not to be confused with the old Boston garage band the Foreign Objects, who had a wrasslin' rock theme and did a classic song about Captain Lou Albano. Three ladies and one gentleman, with Terry Cuozzo, late of the Conversions, on vocals. Terry's vocals aren't as caustic this time around but her singing still goes against the grain. Bright, energetic punk/post-punk with a solid rhythmic foundation--the bass-playing and drumming are killer. This was good enough for a 7" release. (foreignobjectsboston@gmail.com)

HUL-Den Danske Ungdom (Hjernespind, LP)
A reissue of a 2001 album by a Danish band who were, instead of "ex-members of" were "pre-members of" or something like that. What I'm trying to say is people in these bands were also in Amdi Petersens Arme, Young Wasteners and No Hope For The Kids. A straight-forward hardcore attack--some early Boston and Swedish HC and UK-82 style come to mind--and Kasper's vocals are raspier (screechy at times, too) than when he sang for No Hope For The Kids. The pace is mainly fast and frenetic with a guitar sound that sounds like a disturbed hornets nest (I'm projecting) but they do slow it to a crawl for the concluding dirge. That falls flat, to be honest, but that's definitely not the case for the balance of this ripper. If you missed the boat on this one the first time--like I did--here's another opportunity you should take complete advantage of. (PO Box 505, 2200 Copenhagen N, DENMARK, www.hjernespind.com)

LEATHERVEIN-s/t (Hjernespind, LP)
The illustration on the cover of this record is ridiculous--a demonic looking headbanger shooting off rather phallic looking radioactive guitar device and it screams 80 thrash-metal schlock. And you have you respect their aspirations--Dr. Hook wanted to be on the cover of the Rolling Stone. Leathervein want to be on the "Cover of MMRR" i.e. Maximum Rock 'n Roll. If this was the 80s, the hardcore bible's illustrious founder Mr. Yohannan probably wouldn't have even allowed a review of this record since he would have deemed it "too metal." Some might feel that way now but, writing as a child of 70s hard rock and metal AND hardcore AND thrash metal, Leathervein's eponymous debut hits all the right buttons and it'd be a mistake to strictly consider this metal. There's the rawkarama of bands like Turbonegro and, if the intent is tongue-in-cheek, Leathervein's edge is sharper with speed bombs like "You Are The Problem,"Crossed The Line" and "Endless Night," although the last ends with a heavy coda." "Welcome To The Ministry," meanwhile, will make you bang your head Priest style--maybe that's the ministry they're talking about. I have to speculate 'cause there ain't no lyric sheet and The Eagle's emanations are sometimes a bit tricky to decipher. The mighty noise doesn't require any sort of deep analysis, though. It just needs to be turned up loud. (PO Box 505, 2200 Copenhagen N, DENMARK, www.hjernespind.com)

MARKED MEN-Ghosts (Dirtnap, CD)
Definitely a return to form after the semi-disappointing "Fix My Brain." There was something missing with that album--maybe the production was a tad too clean, the songs not as gripping but this collection is much more solid and they've come back to a rougher, if not raw, recording ambiance. Jumpy, catchy songs drawing on the reliably poppy '77-inspired influences. The tempos are mainly heart-racing with a jabbing, throbbing guitar punch. Closing song "Fix My Head" has the drive but there's also a hint of heady expansiveness and some stinging guitar tradeoffs--my favorite song on the album, in fact. Good to see them regain their footing although it might be their last, if not final sonic missive. (2615 SE Clinton St., Portland, OR 97202, www.dirtnaprecs.com)

NO SLOGAN-Aversion Therapy (Residue, LP)
As promised last time, here's a review of No Slogan's debut full-length and the 7" only hinted at how strong this release was going to turn out. The "m" term i.e. melodic has been bandied about quite a bit in this space now and forever but it can't be avoided in regard to No Slogan and neither can the references to Chicago punk history in the way they harness brawn with tunefulness from the Raygun-ish rock of "KGB," re-done from the "Killed By Gentrification 7") to the Articles of Faith-driven style of "Trepidation." I'm not quite sure why they named a song "Howard Jones" and give thanks (another gratuitious AOF reference) that it ain't 80s synth-pop (although I am partial to some of that stuff) but another urgent-sounding hardcore song. And whereas HoJo had those uplifting type of lyrics, that ain't the case here. "Death Of Cool" observes the situation from Barack Obama's Chicago backyard and the question is "where is our prosperity?" Indeed. (1446 W. Elmdale, Apt. 3W, Chicago, IL 60660, residuerecords@gmail.com)

PERDITION-s/t (Mountains of Madness, 7" EP)
I got to see this NY band play one song in Cambridge before some scuzzy "travelers" threw a brick through the window behind the drummer and got things shut down. After hearing this record, I feel even more cheated by that circumstance. Over the past few years, I've glanced at a few analyses of various nuances of D-beat/crust/whathaveyou and I know that there are elements to create different sub-groupings. But, when you get right down to it, the tools are rumbling bass, bashing drums, loud guitars often sputtering with feedback and braying vocals. Perdition do that very well, especially in the bass department and the feedback enhances but doesn't turn it into ear torture. I know some people love that shroud of hellaciousness but I prefer being able to actually hear the riffs right up front. Definitely not next-level but the combination of power and rawness makes it a keeper. (302 Bedford Ave., Box 367, Brooklyn, NY 11211)

POLICE & THIEVES-Amor Y Guerra (Youngblood, CD)
New and old from this DC band. The (relatively) new is the "Amor Y Guerra" EP--recorded in late '07-- and on this CD those four songs are appended by another 10 songs from their earlier 7" and demo. This is beefy, melodic hardcore certainly influenced by their surroundings--well, past history of their surroundngs with an abundance of sting and burn. I should also mention that influence isn't slavishly excecuted but something they've thrown into their volume-enhanced tilt. And, yes, there's certainly an emotional element here, mainly in Carlos' impassioned (yes, I use the word too much as well as many other words in this review) vocals and guitar surge. The Dutch band Oil did something along these lines some years back and P&T are also proficient at this sort of heartfelt soundburst. (PO Box 236, Ephrata, PA 17522, www.youngblood-records.com)